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The Fingerprints of the “5” Royales Nearly 65 Years After Forming in Winston-Salem, the “5” Royales’ Impact on Popular Music Is Evident Today
The Fingerprints of the “5” Royales Nearly 65 years after forming in Winston-Salem, the “5” Royales’ impact on popular music is evident today. Start tracing the influences of some of today’s biggest acts, then trace the influence of those acts and, in many cases, the trail winds back to the “5” Royales. — Lisa O’Donnell CLARENCE PAUL SONGS VOCALS LOWMAN “PETE” PAULING An original member of the Royal Sons, the group that became the The Royales made a seamless transition from gospel to R&B, recording The Royales explored new terrain in the 1950s, merging the raw emotion of In the mid-1950s, Pauling took over the band’s guitar duties, adding a new, “5” Royales, Clarence Paul was the younger brother of Lowman Pauling. songs that included elements of doo-wop and pop. The band’s songs, gospel with the smooth R&B harmonies that were popular then. That new explosive dimension to the Royales’ sound. With his guitar slung down to He became an executive in the early days of Motown, serving as a mentor most of which were written by Lowman Pauling, have been recorded by a sound was embraced most prominently within the black community. Some his knees, Pauling electrified crowds with his showmanship and a crackling and friend to some of the top acts in music history. diverse array of artists. Here’s the path a few of their songs took: of those early listeners grew up to put their spin on the Royales’ sound. guitar style that hinted at the instrument’s role in the coming decades. -
Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora. -
Hip-Hop's Diversity and Misperceptions
The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner. -
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant -
1 Hip Hop and Rap Music Rising up from the Bronx Rap, As We Know It
1 Hip Hop and Rap Music Rising Up From the Bronx Rap, as we know it today, has changed considerably from when it first originated in the 1970s. What first started out as a subgenre being performed by MCs on the ghetto streets of the Bronx has evolved into a very popular music genre that most people can enjoy to this day. DJ Kool Herc is generally accepted as the man who started it all. It was with his help, and quite a few others, that caused rap and hip hop to grow and develop in its early years. From Rap and Hip Hop Music, I learned almost everything I needed to know about rap. I learned more about the people who originated the genre, how rapping and hip hop eventually grew throughout the 1970s to the early 2000s, and genres that influenced rap. DJ Kool Herc, the man who started it all, was born in Jamaica in 1955 and later moved to the Bronx in 1967 where he began performing as a DJ in block parties that were hosted throughout the community (Rap). Nearly everybody in these block parties grew to love the percussive breaks found in soul, funk, and disco music, so DJ Kool Herc and other DJs began to use them (Rap). However, the percussive breaks in these songs were rather short, so DJs would extend them by using turntables (Rap). Extending the percussive breaks became more and more popular as consumer friendly turntables, drum machines, and samplers were made and more people could afford them. To make the beats and breaks more interesting, DJs would scratch, beat mix, and beat juggle using the turntables to give hip hop a more unique sound (Rap). -
The Legacy of Jazz Poetry in Contemporary Rap: Langston Hughes, Gil Scott-Heron, and Kendrick Lamar
Brigham Young University BYU ScholarsArchive Undergraduate Honors Theses 2020-07-31 The Legacy of Jazz Poetry in Contemporary Rap: Langston Hughes, Gil Scott-Heron, and Kendrick Lamar Madison Brasher Follow this and additional works at: https://scholarsarchive.byu.edu/studentpub_uht BYU ScholarsArchive Citation Brasher, Madison, "The Legacy of Jazz Poetry in Contemporary Rap: Langston Hughes, Gil Scott-Heron, and Kendrick Lamar" (2020). Undergraduate Honors Theses. 149. https://scholarsarchive.byu.edu/studentpub_uht/149 This Honors Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Honors Thesis THE LEGACY OF JAZZ POETRY IN CONTEMPORARY RAP: LANGSTON HUGHES, GIL SCOTT-HERON, AND KENDRICK LAMAR by Madison Hailes Brasher Submitted to Brigham Young University in partial fulfillment of graduation requirements for University Honors English Department Brigham Young University August 2020 Advisor: Greg Clark Honors Coordinator: John Talbot ii ABSTRACT THE LEGACY OF JAZZ POETRY IN CONTEMPORARY RAP: LANGSTON HUGHES, GIL SCOTT-HERON, AND KENDRICK LAMAR Madison Brasher English Department Bachelor of Arts Langston Hughes wrote in “Jazz as Communication that: “Jazz is a great big sea. It washes up all kinds of fish and shells and spume and waves with a steady old beat, or off-beat.” In this paper I assert that the rap music of Kendrick Lamar contains the steady off-beat of jazz and carries out the rhetorical legacy of Hughes’ jazz poetry. By marking the key elements of jazz poetry and tracing their presence in rap music, I will show how these elements create a powerful aesthetic experience for audiences that primes them for the rhetorical messages of the artist. -
0 Musical Borrowing in Hip-Hop
MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch. -
Year 11 Preparation Booklet Unit 201Ta Music Performance Course
Page 1 Year 11 Preparation Booklet Unit 201ta Music Performance Course Student: _______________________________________________ Teacher: _______________________________________________ This booklet has been designed to help you prepare for your first coursework unit of Year 11. The more you are able to complete over the summer, the more time you will have to do practical work during lessons next year. Aim to complete 1 page per week, reading the questions in this booklet and writing your answers in the accompanying answer booklet. Don’t forget to write everything in your own words and include a list of the websites, books or documentaries that you used as research. To begin with, you must choose two genres (styles) to compare, for example: blues, jazz, country, rock, R ‘n’ B, Funk, Pop, Electronica. Hint: aim to choose two very different genres so that you can compare them (e.g. Blues Vs Funk, Punk Vs Jazz, Rap Vs Rock n Roll). GENRE 1: __________________ GENRE 2: ______________________ Page 2 Task 1 (1500 words max) Unit 201ta - Musical Knowledge 1.1a. The factors that influenced its inception (how did it start/evolve?) Complete all questions for BOTH genres Complete for Complete Assessment What needs to be covered Genre 1? for Genre 2? Criteria Where did this style/genre of music originate? How did this music change from when it began (e.g; rap music lyrics from old 1.1a The factors to new)? that influenced its Have the instruments used in this inception genre from the beginning to now changed? If so, how and why? (how did it start / What country did the genre of music evolve?) originate in and why here? How did this music genre start? How did the genre become popular? Tips and reminders For this first section, you must research how each of your chosen genres began and developed through time. -
“Candy Girl” to the IE in December San Manuel Indian
FOR IMMEDIATE RELEASE CONTACT: Sarah Hahne PRESS CREDENTIALS AVAILABLE San Manuel Indian Bingo & Casino (909) 475-1800 x4222 [email protected] R&B SENSATION, NEW EDITION, COMES TO SAN MANUEL New Edition Brings “Candy Girl” to the IE in December San Manuel Indian Nation, Calif. – November 11, 2011 – Thursday, December 29, San Manuel Indian Bingo & Casino welcomes R&B hip-hop group, New Edition to the San Manuel stage, where all six members Bobby Brown, Johnny Gill, Ralph Tresvant, Mike Bivins, Ricky Bell, and Ron Devoe will sing crowd favorites. Tickets are on sale today and available at Ticketmaster.com and the San Manuel Box Office for $55, $65, and $75. Beginning in 1978 with three young friends from the Boston area, New Edition grew to make their mark on music. From their initial Jackson 5-inspired material to their later more mature fusion of hip-hop and R&B, the group, which grew to have five members, established much of the groundwork for the style of music known as the ‘new jack swing’. They were discovered by producer Maurice Starr, who wrote their first smash hit “Candy Girl.” The single topped R&B charts, and was the title of the debut album. In 1984, they scored their biggest pop hit with the Top Five single “Cool It Now,” which ended with a short rap section, and claimed a spot of the next album All for Love. Later that year, they released a holiday album and struck an endorsement deal with Coke. Over the last 25 years, New Edition has taken different forms and has even split up. -
Swarthmore Folk Alumni Songbook 2019
Swarthmore College ALUMNI SONGBOOK 2019 Edition Swarthmore College ALUMNI SONGBOOK Being a nostalgic collection of songs designed to elicit joyful group singing whenever two or three are gathered together on the lawns or in the halls of Alma Mater. Nota Bene June, 1999: The 2014 edition celebrated the College’s Our Folk Festival Group, the folk who keep sesquicentennial. It also honored the life and the computer lines hot with their neverending legacy of Pete Seeger with 21 of his songs, plus conversation on the folkfestival listserv, the ones notes about his musical legacy. The total number who have staged Folk Things the last two Alumni of songs increased to 148. Weekends, decided that this year we’d like to In 2015, we observed several anniversaries. have some song books to facilitate and energize In honor of the 125th anniversary of the birth of singing. Lead Belly and the 50th anniversary of the Selma- The selection here is based on song sheets to-Montgomery march, Lead Belly’s “Bourgeois which Willa Freeman Grunes created for the War Blues” was added, as well as a new section of 11 Years Reunion in 1992 with additional selections Civil Rights songs suggested by three alumni. from the other participants in the listserv. Willa Freeman Grunes ’47 helped us celebrate There are quite a few songs here, but many the 70th anniversary of the first Swarthmore more could have been included. College Intercollegiate Folk Festival (and the We wish to say up front, that this book is 90th anniversary of her birth!) by telling us about intended for the use of Swarthmore College the origins of the Festivals and about her role Alumni on their Alumni Weekend and is neither in booking the first two featured folk singers, for sale nor available to the general public. -
Intimacy, Authenticity and 'Worlding' in Beyoncé's Star Project
8 Intimacy, Authenticity and ‘Worlding’ in Beyoncé’s Star Project Phoebe Macrossan At the 2014 MTV Video Music Awards, African-American pop star Beyoncé Knowles-Carter (known professionally as Beyoncé) performed a 12-song medley from her self-titled visual album, Beyoncé (2013), recreating its imagery across moving stages, treadmills, giant screens and a large troupe of dancers. To open this typically large-scale performance, she said, ‘MTV, welcome to my world’. This choice of words is interesting because, as a dominant figure in the popular music scene, Beyoncé hardly need introduce herself. What this moment captures, however, is the increasing personal intimacy of Beyoncé’s stardom, and her transition to the active creation and ownership of an identifiable, holistic ‘world’. This chapter argues that Beyoncé’s stardom extends beyond constructing a star image through media texts (Dyer, 1998, p. 10). I argue that her star project, her ongoing construction and maintenance of her stardom is creating an intimate, identifiable, holistic world: ‘Beyoncé World’. I use the term ‘star project’ because there is no beginning, middle and end as suggested by a term like ‘star narrative’, and because worlding is more encompassing and widespread than the term ‘star image’ put forward by Richard Dyer (1998, p. 10), although it is a continuation of it. 137 POPULAR MUSIC, STARS AND STARDOM Beyoncé World is created and maintained primarily through Beyoncé’s music videos and visual albums, but also across her concerts, performances and public appearances, and her social media accounts and website. Therefore, Beyoncé World is primarily created through media images, but, importantly, it also includes public appearances, actions and performances outside these visual images. -
The Melvin Jones Quintet Jazz, America's Art Form History
The Melvin Jones Quintet The Melvin Jones Quintet is an elite group of seasoned musicians who share a common goal in helping to expand the horizons of the jazz world through their own musical explorations. The group consistently receives rave reviews as “one of the most entertaining bands ever” from various audiences nationwide ranging from young people interested in learning about the music to critical jazz aficionados. The founder and leader of the band Melvin Jones states, “[since jazz] music comes from so many different cultures and styles converging together, [using] the ‘established’ stylings of jazz, we will delve back into those various musical directions.” The Melvin Jones Quintet seamlessly melds both modern and traditional jazz sounds with that of the Blues, R&B, Hip Hop, Gospel, and even South American music. The music is not only an entrance into the infinite world of the evolution of jazz but also a history into the beginnings of the style. The Melvin Jones Quintet is a consistent bet for an unforgettable musical journey. The members of the Quintet include, Melvin Jones on trumpet, Mace Hibbard on woodwinds, Louis Heriveaux on piano, Marlon Patton on drums and Rodney Jordan on bass. Jazz, America’s Art Form Jazz is a genre of music that began in the African-American communities of the Southern United States. Its roots lie in the adoption by African-Americans of European harmony and form, taking on those European elements and combining them into their existing African-based music. John Ephland of Downbeat Magazine Online writes, “The origins of jazz, an urban music, stemmed from the countryside of the South as well as the streets of America's cities.