World music

World Music Institute

Strongbad explains death metal

Homestarrunner

History of electronic instruments

This looks like quite a comprehensive website about

electronic instruments

Where are they now?

Odin

Block 2 Exam

A reminder that next week's (week 9) lecture/workshop will include the Block 2 exam.
Questions will centre on the readings from weeks 6 to 9, as well as general knowledge and listening skills. And maybe a question on Odin, I'm not sure yet ("Odin! Odin! Odin!").

Metal

Judas Priest - 'Breaking the Law'




Iron Maiden - 'Run to the Hills'



Van Halen - 'Hot For Teacher'



Quiet Riot - 'Cum On Feel The Noize'



Twisted Sister - 'We're Not Gonna Take It'



Slayer - 'The Anti-Christ'(Live)



Metallica - 'One'



Guns 'N' Roses - 'Paradise City'



Kiss - 'God Gave Rock and Roll To You'



Sepultura - 'Arise'

Week 7 Lecture notes: Hip Hop

Hip hop as a musical form

Simon Frith: too much emphasis on lyrics can get in way of understanding musical form
Funk: credited as formal basis of hip hop, but also ‘pre-encoded’ with political/social significance.
Mathew P. Brown: black empowerment embedded in funk

From funk to hip hop

Black music = communal artistic expression; thus funk ‘critically ghettoized’ as mere dance music, not art
African-American culture original postmodern art: repetition + rupture, techniques inherent in African formal techniques; surface in gospel, blues, jazz, funk…hip hop
Thus sense of community encoded into funk and its derivatives; overrides misogynistic/‘black-on-black violence’ rhetoric of rap lyrics
Common lyrical themes: urban decay/black under-class (Sly & the Family Stone/ Grandmaster Flash and the Furious Five)

Non-NY hip hop

(Murray Forman, ‘"Represent": race, space and place in rap music’)
Late 1980s regional rap - the South: 2 Live Crew (Miami), The Geto Boys (Houston); Northwest: Sir Mix-A-Lot (Seattle); California: Digital Underground, Tupac (San Francisco); Ice T, N.W.A. (LA)
Leads to East Coast/West Coast rivalry

Rap labels

Entrepreneurship: self-management; own record labels; talent scouting
Greater creative control/increased returns
Labels: Def Jam, Tommy Boy, Jive, Skyywalker (2 Live Crew), Ruthless (Easy E), Rhyme Syndicate (Ice T), Death Row
Majors launch rap labels

The 'posse' business model

Death Row Records, began in 1992 by Suge Knight & Dr Dre
Records: Dre, Snoop Doggy Dogg, Tupac Shakur
Organizational structure based localized ‘posses’
1996-1997: Suge arrested; Tupac killed; FBI investigation; Dre & Snoop leave
Chuck D: posse formations response to fragmenting effects of capitalism
Laurie Gunst: influence of Jamaican crime posses/musical traditions

Posses and musical style

Posse influential element in emergence of regional sounds
G-funk (LA) : Dr Dre’s The Chronic (1992), Boo Yaa Tribe, Above the Law, Compton’s Most Wanted etc.; ‘laid-back’ influence of George Clinton, Bootsy Collins, Gap Band
Brian Cross: representative of late arrival of hip to West Coast; more smooth funk influence
Verses cacophonous East Coast jams (Bomb Squad/Public Enemy); no cars--'Walkman music', less bass
Miami: ‘booty bass’ from car culture

'I said a hip hop the hippie the hippie to the hip hip hop a you dont stop...'

Sugar Hill Gang - ‘Rapper’s Delight’



Grandmaster Flash and the Furious Five – ‘The Message’



Run DMC – ‘It’s Tricky’



Beastie Boys commercial for License to Ill



Stetsasonic – ‘Talkin’ All That Jazz’



De La Soul – ‘Me Myself and I’



Queen Latifah - ‘Fly Girl’



Public Enemy – ‘911 is a Joke’




Ice-T – ‘I'm your Pusher’



NWA – ‘Straight Outta Compton’ (Warning: many, many swears)



Del Tha Funkee Homosapien – ‘Mistadobalina’



A Tribe Called Quest - ‘Bonita Applebum’



Beck – ‘Where It’s At’ (Live)



Wu Tang Clan – ‘C.R.E.A.M.’