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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. -
Outsiders' Music: Progressive Country, Reggae
CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s Chapter Outline I. The Outlaws: Progressive Country Music A. During the late 1960s and early 1970s, mainstream country music was dominated by: 1. the slick Nashville sound, 2. hardcore country (Merle Haggard), and 3. blends of country and pop promoted on AM radio. B. A new generation of country artists was embracing music and attitudes that grew out of the 1960s counterculture; this movement was called progressive country. 1. Inspired by honky-tonk and rockabilly mix of Bakersfield country music, singer-songwriters (Bob Dylan), and country rock (Gram Parsons) 2. Progressive country performers wrote songs that were more intellectual and liberal in outlook than their contemporaries’ songs. 3. Artists were more concerned with testing the limits of the country music tradition than with scoring hits. 4. The movement’s key artists included CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s a) Willie Nelson, b) Kris Kristopherson, c) Tom T. Hall, and d) Townes Van Zandt. 5. These artists were not polished singers by conventional standards, but they wrote distinctive, individualist songs and had compelling voices. 6. They developed a cult following, and progressive country began to inch its way into the mainstream (usually in the form of cover versions). a) “Harper Valley PTA” (1) Original by Tom T. Hall (2) Cover version by Jeannie C. Riley; Number One pop and country (1968) b) “Help Me Make It through the Night” (1) Original by Kris Kristofferson (2) Cover version by Sammi Smith (1971) C. -
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 -
Diplomarbeit
Diplomarbeit Titel der Diplomarbeit „Entstehung und Entwicklung von HipHop in Österreich“ - Etablierung der HipHop-Kultur in Österreich am Beispiel der vier wichtigsten Pioniere der dazugehörigen Musikrichtung Verfasser Frederik Dörfler angestrebter akademischer Grad Magister der Philosophie (Mag. phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 316 Studienrichtung lt. Studienblatt: Musikwissenschaft Betreuerin / Betreuer: Univ.-Prof. Dr. Michele Calella i Inhaltsverzeichnis 1 Anmerkungen ................................................................................................................................. iv 2 Einleitung ........................................................................................................................................ iv 2.1 Vorhaben und Zielsetzung ........................................................................................................ v 2.2 Forschungsfragen und Erläuterungen ...................................................................................... v 2.3 Forschungsstand, Vorkenntnisse und Motivation................................................................... vi 2.4 Methoden ............................................................................................................................... vii 1 HipHop in den USA 1.1 Der Cross-Bronx Expressway, Gangs und Arbeitslosigkeit ...................................................... 1 1.2 HipHop und seine Gründungsväter ........................................................................................ -
“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. -
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. -
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. -
Teachers' Views and Uses of Hip Hop Culture Andrew Herman Mannheimer
Florida State University Libraries 2016 Teachers' Views and Uses of Hip Hop Culture Andrew Herman Mannheimer Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES AND PUBLIC POLICY TEACHERS’ VIEWS AND USES OF HIP HOP CULTURE By ANDREW MANNHEIMER A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 Andrew Mannheimer defended this dissertation on June 27, 2016. The members of the supervisory committee were: John Reynolds Professor Directing Dissertation Robert Schwartz University Representative Irene Padavic Committee Member Daniel Tope Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I would like to thank God for all of your many blessings and for giving me the strength to complete this project. I pray that I may glorify your holy name in all that I do. I would also like to thank my family. To my parents, Doug and Cricket, thank you for providing me with love and support throughout my life and especially during this process. I would not be a sociologist had it not been for the values you instilled in me. To George, thank you for being the best brother anyone could ask for, helping me look on the bright side of all situations. I would also like to give sincere gratitude to the Florida State University Department of Sociology. -
32 - Bmm2020 the Get- Down Part
32 - BMM2020 THE GET- DOWN PART By Miles Marshall Lewis to hear the story and 2Pac. But their points of view underlined that “ YOU LOV E again and again,” hip-hop culture now stretches long enough (nearly said the legend- five decades) for different generations to have their ary MC Shan, “of how it all got started way back own “OK boomer” views about who’s hot and who’s when.” Back when the hip-hop holy trinity of DJs not in rap history. The almost 50-year passage of Kool Herc, Afrika Bambaataa and Grandmaster time since its beginnings at public-park jams in the Flash appeared together on the cover of The Source South Bronx also means that the genre spans from magazine in late 1993, only the hardcore adherents the mature dad rap of 4:44-era Jay-Z to the so-called of rap music knew its history in intimately famil- SoundCloud rhymes of the late Juice WRLD. iar terms. Things like the 1520 Sedgwick Avenue Still, even an outsider like Australian director Pictured above: address of Kool Herc or crews like the Universal Baz Luhrmann felt comfortable enough creat- DJs Afrika Bambaataa, Zulu Nation—of which DJ Jazzy Jay was an early ing the fictive world of The Get Down, a scripted Grandmaster Flash member—were largely unfamiliar outside of the Netflix series set in the mise-en-scène of hip-hop’s and Kool Herc. Bronx. As hip-hop developed throughout the years formative years in the ’70s. From the American into the pop music of the world, spawning docu- Book Award-winning Can’t Stop Won’t Stop to the mentaries and historical biographies, rap’s origin Peabody-winning docuseries Hip-Hop Evolution, story has become as well-known to music lovers as many have laid bare the origins of rap music for the Beatles’ roots in Liverpool. -
From the Margins of the Peripheries: Female Voices from Brazil's And
From the margins of the peripheries: female voices from Brazil’s and Portugal’s hip hop scene Federica Lupati Tese de Doutoramento em Estudos Portugueses Julho 2019 Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Estudos Portugueses, realizada sob a orientação científica de Prof.ra Dra. Ana Maria Mão de Ferro Martinho Gale e a coorientação do Prof. Dr. Phillip Rothwell ACKLOWLEDGMENTS This work would not have been possible without the support of CHAM – Center for the Humanities and its incredible team. Some people from CHAM deserve to be mentioned: without their help and encouragement it would probably have taken much longer for me to finish this thesis than what it did. Among these, my friend, colleague and “partner in crime” Margarida Rendeiro, my supervisor and mentor Prof. Ana Maria Martinho, and Prof. Rosário Monteiro for always believing in me and motivating me. I also would like to thank my friend and colleague Márcia Leão, for giving me a home in São Paulo and accompanying me through my research there. Finally, I would like to mention rappers Telva TVon, Mynda Guevara, Capicua, Samantha Muleka, Rose MC, Lívia Cruz, Keli Rosa and Sharylaine for generously sharing their experiences and thoughts with me. They have given me much more than just “study material.” This project would not have been possible without all these great women. FROM THE MARGINS OF THE PERIPHERIES: FEMALE VOICES FROM BRAZIL’S AND PORTUGAL’S HIP HOP SCENE FEDERICA LUPATI ABSTRACT This research responds to the need to fill the void in terms of studies and scholarships on female rappers from Portugal and Brazil. -
The Rise of the Hip-Hop Generation. (2010) Directed by Dr
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of North Carolina at Greensboro Shealey, Derek, M.A. Representin’: The Rise of the Hip-Hop Generation. (2010) Directed by Dr. Noelle A. Morrissette. 53 pp. The purpose of this thesis is to define and document some of the issues and identifications commonly linked to the hip-hop generation. This particular faction of the African-American population is classified in the introduction as a group with unique values and cultural perspectives, as well as a host of generational mentalities (productive and pernicious) firmly embedded in the primary cultural movement of their era: hip-hop. Rap music is the greatest artistic achievement of this generation. Its popularity transcends economic, racial, and geographic boundaries. The lyrics of rap artists, from select periods of the hip-hop era, will be the major objects of critical analysis in this thesis. The hip-hop generation is alternately referred to as the post civil rights generation. Thus, the latter term provides a framework for locating the cultural and socioeconomic experiences of these African-Americans. The aftermath of the civil rights/ black power movement was characterized by many visible signs of social progress: desegregated public facilities, an increase in black elected officials, and a steadily growing black middle class. However the onset of globalization and the steep decline of American manufacturing jobs throughout the 1980s and 1990s contributed to the presence of a troubled urban minority underclass. Despite its crucial role in defining and producing contemporary hip-hop culture, this same minority underclass has been substantially disenfranchised and marginalized in the broader national sphere. -
Is Hip-Hop Dead?
Regis University ePublications at Regis University All Regis University Theses Spring 2018 Is Hip-Hop Dead? Tim Kinoti Regis University Follow this and additional works at: https://epublications.regis.edu/theses Recommended Citation Kinoti, Tim, "Is Hip-Hop Dead?" (2018). All Regis University Theses. 861. https://epublications.regis.edu/theses/861 This Thesis - Open Access is brought to you for free and open access by ePublications at Regis University. It has been accepted for inclusion in All Regis University Theses by an authorized administrator of ePublications at Regis University. For more information, please contact [email protected]. Kinoti 1 Kinoti 2 TITLE IS HIP-HOP DEAD? A thesis submitted to Regis College The Honors Program in partial fulfillment of the requirements for Graduation with Honors by Tim Kinoti May 2018 Kinoti 3 Kinoti 4 TABLE OF CONTENTS ACKNOWLEDGEMENTS 5 I. INTRODUCTION 6 II. THE BEGININNG 1970s 11 III. GOLDEN ERA OF RAP 1980S and 1990S 18 IV.THE MODERN ERA 25 V. CLOSING 31 BIBLIOGRAPHY 33 Kinoti 5 Acknowledgements Advisor: Don Bush Reader: Professor Narcissi Advisory Board: Professor Kleier Regis Honors Program: Raeann Ramos, Thomas Howe Regis Library and Librarians Kinoti 6 Introduction “Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want Sky is the limit and you know that you keep on Just keep on pressing on Sky is the limit and you know that you can have What you want, be what you want Have what you want, be what you want” -Sky’s The Limit- The Notorious B.I.G.