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Bumbershoot Aesop Rock Niki&The Dove 11.09.12
11.09.12 page page page 6 bumbershoot 8 Aesop rock 10 niki&the dove cover art by lindsay stribling 2 in cue 11.09.12 college radio is the specialization and niche programming that it meet our about delivers to a broad audience. This blew my mind because it was so staff Top 5 Albums ever in cue profoundly accurate. YES! This is Welcome to In Cue, why radio matters. your campus radio College radio o#ers the cur- 1) Neutral Milk Hotel “Aeroplane over the Sea” station’s written con- rency that we all crave as well as nection to the masses. the education that accompanies 2) Wilco “Yankee Hotel Foxtrot” - a person telling you, “Hey, I chose 3) Elliot Smith “A basement on a Hill” views, articles, and these songs for you, I vouch for 4) T Rex “Electric Warrior” updates on what KUOI them. They are good.” If you be- FM has been up to this lieve, as I always have, that KUOI 5) Radiohead “The Bends” hosts some of the coolest kids on Nae Hakala year. We are here to STATION MANGER answer the question: campus, then you can have faith in what they are sharing with “Why does radio you. Sure, I initially tuned in for indie-rock and punk, but I stayed 1) Death Cab for Cutie “Transatlanticism” even matter, for garage and psych. Who knew 2) Death From Above 1979 “You’re a Women I’m a Machine” anymore?” these genres were still thriving? A 3) Animal Collective “Strawberry Jam” KUOI DJ knew, and he shared it with me. -
RJD2 2002-2010 Mp3, Flac, Wma
RJD2 2002-2010 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop Album: 2002-2010 Country: US Released: 2009 Style: Instrumental, Downtempo, Hip Hop MP3 version RAR size: 1316 mb FLAC version RAR size: 1167 mb WMA version RAR size: 1140 mb Rating: 4.1 Votes: 545 Other Formats: RA TTA WAV DTS MMF AAC AC3 Tracklist Hide Credits Deadringer A1 The Horror A2 Salud A3 Smoke & Mirrors Good Times Roll Pt.2 A4 Mixed By – John Chinn* Final Frontier B1 Featuring – Blueprint B2 Ghostwriter B3 Cut Out To FL B4 Shot In The Dark F.H.H. C1 Featuring – Jakki* C2 Chicken-Bone Circuit C3 The Proxy C4 2 More Dead D1 Take The Picture Off D2 Silver Fox June D3 Featuring – Copywrite D4 Work The Horror A1 The Horror A2 Ghostwriter Remix Final Frontier Remix A3 Featuring – Aesop Rock, Blueprint, Murs, Vast Aire A4 Bus Stop Bitties A5 Good Times Roll Pt.1 B1 Sell The World June Remix B2 Featuring – Copywrite B3 Counselling Inst. B4 Final Frontier Inst. B5 F.H.H. Inst. Since We Last Spoke A1 Since We Last Spoke A2 Exotic Walk A3 1976 B1 Ring Finger B2 Making Days Longer B3 Someone's Second Kiss C1 To All Of You C2 Clean Living C3 Iced Lightning D1 Intro D2 Through The Walls D3 One Day Tin Foil Hat A1 The Sleepaway A2 The Highest Of Courts The Move (Feat. Tage) A3 Vocals – Tage* A4 When It Wobbles B1 Thine Planetarium B2 Before Or Since B3 The Girls From Art School Credits Producer – RJD2 Notes Sticker on the front reads: "1000 pc. -
Adult Fiction
Adult Fiction Heroes of the Frontier The Woman in Cabin 10 Dave Eggers Ruth Ware When travel journalist Lo Blacklock is Josie is on the run with her invited on a boutique luxury cruise children. She's left her husband, around the Norwegian fjords, it seems her failing dental practice, and the like a dream job. But the trip takes a rest of her Ohio town to explore nightmarish turn when she wakes in Alaska in a rickety RV. the middle of the night to hear a body being thrown overboard. With his trademark insight, humor, and pathos, Dave Eggers explores Brit Ruth Ware has crafted her second this woman's truly heroic gripping, dark thriller in the Christie adventure, all the while exploring tradition. This page-turner toys with the concept of heroism in general. the classic plot of "the woman no one Brilliant, unpretentious, and highly would believe" with incredible language readable. and fun twists. Also a terrific, ~Alan’s and Leslie’s pick unabridged audiobook. ~Alan’s pick They May Not Mean To, But Barkskins They Do Annie Proulx Cathleen Schine Spanning hundreds of years, this When Joy Bergman's husband dies, ambitious work tells the often brutal her children are shocked that she story of the Canadian and New doesn't agree with their ideas for England lumber industry and all her. The book's title is from a those whom it enriched or displaced. Philip Larkin poem, and this funny and compassionate look at the Annie Proulx’s writing never ceases Bergman family brings Larkin's to thrill me. -
A History of Hip Hop in Halifax: 1985 - 1998
HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998 by Michael McGuire Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2011 © Copyright by Michael McGuire, 2011 DALHOUSIE UNIVERSITY DEPARTMENT OF HISTORY The undersigned hereby certify that they have read and recommend to the Faculty of Graduate Studies for acceptance a thesis entitled “HOW THE EAST COAST ROCKS: A HISTORY OF HIP HOP IN HALIFAX: 1985 - 1998” by Michael McGuire in partial fulfilment of the requirements for the degree of Master of Arts. Dated: August 18, 2011 Supervisor: _________________________________ Readers: _________________________________ _________________________________ ii DALHOUSIE UNIVERSITY DATE: August 18, 2011 AUTHOR: Michael McGuire TITLE: How the East Coast Rocks: A History Of Hip Hop In Halifax: 1985 - 1998 DEPARTMENT OR SCHOOL: Department of History DEGREE: MA CONVOCATION: October YEAR: 2011 Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions. I understand that my thesis will be electronically available to the public. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author’s written permission. The author attests that permission has been obtained for the use of any copyrighted material appearing in the -
ND Screens Controversial Chinese Film
THE The Independent Newspaper Serving Notre Dame and Saint Mary's VOLUME 38: ISSUE 51 WEDNESDAY. NOVEMBER 12.2003 NDSMCOBSERVER.COM ND screens controversial Chinese film Johnson, who is a personal shot underground in privately By ANDREW THAGARD friend of Yang, is partly responsi owned mines without the Assistant News Editor ble for today's screening of the approval of the government and film. He worked with Yang to at great personal risk for the Notre Dame's Department of translate the film and write crew. Many of the characters are East Asian Languages and English subtitles, and he assisted played by amateur actors who IJteratures will host a screening of in bringing the work to the atten also work ip the mine or live in filmmaker IJ Yang's "Blind Shaft" tion of foreign diplomats and jour the village. Ying has not disclosed at 8 p.m. tonight in DeBartolo nalists in Beijing. the identity of the village in order Hall. The film, which showcases The film, according to Noble, to protect the identity of these the lives of workers in China's utilizes a documentary style to tell actors. mining industry, was denounced the story of two con-artists who While the film is not officially by the communist nation. concoct a scam to collect money "banned" in China, Chinese gov "I think [the screening] is a from a coal mining company in ernment officials have criticized unique opportunity and a good rural China. The duo meets a the film's subject manner and way for students at Notre Dame to child whose kiridness causes one Ymg's failure to seek approval for have a glimpse of what certain of the members to think twice production and distribution. -
Aesop Rock, We're Famous
Aesop Rock, We're Famous [El-P] I brought that genuine shit in '96 Before you knew the underground or independent existed I watched the whole scene straight jump on the dick After stepping to KCR lit and flexing my shit No gun talk, no gimmicks, just rounds of raw-dogging Dirty dusty intelligent wit and word murdering A hardcore poetic informed without burglary Potent and shook the shit out of rappers who just learned of me Everytime I prescribe a new pill, revolution Quickly defined the standard for indie rap distribution Arrogant unafraid shit developed riding a train thinking of brain fucks "Bad Touch Example" that soon became bucks Had everybody sprung wondering where I came from Screaming out "Independent is fucked" with an insane tongue With an indelible squad of design monsters Innovating the styles that made biters look like imposters So we scripted an album and signed to Rawkus Selling a hundred thousand without a radio chart hit Imposterous sonics taking the world hostage Classic hip-hop bombage dirty with style progress Now I've come from the '80s juvenile Brooklyn Where cats was like: "Gimme that subway pass, kid. Good lookin." Now someone else is taking a ride with what's mine So I had to develop styles with a death device cooked in So when I battled in basements I had eight sentences Waiting way before the four you had laced in And I was taught to wait patient (Why?) Only faggots make shit up just to get famous So when I finally blew up I remained sick Earning respect in ghettos and 'burbs for -
Adam Bradley, Book of Rhymes
MediaTropes eJournal Vol III, No 1 (2011): 151–153 ISSN 1913-6005 Adam Bradley. Book of Rhymes: The Poetics of Hip Hop. New York: Basic Civitas Books, 2009. 272 pages; paper $16.95. ISBN 978-0-4650-0347-1. “Rap is poetry” (xii). To any avid fan of the genre, it is a statement that seems obvious. The words could easily be the musings of a listener first introduced to the art form, not the focal point of an entire work of contemporary criticism. Yet in Book of Rhymes: The Poetics of Hip Hop, Adam Bradley’s primary focus is this very point, the recognition of traditional poetic elements within rap music. With the global cultural and economic phenomenon that hip hop has become, it is easy to forget that the style of music is barely thirty years old, that scholarly criticism of it has existed for only half of that time. When viewed within this relatively new arena of scholarship, the importance of Bradley’s text is clear. He attempts to lay the foundation for future work, to provide a formal language of lyrical and performative analysis. It is for this achievement that we must recognize Book of Rhymes as a landmark text, despite the somewhat surface treatment it applies to its subject. Bradley divides his work into two sections, beginning with the formal or structural elements of rap music, namely, “Rhythm, Rhyme and Wordplay,” and ending with the thematic or representational components, classified as “Style, Storytelling and Signifying.” The first section is the decisively stronger of the two, based around carefully chosen examples and meticulously broken down lyrics. -
Aesop Rock Will Return to the 9:30 Club the Teenage Diva/Divo Storm
WATERGATE RESIDENT DIES PAGE A3 OK Go TO HEADLINE FALL FEST PAGE B1 ALWAYS ONLINE: Elderly man has heart attack while driving Band is famous for treadmill music video [email protected] PYLE PRODUCES THURSDAY The GW PAGE 7 September 6, 2007 Penalty kick Vol. 104 • Iss. 5 conversion gives Hatchet Colonials 1-0 win AN INDEPENDENT STUDENT NEWSPAPER - SERVING THE GW COMMUNITY SINCE 1904 Soft ware company sues University facebook funds for the fi nal services, claiming the Schario said of Richmar CEO Richard Gor- was not satisfi ed with the DCMS and GW withholds software did not operate properly, the don. “He would like his fi nal payment.” would not pay the fi nal fees of more than lawsuit states. The code – called the Document and $200,000, according to both parties in Mourning Richmar is suing the school on fi ve Case Management System – was developed court documents. payment for code counts, including copyright infringement at a discounted rate because it was a brand- “GW is an 8,000-pound gorilla compared and breach of contract, according to the new technology in higher education, ac- to Richmar,” said Geoffrey Gitner, Rich- development plaintiff’s com- cording to both mar’s attorney. “It apparently thinks it can from a plaint. Federal parties in the thumb its nose at vendors. Unfortunately, by Eric Roper National, a cor- “GW apparently thinks it can thumb lawsuit. Rich- this is the way they like to do business.” Metro News Editor poration that its nose at vendors. Unfortunately this mar developed Richmar developed a system that loaned Richmar similar code for bridges two pieces of software, allow- distance A software development company money, is also is the way they like to do business.” the Federal Avi- ing users within GW’s network to access is suing the University because the school suing the school ation Adminis- documents based on their position at the by Niketa Kumar failed to pay more than $200,000 for an for breach of tration and oth- University, the initial contract states. -
Corpus Antville
Corpus Epistemológico da Investigação Vídeos musicais referenciados pela comunidade Antville entre Junho de 2006 e Junho de 2011 no blogue homónimo www.videos.antville.org Data Título do post 01‐06‐2006 videos at multiple speeds? 01‐06‐2006 music videos based on cars? 01‐06‐2006 can anyone tell me videos with machine guns? 01‐06‐2006 Muse "Supermassive Black Hole" (Dir: Floria Sigismondi) 01‐06‐2006 Skye ‐ "What's Wrong With Me" 01‐06‐2006 Madison "Radiate". Directed by Erin Levendorf 01‐06‐2006 PANASONIC “SHARE THE AIR†VIDEO CONTEST 01‐06‐2006 Number of times 'panasonic' mentioned in last post 01‐06‐2006 Please Panasonic 01‐06‐2006 Paul Oakenfold "FASTER KILL FASTER PUSSYCAT" : Dir. Jake Nava 01‐06‐2006 Presets "Down Down Down" : Dir. Presets + Kim Greenway 01‐06‐2006 Lansing‐Dreiden "A Line You Can Cross" : Dir. 01‐06‐2006 SnowPatrol "You're All I Have" : Dir. 01‐06‐2006 Wolfmother "White Unicorn" : Dir. Kris Moyes? 01‐06‐2006 Fiona Apple ‐ Across The Universe ‐ Director ‐ Paul Thomas Anderson. 02‐06‐2006 Ayumi Hamasaki ‐ Real Me ‐ Director: Ukon Kamimura 02‐06‐2006 They Might Be Giants ‐ "Dallas" d. Asterisk 02‐06‐2006 Bersuit Vergarabat "Sencillamente" 02‐06‐2006 Lily Allen ‐ LDN (epk promo) directed by Ben & Greg 02‐06‐2006 Jamie T 'Sheila' directed by Nima Nourizadeh 02‐06‐2006 Farben Lehre ''Terrorystan'', Director: Marek Gluziñski 02‐06‐2006 Chris And The Other Girls ‐ Lullaby (director: Christian Pitschl, camera: Federico Salvalaio) 02‐06‐2006 Megan Mullins ''Ain't What It Used To Be'' 02‐06‐2006 Mr. -
Mr. Lif Discography
Mr. Lif discography Mr. Lif discography. Emergency Rations. Sleepyheads II: Classic Combos. Enters the Colossus. Live at the Middle East. Don't Look Down (Instrumentals). Obama. Jump to navigation Jump to search. Jeffrey Haynes (born December 28, 1977), better known by his stage name Mr. Lif, is an American hip hop artist from Boston, Massachusetts. Often noted for his political lyrics, he has released two studio albums on Definitive Jux and one on Bloodbot Tactical Enterprises. Mr. Lif is also a member of the hip hop group The Perceptionists with long-time friends and collaborators Akrobatik and DJ Fakts One. Find Mr. Lif full discography, including albums, singles and EPs on Lyrics007. Mr. Lif Discography & Lyrics. Album. 2002: I Phantom. 1 Bad Card. 2 A Glimpse at the Struggle. 3 Return of the BâBoy. 4 Live From the Plantation. The discography of Mr. Lif, an American hip hop artist from Boston, Massachusetts, consists of three full-length studio albums, two EPs, one live album, two compilation albums and ten singles. Four music videos for his songs have been produced. Akrobatik & Mr. Lif - The Avengers (2000). 01 Mr. Lif (Rebel Aliance) - Madness in a Cup (1995). 02 Mr. Lif (Rebel Aliance) - This Won (1995). 03 Mr. Lif - Elektro (Street). 04 Mr. Lif - The Nothing (Street). 05 Mr. Lif - Farmhand. 06 Mr. Lif - Settle The Score. 07 Mr. Lif - Arise. 08 Mr. Lif - Trianular Warfare. 09 Mr. Lif Feat. Akrobatik - Inhuman Capabilities. 10 Push Button Objects - 360. Mr. Lif - Sleepyheads (Unreleased And Hard To Find) (2003). 01. Madness In A Cup. -
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Jožef Kolarič
05 University of Maribor Jožef Kolarič Literary Intertextuality in the Lyrics of GZA, MF DOOM, Aesop Rock and Billy Woods JOŽEF KOLARIČ / 81 Literary Intertextuality in the Lyrics of GZA, MF DOOM, Aesop Rock and Billy Woods Abstract: Rap and literature have always been intertwined with each other. To a degree, that is not surprising as rap music is an indirect successor of the Black Arts Movement of the late 1960s. The generation of children that started hip-hop as a youth movement in South Bronx was the frst one after the civil rights movement. Rap developed as part of the hip-hop culture and was never at its forefront. This article describes the manner in which literature has been integrated into rap records with regard to the socio-historical circumstances at times of their development. GZA, MF DOOM, Aesop Rock, and Billy Woods are the rappers analysed as they substantially infuenced contemporary rap writing. Before the analysis is made, the main concepts are defned. A short description of the origin of hip-hop is given. Allusion, intertextuality, and sampling are defned and explained in the context of hip-hop as a genre. A short overview of research on intertextuality in rap is made. Keywords: Hip-Hop, Rap, Intertextuality, Allusion, Sampling NOTE The article is partially based on the author’s MA thesis Intertextuality of Literature in Billy Woods`s Lyrics accessible on the following link: https://dk.um.si/dokument.php?id=119169. Parts of this article have been modifed and appear in the author’s upcoming monograph Billy Woods: Virtuoso of Intertextuality.