DOCSLIB.ORG

Reinforced Rap Clichés | Norient.Com 25 Sep 2021 13:26:15

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. https://norient.com/stories/rap-cliches Page 1 of 6 Reinforced Rap Clichés | norient.com 25 Sep 2021 13:26:15 There remains a flood of critics – both inside and outside the culture – who continue to chastise hip hop about its attraction to wealth. Hail Mary Mallon, the duo Rob Sonic and Aesop Rock, have joined those critics. The visuals for their track «Whales», from their latest offering Bestiary, is a song and video that rotates on a monetary axis. Rooting in Underground Hip Hop Indeed, HMM comes from a different world than Sugarhill Gang and the group’s successors. Rob Sonic and Aesop Rock are fundamental to underground hip hop: Aesop has been cited as a leader in the underground scene, an indie rapper who lit the torch and led the way for many others. Neither Aesop nor Sonic have found huge mainstream success, but both prefer it that way. In 2011, the duo released their first collaboration album as Hail Mary Mallon, called Are You Gonna Eat That?. They subsequently released Bestiary in 2014. Bestiary’s overall aesthetic and thematic elements fall in line with the duo’s independent, underground roots, with off-the-wall production and bars that make you do a double take. Like a lot of HMM’s music videos, the visuals for «Whales» speaks to the emcees’ idiosyncrasies, and is rife with layers. «Whales» opens with two styrofoam bums – the bum in the sweatband is Sonic and the one with the beard is Aesop – sitting on a trash can and dumpster in an alley. The figures and the surrounding scene are made from a foam rubber material, and the figures are controlled by puppeteers. The two bums begin rapping about money; we see actual translations of their ideas above their heads. An Escapist Tool to Mask Reality Most obviously, the song is about wealth, acting as commentary on society’s need and desire for affluence. The track also takes a huge jab at hip hop’s fascination with wealth and the multitude of rap songs that focus on wealth. Sonic and Aesop spit about the things they can buy with their money, and as the song continues, the items become more and more ridiculous. The duo raps about getting multiple haircuts and eating Albert Einstein- shaped foie gras, of castles, yachts, and zoos, and of floors made of scalps; Sonic and Aesop’s imaginations allow them to travel to far off places like summers on Mars, and planes full of women and cigars. Throughout the video, the rappers’ thoughts come to life: for Sonic, money is an intoxicant, as we see dollar signs sitting on his tongue; for Aesop, money takes the form of bald eagles sewn into a coat, among other things. HMM shows that money fuels absurd and fantastical desires, acting as a tool to mask reality. https://norient.com/stories/rap-cliches Page 2 of 6 Reinforced Rap Clichés | norient.com 25 Sep 2021 13:26:15 And that is a true and poignant matter: money does incite a materialism that can often reach ludicrous heights, and obscure the truth. The fact that the two rappers have chosen to create a music video where they have been reimagined as puppets speaks to society’s fixation on materialism. According to Google, a puppet is defined as, «A movable model of a person...that is typically moved either by strings controlled from above or by a hand inside it», and/or as, «a person...under the control of another». Therein lies the direct connection: those who are obsessed with money become puppets of wealth and materialism, and continually hide from the realities of this world. Regardless of the legitimacy of the aforementioned claim, obsession with materialism and money, and escapism, is not something that can solely be ascribed to hip hop. Certainly, celebrities use their wealth as a means to escape their realities – they purchase things to fill a void or to prove to the world that they can continue to afford such excess. On the same note, we – the viewer, the listener – use our obsession with wealth to hide from our own truths; we also use it as a sort of escapism from our own worlds. No One in Hip Hop Wants to Talk About Money Anymore The song is satirical in nature: Sonic and Aesop employ rap to criticize hip hop culture, using humor, irony, and exaggeration to expose hip hop and society’s obsession with wealth. Certainly, many emcees rap about money, regardless of whether or not they are rich; and yes, we do indeed live in a society that is increasingly obsessed with wealth and those who are wealthy. But our obsession with money trumps most people’s disapproval of wealth; «Whales» stands to either be wholly relevant or completely irrelevant. While hip hop is steeped in a fascination with wealth, it is also immersed in reality; the genre is continuing to prove this day by day. As rap continues to progress and meld with other genres and sounds like R&B, EDM, jazz, and blues, so too has hip hop’s topical scope. https://norient.com/stories/rap-cliches Page 3 of 6 Reinforced Rap Clichés | norient.com 25 Sep 2021 13:26:15 While yes, emcees still spit about money – and while yes, there are many emcees who still largely rap about wealth – the newest generation of rappers who are breaking genres don’t solely focus on materialism. The line between genres like conscious, alternative, and backpack rap – where rappers focus on our social and political landscape – and mainstream rap, gangsta rap, and trap – where emcees focus on wealth, women, and violence – are blurring. Many emerging rappers instead direct their music on their experiences, spitting on the realities of relationships, family, wealth, emotions, love, and struggles. It doesn’t seem to be one or the other anymore. And honestly, it never was. Sonic and Aesop have simply missed the point. No one in hip hop wants to talk about money anymore. We know who is wealthy and who isn’t – we ridicule, criticize, and uplift those who have affluence and those who don’t. Money is no longer a talking point in rap, both for the rappers and for the listeners. At this point, we have to ask ourselves, are Sonic and Aesop living in the past? Are they aware of the progress the genre is making? From Underground Hip Hop to the Concept of Internet Artists Both emcees have been on the hip-hop scene for almost twenty years: Rob Sonic has been active since 1998, while Aesop Rock has been around since 1996. Aesop Rock started out as an independent artist and continues to be one to this day – he financed his first album Music for Earthworms in 1997. Rob Sonic’s career has not been as outwardly independent, however, his work is quite underground. A lot has changed during their time; even the indie and underground hip-hop scenes that they spearheaded have changed. The duo still fly under the radar and aren’t heavily involved in the goings-on of current hip hop, so maybe they aren’t cognizant of hip hop’s forward momentum. https://norient.com/stories/rap-cliches Page 4 of 6 Reinforced Rap Clichés | norient.com 25 Sep 2021 13:26:15 Of course, the industry is still fueled by money, as every industry is, especially music. But now, the interaction and connection between social media and music has become paramount: the concept of the Internet artist is at its peak. The Internet artist is what an artist is today, no matter how big or small your following, because that’s how people consume music, via the Internet. The Internet artist didn’t exist during the height of Sonic and Aesop’s careers. Now, you don’t need piles of money and major label backing to make music that people want to hear and care about. Music has come to a point where you can be an independent artist and have an extremely solid fanbase.
Load more

Recommended publications
  • “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.
    [Show full text]
  • Bumbershoot Aesop Rock Niki&The Dove 11.09.12
    11.09.12 page page page 6 bumbershoot 8 Aesop rock 10 niki&the dove cover art by lindsay stribling 2 in cue 11.09.12 college radio is the specialization and niche programming that it meet our about delivers to a broad audience. This blew my mind because it was so staff Top 5 Albums ever in cue profoundly accurate. YES! This is Welcome to In Cue, why radio matters. your campus radio College radio o#ers the cur- 1) Neutral Milk Hotel “Aeroplane over the Sea” station’s written con- rency that we all crave as well as nection to the masses. the education that accompanies 2) Wilco “Yankee Hotel Foxtrot” - a person telling you, “Hey, I chose 3) Elliot Smith “A basement on a Hill” views, articles, and these songs for you, I vouch for 4) T Rex “Electric Warrior” updates on what KUOI them. They are good.” If you be- FM has been up to this lieve, as I always have, that KUOI 5) Radiohead “The Bends” hosts some of the coolest kids on Nae Hakala year. We are here to STATION MANGER answer the question: campus, then you can have faith in what they are sharing with “Why does radio you. Sure, I initially tuned in for indie-rock and punk, but I stayed 1) Death Cab for Cutie “Transatlanticism” even matter, for garage and psych. Who knew 2) Death From Above 1979 “You’re a Women I’m a Machine” anymore?” these genres were still thriving? A 3) Animal Collective “Strawberry Jam” KUOI DJ knew, and he shared it with me.
    [Show full text]
  • RJD2 2002-2010 Mp3, Flac, Wma
    RJD2 2002-2010 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop Album: 2002-2010 Country: US Released: 2009 Style: Instrumental, Downtempo, Hip Hop MP3 version RAR size: 1316 mb FLAC version RAR size: 1167 mb WMA version RAR size: 1140 mb Rating: 4.1 Votes: 545 Other Formats: RA TTA WAV DTS MMF AAC AC3 Tracklist Hide Credits Deadringer A1 The Horror A2 Salud A3 Smoke & Mirrors Good Times Roll Pt.2 A4 Mixed By – John Chinn* Final Frontier B1 Featuring – Blueprint B2 Ghostwriter B3 Cut Out To FL B4 Shot In The Dark F.H.H. C1 Featuring – Jakki* C2 Chicken-Bone Circuit C3 The Proxy C4 2 More Dead D1 Take The Picture Off D2 Silver Fox June D3 Featuring – Copywrite D4 Work The Horror A1 The Horror A2 Ghostwriter Remix Final Frontier Remix A3 Featuring – Aesop Rock, Blueprint, Murs, Vast Aire A4 Bus Stop Bitties A5 Good Times Roll Pt.1 B1 Sell The World June Remix B2 Featuring – Copywrite B3 Counselling Inst. B4 Final Frontier Inst. B5 F.H.H. Inst. Since We Last Spoke A1 Since We Last Spoke A2 Exotic Walk A3 1976 B1 Ring Finger B2 Making Days Longer B3 Someone's Second Kiss C1 To All Of You C2 Clean Living C3 Iced Lightning D1 Intro D2 Through The Walls D3 One Day Tin Foil Hat A1 The Sleepaway A2 The Highest Of Courts The Move (Feat. Tage) A3 Vocals – Tage* A4 When It Wobbles B1 Thine Planetarium B2 Before Or Since B3 The Girls From Art School Credits Producer – RJD2 Notes Sticker on the front reads: "1000 pc.
    [Show full text]
  • Adult Fiction
    Adult Fiction Heroes of the Frontier The Woman in Cabin 10 Dave Eggers Ruth Ware When travel journalist Lo Blacklock is Josie is on the run with her invited on a boutique luxury cruise children. She's left her husband, around the Norwegian fjords, it seems her failing dental practice, and the like a dream job. But the trip takes a rest of her Ohio town to explore nightmarish turn when she wakes in Alaska in a rickety RV. the middle of the night to hear a body being thrown overboard. With his trademark insight, humor, and pathos, Dave Eggers explores Brit Ruth Ware has crafted her second this woman's truly heroic gripping, dark thriller in the Christie adventure, all the while exploring tradition. This page-turner toys with the concept of heroism in general. the classic plot of "the woman no one Brilliant, unpretentious, and highly would believe" with incredible language readable. and fun twists. Also a terrific, ~Alan’s and Leslie’s pick unabridged audiobook. ~Alan’s pick They May Not Mean To, But Barkskins They Do Annie Proulx Cathleen Schine Spanning hundreds of years, this When Joy Bergman's husband dies, ambitious work tells the often brutal her children are shocked that she story of the Canadian and New doesn't agree with their ideas for England lumber industry and all her. The book's title is from a those whom it enriched or displaced. Philip Larkin poem, and this funny and compassionate look at the Annie Proulx’s writing never ceases Bergman family brings Larkin's to thrill me.
    [Show full text]
  • Hiphop Aus Österreich
    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
    [Show full text]
  • “Rapper's Delight”-- Sugarhill Gang (1979) Added to the National Registry: 2011 Essay by Eric Reese (Guest Post)*
    “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.
    [Show full text]
  • 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.
    [Show full text]
  • ND Screens Controversial Chinese Film
    THE The Independent Newspaper Serving Notre Dame and Saint Mary's VOLUME 38: ISSUE 51 WEDNESDAY. NOVEMBER 12.2003 NDSMCOBSERVER.COM ND screens controversial Chinese film Johnson, who is a personal shot underground in privately By ANDREW THAGARD friend of Yang, is partly responsi­ owned mines without the Assistant News Editor ble for today's screening of the approval of the government and film. He worked with Yang to at great personal risk for the Notre Dame's Department of translate the film and write crew. Many of the characters are East Asian Languages and English subtitles, and he assisted played by amateur actors who IJteratures will host a screening of in bringing the work to the atten­ also work ip the mine or live in filmmaker IJ Yang's "Blind Shaft" tion of foreign diplomats and jour­ the village. Ying has not disclosed at 8 p.m. tonight in DeBartolo nalists in Beijing. the identity of the village in order Hall. The film, which showcases The film, according to Noble, to protect the identity of these the lives of workers in China's utilizes a documentary style to tell actors. mining industry, was denounced the story of two con-artists who While the film is not officially by the communist nation. concoct a scam to collect money "banned" in China, Chinese gov­ "I think [the screening] is a from a coal mining company in ernment officials have criticized unique opportunity and a good rural China. The duo meets a the film's subject manner and way for students at Notre Dame to child whose kiridness causes one Ymg's failure to seek approval for have a glimpse of what certain of the members to think twice production and distribution.
    [Show full text]
  • Downtown Reading!
    Destination: Downtown Reading! I S S U E 6 9 AUGUST 7, 2018 The Reading Downtown Improvement District office is located at 645 Penn Street, First Floor, Suite 105. 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 concerts, the Reading Parking Sugar Hill Gang and NOVA Will Authority (RPA) provides free parking at its Fourth Have Downtown Reading and Cherry garage start- ing at 4 p.m. on each concert day. Authority Hip Hopping On August 15! rules and regulations will apply at other RPA locations in downtown Reading. Here is some additional information about the concert series: ***The concerts will take place rain or shine. Only severe weather would delay or force cancella- tion of the shows. ***The concerts are family and pet friendly. Those who bring pets are responsible for their animals’ actions. Check the back page for details! Sugar Hill Gang and NOVA Will Have Downtown Hip-Hopping on August 15 A major blast from hip-hop’s past and a hefty dose of hip-hop’s present will rock downtown Reading on Wednesday, August 15 during the free Downtown Alive concert presented by Weidenhammer. Sugar Hill Gang will roll into town with the hits “Rapper's Delight”, “8th Wonder”, “Apache” and more. But taking the stage first will be Reading’s own up-and-coming rapper NOVA.
    [Show full text]
  • Aesop Rock, We're Famous
    Aesop Rock, We're Famous [El-P] I brought that genuine shit in '96 Before you knew the underground or independent existed I watched the whole scene straight jump on the dick After stepping to KCR lit and flexing my shit No gun talk, no gimmicks, just rounds of raw-dogging Dirty dusty intelligent wit and word murdering A hardcore poetic informed without burglary Potent and shook the shit out of rappers who just learned of me Everytime I prescribe a new pill, revolution Quickly defined the standard for indie rap distribution Arrogant unafraid shit developed riding a train thinking of brain fucks "Bad Touch Example" that soon became bucks Had everybody sprung wondering where I came from Screaming out "Independent is fucked" with an insane tongue With an indelible squad of design monsters Innovating the styles that made biters look like imposters So we scripted an album and signed to Rawkus Selling a hundred thousand without a radio chart hit Imposterous sonics taking the world hostage Classic hip-hop bombage dirty with style progress Now I've come from the '80s juvenile Brooklyn Where cats was like: "Gimme that subway pass, kid. Good lookin." Now someone else is taking a ride with what's mine So I had to develop styles with a death device cooked in So when I battled in basements I had eight sentences Waiting way before the four you had laced in And I was taught to wait patient (Why?) Only faggots make shit up just to get famous So when I finally blew up I remained sick Earning respect in ghettos and 'burbs for
    [Show full text]
  • Black History Corner
    Scoop, January 11, 2019.qxp_Layout 1 1/10/19 12:19 AM Page 8 8 - SCOOP U.S.A . - Friday, January 11, 2019 Celebrating 58 Years of Community News ScoopUSA Black History1986 ECddie Solomorn Jnr., Maejor Ler ague Baseball player, dies in Macon, GA. 1987 Hamady Barro N’Diaye, National Basketball As - sociation player, is born in Dakar, Senegal. Black Hbyi sAdteolairdey A bCduor-Rranhmean r 1996 Thomas Anderson, actor (The Learning Tree), dies in Englewood, NJ. [email protected] 2000 Richard ‘Dimples’ Fields, singer (If it Ain’t One CAPRICORN - December 22 - January 19 Things, It’s Another), dies in Novato, CA. 2003 Clarence H. ‘Du’ Burns, first African American The Go Getter mayor of Baltimore, Maryland, dies in Baltimore, MD. Patient and wise. Practical 2007 Alice Coltrane (McLeod), jazz pianist, organist and and rigid. Ambitious. Tends to harpist and wife of John Coltrane, dies in Los Angeles, CA. be good-looking. Humorous 2008 Betty McGlown-Travis, singer with The Primettes, and funny. Can be a bit shy later known as The Supremes, dies in Royal Oak, Oakland and reserved, often pes - County MI. simistic. Capricorns tend to 2008 Gwendolyn T. Britt, member of the Maryland State act before they think and can be unfriendly at times. Hold grudges. Senate, dies in Washington, DC. Like competition. Get what they want. Birthday : Robert ‘Lurch’ Jackson, trumpet player with Garnet is the stone for the month of January New Birth (Its Been A Long Time) Jewelry from Egypt dating back as far as 3100 B.C. con - tained garnet stones. It was believed garnet would protect January 13 Shonda Rhimes its wearer from enemies and could illuminate the darkness.
    [Show full text]
  • Rapper's Delight by Sugarhill Gang (Hip Hop) 1980 Song
    Rapper’s Delight by Sugarhill Gang (hip hop) 1980 Song: • Upbeat • Fun • Movement • Its about woman • Positive • Funny lyrics Hip Hop: • This song introduced this genre to a wider audience. • On charts of being one of the best hip hop songs. • Record companies didn’t want to finance hip hop artists. • Started being something just played at parties. • Using samples of other artists songs and adding rap sections to it. • Break-dancing is a popular element of hip hop. o Decreased the amount of violence. o People where expressing themselves through the dance and rap. • DJ battling was when two rappers would battle each other to see who was better. • The ‘scratch’ was made by a mistake. o DJ grand wizard Theodore tried to hold the spinning record still so he could hear his mother talking. Sugarhill Gang History: • American – New Jersey • Members o Wonder Mike (Mike Wright), o Big Bank Hank (Henry Jackson), o Master Gee (Guy O’Brien), o Kory O (replaces Master Gee) • Sylvia Robinson o was a founder of a record label. o She heard the increase of rap music and wanted to release a record. o She originally was only going to have one person but after auditioning Wonder Mike and Big Bank Hank she decided to put them together to create a group. o She auditioned Wonder Mike in her car outside a pizza shop where he worked. o She heard Big Bank Hank rapping while on the job (bouncer). • Big Bank Hank was also a part-time hip-hop manager. He used to rap along with songs he was given to test.
    [Show full text]