Hip Hop Style and Run-DMC

Total Page:16

File Type:pdf, Size:1020Kb

Hip Hop Style and Run-DMC Hip Hop Style and Run-DMC Hank Williams Hunter College, CUNY AFPRL 290: Hip Hop History and Culture Ways Run DMC and Def Jam redefine Hip Hop • New Visual aesthe-c • Hard core look based on Adidas, black, and black leather • New sonic aesthe-c • Hard-edged, rock-influenced sound: shaped by Rick Rubin • Helps cross-over to general audiences/ MTV • MTV breakthrough: first Hip Hop video on the network • Sales breakthrough: Run DMC albums have unprecedented sales • Marke-ng/merchandising • $1 million deal with Adidas • Crossover success Run DMC’s New Visual aesthe>c • Hard core look based on Adidas, black, and black leather • Black hats/Kangol hats • Adapted from street styles • Clean, uncluMered, hardcore • Promo-on via MTV airplay and starring role in Krush Groove film spreads their look as the “real”/ “authen-c” B-Boy look Run DMC’s New sonic aesthe>c • Hard-edged, rock-influenced sound: shaped by Rick Rubin • Simple focus on drum-machine beats, guitar, lyrics • Call-and-response rhyming • Helps cross-over to general audiences/ MTV Run DMC Sales/ marke>ng breakthroughs • MTV (Music Television channel) • first Hip Hop video: “Rock Box” (King of Rock album, 1985) • Marke-ng/merchandising • $1.5 million Adidas deal: first hip hop group; opens door for others • Magnifies impact of DMC as official trend-seMers • Adidas’s cross-promo-on expands DMC’s reach (see Adidas’s commercial) • Sales • Raising Hell (1986): first double-planum rap album • Hits Top 10 in Billboard charts • “Walk This Way” single hits Top 20 (Billboard #4) • “My Adidas” (Billboard #5) Run DMC crossover success • “Walk This Way” Single with rock group Aerosmith • Billboard #4 • Heavy MTV rotaon for video • Aerosmith literally breaks through wall • Expands Run DMC’s audience base to young white rock fans Revised March, 2014! Some rights reserved! This work is licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/" or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA." ".
Recommended publications
  • T-Iourglass O 8 at 2154
    HIGH TIDE LOW TIDE 7-27-69 7-27-69 5 8 at 0330 o £> at 1006 4 5 at 1606 t-IOURGlASS o 8 at 2154 J\.. .. ', I ~~.!,.I;~ ... "':,~ !! KWAJALEIP, ISLAl'JlJS Saturday, July 26, 1969 I, VOL 9, No 8458 L Moon Rocks, Soil Go on Display ost Massachusetts Residents For Select Audience of Scientists Want red to Retain Seat (UPI) -- Most Massachusetts residents SPACE CENTER, HOUSTON (UPI) -- Pampered with all the tender care technology can _apparently feel Sen Edward M Kennedy muster, the Moon rocks and s011 Apollo 11 brought home go on d1splay today for "'" ",,~;" should retain his seat in the Senate a select aud1ence of scientists ~ Initial response from other parts of The first v1ewing--through glass portholes in a special vacuum chamber - was ~ the country to his plea for advice ap­ eagerly awa1ted by SC1ent1sts who were chosen to analyze them to try to deter­ peared, however, to be more widely di­ m1ne the or1g1n of the Moon and perhaps the Universe vided "It's very frustratlng," said Jeff Warner, a geologist who works at the Moon Boston's three da1ly newspapers, the Isolatlon BUlldlng at the Space Center Record American, Globe and Feral Tra­ "The flrst box came at noon yesterday, veler, reported telephone calls "~2_to and we won't get to look at it unt11 10 Administration Talks 1" in favor of Kennedy am tOllorrow (today)" The Spr1ngfield Union reported less 1he long-awal ted Moon samples--t',o Tough to Business than three hours after the Senator's boxes \"1 th more than 50 pounds of Moon nationally televised speech, they had rock and dlrt--arrlved
    [Show full text]
  • GRAMMY Salute to Music Legends ™ Comes to THIRTEEN’S Great Performances Friday, October 14 at 9 P.M
    Press Contacts: Harry Forbes, WNET 212-560-8027 or [email protected] Neda Azarfar, The Recording Academy 310-392-3777 or [email protected] Press materials: http://pressroom.pbs.org or http://www.thirteen.org/13pressroom Website: http://www.pbs.org/wnet/gperf Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS GRAMMY Salute to Music Legends ™ Comes to THIRTEEN’s Great Performances Friday, October 14 at 9 p.m. on PBS Ruth Brown, Celia Cruz, Earth, Wind & Fire, Herbie Hancock, Jefferson Airplane, Linda Ronstadt, Run-DMC, and John Cage Among Distinguished Honorees Live performances by Ry Cooder, Lila Downs, Earth, Wind & Fire, Andy Garcia and The CineSon All Stars, Herbie Hancock, Jefferson Airplane, Kris Kristofferson, Lucrecia, Martina McBride, Magnolia Sisters, JD Souther, and more In collaboration with The Recording Academy, Great Performances presents "GRAMMY Salute To Music Legends ™," a special all-star concert offering a primetime spotlight for The 2 Academy's 2016 Special Merit Awards recipients. The celebration and tribute concert features rare performances by honorees and never-before-seen renditions by those they've inspired. The celebration, recorded at Dolby Theatre in Los Angeles, will air Friday, October 14 from 9-11:30 p.m. on PBS. (Check local listings.) Previously held during GRAMMY ® Week, this is the first time The Recording Academy has celebrated the Special Merit Awards with a stand- alone event and musical tribute. This year's Lifetime Achievement Award honorees are Ruth Brown, Celia Cruz, Earth, Wind & Fire, Herbie Hancock, Jefferson Airplane, Linda Ronstadt , and Run- DMC . John Cage, Fred Foster , and Chris Strachwitz are Trustees Award honorees; and EMT and Dr.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Rice and Rap: Hip Hop
    UNIVERSITY OF CALIFORNIA Los Angeles Rice and Rap: Hip Hop Music, Black/Asian American Racialization, and the Role of the U.S. Multicultural Neoliberal State A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Asian American Studies by Michelle Mihwa Chang 2015 © Copyright by Michelle Mihwa Chang 2015 ABSTRACT OF THE THESIS Rice and Rap: Hip Hop Music, Black/Asian American Racialization, and the Role of the U.S. Multicultural Neoliberal State by Michelle Mihwa Chang Master of Arts in Asian American Studies University of California, Los Angeles, 2015 Professor Kyungwon Hong, Chair This paper explores Black and Asian American racialization within the multicultural neoliberal state. Looking at Los Angeles in the 1980s and early 1990s, I examine the rise of multiculturalism and neoliberalism within the US as it parallels the rise and commercialization of hip hop music sub-genre, gangsta rap. By examining the multicultural neoliberal state, and its consequences for communities of color, I look at the ways in which Black/Asian American racialization occurred through the tropes of the gangster and the model minority, respectively. Moreover, I contend that the multicultural neoliberal state relied on popular constructions of Asianness and Blackness in order to maintain whiteness, conceal state-violences, and define its national borders of inclusion and exclusion, and gangsta rap provided an ideal space for this. My project also explores progressive rap and the ways in which it ii manifested from the same conditions of gangsta rap, yet managed to produce itself differently. Lastly, I conclude with a close examination of the hip hop duo Blue Scholars (featuring Asian American emcee Prometheus Brown) and their song, “Morning of America,” which addresses and challenges this particular moment of the 1980s through the lens of the colonized subject and racialized other.
    [Show full text]
  • “Raising Hell”—Run-DMC (1986) Added to the National Registry: 2017 Essay by Bill Adler (Guest Post)*
    “Raising Hell”—Run-DMC (1986) Added to the National Registry: 2017 Essay by Bill Adler (guest post)* Album cover Label Run-DMC Released in May of 1986, “Raising Hell” is to Run-DMC what “Sgt. Pepper’s” is to the Beatles--the pinnacle of their recorded achievements. The trio--Run, DMC, and Jam Master Jay--had entered the album arena just two years earlier with an eponymous effort that was likewise earth-shakingly Beatlesque. Just as “Meet the Beatles” had introduced a new group, a new sound, a new language, a new look, and a new attitude all at once, so “Run-DMC” divided the history of hip-hop into Before-Run-DMC and After-Run-DMC. Of course, the only pressure on Run-DMC at the very beginning was self-imposed. They were the young guns then, nothing to lose and the world to gain. By the time of “Raising Hell,” they were monarchs, having anointed themselves the Kings of Rock in the title of their second album. And no one was more keenly aware of the challenge facing them in ’86 than the guys themselves. Just a year earlier, LL Cool J, another rapper from Queens, younger than his role models, had released his debut album to great acclaim. Run couldn’t help but notice. “All I saw on TV and all I heard on the radio was LL Cool J,” he recalls, “Oh my god! It was like I was Richard Pryor and he was Eddie Murphy!” Happily, the crew was girded for battle. Run-DMC’s first two albums had succeeded as albums, not just a collection of singles--a plan put into effect by Larry Smith, who produced those recordings with Russell Simmons, the group’s manager.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Darryl "DMC" Mcdaniels
    Finding Aid to The HistoryMakers ® Video Oral History with Darryl "DMC" McDaniels Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: DMC (Musician) Title: The HistoryMakers® Video Oral History Interview with Darryl "DMC" McDaniels, Dates: August 26, 2016 Bulk Dates: 2016 Physical 5 uncompressed MOV digital video files (2:35:49). Description: Abstract: Hip hop artist Darryl "DMC" McDaniels (1964 - ) was a founding member of the hip hop group Run DMC. McDaniels was interviewed by The HistoryMakers® on August 26, 2016, in Chicago, Illinois. This collection is comprised of the original video footage of the interview. Identification: A2016_018 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Hip hop artist Darryl “DMC” McDaniels was born on May 31, 1964 in Harlem, New York. He graduated from Rice High School in Manhattan in 1982, and enrolled at St. John’s University in Queens, New York, but did not graduate. In 1982, McDaniels formed Run DMC with group mates Joseph “Rev Run” Simmons and Jason “Jam Master Jay” Mizell. In 1984, Run DMC signed to Profile Records under the management of Russell Simmons, and released their first album, Run DMC. That same year, the group’s music video “Rock Box” became first rap music video played on MTV. In 1985, Run DMC released the King of Rock album. They became only the second rap group to appear on American Bandstand, performing the hit “Jam Master Jammin.” In 1986, Run DMC released the critically acclaimed Raising Hell album, which was their top selling album, reaching certified triple platinum status.
    [Show full text]
  • Hip-Hop Sneaker Collaborations
    Intertext Volume 28 Issue 1 Article 10 5-1-2020 Hip-Hop Sneaker Collaborations Wallace Burgess Follow this and additional works at: https://surface.syr.edu/intertext Part of the Fiction Commons, and the Nonfiction Commons Recommended Citation Burgess, Wallace (2020) "Hip-Hop Sneaker Collaborations," Intertext: Vol. 28 : Iss. 1 , Article 10. Available at: https://surface.syr.edu/intertext/vol28/iss1/10 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in Intertext by an authorized editor of SURFACE. For more information, please contact [email protected]. Burgess: Hip-Hop Sneaker Collaborations Hip-Hop Sneaker collaborations WALLACE BURGESS hat’s the most expensive pair of shoes you’ve ever bought? $150 running shoes that you wore until they fell Wapart? $250 Italian leather loafers? How about a used pair of the Air Yeezy 2s for $4,600? (“Air Yeezy 2 Solar Red”). I hope you’re a size 13. As absurd as that price tag sounds, these are not just a pair of expensive shoes. That’s because the Air Yeezy 2 is rapper Kanye West’s second collaboration with the sneaker brand Nike and is a perfect example of how popular the collaborations between hip-hop figures and shoe compa- nies are. Although it was once unusual for hip-hop artists to negotiate a deal to brand and design sneakers, such joint efforts have resulted in some of the most coveted and highly-priced shoes in the world. According to Stephen Albertini’s “An Abridged History of Photograph by Hannah Frankel.
    [Show full text]
  • Strategic Audit of Adidas Mason Wright University of Nebraska - Lincoln
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Honors Theses, University of Nebraska-Lincoln Honors Program Spring 4-11-2019 Strategic Audit of Adidas Mason Wright University of Nebraska - Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/honorstheses Part of the Strategic Management Policy Commons Wright, Mason, "Strategic Audit of Adidas" (2019). Honors Theses, University of Nebraska-Lincoln. 135. https://digitalcommons.unl.edu/honorstheses/135 This Thesis is brought to you for free and open access by the Honors Program at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Honors Theses, University of Nebraska-Lincoln by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Strategic Audit of Adidas An Undergraduate Honors Thesis Submitted in Partial Fulfillment of University Honors Program Requirements University of Nebraska-Lincoln by Mason Wright, BS Computer Science College of Arts and Sciences April 11, 2019 Faculty Mentor: Sam Nelson, Ph.D., Management Abstract Adidas is a well-established brand in the world of sportswear and lifestyle clothing. In recent years, the company has been regaining success after a period of stagnation. Spurring this success is the renewed popularity of old classic shoe models and a surge in the lifestyle clothing trend. While adidas is doing well, it is not the top sportswear company in the world and is far behind in North America. In an attempt to boost the recent success even further, this thesis analyzes the current situation that adidas faces including its strengths, weaknesses, opportunities, and threats. With this information as a background, this paper then discusses potential new strategies for adidas, ultimately deciding that obtaining a larger number of star athlete endorsements is a strategy that could quickly make a large impact for the company.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Michael A
    Finding Aid to The HistoryMakers ® Video Oral History with Michael A. Schultz Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Schultz, Michael, 1938- Title: The HistoryMakers® Video Oral History Interview with Michael A. Schultz, Dates: October 5, 2004 Bulk Dates: 2004 Physical 7 Betacame SP videocasettes (3:15:08). Description: Abstract: Film director Michael A. Schultz (1938 - ) directed the feature films Cooley High, Car Wash, and Krush Groove, as well as the television shows Chicago Hope and Ally McBeal. Schultz was interviewed by The HistoryMakers® on October 5, 2004, in Santa Monica, California. This collection is comprised of the original video footage of the interview. Identification: A2004_193 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Film director Michael Schultz was born on November 10, 1938, in Milwaukee, Wisconsin. After graduating from high school in 1957, Schultz attended the University of Wisconsin, where he spent a great deal of time watching foreign films. After dropping out of school, Schultz returned to Milwaukee where he worked in a steel mill from 1960 to 1961, eventually returning to school, studying at Marquette, and graduating in 1964. After graduation, Schultz attended Princeton University, where he was given the opportunity to direct his first play, Waiting for Godot, in 1966. Schultz's work brought him to the attention of the Negro Ensemble Company; he joined the group in 1968. The following year, Schultz staged a production of To Be Young, Gifted and Black, which launched his success; he re-staged the play for television two years later.
    [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]
  • JÖRN CLAUSEN Gefahr, Sich Zu Verzetteln: Die Marke Adidas Ist Extrem Weitläufig
    JÖRN CLAUSEN Gefahr, sich zu verzetteln: Die Marke Adidas ist extrem weitläufig. Sie bedient Jung wie Alt. Für den Sport, aber auch als Hometrainer. Zudem greift Konkurrent Nike Adidas immer stärker auf dem eigenen Territorium an, im Fussball. Für Adidas spielt Beckham, für Nike spielt Ronaldinho. Jörn Clausen, Adidas Head of Global Trend & Lifestyle Marketing, sagt “persönlich”, wo die Prioritäten lie- gen und wie er seine Trend-Scouts führt. Interview: Oliver Prange Fotos: Marc Wetli, 180 Amsterdam Sie sind bei Adidas für Trend und Lifestyle zuständig. Wie spürt Style im Allgemeinen betrifft als auch auf die man Trends auf? Demografie der Personen bezogen. Dadurch wird es für “Ich mag das Wort eigentlich gar nicht, weil es oft kom- eine Marke auf der einen Seite einfacher, eine breites merzialisiert wurde. Konkret auf Adidas bezogen heisst Publikum zu erreichen, die Differenzierung im Konkre- das: Wir beobachten, ob sich gewisse Bewegungen und ten ist dann jedoch auf der anderen Seite wesentlich Strömungen mit der Marke vertragen. Meine Haupt- komplexer und vielseitiger.” aufgabe ist die Entwicklung von international umsetz- baren Lifestyle-Strategien für die Marke Adidas. Unser Von wo gehen die Strömungen derzeit aus? Team entwickelt relevante Themen in Kooperation mit “Asien, insbesondere Japan und Korea haben nach wie einem Netzwerk, das in den wichtigsten Metropolen der vor einen starken Einfluss auf Streetfashion, Berlin Welt vertreten ist. Wir kommunizieren Schwerpunkt- inspiriert und fasziniert weltweit wenn es um Musik themen der Marke Adidas an Multiplikatoren, und und Mode geht.” zwar in deren Sprache. Es ist nicht so, dass wir in mei- nem Bereich Trendscouts haben, die irgendwo in der Können Sie ein konkretes Beispiel geben? Weltgeschichte unterwegs sind, in Internetcafés sitzen “Ein aktuelles Beispiel ist Adicolor, unser grosses und mit ihren Laptops die coolsten Sachen herausfin- Projekt im Bereich Originals, welches 1983 in München den.
    [Show full text]
  • Moma EXHIBITION AUTOMATIC UPDATE EXPLORES THE
    LOOKING AT MUSIC 3.0 EXPLORES THE INFLUENCE OF MUSIC ON CONTEMPORARY ART IN NEW YORK IN THE 1980s AND 1990s AND THE BIRTH OF “REMIX CULTURE’’ Gallery Exhibition Is Accompanied by a Film Program in March 2011 Looking at Music 3.0 February 16–June 6, 2011 The Yoshiko and Akio Morita Media Gallery, second floor NEW YORK, February 2, 2011—Looking at Music 3.0, the third in a series of exhibitions at The Museum of Modern Art exploring the influence of music on contemporary art practices, focuses on New York in the 1980s and 1990s and the birth of “remix culture.” The exhibition is on view in The Yoshiko and Akio Morita Media Gallery from February 16 through June 6, 2011. Highlighting a unique range of activity within the city during those decades, the exhibition addresses the birth of hip hop; new articulations of feminism as seen in video chain letters, zines, and raucous art and music performances; the continued artistic development of music videos; and the rise of the digital domain, where sound and image acquired a curious parity as sampled bits of electronic information, raising the curtain on new creative possibilities. Approximately 70 works from a wide range of artists and musicians are on view, including works by the Beastie Boys, Kathleen Hanna and Le Tigre, Keith Haring, Miranda July, Christian Marclay, Steven Parrino, and Run-DMC. A film exhibition closely linked to the artists and works on view in the gallery exhibition runs from March 2 to March 10, 2011, in MoMA’s Roy and Niuta Titus Theaters.
    [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]