|
wikipedia-ból:
Hip hop began in New York City when DJs began isolating the percussion break from funk and disco songs.
[...]
The instrumentation of hip hop derives from disco, funk, and R&B, both in the sound systems and records sampled and session musicians and their instrumentation used. Disco and club DJs' use of mixing originated from the need to have continuous music and thus smooth transitions between tracks. Hip hop Kool DJ Herc, in contrast, originated the practice of isolating and extending only the break—a short percussion solo interlude—by mixing between two copies of the same record. This was, according to Afrika Bambaataa, the "certain part of the record that everybody waits for—they just let their inner self go and get wild." (Toop, 1991) James Brown, Bob James, and Parliament—among many others—have long been popular sources for breaks. Over this one could and did add instrumental parts from other records, frequently as horn punches (ibid). Thus the instrumentation of early sampled or sound system-based hip hop is the same as funk, disco, or rock: vocals, guitar, keyboards, bass, drums and percussion.
a new york times-ból:
A Marathon Reunion Of Disco's Descendants
By JON PARELES
Published: August 25, 1997
Disco music never died, but over 20 years it has mutated in ways no one foresaw. Dance hits from 1975 to 1997 were performed at Beatstock, an 8-hour, 52-act show on Saturday at Runway 24 of Floyd Bennett Field in Brooklyn. It was presented by WKTU (103.5 FM in New York City) and reflected the station's format.
While people dance to all kinds of tunes, WKTU favors dance music corresponding to a demographic slice of New York: songs that use pop melody, hip-hop swagger, a touch of funk and, often, a dollop of Latin rhythm and percussion. Many singers tossed in phrases in Spanish, usually ''Te quiero'' (''I want you''). To judge by Beatstock's audience, it is music for people in their teens and early 20's from the outer boroughs, the suburbs and the barrios.
The biggest crowd pleaser was the Sugar Hill Gang, which released a cornerstone of hip-hop, ''Rapper's Delight,'' in 1979. Although the Gang now borrows rap oldies from other groups (''The Message'' and ''The Breaks''), when it reached ''Rapper's Delight'' it galvanized the audience. Yet Beatstock generally steered clear of hip-hop. It surveyed the legacy of disco, from the days when dance-club disk jockeys latched onto certain styles of soul music, to the current era when dance music has been stripped down to functionality and divided into subgenres.
The concert was a caucus of one-hit, two-hit and a few three-hit wonders, testimony to the dance music's ruthless demand for novelty. Beatstock, with each act given between 4 and 20 minutes and backed by tapes, wasn't likely to attract the singers who have made long pop careers from a dance-music foundation, like Donna Summer or Madonna (though Cyndi Lauper did appear, plugging the dance remix of her song about a drag queen, ''Ballad of Cleo and Joe'').
Yet many of the performers -- among them France Joli, Shannon, KWS, Sharon Brown, Judy Torres and Nayobe -- have striking voices, long after their hit streaks have ended. Perhaps there's a subliminal connection between one-hit wonders and the one-night stands that start on dance floors.
The songs, by and large, carried four varieties of lyrics: I want you; I miss you; you hurt me, and I don't want to miss you anymore, so I'll dance. Gospel-rooted singers, like D-Train or Cathy Sledge (of Sister Sledge), offered uplifting sentiments. Performers turned their segments into MTV-like vignettes, with dancers to depict seduction and athleticism. After singing along with their own recorded voices, some belted a cappella to prove they weren't entirely faking. They dressed to flaunt young bodies or conceal aging ones; it was a big afternoon for halter tops and feather boas.
Vito Bruno produced the concert with a curatorial ear. Most of the songs claimed No. 1 status from the dance-music chart (not the pop Top 10). But Mr. Bruno managed to find not just performers pushing comeback hits, among them Crystal Waters and Ultra Nate, but distinctive, nearly forgotten oldies: Anita Ward's Middle Eastern-tinged ''Ring My Bell'' from 1979, Taana Gardner's sparse and stubbornly slow ''Heartbeat'' from 1981, Colonel Abrams's desperate ''Trapped'' from 1985.
Mid-70's hits by Vicki Sue Robinson and First Choice (represented by the still gutsy Rochelle Flemming) were tied to rhythm-and-blues and Broadway. By the mid-80's, hip-hop was established, and so was a subgenre called freestyle, apparently sprung full-blown from the Supremes' minor-key, Latin-garnished ''Love Child.'' During the 90's, acoustic instruments all but disappeared, and songs have shrunk to catch phrases like ''Wiggle It'' (by 2 in a Room, 1990) and one-chord electronic pulses like Sandy B's 1996 ''Make the World Go Round.'' Reggae has also worked into the mix, with dancehall-style rapping from Reel 2 Real and straightforward pop-reggae from Diana King.
In the current No. 1 dance hit, ''Din Da Da,'' Kevin Aviance grunts and scats a vocal equivalent of a drum solo, above a richly propulsive rhythm track that melds a choir, echoes of spy-movie themes and plenty of drums. Mr. Aviance had the day's best costume, a blue, green and yellow striped lame outfit that made him look like a Busby Berkeley mermaid. ''We want to live forever!'' he declared as he urged listeners to use condoms. Perhaps, if he's lucky, he'll have another hit.
|
Login
Register
FAQ
Search
első rész
