And, much to my surprise, it held up really well. 182.I remember watching Talladega Nights: The Ballad of Ricky Bobby a couple of months ago, may have been longer than that, to see if it held up well considering that the first time I watched it was over 10 years ago at this point.
#Old school how to#
228.Įdwards, Paul, 2009, How to Rap : The Art & Science of the Hip-Hop MC, Chicago Review Press, p. Kool Moe Dee, 2003, There’s A God On The Mic: The True 50 Greatest MCs, Thunder’s Mouth Press, p. Kool Moe Dee, 2003, There’s A God On The Mic: The True 50 Greatest (Isaiah Clark-Jones) MCs, Thunder’s Mouth Press, p. Kool Moe Dee, 2003, There’s a God on the Mic: The True 50 Greatest MCs, Thunder’s Mouth Press, p. 26.īeef documentary, 2003, Peter Spirer, Aslan Productions. 19.Įdwards, Paul, 2009, How to Rap : The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 126.Įdwards, Paul, 2009, How to Rap : The Art & Science of the Hip-Hop MC, Chicago Review Press, p. 216) ISBN 978-1-85242-627-9Įdwards, Paul, 2009, How to Rap : The Art & Science of the Hip-Hop MC, Chicago Review Press, p. The use of extended percussion breaks led to the development of mixing and scratching techniques.ĭavid Toop, Rap Attack, 3rd. A live band was often used, as in the case of The Sugarhill Gang. However the use of funk samples went into a decline from 1983 onwards. Old school hip-hop would often sample disco and funk tracks. Then there’s freestyle where you come off the top of the head.” In old school hip-hop, Kool Moe Dee says that improvisational rapping was instead called “coming off the top of the head,” and he refers to this as “the real old school freestyle.” This is in contrast to the more recent definition defining freestyle rap as “improvisational rap like a jazz solo.” There’s an old school freestyle that’s basically rhymes that you’ve written that may not have anything to do with any subject or that goes all over the place. Busy Bee Starski’s defeat by the more complex raps of Kool Moe Dee meant that “no longer was an MC just a crowd-pleasing comedian with a slick tongue he was a commentator and a storyteller,” which KRS-One also credits as creating a shift in rapping in the documentary Beef.įreestyle rap during hip-hop’s old school had a different from the definition it has today – Kool Moe Dee refers to this earlier definition in his book, There’s a God on the Mic: “There are two types of freestyle. A famous old school hip-hop battle occurred in December 1981 when Kool Moe Dee challenged Busy Bee Starski. Immortal Technique explains how party content played a big part in old school hip-hop, in the book How to Rap: “hip-hop was born in an era of social turmoil…in the same way that slaves used to sing songs on a plantation…that’s the party songs that we used to have.”īattle rap was also a part of old school hip-hop. Much of the subject matter of old school hip-hop centers around partying and having a good time. Artists such as Melle Mel would use relatively few syllables per bar of music, with relatively simple rhythms. Old school hip-hop is noted for its relatively simple rapping techniques compared to later hip-hop music. It is characterized by the simpler rapping techniques of the time and the general focus on party related subject matter. The image, styles, and sounds of the old school were exemplified by figures like Afrika Bambaataa, The Sugarhill Gang, Grandmaster Flash, Spoonie Gee, Newcleus, Treacherous Three, Funky Four Plus One, Kurtis Blow, Busy Bee Starski, Lovebug Starksi, The Cold Crush Brothers, and Fab Five Freddy. Old school hip-hop is said to have ended around 1984 due to changes in both rapping technique and the accompanying music and rhythms. Old school hip-hop describes the earliest commercially recorded hip-hop music (approximately from 1979-1984) and the music in the period preceding it from which it was directly descended.