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2016 #EzLivin Records wants to thank the mentors, teachers, and musicians whom influenced every track and each song in the progression of this project.

Executive Producer Bradley Christian

The SCHOOL: A MOVIE THE YOUTH CAN RELATE track-list is divided into 4 stages:
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Stage 1

THE KNOWING
contains samples from Patch Adams (1998), anonymous YouTube instructional video

FIRST DAY OF SCHOOL
guitar by Josiah Cermak

contains samples from Malcolm X UC Berkeley Interview, anonymous YouTube lecture

INTERLUDE (I. RECESS II. TARDY III. BULLY)
contains samples from Yeezus (2013) by Kanye West, anonymous YouTube instructional video

SYLLABUS
contains samples from Hot Rod (2007)

THE BIG GAME
contains samples from anonymous YouTube video

DOG ATE MY HOMEWORK!
bass by #CodytheChristian

Stage 2

PRINCIPAL'S OFFICE
produced by The Peasants

SHORTBUS IMPROV
bass by #CodytheChristian

NIGHT AT THE OPERA
contains samples from Good Kid, MAAD City (2012) by Kendrick Lamar

SCENE 11
contains samples from Patch Adams (1998), Kurbaan (2009)

Stage 3

MENTOR
contains samples from Computer Love (1985) by Zapp
feat. Slick & Tik

KNOW YOU KNOW

guitar by Diego Hodge, bass by #CodytheChristian

contains an interpolation from The Soft Parade (1969) by The Doors

BASKETBALL PRACTICE

vocals by Lauren Leigh Martin, drums by Filthy Black Magic

contains an interpolation from Trading Snakeoil for Wolftickets (2001) by Gary Jules, contains samples from Michael Jordan Retirement Press Conference (1993)

JUNGLE GYM//COMPETENT
contains samples from Patch Adams (1998), contains an interpolation from Kคђรยℕ

Stage 4

STAY HOME TODAY
guitar by Johnny Mellen

SUS.PELLED
contains samples from Good Will Hunting (1997), anonymous YouTube police interview, contains an interpolation from Acid Rap (2013) by Chance the Rapper

GOT CLASS
feat. Ebbie Akbar

guitar by Josiah Cermak

INTUITION

 Album art x Troy Lamarr

Album art x Troy Lamarr

Dingobrad

was inspired by the 4-stage industrial-model for "intuitive learning," This record adopts the operatic form for sonically imbuing the listener with a recreation of commonplace intuition training. Stage One, unconscious incompetence, is marked by a D major ostinato. This "obsessive" line serves as a motif (& pays homage to Alfred Hitchcock and Bernard Hermann's score to the 1958 film, "Vertigo"), which signifies a shift into psychic habituation, in Stage Two. The operatic structure recalls motifs that help push the listener from unconscious to conscious, a shift from incompetent to competent in content by Stage Three, before reaching the climax stage of intuition, thus signifying arrival at the unconscious & competent (Stage Four). Today's industrial-model-based schools need less rigid curriculums, is it time to return to media arts?


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