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« Reply #40 on: December 02, 2007, 09:20:59 PM »

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So, are you saying that people that like this particular artist are just following trends, or what?
Well the music is obviously trendy and my comment about the sheeple, as I said before was more facetious in nature and in conjunction with the previous posters comments.   But upon closer examination on my views, obviously there is a gap between what is currently 'poppin' on the mainstream and my personal likes and dislikes wrt to rap music, a segment of HIP HOP culture.   But also I must state that, as others have already pointed out, that any parent (which I am) that lets their child sing along with this song is doing his child and the cuture a disservice.   "Superman that hoe"  WTF is that for postive reinforcement during a time of social crisis and a dire need for improvement in our society, more so within the HIP HOP community, and even more so wrt to the young boys and girls of color that find themselves pressured by all of the above with little to no other avenues to develop in a postive manner?   

I also must distinguish at this time that IMO, the impact of said music affects folks of color moreso because chances are the parents of young white boys and girls are NOT listening to the local rap station on the way to dropping off their kids to school or tuning into the HIP HOP video shows in anyway comparable to that of the household of people of color.  Can you see that?   While I am sure there are many young white boys and girls listening to this type of music (which IMO is detrimental regardless) many of those same kids wont be exposed to it as much as young folks of color.   Can you see that?   

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Dude, that particular song is dance music plain and simple, it was made for the sole purpose of being played a lot at clubs.  Repeditiveness is what works for dance clubs, and that is a statement that goes beyond genres.
 
Well its more than just dance music.  Please don't underestimate the power of song and how its messages become imbedded within the psyche of the listener, whether conciously or uncounciously.   Shit to this day, I still mentally sing the alphabet to get to the letter I want to find placement for.   (Does that last part make sense to you?)  Also the song isnt just restricted to the clubs, if it was I probably wouldn't even care, adults attend clubs and by that time we have more control over our mental makeup for th most part.   Moreover, the song gets played repeatedly on the radio 24/7, on the video channels over and over, at basketball games, parties, BBQ's, etc...  Compound that with the lyrical repetition in the song itself and you have a recipe for mental and social disaster, exactly what the racist white supremacist has been aiming for all along.   We now find ourselves enjoying the poison that these fuckers feed us.   

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In Fact if Kool Herc, the motherfucking Godfather of hip hop himself had not figured how to cut beats (repeat percussion breaks in songs), the culture wouldn't be what it is today.
Brilliant observation however that has no bearing with the issue at hand, atleast not from the angle I am trying to point out here. 

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But to add to your knowledge (and actually was semi-inspiration for the white rapper rules thread) I did at one time in my life write/record rap songs, but I realized I was no good at it (although I battle and I can come up with funny battle lines), not only that but I will be producing again when I get better at piano, and I'm getting turntables for x-mas.
 
Wonderful, thats good--- build your skills and use them for the greatest good not short term pleasure with long term negative ramifications.   
 
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I mean I think its a shame that a lot of people who are large fans of hip hop culture in the younger generation don't know a lot of the history of it, but I think it is very elitist to say "This IS Hip Hop, This Isn't Hip Hop". 
For me, any many like me, there is a clear difference between being a fan HIP HOP, a tourist of the culture and that culture being your way of life.  I grew up HIP HOP, I aint a fan of it, this is who I am.   I was born at a time and a place where HIP HOP was in its conception stage.  I went to the jams where Busy Bee was emceeing in the park (I was a bad kid with access to a fire escape to sneak out), where weed was called reefer, and Brucie Bee was on the turntables powered by the streetlights.  I played at Rock Steady park (99th and Amsterdam) when I went with my parents to vist grandma and Crazy Legs lived right around the corner from my home on Vermilyea Ave.   Do you see where I am going with this?   These folks never intended for the culture to head it this direction but in typical fashion, white racist vultures (and that is not all white people) with $$ signs in their eyes  have exploited the culture two fold.  One for their own personal gain and the other the dillute or lessen the effectiveness of OUR VOICE and derail our cultural expression to the point that it isnt even that anymore.   

 
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In fact it is kind of interesting, underground rap fans that make the argument of "this isn't hip hop because......" sound eerily similar to older white women who say "this isn't music because........."(referring to hip hop).

I already made the distinction between a fan (tourist) and a person whose culture this is.  Its a far cry from your analogy but you are not expected to understand that but props if you do or atleast do NOW.   

 
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Soulja Boy will more than likely  not even be relevant in a month, just like a lot of rappers that do the crunk thing because there are very few party songs in any genre that can truely stand the test of time in the club/mtv culture.
This is true but by that time the damage has already been done, IMO.  Look at the catz who rap "Party Like a Rock Star" same shit different packaging.  I can't believe we had folks of color singing that they wanna party like a rock star.  Not only did they start singing it but they began dressing like it a bit with the wallet chains and big trucker beltbuckles etc.  These acts are short lived but the ramifications are long term even if it just affects a percentage of the whole community.  Once the run has died out a new act will follow.  Where will it stop?  How will it end?  Definetly not at the hands of those who control the ways and means of airing this bullshit.  They're loving it, twofold...(as explained above) and they are partying like a rockstar, all the while out stars (moms,pops, bros and sis) just get rocks (the ready kind)   

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This personally is not my school of thought, I feel that all music that fits within the reign of hip hop culture is rap music, BUT I feel that hip hop music is heavily under identified, or rather that we don't look at particular types of music as part of a rap sub-genre but more just look at rap as either mainstream or underground and is from whatever city the rapper is.
 


There is no such thing as HIP HOP music, there is the music of HIP HOP which in this case is primarily rap and all of its variations if any.  If I have called the music HIP HOP, I erred.  Rap is something you do, HIP HOP is something you live. 

If you consider this to be an elitist attitude then so be it.   HIP HOP was born because it was an expression of self determination.  A desire to be outside of the maintream not controlled by it.  HIP HOP was born to define itself and as with any culture it must be refined and cultivated.  Not every aspect of a society gets to shine as the cultural piece.  You dont find a societies garbage in the museum, you find it best work there, same applies here.   


This is for all, not just directed at you.     


ADD:  I must conclude with saying this.  This isn't about Soulja boy per se, its about the concept and reasoning and effects of this idea promoted by those who have ulterior motives. If the type of music that was played on the radio and video shows didn't really matter then why is it that we dont have a more positive overall message in the pop music?   Those in power knows this and will continue to work against us to deter us from empowering our minds thus community.   

And if this was directed at me: 
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But the same motherfuckas they praise leads to maybe a page or two of discussion. I guess we need cats like 50 and company to keep the backpackers ranting. Like my man above me said, dont judge what is and what isn't hip-hop.
  **looks at JJ**  I aint no backpaker homie and I am judging my culture, just like I judge myself, critically but for the best.   
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« Reply #41 on: December 02, 2007, 11:14:54 PM »

Great post man, i'll give my two sense when i feel up to writing for 20 minutes, which will probably be after a glass of lemonade and another cigarette
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[SanPatricio] 11:44 pm: WHITE PEOPLE...
[Nayiri] 11:44 pm: it's going in my quote "book"
[Jihad] 11:44 pm: AINT PEOPLE
[Nayiri] 11:44 pm: lol
[Jihad] 11:44 pm: oh wait
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« Reply #42 on: December 03, 2007, 09:25:01 AM »


I'm obviously being sarcastic, I mean look where I am posting this, on Immortal Technique forums, do you honestly believe I'm being serious.
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« Reply #43 on: December 03, 2007, 06:43:10 PM »

I'm obviously being sarcastic, I mean look where I am posting this, on Immortal Technique forums, do you honestly believe I'm being serious.

My bad man...
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Mobile-friendly version Immortal Technique Biography

Born Felipe Andres Coronel on the 19th of February 1978, hip-hop artist Immortal Technique is a controversial figure in the U.S. His songs speak of the need for social justice and equality among all races, with special emphasis on the people of color or Latin Americans, but they also cover topics such as the fight against unfair imprisonments or militarism and many others.

His biography is hence quite intriguing, to say the least, and, just like the best anti aging cream is probably going to be lingering over the shelves of all cosmetic stores for many years to come, Immortal Technique’s songs are going to remain hot, fresh and sought after for a really long time. Due to the fact they speak about topics which are to be considered taboos, his lyrics continue to be listened to with the exterior shutters down in most homes.

Immortal technique was born in Peru, in El Hospital Militar de Lima; several years later, his family moved to America in order to escape the harsh living conditions in Peru. Even though they could not afford to buy any terrain a vendre there, they managed to move to Harlem in the ‘80s. Immortal Technique went to Hunter High School, but just like a hip replacement recall is never of good omen, his grades and behavior weren’t any good during high school either. He was the school bully, he harassed other students and he was not afraid to get involved in scandals with drug dealers from around the area. And while his interactions with these drug dealers were not as numerous as used cars in Phoenix are, they still managed to leave an ugly mark on his biography.

Plus, his graffiti did not actually resemble any Dreamweaver templates, but he was famous for his controversial acts of vandalism. His violence against others almost got him expelled in 1996, but he somehow managed to finish high school and even attend college at Pennsylvania State University. This time, his college experience only lasted for two years; he was then charged and convicted and he was eventually imprisoned in Pennsylvania.

In prison, just like a SEO San Antonio company would focus on booting a web site’s ranking, Immortal Technique also focused on boosting his own social ranking. He began studying the policy of religious history, and, finding the inspiration he needed, he began putting his thoughts in lyrics. In 1999 he was paroled and, even though he was first considered some sort of Agen Bola, as no one had heard of him at first, he began to attend freestyle battles he started winning.

From there on, his career started to bloom, as he gave birth to albums such as “Revolutionary Vol 1” in 2002, “Revolutionary Vol 2” in 2004 and “Revolutionary Vol 3” in 2008. He also became a political activist and started to sing about political injustice (check out his opinion on the imprisonment of Mumia Abu-Jamal or the songs on George W. Bush). Despite of the fact that his albums might not have gotten the type of positive reviews African mango reviews are usually comprised of, this has not stopped him from getting involved in future projects, including an important film collaboration. He might not approve the work of the CNA Financial Corporation, but we all need to eat, right?




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The History and Growth of Rap Music

If you are a music enthusiast, then it is very likely that you have come across a genre of music called rap music. Rap music is area that has very clear distinguishing features most notably the rapid and rhythmic chanting of the lyrics perfectly timed to the beat and musical accompaniment that forms the base of the song. Rap music traces its roots to the development of the hiphop subculture which predominantly carries four complementary musical styles namely: rapping, dancing and in particular break dancing, scratching or more popularity known as DJing, and graffiti writing which others dub as vandalism. Another sub-element of this genre is beat-boxing which also features heavily in the repertoire of many rap artists. If you thought this was an easy musical genre to characterize, then you were poorly informed: consider, many research papers and doctoral dissertations have been written on the subject of rap music and its accompanying stylistic elements.

The history of rap music, or hip-hop music, is composed of a series of rapid development phases that have all culminated in the popular rap versions of today. Before rap music took off in the 1990s, it was predominantly referred to as disco rap in the late 1970s. The three rappers who had a hand in coining the term “rap music” were DJ Hollywood, Lovebug Starski, and Keith Cowboy, the last one being officially credited with the term hip-hop. Rap music original began with improvisations and freestyle singing to add an element of unpredictability to the songs in parties and other gatherings. Even in the 1960s to 1970s, the initial elements of rap music where already sown in urban subcultures particularly in New York City where adhoc performances in the streets led to a coalescing of influences in the wake of the Civil Rights era. Like the iPhone 5 release date, it had a slow and steady rise building into an explosion of creativity and style that has made it into what it has become today.

At this very early stage of rap development, it was particularly tied to emcee-ing more than it was associated to any specific song. It predominantly tied songs together as an adlib in between. It was born out of the creative inputs of DJs who had to work with self-imposed musical constraints such as the 4/4 time beat and sampling or sequencing sections of other songs to create a smooth flow of uninterrupted musical stimuli. These were eventually married with electronic equipment such as drums and synthesizers, and ultimate melodies to give it that bite and identity. In a sense, rap music artists were basically like a video game designer who had to figure out each artistic component at every turn until it developed into a more coherent musical genre that became the rap music we know today.

The first recorded version of rap music came alive in the early 1980s when DJs decided to make records out of their freestyle MCing. This necessitated the documentation of song lyrics so they do not change during each and every rendition. The age of the stromanbieter for rap music was gone paving the way for more organized chaos. Still, the freestyle and improvisation element remained a part of many DJ interludes as the song goes through certain sections that did not require too much rap singing.

Likewise, as a consequence of the hip-hop records, the influence of rap began to spread faster than ever before. Artists no longer had to travel far to get their music heard. Now, records from New York City and Philadelphia can be reproduced and transported to cities like Los Angeles, New Orleans, Dallas, Baltimore, Washington, D.C., and Seattle among others for people to appreciate and enjoy. This was primarily the reason for rap music’s rapid growth. Like Christmas mini lights, cities formed the nodes through which rap music would spread to other parts of the country. From small beginnings to grand achievements, the birth certificate translation to true stardom took a matter of years for rap music to be realized. Since then, its take-off and rise has been meteoric.

In this regard, it is almost impossible to talk about rap music but not discuss the golden age of rap. This was the era from the late 1980s to the mid 1990s when rap grew at an astounding rate fueled by the creative contributions of many artists from all over the continental United States and in many parts of the world. The primary trait of the Golden Age or Rap was that it was an almost unbroken wave of transformative music with every single pushing the boundaries of the genre. From this age and in the succeeding Gansta Rap age came names like Run-D.M.C., Dr. Dre, Ice T, MC Hammer, The Wu-tang Clan, Snoop Dogg, and The Notorious B.I.G. among others. The list of names can virtually fill a Sharepoint Hive without any problems.

According to social studies published in 2005, teenagers and children are more familiar with hip-hop and rap music more than any other musical genre. Up to 65% of all children from ages 8 to 18 hear hip-hop music on a daily basis, making it their routinary keratin hair treatment session, almost to the point that it has become an intrinsic part of their lives. With the diversification of the genre to include the more stylish R&B or rhythm and blues, it is not difficult to explain how rap music has continued to pervade radio station, TV and movie song line-ups. The marriage of rap and jazz which paved the way for R&B is itself a phenomenon that warrants all sorts of social analysis.

And with its very strong following, it is safe to say that rap music is here to stay. Years from now, when you open your TV on a bright Saturday morning, there’s a big chance you would be watching the next stage in the evolution of rap music, and there’s an even better chance you would be dancing or singing to that tune.

Immortal Technique Rapper Biography

Immortal technique is the stage name for which rapper Felipe Andres Coronel is popularly known. His lyrics characterized by its unique mixture of socialist commentary of social class hierarchy, religion, wealth, poverty to contemporary issues touching on governmental and institutional racism. Perhaps you may have come across information about this popular icon as you undertake research for that mba online, or for whatever course you are undertaking, be it bachelors in criminal justice, performing arts degree, governance systems, online nurse practitioner programs, history, or any other course for which you have to do online research.

The rapper was born on the 19th day of February 1978 in Lima, Peru. During the internal conflicts that took place in their country at the time, his parents migrated to Harlem, New York. Probably, in the process of migration to the country, they may have used boats at least once in the journey. Like many American teenagers, the rapper was engaged in various acts against the law that led to his arrest several times, which in one his public interviews admitted that they were selfish and at best childish acts. After completing his incarceration terms, he took up a political science course in a bid to mend his seemingly torn life, while living with his father.

After completing his studies, he was not lucky enough to secure a job in his field of study owing to the unemployment situation prevailing in the entire United States. Like many American fresh graduates who take up it jobs, nursing jobs, waiter and nursing jobs among many other common jobs that may not necessarily need a specialist, he took up a working in a restaurant to earn a buck from which he could live on.

Through his deep interest in championing for equality between the elite and the under privileged in society, and being not a Mesothelioma Lawyer, the rapper begun his music career basing his lyrics on such issues as injustice, exploitation and mistreatment of the poor. This is captured clearly in his desire to keep control over his production, since he strongly believes that in the music industry, the producers normally make a large profit while the artist for who credit belongs, normally end ups earning peanut amounts at the end of the day.

His popular sediments are captured in his albums that include the revolutionary, both volume one and two, and the 3rd world and the middle passage album. the rapper is increasingly involved in prison visits and working with migrant rights activists, though which he speaks to youths and the unprivileged in the society trazer amor de volta. His investments are largely in farmland in Latin America, which like soweto properties is an unpopular investment option for many celebrity figures. His advice to the youth is not much on taking up an aacsb online mba or an online criminal justice degree, but rather it is based on exploiting ones talents and living soberly within the law.

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