Progress progress progress. We had our first gallery meeting yesterday, and I got to meet the three other students in my group. They were pretty awesome, and we managed to divide up the gallery space pretty quickly and smoothly. Everyone was pretty laid back about it. As I stared at the little corner that I had picked, visions of my installation began to swarm in my head. The wall pieces...the listening stations...the decor (complete with the huge 1980s boombox my dad somehow STILL has)...my name on the wall...it's another step forward, another step closer to completion. And it's an amazing feeling.
I've also finalized my problem statement:
"How can an audio-visual experience that presents the evolution of the genre and the influence of outside genres upon its development draw non-listeners into hip hop?"
I'm basically going to be exploring hip hop's origins and how outside genres have helped shape it into what it is today and the different subgenres that have been born out of it, and how these crossover genres can attract non-listeners that never would have given the genre a chance otherwise. I'll also be exploring attitudes regarding the current state of hip hop, and if it is in fact "dead"...or just further evolved, based on hip hop's history.
As stated earlier, I've begun to make decisions on the form as well...and I'm beyond excited about it. It's going to utilize some awesome skills I learned last semester regarding the new InDesign DPS tools and one awesome playlist. I'm keeping mum for now about most of it since a lot can change in the next few weeks (or even days!). Stay tuned!
And now, for an interesting problem that I've come across...
In my research, it's finally happened. I've come across an amazing, important group, whose influence over the genre can't be disputed, and is respected by a lot of people....
...and I just can't listen to their music.
It's naive to assume that I'll love every artist I come across. I've heard of this group before, but I've never actually LISTENED to their music. Like, dissected the lyrics, etc. I can respect them, sure. They were one of the first groups to pioneer hardcore hip hop in the early 90s. It's a much darker style than the jazz-influenced and sample-driven artists of the Golden Age. This particular group's lyricism uses a bizarre combination of explicit violence and humor coupled with darker instances of daily life. Some of it is for shock value, and a lot of it is pure originality, which I can recognize as refreshing. And it makes me very uncomfortable (which is probably the point). I feel that as long as I can respect the artist, I can push my personal hang-ups aside and extract the pure research to benefit my project. However, it's definitely a strong reality check that reminds me that I can't get too personal with this project, as much as I would like to.
Saturday, January 26, 2013
Tuesday, January 15, 2013
Progress and Influences
I'm slowly but steadily making progress toward defining a complete and approved thesis proposal. I've said it before, but man, it is FRUSTRATING. My professor had a great sentiment about the process; how as designers we become so attached to our precious ideas as if they are children, and to suggest major changes or even abandoning them completely elicits unbridled fear and denial. I know that exploring all possibilities is necessary to the growth and development of my thesis, but I'm a sentimental person. When I come up with an idea that took days or weeks or even months to generate, the thought of changing any aspect of it saddens me deeply. But at the same time, it's also exciting to take it in a completely and wildly different direction just for the sake of exploration...which is what I'm trying to do now. It's scary but exhilarating. And now that I have a date for my gallery show, that excitement feels even more palpable. Now, to just finalize what I'm trying to say...
In the meantime, I've been researching away. I finally received my copy of "The Book of Hip Hop Cover Art" and it is fantastic. I can already tell it's going to be a great resource. Here's a great quote from the "Beat Biters" chapter: "Hip hop isn't alone in borrowing from other musical genres and popular culture, but it does do it so exceptionally well...it's a music that was born in the real world, and it continues to exist there, feeding off it constantly". (Andrew Emery)
As I've conducted my research, the inevitability of my own personal reflections worming their way in has begun to surface. What can I say, I'm passionate about this subject. I was not always a hip-hop fan. I grew up listening to my parents' music, a mix of my dad's unapologetic rock albums (Aerosmith's Nine Lives, Bruce Springsteen's Born in the USA, The Rolling Stone's Some Girls, to name a few) and my mom's 1960s throwback albums (The Beatles' With the Beatles, The Supremes & Jackson 5's respective Greatest Hits albums). Hip-hop wasn't on their radar, and I never grew up hearing it except for the occasional Tupac song on the radio as my mom drove me to school before she quickly changed the station. After a few unfortunate awkward pre-teen years where I abandoned my respectable musical roots for a few genres that won't be mentioned, I settled into a highly creative and introspective period of time around when I was 16 where I was listening to a lot of Dark Side of the Moon and Led Zeppelin II and, coincidentally, taking a "Computer Graphics" class for the first time. The only hip-hop I was hearing at the time was what my friends were listening to on the way to football games; Lil Jon & the Eastside Boyz, Pitbull, Twista, etc. It wasn't my style, but I would bob my head and dance with them when they were blasting it from their CD players.
I wish I could remember the exact way it happened, whether it was on the radio, or some TV commercial, anything; however, I just can't remember what it was all those years ago that brought me awareness of this incredible album:
In the meantime, I've been researching away. I finally received my copy of "The Book of Hip Hop Cover Art" and it is fantastic. I can already tell it's going to be a great resource. Here's a great quote from the "Beat Biters" chapter: "Hip hop isn't alone in borrowing from other musical genres and popular culture, but it does do it so exceptionally well...it's a music that was born in the real world, and it continues to exist there, feeding off it constantly". (Andrew Emery)
As I've conducted my research, the inevitability of my own personal reflections worming their way in has begun to surface. What can I say, I'm passionate about this subject. I was not always a hip-hop fan. I grew up listening to my parents' music, a mix of my dad's unapologetic rock albums (Aerosmith's Nine Lives, Bruce Springsteen's Born in the USA, The Rolling Stone's Some Girls, to name a few) and my mom's 1960s throwback albums (The Beatles' With the Beatles, The Supremes & Jackson 5's respective Greatest Hits albums). Hip-hop wasn't on their radar, and I never grew up hearing it except for the occasional Tupac song on the radio as my mom drove me to school before she quickly changed the station. After a few unfortunate awkward pre-teen years where I abandoned my respectable musical roots for a few genres that won't be mentioned, I settled into a highly creative and introspective period of time around when I was 16 where I was listening to a lot of Dark Side of the Moon and Led Zeppelin II and, coincidentally, taking a "Computer Graphics" class for the first time. The only hip-hop I was hearing at the time was what my friends were listening to on the way to football games; Lil Jon & the Eastside Boyz, Pitbull, Twista, etc. It wasn't my style, but I would bob my head and dance with them when they were blasting it from their CD players.
I wish I could remember the exact way it happened, whether it was on the radio, or some TV commercial, anything; however, I just can't remember what it was all those years ago that brought me awareness of this incredible album:
(1994, Sony Music Entertainment)
While I can't remember how exactly I discovered it, I do know the pivotal song that drew me in was "The World is Yours". It was a form of hip-hop that was so unlike the bass-heavy, obnoxious beats of my friends' albums. That gentle piano hook offset by those simple, steady beats combined with Nas' steady raps and real lyricism drew me in instantly. It was a sudden gateway into a world that dripped with respect, realism, and incredible confidence. No, I wasn't living in New York and living the lifestyle he was rapping about, but I could relate to and respect the talent and the ostensibly good music. I loved the way it made me feel when I listened to it, like I could take on anything, and like I was a part of something legendary as well. Since then, I've listened to a LOT of albums from several time periods, but there's nothing like hearing this album and remembering the excitement and curiosity that I first experienced stumbling upon it.
Friday, January 11, 2013
Introduction
Hi! I'm a BFA graphic design student at Indiana University in my graduating thesis semester, and I've begun to formulate my as-of-now untitled project. I'm still revising and changing the direction, but my main objective is to discover if hip-hop as we know it is dead. Heavy and dramatic, but the genre is so influential and socially important not to explore. This is going to be my space to express my research, thoughts, frustrations, and progress for the next 15 weeks.
I'm still in the process of revising my problem statement. My first statement was much too unclear and left me to question, what is the problem? What am I trying to say? And most importantly, why should anyone care? As I read my initial statement, I realized that no one but myself and select hip-hop fans probably would care. It's been a frustrating process. I see the glorious finished project in my mind, but the specifics still elude me. However, after getting a lot of outside feedback, I'm starting to piece together what I'm trying to say and revising the statement to make it more interesting to everyone.
I've begun my research by ordering "The Book of Hip Hop Cover Art" by Andrew Emery (MITCH, 2006). From what I've been able to gauge on Amazon, it should be the perfect jumping off point for my studies. I've been researching specific books on hip-hop culture as well, but since there's so many I'm still deciding which one I should order.
Of course, I've begun my audio research as well (the fun part). I would like to take the time to thank Spotify for being my best friend at the moment. It's pretty much the best resource for my broke college student's listening needs. Right now I'm starting with one of the classics, The Message by Grandmaster Flash & The Furious Five (1982).
My initial thought: Research is going to become difficult if I can't stop dancing in my chair. I'm familiar with this record, so I may be bit biased, but this is my first time listening to it all the way through. But in all seriousness, I'm definitely seeing how initial old-school evolved out of disco/funk via sampling and live bands, and how that "party" atmosphere present in the raps carried over as well. Immortal Technique has a great quote concerning this: "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." ("How to Rap" by Paul Edwards, Chicago Review Press 2009). Of course, the album cover reflects this 70s style as well. The name of the group is showcased in a highly-decorative rounded display face that was characteristic of many disco albums in high contrast and separation from the photo below. Already we're seeing this movement of hip-hop born out of influence from a different genre...should be interesting as I delve further.
I'm still in the process of revising my problem statement. My first statement was much too unclear and left me to question, what is the problem? What am I trying to say? And most importantly, why should anyone care? As I read my initial statement, I realized that no one but myself and select hip-hop fans probably would care. It's been a frustrating process. I see the glorious finished project in my mind, but the specifics still elude me. However, after getting a lot of outside feedback, I'm starting to piece together what I'm trying to say and revising the statement to make it more interesting to everyone.
I've begun my research by ordering "The Book of Hip Hop Cover Art" by Andrew Emery (MITCH, 2006). From what I've been able to gauge on Amazon, it should be the perfect jumping off point for my studies. I've been researching specific books on hip-hop culture as well, but since there's so many I'm still deciding which one I should order.
Of course, I've begun my audio research as well (the fun part). I would like to take the time to thank Spotify for being my best friend at the moment. It's pretty much the best resource for my broke college student's listening needs. Right now I'm starting with one of the classics, The Message by Grandmaster Flash & The Furious Five (1982).
My initial thought: Research is going to become difficult if I can't stop dancing in my chair. I'm familiar with this record, so I may be bit biased, but this is my first time listening to it all the way through. But in all seriousness, I'm definitely seeing how initial old-school evolved out of disco/funk via sampling and live bands, and how that "party" atmosphere present in the raps carried over as well. Immortal Technique has a great quote concerning this: "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." ("How to Rap" by Paul Edwards, Chicago Review Press 2009). Of course, the album cover reflects this 70s style as well. The name of the group is showcased in a highly-decorative rounded display face that was characteristic of many disco albums in high contrast and separation from the photo below. Already we're seeing this movement of hip-hop born out of influence from a different genre...should be interesting as I delve further.
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