That

That is a function word used in the English language for several grammatical purposes.

These include:

  • as a complementizer/subordinating conjunction. ("He asked that she go.")
  • to introduce a restrictive relative clause ("The test that she took was hard.") In this role that may be analyzed either as a relative pronoun or as a conjunction as in the first case; see English relative clauses: That a relativizer instead of relative pronoun.
  • as a demonstrative pronoun ("That was hard.") (plural: those)
  • as a demonstrative adjective ("That test was hard.") (plural: those)
  • as an adverb ("The test wasn't that bad.")
  • In the first two uses the word is usually pronounced weakly, as /ðət/, whereas in the other uses it is pronounced /ðæt/.

    In the Old English language that was spelled þæt. It was also abbreviated as a letter Thorn, þ, with the ascender crossed, ( ). In Middle English the letter Ash, æ, was replaced with the letter a, so that that was spelled þat, or sometimes þet. The ascender of the þ was reduced (making it similar to the Old English letter Wynn, ƿ), which necessitated writing a small t above the letter to abbreviate the word that ( ). In later Middle English and Early Modern English the þ evolved into a y shape, so that the word was spelled yat (although the spelling with a th replacing the þ was starting to become more popular) and the abbreviation for that was a y with a small t above it ( ). This abbreviation can still be seen in reprints of the 1611 edition of the King James Version of the Bible in places such as 2 Corinthians 13:7.

    That (music)

    A thāt (Hindi: ठाट; Marathi: थाट; Bengali: ঠাট; Urdu: ٹھاٹھ; also transliterated as thaat) is a mode in northern Indian or Hindustani music. Thāts always have seven different pitches (called swara) and are a basis for the organization and classification of ragas in North Indian classical music.

    History

    The modern thāt system was created by Vishnu Narayan Bhatkhande (1860-1936), one of the most influential musicologists in the field of North Indian classical music in the early decades of the twentieth century. Bhatkhande modeled his system after the Carnatic melakarta classification, devised around 1640 A.D. by the musicologist Venkatamakhin. Bhatkhande visited many of the gharanas (schools) of North Indian classical music, conducting a detailed analysis of Indian raga. His research led him to a system of thirty-two thāts, each named after a prominent raga associated with it. Out of those thirty-two thāts, more than a dozen thāts were popular during his time; however, he chose to highlight only ten such thāts.

    Podcasts:

    PLAYLIST TIME:

    That!

    by: Andre Nickatina

    [Equipto]
    Like that
    Calm down, calm down, calm down, calm down...
    [Verse 1 - Equipto]
    Now every move I make, no room to hesitate
    In this competitive game, sometimes you do what it takes
    Through all the rumours and fakes, and break downs
    But havin' unstoppable force you couldn't break down
    And calm down...
    I hear my homie into everything he told me
    To put it down like the one and only
    Baby open your eyes, and adjust to the scenery
    I don't think he really knowin' what that mean to me
    'cause shit be gettin' so damn real
    You gotta find some direction
    And the game's put to work and shaped to perfection
    So by the time you hear it, you won't even ask
    And Mickey stay dead serious, while doin' the math
    But the incentive, the pride I feel is independent
    There's some hatin, I still get a fucked percentage
    I can't trip, you gotta sacrifice to make it happen
    And I make a reality out of all I imagine
    And keep it controlled, I never let it take a toll
    Although me and my pueblo, five in a row
    I sit low, patrol the whole valley in my soul (oh no!)
    Ain't nothin' stoppin' such a beautiful goal
    I'm like fuck it, ain't none of y'all know me
    Your whole staff and your bitch ass street promotion teams
    I'm like linen, mo' jeans than denim
    Ain't forgettin' no dreams as I bring momentum
    All through the city, I stay on my toes and so witty
    Feel pretty that I'm gon' hit the club with Billy
    Just to let it all out, out spoke 'n smoke
    And be myself and enjoy ridin' every emotion I can feel
    Today I must say, it's dedicated
    For those who can hustle and when they say you couldn't make it
    And always felt the situation changin'
    Not to the top, but to a spot that's sacred
    Yeah, it's like that
    [Verse 2 - Nickatina]
    24/7, Yo I be reppin' every hour
    Cats that know my power, know I plot up in the shower
    After the water hits my back
    I jump up in the act, and rolls me a 20 dolla sack
    It's like that
    It's like that, sometimes I wish it wasn't
    Sometimes I wish I was sober and free just like my cousin
    But now I'm livin' raw, still up in my jaw
    Try'na mack a situation without a flaw
    But check it boss
    I'm so greedy sometimes I can't let you see me
    I'm with my queen aferteeti
    But anyway
    I like to party and play, word to Cassius Clay
    Bust a ballerina, Fillmoe, Nickatina
    My heart goes out, yeah to all the crack babies
    That shit is like deeper than the navy, somebody save me
    It's like a daiquiri, a nine volt battery
    A riddle fiddle 'n giggle, yo at the flattery
    Man I like to eat a gang of prawns
    And talk shit when the Playstation game is on
    I keep a cigar just like Fidel Castro
    Early days of a rap cat that blew madd blow
    Yo! I'm awake like an owl
    Yo! Deep in the town
    Yo! Bustin it bolo and doin' it solo?
    I remember when I first saw a gangsta cry
    And it'll live with me until the day I die
    I cut game with a razor blade
    I had to presad
    And had to speak to the gods on everything I made
    Some think it's complex
    Some think I came blessed
    But you'll find a hustle raised in the projects
    I kick it live just like a forty-five
    And when I die you can say "He lived a rapper's life"
    It's like that...




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