DOCSLIB.ORG

Coil's Astral Disaster, Meandering Through Space Supreme Clientele

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Coil's Astral Disaster, Meandering Through Space Supreme Clientele PAGE 24 THE RETRIEVER WEEKLY FEATURES March 7, 2000 > Coil's Astral Disaster, Meandering Through Space Originally only available in an extreme­ organ sounds enter the you feel like you're in the middle of some ly limited, vinyl-only subscription series (a mix, as do a few elec­ acid trip. It features many of the same sort mere 99 copies were pressed!), Astral tronic blips and beeps. of strange electronic noises that populate Disaster, the latest release from Coil, is This is definitely the the rest of the album, but it's also got sung Album Review now finally avail- kind of track you'd lis­ vocals and, surprisingly enough, a guitar able to the masses ten to with headphones line. Finishing out the album is "MU­ by Mark Robinson on CD. When 1 say on and the lights out - UR,"a track which is sort of a reprise of "masses," of course, I mean those lucky very relaxing. "2nd Sun "The Mothership and the Fatherland," fea­ enough to track down a copy (it's available Syndrome" follows and turing many of the same drum and organ in most independent record stores and returns to the electronic sounds. As the track progresses, however, through many Internet mail order shops) weirdness of the first the soothing ambient sounds give way to and willing to pay import prices for it. track. Although sonical­ all sorts of electronic weirdness - mangled Regardless, I'd much ratl).er pay the 20 or ly it's very different vocal samples, a twisted piano loop, short­ so bucks that importers are charging for it from "Mothership," it's wave radio squeals and all sorts of other than sell off one of my body parts to afford just as hypnotizing, oddities. If you're lying down and chilling a copy of the vinyl version (which sold for providing all kinds of out listening to this album (as perscribed around $500 on eBay), not to mention the strange sounds that above), this is the track that will wake you fact that the CD version has been com­ seem to swim from side up and completely weird you out. pletely remastered, remixed and features a to side within your Although this album is quite cohesive more-than-20-minutes long bonus track. head. This is definitely and definitely a trip to So, what's the album actually sound another track that must listen to, it doesn't like? Well, the album features a couple be listened to with seem to really go any­ long, ambient electronic soundscapes and a headphones. where. Coil did the couple more traditional songs with vocals "The Sea Priestess" chill-out record thing and instrumentation and the like (in all, six and "I Don't Want to be much better in their tracks clocking in at just over 72 minutes). the One" are the only 1998 release Time The CD begins with "The Avatars," which two tracks on this brainwashed.com Machines and the features whirling synth noises coupled album with vocals, but Unwinding: John Balance and Peter strange electronic with high-pitched electronic drones. The they don't seem out of Christopherson apply their sonic wiz­ thing much better whirling and screeching builds as the track place. "The Sea ardry to Astral Disaster. with 1995's Worship progresses and then, once the listener is Priestess" starts out the Glitch. It also completely engulfed, comes to an abrupt sounding like another ambient excursion, isn't the kind of album pales in comparison stop. The much slower-paced "The but eventually John Balance's vocals enter you'd put on while going on an afternoon to last year's spectacular Musick to Play in Mothership and the Fatherland" follows the mix. These vocals are more spoken drive or as background music while you do the Dark Volume 1. I'm not saying this is a and gives the listener a chance to recover than sung and provide yet another texture homework- it's music that you need to bad album or anything (hell, it's been stuck from the previous track's aural assault. to engulf the listener. They're also a sort of surround yourself with to truly appreciate. in my CD changer ever since I got it a cou­ This starts with a slow, brooding drum beat vocal guide to the journeys that your mind That said, there is one track on this ple weeks ago), it just doesn't seem to be and slowly progresses into a very light, takes while listening to this strangely hyp­ album, "I Don't Want to be the One," that up to their unusually high standard of qual­ soothing ambient piece. Eventually, some notic music. Suffice to say, this probably is fairly straightforward and doesn't make ity. WRITE FOR Supreme Clientele Has Killah Instinct Well, all you Wu-Tang fans out there me in the room eating grouper". Whether FEATURES! can now breathe a collective sigh of relief spitting strong cadence in "Deck's Beat"or Album Review because, for the lamenting his recent run-in with the law by WRITE FOR first time since describing his incarceration experience in FEATURES! by Chris Kerner GZA's solo effort "Saturday Nite", the Ironman knows how Beneath the Surface and before that to lay down rhymes. WRITE FOR Raekwon's Only Built 4 Cuban Linx, there One of the most interesting parts of the is a Wu solo album worthy of unlimited CD is track number 13 where the beat is FEATURES! praise. Ghostface Killah's Supreme supplied by back-spun vinyl loops. The Clientele, recently released on Razor lyrics on this track leave something to be WRITE FOR Sharp Records on the Epic label, incorpo­ desired and the beat gets very repetitive, rates classic samples, plenty of street slang but the originality alone makes it a quality FEATURES! and groundbreaking beats that were origi­ contribution. WRITE FOR nal characteristics of the Wu-Tang Saga. The album concludes with a Wu-Tang As usual, RZA spins all of the produc­ collaboration called "Wu Banga" contain­ FEATURES! tion on the tracks and creates some of his ing GZA, Cappadonna and Inspectah best work in recent memory. RZA's beats Deck. In this finale, GZA relates one of the WRITE FOR and Killah's lyrics combine on this project tightest verses on to show the world that the Wu-Tang Clan is Supreme Clientele that FEATURES! more than capable of holding its own in the sums up the Clan's new millennium. impact assuredly and WRITE FOR Prior to Ghostface's new record, how­ succinctly, "see the FEATURES! ever, the latest concoctions from individual logo?/ a monument in members of the Clan have fallen flat. hip-hop/ carved out in a Inspectah Deck, U-God, Method Man, giant landscape of bro­ WRITE FOR Wu Tang Killah Beez Raekwon and even 01' Dirty Bastard have Solo Wu: Supreme Clien­ ken rocks/ whether FEATURES! contributed lackluster efforts following tele, right, is Ghostface heard in herb spots, malt 1998's classic co-operative album Wu­ Killah's new effort. shops or jukebox/ uncut FOR Tang Forever. Even RZA had been mired live, drop 85 in one in his Bobby Digital alter ego, unable to with the track "Nutmeg," a melodic tune shot.". A fitting conclusion to an album E T s ! pull himself out and create quality beats. that is the perfect beginning to whet your with a ringing significance for the re-emer­ Supreme Clien~ele may be considered lyrical palate. The smooth beats continue gence of the Wu-Tang Clan. the rebirth of RZA as well as the rejuvena­ through track number six, entitled "Apollo Overall, Ghostface Killah has outdone 1 tion of the solo careers of Wu-Tang mem­ Kids", when Raekwon contributes his any of his counterparts in the Clan with the bers. Not only does Ghostface's new proj­ rhymes to this likely choice for the first sin­ release of Supreme Clientele. The beats ect exceed these recent Wu project failures, gle to be released off the album. and rhymes are reminiscient of oustanding Whaddaya but it may be considered among the best On the next track, "Buck 50" featuring Wu Saga albums of the past. The bottom waiting for? solo Clan efforts ever. And the timing Cappadonna, Method Man, Redman and line is that lronman, the cartoon, ahead of Call x1260 could not have been more perfect. Masta Killah, Ghostface displays his lyri­ his enemies has been adopted by his alter Arriving as Tony Starks, aka lronman, a cal wizadry as well by declaring ego Ghostface Killah on this album and now! '60s cartoon superhero, in the intro, "Supercalifragilisticexpialidocious !/Docio has kept this Wu-Tang member one step Ghostface begins his sophomore album usaliexpifragilistalisuper!/Cancun, catch ahead of his competitors. .
Load more

Recommended publications
  • Ghostface Killah Assassination
    Assassination Day Ghostface Killah It's assassination day, I stalk I move through the third world, my third eye's the guiding light Invite the fight, we all die tonight The life I live's a twenty-five to life bid Parole reneged, I stroll the globe fugitive CREAM is short, Cee Cipher Power stalk, plus the fiend talk Three Gs the cost in Supreme Court White lies and blackmail land me back in jail We're all for sale, a stolen goal but it fail Stranded on the front line I shine to the dumb and blind It comes time I take back what was once mine Crunch time in the first quarter From the worst slaughter Devil's poisoning the birth water The earth daughter rest her head on my chest Through the struggle we cuddle under half-moon crest While the press plant fear and exploit the gun blasting Central broadcasting is shackling, nerves are unfastened Trapped in deep water, gasping I clash with the titans for my half on the action I stop producers careers, the weak spot was the ears Scorpion darts hits the mark Pierce the heart with silver spears You're bewildered My unsaturated, low filtered Devils still feel this so you're living build tilted MC's upon their axis, their body hazard tactic Lactic acid, desert drop cactus, practice You can never match this invincible Wu-Tang indispensable One nation under God Indivisible With liberty and justice The mic is in my clutches Thugs who bring ruckus leave in crutches Unforgivable snakes face the double-edged swords starts to swivel Decapitates the head, makes the projects more livable Interchangeable, caution:
    [Show full text]
  • Mega Ran Virtual Artist Residency Music of the United States: Hip Hop Audience Guide
    Mega Ran Virtual Artist Residency Music of the United States: Hip Hop Audience Guide HISTORY AND KEY TERMS Hip hop originated in the Bronx borough of New York City, and many people attribute hip hop’s birthday to the date August 11, 1973. Just before school started, Clive Campbell (a.k.a. DJ Kool Herc) threw a back-to- school jam in the rec room of an apartment building. For many, DJ Kool Herc and this party represent the beginnings of the iconic American genre called hip hop. Hip Hop: Hip is the idea of being culturally aware Break and breakbeat: A break is a short segment of and knowing what’s going on in the community. If music that primarily features drums and bass. Breaks someone is hip, we can say they are “in the know” and can be sampled and looped, using turntables, to make “know what time it is.” Hop represents the dancing them into a much longer breakbeat—and to keep the and movement aspect of the genre. When the music party going. plays, B-boys and B-girls get up and dance! Hip hop brings the two words together and represents more Sampling and flip: Sampling is taking part of a song than just a music genre. Hip hop is a culture centered and using it to create a whole new song. When a around self-expression and art that emerged from the sampled song sounds very different from the original, African American community in the Bronx. it’s called a flip, because the DJ or producer flipped the sound.
    [Show full text]
  • Metric Ambiguity and Flow in Rap Music: a Corpus-Assisted Study of Outkast’S “Mainstream” (1996)
    Metric Ambiguity and Flow in Rap Music: A Corpus-Assisted Study of Outkast’s “Mainstream” (1996) MITCHELL OHRINER[1] University of Denver ABSTRACT: Recent years have seen the rise of musical corpus studies, primarily detailing harmonic tendencies of tonal music. This article extends this scholarship by addressing a new genre (rap music) and a new parameter of focus (rhythm). More specifically, I use corpus methods to investigate the relation between metric ambivalence in the instrumental parts of a rap track (i.e., the beat) and an emcee’s rap delivery (i.e., the flow). Unlike virtually every other rap track, the instrumental tracks of Outkast’s “Mainstream” (1996) simultaneously afford hearing both a four-beat and a three-beat metric cycle. Because three-beat durations between rhymes, phrase endings, and reiterated rhythmic patterns are rare in rap music, an abundance of them within a verse of “Mainstream” suggests that an emcee highlights the three-beat cycle, especially if that emcee is not prone to such durations more generally. Through the construction of three corpora, one representative of the genre as a whole, and two that are artist specific, I show how the emcee T-Mo Goodie’s expressive practice highlights the rare three-beat affordances of the track. Submitted 2015 July 15; accepted 2015 December 15. KEYWORDS: corpus studies, rap music, flow, T-Mo Goodie, Outkast THIS article uses methods of corpus studies to address questions of creative practice in rap music, specifically how the material of the rapping voice—what emcees, hip-hop heads, and scholars call “the flow”—relates to the material of the previously recorded instrumental tracks collectively known as the beat.
    [Show full text]
  • The Evolution of Commercial Rap Music Maurice L
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.
    [Show full text]
  • Bark at Park’ Festival by Everett Rosenfeld ‘09 May Day, the Lower School’S Liss, Selected the Music for the Event
    POSTSCRIPT The Park School Brooklandville, MD May 28, 2004 Volume LXIV Issue No. 9 Parents’ Healthy Food Committee bans soda sales on campus by Sarah Dunn ‘06 Starting next year, Park will ban daily nutritional requirements. It is stat- to more healthy drinks. At Oldfields, healthier foods in schools is happening the sale of sodas on campus. This move ed directly in the proposal that, “health many other junk foods have been elimi- all over the country. In New York City is the result of an April 14 proposal made related behaviors are established early in nated as well. Almost 95% of what is sold and Los Angeles public schools, sodas by the Park Healthy Foods Committee, life” and the Committee believes that in its vending machines are healthy were banned from vending machines. In a group that consists of faculty and par- Philadelphia public schools, all soda sales ents. The proposal stated that the school were eliminated. Other states taking a should not profit from the sale of such stand on the foods sold in their cafeteri- unhealthy drinks and that they should not as include Texas, South Carolina, New be sold on school grounds. The Park Hampshire, Washington, California, and Parents’ Association approved the plan; Minnesota. Dr. David Jackson, Head of School, and Next year, Park will discontin- Caleb Karpay ‘04, former Upper School ue its vending machine soda sales as President, also supported it. well. Unlike St. Paul’s, students will be Deirdre Smith, a parent and a permitted to bring sodas on campus, but member of the committee, explained that the school does not wish to profit from the number one disease among teenag- them.
    [Show full text]
  • Department Regulation No
    Department Regulation No. C-02-009 Offender Mail and Publications Revised 02 July 2019 REJECTION LIST Publications: A Witches Bible – The Complete Witches Handbook Airbrush Action – September/October 2010, March/April 2016 Airbrush Bible AL-HAGG Newsletter Volume 10 Issue 3 Al-Haq Allure - May 2008, December 2011, March 2017 Alternative Revolution – Issue #14 American Art Collector – June 2014 Issue #104, July 2014, #108 October 2014, #109 November 2014, February 2015 American Artist - Spring 2009, May 2010, November 2011, October 2012 American Curves – June 2006, July 2006, November 2006, January 2007, Eye Candy for Men – February 2007, May 2007, Duos Spring 2007, #34 – June 2007, Eye Candy – August 2007 – To Be Displayed Until October 16, 2007, October 2007, Presents Lingerie Magazine – November 2007– December 2007, February 2008, Eye Candy for Men – March 2008, May 2008, June 2008, July 2008, December 2008, Eye Candy for Men - January 2009, February 2009, Eye Candy for Men - May 2009, April 2010, Summer 2012, American Photo - September 2008, November/December 2008, January/February 2009, March/April 2009, May/June 2009, September 2009, May/June 2011 Amerikkkan Prisons on Trial – Guilty! – Number 11-1996 An Anthology of Graphic Fiction, Cartoons & True Stories – Volume #2 Angel Song – A glorious collection of heavenly bodies by SQP (Volume #1) Anti-Racist Action – Volume 25 #2 April/June 2012 Art in America - September 2008, October 2008, May 2010, March 2016, June/July 2016 Artists Magazine - October 2009, September 2012, November
    [Show full text]
  • RZA on the Soul of Music [EXCLUSIVE SOULHEAD INTERVIEW] @RZA @Erickablount January 8, 2015
    • FEATURES • INTERVIEWS • PRINCE • AUDIO • VIDEO • EVENTS • ABOUT • SHOP • FEATURES o • INTERVIEWS • PRINCE o • AUDIO o • VIDEO o • EVENTS o o • ABOUT o o o • SHOP 0 Everybody is Talking About the Good Ole Days: RZA on the Soul of Music [EXCLUSIVE SOULHEAD INTERVIEW] @RZA @ErickaBlount January 8, 2015 . Everybody is Talking About the Good Ole Days: RZA on the Soul of Music by Ericka Blount Danois If hip-hop tours, white appropriation, anniversary celebrations, books and hip-hop documentaries aren’t an indication that hip-hop has reached the status of Beatles-style nostalgia and reverence, then releasing a Wu-Tang Clan 20th anniversary reunion album, A BetterTomorrow, is solid proof that the genre has officially arrived. RZA, always the heart of the operation, worked tirelessly to round up the troops and dissolve beefs for the reunion album that dropped Dec. 2, 2014. “I wanted to make a record that pays homage to soul music and hip-hop,” he said about the making of this album. “I went to the past to make something for the future.” RZA came out of his own pockets to fund the album to the tune of half a million dollars. Some of the best in the industry are featured on the album—Rick Rubin, Adrian Younge, David Porter, Kenny Gamble and Rob Cavallo, all had their hands in the pot. Wu-Tang has always done things big and with vision. RZA led the 9-member group to an unprecedented label deal where each member was able to launch solo records. The deal allowed them to become the most revolutionary rap group of the mid-’90s releasing five group and 19 compilation albums totaling over 6 platinum records and over 40 million sold.
    [Show full text]
  • Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy
    Illinois State University ISU ReD: Research and eData Theses and Dissertations 3-2-2017 On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy Evan Nave Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the African American Studies Commons, Creative Writing Commons, Curriculum and Instruction Commons, and the Educational Methods Commons Recommended Citation Nave, Evan, "On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy" (2017). Theses and Dissertations. 697. https://ir.library.illinoisstate.edu/etd/697 This Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ON MY GRIND: FREESTYLE RAP PRACTICES IN EXPERIMENTAL CREATIVE WRITING AND COMPOSITION PEDAGOGY Evan Nave 312 Pages My work is always necessarily two-headed. Double-voiced. Call-and-response at once. Paranoid self-talk as dichotomous monologue to move the crowd. Part of this has to do with the deep cuts and scratches in my mind. Recorded and remixed across DNA double helixes. Structurally split. Generationally divided. A style and family history built on breaking down. Evidence of how ill I am. And then there’s the matter of skin. The material concerns of cultural cross-fertilization. Itching to plant seeds where the grass is always greener. Color collaborations and appropriations. Writing white/out with black art ink. Distinctions dangerously hidden behind backbeats or shamelessly displayed front and center for familiar-feeling consumption.
    [Show full text]
  • Marketed and Promoted by Stones Throw Records Publicity by Score
    THIRD RELEASE FROM MADLIB’S ONCE-A-MONTH SERIES Madlib follows Flight To Brazil, with the Marketed and third installment of the Medicine Show series and the fourth installment in his promoted by Beat Konducta Series: Beat Konducta in Stones Throw Records Africa. Previous entries include: Beat Konducta: Movie Scenes, Beat Konducta: in Publicity by Score Press India and Beat Konducta: Dil Cosby and Dil Withers Suites. Limited edition Beat Konducta In Africa contains over Format: CD forty instrumental hip hop tracks produced and mixed by Madlib. This Cat. No: MMS 003 epic “beat tape” springs from obscure Label: Madlib Medicine Show vinyl gems culled from the afro-beat, Available: March 23rd, 2010 funk, psych, garage-rock, prog-rock and soul movements of countries as diverse as Zambia, Nigeria, Ethiopia, Ghana, Botswana and the Ivory Coast. The Madlib Medicine Show series is a combination of Madlib's new hip-hop productions, remixes, beat tapes, and jazz, as well as mixtapes of funk, soul, Brazilian, psych, jazz and other undefined forms of music from the Beat Konducta's 4-ton* stack of vinyl. Next up: 420 Chalice All Stars (All Jamaican Sounds) *4-tons of vinyl, this is true. It’s all in his studio. DISC ONE: Jawbones 1. Free 2. Ihadmyheadoverthechickensouppot 3. Mary 4. Don’t Judge Your Brother 5. Cat House Blues 6. The Ones Left Behind 7. Betrayed 8. Bullheads In My Shoes Blues 9. Karen DISC TWO: Since Washington 10. Alone And Watching 11. Sad Sunday 12. Now Is Here 13. Donna 14. 3 AM 15. It Doesn’t Matter … Yes It Does … But I Can’t Stop 16.
    [Show full text]
  • Gone Too Soon Remembering Civil Rights Icon Dr
    A&E Opinion Sports KoJa Kitchen serves Sinclair airs script about Champion track athlete Korean-Japanese fake news on dozens of stations, Destiny Longmire fusion with a twist sets sights on Olympics echoing Trump’s fake news rhetoric Page 5 Page 6 Page 8 Serving the San Jose State University community since 1934 Volume 150 No. 27 Wednesday, April 4, 2018 SPARTAN DAILY sjsunews.com/spartan_daily GONE TOO SOON REMEMBERING CIVIL RIGHTS ICON DR. MARTIN LUTHER KING JR. BY OMAR PEREZ Young was withh King on the MULTIMEDIA EDITOR balcony in the momentsoments after he was shot. April 4, 1968 was supposed to He was also one of King’s be like any other day for a 39-year- confidants and thehe two worked old activist and minister from closely coordinatingng desegregation Atlanta, Georgia. efforts throughout the South. King Dr. Martin Luther King Jr. grew to trust Young,ung, eventually and other Southern Christian assigning him commandmmand over the Leadership Conference (SCLC) SCLC while King spentpent time in jail. members were called into Memphis, According to the National Tennessee to support a sanitation Archives, King wasas shot minutes workers strike. after 6 p.m. and was pronounced King and fellow activists checked dead just about ann hour later. An into their rooms at the Lorraine autopsy later confirmedfirmed he died Motel, which at the time welcomed from a single gunshothot wound. African-Americans in an otherwise His death sent shockock wavwaveses unwelcoming Jim Crow South. across the country. Things took an unexpected “No one at thatat titimeme turn moments after King stepped wanted to believee that outside room 306 onto the balcony our leader had been that evening.
    [Show full text]
  • "What Is an MC If He Can't Rap?"
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 5-2019 "What Is An MC If He Can't Rap?" Dominique Jimmerson California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Ethnomusicology Commons, Music Performance Commons, Music Practice Commons, and the Other Music Commons Recommended Citation Jimmerson, Dominique, ""What Is An MC If He Can't Rap?"" (2019). Capstone Projects and Master's Theses. 569. https://digitalcommons.csumb.edu/caps_thes_all/569 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Dominique Jimmerson Capstone Sammons 5-18 -19 “What Is an MC if He Can’t Rap?” Hip hop is a genre that has seen much attention in mainstream media in recent years. It is becoming one of the most dominant genres in the world and influencing popular culture more and more as the years go on. One of the main things that makes hip hop unique from other genres is the emphasis on the lyricist. While many other genres will have a drummer, guitarist, bassist, or keyboardist, hip hop is different because most songs are not crafted in the traditional way of a band putting music together. Because of this, the genre tends to focus on the lyrics.
    [Show full text]
  • New York State of Mind De Representatie Van New Yorkse Getto’S in Rapmuziek 1988-1995
    New York State of Mind De representatie van New Yorkse getto’s in rapmuziek 1988-1995 Naam: Ollie Peijnenburg (S4599888) Begeleider: dr. C.W. van Galen Universiteit: Radboud Universiteit Nijmegen Opleiding: Master Geschiedenis en Actualiteit Collegejaar: 2019-2020 Datum: 15-03-2020 Inhoud Inleiding .................................................................................................................................................. 4 Onderzoeksopzet .................................................................................................................................... 6 1. Allow me to introduce myself ........................................................................................................ 9 Nas ...................................................................................................................................................... 9 The Notorious B.I.G. ........................................................................................................................ 10 Boogie Down Productions ................................................................................................................ 11 Wu-Tang Clan .................................................................................................................................. 12 Big L ................................................................................................................................................. 13 2. ‘Dwellin’ in the Rotten Apple’ ....................................................................................................
    [Show full text]