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Disco Rap Disco Rap

Similarities in Songs. . . • Melodies • “Rapper's Delight” • Rhythms • “Superappin'” Similarities in Songs. . . • Melodies • “Rapper's Delight” • Rhythms • “Superappin'” • Flow of raps • • Lyrical content “Rappin' and Rocking The House” • Texture of song • “Spoonin' Rap” Tempo • “The Breaks” Style or relation of lyrics to music • “The New Rap Language” • “Rapture” • •

Rose Cont'd • “Hip hop remains a never-ending battle for status, prestige, and group Rose Cont'd • “Hip hop remains a never-ending battle for status, prestige, and group adoration, always in formation, always contested, and never fully achieved” (p. 36) • Hip Hop's stylistic continuities: – 1) FLOW – 2) Layering – 3) Ruptures in line

Billboard July 1, 1978 Billboard July 1, 1978

From 1974 -79 The “DJ is the source of energy…the DJ had to give From 1974 -79 The “DJ is the source of energy…the DJ had to give the MC rites of passage to his set” Grandmaster DXT

MC/Emcee and Live Performance • Master of Ceremonies • Microphone Controller • Early MCs MC/Emcee and Live Performance • Master of Ceremonies • Microphone Controller • Early MCs just kept the party moving • By late 1970 s, MCs brought in a lot of bragging and boasting and party lyrics with choreographed routines.

Disco's Influence The break and priority of rhythm and bass DJ techniques (mixing, technology, Disco's Influence The break and priority of rhythm and bass DJ techniques (mixing, technology, cueing, remix) Dance and party message/theme Song structure 12” vinyl single. . . songs were long like disco (7+ min) How song was made (w/ session musicians covering/interpolating popular disco rhythms) Costuming/choreo by rappers for live

Disco Rap Records Tried to. . . • Use studio musicians, recreate a DJ Disco Rap Records Tried to. . . • Use studio musicians, recreate a DJ manipulating and looping breaks • Use musical elements from popular disco hits; the bands INTERPOLATED these melodies as loops, or made originals that sounded like breakbeats • Turn youth music into something for adults, mass consumable, white, etc. • ***NO samplers were used; no copyright licensing!!!

“King Tim III (Personality Jock)” • July 25, 1979, Fatback Band • Bill Curtis “King Tim III (Personality Jock)” • July 25, 1979, Fatback Band • Bill Curtis sees DJ Hollywood • King Tim III is the rapper – Imitates MCs and radio DJs • First record with rapping • Did ok on radio, buuuut. .

“Rapper's Delight” • Sept. 16, 1979, Sugarhill Gang (a “boy band”) • Best-selling 12” “Rapper's Delight” • Sept. 16, 1979, Sugarhill Gang (a “boy band”) • Best-selling 12” single of all time • NOT the first record with rapping (Fatback Band “King Tim III (Personality Jock)”) • 14 -minute record, played on many radio formats • Made emceeing into “rapping” • Made rap music global/glocal • Mass commodification of music

“Rapper's Delight” “forever changed hip hop music's (and hip hop culture's) relationship with the “Rapper's Delight” “forever changed hip hop music's (and hip hop culture's) relationship with the music industry” (Mc. Leod 2001, 79 -80). Rap records “tore everything apart…That’s what killed hip hop…. As far as the culture, it was over” (Grandmixer DXT, quoted in Mao 1999, 74). Emceeing became rapping overnight. . . literally! Everybody wanted to ca$h in!!!

“Rapper's Delight” also helped rap and hip hop culture spread outside of the South “Rapper's Delight” also helped rap and hip hop culture spread outside of the South Bronx, the tristate area (NY, NJ, CT), and outside of the United States.

Blair (2004) • Youth subcultural expression into pop culture – • Music that comes Blair (2004) • Youth subcultural expression into pop culture – • Music that comes from socio-economic oppression Marx's Alienation= something human is taken from us and returned as a commodity = ?

Blair Cont'd • Gottdiener (1985): subcultural incorporation – – 2. User modifies object (bricolage); Blair Cont'd • Gottdiener (1985): subcultural incorporation – – 2. User modifies object (bricolage); subcultural sign – • 1. Objects produced for exchange 3. Producers capitalize and turn subcultural trends in to mass culture; sanitization Once incorporated, the subculture ceases to exist as it did before (punk, disco, house, dubstep, etc. )

Rap is. . . • Commodified form of hip hop music • Turns live Rap is. . . • Commodified form of hip hop music • Turns live performance art into a sellable product • Hip hop comes from culture; record companies made rap as a genre (like Disco)=rationalization. . . • Written. . . rapper is an “author” • Displaces the DJ. . . started with “Rapper's Delight” • Not always culturally authentic (i. e. Sugarhill

“Superappin'” • Grandmaster Flash & The Furious Five, 1979 • Bobby Robinson's Enjoy Records “Superappin'” • Grandmaster Flash & The Furious Five, 1979 • Bobby Robinson's Enjoy Records • Produced by Errol “Pumpkin” Bedward • Grandmaster Flash has NOTHING to do with this record musically • 12 minutes

“Rappin' and Rockin' the House” • Funky 4 + 1 More, 1979 • 16 “Rappin' and Rockin' the House” • Funky 4 + 1 More, 1979 • 16 minutes

“Rapture” • Blondie, 1981 • 1 st “rap” video on MTV • Dir. ? “Rapture” • Blondie, 1981 • 1 st “rap” video on MTV • Dir. ? ? ? • Fab 5 Freddy, Lee Quinones, Jean-Michel Basquiat • Made rap accessible to white audiences • Commodified hip hop culture

“The Breaks” • Kurtis Blow, 1980 • First rapper signed to a major label “The Breaks” • Kurtis Blow, 1980 • First rapper signed to a major label (first gold) • Was managed by Russell Simmons • What do you think the double meaning of “the breaks is in this song?