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Hip Hop Samples Jazz: Dynamics of Cultural Memory and Musical Tradition in the African American 1990s

Hip Hop Samples Jazz: Dynamics of Cultural Memory and Musical Tradition in the African American... Tom PerCHarD Hip Hop Samples Jazz: Dynamics of Cultural m emory and m usical Tradition in the a frican a merican 1990s The critical attempt to historicize hip hop dates at least to David Toop’s 1984 Rap Attack: African Griots to New York Jive, a book written with jour- nalistic immediacy and yet, as its subtitle suggests, one that situates rap reportage in the black musical longue durée. but it wasn’t until the mid- 1990s that efforts toward an academic hip hop scholarship began in ear- nest, and it was then that ideas about the music’s methods and meanings as rooted in the black musical past became common currency. This view wasn’t surprising: a neat and untroubled line could be traced from the classic african american toasts to rap, and the use of digital sampling, whereby hip hop producers constructed their work from (black) music’s recorded back catalogue, was equally suggestive for historically minded observers. This sampling practice, and its “historical” interpretation, form the central subject of this article. Certainly hip hop’s early scholars differed in their reasoning as to what the form’s use of old records meant for black music and history. Some positioned the practice as part http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Hip Hop Samples Jazz: Dynamics of Cultural Memory and Musical Tradition in the African American 1990s

Perchard, Tom,
American Music , Volume 29 (3) – Nov 12, 2011
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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

Tom PerCHarD Hip Hop Samples Jazz: Dynamics of Cultural m emory and m usical Tradition in the a frican a merican 1990s The critical attempt to historicize hip hop dates at least to David Toop’s 1984 Rap Attack: African Griots to New York Jive, a book written with jour- nalistic immediacy and yet, as its subtitle suggests, one that situates rap reportage in the black musical longue durée. but it wasn’t until the mid- 1990s that efforts toward an academic hip hop scholarship began in ear- nest, and it was then that ideas about the music’s methods and meanings as rooted in the black musical past became common currency. This view wasn’t surprising: a neat and untroubled line could be traced from the classic african american toasts to rap, and the use of digital sampling, whereby hip hop producers constructed their work from (black) music’s recorded back catalogue, was equally suggestive for historically minded observers. This sampling practice, and its “historical” interpretation, form the central subject of this article. Certainly hip hop’s early scholars differed in their reasoning as to what the form’s use of old records meant for black music and history. Some positioned the practice as part

Journal

American Music – University of Illinois Press

Published: Nov 12, 2011

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