Requiredaudio Heard Before the Herd Text Byjoel Marasigan
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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. -
Tom Jennings
12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd. -
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. -
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
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. -
4 Drop It Like It's Hot SNOOP DOGG FT
KW 47/48/2004 Plz LW WoC Title Artist Distribution PP 1 ➔ 1 4 Drop It Like It’s Hot SNOOP DOGG FT. PHARRELL Geffen/UNIVERSAL 1 2 ▲ NEW 0 Hey Now XZIBIT Columbia/SONY MUSIC 2 3 ▲ 5 10 It’s Hot THE BEATNUTS Penalty/IMPORT 3 4 ▲ 7 4 Locked Up AKON Universal/UNIVERSAL 4 5 ▲ 8 2 Sex, Love, Money / Ghetto Rock MOS DEF Geffen/UNIVERSAL 5 6 ➔ 6 10 Find Us THE BEATNUTS FT. AKON Penalty/IMPORT 6 7 ▲ 28 6 The Show METHOD MAN Def Jam/UNIVERSAL 7 8 ▼ 3 6 I Don’t Care THE ROOTS MCA/UNIVERSAL 3 9 ▲ NEW 0 Lose My Breath DESTINYS CHILD Columbia/SONY MUSIC 9 10 ▲ 24 8 Real Gangstaz MOBB DEEP FT. LIL JON Jive/BMG ARIOLA 10 11 ▼ 2 4 I Try TALIB KWELI FT. MARY J. BLIGE Rawkus/UNIVERSAL 2 12 ▲ NEW 0 Boston ED.O.G. & PETE ROCK Fat Beats/IMPORT 12 13 ▼ 9 2 The Grind Date / Shopping Bags DE LA SOUL Sanctuary/BMG ARIOLA 9 14 ▲ 18 8 It’s A Love Thing PETE ROCK FT. C.L. SMOOTH & DENOSH Rapster / Bbe/SSD 6 15 ▲ 21 10 Superior GENTLEMAN Four Music 12 16 ▼ 11 2 Tamale Rmxs MR. VEGAS FT. FAT JOE & FATMAN SCOOP Delicious Vinyl/UNIVERSAL 11 17 ▲ 40 2 Muthaf*cka XZIBIT Columbia/SONY MUSIC 17 18 ▲ 26 10 Friends EP BIZ MARKIE Groove Attack/MM MEDIA 2 19 ▼ 10 6 Break U Off KOOL KEITH FT. KUTMASTA KURT Treshold / Funky Ass/IMPORT 10 20 ▲ NEW 0 Club Etiquette / Built To Last DEFARI FT. -
10 Drop It Like It's Hot SNOOP DOGG FT. PHARRELL Geffen
KW 03/04/2005 Plz LW WoC Title Artist Distribution PP 1 ➔ 1 10 Drop It Like It’s Hot SNOOP DOGG FT. PHARRELL Geffen/UNIVERSAL 1 2 ➔ 2 6 Hey Now XZIBIT Columbia/SONY MUSIC 2 3 ➔ 3 6 Lose My Breath DESTINYS CHILD Columbia/SONY MUSIC 3 4 ▲ 17 4 1,2 Step CIARA FT. MISSY ELLIOTT La Face/BMG ARIOLA 4 5 ▲ 10 2 Been Around The World MASTERCASH FT. BLACK MOON & SMIF’N ‘WESSUN Heat Rec./SSD 5 6 ▲ 9 10 Locked Up AKON Universal/UNIVERSAL 4 7 ▲ 23 2 Numb / Encore JAY-Z / LINKIN PARK Def Jam/WARNER 7 8 ▲ NEW 0 Encore EMINEM FT. DR. DRE & 50 CENT Interscope/UNIVERSAL 8 9 ▲ NEW 0 An Open Letter To Nyc BEASTIE BOYS Parlophone/CAPITOL 9 10 ▲ 40 2 New York JA RULE FT. JADAKISS & FAT JOE Def Jam/UNIVERSAL 10 11 ▲ 26 6 Global Lockdown: The Locked Up Remixes AKON SRC/UNIVERSAL 11 12 ▲ 16 4 Breathe FABOLOUS Atlantic/WARNER 12 13 ▼ 12 8 Tamale Rmxs MR. VEGAS FT. FAT JOE & FATMAN SCOOP Delicious Vinyl/UNIVERSAL 11 14 ▲ NEW 0 It’s Nothing THE BEATNUTS Penalty/IMPORT 14 15 ▼ 5 8 The Grind Date / Shopping Bags DE LA SOUL Sanctuary/BMG ARIOLA 5 16 ▼ 4 2 Bridging The Gap NAS FT. OLU DARA Columbia/SONY MUSIC 4 17 ▼ 11 8 Sex, Love, Money / Ghetto Rock MOS DEF Geffen/UNIVERSAL 5 18 ▼ 15 10 I Try TALIB KWELI FT. MARY J. BLIGE Rawkus/UNIVERSAL 2 19 ➔ 19 8 Hush LL COOL J Def Jam/UNIVERSAL 16 20 ➔ RE 2 Millionaire KELIS FT. -
NEW MONEY TWINZ Words by Julia Beverly Photo by Ty Watkins
RAW, UNCENSORED WEST COAST RAP SHIT BIG RICH MESSY MARV NEW Young Jeezy MONEY Event: Blueprint 3 Tour Venue: Phillips Arena City: Atlanta, GA Date: February 27th, 2010 Photo: Thaddaeus McAdams TWINZ editor’s note I’M Just Sayin’ ThO bY D-Ray ip Hop is not dead! I’ve seen three incredible shows lately that skate park. If you ever come and see the kids, it would make a huge dif- prove Hip Hop is alive. First, I saw my first Paid Dues concert, ference in at least one of their lives. Hwhich was their fifth annual. Good work, Murs! I love me some underground Hip Hop, I just don’t always make it a point to cover those B.o.B., otherwise known as Bobby Ray, was also on the bill for the show at events. When I do go, it’s mostly to enjoy myself and the surroundings. the Warfield. I’ve been a fan of B.o.B. since 2007. He’s a dope young’n and This time I went and did what I do! an all-around artist. Big ups to you and your success. The #1 single and #1 album in the country. Wow! Research his Billboard stats. You showed us I had just seen Tech N9ne in Petaluma a few days before and he encour- how teamwork can create dreamwork! Keep living your dreams! aged me to go to the Paid Dues show. So I headed to L.A. and linked up with my fam Strong Arm Steady and Planet Asia. It turned out to be Speaking of dreams, yet another great act hit the Bay Area. -
Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. -
Ev Song Capsules
THE WEATHERMAN LP – SONG CAPSULES "I KNOW" "Go out on my own, something that I gotta do" It’s never easy to start from scratch. I knew this would be the 1st song on my album when I made it early in the recording process. "If you build it they will come"-Field Of Dreams "MR SLOW FLOW" My first single…I really wasn’t trying to fit in when I made this song. Being fresh off Capitol Records where they were trying to mold Dilated Peoples into Pop hit makers, this is my “Fuck You” record. Real dark, clever wordplay and heavy cuts. Basically the original energy of what people were attracted to me for in the first place. Back to square one. "Party Time, Excellent!" -Wayne Cambell "LETYOURSELFGO" feat THE ALCHEMIST & PHONTE This was supposed to be for The Alchemist & Evidence Album (A&E) coming next year. This is one of Al's best beats to date. (Bold statement) My verse is really about starting all over in life and letting myself go, hence the title was born. I just came off tour with Little Brother and had learned that Phonte could really sing, so we sent him the song hoping he would write a hook of that nature, when we got it back it was completely different than we imagined, but was crazy fresh. "It’s A Keeper" -Fat Bastard, Austin Powers "DOWN IN NEW YORK CITY" This is my version of Notorious B.I.G.'s, "Going Back To Cali" I’m born and raised in L.A. -
MUSIDREVIEW Mr
MUSIDREVIEW TEXT BYJOEL MARASIGAN mr >WE HIT HARD...LIKE IKE TURNER THE PLATFORM ry lesson on the "language" of the DJ. "Head 2 Head" mimics a boxing match where Dialated Peoples/Capitol Records Spinbad and Rev exchange battle-dj blows. If that isn’t enough, 13 emcees and six True hip-hop lyrical skills and world-class turntablism are what entitle Evidence, Rakaa ’tablists team up to help assist in eight of the 20 inspiring tracks. This is a must- (Iriscience) and DJ Babu are about, as they explore the surface of hip-POP without have LP. Revolution has caused one. fearing contamination of their years spent accumulating underground credibility. Their NuGruv.com first release—a crowd-rocking, emcee jaw-dropper—"Work the Angles" surprisingly Wakeupshow.com takes second-stage to cuts like "No Retreat," and "The Shape of Things to Come." Courtesy Cheapshot at Score Press Moreover, the inclusion of B Real, Tha Alkaholiks, Aceyalone, Planet Asia, Defari, White E. Ford (Everlast) and Phil Tha’ Agony furnish just enough aural trickery to make you UNDERGROUND RAILROAD believe you bought more than The Platform’s 16 tracks. Open your eyes, Dilated Masterminds/NuGruv Alliance/Ground Control Peoples is like a dime surrounded by pennies—smaller but worth much more. New York’s Oracle, Kimani and Epod, the Masterminds, come to collect with this Dialatedpeoples.com debut LP and with bars from L-Fudge, Mr. Lif, J-Treds, Shabaam Sahdeeq, Mr. Hollywoodandvine.com Complex, J-Live and EL-P combo’d with the production of Mr. Khaliyl (of the Bush Courtesy Cheapshot at Score Press Babees), come packed with explosive beats and sword-sharp lyrics. -
DANNY WATTS Black Boy Meets World
DANNY WATTS Black Boy Meets World LP COMING SOON KEY SELLING POINTS • Entirely produced by Jonwayne • Guest contributions and features include Ray Wright of Warm Brew, DIBIA$E, Leaving Records’ Kiefer, Dr. Octagon collaborator Juan Alderete de la Pena, Zeroh, and many others • The release of Black Boy Meets World will coincide with the Jonwyne’s Rap Album Two US Tour, beginning in October and running for an extended stretch of over 40 dates from coast to coast DESCRIPTION ARTIST: Danny Watts This fall, Danny Watts will release his debut album Black Boy Meets World TITLE: Black Boy Meets World on Jonwayne’s imprint Authors Recording Company. Beats were supplied CATALOG: cd-ARC003 in full by Jonwayne, creating the environments that mesh to Danny Watts’ LABEL: Authors Recording Company introspective lyricism and soulful cadences on the mic. The Houston based GENRE: Hip-Hop/Rap rapper has created a body of work that details his life experiences with an BARCODE: 669158533466 honest and uncompromising lens, jumping out of the Authors Recording FORMAT: CD Company gates as the first release after the critically acclaimed Rap Album HOME MARKET: Texas / Los Angeles Two. Before the release of Black Boy Meets World, Danny Watts is offering RELEASE: 10/6/2017 up the album’s lead single “Young & Reckless” feat. Aye Mitch! today. LIST PRICE: $11.98 / AK Danny Watts and Jonwayne recently captured Black Boy Meets World TRACKLISTING (Click Tracks In Blue To Preview Audio) in the span of only a week, recording the 11-track LP at the Los Angeles recording facility Cosmic Zoo.