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Is Hip Hop Dead?
IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work. -
Digitale Disconnectie Voor De La Soul
juridisch Digitale disconnectie dreigt voor hiphopgroep De La Soul Stakes Is High Bjorn Schipper Met de lancering op Netflix van de nieuwe hitserie The Get Down staat de opkomst van hiphop weer volop in de belangstelling. Tegen de achtergrond van de New Yorkse wijk The Bronx in de jaren ’70 krijgt de kijker een beeld van hoe discomuziek langzaam plaatsmaakte voor hiphop en hoe breakdancen en deejayen in zwang raakten. Een hiphopgroep die later furore maakte is De La Soul. In een tijd waarin digitale exploitatie volwassen is geworden en de online-mogelijkhe- den haast eindeloos zijn, werd onlangs bekend dat voor De La Soul juist digitale disconnectie dreigt met een nieuwe generatie (potentiële) fans1. In deze bijdrage ga ik in op de bizarre digi- tale problemen van De La Soul en laat ik zien dat ook andere artiesten hiermee geconfronteerd kunnen worden. De La Soul: ‘Stakes Is High’ Net als andere hiphopalbums2 bevatten de albums van De New Yorkse hiphopgroep De La Soul bestaat De La Soul vele samples. Dat bleef juridisch niet zon- uit Kelvin Mercer, David Jude Jolicoeur en Vincent der gevolgen en zorgde voor kopzorgen in verband met Mason. De La Soul brak in 1989 direct door met het het clearen van de gebruikte samples. Niet zo vreemd album 3 Feet High and Rising en kreeg vooral door ook als we bedenken dat in die tijd weinig jurispruden- de tekstuele inhoud en het gekleurde hoesontwerp al tie bestond over (sound)sampling. Zo kreeg De La Soul snel een hippie-achtig imago aangemeten. Met hun het na de release in 1989 van 3 Feet High and Rising vaste producer Prince Paul bewees De La Soul dat er aan de stok met de band The Turtles. -
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
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. -
Central Florida Future, Vol. 25 No. 07, September 15, 1992
University of Central Florida STARS Central Florida Future University Archives 9-15-1992 Central Florida Future, Vol. 25 No. 07, September 15, 1992 Part of the Mass Communication Commons, Organizational Communication Commons, Publishing Commons, and the Social Influence and oliticalP Communication Commons Find similar works at: https://stars.library.ucf.edu/centralfloridafuture University of Central Florida Libraries http://library.ucf.edu This Newsletter is brought to you for free and open access by the University Archives at STARS. It has been accepted for inclusion in Central Florida Future by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation "Central Florida Future, Vol. 25 No. 07, September 15, 1992" (1992). Central Florida Future. 1151. https://stars.library.ucf.edu/centralfloridafuture/1151 OPINIONp. 6 ENTERTAINMENT p. F1 SPORTSp.12 Is NASA's 50th st.d:tle Turner Cartoon TV Net· · Dickinson, defense give lal81Ch just more waste? work to debut this fall McDowell SOth victory '} entra uture Serving The University of Central Florida Since 1968 Vol. 24, No. 7 TUESDAY, September 15, 1992 16 Pages Senators face little opposition "Competition in upcoming SG elections would .. make better senators." by Jennifer M. Burgess branch campuses are vacant activities to run for Senate. as well. Senate Pro Temp. Chris STAFF REPORTER Brian Handshuh, SG direc Riebold said that while he is Apathy was the key word to tor ofinternal affairs, said last relieved to be running unop • Chris Rlebold describe the declarations of week that he was disappointed posed, some senators might get RUNNING UNOPPOSED candidacy for Student by the lack of interest lazy if they have no one con Gov~rnment Senate Jr .. -
Pat Benatar Sings
GAN he ISSUE 1855 MAY 10, 1991 Don't Roll Those Bloodshot Eyes! Pat Benatar sings the blues and tells Kent Zimmerman the whys and wherefores 49 lc IiiIIER2441140HIERE À ' ORIZON? . .. k MOON MULLIN'S YP5F., MA COMPETITION www.americanradiohistory.com TOMMY PAGE "WHENEVER IOU CLOSE YOUR EYES" The first single from new album FROM THE HEART Produced and Arranged by Guy Roche and Tommy Page Last time out, Tommy Page scored a No.! single and sold one million albums while winning legions offans with his live performances. FROM THE HEART continues the story- taking hie music to a new level of artistry and confirming our faith in hie talent. SIRE Management Ray Anderson Entertainment 01991 Sire Records Company www.americanradiohistory.com the GAVIN REPORT LJ1\] AT A GLANIàLI Indicates Tie TOP 40 MOST ADDED MOST ADDED MOST ADDED LONDONBEAT HI -FIVE 3RD BASS A Better Love (Radioactive) I Can't Wait Another Minute (Jive/RCA) Pop Goes The Weasel (RAUDef Jam /Columbia) THE DOOBIE BROTHERS PAULA ABDUL SON OF BAZERK Dangerous (Capitol) Rush, Rush (CaptiveNirgin) Bang (Get Down, Get Down)/The Band (S.O.U.L. /MCA) PAULA ABDUL CHERYL PEPSI! RILEY OG STYLE Rush, Rush (CaptiveNirgin) How Can You Hurt The One You Love? (Columbia) Catch 'Em Slippin' (Rap- A- Lot/Priority) RECORD TO WATCH RECORD TO WATCH RETAIL DAVID A. STEWART Introducing CANDY DULFER DE LA SOUL LEADERS OF THE NEW SCHOOL Lily Was Here (Arista) Ring, Ring, Ring (Ha. Ha, Hey) (Tommy Boy) Case Of The P.T.A. (Elektra) tit tor RADIO PAULA ABDUL ALEXANDER O'NEAL DE LA SOUL Rush, Rush What Is This Thing Ring, Ring, Ring (Ha, Ha. -
V. 16-08-2012 DJ ʻD CD
v. 16-08-2012 D.J. ʻD CD: "The Workers Union – A Story by D.J. ʻD" Molemen Records/Revolver, 2000 Workers (intro) / Shine (the supersoul flow) [feat. Genstar & Lady Blue] / Union theory [feat. Abstract Rude, Trend & Aceyalone] / From North America to the world [feat. Abstract Rude] / Static [feat. Awol One] / Live at The Lounge pt. 1 [feat. Improvize on the 1 and 2s] / You ain't gotta lie [feat. Abstract Rude & D.K. Toon] / 50 years / Live long & prosper [feat. Abstract Rude & Buku-One] / The world goes on [feat. D.K. Toon & Nina Lorin] / Commiting random acts of peaceful crime [feat. Virtue] / Casino pt. 2 [feat. Street Reportaz] / In the hood [feat. D.K. Toon & Nina Lorin] / Down (outro). D12 feat. Eminem, Proof, Bizarre, Kon Artist, Swift & Kuniva 12": Shit on you: Street / Clean / Acapella • – Shady/Interscope promo, 2000 2CD: "Devil's Night" – limited edition w/ bonus disc Interscope, 2001 Another public service announcement / Shit can happen / Pistol pistol / Bizarre (skit) / Nasty mind / Ain't nuttin' but music / American psycho / That's how (skit) / That's how… / Purple pills / Fight music / Instigator / Pimp like me / Blow my buzz / Obie Trice (skit) / Devils night / Steve Barman (skit) / Revelation • These drugs / Words are weapons / Shit on you / Shit on you – video (explicit) / Dirty TV international – video / D-12 picture gallery / weblink. CD: "D12 World" Shady/Interscope Records, 2004 Git up / Loyalty [feat. Obie Trice] / Just like U / I'll be damned / Dude (skit) / My band / U R the one / 6 in the morning / How come / Leave dat boy alone / Get my gun / Bizarre (skit) / Bitch / Steve's coffee house (skit) / D-12 world / 40 oz. -
A Call for Change in Copyright Law: the Seven Second Free Zone
A Call For Change in Copyright Law: The Seven Second Free Zone Robert Willey Ball State University May 15, 2014 Abstract A proposal is made to permit up to seven seconds of sound recordings to be sampled and used in new works without requiring a license from the owners of the composition and sound recording copyrights. The high-quality sample-heavy collages that were released during the Golden Age of Hip-Hop (1986-1992) are examples of the type of music that could not be made in the present legal climate. The innovative and imaginative use of sampling by groups such as Public Enemy and The Beastie Boys was effectively stopped by lawsuits brought in the 1990s, greatly reducing the number and variety of samples used in subsequent productions. The proposed change in sampling law would allow musicians to incorporate samples without having to go through the cumbersome and expensive process of obtaining clearances that currently impedes creativity and deprives the public of interesting work and the experience of the direct juxtaposition of old and new. 2 Introduction Twenty years ago a series of legal decisions established that musicians must get permission to use samples of recorded music in new productions. The process of obtaining clearances, however has since become too cumbersome and expensive for most musicians, limiting what they can produce and deliver to the public. Several options have been proposed for adjusting the copyright system, but none of these will produce the conditions necessary to allow the creation of classic albums such as those from Public Enemy and The Beastie Boys, or more recently those of Gregg Gillis (aka Girl Talk). -
Getting Hip to the Hop: a Rap Bibliography/Discography
Music Reference Services Quarterly. 1996, vol.4, no.4, p.17-57. ISSN: 1540-9503 (online) 1058-8167 (print) DOI: 10.1300/J116v04n04_02 http://www.tandfonline.com/toc/wmus20/current http://www.tandfonline.com/toc/wmus20/4/4 © 1996 The Haworth Press, Inc. All rights reserved. Getting Hip to the Hop: A Rap Bibliography/Discography Leta Hendricks ABSTRACT. This bibliographic/discographic essay examines works which may be used to develop a core collection on Rap music. A selected bibliography and discography is also provided. INTRODUCTION Research interest has recently emerged in the popular African-American musical idiom known as Rap and continues to grow as social and cultural scholars have embarked on a serious study of Rap music and culture. Therefore, the student, scholar, and general library patron may seek information on Rap and its relationship with the African-American community. During the 1970's, libraries rushed to include in their holdings culturally diverse materials, especially materials on African-American history, literature, and culture. Today, emphasis is placed on cultural diversity, Rap is sometimes deemed to be low art and may be overlooked in the collecting of diverse materials. However, Rap has already celebrated its sixteenth anniversary and, like Rock and Roll, Rap is here to stay. Rap music research is difficult because (1) the librarian or information provider generally lacks knowledge of the category,' and (2) primary/ephemeral materials are not widely accessible.2 This selective bibliographic and discographic essay examines a variety of Rap resources and materials including biographies, criticisms, discographies, histories, recordings, and serials to help fill the Rap knowledge and culture gap and assist in the development of a core collection on Rap music. -
De La Soul the Grind Date Zip
De la soul the grind date zip Continue 01. Future 02. Verbal cotton 03. Much more than 04. Shopping bags (she got from you) 05. Grind's date is 06. Church 07. It's like that 08. It comes 09. Days of our lives 10. Let's go down 11. No 12. Rock Co. Kane Stream Senha: Culturehiphop Although this album received a lot of praise when it came out, I just don't feel it's as appreciated as it should be. Compared to albums such as 3 Feet High and Rising, De La Soul is dead, and the stakes are high, this album is just not as revered as I feel it should be. This album is such a refreshing sound for both De La Soul and hip-hop in general. You can expect some really dope hip hop on this album, unlike most of the music coming out during its release. This album has done so much for me hip-hop wise; I found a lot of producers and emcees through this album because of its combination of featured artists such as Jake One, MF DOOM, Madlib, 9 Wonder and more. This is a high quality album of the highest quality band and people should really think about placing this album in the top five albums, next to the three albums I mentioned earlier. So check out Grind Date De La Soul, and get a taste for some fresh, 2000s hip hop. 01. Taught Me 02. Skip 2 My Loop 03. Potholes on my lawn 04. They don't know that the soul doesn't go for it (Potholes Instrumental) De La Soul - 3 feet tall and tall (1989) CD 1: 01. -
A TYPOLOGY of SAMPLING in HIP-HOP Amanda Sewell Submitted to the Faculty of the University Graduate School in Partial Fulfillmen
A TYPOLOGY OF SAMPLING IN HIP-HOP Amanda Sewell Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Musicology Department of the Jacobs School of Music Indiana University May 2013 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ___________________________________ J. Peter Burkholder, Ph.D. ___________________________________ Phil Ford, Ph.D. ___________________________________ Daniel R. Melamed, Ph.D. ___________________________________ Kyle Adams, Ph.D. Dissertation defended April 25, 2013 ii © 2013 Amanda Sewell iii ACKNOWLEDGEMENTS First and foremost, I am unspeakably grateful to the members of my dissertation committee. J. Peter Burkholder, Phil Ford, and Daniel R. Melamed spent countless hours advising, counseling, challenging, and encouraging me throughout this project. These advisors not only supported me with the research but also with many dimensions of my professional life. I feel incredibly blessed to have had so many people care about my work and me so much. I also thank my outside reader, Kyle Adams, for his perceptive comments and bottomless knowledge of the repertoire. The remaining members of the Indiana University Musicology Department supported me in a variety of ways during my time as a graduate student, so I am indebted to Halina Goldberg, Michael Long, Kristina Muxfeldt, Massimo Ossi, and Ayana Smith. Thanks also go to Fernando Orejuela of the folklore department and to Portia Maultsby of the ethnomusicology department for their feedback on various stages of this project and other hip- hop endeavors. To my fellow hip-hop scholars Loren Kajikawa, Mark Katz, the late Adam Krims, Felicia Miyakawa, Joe Schloss, and Justin Williams: I am so grateful for your time, feedback, and support on this project, and I am honored that you have welcomed me into your community. -
De La Soul Bio Hip-‐Hop May Never Be Able to Repay the Debt It Owes
De La Soul Bio Hip-hop may never be able to repay the debt it owes to De La Soul. When the trio of Kelvin “Plug Won” Mercer, David “Trugoy” Jolicoeur (now simply Dave) and Vincent “Maseo” Mason emerged in 1987 they empowered a new generation of MCs and fans to color outside the yellow lines of the asphalt jungle, charting a new course in the process. Sonically, lyrically and even visually De La Soul challenged the still gestating genre and imbued it with the DNA of irreverent humor, self- reflection and individuality not hindered by ego. Hailing from Long Island, they were good kids in the mad city giving rap a vaudevillian flair with game show inspired skits, reminding us that the present and future were indeed odd. Songs like “Potholes In My Lawn” were wonderfully subversive in their blunt honesty: There’s grass where we live, people literally dig us, but they still steal our shit But more impressive than the influence they had on the culture, was the impact they had on each other, allowing the group to evolve with each project. From the colorful yet disparate pallets of Three Feet High & Rising, De La Soul is Dead and Buhloone Mindstate, to the clarion call of Stakes Is High De La’s music has always kept a kaleidoscopic lens on the world around them while reflecting on their place and participation in it. Despite their well-documented jabs at the music industry and the culture it profits from, De La Soul always played well with others. Helping give birth to the legendary Native Tongues (along with A Tribe Called Quest and The Jungle Brothers) few groups can claim an album guest list that stretches across so many regions and genres.