Notas detalhadas sobre Pop
Notas detalhadas sobre Pop
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Grandmaster Flash performing in 1999 The lyrical content and other instrumental accompaniment of hip hop developed as well. The early lyrical styles in the 1970, which tended to be boasts and clichéd chants, were replaced with metaphorical lyrics exploring a wider range of subjects. As well, the lyrics were performed over more complex, multi-layered instrumental accompaniment.
It is hard to pinpoint the exact musical influences that most affected the sound and culture of early hip hop because of the multicultural nature of New York City. Hip hop's early pioneers were influenced by a mix of cultures due to the diversity of New York City.
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The term chillout emerged from British ecstasy culture which was originally applied in relaxed downtempo "chillout rooms" outside of the main dance floor where ambient, dub and downtempo beats were played to ease the tripping mind.[50][51]
What once was rap now is hip hop, an endlessly various mass phenomenon that continues to polarize older rock and rollers, although it's finally convinced some gatekeeping generalists that it may be of enduring artistic value—a discovery to which they were beaten by millions of young consumers black and white. — Christgau's Consumer Guide: Albums of the '90s (2000)[174] During the golden age, elements of hip hop continued to be assimilated into other genres of popular music.
In Jamaica, DJs would set up large roadside sound systems in towns and villages, playing music for informal gatherings, mostly folks who wandered down from country hills looking for excitement at the end of the week. There the DJs would allow 'Toasts' by an Emcee, which copied the style of the American DJs listened to on AM transistor radios. It was by this method that Jive talk, rapping and rhyming was transposed to the island and locally the style was transformed by 'Jamaican lyricism', or the local patois.
In former Yugoslavia hip hop first appeared during the 1980s mostly with Serbian hip hop with performers such as B-boy, the Master Scratch Band, Badvajzer, and others. During the late 1990s hip hop had a boom, with Rambo Amadeus and later Beogradski sindikat becoming a major performer. Bosnian and Herzegovinian hip hop is nowadays dominated by Edo Maajka. In the region hip hop is often used as a political and social message in song themes such as war, profiteering, corruption, etc. Frenkie, another Bosnian rapper, is associated with Edo Maajka, and has collaborated beyond Bosnian borders.
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An EDM festival in 2013 in Plainfeld, Austria with over 100,000 attendees,[183] exhibiting the large crowds and dramatic lighting common at such events since the early 2000s.[3] In the 1980s, electronic dance music was often played at illegal underground rave parties held in secret locations, for example, warehouses, abandoned aircraft hangars, fields and any other large, open areas. In the 1990s and 2000s, aspects of the underground rave culture of the 1980s and early 1990s began to evolve into legitimate, organized EDM concerts and festivals. Major festivals often feature a large number of acts representing various EDM genres spread across multiple stages. Festivals have placed a larger emphasis on visual spectacles as part of Clique Aqui their overall experiences, including elaborate stage designs with underlying thematics, complex lighting systems, laser shows, and pyrotechnics.
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MCing and rapping performers moved back and forth between the predominance of songs packed with a mix of boasting, 'slackness' and sexual innuendo and a more topical, political, socially conscious style. The role of the MC originally was as a Master of Ceremonies for a DJ dance event. The MC would introduce the DJ and try to pump up the audience. The MC spoke between the DJ's songs, urging everyone to get up and dance. MCs would also tell jokes and use their energetic Informações language and enthusiasm to rev up the crowd. Eventually, this introducing role developed into longer sessions of spoken, rhythmic wordplay, and rhyming, which became rapping.
^ Fikentscher (2000), p. 5, in discussing the definition of underground dance music as it relates to post-disco music in America, states that: "The prefix 'underground' does not Informações merely serve to explain that the associated type of music—and its cultural context—are familiar only to a small number of informed persons. Underground also points to the sociological function of the music, framing Cotar it as one type of music that to have meaning and continuity is kept away, to a large degree, from mainstream society, mass media, and those empowered to enforce prevalent moral and aesthetic codes and values.
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"Bedroom pop" has also been invoked to describe a distinct aesthetic.[15] Writing in 2006, Tammy LaGorce of The New York Times identified "bedroom pop" as "bloglike music that tries to make the world a better place through a perfect homemade song".