- published: 05 Mar 2013
- views: 36330
Beverly Tawiah, also known as Tawiah, is a female soul/R&B singer from South London, England. She has been a backup singer for Corinne Bailey Rae, The Guillemots, and Mark Ronson's touring band, The Version Players, with whom she toured internationally.
After graduating from the BRIT School, Tawiah self-released her debut EP In Jodi's Bedroom (the title referring to the location of the recording) on her own record label, Bush Girl. She subsequently received the attention of Gilles Peterson, who championed her song "Watch Out" in 2007, and also named her as the winner of his Worldwide Award for Best Newcomer in the following year.
In 2011, Tawiah appeared in the BBC documentary Secrets of the Pop Song, in which she appeared with the songwriter Guy Chambers and Mark Ronson, to sing lyrics for the song "Ghost" which was composed on the show.
Tawiah was most recently featured on the 2014 album Otherness by UK musician Kindness. She is featured on the track "Why Don't You Love Me" alongside Devonte Hynes
Whitney Elizabeth Houston (August 9, 1963 – February 11, 2012) was an American singer, actress, producer, and model. In 2009, Guinness World Records cited her as the most awarded female act of all time. Houston is one of pop music's best-selling music artists of all-time, with an estimated 170–200 million records sold worldwide. She released seven studio albums and three movie soundtrack albums, all of which have diamond, multi-platinum, platinum or gold certification. Houston's crossover appeal on the popular music charts, as well as her prominence on MTV, starting with her video for "How Will I Know", influenced several African American women artists who follow in her footsteps.
Houston is the only artist to chart seven consecutive No. 1 Billboard Hot 100 hits. She is the second artist behind Elton John and the only woman to have two number-one Billboard 200 Album awards (formerly "Top Pop Albums") on the Billboard magazine year-end charts. Houston's 1985 debut album Whitney Houston became the best-selling debut album by a woman in history.Rolling Stone named it the best album of 1986, and ranked it at number 254 on the magazine's list of the 500 Greatest Albums of All Time. Her second studio album Whitney (1987) became the first album by a woman to debut at number one on the Billboard 200 albums chart.
Paul Mark Oakenfold /ˈoʊkənfoʊld/ (born 30 August 1963) is an English record producer and trance DJ. He was voted the No1 DJ in the World twice in 1998 and 1999 by DJ Magazine.
Paul Oakenfold describes his early life as a "bedroom DJ" in a podcasted interview with Vancouver's 24 Hours, stating he grew up listening to The Beatles. Later 21-year-old Oakenfold and Ian Paul moved to 254 West 54th Street. Studio 54's Steve Rubell ran the place and only allowed popular people inside. Oakenfold and Paul used fake passes to sneak into places in New York where they met Maze, Bobby Womack and Bob Marley, whom they also interviewed, claiming to be NME and Melody Maker journalists.
Oakenfold's musical career began in the late 1970s, when he started playing soul in a Covent Garden wine bar. Here, he met Trevor Fung as well as Rumours in London where he played Earth, Wind and Fire and popular British bands. In 1984, he spent several months in New York City's West Harlem. During this time hip-hop was the most popular sound in the area (see 1984 in music). He began breaking into the mainstream as he was working as an A&R man for Champion Records. At that time, he signed DJ Jazzy Jeff and the Fresh Prince, as well as Salt-n-Pepa. Oakenfold appeared on the Blue Peter BBC programme for children with a breakdancing crew. He became a promoter and British agent for the Beastie Boys and Run-D.M.C.. Since then, he appeared at The Project in Streatham playing soul and jazz music.
Look at this little nigga, man
Ay T.I. is that really you man?
Yeah shawty, what's happenin'?
Ay man can you give me a ride home, man?
Man, it's 2:30 in the muthafuckin' mornin', what the fuck you doin' out here?
Out here trappin' tryna get rid of this bomb and purp, man
Man you can come with me on one condition
What's that bruh?
Let me convince you to put that bomb down
I knew it T.I.
What?
You wasn't really on that dope boy shit
I tell you what shawty, get in man
I'll show you how to tote that tool
Make that double
Better be cool, you don't want no trouble
Keep it leanin' to the left
My gat stay cocked
I'm always super clean when you see me on the block
Keep my money in a knot with a rubberband on it
Blow to marijuana, know I got it if you want it
See me standin' on the corner, slangin' that crack
You know how it is to be the man in trap
I'm the dopeman nigga the dopeman nigga the dope the dope dope the dopeman nigga
I'm the dopeman nigga the dopeman nigga the dope the dopeman the dopeman nigga
I'm the dopeman nigga the dopeman nigga the dope the dope dope the dopeman nigga
I'm the dopeman nigga the dopeman nigga (From a ki' to a G, it's all about money)
Look, bet all you see is tats, money, grills, and chains
But if you scratch the surface you can feel the pain
Names change but the situation still the same
The bills need payin' nigga simple and plain
Take a young'n who's aspirin' to get him some change
Won't nobody hire him so he get in the game
Went and bought a 50 slab, divide it up into ten
Sold 'em all, double down, did it again
By then you got enough to buy a quarter ounce
You sellin' dimes to forty fiends buy it and bounce
Throw some money to your momma keep some food in the house
Cop the outfit and the Jordans on the day they came out
Betta get ya self a pistol know the jackers is out
Flip another seven grams, oh you hustlin' now
Time to get yourself a half, make sure it's some glass
A hundred bags sell it fast stack a G now you officially
(I betcha think you pretty good at it now, huh?)
Now once you flipped a couple o's know the game get gravy
Take twelve fifty go git ya two and a baby
Yeah sixty three grams if you whip that right
you should get back five or six that night Stack that money and repeat that twice
Buy you somethin' to ride in, ya gotta be tight
Next time you buy somethin' take twenty-five hundred
Get four and a half it come back in nine don't it
Now stay low key when the money keep comin'
Keep some niggas on ya team to show these suckas they don't want it
By then your connect will clearly see you on ya grind
Shit you come to get a nine and he front you what you buyin'
As long as you bring back your money on time
And if you snort blow, do it on your own time
At this rate you'll be at a brick in no time
They say the want some weight, tell them niggas stand in line
(Stay with me now shawty, here comes the fun part)
Now the robbers plottin' on ya and your name stay buzzin'
You caught a sale case down in Macon with your cousin
Your connect ain't worried, you and him cool
He know you'll never tell what you and him do
A mob of a hundred just a few of them true
You heard a worker snictchin' on you and it's true
Everybody know you sell that shit
The feds come and get ya, shit we heard you
Tote that tool, make that double
Better be cool, you don't want no trouble
Keep it leanin' to the left, my gat stay cocked
I'm always super clean when you see me on the block
Keep my money in a knot with a rubberband on it
Blow that marijuana know I got it if you want it
See me standin' on the corner slangin' that crack
You know how it is to be the man in trap