MUS 1302: Final Exam Review Summary

LIST OF HIP HOP GENRES

NEW SCHOOL HIP HOP

Early Female Rappers
Although there are significantly fewer female than male rappers, they have a prominent role in rap and a substantial following (Rose)
o Roses book Black Noise Ch. 6 is considered to be one of the first important studies of gender relations in hip hop
o Female artists, dynamics between male and female artists

Rap is co-ed now (Roxanne Shante)

Selected list: M.C. Lady D, Salt n Peppa, Queen Latifah, Monie Love, MC Lyte, the Sequence, Yo Yo Girl, Ms. Melodie, JJ Fad

Many factors involved in women having more challenges being hip hop artists
o Financial issues: record labels didnt tend to support female rappers as much; less access to money to buy equipment
o They were not salaried, female music wasnt as heavily promoted
o Werent funded for tours, not necessarily for music videos either
o Logistical issues in the 70s: worried about having their equipment stolen (in poor neighbourhoods women were a bigger
target to have equipment stolen)
o Misogyny
o Had trouble hauling equipment on subways
Examples

The Sequence Funk You Up (1979), Sugarhill Records

Lady D Lady D

Salt N Peppa Tramp (1986)

Style and Lyrical Content

Many women use their music as a platform to discuss feminist (or womanist) issues and concerns
o Both men and female rappers: use their songs as a platform to discuss political content
o Female rappers: many use rap to argue against male rappers lyrics against women
o Address black womens rejection of black mens domination
o North American hip hop tradition, 80s in the mainstream these were the concerns being interrogated
o Women would address or interrogate heterosexual relationships, assert control, and also explore issues of trust (e.g. the
cheating male, or males taking advantage of women, abuse, manipulation, etc.)
o Lyrics: wit, sarcasm
o Feminism: equality for women, fair treatment, exploration of womens issues, womens empowerment, etc.
o Queen Latifah: connected to womenism which addresses the fact that feminism doesnt always address the concerns of black
women or women of colour
Many women rap assertively
Many rap songs by women in the late 70s and throughout the 1980s assert power and control

Examples

MC Lyte Paper Thin (1988)

Queen Latifah Ladies First (1989)

Humourous Rap

Playful, novel, fresh

Defining feature: reliance on humour in the lyrics

Example:

DJ Jazzy Jeff and the Fresh Prince Parents Just Dont Understand (1988)

Dirty/Booty Rap: 2 Live Crew

Sexually explicit themes

Example: We Want Some Pussy (1986)

HARDCORE, GANGSTA, & G-FUNK

Hardcore Rap (1980s)

Aggressive edge
Raw or hard aesthetic
Lyrical themes: social and political commentary, graphic portrayals of inner-city life, gang life, crime, violence, and the mistreatment of
women
Aggressive arrangements (usually in a minor key)
Strong, aggressive lyrical delivery
Sound effects
Layered beats
Origins: Run-D.M.C. and LL Cool J, then expanded to other artists and groups
Specifically became a known genre before Gangsta Rap, although they are often talked about together
Be able to identify traits of different genres

Examples

Eric B. & Rakim:

o Eric B. Is President (1986)
o Follow the Leader (1988)

Public Enemy
o Fight the Power (1990)
o Burn Hollywood Burn (1990)

Gangsta Rap

Subgenre of rap (type of hardcore rap)

Musical elements
o Abrasive beats
o street-sonic effects
o More deliberate, aggressive style of delivery
o (see hardcore rap characteristics most of them present in gangsta rap)
Texts that emphasize the violence of street life, and artists that depend on a violent public image for a measure of their authenticity
(realness, street cred)
o Pushed idea of street credibility to be authentic, you had to have experienced the things youre rapping about
o E.g. 50 cent emerging in early 2000s into mainstream narrative of being shot (part of gangsta sensibility; nods back to this
tradition)
Aggression change in rap
o Early rap: More party themed, more lighthearted, etc. not attacking opponent as much
o Grandmaster Flash & the Furious Five the Message

The Official Start of Gangsta Rap

Albums that established California as a home for gangsta rap:

o Ice-Ts debut album: Rhyme Pays
o Eazy-E: Eazy-Duz-It
o N.W.As: Straight Outta Compton
Established California as a home for gangsta rap

Examples
Predecessors to Gangsta Rap

Socially Conscious Rap: Grandmaster Flash and the Furious Five: The Message (1982), 2Pacs Changes

Early Gangsta tracks: Schoolly Ds Gangsta Boogie (1984)

Early Gangsta Rap

Boogie Down Productions 9 mm Goes Bang (1987)

Ice-Ts Colors (1987)

Ice-Ts Rhyme Pays (1987)

N.W.A. Straight Outta Compton (1988)

G-Funk

G-Funk is the laid-back, Parliament/Funkadelic-inspired variation of gangsta rap developed by Dr. Dre in the early 90s
o Cruising in your car type music (not as political as gangsta rap)
Death Row Records: Dr. Dre & Suge Knight

o Connection to Eazy E and his death Suge Knight insinuated that he injected Eazy E with HIV using a needle
Characteristics
o Slow grooves
o whiny synthesizers
o bass-heavy grooves

It paired explicit and often violent lyrics with commercial beats that were based on older soul, funk, and R&B

The Chronic by Dr. Dre

o Defined a new west coast style (tie to the east/west coast feuding)
o Pioneering album of G-Funk
o Snoop Dogg was featured on a number of tracks
Representative Artists/Albums

Parliament/Funkadelic
1992 Dr. Dre
The Chronic
o Funk, soul, and rock music collective
o Headed by George Clinton
1993 Snoop Dogg
Doggystyle
o Style often dumped as P-funk
1995 2Pac
Me Against the World
o Funk band most prominent during 1970s
1998 Nate Dogg
G-Funk Classics, Vol. 1 & 2

1994 Warren G, Regulate
G Funk Era
Examples:

Dr Dres Let Me Ride (1992-1993)

2Pac feat. Dr. Dre & Roger Troutman, California Love (1996)

SOUTHERN RAP

Gender issues: objectification of women

Geography: location of rap (Miami, Atlanta, New Orleans,
etc.) artists usually associated themselves with their area

3) Southern (Message) Rap

1) Miami Bass

Dance music/influenced by dance scenes in Miami and

Detroit
Emerged in the mid 80s
Reliance on drum machines (including 808s)
Musical characteristics: Deep beats, fast tempo, rhythms that
have been described as hyperkinetic and stop and start
Similar to Booty Rap
Early Miami pioneers: 2 Live Crew and DJ Magic Mike
Some artists melded Miami Bass with techno: increasingly
fast

Examples

2 Live Crew face Down Ass Up (1990)

69 Boyz Tootsee Roll (1994)

Tag Teams Whoomp There It Is

4) Southern Gangsta Rap/Horror Rap

2) Dirty South

Some refer to Dirty South and southern rap

interchangeably
Others use it to discuss a more specific brand of southern rap
Dirty South drew from both G-funk and 2 Live Crews dirty
traditions
o Themes: drugs, violence sex (very profane/dirty)
o The style drew its name from Goodie Mobs 1995
song of the same name
Goodie Mob feat. Big Boi Dirty South (1995)
o G-funk elements: synthesized bassline, groove,
slower laidback beat, higher pitched synthesized
interjections

The Music of Outkast

o Less aggression
o Social and political messages
o Emphasis on melody (signing)
o Expanded musical arrangements
Outkast Rosa Parks (1998)
o Referred to civil rights activist Rosa Parks
o Sued Outkast because they didnt want her name
associated with foul language in the song
o By invoking the name of the term, there is potential
to interpret a message, but its not as direct as
Message Rap

The earliest prominent Southern Gangsta Rap crew are the

Geto Boys
o They rely not only on Gangsta themes and sounds,
but also on another rap subgenre: horror rap (or
horrorcore)

Horror themed lyrical content and

imagery

Other horror rap artists include

Gravediggaz, Insane Clown Posse, Dark
Lotus
o The Geto Boys explored themes associated with
other gangsta rap (drug dealing, gangs, street
violence), but also addressed the fact that ghetto
living can inspire criminal behaviour, depression,
and suicidal thoughts
Geto Boys Mind of a Lunatic (1990)
o See Listening Guide
o Content: Mutilation, murder, horrific acts
o But also: Environmental roots, social conditions of
tolerance of this kind of criminal behaviour in
certain communities
o Idea of using shock value to spark discussion (e.g.
Eminem)

Southern Gangsta Rap

No Limit Records (New Orleans-based gangsta rap label)

o Run by Master P
o Most No Limit albums stuck to West Coast G funk,
hardcore, and gansta lyrics
o They became a constant presence on the national
album charts during the late 90s
Master P Make em say Uhh! (1997)
o Aggressive, gritty
o Drum machine (808), slower beats (can connect to
Miami bass, but not as upbeat)
o Vocal inflections: Southern (distinguishes it from
East or West Coast Gangsta Rap)
C-Murder feat. UGK and Master P Akickdoe! (1998)
o G-funk influence: high pitched synth
o Drum machine (808): slower beat
o Collaboration of rap artists

5) Bounce

New Orleans subgenre of hip hop

Energetic
New Orleans carnival beats and Mardi Gras Chants (often use
call and response)
Emphasis on bass and percussion (drumline progressions,
fluttering high hats snare trills)
Triggerman sample taken from The Showboys Drag Rap
(1984)
o beginning sample used in many bounce songs
Shouting out to the crowd
Lyrical themes from Gangsta Rap
Cash Money Records brought it to the mainstream
Twerking

Examples

Juvenile, Pimpinabitch (1999)

David Banner (Feat. Lil Flip), Like a Pimp (2003)

6) Chopped and Screwed

7) Crunk
Originated in the mid to late 1990s

Music be cranked up, or crazy + drunk

Party music
Pioneers are more widely thought to be Atlanta-based
rappers
o Lil Jon
o The Ying Yang Twins
o Bone Crusher
General charactersitcs:
o Heavy bassline
o Shouting vocals (chants) often utilizing call and
response
o Focus on

Synthesized bass heavy rhythms

Shouted party chants

Shouted party chants (often references

drinking, drugs, sex)
o absence of R&B influence
Emphasis on music/soundscape more than vocals (tend to get
repeated lyrics)

Examples

Lil Jon, Get Crunk (1997)

o Big synthesizer lines

Lil Jon, Get Low (2003)

o Lil Jon & the Eastside Boys
o Kings of Crunk album
o Get Low helped propel crunk into North
American spotlight
o Objectification of women in the video

Crunk&B: Fusion of Crunk and R&B

Ushers Yeah

Ciaras Goodies
o Laidback snare, emphasis on backbeat, but not as
crisp (almost feels late)
o Lead to sound of snap
o High synth sound

8) Snap

Pioneered by DJ Screw in the early 90s

Slow hazy grooves
Screwed slowing down the tempo
Chopped cuts, scratches, pauses (stop-time), rewinds,
skipping beats
Associated with drugs (Purple Drank) and subculture in
Houston in the 1990s
Prescription cough syrup, slows your brain down slow
tempo music matches these effects (sounds hypnotic)
Some songs are made as chopped and screwed tracks, while
others can be remixed into the chopped and screwed style
(edited)

Examples:

Three 6 Mafia Sippin on Some Syrup feat. UGK (2000)

Ridin Dirty (Remix)

o Compare Original vs. Remix (Chopped and
Screwed)
o Slower (screwed)
o Rewinds, scratching, etc. (chopping)

Snap is a Southern dance-oriented genre of hip hop that grew

out of Crunk
o Succeeded on the top 100 charts in 2006-07
o Hip Hop artists: D4L, Lil Scrappy, Soulja Boy, T-Pain
Main groove
o Quite slow (slower than crunk)
o Snapping (replaces snare beat from crunk)
o Hi-hat
o Sparse 808 drums
Dem Franchise Boys Lean Wit it Rock Wit It (2006)
o can hear separate, distinctive layers
o high synth sound
Soula Boy Crank Dat (2007)
o Snap beat
o Drum beats (808)
o Reached #1 on billboard top 100
D4L Laffy Taffy (2006)
o Snap beat
o Drum beats (808)

9) Cocaine Rap

Rick Ross
Centred around drug trade

RELIGION, JAZZ, GENDER, & RACE

Five Percenter Rap

The term refers to rap music created and /or performed by

members of the Five Percent Nation (FPN)
The FPN was founded in 1964 by former Nation of Islam
student minister Clarence 13X
It is an offshoot of the Nation of Islam
Know prominent artists and the sample that we listen to
Allah = God
Prominent artists from this era
o Rakim Allah
o Nas
o Big Daddy Kane
o Pete Rock
o Wu-Tang Clan
o Busta Rhymes
o Bran Nubian
o Poor Righteous Teachers
o Erykah Badu and Queen Latifah
Word is bond hip hop slang
FPN and hip hop flourished around the same time
Prominent themes of Five Percenter rap
o Mathematics: elaborate number play based on
their theology
o Science
o Black Nationalism
o Pan-Africanism
o Kemetic history: historically native Egyptians
were black
o Islamic doctrine
o Community uplift

Brand Nubian: Allah and Justice (1992)

Message-based

Goal: teach about righteousness (lyrics)

Jazz and Bohemian rap influences

o More relaxed flow
o Emphasis on melody; pitched-rapping
o Hand clapping (relaxed)

Lupe Fiasco: Audubon Ballroom

God is great shoutout at the beginning of the track

Arabic saying translated into English

Rap and Religion
Rap and Christianity

Christian Rap (Read pg. 157-158)

o E.g. Gospel Gangstaz

References to Christianity
o Kanye West: Jesus Walks

Rap and Rastafarianism
Rap and Judaism

Jazz Rap/Bohemian

Rap that relied on musical elements from various forms of jazz (including samples)
o Attempt to fuse African American music of the past (jazz), with a new dominant form of the present (rap)
It was seen as a more positive alternative to the hardcore/gangsta movement taking over raps mainstream at the start of the 90s
Often connected to Conscious/Message Rap
Afrika Bambaataas Native Tongues posse a loose collective of New York-based, Afrocentric rap groups was the most important force
in jazz-rap
o Including groups like: A Tribe Called Quest, De La Soul, and the Jungle Brothers
o other notable early artists: Digable Planets and Gang Starr
Elements:
o Cooler, more cerebral
o Artists displayed polticial consciousness historical awareness with musical borrowing, and social commentary
o Seen as more intellectual rap
Embraced by college campuses, a number of critics, and white alternative rock bands

Example

A Tribe Called Quest: Excursions (early 90s)

Gender: Female Rappers and Conflicted Representations

Rappers who directly challenged gender issues

o Message Rap, e.g. Roxanne Shante
o Feminist Rap: Monie Love, Queen Latifah
Female Rappers launched critiques while still fitting in mainstream raps norms
o Lil Kim
o Trina
o Nicki Minaj
Rap is typically thought of as a male-dominated genre

Disproportionate number of female artists whove had success

Less important roles for females mostly anonymous female singers on G-Funk track (e.g. Jewell was featured on a lot of big hits, but not
many people knew who she was)
o Back-up dancers
o Props for male rappers

Gangsta rap lyrics

o Women are objectified
o Derogatory names: bitches, hoes, bad bitch, etc.

Female rappers have a different place/status

o They often have more power and control over their sexuality
o Claimed this power and control by negotiating boundaries by men (artists, producers, executives, video directors, etc.)
o Take on a conflicted representation: simultaneously reinforce norms and resist norms

Hardcore female rappers from 80s-90s

o Often adopt very similar styles of vocal flow to male artists
o Deliver lyrics aggressively, sometimes low pitch vocal timbres
o Explicit sexual lyrics
o E.g. Lil Kim

Dynamic of male rappers and female featured singers

o Through much of the 90s, emphasis was on aggressive male vocals and softer female singers
o Men and women had their roles
o There are some examples, e.g. featured male singers
Examples

Lil Kim: How Many Licks

Trina: Killing You Hoes

Nicki Minaj Anaconda (2014)

Race

Black vs. White

Recognized spectrum of musical styles coded as black or white
o Jazz, R&B, rock, etc.
Tendency to connect musical styles to ethnicity, biological traits
Socio, political, economic factors that lead to development of a genre
Origins of hip hop: looked at ways it began, with African-American and Latino communities
Stereotypes perpetuated, problems of racism

Example

Lupe Fiasco: Bitch Bad

LIST OF HIP HOP SONGS

NEW SCHOOL HIP HOP
The Sequence:
Funk You Up

Late 70s

2 Live Crew
We Want Some
Pussy
Dirty rap/Booty
rap
Eric B. & Rakim
Eric B. Is
President
Hardcore-ish
Rap

Late
1980s

Salt-N-Pepa
Tramp

Lady D
Lady D

Ice-T
Rhyme Pays

Illustrates Eric B.s DJ skills
Rakims verbal skills and rhymes quite aggressive, moving the narrative and style of flow forward
Idea of a middle rhyme (internal rhyme): older rap songs have rhyming ends of phrases; while Rakim used
rhymes within a phrase as well
Not necessarily considered Hardcore Rap, but important to hear musical features

Early Female Rappers

Album went double platinum which was huge compared to other rap albums
Outpouring of support for female MCs, other female rappers also started getting more support
Taking the term tramp (which was often used in male rappers lyrics towards women), and flipping it to
describe men
Saw this quite commonly in the 80s, and even current examples (e.g. TLC No Scrubs)
New school sound of 80s hip hop: compare to LL Cool Js I Need A Beat
Compare to Salt N Peppas Push It
Controversial in the 80s talks about sex

Early Female Rappers

Topic of relationships prominent with female MCs
Idea of asserting control, claiming power
More aggressive attack on men with later 1980s artists such as Salt N Peppa
Funk-oriented groove, backbeat (on beats 2 and 4)

Spoken word intro over Tubular Bells, Part I (The Exorcists movie theme music)
Turntable solos: focus on the DJs skills
DJ Evil E solo: baby-scratching and punch-phrasing the Black Sabbath guitar riff in rhythmically over the drum
machine groove (adding rhythmic activity throughout his solo)
Rock connections
Opening is similar to some rock songs, like heavy metal that have an ominous, dark feel with spoken
intro/passages (minor key, dissonance)

Mid 80s

Early Female Rappers

First single recorded by a female rap crew
DJ techniques: scratching,
Funk groove laid out, rapping on top (common in 1970s)
Not a lot of significant differences between male and female artists at this point
Sexually explicit themes
This group drew the most media attention as a result of it, at the time (albums filled with explicit-themed song
lyrics)
Problematic in terms of misogyny, hints at abuse/rape controversial
No radio airplay, but sold more than half a million copies

N.W.A.
Straight Outta
Compton
DJ Jazzy Jeff &
The Fresh
Prince: Parents
Just Dont
Understand
Humourous Rap
MC Lyte
Paper Thin

Hard, aggressive
Distinctive delivery by each of the MCs (pitch, flow) multiple MCs, change in pitch/flow depending on the
MC
Lyrics: Braggadocio and threats of violence (emerging elements from different traditions coming together)
Layered samples

Playful, novel, fresh

Defining feature: reliance on humour in the lyrics
Commercial appeal
Crossover into TV (Fresh Prince of Bel Air)

Backing track: more sparse texture

Guitar riff connect to rap-rock
Theme: exploration of relationships, cheating guy/trust
issues explored
Strong following for this song (and female rappers in

Many women use their music as a

platform to discuss feminist (or
womanist) issues and concerns
Address black womens rejection of black
mens domination

general) even without a lot of radio play

Late
1980s

Lyrics: wit, sarcasm

Feminism: equality for women, fair
treatment, exploration of womens
issues, womens empowerment, etc.

Eric B. & Rakim
Follow The
Leader

Queen Latifah
feat. Monie
Love: Ladies
First

Public Enemy
Burn Hollywood
Burn
Hardcore Rap

Early 90s

Hard core (predecessor)

Example of hardcore sound
Aggressive musical arrangements, minor key, aggressive lyrical delivery, layered beats, sound effects

R&B, house, reggae influences

Samples (Funk)
th
o 7 Wonders Daisy Lady
o Kool & the Gangs Good Times

Song
o Assertive delivery by Queen Latifah (Monie Love is a little softer)
o Can see it as a boast rap, but also tied to women and their power
o Rich, layered musical texture (many layers in musical background)
o Samples are punch-phrased in at key moments
Stop-time feel: draws attention to key moments in a song

Layered textures* (know for exam)

No melodic intro (rare)

Sonically complex beats, often infused with sound

Aggressive delivery
effects like sirens

Chaotic musical texture (layered beats,

Spoken samples
sound effects)

Scratching

Fast tempo, sudden stops

Hear music that is fragmented, musically disjuncted

Overall message and social issues

(switching up a lot)

Addresses Hollywoods perpetuation of racist

Evoked a city in chaos (amplified meaning of the

stereotypes
lyrics, created an atmosphere that spoke to the

Clips from old films, black face imagery

overall message)
juxtaposition of very racist images alongside

Lyrics: performed rhythmically by the artist, the

the rappers in present day
delivery conveys a sense of urgency (adds to the

Criticism that public enemy was launching at

sense of chaos)
the film industry: continual debate in relation

Polyrhythms (more than one independent rhythmic

to representations within the American media
layer at a time)
in particular

E.g. when Chuck D rapping: sense of urgency

Perpetuating ideas that black men are thugs,

black men are criminals (stereotypes) a lot

of rappers have fought against, but was
present in the 90s

Both men and women were resisting against

police brutality, poverty, these stereotypes
the adoption of the gangsta rap persona was
originally a protest, with the social criticism
present

Public Enemy
Fight the Power
Hardcore Rap

Dr. Dre (Feat.

Snoop Dogg &
Jewell)
Let Me Ride
G-Funk

o Rich, dense musical texture (layered sounds, and choice of those sounds)
o Sounds aggressive, chaotic contributes to lyrical message
An appeal that moved beyond rap: punk as well (the textures are related)

Parliaments Mothership (1970s)

Bill Withers Kissing My Love (1970s)
James Brown Funky Drummer
High pitched synth sound (whiny sound) sampled from
Parliaments Mothership
Slower tempo
Lyrics and musical elements combined give us the genres
characteristics

Defined a new west coast style (tie to the

east/west coast feuding)
Pioneering album of G-Funk
Snoop Dogg was featured on a number
of tracks

2Pac
Dear Mama
Rap Ballad

Deals with social issues

Takes samples from soul and funk songs
Held up as one of the main tracks in a line of songs where male rappers praise their mothers

Mid 90s

2Pac (Feat. Dr.

Dre & Roger
Troutman):
California Love
G-Funk

Samples from soul and funk
Laidback feel
Gangsta rap themes
Party atmosphere associated with some G-Funk music

Based on The Way It Is: Bruce Hornsby
o Piano melody is sampled
o Part of backing track is sampled
o Lyrical content: issues of joblessness, racism
o Soft rock/pop vibe
Some hip hop elements added:
o Aggressive vocals
o Newly performed vocals by Talent
o Drums are more prominent
o Some lyrical changes: some things will never
change things will never be the same

Late 90s

2Pac
Changes
Conscoius Rap

Death Row Records
Roger Troutman sings the chorus,
calling a vocal processor

Social/political commentary
2Pac: more specific commentary on
drugs, racism, police brutality
Chose a meaningful sample

SOUTHERN RAP

Early 90s

2 Live Crew:
Face Down Ass
Up
Miami Bass

69 Boyz
Tootsee Roll
Miami Bass

Mid 90s

Late 90s

Content: Mutilation, murder, horrific acts

But also: Environmental roots, social
conditions of tolerance of this kind of
criminal behaviour in certain
communities
Idea of using shock value to spark
discussion (e.g. Eminem)

o
o

Drum machine, deep beats

Actions associated with the song

Drum machine, deep beats

Goodie Mob
feat. Big Boi
Dirty South

They rely not only on Gangsta themes and sounds, but also
on another rap subgenre: horror rap (or horrorcore)

Horror themed lyrical content and imagery

Other horror rap artists include Gravediggaz, Insane

Clown Posse, Dark Lotus
The Geto Boys explored themes associated with other
gangsta rap; ghetto living can inspire criminal behaviour,
depression, and suicidal thoughts
Dance music/influenced by dance scenes in Miami and
Detroit
Emerged in the mid 80s
Similar to Booty Rap
Early Miami pioneers: 2 Live Crew and DJ Magic Mike
Reliance on drum machines (including 808s)
Musical characteristics: Deep beats, fast tempo, rhythms
that have been described as hyperkinetic and stop and
start

Geto Boys
Mind of a
Lunatic
Southern
Gangsta
Rap/Horror Rap

Outkast
Rosa Parks
Southern
(Message) Rap

Master P Make
em say Uhh!
Southern
Gangsta Rap
C-Murder feat.
UGK and Master
P Akickdoe!
Southern
Gangsta Rap

Juvenile,
Pimpinabitch
Bounce

Dirty South drew from both G-funk and 2 Live Crews

G-funk elements: synthesized bassline,

dirty traditions
groove, slower laidback beat, higher
Themes: drugs, violence sex (very profane/dirty)
pitched synthesized interjections

The style drew its name from Goodie Mobs 1995 song of
the same name
Referred to civil rights activist Rosa Parks
Sued Outkast because they didnt want her name associated with foul language in the song
By invoking the name of the term, there is potential to interpret a message, but its not as direct as Message
Rap

Aggressive, gritty
Drum machine (808), slower beats (can connect to Miami bass, but not as upbeat)
Vocal inflections: Southern (distinguishes it from East or West Coast Gangsta Rap)

G-funk influence: high pitched synth
Drum machine (808): slower beat
Collaboration of rap artists

New Orleans subgenre of hip hop
Energetic
New Orleans carnival beats and Mardi Gras Chants (often
use call and response)
Emphasis on bass and percussion (drumline progressions,
fluttering high hats snare trills)

Shouting out to the crowd

Lyrical themes from Gangsta Rap
Cash Money Records brought it to the
mainstream
Twerking




Late 90s

o
o
o
o

Lil John,
Get Crunk
Crunk

David Banner
(Feat. Lil Flip),
Like a Pimp
Bounce

Early 00s

Three 6 Mafia
Sippin on Some
Syrup feat. UGK
Chopped &
Screwed

o
o
o
Lil John:
Get Low
Crunk
o

Mid
2000s

Dem Franchise
Boys
Lean Wit it
Rock Wit It
Snap

Late
2000s

D4L
Laffy Taffy
Snap
Soula Boy
Crank Dat
Snap

Big synthesizer lines

Heavy bassline
Shouting vocals (chants) often utilizing call and response
Focus on

Synthesized bass heavy rhythms

Shouted party chants

Shouted party chants (often references drinking, drugs, sex)

absence of R&B influence
Emphasis on music/soundscape more than vocals (tend to get repeated lyrics)
Triggerman borrowing: electronic synthesizer line
Drum machines, synthesizer stabs, warbling synthesizer squeal (end of each phrase) idea of a constant
loop/cycle (repetitive)
Bounce sound in the mainstream, associated to the South
Aggressive vocal delivery
Party-oriented themes
Chorus: Call & Response between David Banner and Lil Flip (Get Down on the Floor vs. Like a Pimp
interjections)
o Project Pat Ballers: sippin on some
Main groove: hypnotic, repetitive
sizzurp
o Bass guitar
o Marvin Gayes Is That Enough
o Drum machine

o Buzzing synth
o Hi hats (occasional)
o Musical Borrowings
Vocals: shapes the song
o Varies and gives the song a slight build, while
musical texture is more constant
Heavy bassline
o Lil Jon & the Eastside Boys
Shouting vocals (chants) often utilizing call and response
o Kings of Crunk album
Focus on
o Get Low helped propel crunk into
North American spotlight

Synthesized bass heavy rhythms

o Objectification of women in the

Shouted party chants

video

Shouted party chants (often references drinking,

drugs, sex)
absence of R&B influence
Southern dance-oriented genre of hip hop that grew
out of Crunk
Main groove
o Quite slow (slower than crunk)
o Snapping (replaces snare beat from crunk)
o Hi-hat
o Sparse 808 drums

o
o

can hear separate, distinctive layers

high synth sound

o
o

Snap beat
Drum beats (808)

The genre name refers to rap music

created and /or performed by
members of the Five Percent Nation
(FPN)
It is an offshoot of the Nation of
Islam
Allah = God
Samples
o Bassline and Horn melody:
Art Blakey A Chant for Bu
o Drum break: Shade of
Brown The Soil I Tilled
o Vocal sample: Last Poets
Time

RELIGION, JAZZ, GENDER, & RACE

Brand Nubian:
Allah and
Justice
Five Percenter
Rap

Early 90s
A Tribe Called
Quest:
Excursions
Jazz Rap

Message-based
Goal: teach about righteousness (lyrics)
Jazz and Bohemian rap influences
o More relaxed flow
o Emphasis on melody; pitched-rapping
o Hand clapping (relaxed)
Music
o
o
o
o

Lack of aggression in vocal delivery

compared to other rap genres
Vocal interjections: shoutouts
Diverse lyrical themes (meant to make you
think)
Abrupt ending

Early
2000s

Lil Kim:
How Many
Licks

Mid
2000s

Kanye West:
Jesus Walks
Christian Rap

Late
2000s

Trina:
Killing You
Hoes

Early
2010s

Lupe Fiasco:
Bitch Bad

Mid
2010s

Nicki Minaj:
Anaconda

Talking about demanding sexual pleasure from men

Claiming power through ability to turn men on
Does this using her body, revealing clothing, etc.
Pin up posters and packaged dolls of Lil Kim objectification?
o Body parts pieced together for the dolls
o Think about how women are objectified in music videos close ups of womens body parts
o Lil Kim presented as an object, a doll

Lil Kim:

Aggressive rhymes, verbal skill, profanity, violent and sexually explicit content

The success of women rappers has suffered men set the standard of whats acceptable in hip hop, set
rules for what styles will be most popular

While there are differences between female and male rappers, many have adopted this male standard
of rap in their music

Many have also adopted a sexual public persona conventional notions of rap at the time

Addressed sexuality issues using the lyrics and flow towards men
o promotional photos in sexually explicit poses/outfits
o Their lyrics against this: about controlling sexuality, and controlling men

Military march style (drum pattern)

o ARC Choir Walk With Me: forms

Musical elements associated with religion

the basis of the track

Lyrics: address references to religion and commentary

o Curtis Mayfield If Theres a Hell
on racism
Below Were All Going to Go:

Gasping in the music: e.g. its hard getting choked by

interjection that comes back
the detectives
repeatedly (~0:30)

Rupture: abrupt change (musical fabric being disrupted)

o

o Comparing herself to other women

Followed in footsteps of fellow hardcore rappers (e.g.

o Better dressed, more attractive,
Lil Kim)
better body, more sexual

Known for aggressive flows, crude lyrics

o Boast about being independent,

Reliance on both violent and sexual images both

confident
important to her persona
o Also insults other women

Attitude: refers to herself as a bitch

o Similar way that male rappers reclaim the
Violent references
word nigga
o Threatens violence to her opponent
o Reclaiming a negative term, and putting a

positive spin on it

Ho is a similar archetype as a Pimp (position of power

when women reclaim this term, not a position of
submission)
o Position of power comes from using her
sexuality to procure what she wants

Critique on misogyny in hip hop realm, inversion of common phrase bad bitch

Early hip hop: misogyny wasnt as prevalent

Objectification of womens bodies in hip hop spike with gangsta rap in early 90s with NWA, and 2 Live
Crew (Pop that Pussy)

Evolution of how women are portrayed in hip hop culture

Women are either a bitch or a ho, these ideas arent completely gone now the phrase bad bitch is
often used

Video: multi-layer commentary

o Narrator is performing in front of stage, critiquing
o Rapper who is developed as a feature character, embodies may of the traits of masculinity in hip
hop
o Female backup dancer subordinate to male rapper
o Putting on costumes, and taking them off (grills, chains, butt injection) juxtaposed with
blackface (putting on, and taking off) calling these practices similar, and calling hip hop
racist
o Shows these acts as performative acts its their work, not naturalized performances

Samples: Sir Mix-a-lot

Embraces sexuality

Demands equality
o Reclaims vocabulary: bad bitch (merging of bitch and ho into a single identity)

IMPORTANT ISSUES

Documentary: History of beefs in rap

Kool Moe Dee & Busy Bee: Christmas Battle 1981 pivotal moment
o Rap battles started being about attacking your opponent

Importance of geographical areas

o South Bronx vs. Queensbridge
o East Coast vs. West Coast
o Pride and where youre from
o Ability for a particular set of musical characteristics to come together with what is happening in a geographical location

Gang and mafia mentality: more violent threats

o Gangsta rap led to a different style of rap battles because of the lyrical content and level of aggression
o Emphasizes skills on the street as much as skills on the mic

NWA feud and break up

50 Cent: idea of beef connected to his persona (being shot 9 times, stabbed, etc. part of his brand)

Masculinity in hip hop

o These beefs are connected to a particular type of masculinity or idealized aversion of masculinity
o Men are powerful, strong, dominant, assertive, show emotional reserve taken to extremes (being aggressive and following
through with violent threats)
o Street credibility is huge, tied to thug persona
o Not a realistic version of masculinity, but this is supposedly idealized in society
o There are also rappers that resist this version of masculinity

Role of the Media

o Coverage of beefs
o Made people take sides, etc.
o Quote from artist in the documentary: makes our culture look bad, and makes us look stupid
Important Notes

Gives us a lot of historical context and most of the examples are from the 90s

It gives us a one dimensional picture of 90s mainstream hip hop

We could look at a figure like Tupac, who was at the centre of this big East coast vs. West coast debate, and explore more of his music

It wasnt just one dimensional, even the artists who were at the centre of these feuds still addressed a wide variety of themes

Core of gangsta rap: commentary on political and social issues, etc.

But there are other things that offer a more diverse picture

Documentary: Hip Hop Beyond Beats and Rhymes

How negative representations of African Americans are portrayed through hip hop, and negative representatives of black masculinity
(gender and race issues together)
Pressures of black masculinity: Being a pimp, having money, girls, etc.
Daytona rappers stepped up to the mic and took on a violent persona
Negative stereotypes, racist imagery
Tradition of blackface minstrelsy performers blacken faces and present racist stereotypes
Caricatures of black masculinity (in hip hop, stemming from blackface minstrelsy)

Gender: Female Rappers and Conflicted Representations

Rappers who directly challenged gender issues

o Message Rap, e.g. Roxanne Shante
o Feminist Rap: Monie Love, Queen Latifah
Female Rappers launched critiques while still fitting in mainstream raps norms
o Lil Kim
o Trina
o Nicki Minaj
Rap is typically thought of as a male-dominated genre
Disproportionate number of female artists whove had success
Less important roles for females mostly anonymous female singers on G-Funk track (e.g. Jewell was featured on a lot of big hits, but not
many people knew who she was)
o Back-up dancers
o Props for male rappers
Gangsta rap lyrics
o Women are objectified
o Derogatory names: bitches, hoes, bad bitch, etc.

Female rappers have a different place/status

o They often have more power and control over their sexuality
o Claimed this power and control by negotiating boundaries by men (artists, producers, executives, video directors, etc.)
o Take on a conflicted representation: simultaneously reinforce norms and resist norms
Hardcore female rappers from 80s-90s
o Often adopt very similar styles of vocal flow to male artists
o Deliver lyrics aggressively, sometimes low pitch vocal timbres
o Explicit sexual lyrics
o E.g. Lil Kim
Dynamic of male rappers and female featured singers
o Through much of the 90s, emphasis was on aggressive male vocals and softer female singers
o Men and women had their roles
o There are some examples, e.g. featured male singers