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6.7: Rap

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    Rap is poetry recited rhythmically over musical accompaniment. Rap is part of hip-hop culture, which emerged in the mid-1970s in the Bronx. Graffiti art and break-dance are the other major elements of hip-hop culture. Rap lyrics display clever use of words and rhymes, verbal dexterity, and intricate rhythmic patterning. Rap artists take on different roles and speak from perspectives ranging from comedic to political to dramatic, often narrating stories that reflect or comment on contemporary urban life. Rap artists may be soloists, or members of a rap group (or crew), and may recite in call-and-response format. Rap songs are generally in duple meter at a medium tempo (about 80 to 90 bpm). The musical accompaniment of rap is made up of one or several continuously repeated short phrases, each phrase combining relatively simple rhythmic patterns produced by acoustic and/or synthetic percussion instruments. Other sounds are often added for timbral variety, textural complexity, and melodic/harmonic interest. A bass line provided by electric bass guitar or synthesizer reinforces the meter and defines the tonal center.

    Old School Rap (1974-1986)

    Old school rap was created by DJs (disc jockeys) and one or more MCs (originally Master of Ceremonies, later Microphone Controller). DJ Kool Herc began this period, providing a portable sound system and spinning records for dances at outdoor parties and small social clubs. He noticed that b-boys and b-girls favored dancing to the “break” in a record, the short section of a song when the band drops out and the percussion continues. Using two copies of the same record on two turntables, Herc was able to make the break repeat continuously, creating the “breakbeat” that became the basic musical structure over which the MC spoke or rapped. DJs Grandmaster Flash, Jazzy Jeff, and Grand Wizard Theodore invented additional turntable techniques: “blending” different records together, scratching (manually moving the record back and forth on the turntable to create rhythmic patterns with scratchy timbres), and mixing in synthetic drum sounds and other effects. An excellent example of turntable techniques is Flash’s The Adventures of Grandmaster Flash on the Wheels of Steel (1981). DJs, most importantly Afrika Bambaataa, also promoted hip-hop culture through parties and other events spread by word of mouth and at venues throughout New York City.

    At first MCs spoke over records in the Jamaican DJ traditions of toasting (calling out friends’ names) and boasting (touting the superiority of their own sound system and DJ skills). Both traditions became central elements of the assertive and competitive spirit of rap andhip-ho p. Rap drew on other African-American sources for some of its important features: the improvisational verbal skills and call-and-response format of the dozens (an African-American verbal competition trading witty insults), the rhyming aphorisms of heavyweight champion Mohammed Ali (“Float like a butterfly, sting like a bee / Your hands can’t hit what your eyes can’t see”), the songs and vocal stylings of the great soul-funk artist James Brown, and The Last Poets, whose members spoke or chanted politically charged poems over drumming.

    The first MCs to develop extended lyrical forms by rhyming over break beats were Grandmaster Caz and DJ Hollywood. The interplay of vocal and accompaniment rhythms,
    rhyme schemes, and phrasing are the main elements of what is known as flow. Old school flow is more regular and less syncopated than later styles. Two-line units (couplets) rhyming at the end of the lines are common during this period, such as, “Pump it up homeboy, just don’t stop / Chef Boy-ar-dee coolin’ on the pot” (The Beastie Boys). Before rap entered into the mainstream entertainment industry, portable cassette players provided a cheap and robust route of dissemination for the music throughout the city. It was the success of Sugar Hill Gang’s Rapper’s Delight, issued on a small independent label in 1979, that brought rap to national attention and gave the genre its name. MC Kurtis Blow’s The Breaks (1980), and Rapture by the pop group Blondie (1981) are also milestones in the early history of rap.

    During the first part of the 1980’s the entertainment industry was slow to realize rap’s potential and it was left to entrepreneurs like Russell Simmons to popularize rap and
    to demonstrate its long-term commercial viability by organizing national hip-hop concert tours and producing hits by many of the most important artists of the period including L.L. Cool J, Slick Rick, and Foxy Brown. Independent films like Wild Style, Beat Street, and Style Wars, introduced hip-hop to a global audience. Rap music videos began to be produced and all-rap radio stations began broadcasting. Independent labels gained ground and rap was incorporated into the established recording and distribution industry. By 1986 hip-hop culture was the most successful popular music in the nation, and rap had developed in three general directions. Pop rap (or party rap) is light, danceable, and often humorous; it quickly became a crossover genre, generating national hits by Salt-N-Pepa (the first successful female rap group), MC Hammer, Vanilla Ice, and many others. Rock rap combines the vocalizations of rap with the sounds and rhythms of rock bands. The hip-hop trio Run-D.M.C. brought rap rock to national prominence with King of Rock (the first hip-hop platinum album, 1985). The Beastie Boys, the first white rap group, appealed to a youth market by smartly combining humor and rebellion in songs from their 1986 debut album Licensed to Ill. Rock rap set the stage for other hybrids that flourished in the 1990’s such as Rage Against the Machine and Linkin
    Park. Socially conscious rap portrays and comments on the urban ills of poverty, crime, drugs, and racism. The first example is Melle Mel’s The Message (1982), a series of bleak pictures of life and death in the ghetto.

    New School Rap

    New school rap dates from 1986 when Rakim and DJ Eric B introduced a vocal style that was faster and rhythmically more complex than the simple sing-song couplets of much old school rap. Writers (rap poets/performers) in the new “effusive” style, notably Nas, employed irregular poetic meters, asymmetric phrasing, and intricate rhyme schemes, all of which added depth and complexity to the flow. Much of the new music (and new styles of graffiti and dance) came from the West Coast, and increasingly from the South and Midwest. Hip-hop culture was spreading to Europe and Asia as well.

    The accompaniment for rap also became more complex and varied. CD’s largely replaced vinyl records and samplers became commercially available. Producers working
    with samplers, programmable drum machines, and synthesizers could, with the push of a button, mix and modify sounds imported from a virtually unlimited selection, and so largely replaced DJs as the creators of rap’s musical accompaniment. The New York production team Bomb Squad and producers RZA and DJ Premier layered multiple samples to create dense, harmonically rich textures and grating “out of tune” combinations of sounds, while West Coast producers developed G-funk by using live instrumentation and conventional harmonies associated with funk music.

    The year 1988 was an important turning point for rap. The Source, the first magazine devoted to rap and hip-hop, appeared that year, and was soon followed by Vibe, XXL and
    many others. The first nationally televised rap music videos on Fab Five Freddy’s weekly show “Yo, MTV Raps!” brought hip-hop images and dances to national attention. That same year four new rap genres emerged, partly in response to worsened social conditions in black urban communities: unemployment, drastic cutbacks in education, the crack cocaine epidemic, proliferation of deadly weapons, gang violence, militaristic police tactics, and Draconian drug laws all leading to an explosion in the prison population. Political rap was led by writer KRS-One, with Boogie Down Productions whose album By All Means Necessary explored police corruption, violence in the hip-hop community, and other controversial topics. On the West Coast, N.W.A. were cultivating harsh timbres and a raw angry sound in their nihilistic tales of Los Angeles police violence and gang life in Straight Outta Compton, the first gangsta rap album. Jazz rap, characterized by use of samples from jazz classics and positive, uplifting lyrics was introduced by Gang Starr (DJ Premier and MC Guru) and hip-hop group Stetsasonic. Another answer to West Coast gangsta rap was New York hardcore rap, led by producer Marley Marl whose hip-hop collective The Juicy Crew achieved their breakthrough with the posse track The Symphony. Each genre had important followers. Black nationalism informed the political lyrics
    of Public Enemy (led by Chuck D) whose critical and commercial success in 1988-90 proved the crossover appeal of the new wave of socially conscious rap. Houston-based gangsta rap group The Geto Boys combined ultra-violent fantasies with cutting social commentary in a blues-inflected style that came to characterize the “Dirty South” sound in their 1990 debut album. Jazz rap’s Afrocentric lyrics, fashion, and imagery were shared by important new rap artists Queen Latifah and Busta Rhymes. Latifah provided a feminist response to the often misogynist lyrics of male rappers. Wu-Tang Clan’s Enter the Wu-Tang (1993) reclaimed New York’s reputation for cutting-edge hardcore rap. The minimalist production style on the album by this Staten Island group was much imitated through the next decade.

    In the 1990’s a style called new jack swing originating with producers Teddy Riley and Puff Daddy integrated R&B into rap and softened rap’s hardcore content while retaining the edge of black street culture. Notorious B.I.G.’s Juicy from Ready to Die (1994) exemplifies the laid-back vocal delivery and slower tempo that characterize new jack. Lil’ Kim’s rap on Gettin’ Money captures the “ghettofabulous” image of the new jack rapper in lyrics that mix gats and six-shooters with Armani and Chanel. The song draws on the iconic American figure of the Mafia don to create metaphors that celebrate materialism and luxury. Tupac Shakur and Notorious B.I.G. were the most critically acclaimed and best-selling rappers during the middle of the 1990’s. Shakur was murdered in 1996 and Notorious B.I.G. in 1997. In the eyes of many fans, hip-hop had lost its two greatest artists. Three important figures—Eminem, Jay-Z, and Missy Elliott—led rap into the new millennium.

    This page titled 6.7: Rap is shared under a CC BY 4.0 license and was authored, remixed, and/or curated by Douglas Cohen (Brooklyn College Library and Academic IT) via source content that was edited to the style and standards of the LibreTexts platform; a detailed edit history is available upon request.

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