Popular Music free essay sample

Popular music, or pop music, means Clumsy of the populace. The term embraces all kinds of folk music which, originally made by illiterate people, were not written down. The creation of a popular music that aims simply at entertaining large numbers of people is a product of industrialization, in which music became a commodity to be bought and sold. It Is In the rapid Industrialized nations, notably Britain and USA, that we first encounter composers who have devoted themselves to fulfilling a demand for popular, entertainment music. Foster Stephen Foster (Born Lawrenceville in 1826; died in New York in 1864)Foster was an American composer, mainly self-taught In music. He wrote over 200 songs, several of which have come to be regarded almost as American folk-songs. Though a Northerner, several of his songs capture the Southern plantation spirit in an authentic and eloquent manner. His songs are considered as Distaste, through nostalgia. All of Fosters songs yearn for the Good old days, but their yearning is not innocent, as real folk music Is. We will write a custom essay sample on Popular Music or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Souse John Philip Souse (Born in Washington DC in 1854; died in Reading, Pennsylvania in 1932) Souse was an American composer and bandmaster.As a youth he played the violin n an orchestra. He conducted the US Marine Corps band in 1880-92. He formed his own military band In 1892, which became very popular and toured Europe four times between 1900 and 1905, and toured the world In 1910-11. Unfortunately it was plectra of the 1931 Depression. Souse was best known for his superb marches, of which he composed nearly 100. His music is also considered Distaste, by means of hedonism. Catchall Louis More Catchall (Born In New Orleans In 1829; died In Brazil In 1969) Catchall was an American pianist, conductor and composer.He went to Paris to study in 1842. His pianoforte debut was in 1844 was praised by Chopin. On return to the USA he toured widely, playing and conducting his own sentimental and naive music for unsophisticated audiences who enjoyed his virtuoso panache and his arrangements of national allures. He wrote two operas, two symphonies and many Blues and Ragtime Though Jazz is a twentieth century phenomenon, mainly associated with cities, its origins were in Africa. The black mans music, transmuted into the white mans world.In his new, white American world, the black man, enslaved, inevitably used the musical techniques he had been reared on. As an outcast, he no longer sings a tribal song but calls on ancient vocal formulas of the pentatonic scale and a tumbling descent from a high note, and on traditional techniques of vocal production modified because he sings in the American, rather than in African language. Inevitably it came into contact with the musical manifestations of the New World, especially the march and hymn. The hymn followed a pattern of tonic, dominant and subdivision harmony, while the march provided a four-square beat.When the American black, responding to these types of music, took over the white mans guitar, he blues was born, and with it the heart of Jazz. Blues There was no decisive break between the folk holler and the blues. Pete Williams, a black man in the Southern prison, uses the guitar to accompany himself in what he calls Prisoners talking blues and Levee camp blues, but these are still hollers in which speed is heightened, with the guitar providing a repeated figure. The words of vocal blues often concern the agony of desertion, betrayal and unrequited love and sexual references are frequent.Blues Form, as it evolved, tends to fall into a pattern, as shown: Bars 1 23456789 10 11 12 Chords vlvl- But the form is not static. It provided a harmonic framework against which the black singer could interpret his words or the instrumentalist could improvise. Thus black melody and white harmony interact. Ragtime Ragtime is an early type of Jazz particularly for solo piano and composition rather than improvised. The famous exponent and composer of it was Scott Joplin popular from 1895-1920 when other forms of Jazz took over.Scott Joplin Scott Joplin was born in 1897 died in 1917. He was known as the king of Ragtime. He took his musical convention from white military two-step. But Joplin music, both in the Maple Leaf Rag in 1899 that made him famous and in more harmonically sophisticated pieces like Euphonium Sounds in (1909), has an improvised feel mostly because the rhythms are Dragged in being syncopated. In the music of the notable rag composers, for example James Scott and Bobbie Blake and as well as Joplin, the music has pathos but not sentimentality.Blues and Jazz meet in the evolution of piano Jazz. When blacks came across broken down pianos they treated them as mechanized guitars. Barbershops pianists came to make basic, usually very fast use of the harmonies of the 12-bars blues and to seek monastic substitutes for the guitars expressiveness by way of crunched tones, slides and displaced accents. The pianist exploited the power of a percussive keyboard, creating momentum with a pounding left hand usually in patterns of repeated tones or unequal rhythms the came to be known as boogie basses.Gradually, barbershops pianist exploited complexities of texture as well as to exploit rhythmic force. Leroy Carr, as a singer and pianist, shows how white art may lead elegance to black passion, as the reimbursements of the barbershops piano came to term with the artificialness of rag. James P. Johnson trained in both barbershops IANA and ragtime traditions and distinguished for his command of an irresistibly striding bass and for the delicate precision of the right-hand figuration.Blues Singing Fusion of blues and rag exemplified in Johnnys playing is crucial to the evolution of jazz, especially during the sass. The most revered singers were women. The earliest of the great women blues singers, Gertrude Rained nickname Ma. Her vocal timbre often had a liturgical flavor. She found no barriers between country blues gospel and minstrel show music. Bessie Smith Bessie Smith (1894-1937), the most famous blues singer of the sass was known as he Empress of Blues. Like all the finest Jazz her music sprang from tension: between country and town, black and white, art and entertainment.Like other women blues singers, Smith usually performed in dialogue with a melody instrument, which both intensified and depredations the vocal line. She gave superb versions of folk blues like Escaroles Love and Reckless Love with Louis Armstrong playing a cornet obbligato and of her own Young women blues and Poor man blues with the cornet of Joe Smith her favorite collaborator. Jazz Since women blues singers worked with Jazz players and used conventions from both jazz and minstrel show, their work had many features in common with the music of the early Jazz band.This began in New Orleans where, as we have seen, a lively black population mingled with a cosmopolitan society of white Americans, Frenchman, Spaniards, Italians and German. From these cross -fertilization the New Orleans Jazz band became established with instruments from the white military band. The cornet (later trumpet), clarinet and trombone were the main melody instruments. A tuba (later string bass) provided the bottom line, reinforced by drums and other percussion instruments. The banjo substituted for the guitar as harmonic fill-in.Later when bands no longer marched the piano became the main harmony instrument, combined with plucked strings. The music of the New Orleans band compromises tension between the trumping military beat and the symmetries of white harmony on one hand and on the other the black solo lines which, with their African flexibility of pitch and rhythm, try to override the basic form. The supreme New Orleans soloists- Louis Armstrong, cornet and trumpet, Johnny Odds, clarinet and Sidney Becket (soprano saxophone) attain a levitating ecstasy with their soaring improvised melodies.They also affirm their humanity in imbuing their instruments with the expressiveness of the voice. Louis Armstrong The voice and instrument speak, the body move: so the heart of music is in the spoken and unspoken word and in physical movement. What is remarkable about New Orleans Jazz is that this word -body relationship flourished within the context of westernizes commercial music. We can hear this in the supreme achievements of band Jazz, the recordings made by Louis Armstrong with his Hot Five and Hot Seven in 1926-8, Tight Like This.Tragedy is overt in Armstrong famous unaccompanied solo opening to West End blues. The consummation of New Orleans Chicago Jazz involves a marriage between black folk melody and the harmony of white art music is revealed in Armstrongs recording of King Olivers Weather Bird which he presents simply as a duet with Earl Hines. Armstrong and Hines have proceeded from the folk heterodyne of early Jazz to a true improvised polyphony. These tracks were recorded in 1928, Just before Armstrong left Chicago for New York, later to embark on a career as a sh ow-business entertainer as well as a Jazzmen. Jelly Roll Morton, a light-skinned New Orleans black, produced, between 1926-1930, a series of according with his Red Hot Peppers. He composed most of the numbers in the convention of the Souse march and trio and even wrote down 12-bar blues with precise indication of harmony and figuration. The music involved Jazz improvisation, though Morton, as pianist-director of his steel basically New Orleans ensemble, controlled real acerbic blues like Smokehouse Blues or in a cross between the two like The Chant, they generate passion while managing to sound blithely carefree.Their improvised composition, as distinct from Louis Armstrongs improvisation, is an irresistible affirmation of the human spirit. Duke Longtime A further refinement of Morons approach occurs in the music of Duke Longtime, born in Washing DC. Morton was the first, Longtime was the second composer in Jazz history; he remains the finest. He scored for a bigger band, using choir of saxophones blending, or playing in contras t, with brass and reeds, supported by string bass and percussion Longtime directed from or beside the keyboard. Longtime composed almost all the bands material using a 32-bar format rather more than the 12 bar blues. The artful quality of Elongations music lies first in the tunes which are memorable and recognizable his such as Black Beauty (1928) and Solitude and Mood Indigo (1930). Longtime starts from the cliches of white march and hymn, he adds chromatic richness that can plum our emotions. The music remains folk improvisation in tune with the spirit of the blues and at heart profoundly African.In a piece remains sinister because of the padding cat beat and the cross-rhythms of the guitar. One example of this ambiguity is the Black and Tan Fantasy (1927). Longtime fuses the spirit of New Orleans Jazz with the precise realization of art. Compromise teen black Jazz and white art entails the acceptance of white show business, which, in an industrial society, is arts popular manifestation. There are two complimentary strands in this process. One develops black Jazz into a mechanized powerhouse; the other combines popular conventions with the escape art of musical comedy.The two streams converge, as did blues, minstrel show and rag in the earlier generation. American Musical The Jazz musicians we have discussed have all been black, indirectly of African descent. The musicians who worked in music theatre on Broadway during the same cascades were all white, mostly of Jewish European ancestry. Musical comedy had its roots in European operetta, Viennese, French and English. One of the earliest and most talented of Broadway composers, Jerome Kern, though born in New York in 1885, studied in Europe, intending to become a classical composer.He returned the USA and to Tin Pan Alley. He produced his first show in 1912. During the next 30 years composed musicals such as Sunny (1925), Showboat (1927) and The Cat and the Fiddle (1931), which gave classic formulation to musical comedy conventions. The format of musical comedy steers it towards escapism. Broadway musical comedy emulates the operettas of such composers as the Stresses, Lear, Offenbach and Sullivan, transplanting both themes and forms in to an American environment.The themes are again either hedonistic or nostalgic. The forms follow a predictable pattern, the tunes constructed within rigidly diatonic, symmetrical eight-plus-eight- measure periods, though the harmony and modulations, especially in the middle eight, may be more adventurous than those of the old minstrel music. ; Irving Berlin Irving Berlin, born in Russia as Israel Blaine in 1888, was taken to New York as a baby. He had no musical training except what he picked up as a singing waiter.When he discovered that he had gift for writing word and tunes he was content to pick out the melody with one finger on the piano, leaving harmonistic and notation to a professional. Berlins songs have only two basic themes: an adolescent pleasure in the present moment and an equally adolescent nostalgia, sometimes tinged with self-pity. The tunes, with their narrow range and stepwise movement, more or less sing themselves. Such songs do not deny that love may hurt: they seek pleasure from the hurt itself and create and illusion that we can live on t he surface of our motions. Cole Porter Cole Porter (1891-1964). The cynical title of Porters musical Anything Goes (1934) is typical; so too is the fact that it conveys the mood of the sass with carefree is no positive element except the rudimentary boy-girl relationship, as expressed in the song All Through the Night. Its tune is merely a descending chromatic scale that, prompting dreamy modulations, induces trance, making the love seem almost too innocent to be true. Porters chromatics cast an ironic reflection on the diatonic love-songs of Berlin.The satirical elements in Porters songs are not sharp; they tend o defuse passion and violence, and become part of the American Dream. Yet his irony sometimes carries an uneasy honesty that we do not find in later musicals such as Richard Rodgers Oklahoma (1943). Occasionally, for instance in Night and Day, Porter allowed wit to be disturbed not only by passion but also by something not far from fright. George Gershwin Only one composer of Broadway and Tin Pan Ally overrode the illusory nature of the conventions to produce works of genius; George Gershwin. Many songs he contributed to ephemeral musicals have survived in their own right.Evidence of Gershwins percipience lies in his discovery of his essential theme in a novel by Dubos Hayward dealing with life among the blacks in New Orleans. From it was made a libretto for Porgy and Bess which, starting out as an ambitious musical, ended up as a fully-fledged opera exploiting an interplay of speech, recitative, arioso and pop aria and exhibiting a musical-theatrical craft to rival Puccini, if not Verdi. Swing era Gershwins understanding of the black blues, though intuitive, was profound is indicated by the fact that his tunes have always been favored material for Jazz improvisation.Porgy and Bess itself have been given superb Jazz treatments by such distinguished musicians as Louis Armstrong and Ella Fitzgerald, Miles Davis and Gill Evens, Ray Charles and Cleo Elaine. This provides a link to the evolution of Jazz, now both black and white, in the sasss and asss; the era of swing, during which the relationship of band to soloists changed. Even Elongations band grew to considerable dimensions and has affiliations with the big white bands that were more a part of show business than of Jazz.The earliest was the concert band of Paul Whitman, for which Gershwin composed Rhapsody in Blue, and to which some of the most talented of white Jazz wind players contributed. Dominating the era of world war II was the big band of Glenn Miller. More interesting both musically and sociologically is Benny Goodman, a white clarinetist who directed big and small bands and who looked, from the world of commerce, towards both Jazz and art. It is significant that Goodman, himself a fine musician, was the first white impresario to promote black Jazzmen on equal terms.Count Basis The supreme achievements of Jazz during the swing era remain black, notably the Kansas City bands of Count Basis. The Basis band is an authentic successor to the boreholes music of shanty-town piano thumper. The machine- made energy of the massed brass is now set against the wiry agility of Basiss piano playing. Basiss which is more blues-influenced than Elongations, rhythmic momentum liberates the soloist but at the same time threatens his individuality. Cabaret singers The big band era was also the age of the great Jazz cabaret singers.Basis worked with male blues shouters such as great Jimmy Rushing. He also worked with Billie Holiday, the finest female Jazz singer since Bessie Smith, who restricted herself costly to pop standards. Holiday died young, of heroin, but other great cabaret singers of the sasss and asss, notably Ella Fitzgerald, Sarah Vaughan and Betty Carter, have carried on performing into the sasss. The individual voice and spoken or sung word may still triumph. Instrumentalists During the sasss and ass what came to be called Modern Jazz reverted to private values.A pianist-composer like Theologies Monk had some of the attributes of a high priest, literally turning his back on his audience as he created a nervously tight, harmonically and tonally contorted revamping of old boreholes styles. Miles Davis, in his Cool Jazz of the sass, tempered Jazz heat with the muted sonority of his trumpet. Often he was abetted by the swinging lilt of Bill Vanss piano-playing. Evans was a white man. So is the composer-arranger Gill Evans, with whom Davis collaborated in some of the most beautiful Jazz Tone poems since Longtime, notably the suite derived from Porgy and Bess (1958).Among the saxophonists of modern Jazz Charlie Parker stands supreme, the most inventive and influential Jazz soloist since Armstrong. Although he used blues and pop conventions, his rapid chord changes and flexible meter steered Jazz improvisation once more towards a linear approach. This is evident too in the playing of Stan Get and in that of John Coloration and Ornate Coleman. We can also hear the influence of Parker in the Jittery linearity of the playing of Bud Powell who, like Parker, was a drug-infected victim of Jazz neurosis.McCoy Tuner starting in the sass in duo with Coloration as a brilliant exponent of blues and standard forms. White Country Music In the eighteenth and nineteenth centuries the original white settlers on the American continent brought their folk music with them, and it too has been ransomed into an industry: the pop music known as country and western. The music originated, however in the Eastern States, where emigrants from Britain had sung their old songs, rendered scrawnier and more rasping by the tough conditions of pioneer life.Even in the mid-twentieth century this is still eviden t in the singing of men and women living in remote areas of the Carolinas, Kentucky and Virginia. The instrumentalists, however, who made music not so much to alleviate loneliness as to stimulate communal activity, transformed their old-world models more radically. Georgian, Arkansas and Virginian fiddlers such as Fiddling John Carson played the old Scots and Irish reels with wild abandon, making music of almost manic cheerfulness. Provided a recipe for pop or entertainment, as distinct from folk, music. The fiddling of the string bands of the sass abandons everything to hedonism.This euphoria is no less evident in the banjo and guitar pickers who often support the fiddlers themselves play European-based dance music, or accompaniments to songs, some derived from British sources, others newly invented. Both fiddle music and plucked tiring music tends to be fast, regular in meter and diatonic. Bluegrass Some fiddlers and string players formed string bands such as the Skillet Licker, the Gully Jumpers or the North Carolina Ramblers. The music they made in the sass and ass was still a melody of old British songs and dances drained of hurtful elements and seasoned with bits of American hymned, march and ballad.At first this concerted music was still folk music. It served the needs of the community. During the sass it became more streamlined, exploitable on radio and recording. It was named bluegrass in homage to its Eastern mountain origins. Bluegrass music was performed by a lead singer who also played the guitar, banjo or mandolin, vigorously supported by other players of guitar, banjo and harp, with an interlacing of fiddlers. Tunes were fast and plainly diatonic. There may be a hint of desperation in the way in which the most melancholy local events railway accidents, hanging etc- are recounted with headily impervious glee.One finds something similar in the more Jazz-influenced string bands that, in the sass, came to be known as Western swing. Carter Family The Carter family, a Virginian mountain family who collected and arranged old-time hymns and ballads, sang quavers bass in the vocal trio. All the Carters songs, whatever their origin or theme, come out at moderate-to-fast tempo, regular in meter and in unsullied diatonic. The Carters importance is attributable not to exceptional talents but to their incorruptible integrity. Through popularized, even commercialese, they were little changed between the sass and the sass.With the Carters and the frail, clown like figure of Jimmy Rodgers the Lonesome Cowboy, country music became an industry in which the opposite poles of pop music, hedonism and nostalgia, were identified. Country singers like Dolly Barton and Lacy J Dalton have entered big business in becoming pop stars, without destroying the folk- like creativity they started from. Rock The rock explosion that occurred in the wake of World War II and came to fruition in the sass was an attempt to re-create music, having become an industry, tried to absorb the life-giving primitivism of black Jazz.Black-white integration worked both ways. If white culture engulfed black, black culture was now eager to take advantage of white technology to boost its growing self-confidence. From this process emerged hat came, appropriately, to be called soul music: the traditional passion and pain of black gospel music and of the blues are given greater punch by electric rather than male and female soul singers- Otis Redding and James Brown, Nina Simons and Earth Franklin. Also, in the sass blacks established their own record-producing industry, based in Detroit, manufacturing their own black style, called Midtown.Th is fast, regular-metered, cheerily diatonic music, reflecting the blacks self- assurances, is best represented by Diana Ross and her Supremes. The sound of Midtown has en wildly imitated by pop groups on both sides of the Atlantic from the late sass. But the emergence of rock and roll in the mid-twentieth century was a white phenomenon, in that young whites listened to black rhythm and blues out of frustration with their own society. It is possible to see Elvis Presley as a successor to the country singer Hank Williams. Both were Southern white boys with an evangelical background.Hank William Williams composed most of his own material in an idiom related to that of the Carter family, though with a touch of the black blues that gave a darker shade to the hymn- eke and ballad style. Elvis Presley Occasionally the black elements in Williwaws songs reinforced by the electric beat, guide him towards early Presley- style rock and roll. Elvis Presley responded to a non- conformist small-town background far more rebelliously. Whereas Williams created his own songs, mostly about broken loves, Presley used other peoples modes and manners to evoke an image of narcissistic self-esteem.Dressed extravagantly he brought it off because he had abilities to bolster charisma. Parsleys confidence in his voice projected his image, Heartbreak Hotel, the number that bought him instant name in 1956, was in origin a Southern country song. Presley uses both black barbershops and white Pentecostal styles as part of his performing expertise. Strait romantic lyricism is held in tension. The performance stimulates because it is precarious. He was always a performer and never a composer. The two poles of his nature- white dream-maker and black rebel- were both attempted escapes from routine.Presley was a solo performer: he could brook no competition. But as rock music developed it increasingly took over from gospel music the concept of the group. The rock group reached its climax not in the USA but in traditionally noncreative Britain. Rolling Stones The Rolling Stones, whose heyday was in the sasss, represents the closest approach pop ha made to an orgiastic music comparable with that created in African societies. This is seen in the groups singer Nick Eagers Africanized yelling and bodily gyrations, as well as in the fact that he adopted much of his material from black blueness like Muddy Waters.The Rolling Stones instrumental resources also have rudimentary origins, electric guitars and keyboards being vastly amplified versions of blues guitar, country harmonica, bagpipes and author. Amplification intensifies primitivism, since electronics may create a nightmarish inflation of the pitch both because it is metrically cruder and because, in amplification it is so loud, passing the threshold of tolerance. Breaking the sound barrier may become not a permissive euphoria but a destructive force relatable to voodoo.In 1970 Eagers rendering of Under my thumb triggered a Hells Angels ritual murder at the site of the performance. Primitive pentatonic melody here relies mainly on the driving beat for its momentum; harmony, as in real tribal music, is minimal or non-existent. This may be observed too in Award American rock groups such as the Doors, the Grateful Dead and the drug-orientated Velvet Underground. Music-Theatre, rock musicals Just as the energy of the Rolling Stones seemed to have weathered the years, so something has survived from the happier and happier cults of the sass.There is a direct return, if in simple form, to the Greek concept of music-theatre ritual. This is also demonstrated in the Tribal musicals of which Gal. McDermott Hair (1969) was the first to achieve artistic and material success. Similar themes and structure appear in The Whos Tommy and in Andrew Lloyd Weepers Jesus Christ Superstar. The use of multiple media 0 word, sound, movement, lighting 0 and of improvisation and audience participation means involvement rather than passive reception. Most pop concerts have become theatre ritual in this sense.Audiences will no longer tolerate a pop concert without visual as well as audible appeal. The Yess performance of their Tales from Topographic Oceans (1973) has something in common with the later music rituals of Steakhouses, in intention as well as in technique and technology. Pop is ritual in an emergent stage, and its ambiguity may e a strength. The long-playing record, tape and audio-visual are more radical innovations than we once realized. They transplant ritual from temple or theatre to any place.Individuals may create one, as do The Who in Quadraphonic (1965) or Pink Floyd in Atom Heart Mother (1968) and The Wall (1979). Intellect and technology are combined with feeling and instinct. The Battles The most successful group in pop history, the Battles, was the best. Their quality depended on the fact that they made songs of pronounced individuality. The return to origins in the basic beat, the often modal tunes, the side-stepping harmonies, were even a location and a name. American blues and country music interlaced with British hymn and music hall in the memorable melodies. Popular music free essay sample Focusing on a music based scene, movement or Artist of your own choosing from the period 1955 to 2000. You will detail, explain and analyses the roots, character and legacy of your chosen subject and consider what impact, if any, your subject has had upon popular music culture and the contemporary music business. Your choice may be a genre based scene such as the development of House Music in the UK through the asses and ass, or a geographically connected movement such as the Singer- Songwriter movement in Los Angles during the early asses, or a significantly influential and important Artist such as David Bowie or Madonna.You will need to have your choice of subject approved by your Module Leader, so do not begin researching or writing your assignment before you have discussed your theme with them. In this essay I will attempt to focus on a specific music scene as well as a movement being my choice of the East Coast Hip-Hop scene and the culture it carries. We will write a custom essay sample on Popular music or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Aiming to focus on the time period of 1980-2000, where let felt It had Its biggest and most controversial moments. Digging into its roots and some of its legacy and the people thin the society that helped cause some drastic changes that occurred and still go on at present spiraling In todays society causing effects on the popular music culture and music Industry. Rap Is a gimmick, but Im for the hip-hop, the culture. - Method Man East Coast Hip-Hop was birthed from the genre Hip-Hop when it had its most peak moments In the years of the sasss going Into the premature years of the 1 asss. Marred to the Orlando form of Hip-Hop It became well known and recognized for the positive some-times being afro centric and realistic lyrics that often had some epithet of meaning into what was currently going on in the peoples lives. East Coast Hip-Hop combined various genres of music and sounds one of the largest examples being Jamaican danceable toasting where Dos played the rhythm and artist such as Sister Nancy, Yellow Man and Dennis Allocate blessed the music with their voice making unusual sounds by their mouth or slightly mining over the beat making the crowd feel welcomed and at one with the artist.The passion of using words to express feelings and thoughts similar to Soul music which was also popular at this time. With all of these factors East Coast Hip-Hop began to see the rise of a new community and culture allowing us to sit back and witness the growth and beginning 1 OFF DIM, Notorious Big, Jay Z and Nas who would all go on to cause their own footstep on the future and all the great things it bought then, and still today in culture and the music industry. Originating from the East Coast of America, being more specific in the South Bronx of New York Hip-Hop came alive and began to stomp down so many barriers. In the beginning Hip-Hop contained no toasting, rapping nor talking but talented Dos that created unfamiliar sound. However this would go on to change as people such as Gill Scott-Heron began to perform words of blissful spoken poetry. During the years of the sasss block parties were a main source of time killing, entertainment and gathering for the African American community and in some cases the youth of Ladinos.Dos such as DC Cool Here would arrive to individuals house bringing the party and crowd with them to play music that would satisfy at the time most popular being soul/Ran. They soon found a new trend that would go on to make history using Jamaican Dub where percussion was used to cause isolation thin the breaks of songs allowing B-Boys and Busgirls to breakneck to the funky and new vibrant sound. They went on experiencin g with techniques and ideas such as scratching and beat mixing were Macs such as Roseanne Shanty began to spit over. In the year of 1975 things slightly began to change in regards to the street life known gangs of New York began to bring the animosity into another forming a-boy and B-girl groups who began to dance to the break of Hip-Hop, which went on to create a new trend of break dancing. This became to play and contribute a huge mount to Hip-Hop along with other components Mining, graffiti and Digging. Together these elements would be the first building posts for East Coast Hip-Hop. You see in the beginning the basic thought of Hip-Hop was the music the Dos created along with the lyrics the Macs put on top of them.However with the new trends of breakfasting and spray painting people were almost forced to take notice that this wasnt Just a phase the people were going through but now a lifestyle choice and belief for the South side of the Bronx New York. In 1974 Sylvia Robinson and Joe Robinson founded Sugar Hill Records which before its time was never done and became the first major Hip-Hop reco rding company which then gave East Coast Hip-Hop the power to expand and see growth. Their first major success in 1979 when Rappers Delight produced and created by Sugar Hill gang having a score of 3 on UK charts and thirty six in the US. This song gave East Coast Hip-Hop the platform it needed to gain recognition from the world. This gave East Coast Hip-Hop the seed it needed to grow. In 1981 Tommy Boy Records/ Entertainment the independent label was created and merchandised by Tom Silverman and also sent a shock wave through the music scene with albums such as Naughty by Nature a group entitled album. Naughty by Nature was released in 1991 and was hailed to be one of the best 100 rap albums by One of the greatest albums ever made (NAME 2010).This displayed how critical it was to have record labels like these around and supporting the scene as it gave the artists and creators the chance to show some-thing they both loved and had a sincere passion for. In the year of 1983 the world was struck by the DNA of rap music (Run DIM), making a bang on the East Coast scene the world watched as Jason Micelle Cam-Master Jay), Darryl McDaniel (D. M. C) and Joseph Simmons (Run) originating, Queens New York bought out their first single Its like that. The single was aided with Sucker M. Cos reaching number 15 on the US R charts.With Run Dams hard-hitting beats, aggressive rhymes, fashion style and first solid four albums Run-D. M. C in 1984, King of Rock in 1985, Raising Hell in 1986 and Tougher Than Leather in 1988, they had now found the new ability to bring awareness to the what was thought of the underground music scene. As well as bringing new heights to East Coast Hip-Hop we saw them change Hip-Hop from being Just a musical front too LOL to care about appearance and presentation with its rough edges into a fashion statement being strategically clever about all of the fashion choices they made. Run DIM was more than determined on pushing and creating their own style. They simply dressed on stage as they would on the corner of their streets in Queens, by doing this kids and fans were able to identify. Their stick-up kid look was now shadowing the thoughts and motives of the streets. Dressed in hardcore leather jackets, Godfather hats, exaggerated Jewelry, dark colored Jeans and of course their infamous Aids sneakers. It first began when people start recognizing Run DIM wearing their trainers with no laces, a style deriving from Jail where officers removed the laces to prevent inmates from committing suicide.However all of these positive aspects didnt come without backlash . With the older generation seeing the effect Run DIM were having on the youth they began getting annoyed at them for using such stereotypical references and links. Run DIM soon received a back lash from musician and poet Dry. Gerald Ideas when he released Felon Sneakers a song which he used to beat them down about connecting such things of inmates to the youths as bad influence.This didnt stop Run DIM in their tracks however as they came back with the song My Aids which also became one of their hits, turning the meaning around and deceiving its stereotype to be a positive movement and contradiction to what the system wanted Me and my Aids do the lilies things, We like to stomp out pimps with diamond rings, We slay all suckers who perpetrate, and lay down law from state to state In affect this caused the sale of Aids sneakers to raise in the asss eventually allowing Run DIM to do some-thing that hadnt been done before, hey were signed by Aids to produce their own clothing line and sneakers with a ultimate bonus of 1 million dollars. This would start a trend with Hip-Hop as it carries on to happen now with artist such as accent being sign to cre ate sneakers and clothing for Rebook, and female rap artist such as Tenant Taylor and Missy Elliot to create their own styles for Aids. My Aids was the confirmation needed that East Coast Hip-Hop was now more than a simple form of music but a lifestyle eventually launching street wear to the place it is today. After all this positivist the darkness and underground grunge began to come out of the East Coasts draining systems.A new culture was growing influencing more of the East Coasts talented artists that were Grandmaster Flash released the song white lines telling the hidden story of the New York Streets using lyrics such as Ticket to ride white line highway, tell all your friends, they can go my way, pay your toll, sell your soul, pound for pound costs more than gold. The lyrics demonstrated a warning about the effects of using cocaine. With the obvious use of cocaine taking place it was only right the story of the dealers e exposed, this is when the perfect timing for the hustler to come up and tell his story of being apart of the East Coast scene. For the majority of underground rappers money making was at times A issue so they used the option of hustling alongside rapping and for a time thought to have gone hand in hand working together Just like beats and flows (Carter, S. 2010).In 1986 Beastie Boys created their most successful album entitled licensed to Ill which featured arguably their biggest hit fight for your right making history as the first ever Hip-Hop album to reach the target of being umber one in the US billboards charts. This was a controversial factor and cause some animosity and annoyance amongst the black community as they believed a right had been taken away from them. The Beastie Boys came from a middle/upper class backgroun d and had no relevance or experiences with the hustling scene and the music that it was producing. 1987 was A year for big things giving the most successful rappers a steady platform to show what they had been working for.With their political lyrics and statements Public Enemy became one of the most influential rap groups. Although their first album M)! Bum Rush the show wasnt a hit, their second album It Takes a Nation of Millions to Hold Us Back released in 1988 would go on to prove critics wrong selling over a million copies including songs with empowering political speeches made by Malcolm X. With Flag Flag wearing his giant clock chains and the name of the group it was easy to draw the conclusion that they had come revert the idea of them being damaging to every-day people and society to become known for being powerful and influencing. However one of the most important and historic stamps were still left to come to put its mark on East Coast Hip-Hop.Jay Z made and entrance on to the scene in the unforgettable year of 1989 and would soon go on to be referred to as the best r apper in the world. Jay Z being friends with Jazz was able to gain contact with Brooklyn DC Fresh Gordon who abele him to a verse on a track with Big Daddy Kane on a mix-tape which began to circulate. Even with all this new unique talent Jay Z had he still fell into the rap what most other young black males were falling into hustling. However if it wasnt for this lifestyle Jay Z wouldnt of been inspired to write and deliver the lyrics he did empower him to share his experiences of life, his laity had a story to tell (Carter, S. 2010).He himself made sure that his songs were as truthful as they could be not Just glorifying the street life that was being lived but often trying to depict and explain how the once city paved with gold had turned into the streets that homed criminals, prostitutes, drug abusers but most important legends in the making. This is why the hustlers story through hip hop has connected with a global audience. The deeper we got into those sidewalk cracks and into the mid of the young hustler trying to find his fortune there, the closer we et to the ultimate human story, the story of struggle, which is what defines us many others like him life story unravel, i nforming us of the streets he met and they changes him and also the people around him. Music was not Jay Gs only talent Just like his peers such as Russell Simmons, Puff Daddy and Dry Deer we saw Jay Z bring his entrepreneur skills from the streets to his own office. Owning brands and businesses such as Orca-Wear , clubs 40/40 which are located in over 4 different states, Carols Daughter a brand of beauty products, sports club bar 40/40 in over 20 airports, he also bought a share of the Brooklyn Nets basketball team and closest to home in 2005 Jay Z bought a stake in the England football team Arsenal. With the rise of Jay Z still escalating we saw rappers with similar dialect and begin to come through the East Coast Hip-Hop scene. Artist such as Nas, Www-Tang Clan and one of my own personal favorites The Notorious B. I. G. In 1994 spectators were blown away with B. L. Gs easy flow accompanied by his slight lisp, with the album Ready To Die which hit the billboards at number 3. Once again we saw a rapper tell the public his life story allowing his peers to understand change and what can happen with a hard grind.In his famous song sky is he limit you hear him say A Niger never been as broke as me, I like that, demonstrating that there is some form of light at the end of the tunnel. With being on the rise and so much other success B. I. G still had other projects going on the most recognizable being Junior M. A. F. I. A which included some of his friends he grew up with in the streets such as Ill Cease, Chic Del Vice, M. C Slept and Ill Kim a female rapper artist he found on the street and helped to mould long with Puff Daddy. You see even with the world on his door step he refused to forget his promises to the streets and remain humble bringing his old crew into his new life and new found success. Nas was was greatly inspired by the late B. I. G and released his first album Lunatic in 1994 produced with East Coast producer Pete Rock and Large Professor. On this album Nas shared his child hood and not so long ago life experiences living in the inner city of New York. With his style of multi syllable rhyming the album was able to reach number 2 on the US charts. With the East Coast producing consistent and well produced acts the East Coast could not be ignored which also would bring rivals as mentioned before the East Coast and West Coast rappers soon began beef and go back and forth almost take it back to the streets. One of the most worldly known rhymes created by Tuba in Hit Me Up where he spoke about B. I.G and his then current wife and also fellow label soul artist Faith Evans l let these Niger know its on for life dont let the West side ride tonight This would be a groundbreaking moment not only for the East and West Coast, but or Hip-Hop on a whole. With B. I. G being killed in 1997 12 months after rival Tuba was murdered, there was almost a pause on the scene not producing any new artist that would create new moments such as Jay Z, Nas or Public Enemy already had. Regarding the culture and music industry of today, East Coast Hip-Hop still plays a large part. Since the year of 2009 there has been a decrease of rap sales, however we can still see how artists today are still inspired today with artist such as ASAP Rocky, who used the old school beats and gold fashion or Azalea Banks adding the sound of pop but being provocative with her lyrics as Ill Kim would often do.The crack epidemic still carries on today and it is arguable that it may have got worse but with it being so world wide it is more controlled. We still hear artist rapping about their describing the past that haunts him Vive been living this daily with no peace, no daydreams to save me, get high cause I want to survive, wish I could turn back the hands of time. As the artist today would of been at and impressionable age most likely their teens, an impressionable age they would of been inspired by artists such s Jay Z and Biggie Smalls inspiring them to use their life to express their feelings. However their are some differences mainly being fashion. Now rappers are more fearless with what they wear and how they wear it, however they still rock the gold jewelry.