Final Exam Summary (MUS 1302) - Hip Hop Music

MUS 1302: Final Exam Review Summary LIST OF HIP HOP GENRES

NEW SCHOOL HIP HOP Early Female Rappers Although there are significantly fewer female than male rappers, they have a prominent role in rap and a substantial following (Rose) o Rose’s book “Black Noise” – Ch. 6 is considered to be one of the first important studies of gender relations in hip hop o Female artists, dynamics between male and female artists • “Rap is co-ed now” (Roxanne Shante) • Selected list: M.C. Lady “D”, Salt n Peppa, Queen Latifah, Monie Love, MC Lyte, the Sequence, Yo Yo Girl, Ms. Melodie, JJ Fad • Many factors involved in women having more challenges being hip hop artists o Financial issues: record labels didn’t tend to support female rappers as much; less access to money to buy equipment o They were not salaried, female music wasn’t as heavily promoted o Weren’t funded for tours, not necessarily for music videos either o Logistical issues in the 70s: worried about having their equipment stolen (in poor neighbourhoods – women were a bigger target to have equipment stolen) o Misogyny o Had trouble hauling equipment on subways Examples • The Sequence “Funk You Up” (1979), Sugarhill Records • Lady D “Lady D” • Salt ‘N’ Peppa “Tramp” (1986) •

Style and Lyrical Content •

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Many women use their music as a platform to discuss feminist (or womanist) issues and concerns o Both men and female rappers: use their songs as a platform to discuss political content o Female rappers: many use rap to argue against male rappers’ lyrics against women o Address black women’s rejection of black men’s domination o North American hip hop tradition, 80s in the mainstream – these were the concerns being interrogated o Women would address or interrogate heterosexual relationships, assert control, and also explore issues of trust (e.g. the cheating male, or males taking advantage of women, abuse, manipulation, etc.) o Lyrics: wit, sarcasm o Feminism: equality for women, fair treatment, exploration of women’s issues, women’s empowerment, etc. o Queen Latifah: connected to womenism – which addresses the fact that feminism doesn’t always address the concerns of black women or women of colour Many women rap assertively Many rap songs by women in the late 70s and throughout the 1980s assert power and control

Examples • MC Lyte “Paper Thin” (1988) • Queen Latifah “Ladies First” (1989)

Humourous Rap • •

Playful, novel, fresh Defining feature: reliance on humour in the lyrics

Example: • DJ Jazzy Jeff and the Fresh Prince “Parents Just Don’t Understand” (1988)

“Dirty/Booty” Rap: 2 Live Crew



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Sexually explicit themes Example: “We Want Some Pussy” (1986)



HARDCORE, GANGSTA, & G-FUNK Hardcore Rap (1980s) • • • • • • • • • •

Aggressive edge Raw or ‘hard” aesthetic Lyrical themes: social and political commentary, graphic portrayals of inner-city life, gang life, crime, violence, and the mistreatment of women Aggressive arrangements (usually in a minor key) Strong, aggressive lyrical delivery Sound effects Layered beats Origins: Run-D.M.C. and LL Cool J, then expanded to other artists and groups Specifically became a known genre before Gangsta Rap, although they are often talked about together Be able to identify traits of different genres

Examples • Eric B. & Rakim: o Eric B. Is President (1986) o Follow the Leader (1988) • Public Enemy o “Fight the Power” (1990) o “Burn Hollywood Burn” (1990)

Gangsta Rap • •

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Subgenre of rap (type of hardcore rap) Musical elements o Abrasive beats o “street-sonic” effects o More deliberate, aggressive style of delivery o (see hardcore rap characteristics – most of them present in gangsta rap) Texts that emphasize the violence of street life, and artists that depend on a violent public image for a measure of their authenticity (realness, street cred) o Pushed idea of street credibility – to be authentic, you had to have experienced the things you’re rapping about o E.g. 50 cent emerging in early 2000s into mainstream – narrative of being shot (part of gangsta sensibility; nods back to this tradition) Aggression change in rap o Early rap: More party themed, more lighthearted, etc. – not attacking opponent as much o Grandmaster Flash & the Furious Five – the Message

The Official Start of Gangsta Rap •

Albums that established California as a home for gangsta rap: o Ice-T’s debut album: Rhyme Pays o Eazy-E: Eazy-Duz-It o N.W.As: Straight Outta Compton à Established California as a home for gangsta rap

Examples Predecessors to Gangsta Rap • Socially Conscious Rap: Grandmaster Flash and the Furious Five: “The Message” (1982), 2Pac’s “Changes” • Early Gangsta tracks: Schoolly D’s “Gangsta Boogie” (1984) Early Gangsta Rap • Boogie Down Productions’ “9 mm Goes Bang” (1987) • Ice-T’s “Colors” (1987) • Ice-T’s “Rhyme Pays” (1987) • N.W.A. “Straight Outta Compton” (1988)

G-Funk • •

G-Funk is the laid-back, Parliament/Funkadelic-inspired variation of gangsta rap developed by Dr. Dre in the early 90s o “Cruising in your car” type music (not as political as gangsta rap) “Death Row Records: Dr. Dre & Suge Knight

o Connection to Eazy E and his death – Suge Knight insinuated that he injected Eazy E with HIV using a needle Characteristics o Slow grooves o “whiny” synthesizers o bass-heavy grooves • It paired explicit and often violent lyrics with commercial beats that were based on older soul, funk, and R&B • The Chronic by Dr. Dre o Defined a new west coast style (tie to the east/west coast feuding) o Pioneering album of G-Funk o Snoop Dogg was featured on a number of tracks Representative Artists/Albums • Parliament/Funkadelic 1992 Dr. Dre The Chronic o Funk, soul, and rock music collective o Headed by George Clinton 1993 Snoop Dogg Doggystyle o Style often dumped as “P-funk” 1995 2Pac Me Against the World o Funk band most prominent during 1970s 1998 Nate Dogg G-Funk Classics, Vol. 1 & 2 1994 Warren G, Regulate G Funk Era Examples: • Dr Dre’s “Let Me Ride” (1992-1993) • 2Pac feat. Dr. Dre & Roger Troutman, California Love (1996) •

SOUTHERN RAP • •

Gender issues: objectification of women Geography: location of rap (Miami, Atlanta, New Orleans, etc.) – artists usually associated themselves with their area

3) Southern (Message) Rap •



1) Miami Bass • • • • • • •

Dance music/influenced by dance scenes in Miami and Detroit Emerged in the mid 80s Reliance on drum machines (including 808s) Musical characteristics: Deep beats, fast tempo, rhythms that have been described as hyperkinetic and “stop and start” Similar to Booty Rap Early Miami pioneers: 2 Live Crew and DJ Magic Mike Some artists melded Miami Bass with techno: increasingly fast

Examples • 2 Live Crew “face Down Ass Up” (1990) • 69 Boyz’ “Tootsee Roll” (1994) • Tag Team’s “Whoomp There It Is”

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4) Southern Gangsta Rap/Horror Rap •

2) Dirty South • • •

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Some refer to “Dirty South” and “southern rap” interchangeably Others use it to discuss a more specific brand of southern rap Dirty South drew from both G-funk and 2 Live Crew’s “dirty” traditions o Themes: drugs, violence sex (very profane/”dirty”) o The style drew its name from Goodie Mob’s 1995 song of the same name Goodie Mob feat. Big Boi “Dirty South” (1995) o G-funk elements: synthesized bassline, groove, slower laidback beat, higher pitched synthesized interjections

The Music of Outkast o Less aggression o Social and political messages o Emphasis on melody (signing) o Expanded musical arrangements Outkast “Rosa Parks” (1998) o Referred to civil rights activist Rosa Parks o Sued Outkast because they didn’t want her name associated with foul language in the song o By invoking the name of the term, there is potential to interpret a message, but it’s not as direct as Message Rap

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The earliest prominent Southern Gangsta Rap crew are the Geto Boys o They rely not only on Gangsta themes and sounds, but also on another rap subgenre: horror rap (or horrorcore) § Horror themed lyrical content and imagery § Other horror rap artists include Gravediggaz, Insane Clown Posse, Dark Lotus o The Geto Boys explored themes associated with other gangsta rap (drug dealing, gangs, street violence), but also addressed the fact that ghetto living can inspire criminal behaviour, depression, and suicidal thoughts Geto Boys “Mind of a Lunatic” (1990) o See Listening Guide o Content: Mutilation, murder, horrific acts o But also: Environmental roots, social conditions of tolerance of this kind of criminal behaviour in certain communities o Idea of using shock value to spark discussion (e.g. Eminem)

Southern Gangsta Rap •

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No Limit Records (New Orleans-based gangsta rap label) o Run by Master P o Most No Limit albums stuck to West Coast G funk, hardcore, and gansta lyrics o They became a constant presence on the national album charts during the late 90s Master P “Make ‘em say Uhh!” (1997) o Aggressive, gritty o Drum machine (808), slower beats (can connect to Miami bass, but not as upbeat) o Vocal inflections: Southern (distinguishes it from East or West Coast Gangsta Rap) C-Murder feat. UGK and Master P “Akickdoe!” (1998) o G-funk influence: high pitched synth o Drum machine (808): slower beat o Collaboration of rap artists

5) Bounce • • • • •

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New Orleans subgenre of hip hop Energetic New Orleans carnival beats and Mardi Gras Chants (often use call and response) Emphasis on bass and percussion (drumline progressions, fluttering high hats snare trills) “Triggerman” sample – taken from The Showboys “Drag Rap” (1984) o beginning sample – used in many bounce songs Shouting out to the crowd Lyrical themes from Gangsta Rap Cash Money Records brought it to the mainstream Twerking

Examples • Juvenile, “Pimpinabitch” (1999) • David Banner (Feat. Lil’ Flip), “Like a Pimp” (2003)

6) Chopped and Screwed • • • • • • •

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7) Crunk Originated in the mid to late 1990s

Music be “cranked” up, or “crazy + drunk” Party music Pioneers are more widely thought to be Atlanta-based rappers o Lil Jon o The Ying Yang Twins o Bone Crusher General charactersitcs: o Heavy bassline o Shouting vocals (chants) often utilizing call and response o Focus on § Synthesized bass heavy rhythms § Shouted party chants § Shouted party chants (often references drinking, drugs, sex) o absence of R&B influence Emphasis on music/soundscape more than vocals (tend to get repeated lyrics)

Examples • Lil Jon, “Get Crunk” (1997) o Big synthesizer lines • Lil Jon, “Get Low” (2003) o Lil Jon & the Eastside Boys o Kings of Crunk album o “Get Low” helped propel crunk into North American spotlight o Objectification of women in the video Crunk&B: Fusion of Crunk and R&B • Usher’s “Yeah” • Ciara’s “Goodies” o Laidback snare, emphasis on backbeat, but not as crisp (almost feels “late”) o Lead to sound of snap o High synth sound

8) Snap

Pioneered by DJ Screw in the early 90s Slow “hazy” grooves Screwed – slowing down the tempo Chopped – cuts, scratches, pauses (stop-time), rewinds, skipping beats Associated with drugs (Purple Drank) and subculture in Houston in the 1990s Prescription cough syrup, slows your brain down – slow tempo music matches these effects (sounds hypnotic) Some songs are made as chopped and screwed tracks, while others can be remixed into the chopped and screwed style (edited)

Examples: • Three 6 Mafia “Sippin on Some Syrup” feat. UGK (2000) • Ridin’ Dirty (Remix) o Compare Original vs. Remix (Chopped and Screwed) o Slower (screwed) o Rewinds, scratching, etc. (chopping) •

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Snap is a Southern dance-oriented genre of hip hop that grew out of Crunk o Succeeded on the top 100 charts in 2006-07 o Hip Hop artists: D4L, Lil Scrappy, Soulja Boy, T-Pain Main groove o Quite slow (slower than crunk) o Snapping (replaces snare beat from crunk) o Hi-hat o Sparse 808 drums Dem Franchise Boys “Lean Wit it Rock Wit It” (2006) o can hear separate, distinctive layers o high synth sound Soula Boy “Crank Dat” (2007) o Snap beat o Drum beats (808) o Reached #1 on billboard top 100 D4L “Laffy Taffy” (2006) o Snap beat o Drum beats (808)

9) Cocaine Rap • •

Rick Ross Centred around drug trade



RELIGION, JAZZ, GENDER, & RACE Five Percenter Rap • • • • • •

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The term refers to rap music created and /or performed by members of the Five Percent Nation (FPN) The FPN was founded in 1964 by former Nation of Islam student minister Clarence 13X It is an offshoot of the Nation of Islam Know prominent artists and the sample that we listen to Allah = God Prominent artists from this era o Rakim Allah o Nas o Big Daddy Kane o Pete Rock o Wu-Tang Clan o Busta Rhymes o Bran Nubian o Poor Righteous Teachers o Erykah Badu and Queen Latifah Word is bond – hip hop slang FPN and hip hop flourished around the same time Prominent themes of Five Percenter rap o “Mathematics”: elaborate number play based on their theology o Science o Black Nationalism o Pan-Africanism o Kemetic history: historically native Egyptians were black o Islamic doctrine o Community uplift

Brand Nubian: “Allah and Justice” (1992) • Message-based • Goal: teach about righteousness (lyrics) • Jazz and Bohemian rap influences o More relaxed flow o Emphasis on melody; pitched-rapping o Hand clapping (relaxed) Lupe Fiasco: Audubon Ballroom • “God is great” shoutout at the beginning of the track • Arabic saying à translated into English Rap and Religion Rap and Christianity • Christian Rap (Read pg. 157-158) o E.g. Gospel Gangstaz • References to Christianity o Kanye West: “Jesus Walks” Rap and Rastafarianism Rap and Judaism

Jazz Rap/Bohemian • • • •

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Rap that relied on musical elements from various forms of jazz (including samples) o Attempt to fuse African American music of the past (jazz), with a new dominant form of the present (rap) It was seen as a more positive alternative to the hardcore/gangsta movement taking over rap’s mainstream at the start of the 90s Often connected to Conscious/Message Rap Afrika Bambaataa’s Native Tongues posse – a loose collective of New York-based, Afrocentric rap groups – was the most important force in jazz-rap o Including groups like: A Tribe Called Quest, De La Soul, and the Jungle Brothers o other notable early artists: Digable Planets and Gang Starr Elements: o Cooler, more cerebral o Artists displayed polticial consciousness – historical awareness with musical borrowing, and social commentary o Seen as more “intellectual” rap Embraced by college campuses, a number of critics, and white alternative rock bands

• Example • A Tribe Called Quest: “Excursions” (early 90s)

Gender: Female Rappers and “Conflicted” Representations •

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Rappers who directly challenged gender issues o Message Rap, e.g. Roxanne Shante o Feminist Rap: Monie Love, Queen Latifah Female Rappers launched critiques while still fitting in mainstream rap’s norms o Lil Kim o Trina o Nicki Minaj Rap is typically thought of as a male-dominated genre

Disproportionate number of female artists who’ve had success Less important roles for females – mostly anonymous female singers on G-Funk track (e.g. Jewell was featured on a lot of big hits, but not many people knew who she was) o Back-up dancers o “Props” for male rappers • Gangsta rap lyrics o Women are objectified o Derogatory names: bitches, hoes, “bad bitch”, etc. • Female rappers have a different place/status o They often have more power and control over their sexuality o Claimed this power and control by negotiating boundaries by men (artists, producers, executives, video directors, etc.) o Take on a conflicted representation: simultaneously reinforce norms and resist norms • Hardcore female rappers from 80s-90s o Often adopt very similar styles of vocal flow to male artists o Deliver lyrics aggressively, sometimes low pitch vocal timbres o Explicit sexual lyrics o E.g. Lil Kim • Dynamic of male rappers and female featured singers o Through much of the 90s, emphasis was on aggressive male vocals and softer female singers o Men and women “had their roles” o There are some examples, e.g. featured male singers Examples • Lil Kim: “How Many Licks” • Trina: “Killing You Hoes” • Nicki Minaj “Anaconda” (2014) • •



Race • • • • • •

Black vs. White Recognized spectrum of musical styles coded as “black” or “white” o Jazz, R&B, rock, etc. Tendency to connect musical styles to ethnicity, biological traits Socio, political, economic factors that lead to development of a genre Origins of hip hop: looked at ways it began, with African-American and Latino communities Stereotypes perpetuated, problems of racism

Example • Lupe Fiasco: “Bitch Bad”



LIST OF HIP HOP SONGS NEW SCHOOL HIP HOP The Sequence: Funk You Up

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Late 70s

2 Live Crew We Want Some Pussy Dirty rap/Booty rap Eric B. & Rakim Eric B. Is President Hardcore-ish Rap

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Late 1980s

Salt-N-Pepa Tramp

Lady D “Lady D”

Ice-T Rhyme Pays

Illustrates Eric B.’s DJ skills Rakim’s verbal skills and rhymes – quite aggressive, moving the narrative and style of flow forward Idea of a middle rhyme (internal rhyme): older rap songs have rhyming ends of phrases; while Rakim used rhymes within a phrase as well Not necessarily considered Hardcore Rap, but important to hear musical features



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Early Female Rappers Album went double platinum – which was huge compared to other rap albums Outpouring of support for female MCs, other female rappers also started getting more support Taking the term “tramp” (which was often used in male rappers’ lyrics towards women), and flipping it to describe men Saw this quite commonly in the 80s, and even current examples (e.g. TLC – No Scrubs) “New school” sound of 80s hip hop: compare to LL Cool J’s I Need A Beat Compare to Salt N Peppa’s “Push It” Controversial in the 80s – talks about sex

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Early Female Rappers Topic of relationships – prominent with female MCs Idea of asserting control, claiming power More aggressive attack on men with later 1980s artists such as Salt N Peppa Funk-oriented groove, backbeat (on beats 2 and 4)

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Spoken word intro over “Tubular Bells, Part I” (The Exorcist’s movie theme music) Turntable solos: focus on the DJ’s skills DJ Evil E solo: baby-scratching and punch-phrasing the Black Sabbath guitar riff in rhythmically over the drum machine groove (adding rhythmic activity throughout his solo) Rock connections Opening is similar to some rock songs, like heavy metal that have an ominous, dark feel with spoken intro/passages (minor key, dissonance)

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Mid 80s

Early Female Rappers First single recorded by a female rap crew DJ techniques: scratching, Funk groove laid out, rapping on top (common in 1970s) Not a lot of significant differences between male and female artists at this point Sexually explicit themes This group drew the most media attention as a result of it, at the time (albums filled with explicit-themed song lyrics) Problematic in terms of misogyny, hints at abuse/rape – controversial No radio airplay, but sold more than half a million copies

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N.W.A. Straight Outta Compton DJ Jazzy Jeff & The Fresh Prince: Parents Just Don’t Understand Humourous Rap MC Lyte Paper Thin

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Hard, aggressive Distinctive delivery by each of the MCs (pitch, flow) – multiple MCs, change in pitch/flow depending on the MC Lyrics: Braggadocio and threats of violence (emerging elements from different traditions coming together) Layered samples

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Playful, novel, fresh Defining feature: reliance on humour in the lyrics Commercial appeal Crossover – into TV (Fresh Prince of Bel Air)

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Backing track: more sparse texture Guitar riff – connect to rap-rock Theme: exploration of relationships, cheating guy/trust issues explored Strong following for this song (and female rappers in

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Many women use their music as a platform to discuss feminist (or womanist) issues and concerns Address black women’s rejection of black men’s domination

general) even without a lot of radio play

Late 1980s

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Lyrics: wit, sarcasm Feminism: equality for women, fair treatment, exploration of women’s issues, women’s empowerment, etc.

Eric B. & Rakim Follow The Leader

Queen Latifah feat. Monie Love: Ladies First

Public Enemy Burn Hollywood Burn Hardcore Rap

Early 90s



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Hard core (predecessor) Example of hardcore sound Aggressive musical arrangements, minor key, aggressive lyrical delivery, layered beats, sound effects

• R&B, house, reggae influences • Samples (Funk) th o 7 Wonder’s “Daisy Lady” o Kool & the Gang’s “Good Times” • Song o Assertive delivery by Queen Latifah (Monie Love is a little softer) o Can see it as a boast rap, but also tied to women and their power o Rich, layered musical texture (many layers in musical background) o Samples are punch-phrased in at key moments Stop-time feel: draws attention to key moments in a song • Layered textures* (know for exam) • No melodic intro (rare) • Sonically complex beats, often infused with sound • Aggressive delivery effects like sirens • “Chaotic” musical texture (layered beats, • Spoken samples sound effects) • Scratching • Fast tempo, sudden stops • Hear music that is fragmented, musically disjuncted • Overall message and social issues (switching up a lot) • Addresses Hollywood’s perpetuation of racist • Evoked a “city in chaos” (amplified meaning of the stereotypes lyrics, created an atmosphere that spoke to the • Clips from old films, black face imagery – overall message) juxtaposition of very racist images alongside • Lyrics: performed rhythmically by the artist, the the rappers in present day delivery conveys a sense of urgency (adds to the • Criticism that public enemy was launching at sense of chaos) the film industry: continual debate in relation • Polyrhythms (more than one independent rhythmic to representations within the American media layer at a time) in particular • E.g. when Chuck D rapping: sense of urgency • Perpetuating ideas that “black men are thugs”, “black men are criminals” (stereotypes) – a lot of rappers have fought against, but was present in the 90s • Both men and women were resisting against police brutality, poverty, these stereotypes – the adoption of the gangsta rap persona was originally a protest, with the social criticism present

Public Enemy Fight the Power Hardcore Rap

Dr. Dre (Feat. Snoop Dogg & Jewell) Let Me Ride G-Funk

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o Rich, dense musical texture (layered sounds, and choice of those sounds) o Sounds aggressive, chaotic – contributes to lyrical message An appeal that moved beyond rap: punk as well (the textures are related)

Parliament’s “Mothership” (1970s) Bill Withers “Kissing My Love” (1970s) James Brown “Funky Drummer” High pitched synth sound (“whiny” sound) – sampled from Parliament’s “Mothership” Slower tempo Lyrics and musical elements combined – give us the genre’s characteristics

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Defined a new west coast style (tie to the east/west coast feuding) Pioneering album of G-Funk Snoop Dogg was featured on a number of tracks



2Pac Dear Mama Rap Ballad

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Deals with social issues Takes samples from soul and funk songs Held up as one of the main tracks in a line of songs where male rappers praise their mothers



Mid 90s

2Pac (Feat. Dr. Dre & Roger Troutman): California Love G-Funk

Samples from soul and funk Laidback feel Gangsta rap themes Party atmosphere associated with some G-Funk music

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Based on The Way It Is: Bruce Hornsby o Piano melody is sampled o Part of backing track is sampled o Lyrical content: issues of joblessness, racism o Soft rock/pop vibe Some hip hop elements added: o Aggressive vocals o Newly performed vocals by Talent o Drums are more prominent o Some lyrical changes: “some things will never change” à “things will never be the same”

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Late 90s

2Pac Changes Conscoius Rap

Death Row Records Roger Troutman sings the chorus, calling a vocal processor

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Social/political commentary 2Pac: more specific commentary on drugs, racism, police brutality Chose a meaningful sample

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SOUTHERN RAP

Early 90s

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2 Live Crew: Face Down Ass Up Miami Bass

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69 Boyz’ “Tootsee Roll” Miami Bass

Mid 90s



Late 90s

Content: Mutilation, murder, horrific acts But also: Environmental roots, social conditions of tolerance of this kind of criminal behaviour in certain communities Idea of using shock value to spark discussion (e.g. Eminem)

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Drum machine, deep beats

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Actions associated with the song Drum machine, deep beats

Goodie Mob feat. Big Boi “Dirty South”



They rely not only on Gangsta themes and sounds, but also on another rap subgenre: horror rap (or horrorcore) § Horror themed lyrical content and imagery § Other horror rap artists include Gravediggaz, Insane Clown Posse, Dark Lotus The Geto Boys explored themes associated with other gangsta rap; ghetto living can inspire criminal behaviour, depression, and suicidal thoughts Dance music/influenced by dance scenes in Miami and Detroit Emerged in the mid 80s Similar to Booty Rap Early Miami pioneers: 2 Live Crew and DJ Magic Mike Reliance on drum machines (including 808s) Musical characteristics: Deep beats, fast tempo, rhythms that have been described as hyperkinetic and “stop and start”

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Geto Boys “Mind of a Lunatic” Southern Gangsta Rap/Horror Rap

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Outkast “Rosa Parks” Southern (Message) Rap

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Master P “Make ‘em say Uhh!” Southern Gangsta Rap C-Murder feat. UGK and Master P “Akickdoe!” Southern Gangsta Rap

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Juvenile, “Pimpinabitch” Bounce

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Dirty South drew from both G-funk and 2 Live Crew’s • G-funk elements: synthesized bassline, “dirty” traditions groove, slower laidback beat, higher Themes: drugs, violence sex (very profane/”dirty”) pitched synthesized interjections The style drew its name from Goodie Mob’s 1995 song of the same name Referred to civil rights activist Rosa Parks Sued Outkast because they didn’t want her name associated with foul language in the song By invoking the name of the term, there is potential to interpret a message, but it’s not as direct as Message Rap Aggressive, gritty Drum machine (808), slower beats (can connect to Miami bass, but not as upbeat) Vocal inflections: Southern (distinguishes it from East or West Coast Gangsta Rap) G-funk influence: high pitched synth Drum machine (808): slower beat Collaboration of rap artists New Orleans subgenre of hip hop Energetic New Orleans carnival beats and Mardi Gras Chants (often use call and response) Emphasis on bass and percussion (drumline progressions, fluttering high hats snare trills)

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Shouting out to the crowd Lyrical themes from Gangsta Rap Cash Money Records brought it to the mainstream Twerking

Late 90s

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Lil John, Get Crunk Crunk

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• • David Banner (Feat. Lil’ Flip), “Like a Pimp” Bounce

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Early 00s

Three 6 Mafia “Sippin on Some Syrup” feat. UGK Chopped & Screwed

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o o o Lil John: “Get Low” Crunk o

Mid 2000s

Dem Franchise Boys “Lean Wit it Rock Wit It” Snap

Late 2000s

D4L “Laffy Taffy” Snap Soula Boy “Crank Dat” Snap

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Big synthesizer lines Heavy bassline Shouting vocals (chants) often utilizing call and response Focus on § Synthesized bass heavy rhythms § Shouted party chants § Shouted party chants (often references drinking, drugs, sex) absence of R&B influence Emphasis on music/soundscape more than vocals (tend to get repeated lyrics) “Triggerman” borrowing: electronic synthesizer line Drum machines, synthesizer stabs, warbling synthesizer squeal (end of each phrase) à idea of a constant loop/cycle (repetitive) Bounce “sound” in the mainstream, associated to the South Aggressive vocal delivery Party-oriented themes Chorus: Call & Response between David Banner and Lil’ Flip (“Get Down on the Floor” vs. “Like a Pimp” interjections) o Project Pat “Ballers”: “sippin’ on some Main groove: hypnotic, repetitive sizzurp” o Bass guitar o Marvin Gaye’s “Is That Enough” o Drum machine o Buzzing synth o Hi hats (occasional) o Musical Borrowings Vocals: shapes the song o Varies and gives the song a slight build, while musical texture is more constant Heavy bassline o Lil Jon & the Eastside Boys Shouting vocals (chants) often utilizing call and response o Kings of Crunk album Focus on o “Get Low” helped propel crunk into North American spotlight • Synthesized bass heavy rhythms o Objectification of women in the • Shouted party chants video • Shouted party chants (often references drinking, drugs, sex) absence of R&B influence Southern dance-oriented genre of hip hop that grew out of Crunk Main groove o Quite slow (slower than crunk) o Snapping (replaces snare beat from crunk) o Hi-hat o Sparse 808 drums

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can hear separate, distinctive layers high synth sound

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Snap beat Drum beats (808)

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The genre name refers to rap music created and /or performed by members of the Five Percent Nation (FPN) It is an offshoot of the Nation of Islam Allah = God Samples o Bassline and Horn melody: Art Blakey “A Chant for Bu” o Drum break: Shade of Brown “The Soil I Tilled” o Vocal sample: Last Poets “Time”

RELIGION, JAZZ, GENDER, & RACE Brand Nubian: “Allah and Justice” Five Percenter Rap

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Early 90s A Tribe Called Quest: “Excursions” Jazz Rap

Message-based Goal: teach about righteousness (lyrics) Jazz and Bohemian rap influences o More relaxed flow o Emphasis on melody; pitched-rapping o Hand clapping (relaxed) Music o o o o

Lack of aggression in vocal delivery – compared to other rap genres Vocal interjections: shoutouts Diverse lyrical themes (meant to make you “think”) Abrupt ending

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Early 2000s



Lil Kim: “How Many Licks”

Mid 2000s

Kanye West: “Jesus Walks” Christian Rap

Late 2000s

Trina: “Killing You Hoes”

Early 2010s

Lupe Fiasco: Bitch Bad

Mid 2010s

Nicki Minaj: Anaconda

Talking about demanding sexual pleasure from men Claiming power through ability to turn men on Does this using her body, revealing clothing, etc. Pin up posters and packaged dolls of Lil Kim – objectification? o Body parts pieced together for the dolls o Think about how women are objectified in music videos – close ups of women’s body parts o Lil Kim presented as an object, a doll

Lil Kim: • Aggressive rhymes, verbal skill, profanity, violent and sexually explicit content • The success of women rappers has suffered – men set the standard of what’s acceptable in hip hop, set rules for what styles will be most popular • While there are differences between female and male rappers, many have adopted this “male” standard of rap in their music • Many have also adopted a sexual public persona – conventional notions of rap at the time • Addressed sexuality issues using the lyrics and flow – towards men o promotional photos in sexually explicit poses/outfits o Their lyrics against this: about controlling sexuality, and controlling men § Military march style (drum pattern) o ARC Choir “Walk With Me”: forms § Musical elements associated with religion the basis of the track § Lyrics: address references to religion and commentary o Curtis Mayfield “If There’s a Hell on racism Below We’re All Going to Go”: § Gasping in the music: e.g. it’s hard getting choked by interjection that comes back the detectives repeatedly (~0:30) § Rupture: abrupt change (musical fabric being disrupted) o o Comparing herself to other women • Followed in footsteps of fellow hardcore rappers (e.g. o Better dressed, more attractive, Lil Kim) better body, more sexual • Known for aggressive flows, crude lyrics o Boast about being independent, • Reliance on both violent and sexual images – both confident important to her persona o Also insults other women • Attitude: refers to herself as a bitch o Similar way that male rappers reclaim the Violent references word nigga o Threatens violence to her opponent o Reclaiming a negative term, and putting a positive spin on it • Ho is a similar archetype as a Pimp (position of power when women reclaim this term, not a position of submission) o Position of power comes from using her sexuality to procure what she wants • Critique on misogyny in hip hop realm, inversion of common phrase “bad bitch” • Early hip hop: misogyny wasn’t as prevalent • Objectification of women’s bodies in hip hop – spike with gangsta rap in early 90s with NWA, and 2 Live Crew (Pop that Pussy) • Evolution of how women are portrayed in hip hop culture • Women are either a bitch or a ho, these ideas aren’t completely gone – now the phrase “bad bitch” is often used • Video: multi-layer commentary o Narrator is performing in front of stage, critiquing o Rapper who is developed as a feature character, embodies may of the traits of masculinity in hip hop o Female backup dancer – subordinate to male rapper o Putting on costumes, and taking them off (grills, chains, butt injection) – juxtaposed with blackface (putting on, and taking off) à calling these practices similar, and calling hip hop “racist” o Shows these acts as performative acts – it’s their work, not naturalized performances • Samples: Sir Mix-a-lot • Embraces sexuality • Demands equality o Reclaims vocabulary: “bad bitch” (merging of bitch and ho into a single identity)

IMPORTANT ISSUES

Documentary: History of beefs in rap Kool Moe Dee & Busy Bee: Christmas Battle 1981 – pivotal moment o Rap battles started being about attacking your opponent • Importance of geographical areas o South Bronx vs. Queensbridge o East Coast vs. West Coast o Pride and where you’re from o Ability for a particular set of musical characteristics to come together with what is happening in a geographical location • Gang and mafia mentality: more violent threats o Gangsta rap led to a different style of rap battles – because of the lyrical content and level of aggression o Emphasizes skills on the street as much as skills on the mic • NWA feud and break up • 50 Cent: idea of beef connected to his persona (being shot 9 times, stabbed, etc. à part of his “brand”) • Masculinity in hip hop o These beefs are connected to a particular type of masculinity or idealized aversion of masculinity o Men are “powerful, strong, dominant, assertive, show emotional reserve” – taken to extremes (being aggressive and following through with violent threats) o Street credibility is huge, tied to thug persona o Not a realistic version of masculinity, but this is supposedly idealized in society o There are also rappers that resist this version of masculinity • Role of the Media o Coverage of beefs o Made people take sides, etc. o Quote from artist in the documentary: “makes our culture look bad, and makes us look stupid” Important Notes • Gives us a lot of historical context and most of the examples are from the 90s • It gives us a one dimensional picture of 90s mainstream hip hop • We could look at a figure like Tupac, who was at the centre of this big East coast vs. West coast debate, and explore more of his music • It wasn’t just one dimensional, even the artists who were at the centre of these feuds still addressed a wide variety of themes • Core of gangsta rap: commentary on political and social issues, etc. • But there are other things that offer a more diverse picture •

Documentary: Hip Hop Beyond Beats and Rhymes •



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How negative representations of African Americans are portrayed through hip hop, and negative representatives of black masculinity (gender and race issues together) Pressures of black masculinity: Being a pimp, having money, girls, etc. Daytona rappers stepped up to the mic and took on a violent persona Negative stereotypes, racist imagery Tradition of blackface minstrelsy – performers blacken faces and present racist stereotypes Caricatures of black masculinity (in hip hop, stemming from blackface minstrelsy)

Gender: Female Rappers and “Conflicted” Representations •

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Rappers who directly challenged gender issues o Message Rap, e.g. Roxanne Shante o Feminist Rap: Monie Love, Queen Latifah Female Rappers launched critiques while still fitting in mainstream rap’s norms o Lil Kim o Trina o Nicki Minaj Rap is typically thought of as a male-dominated genre Disproportionate number of female artists who’ve had success Less important roles for females – mostly anonymous female singers on G-Funk track (e.g. Jewell was featured on a lot of big hits, but not many people knew who she was) o Back-up dancers o “Props” for male rappers Gangsta rap lyrics o Women are objectified o Derogatory names: bitches, hoes, “bad bitch”, etc.

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Female rappers have a different place/status o They often have more power and control over their sexuality o Claimed this power and control by negotiating boundaries by men (artists, producers, executives, video directors, etc.) o Take on a conflicted representation: simultaneously reinforce norms and resist norms Hardcore female rappers from 80s-90s o Often adopt very similar styles of vocal flow to male artists o Deliver lyrics aggressively, sometimes low pitch vocal timbres o Explicit sexual lyrics o E.g. Lil Kim Dynamic of male rappers and female featured singers o Through much of the 90s, emphasis was on aggressive male vocals and softer female singers o Men and women “had their roles” o There are some examples, e.g. featured male singers