36 - RAP

RapMusic has often featured spoken passages, but rap has taken the idea one step further. Personally, I tend to view rap as a reversal of scat. In scat, lyrics have been subtracted allowing the vocalist to experiment with sounds, but in rap, the melody itself has been eliminated, the only remaining musical element being rhythm. Rap is devoid of melody, even though chords are sometimes played. More often, repetitive riffs and sections of sampling are the basis for a piece. The essential ingredients are lyrics and rhythm. At its best, rap is a unique form of street poetry. Technically, a rap piece cannot be called a song since a song consists of both lyrics and melody, and however clever, it certainly must not be classified as singing.

Rap is an ethnic tradition. Blacks were rapping during the time of slavery. Modern rap is based somewhat on an early black street singsong dialogue called "the dozens." It originally existed as a children's rhyming challenge game. Later, adopted by the older set, it began to incorporate social complaints and insults, eventually evolving into a hip poetry of the black youth culture. It is an urban art form which almost anyone can do, although it does involve a quick mind and is considerably more difficult than it seems. Rap is a live performance art demanding creative improvisational skills.

One of modern rap's predecessors was a Jamaican style called "toasting." Actually, a decade previous to the emergence of commercial rap, Jamaican DJ's perfected chanting over pre-recorded instrumental tracks.

Rap became a black alternative to disco and slick soul just as punk was a white rock reaction to disco and pop. They emerged simultaneously during the mid to late 1970's, both stemming from an impoverished economic environment. Angry and often violent like punk, rap at its extreme can be quite menacing and chauvinistic.

In both punk and metal music, the exponent needed a band. With rap, all one needed was a microphone, a turntable and sound equipment. Originally, only a drum track was utilized. Later, it was augmented by sampling and live instrumentation.

Disc jockeys were the original rappers. During the mid to late 1970's, many record companies released dance records with the B side featuring the same track sans vocals, allowing any enterprising individual the opportunity of singing along with the music. Thus, rap evolved with the use of dub versions of hit recordings.

Rap also gave birth to several new sounds, the first being the "scratch technique," consisting of a record literally being shoved back and forth on a turntable to produce specific rhythmic effects.

In 1972, Technics had introduced the legendary SL-1200 turntable which later became the DJ's best friend because of its capacity to scratch. Another trend was "sampling" - the art of mixing sections of a pre-recorded track, often a recognizable hit, into a new recording or during a live performance. If the sampling is kept under a certain prescribed time limit, it is not technically considered plagiarism. Although such recordings may be termed as a studio art form, I personally tend to consider any unauthorized use of a piece of music, whether wholly or partially, as plagiarism. It represents a complete lack of creativity and scruples. In 1991, a judge ruled that sampling itself was theft after Biz Markie made unauthorized use of Gilbert O'Sullivan's "Alone Again Naturally."

By 1979, rap was becoming a major phenomenon in black sections of New York, having spread quickly from the South Bronx to Manhattan's Harlem and Brooklyn's Bed-Stuy areas. In Harlem, rap events became all the rage in small clubs and the only actual rap recordings were those transferred to cassette by fans, simply since each performance was a one time thing - never heard the same way twice. Rap had to be spontaneous or the excitement and urgency was lost.

Lyrically, ego pumping was common, a combination of the sass of traditional ghetto street corner jive and a sense of showbiz style. All that jiving and boasting became a psychological lift for ghetto kids.

In 1980, ABC's "20/20" ran a segment on the rap phenomenon and in January of 1981, the white rock band Blondie triggered considerable commercial interest in the genre by featuring a rap section on their #1 hit, "Rapture." Thus, rap began to sidestep its somewhat novelty status and emerge as a full blown pop trend. It was also becoming much more sophisticated. By 1982, the standard rap had lost its initial impact through repetition and had given way to more elaborate production techniques and adopted stronger sexual and political lyric content. In 1987, Public Enemy's "Yo! Bum Rush The Show" album with its violent imagery set the standard for gangsta rap. By the late 1980's, rap had made major inroads into mainstream pop and by 1990, it had become one of the prominent fixtures on the modern music scene. And although rap continues to sell, outside of a few acts, it is definitely not a large concert draw.

Rap drew attention to African American culture, breaking new ground in movies, TV shows and commercials. Like punk rock, it was angry and political. Unfortunately, by the mid 1990's, rap and particularly gangsta rap had come under public attack. Numerous artists had gotten themselves into trouble with the authorities such as Snoop Doggy Dogg (Calvin Broadus) (1971 – ) being charged with murder. In April of 1995, Tupac Shakur's "Me Against The World" debuted at #1 while he was in jail for sexual assault. Shakur (1971 - Sept. 13, 1996) died in a flurry of controversy after he was the victim of a rather bizarre shooting. On Feb. 3, 1996, Queen Latifah was arrested by California police for speeding after smoking marijuana and having a .38-caliber gun in her car. Then, The Notorious B.I.G. (Christopher Wallace) (May 21, 1972 - March 9, 1997) (aka Biggie Smalls), one of the kingpins of hiphop was gunned down in Los Angeles.

Concerts often sparked riots and several major companies dropped rappers from their artist rosters. One particular rap label was found to be a front for drug trafficking and prostitution.

"House music" was a direct result of the rap/dance music phenomenon. Clubs featured resident DJ/rappers, each cultivating a distinctive style and local following. As the fad caught on, many record companies released special instrumental dance mixes which allowed the rappers to improvise along with the track. Most so-called house music was dominated by big heavy duty drum tracks as a basis for repetitive funky dance themes with strong African elements specifically designed for club use. A unique new club culture emerged complete with its own fashion sense and an entire array of lively athletic dances, all defined collectively as "hip-hop." The term was allegedly created by Bronx rapper Starski The Lovebug.

Visuals became crucial to the new scene, not only as part of the performance but in the culture itself. Hip-hop graffiti art, often manifesting itself in fluorescent spray gun painted murals and slogans, moved out of the subways and alleys (originally appearing around 1977) and into art galleries. It also began appearing on clothing.

New fashions were created to accommodate unrestricted movement in the energetic dancing. Short, loose apparel, basically in the form of oversized T-shirts and shorts, became the rage. Baseball caps were worn backwards. Eye-blinding neon clothing flooded the market. Jewelry in the form of heavy gold chains and medallions or African style beads became popular.

Breakdancing, introduced commercially back in the 1970's by The Lockers, was taken several steps further, often requiring the skill of an expert gymnast. "Moonwalking," a baffling dance step, enjoyed a brief moment in the spotlight. Introduced commercially by superstar Michael Jackson, it consisted of a shuffling step, giving the illusion of forward motion while the body actually moved in reverse. By the early 1990's, MC Hammer (later shortened to Hammer) was the unanimous hero in dance circles, promoting an energetic jump step, pretentiously called "Hammer-time."

Rap terminology filtered into mainstream vocabulary. Everything was "fresh," "dope," or "jammin'." Females became known as "fly girls" and dance backup units were labelled "posses" or "crews" (meaning friends). Movies such as "Beat Street"(1985), "Krush Groove"(1986), "House Party"(1990) and "New Jack City"(1991) helped promote the genre.

Rap has moved from hip curiosity and inner city trend to become a universal phenomenon. And with the emergence and overwhelming acceptance of white rapper Eminem, rap has crossed over to become one of the major success stories in the music industry. Exciting and colourful, highly entertaining and stimulating on the dance floor, and at times lyrically brilliant, it is essentially a music for the moment.

RAP PIONEERS

SUGARHILL GANG

GRANDMASTER FLASH & THE FURIOUS FIVE

GRANDMASTER MELLE MEL & THE FURIOUS FIVE

A SELECTED LISTING OF OTHER EARLY RAP RECORDINGS

MAINSTREAM RAPPERS

WHODINI

RUN-D.M.C.

THE FAT BOYS

L.L. COOL J.

D.J. JAZZY JEFF & THE FRESH PRINCE

BIZ MARKIE

THE BEASTIE BOYS

KOOL MOE DEE

SALT-N-PEPA

HEAVY D. & THE BOYZ

ROB BASE & DJ E-Z ROCK

SIR MIX-A-LOT

PUBLIC ENEMY

J.J. FAD

E.P.M.D.

THE 2 LIVE CREW

ICE-T

TONE LOC

D-MOB

N.W.A.

NENEH CHERRY

YOUNG MC

HAMMER

SNAP!

VANILLA ICE

2 IN A ROOM

BIG DADDY KANE

MARKY MARK & THE FUNKY BUNCH

QUEEN LATIFAH

P.M. DAWN

SISTER SOULJAH

KRIS KROSS

TLC

HOUSE OF PAIN

TUPAC SHAKUR

DMX

THE WU-TANG CLAN

SNOOP DOGGY DOGG

EMINEM

A SELECTED LISTING OF OTHER RAP/HOUSE HITS

ALSO SEE

BIBLIOGRAPHY