In this first musicological history of rap, Cheryl L. Keyes traces the genre from its roots in West African bardic traditions, the Jamaican dance-hall tradition, and African American vernacular expressions to its permeation of the cultural mainstream as a major tenet of hip-hop lifestyle and culture.Rap music, according to Keyes, is a forum that addresses the political and economic disfranchisement of black youths and other groups, fosters ethnic pride, and displays culture values and aesthetics. Blending popular culture with folklore and ethnomusicology, Keyes offers a nuanced portrait of the artists, themes, and varying styles reflective of urban life and street consciousness.Drawing on the music, lives, politics, and interests of figures including Afrika Bambaataa, the qgodfather of hip-hop, q and his Zulu Nation, Grandmaster Flash, Kool qDJq Herc, MC Lyte, LL Cool J, De La Soul, Public Enemy, and The Last Poets, the book challenges outsider views of the genre. It also draws on ethnographic research done in New York, Los Angeles, Detroit, and London, as well as interviews with performers, producers, directors, fans, and managers.Keyes's vivid and wide-ranging analysis covers the emergence and personas of female rappers and white rappers, the advent of rap music videos, and the existence of gangsta rap, Southern rap, acid rap, and dance-centered rap subgenres. Also considered are rapper-turned-mogul phenomenons such as Queen Latifah; the multimediacontrol is positioned off-center, a feature now included on Technics SL-1200 MKII (Glazer 1999:58-59). ... In addition to turntable techniques and the finest of equipment, hip-hop musicians are forever in search of the perfect beat. ... By the mid-1980s, DJs were supplementing the manual process of mixing music with electronic instruments a digital samplers, drum machines, sequencers, and synthesizers.
|Title||:||Rap music and street consciousness|
|Author||:||Cheryl Lynette Keyes|
|Publisher||:||Univ of Illinois Pr - 2002-10-22|