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Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
Songs by Artist
Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S. -
“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
“UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. -
Classic Gray a Stylish Terrace at a New Italian Auditorium Secrets of Self-Levelers
2010/11 Decorative Concrete Buyer’s Guide Vol. 10 No. 4 • May/June 2010 • $6.95 ® Classic Gray A stylish terrace at a new Italian auditorium Secrets of Self-Levelers MARCH 15–18, 2011 NASHVILLE www.ConcreteDecorShow.com A Professional Trade Publications Magazine Have You Topp e d Yo u r s e l f Lately? Concrete Decor magazine is seeking submissions for the 2010 Concrete Countertop Design Competition. Submit your favorite projects today! Countertop submissions may be submitted in two categories: Residential and Commercial/Public. Each entry will be evaluated by a panel of experts on the following criteria: - Aesthetic appeal - Functionality - Creativity and originality - Design challenges that were overcome - How well the countertop complements its surroundings Each entry must include a brief explanation of the project, describing the ways in which it meets these criteria. Entries must also include print-quality photos of the finished project. Winners will receive prize packages worth more than $1,000 supplied by our industry- leading sponsors. Note: Only projects completed on or after January 1, 2009, are eligible. Deadline: All entries must be submitted by July 14, 2010. To enter: Access the nomination form at www.concretedecor.net/Forms/ Concrete_Countertop_Contest.cfm Questions? Contact: [email protected] (877) 935-8906 x204 SPONSORED BY Publisher’s Letter Dear Readers, I was talking with one of our advertisers this past week, and we agreed that business is steadily improving. Refl ecting on our days as contractors, May/June 2010 • Volume 10 we also were of the opinion that any contractor who Issue No. 4 • $6.95 wants to be busy will fi nd the work. -
1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29. -
The Portrayal of African American Women in Hip-Hop Videos
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 6-2005 The Portrayal of African American Women in Hip-Hop Videos Ladel Lewis Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Sociology Commons Recommended Citation Lewis, Ladel, "The Portrayal of African American Women in Hip-Hop Videos" (2005). Master's Theses. 4192. https://scholarworks.wmich.edu/masters_theses/4192 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE PORTRAYAL OF AFRICAN AMERICAN WOMEN IN HIP-HOP VIDEOS By Ladel Lewis A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of Sociology Western Michigan University Kalamazoo, Michigan June 2005 Copyright by Ladel Lewis 2005 ACKNOWLEDGEMENTS I wish to thankmy advisor, Dr. Zoann Snyder, forthe guidance and the patience she has rendered. Although she had a course reduction forthe Spring 2005 semester, and incurred some minor setbacks, she put in overtime in assisting me get my thesis finished. I appreciate the immediate feedback, interest and sincere dedication to my project. You are the best Dr. Snyder! I would also like to thank my committee members, Dr. Douglas Davison, Dr. Charles Crawford and honorary committee member Dr. David Hartman fortheir insightful suggestions. They always lent me an ear, whether it was fora new joke or about anything. -
Powered by Water, Mmolvray 1
Powered By Water, MMolvray 1 Mia Molvray © 2002, 2010 Analog, Feb. 2002 Powered by Water A tall, thin, youngish man with an absent expression emerged out of the maze of machines filling the lab. He was trying to remember what it was that he'd told himself not to forget, but his mind served up nothing useful … or even useless. It just lay there. He went in search of caffeine like a rising diver looking for air. The pot was there, the water was there, the white powder pretending to be cream was there, but the can had neither beans nor grounds nor dust in it. Someone had shaken out the dregs without buying new coffee, in crass contra- vention of the law of the lab and human rights. Norman Rathbone stared at the machine, cursing furiously but without a sound. In any sane legal system, murdering the irresponsible party would be justifiable homicide, but, knowing his boss, the man would object because ter- minating the staff was his sole prerogative. Then Norman brightened. All was not lost. He headed to the Coke machine. But lesser minds than his had beaten him to it, as happened so often in his bril- liant but impractical life. There were cans aplenty of sweet and fizzy stuff fla- vored with lemon or cola or cream, but not a single can of anything promising consciousness. Norman was faced with the prospect of managing Dr. Kriegel's lab — of tracing gel runs, troubleshooting data analysis, discussing undergradu- ate term papers, and making polite phone calls about missing crosslinkers — while powered by nothing but water. -
An Advanced Songwriting System for Crafting Songs That People Want to Hear
How to Write Songs That Sell _________________________________________________________________________________________________________________________ An Advanced Songwriting System for Crafting Songs That People Want to Hear By Anthony Ceseri This is NOT a free e-book! You have been given one copy to keep on your computer. You may print out one copy only for your use. Printing out more than one copy, or distributing it electronically is prohibited by international and U.S.A. copyright laws and treaties, and would subject the purchaser to expensive penalties. It is illegal to copy, distribute, or create derivative works from this book in whole or in part, or to contribute to the copying, distribution, or creating of derivative works of this book. Furthermore, by reading this book you understand that the information contained within this book is a series of opinions and this book should be used for personal entertainment purposes only. None of what’s presented in this book is to be considered legal or personal advice. Published by: Success For Your Songs Visit us on the web at: http://www.SuccessForYourSongs.com Copyright © 2012 by Success For Your Songs All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. How to Write Songs That Sell 3 Table of Contents Introduction 6 The Methods 8 Special Report 9 Module 1: The Big -
Mediamonkey Filelist
MediaMonkey Filelist Track # Artist Title Length Album Year Genre Rating Bitrate Media # Local 1 Kirk Franklin Just For Me 5:11 2019 Gospel 182 Disk Local 2 Kanye West I Love It (Clean) 2:11 2019 Rap 4 128 Disk Closer To My Local 3 Drake 5:14 2014 Rap 3 128 Dreams (Clean) Disk Nellie Tager Local 4 If I Back It Up 3:49 2018 Soul 3 172 Travis Disk Local 5 Ariana Grande The Way 3:56 The Way 1 2013 RnB 2 190 Disk Drop City Yacht Crickets (Remix Local 6 5:16 T.I. Remix (Intro 2013 Rap 128 Club Intro - Clean) Disk In The Lonely I'm Not the Only Local 7 Sam Smith 3:59 Hour (Deluxe 5 2014 Pop 190 One Disk Version) Block Brochure: In This Thang Local 8 E40 3:09 Welcome to the 16 2012 Rap 128 Breh Disk Soil 1, 2 & 3 They Don't Local 9 Rico Love 4:55 1 2014 Rap 182 Know Disk Return Of The Local 10 Mann 3:34 Buzzin' 2011 Rap 3 128 Macc (Remix) Disk Local 11 Trey Songz Unusal 4:00 Chapter V 2012 RnB 128 Disk Sensual Local 12 Snoop Dogg Seduction 5:07 BlissMix 7 2012 Rap 0 201 Disk (BlissMix) Same Damn Local 13 Future Time (Clean 4:49 Pluto 11 2012 Rap 128 Disk Remix) Sun Come Up Local 14 Glasses Malone 3:20 Beach Cruiser 2011 Rap 128 (Clean) Disk I'm On One We the Best Local 15 DJ Khaled 4:59 2 2011 Rap 5 128 (Clean) Forever Disk Local 16 Tessellated Searchin' 2:29 2017 Jazz 2 173 Disk Rahsaan 6 AM (Clean Local 17 3:29 Bleuphoria 2813 2011 RnB 128 Patterson Remix) Disk I Luh Ya Papi Local 18 Jennifer Lopez 2:57 1 2014 Rap 193 (Remix) Disk Local 19 Mary Mary Go Get It 2:24 Go Get It 1 2012 Gospel 4 128 Disk LOVE? [The Local 20 Jennifer Lopez On the -
INTERVIEWS from the 90'S
INTERVIEWS FROM THE 90’s 1 INTERVIEWS FROM THE 90’S p4. THE SONG TALK INTERVIEW, 1991 p27. THE AGE, APRIL 3, 1992 (MELBOURNE, AUSTRALIA) p30. TIMES THEY ARE A CHANGIN'.... DYLAN SPEAKS, APRIL 7, 1994 p33. NEWSWEEK, MARCH 20, 1995 p36. EDNA GUNDERSEN INTERVIEW, USA TODAY, MAY 5, 1995 p40. SUN-SENTINEL TODAY, FORT LAUDERDALE, SEPT. 29, 1995 p45. NEW YORK TIMES, SEPT. 27, 1997 p52. USA TODAY, SEPT. 28, 1997 p57. DER SPIEGEL, OCT. 16, 1997 p66. GUITAR WORLD MAGAZINE, MARCH 1999 Source: http://www.interferenza.com/bcs/interv.htm 2 3 THE SONG TALK INTERVIEW, 1991 Bob Dylan: The Song Talk Interview. By: Paul Zollo Date: 1991 Transcribed from GBS #3 booklet "I've made shoes for everyone, even you, while I still go barefoot" from "I and I" By Bob Dylan Songwriting? What do I know about songwriting? Bob Dylan asked, and then broke into laughter. He was wearing blue jeans and a white tank-top T-shirt, and drinking coffee out of a glass. "It tastes better out of a glass," he said grinning. His blonde acoustic guitar was leaning on a couch near where we sat. Bob Dylan's guitar . His influence is so vast that everything that surrounds takes on enlarged significance: Bob Dylan's moccasins. Bob Dylan's coat . "And the ghost of 'lectricity howls in the bones of her face Where these visions of Johanna have now taken my place. The harmonicas play the skeleton keys and the rain And these visions of Johanna are now all that remain" from "Visions of Johanna" Pete Seeger said, "All songwriters are links in a chain," yet there are few artists in this evolutionary arc whose influence is as profound as that of Bob Dylan. -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit Lage, Analyse und Perspektive österreichischer Musiker im Forschungsfeld der FM4 Charts 2011 unter Berücksichtigung deutscher und/oder englischer Texte. Verfasser Roland Maurer angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuerin: Univ.-Prof. Mag. Dr. Regine Allgayer-Kaufmann 1 Inhaltsverzeichnis 1. Einleitung ……………………........…...……………………………...... 4 2. Problemstellung und Erkenntnisinteresse …....…………………….... 7 2.1. Forschungsfragen ….......…………………………………………...... 9 2.2. Forschungshypothesen …………………………………………….... 9 2.3. Erhebungsgegenstand ……………………………………….………. 10 2.4. Stand der Forschung …………………………………………………. 11 THEORETISCHE VERANKERUNG 3. IFPI Austria Musikbericht 2011 …............................……………….... 13 4. Forschungsfeld Radio FM4 ………………………………………….... 17 4.1 Musikauswahl, Marktsituation, FM4 Charts ………………………... 19 4.2. Position, Sprache, Formate …………………………………............. 21 4.3. Auftrag, HörerInnen, Radio FM4 Off Air ………………................... 22 4.4. FM4 Radio Sessions, FM4 Überraschungskonzerte, FM4 Soundpark 23 Exkurs 1: Jugendkultur ……………………………………………………....... 25 Exkurs 2: Independent vs. Popularmusik ………………………………........ 26 5. Sprache in der Musik ………………………………………………...... 33 6. Bandscout ……………………………………………………................ 35 6.1. Rahmenbedingungen, die sich von Bandscout ableiten …........... 36 6.1.1. Anzahl der Live-Konzerte ! Booking ……………………… 36 6.1.2. Größe -
Come & Get It<Span Class="Orangetitle"> Deconstructed
Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com Come & Get It Deconstructed Skip to: Audio/Video At a Glance Song Overview Structural Analysis Momentum/Tension/Intensity (MTI) Lyrics & Harmonic Progression The Music The Vocal Melody Primary Instrumentation, Tone & Mix Compositional Assessment Hit Factor Assessment Conclusion Why it’s a Hit Songwriter/Producer Take Aways Audio/Video Back to Top At a Glance Back to Top Artist: Selena Gomez Song/Album: Come & Get It / Stars Dance Songwriters: Dean, Eriksen, Hermansen Genre: Pop Sub Genre: Electropop, World (Indian) Length: 3:52 Structure: B-A-B-A-B-C-B Tempo: 80 bpm First Chorus: 0:15 / 6% into the song Intro Length: 0:15 Outro Length: n/a Electric vs. Acoustic: Electric Primary Instrumentation: Synth Lyrical Theme: Love/Relationships Title Occurrences: Come & Get It occurs 12 times within the song Primary Lyrical P.O.V: 1st & 2nd Song Overview Back to Top Released as the lead single from her first solo album, Stars Dance, Come & Get It finds Selena Gomez teaming up with 3 of today’s hottest hitmakers including Tor Hermansen & Mikkel Eriksen (both of Stargate), and Ester Dean with the aim of separating her from her Disney 1 / 71 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com past and to establish her as a major force within the mainstream Pop scene alongside contemporaries including Rihanna, Katy and Britney. As you’ll see within the report, Come & Get It possesses many of the “hit qualities” that are indicative of today’s chart-topping songs, but it also falls short in some key areas that preclude it from realizing its fullest potential.