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PrintableMikeMatronik said: TonyVanDam said: You're close. 1993 will forever be remember as the year the music industry started to take only one style of hip-hop more seriously as the biggest cash cow (gangsta rap), while the other styles (especially political rap) were reject from any further chances on FM Radio. What artists were rejected? Public Enemy (despite that they only use to play Flavor Flav-led songs) KRS-One Brand Nubian Digible Planets Monie Love De La Soul .....hell, anyone that wasn't gangsta at all. By 1994, gangsta was so mainstream that even MC Hammer had to change his wardrobe to dress the part! | |
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Mara said: PurpleJam said: The fact that many people claim that the reason that all of those white kids were burning disco records back in the day was because they were all racist is just so ignorant. Do you think they all hated disco music simply because the majority of the artists were black or latino? They hated that style of music is the bottom line. They loved rock music, which incorporated many elements of the blues by the way. They felt that disco was too soft and was taking all of the grit, drive and musicianship out of much of the music that you heard on the radio during those times. You even hear classic rock artists, who were all influenced by the rock and roll of Chuck Berry to the rock style of Jimi Hendrix, stating this about disco music as well. I just feel that all of those accusations about whites being racist were and are completely unfair and unjustified. 
Once again, if you read The Secret History of Disco (which, folks, REALLY is a good and rich book by the way). The Disco Demolition Night and "Discophobia" is touched on. Racial slurs and INTENSE homophobia were mouthed by many of the 50,000 attendees that night in 1979 and it is documented. Bottomline: Disco was seen as FAG music by those 50,000 kids at Comiskey Park stadium in Chicago. You're trying to downplay it by lightly saying they didn't like it because it was "too soft." It was an intense reaction AGAINST urban America, AGAINST an artform that orginated from a largely GAY, largely BLACK dance culture. The backlash at that Chicago baseball, as SoulAlive, also pointed out was largely fueled by HOMOPHOBIA, SUBURBAN/URBAN tension (race plays a large part in that if you know the history of big cities and living patterns in post-war America). Racism and homophobia didn't magically disappear after the Civil Rights Act was put into effect in 1965. You STILL had schools that were segregated as LATE as the mid-70s in really big cities like Boston. And, yes, 1970s Chicago had huge racial/social, hypersegregational problems at the time that Discophobia incident occurred and it should not be downplayed by Rock revisionists/Deniers who want to act like race and homophobia weren't factors. Disco was still very much associated with urban "blight" (i.e. black, hispanic, minority submersion) and '70s dance and disco music was WILDLY pansexual and embraced a mixing of black, white, gay, latin, lesbian, bisexual, transsexual/transgender, etc. Drag queens, crossdressers, white and black gay men singing about the "YMCA." This was THREATENING to a white American ROCK male hetero fanbase. And that cannot be downplayed or diminished as you have done. It was ALIEN. And, if you're American, trust me, "Alien" *comes* with a loaded set of connotations. Eventhough disco "died" in America (excluding Chicago), disco was still alive in Europe when it change to Italo Disco.  | |
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TonyVanDam said: MikeMatronik said: What artists were rejected? Public Enemy (despite that they only use to play Flavor Flav-led songs) KRS-One Brand Nubian Digible Planets Monie Love De La Soul .....hell, anyone that wasn't gangsta at all. By 1994, gangsta was so mainstream that even MC Hammer had to change his wardrobe to dress the part! Indeed, but the "last gasp" of true diversity in the hip-hop industry from 1993-1994, produced arguably the greatest two-year period in its history.   
   
 
    
 
You can add to a lot of these, but only a few periods in the history of hip-hop as an industry were as diverse, prolific and productive, commercially and artistically, as this one. [Edited 2/11/07 11:08am] Good night, sweet Prince | 7 June 1958 - 21 April 2016
Props will be withheld until the showing and proving has commenced. -- Aaron McGruder | |
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i like hip hop from all eras but "90-95" will always be the absolute best ever!
(listenin to Jamal-Keep it real)  | |
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namepeace said:
I.LOVE.this.album. My goodness, in college, I WORE this album out. Wore the thing out. I used to come home from class, go in the kitchen, turn on the stereo and cook to this. I loved that time. | |
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Mara said: namepeace said:
I.LOVE.this.album. My goodness, in college, I WORE this album out. Wore the thing out. I used to come home from class, go in the kitchen, turn on the stereo and cook to this. I loved that time. Just think about the scope of artists that were a) in their prime; b) hitting their prime; or c) making their splash on the scene during that same period. Good night, sweet Prince | 7 June 1958 - 21 April 2016
Props will be withheld until the showing and proving has commenced. -- Aaron McGruder | |
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