classify each triangle problem as AAS,ASA, SAS, SSA, or SSS on the basis of the given information.
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