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Old School Versus New School Hip Hop Essay - 970 …
"History of Rap" Jimmy Fallon & Justin Timberlake
Music quality was very simple
Short rhythms and very simple background music
Can relate to basso continuo - While the artist speaks the words, a constant and steady beat or rhythm is played in the background
Very few syllables per bar of music and a large emphasis on volume and power
By: Florence Van Overeem, Giulio Conte, Nate Gordon, Jonathan Baker, Morgan Scott, & Phillip Stringer
The Atchafalaya, continuing to grow, had become, by volume of discharge, the second-largest river in the United States. Compared with the Mississippi, it had a three-to-one advantage in slope. Around 1950, geologists predicted that by 1975 the shift would be unstoppable. The Mississippi River and Tributaries Project would be in large part invalidated, the entire levee system of southern Louisiana would have to be rebuilt, communities like Morgan City in the Atchafalaya Basin would be a good deal less preserved than Pompeii, and the new mouth of the Mississippi would be a hundred and twenty miles from the old. Old River Control was authorized in 1954.
Difference Between Old-School And New-School HIPHOP
For the Corps of Engineers, not to mention the people of the southern parishes, the triumph of 1937 brought fresh courage, renewed confidence—a sense once again that the river could be controlled. Major General Harley B. Ferguson, the division commander, became a regional military hero. It was he who had advocated the project’s many cutoffs, all made in the decade since 1927, which shortened the river by more than a hundred miles, reducing the amount of friction working against the water. The more distance, the more friction. Friction slows the river and raises its level. The mainline levees were rebuilt, extended, reinforced—and their height was almost doubled, reaching thirty feet. There was now a Great Wall of China running up each side of the river, with the difference that while the levees were each about as long as the Great Wall they were in many places higher and in cross-section ten times as large. Work continued on the floodways. There was one in Missouri that let water out of the river and put it back into the river a few miles downstream. But the principal conduit of release—without which Bonnet Carre would be about as useful as a bailing can—was the route of the Atchafalaya. Since the lower part of it was the largest river swamp in North America, it was, by nature, ready for the storage of water. The Corps built guide levees about seventeen miles apart to shape the discharge toward Atchafalaya Bay, incidentally establishing a framework for the swamp. In the northern Atchafalaya, near Old River, they built a three-chambered system of floodways involving so many intersecting levees that the country soon resembled a cranberry farm developed on an epic scale. The West Atchafalaya Floodway had so many people in it, and so many soybeans, that its levees were to be breached only by explosives in extreme emergency—maybe once in a hundred years. The Morganza Floodway, completed in the nineteen-fifties, contained farmlands but no permanent buildings. A couple of towns and the odd refinery were surrounded by levees in the form of rings. But the plane geometry of the floodways was primarily intended to take the water from the Mississippi and get it to the swamp.
In 1735, New Orleans went under—and again in 1785. The intervals—like those between earthquakes in San Francisco—were generally long enough to allow the people to build up a false sense of security. In response to the major floods, they extended and raised the levees. A levee appeared across the river from New Orleans, and by 1812 the west bank was leveed to the vicinity of Old River, a couple of hundred miles upstream. At that time, the east bank was leveed as far as Baton Rouge. Neither of the levees was continuous. Both protected plantation land. Where the country remained as the Choctaws had known it, floodwaters poured to the side, reducing the threat elsewhere. Land was not cheap—forty acres cost three thousand dollars—but so great was the demand for riverfront plantations that by 1828 the levees in southern Louisiana were continuous, the river artificially confined. Just in case the levees should fail, some plantation houses—among their fields of sugarcane, their long bright rows of oranges—were built on Indian burial mounds. In 1828, Bayou Manchac was closed. In the whole of the Mississippi’s delta plain, Bayou Manchac happened to have been the only distributary that went east. It was dammed at the source. Its discharge would no longer ease the pressures of the master stream.
Old School Music Vs New School Music Free Essays
Haggis, who is fifty-seven, was preparing for two events later that week: a preview screening in New York and a trip to Haiti. He began doing charitable work in Haiti well before the 2010 earthquake, and he has raised millions of dollars for that country. He told me that he was planning to buy ten acres of land in Port-au-Prince for a new school, which he hoped to have open in the fall. (In fact, the school—the first to offer free secondary education to children from the city’s slums—opened in October.) In Hollywood, he is renowned for his ability to solicit money. The actor Ben Stiller, who has accompanied Haggis to Haiti, recalls that Haggis once raised four and a half million dollars in two hours.
After a year of this, his parents transferred him to a progressive boys’ school in Bracebridge, Ontario, where there was very little system to subvert. Haggis grew his curly blond hair to his shoulders. He discovered a mentor in his art teacher, Max Allen, who was politically radical and gay. Flouting Ontario’s strict censorship laws, Allen opened a theatre in Toronto that showed banned films; Haggis volunteered at the box office.
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Old School vs. New School Coaching Styles | The Sport …
The water czar, I feel a duty to insert, is not the very model of a major general. If he were to chew nails, he would break his teeth. I am not attempting to suggest that he lacks the presence of a general, or the mien, or the bearing. Yet he is, withal, somewhat less martial than most English teachers. Effusive and friendly in a folk-and-country way, courteous, accommodating, he is of the sort whose upward mobility would be swift in a service industry. Make no mistake, he is a general. “Shall we just go to the Four Seasons? A nice little place to have lunch,” he said one day in Vicksburg, and we drove to a large building in the center of town, where his car was left directly in front of the main entrance, beside a bright-yellow curb under various belligerent signs forbidding parking. It stayed there for an hour while he had his crab gumbo.
The battle between old school and new school hip-hop | …
Bourque said that farmers who raise crawfish in artificial ponds—a fairly new and rapidly expanding industry—were influencing the Corps to keep the water low in the Atchafalaya in order to squeeze out swamp fishermen like him, whose forebears were swamp fishermen. It is possible that the charge he was making was based on pure suspicion, but now that the structures were emplaced at Old River—and the Corps had assumed charge of the latitude flow—suspicion was one more force they had to try to control.
The battle between old school and new school hip-hop.
At Old River a couple of days ago, near the new structure, Nettles and LeRoy Dugas were looking over a scene full of cargo barges, labor barges, crawling bulldozers, hundreds of yards of articulated concrete mattress revetments recently sunk into place, and millions of tons of new limestone riprap. Nettles asked Dugie how long he thought the new armor would last.
NEW HIP HOP MUSIC VS OLD SCHOOL HIP-HOP MUSIC
Haggis got caught forging a check, and he soon left school. He was drifting, hanging out with hippies and drug dealers. Two friends died from overdoses. “I had a gun pointed in my face a couple of times,” he recalls. He attended art school briefly, then quit; after taking some film classes at a community college, he dropped out of that as well. He began working in construction full time for his father. He also was the manager of a hundred-seat theatre that his father had created in an abandoned church. On Saturday nights, he set up a movie screen onstage, introducing himself and other film buffs to the works of Bergman, Hitchcock, and the French New Wave. He was so affected by Michelangelo Antonioni’s “Blow-Up” that in 1974 he decided to move to England, in order to become a fashion photographer, like the hero of the movie. That lasted less than a year.
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