Compare and contrast 80's style
Rap initially took center stage in the 1970s with critics predicting an untimely death. However, it grew and flourished reshaping the entertainment scenes. The robust raw street essence emerged to be a lifestyle that the blacks used to address some of the issues they faced including discrimination. The music has managed to reenergize itself maintaining its slogan true to the game. Rap music has transformed the American lifestyle with the fashion industry benefiting the most from boots, loose-fitting clothes new designs and whacked colors. The graffiti in the music has contributed to an interest in street art. From its inception, it has helped boost the African American Resurgence with the hip-hop singers commanding critical roles in the television and movies industry. Despite its growth, rap music and hip-hop have not received any substantial to literature attention with the history of famous musicians diminishing with time (Moore, 2009; Robinson, 2017).
The African elements including culture, beliefs, and behavior formed the foundation of rap music with the rappers adapting to English as their conventional and cultural style. The old schools instructed the new schools with the African words. Some of the rappers vocal styles borrowed from the smooth elegance in scat singing forming the Jive cat. Most of the performances move and determine audience participation. The jive cat gave birth to the freestyle in which rappers would openly compete, and the audience can respond. Early rap used a lengthy monologue together with simple melodic lines. The political rappers of the 1980s and 90s heavily borrowed from the beat of the conga drum. The rap was characteristic of political and social connotations that attracted more criticism to mark the era of cultural nationalism. Rappers heavily borrowed their rhyming styles from black disk jockeys (Moore, 2009; Robinson, 2017).
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Run DMC took rap to the next level with Russell Simon being the producer and Rick Rubin as the rapper. Their sounds symbolized a merger of slick pop and black urban street. They were in black fedoras, sweat suits, unlaced Addidas and dookie gold, the group became the first hip-hop personalities. My Adidas Run DMC was a single in raising hell. The song led to the initial endorsement by the company and the artists. The song was about sneakers a favorite at the time and a style for the group
LL Cool developed his new form to be the king of genre lovers rap. I can't live without my radio by LL Cool shows the free flow of the song with the artist creatively employing rhyme to the song. To an extent, the song is authoritative and used a standard production value involving a simple stage setting with the DJ and simple instrumental.
Both artists played their music according to the beat that helped in developing the lyrics. Similarly, they used lyrics manipulation, ability, and wordplay. In my Adidas, the rappers divided the lines to differentiate the vocal qualities and styles. They also alternate each one taking a verse or line and infusing their personality and style. LL Cool uses solo performance (Moore, 2009; Robinson, 2017).
Collaborative playlist research
Hip-hop music of 2000 has continued to embody the oral traditions involving storytelling a distinctive form of literacy. It has continued to extend the African ritual of call in addition to response as a way of capturing the audience and enhancing the performance element of storytelling. The proud by Talib Kweli is conscious rap music for its high level of social consciousness. Despite singing in an era dominated by gangster rap, the rapper has maintained a high affiliation with his style. The song was recorded on his album “Quality” and was inspired by real-life events and uses the lyrics as a conversation. The rapper has successfully managed to use rap for storytelling. The song has struggled as its theme and talks on so many issues affecting the people from poverty to a failing justice system to education. The rapper creatively uses imagery to send the message to the audience. In his performance, he uses smiles to reinforce his image and manages to enhance his message (Moore, 2009; Robinson, 2017).
Punish Me – Big Punisher, Miss Jones, 2005 employ technical efficient beats with minimal pauses. The song also uses heavy alteration in addition to the internal and multi-syllable rhyme scheme. The song is about a break up in which Jones pleads with the Punisher to come back. The lyrics follow the beat which set its pace. It serves a source for demonstrating the plight of women and the effect of breakups. The audience uncovers the power of the relationships. The lyrics do not have any hidden meaning and therefore can be used to determine the technical connotative and figurative statements like “come back to me,” which also shape the sense and tone of the song (Moore, 2009; Robinson, 2017).
References
Biography.com, (2017, June 06). LL Cool J Biography Retrieved November 09, 2017, from https://www.biography.com/people/ll-cool-j-16450351
Moore, A. F. (2009). Analyzing popular music . Cambridge: Cambridge University Press.
Robinson, T. (2017). Popular music theory and analysis: a research and information guide . New York and London: Routledge, Taylor et Francis Group.
The Official Website Of Run-DMC: Home. (n.d.). Retrieved November 09, 2017, from http://www.rundmc.com/
