Westchester may refer to:

• Westchester, Connecticut
• Westchester, Florida
• Westchester, Illinois
• Westchester, Indiana
• Westchester, Los Angeles, California
• Westchester County, New York
• The Westchester, a shopping mall in White Plains, New York
• Westchester Station, Nova Scotia

See also[link]

• West Chester (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

To comply with Wikipedia's lead section guidelines, the introduction of this article may need to be rewritten. Please discuss this issue on the talk page and read the layout guide to make sure the section will be inclusive of all essential details. (April 2012)

Asher Roth
Background information
Birth name	Asher Paul Roth
Born	(1985-08-11) August 11, 1985 (age 26)
Origin	Morrisville, Pennsylvania, US
Genres	Hip hop
Occupations	Rapper
Years active	2005-present
Labels	Schoolboy, SRC, Def Jam
Associated acts	Nottz Raw, All City Chess Club
Website	asherrothmusic.com

Asher Paul Roth (born August 11, 1985) is an American rapper from Morrisville, Pennsylvania. Roth is signed to Schoolboy Records, SRC, and Def Jam.

Early life[link]

Asher Roth was born and raised in Morrisville, Pennsylvania, a small town about 20 miles northeast of Philadelphia.^[1][2] His mother, Elizabeth (née McConnell), is a yoga instructor, and his father, David Roth, is the executive director of a design firm.^[3][4][5][6] His mother has Scottish ancestry and his paternal grandfather was Jewish.^[7][8] Roth does not consider himself Jewish, although his name often leads people to believe he is.^[9] He attended Pennsbury High School. Growing up, Roth was exposed to little hip hop in his family, with his parents preferring "The Temptations, Earth, Wind & Fire ... Bruce Springsteen and Dire Straits."^[10] According to Roth:

The first CD I ever bought was Dave Matthews Band's Crash ...That is how suburban I am...I finally got into hip hop in '98 when I heard the Annie sample with Jay-Z....When I wrote my 'A Milli' freestyle, that was me listening to 10 years of hip hop and not relating to it at all. Like, Damn I don’t sell coke. Damn, I don’t have cars or 25-inch rims. I don't have guns. I finally got to a point where I had the confidence to do this thing myself, and I was making music for me. And it turns out, a lot of people feel the same way I do.^[11]

Asher has also stated that:

Hip-hop has always been very influential in the ‘burbs, [but] it’s just a matter of where we could relate to it. You find a lot of kids that are really confused. You look at them and they’re dressed out of character. They don’t look right. I figured out, I don’t have to dress this way, but I can still love hip-hop.^[12]

After graduating high school, Roth entered West Chester University and became an Elementary Education major, while continuing to record verses over other people's beats. During sophomore year, Roth posted some of his verses on his MySpace page and sent a Friend Request to Scooter Braun, an Atlanta-based promoter and former VP of Marketing for Jermaine Dupri's So So Def. One week after speaking to Braun, Roth flew down to Atlanta and was immediately signed by Braun, who subsequently became his manager.^[10]

Asher Roth cites Jay-Z and Eminem among his influences in hip hop, mostly by Jay-Z's "Hard Knock Life".^[13]

Roth's lyrics characteristically center around what have been called "middle-class minutiae, some also consider them to be a joke."^[11] Roth's song "I Love College" is about partying after a visit to Penn State, but includes fatuous lyrics such as "I can get pizza a dollar a slice"^[11] that have been identified as "far from threatening".

Music career[link]

After linking up with Braun, Roth moved to Atlanta to pursue a hip-hop career full-time. As industry buzz grew, Roth was courted by a number of labels, including SRC, Def Jam, Warner Bros. Records and Atlantic Records.^[14] Roth would eventually sign a joint venture between Braun's Schoolboy Music and Steve Rifkind, chairman of SRC/Universal Records. On June 13, 2008, Roth put out his first professional release, the Don Cannon and DJ Drama-helmed The Greenhouse Effect mixtape, via the Internet. This resulted in Roth being the second white rapper to be featured on Drama and Cannon’s Gangsta Grillz series.

[edit] 2009: Asleep in the Bread Aisle

Roth started recording a full album in late 2008. It was completed in 2009. The first single was "I Love College" which received many hits across North America. His second single was "Lark on my Go-Kart". After the two singles were released, Roth's studio album Asleep in the Bread Aisle was released on April 20, 2009. He supported his album with a nationwide tour with B.o.B. and Kid Cudi. Asher also joined Blink-182 in the second half of their reunion tour in the fall of 2009.

Roth was featured on the cover of XXL magazine’s annual Top 10 Freshmen: Hip-Hop’s Class ’09 issue.

[edit] 2010-present: The Rawth EP and Is This Too Orange?

After finishing touring in 2009 and releasing a second mixtape, Seared Foie Gras with Quince and Cranberry,^[15] Roth began working on his second studio album. From his friend Boyder's YouTube page, he has been seen working with producers Pharrell Williams and Nottz Raw. While working with Nottz, the two of them decided to collaborate on a project together, due to having a number of records rejected by the label due to sampling & copyright issues.^[16] The end result was an eight track EP, solely produced by Nottz, entitled The Rawth EP. The EP, which features appearances from Colin Munroe, D.A. (of Chester French), Rhymefest and Kardinal Offishall, was released December 27, 2010.^[17] Roth released and promoted "G.R.I.N.D (Get Ready It's a New Day)", the first single off of his upcoming second album, by traveling to different radio stations around the country. Roth revealed four tracks on his upcoming album in a XXL article. One features Game, one is produced by Swizz Beatz and another is titled "Run it Back".^[10] On May 25, it was announced that Roth's second studio album would no longer be called The Spaghetti Tree.^[18] His song with Akon titled "Last Man Standing" is featured on the soundtrack for the videogame Madden NFL 12. In an interview with Rikki Martinez of Power 106 he announced he will be releasing a mixtape titled Pabst & Jazz and revealed the title of his upcoming second album, Is This Too Orange?.^[19] On November 11th, 2011 he released the first offering off Pabst & Jazz, a song titled "Common Knowledge". In November 2011, Roth signed to Def Jam Recordings after several years been signed to SRC Records.

Personal life[link]

Asher Roth is open about his use of cannabis. As stated in an interview conducted and filmed by DJ Vlad, Roth stated his views about the legalization of marijuana and the use of cigarettes:

Cigarettes don't do anything for you except kill you ... I honestly don't believe [marijuana] is the gateway drug, because I use it and I've never done anything else ... I'm trying to be open about my "pot smoking" ...^[20]

Discography[link]

Studio albums[link]

• Asleep in the Bread Aisle (2009)
• Is This Too Orange? (2012)

Mixtapes[link]

• The GreenHouse Effect (2008)
• Seared Foie Gras with Quince and Cranberry (2010)
• Pabst & Jazz (2011)

EPs[link]

• Just Listen (2005)
• The Rawth EP (With Nottz) (2010)

Awards[link]

• MTV Video Music Awards
  • Best New Artist ("I Love College") [Nominated]
  • Best Hip Hop Video ("I Love College") [Nominated]

References[link]

External links[link]

• Official website
• Office page at Facebook

Lee Ritenour
Ritenour at the Stockholm Jazz Festival in 2009.
Background information
Birth name	Lee Mack Ritenour
Also known as	Captain Fingers
Born	(1952-01-11) January 11, 1952 (age 60) Los Angeles, California, United States
Genres	Jazz, jazz-funk, jazz fusion, smooth jazz
Occupations	Musician, composer, producer
Instruments	Guitar, SynthAxe
Years active	1975–present
Labels	Epic, Elektra, GRP, PolyGram, Decca, Peak, Concord
Website	leeritenour.com
Notable instruments
Gibson ES-335 Gibson L-5

Lee Mack Ritenour (born January 11, 1952) is an American jazz guitarist who has recorded over 42 albums, appeared on over 3000 sessions, and has charted over 30 instrumental and vocal contemporary jazz hits since 1976.^[1] One of his most popular songs was the smash hit, “Is It You” in 1981. Ritenour is considered to be a pioneer in the Contemporary Jazz and jazz-funk genres of music.^{[citation needed]}. Guitar Player Magazine awarded him with a Lifetime Achievement Award for the year 2010. His highly acclaimed and popular 2010 hit album Lee Ritenour's 6 String Theory had numerous awards in 2011 including, Guitar Album of the Year – Guitar International Magazine. UK’s Guitarist Magazine: The #1 Best 50 Guitar Albums of 2010. JAZZIZ Magazine Publisher’s Album of the Year. Top Albums of 2010 from Canada’s “The Guardian”. Lee was awarded at the 2011 Echo Awards in Germany (the German Grammy awards) for Best International Instrumentalist (Guitar) in conjunction with the album, 6 String Theory)

Biography[link]

Ritenour was born January 11, 1952 in Los Angeles, California. He played his first session when he was 16 with the Mamas & the Papas and given the moniker, "Captain Fingers", because of his manual dexterity on the guitar. Ritenour was a sought-after session guitarist by the mid-1970s, and won Guitar Player Magazine's Best Studio Guitarist twice in the 1970s. He is noted for playing his red Gibson ES-335 and his Gibson L5 guitars.

Ritenour in 2007.

One of his most notable influences is the pioneering jazz guitarist Wes Montgomery among others like Joe Pass, Kenny Burrell and John McLaughlin. His prolific career includes a Grammy Award for the collaborative work Harlequin (1985), and 19 other Grammy nominations. Ritenour also holds the distinction of having two of the promotional videos for his songs "Is It You" and "Mr. Briefcase" being played during MTV's first day. Ritenour has been at the top of many guitar polls throughout the world.

Throughout his career, Ritenour has experimented with different styles of music. A true fusionist, he has often incorporated elements of funk, pop, rock, blues, Brazilian and most recently with Amparo (2008), classical music with jazz. In the early 1980s, Ritenour was given his own Ibanez signature model guitar, the LR-10. The LR-10 was produced from 1981 to 1987. It can be heard exclusively on his album Rit. Currently, Ritenour plays the Gibsons that he first played in the 1970s (the ES-335 and L5), and now also plays his signature Lee Ritenour Model archtop guitar made by Gibson.

Style[link]

Ritenour's solo career began in 1975 with the recording of his album First Course. Released in 1976, the album gave a strong representation of the mid-1970s L.A. Jazz/Funk sound. Critics did, however, complain that his first album was "lightweight." So Lee countered this with his strongly crossover-based follow up, Captain Fingers. This was followed by two more crossover efforts—The Captain's Journey (1978) and Feel The Night (1979). On these albums, Ritenour primarily used something of a rich, yet rock-oriented distorted guitar sound, coming from his Gibson ES-335 guitar. In other instances on these albums, clean sounds were heard coming from his Gibson L5 and classical acoustic guitars (he played his classical acoustic guitars almost exclusively on his album Rio in 1979). In the 1970s, Ritenour would often use effects like wah-wah, phasers, chorus, and flangers on his electric instruments. Also, during the late 1970s, Ritenour can be heard using the 360 Systems guitar synthesizer (he is pictured sitting in front of it on the back cover of his Captain Fingers album). He can be heard using the synthesizer on the track Captain Fingers (from the album with the same title), and can also be heard playing solo with the synthesizer on the song "What Do You Want?" from The Captain's Journey.

In 1979, Ritenour "was brought in to beef up one of Pink Floyd's The Wall's heaviest rock numbers, "Run Like Hell"."^[2] He also played "uncredited rhythm guitar" on "One Of My Turns".^[3][4]

As the 1980s began, Ritenour began to add stronger elements of pop to his music, beginning with Rit in 1981. For this, he kept with his distorted sound, now using his Ibanez LR-10 signature model guitar. One of tracks from "Rit", entitled, "Is It You" featuring vocals from Eric Tagg became a hit reaching number fifteen on the pop chart and number twenty-seven on the soul chart.^[5] He continued with the pop-oriented music for two albums after Rit (Rit/2 in 1982 and Banded Together in 1984), while releasing a slick, yet more crossover-styled, Direct-Disk instrumental album in 1983 called On The Line. He also provided rhythm guitar on Tom Browne's hit, Funkin' for Jamaica.

In 1985, he recorded his first album for GRP with Dave Grusin, entitled Harlequin. It featured Lee primarily on his classical acoustic guitar and also featured Brazilian singer/songwriter Ivan Lins. Up to this point, this album along with Rio arguably gave the strongest representation of Lee's Brazilian influences.

The following year, 1986, Ritenour released the album Earth Run, which featured him using the then-newly designed SynthAxe guitar. He used nine different guitars on the album, most notably the SynthAxe, his Valley Arts guitar, and his Gibson Chet Atkins acoustic. The album also featured long-time collaborator Phil Perry for the first time, on the track "If I'm Dreaming, Don't Wake Me" — a song also featuring David Foster and Maurice White. He also produced songs and played guitar on Deniece Williams's LP Hot on the Trail during that same year.

Ritenour continued in a direction strongly featuring other artists in 1987, with Portrait. The album itself has something of a strong smooth-jazz sound, and Ritenour can be heard here playing with The Yellowjackets, Djavan, and Kenny G.^{[citation needed]}!

In 1988, his smooth jazz-influenced Brazilian music came to the forefront with Festival — another album strongly featuring his work on nylon-string acoustic guitars. The following album, Color Rit, continued with a similar mood. He did however, change direction completely again with his straight-ahead jazz album Stolen Moments. Sounding similar to Wes Montgomery, Ritenour played alongside long-time collaborator, saxophonist Ernie Watts, pianist Alan Broadbent, bassist John Patitucci (playing only acoustic) and drummer Harvey Mason. Continuing in a Wes Montgomery mood, Ritenour paid tribute to the man himself in 1992, with his album Wes Bound. The album featured a number of covers of Montgomery compositions, as well as some seemingly tributary pieces from Ritenour himself.

Also seen in this decade was a 1994 collaboration album with guitarist Larry Carlton called Larry & Lee.

In 1991 Lee Ritenour, together with keyboard player Bob James, formed the Grammy-nominated contemporary jazz group Fourplay. Lee left the hugely successful group in 1998 to continue with his own solo works. He was replaced by Larry Carlton.

2002 saw the release of his album, Rit's House.

In February 2004, Ritenour completed a project looking back on his career involving musicians he has worked with throughout his career called Overtime. Overtime was recorded live in a studio in front of a small audience. It was released in early 2005, and is currently available as a singular audio CD, double-DVD set or singular HD DVD. Some of the musicians featured include Dave Grusin, Patrice Rushen, Harvey Mason, Alex Acuna, Taylor Dayne, Nathan East, Chris Botti, Anthony Jackson, Melvin Lee Davis, and Ernie Watts, amongst many others.

His album entitled Smoke n' Mirrors was released in late August 2006. His son Wesley makes his debut appearance as a drummer on the album at the age of 13. This album contains Ritenour's version of Bill Withers' 1978 hit "Lovely Day".

Ritenour joined the 10th annual Independent Music Awards judging panel to assist independent musicians' careers.^{[6] [7] [8]} He was also a judge for the 8th and 9th Independent Music Awards.^[9]

In June 2010, in order to celebrate his fifty years as a guitarist, Lee Ritenour released the album 6 String Theory (in reference to 6 musical areas covered by the use of guitar).^[10] The album featured famous guitarists such as Steve Lukather, Neal Schon, John Scofield, Slash, Pat Martino, Mike Stern, George Benson and B.B.King, but also younger players such as Andy McKee, Joe Robinson and Guthrie Govan. Ritenour, YamahaCorporation, The Berklee College of Music, Concord Records, Monster Cable, and D'Addario Strings collaborated to create the 2010 Yamaha 6 String Theory Guitar Competition. The winner of that international competition, that included guitarists from over 45 countries, was 16-year-old Canadian classical guitarist Shon Boublil. The competition in 2011 is continuing.

Discography[link]

As sideman[link]

This section requires expansion.

With Brass Fever

• Brass Fever (Impulse!, 1975)
• Time Is Running Out (Impulse!, 1976)

With Dizzy Gillespie

• Free Ride (Pablo, 1977) composed and arranged by Lalo Schifrin

With Alphonse Mouzon

• Mind Transplant (Blue Note, 1974)
• The Man Incognito (Blue Note, 1975)

With Lalo Schifrin

• Rollercoaster (soundtrack) (MCA, 1977)

References[link]

External links[link]

• Lee Ritenour official site
• Lee Ritenour
• Lee Ritenour Guitar Licks

A black sheep stands out from the flock

The Black Sheep, from a 1901 edition of Mother Goose by William Wallace Denslow.

A black sheep (Hebridean)

In the English language, black sheep is an idiom used to describe an odd or disreputable member of a group, especially within a family. The term has typically been given negative implications, implying waywardness.^[1] It derived from the atypical and unwanted presence of other black individuals in flocks of white sheep.

In psychology, the black sheep effect refers to the tendency of group members to judge likeable ingroup members more positively and deviant ingroup member more negatively than comparable outgroup members.^[2]

Idiomatic usage[link]

The term originated from the occasional black sheep which are born into a flock of white sheep due to a genetic process of recessive traits. Black wool was considered commercially undesirable because it could not be dyed.^[1] In 18th and 19th century England, the black color of the sheep was seen as the mark of the devil.^[3] In modern usage, the expression has lost some of its negative connotations, though the term is usually given to the member of a group who has certain characteristics or lack thereof deemed undesirable by that group.^[4]

The idiom is also found in other languages, e.g., French, Serbian, Bulgarian, Hebrew, Portuguese, Bosnian, Greek, Turkish, Dutch, Afrikaans, Swedish, Danish, Spanish, Czech, Slovak, Romanian and Polish. The same concept is illustrated in some other languages by the phrase "white crow": for example belaya vorona (белая ворона) in Russian and kalag-e sefid (کلاغ سفید) in Persian. A variant form of black sheep, "the red sheep of the family", was used by Jessica Mitford to describe herself, a communist in a family of aristocratic fascists.^[5]

Biological origin[link]

In sheep, a white fleece is not albinism but a dominant gene that actively switches color production off, thus obscuring any other color that may be present.^{[citation needed]} As a result, a black fleece in most sheep is recessive, so if a white ram and a white ewe are each heterozygous for black, in about 25% of cases they will produce a black lamb. In fact in most white sheep breeds only a few white sheep are heterozygous for black, so black lambs are usually much rarer than this. Some breeds of sheep (such as the Hebridean, Ouessant, Black Welsh Mountain and Karakul) are normally black.

Black sheep effect (Psychology)[link]

Overview[link]

In 1988, Marques, Yzerbyt and Leyens^[2] conducted an experiment where Belgian students rated the following groups according to trait-descriptors (e.g., sociable, polite, violent, cold): unlikeable Belgian students, unlikeable North African students, likeable Belgian students, and likeable North African students. The results provided support that the favourability is the highest for likeable ingroup members and the lowest for unlikeable ingroup members, whereas the favourability of unlikeable and likeable outgroup members is between the both former ones. These extreme judgements of likeable and unlikeable (i.e., deviant) ingroup members, relatively to comparable outgroup members is called “black sheep effect”. This effect has been shown in various intergroup contexts and under a variety of conditions, and in many experiments manipulating likeability and norm deviance (e.g., Branscombe, Wann, Noel, & Coleman, 1993;^[6] Coull, Yzerbyt, Castano, Paladino, & Leemans, 2001;^[7] Khan & Lambert, 1998;^[8] Pinto, Marques, Levine, & Abrams, 2010).^[9]

Explanations[link]

A prominent explanation of the black sheep effect derives from the social identity approach (see social identity theory, Tajfel & Turner, 1979;^[10] and self-categorization theory, Turner, Hogg, Oakes, Reicher, & Wetherell, 1987).^[11] Group members are motivated to sustain a positive and distinctice social identity and, as a consequence, group members emphasize likeable members and evaluate them more positve than outgroup members, bolstering the positive image of their ingroup (see ingroup bias). Furthermore, the positive social identity may be threatened by group members who deviate from a relevant group norm. To protect the positive group image, ingroup members derogate ingroup deviants more harshly than deviants of an outgroup (Marques, Abrams, Páez, & Hogg, 2001).^[12] In addition, Eidelman and Biernat (2003)^[13] have shown that personal identities are also threatened through deviant ingroup members. They argue that devaluation of deviant members is an individual response of interpersonal differentiation. Khan and Lambert (1998)^[8] suggest that cognitive processes like assimilation and contrast, which may underline the effect, should be examined.

Limitations[link]

Even though there is widely support for the black sheep effect, the opposite pattern has been found, for example, that White participants judge unqualified Black targets more negative than comparable White targets (e.g., Feldman, 1972;^[14] Linville & Jones, 1980).^[15] Consequentely, there are several factors which influence the black sheep effect. For instance, the higher the identification with the ingroup, and the higher the entitativity of the ingroup, the more the black sheep effect emerges (e.g., Castano, Paladino, Coull, & Yzerbyt, 2002;^[16] Lewis & Sherman, 2010).^[17] Even situational factors explaining the deviance have an influence whether the black sheep effect occurs (De Cremer & Vanbeselaere, 1999).^[18]

See also[link]

Look up black sheep in Wiktionary, the free dictionary.

• Black swan theory
• Glossary of sheep husbandry: see entry for "black wool".
• Scapegoat
• The Ugly Duckling

References[link]

External links[link]

• Exploration of the etymology of the phrase "black sheep of the family"
• "The black sheep effect: Judgmental extremity towards ingroup members in inter-and intra-group situations". European Journal of Social Psychology (Science Direct) 18 (3): 287–292. DOI:10.1002/ejsp.2420180308. http://www.sciencedirect.com/science/journal/00221031. Retrieved 2008-01-04.