DOCSLIB.ORG

A Sociolinguistic Analysis of Euphemisms and Taboo Expressions in Bruno Mars’ 24K Magic Album

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Sociolinguistic Analysis of Euphemisms and Taboo Expressions in Bruno Mars’ 24K Magic Album PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI A SOCIOLINGUISTIC ANALYSIS OF EUPHEMISMS AND TABOO EXPRESSIONS IN BRUNO MARS’ 24K MAGIC ALBUM AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By YOHANES DAVID KURNIAWAN Student Number: 144214004 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2019 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI A SOCIOLINGUISTIC ANALYSIS OF EUPHEMISMS AND TABOO EXPRESSIONS IN BRUNO MARS’ 24K MAGIC ALBUM AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By YOHANES DAVID KURNIAWAN Student Number: 144214004 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2019 ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI iii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI iv PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI STATEMENT OF ORIGINALITY I certify that this undergraduate thesis contains no material which has been previously submitted for the award of any other degree at any university, and that, to the best of my knowledge, this undergraduate thesis contains no material previously written by any other person except where due reference is made in the text of the undergraduate thesis Yogyakarta, January 16th 2020 Yohanes David Kurniawan v PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma Nama : Yohanes David Kurniawan Nomor Mahasiswa : 144214004 Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul A SOCIOLINGUISTIC ANALYSIS OF EUPHEMISM AND TABOO EXPRESSIONS IN BRUNO MARS’ 24K MAGIC ALBUM Dengan demikian saya memberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikan secara terbatas, dan mempublikasikannya di internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin kepada saya maupun memberikan royalti kepada saya selama tetap mencatumkan nama saya sebagai penulis. Demikian pernyataan ini saya buat dengan sebenarnya. Dibuat di Yogyakarta Pada tanggal 16 Januari 2020 Yang menyatakan, Yohanes David Kurniawan vi PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI “To bring unfinished business into the grave is a sin” (Yohanes D.K, 2019) vii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ACKNOWLEDGEMENTS First, I would like to give thanks to God for He always listens to my prayers. I also would like to thank my family for they always supports me in the best way they can so that I finally can finish this thesis. I would like to send my gratitude to my thesis advisor, Fransisca Kristanti, S.Pd., M.Hum., for her patience in guiding me in the right direction in the process of the creation of this research. I also feel grateful to my co-advisor, Dr. Fr. B. Alip, M.Pd., M.A. for criticizing this research so that it has been perfected even more. Last but not least, I would like to thank my close friends, Joe, Tasya, and Desma for every second we have spent, for every snack we have shared, for every place we have visited, and for the never-ending push until the last obstacle has passed over. With love Jojo viii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI TABLE OF CONTENTS TITLE PAGE ………………………………………………………..……… ii APPROVAL PAGE ………………………………………………..……….. iii ACCEPTANCE PAGE ……………………………………………….......... iv STATEMENT OF ORIGINALITY ………………………………………. v LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH ........................................................................................................... vi MOTTO PAGE …………………………………………………………….. vii ACKNOWLEDGEMENTS ……………………………………………….. viii TABLE OF CONTENTS ………………………………………………… .. ix LIST OF TABLES ……………………………………………………......... xii ABSTRACT ……………………………………………………………........ xiii ABSTRAK ....…..……………………………...……………………............... xiv CHAPTER I: INTRODUCTION ................................................................. 1 A. Background of the Study …………………………………………….. 1 B. Problem Formulation ………………………………………..………. 4 C. Objective of the Study …………………………………………..…… 4 D. Definition of Terms ………………………………………………….. 4 CHAPTER II: REVIEW OF LITERATURE ……………………………. 5 A. Review of Related Studies …………………………………………... 5 B. Review of Related Theories …………………………………………. 8 1. Sociolinguistics …………………………………………………. 8 2. Taboo Expressions and Euphemisms in Western Society …….... 9 3. Taboo Expressions ……………………………………………… 10 a. Types of Taboo Expressions ………………………………… 10 b. Functions of Taboo Expressions …………………………….. 13 4. Euphemisms …………………………………………………...... 15 a. Types of Euphemisms ……………………………………….. 16 b. Functions of Euphemisms …………………………………… 19 5. Intersections of Taboo Expressions and Euphemisms Types….... 22 a. Sex Euphemisms and Vulgarity ……………………………... 22 b. Professions Euphemisms and Vulgarity …………………….. 23 c. Exclusive Characteristics ……………………………....…..... 23 6. Intersections of Taboo Expressions and Euphemisms Functions……………………………………………………….... 24 a. Endearing and Persuading ………………………………….. 24 b. Endearing and Covering …………………………………… 25 c. Creating Attention and Taboo Function ……………………... 25 d. Stating Contempt and Taboo Function ……………………… 25 e. Exclusive Characteristics …………………………………..... 25 C. Theoretical Framework ………………….…………………………... 26 ix PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI CHAPTER III: METHODOLOGY ………………….…………………… 28 A. Object of the Study ………………………………………………….. 28 B. Approach of the Study ………………………………………………. 29 C. Method of the Study ………………………………………………… 30 1. Data Collection …………………………………………………. 30 2. Data Analysis …………………………………………………… 31 CHAPTER IV: ANALYSIS (RESULTS AND DISCUSSIONS) ………... 32 A. Types of Taboo Expressions and Euphemisms in Bruno Mars 24k Magic Album …………………………………………................ 32 1. Types of Taboo Expressions in Bruno Mars 24k Magic Album …………………………………………………………... 33 a. Profanity ………………………..………………….………… 33 b. Obscenity ……………………………….……….................... 34 c. Vulgarity …………………...............................................…... 36 d. Epithets ……………………………………............................. 37 2. Types of Euphemisms in Bruno Mars 24k Magic Album …….. 37 a. Sex Euphemism …………………………….…...…….……... 38 b. Profession Euphemism ………………..……………............... 40 c. Crime Euphemism ………........................................................ 41 3. Intersection of Characteristics of Taboo Expression and Euphemism in Bruno Mars 24k Magic album songs …....……… 42 a. Characteristics of Inciting Lust in Sex Euphemism and Vulgarity ………………………………………………… 43 b. Characteristics of Appearance in Sex Euphemism and Vulgarity ………………………………...………………....... 43 c. Characteristics of Offensive and Insults in Profession Euphemism and Vulgarity …………………………………… 44 d. Characteristics of Sexual in Obscenity and Sex Category …... 45 B. Functions of Taboo Expressions and Euphemisms in Bruno Mars 24k Magic Album …………………..…………………………. 46 1. Functions of Taboo Expressions in Bruno Mars 24k Magic Album…………………………………………………………… 48 a. Creating Attention …………………………………………… 48 b. Endearing ………………………………………………….. 51 c. Stating Contempt …………………………………………….. 52 2. Functions of Euphemisms in Bruno Mars 24k Magic Album ….. 53 a. Covering Function ……………..…………………………...... 54 b. Taboo Function …………........................................................ 55 c. Persuading Function ………………………….....………….... 56 3. Intersection of Functions of Euphemism and Taboo Expression in Bruno Mars 24k Magic Album ……………………………... 56 a. Characteristics of Praise and Persuading in Endearing and Persuading Functions …………………………..……………. 57 b. Characteristics of Insults in State Contempt and Taboo Function ………………..……………………………………. 58 x PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI c. Characteristics of Praise in Stating Contempt and Taboo Function …………………..…………………………………. 58 d. Characteristics of Taboo Content, Praise, and Affection in Endearing and Taboo Function ……………………………. 59 e. Characteristics of Praise and Information Hiding in Endearing and Covering Function ……………………...……………...... 60 f. Characteristics of Taboo Content and Feedback in Creating Attention and Taboo Function ………………………….....… 61 CHAPTER V: CONCLUSION ……………………...……………………. 63 REFERENCES …………………………………………………………….. 66 APPENDICES ……………………………………………………………… 68 Appendix 1. Song Lyrics in 24k Magic Album by Bruno Mars ………... 68 Appendix 2. Data Analysis Tables ……………………………………... 90 xi PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI LIST OF TABLES No. Table Page 1. Distribution of euphemism and taboo expression found in 32 24k Magic Album 2. Taboo Expressions Types Categorization 33 3. Euphemism Types Categorization 38 4. Intersections of Taboo Expressions and Euphemisms with 46 Taboo Function Categorization 5. Intersection of Euphemism and Taboo Expressions with 47 Euphemism Function Categorization 6. Taboo Expression Function Categorization 48 7. Euphemism Function Categorization 53 xii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRACT DAVID, YOHANES KURNIAWAN (2019). A SOCIOLINGUISTIC ANALYSIS OF EUPHEMISM AND TABOO EXPRESSIONS IN BRUNO MARS’ 24K MAGIC ALBUM. Yogyakarta: Department of English Letters, Faculty of Letters, Universitas Sanata Dharma. The use of taboo expressions can cause unpleasant feelings toward the listener and is considered as an impolite action by the society. Therefore, euphemisms are coined to substitute the expressions considered
Load more

Recommended publications
  • Keyword Analysis of Bruno Mars' Song Lyrics
    Materialism Construction: Keyword Analysis of Bruno Mars’ Song Lyrics Arisara Thongnopphakhun Wannapa Trakulkasemsuk Thanis Bunsom King Mongkut’s University of Technology Thonburi, Bangkok, Thailand Corresponding author’s email: [email protected] Received 21 January 2019; revised 26 June 2019; accepted 31 July 2019; online 30 August 2019 Abstract Music has long been an effective way to communicate to the masses, and lyrics play an essential role in delivering this communication. Lyrics may contain an ideology and influence listeners. This study aims to conduct a keyword analysis to investigate the materialistic ideology connoted in Bruno Mars’ song lyrics. The corpus of Bruno Mars’ lyrics was compiled from lyrics of 30 Bruno Mars songs in three albums released between 2010 and 2016. The corpus was then compared against the British National Corpus (BNC) to obtain a keyword list. The top 100 keywords were selected based on their statistical values for further analysis. They were classified according to their part of speech, and concordance lines of each keyword were obtained so as to discuss the representation of Bruno Mars’ songs. Materialistic concepts found in the corpus include an emphasis on, or preference for, 49 Vol. 14 No. 2 (2019) luxury objects, brand-name items, a lavish lifestyle, parties, economic power, physical appearance, and objectifying women. Keywords: Aboutness, Bruno Mars lyrics, Keyword analysis, Materialism Introduction In this age of great technological advancement, popular culture (or pop culture) is widespread. As citizens of the globalised world, it is difficult for us to escape from the influence of mass media and popular culture (Monk, Winslade & Sinclair, 2008).
    [Show full text]
  • 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.
    [Show full text]
  • The Velocity of Censorship
    The Velocity of Censorship: High-Fidelity Detection of Microblog Post Deletions Tao Zhu, Independent Researcher; David Phipps, Bowdoin College; Adam Pridgen, Rice University; Jedidiah R. Crandall, University of New Mexico; Dan S. Wallach, Rice University This paper is included in the Proceedings of the 22nd USENIX Security Symposium. August 14–16, 2013 • Washington, D.C., USA ISBN 978-1-931971-03-4 Open access to the Proceedings of the 22nd USENIX Security Symposium is sponsored by USENIX The Velocity of Censorship: High-Fidelity Detection of Microblog Post Deletions Tao Zhu David Phipps Adam Pridgen [email protected] Computer Science Computer Science Independent Researcher Bowdoin College Rice University Jedidiah R. Crandall Dan S. Wallach Computer Science Computer Science University of New Mexico Rice University Abstract terconnected through their social graph and tend to post about sensitive topics. This biases us towards the content Weibo and other popular Chinese microblogging sites are posted by these particular users, but enables us to mea- well known for exercising internal censorship, to comply sure with high fidelity the speed of the censorship and with Chinese government requirements. This research discern interesting patterns in censor behaviors. seeks to quantify the mechanisms of this censorship: Sina Weibo (weibo.com, referred to in this paper sim- how fast and how comprehensively posts are deleted. ply as “Weibo”) has the most active user community of Our analysis considered 2.38 million posts gathered over any microblog site in China [39]. Weibo provides ser- roughly two months in 2012, with our attention focused vices which are similar to Twitter, with @usernames, on repeatedly visiting “sensitive” users.
    [Show full text]
  • How White Supremacy Returned to Mainstream Politics
    GETTY CORUM IMAGES/SAMUEL How White Supremacy Returned to Mainstream Politics By Simon Clark July 2020 WWW.AMERICANPROGRESS.ORG How White Supremacy Returned to Mainstream Politics By Simon Clark July 2020 Contents 1 Introduction and summary 4 Tracing the origins of white supremacist ideas 13 How did this start, and how can it end? 16 Conclusion 17 About the author and acknowledgments 18 Endnotes Introduction and summary The United States is living through a moment of profound and positive change in attitudes toward race, with a large majority of citizens1 coming to grips with the deeply embedded historical legacy of racist structures and ideas. The recent protests and public reaction to George Floyd’s murder are a testament to many individu- als’ deep commitment to renewing the founding ideals of the republic. But there is another, more dangerous, side to this debate—one that seeks to rehabilitate toxic political notions of racial superiority, stokes fear of immigrants and minorities to inflame grievances for political ends, and attempts to build a notion of an embat- tled white majority which has to defend its power by any means necessary. These notions, once the preserve of fringe white nationalist groups, have increasingly infiltrated the mainstream of American political and cultural discussion, with poi- sonous results. For a starting point, one must look no further than President Donald Trump’s senior adviser for policy and chief speechwriter, Stephen Miller. In December 2019, the Southern Poverty Law Center’s Hatewatch published a cache of more than 900 emails2 Miller wrote to his contacts at Breitbart News before the 2016 presidential election.
    [Show full text]
  • Argumentative Euphemisms, Political Correctness and Relevance
    Argumentative Euphemisms, Political Correctness and Relevance Thèse présentée à la Faculté des lettres et sciences humaines Institut des sciences du langage et de la communication Université de Neuchâtel Pour l'obtention du grade de Docteur ès Lettres Par Andriy Sytnyk Directeur de thèse: Professeur Louis de Saussure, Université de Neuchâtel Rapporteurs: Dr. Christopher Hart, Senior Lecturer, Lancaster University Dr. Steve Oswald, Chargé de cours, Université de Fribourg Dr. Manuel Padilla Cruz, Professeur, Universidad de Sevilla Thèse soutenue le 17 septembre 2014 Université de Neuchâtel 2014 2 Key words: euphemisms, political correctness, taboo, connotations, Relevance Theory, neo-Gricean pragmatics Argumentative Euphemisms, Political Correctness and Relevance Abstract The account presented in the thesis combines insights from relevance-theoretic (Sperber and Wilson 1995) and neo-Gricean (Levinson 2000) pragmatics in arguing that a specific euphemistic effect is derived whenever it is mutually manifest to participants of a communicative exchange that a speaker is trying to be indirect by avoiding some dispreferred saliently unexpressed alternative lexical unit(s). This effect is derived when the indirectness is not conventionally associated with the particular linguistic form-trigger relative to some context of use and, therefore, stands out as marked in discourse. The central theoretical claim of the thesis is that the cognitive processing of utterances containing novel euphemistic/politically correct locutions involves meta-representations of saliently unexpressed dispreferred alternatives, as part of relevance-driven recognition of speaker intentions. It is argued that hearers are “invited” to infer the salient dispreferred alternatives in the process of deriving explicatures of utterances containing lexical units triggering euphemistic/politically correct interpretations.
    [Show full text]
  • Israeli Media Self-Censorship During the Second Lebanon War
    conflict & communication online, Vol. 18, No. 2, 2019 www.cco.regener-online.de ISSN 1618-0747 Sagi Elbaz & Daniel Bar-Tal Voluntary silence: Israeli media self-censorship during the Second Lebanon War Kurzfassung: Dieser Artikel beschreibt die Charakteristika der Selbstzensur im Allgemeinen, und insbesondere in den Massenmedien, im Hinblick auf Erzählungen von politischer Gewalt, einschließlich Motivation und Auswirkungen von Selbstzensur. Es präsentiert zunächst eine breite theoretische Konzeptualisierung der Selbstzensur und konzentriert sich dann auf seine mediale Praxis. Als Fallstudie wurde die Darstellung des Zweiten Libanonkrieges in den israelischen Medien untersucht. Um Selbstzensur als einen der Gründe für die Dominanz hegemonialer Erzählungen in den Medien zu untersuchen, führten die Autoren Inhaltsanalysen und Tiefeninterviews mit ehemaligen und aktuellen Journalisten durch. Die Ergebnisse der Analysen zeigen, dass israelische Journalisten die Selbstzensur weitverbreitet einsetzen, ihre Motivation, sie zu praktizieren, und die Auswirkungen ihrer Anwendung auf die Gesellschaft. Abstract: This article describes the characteristics of self-censorship in general, specifically in mass media, with regard to narratives of political violence, including motivations for and effects of practicing self-censorship. It first presents a broad theoretical conceptualization of self-censorship, and then focuses on its practice in media. The case study examined the representation of The Second Lebanon War in the Israeli national media. The authors carried out content analysis and in-depth interviews with former and current journalists in order to investigate one of the reasons for the dominance of the hegemonic narrative in the media – namely, self-censorship. Indeed, the analysis revealed widespread use of self-censorship by Israeli journalists, their motivations for practicing it, and the effects of its use on the society.
    [Show full text]
  • Certainty and the Censor's Dilemma Robert Corn-Revere
    Hastings Constitutional Law Quarterly Volume 45 Article 4 Number 2 Winter 2018 1-1-2018 Certainty and the Censor's Dilemma Robert Corn-Revere Follow this and additional works at: https://repository.uchastings.edu/ hastings_constitutional_law_quaterly Part of the Constitutional Law Commons Recommended Citation Robert Corn-Revere, Certainty and the Censor's Dilemma, 45 Hastings Const. L.Q. 301 (2018). Available at: https://repository.uchastings.edu/hastings_constitutional_law_quaterly/vol45/iss2/4 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Constitutional Law Quarterly by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Certainty and the Censor's Dilemma by ROBERT CORN-REVERE* Pity the plight of poor Anthony Comstock. The man H. L. Mencken described as "the Copernicus of a quite new art and science," who literally invented the profession of antiobscenity crusader in the waning days of the nineteenth century, ultimately got, as legendary comic Rodney Dangerfield would say, "no respect, no respect at all." As head of the New York Society for the Suppression of Vice, and special agent for the U.S. Post Office under a law that popularly bore his name, Comstock was, in Mencken's words, the one "who first capitalized moral endeavor like baseball or the soap business, and made himself the first of its kept professors."' For more than four decades, Comstock terrorized writers, publishers, and artists-driving some to suicide-yet he also was the butt of public ridicule.
    [Show full text]
  • Robert Lowell NOTEBOOK 1967-68
    Robert Lowell NOTEBOOK 1967-68 , FARRAR, STRAUS AND GIROUX NEW YORK l,/J7;..) Lcve ~ S t: vt2 J, < t. 1., 'N ~.... :1=/fe,Y 4{ Contents HARRIET, 1-4 3 LONG SUMMER, 1-14 5 FOR MARY McCARTHY 12 SEARCHINGS, 1-4 13 DREAM OF THE FAIR WOMEN 15 FIVE DREAMS 16 I. The Old Order 2. Agamemnon: A Dream 3. The House in Argos 4. The Next Dream 5. Onion Skin THROUGH THE NIGHT, 1-7 19 THE MUSE 23 1. Nantucket: 1935 2. The Muses of George Grosz RANDALL JARRELL: 1914-1965, 1-2 24 MUNICH, 1938 25 OCTOBER AND NOVEMBER 26 1. Che Guevara 2. Caracas 3. The March 4. The March 5. Charles Russell Lowdl: 1835-1864 6. Caracas AUTUMN IN THE ABSTRACT 29 I. Alba 2. In Sickness 3. Deutschland ub" Alles 4. End of the Saga SYMBOLS JI I. The Well 2. Hell 3. Rats 4. In the Cage 5. The River God 6. The Leak FOR AUNT SARAH 34 THE HEAVENLY RAIN 35 CHARLES RIVER, 1-7 j6 MY GRANDFATHER 40 NAMES 41 I. Sir Thomas More 2. Marcus Cato the Younger 3. Joinville and Louis IX 4. Alexander 5. Napoleon 6. Waterloo HARVARD, 1-4 44 ALCOHOL, 1-3 46 IN THE FORTIES, 1-3 _,8 THE LITERARY LIFE, A SCRAPBOOK 50 SLEEP, 1-3 51 BLIZZARD IN CAMBRIDGE 53 CHRISTMAS AND NEW YEAR 54 I. Snake 2. Christmas Tree 3. The Dialogue 4. Playing Ball with the Critic 5. George H. and George E. Lewes 6. The Book of Wisdom 7.
    [Show full text]
  • Kenny G Bio 2018
    A phenomenally successful instrumentalist whose recordings routinely made the pop, R&B, and jazz charts during the 1980s and ’90s, Kenny G‘s sound became a staple on adult contemporary and smooth jazz radio stations. He’s a fine player with an attractive sound (influenced a bit by Grover Washington, Jr.) who often caresses melodies, putting a lot of emotion into his solos. Because he does not improvise much (sticking mostly to predictable melody statements), his music largely falls outside of jazz. However, because he is listed at the top of “contemporary jazz” charts and is identified with jazz in the minds of the mass public, he is classified as jazz. Kenny Gorelick started playing professionally with Barry White‘s Love Unlimited Orchestra in 1976. He recorded with Cold, Bold & Together (a Seattle-based funk group) and freelanced locally. After graduating from the University of Washington, Kenny G worked with Jeff Lorber Fusion, making two albums with the group. Soon he was signed to Arista, recording his debut as a leader in 1982. His fourth album, Duotones(which included the very popular “Songbird”), made him into a star. Soon he was in demand for guest appearances on recordings of such famous singers as Aretha Franklin, Whitney Houston, and Natalie Cole. Kenny G’s own records have sold remarkably well, particularly Breathless, which has easily topped eight million copies in the U.S.; his total album sales top 30 million copies. The holiday album Miracles, released in 1994, and 1996’s Moment continued the momentum of his massive commercial success. He also recorded his own version of the Celine Dion/Titanic smash “My Heart Will Go On” in 1998, but the following year he released Classics in the Key of G, a collection of jazz standards like “‘Round Midnight” and “Body and Soul,” possibly to reclaim some jazz credibility.
    [Show full text]
  • Most Requested Songs of 2019
    Top 200 Most Requested Songs Based on millions of requests made through the DJ Intelligence music request system at weddings & parties in 2019 RANK ARTIST SONG 1 Whitney Houston I Wanna Dance With Somebody (Who Loves Me) 2 Mark Ronson Feat. Bruno Mars Uptown Funk 3 Journey Don't Stop Believin' 4 Cupid Cupid Shuffle 5 Neil Diamond Sweet Caroline (Good Times Never Seemed So Good) 6 Walk The Moon Shut Up And Dance 7 Justin Timberlake Can't Stop The Feeling! 8 Earth, Wind & Fire September 9 Usher Feat. Ludacris & Lil' Jon Yeah 10 V.I.C. Wobble 11 DJ Casper Cha Cha Slide 12 Outkast Hey Ya! 13 Black Eyed Peas I Gotta Feeling 14 Bon Jovi Livin' On A Prayer 15 ABBA Dancing Queen 16 Bruno Mars 24k Magic 17 Garth Brooks Friends In Low Places 18 Spice Girls Wannabe 19 AC/DC You Shook Me All Night Long 20 Kenny Loggins Footloose 21 Backstreet Boys Everybody (Backstreet's Back) 22 Isley Brothers Shout 23 B-52's Love Shack 24 Van Morrison Brown Eyed Girl 25 Bruno Mars Marry You 26 Miley Cyrus Party In The U.S.A. 27 Taylor Swift Shake It Off 28 Luis Fonsi & Daddy Yankee Feat. Justin Bieber Despacito 29 Montell Jordan This Is How We Do It 30 Beatles Twist And Shout 31 Ed Sheeran Thinking Out Loud 32 Sir Mix-A-Lot Baby Got Back 33 Maroon 5 Sugar 34 Ed Sheeran Perfect 35 Def Leppard Pour Some Sugar On Me 36 Killers Mr. Brightside 37 Pharrell Williams Happy 38 Toto Africa 39 Chris Stapleton Tennessee Whiskey 40 Flo Rida Feat.
    [Show full text]
  • Worldcharts TOP 200 Vom 26.12.2016
    CHARTSSERVICE – WORLDCHARTS – TOP 200 NO. 888 – 26.12.2016 PL VW WO PK ARTIST SONG 1 1 9 1 CLEAN BANDIT ft. SEAN PAUL & ANNE-MARIE rockabye 2 2 14 1 WEEKND ft. DAFT PUNK starboy 3 4 11 1 BRUNO MARS 24k magic 4 3 10 2 MAROON 5 ft. KENDRICK LAMAR don't wanna know 5 6 5 5 WEEKND ft. DAFT PUNK i feel it coming 6 5 16 1 SIA ft. KENDRICK LAMAR the greatest 7 7 8 6 RAE SREMMURD ft. GUCCI MANE black beatles 8 36 3 8 ZAYN & TAYLOR SWIFT i don't wanna live forever (fifty shades darker) 9 8 14 3 CALVIN HARRIS my way 10 9 21 1 CHAINSMOKERS ft. HALSEY closer 11 10 21 2 DJ SNAKE ft. JUSTIN BIEBER let me love you 12 13 19 12 RAG'N`BONE MAN human 13 12 15 11 JAMES ARTHUR say you won't let go 14 11 17 7 ARIANA GRANDE ft. NICKI MINAJ side to side 15 32 2 15 STEVE AOKI & LOUIS TOMLINSON just hold on 16 15 18 15 SHAWN MENDES mercy 17 14 23 1 MAJOR LAZER ft. JUSTIN BIEBER & MØ cold water 18 29 3 18 ALAN WALKER alone 19 17 27 4 TWENTY ONE PILOTS heathens 20 16 21 9 MARTIN GARRIX & BEBE REXHA in the name of love 21 18 20 18 HAILEE STEINFELD & GREY ft. ZEDD starving 22 34 4 22 ROBIN SCHULZ & DAVID GUETTA ft. CHEAT CODES shed a light 23 22 33 22 LP lost on you 24 20 12 19 DAVID GUETTA, CEDRIC GERVAIS & CHRIS WIILIS would i lie to you 25 25 8 25 JONAS BLUE ft.
    [Show full text]
  • KUMALA 2.Docx
    AN ANALYSIS OF FIGURATIVE MEANING USED IN ED SHEERAN SONG LYRICS SKRIPSI Submitted in Partial Fulfillment of Requirements For the Degree of SarjanaPendidikan (S.Pd) English Education Program By : INDA KUMALA SARI SUDIONO NPM : 1602050071 FACULTY OF TEACHER TRAINING AND EDUCATION UNIVERSITY OF MUHAMMADIYAH SUMATERA UTARA MEDAN 2020 i ACKNOWLEDGEMENT Assalamualaikumwarahmatullahiwabarakatuh Proudly, the researcher would like to express her greatest gratefulness to the Almighty Allah SWT and Muhammad SAW, the prophet as well as to his companion for the blessing and the chances given to her in completion of the Proposal. This Thesis is entitled An Analysis of Figurative Meaning in Ed Sheeran Song Lyrics intended to meet requirements for achieving the degree of Bachelor of Education (SP.d) Faculty of Teacher Training and Education. University Muhammadiyah of North Sumatera. Furthermore, the researcher would like to say the best thanks to : 1. My lovely parents Sudiono and Ernawaty, thanks for support, love, prays, affection, and everything, and my brother’s sisters Ibnu, Sigit, Noto, Putri, Zannah and thank you so much for your prayers and endless love for me 2. Mr. Dr. Elfrianto Nst, M.Pd., as the Dean of faculty of Teachers Training and Education 3. Mr. Mandra Saragih, S.Pd., M.Hum as the Head of English Education Departement of University of Muhammadiyah North Sumatera. 4. Mr. Pirman Gintin, S.Pd., M.Hum as the Secretary of English Education Departement of University of Muhammadiyah North Sumatera. 5. Mr. Muhammad Arifin, S.Pd., M.Pd as my advisor who leads and inspires me to get a better critical thoughts and ideas in completing this thesis.
    [Show full text]