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Alicia Keys Gangsta Lovin Mp3, Flac, Wma
Alicia Keys Gangsta Lovin mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop / Funk / Soul Album: Gangsta Lovin Country: Russia Released: 2002 Style: RnB/Swing, Neo Soul MP3 version RAR size: 1357 mb FLAC version RAR size: 1294 mb WMA version RAR size: 1711 mb Rating: 4.9 Votes: 845 Other Formats: AIFF MMF MP4 DMF TTA AUD MP2 Tracklist Hide Credits Gangsta Lovin A1 Featuring – Eve A2 Girlfriend A3 Rear View Mirror A4 How Come You Don't Call Me A5 Never Felt This Way (Interlude) A6 Butterflyz A7 Rock Wit U A8 Jane Doe A9 Goodbye B1 A Woman's Worth B2 Fallin' B3 The Life Mr. Man B4 Featuring – Jimmy Cozier B5 Why Do I Feel So Sad B6 Troubles B7 A Woman's Worth (Remix) Companies, etc. Phonographic Copyright (p) – Global Music Phonographic Copyright (p) – Fox Music Copyright (c) – Global Music Copyright (c) – Fox Music Notes New 2002 Renamed album "Songs In A Minor" with additional new track "Gangsta Lovin" Barcode and Other Identifiers Barcode (Text): 4 601777 637565 Barcode (String): 4601777637565 Other (Cassette ID): B0808GI Other versions Category Artist Title (Format) Label Category Country Year Songs In A Minor (CD, 80813-20002-2 Alicia Keys J Records 80813-20002-2 US 2001 Album) Songs In A Minor (Cass, J Records, 80813-20002-4 Alicia Keys 80813-20002-4 Ukraine 2002 Album) BMG Russia Songs In A Minor (CD, 80813-20002-2 Alicia Keys J Records 80813-20002-2 Australia 2001 Album) Songs In A Minor 80813 20002-4 Alicia Keys (2xCass, Album, J Records 80813 20002-4 Indonesia 2002 S/Edition) Songs In A Minor (Cass, 80813-20002-4 Alicia Keys J Records 80813-20002-4 US 2001 Album) Related Music albums to Gangsta Lovin by Alicia Keys Alicia Keys - An Interview With Alicia Keys, Featuring 3 Live Acoustic Tracks Alicia Keys - Songs In A Minor (CD Sampler) 6 Tre Gangsta - Alicia Keys - A Woman's Worth DRS - Gangsta Lean Eve Featuring Alicia Keys - Gangsta Lovin' Alicia Keys - Songs In A Minor Alicia Keys - 22th Sep 2008 - Vancouver Alicia Keys - Radio City Hall Nyc Goldie Loc - Gangsta Life. -
Daft Punk Collectible Sales Skyrocket After Breakup: 'I Could've Made
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 25, 2021 Page 1 of 37 Leader; Travis Denning Makes History INSIDE Daft Punk Collectible Sales Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debutsSkyrocket at No. 1 on Billboard’s lion audience After impressions, Breakup: up 16%). Top Country• Spotify Albums Takes onchart dated April 18. In its first week (ending April 9), it earned$1.3B 46,000 in equivalentDebt album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cording• Taylor to Nielsen Swift Music/MRCFiles Data. ‘I Could’veand total Made Country Airplay No.$100,000’ 1 as “Catch” (Big Machine Label Group) ascends SouthsideHer Own marks Lawsuit Hunt’s in second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartEscalating and fourth Theme top 10. It follows freshman LP BY STEVE KNOPPER Young’s first of six chart entries, “Sleep With- MontevalloPark, which Battle arrived at the summit in No - out You,” reached No. 2 in December 2016. He vember 2014 and reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You In the 24 hours following Daft Punk’s breakup Thomas, who figured out how to build the helmets Montevallo• Mumford has andearned Sons’ 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved millionBen in Lovettalbum sales. -
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
M-Phazes | Primary Wave Music
M- PHAZES facebook.com/mphazes instagram.com/mphazes soundcloud.com/mphazes open.spotify.com/playlist/6IKV6azwCL8GfqVZFsdDfn M-Phazes is an Aussie-born producer based in LA. He has produced records for Logic, Demi Lovato, Madonna, Eminem, Kehlani, Zara Larsson, Remi Wolf, Kiiara, Noah Cyrus, and Cautious Clay. He produced and wrote Eminem’s “Bad Guy” off 2015’s Grammy Winner for Best Rap Album of the Year “ The Marshall Mathers LP 2.” He produced and wrote “Sober” by Demi Lovato, “playinwitme” by KYLE ft. Kehlani, “Adore” by Amy Shark, “I Got So High That I Found Jesus” by Noah Cyrus, and “Painkiller” by Ruel ft Denzel Curry. M-Phazes is into developing artists and collaborates heavy with other producers. He developed and produced Kimbra, KYLE, Amy Shark, and Ruel before they broke. He put his energy into Ruel beginning at age 13 and guided him to RCA. M-Phazes produced Amy Shark’s successful songs including “Love Songs Aint for Us” cowritten by Ed Sheeran. He worked extensively with KYLE before he broke and remains one of his main producers. In 2017, Phazes was nominated for Producer of the Year at the APRA Awards alongside Flume. In 2018 he won 5 ARIA awards including Producer of the Year. His recent releases are with Remi Wolf, VanJess, and Kiiara. Cautious Clay, Keith Urban, Travis Barker, Nas, Pusha T, Anne-Marie, Kehlani, Alison Wonderland, Lupe Fiasco, Alessia Cara, Joey Bada$$, Wiz Khalifa, Teyana Taylor, Pink Sweat$, and Wale have all featured on tracks M-Phazes produced. ARTIST: TITLE: ALBUM: LABEL: CREDIT: YEAR: Come Over VanJess Homegrown (Deluxe) Keep Cool/RCA P,W 2021 Remi Wolf Sexy Villain Single Island P,W 2021 Yung Bae ft. -
Leon Russell – Primary Wave Music
ARTIST:TITLE:ALBUM:LABEL:CREDIT:YEAR:LeonThisCarneyTheW,P1972TightOutCarpentersAA&MWNow1973IfStopP1974LadyWill1975 SongI Were InRightO' Masquerade &AllBlueRussellRope The Thenfor Thata Stuff CarpenterYouWoodsWisp Jazz LEON RUSSELL facebook.com/LeonRussellMusic twitter.com/LeonRussell Imageyoutube.com/channel/UCb3- not found or type unknown mdatSwcnVkRAr3w9VBA leonrussell.com en.wikipedia.org/wiki/Leon_Russell open.spotify.com/artist/6r1Xmz7YUD4z0VRUoGm8XN The ultimate rock & roll session man, Leon Russell’s long and storied career included collaborations with a virtual who’s who of music icons spanning from Jerry Lee Lewis to Phil Spector to the Rolling Stones. A similar eclecticism and scope also surfaced in his solo work, which couched his charmingly gravelly voice in a rustic yet rich swamp pop fusion of country, blues, and gospel. Born Claude Russell Bridges on April 2, 1942, in Lawton, Oklahoma, he began studying classical piano at age three, a decade later adopting the trumpet and forming his first band. At 14, Russell lied about his age to land a gig at a Tulsa nightclub, playing behind Ronnie Hawkins & the Hawks before touring in support of Jerry Lee Lewis. Two years later, he settled in Los Angeles, studying guitar under the legendary James Burton and appearing on sessions with Dorsey Burnette and Glen Campbell. As a member of Spector’s renowned studio group, Russell played on many of the finest pop singles of the ’60s, also arranging classics like Ike & Tina Turner’s monumental “River Deep, Mountain High”; other hits bearing his input include the Byrds’ “Mr. Tambourine Man,” Gary Lewis & the Playboys’ “This Diamond Ring,” and Herb Alpert’s “A Taste of Honey.” In 1967, Russell built his own recording studio, teaming with guitarist Marc Benno to record the acclaimed Look Inside the Asylum Choir LP. -
Paul Anka – Primary Wave Music
PAUL ANKA facebook.com/paulankaofficial instagram.com/paulankaofficial twitter.com/paulanka Imageyoutube.com/user/PaulAnkaTV not found or type unknown paulanka.com en.wikipedia.org/wiki/Paul_Anka open.spotify.com/artist/7ceUfdWq2t5nbatS6ollHh Born July 30, 1941, in Ottawa Canada, into a tight-knit family, Paul Anka didn’t waste much time getting his life in music started. He sang in the choir at St. Elijah Syrian Orthodox Church and briefly studied piano. He honed his writing skills with journalism courses, even working for a spell at the Ottawa Citizen. By 13, he had his own vocal group, the Bobbysoxers. He performed at every amateur night he could get to in his mother’s car, unbeknownst to his her of course. Soon after, he won a trip to New York by winning a Campbell’s soup contest that required him to spend three months collecting soup can labels. It was there his dream was solidified, he was going to make it as a singer composer; there was not a doubt in his young tenacious mind. In 1956, he convinced his parents to let him travel to Los Angeles, where he called every record company in the phone book looking for an audition. A meeting with Modern Records led to the release of Anka’s first single, “Blau-Wile Deverest Fontaine.” It was not a hit, but Anka kept plugging away, going so far to sneak into Fats Domino’s dressing room to meet the man and his manager in Ottawa. When Anka returned New York in 1957, he scored a meeting with Don Costa, the A&R man for ABC-Paramount Records. -
LOVE HAS COME LOVE HAS COME // CHRISTMAS EVE Luke 2:1-19 // Craig Smith December 24, 2017
LOVE HAS COME LOVE HAS COME // CHRISTMAS EVE Luke 2:1-19 // Craig Smith December 24, 2017 CRAIG: Merry Christmas. I am so glad that you’re here. So honored that you would give us this time together as we get ready to celebrate Christmas Day tomorrow. I also, if I’m gonna be completely honest, I’m also just a little bit intimidated because Christmas Eve is the hardest message of the year for a preacher. And I think it’s because of the familiarity because we all kind of know the story, right? We all kind of come in here going, “I’ve sort of got this.” If I were to tell you today that Mary was a virgin, anybody here gonna be shocked? You’ve heard that? Yeah. How about if I said that when they got to Bethlehem, there was no room in the inn? Anybody gonna be like, “Whoa, plot twist, did not see that coming?” We know the story, right? This is an incredibly familiar story, but the problem is that the more familiar we are with something, the less impressed by it we are. I mean, think about it, I remember years ago for the first time ever, I went to this website I’d heard about. It was called google. com. And I went there and I typed in something I was interested in, and I got like thousands of pages, thousands of pages of whatever it was I was looking for, and I was blown away but I was so impressed by that. -
Music Review Kanye West, Jesus Is King US 2019, Def Jam Recordings
Andre L. Price Music Review Kanye West, Jesus Is King US 2019, Def Jam Recordings As any emcee should, Kanye West has developed and matured as a produc- er and lyricist since his 2004 triple-platinum debut project, College Dropout. West’s Gospel project, Jesus Is King, is his ninth studio project and the fol- low-up to his June 2018 release, Ye. After delays, Jesus Is King was released on 25 October 2019. For West, openly talking about Jesus in his music is not new, for he rocked the mainstream hip-hop world in 2004 when he re- leased the single “Jesus Walks”, the final single to be released from College Dropout. Jesus Is King features eleven tracks totaling 27 minutes and 4 seconds, which is short for either a secular or gospel hip-hop project.1 Interestingly, significant changes were made to the track listing order on the album. Kim Kardashian-West announced the tracks and order in August 2019, but the list- ing and order released by Kanye West in October 2019 were markedly differ- ent.2 Such a change could suggest an earlier lack of clarity on what the album was going to be. West did promise that Jesus Is King would be “fully immersed in religion […] with lyrics about God, being saved, and minimal cursing”.3 Jesus Is King employs several aspects of Black Christian worship, from mass choir to melodic organ. West takes the best of the Black gospel tradition, in- fusing it with his own lyrical genius to proclaim what God has done for him, which is best expressed on the track “God Is”, a remake of the classic spiritual. -
Hip Hop Feminism Comes of Age.” I Am Grateful This Is the First 2020 Issue JHHS Is Publishing
Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Published by VCU Scholars Compass, 2020 1 Journal of Hip Hop Studies, Vol. 7, Iss. 1 [2020], Art. 1 Editor in Chief: Travis Harris Managing Editor Shanté Paradigm Smalls, St. John’s University Associate Editors: Lakeyta Bonnette-Bailey, Georgia State University Cassandra Chaney, Louisiana State University Willie "Pops" Hudson, Azusa Pacific University Javon Johnson, University of Nevada, Las Vegas Elliot Powell, University of Minnesota Books and Media Editor Marcus J. Smalls, Brooklyn Academy of Music (BAM) Conference and Academic Hip Hop Editor Ashley N. Payne, Missouri State University Poetry Editor Jeffrey Coleman, St. Mary's College of Maryland Global Editor Sameena Eidoo, Independent Scholar Copy Editor: Sabine Kim, The University of Mainz Reviewer Board: Edmund Adjapong, Seton Hall University Janee Burkhalter, Saint Joseph's University Rosalyn Davis, Indiana University Kokomo Piper Carter, Arts and Culture Organizer and Hip Hop Activist Todd Craig, Medgar Evers College Aisha Durham, University of South Florida Regina Duthely, University of Puget Sound Leah Gaines, San Jose State University Journal of Hip Hop Studies 2 https://scholarscompass.vcu.edu/jhhs/vol7/iss1/1 2 Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Elizabeth Gillman, Florida State University Kyra Guant, University at Albany Tasha Iglesias, University of California, Riverside Andre Johnson, University of Memphis David J. Leonard, Washington State University Heidi R. Lewis, Colorado College Kyle Mays, University of California, Los Angeles Anthony Nocella II, Salt Lake Community College Mich Nyawalo, Shawnee State University RaShelle R. -
2017Chicago Transit Authority a Horse Drawn Omnibus, Originally Operated by the Citizen’S Line Circa 1853, Is Displayed at West Shops at Pulaski and Lake
HISTORICAL CALENDAR 2017Chicago Transit Authority A horse drawn omnibus, originally operated by the Citizen’s Line circa 1853, is displayed at West Shops at Pulaski and Lake. These early transit vehicles were quite primitive, barely just a notch above stagecoaches – little more than hard, wooden bench seats were provided on either side of very sparsely appointed coaches, with no heat, light, or other amenities. It is hard to believe that, from such humble beginnings, Chicago would one day have the second largest public transit system in North America, as it does today. January 2017 S M T W T F S B C D E F G A 1 New Year’s Day 2 3 4 5 6 7 A B C D E F G 8 9 10 11 12 13 14 G A B C D E F Martin Luther 15 16 King, Jr. Day 17 18 19 20 21 F G A B C D E 22 23 24 25 26 27 28 E F G ABCDEFG: December 2016 February 2017 CTA Operations S M T W T F S S M T W T F S Division 1 2 3 1 2 3 4 Group Days Off 4 5 6 7 8 9 10 5 6 7 8 9 10 11 t Alternate day off if 11 12 13 14 15 16 17 12 13 14 15 16 17 18 you work on this day 18 19 20 21 22 23 24 19 20 21 22 23 24 25 29 30 31 l Central offices closed 25 26 27 28 29 30 31 26 27 28 Chicago streetcar #225 is outside of the 77th Street carbarn, sporting an early Chicago Transit Authority emblem but still wearing the red and cream color scheme of its predecessor company, the Chicago Surface Lines. -
Meeting Kim Kardashian West in Her Silky Malibu Condo, Eve Barlow Trails the Story of Kween K and the Kardashian Dynasty - Earth’S Most Followed Fam
Meeting Kim Kardashian West in her silky Malibu condo, Eve Barlow trails the story of Kween K and the Kardashian dynasty - Earth’s most followed fam. Photography Petra Collins Fashion Zara Mirkin Words Eve Barlow Previous page: Dress DAISY, bra and knickers FLEUR DE MAR, tights TRASHY LINGERIE, gloves MIU MIU, earrings DOUBLE DISCO Opposite page: Dress CHRISTIAN DIOR, tights EMILIO CAVALLINI, shoes ACNE STUDIOS, earrings DOUBLE DISCO. This page: Top KENZO, pants RETROGRADE, tights EMILIO CAVALLINI, veil NY VINTAGE, necklace and ring CARTIER, boots MCQ arrival, with the aid of her smiley security guard Sonny, I erected a 10-foot tall, solid wood screen behind Kim’s chair on this exposed balcony to conceal her from potential prying snappers. Kim’s level of fame is on par with that of the late Princess Diana, so you adopt a CIA mindset around her. Having secured the balcony’s perimeter, Sonny and I looked to the open sky, then to each other. No words were exchanged, but ours was a deep understanding. If helicopter paps came, and there wasn’t enough time to move Kim inside, I would have to sit on her. As laughter turns to near-silent shriek, I jump up. “I’m OK, thank you so much for grabbing that!” says Kim, drama-free, as I liberate her from a plank of mahogany. Sonny too bolts to action via the balcony doors. Kim laughs, apologetically. “Thank you,” she repeats. “It’s not your fault.” The accident came, oddly, while Kim was relating a tale about her neighbour, comedian Kathy Griffin, who has been snooping on Kim too, albeit unintentionally. -
Angelique Kidjo
ANGELIQUE KIDJO Eve In an expansive career marked as much by extraordinary musical achievement as passionate advocacy and philanthropy for her homeland of Africa, Angelique Kidjo has found many ways to celebrate the rich, enlightening truth about the continent’s women beyond the media spotlight. On Eve, her highly anticipated Savoy Records debut named for her own mother as well as the mythical “mother of all living,” the Benin born, Grammy Award winning singer/songwriter builds on this ever-evolving legacy with a 13- track, three interlude set of melodically rich, rhythmically powerful expressions of female empowerment. These songs become all the more intimate and emotionally urgent with Kidjo’s dynamic collaborations with traditional women’s choirs from Kenya and various cities and villages in Benin. The singer and her newfound native vocalists sing in a wide array of native Beninese languages, including Fon (Kidjo’s first language), Yoruba, Goun, and Mina. “Eve is an album of remembrance of African women I grew up with and a testament to the pride and strength that hide behind the smile that masks everyday troubles,” says Kidjo, whose accolades include a 20 year discography, thousands of concerts around the world and being named “Africa’s premier diva” (Time Magazine) and “the undisputed Queen of African Music” (Daily Telegraph). “They exuded a positivity and grace in a time of hardship. These songs bring me back to the women I shared my life with, including my mother, grandmother and cousins.” “I’ve spoken for many years about the beauty of African women, and I don’t need to talk anymore about it because on this recording I am letting the voices of the women show their beauty to the world,” she adds.