Rap and Hip Hop
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Grandmaster Flash and the Furious Five
Grandmaster Flash and the Furious Five To download an editable PowerPoint, visit edu.rockhall.com Grandmaster Flash and the Furious Five: Fast Facts • Formed in 1976 in the South Bronx, New York; broke up by 1986 • Members: DJ Grandmaster Flash and rappers Melle Mel, Kidd Creole, Mr. Ness/Scorpio, Cowboy, and Rahiem • Recorded at Sugar Hill Records, the first hip-hop record label • Grandmaster Flash revolutionized the use of turntables in hip-hop by developing techniques such as “scratching” and “punch phrasing.” • First hip-hop group to be inducted into the Rock & Roll Hall of Fame (2007) Grandmaster Flash and the Furious Five: Important Bronx Locations New Jersey ▪ South Bronx (Bronx), New York New York City Recognized birthplace of hip-hop music and culture; Grandmaster Flash and the Furious Five’s home neighborhood Queens ▪ Harlem (Manhattan), New York Recorded with Enjoy Records until 1980 ▪ Englewood, New Jersey Brooklyn Recorded with Sugar Hill Records (the first hip-hop record label) from 1980 to 1984 Staten Island Grandmaster Flash and the Furious Five: Two Essential Songs “Superappin’” “The Message” • Released in 1982 on Sugar Hill • Released in 1979 on Records Enjoy Records • Features Melle Mel and guest • One of the earliest rapper Duke Bootee rap records ever sold • Conveys the difficulties of life in the • Mimics the “hip-hop South Bronx, with lyrics about jam,” a live performance poverty, violence, and with audience interaction drug use • Hip-hop was originally heard • Early example of at lengthy dance parties, so a “conscious rap,” where 12-minute song seemed very lyrics convey a serious, short! often political message Grandmaster Flash’s Turntable Innovations • Grandmaster Flash developed turntable techniques and special effects that gave DJs more musical freedom. -
KLOS March 30Th 2014 Denny Laine
1 1 2 2 3 9AM I’m sad to say that I’m dedicating this first couple of songs here to our dear friend Stan …you know him as Stan the Hot Sauce Man….whose Mom Marion passed away yesterday…Now we got to know Marion here on BWTB quite well…as she came hung out with us more than a few times She also made me that British Flag quilt blanket And BWTB pillow…that we often talked about…she came down to all the events at Capitol Records…Just Imagine shows…everyone loved her…and she will certainly be missed…and here is Marion’s favorite Beatles song. 3 4 The Beatles - If I Fell - A Hard Day’s Night (Lennon-McCartney) Lead vocal: John and Paul John Lennon’s stunning ballad “If I Fell” was by far the most complex song he had written to date. It could be considered a progression from “This Boy” with its similar chord structure and intricate harmonies by John and Paul, recorded – at their request – together on one microphone. Performed live on their world tour throughout the summer of 1964. Completed in 15 takes on February 27, 1964. Flip side of “And I Love Her” in the U.S. On U.S. album: A Hard Day’s Night - United Artists LP Something New - Capitol LP The Beatles - In My Life - Rubber Soul (Lennon-McCartney) Lead vocals: John with Paul Recorded October 18, 1965 and written primarily by John, who called it his “first real major piece of work.” Of all the Lennon-McCartney collaborations only two songs have really been disputed by John and Paul themselves -- “Eleanor Rigby” and “In My Life.” Both agree that the lyrics are 100% Lennon, but John says Paul helped on the musical bridge, while Paul recalls writing the entire melody on John’s Mellotron. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Vocals Syllabus
VOCALS SYLLABUS BEYONCÉ Qualification specifications for graded exams from 2018 AEROSMITH BLONDIE THE ROLLING STONES TAYLOR SWIFT RED HOT CHILI PEPPERS DUSTY SPRINGFIELD AMY WINEHOUSE QUEEN DAVID BOWIE THE XX OASIS SIA U2 WHAT’S CHANGED? This syllabus features the following changes from the 2015–2017 syllabus: New selection of songs at all levels, expertly arranged for the grade and in a wide range of styles Revised marking criteria, providing examiners, teachers and candidates with increased detail on how exams are marked (see pages 36–39) Revised parameters for own-choice songs (see pages 22–27) Revised requirements for using a microphone when performing songs Technical focus songs now feature two technical elements Band exams are no longer offered KEEP UP TO DATE WITH OUR SYLLABUSES Please check trinityrock.com to make sure you are using the current version of the syllabus and for the latest information about our Rock & Pop exams. You can also check out our syllabuses and graded songbooks for: Bass Drums Guitar Keyboards OVERLAP ARRANGEMENTS This syllabus is valid from 1 January 2018. The 2015–2017 syllabus will remain valid until 31 December 2018, giving a one year overlap. During this time, candidates may present songs from the 2015–2017 syllabus or the syllabus from 2018, but not both. Candidates should indicate which syllabus they are presenting on the appointment form handed to the examiner at the start of the exam. VOCALS SYLLABUS Qualification specifications for graded exams from 2018 Trinity College London trinitycollege.com -
BO DIDDLEY's UNCONVENTIONAL 1950'S SOUND and ITS
BO DIDDLEY’S UNCONVENTIONAL 1950’s SOUND AND ITS ANTICIPATION OF HIP HOP OVERVIEW ESSENTIAL QUESTION How were Bo Diddley’s recordings an anomaly in relation to 1950s Pop music, and how is his rhythm-driven sound and self-presentation a precursor to Hip Hop style? OVERVIEW From his first appearance on the Billboard R&B chart in 1955 and continuing over his five- decade career, Bo Diddley has been celebrated for the rhythm-driven, percussive sound of his ensemble, at the center of which was Diddley’s guitar playing. If by the Rock era the guitar solo became a symbolic centerpiece in recordings and performances, Diddley’s emphasis was always on the rhythm guitar. His approach didn’t revolve around the single- and double-note leads that came to dominate the music. Instead, Bo Diddley pioneered a sound that involved every member of his combo playing with a percussive sensibility. Rhythm was emphasized over melody, with a vocal style that often approximated Rap set against that rhythmic backdrop. Earlier even than James Brown, Diddley inadvertently pointed to a Hip Hop future. His best-known rhythm guitar pattern (three strokes/rest/two strokes, or “shave and a haircut, two bits”) influenced many. The “Bo Diddley beat,” as it came to be known, appeared on records by Buddy Holly, the Rolling Stones, Bruce Springsteen, U2, rapper B.o.B., and many others. In Bo Diddley’s own songs, the “Bo Diddley beat” was often combined with remarkably simple chord changes, as can be heard on his self-titled debut single, “Bo Diddley.” Throughout that single-chord song, which went to No. -
LAURA LEVINE Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art
LAURA LEVINE Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Tina Weymouth and Grandmaster Flash, NYC, 1981 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 21” x 26” | Framed | Edition 7 of 50 16” x 20” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). Levine’s intimate photographic portraits of artists from the punk, early hip-hop, New Wave, No Wave, and early downtown New York City music scene have been previously exhibited at New York’s Museum of Modern Art (MoMA), Steven Kasher Gallery, and are in the permanent collections of the Rock & Roll Hall of Fame and Museum, the Museum of Fine Arts (Houston), and the Smithsonian Institution’s National Portrait Gallery. PRICE $2,800 | Framed $2,500 | Unframed DZINE Gallery | 128 Utah Street, San Francisco, CA 94103 | www.dzineliving.com/gallery | 415.674.9430 Furniture | Kitchen | Bath | Closet | Lighting | Accessories | Art ARTIST Laura Levine TITLE Joey Ramone, NYC, 1982 MEDIUM Silver gelatin photographic print. Signed, titled, numbered in ink on the front and stamped on the back. Later printing from Laura Levine’s personal archive. DIMENSIONS 21” x 26” | Framed | Edition 4 of 50 16” x 20” | Unframed BIOGRAPHY Levine’s career as a music photographer enabled her to work with everyone from Björk to James Brown for magazines such as Rolling Stone and the New York Rocker (where she was Chief Photographer/Photo Editor). -
Song List 2012
SONG LIST 2012 www.ultimamusic.com.au [email protected] (03) 9942 8391 / 1800 985 892 Ultima Music SONG LIST Contents Genre | Page 2012…………3-7 2011…………8-15 2010…………16-25 2000’s…………26-94 1990’s…………95-114 1980’s…………115-132 1970’s…………133-149 1960’s…………150-160 1950’s…………161-163 House, Dance & Electro…………164-172 Background Music…………173 2 Ultima Music Song List – 2012 Artist Title 360 ft. Gossling Boys Like You □ Adele Rolling In The Deep (Avicii Remix) □ Adele Rolling In The Deep (Dan Clare Club Mix) □ Afrojack Lionheart (Delicious Layzas Moombahton) □ Akon Angel □ Alyssa Reid ft. Jump Smokers Alone Again □ Avicii Levels (Skrillex Remix) □ Azealia Banks 212 □ Bassnectar Timestretch □ Beatgrinder feat. Udachi & Short Stories Stumble □ Benny Benassi & Pitbull ft. Alex Saidac Put It On Me (Original mix) □ Big Chocolate American Head □ Big Chocolate B--ches On My Money □ Big Chocolate Eye This Way (Electro) □ Big Chocolate Next Level Sh-- □ Big Chocolate Praise 2011 □ Big Chocolate Stuck Up F--k Up □ Big Chocolate This Is Friday □ Big Sean ft. Nicki Minaj Dance Ass (Remix) □ Bob Sinclair ft. Pitbull, Dragonfly & Fatman Scoop Rock the Boat □ Bruno Mars Count On Me □ Bruno Mars Our First Time □ Bruno Mars ft. Cee Lo Green & B.O.B The Other Side □ Bruno Mars Turn Around □ Calvin Harris ft. Ne-Yo Let's Go □ Carly Rae Jepsen Call Me Maybe □ Chasing Shadows Ill □ Chris Brown Turn Up The Music □ Clinton Sparks Sucks To Be You (Disco Fries Remix Dirty) □ Cody Simpson ft. Flo Rida iYiYi □ Cover Drive Twilight □ Datsik & Kill The Noise Lightspeed □ Datsik Feat. -
“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. -
Why Hip Hop Began in the Bronx- Lecture for C-Span
Fordham University DigitalResearch@Fordham Occasional Essays Bronx African American History Project 10-28-2019 Why Hip Hop Began in the Bronx- Lecture for C-Span Mark Naison Follow this and additional works at: https://fordham.bepress.com/baahp_essays Part of the African American Studies Commons, American Popular Culture Commons, Cultural History Commons, and the Ethnomusicology Commons Why Hip Hop Began in the Bronx- My Lecture for C-Span What I am about to describe to you is one of the most improbable and inspiring stories you will ever hear. It is about how young people in a section of New York widely regarded as a site of unspeakable violence and tragedy created an art form that would sweep the world. It is a story filled with ironies, unexplored connections and lessons for today. And I am proud to share it not only with my wonderful Rock and Roll to Hip Hop class but with C-Span’s global audience through its lectures in American history series. Before going into the substance of my lecture, which explores some features of Bronx history which many people might not be familiar with, I want to explain what definition of Hip Hop that I will be using in this talk. Some people think of Hip Hop exclusively as “rap music,” an art form taken to it’s highest form by people like Tupac Shakur, Missy Elliot, JZ, Nas, Kendrick Lamar, Wu Tang Clan and other masters of that verbal and musical art, but I am thinking of it as a multilayered arts movement of which rapping is only one component. -
Coolio to Perform at Rooster's in Platteville
ISSUE # 1 In This Issue of 365ink... April 6-20, 2006 New Life on Old Main: 3 Bryce’s Take On Things: 4 Featured Events: 5 & 6 The Arts: 7 & 8 Live Music Focus: 9 - 11 Budweiser True Music Live Music Calendar: 12 & 13 Wando’s Movies: 14 Art on the River: 15 Your City / Mayor Buol: 16 Dear Trixie’s Bad Advice: 17 We’ve hidden 365’s WANDO some- Dr. Skrap’s Horoscopes: 17 where in this issue of Dubuque365ink. Can you find the master of movies buried within these pages? Good Luck! Winners get a free warm fuzzy! Mattitude: 18 Family: 20 Tri-States Ink: 21 - 23 Covering Galena, East Dubuque, Platteville, Peosta & More. The Ink Well: Publisher: Bryce Parks, Dubuque365 ([email protected]) Editor: Ellen Goodmann ([email protected]) Copy Editor: Tim Brechlin ([email protected]) Writers & Content: Ellen Goodmann, Mike Ironside, Bryce Parks, L.A. Hammer, Chris Wand, Ralph Kluseman, Tim Brechlin, Roy Buol, Matt Booth, Brad Parks, Justin Kuhle, & everyone who posts content to our website, Dubuque365.com. Graphic Design & Layout: Bryce Parks, Gary Olsen, Tanya Graves, Mike Ironside, JoAnna Castaneda, Tim Brechlin. Distribution Coordinator: Robert Parks Special thank you to: National Mississippi River Museum & Aquarium, Ron Kirchhoff, Bob Johnson, Todd Locher, Everett Buckardt, Julie Steffen, Sheila Castaneda, Tom Miller, Renae Gabrielson, Christy Monk and all the wonderful friends of 365 and, of course, our advertisers, for all your support, advice and input. You are 365! Dubuque365 • 210 West 1st Street • Dubuque, IA 52001 * 563•588•4365 We welcome all submission of articles, photos and pleasant vibes. -
Read an Excerpt
The Artist Alive: Explorations in Music, Art & Theology, by Christopher Pramuk (Winona, MN: Anselm Academic, 2019). Copyright © 2019 by Christopher Pramuk. All rights reserved. www.anselmacademic.org. Introduction Seeds of Awareness This book is inspired by an undergraduate course called “Music, Art, and Theology,” one of the most popular classes I teach and probably the course I’ve most enjoyed teaching. The reasons for this may be as straightforward as they are worthy of lament. In an era when study of the arts has become a practical afterthought, a “luxury” squeezed out of tight education budgets and shrinking liberal arts curricula, people intuitively yearn for spaces where they can explore together the landscape of the human heart opened up by music and, more generally, the arts. All kinds of people are attracted to the arts, but I have found that young adults especially, seeking something deeper and more worthy of their questions than what they find in highly quantitative and STEM-oriented curricula, are drawn into the horizon of the ineffable where the arts take us. Across some twenty-five years in the classroom, over and over again it has been my experience that young people of diverse religious, racial, and economic backgrounds, when given the opportunity, are eager to plumb the wellsprings of spirit where art commingles with the divine-human drama of faith. From my childhood to the present day, my own spirituality1 or way of being in the world has been profoundly shaped by music, not least its capacity to carry me beyond myself and into communion with the mysterious, transcendent dimension of reality. -
February 22, 1996
Jmm Ridison University Library Baseball Coollo puts Harritonburq, VA 22807 in a short opens Its appearance in "W^ the FEB 2 21996 season disappointing looking for Its concert at the L*%J third-straight Convo. 40-win year. Style/18 BreezeJAMES MADISON UNIVERSITY Sports/23 THURSDAY FEBRUARY 22. 1996 VOL. 73. NO. 37 State honors JMU hiring requests; Internet service to provide off- higher ed job freeze may end soon campus access by Joelle Bartoe by Cyndy Liedtke senior writer senior writer The hiring freeze imposed on the Virginia UPDATE ON HIRING FREEZE |— government has probably gone unnoticed by It's a familiar scenario — dial up the most JMU students. There seem to be just as VAX from the comforts of an off- many professors and just as many General Assembly budget legislation: campus dwelling and come head-to-head administrators on campus. with a busy signal. The hiring freeze, under which JMU and all A new service may mean fewer busy Virginia colleges and universities have been It authorizes the signals for people anxiously trying to operating since Dec. I, 1994, is part of Gov. The proposal docs creation of 650 check their e-mail from off campus. George Allen's (R) plan to reduce tuition costs not support limits JMU and SprintLink will launch a and control the size of administration, to 700 new new partnership Feb. 26 to give students, according to Robert Lauterberg, director of the on administrative positions. faculty and staff local dial-up Internet Virginia Department of Planning and Budget. positions. access with a direct connection to the "The governor's trying to encourage It exempts colleges JMU network.