James Brown Is Alive!
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Thomas Aquinas: Soul-Body Connection and the Afterlife Hyde Dawn Krista University of Missouri-St
University of Missouri, St. Louis IRL @ UMSL Theses Graduate Works 4-16-2012 Thomas Aquinas: Soul-Body Connection and the Afterlife Hyde Dawn Krista University of Missouri-St. Louis, [email protected] Follow this and additional works at: http://irl.umsl.edu/thesis Recommended Citation Krista, Hyde Dawn, "Thomas Aquinas: Soul-Body Connection and the Afterlife" (2012). Theses. 261. http://irl.umsl.edu/thesis/261 This Thesis is brought to you for free and open access by the Graduate Works at IRL @ UMSL. It has been accepted for inclusion in Theses by an authorized administrator of IRL @ UMSL. For more information, please contact [email protected]. Thomas Aquinas: Soul-Body Connection and the Afterlife Krista Hyde M.L.A., Washington University in St. Louis, 2010 B.A., Philosophy, Southeast Missouri State University – Cape Girardeau, 2003 A Thesis Submitted to The Graduate School at the University of Missouri – St. Louis in partial fulfillment of the requirements for the degree Master of Arts in Philosophy April 2012 Advisory Committee Gualtiero Piccinini, Ph.D. Chair Jon McGinnis, Ph.D. John Brunero, Ph.D. Copyright, Krista Hyde, 2012 Abstract Thomas Aquinas nearly succeeds in addressing the persistent problem of the mind-body relationship by redefining the human being as a body-soul (matter-form) composite. This redefinition makes the interaction problem of substance dualism inapplicable, because there is no soul “in” a body. However, he works around the mind- body problem only by sacrificing an immaterial afterlife, as well as the identity and separability of the soul after death. Additionally, Thomistic psychology has difficulty accounting for the transmission of universals, nor does it seem able to overcome the arguments for causal closure. -
Tom Jennings
12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd. -
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog. -
Greek and Latin Roots, Prefixes, and Suffixes
GREEK AND LATIN ROOTS, PREFIXES, AND SUFFIXES This is a resource pack that I put together for myself to teach roots, prefixes, and suffixes as part of a separate vocabulary class (short weekly sessions). It is a combination of helpful resources that I have found on the web as well as some tips of my own (such as the simple lesson plan). Lesson Plan Ideas ........................................................................................................... 3 Simple Lesson Plan for Word Study: ........................................................................... 3 Lesson Plan Idea 2 ...................................................................................................... 3 Background Information .................................................................................................. 5 Why Study Word Roots, Prefixes, and Suffixes? ......................................................... 6 Latin and Greek Word Elements .............................................................................. 6 Latin Roots, Prefixes, and Suffixes .......................................................................... 6 Root, Prefix, and Suffix Lists ........................................................................................... 8 List 1: MEGA root list ................................................................................................... 9 List 2: Roots, Prefixes, and Suffixes .......................................................................... 32 List 3: Prefix List ...................................................................................................... -
Soul Top 1000
UUR 1: 14 april 9 uur JAAP 1000 Isley Brothers It’s Your Thing 999 Jacksons Enjoy Yourself 998 Eric Benet & Faith Evans Georgy Porgy 997 Delfonics Ready Or Not Here I Come 996 Janet Jackson What Have Your Done For Me Lately 995 Michelle David & The Gospel Sessions Love 994 Temptations Ain’t Too Proud To Beg 993 Alain Clark Blow Me Away 992 Patti Labelle & Michael McDonald On My Own 991 King Floyd Groove Me 990 Bill Withers Soul Shadows UUR 2: 14 april 10 uur NON-STOP 989 Michael Kiwanuka & Tom Misch Money 988 Gloria Jones Tainted Love 987 Toni Braxton He Wasn’t Man Enough 986 John Legend & The Roots Our Generation 985 Sister Sledge All American Girls 984 Jamiroquai Alright 983 Carl Carlton She’s A Bad Mama Jama 982 Sharon Jones & The Dap-Kings Better Things 981 Anita Baker You’re My Everything 980 Jon Batiste I Need You 979 Kool & The Gang Let’s Go Dancing 978 Lizz Wright My Heart 977 Bran van 3000 Astounded 976 Johnnie Taylor What About My Love UUR 3: 14 april 11 uur NON-STOP 975 Des’ree You Gotta Be 974 Craig David Fill Me In 973 Linda Lyndell What A Man 972 Giovanca How Does It Feel 971 Alexander O’ Neal Criticize 970 Marcus King Band Homesick 969 Joss Stone Don’t Cha Wanna Ride 1 968 Candi Staton He Called Me Baby 967 Jamiroquai Seven Days In Sunny June 966 D’Angelo Sugar Daddy 965 Bill Withers In The Name Of Love 964 Michael Kiwanuka One More Night 963 India Arie Can I Walk With You UUR 4: 14 april 12 uur NON-STOP 962 Anthony Hamilton Woo 961 Etta James Tell Mama 960 Erykah Badu Apple Tree 959 Stevie Wonder My Cherie Amour 958 DJ Shadow This Time (I’m Gonna Try It My Way) 957 Alicia Keys A Woman’s Worth 956 Billy Ocean Nights (Feel Like Gettin' Down) 955 Aretha Franklin One Step Ahead 954 Will Smith Men In Black 953 Ray Charles Hallelujah I Love Her So 952 John Legend This Time 951 Blu Cantrell Hit' m Up Style 950 Johnny Pate Shaft In Africa 949 Mary J. -
Hype Funk Score Avg. Hype Funk Score Funk Score Avg Funk Score Combined Funk 1 Flashlight
Barely Somewhat Extra Hella Response Hype Funk Avg. Hype Avg Funk Combined # answer options No Funky Funky Funky Funky Funky Da Bomb Count Score Funk Score Funk Score Score Funk 1 Flashlight - Parliament 0 0 0 2 0 5 14 21 108.00 5.14 136.00 6.48 11.62 Give Up The Funk (Tear the Roof Off the 2 Sucker) - Parliament 0 0 0 0 2 6 12 20 102.00 5.10 130.00 6.50 11.60 3 One Nation Under A Groove - Funcakelic 0 1 0 0 2 2 13 18 92.00 5.11 115.00 6.39 11.50 4 Atomic Dog - George Clinton 0 0 0 1 4 5 15 25 124.00 4.96 159.00 6.36 11.32 More Bounce To The Ounce - Zapp & 5 Roger 0 0 0 2 0 5 9 16 78.00 4.88 101.00 6.31 11.19 6 (Not Just) Knee Deep - Funkadelic 0 0 0 0 5 6 12 23 111.00 4.83 145.00 6.30 11.13 7 Mothership Connection - Parliament 0 0 0 0 3 6 8 17 81.00 4.76 107.00 6.29 11.06 8 Payback - James Brown 0 0 1 1 4 0 10 16 75.00 4.69 97.00 6.06 10.75 Get the Funk Out Ma Face - The Brothers 9 Johnson 0 0 0 1 4 4 8 17 78.00 4.59 104.00 6.12 10.71 10 Slide - Slave 0 0 0 1 1 6 5 13 59.00 4.54 80.00 6.15 10.69 11 Super Freak - Rick James 0 0 1 3 1 3 8 16 70.00 4.38 94.00 5.88 10.25 12 Pass the Peas - Fred Wesley and the JBs 0 0 1 1 2 2 5 11 47.00 4.27 64.00 5.82 10.09 13 The Jam - Graham Central Station 0 0 1 2 0 3 5 11 47.00 4.27 64.00 5.82 10.09 14 Jamaica Funk - Tom Browne 0 0 1 2 2 4 6 15 63.00 4.20 87.00 5.80 10.00 15 Fire - Ohio Players 0 0 0 2 7 3 7 19 79.00 4.16 110.00 5.79 9.95 16 Maggot Brain - Funkadelic 0 0 1 1 3 3 5 13 54.00 4.15 75.00 5.77 9.92 17 Dr. -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history. -
James Brown Ain't It Funky Mp3, Flac, Wma
James Brown Ain't It Funky mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Ain't It Funky Country: UK Released: 1970 Style: Funk MP3 version RAR size: 1840 mb FLAC version RAR size: 1838 mb WMA version RAR size: 1844 mb Rating: 4.6 Votes: 806 Other Formats: AIFF AU MP4 DMF WAV MMF DXD Tracklist A1 Ain't It Funky (Part 1 & 2) 9:26 A2 Fat Wood (Part 1 & 2) 9:15 B1 Cold Sweat 5:17 B2 Give It Up Turn It Loose 3:45 B3 Nose Job 2:30 B4 Use Your Mother 3:25 B5 After You Done It 3:28 Credits Producer – James Brown Notes Side B is instrumental recorded between 1966 & 1969. Original recording by King Records, USA. Other versions Category Artist Title (Format) Label Category Country Year James Brown And The King James Brown KS-1092, KS James Brown Band - Records , KS-1092, KS And The James US 1970 1092 Ain't It Funky (LP, King 1092 Brown Band Album, Ora) Records James Brown And The James Brown James Brown Band - KS 1092 And The James Polydor KS 1092 US Unknown Ain't It Funky (LP, RP, Brown Band 180) James Brown James Brown & The 2310 017 & The James James Brown Band - Polydor 2310 017 Canada 1973 Brown Band Ain't It Funky (LP) James Brown and The James Brown James Brown Band - 2310 017 and The James Polydor 2310 017 Germany 1970 Ain't It Funky (LP, Brown Band Album, Promo, W/Lbl) King James Brown James Brown & The Records , KS-1092 & The James James Brown Band - KS-1092 Canada 1970 King Brown Band Ain't It Funky (LP) Records Related Music albums to Ain't It Funky by James Brown james brown - the james brown story 'doing it to death' James Brown - James Brown and The James Brown band - Ain't it Funky James Brown Plays And Directs The James Brown Band - Sho Is Funky Down Here James Brown - The Best Of James Brown James Brown - Legends James Brown Vol.2 James Brown Directs And Dances With The The James Brown Band - The Popcorn James Brown - Funky Drummer James Brown - Sho Is funky down here James Brown - James Brown Soul Classics. -
Making Sense of Murder: the Reality Versus the Realness of Gang Homicides in Two Contexts
social sciences $€ £ ¥ Article Making Sense of Murder: The Reality versus the Realness of Gang Homicides in Two Contexts Marta-Marika Urbanik 1,* and Robert A. Roks 2 1 Department of Sociology, University of Alberta, Edmonton, AB T6G 2H4, Canada 2 Erasmus School of Law, Erasmus University Rotterdam, 3062 PA Rotterdam, The Netherlands; [email protected] * Correspondence: [email protected] Abstract: Despite the proliferation of research examining gang violence, little is known about how gang members experience, make sense of, and respond to peer fatalities. Drawing from two ethnographies in the Netherlands and Canada, this paper interrogates how gang members experience their affiliates’ murder in different street milieus. We describe how gang members in both studies made sense of and navigated their affiliates’ murder(s) by conducting pseudo- homicide investigations, being hypervigilant, and attributing blameworthiness to the victim. We then demonstrate that while the Netherland’s milder street culture amplifies the significance of homicide, signals the authenticity of gang life, and reaffirms or tests group commitment, frequent and normalized gun violence in Canada has desensitized gang-involved men to murder, created a communal and perpetual state of insecurity, and eroded group cohesion. Lastly, we compare the ‘realness’ of gang homicide in The Hague with the ‘reality’ of lethal violence in Toronto, drawing Citation: Urbanik, Marta-Marika, attention to the importance of the ‘local’ in making sense of murder and contrasting participants’ and Robert A. Roks. 2021. Making narratives of interpretation. Sense of Murder: The Reality versus the Realness of Gang Homicides in Keywords: gang homicide; comparative research; ethnography; gang violence Two Contexts. -
Funk Is Its Own Reward": an Analysis of Selected Lyrics In
ABSTRACT AFRICAN-AMERICAN STUDIES LACY, TRAVIS K. B.A. CALIFORNIA STATE UNIVERSITY DOMINGUEZ HILLS, 2000 "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s Advisor: Professor Daniel 0. Black Thesis dated July 2008 This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era. "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THEDEGREEOFMASTEROFARTS BY TRAVIS K. -
James Brown - Get on the Good Foot: a Dance Celebration October 25 10:29 2013 by Jermaine Rowe
BWW Reviews : James Brown - Get on the Good Foot: A Dance Celebration October 25 10:29 2013 by Jermaine Rowe "Give the people what they came for" James Brown said in reference to his shows, and it seemed that the Apollo set out to do just that on the opening night of "James Brown - Ge t on the Good Foot" dance celebration concert in Harlem. It was fitting that the concert opened with a welcome speech by Rev. Al Sharpton , given the historic relationship between the Apollo Theatre and James Brown . Sharpton reflected on his connection with Brown on the very stage that we were about to experience the evening's performance. The hour-long performance that followed showcased a variety of choreographers exploring the music of James Brown , danced by the Philadelphia Dance Company (PHILADANCO) and three (3) non-affiliated featured soloists. The show opened with a dynamic and exciting sound play with music and voice -overs of Brown that was effective in setting up the scene for the legacy that was being honored. The fault of the program, however, was that you ended up watching the first three choreographers before you realized that the show was not going to have breaks between each work. This made the flow seem unorganized and unclear. Despite this, "Too Funky," choreographed by Otis Sallid , saw a vibrant, young, and talented group of dancers let loose to the funky sounds of a well- arranged set of songs. The team did such a great job of setting up the excitement of the evening that I found myself a little disappointed by the lack of structure in Sallid's work. -
Get up Offa That Thing (Release the Pressure)
Get Up Offa That Thing (Release The Pressure) James Brown & The J.B.'s AAAAAAAW! Oh! Woo! Say it nowI'm back I'm back I'm back I'm backGet up offa that thing And dance 'til you feel better Get up offa that thing And dance 'til you- sing it nowGet up offa that thing And dance 'til you feel better Get up offa that thing And try to release that pressure Get up offa that thing And shake 'til you feel better Get up offa that thing And shake it- say it nowGet up offa that thing And shake 'til you feel better Get up offa that thing And try to release that pressureGet up off! Ha! Good God! So good!Ha! Everybody ready?Follow me! Get up offa that thing And shake 'til you feel better Get up offa that thing And shake 'til you- sing it nowGet up offa that thing And shake 'til you feel better Get up offa that thing And try to release that pressureGet up offa that thing (Ha!) And twist 'til you feel better Get up offa that thing And shake 'til you- sing it nowGet up offa that thing And shake 'til you feel better Get up offa that thing Try to release that pressureHuh! Get funky! So good, uh! I'm first to top that(?)Walk around 'em now Uh! Ha! Ohio player!Can you hit it one time, from the top?Get up offa that thing And dance 'til you feel better Get up offa that thing And- Help me!Get up offa that thing And dance 'til you feel better Get up offa that thing And try to release that pressureWait a minute! Get up! Huh! So funkyShow 'em how I need it! That's the wise old brother at the side So goodC'mon Clive do it!Do it!Uh! Ha! (Watch it, watch it, I can feel