Doo Wop (That Thing)
"Doo Wop" is the debut solo single from American recording artist Lauryn Hill. The song is taken from The Miseducation of Lauryn Hill. Written and produced by Hill, the song was released as the album's lead single in July 1998, it was Hill's only Billboard Hot 100 number-one, to date. The song won Best Female R&B Vocal Performance and Best R&B Song at the 1999 Grammy Awards on February 24, 1999. "Doo Wop" debuted at number one on the Billboard Hot 100, making it the tenth song in the chart's history to do so, the first debut single to do so. The song is a warning from Hill to African-American men and women caught in "the struggle". Both the women who " be a hard rock when they are a gem", the men who are "more concerned with his rims, his Timbs, than women", are admonished by Hill, who warns them not to allow "that thing" to ruin their lives; the chorus has been praised for promoting egalitarianism between the sexes. Hill's first solo singles were from two 1997 movie soundtracks: "The Sweetest Thing" from Love Jones and a cover of Frankie Valli's 1967 song "Can't Take My Eyes Off You" for Conspiracy Theory.
"Doo Wop", released in 1998 as her first solo song from her debut album, was a major success. It became the 10th single to debut at number-one on the Billboard Hot 100, the first by a rap artist, it stayed there for two weeks in the fall of 1998. On Billboard's R&B Singles chart, it reached #2 for three weeks in November 1998, held out of the top spot by "Nobody's Supposed to Be Here" by Deborah Cox, it won two Grammy Awards the following February. The success of "Doo Wop" and the Miseducation of Lauryn Hill album established Hill as a success outside of her group, The Fugees. In 1999, "Doo Wop" was ranked at number two to find the best music of 1998 on The Village Voice's Pazz & Jop annual critics' poll, after Fatboy Slim's "The Rockafeller Skank". "Doo Wop" is included as number 359 on the Songs of the Century list. At the Grammy Awards of 1999, the song won two awards: Best R&B Song and Best Female R&B Vocal Performance; the song's music video won four 1999 MTV Video Music Awards for: Best Female Video, Best R&B Video, Best Art Direction, Video of the Year.
The song's music video was filmed in Manhattan's Washington Heights, with the video showing two Hills singing side by side at a block party. On the left side of the split screen, she is dressed in full late 1960s attire, complete with a bob cut and a zebra-striped dress, paying homage to older R&B and doo wop, on the right side of the screen, the present-day Hill is shown in a homage to hip hop culture. Slant Magazine's Paul Schrodt praised the "Doo Wop" music video, stating "The resulting split-screen music video is the most flabbergasting testament to what the neo soul movement is all about." In 1999, Filipino rapper Francis Magalona recorded a parody version titled "Bading ang Dating" which appears on the albums Interscholastic and The Best of Francis M. Kanye West's protégée Teyana Taylor, signed in 2012 to his G. O. O. D. Music label, released a mixtape in early 2012 called The Misunderstanding of Teyana Taylor, which draws particular influence from much of Hill's work. One of the tracks, "Lauryn's Interlude", features Taylor performing a shortened, a capella performance of Hill's classic song.
The American avant-garde band Mr. Bungle performed an excerpt of the song as an outro for their song "Travolta" while playing Hemanta Mukherjee's "Ei Raat Tomar Amar" during live shows in the late 1990s. Devendra Banhart has covered the song during live performances including Bonnaroo 2006, the Pitchfork Music Festival and Tim Festival 2006, in Brazil. Amy Winehouse incorporated the song into her own "He Can Only Hold Her" at live concerts in 2006, 2007 and 2008. Rihanna covered the song while on Kanye West's Glow in the Dark Tour in 2008; the song was covered in Spanish by Anita Tijoux in a collaboration with the producer Quantic in 2013. The 2014 Glee episode "Back-up Plan" includes a cover version performed by Mercedes Jones and Santana Lopez; the 2015 film Pitch Perfect 2 included a cover of the song by singer Ester Dean who performed the hook of the song in the Riff Off. Drake sampled the song to create a song titled "Draft Day". In July 2014, French producer MKL released a remix of "Doo Wop".
Lyrics of this song at MetroLyrics
Andrew "Andy" Carthy, better known by his stage name Mr. Scruff, is an English record producer and DJ, he lives in Stretford, Greater Manchester and studied fine art at the Psalter Lane campus of Sheffield Hallam University. Before he could make a living from his music alone, he worked as a shelf stocker in the Hazel Grove branch of Kwik Save, his stage name was inspired by his scruffy facial hair as well as his trademark loose-lined drawing style. He has been DJing since 1994, at first in and around Manchester nationwide, he is known for DJing in marathon sets, his eclectic musical taste, his love of a "nice cup of tea", the quirky home-produced visuals and animations associated with his music. In an interview he said: "It's about paying attention to detail. I get annoyed. I’m hard on myself." In his twenties Mr. Scruff's first 12" vinyl, "Hocus Pocus", was released on the small Manchester-based label Robs Records. Subsequent singles and his first album followed. After a brief spell working with Mark Rae, he moved to the larger Ninja Tune label and subsequently released the albums Keep It Unreal and Trouser Jazz.
His most notable hit, "Get a Move On", is built around "Bird's Lament" by Moondog and has been used in several commercials ranging from Lincoln and Volvo automobiles to France Télécom and GEICO insurance. The song samples Shifty Henry's "Hyping Woman Blues" and led to a renewal of interest in Henry's compositions. In 2004, Mr. Scruff released Keep It Solid Steel Volume 1, the first of what is intended to be a series of several DJ-mixed compilation CDs for Ninja Tune's Solid Steel series of artist mixes; these mixes are designed to recreate the eclectic genres one would expect to hear at a Mr. Scruff club night. In November 2006, Ninja Tune confirmed that the 8th Solid Steel record would be mixed by J Rocc and the 9th would be Volume 2 from Mr. Scruff. Other Solid Steel mixes have been released by fellow Ninja Tune artists including The Herbaliser, Hexstatic, DJ Food and Amon Tobin, he has a wide array of remixes to his name, has produced tracks for others – notably "Echo of Quiet and Green" for sometime-collaborator Niko for her 2004 album Life on Earth.
Niko returned the favour. Having performed at The Big Chill Festival in Eastnor Castle deer park, Herefordshire, he was asked in 2006 to select the tracks for the compilation album, Big Chill Classics. July 2008 saw the release of Southport Weekender Volume 7, a double album released in the Southport Weekender series, recorded in a purpose-built holiday village in Southport, Merseyside; the first disc was mixed by German nu jazz DJs Jazzanova, the second was mixed by Mr. Scruff. Scruff's contribution is a mix of soul music. In 2008, a new independent record label, Ninja Tuna, was founded, a collaboration between Scruff and the Ninja Tune label. Mr. Scruff's most recent singles and the album Ninja Tuna were all released on the new label. A US-only release of the album on mp3 came with 10 additional tracks from the Ninja Tuna recording sessions, under the title Bonus Bait. A CD version of this supplementary album was released in the UK in February 2009. On 19 May 2014 Ninja Tuna released Friendly Bacteria.
Mr. Scruff's album and single cover art, music videos and his official website are noted for their whimsical cartoonish look; the images and animations are projected onto large screens during his gigs. Scruff drew cartoons for music magazines such as Jockey Slut in the 1990s. Mr. Scruff began selling tea from a small room at the Manchester club, the Music Box, where he was resident DJ in around 2000, with the proceeds going to charity; when he started touring, Scruff took the enterprise with him and gained a reputation for being the DJ with the teashop. When appearing at festivals, such as Big Chill and WOMAD, tea stalls or tents were erected, were open for the duration of the festivals. Scruff subsequently started an online tea company, Make Us a Brew, produced his own range of fair trade teabags which used to be sold in department store chains Selfridges and Booths, his official website still sells the branded tea-related paraphernalia including teapots and tea-towels, but the tea is no longer sold as the Make Us a Brew company was dissolved in September 2013.
He is the joint owner, with his manager Gary McClarnan, of Teacup Kitchen, located in Thomas Street, Manchester. Most of Mr. Scruff's studio albums contain tracks about fish and other sea-life, which cut up recordings of voiceovers from children's stories and nature documentaries to create surreal and silly stories, they began with the track "Sea Mammal". It is the opening track on Scruff's first album; this was followed by "Wail" on his first album. Keep It Unreal featured the tracks "Shanty Town" and "Fish", the latter of which features samples from the likes of David Attenborough and David Bellamy; the album Trouser Jazz closes with another cut-up track, "Ahoy There!", noted as featuring an appearance from "Albert Ross". Scruff has stated. However, marine references continue in Scruff's work including the track "Shrimp" from Trouser Jazz, the title and cover art of his albums, Ninja Tuna and its companion release, Bonus Bait. Mr. Scruff
Apricot Morning is the second album by Quantic, released on June 25, 2002. Apricot Morning – 6:26 Transatlantic – 4:43 Brand New Watusi – 6:01 Search the Heavens – 5:53 Wider than the Sky – 3:55 Primate Boogaloo – 3:35 Blackstone Rock – 4:10 Sweet Calling – 4:43 Trouble From The River – 6:26 Not So Blue – 5:07 Off the Beaten Track – 3:30 Official album page Apricot Morning review at Allmusic
A remix is a piece of media, altered from its original state by adding, and/or changing pieces of the item. A song, piece of artwork, video, or photograph can all be remixes; the only characteristic of a remix is that it appropriates and changes other materials to create something new. Most remixes are a subset of audio mixing in music and song recordings. Songs may be remixed for a variety of reasons: to adapt or revise a song for radio or nightclub play to create a stereo or surround sound version of a song where none was available to improve the fidelity of an older song for which the original master has been lost or degraded to alter a song to suit a specific music genre or radio format to use some of the same materials, allowing the song to reach a different audience to alter a song for artistic purposes. To provide additional versions of a song for use as bonus tracks or for a B-side, for example, in times when a CD single might carry a total of 4 tracks to create a connection between a smaller artist and a more successful one, as was the case with Fatboy Slim's remix of "Brimful of Asha" by Cornershop to improve the first or demo mix of the song to ensure a professional product.
To provide an alternative version of a song to improve a song from its original stateRemixes should not be confused with edits, which involve shortening a final stereo master for marketing or broadcasting purposes. Another distinction should be made between a remix, which recombines audio pieces from a recording to create an altered version of a song, a cover: a re-recording of someone else's song like Mike D's remix of Moby's "Natural Blues". While audio mixing is one of the most popular and recognized forms of remixing, this is not the only media form, remixed in numerous examples. Literature, film and social systems can all be argued as a form of remix Since the beginnings of recorded sound in the late 19th century, technology has enabled people to rearrange the normal listening experience. With the advent of editable magnetic tape in the 1940s and 1950s and the subsequent development of multitrack recording, such alterations became more common. In those decades the experimental genre of musique concrète used tape manipulation to create sound compositions.
Less artistically lofty edits produced medleys or novelty recordings of various types. Modern remixing had its roots in the dance hall culture of late-1960s/early-1970s Jamaica; the fluid evolution of music that encompassed ska, rocksteady and dub was embraced by local music mixers who deconstructed and rebuilt tracks to suit the tastes of their audience. Producers and engineers like Ruddy Redwood, King Tubby and Lee "Scratch" Perry popularized stripped-down instrumental mixes of reggae tunes. At first they dropped the vocal tracks, but soon more sophisticated effects were created, dropping separate instrumental tracks in and out of the mix and repeating hooks, adding various effects like echo and delay; the German krautrock band Neu! used other effects on side two of their album Neu! 2 by manipulating their released single Super/Neuschnee multiple ways, utilizing playback at different turntable speeds or mangling by using of a cassette recorder. From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs to get dancers on the floor and keep them there.
One noteworthy figure was Tom Moulton. Though not a DJ, Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s, his tapes became popular and he came to the attention of the music industry in New York City. At first Moulton was called upon to improve the aesthetics of dance-oriented recordings before release, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single. Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton and their contemporaries at Salsoul Records proved to be the most influential group of remixers for the disco era; the Salsoul catalog is seen as being the "canon" for the disco mixer's art form. Pettibone is among a small number of remixers whose work transitioned from the disco to the House era.
His contemporaries included François Kevorkian. Contemporaneously to disco in the mid-1970s, the dub and disco remix cultures met through Jamaican immigrants to the Bronx, energizing both and helping to create hip-hop music. Key figures included Grandmaster Flash. Cutting and scratching became part of the culture, creating what Slate magazine called "real-time, live-action collage." One of the first mainstream successes of this style of remix was the 1983 track Rockit by Herbie Hancock, as remixed by Grand Mixer D. ST. Malcolm McLaren and the creative team behind ZTT Records would feature the "cut up" style of hip hop on such records as "Duck Rock". Early pop remixes were simple.
Funk is a music genre that originated in African-American communities in the mid-1960s when African-American musicians created a rhythmic, danceable new form of music through a mixture of soul music and rhythm and blues. Funk de-emphasizes melody and chord progressions and focuses on a strong rhythmic groove of a bass line played by an electric bassist and a drum part played by a drummer. Like much of African-inspired music, funk consists of a complex groove with rhythm instruments playing interlocking grooves. Funk uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths and thirteenths. Funk originated in the mid-1960s, with James Brown's development of a signature groove that emphasized the downbeat—with heavy emphasis on the first beat of every measure, the application of swung 16th notes and syncopation on all bass lines, drum patterns, guitar riffs. Other musical groups, including Sly and the Family Stone, the Meters, Parliament-Funkadelic, soon began to adopt and develop Brown's innovations.
While much of the written history of funk focuses on men, there have been notable funk women, including Chaka Khan, Lyn Collins, Brides of Funkenstein, Mother's Finest, Betty Davis. Funk derivatives include the psychedelic funk of George Clinton. Funk samples and breakbeats have been used extensively in hip hop and various forms of electronic dance music, such as house music, old-school rave and drum and bass, it is the main influence of go-go, a subgenre associated with funk. The word funk referred to a strong odor, it is derived from Latin "fumigare" via Old French "fungiere" and, in this sense, it was first documented in English in 1620. In 1784 "funky" meaning "musty" was first documented, which, in turn, led to a sense of "earthy", taken up around 1900 in early jazz slang for something "deeply or felt". In early jam sessions, musicians would encourage one another to "get down" by telling one another, "Now, put some stank on it!". At least as early as 1907, jazz songs carried titles such as Funky.
The first example is an unrecorded number by Buddy Bolden, remembered as either "Funky Butt" or "Buddy Bolden's Blues" with improvised lyrics that were, according to Donald M. Marquis, either "comical and light" or "crude and downright obscene" but, in one way or another, referring to the sweaty atmosphere at dances where Bolden's band played; as late as the 1950s and early 1960s, when "funk" and "funky" were used in the context of jazz music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer "was the first to use the word'funky' to explain to other musicians that their music should be made more syncopated and danceable." The style evolved into a rather hard-driving, insistent rhythm, implying a more carnal quality. This early form of the music set the pattern for musicians; the music was identified as slow, loose, riff-oriented and danceable. A great deal of funk is rhythmically based on a two-celled onbeat/offbeat structure, which originated in sub-Saharan African music traditions.
New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late 1940s, made it its own. New Orleans funk, as it was called, gained international acclaim because James Brown's rhythm section used it to great effect. Funk uses the same richly coloured extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. However, unlike bebop jazz, with its complex, rapid-fire chord changes, funk abandoned chord changes, creating static single chord vamps with melodo-harmonic movement and a complex, driving rhythmic feel; some of the best known and most skilful soloists in funk have jazz backgrounds. Trombonist Fred Wesley and saxophonist Pee Wee Ellis and Maceo Parker are among the most notable musicians in the funk music genre, with both of them working with James Brown, George Clinton and Prince; the chords used in funk songs imply a dorian or mixolydian mode, as opposed to the major or natural minor tonalities of most popular music.
Melodic content was derived by mixing these modes with the blues scale. In the 1970s, jazz music drew upon funk to create a new subgenre of jazz-funk, which can be heard in recordings by Miles Davis, Herbie Hancock. Funk creates an intense groove by using strong guitar riffs and bass lines played on electric bass. Like Motown recordings, funk songs use bass lines as the centerpiece of songs. Indeed, funk has been called the style in which the bass line is most prominent in the songs, with the bass playing the "hook" of the song. Early funk basslines used syncopation, but with the addition of more of a "driving feel" than in New Orleans funk, they used blues scale notes along with the major third above the root. Funk basslines use sixteenth note syncopation, blues scales, repetitive patterns with leaps of an octave or a larger interval. Funk bass lines emphasize repetitive patterns, locked-in grooves, continuous playing, slap and popping bass. Slapping and popping uses a mixture of thumb-slapped low notes (also
The 5th Exotic
The 5th Exotic is the first album by Quantic, released on May 31, 2001. 01. Introduction 02; the 5th Exotic 03. Snakes in the Grass 04. Infinite Regression 05. Life in the Rain 06. Long Road Ahead 07. Common Knowledge 08; the Picture Inside 09. Through These Eyes 10. Time is the Enemy 11. In the Key of Blue 12. Meaning Official album page Discogs
The Guardian is a British daily newspaper. It was founded in 1821 as The Manchester Guardian, changed its name in 1959. Along with its sister papers The Observer and The Guardian Weekly, the Guardian is part of the Guardian Media Group, owned by the Scott Trust; the trust was created in 1936 to "secure the financial and editorial independence of the Guardian in perpetuity and to safeguard the journalistic freedom and liberal values of the Guardian free from commercial or political interference". The trust was converted into a limited company in 2008, with a constitution written so as to maintain for The Guardian the same protections as were built into the structure of the Scott Trust by its creators. Profits are reinvested in journalism rather than distributed to shareholders; the current editor is Katharine Viner: she succeeded Alan Rusbridger in 2015. Since 2018, the paper's main newsprint sections have been published in tabloid format; as of November that year, its print edition had a daily circulation of 136,834.
The newspaper has an online edition, TheGuardian.com, as well as two international websites, Guardian Australia and Guardian US. The paper's readership is on the mainstream left of British political opinion, its reputation as a platform for liberal and left-wing editorial has led to the use of the "Guardian reader" and "Guardianista" as often-pejorative epithets for those of left-leaning or "politically correct" tendencies. Frequent typographical errors in the paper led Private Eye magazine to dub it the "Grauniad" in the 1960s, a nickname still used today. In an Ipsos MORI research poll in September 2018 designed to interrogate the public's trust of specific titles online, The Guardian scored highest for digital-content news, with 84% of readers agreeing that they "trust what see in it". A December 2018 report of a poll by the Publishers Audience Measurement Company stated that the paper's print edition was found to be the most trusted in the UK in the period from October 2017 to September 2018.
It was reported to be the most-read of the UK's "quality newsbrands", including digital editions. While The Guardian's print circulation is in decline, the report indicated that news from The Guardian, including that reported online, reaches more than 23 million UK adults each month. Chief among the notable "scoops" obtained by the paper was the 2011 News International phone-hacking scandal—and in particular the hacking of the murdered English teenager Milly Dowler's phone; the investigation led to the closure of the News of the World, the UK's best-selling Sunday newspaper and one of the highest-circulation newspapers in history. In June 2013, The Guardian broke news of the secret collection by the Obama administration of Verizon telephone records, subsequently revealed the existence of the surveillance program PRISM after knowledge of it was leaked to the paper by the whistleblower and former NSA contractor Edward Snowden. In 2016, The Guardian led an investigation into the Panama Papers, exposing then-Prime Minister David Cameron's links to offshore bank accounts.
It has been named "newspaper of the year" four times at the annual British Press Awards: most in 2014, for its reporting on government surveillance. The Manchester Guardian was founded in Manchester in 1821 by cotton merchant John Edward Taylor with backing from the Little Circle, a group of non-conformist businessmen, they launched their paper after the police closure of the more radical Manchester Observer, a paper that had championed the cause of the Peterloo Massacre protesters. Taylor had been hostile to the radical reformers, writing: "They have appealed not to the reason but the passions and the suffering of their abused and credulous fellow-countrymen, from whose ill-requited industry they extort for themselves the means of a plentiful and comfortable existence, they do not toil, neither do they spin, but they live better than those that do." When the government closed down the Manchester Observer, the mill-owners' champions had the upper hand. The influential journalist Jeremiah Garnett joined Taylor during the establishment of the paper, all of the Little Circle wrote articles for the new paper.
The prospectus announcing the new publication proclaimed that it would "zealously enforce the principles of civil and religious Liberty warmly advocate the cause of Reform endeavour to assist in the diffusion of just principles of Political Economy and support, without reference to the party from which they emanate, all serviceable measures". In 1825 the paper merged with the British Volunteer and was known as The Manchester Guardian and British Volunteer until 1828; the working-class Manchester and Salford Advertiser called the Manchester Guardian "the foul prostitute and dirty parasite of the worst portion of the mill-owners". The Manchester Guardian was hostile to labour's claims. Of the 1832 Ten Hours Bill, the paper doubted whether in view of the foreign competition "the passing of a law positively enacting a gradual destruction of the cotton manufacture in this kingdom would be a much less rational procedure." The Manchester Guardian dismissed strikes as the work of outside agitators: " if an accommodation can be effected, the occupation of the agents of the Union is gone.
They live on strife "The Manchester Guardian was critical of US President Abraham Lincoln's conduct during the US Civil War, writing on the news that Abraham Lincoln had been assassinated: "Of his rule, we can never speak except as a series of acts abhorrent to every true notion of constitutional right and human liberty " C. P. Scott ma