英语论文网

ing on and going beyond the sounds of the "Old School" (now interpreted largely as the first wave of East Coast rap but in some genealogies including early gangster like N.W.A.). New York groups like De La Soul and The Fugees produced less harsh rhythms, more affirmative and romantic lyrics, and new fusions with Soul, R&B, and pop. Wyclef Jean and Lauryn Hill spun off the Fugees to create their own megahits and the multiple Grammies, including best album of the year, won by The Miseducation of Lauryn Hill in 1999 showed that rap had matured, entered the mainstream, and gained recognition as an significant musical idiom. [3] Thus, today, rap covers a large spectrum, ranging from the urban fury of gangster rap to the rural fusion of blues and rap in Arrested Development, to the educated raps about black history of Chuck D, to the poetic and political discourses of the Disposable Heroes of Hiphoprisy, to the G-funk melodies of Snoop Doggy Dogg and celebrations of thug life by the late Tupac Shakur. It is therefore a mistake to identify the genre of rap per se with its most extreme expressions such as gangsta rap, as there are countless varieties of urban rap, suburban rap, rural rap, rap and soul fusions, reggae rap, Latino rap, white rap, and even Christian rap groups, so the genre is highly flexible and can be used for a variety of purposes. Yet it is gangster rap, G-funk, or what we'll call "G-rap" that is still the cornerstone of rap's billion dollar plus market, an authentic voice of organic hip hop culture, and probably the genre that elevated rap to the global popular. G-rap provided a distinctive language, style, and attitude that made rap a significant oppositional form and subject of intense controversy. While break-dancing, graffiti, and other forms of hip hop have declined in significance, rap and the hip hop style enshrined in rap performance and music video have become a highly significant part of contemporary culture. Hence, our study below will focus on G-rap, saving engagement with other important rap and hip hop forms for later work. G-Rap from Gangster to Funk Much rap music provides a spectacle of self-assertion with images of black rap singers threatening white power structures, denouncing racial oppression and police violence, and celebrating a diverse realm of black cultural forms extending from Afrocentric nationalism to the gangster lifestyle. With its staccato beat, multilayered sound, aggressive lyrics, in-your-face messages, and defiant style, rap provides a spectacle of revolt and insurrection in its live performances, music videos, and recorded forms. Blasting out of boom boxes in the ghettos, roaring from car stereos, and blaring from home sound systems, rap provides a cascade of sounds threatening middle class order and decorum and the powers that be. Some rap singers cultivate the outlaw and rebel image through their clothes, their life-styles, and in many cases their crimes, serving as a warning of the rage and violence seething in underclass ghetto communities. But other rap artists engage in political rap, or "conscious rap," seeing themselves as "knowledge warriors" and spokespeople for an oppressed underclass. "Organic intellectuals" (Gramsci) of the underclass, political rap warns that subordinate groups have periodically mobilized their anger into political struggle and insurrection. Other rap artists articulate a variety of black cultural styles, ranging from Afrocentric black nationalism t