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Hip Hop History

Rap music originated as a cross-culturalcontaining dozens of sound bites specifically
product. Most of its important earlyto facilitate sampling. One effect of
practitioners-including Kool Herc, D.J.sampling was a newfound sense of musical
Hollywood, and Afrika Bambaataa-were eitherhistory among black youth. Earlier artists
first- or second-generation Americans ofsuch as Brown and Clinton were celebrated as
Caribbean ancestry. Herc and Hollywood arecultural heroes and their older recordings
both credited with introducing the Jamaicanwere reissued and repopularized.During the
style of cutting and mixing into the musicalmid-1980s, rap moved from the fringes of
culture of the South Bronx. By most accountship-hop culture to the mainstream of the
Herc was the first DJ to buy two copies ofAmerican music industry as white musicians
the same record for just a 15-second breakbegan to embrace the new style. In 1986 rap
(rhythmic instrumental segment) in thereached the top ten on the Billboard pop
middle. By mixing back and forth between thecharts with "(You Gotta) Fight for Your Right
two copies he was able to double, triple, or(To Party!)" by the Beastie Boys and "Walk
indefinitely extend the break. In so doing,This Way" by Run-DMC and Aerosmith. Known for
Herc effectively deconstructed andincorporating rock music into its raps,
reconstructed so-called found sound, usingRun-DMC became one of the first rap groups to
the turntable as a musical instrument.Whilebe featured regularly on MTV (Music
he was cutting with two turntables, HercTelevision). Also during the mid-1980s, the
would also perform with the microphone infirst female rap group of consequence,
Jamaican toasting style-joking, boasting, andSalt-N-Pepa, released the singles "The Show
using myriad in-group references. Herc'sStoppa" (1985) and "Push It" (1987); "Push
musical parties eventually gained notorietyIt" reached the top 20 on Billboard's pop
and were often documented on cassette tapescharts. In the late 1980s a large segment of
that were recorded with the relatively newrap became highly politicized, resulting in
boombox, or blaster, technology. Tapedthe most overt social agenda in popular music
duplicates of these parties rapidly madesince the urban folk movement of the 1960s.
their way through the Bronx, Brooklyn, andThe groups Public Enemy and Boogie Down
uptown Manhattan, spawning a number ofProductions epitomized this political style
similar DJ acts. Among the new breed of DJsof rap. Public Enemy came to prominence with
was Afrika Bambaataa, the first importanttheir second album, It Takes a Nation of
Black Muslim in rap. (The Muslim presenceMillions to Hold Us Back (1988), and the
would become very influential in the latetheme song "Fight the Power" from the motion
1980s.) Bambaataa often engaged inpicture Do the Right Thing (1989),by American
sound-system battles with Herc, similar tofilmmaker Spike Lee. Proclaiming the
the so-called cutting contests in jazz aimportance of rap in black American culture,
generation earlier. The sound systemPublic Enemy's lead singer, Chuck D.,
competitions were held at city parks, wherereferred to it as the African American CNN
hot-wired street lamps supplied electricity,(Cable News Network).Alongside the rise of
or at local clubs. Bambaataa sometimes mixedpolitical rap came the introduction of
sounds from rock-music recordings andgangsta rap, which attempts to depict an
television shows into the standard funk andoutlaw lifestyle of sex, drugs, and violence
disco fare that Herc and most of hisin inner-city America. In 1988 the first
followers relied upon. By using rock records,major album of gangsta rap was released:
Bambaataa extended rap beyond the immediateStraight Outta Compton by the rap group NWA
reference points of contemporary black youth(Niggaz With Attitude). Songs from the album
culture. By the 1990s any sound source wasgenerated an extraordinary amount of
considered fair game and rap artists borrowedcontroversy for their violent attitudes and
sounds from such disparate sources as Israeliinspired protests from a number of
folk music, bebop jazz records, andorganizations, including the FBI (Federal
television news broadcasts.In 1976Bureau of Investigation). However, attempts
Grandmaster Flash introduced the technique Into censor gangsta rap only served to
1979 the first two rap records appeared:publicize the music and make it more
"King Tim III (Personality Jock)," recordedattractive to both black and white youths.
by the Fatback Band, and "Rapper's Delight,"NWA became a platform for launching the solo
by Sugarhill Gang. A series of verses recitedcareers of some of the most influential
by the three members of Sugarhill Gang,rappers and rap producers in the gangsta
"Rapper's Delight" became a national hit,style, including Dr. Dre, Ice Cube, and
reaching number 36 on the Billboard magazineEazy-E.In the 1990s rap became increasingly
popular music charts. The spoken content,eclectic, demonstrating a seemingly limitless
mostly braggadocio spiced with fantasy, wascapacity to draw samples from any and all
derived largely from a pool of material usedmusical forms. A number of rap artists have
by most of the earlier rappers. The backingborrowed from jazz, using samples as well as
track for "Rapper's Delight" was supplied bylive music. Some of the most influential
hired studio musicians, who replicated thejazz-rap recordings include Jazzamatazz CD
basic groove of the hit song "Good Times"(1993), an album by Boston rapper Guru, and
(1979) by the American disco group Chic."Cantaloop (Flip Fantasia)" (1993), a single
Perceived as novel by many white Americans,by the British group US3. In the United
"Rapper's Delight" quickly inspired "Rapture"Kingdom, jazz-rap evolved into a genre known
(1980) by the new-wave band Blondie, as wellas trip-hop, the most prominent artists and
as a number of other popular records. In 1982groups being Tricky and Massive Attack. As
Afrika Bambaataa's "Planet Rock" became therap became increasingly part of the American
first rap record to use synthesizers and anmainstream in the 1990s, political rap became
electronic drum machine. With this recording,less prominent while gangsta rap, as
rap artists began to create their own backingepitomized by the Geto Boys, Snoop Doggy
tracks rather than simply offering the workDogg, and Tupac Shakur, grew in
of others in a new context. A year laterpopularity.Since the mid-1980s rap music has
Bambaataa introduced the samplinggreatly influenced both black and white
capabilities of synthesizers on "Looking forculture in North America. Much of the slang
the Perfect Beat" (1983).of quick mixing, inof hip-hop culture, including such terms as
which sound bites as short as one or twodis, fly, def, chill, and wack, have become
seconds are combined for a collage effect.standard parts of the vocabulary of a
Quick mixing paralleled the rapid-editingsignificant number of young people of various
style of television advertising used at theethnic origins. Many rap enthusiasts assert
time. Shortly after Flash introduced quickthat rap functions as a voice for a community
mixing, his partner Grandmaster Melle Melwithout access to the mainstream media.
composed the first extended stories in rhymedAccording to advocates, rap serves to
rap. Up to this point, most of the wordsengender self-pride, self-help, and
heard over the work of disc jockeys such asself-improvement, communicating a positive
Herc, Bambaataa, and Flash had beenand fulfilling sense of black history that is
improvised phrases and expressions. In 1978largely absent from other American
DJ Grand Wizard Theodore introduced theinstitutions. Political rap artists have
technique of scratching to produce rhythmicspurred interest in the Black Muslim movement
patterns.Sampling brought into question theas articulated by minister Louis Farrakhan,
ownership of sound. Some artists claimed thatgenerating much criticism from those who view
by sampling recordings of a prominent blackFarrakhan as a racist. Gangsta rap has also
artist, such as funk musician James Brown,been severely criticised for lyrics that many
they were challenging white corporate Americapeople interpret as glorifying the most
and the recording industry's right to ownviolent and misogynistic (woman-hating)
black cultural expression. More problematicimagery in the history of popular music. The
was the fact that rap artists were alsostyle's popularity with middle-class whites
challenging Brown's and other musicians'has been attacked as vicarious thrill-seeking
right to own, control, and be compensated forof the most insidious sort. Defenders of
the use of their intellectual creations. Bygangsta rap argue that no matter who is
the early 1990s a system had come aboutlistening to the music, the raps are
whereby most artists requested permission andjustified because they accurately portray
negotiated some form of compensation for thelife in inner-city is the #1 Hip Hop Jewelry
use of samples. Some commonly sampledretailer on the net. We have all the Bling
performers, such as funk musician GeorgeBling that you are looking for.
Clinton, released compact discs (CDs)



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