For this honorary first “Hip-Hop Origins” we highlight “Do It With No Hands.” My Atlanta folk may remember this well-known local trap banger, born out of the “snap music” crazed era of the mid 2000s in Georgia. This song, and many others like it [See Maceo: Nextel Chirp, remember Crime Mob?] released around 2002 through 2008 were the forefathers of the Trap EDM genre. The trap-style beats and the lyrics that usually talk about…well, trapping and the hood highlighted a time when ATL and Southern Hip-Hop were on fire and highly sought after to produce the next hit.  Don’t get me wrong, Atlanta is still the premiere ground for hip-hop, rap music and breakout music artists (and now actors as well), however the magic that surrounded the city and rap’s mentality here has changed since those days.

Our second is a rare remix of Outkast’s “Jazzybelle” originally released in 2006. Outkast is well-known as one of the groups that put Atlanta on the map in terms of music as a whole. As such they are widely acknowledged and celebrated by Atlantans and worldwide. Fans of the group were overjoyed when Outkast returned to the stage and began touring in 2014.

Other artists and groups born of the mid-2000 era of Atlanta hip-hop:

Crime Mob
Lil’ Jon & The Eastside Boys
Young Jeezy
T.I. (was on the scene prior to then)

[New Video]: MIGOS – One Time (2015 Youtube Music Awards)

The Atlanta-based popular rap group, Migos, join the ranks of artists featured in Youtube’s 2015 Music Awards. With a new video shot for the award show, directed by Ninian Doff, the hip-hop anthem “One Time” is set to transform into a global hit. The video uses time-lapse photography and freeze-frames to create unique visuals of the Migos members’ partying and having fun. Check out the video above from their album “YRN: Tha Album”

[ATL Trap/Rap] Gucci Mane – Angry (feat. Fredo Santana & Lil’ Reese)

Off of Gucci Mane’s latest mixtape Views From Zone 6, Zone 6 referring to the policing zone that covers much of East Atlanta is standout “Angry.” Gucci teams up with GBE members Lil’ Reese and Fredo Santana, to produce true trapping music akin to the roots of all 3 artists. Check out Gucci’s new mixtape below and his well received Gucci Sosa, teaming with Chicago’s Chief Keef.



[THROWBACK]|[Moombahton/Reggae] Gwen Stefani – Hollaback Girl (Dancehollaback Remix by Tony Kanal ft. Elan)

Part of my new Foundations and Origins posts where songs and music that influenced today’s genres such as Electro/Hip-Hop, Bass, Dubstep, Trap and more are highlighted. Our first post will feature an early example of the now, well-established genre of its own <em>Moombahton</em> a blend of house and reggaeton.

<a href=”https://illuminousmusic.files.wordpress.com/2015/03/11038485_2345929883780_5014014950824767996_n.jpg”><img class=”alignnone size-medium wp-image-508″ src=”https://illuminousmusic.files.wordpress.com/2015/03/11038485_2345929883780_5014014950824767996_n.jpg?w=300&#8243; alt=”11038485_2345929883780_5014014950824767996_n” width=”300″ height=”224″ /></a><a href=”https://illuminousmusic.files.wordpress.com/2015/03/11039251_2345934403893_3984760008925986133_n.jpg”><img class=”alignnone wp-image-509″ src=”https://illuminousmusic.files.wordpress.com/2015/03/11039251_2345934403893_3984760008925986133_n.jpg?w=169&#8243; alt=”11039251_2345934403893_3984760008925986133_n” width=”141″ height=”242″ /></a>

Today was a hot day in the ATL and a preview of Spring as temperatures reached over 75 degrees F. What better way to chill out and relax at the park, pool or outside in the city then by listening to this Throwback remix of Gwen Stefani’s classic “Hollaback Girl.” This particular remix puts a Moombahton feel on the song with elements of dancehall and reggaeton, which by no means were brand new then (in 2008) but were being established as genres in their own right. Gwen’s songs have been being remixed into hip-hop and more often, Electronic remixes for years now such as the highly succesful <strong>Jacques Lu Cont </strong>progressive house remix of her <em>What You Waitin’ For? </em>from 2008 as well.

[House/R&B] Don’t Kill the Fun (feat. Chris Brown) – Sevyn Streeter [SINGLE] *SICK INSTRUMENTAL

R&B songstress, Sevyn Streeter’s very unique, unconventional duet with Chris Brown, “Don’t Kill the Fun” is climbing music charts and preparing for its music video release. Sevyn has previously worked and sung with C.B. on “It Won’t Stop”. Her single “nEXT” also achieved some mainstream success.

Receiving airplay on Atlanta radio stations such as Streetz 94.5 and HOT 107.9, her latest single combines jazzy saxophone style riffs combined with ambient, very house/lounge inspired backbeats. The track itself has a very different feel and variable rhythm / time structure. It also doesn’t really have a dedicated, discernable “chorus.”

The result, which admittedly, had to grow on me after several listens, is catchy. Even if the vocals/lyrics aren’t your thing, one can at least appreciate the genius of the instrumental. Props to Sevyn and Chris for experimenting with a sound and lyrical content that bucks the mainstream trend of trappy beats and sex or money-infused messages.I foresee remixes of the song already and/or people rapping over this beat as it grows in popularity.

The music video for the song will debut later today (Feb. 10th). Sevyn’s fans & her Behind the Scenes video of the making of the MV hint towards complex choreography by Chris Brown, and possibly Sevyn herself.

Sevyn Streeter, R&B songstress and singer-songwriter from Haines City, Florida has been in the music industry since 2001. She has been involved in music and singing from a young age and has not only been in a female R&B group, but has also written many songs for several hit artists such as  Chris Brown, Kelly Rowland, Alicia Keys, Fantasia Barrino, Ariana Grande, Wiz Khalifa, Trey Songz, Estelle, Brandy and more. She also has worked with producers like Timbaland, Polow Da Don and Swizz Beats.

[The Glass Half-Full/Positivity]: A Media Analysis of “Gas Pedal” by Sage the Gemini SOAPBOX Post

So, I wrote this paper (see below) for my media and popular culture class last week that apparently was really good. I decided to analyze a song I’m very familiar with, “Gas Pedal” (the original and SALVA remix are on my tablet now) by Sage the Gemini. I kind of took an idea and ran with it and was unsure if my paper was any good at all, in fact I thought it was terrible. My professor graded it and thought it was excellent and wanted me to post it as an example. This completely turned my day around, as I was not expecting that kind of feedback.

Surprise, surprise.

Sometimes you can think that what you do doesn’t matter, isn’t good enough, or is not up to par. We get so caught up in things that we do wrong, we don’t always notice what it is we do right. In this aspect we all need to be glass “half-full” people and not “half-empty.” There is some truth to “willing” something into existence.

This scenario is common in college students; normal ones, and especially those with depression or other mood disorders. The classic example is the girl who freaks out about a math/chemistry/english test thinking she failed and she’s no good and then she gets an A.

all-night cram session.
How I usually feel when I study.

When we let doubt and criticism get the best of us, we don’t do things at all. How can you be good or bad at something if you never try, and how can you improve? I am guilty of this myself in other aspects of life, though I’m working on changing that. Our perfectionist society demands a lot and reminds me of a good article I read called “F*** Perfectionism” that basically said if we all were perfect the world would suck and be boring.

Another great example is the new SuperBowl commercial from Coke where the soda spilling on an Internet mainframe caused people viewing negative comments about themselves to see them positively and smile. The commercial was a bit random but it’s underlying message is powerful. Be happy, be positive, be confident, turn your negatives into positives, always.

Media Representation Study 1

                The media plays an important role in society, specifically the music industry which surrounds us in everyday life, advertisements, TV programs, concerts and many more activities. Music can tell us how to think, feel and even behave through its messages and meanings. This analysis will consist of the popular Hip-Hop song “Gas Pedal featuring Iamsu” by the artist Sage the Gemini. The themes and motifs of the video will be analyzed in the Frame Setting theory of mass communication. (Music video at: http://youtu.be/X8LUd51IuiA)

Sage the Gemini’s rap single “Gas Pedal,” achieved mainstream success after its release in early 2013. Not only is the song popular (with +55 million views on Youtube) it has also spurred an Internet “meme” of its own with people doing the “Gas Pedal” dance. Dominant stereotypical themes of rap music appear present such as when the rappers command a female to “slow down, then wiggle like [she’s] trying to make [her] a** fall off” then “speed up, gas pedal” in the lyrics.

The power of the male over the female is reinforced in the music video with many women appearing with their faces obscured by red hoods. The women all wear short skirts and dresses, while the rappers are dressed quite formally in suits. These “faceless” women stand around Sage the Gemini as he appears to sit on a throne. His “subjects” stand silently at attention unless “commanded” to dance as one woman does near the end of the song.

The ideas that rappers are cool, have a lot of power and influence and can make people (especially women) do what they want are very present. Despite the simplistic, mildly raunchy lyrics, the rappers appear in formal dress, possibly to make their message a bit more acceptable. One of the rappers appears on a throne in the music video, with women surrounding him, framing him more as a king, than for example a pimp or “player.”

Furthering their power over the listener to dance in a certain way is the popular meme of the “Gas Pedal” dance. The meme consists of people, mostly female but some male, dancing suggestively to the song, usually in the style of twerking. While in other environments twerking would seem inappropriate, when “Gas Pedal” is playing it becomes completely acceptable. (See:  Gas Pedal Vine Dance FULL http://youtu.be/JvAf2HJcjRA)

The rappers framing of themselves as cool, the notion of women as objects or symbols, and the acceptability of the “dance” are strong and largely successful. The popularity of the song has even led to it being re-appropriated into an educational song. A popular YouTube video made by a middle school science teacher parodies “Gas Pedal” with his students rapping, dancing and striking cool poses while rapping about metal. (See: “That’s Metal” http://youtu.be/BlBKsbCLY24 ).

The changing of the lyrics makes an otherwise inappropriate song OK for a group of mostly Caucasian teenagers to cover. Reflecting the ideas that cursing in rap is fine or OK, one of the students (though censored by silence) raps “They [metals] conduct electricity too, light it on fire. That sh– burn blue!” In all these cases the rappers have used framing of their media to their advantage.

Written by and solely owned by Darris Pope except for licensed material such as songs and pictures used under fair use for critique and study. Use without permission is prohibited.

New England Patriots Win Super Bowl XLIV 28-24


The ending was total SMH material, at least I got to watch a fight tho!

Originally posted on The Urban Daily:

New England Patriots

The New England Patriots are NFL champions with a four-point win punctuated by on-field fighting after their surprising win over the Seattle Seahawks.

The win marks the fourth Super Bowl win for Patriots coach Bill Belichick and quarterback Tom Brady. The pair has appeared in six Super Bowls.

The game was swung on New England’s 10-play, 64-yard fourth quarter drive capped by a touchdown pass from Tom Brady to Julian Edelman with 2:02 left on the game clock. That play gave the Patriots their final lead. A tipped pass caught by Seahawks wide receiver Jermaine Kearse that was eerily similar to David Tyree’s game-winning catch in Super Bowl XLII put Seattle in striking distance to make a comeback. But rookie cornerback Malcolm Butler sealed the win for the Patriots with an interception of Russell Wilson’s pass.

‘I had a vision I was gonna make a big…

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