|
The new school of hip hop was a movement in hip hop music starting 1983–84 with the early records of Run–D.M.C. and LL Cool J. Like the hip hop preceding it, it came predominantly from New York City. The new school was initially characterized in form by drum machine led minimalism, often tinged with elements of rock. It was notable for taunts and boasts about rapping, and socio-political commentary, both delivered in an aggressive, self-assertive style. In image as in song its artists projected a tough, cool, street b-boy attitude. These elements contrasted sharply with the funk and disco influenced outfits, novelty hits, live bands, synthesizers and party rhymes of artists prevalent in 1984, and rendered them old school. New school artists made shorter songs that could more easily gain radio play, and more cohesive LPs than their old school counterparts. By 1986 their releases began to establish the hip hop album as a fixture of the mainstream. More inclusively, golden age hip hop is a phrase usually framing the late 1980s in mainstream hip hop,〔Caramanica, Jon. ("Hip-Hop's Raiders of the Lost Archives" ), ''New York Times'', June 26, 2005. Retrieved on July 2, 2008. Coker, Cheo H. ("Slick Rick: Behind Bars" ), ''Rolling Stone'', March 9, 1995. O'Neal Parker, Lonnae. ("U-Md. Senior Aaron McGruder's Edgy Hip-Hop Comic Gets Raves, but No Takers" ), ''Washington Post'', August 20, 1997. Retrieved on July 2, 2008.〕 said to be characterized by its diversity, quality, innovation and influence,〔Coyle, Jake. ("Spin magazine picks Radiohead CD as best" ), Associated Press, published in ''USA Today'', June 19, 2005. Coker, Cheo H.("Slick Rick: Behind Bars" ), ''Rolling Stone'', March 9, 1995. Drever, Andrew. ("Jungle Brothers still untamed" ), ''The Age'' (), October 24, 2003. Retrieved on July 2, 2008.〕 and associated with Public Enemy, KRS-One and his Boogie Down Productions, Eric B. & Rakim, Ultramagnetic MCs, De La Soul, A Tribe Called Quest, and the Jungle Brothers〔Per Coker, Hodgkinson, Drever, Thill, O'Neal Parker and Sariq. Additionally: Coker, Cheo H. ("KRS-One: Krs-One" ), ''Rolling Stone'', November 16, 1995. Pettie, Andrew. ("'Where rap went wrong'" ), ''Daily Telegraph'', August 11, 2005. Reeves, Mosi. ("Easy-Chair Rap" ), ''Village Voice'', January 29th 2002. Kot, Greg. ("Hip-Hop Below the Mainstream" ), Los Angeles Times, September 19, 2001. Coker, Cheo Hodari. ("'It's a Beautiful Feeling'" ), ''Los Angeles Times'', August 11, 1996. Mervis, Scott. ("From Kool Herc to 50 Cent, the story of rap -- so far" ), ''Pittsburgh Post-Gazette'', February 15, 2004. Retrieved on July 2, 2008.〕 due to their themes of Afrocentricity and political militancy, their experimental music, and their eclectic sampling.〔Sariq, Roni. ("Crazy Wisdom Masters" ), ''City Pages'', April 16, 1997. Thill, Scott. ("Whiteness Visible" ) AlterNet, May 6, 2005. Hodgkinson, Will. ("Adventures on the wheels of steel" ), ''The Guardian'', September 19, 2003. Retrieved on July 2, 2008.〕 This same period is sometimes referred to as "mid-school" or a "middle school" in hip hop, the phrase covering acts like Gang Starr, The UMC's, Main Source, Lord Finesse, EPMD, Just Ice, Stetsasonic, True Mathematics, and Mantronix.〔Scholtes, Peter S. ("True MCs" ), City Pages, January 7, 1998. Retrieved on July 2, 2008.〕〔DJ Shadow in conversation with William E. Ketchum III, ("DJ Shadow Knockin' Doorz Down" ), XXL, August 24, 2006. Retrieved on July 2, 2008.〕〔Downes, Maurice. ("Talking Philosophy with DJ Nu-Mark" ), ''The Free Williamsburg'' issue 53, August 2004.〕 The innovations of Run-D.M.C., LL Cool J, and new school producers such as Larry Smith, and Rick Rubin of Def Jam, were quickly advanced on by the Beastie Boys, Marley Marl and his Juice Crew MCs, Boogie Down Productions, Public Enemy, and Eric B. & Rakim. Hip-hop production became denser, rhymes and beats faster, as the drum machine was augmented with the sampler technology. Rakim took lyrics about the art of rapping to new heights, while KRS-One and Chuck D pushed "message rap" towards black activism. Native Tongues artists' inclusive, sample-crowded music accompanied their positivity, Afrocentricity and playful energy. With the eventual commercial dominance of West Coast gangsta rap, particularly the emergence of the relaxed sounds of G-funk by the early nineties, the East Coast new school/golden age can be said to have ended, with hardcore rappers such as the Wu-Tang Clan and gangsta rappers such as Nas and The Notorious B.I.G. coming to dominate the East Coast scene. The terms "old school" and "new school" have fallen more and more into the common vernacular as synonyms for "old" and "new" (witness the 2003 Urban Dictionary entry for ''new school'' which reads, "Anything contemporary") and are often applied in this conversational way to hip hop, to the confusion and occasional exasperation of writers who use the terms historically. The phrase "leader of the new school", coined in hip hop by Chuck D in 1988, and presumably given further currency by the group with the exact name Leaders of the New School (who were named by Chuck D prior to signing with Elektra in 1989), remains popular. It has been applied to artists ranging from Jay-Z to Lupe Fiasco.〔Dinco D, in conversation with Derek Phifer, ("Leader of The New School: Dinco D." ), ''HHNLive'', October 15, 2007. Retrieved on July 4, 2008.〕〔Callahan-Bever, Noah. ("Lupe Fiasco - Grindin'" ), ''Vibe'', January 18, 2006. Retrieved on July 2, 2008.〕 ==Prehistory== Elements of new school had existed in some form in the popular culture since hip-hop's birth. The first MCs rapped over DJs swapping back and forth between two copies of the same record playing the same drum break, or playing instrumental portions or versions of a broad range of records.〔Toop, p. 14〕〔Toop, p. 17〕 This part of the culture was initiated by Kool DJ Herc in 1972〔Hermes, Will. ("All Rise for the National Anthem of Hip-Hop" ), ''New York Times'', October 29, 2006. Retrieved on September 9, 2008.〕 using breaks from James Brown, The Incredible Bongo Band and English rock group Babe Ruth in his block parties.〔Upshall, David (writer, director, producer). ''The Hip Hop Years'', Part 1, Channel 4, 1999.〕 Brown's music—"extensive vamps" in which his voice was "a percussive instrument with frequent rhythmic grunts", and "with rhythm-section patterns ... () West African polyrhythms"—was a keynote of hip hop's early days.〔〔Collins, Willie. ("James Brown" ), ''St. James Encyclopedia of Popular Culture'', January 29, 2002. Retrieved on July 17, 2008.〕 By 1975, Grandmaster Flash and Afrika Bambaataa had taken up Kool Herc's breakbeat style of DJing, each with their own accompanying rappers. Flash was especially associated with an important break known as "The Bells"—a cut-up of the intro to Bob James's jazz cover of Paul Simon's "Take Me To The Mardi Gras"—while Bambaataa delighted in springing occasional rock music breaks from records like "Mary, Mary", "Honky Tonk Women", "Sgt. Pepper's Lonely Hearts Club Band" and Grand Funk Railroad's "Inside Looking Out" on unsuspecting b-boys.〔Toop, p. 66〕 The earliest hip-hop records replaced the DJ with a live band playing funk and disco influenced tunes, or "interpolating" the tunes themselves, as in "Rapper's Delight" (Sugar Hill, 1979) and "King Tim III (Personality Jock)" (Spring, 1979). It was the soft, futuristic funk closely tied to disco that ruled hip hop's early days on record, to the exclusion of the hard James Brown beats so beloved of the first b-boys.〔Ross, Andrew. "Old master flash.", ''Artforum'', March 1, 1995.〕 Figures such as Flash and Bambaataa were involved in some early instances of moving the sound away from that of a live band, as in Flash's DJ track "The Adventures of Grandmaster Flash on the Wheels of Steel" (Sugar Hill, 1981), and even innovating popular new sounds and subgenres, as in the synthesizer-laden electro of Bambaataa's ode to crack smoking: "Planet Rock" (Tommy Boy, 1982). Often though the rawer elements present in live shows did not make it past the recording studio. Bambaataa's first records, for instance, two versions of "Zulu Nation Throwdown" (Winley, 1980), were recorded with just drums and rhymes. When Bambaataa heard the released records, a complete live band had been added.〔Hager, Steven. "Afrika Bambaataa's Hip-Hop", ''Village Voice'', September 21, 1982. Reprinted in Cepeda, p. 23〕 Something closer to his intentions can be heard on a portion of ''Death Mix'', a low-quality bootleg of a Zulu Nation night at James Monroe High School in the Bronx, released without his permission on Winley Records in 1983.〔Shapiro, p. 4〕 Likewise on the bootleg ''Live Convention '82'' (Disco Wax, 1982), Grand Wizard Theodore cuts the first six bars of Rufus Thomas's "Do the Funky Penguin" together for five and a half minutes while an MC raps over the top.〔Toop, p. 67–69〕 Grandmaster Flash's "Superrappin'" (Enjoy, 1979) had a pumping syncopated rhythm and The Furious Five emulating his spinbacks and needle drops and chanting that "that Flash is on the beatbox going..."〔Toop, p. 90〕 The beatbox itself however, a drum machine which Flash had added to his turntable set-up some time earlier, was absent on the record, the drums being produced by a live drummer.〔Toop, p. 126〕 Kool Moe Dee's verbal personal attacks on Busy Bee Starski live at Harlem World in 1982 caused a popular sensation in hip hop circles. In the same way, groups like the Cold Crush Brothers and The Force MCs were known for their routines, competitive attitude, and battle rhymes. Tapes of battles like these circulated widely, even without them becoming viable recordings.〔Wilder, Chris. "Mutual Respect", ''The Source'', November 1993.〕〔Woodson, AJ. "Whatever Happened to Battles???", ''On The Go'', 1997.〕 Apart from some social commentary like Melle Melle's one verse on "Superrappin'", Kurtis Blow's ruefully comedic "The Breaks" (Mercury, 1980) and a spurt of records following the success of Grandmaster Flash and the Furious Five's "The Message" (Sugar Hill, 1982), the old school specialized lyrically in party rhymes.〔Shapiro, p.327〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「new school hip hop」の詳細全文を読む スポンサード リンク
|