Introduction

Introduction, The Introduction, Intro, or The Intro may refer to:

Intro (R&B group)

Intro is an American R&B trio from Brooklyn, New York City, New York. The trio consisted of members Jeff Sanders, Clinton "Buddy" Wike and lead singer/songwriter Kenny Greene. Intro released two albums (for Atlantic Records): 1993's Intro and their second album, 1995's New Life. The group had a string of US hits in the 1990s. The hits included the singles "Let Me Be The One", the Stevie Wonder cover "Ribbon in the Sky", "Funny How Time Flies" and their highest charting hit, "Come Inside".

Intro's Kenny Greene died from complications of AIDS in 2001. Intro recently emerged as a quintet consisting of Clinton "Buddy" Wike, Jeff Sanders, Ramon Adams and Eric Pruitt. Adams departed in 2014, with the group back down to its lineup as a trio. They are currently recording a new album to be released in 2015. The group released a new single in 2013 called "I Didn't Sleep With Her" and a new single "Lucky" in October 2014.

Discography

Albums

Singles

References

Introduction (music)

In music, the introduction is a passage or section which opens a movement or a separate piece, preceding the theme or lyrics. In popular music this is often abbreviated as intro. The introduction establishes melodic, harmonic, and/or rhythmic material related to the main body of a piece.

Introductions may consist of an ostinato that is used in the following music, an important chord or progression that establishes the tonality and groove for the following music, or they may be important but disguised or out-of-context motivic or thematic material. As such the introduction may be the first statement of primary or other important material, may be related to but different from the primary or other important material, or may bear little relation to any other material.

A common introduction to a rubato ballad is a dominant seventh chord with fermata, Play  an introduction that works for many songs is the last four or eight measures of the song, Play  while a common introduction to the twelve-bar blues is a single chorus. Play 

David Bowie (1969 album)

David Bowie is the second studio album by English musician David Bowie, released under that title by Philips in the UK, and as Man of Words/Man of Music by Mercury in the US, in November 1969. It was rereleased in 1972 by RCA as Space Oddity (the title of the opening track, which had been released as a single in July 1969 and reached No. 5 in the UK Singles Chart). Space Oddity was the name used for CD releases of the album in 1984, 1990 and 1999, but it reverted to the original, eponymous title for 2009 and 2015 reissues.

Regarding its mix of folk, balladry and prog rock, NME editors Roy Carr and Charles Shaar Murray have said, "Some of it belonged in '67 and some of it in '72, but in 1969 it all seemed vastly incongruous. Basically, David Bowie can be viewed in retrospect as all that Bowie had been and a little of what he would become, all jumbled up and fighting for control..."

The album came about after Bowie had made the transition from a cabaret/avant-garde-inspired musician to a hippie/folk-based sound and as such the album is a major turning point from his 1967 debut.

1982, Janine

1982, Janine is a novel by the Scottish author Alasdair Gray. His second, it was published in 1984, and remains his most controversial work. Its use of pornography as a narrative device attracted much criticism, although others, including Gray himself, consider it his best work.

Plot summary

The novel is narrated by Jock McLeish, a supervisor of the installation of alarm systems. Divorced, alcoholic and approaching fifty, his problems coalesce in a long night of the soul in a hotel room in Greenock.

McLeish attempts to spend the night assembling an intricate pornographic fantasy. His cast of characters includes: Janine, based on a childhood memory of Jane Russell in The Outlaw; Superb (short for Superbitch); and Big Momma, an obese lesbian. All of these are submitted to sadomasochistic practices, parts of which are described at some length. However, McLeish constantly returns to reminiscences of his previous life and lovers. These prompt his attempted suicide. Chapter 11 of the novel is a typographical explosion, with the text splitting into several parallel voices on each page (including that of God). The crisis concludes with McLeish vomiting up the pills which he had hoped would kill him, and facing the truth of his actions as morning dawns.