Pull up a chair at our table to learn about perimeter and area in Numberock's fun song & video (and no animals on the dinner table please!) We use tables to show area and chairs to represent perimeter in this easy to understand introduction to these important skills in 2-dimensional geometry.
Song production in song birds is controlled by an efferent pathway. Appended to this pathway is a "recursive loop" that is necessary for song acquisition but not for the production of learned song. Since zebra finches learn their song by imitating external models, we speculated that the importance of the recursive loop for learning might derive from its processing of auditory feedback during song acquisition. This hypothesis was tested by comparing the effects on song in birds deafened early in life and birds with early lesions in either of two nuclei--Area X and the lateral magnocellular nucleus of the anterior neostriatum (LMAN). These nuclei are part of the recursive loop. The three treatments affected song development differently, as reflected by various parameters of the adult song of these birds. Whereas LMAN lesions resulted in songs with monotonous repetitions of a single note complex, songs of Area X-lesioned birds consisted of rambling series of unusually long and variable notes. Furthermore, whereas song of LMAN lesioned birds stabilized early, song stability as seen in intact birds was never achieved in Area X-lesioned birds. Early deafness also resulted in poorly structured and unstable song. We conclude that Area X and LMAN contribute differently to song acquisition: the song variability that is typical of vocal development persists following early deafness or lesions of Area X but ends abruptly following removal of LMAN. Apparently, LMAN plays a crucial role in fostering the kinds of circuit plasticity necessary for learning.
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"Area Codes" is a song by the American hip hop recording artist Ludacris, released as the first single from his third album, Word of Mouf (2001). It features Nate Dogg. The song was originally released on the soundtrack to Rush Hour 2. The song's lyrics focus on U.S. telephone area codes that denote the location of women with whom the rapper has had sexual relations in cities across the United States.[1]
Because telephone area codes have increasingly become less constrained to particular geographic areas, a cultural critic has noted that the core conceit of the "Area Codes" song may become confusing to future generations of listeners not raised with the concept that a particular area code must be tied to residence in a particular region and not knowledgeable about the assigned area code numbering for major urban areas.[1]
Lake Mead National Recreation Area's Song Dog Native Plant Nursery was established in 1993 and was sprouted from the need of having genetically native plant materials, or seeds, on hand from all parts of the park. The park uses collected seeds to plan restoration projects and conduct plantings in disturbed areas.
The nursery has expanded to not only support all the native plant restoration and vegetation efforts at the park, but also assists with projects throughout the Mojave Desert for several different local, state, and federal agencies. One recent project was after the Cima Dome fire scarred the desert landscape at nearby Mojave National Preserve. The Song Dog Native Plant Nursery helped grow 3,000 Joshua trees for Mojave National Preserve.
The Song Dog Native Plant Nursery wouldn't be able to sustain the number of partnerships and restoration projects without its dedicated volunteers.
The Song Dog Nursery is not open to the public, but those interested in volunteering can learn about opportunities by visiting our volunteering page.
You'll recognize the same horn sample that would later be sampled by Wreckx-N-Effect for "Rump Shaker" and Ice Cube for "Friday." N2Deep, a stone-faced Latino duo from Vallejo, were the first to use the sample from Lafayette Afro Rock Band's "Darkest Light." This song is notable for its prominent use of a bizarre piece of early '90s West Coast slang: cock, meaning vagina. The second verse ends with TL saying "back to the telly, I gotta get some new cock," followed by echoes of "new cock" over and over again, into the bridge. That did not age well.
Hammer's legacy has become a bit of a punchline these days, but there's no denying that he was on top of the rap world when he took over the pop charts with "U Can't Touch This." Rapping over a funky sample from Rick James' "Super Freak," everything from the huge pants he wore in the video to catchphrases like "You can't touch this" and "Stop... Hammer time!" became huge pop culture references. The song also helped Hammer sell 18 million units—and gave him the financial resources to start spending like a madman. Unfortunately, Rick James sued, got a profit-sharing settlement out of court, and Hammer eventually went broke trying to support a payroll the size of an NFL starting roster. But that doesn't dampen the impact that this song had in softening the opposition of mainstream America to rap.
This song features one of the most famous opening couplets in Bay Area rap history. Also, it is perhaps the earliest instance of a crime story told with brand names as stand-ins for actual names; many other rappers would go on to imitate this type of story-telling technique, but none ever did it as well as Spice 1, who followed this alcohol crime story up with "187 Pure," which recounts the misadventures of Indo Weed, Dank, and a man named Coke who carries a cane. For "187 Proof," Spice's story-telling was visualized with the single best stop-motion rap video ever made. If you have ever wanted to see booze bottles shoot at one another, or wondered what sort of creative issues you might run into attempting to depict a wino who is also a bottle of wine, it's really worth a watch.
Saafir, of Oakland's Hobo Junction crew, free associates over a dreamy, almost ambient beat. While other rappers from Oakland were talking about the amount of pussy they were getting, Saafizzle was thinking about the multitudes of personae contained within his head. The video for this song has some hilariously janky use of early green screen technology.
Bay Area rap has never been known for being fair to the fairer sex. This song is no exception, though it should be noted that 11/5, from SF's Hunters Point, doesn't mean it in the literal sense. This, like Captain Save-a-hoe, is just one of those phrases that stuck around in Bay Area rap longer than anyone would have guessed. Gloria Steinem would probably sing along with that hook, it's so catchy.
A deep, funky bassline, and Too $hort waxing philosophical about being a player. This song is somewhat despair-inducing, as fun as it is. You listen to Too $hort make a compelling case for leaving the square life behind, then you remember that you aren't Todd Shaw, and therefore, are a lame. But it sounds so good!
"Freaks of the Industry" is an apt moniker for Shock G and Money B, from Oakland's Digital Underground. They weren't quite joke rap; they weren't quite sex rap; and they definitely weren't backpack rap. They were something different. And they were definitely freaks, judging from this song. The song's most famous lines come from Shock G's verse, and provide a sort of sex multiple choice test where it turns out that you're never right. In true Digital Underground fashion, this song about fucking ends with a piano solo.
Young Lay is one of the lesser-known rappers from the Crestside of Vallejo, but this song, featuring Crestside resident Mac Mall and Santa Rosa native Ray Luv, was a certified hit. Khayree's unique brand of NorCal G-Funk provides a perfect backdrop to a relatively feel-good track dedicated to the almighty dollar. Young Lay's life would not go as well as this song suggests; he was shot in the head during a botched robbery in '95, and it's a miracle he can still rap today. As the saying goes, more fetti, more problems.
Few Bay Area artists have seen more ups and down than San Francisco's Messy Marv, AKA the Boy Boy Young Mess. Since a brief stint in jail, Messy Marv has shed his Bay Area affiliations for The Bloods, and a mountain of cocaine. But, in 2005, Mess was down with hyphy music, even if he wouldn't admit it now. Between his nihilistic growlings, and Droop-E's almost-perfect hyphy track, this song serves as another reminder of how much fun the music was in this particular era. Also, a reminder of just how many different kinds of ecstasy there were.
Out of nowhere, with a sound like nothing else going at the time, these skate rats from Berkeley made serious waves with this ode to Vans slip-ons, earning them a co-sign and a record deal from Oakland legend Too $hort. Now every other rapper looks like a skater, but this song came out when Dem Franchize Boyz and Mike Jones dominated the airwaves. Of course, because Bay Area rappers are cursed to wither in obscurity, MTV massacred the hook, so that they didn't offer any free advertisement to Vans.
While not as famous as another song on the soundtrack, MC Eiht's "Streiht Up Menace," Spice 1's "Trigga's Got No Heart" does just as good a job encapsulating the defiant and reckless feel of Menace II Society. In classic early '90s fashion, the East Bay Gangsta gets his fake Patois on for the cold-blooded hook. This song would later be reprised as "Killa Kali," the lead single off of Yukmouth and C-Bo's Thug Lordz album.
Oakland producer Ant Banks put together a sort of Bay Area supergroup called T.W.D.Y. (The Whole Damn Yay) with Rappin 4-Tay and Captain Save-Em. This song, released at the end of last century, is a great document for those studying Clinton-era optimism; the premise of the song is that the president has gotten rid of all the player haters, and there is now a holiday commemorating the day. The video takes place on a yacht. be457b7860
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