DOCSLIB.ORG

Flashback, Flash Forward: Re-Covering the Body and Id-Endtity in the Hip-Hop Experience

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Flashback, Flash Forward: Re-Covering the Body and Id-Endtity in the Hip-Hop Experience FLASHBACK, FLASH FORWARD: RE-COVERING THE BODY AND ID-ENDTITY IN THE HIP-HOP EXPERIENCE Submitted By Danicia R. Williams As part of a Tutorial in Cultural Studies and Communications May 04,2004 Chatham College Pittsburgh, Pennsylvania Tutor: Dr. Prajna Parasher Reader: Ms. Sandy Sterner Reader: Dr. Robert Cooley ACKNOWLEDGEMENTS I would like to thank Dr. Prajna Paramita Parasher, my tutor for her faith, patience and encouragement. Thank you for your friendship. Ms. Sandy Sterner for keeping me on my toes with her wit and humor, and Dr. Cooley for agreeing to serve on my board. Kathy Perrone for encouraging me always, seeing things in me I can only hope to fulfill and helping me to develop my writing. Dr. Anissa Wardi, you and Prajna have changed my life every time I attend your classes. My parent s for giving me life and being so encouraging and trusting in me even though they weren't sure what I was up to. My Godparents, Jerry and Sharon for assisting in the opportunity for me to come to Chatham. All of the tutorial students that came before me and all that will follow. I would like to give thanks for Hip-Hop and Sean Carter/Jay-Z, especially for The Black Album. With each revolution of the CD my motivation to complete this project was renewed. Whitney Brady, for your excitement and brainstorming sessions with me. Peace to Divine Culture for his electricity and Nabri Savior. Thank you both for always being around to talk about and live in Hip-Hop. Thanks to my friends, roommates and coworkers that were generally supportive. Finally a special thank you to my dearest friend, Aleksandra for showing me love in friendship that I've never known and always encouraging me to "eat the elephant in small pieces." TABLE OF CONTENTS Introduction 1 Review of Literature 7 Chapter One 15 Chapter Two 24 Chapter Three 39 Works Cited 45 Appendix A: Images and Advertisements 47 Appendix B: Song Lyrics 73 "Hip-Hop has to bring politics back to the forefront of cultural representation...otherwise it is in danger of losing the most critical element of its identity; the desire to influence lives•.." -Red Eye Magazine Introduction to the Research Question Shawn Carter (known as Jay-Z) who has gained widespread recognition as 'the greatest rapper alive' has retired from his career as a recording artist. After 10 years of what could be declared as one of the most successful careers in the Hip-Hop 'game', -let alone the entire music business'- history, the 34 year-old has declared that "hip hop just doesn't do it for him anymore" (VIBE 73). In an industry where careers and people are quickly consumed and expelled by shallow appetites, Jay-Z has fulfilled an enormous demand for an extended period of time. An ongoing, and by now very deflated debate on Hip-Hip questions, demands to know: Where do we go from here? With the monotonous, formulaic production of rap acts and their material, along with the conspicuous consumption of platinum and diamond jewelry, expensive brand name clothing, champagne, designer drugs, cars and multimillion-dollar homes have been the represented images in music videos, lyrical content and the larger Hip-Hop scene since the late 1990's. Although Jay-Z was a leading participant in such activities, his artistic integrity combined with his innovative lyrical and musical styles have given reason for further interrogation. In addition to having reached an immortal status as the 'best rapper alive,' Jay-Z has collected a host of alter-egos, makes notable philanthropic contributions, and has co­ ownership in one of the most prosperous and respected labels in the record industry, Roc­ a-fella records-- which also resulted a clothing line of the same namesake, Rocawear. In his album, Black all Both Sides, lyrical revolutionary MosDef addresses the Hip-Hop question (2) by remarking that . People talk about Hip-Hop like it's some giant livin' in the hillside comin' down to visit the townspeople We are Hip-Hop Me, you, everybody, we are Hip-HoSo Hip-Hop is goin' where we goin' ... Hip-Hop won't get better until the people get better" ("Fear Not of Man"1999) This decentered answer offered by MosDef was a key concept used by French Marxist theoretician, Louis Althusser. It indicates that Hip-Hop culture (according to MosDef), has a founding legacy of quality and creativity that will allow it to evolve and not continue to be directed by its economic base (Barry 164). With such an ambiguous and open-ended response, virtuosity and innovativeness from this active subculture can be the only determinant of the direction Hip-Hop will take. Talib Kweli, MosDef's counterpart in the rap duo Blackstar, remarked, "There was a context for artists to talk about things in the [19] 60's. Traditionally, the artists followed the people, right now there is no context for the artist to be political, responsible or accountable-- there is no demand." (Public lecture Feb. 2004) The people will soon have the chance to actively navigate this direction, since the Hip-Hop 'game' will no longer be dominated by such an established figure as Jay-Z. The time has come for the new generation's leaders to make themselves known and to bring forth a new message to (very) eager ears. Hip-Hop music-also known as rap- beginning in the early 1970's (Henderson 310) has been considered a voice of resistance, created out of need from lives of the struggling, underprivileged, and marginalized common folk (subculture). With the exception of a viable underground scene, currently the state of Hip-Hop, now that it is co-opted by major producers, is now concerning a matter of style, however a style of resistance that is extremely market dependent. 2 Hip-Hop was an art form utilized to describe the harsh realities of inner-city life (Ciment 196) In its current state of [seeming] confusion, an eagemess for the next wave, a resurgence of an innovative voice or voices to restructure and reroute Hip-Hop music's (rap) function, message and path. The vulnerable state that Hip-Hop occupies gives reason for debate, but also issues a call for new questions, new leaders from the generation that is now coming of age within this culture. Generally this project is an analysis of cultural expression, exploring the social and political implications (that have or have not sustained themselves) in fashion and music in black culture and identity along with the contemporary interpretations of such. There will be a specific focus on Jay-Z (Shawn Carter): entrepreneur, entertainer, MC, revolutionary hustler, and philanthropist as a paradigm to examine his interplay of these elements of culture and the ways in which they are represented. Co-owner of Roc-a-fella records and Rocawear apparel, Jay-Z (a play on the word jazzy), is the prime example of the bourgeoisie in Hip-Hop culture. Despite, his achieving the status as an outsider from his success, Jay-Z does recognize his Brooklyn housing projects upbringing. Rocawear's spring 2003 women's campaign includes several specific images that are re-presenting some familiar images of the Black liberation movement of the 1960's. This is especially interesting because Jay-Z, along with Rocawear, appears to be inciting a revolutionary sentiment by way of advertising, but what are the motivations? Possibly a commodified revival of a cultural aesthetic for capitalist intent, and if so would be characteristic in the current [late] stages of capitalism. Is it a dual cooptation of that pm1icular movement for commercial and liberatory purposes? Is Jay-Z is using the 3 mainstream against itself to sell a product but also to reach 'the people' (particularly Hip- Hop youth)? And is it either, as Bakari Kitwana poses, a brand of hard-core nationalism, or lukewarm, f1ash-in-the-pan bougie nationalism? Could he be an activist or simply activist minded? His final album, which was released in December of 2003, entitled The Black Album displays a highly thoughtful, socially conscious, and matured Jay-Z. Following the progression of his lyrical content since his entrance into the mainstream eye and ear, Jay- Z has evolved. From "Big Pimpin"'(2000) to his recent single "Change Clothes,"(2004) Jay-Z's lyrical content has undergone a sonic evolution (VIBE 82) In addition to an advertisement analysis and comparison of the content with propaganda from the Black Liberation movement of the 1960's, Jay-Z's music will be juxtaposed along with a lyrical analysis of six of his major hits spanning over the lO-year period of his career. Looking at his billboard hits lyrically and displaying such a progression or maturation from an in-depth analysis of The Black Album, it can read as a ret\.lm to self. In the fields of Cultural Studies and Communication this is a significant topic. The Hip-Hop nation/generation collectively includes black as well as a considerable portion of white urban and suburban youth, in addition to others that belong to earlier generations. The phrase Hip-Hop generation coined by Bakari Kitwana, " ... Is used interchangeably with Black youth culture. No other term better defines this generation of black youth, as the entire spectrum of Black youth (including college students and young professionals, as well as the urban masses) has come to identify with Hip-Hop's cadence." (Kitwana xiii) 4 The current status of Hip-Hop encompassing elements of a general lifestyle implies that members who belong to such a group share a national culture and ultimately a shared consciousness.
Load more

Recommended publications
  • Black Boi, Boss Bitch
    Black Boi, Boss Bitch Lauryn Hill 18 Jan 1995 - 26 Sep 1998 BLACK QUEER LOOKS Y todo comenzo bailando.... 27 Oct 1998 “Y todo comenzo bailando”...The earliest memories I can recall of my existence are festive. 20 Pound Pots of pernil & pigfeet. Pasteles, Gandulez, Guinea, Pollo Guisado. Habichuelas. 5 different types of beans & 5 different dishes on one plate. Even if only 4 niggas pulled up to the crib, abuela was always cooking for 40. The image of her red lipstick stain on hefty glasses of Budweiser that once contained Goya olives is forever etched in my mind. This was that poor boricua family that stored rice & beans in “I Can’t Believe it’s Not Butter” containers.The kind of family that blasted Jerry Rivera’s & Frankie Ruiz voices over dollar-store speakers. The kind that prized Marc Anthony, Hector LaVoe, El Gran Combo, La India, Tito Rojas. Victor Manuelle. Salsa Legends that put abuela's feet to work. My cousin Nina & her wife Iris who sparked their Ls in the bathroom, waving around floor length box braids, and bomb ass butch-queen aesthetics. “Pero nino, you hoppin on the cyph?. Uncle Negro or “Black”as we called him for his rich dark-skin, stay trying to wife my mom’s friends. 7:11 pm. 7 pounds 8 oz. October 27th. Maybe it was the lucky 7. Maybe it was fated for them to welcome another, intensely-loving Scorpio into their home. Or maybe it was just another blissful evening in the barrio. Where Bottles of Henny would be popped, and cousins & aunts & uncles you didn’t even know you had would reappear.
    [Show full text]
  • Download the Far Horizon
    The Far Horizon by Lucas Malet The Far Horizon by Lucas Malet E-text prepared by Suzanne Shell, Danny Wool, Lorna Hanrahan, Mary Musser, Charles Franks, and the Online Distributed Proofreading Team THE FAR HORIZON BY LUCAS MALET (MRS. MARY ST. LEGER HARRISON) BY THE SAME AUTHOR _The Wages of Sin_ _A Counsel of Perfection_ page 1 / 464 _Colonel Enderby's Wife_ _Little Peter_ _The Carissima_ _The Gateless Barrier_ _The History of Sir Richard Calmady_ "Ask for the Old Paths, where is the Good Way, and walk therein, and ye shall find rest."--JEREMIAS. "The good man is the bad man's teacher; the bad man is the material upon which the good man works. If the one does not value his teacher, if the other does not love his material, then despite their sagacity they must go far astray. This is a mystery of great import."--FROM THE SAYINGS OF LAO-TZU. ..."Cherchons a voir les choses comme elles sont, et ne voulons pas avoir plus d'esprit que le bon Dieu! Autrefois on croyait que la canne a sucre seule donnait le sucre, on en tire a peu pres de tout maintenant. Il est de meme de la poesie. Extrayons-la de n'importe quoi, car elle git en page 2 / 464 tout et partout. Pas un atome de matiere qui ne contienne pas la poesie. Et habituons-nous a considerer le monde comme un oeuvre d'art, dont il faut reproduire les procedees dans nos oeuvres."--GUSTAVE FLAUBERT. CHAPTER I Dominic Iglesias stood watching while the lingering June twilight darkened into night.
    [Show full text]
  • Jay-Z: in Tha’ Mix
    ASC 1138--JAY-Z: IN THA’ MIX JAY-Z: IN THA’ MIX CREDIT HOURS Leta Hendricks [email protected] Tel: 614-688-7478 Classroom – Room 150A Thompson Library Class Meeting – Fridays – 1:30 – 2:18 p.m. January 11 – April 19, 2013 Office Hours – Tuesday – 9:00 – 11:00 a.m. and by appointment WEB Site – Twitter – Second Life- Hip Hop Underground http://slurl.com/secondlife/Cybrary%20City%20II/77/198/8 SYLLABUS COURSE DESCRIPTION JAY-Z is an entrepreneurial phenomenon of the last the twenty years. This seminar examines JAY-Z from different perspectives as an artist and as a businessman. The seminar will discuss perspectives and beliefs about rap music and popular culture. JAY-Z is currently one of the most influential iconic figures of Global Pop Culture. His music embodies the quintessentially “African American” genre of music, we will study his musical roots, trace the development of his career and connect JAY-Z with his culture. An analysis of his business empire will include his drug-marked youth, musical achievements, and urban-informed business savvy. The Seminar will discuss his lyrics and their meanings which reveal JAY-Z’s art and life. JAY-Z heavily borrows from American musical and literary traditions through an examination of select recordings, autobiography, film, essays and criticism, this Seminar will provide students the opportunity to discover the significance of JAY-Z’s contributions to lyric writing, popular music, and beyond. The following resources will facilitate students learning development by using multiple content formats. DJ Hero will engage students through gameplay, simulating DJ turntablism (mixing styles and techniques) connecting gaming activities to assignments, discussions, and projects on JAY-Z and current Rap artists.
    [Show full text]
  • 9 Lost and Found Westing Games Chapter
    9 ♦ Lost and Found Early the next morning a typed index card was tacked to the elevator’s back wall: LOST: Important business papers of no value to anyone but the owner. Please return to Sydelle Pulaski, 3C. No questions asked. The shorthand notebook was not returned, but the idea of a bulletin board was an instant success. By late afternoon the elevator was papered with notices and filled with tenants facing sideways and backwards, reading as they rode up and down. Lost: Silver cross on filigree chain, topaz pin and earrings, gold-filled cuff links. Return to Grace Windsor Wexler, 3D. REWARD! All players willing to discuss sharing their clues come to the coffee shop tomorrow 10 A.M. WHOEVER STOLE MY MICKEY MOUSE CLOCK BETTER GIVE IT BACK. JUST LEAVE IT IN THE HALL IN FRONT OF APARTMENT 3D WHEN NO ONE’S LOOKING. TURTLE WEXLER ORDER DOWN, NOT UP! Or come on up to the fifth floor and dine in elegance at SHIN HOO’S RESTAURANT Specializing in exquisite Chinese cuisine. LOST: STRING OF PEARLS. SENTIMENTAL VALUE. IF FOUND, PLEASE BRING THEM TO APARTMENT 2C. THANK YOU, FLORA BAUMBACH (DRESSMAKING AND ALTERATIONS, REASONABLY PRICED) FOUND: SIX CLUES The following clues, printed on squares of Westing Toilet Tissue, were found in the third floor hallway: BRAIDED KICKING TORTOISE ’SI A BRAT I am having an informal party this evening from eight o’clock on. You are all invited. Please come. J. J. Ford, apartment 4D Turtle, wherever you are— Be home at seven-thirty SHARP!!! Your loving mother “Mom, I’m home.” No one else was.
    [Show full text]
  • Thomé H. Fang, Tang Junyi and the Appropriation of Huayan Thought
    Thomé H. Fang, Tang Junyi and the Appropriation of Huayan Thought A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2014 King Pong Chiu School of Arts, Languages and Cultures TABLE OF CONTENTS Table of Contents 2 List of Figures and Tables 4 List of Abbreviations 5 Abstract 7 Declaration and Copyright Statement 8 A Note on Transliteration 9 Acknowledgements 10 Chapter 1 - Research Questions, Methodology and Literature Review 11 1.1 Research Questions 11 1.2 Methodology 15 1.3 Literature Review 23 1.3.1 Historical Context 23 1.3.2 Thomé H. Fang and Huayan Thought 29 1.3.3 Tang Junyi and Huayan Thought 31 Chapter 2 – The Historical Context of Modern Confucian Thinkers’ Appropriations of Buddhist Ideas 33 2.1 ‘Ti ’ and ‘Yong ’ as a Theoretical Framework 33 2.2 Western Challenge and Chinese Response - An Overview 35 2.2.1 Declining Status of Confucianism since the Mid-Nineteenth Century 38 2.2.2 ‘Scientism’ as a Western Challenge in Early Twentieth Century China 44 2.2.3 Searching New Sources for Cultural Transformation as Chinese Response 49 2.3 Confucian Thinkers’ Appropriations of Buddhist Thought - An Overview 53 2.4 Classical Huayan Thought and its Modern Development 62 2.4.1 Brief History of the Huayan School in the Tang Dynasty 62 2.4.2 Foundation of Huayan Thought 65 2.4.3 Key Concepts of Huayan Thought 70 2.4.4 Modern Development of the Huayan School 82 2.5 Fang and Tang as Models of ‘Chinese Hermeneutics’- Preliminary Discussion 83 Chapter 3 - Thomé H.
    [Show full text]
  • X********X************************************************** * Reproductions Supplied by EDRS Are the Best That Can Be Made * from the Original Document
    DOCUMENT RESUME ED 302 264 IR 052 601 AUTHOR Buckingham, Betty Jo, Ed. TITLE Iowa and Some Iowans. A Bibliography for Schools and Libraries. Third Edition. INSTITUTION Iowa State Dept. of Education, Des Moines. PUB DATE 88 NOTE 312p.; Fcr a supplement to the second edition, see ED 227 842. PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Annotated Bibllographies; *Authors; Books; Directories; Elementary Secondary Education; Fiction; History Instruction; Learning Resources Centers; *Local Color Writing; *Local History; Media Specialists; Nonfiction; School Libraries; *State History; United States History; United States Literature IDENTIFIERS *Iowa ABSTRACT Prepared primarily by the Iowa State Department of Education, this annotated bibliography of materials by Iowans or about Iowans is a revised tAird edition of the original 1969 publication. It both combines and expands the scope of the two major sections of previous editions, i.e., Iowan listory and literature, and out-of-print materials are included if judged to be of sufficient interest. Nonfiction materials are listed by Dewey subject classification and fiction in alphabetical order by author/artist. Biographies and autobiographies are entered under the subject of the work or in the 920s. Each entry includes the author(s), title, bibliographic information, interest and reading levels, cataloging information, and an annotation. Author, title, and subject indexes are provided, as well as a list of the people indicated in the bibliography who were born or have resided in Iowa or who were or are considered to be Iowan authors, musicians, artists, or other Iowan creators. Directories of periodicals and annuals, selected sources of Iowa government documents of general interest, and publishers and producers are also provided.
    [Show full text]
  • Roots Radical – Place, Power and Practice in Punk Entrepreneurship Sarah Louise Drakopoulou Dodd
    Roots radical – Place, power and practice in punk entrepreneurship Sarah Louise Drakopoulou Dodd The significance continues to grow of scholarship that embraces critical and contextualized entrepreneurship, seeking rich explorations of diverse entrepreneurship contexts. Following these influences, this study explores the potentialized context of punk entrepreneurship. The Punk Rock band Rancid has a 20-year history of successfully creating independent musical and related creative enterprises from the margins of the music industry. The study draws on artefacts, interviews and videos created by and around Rancid to identify and analyse this example of marginal, alternative entrepreneurship. A three-part analytic frame was applied to analysing these artefacts. Place is critical to Rancid’s enterprise, grounding the band socially, culturally, geographically and politically. Practice also plays an important role with Rancid’s activities encompassing labour, making music, movement and human interactions. The third, and most prevalent, dimension of alterity is that of power which includes data related to dominance, subordination, exclusion, control and liberation. Rancid’s entrepreneurial story is depicted as cycles, not just a linear journey, but following more complicated paths – from periphery to centre, and back again; returning to roots, whilst trying to move forwards too; grounded in tradition but also radically focused on dramatic change. Paradox, hybridized practices, and the significance of marginal place as a rich resource also emerged from the study. Keywords: entrepreneurship; social construction; punk rock; paradox; marginality; periphery Special thanks are due to all the punks and skins who have engaged with my reading of the Rancid story, and given me so much support and feedback along the way, especially Rancid’s drummer, Branden Steineckert, Jesse from Machete Manufacturing, Kostis, Tassos (Rancid Punx Athens Crew) and Panayiotis.
    [Show full text]
  • The Life & Rhymes of Jay-Z, an Historical Biography
    ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life.
    [Show full text]
  • ACRONYM 13 - Round 9 Written by Danny Vopava, Erik Nelson, Blake Andert, Rahul Rao-Potharaju, William Golden, and Auroni Gupta
    ACRONYM 13 - Round 9 Written by Danny Vopava, Erik Nelson, Blake Andert, Rahul Rao-Potharaju, William Golden, and Auroni Gupta 1. The first NCAA basketball game to be broadcast in primetime was played at this venue in 1968. From 1971 to 1975, this venue served as the home of its city's namesake professional baseball, football, and basketball teams. Bobby Riggs lost to Billie Jean King in the Battle of the Sexes in this venue. Before becoming the Titans in 1996, the NFL's (*) Oilers played in this stadium, which inspired the name of a form of artificial turf. A team oncecalled the "Colt 45s" later played in, for 10 points, what pioneering domed stadium in Houston, Texas? ANSWER: (NRG) Astrodome [or Houston Astrodome] <Vopava> 2. In 2005 this band's drummer and bassist formed a supergroup with Shane Gallagher while its guitarist coped with painkiller addiction. That former member of this group also formed the band Box Car Racer. A 2008 plane crash in California nearly killed both DJ A.M. and this band's (*) drummer. The lyric "she left me roses by the stairs" comes from a gift received by this band's former singer, who now spends time searching for aliens. Tom DeLonge was a member of, For 10 points, what rock band that sang "Say it ain't so / I will not go" in their hit "All the Small Things"? ANSWER: Blink-182 <Vopava> 3. A woman who married into this family resorts to performing Adele hits as singing telegrams to make money. As an adult, one member of this familytakes in Deja as a foster child, inspired by the fact that he himself was abandoned as a baby at afire station.
    [Show full text]
  • Jay-Z-Beyonce Vip-Offer 5.Pdf
    JAY-Z & BEYONCÉ play the OLYMPIASTADION BERLIN On Thursday, June 28, 2018, JAY-Z & BEYONCÉ will hit the Olympiastadion Berlin on their OTR Tour II. The couple’s worldwide name of recognition is beyond dispute. Hits like Crazy in Love, Baby Boy or Single Ladies (Put a ring on it) crowned BEYONCÉ the Queen of Pop and vaulted her on the top of the world. The Rapper, music producer, entrepreneur and husband JAY-Z sits enthroned right there next to her. Songs like Hard Knock Life, Empire State of Mind and 99 Problems turned the New Yorker into a legend of Hip Hop. On the following pages, you can find all the information on how to experience this magnificent live concert in the luxurious hospitality areas of the Olympiastadion Berlin. If you are interested, we would kindly ask you to sign and fill out the reservation form (last page) and send it back to us via fax (030 – 306 88 120) or via email ([email protected]). We look forward to welcome you! OVERVIEW OF THE VIP-AREAS BUSINESS SEATS HALL OF HONOUR State guests from around the world, members of government and guests of honor from the world of sports and entertainment take their seats here and you could make this the arena for your event as well. The Hall of Honor is a place of prominence – grand panoramic windows, provide one of the most impressive views of the stadium. Business Seat in the category 1 with best view of the stage* One parking pass per two tickets Access via a separate entrance Hot and cold buffet in the Atrium or Business Lounge Large selection of beverages** Attentive service personnel BUSINESS SEATS HALL OF HONOUR EUR 395 excl.
    [Show full text]
  • Blige Back On
    a pan 31 o The most popular singles andt-acks. acc Jrding to R &B Hp Hop radio aL 1iemeimpressions meas.Ired by Nielsen Broadcast Data Systems and sales data from subset Are FMB/Hip-Hop stras compiled by Nielsen Sourdscan Greates GsnerSales and Greatest Gainer; Airplay are awarded respectively for the largest retail sales and arptEy ricreases or the chart. See 3ha is Legend br r Iles and explanations. r 2007, VNU Business Media. Inc and Nielsen SoundScan. Inc. All rights est Ned ARRA" MONRONEI l' SALES DATA COMPILED BY Nielsen Nielsen aroactsst r-a J SOUn4SCHn 3- E TITLE Artist ER) PRODUCER (SONGWRITER) IMPRINT / PROMOTION en it Elisabeth Withers IRREPLACEABLE B BE WITH YOU 1 1 1 T.GAD (T e BLUE NOTE VIRGIN ir Sw1CAIE.BIVCMFSJE -0 (S9STHJI gALES1LS13iKíBi.TEi6wMAGEKE1 CAEMORNIDRPEFFZ) Oi GAD.E.WITHERS) Clara ®LISTEN Beyonce PROMISE 2 2 2 THE UNDERDOGS B KNOWLES IB KNOWLES.H. KRIEGERS CUILER,A PREVER) Co MUSIC WORLD COLUMBIA P0L0W DA DON (C. PHARRIS.J CAMERON.J JONES E. WILLIAMS) 00 LAFACE ZOMBA er Jay -Z YOU Lloyd Featuring Lil' Wayne ki 30 SOMETHING ROC JAMIDJMG a DR. EIRE C CARTED : - D PARKER) -A- FELLADEF 3 BIG REESE. JASPER (M SINCLAIR,J CAMERON. D CARTER.9 KEMP) 0 THE INC /UNIVERSAL MOTOWN IS ' 0 available only ME WHAT YOU GOT Jay -Z ! 3 I WANNA LOVE YOU Akon Featuring Snoop Dogg SHOW 4 4 3 JUST BLAZE (SC CARTE LER.0 RIDENHOUR.J BOXLEVM.MCEWAN) 0 ROC -A- FELLADEF JAMIDJMG A THIAM E AM,C BROADUSI Q KONVICT %UPFRONT /SRC,UNIVERSAL MOTOWN on 12 -inch Gerald Levert WE FLY HIGH Jim Jones IN MY SONGS 6C 5 G.LEVERT,E NICHOLAS (G LEVERT.E LEVERT,SR.,E t NICHOLAS) ATLANTII' Z.
    [Show full text]
  • Song Title Artist Disc
    Song Title Artist Disc # # 1 CRUSH GARBAGE 6639 # 9 DREAM LENNON, JOHN 6013 #1 NELLY 9406 (LOVE IS LIKE A) HEATWAVE MARTHA & THE VANDELLAS 7235 (YOU WANT TO) MAKE A MEMORY BON JOVI 14106 (YOU'VE GOT) THE MAGIC TOUCH PLATTERS, THE 1255 '03 BONNIE & CLYDE JAY-Z & BEYONCE 10971 1 THING AMERIE 13133 1, 2, 3 RED LIGHT 1910 FRUITGUM CO. 10237 1,2 STEP CIARA & MISSY ELLIOTT 12989 10 OUT OF 10 LOUCHIE LOU 7399 10 SECONDS DOWN SUGAR RAY 6418 10,000 PROMISES BACKSTREET BOYS 3350 100 YEARS FIVE FOR FIGHTING 12772 100% PURE LOVE WATERS, CRYSTAL 9306 1000 OCEANS AMOS, TORRIE 6711 10TH AVE. FREEZEOUT SPRINGSTEEN, BRUCE 11813 10TH AVENUE FREEZE OUT SPRINGSTEEN, BRUCE 2632 12:51 STROKES, THE 12520 1-2-3 BARRY, LEN 8210 ESTEFAN, GLORIA 13 18 & LIFE SKID ROW 2633 1969 STEGALL, KEITH 6712 1979 SMASHING PUMPKINS 6713 1982 TRAVIS, RANDY 3386 1985 BOWLING FOR SOUP 12880 1999 PRINCE 6714 19TH NERVOUS BREAKDOWN ROLLING STONES, THE 1032 2 BECOME 1 SPICE GIRLS 1427 2 STEP DJ UNK 14155 20 GOOD REASONS THIRSTY MERC 14107 2001 INTRO ELVIS 1604 20TH CENTURY FOX DOORS, THE 6715 21 QUESTIONS 50 CENT & NATE DOGG 11730 24 JEM 13169 24 HOURS AT A TIME TUCKER, MARSHALL, B 2634 24/7 EDMONDS, KEVON 6820 25 MILES STARR, EDWIN 9488 25 OR 6 TO 4 CHICAGO 4735 26 MILES FOUR PREPS, THE 10102 26 CENTS WILKINSONS, THE 6821 29 NIGHTS LEIGH, DANNI 6822 3 LIBRAS PERFECT CIRCLE, A 6824 3 LITTLE PIGS GREEN JELLY 2429 3:00 A.M.
    [Show full text]