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Downtown Reading! Destination: Downtown Reading! I S S U E 6 5 MAY 7, 2018 The Reading Downtown Go Go Gadjet Kicking Off Improvement District office is located at 645 Penn Street, First Floor, Suite 105. Downtown Alive Free Concerts Office hours: Monday through Friday, 8 a.m. to 4:30 p.m. Office number: 610-376-6424 DID Ambassadors number: 484-955-0315 (Please call this number directly for escort assistance to vehicles, trash and leaf removal, graffiti removal, and public nuisance issues) DID You Know? As one of the sponsors of the Downtown Alive free outdoor concert series, the Reading Parking Authority will provide free parking at its Fourth and Cherry garage starting at 4 p.m. on each concert day. Parking Authority rules and regulations will apply at Go Go Gadjet, an immensely popular regional band that describes itself as “a burst of other locations it oversees electric funk carried on the back of a thundering juggernaut of searing rock,” will open in downtown Reading. the fourth annual Downtown Alive free outdoor concert series on Wednesday, June 20. The series will include four other concerts featuring performers who will appeal to Here is some additional a variety of tastes. information about the The shows will be staged again on Penn Street by the Reading Downtown concert series: Improvement District in partnership with Illusion Sound & Lighting, which is booking the acts, and Greater Reading Chamber Alliance. The concerts will take Opening for Go Go Gadjet will be Glassbeard, a duo comprised of DJ Aaron Miller place rain or shine. and drummer Evan Kirkley, who describe themselves as “carving out their own place Only severe thunder- in the Dance Music World.” storms would delay or “We’re excited to have Go Go Gadjet kick off this year’s concert series,” said Charles force cancellation of R. Broad, Executive Director of the Improvement District. “They have a huge following the shows. and always draw a big crowd wherever they go. And it’s great that many of the band members are from the Reading area.” The concerts are family and pet friendly. Those who bring pets are JUST ANNOUNCED! SUGAR HILL GANG & NOVA TO PLAY ON AUGUST 15! responsible for their actions. (article continued on back page) Go Go Gadjet to Open Downtown Alive Concerts (article continued from front page) Armed with the hits “Rapper's Delight”, “8th Wonder”, “Apache” and “Jump On It', Sugar Hill Gang will have downtown Reading rocking during the August 15 free concert. Opening the show will be Reading’s own up-and-coming rapper NOVA, along with 3’s Co.’s DJ Gregg Nyce and Evolution. Sugar Hill Gang, known as the first nationally popular African-American hip-hop group, is comprised of three members: Mike Wright (Wonder Mike), Henry Jackson (Big Bank Hank), and Guy O’ Brien (Master Gee), all from Englewood, N.J. The group is best known for its 1979 hit single, “Rapper’s Delight,” which was also the first hip hop single to rank in the top 40 hits and to become part of a multi-platinum-selling album. The song is also credited with popularizing hip hop as a new musical genre. In 1979 they became the first hip hop group to perform on American Bandstand. At the time “Rapper’s Delight” was ranked No. 36 on the U.S. pop chart and No. 4 on the rhythm & blues chart. The song eventually went on to sell over 2 million copies, and became the highest selling 12-inch single ever. Rolling Stone Magazine ranked it No. 248 of the 500 Greatest Songs of All Time. Julio Franceschi Jr. of Reading is professionally known as "NOVA". He began performing at various community events and won several school talent shows in his early teens. In 2016, he was selected to participate in Season 3 of Lifetime Network’s hit television show "The Rap Game", produced and executive produced by Queen Latifah and Jermaine Dupri. Over the course of the 13-week show, NOVA survived several competitive challenges and went on to win the coveted title. Negotiations are being finalized with performers for the other three concerts scheduled this summer. Those acts will be announced in the coming weeks. Here are tentative dates for the other concerts: Wednesday, July 18 Wednesday, September 12 Wednesday, September 19 Each concert will have a festival atmosphere and include food trucks and beer and wine for sale. A “kids play zone” will also be set up and feature a variety of activities for children. All shows will be held in the 500 block of Penn Street and start at 5 p.m. Specific food and beverage vendors will be announced before the series begins. Berks County Community Foundation, which has been financially supporting the concert series since its inception in 2015, is providing $100,000 from the Hawley and Myrtle Quier Fund. Berks County Convention Center Authority is also contributing $40,000. Weidenhammer once again will be the major sponsor. Additional sponsors are the Reading Parking Authority, which will provide free parking at its Fourth and Cherry Streets Garage starting at 4 p.m. on the date of each concert; and DoubleTree by Hilton Reading as the hospitality sponsor. More information on the series can be found at www.downtownalivereading.com. The Reading Downtown Improvement District is focused on creating a vital, productive and commercially active environment in downtown Reading. The Improvement District provides cleaning, security, and marketing services for a specially designated commercial district in the city, and also sponsors several events and activities throughout the year, including MidDay Cafes, Reading Holiday Parade, Downtown Alive outdoor concert series, and Reading Fire + Ice Fest. The Improvement District continually strives to make downtown Reading a cleaner, safer, and more inviting place to live, work, and visit. You can learn more about us on our website at: www.downtownreading.com. .
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  • “Rapper's Delight”
    1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap.
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  • Rapper's Delight
    The Sugarhill Gang: Rapper's Delight (1979) - lyrics I said-a hip, hop, the hippie, the hippie To the hip hip hop-a you don't stop the rock It to the bang-bang boogie, say up jump the boogie To the rhythm of the boogie, the beat Now what you hear is not a test, I'm rappin' to the beat And me, the groove and my friends are gonna try to move your feet See I am Wonder Mike and I'd like to say hello To the black, to the white, the red and the brown, the purple and yellow But first I gotta bang bang the boogie to the boogie Say up jump the boogie to the bang bang boogie Let's rock, you don't stop Rock the riddle that will make your body rock Well, so far youve heard my voice, but I brought two friends along And next on the mic is my man Hank: come on, Hank, sing that song Check it out: I'm the C-a-s-an-the-o-v-a, and the rest is f-l-y Y'see I go by the code of the doctor of the mix and these reasons, I'll tell ya why: Y'see I'm six-foot-one and I'm tons of fun, and I dress to a T Y'see I got more clothes than Muhammad Ali and I dress so viciously I got bodyguards, I got two big cars that definitely ain't the wack I got a Lincoln Continental and a sunroof Cadillac So after school, I take a dip in the pool which is really on the wall I got a color TV, so I can see the Knicks play basketball Hear me talkin' 'bout checkbooks, credit cards, more money than a sucker could ever spend But I wouldn't give a sucker or a bum from the rucker, not a dime till I made it again Y'go hotel, motel, whatcha gonna do today? (Say what?) Y'say I'm gonna get a fly
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    Frederik Dörfler-Trummer HipHop aus Österreich Studien zur Popularmusik Frederik Dörfler-Trummer (Dr. phil.), geb. 1984, ist freier Musikwissenschaftler und forscht zu HipHop-Musik und artverwandten Popularmusikstilen. Er promovierte an der Universität für Musik und darstellende Kunst Wien. Seine Forschungen wurden durch zwei Stipendien der Österreichischen Akademie der Wissenschaften (ÖAW) so- wie durch den österreichischen Wissenschaftsfonds (FWF) gefördert. Neben seiner wissenschaftlichen Arbeit gibt er HipHop-Workshops an Schulen und ist als DJ und Produzent tätig. Frederik Dörfler-Trummer HipHop aus Österreich Lokale Aspekte einer globalen Kultur Gefördert im Rahmen des DOC- und des Post-DocTrack-Programms der ÖAW. Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 693-G Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Na- tionalbibliografie; detaillierte bibliografische Daten sind im Internet über http:// dnb.d-nb.de abrufbar. Dieses Werk ist lizenziert unter der Creative Commons Attribution 4.0 Lizenz (BY). Diese Li- zenz erlaubt unter Voraussetzung der Namensnennung des Urhebers die Bearbeitung, Verviel- fältigung und Verbreitung des Materials in jedem Format oder Medium für beliebige Zwecke, auch kommerziell. (Lizenztext: https://creativecommons.org/licenses/by/4.0/deed.de) Die Bedingungen der Creative-Commons-Lizenz gelten nur für Originalmaterial. Die Wieder- verwendung von Material aus anderen Quellen (gekennzeichnet
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    “Rapper's Delight”-- Sugarhill Gang (1979) Added to the National Registry: 2011 Essay by Eric Reese (guest post)* Sugarhill Gang Original disc Sylvia Robinson Introduction To those who were alive in the late 1970s, the song “Rapper’s Delight” was, upon its release, a sensational, soul-gripping, well-celebrated and well-applauded song. “Rapper's Delight” by the Sugarhill Gang, like every other great song, has enjoyed its fair share of appreciation, recognition and criticisms and indured a few scandals and lawsuits and other disputes typical of many hit songs of that era. The 1970s was an age of continual development in rap music which had begun no less than seven years before. Rap artists struggled to find voice, or even producers, to support their talents or provide a covering for their gifts. That era sank more rap ships than any in history and few nascent rappers had the guts to keep on living through the genre which was slowly coming to be known as hip-hop. The song “Rapper's Delight” itself was termed the pioneer upon which the wide-scale influx of hip-hop to the larger market was built. Not that it was the first rap song released, but it was one of a kind, considering the overall reception to hip-hop music back in the day. Upon its release in 1979, the Sugarhill Gang’s song, produced by Sylvia Robinson, brought the never-heard before freshness of rap with the oddity of blending different rap styles and content into one big blend: hip-hop. Components of “Rapper’s Delight” included dance, sexuality, charisma, buoyance and other themes which went as far as including the spirit and obsessive nature of such singers as James Brown.
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  • Downtown Reading!
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  • Teachers' Views and Uses of Hip Hop Culture Andrew Herman Mannheimer
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  • Reinforced Rap Clichés | Norient.Com 25 Sep 2021 13:26:15
    Reinforced Rap Clichés | norient.com 25 Sep 2021 13:26:15 Reinforced Rap Clichés by Tara Mahadevan Many clichés exist within hip hop, particularly that it’s a genre bent on discussing wealth. Sure, that’s true, but the same can be said for any musical genre or industry. But, in fact, no one in hip hop wants to talk about money anymore. In the last years, rap is slowly moving away from being money-centric to again, being about the music. This is what Rob Sonic and Aesop Rock aka Hail Mary Mallon completely miss with their 2014 music video «Whales», an ironic view on wealth in hip hop culture. From the Norient book Seismographic Sounds (see and order here). Take something as simple as the media, which encompasses everything from social media to print media to television talk shows and the news. Wealth is everywhere. What extravagant thing did Kim Kardashian buy this week for her daughter North West? What luxurious, indulgent vacation did Beyonce and Jay-Z go on this time? Our society is obsessed with wealth, regardless of how much or little money you have. From the standpoint of hip hop, the topic of money comes off as cliché. From hip hop’s outset, the genre has expressed a desire for money. Wealth is a prevalent theme in the first popularized rap song from 1979, «Rapper’s Delight» by the Sugarhill Gang, «I got a color TV so I can see the Knicks play basketball / Hear me talking 'bout checkbooks, credit cards, more money than a sucker could ever spend», raps Big Bank Hank.
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