DOCSLIB.ORG

Listening to Hip-Hop Adviser

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Listening to Hip-Hop Adviser Listening to Hip-Hop adviser Looped samples of obscure, as well as classic jazz tracks with a hip-hop beat and a rapper’s verse of densely-packed rhymes blasts from freshman Lucas Cropper’s chilly basement as he repetitively bobs his head up and down. Since late summer of 2020, Cropper has been listening to hip-hop, including its many sub-genres and artists. ¨Wu-Tang: An American Saga,¨ a television series telling slightly altered and dramatic stories of prominent rap group Wu-Tang Clan in the 1990s, was a main catalyst for Cropper´s interest in hip-hop. While the Wu-Tang Clan was one of the main groups Cropper listened to when he first began his hip-hop journey, they introduced him to other talented solo artists and groups. “MF DOOM [is my favorite rapper] because his flow and word play is unmatched,” Cropper said. “And The Pharcyde [is my favorite group] because the dynamic between all the members just works so well.” For many, there are inexplicable factors and feels that go into deciding whether a song is enjoyable or not. In hip-hop songs, there is delivery, the content in what the message is, the instrumental, the chorus, and verse structure, to name a few more tangible parts of the song. Cropper believes all parts of the song, like the lyrics and beats are important, but that delivery slightly edges out the other aspects and is more noticeable. “Delivery makes and breaks a song,” Cropper said. “Your lyrics and beat don’t mean anything if you can’t deliver it.” Delivery adds emphasis or impact on certain words or phrases. It’s how artists convey emotion in clever ways that can affect the listener. For example, if you pronounce every consonant clearly or say every word aggressively, it will give off a more heightened sense of alarm or energy. Additionally, rapping the words in a calmer, softer tone will exert less pressure and a more chill aura in the song. “The feeling is super important,” Cropper said. “There’s a flow and a vibe that's gotta be there when listening otherwise I don’t wanna listen to it.” Different styles and typings in hip-hop can be connected with different regions. That includes the feelings, lyrical content and production style. For example, rappers will occasionally proclaim a neighborhood or city they grew up in to be affiliated with gangster or street rap. “There are so many different styles when it comes to hip hop music and the culture,” Cropper said, “For example, to over simplify things, west coast and east coast.” Because of different styles and techniques that certain rappers excel at, collaborations/features, and even references or using a rapper’s voice as a sample can be found on a few songs or even entire albums are common. An example of a collaboration, or two or more artists working together is on two classic albums; rapper AZ on a song of rapper Nas’ “Illmatic,”, and Nas on a song of AZ’s “Doe or Die.” An example of a sample of a rapper’s voice used as a sample is U-God from the Wu-Tang Clan’s classic line: “My hip-hop will rock and shock the nation” on The Pharcyde’s “Devil Music” and its remix, “My Soul.” “When I show some one an artist or a song and they like it, I feel more of a connection with the person and I feel closer to them. Cropper said. “Also it feels good to put them onto something if they weren't into hip hop before.” Hip-hop is a genre of music that is also considered to be a culture. People who are a part of the culture can have endless conversations because there are many artists, with many albums and decades of history that can be controversial and deal with challenging topics. Like many things, hip- hop isn’t inherently good or bad, and it is up to the MC (rapper) and producer to deal with whatever social topics are necessary to talk about. “It's amazing being able to share songs and talk about MCs and producers and being able to find a link between people you listen to because the hip hop scene is a web in a way,” Cropper said. “And a lot of times you'll find that your favorite rappers and/or producers have worked together or have something to do with each other.”.
Load more

Recommended publications
  • In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998).
    [Show full text]
  • V. 65, No. 10, November 14, 1996
    Bryant College Thursday, November 14, 1996 Volume 65 Number 10 BY PAUL TOLME ASSOCIATED During nearly four w ek oftes­ HI URI FOOTBALL PLAY­ PRESS WRITER timony, Mann ne....er denied that ERSARRAlGNEDONASSAULT BarrettkilledSilvia, butsaidhe was CHARGES PROVIDENCE R.I. (AP)_ Re­ insane at the time and fired in self­ Two suspended University of jecting claims Dr. David Barren defense. Submitted by The Office of matchsince their most likely chance Rhode Island ~ otball players were was insane when he hot to death Psychiatrist testified Barren bad Student Activities. of finding a match i from someone arraigned Tuesday on a ault Joseph Silvia, a jury W dne day een iagnosed wilh manic depres~ • of a similar ethnic background. charges stemming from an attack convicted the former Brown Uni­ sian, and witnesse from Barrell Imagine for a moment that you Becoming a donor is easy. Th on a fraternity house. versity psychiatry re .dent f sec­ father to his colleagues at Brown could be the 1 in 20 000 match to fir t tep is to have a smaU amount William Edwards and Frank ond-degree murder. recalled episodes in which Barrett save the life ofyoung child. Tolllat of blood taken which is typed for Rom nolr., both 20 pleadedinno­ JUT rs deliberated 11 hours be­ acted "grandjo'e' and ·'manic." cbild you would be ahero and to the marker called HLA antigen .. Thjs cent to one count each of simple fore Iling mto the courtroom and Bello argued Barrell was using rest of us a life aver. information is entered in theNMDP assault and conspiracy to commit delivering the verdict.
    [Show full text]
  • UNIVERSAL MUSIC • Rihanna – Rihanna 777 Tour… 7Countires7days7shows DVD • Jay Sean – Neon • Jessica Sanchez
    Rihanna – Rihanna 777 Tour… 7countires7days7shows DVD Jay Sean – Neon Jessica Sanchez – Me, You & The Music New Releases From Classics And Jazz Inside!!! And more… UNI13-20 “Our assets on-line” UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 Artwork shown may not be final The Following titles will move to I Code effective FRIDAY, APRIL 12, 2013 Artist Title Catalog UPC Price Code New Number (Current) Price Code GN'R LIES GEFMD24198 720642419823 N I GAYE MARVIN WHAT'S GOING 4400640222 044006402222 N I ON(REMASTERED URIAH HEEP DEMONS & WIZARDS 8122972 042281229725 N I SOUNDTRACK A NIGHT AT THE DRSSD50033 600445003323 SP I ROXBURY ROTH, ASHER ASLEEP IN THE BREAD B001281202 602527018355 SP I AISLE MELLENCAMP AMERICAN FOOL B000418902 602498801376 N I JOHN (COUGAR) MANOWAR LOUDER THAN HELL GEFSD24925 720642492529 SP I MALMSTEEN TRILOGY 8310732 042283107328 N I YNGWIE CRAZY FROG PRESENTS MORE CRAZY B000714902 602517018839 N I HITS ONYX BACDAFUCUP 3145234472 731452344724 N I MALMSTEEN RISING FORCE 8253242 042282532428 N I YNGWIE YOUNG NEIL OLD WAYS 0694907052 606949070526 N I MELLENCAMP SCARECROW B000451202 602498812396 N I JOHN (COUGAR) REDMAN DARE IZ A DARKSIDE 3145238462 731452384621 N I 3 DOORS DOWN ANOTHER 700 MILES B000160302 602498612477 AW I (LIVE) BON JOVI JON BLAZE OF GLORY 8464732 042284647328 N I MENDES GREATEST HITS CD3258 075021325821 N I SERGIO RICHIE LIONEL DANCING ON THE 4400383002 044003830028 N I CEILING (RE BIRDMAN FAST MONEY B000422002 602498801918 SP I SOUNDTRACK XANADU‐REMASTERED
    [Show full text]
  • Nas, Affirmative Action (Feat
    Nas, Affirmative Action (feat. AZ, Foxy Brown, and Cormega (The Firm)) [Intro: AZ] This is what... this what they want huh? This is what it's all about.. What? Time to take Affirmative Action son They just don't understand, youknowImean? Niggaz comin sideways thinkin stuff is sweet man Yknahmean? Niggaz don't understand the four devils: Lust.. Envy.. Hate.. Jealousy Wicked niggaz man [AZ the Visualiza] Yo, sit back relax catchin contacts, sip your cog-nac And let's all wash this money through this laundry mat Sneak attack, a new cat sit back, worth top dollar In fact, touch mines, and I'll react like a Rottweiler Who pull the late, we play for high stakes at gunpoint Catch em and break, undress em tie em with tape, no escape The Corleone, fettucini Capone Roam in your own zone or get kidnapped and clapped in your dome We got it sewn, The Firm art of war is unknown Lower your tone, face it, homicide cases get blown Aristocrats, politickin daily with diplomats See me I'm an official mack, Lex Coupe triple black [Cormega] Criminal thoughts in the blue Porsche, my destiny's to be the new boss That nigga Paulie gotta die - he too soft That nigga's dead on, a key of her-oin, they found his head on the couch with his dick in his mouth, I put the hit out Yo, the smoothest killer since Bugsy, bitches love me And Queens where my drugs be, I wear Guess jeans and rugbies Yo my people from Medina they will see you when you re-up on your heater all your cream go betweeen us Real shit, my Desert Eagle got a ill grip I chill with, niggaz that hit Dominican
    [Show full text]
  • The Life & Rhymes of Jay-Z, an Historical Biography
    ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life.
    [Show full text]
  • GAZETTEOF CONGRESS a Weekly Publication for Staff INSIDE
    Volume 32, No. 12 LIBRARY March 26, 2021 GAZETTEOF CONGRESS A weekly publication for staff INSIDE Curating Black Culture Three Howard University students are bringing African American history and culture to the fore this spring through the Archives, History and Heritage Advanced Internship Program. Courtesy ©Muppets Studio of and LC PAGE 3 New registry additions: "The Rainbow Connection," sung by Jim Henson as Kermit the Frog, and Janet Jackson's "Rhythm Nation 1814." New Registry Titles Librarian of Congress Carla Hayden announced 25 new additions to Janet Jackson and Kermit the the National Recording Registry on Wednesday. Frog Added to Recording Registry PAGE 4—5 New recordings bring the total number of titles on the registry to 575. Janet Jackson’s clarion call for to the nation’s recorded sound action and healing in “Rhythm heritage. Nation 1814” now joins other “The National Recording Registry groundbreaking sounds of his- will preserve our history through tory and culture on the Library’s these vibrant recordings of music National Recording Registry. The and voices that have reflected our album was inducted into the regis- humanity and shaped our culture,” try on Wednesday along with Louis Hayden said. Armstrong’s “When the Saints Go Marching In,” Labelle’s “Lady She noted that the Library Marmalade,” Nas’ “Illmatic,” Kool received about 900 nominations Researcher Story and the Gang’s “Celebration” and from the public for recordings to Miami University in Ohio history profes- Kermit the Frog’s “The Rainbow add to the registry. “We welcome sor Kimberly Hamlin researched her Connection.” the public’s input as the Library of new book about suffragist Helen Hamil- Congress and its partners pre- ton Gardener in the Manuscript Division.
    [Show full text]
  • Hip-Hop Timeline 1973 – Kool Herc Deejays His First Party in the Bronx
    Hip-hop Timeline ➢ 1973 – Kool Herc deejays his first party in the Bronx, where his blending of breaks is first exhibited. The break dancers in attendance began to discover their style and form. ➢ 1975 – Grandmaster Flash begins the early forms of Turntabilism by blending and mixing, while Grandwizard Theodore invents what we now know as scratching. The first Emcee crews are formed. ➢ 1979 – The Sugarhill Gang, under the guidance of record label owner and former vocalist Sylvia Robinson, release Rapper’s Delight, the first commercially recognized rap song. *There is much debate over the first recorded rap song, but it’s widely believed to have been done sometime in 1977 or 1978. ➢ 1980 – Kurtis Blow releases the first best selling hip-hop album, The Breaks, and becomes the first star in hip-hop music. ➢ 1983 – Herbie Hancock, in collaboration with pioneer DeeJay GrandMixer DST (now known as GrandMixer DXT), creates the Grammy Award-winning song Rockit, which is the first time the public ever hears a DeeJay scratching on record. Pioneer hip-hop duo Run DMC releases their first single Sucker Emcee’s. ➢ 1988 – This year is considered the first golden year in hip-hop music with releases such as Public Enemy’s It Takes A Nation of Millions to Hold Us Back, Big Daddy Kane’s Long Live The Kane, Slick Rick’s The Great Adventures of Slick Rick, Boogie Down Production’s By All Means Necessary, Eric B And Rakim’s Follow the Leader and the first highly regarded non-New York hip-hop record, N.W.A.’s Straight Outta Compton.
    [Show full text]
  • The A-Z of Brent's Black Music History
    THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business.
    [Show full text]
  • Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
    Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.
    [Show full text]
  • Westminsterresearch Synth Sonics As
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap Exarchos, M. This is an electronic version of a paper presented at the 2nd Annual Synthposium, Melbourne, Australia, 14 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 2nd Annual Synthposium Synthesisers: Meaning though Sonics Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-School’ to Trap Michail Exarchos (a.k.a. Stereo Mike), London College of Music, University of West London Intro-thesis The literature on synthesisers ranges from textbooks on usage and historiogra- phy1 to scholarly analysis of their technological development under musicological and sociotechnical perspectives2. Most of these approaches, in one form or another, ac- knowledge the impact of synthesisers on musical culture, either by celebrating their role in powering avant-garde eras of sonic experimentation and composition, or by mapping the relationship between manufacturing trends and stylistic divergences in popular mu- sic. The availability of affordable, portable and approachable synthesiser designs has been highlighted as a catalyst for their crossover from academic to popular spheres, while a number of authors have dealt with the transition from analogue to digital tech- nologies and their effect on the stylisation of performance and production approaches3.
    [Show full text]
  • Experts Predict Move to Communist Russia Analysts Approve Clinton's
    R&R's Last Minute Edition Featuring reviews of Casino, Red Hot THE CHRONICLE Chili Peppers, and the GZA. See R&R. THURSDAY, NOVEMBER 30, 1995 IE ONE COPY FREE DUKE UNIVERSITY DURHAM, NORTH CAROLINA CIRCULATION: 15.000 VOL. 91, NO. 64 Analysts approve Clinton's plan Professors cite America's unique responsibility By MISTY ALLEN Clinton's reasons for interven­ we're'going to have to send In the wake of President tion, citing America's unique re­ troops—as much as we find that Clinton's Monday night address sponsibility as the world's sole distasteful," he said. to the American public concern­ remaining superpower. Herbert Kitschelt, professor ing the dispatch of 20,0U0 Amer­ "I think he's making a rhetor­ of political science, underscored ican troops to Bosnia, University ical nod to the public's sentiment Eldridge's statement by saying students and professors have ex­ about not wanting to be the that the United States has a pressed opinions ranging from world's policeman, but at the strategic interest in the Balkan tactful criticism to tempered ap­ same time saying that if we war because of its vested inter­ proval. don't do it, then who will?" said est in the stability of Eastern By all accounts, the speech Peter Feaver, assistant professor Europe. "I think that this is the was a crucial one for Clinton, of political science. He was only way to attain peace in the whose administration promised speaking to the distinction be­ region. The United States' [pres­ military support to the warring tween unilateral and multilater­ ence] is an essential element," Balkan factions in the sweeping al military action, a longstand­ he said.
    [Show full text]
  • Theoretical Approaches to Quotation in Hip-Hop Recordings Justin A
    Williams, J. A. (2014). Theoretical Approaches to Quotation in Hip- Hop Recordings. Contemporary Music Review, 33(2), 188-209. https://doi.org/10.1080/07494467.2014.959276 Publisher's PDF, also known as Version of record Link to published version (if available): 10.1080/07494467.2014.959276 Link to publication record in Explore Bristol Research PDF-document University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ This article was downloaded by: [University of Bristol] On: 26 March 2015, At: 13:07 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Contemporary Music Review Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/gcmr20 Theoretical Approaches to Quotation in Hip-Hop Recordings Justin A. Williams Published online: 28 Oct 2014. Click for updates To cite this article: Justin A. Williams (2014) Theoretical Approaches to Quotation in Hip-Hop Recordings, Contemporary Music Review, 33:2, 188-209, DOI: 10.1080/07494467.2014.959276 To link to this article: http://dx.doi.org/10.1080/07494467.2014.959276 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content.
    [Show full text]