i don't see anything on the link but i guess we have to sign up for this. what's the article about anyway?
1-0ne
By binger0
Thu Apr 22, 2004 6:09 pm
oh my bad. Its about sampling and hip hop today. I cant into it either. I likned into it from another page.
By ONE
Sun Apr 25, 2004 2:47 am
Here:
During hip-hop's golden age, sampling was a creative force
Davey D
One of the most frequent complaints these days from those who've been down with hip-hop for years is that the music has lost its creative spark.
Today's popular rap songs are viewed as results of a record-industry formula. Their subject matter centers on sex and violence. We get song after song about macking, pimping, street life and being a playa.
Aside from the redundant themes, critics point to a lack of musical variety. Producers such as P. Diddy epitomize the trend of taking their main riffs and hooks from classic funk or disco songs and reworking them.
Folks who've been around for a while cringe when they hear the reworked version of a vintage Police, Prince or Rick James song. ``Why are these rappers so lazy?'' they ask.
Actually, the rappers aren't lazy. But keeping things ``simple'' (that is, not creative) meets today's expectations of the record industry, and many outside it aren't aware of the creative stranglehold on rap artists.
To fully understand, one must look back to the most creative period in rap. Keep in mind that, for many who came up in the inner city and became part of the ``hip-hop generation,'' there were no such things as glee clubs, music classes or bands at school. Such programs had been gutted to balance budgets.
For example, I went to one of the best public high schools in the country, New York's Bronx High School of Science. It was the equivalent of today's magnet schools such as Lowell in San Francisco, but there were no bands or music classes.
For many aspiring musicians who were trying literally to create something out of nothing, rap music filled a void. They were inspired to seek out old James Brown and funk, jazz and blues albums. In the early days, they simply rapped over percussion breaks in popular songs.
When hip-hop records first came out, from Sugar Hill, backup bands were hired to replay the old-school classics. But by the mid-'80s, the backup bands were disappearing, sampling had become common, and fledging hip-hop producers were defining how that tool was used.
Producers such as the Latin Rascals, with their signature rapid-fire cuts and edits; the legendary Marley Marl; hip-house innovator Todd Terry; a young Teddy Riley; and the late DJ Scott La Rock were among the first and most innovative masters of sampling.
Many rappers had rejected the formulaic disco music of the '70s and uninspired funk of the '80s, with its drum machines and listless singing. The '80s sampling craze focused on resurrecting James Brown, Sly Stone, and other funk and soul masters whose music was all but ignored then by mainstream outlets.
As sampling became more popular, hip-hop DJs got ever more creative with what had become the genre's premier instrument. They would dig into the crates and find a James Brown grunt, a Sly Stone drum pattern, a George Clinton bass line, and then use them to create ``a music collage.''
When the James Brown-inspired sound began to wane in popularity, hip-hop artists turned to jazz, sampling Cannonball Adderley, Grover Washington Jr. and everybody in between.
This period, from 1988 to 1993, is considered the golden age of rap, its most creative period. Many of the sampling techniques and innovative approaches to creating music influenced the whole industry.
But that creative period waned overnight when what Prince has described as the ``bean counters'' became interested in protecting intellectual property. I'll have more on that in my next column.
Is that what you were trying to get Bing?
During hip-hop's golden age, sampling was a creative force
Davey D
One of the most frequent complaints these days from those who've been down with hip-hop for years is that the music has lost its creative spark.
Today's popular rap songs are viewed as results of a record-industry formula. Their subject matter centers on sex and violence. We get song after song about macking, pimping, street life and being a playa.
Aside from the redundant themes, critics point to a lack of musical variety. Producers such as P. Diddy epitomize the trend of taking their main riffs and hooks from classic funk or disco songs and reworking them.
Folks who've been around for a while cringe when they hear the reworked version of a vintage Police, Prince or Rick James song. ``Why are these rappers so lazy?'' they ask.
Actually, the rappers aren't lazy. But keeping things ``simple'' (that is, not creative) meets today's expectations of the record industry, and many outside it aren't aware of the creative stranglehold on rap artists.
To fully understand, one must look back to the most creative period in rap. Keep in mind that, for many who came up in the inner city and became part of the ``hip-hop generation,'' there were no such things as glee clubs, music classes or bands at school. Such programs had been gutted to balance budgets.
For example, I went to one of the best public high schools in the country, New York's Bronx High School of Science. It was the equivalent of today's magnet schools such as Lowell in San Francisco, but there were no bands or music classes.
For many aspiring musicians who were trying literally to create something out of nothing, rap music filled a void. They were inspired to seek out old James Brown and funk, jazz and blues albums. In the early days, they simply rapped over percussion breaks in popular songs.
When hip-hop records first came out, from Sugar Hill, backup bands were hired to replay the old-school classics. But by the mid-'80s, the backup bands were disappearing, sampling had become common, and fledging hip-hop producers were defining how that tool was used.
Producers such as the Latin Rascals, with their signature rapid-fire cuts and edits; the legendary Marley Marl; hip-house innovator Todd Terry; a young Teddy Riley; and the late DJ Scott La Rock were among the first and most innovative masters of sampling.
Many rappers had rejected the formulaic disco music of the '70s and uninspired funk of the '80s, with its drum machines and listless singing. The '80s sampling craze focused on resurrecting James Brown, Sly Stone, and other funk and soul masters whose music was all but ignored then by mainstream outlets.
As sampling became more popular, hip-hop DJs got ever more creative with what had become the genre's premier instrument. They would dig into the crates and find a James Brown grunt, a Sly Stone drum pattern, a George Clinton bass line, and then use them to create ``a music collage.''
When the James Brown-inspired sound began to wane in popularity, hip-hop artists turned to jazz, sampling Cannonball Adderley, Grover Washington Jr. and everybody in between.
This period, from 1988 to 1993, is considered the golden age of rap, its most creative period. Many of the sampling techniques and innovative approaches to creating music influenced the whole industry.
But that creative period waned overnight when what Prince has described as the ``bean counters'' became interested in protecting intellectual property. I'll have more on that in my next column.
Is that what you were trying to get Bing?
By binger0
Sun Apr 25, 2004 2:50 am
yes thank you. I was to lazy to register. I can in from another site
By ieism
Sun Apr 25, 2004 9:18 am
eYo BingerO....You know what happened to the last guy that past Tutor in the number of post don't you.....And i was just starting to like your avatar 
By Prah_860_
Sun Apr 25, 2004 5:33 pm
ieism wrote:eYo BingerO....You know what happened to the last guy that past Tutor in the number of post don't you.....And i was just starting to like your avatar
What Happen'd to him??
Fabolous wrote:Sometimes a dumb @$$ drops a clever turd
cooocooo1 wrote:cats just be comin' out in the forums like flowers it...
Dark N!gga Squad Representer
By ieism
Mon Apr 26, 2004 11:13 am
you'll be forced to use a nude picture of Barbara Steisand as your avatar for 7 days. 
By Prah_860_
Mon Apr 26, 2004 1:10 pm
ieism wrote:you'll be forced to use a nude picture of Barbara Steisand as your avatar for 7 days.
pete rock will be staying!!!
A nude pic of gloria veldez or KiToy will do good though
Fabolous wrote:Sometimes a dumb @$$ drops a clever turd
cooocooo1 wrote:cats just be comin' out in the forums like flowers it...
Dark N!gga Squad Representer
By binger0
Mon Apr 26, 2004 6:30 pm
and yo Im gonna get a nude pic of queen latifiah or star jonez in a minute