DOCSLIB.ORG

Yo ! Revolution Rap (

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Yo ! Revolution Rap ( - 1 - YO ! REVOLUTION RAP L’ HISTOIRE . LES GROUPES . LE MOUVEMENT . , UN (VIEUX ) LIVRE SUR LE HIP HOP . « Yo ! Révolution Rap » est le titre de mon premier livre, aujourd’hui épuisé. Publié en mars 1991 par les Editions Ramsay, « Yo ! Révolution Rap » a également été traduit en Allemand. Totalement introuvable depuis 1993-1994, le voici en consultation libre. Avertissement : Aucune retouche texte n’a été effectuée. Le livre est donc dans son « jus », tel que publié à l’origine, hormis les thèmes (Rap & cinéma, Rap & médias, Rap et politique, etc.) et les interviews (Iam, Get Busy, etc), ici relégués en fin de texte. Seules les illustrations n’ont pas été reproduites, pour des questions de droit. Le lecteur avisé pourra mesurer combien le Rap a, depuis, évolué. Et combien, parfois, je me suis totalement trompé. Bonne lecture à tous. Crédits : Texte : © Ramsay et David DUFRESNE – 1991 http://www.davduf.net Toute reproduction commerciale interdite. Ont activement participé à ce livre : Isabelle Bézard (Queen Isa First : traductions), Texaco & Sear (docs, notes, conseils, amitié et rédaction de la partie française), Cool-T (partie graffitis), Yannick Bourg ("Rap & Vidéo"), Corinne Schmitt. Ce livre est dédié à : Ma Mère & Féfé, mes sœurs Marie-Eve & Margaux, mes grands-parents, El Poupa, Mona-La-Marcheuse, Corinne "Pretty Baby" Schmitt, Bertrand Toty (1st scratcher, cousin, smurf early 80’s), Jean Claude Bertrand (l’inestimable), Bjorn Cornaz ( Stop The Madness !, Fantastik 60’s brother), Shakin’ Louie Louie (The One & Lonely), Texaco & Sear (assureurs de première), Ava Spac, tous les groupes de Rock & Roll qui ont bercé mon enfance, violenté mon adolescence et que j’ai lâchement "abandonné" lors de mon effroyable entrée dans l’"âge adulte" et à tous ceux qui font que la Révolution Rap est en marche. Ce livre est particulièrement dédié à : Yannick Bourg (mon alter ego, jeune chien fou de toute psycho music) , Remerciements à : Bruno Gaston (et ses éclaircissements nocturnes), Pascal Rapido, Geneviève Fabre (corrections sur l’historique des Noirs américains), Christophe Taverne, Olivier Cornillac, Nicolas Richard, Mino (le génial), Radio Poitiers Ouest, MCL Poitiers 84-86, Olivier Cachin (MC Of Media), Ronan O., Roberto Gagliardi (news italiennes), Philippe Bernard (fameux filmeur), Jean-Marie (IZB), Sear & Texaco (Get Busy), Candy (Zulu Nation), Madj (Radio Beur), Georges Lapassade (le furieux), Stéphane Leroy & Frank Spengler (pour croire en ce livre), les trois Révolutionnaires Rock : Kid Bravo (Mega Reefer Scratch est en route, stay cool & good !), Marsu (The Great One), Phil Baïa (Jesus) ; KK, Cathy & Eric Débris (le Rennais), les Shifters (pour avoir supporté ma casquette et mes "Yo !" durant une quarantaine de concerts), tous les journalistes, biographes, rédacteurs et fanzineux à qui j’ai emprunté leur prose... Remerciements à tous les labels & producteurs qui nous ont soutenus (photos, docs, disques, bios, etc.) : Alain Castagnola (IAM), Philippe Joyeux & Bruno (20th Century Fox), Hervé Deplasse (CBS puis EMI), Elios Sanchez & Catherine Meadeb (Wotre Music/Justine/Fnac Musique), Maya (BMG), Antoine Garnier, Marie-Jeanne Baquet & Sandrine (Virgin), Beni & Cathy (Labelle Noire), Olivier Bas & Isidore (Island), Rose-Hélène Deplasse & Patricia (Epic), Nathalie Delvigne (CBS), Isabelle Mauvais & Gaëlle & Miriam & Serge (Musidisc), WEA pour n’avoir rien fait. Remerciements éternels à : Above The Law, Afrika Bambaataa, Asher D & Daddy Freddy, Beastie Boys, Bomb Squad, Boogie Down Productions, B.R.O.T.H.E.R, Davy D, Digital Underground, Divine Styler, Donald-D, Doctor DRE, Dust Bros, Eric B & Rakim, Kid Frost, Geto Boys, Grand Masterflash & Furious 5, Gunshot, Hijack, Iam, Ice Cube, Ice-T, Intelligent Hoodlum, Jungle Bros, K9 Posse, Kool DJ Herc, Kool Moe Dee, Last Poets, LL Cool J, DJ Mark 45 King, Marley Marl, Mega Reefer Scratch, N.W.A., Public Enemy, Queen Latifah, DJ Red Alert, Run DMC, Slick Rick, Rick Rubin, Scott La Rock, Russel Simmons, Stereo MC’s, Sugarhill Band, Supreme NTM, Stetsasonic, Third Bass, Tuff Crew, Two Live Crew, etc. A tous : "ARRÊTONS LA VIOLENCE" CAR "NOUS SOMMES TOUS DANS LE MEME GANG". PEACE ! Texte : © Ramsay et David DUFRESNE – 1991 http://www.davduf.net Toute reproduction commerciale interdite. - 2 - FUCK "Comme aux premiers jours du Rap, chaque gosse a ses platines. Maintenant, chaque gamin du block a sa démo" (Run DMC, 1990). "Que ce soit fort ! La clarté n’est pas nécessaire, il faut simplement que ça rugisse. Quatre vingts pour cent des inconditionnels du Rap l’écoutent à fond la caisse" (Chuck-D, Public Enemy). "Puisque les médias vous font toujours dire l’inverse de ce qu’on dit, il faudrait avoir le courage de dire l’inverse de ce que l’on pense" (Jean Baudrillard in Cool Memories , Galilée, 1990, U.S.A/France). Quincy Jones a raison : "maintenant, s’il y en a qui veulent descendre le Rap, ils vont devoir me descendre, moi. Je ne sais pas s’il y en a beaucoup qui peuvent se permettre ça" (218). Le Rap connaît aujourd’hui un nouvel essor flamboyant. Une véritable renaissance. De ses débuts (78/80), il a conservé la puissance rythmique et la loquacité (to rap = bavarder. Certains y voient la contraction de "rapide" ou de "repartee" selon Georges Lapassade et Philippe Rousselot (21)). Mais il y a ajouté des sons, des trouvailles, des arrangements (tant grâce au nouveau matériel technique apparu dans les années 80 qu’à la créativité des rappeurs et des ingénieurs du son) : de Run DMC à Public Enemy en passant par De La Soul, Hijack, N.W.A. et KRS One, le Rap n’est plus uniforme. Il revêt toutes les styles musicaux (ou presque). Oui, le Mouvement est en marche. Il serait d’ailleurs grossier de trop cataloguer les groupes : les rappeurs, s’ils se livrent à une concurrence acharnée, sont tous plus ou moins solidaires les uns des autres. "En 85, lors de l’anniversaire de mon fils (...), j’ai appelé Russel Simmons de Def Jam, en lui demandant s’il lui serait possible d’inviter tous les rappers qu’il connaissait. Whodini, Kurtis Blow, LL Cool J, les Beastie Boys, Run DMC, tout le monde, quoi ! Et ça m’a rappelé mes propres débuts à New York, quand j’ai découvert Charlie Parker, Dizzy Gillepsie, Mingus, Bud Powell, Thelonious Monk, qui jouaient tous ensemble et dans le même esprit. Le parallèle était complet : les radios refusaient de les diffuser, les bourgeois s’offusquaient" (219)... L’esprit dont parle Quincy Jones se perçoit dans les chassés- croisés de rappeurs qui en produisent d’autres, les participations aux enregistrements, les remerciements sur les pochettes ou, mieux, les citations à l’intérieur même des chansons. Le principe du Crew ou Posse est aussi un des facteurs de cette unité de la scène Hip Hop et de son évolution perpétuelle (un disque en pousse un autre aux oubliettes tous les deux mois) : ces équipes sont des bandes mouvantes dans lesquelles on trouve généralement un ou deux leaders et une ribambelle de DJ’s, MC’s, arrangeurs, producteurs, auteurs, compositeurs. Ce qui, généralement, produit un brassage d’idées et d’inventivité surprenant. Sans compter que les membres des Posse se mélangent volontiers les uns aux autres : l’enfer des maisons de disques pour les crédits et un véritable bouillonnement musical. Finie la rigidité du Groupe, dans le sens Rock ’n’ Roll du terme. Mais gardons-nous de toute hypothèse. Que deviendra le Rap dans un an ou deux ? Une mode dépassée ? Ou régnera-t-il en maître sur l’industrie du disque ? René Belletto remarquait à propos du cinéma - et cela est tout aussi valable pour le Rap - que "quand un genre est fort, quand il arrive à son sommet, il porte déjà en lui sa propre destruction et sa propre parodie (...). C’est à partir du moment où un genre est foutu que le succès commercial se répand" (220). Les majors américaines, lentes, très lentes, à s’intéresser au Rap (et à y croire) ont fait ces derniers mois une véritable razzia sur les labels indépendants inondant les bacs de disques souvent médiocres. Plus près de nous, l’heure de la récupération a tout autant sonné : d’Alain Chamfort à Yvette Horner, de Jack Lang ( "cette culture, j’y crois !" plaisante-il à l’automne 90 dans VSD) aux majors aux abois (vieilles maquettes remixées à la va-vite, signatures tous azimuts, opérations sur toute la France), tout le monde veut participer à la fête. A ce tarif-là, Benny B (rapper-belge-aseptisé-sans-peur-du-ridicule) risque un jour de se retrouver le garant du vrai Rap. Danger. Don’t Believe The Hype . Ce livre a pour but de retracer l’histoire du Hip Hop (et ses histoires), de ses origines à aujourd’hui, afin de mieux comprendre le pourquoi et le comment de l’impact et de l’apport phénoménaux du Rap. Tant d’un point de vue musical que sociologique. Car, ne l’oublions pas, le Rap parle, dit, exprime, s’exprime, dénonce, attaque, aime. Si Musique Vivante (et Vivifiante) signifie quelque chose, alors le Rap en est une illustration parfaite. Ce livre a été écrit avec respect et admiration pour cette musique tout en essayant de rester critique (la critique n’empêche pas l’amour). Yo ! Revolution Rap est un instantané. Le Rap est en pleine explosion et nous surprend chaque semaine. Impossible de tout savoir et encore plus d’anticiper sur son avenir. Le Rap vit. Peu de musiques peuvent s’en vanter. Quant aux nombreuses citations, il faut les prendre comme autant de samples (à ceci près que nous ne les avons pas transformées comme de véritables samplers modifient les sons ou les rythmes). Privilégier les déclarations des rappers eux-mêmes nous semblait plus important que notre propre avis.
Load more

Recommended publications
  • Driver 2 Soundtrack List
    Driver 2 soundtrack list click here to download Allister Brimble, Richard Narco, Full Original Soundtrack, Composed soundtrack. Allister Brimble, Richard Narco, Havana at Day, Composed soundtrack. Allister Brimble, Richard Narco, Havana at Night, Composed soundtrack. Allister Brimble, Richard Narco, Havana Escape at Day, Composed soundtrack. Allister Brimble. Driver 2: Back on the Streets (named Driver 2: The Wheelman is Back in North America) is the to the limitations compared to the PlayStation. List of GameBoy Advance Missions end credits of the game. A member of the Driver Madness community has created a lossless unofficial soundtrack, available for download. Driver 2: Back on the Streets is the second installment of the Driver video game series. It was developed by Reflections Interactive and published by Infogrames. A port to the Game Boy Advance was released in , being developed by Sennari Interactive and was released under Infogrames' Atari range of products.​Gameplay · ​Plot · ​Cities. Driver 2 Soundtrack - Chicago At Day. Here is the score and soundtrack to Driver 2, by Allister Brimble and Richard Narco. Licensed music is credited appropriately. I have created an LP-type piece of work with cutscene audio interwoven with the tracks to bring all of the music together as an album. Audio format is 16 bit FLAC. Licensed music is. Driver 2 (Video Game ) SoundTracks on IMDb: Memorable quotes and exchanges from movies, TV series and more. Favorites List; List of favorite songs posts. Related Subreddits · Useful Links; Contains VGM sites, events, news and subreddit related stuff. Remixer List; List of remixers, message psycosulu to add your favorite remixer.
    [Show full text]
  • (Full Text) with Paragraph Numbers at 23 July 2021
    Oxfordshire Plan – Regulation 18 (Part 2) Consultation Document VERSION 30 (Full Text) with paragraph numbers At 23 July 2021 1 Foreword 1. Oxfordshire is a unique and special place shaped by its beautiful and varied landscapes, rich cultural heritage and areas important to nature conservation. Its towns, villages and the City of Oxford form part of a dynamic network of places that have grown to support an innovation-driven economy that is nationally and internationally significant, with Oxfordshire forming part of the Oxford-Cambridge Arc. These characteristics, together with Oxfordshire's connections to other places, mean that, for many, Oxfordshire is a prosperous and healthy place to live. But there are also persistent, multi-faceted inequalities in some of our places, and challenges linked to climate change, congestion, housing affordability and threats to the natural, built and historic environments. 2. The Oxfordshire Plan will change the way we plan for Oxfordshire's future. To fully make the most of our opportunities and to more effectively tackle the challenges that Oxfordshire faces requires a new partnership-based approach to planning: one that continues to value the vital role played by local and neighbourhood plans, but which also recognises that some issues require transformative change through concerted effort over the medium and longer- term, are better considered on a wider geographical scale and best tackled through joined-up policy responses that build resilience. 3. Climate change is one example. Decisions made locally have the potential to impact on outcomes in that area, but also more widely within Oxfordshire as well as beyond the county's boundaries.
    [Show full text]
  • 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.
    [Show full text]
  • AMS-LATEX Version 1.0 User's Guide
    e w -LATEX Version 1.0 User’s Guide American Mathematical Society August 1990 0 Contents I General 1 1 Introduction 1 1.1 Notes XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX 1 e e 2 The w -LTEX project 2 e e 3 Major components of the w -LTEX package 3 II Font considerations 4 4 The font selection scheme of Mittelbach and Schopf¨ 4 5 Basic concepts 4 5.1 Shape XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX 5 5.2 Series XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX 6 5.3 Size XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX 6 5.4 Family XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX 7 5.5 Using other font families XXXXXXXXXXXXXXXXXXXXX 8 5.6 The oldlfont option XXXXXXXXXXXXXXXXXXXXXX 10 5.7 Warnings XXXXXXXXXXXXXXXXXXXXXXXXXXXXXX 10 6 Names of math font commands 11 7 The command \newsymbol 16 8 The amssymb option 16 III Features of the amstex option 17 9 Math spacing commands 17 10 Multiple integral signs 17 i 11 Over and under arrows 17 12 Dots 18 13 Accents in math 19 14 Roots 19 15 Boxed formulas 20 16 Extensible arrows 20 17 \overset, \underset and \sideset 20 18 The \text command 21 19 Operator names 21 20 \mod and its relatives 22 21 Fractions and related constructions 22 22 Continued fractions 23 23 Smash options 24 e 24 New LTEX environments 24 24.1 The “cases” environment XXXXXXXXXXXXXXXXXXXXX 24 24.2 Matrix XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX 25 24.3 The Sb and Sp environments XXXXXXXXXXXXXXXXXXX 26 24.4 Commutative diagrams XXXXXXXXXXXXXXXXXXXXXX 26 25 Alignment structures for equations 27 25.1 The align environment XXXXXXXXXXXXXXXXXXXXX 28 25.2 The gather environment XXXXXXXXXXXXXXXXXXXX 28 25.3 The
    [Show full text]
  • Confessions of a Black Female Rapper: an Autoethnographic Study on Navigating Selfhood and the Music Industry
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-8-2020 Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry Chinwe Salisa Maponya-Cook Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Maponya-Cook, Chinwe Salisa, "Confessions Of A Black Female Rapper: An Autoethnographic Study On Navigating Selfhood And The Music Industry." Thesis, Georgia State University, 2020. https://scholarworks.gsu.edu/aas_theses/66 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CONFESSIONS OF A BLACK FEMALE RAPPER: AN AUTOETHNOGRAPHIC STUDY ON NAVIGATING SELFHOOD AND THE MUSIC INDUSTRY by CHINWE MAPONYA-COOK Under the DireCtion of Jonathan Gayles, PhD ABSTRACT The following research explores the ways in whiCh a BlaCk female rapper navigates her selfhood and traditional expeCtations of the musiC industry. By examining four overarching themes in the literature review - Hip-Hop, raCe, gender and agency - the author used observations of prominent BlaCk female rappers spanning over five deCades, as well as personal experiences, to detail an autoethnographiC aCCount of self-development alongside pursuing a musiC career. MethodologiCally, the author wrote journal entries to detail her experiences, as well as wrote and performed an aCCompanying original mixtape entitled The Thesis (available on all streaming platforms), as a creative addition to the research.
    [Show full text]
  • Sugar Hill Label Album Discography
    Sugar Hill Label Album Discography SH 245 - Rapper’s Delight – Sugar Hill Gang [1979] Here I Am/Rapper’s Reprise (Jam-Jam)/Bad News//Sugar Hill Groove/Passion Play/Rapper’s Delight SH 246 – The Great Rap Hits – Various Artists [1980] 12” Vinyl. Spoon’nin’ Rap – Spoonie gee/To the Beat (Ya’ll) – Lady B/Rapping and Rocking the House – Funky Four Plus One//Funk You Up – The Sequence/Super Wolf Can Do It – Super-Wolf/Rapper’s Delight – Sugarhill Gang SH 247 – Kisses – Jack McDuff [1980] Kisses/Say Sumpin’ Nice/Primavera/Night Fantasies//Pocket Change/Nasty/Tunisian Affair SH 248 Positive Force – Positive Force [1980] Especially for You/People Get on Up/You’re Welcome//Today It Snowed/We Got the Funk/Tell Me What You See SH 249 – The 8th Wonder – Sugar Hill Gang [1981] Funk Box/On the Money/8th Wonder//Apache/Showdown/Giggale/Hot Hot Summer Day SH 250 – Sugar Hill Presents the Sequence – Sequence [1980] Simon Says/The Times We’re Alone/We Don’t Rap the Rap//Funk a Doodle Rock Jam/And You Know That/Funky Sound/Come on Let’s Boogie 251 252 253 254 SH 255 – First Class – First Class [1980] Give Me, Lend Me/Let’s Make Love/Coming Back to You/No Room For Another//I Wasn’t There/Lucky Me/Going Out of My Head/Hypnotize 256 SH 257 – Hard and Heavy – Wood, Brass and Steel [1980] Re-Entry/Open Up Your Heart/Long Live Music/Love Incognito/Be Yourself//Are You Busy/Superstar/Welcome/Space Walk/Fly with the Music 258 SH 259 – Brother 2 Brother – Brother to Brother [1980] Backlash/I’ve Been Loving You/I Must’ve realized/Latin Me//Let Me Be for Real/Love
    [Show full text]
  • Hip-Hop Og Rap
    HIP-HOP OG RAP Speciale Musikvidenskabeligt Institut Juli 1992 2. Udgave 1999. Enkelte rettelser Jakob Jensen Indholdsfortegnelse Indhold Kapitel I: Indledning. ................................................................................. 1 1. Beskrivelse af hip-hop og problemstillinger........................................................1 2. Populærmusik, sub- og modkultur og de musikvidenskabelige metoder. .........2 2.1. Ungdomskultur, sub- og modkultur. .........................................................3 2.2. Subkultur og musik, homologianalyse ......................................................6 Kapitel II: Tidlig Hip-hop, Rap og Deres Forløbere. ........................13 1. Bronx og starten på hip-hop............................................................................... 13 2. Den tidlige hip-hop og rap.................................................................................. 14 2.1. Et eksempel. .............................................................................................. 18 2.2. Rap............................................................................................................. 21 2.3. Eksempler. ................................................................................................ 22 3. Baggrunden for hip-hop og rap. ......................................................................... 25 3.1 Musikalske forløbere. ................................................................................ 25 Forløbere for hip-hopprincippet. ................................................................
    [Show full text]
  • Fear of a Muslim Planet
    SOUND UNBOUND edited by Paul D. Miller aka DJ Spooky that Subliminal Kid The MIT Press Cambridge, Massachusetts London, England 6 2008 Paul D. Miller All rights reserved. No part of this book may be reproduced in any form by any elec- tronic or mechanical means (including photocopying, recording, or information stor- age and retrieval) without permission in writing from the publisher. For information about special quantity discounts, please email special_sales@mitpress .mit.edu This book was set in Minion and Syntax on 3B2 by Asco Typesetters, Hong Kong, and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Sound unbound / edited by Paul D. Miller. p. cm. Includes bibliographical references and index. ISBN 978-0-262-63363-5 (pbk. : alk. paper) 1. Music—21st century—History and criticism. 2. Music and technology. 3. Popular culture—21st century. I. DJ Spooky That Subliminal Kid. ML197.S694 2008 780.9005—dc22 2007032443 10987654321 Contents Foreword by Cory Doctorow ix 1 An Introduction, or My (Ambiguous) Life with Technology 1 Steve Reich 2 In Through the Out Door: Sampling and the Creative Act 5 Paul D. Miller aka DJ Spooky that Subliminal Kid 3 The Future of Language 21 Saul Williams 4 The Ecstasy of Influence: A Plagiarism Mosaic 25 Jonathan Lethem 5 ‘‘Roots and Wires’’ Remix: Polyrhythmic Tricks and the Black Electronic 53 Erik Davis 6 The Life and Death of Media 73 Bruce Sterling 7 Un-imagining Utopia 83 Dick Hebdige 8 Freaking the Machine: A Discussion about Keith Obadike’s Sexmachines 91 Keith + Mendi Obadike 9 Freeze Frame: Audio, Aesthetics, Sampling, and Contemporary Multimedia 97 Ken Jordan and Paul D.
    [Show full text]
  • Variations 05
    Curatorial > VARIATIONS With this section, RWM continues a line of programmes VARIATIONS #5 devoted to exploring the complex map of sound art from different points of view organised in curatorial series. The Discipline "Variation" is the formal term for a musical composition As art and industrial practitioners formally map out the discipline, hip-hop's based on a previous musical work, and many of those discovery of digital sampling technology in the mid-80's provided a reintroduction traditional methods (changing the key, meter, rhythm, to its original roots in block party DJ collage. The international success of the new harmonies or tempi of a piece) are used in much the same genre then prompts a legal backlash against the art form, with a rash of lawsuits manner today by sampling musicians. But the practice of filed against both commercially successful pop artists like De La Soul, Biz Markie sampling is more than a simple modernization or expansion & 2 Live Crew and left-field provocateurs like the KLF, Negativland and John of the number of options available to those who seek their Oswald. inspiration in the refinement of previous composition. The history of this music traces nearly as far back as the advent 01. Summary of recording, and its emergence and development mirrors the increasingly self-conscious relationship of society to its experience of music. Starting with the precedents achieved The audience that had come of age during the era of the studio-produced pop by Charles Ives and John Cage, VARIATIONS will present an song was ready for a genre of music which made explicit use of earlier recordings overview of the major landmarks in Sampling Music, to construct new music.
    [Show full text]
  • Songs by Title
    16,341 (11-2020) (Title-Artist) Songs by Title 16,341 (11-2020) (Title-Artist) Title Artist Title Artist (I Wanna Be) Your Adams, Bryan (Medley) Little Ole Cuddy, Shawn Underwear Wine Drinker Me & (Medley) 70's Estefan, Gloria Welcome Home & 'Moment' (Part 3) Walk Right Back (Medley) Abba 2017 De Toppers, The (Medley) Maggie May Stewart, Rod (Medley) Are You Jackson, Alan & Hot Legs & Da Ya Washed In The Blood Think I'm Sexy & I'll Fly Away (Medley) Pure Love De Toppers, The (Medley) Beatles Darin, Bobby (Medley) Queen (Part De Toppers, The (Live Remix) 2) (Medley) Bohemian Queen (Medley) Rhythm Is Estefan, Gloria & Rhapsody & Killer Gonna Get You & 1- Miami Sound Queen & The March 2-3 Machine Of The Black Queen (Medley) Rick Astley De Toppers, The (Live) (Medley) Secrets Mud (Medley) Burning Survivor That You Keep & Cat Heart & Eye Of The Crept In & Tiger Feet Tiger (Down 3 (Medley) Stand By Wynette, Tammy Semitones) Your Man & D-I-V-O- (Medley) Charley English, Michael R-C-E Pride (Medley) Stars Stars On 45 (Medley) Elton John De Toppers, The Sisters (Andrews (Medley) Full Monty (Duets) Williams, Sisters) Robbie & Tom Jones (Medley) Tainted Pussycat Dolls (Medley) Generation Dalida Love + Where Did 78 (French) Our Love Go (Medley) George De Toppers, The (Medley) Teddy Bear Richard, Cliff Michael, Wham (Live) & Too Much (Medley) Give Me Benson, George (Medley) Trini Lopez De Toppers, The The Night & Never (Live) Give Up On A Good (Medley) We Love De Toppers, The Thing The 90 S (Medley) Gold & Only Spandau Ballet (Medley) Y.M.C.A.
    [Show full text]
  • 1 Title Page Needs Pasted, Roman Numeral I [Not Shown]
    “IT’S BIGGER THAN HIP HOP”: POPULAR RAP MUSIC AND THE POLITICS OF THE HIP HOP GENERATION A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia In Partial Fulfillment of the Requirements for the Degree Master of Arts by DEREK EVANS Dr. Tola Pearce, Thesis Supervisor DECEMBER 2007 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled “IT’S BIGGER THAN HIP HOP”: POPULAR RAP MUSIC AND THE POLITICS OF THE HIP HOP GENERATION Presented by Derek J. Evans A candidate for the degree of Master of Arts, And hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________ Professor Ibitola O. Pearce ________________________________________ Professor David L. Brunsma ________________________________________ Professor Cynthia Frisby …to Madilyn. ACKNOWLEDGEMENTS I wish to extend my unending gratitude to Dr. Tola Pearce for her support, guidance and, most of all, her patience. Many thanks to Dr. David Brunsma for providing me with fresh perspectives and for showing great enthusiasm about my project. I would like to thank Dr. Cynthia Frisby for helping me recognize gaps in my research and for being there during crunch-time. I would also like to thank my fellow sociology graduate students and colleagues for letting me bounce ideas off of them, for giving me new ideas and insights, and for pushing me to finish. Lastly, I would like to thank my wife Samantha for sticking by my side through it all. You are my rock. Shouts to Ice
    [Show full text]
  • The Evolution of Commercial Rap Music Maurice L
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.
    [Show full text]