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- 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.
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  • The Evolution of Commercial Rap Music Maurice L

    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.