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The Hilltop 1-21-1977
Howard University Digital Howard @ Howard University The iH lltop: 1970-80 The iH lltop Digital Archive 1-21-1977 The iH lltop 1-21-1977 Hilltop Staff Follow this and additional works at: http://dh.howard.edu/hilltop_197080 Recommended Citation Staff, Hilltop, "The iH lltop 1-21-1977" (1977). The Hilltop: 1970-80. 175. http://dh.howard.edu/hilltop_197080/175 This Book is brought to you for free and open access by the The iH lltop Digital Archive at Digital Howard @ Howard University. It has been accepted for inclusion in The iH lltop: 1970-80 by an authorized administrator of Digital Howard @ Howard University. For more information, please contact [email protected]. ' i • •• • • ' • ' Hilltop Highlights : "Pb1 ver roncf'de, New; From Black Schools ... .. p2 nothing HUSA's N!w Office ......".. .... :, p2 ' \\'ithout a demand" Third World Ne"5 Foe ........ p3 law School Troubled .. ·........ p4 · Fredcrirk Douglas, Roots On TV ......................... p6 ' ''THE VOICE OF THF HOWARD COMMUNITY'' WHUR's Q;iet Storm ......... .. .. p7 Howard University, Washington D.C., 20059 ., I Vol'.. 59, No. 14 21 January 1977 ' ' SBA Questions Lack College of Medicine of Quality Education Acceptance of HU ' At HU Law School Grads ·oecreas~pg • • By Arlene Wailer i[ 8'1,'. Leila Brown dent body concerning the and Fred Hines ~ ' G rld Sc hool· Editor organization of the protest. there nevertheless seemed Hilltop Staffwriters $ to be a general consensus ' .. fhe law school is on a that ''something has to be The number of H oward undergraduate students who d ownward trend, and we • are admitted to the College of Medicine ha!\.fdecreased at · done," about the education 0 , ' need to arrest it," said God at the school. -
153682NCJRS.Pdf
If you have issues viewing or accessing this file contact us at NCJRS.gov. .. .; J , ..~. .;"~ • .' ~ .~ _... '> .' UJ.l.IU.ll Calendar No. 605 102n CONGRESS REPORT HOUSE OF REPRESENTATIVES 2d Session 102-1070 • ANNUAL REPORT FOR THE YEAR 1991 REPORT OF THE • SELECT COMMITTEE ON NARCOTICS ABUSE AND CONTROL ONE HUNDRED SECOND CONGRESS FIRST SESSION SCNAC-102-1-14 N'CJRS ACQUISITKON,; Printed for the use of the Select Committee on Narcotics Abuse and Control U.s. GOVERNMENT PRINTING OFFICE • o WASHINGTON : 1992 :au • SELECI' COMMITTEE ON NARCOTICS ABUSE AND CONTROL (102D CoNGRESS) CHARLES B. RANGEL, New York, Chairman JACK BROOKS, Texas LAWRENCE COUGHLIN, Pennsylvania FORTNEY H. (PETE) STARK, California BENJAMIN A. GILMAN, New York JAMES H. SCHEUER, New York MICHAEL G. OXLEY, Ohio CARDISS COLLINS, TIlinois F. JAMES SENSENBRENNER, JR., FRANK J. GUARINI, New Jersey Wisconsin DANTE B. FASCELL, Florida ROBERT K. DORNAN, California WILLIAM J. HUGHES, New Jersey TOM LEWIS, Florida • MEL LEVINE, California JAMES M. INHOFE, Oklahoma SOWMON P. ORTIZ, Texas WALLY HERGER, California LAWRENCE J. SMITH, Florida CHRISTOPHER SHAYS, Connecticut EDOLPHUS "ED" TOWNS, New York BILL PAXON, New York JAMES A. TRAFICANT, JR., Ohio WILLIAM F. CLINGER, JR., Pennsylvania KWEISI MFUME, Maryland HOWARD COBLE, North Carolina NITA M. WWEY, New York PAUL E. GILLMOR, Ohio DONALD M. PAYNE, New Jersey JIM RAMSTAD, Minnesota ROMANO L. MAZZOLI, Kentucky RON DE LUGO, Virgin Islands GEORGE J. HOCHBRUECKNER, New York CRAIG A. WASHINGTON, Texas ROBERT E. ANDREWS, New Jersey COMMI'ITEE STAFF EDWARD H. JURlTH, Staff Director P&'rER J. CoNIGLIO, Minority Staff Director (Ill 153682 U.S. Department of Justice National Institute of Justice . -
Studio Track Consoles
Sound Business 35 Studio Track Sigma Sound Studios in Philadelphia is LP with Carl Beaver producing and Bruce Hen - where Gamble & Huff are putting the finishing sal engineering. Riggs is also at Criteria, at work touches on albums they're producing for Teddy on a new album with Andy Johns and Marty Pendergrass and Patti LaBelle. Joe Tarsia, Cohn producing. Johns doubles as engineer on Sigma's president, is engineering. A new LP for the project; Bruce Hensal is the assistant. the Jones Girls is also in progress here, with Sarah Dash of Kirshner Records recently Dexter Wansel working with engineer Peter re- corded an album at Sound Labs in Hollywood Humphreys on several tunes and Gamble & Huff and RCA in New York. David Wolford is produc- producing others with engineer Tarsia. Other ac- ing for The Entertainment Company. tivity includes the finishing touches on Melba Moore's new album, produced by McFadden & Sunset Sound, L.A.: Toto doing overdubs for a Whitehead and engineered by Dirk Devlin. Pro- new CBS LP, Toni Knox engineering, David Leon- ducer Sandy lJnzer and engineer Jim Gallagher ard assisting; Neil Diamond doing strings for a are completing tracks on T.S. Monk's upcoming new CBS LP, Bob Gaudio producing, Ron Hitch- album. cock engineering, Stephen McManus assisting; Sigma in New York has its share of activity, Carter producing Prism for Capitol, Warren too. Mixer Francois Kevorkian is working with Dewey at the console, Richard McKernan assist- engineers Jay Mark and Carla Bandini on an al- ing; Earth, Wind & Fire doing strings for a new bum by The Strikers for Prelude Records. -
San Diegd Police Department San Diego, California
03-35 SAN DIEGD POLICE DEPARTMENT SAN DIEGO, CALIFORNIA C/5 C 3 5 Project Summary: Drag-Net San Diego Police Department The Problem: Illegal motor vehicle speed contests, commonly known as street races, throughout the City of San Diego. Analysis: Officers developed a knowledge of the street-racing culture through undercover investigations, interviews with officers who had experience dealing with racers, monitoring Internet websites, interviewing racers, and exploring the legal alternatives that are available. Officers studied data on calls for service, traffic collisions, arrests, and citations related to illegal speed contests. Officers established baseline figures to determine the size of the problem. They identified collateral crimes that were occurring because of the problem. The officers set goals of reducing incidents of street racing to a level that it could be managed with existing resources and to reduce the number of illegally modified vehicles on the roadways. The most important analysis the officers made was whether they could impact the problem, despite its magnitude and history of indifference by society. They realized they had to change society's paradigm about street racing. The Drag-Net Officers decided they would only be successful if they truly made San Diego a safer place. They knew lives could be saved if their analysis was accurate, and the response was effective. Response: Officers used a multi-faceted approach in a comprehensive response strategy: • Undercover operations to identify, apprehend, and prosecute racers -
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. -
Extensions of Remarks
April 26, 1990 EXTENSIONS OF REMARKS 8535 EXTENSIONS OF REMARKS BENEFITS OF AUTOMATION First-class mail delivery performance was "The mail is not coming in here so we ELUDE POSTAL SERVICE at a five-year low last year, and complaints have to slow down," to avoid looking idle, about late mail rose last summer by 35 per said C. J. Roux, a postal clerk. "We don't cent, despite a sluggish 1 percent growth in want to work ourselves out of a job." HON. NEWT GINGRICH mall volume. The transfer infuriated some longtime OF GEORGIA Automation was to be the service's hope employees, who had thought that they IN THE HOUSE OF REPRESENTATIVES for a turnaround. But efforts to automate would be protected in desirable jobs because have been plagued by poor management and of their seniority. Thursday, April 26, 1990 planning, costly changes of direction, inter "They shuffled me away like an old piece Mr. GINGRICH. Mr. Speaker, as we look at nal scandal and an inability to achieve the of furniture," said Alvin Coulon, a 27-year the Postal Service's proposals to raise rates paramount goal of moving the mall with veteran of the post office and one of those and cut services, I would encourage my col fewer people. transferred to the midnight shift in New Or With 822 new sorting machines like the leans. "No body knew nothing" about the leagues to read the attached article from the one in New Orleans installed across the Washington Post on the problems of innova change. "Nobody can do nothing about it," country in the last two years, the post of he said. -
Fire and Ice from Album the Unforgiving
Fire and Ice From album The Unforgiving Originally composed by Within Temptation Arrangement for piano and voice by Tommaso Murgia = 72 Cm Voce 4 Piano 4 4 Fm CMaj 4 E very wordyou're say ing is a li e. Run a wa Cm Fm CMaj 7 y mydear but e very sign will say your heart is deaf All rights go to Within Temptation, songwriters Sharon den Adel, Robert Westerholt, Martijn Spierenburg, Producer Daniel Gibson and labels Dragnet/Sony (Europe) and Roadrunner (US and Japan) 10 Cm Cm Gm Bu ry all the me mories, cover themwithdirt 13 Fm D♯Maj where's thelove weonce had? Our de sti ny's un sure. Why Cm 15 Gm can't you see what we had? Let the fi re burn the ice. All rights go to Within Temptation, songwriters Sharon den Adel, Robert Westerholt, Martijn Spierenburg, Producer Daniel Gibson and labels Dragnet/Sony (Europe) and 2 Roadrunner (US and Japan) 17 Fm D♯Maj GMaj G♯Maj Where'sthelove weoncehad? Is it all a lie And I still won A♯Maj Cm Gm G♯Maj 20 der why ourhea ven has died theskiesare all fal ling -
Dragnet 54-04-06 242 the Big Saw.Pdf
Oro T D, A A U N Z F < 4 CHESTERFIELD X74 NBC # 242 RELEASE DATE : TUESDAY, APRIL -6, 1954 DIRECTOR: JACK WEBB 8P JSOR : CHESTERFIEID CIGARETTES WRITER : JCIHN ROBINSON . AGENCY: CUNNINGHAM-WAISH MUSIC : WALTER SCHUMANN CO[VIERCIAL SUPERVISOR :- PETE PETERSON SCRIPT : JEAN MIIES. TECHNICAL ADVISORS : SOUND : BUD TOLIEFSCN & ' WAYNE RENWORTHY SGT . MARTY WYNN z -L.A .P,D . ENGINEER : RAOUL MURPHY SGT . VANCE BRASIER : .A . -P .D . ANNCR . #1 : GEORGE FENNEMAN CAPT, JACK DONCHCE : ANNCR . #2 : HAL GIBNEY,` NBC CASE,:, "THE BIG SAW " REHEARSAL SCHEDULE : FCO~DIN SUNDAY, MARCH 28, 195 4 CAST AND SOUND ; 2 :30 PM - 5 :00 PM . EDIT=, : T .B .A . ,0 MONDAY, MARCH 29, 1954 ORCHESTRA : 8 :30 AM I0 :30 AM ANNOUNCERS : (C OAWRCIAL) BROADCAST : 6!oO - r) - -v) pna LG 0182780 "TIDE BIG SAW" SGT • J.QE FRIDAY. • . • • . ., . JACK WEBB OFF* FRANK SMITH. WN. AIEXANDER ALICE HUNTER . .. .HEIEN KIEEB MARIE LOGAN . GEORGIA ELLIS JIM. .. HERB E LLIS ISAlY ,r RAiY K . ]I • . • • • • • • • • • • • • • • . • • . • • . .y IO PL y LG 0782781 "DRAGNET" April 5, 1954 -1- l MUSIC : SIGNATURE 2 PENN : (EASILY) Ladies and gentlemen, the story you are about to 3 hear is true . The name's have been changed to protect the 4 innocent. 5 MUSIC : DRUM ROLL UNDER 5 GIBNEY : Dragnet is brought to you by Chesterfield, made b y 7 Liggett and Myers, first major tobacco company to bring you 8 a complete line of quality cigarettes . 9 MUSIC : UP AND FADE FOR: ''•: 10 FENN : (EASILY) You a detective sergeant . You're assigned to 11 Robbery Detail . Two masked gunmen have held up a bank in 12 your city, The victims can't give you a lead to thei r 13 identity . -
EPA SLN No. MS-090005
EPA SLN No. MS-090005 EPA Reg. No. 279-3062 FOR DISTRIBUTION For use to supplement application of preconstruction Bora-Care AND USE ONLY WITHIN primary treatments THE STATE OF MISSISSIPPI 24(c) Supplemental Label DIRECTIONS FOR USE It is a violation of Federal law to use this product in a manner inconsistent with its labeling. This label must be in the possession of the user at the time of pesticide application. Follow all applicable directions, restrictions, Worker Protection Standard requirements, and precautions on the EPA registered label. This 24(c) label is only approved for use in conjunction with a pre-construction Bora-Care primary treatment. This label is not intended to authorize stand-alone use for the Exterior Perimeter / Interior Spot labeling in the State of Mississippi. When a pre-construction Bora-Care primary treatment is used for control of subterranean termites and is applied according to label directions for use, DRAGNET SFR insecticide must be applied as an exterior perimeter pre-construction treatment using a 0.5%, 1% or 2% dilution after final grade is established. DRAGNET SFR insecticide must be applied to provide a continuous treated zone around the entire exterior foundation wall of the building. It is required that a complete and continuous treated zone be achieved around the entire exterior perimeter, including under any attached slabs such as garages, porches, patios, driveways, and pavement adjoining the foundation. DRAGNET SFR insecticide may also be applied to critical areas that include plumbing and utility penetrations (including bath traps), shower drain penetrations, along settlement cracks and expansion joints, and dirt filled porches. -
Billy Paul Let 'Em in Mp3, Flac, Wma
Billy Paul Let 'Em In mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Let 'Em In Country: Netherlands Released: 1976 Style: Disco MP3 version RAR size: 1667 mb FLAC version RAR size: 1937 mb WMA version RAR size: 1816 mb Rating: 4.2 Votes: 663 Other Formats: VOX AUD MP4 MPC VOC AC3 MP2 Tracklist Hide Credits Let 'Em In A1 5:11 Written-By – P. McCartney-L. McCartney* We All Got A Mission A2 3:35 Written-By – C. Gamble*, K. Gamble*, L. Huff* How Good Is Your Game A3 4:08 Written-By – M. Burton*, P. Terry* Love Won't Come Easy A4 4:15 Written-By – D. Wansel* Without You B1 3:16 Written-By – P. Ham*, T. Evans* Word Sure Gets Around B2 4:30 Written-By – V. Barrett*, V. Gray* I Trust You B3 4:20 Written-By – K. Gamble-L. Huff* I Think I'll Stay Home Today B4 6:19 Written-By – D. Wansel* Credits Arranged By – Bobby Martin (tracks: A2, B2), Dexter Wansel (tracks: A3, A4, A1, A2, A4) Artwork By – Ed Lee Engineer – Jay Mark, Joe Tarsia Executive Producer – Kenneth Gamble & Leon Huff* Other [Music By] – MFSB Photography – Frank Laffitte Producer – Dexter Wansel (tracks: A4, B1, B2, B4), Kenneth Gamble & Leon Huff* (tracks: A2, B3), Michael Burton (tracks: A3), Phil Terry (tracks: A3) Producer, Arranged By – Jack Faith (tracks: A1) Notes Recorded at Sigma Sound Studios Philadelphia, PA Mastered at Frankford/Wayne Recording Labs, Philadelphia, PA "TSOP" The Sound Of Philadelphia BIEM/Stemra Other versions Category Artist Title (Format) Label Category Country Year Philadelphia PZ 34389, Billy Let 'Em In (LP, International Records, -
Using Pop Soundtrack As Narrative Counterpoint Or Complement Margaret Dudasik Honors College, Pace University
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 5-1-2013 Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement Margaret Dudasik Honors College, Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Part of the Film and Media Studies Commons Recommended Citation Dudasik, Margaret, "Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement" (2013). Honors College Theses. Paper 127. http://digitalcommons.pace.edu/honorscollege_theses/127 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement By: Margaret Dudasik May 15, 2013 BA Film & Screen Studies/ BFA Musical Theatre Dr. Ruth Johnston Film & Screen Studies, Dyson College of Arts and Sciences 1 Abstract There is much argument against using pre-existing music in film, Ian Garwood noting three potential problems with the pop song: obtrusiveness, cultural relevance, and distance from the narrative (103-106). It is believed that lyrics and cultural connotations can distract from the action, but it is my belief that these elements only aid narrative. By examining the cinematic functions of the soundtracks of O Brother Where Are Thou? (2000) and Marie Antoinette (2006), I will argue that using pre-existing music in film is actually more effective than a score composed specifically for a film. Film theorist Claudia Gorbman notes that film scores have “temporal, spatial, dramatic, structural, denotative, [and] connotative” abilities” (22), and it is my belief that pop music is just as economical in forming character, conveying setting, and furthering plot. -
Eric Hartzog Senior Guitar Recital
THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents Eric Hartzog Senior Guitar Recital Tuesday, November 20, 2012 • 7:30 p.m. Belhaven University Center for the Arts • Concert Hall There will be a reception after the evening program. Please come and greet the performers. Please refrain from the use of all flash and still photography during the concert. Please turn off all pagers and cell phones. PROGRAM Heart of Life John Mayer • b. 1977 Old ‘82 Eric Hartzog • b. 1989 Satin Doll Duke Ellington • 1899 - 1974 Human Nature Michael Jackson • 1958 - 2009 Eric Hartzog, Mr. Dennis Bonds, Jazz Guitars INTERMISSION Waiting on the World to Change John Mayer Eric Hartzog, Mr. Dennis Bonds, Jazz Guitars Belief John Mayer Eric Hartzog, Mr. Dennis Bonds, Scott Foreman, Jazz Guitars Blues Jam Dennis Bonds • b. 1969 & E. Hartzog Voodoo Chile Jimi Hendrix • 1942 - 1970 Change the World Eric Clapton • b. 1945 Eric Hartzog, Mr. Dennis Bonds, Jazz Guitars PROGRAM NOTES The Heart of Life Old ‘82 John Mayer based a lot of his music around his An Eric Hartzog original, this is loosely based on personal relationships and in The Heart of Life, a very special memory for me! Though the title you can’t help but see that being poured out. To suggests that it’s about my father’s old 1982 me, I think it means that no matter how bad pickup truck, it is really about the precious time things are, no matter how bad it hurts, no matter I spent with him during those years.