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From East to West to southern trap, 50 years of hip-hop
Five decades after a Bronx block party ushered in hip-hop's 'Big Bang' moment, the culture-shifting genre is celebrating its 50th birthday Friday. The reigning music style has evolved in rapid, anarchic ways -- in many ways defying categorization -- but some patterns have emerged. What follows is a run-down of some of hip-hop's key phases. Old school What's now broadly referred to as old-school hip-hop is the genre's earliest commercially recorded music, and typically refers to songs put out from approximately 1979 to 1983. The Sugarhill Gang's "Rapper's Delight" became the first commercially successful hip-hop song after it was released on September 16, 1979. It's preserved in the Library of Congress' National Recording Registry. "The Message" from Grandmaster Flash and the Furious Five, released in 1982, brought a socially conscious element to the genre, delivering a raw portrait of urban life and the stresses of poverty. Other prominent artists of the moment included Afrika Bambaataa, DJ Kool Herc, Melle Mel, and Grandmaster Caz. East Coast New York and the East Coast were pivotal to the development of hip-hop throughout the 1980s and early 1990s, the "golden age." Run-DMC was among the most influential acts of the era, achieving a smattering of notable firsts for the genre. They, the Beastie Boys and Public Enemy offered harder renditions of hip-hop than their disco-tinged predecessors, with the latter rising to prominence for their political themes including racism and Black power. More complex wordplay with swift delivery and elaborate metaphors were emblematic of the age, with acts including Eric B. & Rakim, LL Cool J, Nas, Big Daddy Kane, and The Notorious B.I.G. gaining wide acclaim. De La Soul and A Tribe Called Quest were meanwhile pioneering "alternative hip-hop," bringing in jazz and R&B elements. Salt-N-Pepa, Foxy Brown, Queen Latifah, and Lauryn Hill broke barriers for women, with Hill in particular popularizing melodic rapping. The Notorious B.I.G. -- or "Biggie" -- with the backing of Puff Daddy's "Bad Boy Records" became the East Coast's king following the release of his landmark debut album "Ready to Die" in 1994, up until his shock murder in 1997. And the Wu-Tang Clan also popularized East Coast styles, emphasizing hard edges and strong beats. West Coast The sounds emerging from California were fast and influenced by electronica, centering more on DJs than raps. Ice-T pioneered West Coast and gangsta rap in the late 1980s, while N.W.A. went platinum with its album "Straight Outta Compton" in 1988. Dogged by controversy and censorship over profane lyrics -- which many alleged were misogynist while also glorifying drug use and crime -- N.W.A. made waves for laying bare experiences of endemic racism and excessive policing. The group's dissolution saw members including Dr. Dre and Ice Cube gain solo acclaim. And Tupac Shakur also preferred messages of injustice as he became one of the greatest rappers of all time prior to his 1996 murder, which came just months before Biggie's. Dr. Dre's "The Chronic" charted new paths for rap as a seminal album of the era. It also introduced one of his most famous proteges, the then-budding rapper today known as Snoop Dogg, whose laid-back, windows-down lyrical delivery came to epitomize G-Funk, and whose debut album "Doggystyle" was a Dre production. Dre also shaped another household name: Eminem. "He's a creator who has moved popular culture three times... with gangsta rap, G-funk, and Eminem," said industry magnate Jimmy Iovine of Dre. Bling and Prog Biggie's commercial fame paved the way for other East Coast stars, including Jay-Z, DMX, Busta Rhymes, and 50 Cent, with the turn-of-the-millennium bling era. Jay-Z's "Hard Knock Life (Ghetto Anthem)" was a major hit years before he would become one of hip-hop's billionaires and an industry mogul. His work also brought producers including Kanye West to the fore. Early in his career, West gained near-universal acclaim, not least for his integration of house, electronica and soul into creatively risky productions. And Nicki Minaj was praised for her chameleon talents and blistering flow, while Drake brought in R&B sensibilities and churned out hit after hit. Kendrick Lamar became one of contemporary music's most impactful writers, with his verses offering insight both personal and systemic, all set to jazz-heavy instrumentals. Lamar, along with West and Common, all became torchbearers of the broadly defined progressive rap, defined by a focus on social ills and change. Hip-hop was also burgeoning across the South, with artists including 2 Live Crew, Missy Elliott, and Outkast gaining traction. Trap and Drill Into the 2010s, rap's nexus shifted to Atlanta, home to the trap subgenre characterized by cymbal patterns and synthesized drums. Trap remains among American music's most popular styles, with its influence crossing into pop and EDM as well as Latin America's wildly popular reggaeton. Much of its lyricism focused on life in "the trap" -- a reference to drug-dealing spots. Artists including Outkast, T.I., Gucci Mane, and Lil Wayne expanded its popularity, while the idiosyncratic Young Thug became one of contemporary hip-hop's most emulated artists. Today's trap-influenced superstars include Migos, Cardi B, and Megan Thee Stallion. Internet virality has been key to several contemporary movements including "Soundcloud rap," whose angsty, jagged sound injected vulnerability into hip-hop. And the equally dark drill has brought the aggressive lyricism of gangsta back to prominence. It began percolating in Chicago before traveling to Britain and resurfacing in New York. Brooklyn drill gained mainstream clout thanks to work from artists including the late Pop Smoke and Fivio Foreign, as today's stars like the Bronx's Ice Spice take it viral. See more photos here: The post From East to West to southern trap, 50 years of hip-hop appeared first on Daily Tribune......»»
From East to West to southern trap, 50 years of hip-hop
Five decades after a Bronx block party ushered in hip-hop's 'Big Bang' moment, the culture-shifting genre is celebrating its 50th birthday Friday. The reigning music style has evolved in rapid, anarchic ways -- in many ways defying categorization -- but some patterns have emerged. What follows is a run-down of some of hip-hop's key phases. Old school What's now broadly referred to as old-school hip-hop is the genre's earliest commercially recorded music, and typically refers to songs put out from approximately 1979 to 1983. The Sugarhill Gang's "Rapper's Delight" became the first commercially successful hip-hop song after it was released on 16 September 1979. It's preserved in the Library of Congress's National Recording Registry. "The Message" from Grandmaster Flash and the Furious Five, released in 1982, brought a socially conscious element to the genre, delivering a raw portrait of urban life and the stresses of poverty. Other prominent artists of the moment included Afrika Bambaataa, DJ Kool Herc, Melle Mel, and Grandmaster Caz. East Coast New York and the East Coast were pivotal to the development of hip-hop throughout the 1980s and early 1990s, the "golden age." Run-DMC was among the most influential acts of the era, achieving a smattering of notable firsts for the genre. They, the Beastie Boys and Public Enemy offered harder renditions of hip-hop than their disco-tinged predecessors, with the latter rising to prominence for their political themes including racism and Black power. More complex wordplay with swift delivery and elaborate metaphors were emblematic of the age, with acts including Eric B. & Rakim, LL Cool J, Nas, Big Daddy Kane, and The Notorious B.I.G. gaining wide acclaim. De La Soul and A Tribe Called Quest were meanwhile pioneering "alternative hip-hop," bringing in jazz and R&B elements. Salt-N-Pepa, Foxy Brown, Queen Latifah, and Lauryn Hill broke barriers for women, with Hill in particular popularizing melodic rapping. The Notorious B.I.G. -- or "Biggie" -- with the backing of Puff Daddy's "Bad Boy Records" became the East Coast's king following the release of his landmark debut album "Ready to Die" in 1994, up until his shock murder in 1997. And the Wu-Tang Clan also popularized East Coast styles, emphasizing hard edges and strong beats. West Coast The sounds emerging from California were fast and influenced by electronica, centering more on DJs than raps. Ice-T pioneered West Coast and gangsta rap in the late 1980s, while N.W.A. went platinum with its album "Straight Outta Compton" in 1988. Dogged by controversy and censorship over profane lyrics -- which many alleged were misogynist while also glorifying drug use and crime -- N.W.A. made waves for laying bare experiences of endemic racism and excessive policing. The group's dissolution saw members including Dr. Dre and Ice Cube gain solo acclaim. And Tupac Shakur also proferred messages of injustice as he became one of the greatest rappers of all time prior to his 1996 murder, which came just months before Biggie's. Dr. Dre's "The Chronic" charted new paths for rap as a seminal album of the era. It also introduced one of his most famous proteges, the then-budding rapper today known as Snoop Dogg, whose laid-back, windows-down lyrical delivery came to epitomize G-Funk, and whose debut album "Doggystyle" was a Dre production. Dre also shaped another household name: Eminem. "He's a creator who has moved popular culture three times... with gangsta rap, G-funk, and Eminem," said industry magnate Jimmy Iovine of Dre. Bling and Prog Biggie's commercial fame paved the way for other East Coast stars, including Jay-Z, DMX, Busta Rhymes, and 50 Cent, with the turn-of-the-millennium bling era. Jay-Z's "Hard Knock Life (Ghetto Anthem)" was a major hit years before he would become one of hip-hop's billionaires and an industry mogul. His work also brought producers including Kanye West to the fore. Early in his career, West gained near-universal acclaim, not least for his integration of house, electronica, and soul into creatively risky productions. And Nicki Minaj was praised for her chameleon talents and blistering flow, while Drake brought in R&B sensibilities and churned out hit after hit. Kendrick Lamar became one of contemporary music's most impactful writers, with his verses offering insight both personal and systemic, all set to jazz-heavy instrumentals. Lamar, along with West and Common, all became torchbearers of the broadly defined progressive rap, defined by a focus on social ills and change. Hip-hop was also burgeoning across the South, with artists including 2 Live Crew, Missy Elliott, and Outkast gaining traction. Trap and Drill Into the 2010s, rap's nexus shifted to Atlanta, home to the trap subgenre characterized by cymbal patterns and synthesized drums. Trap remains among American music's most popular styles, with its influence crossing into pop and EDM as well as Latin America's wildly popular reggaeton. Much of its lyricism focused on life in "the trap" -- a reference to drug-dealing spots. Artists including Outkast, T.I., Gucci Mane, and Lil Wayne expanded its popularity, while the idiosyncratic Young Thug became one of contemporary hip-hop's most emulated artists. Today's trap-influenced superstars include Migos, Cardi B, and Megan Thee Stallion. Internet virality has been key to several contemporary movements including "Soundcloud rap," whose angsty, jagged sound injected vulnerability into hip-hop. And the equally dark drill has brought the aggressive lyricism of gangsta back to prominence. It began percolating in Chicago before traveling to Britain and resurfacing in New York. Brooklyn drill gained mainstream clout thanks to work from artists including the late Pop Smoke and Fivio Foreign, as today's stars like the Bronx's Ice Spice take it viral. The post From East to West to southern trap, 50 years of hip-hop appeared first on Daily Tribune......»»
Coaching great John Thompson of Georgetown dead at 78
By JOSEPH WHITE AP Sports Writer WASHINGTON (AP) — John Thompson, the imposing Hall of Famer who turned Georgetown into a “Hoya Paranoia” powerhouse and became the first Black coach to lead a team to the NCAA men’s basketball championship, has died. He was 78 His death was announced in a family statement released by Georgetown on Monday. No details were disclosed. “Our father was an inspiration to many and devoted his life to developing young people not simply on but, most importantly, off the basketball court. He is revered as a historic shepherd of the sport, dedicated to the welfare of his community above all else,” the statement said. “However, for us, his greatest legacy remains as a father, grandfather, uncle, and friend. More than a coach, he was our foundation. More than a legend, he was the voice in our ear everyday.” One of the most celebrated and polarizing figures in his sport, Thompson took over a moribund Georgetown program in the 1970s and molded it in his unique style into a perennial contender, culminating with a national championship team anchored by center Patrick Ewing in 1984. Georgetown reached two other title games with Thompson in charge and Ewing patrolling the paint, losing to Michael Jordan’s North Carolina team in 1982 and to Villanova in 1985. At 6-foot-10, with an ever-present white towel slung over his shoulder, Thompson literally and figuratively towered over the Hoyas for decades, becoming a patriarch of sorts after he quit coaching in 1999. One of his sons, John Thompson III, was hired as Georgetown’s coach in 2004. When the son was fired in 2017, the elder Thompson -- known affectionately as “Big John” or “Pops” to many -- was at the news conference announcing Ewing as the successor. Along the way, Thompson said what he thought, shielded his players from the media and took positions that weren’t always popular. He never shied away from sensitive topics -- particularly the role of race in both sports and society -- and he once famously walked off the court before a game to protest an NCAA rule because he felt it hurt minority athletes. “I’ll probably be remembered for all the things that kept me out of the Hall of Fame, ironically, more than for the things that got me into it,” Thompson said on the day he was elected to the Hall in 1999. Thompson became coach of the Hoyas in 1972 and began remaking a team that was 3-23 the previous season. Over the next 27 years, he led Georgetown to 14 straight NCAA tournaments (1979-92), 24 consecutive postseason appearances (20 NCAA, 4 NIT), three Final Fours (1982, 1984, 1985) and won six Big East tournament championships. Employing a physical, defense-focused approach that frequently relied on a dominant center -- Alonzo Mourning and Dikembe Mutombo were among his other pupils -- Thompson compiled a 596-239 record (.715 winning percentage). He had 26 players drafted by the NBA. One of his honors -- his selection as coach of the U.S. team for the 1988 Olympics -- had a sour ending when the Americans had to settle for the bronze medal. It was a result so disappointing that Thompson put himself on a sort of self-imposed leave at Georgetown for a while, coaching practices and games but leaving many other duties to his assistants. Off the court, Thompson was both a role model and a lightning rod. A stickler for academics, he kept a deflated basketball on his desk, a reminder to his players that a degree was a necessity because a career in basketball relied on a tenuous “nine pounds of air.” The school boasted that 76 of 78 players who played four seasons under Thompson received their degrees. He was a Black coach who recruited mostly Black players to a predominantly white Jesuit university in Washington, and Thompson never hesitated to speak out on behalf of his players. One of the most dramatic moments in Georgetown history came on Jan. 14, 1989, when he walked off the court to a standing ovation before the tipoff of a home game against Boston College, demonstrating in a most public way his displeasure against NCAA Proposition 42. The rule denied athletic scholarships to freshmen who didn’t meet certain requirements, and Thompson said it was biased against underprivileged students. Opposition from Thompson, and others, led the NCAA to modify the rule. Thompson’s most daring move came that same year, when he summoned notorious drug kingpin Rayful Edmond III for a meeting in the coach’s office. Thompson warned Edmond to stop associating with Hoyas players and to leave them alone, using his respect in the Black community to become one of the few people to stare down Edmond and not face a reprisal. Though aware of his influence, Thompson did not take pride in becoming the first Black coach to take a team to the Final Four, and he let a room full of reporters know it when asked his feelings on the subject at a news conference in 1982. “I resent the hell out of that question if it implies I am the first Black coach competent enough to take a team to the Final Four,” Thompson said. “Other Blacks have been denied the right in this country; coaches who have the ability. I don’t take any pride in being the first Black coach in the Final Four. I find the question extremely offensive.” Born Sept. 2, 1941, John R. Thompson Jr. grew up in Washington, D.C. His father was always working — on a farm in Maryland and later as a laborer in the city — and could neither read nor write. “I never in my life saw my father’s hands clean,” Thompson told The Associated Press in 2007. “Never. He’d come home and scrub his hands with this ugly brown soap that looked like tar. I thought that was the color of his hands. When I was still coaching, kids would show up late for practice and I’d (say) ... ‘My father got up every morning of his life at 5 a.m. to go to work. Without an alarm.‘” Thompson’s parents emphasized education, but he struggled in part of because of poor eyesight and labored in Catholic grammar school. He was moved to a segregated public school, had a growth spurt and became good enough at basketball to get into John Carroll, a Catholic high school, where he led the team to 55 consecutive victories and two city titles. He went to Providence College as one of the most touted basketball prospects in the country and led the Friars to the first NCAA bid in school history. He graduated in 1964 and played two seasons with Red Auerbach’s Boston Celtics, earning a pair of championship rings as a sparingly used backup to Bill Russell. Thompson returned to Washington, got his master’s degree in guidance and counseling from the University of the District of Columbia and went 122-28 over six seasons at St. Anthony’s before accepting the job at Georgetown, an elite school that had relatively few Black students. Faculty and students rallied around him after a bedsheet with racist words was hung inside the school’s gym before a game during the 1974-75 season. Thompson sheltered his players with closed practices, tightly controlled media access and a prohibition on interviews with freshmen in their first semester -- a restriction that still stands for Georgetown’s basketball team. Combined with Thompson’s flashes of emotion and his players’ rough-and-tumble style of play, it wasn’t long before the words “Hoya Paranoia” came to epitomize the new era of basketball on the Hilltop campus. Georgetown lost the 1982 NCAA championship game when Fred Brown mistakenly passed the ball to North Carolina’s James Worthy in the game’s final seconds. Two years later, Ewing led an 84-75 win over Houston in the title game. The Hoyas were on the verge of a repeat the following year when they were stunned in the championship game by coach Rollie Massimino’s Villanova team in one of the biggest upsets in tournament history. Success allowed Thompson to rake in money through endorsements, but he ran afoul of his Georgetown bosses when he applied for a gambling license for a business venture in Nevada in 1995. Thompson, who liked playing the slot machines in Las Vegas, reluctantly dropped the application after the university president objected. Centers Ewing, Mourning and Mutombo turned Georgetown into “Big Man U” under Thompson, although his last superstar was guard Allen Iverson, who in 1996 also became the first player under Thompson to leave school early for the NBA draft. “Thanks for Saving My Life Coach,” Iverson wrote at the start of an Instagram post Monday with photos of the pair. The Hoyas teams in the 1990s never came close to matching the achievements of the 1980s, and Thompson’s era came to a surprising and sudden end when he resigned in the middle of the 1998-99 season, citing distractions from a pending divorce. Thompson didn’t fade from the limelight. He became a sports radio talk show host and a TV and radio game analyst, joining the very profession he had frustrated so often as a coach. He loosened up, allowing the public to see his lighter side, but he remained pointed and combative when a topic mattered to him. A torch was passed in 2004, when John Thompson III became Georgetown’s coach. The younger Thompson, with “Pops” often watching from the stands or sitting in the back of the room for news conferences, returned the Hoyas to the Final Four in 2007. Another son, Ronny Thompson, was head coach for one season at Ball State and is now a TV analyst. ___ Joseph White, a former AP sports writer in Washington who died in 2019, prepared this obituary. AP Sports Writer Howard Fendrich contributed......»»
Unlock business success at Franchise Asia Philippines Expo
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Gundam series, Ultraman film coming this year
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Lady Spikers repeat over Lady Tamaraws
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Next Attraction: Movies, series showing this April 2024
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