Bcm301 Week 9 Amen
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Transcript of Bcm301 Week 9 Amen
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BCM 301 week 9
Music History 2.0: The Amen Breakbeat
Andrew Whelan
19.2010
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Overview
Approaching breaks, an example:Think
Social history of the amen from black pride to jungle
Why care about breakcore? the amen post-Napster the amen, contemporary subculture, and the market
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Whats a break?
Breakbeats are
points of rupture in their former contexts, pointsat which the thematic elements of a musicalpiece are suspended and the underlying rhythmsbrought center stage (Rose 1994: 73-74).
Rose, Tricia. 1994. Black Noise: Rap Music and Black Culture inContemporary America. London: Wesleyan University Press.
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Think
Rob Base and DJ E-Z Rock: It Takes
Two (1988, US)
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Think
Lynn Collins: Think (about it) (1972, US)
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Think
Various Production: Hater (2004, UK)
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Think
Dave Nada: Where Brooklyn At (2007, US)
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Think
Kid Cudi vs. Crookers: DaynNite (2008,
US)
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Breaks not addressed:
Funky Drummer, Hotpants, Impeach the
President, When the Levee Breaks,
Apache, Give the Drummer Some, Give itUp or Turn it Loose etc.
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Why address breaks?
Breakbeats as material history
Breakbeats as the wiring of popular
western dance musics since the birth of
hip-hop
Breakbeats as musemes
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AmenThe Winstons: Amen, Brother (1969, US)
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Amen
Roots: Jester Hairston: Amen (1963, US)
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Amen
Roots: Curtis Mayfield: Were a
Winner (1968, US)
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So how did we get here?
Bizzy B: Calling the Amen (2008, UK)
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(Re)surfacing in hip-hop
N.W.A: Straight Outta Compton (1988, US)
But dont forget:
2 Live Crew: Feel Alright Yall3rd Bass: Wordz of WisdomBrand Nubian: The Godz Must Be CrazyEric B. and Rakim: Casualties of WarFunky Technicians: AirtightHeavy D: MC Heavy D!Heavyweight: : Oh GoshJ. Majik: Arabian NightsMaestro Fresh Wes: Bring it OnNice & Smooth: Dope Not HypeSalt-N-Pepa: DesireScarface: Born KillerSchoolly D: How a Black Man Feels
etc., all around 88-90
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In early UK breakbeat
Mantronix: King of the Beats (1988, UK)
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Rave / breakbeat hardcore
Sonz of a Loop da Loop Era: Calm
Downizm (1993, UK)
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But as rave becomes jungle it gets
dark
Marvellous Cain: Dub Plate Style (1994,
UK)
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Jungle
Cutty Ranks: Limb by Limb (DJ SS
mix) (1995, US)
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Jungle
Jungle represents an extraordinary leap forwardin popular music form and sonority. Its richpolymetre and textural syntax, together with thelow salience of melody and harmony, mark a
radical departure from earlier styles Thesheerspeedof the successive moves fromhouse, to rave, to jungle in the period 1988-94 isalso unprecedented (2000: 140).
Toynbee, Jason. 2000. Making Popular Music: Musicians, Creativity and
Institutions. London: Arnold.
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Soundsystem as war machine
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Back into obscurity
Digital Hardcore Records (Berlin) Ambush
Records (London), and Bloody Fist
Records (Newcastle NSW), circa
1995-2000, keep producing undergroundtechno and keep using the amen
Jackal & Hide: The Jackal (1997, UK)
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Emergence of breakcore
Venetian Snares: Clearance Bin (2001,
CAN)
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Bedroom producers
Epsilon: Pills (2004, AUS)
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Plunderphonics and hardcorifying
the mainstream
Killjoy: Britney Stole My Crackpipe (2005,
AUS)
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Breakcore as hyperjungle, as
pastiche
Strog: Paranoid Mash up (2006, POL)
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Subcultures - the big picture
The monopolies and cartels of the early years have given way to new patterns of corporateorganization the culture industry, a branch of thecommunications industry, which in turn is a hugeoutgrowth of the military-industrial complex whosereal pay-off is in the form of new commodities for themass market The result is the electronification, integration and nowthe computerization of the production, processingand distribution of information, entertainment,education, and cultural activity in general, whichwashes daily over the atomized consumer fromcradle to grave (Chanan 1994: 281-282).
Chanan, Michael. 1994. Musica Practica: The Social Practice ofWestern Music from Gregorian Chant to Postmodernism.
London: Verso.
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Subcultures in a disenchantedworld
Subcultures emerge when the larger culture fails tomeet peoples needs for example, to provide resourcesor meanings so that some people find fault with theculture and form their own identity-granting communitiesof meanings. Large numbers of young people todayhave been rendered surplus populations with dimeconomic prospects. Many others find the meanings andvalues provided by global capital and its cultureindustries, shallow, empty, vacuous, ordehumanized (Langman and Halnon 2005: 273-274).
Langman, Lauren, and Karen Halnon. 2005. Globalization and the Grotesque. Pp.269-279 in Critical Globalization Studies, edited by Richard Appelbaum and WilliamRobinson.London: Routledge.
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Why care about breakcore?
Because breakcore is cool:
Whether it is expressed as appropriation, sampling,defacement, or hacking, there will be nothing more cool
to use the term of the nascent, everyday aesthetics ofknowledge work than committing acts of destructionagainst what is most valued in knowledge workthecontent, form or control of information (Liu 2004: 8).
Liu, Alan. 2004. The Laws of Cool: Knowledge Work and the Culture ofInformation. London: University of Chicago Press.
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Why care about breakcore?
It is possible to judge the strength of politicalpower by its legislation on noise and the
effectiveness of its control over it (Attali1985: 122).
Attali, Jacques. 1985. Noise: The Political Economy of Music. London:
University of Minnesota Press.