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36 Cards in this Set
- Front
- Back
Hip Hop |
Competitive cultural expression of urban youth, consisting of graffiti artists, mobile DJS, breakers (b-boy, b-girls, breakdancers), and MCs (Later know as rappers) |
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Origins of Hip Hop |
-The building of New York’s Cross Bronx Expressway divided the city’s ethnic neighbourhoods, destroying homes and jobs and displacing poor black and Hispanic communities in Brooklyn and the South Bronx -Inner city neighbourhoods with mostly African-American, Caribbean and Latino communities were plagued by poverty and community decay |
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Sampling |
Sound is taken from one recorded source and is appropriated for another recording
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Scratching |
A technique used by DJs in which a vinyl record is pulled and pushed under a tables stylus, allowing for the creation of unique sounds |
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Afrika Bambaataa and the Bronx River Organization |
Formed the performing group • Included: graffiti writers, Mobile DJs, B-boys and B-girls, MCs • renamed the Universal Zulu Nation in 1974 • Became the model for the emergence of the hip-hop community •His parties helped integrateAfrican American andLatino Gang members – gavethem an alternative to streetgang culture |
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Breaking |
A type of dance associated with hip-hop culture that became increasingly popular during the early 1980s • Also known as b-boying or breaking • Practitioners are called b-boys and b-girls |
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DJ Kool Herc |
Responsible for creating breakbeat DJing in the early 1970s, atechnique in which instrumental “breaks” of songs are isolated andlooped to form a rhythmic basis for a track |
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Breakbeat (prior: Merry go round) |
• [Breakbeat: the most percussive or rhythmically complex section of a songs -popular with the dancers at Kool Herc’s early parties and the inspiration for the development of b-beat music and b-boying or breaking] Example: The Incredible Bongo Band “Apache” (1972): |
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Groove |
term originally employed by jazz, R&B and funk musicians to describe the channeled flow of swinging, funky rhythms. |
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riff |
a short and distinctive melodic figure. It is not a complete melody orphrase, but it may be used as part of a phrase. A lick may occur in thevoice or instruments. |
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Pop Culture and African American Roots |
-Jeli/Griot -Trickster -Toasting -Boasting -Playin the dozens |
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Jeli/Griot |
-A West African term for musician, storyteller, and historian whose role would be similar to a European bard -Known for being able to recite long and complex tales/stories from memory (Oral tradition) -Teachers of community history and culture Term ‘Griot’ was coined by early French colonists who came into contact with the Mande people -Often accompanied by the Kora(Harp), Kona(Lute), or Bala (Xylophone) -Jeli comes from the Mande linguistic/ethnic groups, Griot has been applied to similar roles in African contexts |
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Trickster |
-The archetype of the trickster is present in virtually every culture i.e. greek-Prometheus, chinese-Monkey king - Yoruba trickster is named Eshu - His role though often vexing to humans and the other Orishas is to bring to light what is hidden - Tales associated with the Hare - Translated into African context, many tales of the tales concerning Yora Hare were taken as inspiration for the stories about the brer rabbit -The association with the Trickster figures in hip hop largely due to the Trickster’s ability to manipulate people and outcomes to personal advantage |
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Toasting |
-An African-American verbal art tradition that is an enactment, re-telling, and exaggeration of an event -Performed either in rhymed couplets or prose -Tends to celebrate acts of an outlaw (or badman) -MCs followed in this tradition in the 70s, South Bronx, paying homage to real/imagined heros (baadmen) |
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Boasting |
Praising oneself/ celebrating oneself → about wealth sexual prowess, physical prowess → amplifies reality → influence clear Example: Sugarhill Gand 'Rappers Delight' |
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Playin the Dozens |
Ritual insult tradition → competitive play → Roots in boasting and toasting → Verbal dual Example: Wuf Ticket 'Ya Mama' |
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Wild Style: 1983 |
-Considered the 1st hip hop motion picture -a snapshot of early hip-hop history and culture focusing on: -The integration of art forms (4) -Geographical location/urban setting → economic issues (Poverty) -Race (African American and Latin American origins of hip hop) |
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MC Battles |
A verbal competition btw MCs → Rappers vie for supremacy → freestyle practice-Lyrical strategies: praising DJ, Boasting about skill, engaging audience to respond w. Shoutouts Example: Cold Crush Brothers vs. Fantastic 5 |
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Old School: First Wave |
(1973-81): foundational years |
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Old School: Second Wave |
(1979-83): early commercial years |
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Freestyle |
An improvisatory approach to rapping -Roots in African and African American verbal traditions (poetry) -Freestyling is most commonly associated with rap battles and competition but freestyle rap also thrives in more communal, group-based settings |
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Roxanne Wars |
An answer rap phenomena (84) when Lolita Shante Gooden (Roxanne Shante) with Marli Marl and Mr.Magic, recorded a 1 take freestyle rapped response to UTFO’s Roxanne Roxanne
-o.g. Feat lyrics describing a woman not interested in the members of UTFO -Roxanne’s revenge was confrontational response that used the instrumentals from UFTOs song but with new lyrics → lawsuit, and re-release of track over different backing music -Most answer raps would be concluded after ⅔ recording, but these ultimately led to the release of over 100 recordings one this one confrontation |
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African Girl Culture |
-Hand clapping games -Ring games -Double dutch Examples: Lil Mama 'Lip Gloss' Salt 'n' Peppa 'Push it' Frankie Smith 'Double Dutch Bus' |
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Old School DJs |
-DJ Kool Herc -Afrika Bambaataa -Grandmaster Flash |
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Grandmaster Flash |
Dj who played a key role during late 70s, early 80s -Influential for making socially conscious hip hip that dealt with modern issues -Innovations with DJ equipment -Well-known for his work with the furious five, a group of 5 rappers also from New York -Maintained career as solo artist in mid 80s |
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Backspinning |
the process of creating a loop by alternating btw 2 copies of 1 record on a specific spot |
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Phasing |
playing 2 records at the same spot so that they create partial phase cancellation |
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Punch phrase (Clock theory) |
This technique involved isolating very short segments of music, typically horn hits, and rhythmically punching them over the sustained beat using the mixer |
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Early Crossover/Electronic/ New Wave |
Examples: Blondie 'Rapture' Afrika Bambaataa 'Planet Rock' Cold Crush Brothers 'Punk Rock Rap' |
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New School: Third Wave |
(1984-92): Sparse musical textures • “Skeletal” beats • Soul and rock samples (partic hard rock) • Toughness (dis tracks) • Commercial appeal and success |
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Def Jam Records |
Def Jam was known throughout the mid-1980s for hard, aggressive, rock-influencedrap songs, exemplified in releases from LL Cool J, the Beastie Boys, Run-D.M.C.,and Public Enemy • The label made its production debut in 1984 with T La Rock’s ‘It’s Yours’, a record releasedin conjunction with Partytime/Streetwise Records • The first official singles releases were LL Cool J’s “I Need A Beat” and the Beastie Boys’“Rock Hard” • Def Jam was the first independent rap label to sign with a major distributor when theymade an unprecedented one million dollar deal with Columbia Records/Sony in 1985 |
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LL Cool J 'I Need a Beat' |
• “New School” Rap • Sparse Texture (Looped beat,scratching, a few variations andaccents” • Competitive, aggressive lyrical style |
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Early Female Rappers |
• M.C. Lady “D” • Salt n Pepa • Queen Latifah • Monie Love • MC Lyte • the Sequence • Yo Yo Girl • Ms. Melodie |
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Hardcore Rap |
• Aggressive edge • Raw or “hard” aesthetic • Lyrical themes: social and political commentary, graphicportrayals of inner-city life, gang life, crime, violence, and themistreatment of women • Aggressive arrangements (usually in a minor key) • Strong, aggressive lyrical delivery • Sound effects • Layered beats Example: 'Eric B. is President' Public Enemy 'Burn Hollywood Burn' |
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Dirty Rap |
2 Live Crew 'We Want Some Pussy' |
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Humourous Rap |
DJ Jazzy Jeff and the Fresh Prince“Parents Just Don’tUnderstand” |