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Final Exam Review

by: Andrea Lans

Final Exam Review M107

Andrea Lans

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About this Document

These notes cover the last half of the course which will be on the final.
Cultural History of Rap
Dr. Cheryl Keyes
Study Guide
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Popular in African American Studies

This 5 page Study Guide was uploaded by Andrea Lans on Thursday March 10, 2016. The Study Guide belongs to M107 at University of California - Los Angeles taught by Dr. Cheryl Keyes in Winter 2016. Since its upload, it has received 68 views. For similar materials see Cultural History of Rap in African American Studies at University of California - Los Angeles.

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Date Created: 03/10/16
Cultural  History  of  Rap  Final  Review   L ECTURE 3(CONTINUED ):IMPORTANT H ISTORICAL FIGURES,T ERMS AND C ONCEPTS TONE-LŌC (95): Rapper from LA; party-oriented style; 1988 singles “Wild Thing” & “Funky Cold Medina.” MC HAMMER (95-96) “took rap in the dance direction,” recycled funk jams; Oakland TOO $HORT (95-96) Put Oakland on map of rap; rhymes about pimping & ghetto lore SIR MIX-A-LOT (97): Seattle, WA; US #1 hit in 1992 with the techno-funk “Baby Got Back.” ROLAND TR-808 (lecture) Drum machine; deep bass kick; Dirty South music MIAMI BASS (lecture) Emphasis on bass derived from West Indies dancehall culture; car audio subculture “BASS ROCK EXPRESS” (lecture) 2 LIVE CREW (97; lecture) founded by Luke Skyywalker; sexually explicit lyrics; Throw the Dick; controversial album As Nasty as They Wanna Be; booty rap CRUNK (Sarig) connotation of power, volume (crank); become more intense, aggressive, powerful, exciting DJ PAUL & JUICY J (Sarig; lecture): DJs/Producers from Memphis, TN; Three 6 Mafia; crunk THREE 6 MAFIA (Sarig; lecture) Crunk; album Mystic Stylez “Da Summer”; Relativity Records LIL JON (Sarig) Columbia Records; Who You Wit? (crunk); Get Low (tipping point for becoming national phenomenon) TRICK DADDY (Sarig) NEW ORLEANS BOUNCE (lecture; discussion section) New Orleans; fast paced high hat (chromatic ticks), rhythmic booming kick, rhyming lyrics w/chant like choruses about vernacular dance moves, second line dance rhythm, TR-808 (drum machine), percussion; sing songy vocals “DRAG RAP” (lecture) NOLA Bounce beat derived from the Showboys’ “Drag Rap” (1986); electro funk classic MANNIE FRESH (lecture; discussion section) most important producer of NOLA bounce; Cash Money Records “BUCK JUMP TIME” (lecture) NO LIMIT RECORDS (113-114) Master P; Ice Cream Man; I’m Bout It (autobiographical film) CASH MONEY RECORDS (114) Brian & Ron Williams; made NOLA thriving hip- hop arena GETO BOYS (97-98) James Prince; gansta themes; albums deemed too violent; released recordings on Rap-A-Lot LAFACE RECORDS (115) THE DUNGEON FAMILY (116) GOODIE MOB (115-116) dirty south, sing songy chorus; Cell Therapy OUTKAST (115-116) 1st to put crunk on a record NELLY/ST. LUNATICS (116) St. Louis; continued singsongy style in Dirty South acts THE FUGEES/LAURYN HILL (lecture) community outreach programs (The Refugee Project); distinct lyrical flow, album explores what it’s like to be poor, black, a woman CULTURAL H ISTORY OFRAP L ECTURE 4:IMPORTANT H ISTORICALFIGURES,TERMS AND CONCEPTS Hip Hop and the Law SAMPLING LAWSUITS (lecture; Copyright Criminals documentary) CENSORSHIP/LYRICS CONTROVERSY PMRC (lecture) Parents Music Resource Center; parental control over children’s access to violent, sexual, or drug themed music “COP KILLER” (105) Ice-T’s heavy metal song resulted in cops holding boycott of Sire Records CONGRESSIONAL HEARINGS ON GANGSTA RAP (105-106) PRMC; prompted FCC to demand artists provide clean versions for broadcast Other Voices BLONDIE: Rock band; punk scene VANILLA ICE: rap’s 1st white superstar; controversy over his authenticity/originality EMINEM: validated by black artists due to freestyle capabilities; Detroit; criticisms on homophobic content & graphic depictions of rape, murder, incest; ability to flow, funk sounds Jazz & Rap Mary J Blige: Queen of hip hop soul; the rap singer Esham: acid rap- modern day blues or heavy metal Quincy Jones: paid homage to synergy in album Back on the Block (’89) Herbie Hancock: jazz pianist experimenting w/hip-hop, Rockit (’83) THE ROOTS (110-111) Philadelphia; performed hip-hop inspired poems a cappella; experimented w/live band concept FREESTYLE FELLOWSHIP (110-111) sing song style w/jazz PROJECT BLOWED (110) hip hop hangout; open mic poetic jams THE PHARCYDE (111) sing song style w/jazz Rap’s Growing Empire DEATH ROW RECORDS (112-113) Dr. Dre’s independent hip hop label; fell due to death of Tupac & criminal allegations against Knight SEAN “P. DIDDY” COMBS (112; Holmes-Smith) Bad Boy Entertainment   New  Jacks:  young,  black  filmmakers  that  expose  audience  to  urban  street  culture     Artists  Management  Group:  worked  w/hip-­‐hop  execs  to  bring  artists  into  film  industry   The Lounge: (Manhattan. Castro & Marshall): mobile venue where MCs would freestyle   CULTURAL H ISTORY OFR AP LECTURES 5&6:I MPORTANT H ISTORICAL F IGURES,T ERMS AND C ONCEPTS Street Production/Hip Hop Aesthetics: The MC Rhyme scheme, inflection, voice rhythm, timbre, signifyin’, vocabulary, accent HIP HOP CREW/POSSE (124) Ensemble; the bigger, the more powerful the leader Street Production/Hip Hop Aesthetics: The DJ Timing: tempo, rhythm, time-altering turntable techniques Crate Digging: looking for the perfect beat Texture & Timbre C ULTURAL HISTORY OFR AP LECTURE 7:IMPORTANT H ISTORICALFIGURES,T ERMS AND CONCEPTS Eugene Perkins- 5 personalities to street culture: street man, hustler, pimp/mack, working- class man, militant Female MCs: “Ain’t Nothin’ But a She Thing”: MERCEDES LADIES: FEMALE CREWS: SHA ROCK: “The One” the lone female in MC crew; Recognized for rhyming dexterity, echo chamber, woman who made DMC (inspired through use of echo chamber) THE FUNKY 4+1: 1st hip hop act to appear on SNL (1981); Sha Rock PEBBLE-POO: lone female MC in Masterdon Committee KOOL LADY BLUE: came out of England to manage NY clothing store; converted skating rink in downtown Manhattan (The Roxy); transfer of hip hop from uptown to downtown SWEET TEE: (Paul Winley’s daughter); “Vicious Rap”; 1st commercially recorded female solo MCs SYLVIA ROBINSON: mother of hip hop; cofounded Sugarhill Records; “Pillow Talk” FEMALE DJS: Dj Jazzy Joyce, DJ Pam (The Funktress) Female Hip Hop Personas QUEEN MOTHER: African-centered icons, evoked by dress, traditional African court culture, female empowerment and spirituality, demand respect (Queen Latifah, Lauryn Hill, Yo-Yo) FLY GIRL: chic clothing & fashionable, grew out of black action films, speaks what’s on her mind, calls to attention aspects of black women’s bodies that are undesirable, party-goer, independent, erotic subject (Missy Elliott, Audre Lorde) SISTER WITH ATTITUDE: Aggressive, arrogant, defiant, challenge male authority (MC Lyte) LESBIAN: homosexual woman VIDEO VIXEN: sexual woman in scanty clothing; popularized by booty rap Male Hip Hop Personas PHILOSOPHER KING (Bradley) emotional vulnerability & intellect; expand[s] on the complexities of the world around him; representatives of hip hop culture for outsiders; KRS-One, 2Pac, Kendrick Lamar, Kanye West, and Andre 3000. PLAYA/PIMP (Bradley): hypermasculinity & hypersexuality; heterosexual & misogynistic DOPE BOY/TRAP STAR (Bradley): drug culture; heroin (70s) & crack cocaine (80s) epidemics HUSTLER (Bradley): quick witted, ambitious; hybrid  


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