Hip Hop Culture and Rap Music |
| Музыка | ||
| << Travelling around New Zealand | Indian Culture and Music >> |
 Rap Music’s Beginning |
 Growing Unrest |
 Late 80’s early 90’s |
 “Street Poets” |
 Current State of Rap music |
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Hip Hop Culture and Rap Music
содержание презентации «Hip Hop Culture and Rap Music.ppt»| Сл | Текст | Сл | Текст |
| 1 | Hip Hop Culture and Rap Music. A | 7 | the mainstream, the greater the |
| Reflection of African American History in | possibilities for violent confrontation | ||
| the United States. | with the more visible symbols of white | ||
| 2 | Rap Music’s Beginning. “Rap music | society. | |
| emerged out of a Hip-Hop culture of the | 8 | Civil Rights. “Even as the civil | |
| 1960’s and 1970’s with its emphasis on | rights movement struck down legal | ||
| political expression and resistance | barriers…it failed to diminish economic | ||
| through graffiti, modes of dress, language | inequalities” (Litwack). | ||
| and social practices” (Beach). Grandmaster | 9 | Rap and Hip-Hop in the Bronx. “The | |
| Flash photo by Stuart Sevastes. | Bronx community-center dances and block | ||
| 3 | DJ Kool Herc. Rap music was influenced | parties where hip-hop began in the early | |
| by Jamaican “toasting” especially by a | 1970’s were not demonstrations for | ||
| Jamaican immigrant in 1967 Clive Campbell | justice, they were celebrations of | ||
| who became know as DJ Kool Herc” (Rhodes). | survival”(Chang) The seeds of later | ||
| 4 | DJ Kool Herc. “Kool Herc seldom played | political rap were being sown “Grandmaster | |
| an entire song. He knew which part of the | Flash and the Furious Five…[created] the | ||
| record sent his audience into a frenzy. It | classic song “The Message” [which] | ||
| was usually a 30 second “break” section in | resonated with an explosive terrifying mix | ||
| which the drums, bass, and rhythm guitar | of desperation and anger”(Litwack). | ||
| stripped the beat to its barest essence. | 10 | Political Rap. Through the mid-1980’s | |
| Herc would buy two copies of the same | rappers like Run-DMC and Soul Sonic Force | ||
| record and play it over and over | “weighed in on topics like racism, nuclear | ||
| emphasizing the break section. Herc used | proliferation, and apartheid”(Chang) | ||
| two turntables to accomplish this feat. | Run-DMC Finds a much larger audience than | ||
| This technique became known as “beats” or | early rap (including white “rockers”). | ||
| “break-beats”. .. What was odd about | 11 | Run DMC on fashion. | |
| Herc’s style was that he did not use | 12 | Late 80’s early 90’s. Increasing | |
| headphones to locate the breaks on the | frustration and antagonism a “post-civil | ||
| other turntable as other DJs would do who | rights stance” Led by Public Enemy rappers | ||
| would later use his style. As with the | “displayed the Black Panthers media savvy | ||
| onset of Jamaican ‘toasting’, Kool Herc | and the Minister Louis Farrakhan’s | ||
| also used simple phrases to encourage his | nationalist rage”(Chang) In 1988 NWA | ||
| dancers. But as the mixing in the “breaks” | entered the Top-20 charts with its album | ||
| between the two turntables required more | Straight Out of Compton which included the | ||
| concentration, Herc became the first DJ to | song “F—k tha Police”(Litwack). | ||
| create MC-Dance team. (While Kool Herc | 13 | “Street Poets”. “African Americans who | |
| performed at a club named the Hevalo, | articulated growing despair at being caged | ||
| dancers to his music became known as | in deteriorating postindustrial cities” | ||
| ‘break dancers’) “(Rhodes). | (Litwack). Ice T album Body Count which | ||
| 5 | Grandmaster Flash. | included the single “Cop Killer”. | |
| 6 | Growing Unrest. Leon Litwack in his | 14 | Dr Dre—”The Chronic”. |
| article on the civil rights movement for | 15 | Current State of Rap music. “One might | |
| The Journal of Southern History notes, “it | ask whether rap has abandoned the | ||
| became increasingly difficult towage the | revolution” “The hip-hop lifestyle is now | ||
| kind of campaign [Martin Luther] King | available for purchase in every suburban | ||
| preached. New voices—Stokely Carmichael, | mall” Hip-hop rose by making | ||
| Malcolm X, the Black Panthers—suggested | blackness—even radical blackness—the | ||
| new moods in black America. Malcolm X. | worldwide trading currency of cultural | ||
| 7 | Growing Unrest. “The more black | cool”(Chang). Kanye West. | |
| Americans found themselves excluded from | |||
| Hip Hop Culture and Rap Music.ppt | |||
Hip Hop Culture and Rap Music
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