Dance-pop is a pop and dance subgenre that originated in the early 1980s. It is uptempo music intended for nightclubs with the intention of being danceable but suitable for contemporary hit radio. Developing from a combination of electronic dance music and pop music, with influences of disco, post-disco and synth-pop, it is characterised by strong beats with easy, uncomplicated song structures which are more similar to pop music than the more free-form dance genre, with an emphasis on melody as well as catchy tunes; the genre, on the whole, tends to be producer-driven, despite some notable exceptions. Dance-pop borrowed influences from other genres, which varied by producer and period; such include contemporary R&B, trance, new jack swing, synthpop and some forms of Europop. Dance-pop is a popular mainstream style of music and there have been numerous pop artists and groups who perform in the genre. Notable ones include Cher, Britney Spears, Kylie Minogue, Gloria Estefan, Christina Aguilera, Jennifer Lopez, Spice Girls, Paula Abdul, Backstreet Boys, Michael Jackson, NSYNC, Destiny's Child, Janet Jackson, Taylor Swift, Miley Cyrus, Katy Perry, Lady Gaga, Ariana Grande and Selena Gomez As the term "disco" started to go out of fashion by the late 1970s to early 1980s, other terms were used to describe disco-based music, such as "post-disco", "club", "dance" or "dance-pop" music.
These genres were, in essence, a more modern variant of disco music known as post-disco, which tended to be more experimental and producer/DJ-driven using sequencers and synthesizers. Dance-pop music emerged in the 1980s as a combination of dance and pop, or post-disco, uptempo and simple, club-natured, producer-driven and catchy. Dance-pop was more uptempo and dancey than regular pop, yet more structured and less free-form than dance music combining pop's easy structure and catchy tunes with dance's strong beat and uptempo nature. Dance-pop music was created and produced by record producers who would hire singers to perform the songs. In the beginning of the 1980s, disco was an anathema to the mainstream pop. According to prominent Allmusic critic Stephen Thomas Erlewine, Madonna had a huge role in popularizing dance music as mainstream music, utilizing her charisma and sex appeal. Erlewine claimed that Madonna "launched dance-pop" and set the standard for the genre for the next two decades.
As the primary songwriter on her self-titled debut album and a co-producer by her third record, Madonna's insistence on being involved in all creative aspects of her work was unusual for a female dance-pop vocalist at the time. The staff of Vice magazine stated that her debut album "drew the blueprint for future dance-pop."In the 1980s, dance-pop was aligned to other uptempo electronic genres, such as Hi-NRG. Prominent producers in the 1980s included Stock and Waterman, who created Hi-NRG/dance-pop for artists such as Kylie Minogue, Dead or Alive and Bananarama. During the decade, dance-pop borrowed influences from funk, new jack swing, contemporary R&B. Other prominent dance-pop artists and groups of the 1980s included the Pet Shop Boys and Kim, Samantha Fox, Debbie Gibson, Tiffany. By the 1990s, dance-pop had become a major genre in popular music. Several dance-pop groups and artists emerged during the 1990s, such as the Spice Girls, Britney Spears, Christina Aguilera, Jessica Simpson, Backstreet Boys, and'NSYNC.
During the early 1990s, dance-pop borrowed influences from house music, as well as contemporary R&B and new jack swing. By the late 1990s, electronic influences became evident in dance-pop music. Additionally in 1998, Cher released a dance-pop song called "Believe" which made usage of a technological innovation of the time, Auto-Tune. An audio processor and a form of pitch modification software, Auto-Tune is used as a way to correct pitch and to create special effects. Since the late 1990s, the use of Auto-Tune processing has become a common feature of dance-pop music. Celine Dion released a midtempo dance-pop song, "That's the Way It Is" by the end of 1999. During this period, some British bands connected with Britpop and alternative pop experimented with dance pop as a form - examples include Catatonia single Karaoke Queen, Kenickie's final single Stay in the Sun and Romo band Orlando's major label debut single "Just For A Second." Another Britpop band, Theaudience was fronted by Sophie Ellis Bextor who went on to a successful solo career in artist-driven dance-pop.
At the beginning of the 2000s, dance-pop music was still prominent, electronic in style, influenced by genres such as trance, house and electro. Nonetheless, as R&B and hip hop became popular from the early part of the decade onwards, dance-pop borrowed a lot of its influences from urban music. Dance-pop stars from the 1980s and 1990s such as Britney Spears, Christina Aguilera, Janet Jackson and Kylie Minogue continued to achieve success at the beginning of the decade. Whilst a lot of dance-pop at the time was R&B-influenced, many records started to return to their disco roots.
Tupac Amaru Shakur known by his stage names 2Pac and Makaveli, was an American rapper and actor. He is considered by many to be one of the greatest rappers of all time. Shakur was born in the Harlem neighborhood of New York City but relocated to Los Angeles in 1988, by the time he released his debut album 2Pacalypse Now in 1991, he became a central figure in West Coast hip hop, introducing social issues in the genre at a time when gangsta rap was dominant in the mainstream. Shakur achieved further critical and commercial success with his follow-up albums Strictly 4 My N. I. G. G. A. Z... and Me Against the World. That year, after suffering legal troubles and a robbery and shooting, Shakur became involved in the growing East Coast–West Coast hip hop rivalry, his double-disc album, All Eyez on Me, released in 1996 became one of the best-selling albums in the United States. On September 7, 1996, Shakur was shot four times by an unknown assailant in a drive-by shooting in Las Vegas; the Notorious B. I.
G. Shakur's friend turned rival, was at first considered a suspect, but was murdered in another drive-by shooting several months later. Five more albums have been released since his death. Outside music, Shakur gained considerable success as an actor, with his starring roles as Bishop in Juice, Lucky in Poetic Justice, Ezekiel in Gridlock'd, Jake in Gang Related, all garnering praise from critics. Shakur is one of the best-selling music artists of all time having sold over 75 million records worldwide. Much of Shakur's work has been noted for addressing contemporary social issues that plagued inner cities, he is considered a symbol of resistance and activism against inequality. Tupac Amaru Shakur was born on June 16, 1971, into an African-American family in the East Harlem section of Manhattan in New York City, his birth name was Lesane Parish Crooks. The following year, he was renamed after Túpac Amaru II, the 18th-century Peruvian revolutionary, executed after leading an indigenous uprising against Spanish rule.
His parents, Afeni Shakur and Billy Garland, were active members of the Black Panther Party in New York in the late 1960s and early 1970s. Lesane was born a month after his mother was acquitted of more than 150 charges of "Conspiracy against the United States government and New York landmarks" in the New York Panther 21 trial. Many people in Shakur's life were involved with the Black Liberation Army, his godfather, Elmer "Geronimo" Pratt, a high-ranking Black Panther, had been convicted of murdering a school teacher during a 1968 robbery, although his sentence was overturned. His stepfather, Mutulu Shakur, spent four years at large on the FBI's Ten Most Wanted Fugitives list, beginning in 1982. Mutulu was wanted for having helped his friend Assata Shakur, Tupac's godmother, to escape from a penitentiary in New Jersey in 1979. Mutulu was caught in 1986 and convicted and sentenced to prison for the 1981 robbery of a Brinks armored truck, during which two police officers and a guard were killed.
Shakur had an older stepbrother, Mopreme "Komani" Shakur, a half-sister, two years his junior. Mopreme performed in many of his recordings. In 1986, the family moved from New York to Maryland. After completing his second year at Paul Laurence Dunbar High School, Shakur transferred to the Baltimore School for the Arts. There he studied acting, poetry and ballet, he performed in the role of the Mouse King in the ballet The Nutcracker. Shakur, accompanied by one of his friends, Dana "Mouse" Smith, as his beatbox, won many rap competitions and was considered to be the best rapper in his school, he was remembered as one of the most popular kids in his school because of his sense of humor, superior rapping skills, ability to mix with all crowds. Shakur developed a close friendship with Jada Pinkett. In the documentary Tupac: Resurrection, Shakur says, "Jada is my heart, she will be my friend for my whole life." Pinkett Smith calls him "one of my best friends. He was like a brother, it was beyond friendship for us.
The type of relationship we had, you only get that once in a lifetime." A poem written by Shakur, titled "Jada", appears in his book, The Rose That Grew from Concrete, which includes a poem dedicated to Pinkett Smith called "The Tears in Cupid's Eyes." During his time in art school, Shakur became affiliated with the Baltimore Young Communist League USA. He began dating the daughter of the director of the local chapter of the Communist Party USA. In 1988, Shakur and his family moved from Baltimore to Marin City, California, a small unincorporated suburban community located 5 miles north of San Francisco, he attended Tamalpais High School in nearby Mill Valley. Shakur contributed to the school's drama department by performing in several productions. In an English class, Shakur wrote a paper, "Conquering All Obstacles," in which he said: our raps, not the sorry story raps everyone is so tired of, they are about. Our goal is have people relate to our raps, making it easier to see what is happening out there.
More important, what we may do to better our world. He began attending the poetry classes of Leila Steinberg in 1989; that same year, Steinberg organized a concert with Shakur's group, "Strictly Dope".
Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew on the genres of blues and blues, from country music. Rock music drew on a number of other genres such as electric blues and folk, incorporated influences from jazz and other musical styles. Musically, rock has centered on the electric guitar as part of a rock group with electric bass and one or more singers. Rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become diverse. Like pop music, lyrics stress romantic love but address a wide variety of other themes that are social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, jazz-rock, many of which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene.
New genres that emerged included progressive rock. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and alternative rock. From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge and indie rock. Further fusion subgenres have since emerged, including pop punk, electronic rock, rap rock, rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s. Rock music has embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. 1970s punk culture spawned the goth and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as well as changes in social attitudes to race and drug use, is seen as an expression of youth revolt against adult consumerism and conformity.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was influenced by the sounds of electric blues guitarists; the sound of an electric guitar in rock music is supported by an electric bass guitar, which pioneered in jazz music in the same era, percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has been complemented by the inclusion of other instruments keyboards such as the piano, the Hammond organ, the synthesizer; the basic rock instrumentation was derived from the basic blues band instrumentation. A group of musicians performing rock music is termed as a rock group. Furthermore, it consists of between three and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist and keyboard player or other instrumentalist. Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four.
Melodies originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late 1950s and from the mid 1960s onwards, rock music used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock; because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, rebellion against "The Establishment", social concerns, life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, rhythm and blues.
Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, asserts that rock's primary "function" "pertains to music, or, more noise." The predominance of white and middle class musicians in rock music has been noted, rock has been seen as an appropriation of black musical forms for a young and male audience. As a result, it has been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll implies an identification of male sexuality and aggression". Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has been contrasted with pop music, with which it has shared many characteristics, but from wh
Disco is a music genre and subculture that emerged in the 1970s from the United States' urban nightlife scene. The music, the fashion, many song lyrics and other cultural phenomena associated with disco were focused on having a good time on the dance floor of a discotheque to the loud sounds of records being played by a DJ enhanced by coloured lighting effects. Disco started as a mixture of music from venues popular with African Americans and Latino Americans, Italian Americans, LGBT people, psychedelic hippies in Philadelphia and New York City during the late 1960s and early 1970s. Disco can be seen as a reaction to both the dominance of rock music and the stigmatization of dance music by the counterculture during this period. Several dance styles were developed during the period of disco's popularity in the United States, including the Bump and the Hustle; the disco sound is typified by "four-on-the-floor" beats, syncopated basslines, string sections, electric piano and electric rhythm guitars.
Lead guitar features less in disco than in rock. Well-known disco artists include Donna Summer, Gloria Gaynor, the Bee Gees, Chic, KC and the Sunshine Band, Thelma Houston and the Village People. While performers and singers garnered public attention, record producers working behind the scenes played an important role in developing the genre. Films such as Saturday Night Fever and Thank God It's Friday contributed to disco's mainstream popularity. By the late 1970s, most major U. S. cities had thriving disco club scenes, DJs would mix dance records at clubs such as Studio 54 in New York City, a venue popular among celebrities. Discothèque-goers wore expensive and sexy fashions. There was a thriving drug subculture in the disco scene for drugs that would enhance the experience of dancing to the loud music and the flashing lights, such as cocaine and Quaaludes, the latter being so common in disco subculture that they were nicknamed "disco biscuits". Disco clubs were associated with promiscuity as a reflection of the sexual revolution of this era in popular history.
Disco was the last popular music movement driven by the baby boom generation. It began to decline in the United States during 1979-80, by 1982 it had lost nearly all popularity there. Disco Demolition Night, an anti-disco protest held in Chicago on July 12, 1979, remains the most well-known of several "backlash" incidents across the country that symbolized disco's declining fortune. Disco was a key influence in the development of electronic dance house music, it has had several revivals, such as Madonna's successful 2005 album Confessions on a Dance Floor, again in the 2010s, entering the pop charts in the US and the UK. The term "disco" is shorthand for the word discothèque, a French word for "library of phonograph records" derived from "bibliothèque"; the word "discothèque" was current in the same meaning in English in the 1950s."Discothèque" became in use in French as a term for a type of nightclubs in Paris after these had resorted to playing records during the Nazi occupation in the early 1940s.
Some clubs used it as their proper name. In 1960 it was used to describe a Parisian nightclub in an English magazine. In the summer of 1964 a short sleeveless dress called "discotheque dress" was popular in the United States for a short time; the earliest known use for the abbreviated form "disco" described this dress and has been found in the Salt Lake Tribune of 12 July 1964, but Playboy magazine used it soon after to describe Los Angeles nightclubs in September of the same year. Vince Aletti was one of the first to describe disco as a music genre, he wrote the feature article "Discoteque Rock Paaaaarty" that appeared in Rolling Stone magazine in September 1973. The music layered soaring, often-reverberated vocals doubled by horns, over a background "pad" of electric pianos and "chicken-scratch" rhythm guitars played on an electric guitar. "The'chicken scratch' sound is achieved by pressing the strings against the fretboard and quickly releasing them just enough to get a muted scratching while strumming close to the bridge."
Other backing keyboard instruments include the piano, electric organ, string synth, electromechanical keyboards such as the Fender Rhodes electric piano, Wurlitzer electric piano, Hohner Clavinet. Synthesizers are fairly common in disco in the late 1970s; the rhythm is laid down by prominent, syncopated basslines played on the bass guitar and by drummers using a drum kit, African/Latin percussion, electronic drums such as Simmons and Roland drum modules. The sound was enriched with solo lines and harmony parts played by a variety of orchestral instruments, such as harp, viola, trumpet, trombone, flugelhorn, French horn, English horn, flute, piccolo and synth strings, string section or a full string orchestra. Most disco songs have a steady four-on-the-floor beat, a quaver or semi-quaver hi-hat pattern with an open hi-hat on the off-beat, a heavy, syncopated bass line. Other Latin rhythms such as the rhumba, the samba and the cha-cha-cha are found in disco recordings, Latin polyrhythms, such as a rhumba beat layered over a merengue, are commonplace.
The quaver pattern is supported by other instruments such as the rhythm guitar and may be implied rather than explicitly present. Songs use syncopation, the accenting of unexpected beats. In general, the d
Andre Romelle Young, known professionally as Dr. Dre, is an American rapper, record producer, entrepreneur, he is the founder and CEO of Aftermath Entertainment and Beats Electronics, was co-owner of Death Row Records. He has produced albums for and overseen the careers of many rappers, including 2Pac, The D. O. C. Snoop Dogg, Xzibit, Knoc-turn'al, 50 Cent, The Game, Kendrick Lamar, he is credited as a key figure in the crafting and popularization of West Coast G-funk, a rap style characterized as synthesizer-based with slow, heavy beats. As of 2018, he is the third richest figure in hip hop, with a net worth of $770 million. Dre began his career as a member of the World Class Wreckin' Cru, he found fame with the influential gangsta rap group N. W. A with Eazy-E, Ice Cube, MC Ren, DJ Yella, which popularized explicit lyrics in rap to detail the violence of street life, his 1992 solo debut The Chronic, released under Death Row Records, made him one of the best-selling American performing artists of 1993.
It earned him a Grammy Award for the single "Let Me Ride", as well as several accolades for the single "Nuthin' but a'G' Thang". That year, he produced Death Row labelmate Snoop Doggy Dogg's quadruple platinum debut Doggystyle, mentored producers such as his step-brother Warren G and Snoop Dogg's cousin Daz Dillinger. In 1996, Dr. Dre left Death Row Records to establish Aftermath Entertainment, he produced a compilation album, Dr. Dre Presents the Aftermath, in 1996, released a solo album, 2001, in 1999. During the 2000s, Dr. Dre focused on producing other artists contributing vocals. Dr. Dre signed Eminem in 1998 and 50 Cent in 2002, co-produced their albums, he has won six Grammy Awards, including Producer of the Year. Dr. Dre has had acting roles in The Wash and Training Day. Rolling Stone ranked Dre 56 on their list of "100 Greatest Artists of All Time". Young was born in Compton, the first child of Theodore and Verna Young, his middle name, Romelle, is derived from The Romells. His parents married in 1964, separated in 1968, divorced in 1972.
His mother remarried to Curtis Crayon and had three children: sons Jerome and Tyree and daughter Shameka. In 1976, Young began attending Vanguard Junior High School in Compton, but due to gang violence, he transferred to the safer suburban Roosevelt Junior High School; the family moved and they lived in apartments and houses in Compton, Long Beach and in the Watts and South Central neighborhoods in Los Angeles. Young has stated that he was raised by his grandmother in New Wilmington Arms housing project in Compton, his mother married Warren Griffin, whom she met at her new job in Long Beach, which added three stepsisters and one stepbrother to the family. Young is the cousin of producer Sir Jinx, he attended Centennial High School in Compton during his freshman year in 1979, but transferred to Fremont High School in South Central Los Angeles due to poor grades. Young attempted to enroll in an apprenticeship program at Northrop Aviation Company, but poor grades at school made him ineligible. Thereafter, he focused on his social life and entertainment for the remainder of his high school years.
Young fathered a son with Cassandra Joy Greene named Curtis. Curtis was brought up by his mother and first met his father 20 years when Curtis became rapper Hood Surgeon. Inspired by the Grandmaster Flash song "The Adventures of Grandmaster Flash on the Wheels of Steel", he attended a club called Eve After Dark to watch many DJs and rappers performing live, he subsequently became a DJ in the club under the name "Dr. J", based on the nickname of Julius Erving, his favorite basketball player. At the club, he met aspiring rapper Antoine Carraby to become member DJ Yella of N. W. A. Soon afterwards he adopted the moniker Dr. Dre, a mix of previous alias Dr. J and his first name, referring to himself as the "Master of Mixology". Eve After Dark had a back room with a small four-track studio. In this studio and Yella recorded several demos. In their first recording session, they recorded a song entitled "Surgery", with the lyrics "calling Dr. Dre to surgery" serving as the chorus to the song, he joined the musical group World Class Wreckin' Cru under Kru-Cut in 1984.
The group would become stars of the electro-hop scene. "Surgery", released after being recorded prior to the group's official formation, would prominently feature Dr. Dre on the turntable; the record would become the group's first hit, selling 50,000 copies within the Compton area. Dr. Dre and DJ Yella performed mixes for local radio station KDAY, boosting ratings for its afternoon rush-hour show The Traffic Jam. Dr. Dre's earliest recordings were released in 1994 on a compilation titled Concrete Roots. Stephen Thomas Erlewine of the website AllMusic described the compiled music, released "several years before Dre developed a distinctive style", as "surprisingly generic and unengaging" and "for dedicated fans only", his frequent absences from school jeopardized his position as a diver on his school's swim team. After high school, he attended Chester Adult School in Compton following his mother's demands for him to get a job or continue his education. After brief attendance at a radio broadcasting school, he relocated to the residence of his father and residence of his grandparents before returning to his mother's house.
He dropped out of Che
Funk is a music genre that originated in African-American communities in the mid-1960s when African-American musicians created a rhythmic, danceable new form of music through a mixture of soul music and rhythm and blues. Funk de-emphasizes melody and chord progressions and focuses on a strong rhythmic groove of a bass line played by an electric bassist and a drum part played by a drummer. Like much of African-inspired music, funk consists of a complex groove with rhythm instruments playing interlocking grooves. Funk uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths and thirteenths. Funk originated in the mid-1960s, with James Brown's development of a signature groove that emphasized the downbeat—with heavy emphasis on the first beat of every measure, the application of swung 16th notes and syncopation on all bass lines, drum patterns, guitar riffs. Other musical groups, including Sly and the Family Stone, the Meters, Parliament-Funkadelic, soon began to adopt and develop Brown's innovations.
While much of the written history of funk focuses on men, there have been notable funk women, including Chaka Khan, Lyn Collins, Brides of Funkenstein, Mother's Finest, Betty Davis. Funk derivatives include the psychedelic funk of George Clinton. Funk samples and breakbeats have been used extensively in hip hop and various forms of electronic dance music, such as house music, old-school rave and drum and bass, it is the main influence of go-go, a subgenre associated with funk. The word funk referred to a strong odor, it is derived from Latin "fumigare" via Old French "fungiere" and, in this sense, it was first documented in English in 1620. In 1784 "funky" meaning "musty" was first documented, which, in turn, led to a sense of "earthy", taken up around 1900 in early jazz slang for something "deeply or felt". In early jam sessions, musicians would encourage one another to "get down" by telling one another, "Now, put some stank on it!". At least as early as 1907, jazz songs carried titles such as Funky.
The first example is an unrecorded number by Buddy Bolden, remembered as either "Funky Butt" or "Buddy Bolden's Blues" with improvised lyrics that were, according to Donald M. Marquis, either "comical and light" or "crude and downright obscene" but, in one way or another, referring to the sweaty atmosphere at dances where Bolden's band played; as late as the 1950s and early 1960s, when "funk" and "funky" were used in the context of jazz music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer "was the first to use the word'funky' to explain to other musicians that their music should be made more syncopated and danceable." The style evolved into a rather hard-driving, insistent rhythm, implying a more carnal quality. This early form of the music set the pattern for musicians; the music was identified as slow, loose, riff-oriented and danceable. A great deal of funk is rhythmically based on a two-celled onbeat/offbeat structure, which originated in sub-Saharan African music traditions.
New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late 1940s, made it its own. New Orleans funk, as it was called, gained international acclaim because James Brown's rhythm section used it to great effect. Funk uses the same richly coloured extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, or dominant seventh chords with altered ninths. However, unlike bebop jazz, with its complex, rapid-fire chord changes, funk abandoned chord changes, creating static single chord vamps with melodo-harmonic movement and a complex, driving rhythmic feel; some of the best known and most skilful soloists in funk have jazz backgrounds. Trombonist Fred Wesley and saxophonist Pee Wee Ellis and Maceo Parker are among the most notable musicians in the funk music genre, with both of them working with James Brown, George Clinton and Prince; the chords used in funk songs imply a dorian or mixolydian mode, as opposed to the major or natural minor tonalities of most popular music.
Melodic content was derived by mixing these modes with the blues scale. In the 1970s, jazz music drew upon funk to create a new subgenre of jazz-funk, which can be heard in recordings by Miles Davis, Herbie Hancock. Funk creates an intense groove by using strong guitar riffs and bass lines played on electric bass. Like Motown recordings, funk songs use bass lines as the centerpiece of songs. Indeed, funk has been called the style in which the bass line is most prominent in the songs, with the bass playing the "hook" of the song. Early funk basslines used syncopation, but with the addition of more of a "driving feel" than in New Orleans funk, they used blues scale notes along with the major third above the root. Funk basslines use sixteenth note syncopation, blues scales, repetitive patterns with leaps of an octave or a larger interval. Funk bass lines emphasize repetitive patterns, locked-in grooves, continuous playing, slap and popping bass. Slapping and popping uses a mixture of thumb-slapped low notes (also
Rhythm and blues
Rhythm and blues abbreviated as R&B, is a genre of popular music that originated in African American communities in the 1940s. The term was used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, jazz based music with a heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands consisted of piano, one or two guitars, drums, one or more saxophones, sometimes background vocalists. R&B lyrical themes encapsulate the African-American experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of relationships and aspirations; the term "rhythm and blues" has undergone a number of shifts in meaning. In the early 1950s, it was applied to blues records. Starting in the mid-1950s, after this style of music contributed to the development of rock and roll, the term "R&B" became used to refer to music styles that developed from and incorporated electric blues, as well as gospel and soul music.
In the 1960s, several British rock bands such as the Rolling Stones, the Who and the Animals were referred to and promoted as being R&B bands. Their mix of rock and roll and R&B is now known as "British rhythm and blues". By the 1970s, the term "rhythm and blues" changed again and was used as a blanket term for soul and funk. In the 1980s, a newer style of R&B developed, becoming known as "contemporary R&B", it combines elements of rhythm and blues, soul, hip hop, electronic music. Popular R&B vocalists at the end of the 20th century included Prince, R. Kelly, Stevie Wonder, Chaka Khan, Whitney Houston, Mariah Carey. In the 21st century, R&B has remained a popular genre becoming more pop orientated and alternatively influenced with successful artists including Usher, Bruno Mars, Chris Brown, Justin Timberlake, The Weeknd, Frank Ocean and Khalid. Although Jerry Wexler of Billboard magazine is credited with coining the term "rhythm and blues" as a musical term in the United States in 1948, the term was used in Billboard as early as 1943.
It replaced the term "race music", which came from within the black community, but was deemed offensive in the postwar world. The term "rhythm and blues" was used by Billboard in its chart listings from June 1949 until August 1969, when its "Hot Rhythm & Blues Singles" chart was renamed as "Best Selling Soul Singles". Before the "Rhythm and Blues" name was instated, various record companies had begun replacing the term "race music" with "sepia series". Writer and producer Robert Palmer defined rhythm & blues as "a catchall term referring to any music, made by and for black Americans", he has used the term "R&B" as a synonym for jump blues. However, AllMusic separates it from jump blues because of R&B's stronger gospel influences. Lawrence Cohn, author of Nothing but the Blues, writes that "rhythm and blues" was an umbrella term invented for industry convenience. According to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts.
Well into the 21st century, the term R&B continues in use to categorize music made by black musicians, as distinct from styles of music made by other musicians. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands consisted of piano, one or two guitars, bass and saxophone. Arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow and hypnotic textures while calling attention to no individual sound. While singers are engaged with the lyrics intensely so, they remain cool, in control; the bands dressed in suits, uniforms, a practice associated with the modern popular music that rhythm and blues performers aspired to dominate. Lyrics seemed fatalistic, the music followed predictable patterns of chords and structure; the migration of African Americans to the urban industrial centers of Chicago, New York City, Los Angeles and elsewhere in the 1920s and 1930s created a new market for jazz and related genres of music.
These genres of music were performed by full-time musicians, either working alone or in small groups. The precursors of rhythm and blues came from jazz and blues, which overlapped in the late-1920s and 1930s through the work of musicians such as the Harlem Hamfats, with their 1936 hit "Oh Red", as well as Lonnie Johnson, Leroy Carr, Cab Calloway, Count Basie, T-Bone Walker. There was increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone. In 1948, RCA Victor was marketing black music under the name "Blues and Rhythm". In that year, Louis Jordan dominated the top five listings of the R&B charts with three songs, two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s. Jordan's band, the Tympany Five, consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano and drums. Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues". Robert Palmer described it as "urbane, jazz-based music with a heavy, insistent beat".
Jordan's music, along with that of Big Joe Turner, Roy Brown, Billy Wright, Wynonie Harris, is now referred to as jump blues. Paul Gayten, Roy Brown, others had had hits in the style now referred to as rhythm and blu