Carolina Beach Music and the Carolina Shag from the 60’s to the 80’s - Benjamin Atkinson

Carolina beach music is an up-tempo, swing-type music that pulls from a wide array of other genres to establish itself. Where and how it progressed was greatly influenced by the sociocultural context within which it developed, especially from the 60’s to the 80’s. Although it is generally contained to the beaches on the coast of the Carolinas, some hits became popular enough to make the national billboards. The Carolina Shag’s development parallels that of Carolina beach music and is very indicative of the type of music it really is. Because of the relative isolation of this music, the group who it helps to identify is easily studied. The similarities between beach music and these other genres create an ambiguity in distinguishing them from each other. The desire to create this distinction is perhaps why it took its more specific name of “Carolina” beach music and also may be why the Carolina Shag is unique from other swing dances of the same time. Either way, the Carolina shag as a cultural phenomenon was caused by the popularization of Carolina beach music.

Carolina beach music is essentially a mix between traditional swing dancing and the jitterbug (Zepke). It is similar to a lot of swing music in that it is relatively up-tempo and uses a shuffle note rhythmic structure (Wikipedia). This type uses what is called a swing note, which is where the first note in a rhythm is played twice as long as the second note, but the division itself is inexact. This technique is what makes the music “swing” or in other words it’s what gives listeners the desire to dance. In a cultural context, it is the property of the music as played that causes its listeners to dance. Beach music borrows from many other genres of music, such as R&B, soul, jazz, and doo-wop; all of these share this shuffle note technique (Swung Note).

The sociocultural context that 60’s beach music is set in is not one that many people are fond of. During this time the Jim Crow laws were still in effect across the United States. These were laws that punished people who consorted in nearly any fashion with someone of another race. Some examples include one in Arizona that read, “The marriage of a person of Caucasian blood with a Negro, Mongolian, Malay, or Hindu shall be null and void.” Another one from Florida stated that, “The schools for white children and the schools for negro children shall be conducted separately” (Examples). Obviously these laws prohibited almost all interracial mingling and furthered a cultural divide that was already there. This divide, among other things, was reflected in a large divide in music. White teenagers and college kids never had a real chance to hear black music, such as R&B, in its natural setting.

One place where white children were able to come to hear black music was in the nightclubs around Myrtle Beach, South Carolina. These kids were generally suburban white teenagers and college kids who wanted to have a good time. Jukeboxes were filled with R&B the sounds that are so closely related to beach music. The unique nature of the nightclubs in this area is another reason why the movement was so isolated to the region (Wikipedia). Even as the Jim Crow laws began to be repealed in the mid 60’s and integration slowly developed, this area remained one of the few places where whites enjoyed the sounds of R&B and a little later, soul music.

Carolina beach music in the sixties was paralleled by the development of the Carolina Shag. This dance is the type of swing dance that is as unique to the region as the music itself. It has been described as “… a warm night with a cold beer and a hot date” (Carolina) This description fits the fun and free-swinging nature of the dance. The Carolina Shag has a little bit slower tempo to it than most other swing music does and this parallels the introduction of R&B to whites because R&B is slower than the “race music” of other types of swing. This Carolina shag is as free and fun as the teenagers who danced it. These kids wholeheartedly embraced the dance and how they could identify with it. As the movement became more popular, some artists began to stand out and become favorites of the shaggers.

An example of a popular musician from Carolina beach music in the 60’s is Clifford Curry. He started his career very early on as he grew up in his hometown of Knoxville, Tennessee. Clifford is known as the “King of Beach Music.” He came out with hits like “Intoxicated” and “She Shot a Hole in My Soul” which became perhaps his most famous song after its release in 1967. These songs have a moderate tempo and utilize the swing notes that have already been described. Although Clifford did much to popularize beach music, it fell by the wayside almost entirely in the 1970’s except to a small group of people known as the Society of Stranders (Wikipedia).

The 80’s decade represents the revival of beach music from its downfall in the previous decade. The Society of Stranders had kept the music alive and actually began propagate it again. The movement disseminated out of the genre’s original birthplace, North Myrtle Beach (Wikipedia). Characteristic of this period is the popularization of the beach band. These bands has began to play in nightclubs in the late 60’s and into the 70’s and as the 80’s rolled around those clubs became more popular than ever. Some of the more famous ones include “The Beach Club” and “The Pavilion,” both of which are located in Myrtle Beach. The sounds of these bands were again, influenced by R&B and to a lesser extent, Motown (Wikipedia).

As beach music began to regain its popularity, social media took note. Magazines began to be put out for shag enthusiasts like Carolina Class in 1987 and Dancing on the Edge in 1989. A one hour documentary, Shaggin’ on the Strand, was released in 1985 (Beach Music History). These publications served as manifestations of beach music in pop culture and ultimately provided it another medium for people to identify with. They allowed the movement of beach music to become significantly more influential than it ever had been in the past. The movement became so popular that the Annual Beach Music Awards began in 1985 and the Beach Music Hall of Fame was founded in 1995 (Clifford Curry was among the first inducted). This turnaround represents the point where the Carolina shag movement and culture solidified itself as gained staying power in the area. The influence has continued to grow to this day as popular artists such as Jimmy Buffet and Rod Stewart have catered to the market.

Listeners identify with beach music by its very free nature and lyrics. These mirror the experience of being at the beach as a kid. The older audience probably can reminisce of their childhood days spent there, maybe even growing up in the area. The music is very much representative of a lifestyle more so than just an idea. Its listeners identify with a more wholesome type of fun than the young people that tend to visit the area nowadays. The most interesting aspect of the music is how, in a time when cross-cultural influences were few and far between, it impacted the white community despite how it was shaped in large part by black music. This fact could also play a role in the free feeling of beach music, as its listeners could detach themselves from the sociopolitical crises of the times and just appreciate the joyful and soulful sounds. The genre has spilled over into popular country music of today, in artists like Kenny Chesney and Blake Shelton.

Popular songs that reflect the nature I have been describing are “Carolina Girls” by General Johnson and the Chairmen and “My Girl” by the Temptations. “Carolina Girls” is a song about the southern belles that enjoyed the Carolina shag. It describes them as “the best in the world” and as “sweet southern pearls.” These traits portray the desire that young men had for them and they highlight the young romantic nature of the culture. There is a sax solo in the middle of the song that is reflexive of its jazz influence. “My Girl” is a song with a very similar lyrical message. An example of this is the verse, “I don't need no money, Fortune or fame. I've got all the riches, baby, One man can claim.” This is describing how he needs nothing in the world except for the girl he loves. This also highlights the free nature of beach music by saying how material possessions are not important. The tempo of this song is very moderate and lends itself to a little bit of a slower shag than say, “Carolina Girls” does.

Overall, the popularization of Carolina beach music and the subsequent movement of the Carolina shag culture has been a very isolated and unique one. The techniques within the music itself and the steps of the dance are quite similar to many other genres and dances, but with a little southern flair that gives it its own special flavor. The cross-cultural influences that existed in a time where race was such a big issue makes it even more compelling to listen to and to appreciate. The Tams summed it up best with the title of their most popular record, “Be Young, Be Foolish, Be Happy.” That is what Carolina beach music is all about.

Works Cited

"Beach Music." Wikipedia. Web. 12 Mar. 2010.

"Beach Music History." Beach Music Shag Dance Dancing History / Best in Beach Music Charts Downloads / Roadhouse Blues and Boogie / Endless Summer Network. Web. 12 Mar. 2010.

"Carolina Shag History." Swing, Salsa, Ballroom Dance Ithaca NY. Web. 12 Mar. 2010.

"Examples of Jim Crow Laws." Autoredirect to Main Site. Web. 12 Mar. 2010. .

"Swung Note." Absolute Astronomy. Web. 12 Mar. 2010. .

Zepke, Terrance. Coastal South Carolina. Sarasota, Florida: Pinapple, 2006. Print.

Latin Pop Music in the 1990's

Following the success of Cuban born Gloria Estefan during the 1980’s, a new genre of Latin music was created in the 1990’s. This new Latin pop music, or LatPop, included artists such as Enrique Iglesias, Jennifer Lopez, Ricky Martin, Marc Anthony, Selena, and Shakira who identify with many different Latino nations. Some say that through their music they have made Latinos exotic and desirable, while at the same time popularizing their assimilation into the culture of the United States (Bender 725). Although most of these artists previously recorded albums in Spanish, the majority of their success came from their English or Spanglish recordings (Bender 723).

One of the most famous Mexican-American singers of the 80’s and 90’s was Selena. Born in Texas to Mexican-American parents, she began her singing career at the age of twelve (Scaruffi). Her main success came from her 1990 album Ven Conmigo; however, her stardom did not adapt to American mainstream music until 1994 with her pop ballad infused album Amor Prohibido (Scaruffi). Her plans to write an English album were cut short by her murder in 1995, but even so her music remained popular with a widespread audience (Scaruffi).

After splitting from his Latin American boy band Menudo, Ricky Martin became one of the first successful LatPop musicians of the 1990’s (“Latin Pop” Wikipedia). As many of the other Latino musicians, Ricky Martin started his solo career with albums in Spanish. He obtained popularity in the United States through his acting career and Spanish albums, but did not become extremely popular in the United States until 1999 when he released his first crossover album in English (Scaruffi). Songs like “Livin’ la Vida Loca” and “She Bangs” topped charts around the world. He even collaborated with Christina Aguilera on the song “Nobody Wants to be Lonely” (“Latin Pop” Wikipedia).

Similar to Ricky Martin, Enrique Iglesias also had a career that began with albums in Spanish. Enrique, son of the famous Spanish singer Julio Iglesias, started his career with three Spanish albums before his crossover to English-language albums with his 1999 album titled Enrique (“Enrique Iglesias Biography”). It has often been questioned whether or not Enrique should associate his identity with other Latin American artists because of his Spanish origin (Bender 727). This raises the question of how to categorize these LatPop artists. Some were born in the United States while others grew up in the country where they associate themselves. Oftentimes, as in Enrique’s case, the media categorizes these artists as Latino, whether it is true or not.

Marc Anthony brought a more traditional salsa influence back into the American pop music industry throughout the 1990’s. This salsa style was seen earlier in the 80’s with Gloria Estefan (“Latin Pop” Allmusic). He actually started his career with an English-language album and made Spanish albums later in his career (Bender 723). His wife Jennifer Lopez also had a LatPop music career that began with English albums and included only one Spanish-language album, despite her Puerto Rican heritage (“Latin Pop” Wikipedia).

Possibly the most famous Latino musician in the United States today is Colombian-born Shakira. Her first few successful albums were in Spanish, while many of her songs from the new millennium are sung in English. She is the second most successful Latin female singer and has sold nearly 50 million records worldwide (“Latin Pop” Allmusic). Her musical style has influences in Latin, Arab, and rock music. Her breakthrough album Pies Descalzos was not released until 1995 and sold over ten times as many records as her record company predicted (“Latin Pop” Allmusic).

For many of these artists, it seemed as if their success came with the use of the English language. This is because English is the primary language of American pop music. The use of other languages is very scarce in the American industry (Bender 725). For example, Enrique Iglesias had some record sales with his Spanish album within the Latino group. When he became a crossover artist and made songs predominantly in English, he enjoyed success in the United States among a more widespread group of people (“Enrique Iglesias Biography”). This reflects the unwillingness of the American public to accept Spanish as a mainstream form of communication (Bender 730). It also shows a support of the assimilation of Latinos into American culture by emphasizing that native Spanish speakers learn English (Bender 733). It reflects the incentive of success that crossover artists have seen in the United States by singing mostly in English.

Instead of specifying the actual ethnicity of these artists, such as Jennifer Lopez’s Puerto Rican heritage, the American industry has grouped them all together under the Latin name (Scaruffi). This grouping has some obvious downfalls. One is that by lumping those all together, the individual cultures of the artists are often ignored. For example, Ricky Martin is often called a “hot tamale” even though the tamale is not a part of Puerto Rican cuisine (Bender 727). One artist even went as far as to say “If I see another article with a jalapeno pepper next to my name or a set of maracas or a sombrero or the words muy caliente…you know what I’m saying” (Bender 730). This is what separates LatPop from other genres such as rap, where the geographic region of the artists plays a significant role in their musical identity (Bender 727). Rappers emphasize in their music whether they are from the east or west coast, and usually the city in which they grew up. But it is very rare to hear a Latino musician “represent” a specific place, like Marc Anthony giving a shout-out to Puerto Rico in a song.

This grouping could also be argued as an advantage to the Latino community because it could be seen as unifying (Bender 730). As seen in the rap example, the bashing of particular geographic identities has led to violence and divides within the community. Because the Latino community does not identify with a specific location, it becomes more unified (Bender 730). The artistic components of LatPop generally do not necessarily vary by the origin of the artist as seen in rap music, but rather by the artist’s own specific style. Through the incorporation of Latin influences such as Salsa music, the LatPop genre has managed to retain some of the culture of the artists’ nations of origin (“Latin Pop” Allmusic). Many songs still utilize traditional Latin instruments like the Spanish guitar, claves, timbales, conga, and cowbell (“Latin Pop” Wikipedia). This can be heard in the song “You Sang to Me” by Marc Anthony, which is heavily influenced by Salsa. Even though the lyrics are in English, it is still easy to tell that the song is LatPop because of its typical Latin style.

Many times the music industry will market their Latino artists by their appearance rather than leaning solely on their musical abilities. These LatPop artists are often presented to the American public as young, tan and bilingual (Bender 733). Record companies have made their artists more desirable by marketing them as exotic and foreign, even though their music has transformed into a very American type of pop music. Much of the new Latin music has become very Americanized by using only English, or just a sprinkling of Spanish words (Bender 725). In addition, the lyrics have started to identify more with the American identity than the Latin identity. For example, Mexican-American artist Carlos Santana references places in the United States in his songs, rather than Mexican cities. In “Smooth” he refers to a girl from Spanish Harlem, while in “Maria Maria” he talks about a lady that “fell in love in East L.A.” (Bender 733). Even Ricky Martin uses New York City as the setting for his song “Livin’ la Vida Loca” (Bender 734). Another attempt by music producers is to make these LatPop artists fit the stereotypical image of the Latin lover through the use of occasional “exotic” Spanish words and steamy lyrics. In Enrique Iglesias’ song “Bailamos”, he uses the Spanish word for “let’s dance” even though most of the song is in English.

“Bailamos, let the rhythm take you over.

Bailamos, te quiero, amor mío.”

By using these simple Spanish phrases, he has emphasized his foreignness while still relating to the American pop music scene. The female Latin artists also portray a romantic role in their music, oftentimes suggesting that they live for their man (Bender 746). This can be seen in Jennifer Lopez’ “Waiting for Tonight.”

“I have spent all my life

Waiting for tonight, oh

When you would be here in my arms.”

While this Latin lover stereotype is being emphasized heavily, the LatPop genre generally has tamer lyrics than rap because it is usually very positive towards women and never suggests violence. Overall, the LatPop genre uses the influences of types of music such as salsa to commercialize the artists for mainstream American pop music. Through their own identity, they have created this new genre which promotes unity, but also assimilation of Latinos into American culture.

Works Cited

Bender, Steven W. "Will the Wolf Survive? Latino/a Pop Music in the Cultural Mainstream." Denver University Law Review 78 (2001): 719-52. Law Journal Library. Web. 12 Mar. 2010. .

"Enrique Iglesias Biography." Starpulse.com - Your Entertainment Destination. All Media Guide, 2010. Web. 12 Mar. 2010. .

"Latin Pop." Allmusic. 2010. Web. 12 Mar. 2010. .

"Latin Pop." Wikipedia, the Free Encyclopedia. Web. 12 Mar. 2010. .

Scaruffi, Piero. "A History of Latin-American Popular Music." The History of Popular Music. 2002. Web. 15 Mar. 2010. .

The Beatles and Identity- Iesha Bailey

The 1960’s were considered a time of social unrest for America. The Vietnam War, the Civil Rights Movement, and other circumstances caused many young people to question values that had been taught. Existing morals were being scrutinized, making older people uneasy and giving them reason to condemn young culture. Previous generations labeled its decedents misfits because of their supposed “hedonistic indulgence in sex, drugs, and rock “n” roll” (Hoppenstand 1). They young were considered weak, because of their new beliefs and morals. Regardless of this, young people continued to challenge principles and actions that were being forced upon them. With this new found awareness of society’s wrong doings came they need to share those findings. Popular music became a venue for social critique. American artist used their songs to voice their feelings towards the lack of social justice and the need for change. They protested war and spoke of collective revolution. Although The Beatles were from England, their songs addressed the same issues. This need for change was not just an American fad, it was universal and The Beatles enabled it.
The Beatles began their career as an unknown band hailing from Liverpool. Formed in1960, the band consisted of four young men; John Lennon, Paul McCartney, George Harrison, and Ringo Starr. The unique sound of The Beatles was rooted in various different classes of music including rock “n” roll, folk rock, and psychedelic pop in their later years. The Beatles were also influenced by skiffle, a type of music that used homemade instruments to mix jazz, blues, and country (Wikipedia). In addition to this, the group of young men claimed to have been inspired by many American greats, including Little Richie and Elvis Presley. The Beatles used these and many other influence to create a distinct sound that embodied progressive ideals. The band achieved mainstream success in England during the year 1962. They gained international popularity in 1963 and toured exclusively until 1966. The band then limited themselves to recording studios until their breakup in 1970. (Wikipedia)
During their reign, The Beatles were infamous. “[They incited] hysteria, collective delusion, and an ecstatic kind of stupefaction that left concertgoers in tens of thousands (mainly women) mute, in tears, and completely beside themselves” writes Rosalind Morris. “[They manifested] the emergence of a capacity to precipitate masses and not merely crowds” (127). Their power to do so was labeled Beatlemania and the phenomenon affected just about everyone. The ability to hold the attention of masses was something new, a fact that gave The Beatles the power to influence.
Even from the beginning, the band symbolized change. Their sensitivity and appearance helped create a new male identity. Before The Beatles, rock “n” roll bands were the epitome of masculinity. Their looks were hard and chiseled. Their songs brought to life a sense of masculine supremacy. Take into consideration Buddy Holly, a rock “n” roll great from the 1950’s. In the opening lines of his famous song Not Fade Away, Holly sings, “I’m gonna tell you how it’s gonna be, you’re gonna give your love to me.” In this song Buddy Holly portrays himself as assured and dominating, qualities that were thought to be attractive in men.
In That’ll Be The Day Buddy Holly once again assert himself by singing
Well, that’ll be the day, when you say goodbye
Yes, that’ll be the day when you make me cry
You say you’re gonna leave, you know it’s a lie
‘Cause that’ll be the day when I die.
Holly song goes on to talk about how in love a young lady is with him. He claims that “cupid shot his dart” straight into her heart and because of this, she will always be in love with him even when he leaves her. His song portrays men as manipulative, using their appeal over women to benefit only themselves. Although this attitude was not a general consensus of all rock “n” roll artist, it was depicted in multiple songs by Holly and other similar artist. The promotion of this type of male identity allowed it to be considered socially acceptable. It was expected for men to act in such ways. They were supposed to be self-aware, and dominating. However, when The Beatles became famous, they appeared to represent a completely different male identity.
Compared to the rock “n” roll greats before them, The Beatles’ had long hair and their image was not the picture of masculinity that audiences were used to. The band’s songs were sensitive and spoke of topics that, at the time, were considered youthful and girlish. The Beatles were a band with a delightful feminine quality that fans found incredibly attractive. With hits like I Wanna Hold Your Hand, and P.S I love You, They had their audiences swooning and dreaming of romance. In their song Love Me Do they said,
Love, Love me do
You know I love you,
I’ll always be true,
So please, love me do.
Whoa, love me do.
The boys were sensitive and it appealed not only to the female population but also to the male. Their actions and looks begin to be imitated by young men around the world and this new representation of masculinity became part of the new male identity.
Over time, The Beatles’ looks and songs began to change. The young men began to indulge in narcotics, and their songs became more and more obscure. Their appearance and actions gave people from earlier generations’ reason to scrutinize and judge them. The verdict by many older Americans was that The Beatles were unacceptable. They were destroying the values deemed important (Roberts 2). People who listened to the band were labeled social delinquents. Their music was thought to encourage younger generations to destroy the morals that had been already been established.
Many used the band’s music as a way to protest war and other social injustices. The Beatles were once again encouraging change, allowing young men and women to take hold of a new identity. The band’s songs became protest anthems, open invitations to stand up against war and hate. The songs Revolution and Let It Be encouraged numerous fans. While the songs left many with a quite resolve to fight for their rights, it gave others the courage to go out and do what they considered morally right. Regardless of how people reacted to the lyrics, The Beatles songs allowed for fans to relate, enabling them to create new social groups and identities. The songs gave people grounds to stand up for the things they believed in.
Although their lyrics were influential, amazing guitar riffs, simple drum beats, and intricate bass melodies are what made The Beatles’ legacy. Not to say that the words have receded from the horizon of their music, but the words are not what is recalled as theirs. Their lyrics might have created change but their music created memories. Even as their music changed, morphing into some sort a psychedelic explosion that left its audiences guessing, it was the way that they used their instruments to create that unique sound that is remembered the most. Take into consideration the music that was produced early on in The Beatles career. They songs could be characterized as classically light. The beats were simple, repetitive, and flowing. The music was happy, and sweet. The Beatles song Can’t Buy Me Love is a prime example of this. Throughout the song the basic beat stays the same, making the song seem slightly juvenile. However, when the guitar, bass, and drums are combined, the song seems joyous. This song and similar songs, take on doo-wop quality, allowing the band to sound like an old barber shop quartets, but with the use of instruments. Their hit song I Want You (She’s so Heavy) takes a completely opposite approach. The Beatles utilize two interchanging guitar riffs, both use minor keys and seem have a blues influence. The blues structure is obvious in the I Want You section of the song. The drums, guitar, and bass are slow, allowing the song to sound mellow. In the song, The Beatle also incorporate white noise, a technique that makes the selection sound slightly eerie.
One thing that made The Beatles famous was their variation. Their songs not did have the same influence, and because of this, the band’s sounds were refreshing. “To move people with the force of song requires that music lift off from language, and from meaning,” writes Rosalind Morris (1). The Beatles are able to do that because they did not let different genres inhibit them. Instead they took theses variances and incorporated them in innovative ways.

Works Cited

"The Beatles -." Wikipedia, the Free Encyclopedia. Web. 10 Mar. 2010. .

Clydesdale, Greg. "Creativity and Competition: The Beatles." Crativity Research Journal 18.2 (2006): 129-39. Academic Search Premier. Web. 11 Mar. 2010. .

Hoppenstand, Gary. "The Sound (and Meaning) of Music." Editorial. Journal of Popular Culture Aug. 2009: 587-88. Academic Search Premier. Web. 10 Mar. 2010. .

Morris, Rosalind. "Witchcraft." Social Text 26.2 (2008): 113-33. Academic Search Premier. Web. 10 Mar. 2010. .

Roberts, Michael. "A Working-class Hero Is Something to Be: the American Musicians? Union?s Attempt to Ban the Beatles, 1964." Popular Music 29.1 (2010): 1-16. Cambridge Online Journals. Web. 10 Mar. 2010. .

Soul Music of the 1960s influence on Civil Rights-Julie Demuynck

The 1960’s in America were years that saw change. It is during this decade that the work of civil rights activist was finally being addressed by legislative authorities. The Civil Rights Act of 1964, the 24^th amendment, and the Voting Rights Act of 1965 were all passed into law during this time period. Martin Luther King Jr., Rosa Parks, Malcolm X, and other key activist spoke out about the inequalities in America and worked to stop it by giving speeches, boycotting, etc. At the same that King gave his famous “I Have a Dream” speech, other leaders were fighting the inequality in a differently with music. Although its exact birth location is unclear, soul music emerged in the 1960s. It combined the sound of gospel and rhythm and blues into a funk and disco sound. Soul music “arose out of the black experience in America” according to the Rock and Roll Hall of Fame. The music of Aretha Franklin, Sam Cooke, James Brown and other key soul artists spoke out against the time period and helped to build the identity of civil rights activists.

The birthplace of soul music is an ambiguous topic (Maultsby). Many believe that northern inner cities like Chicago, Detroit, and New York City should be attributed as the birthplace of soul because people of these cities were the key audience of many songs. However others attribute Ray Charles, James Brown, and Aretha Franklin to be the creators of the genre and all were from small southern cities.

Ray Charles release of “I Got a Woman” in 1954 was the first time soul music made an appearance in America, which is why Ray Charles is a credited the inventor of the genre. However, it was James Brown that gained popularity and spread the genre across the nation. Brown is often referred to as the “Godfather of Soul” because of his contribution to the genre. Aretha Franklin was the first female singer of the genre and is often called the “Queen of Soul” or simply the “Queen.”

A soul singer must express like the title of the genre suggests his soul and emotions through his voice. The audience must be able to not only hear the singer’s voice, but also have the feelings that the lyrics and tone of song suggests. Soul music often begins slow and soft and builds into a strong and loud climax as the singer becomes more emotionally intact with the song, although there are exceptions to this generalization. There is often a guitar, bass, drum, piano, and specific to soul music, horn instruments. Soul music often involves call and response sections in the songs between the singer and the audience. It was created to gather a considerable amount of different people together and give them all a type of music that they could relate to both spiritually and culturally. The gospel sound of the genre gave individuals a feeling of comfort because they could identify with the sound since it was the music they were raised to. However, the R&B’s style of expressing all emotions allowed singers to express the struggle that everyone was facing. This feeling of collectiveness is one reason why the genre spread so rapidly.

Not all soul songs were about the civil rights movement. Many were about women, hometown cultures, etc; however, the genre is often categorized by being the soundtrack of the civil rights movement because the key songs of the movement happened to be soul songs. The genre of soul music evolved over time. It began with Ray Charles and his soft, more rhythm and blues than gospel sounding music and evolved into James Brown’s funk music with screaming, horns, and call and response sections. Soul music varies from artist to artist and even from song to song from the same artist. On these grounds, the soul genre inadequately describes all soul music because it would be impossible to have a common link between every single soul song that could be used to define the genre.

Aretha Franklin is the most well known female artist of the genre. Franklin was born in Memphis, Tennessee, where she taught herself how to play the piano. Franklin’s father was a preacher, and she felt a deep connection with the church. Many of Franklin’s songs have a strong gospel influence in them because of her childhood (Flory). Franklin has been awarded eighteen Grammy Awards throughout her life. Two of these awards were for her number one single “Respect.” The song was originally recorded by Otis Redding in 1965, but Franklin’s cover in 1967 brought the song’s popularity to new heights. The song was recorded on Franklin’s album I Never Loved a Man the Way I Love You. Franklin’s cover included Redding’s blues feel, but also added a more pop sound. A tenor saxophone was added to the band, and Franklin’s vast vocals allowed for the crossover from Redding’s blues tune to Franklin’s soul music.

Franklin has stated that to her the song was to support the feminist movement for women’s rights and equality. However the lyrics also apply to all people that feel they do not get the respect they deserve from their spouse, boss, country, etc. The song’s lyrics are about a woman demanding that she’s “got to have a little respect.” Franklin’s voice is strong and powerful without any hesitation or shakiness in her tone. The woman in the song knows what she wants, and she is not going to stop until she receives the respect she deserves. This song was the number one song on the billboard charts in 1967 because so many individuals felt that they were not getting the respect they deserved. This song helped to create the identity of the 1960’s because people were no longer willing to compromise their basic rights, a key argument in the fight for civil rights. People listened to Martin Luther King Jr’s speeches and acted upon them, some more peacefully than others. Malcolm X and his followers sought African American equality similar to King however, they chose to show their anger and attitude in a violent way compared to King.

Sam Cooke was born and raised in Clarksdale, Mississippi. He grew up singing gospel music in church, and later created a gospel group called The Singing Children with his siblings. Eventually Cooke broke away from his family and started a solo career. He is said to be one of the founding fathers of soul music. On Cooke’s first album Ain’t That Good News a song was released that exemplified the Civil Rights Movement of the time. In 1964, the American public first heard “A Change is Gonna Come.” The song was not lighthearted like his previous releases, but instead was an emotional, serious song about Cooke’s opinion of racism in America during the 1960s.

The song’s lyrics inspired hope in the people fighting for the equality. It ‘s lyrics accounts of personal experiences that left Cooke feeling unwelcomed, judged, segregated, and hurt. Many people experienced these situations and related to Cooke’s lyrics. Although Cooke’s tone is weary sounding in the song, the lyrics are not just about the struggles that he faced, but also the change for the better that was going to happen. The lyrics that exemplify this tone are the ones Cooke chose to end the song with, “There have been times that I thought I couldn’t last for long/but now I think I’m able to carry on/It’s been a long time coming, but I know a change is gonna come.” These lyrics inspire hope for the future, gather everyone that has ever felt oppressed together, and give a sense of hope for future. The lyrics inspire the listener to keep fighting because it will all be worth it when change happens.

In the late 1960s, a new political slogan for civil rights activists arose called black power. Black power stressed racial pride, self-reliance, and created a “political and economic clout,” (Paoletta). In previous years, activists like Martin Luther King Jr. all tried to change the country through nonviolent movements. In the later years of the decade a groups of people grew tired of fighting nonviolently while their opponents didn’t and killed key leaders like Dr. King. After countless deaths of nonviolent leasers, the black power movement began. Groups like the Black Panther Party and Malcolm X followers arose from this movement and fought for equality in a violent way in comparison with King’s movement.

On April 4, 1968, Martin Luther King Jr was assassinated. The following day James Brown held a concert in Boston. The city of Boston’s government officials wanted to cancel the concert to prevent riots from breaking out across the city, but one councilman fought against the rest to have it televised and he won. Ironically, Boston was the only major city in the nation to not have riots that weekend. Brown dedicated the concert to King’s life, and he played for the first time “Say it Loud-I’m Black and I’m Proud.” This song symbolized the shift of the movement into the black power movement.

The lyrics of the song address the segregation and racism towards blacks in America during the time period. The song suggested the idea of black empowerment that was a key component of the black power movement. The song’s lyrics “We’re people, we’re just like the birds and the bees/we’d rather die on our feet/than be livin’ on our knees/ say it loud/ I’m black and I’m proud,” brought people together and filled them with pride in themselves, and faith that they could change society. The song relates to another key component of the black power movement that black people in America were proud of who they were and were not changing themselves to be accepted into the white society. Instead they were going to fight for the right to be their own society in America.

The song has a funk sound to it with the trumpet that is played after each line of the chorus “say it loud/I’m black and I’m proud.” Brown’s voice is powerful and excited sounding in the song, which also adds a funk sound to the song rather than a rhythm and blues like in some of his other songs. The song also features a call and response section, which is a key characteristic of soul music. Brown sings to the audience “say it loud,” and the audience responds with “I’m black and I’m proud.” Brown also had a trademark scream that was included in the majority of his songs including this one. His scream “evoked pain and violence rather than joy or possession by the spirit,”(Zuberi).

Soul music of the 1960s helped to shape the identity of civil rights activists because it was a way of expressing the emotions of the pain, suffering, hope, and determination that many individuals felt during the time period. Its combination of gospel and rhythm and blues gave people a feeling of comfort because it was a sound similar to what they listened to growing up. Soul music not only created the identity of the 1960s, but was also a major influence in the emergence of hip-hop, techno, and house music. Soul singer’ abilities to merge civil fight songs into their music “inevitably change the way most black artists would approach their craft,” (Nathan). Soul music is still sung today; most popularly heard in the songs of Mary J. Blige.

Work Cited

Flory, Andrew, and Philip Vandermeer. "Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul." Notes 61.3 (2005): 752-754. Academic Search Premier. EBSCO. Web. 16 Mar. 2010.

Maultsby, Portia K. "R&B and Soul." Garland Encyclopedia of World Music 3 (2000): Web. 16 Mar. 2010. .

Morrison, Nick. "Songs of the Civil Rights Movement." NPR:National Public Radio (2009): 1-3. Web. 16 Mar. 2010. .

Nathan, David. "R&B changed, charged by `60s." Billboard 107.5 (1995): 28. Academic Search Premier. EBSCO. Web. 16 Mar. 2010.

Paoletta, Michael. "Black Power: Music of a Revolution (Music)." Billboard 116.22 (2004): 47. Academic Search Premier. EBSCO. Web. 16 Mar. 2010.

Zuberi, Nabeel. "James Joseph Brown (1933-2006)." Popular Music & Society Oct. 2007: 551+. Academic Search Premier. EBSCO. Web. 16 Mar. 2010.

The Music of Athens, Georgia

Known as “the Liverpool of the South”, Athens, Georgia has played a revolutionary role in the formation of local bands such as the B-52s, Widespread Panic, and the Indigo Girls. By 1980, the chart-topping band, R.E.M., brought the rock music that flows out of Athens to national attention. Such landmarks as The Morton Theatre and the University of Georgia have made this unique town a center for musical development. The wide variety of music performed by the Athens-based rock bands is known for shaping a rare and ever-changing style of rock; for example, downtown, The 40 Watt Club and Uptown Lounge are key venues in the rock, country, and bluegrass scene and host such prominent groups as Dave Mathews Band and The Drive By Truckers. Athens’s wide diversity of popular music was essential to the early evolution of New Wave movement in America and created such genre categories as alternative rock. These cultural activities performed throughout the town have shaped Athens’s social identity into one that unites the bands with their eccentric and iconoclastic image, as well as a permanent tie to the city.
Before being chartered as an official city in 1806, Athens, Georgia was flooded with the Native American music of the Creek and Cherokee tribes. By the 1860s, the city became a vital and prevalent region of musical entertainment in Georgia. As the Civil War struck through the rural southern city, music accelerated into the city’s most important source of entertainment. Athens suffered little destruction compared to the larger city of Atlanta; therefore, the music scene could continue to thrive without any setbacks due to economic recovery. Prominent touring groups like the Dixie Family and The Slomans aided the Athenians’ wartime distress. The major center for the city’s African American culture, known as the Hot Corner, came to be an established location for performance spaces: the legendary opera house in the Morton Building hosted such nationally acclaimed figures as Duke Ellington and Louis Armstrong. The Morton Theatre was one of the most illustrious venues in Athens in the early 20th century and although it was shut down for a few years, it is the only theater in the city to survive through to the present.
By the 1960s and through the 70s, the foundation of venues and institutions allows locally prominent bands to grow from mostly cover bands into more musically diverse groups. Known as the Normaltown River of Music, this period influenced the emergence of trendy local bands such as the Normaltown Flyers, Hampton Grease Band, and the Dixie Grease. The Normaltown Flyers were based out of the downtown bar Allen’s Hamburgers, the oldest venue in Athens featuring live music. The local club scene surfaced when bars like The Last Resort opened, beginning regional fame for Athens. The city also became nationally recognized when the Hampton Grease Band signed with Colombia Records in the late 1960s.
Rock music became a rapidly growing phenomenon in the 1970s when the local music scene was centered around house parties, eccentric clothing styles, and a rebellious atmosphere. With college students pouring into the University of Georgia, the hallucinogenic drugs LCD became a widely used and accepted drug among the college music scene. Also a key element in developing Athens musical culture that was associated with the University of Georgia was the Lamar Dodd School of Art. As part of the University’s liberal arts curriculum, this school allowed for a musical interest to fuse with a creative aptitude that shaped the majority of Athenian musicians as well as the fan base.
One of the fundamental characteristic of Athens’ music scene, is its role in shaping an Americanized version of the New Wave movement. This movement developed in the United Kingdom in the 1970s as a sort of shift from punk rock music. The transition from the rebellious European punk rock influenced such genre categories as alternative rock, indie rock, and power pop, and post-punk. Athens was specifically dominated by the alternative rock categories of the overall New Wave genre. It began as an experimental genre that incorporated the synthesizer to replace many of the standard instruments used in European punk rock. Grouping of the Americanized New Wave genre categories creates a unified tie to the Athens music scene represented by cultural references to the city used by stylistically diverse bands such as R.E.M. and the Indigo Girls. Furthermore, because each band got their start in Athens, they are historically and fundamentally connected to the unique and culturally distinct city. However, the groups that developed in Athens are very diverse in their musical categories, therefore making it difficult to establish a concrete genre boundary. Because the bands based in the city produce and perform a wide variety of music, Athens has never had one characteristic or concrete style of music.
The synthesizer is the key element to the majority of New Wave music and vastly influenced such pop rock and alternative bands as The Talking Heads and The Cure. Keyboards were a common addition to the New Wave music through their ability to stop and start with short and punchy song structures. Fast tempos created by choppy rhythm guitars had the affect of generating an overall aggressive energy within New Wave music. The creation of MTV in 1981 helped transport the New Wave movement from the United Kingdom to America, specifically Athens, Georgia. The musically rich city perfectly personified the main idea of the New Wave movement: “One gets from critics and artists the image of new wave as unified not only by its attitude toward the mainstream, but also by similarities in many areas: hairstyles, fashion choices, musical influences, cultural references, onstage behavior, critical vocabulary.” (Kronengold, 46). Known as the “Second British Invasion”, New Wave artists poured into the unconventional city where their flourished and shaped Athens’ eccentric identity.
Two of the most renowned Athenian New Wave artists of the late 1970s and early 80s were the B-52s and R.E.M. Known for their thrift store fashions and unusual music videos, the B-52s were quick to fame in Athens with such hits as “Rock Lobster” and “Love Shack”. They began with little musical knowledge, but became an instant hit with their iconoclastic image and humorous sound. They were the first band to bring the city to national prominence, but were soon overshadowed by R.E.M. Band member Michael Stipe was enrolled in the University of Georgia Lamar Dodd School of Art, while bassist Mike Mills and former drummer Bill Berry worked in downtown Athens. Established in 1980, the band became popular among the college students as the single “Radio Free Europe” reached local fame. In the early to mid 1980s, R.E.M. was featured only out of Athens, but soon broke into the mainstream with the 1987 hits “The One I Love” and “It’s the End of the World as We Know It (And I Feel Fine)”. In the 90s, the band reached back to their Athens roots by featuring vocals by Kate Pierson of the B-52s in their album Out of Time and by titling their album Automatic for the People after the motto of a local Athens soul-food joint, Weaver D’s. Known as one of the first popular alternative rock musical groups, R.E.M. specifically pioneered the spread of the alternative rock category of the New Wave genre throughout the nation. Locally, Athenian bands received a boost of moral as the success of the B-52s and R.E.M. brought attention from major music labels and popular media to the city. Their development of the New Wave movement in Athens, Georgia inspired other local artists such as Widespread Panic and the Indigo Girls who strengthened the city’s peculiar yet capturing personality.
After thirty years of business, The 40 Watt Club in downtown Athens has earned the reputation as the most legendary venue of the Athens music scene. The B-52s and R.E.M., as well as Widespread Panic, Dave Matthews Band, and the Drive By Truckers performed on the notorious stage at the start of their careers. With the nationally recognized success of the B-52s and R.E.M., the 40 Watt Club has become a desired venue for up-and-coming bands to launch their music. The venue adds to the unique image of Athens by featuring mostly old-school New Wave musicians and new-school indie/alternative rock bands. The immense talent that flows through the amps of the local venue has given the 40 Watt Club the credibility to turn unknown bands into revolutionary musicians. Furthermore, it was brought Athens to even more fame when Rolling Stone magazine noted the city as the best college music scene in America in 2003.
As Charles Kronegold notes, “new wave prizes individuality and unconventionality” (Kronegold, 61). The B-52s’ hit “Love Shack” embodies the New Wave identity through their original style and alternative approach to music-making. The song was inspired by the band’s roots to Athens and features distinct cultural references: the road trips down the Atlanta Highway which runs through Athens, as well as the cabin with a tin roof in Athens in which singer Kate Pierson lived during the 1970s. The lyrics of the song portray a New Wave theme with their humorous and quirky phrases: “Boy's in bikinis/Girls in surfboards/Everybody's rockin'/Everybody's fruggin’”. Likewise, R.E.M.’s “It’s the End of the World as We Know It (And I Feel Fine)” epitomizes the punchy and short-corded tempo of the New Wave movement. With a foundation based in Athens, R.E.M. broke into the mainstream scene with this 1987 single that remains a favorite hit at the 40 Watt Club. The rant-like lyrics and rapid chord progression symbolize an individual and innovative style of the band as they establish an almost automatic and mechanical sound. Inspired by the fame of the B-52s and R.E.M. and their development of Americanized New Wave music, Love Tractor formed in Athens in the early 1980s. The single “Party Train” represents a key integration of the New Wave synthesizer to develop the song’s chord progression. With a catchy melody and unique vocals, this hit allowed for Love Tractor’s recognition as one of the founding bands of the city’s idiosyncratic music scene.
With a musical history dating back to the 1800s, Athens, Georgia has been stamped on the map as one of the most influential and significant music towns in the country. Known for a rapidly progressing cord structure on the guitar and unclear vocals, R.E.M. is by far the most prominent bands to flow from local venues such as the 40 Watt Club all the way to an induction into the Rock and Roll Hall of Fame. R.E.M as well as the B-52s’ influence on other local bands to achieve nation recognition set the foundation of the Athens music scene. The New Wave movement swept through the southern town and was transformed into Americanized genre categories, the foremost being alternative rock. The unique and genre-diverse music that flows throughout the city gives Athens its eccentric and ever-evolving identity that will continue to generate unconventional yet superior music for years to come.

Bibliography

Ellis-Christensen, Tricia. "What is New Wave Music?." WiseGeek. Conjecture Corporation, 2010. Web. 14 Mar 2010.
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Gordon, Stephanie. "40 Watt Club." THe New Georgia Encyclopedia. Georgia Humanities Council, 2003. Web. .

Kronengold, Charles. "Exchange Theories in Disco, New Wave, and Album-Oritented Rock." Criticism 50.1 (2008): 43-82. Web. 14 Mar 2010. .

"Music of Athens, Georgia." Wikipedia, The Free Encyclopedia. Wikimedia Foundation, Inc. 22 July 2004. Web. 16 Mar. 2010. .

Paulsen, Mike. "A Brief History & Reflection on New Wave." New Wave Outpost. N.p., 2009. Web. 14 Mar 2010.
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Nomsaaaaain? Screw Music-Melvin Backman

A record that has been chopped and Screwed is unmistakable. The deep voices of many Houston rappers seem to become sources of profound wisdom simply from the slower, lower vocals. Already-soulful samples become wordless hymns. Already-lingering instrumental effects haunt the listener. Chopped sections become cracks in a hall of mirrors—only temporary reminders of some lost reality. The warped, hazy sound of Screw music is strange breed of psychedelic music; much of its lyrical content is hard and aggressive yet extended listening relaxes and induces a sense of drowsiness. The sound pioneered by Houston’s late DJ Screw created a culture around itself. The elements of that culture—mixtapes, cars, and drugs—are not unique to Screw music, but the way they come together is something special. Mixtapes are not just a means of promoting upcoming music, but are as important to the scene as albums in some cases. Cars are enormous models from the 1970s and 1980s slathered in candy paint color-coordinated to the owner’s neighborhood. Perhaps the most notorious aspect of Screw music culture is the drug most associated with it. The dangerous concoction of syrup—soft drinks laced with codeine cough syrup—is seen by some as essential for enjoying the music, though many disagree. The hip-hop subculture of Screw music is unique and fascinating, and it goes deeper than the occasional mainstream success of Houston’s rappers.
A discussion of Screw music culture cannot start without discussing the music itself. Houston rap can trace its genealogy to the Geto Boys, who released their first album, Making Trouble, in 1988. Instead of drawing inspiration from rap’s birthplace, New York City, the collective was influenced by the West Coast sounds coming from California (Meadows-Ingram). The sound was more laid back and the lyrics were more hard core. This West Coast influence on early Houston rap is evident; remixes to California-based rap records make up a large portion of the non-Houston content on mixtapes done by DJ Screw. The same sun whose shining creates the weather that makes West Coast records so chill shines also on Houston. This sun-baked sound only becomes warmer on a Screwed song. The heat emanates from speakers and surrounds the listener. It settles on his eyelids and puts him in a daze, allowing him to easily soak up the hand claps, keyboards, and bass lines he will often hear listening to Screw music. It facilitates a deeper connection with the music. One fan said that “Other rap, like East and West coast rap, is so fast you can't understand it. [Screw music] is slowed down so that you can understand it.” (Halverson).
DJ Screw, born Robert Earl Davis in 1970, is a man whose importance to Screw music is obvious since he is the subgenre’s namesake. He created the technique in 1991 on accident. While high on marijuana, the DJ manipulated the pitch of the records on his turntable to slow them down because the slower version agreed more with his intoxicated state of mind. He began making entire mixes of the slowed-down mixes and selling them on Maxwell tapes out of his house. The tapes are sometimes called grey tapes because Screw always bought the same grey Maxwell cassettes. Sometimes, tape sales would run as high as 120 per night of sale (Allah-Rap Pages). The tapes became extremely popular, becoming a status symbol that was important to have then as things like nice sneakers are today (Calloway, Patel). Some fans of the tapes would drive from “Dallas, New Orleans, Memphis, and even Atlanta, ready with their crisp twenties and fifties,” (Corcoran 25).
The enormous success of the tapes allowed Screw to make careers for his friends and break artists. He kept the glory for the southern part of Houston where he lived. His neighbors to the north, Michael “5000” Watts and Ron C, started their own chop shop, Swisha House. They began making slowing down their own mixtapes in an effort to represent for their own neighborhood (Calloway, Patel). In Screw music, the DJ holds a powerful role. He or she (most he in Screw music) picks the songs for the mixtapes and the instrumentals for freestyles. Crews spring up around the DJs in a manner reminiscent of early hip-hop or the selector in Jamaican sounds system culture. It is not an accident that Houston’s Screwed Up Click is named after DJ Screw and at first consisted of rappers that regularly made appearances on grey tapes, or that the Swishahouse crew owes so much of its success to the leadership of Michael Watts. The DJ’s most important role in Screw music culture, however, is applying the chopped-and-Screwed technique. The technique consists of the DJ playing two versions of the same record simultaneously, with one version playing with a small delay. The pitch is modified to slow the records down to the DJ’s satisfaction. The DJ uses a mixer to “chop” the record by switching abruptly between the two versions, which highlights the delay because entire phrases can be cut in an effort to highlight a good punch line or metaphor. This treatment is what obviously marks Screw music as such. Being able to apply the treatment expertly is imperative. On the chopped-and-Screwed version of UGK’s “International Playa’s Anthem,” OG Ron C implores the memory of DJ Screw, saying, “Don’t let these boys slop you up, man. Get your shit down right.”
The two competing factions became rivals as part of a more general north-south rivalry that began when cars from the other side of town were getting stolen. Cars from the other side were easily identifiable—North Side cars were blue and South Side cars were red (Edwards, Thompson). On the intro for the Swisha House mixtape The Day Hell Broke Loose, Michael Watts plays samples that mention toting guns and bulletproof car windows. Although car theft is serious in any case, it is even more so in Houston, where cars are such a big part of Screw music culture.
Houston is a sprawling city and cars are necessary to get around. The ubiquity of cars pushed some to try to set themselves apart. Screw music culture promotes a rather specific kind of car—the swanger. So named for the swangin’-and-bangin’ driving technique where drivers travel down the road by swerving widely and aggressively to the beat of songs playing on their sound systems, a swanger is usually a large, American-made car from the 1970s or 1980s that is bathed in paint and clear layers of paint called clear-coat with wire wheels and a modified suspension system. Sometimes the trunk of a swanger gets popped neon signs hidden inside it. Excellent examples of swangers can be seen in videos for Fat Pat’s “Tops Drop” and Trae’s appropriately-named “Swang.” Cars occupy such a special place in Screw music culture because cars are one of the predominant places to listen to the music. Sound systems are especially crucial. They can cost up to twenty thousand of dollars and can emit enough bass to blow out a candle. Michael Watts doesn’t consider a track finished until it sounds right in his car (Corcoran 26). The concert festival that celebrated Screw’s legacy, Screwfest, was half car show (Peralta 2006).
Although the big, flashy cars are a curious, amusing aspect of the subculture, a more controversial aspect always overshadows it. Drugs are a big part of Screw music culture. It might be the most positive or popular part, but it is there. Some claim that it is necessary to properly enjoy the music. Some say it isn’t. Some say that Screw music culture perpetuates drug abuse.
Screw music by no means sets a precedent for the attachment of drug use within the context of a musical movement. Bebop had heroine. Psychedelic rock had LSD. The rave scene had ecstasy. A number of drugs circulate the Screw music scene: marijuana, marijuana cigarettes dipped in embalming fluid to create “fry,” and—last but not least—syrup. Syrup is strongly associated with Screw music, but not without reason. Cough syrup containing codeine and/or promethazine mixed with soft drinks and candy is often shouted out lyrics and most Screw music musicians are not shy about their consumption of the substance. Rapper Big Moe produced an album called City of Syrup in reference to the concoction. The lead single from the album was “Barre Baby,” a song about syrup, which is also called barre or lean (because it makes one lean). His obituary read, “Whereas DJ Screw turned a codeine trip into slow, chopped beats and raps, Moe turned it into celebratory psychedelia” (Peralta 2007).
Some believe that syrup killed Big Moe. When DJ Screw died in 2000, he had toxic levels of codeine in his system (Hall). When Pimp C of UGK died, an unmarked bottle of syrup was found at his side (Winton).
There is some debate about the role of illicit substances in the enjoyment of Screw music. On the liner notes for the album 3 n da Mornin’, DJ Screw told gave fans listening instructions: “Get with your click and go to that other level by sippin' syrup, gin'' or ''whatever gets you to that other level” (qtd. in Strauss). The depressant effects of the codeine syrup supposedly allow to better feel the music. Screw acknowledged that many fans did not drink or smoke and admitted to being ambivalent about the subject (Hall). A 2003 report in the Journal of Drug Education named Screw music as a factor that encouraged young people to use syrup (Ronald, et. al).
The health detriments of codeine abuse are serious. Its opiate qualities make it high addictive. Some call it liquid crack (Washington). Rapper Bun B said that syrup made his kidneys hurt (Calloway, Patel). He put the bottle down after the death of Pimp C, who was his partner in UGK.
To say that Screw music has a strong sense of identity would be an understatement. Houston rappers lay strong claims to the practice. Some argue that they are so indoctrinated with the tenets of Screw music culture that it is reflected in the high amount of references made to things exclusive to Screw music culture (Taylor 2). This is part of the linguistics of contact in which people “use language to index social group affiliations in situations where the acceptability and legitimacy of their doing so is open to question, incontrovertibly guaranteed neither by ties of inheritance, ingroup socialisation, nor by any other language ideology” (Rampton). Screw music culture establishes its sense of self through lyrical content and identifies the other by the same method. Rappers like Paul Wall, Mike Jones, and Li’l Keke can establish their connection to Screw music culture by rattling off a list of unique cultural aspects in songs “They Don’t Know.” By identifying themselves with Screw music culture’s self, the automatically establish an other. Whereas the self is able to identify the cultural aspects and relate to it, an other—the “they” in this case—has no clue what the emcees are talking about and is cast out. As with other forms of rap, a special other is reserved for homosexuals, police informants, and those that don’t work to put food on their own plate. Candi Redd clearly shows contempt for gay men she sees on the dance floor in “Independent” on The Return of the Realest. A cowardly informant is the subject of the comedy skit “The Snitch” from The Day Hell Broke Loose. Z-Ro refuses to lend money to even friends and family on “Doing Just Fine” from The Usual Suspects.
Although the content of songs is handy for establishing identity, it makes the pinning down of genre a bit more difficult. Screw music is, without a doubt, overwhelmingly influenced by hip-hop. The use of samples, DJs, and rapping are by far the biggest aspects of the music. Screw music, however, does not fit entirely within hip-hop. The mixture of singing and singsong rapping of artists like Fat Pat and Z-Ro sometimes present in Screw music can be reminiscent of R&B at times. The content of the mixtapes also defies genre. Swishahouse’s The Real Shit finishes with an acoustic guitar-accompanied, sung version of NWA’s “Straight Outta Compton.” Some Screw tapes sometimes included non sequiturs like Phil Collins.
The Screw music culture is a fascinating one. Screwheads listen to a strange, hypnotic form of rap music. They drive huge, flashy cars. They take drugs that can lead to enlightenment, death, or both. They have a very strong sense of identity. The uniqueness and creativity on display make it an extremely interesting musical form. Nomsaaaaain?