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112. Na Na Na 112. Only You Remix 112. Come See Me Remix 12
112. Na Na Na 112. Only You Remix 112. Come See Me Remix 12 Gauge Dunkie Butt 12 Gauge Dunkie Butt 2 Live Crew Sports Weekend 2nd II None If You Want It 2nd II None Classic 220 2Pac Changes 2Pac All Eyez On Me 2Pac All Eyez On Me 2Pac I Get Around / Keep Ya Head Up 50 Cent Candy Shop 702. Where My Girls At 7L & Esoteric The Soul Purpose A Taste Of Honey A Taste Of Honey A Tribe Called Quest Unreleased & Unleashed Above The Law Untouchable Abyssinians Best Of The Abyssinians Abyssinians Satta Adele 21. Adele 21. Admiral Bailey Punanny ADOR Let It All Hang Out African Brothers Hold Tight (colorido) Afrika Bambaataa Renegades Of Funk Afrika Bambaataa Planet Rock The Album Afrika Bambaataa Planet Rock The Album Agallah You Already Know Aggrolites Rugged Road (vinil colorido) Aggrolites Rugged Road (vinil colorido) Akon Konvicted Akrobatik The EP Akrobatik Absolute Value Al B. Sure Rescue Me Al Green Greatest Hits Al Johnson Back For More Alexander O´Neal Criticize Alicia Keys Fallin Remix Alicia Keys As I Am (vinil colorido) Alicia Keys A Woman´s Worth Alicia Myers You Get The Best From Me Aloe Blacc Good Things Aloe Blacc I Need A Dollar Alpha Blondy Cocody Rock Althea & Donna Uptown Top Ranking (vinil colorido) Alton Ellis Mad Mad Amy Winehouse Back To Black Amy Winehouse Back To Black Amy Winehouse Lioness : The Hidden Treasures Amy Winehouse Lioness : The Hidden Treasures Anita Baker Rapture Arthur Verocai Arthur Verocai Arthur Verocai Arthur Verocai Augustus Pablo King Tubby Meets Rockers Uptown Augustus Pablo In Fine Style Augustus Pablo This Is Augustus Pablo Augustus Pablo Dubbing With The Don Augustus Pablo Skanking Easy AZ Sugar Hill B.G. -
Strange Journey Volume 2 All New Music from Cunninlynguists
DISC ONE DISC TWO 1. Intro 1. SouthernUnderground (Inst) 2. SouthernUnderground 2. The South (Inst) 3. The South 3. Love Ain't (Inst) 4. Love Ain't 4. Rain (Inst) featuring Tonedeff 5. Rain 5. Doin’ Alright (Inst) 6. Doin’ Alright 6. Old School (Inst) 7. Interlude 1 7. Seasons (Inst) 8. Old School 8. Nasty Filthy (Inst) 9. Seasons 9. Falling Down (Inst) featuring Masta Ace 10. Nasty Filthy 10. Sunrise/Sunset (Inst) featuring Supastition & 11. Appreciation (Remix) - (Inst) Cashmere The PRO 11. Falling Down 12. Dying Nation (Inst) 12. Sunrise/Sunset 13. Seasons (Remix) featuring Masta Ace 13. Interlude 2 14. Appreciation (Remix) 14. Love Ain't (Remix) featuring featuring Cashmere The PRO Tonedeff 15. Dying Nation 15. The South (Remix) 16. War 16. Karma One of the most consistent independent Hip Hop groups of the decade, Kentucky trio CunninLynguists re-release their critically acclaimed sophomore album SouthernUnderground as a two disc deluxe edition. The group, made up of Deacon The Villain, Natti and Kno, aim to make music that reminds listeners why they like Hip Hop in the first place. Backed with quality beats and rhymes, gritty sounds, witty lyrics and low ends that jump out the trunk like Rajon Rondo, the ‘Lynguists recapture the soul in southern Hip Hop, with what Spin Magazine calls “Outkast’s tragicomic poignancy”. SouthernUnderground, originally released independently in 2003, includes features from Masta Ace, Supastition and Tonedeff. Additional production from RJD2 and Domingo, goes hand-in-hand with beats from the main producer Kno, who was once described as “one of the top loop-miners east of the Mississippi” by URB Magazine. -
Is Hip Hop Dead?
IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work. -
Spotlight Classical Instrumental Rules
SPOTLIGHT CLASSICAL INSTRUMENTAL RULES WHAT’S REQUIRED OF ME FOR MY CLASSICAL INSTRUMENTAL PRELIMINARY 1 VIDEO AUDITION All students begin with a Preliminary 1 video audition. You will present one piece of music. Those scoring highest will advance to Preliminary 2 live auditions in December 2021. If you advance to Preliminary 2, you will be required to play two solo pieces. Those scoring highest after Preliminary 2 will advance to the Semifinals • For the Preliminary 1 video round, your solo piece must be from the Baroque/ Classical period (1650- 1820 Example: Bach, Mozart, Vivaldi, Beethoven, Haydn, etc.). OR from the Romantic, Impressionistic, or Contemporary period (1820-present Example: Chopin, Tchaikovsky, Debussy, Stravinsky, Bartók, Hindemith, etc.). • For the Preliminary 1 video round, your one piece can be any length. Should you advance to the Preliminary 2, (live audition round), your two pieces must fit within 10-minutes. • Prior performance or competition video is acceptable if filmed within the last 8 months • If you choose a contemporary piece, please email the name of the composer for approval at [email protected]. • Original compositions are not allowed. • You may only apply to this category with one instrument. • Piano: Concertos are not allowed; only solo piano pieces. • All other instruments: Pieces written with accompaniment must be performed with live or pre-recorded accompaniment. • A capella performances of works requiring accompaniment are not allowed. • If you advance to Preliminary 2, you may change your piece for the next round and will be required to perform one piece from the Baroque/Classical period and one from the Romantic, Impressionistic or Contemporary period. -
Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Read Book the Exile Waiting
THE EXILE WAITING PDF, EPUB, EBOOK Vonda N McIntyre | 324 pages | 22 Oct 2019 | Handheld Press | 9781912766093 | English | United Kingdom The Exile Waiting PDF Book McIntyre's world is intriguing and haunting--the caverns, view spoiler [the slow realization that the city of Center is also underground and that it's like this because we are on what can only be a post-nuclear-collapse Earth hide spoiler ] , the elusive Sphere, which we never see the way we expect even as its talked about contstantly view spoiler [and the novel ends with our protagonist headed off Earth and out into the Sphere, insiting that Earth be no longer forgotten hide spoiler ] , the various forms of mind-linkage. There are no discussion topics on this book yet. Quondame 3. McIntyre: Superluminal Nautilus. Sep 11, fromcouchtomoon rated it really liked it. This will work for background filler characters, but when some of your main characters are still close to mysteries when the story ends, the reader is left sadly unfulfilled. The primary characters are Mischa a young thief with telepathic abilities, trapped by her exceptionally dysfunctional family , Jan Hikaru more of an observer , and Subtwo part of a behavorial experienced, he has been twinned with an unrelated "pseudosib" Subone, who is presented as more a collection of stereotypical behaviors. From above descend two outworlders, apparently twins, but actually linked only by their telepathic bond. This was a crucial insight for Diaspora Judaism, those living in Babylon, Egypt, or elsewhere, deprived of their former institutions. Slavery is a big theme in this novel but even the top citizens of the world seem to be stuck in a less than stellar environment. -
Hip-Hop Pedagogy As Production Practice: Reverse-Engineering the Sample-Based Aesthetic
Journal of Popular Music Education Special issue on Hip-hop Hip-Hop Pedagogy as Production Practice: Reverse-Engineering the Sample-Based Aesthetic Mike Exarchos (a.k.a. Stereo Mike) | London College of Music (University of West London) Introduction Hip-hop1 production practice contains a rich matrix of creative methods within its paradigm, which have the potential to inform and inspire music production pedagogy in higher education. The techno-artistic trajectory of rap production consists of numerous phases that may involve live performance, recording, sampling, synthesis, programming, mixing and mastering. Furthermore, it is not rare for self-contained processes—such as interpolation2 and the creation of content for sampling—to be actualized as developmental phases within the larger production trajectory. The well-documented issues affecting phonographic sampling have given rise to alternative practices, inviting live instrumental musicianship within hip-hop music-making, but also a dependence on synthesized sonics (often as signifiers of geographical and stylistic divergence). As a consequence, contemporary hip-hop production—arguably more than any other commercial music-making form—can provide a dynamic, applied context for the exploration, implementation, interplay and interaction of most phonographic stages conceived of and practiced within popular music production. This is not to say that other musics do not deploy multiple methods within their production processes, or that Hip-Hop exemplifies a sole case of multi-layered—or bricolage—production. After all, many popular musics have borrowed from hip-hop practices, and the rap production paradigm can be traced outside of strict stylistic barriers 1 The terms ‘Hip-Hop’ and ‘Rap’ will be used interchangeably throughout the paper, referring to the musical genre, outputs and practices associated with hip-hop culture and art. -
WEDNESDAY, AUGUST 8Th THURSDAY, AUGUST 9Th SUNDAY, AUGUST 12Th FRIDAY, AUGUST 10Th SATURDAY, AUGUST 11Th
WEDNESDAY, AUGUST 8th Main Stage hosted by: Sugar Slam and Chop 1PM 2PM 3PM 4PM 5PM 6PM 7PM 8PM 9PM 10PM 11PM 12Mid 1AM 2AM 3AM 4AM 5AM 6AM Kool George Main Stage Keith Static X Onyx Clinton Dark Lotus Hog Daddy's Hell Fire Mass Bobby Poe Liquid Psychopathic Underground Stage O-Villainz Murderaz Ryan Ho Kesto Sick Sedated 10/31 Whosaine Assassin AJAX Freddy Grimes Mastamind Rydas Bomb-House Lingerie Contest Dj Clay’s Juggalo Jump O! Wrestling Stage JCW Try Outs JCW Live! Seminar Tent Ralphie May Psychopathic Radio Psychopathic Radio Menace II Swollen Freakshow Stage Karaoke Contest Wet T-Shirt Comp Sobriety (hed) pe Slaine Members Merchandise starts 12 Noon Get merchandise from your favorite Psychopathic Records artists THURSDAY, AUGUST 9th Main Stage hosted by: Jumpsteady 1PM 2PM 3PM 4PM 5PM 6PM 7PM 8PM 9PM 10PM 11PM 12Mid 1AM 2AM 3AM 4AM 5AM 6AM Danny Main Stage Brown Fear Factory The Game DMX ABK Hog Daddy's Hell Fire Ruthless Dopesic Flagrant Kayla K Nukie Jimi Stranger J Dirty Smokehouse Doe Bukshot AMB Potluck Underground Stage Unda Ground The Carpathio Kanklez Haze Cognito Junkiez Dubbla Miss Juggalette Steel Cage Rap Battle Competition Violent J’s West Side Party Bomb-House Hosted By Awesome Dre & Doe Dubbla Glasses Malone, Lil Eazy E, The Pharcyde, Warren G Wrestling Stage JCW Try Outs Ladies of Wrestling Blaze ABK Jamie Cheech & Seminar Tent Kennedy Chong Psychopathic Radio Psychopathic Radio Critical So Sick Freakshow Stage Sideshow Magician Souly Bill Social Club Mushroomhead Autograph Tent Dj Clay Blaze Ya Dead Homie Twiztid -
Awards June 900,000 SPINS
BDSCertified Spin Awards June 900,000 SPINS The Way You Love Me/ Faith Hill /Warner Bros. 800,000 SPINS Thank You/ Dido /Arista 500,000 SPINS Bye Bye/ io Dee Messina /Curb One More Day/ Diamond Rio /Arista B R S T D T S Y S T E M S O A D C A A A Roll To Me/ Del Amitri /A &M 400,000 SPINS Far Away/ Nickelback /Roadrunner/Lava/Atlantic Livin' La Vida Loca/ Ricks Martin /C2 /Columbia My Boo/ Usher & Alicia Keys /LaFace /Zomba Promiscuous/ Nelly Furtado Feat. Timbaland /Mosley /Geffen Temperature/ Sean Paul /VP /Atlantic What Hurts The Most/ Rascal Flatts /Lyric Street 300,000 SPINS Dani California/ Red Ho: Chili Peppers /Warner Bros. My Humps/ Black Eyed Peas /A &M /Interscope S When The Sun Goes Down/ Kenny Chesney & Uncle Kraccer /BNA 200,000 SPINS Buy U A Drank (Shawty Snappin')/ T-Pain Feat. Yung Joc /Kcnvict/Nappy Boy /Jive/Zomba Give It To Me/ Timbaland Feat. Nelly Furtado & Justin Timberlake /Mosley /Blaclyround /Interscope If Everyone Cared/ Nickelback /Roadrunner /Lava/Atlantic The Cowboy In Me/ Tim McGraw /Curb U + Ur Hand/ Pink /LaFace /Zomba Underneath Your Clothe) Shakira /Epic AWARDS Walk Away/ Paula DeAIda Feat. The DEY /Arista/RMG Wave On Wave/ Pat Graen /Republic /Universal South When I Get Where I'm Going/ Brad Paisley Feat. Dolly Parton /Arista Nashville 100,000 SPINS A Woman's Love/ Alan Jackson /Arista Nashville Coming Undone/ Korn /Virgin Find Out Who Your Friends Are/ Tracy Lawrence /Rocky Comfort/C05 Get It Shawty/ Lloyd /-he Inc. -
The Portrayal of African American Women in Hip-Hop Videos
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 6-2005 The Portrayal of African American Women in Hip-Hop Videos Ladel Lewis Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Sociology Commons Recommended Citation Lewis, Ladel, "The Portrayal of African American Women in Hip-Hop Videos" (2005). Master's Theses. 4192. https://scholarworks.wmich.edu/masters_theses/4192 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE PORTRAYAL OF AFRICAN AMERICAN WOMEN IN HIP-HOP VIDEOS By Ladel Lewis A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Master of Arts Department of Sociology Western Michigan University Kalamazoo, Michigan June 2005 Copyright by Ladel Lewis 2005 ACKNOWLEDGEMENTS I wish to thankmy advisor, Dr. Zoann Snyder, forthe guidance and the patience she has rendered. Although she had a course reduction forthe Spring 2005 semester, and incurred some minor setbacks, she put in overtime in assisting me get my thesis finished. I appreciate the immediate feedback, interest and sincere dedication to my project. You are the best Dr. Snyder! I would also like to thank my committee members, Dr. Douglas Davison, Dr. Charles Crawford and honorary committee member Dr. David Hartman fortheir insightful suggestions. They always lent me an ear, whether it was fora new joke or about anything. -
Kutmasta Kurt.” That Was Like the Beginning of the Strain
ROCK KUTTIN’ IT WITH KURT 44.www.importtuner.com REDNECK GAMES KUTMASTER KURT TEXT BY JOEL MARASIGAN Hip hop music had a universal fiber when it was—in the spirit of MTV—brand-spanking new. Hip hop was sung and chanted. Hip hop was more than just music. It was a style: a life style, a spirit, a feeling. Today’s hip hop has lost a lit- tle of its elegance and originality mainly because artists exaggerate the “money, hoes and power” stereotype. There are a select few who remember hip hop’s roots and its inten- tions. There are a select few who are still accepted when they remove their headphones and backpacks and don the pink fur, ice the grill and jump in the Range. 05.03.2nr.45 son they were like, “We don’t want your name on it. We’ll pay you, but you can’t put KutMasta Kurt.” That was like the beginning of the strain. At the time I wanted to wrap-up a project with Keith (the Masters Of Illusion project)—and because I had already been working with Motion Man (who was on the back burner for 10 years)—I had to finish Black Elvis. We still went on to do the Dr. Dooom and Masters Of Illusion albums and I still helped with the Matthew album. But after that I was really just Keith’d out. He wanted to keep going, but I didn’t like the direction and I needed to take a break. He was- n’t too happy about that. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.