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Cultural History of Rap Week 7 Notes

by: Andrea Lans

Cultural History of Rap Week 7 Notes M107

Andrea Lans

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About this Document

These notes cover week 7's lecture & discussion.
Cultural History of Rap
Dr. Cheryl Keyes
Class Notes
History of Rap
25 ?




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This 3 page Class Notes was uploaded by Andrea Lans on Saturday February 27, 2016. The Class Notes belongs to M107 at University of California - Los Angeles taught by Dr. Cheryl Keyes in Winter 2016. Since its upload, it has received 32 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: 02/27/16
Cultural  History  of  Rap  Week  7  Notes   Lecture •  Early phases of disco - Philadelphia International (R&B laced w/strings) •  Sir Mix A lot o   Started label Nasty Mix; Seattle, WA o   Baby Got Back - (’92 Mack Daddy); techno/electro funk concept •  Techno introduced by Planet Rock •  Dirty South •  Miami Bass: Sub-genre of hip hop; mid ‘70s o   Heavy kick (bass), still hear techno o   808 sound •  DJ crews: Triple M DJs, South District DJs, Ghetto Style Dj s (Luke Skyywalker), South Miami Djs o   Introduced booming bass rhythm “pop” sound; used in local skating rinks o   Skating Rinks: Pretty Tony, Freestyle Express (mid 80s), MCADE •  2 Live Crew: Fresh Kid Ice, DJ Mr. Mix, Luke Skyywalker o   Booty Music/Rap- exploit sexually explicit topics (Album 2 Live Crew Is What We Are); misogynistic o   As Nasty As They Wanna Be (’89) - platinum; accused of violating state obscenity laws o   Me So Horny o   Censored/clean versions •  DJ Magic Mike (Freak Dog, Boot the Boo ty) o   DJ Magic Mike and the Royal Posse (’89), Basic Name of the Game (’90) o   Feel the Bass- groovy, electro funk o   Beatmaster Clay D, Florida, Big Jim, 69 Boyz •  Miami Bass lead to car audio culture (subwoofers) o   Embraced by hip hop artists in Atlanta (95 South - Whoot There it Is; Tag Team- Whoomp There It Is ) o   Cars with the Boom by L’Trimm- influenced by Miami Bass, but ushered in songs made for cars •  Crunk- connotation of power, volume (crank); become more intense, aggressive, powerful, exciting (pg. 285) •  Outkast: 1st to put crunk on a record •  DJ Paul (DJ Paul Volumes), Juicy o   Three 6 Mafia album Mystic Stylez “Da Summer” o   Chapter 2: World Domination o   Relativity Records •  pg. 277- foundation of Dirty South signature sound (Cash Money Crew, Master P) •  Stay Fly- Tennessee anthem ft. 8 Ball, MJG & Young Buck •  Lil Jon o   Columbia Records o   Get Low- tipping point for becoming national phenomenon •  Crunk is mix of Miami Bass & Memphis •  Bounce: 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, 808 (drum machine), percussion •  Mannie Fresh: main producer for Cash Money Records •  Cash Money Records - William Brothers; popularization of Bounce •  The Hot Boys (Lil Wayne) •  The Showboys (Queens, NY) •  Drag Rap (Triggaman) - electro funk classic, influence production concept of Mannie Fresh (1986) •  Can I Get A… by Jay Z •  (1989) Buck Jump Time by Ninja Crew (Mannie Fresh’s crew)- contemporary concept of second line (those who follow band in parade to enjoy music/dance) •  Bounce for the Juvenile by Juvenile- Uptown (Black side of New Orleans) •  Back That Azz Up •  Make Em Say UHH by Master P •  Cell Therapy by Goodie Mob- dirty south, sing songy chorus (pg 115) •  St. Lunatics: Nelly; St Louis •  Country Grammar (Hot Shit) by Nelly •  (pg 109-11) Jazz influence on hip hop - roots out of Philadelphia; Neo soul o   Hip hop and jazz- Miles Davis (Do bop), Herbie Hancock o   Brooklyn based jazz collective movement - Im Bass (Steven Cole) •  Cantaloop by US3- jazzy funky •  Rebirth of Slick by Digable Planets- jazz rap •  Ice Ice Baby by Vanilla Ice- white MC •  Eminem- validated by black artists due to freestyle capabilities o   My Name Is (1999) o   Lose Yourself- 1st hip hop song to garner Academy Award •  Mary J Blige- Queen of hip hop soul •  Lauren Hill- The Fugees; distinct lyrical flow, album explores what it’s like to be poor, black, a woman Discussion •  Southern Rap o   Electro-funk influence o   Emphasis on Roland Tr -808 drum machine (deep bass kick); hi hats o   Developed in clubs o   Notable styles: Miami bass, crunk, New Orleans bounce, trap •  Miami Bass: (late 70s- early 80s) o   Emphasis on bass derived from West Indies dancehall culture o   MC ADE “Bass Rock Express” (1985) o   2 Live Crew & booty music (sexually explicit lyrics) o   Car audio subculture •  Crunk (1990s, Memphis) o   DJs/producers Juicy J & DJ Paul o   Three 6 Mafia o   Features “murky baselines” & “wheezy synths” slow drum machines w/ticking hi - hats & chanted group vocals on choruses o   Lil Jon •  New Orleans Bounce (1980s) o   Beat derived from the Showboys’ “Drag Rap” (1986) & Derek B’s “Rock the Beat” o   Mannie Fresh- most important producer (Cash Money Records) o   Features fast drum machine beats, shout outs to local neighborhoods & projects, sing-songy vocals, & the influence of the NOLA second line parade in the tuba - inflected bass lines & rhythms o   2 huge rap empires emerge out of the bounce scene: Bryan “Birdman” Williams’ Cash Money & Master P’s No Limit  


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