The Cadre November 25,1997

Pychedelic Nostalgia | (]MN 700 AM (892-CIMN)

By Matthew Hennessey

remnana ne soe sears ene] PPOOTAM Guide SHOW

quickly established the strength and appeal that “black” music had in the New World culture. Although the hit list charts 2 ° express a white character in the early days of rock during the

50's, (Presley, Holly, Lewis, &co.), the influence of all of

these artists came from southern blues and gospel. The

transformation which took place at this time pushed black artists to create their own path and regain their own identity. R&B, soul, and funk was the result and it revolutionized the state of rock music. With these transformations and the ability to adapt, a new music was taking shape on the inner city streets of New York, Philadelphia, Chicago, Detroit and Los Angeles. Hiphop and Rap emerged. In their purest form, it

was the perfect tool of expression for an oppressed culture, : Making Noise . ~ form produced the beats that allured the global Jay Collins hosts n on Sundays from 9PM to 10:30PM

culture. i i heard Controversy was a key player ia the development of A wide range of music from CANADA and around the world that should be !

Rap music. Artists often preached about the hardships of More Rock! Less Talk!

ghetto life and issues such as cop killing preoccupied the . oe hi ot A sa

school of public opinion as well congessional hearings. Public} UK ~ Pop -- Dance -- Rock -- Blues -- Jazz -- Reggae

Enemy, from New Y ork City, lived up to theirname in more) Cjassics from Duran Duran -- Tom Petty - U2 Frank Zappa -- Police.

ways than one as their innovative sound attracted a wide : sie el -- Radiohead -- Gandharv eadst range of people from around the world. Their lyrics and their Now Fitts from Rusty — Big Sagas e en BEN

grooves crossed racial lines and made huge headway into the white suburbs of North America; needless to say, the power-

ful white upper class patriarchy, was very threatened by this Cory Judson delivers fresh vibes on Stone C Id Groov

form of free expression. Public Enemy's most important album, was /t takes a} Tuesday 10PM to 11PM

nation of millions to hold us back, blending heavy guitar, a v covered from to Hip Hop to Old School and strong base precence, 100 million radio samples and beats th (Ae eee Rep et

at hit the airwaves with machine gun accuracy. The 18 track album came out in 1988 and immediately caused squirming in the upper echelons. Their topic of choice was the state of the black community in America. They addressed the problems

through a thought process of critical analysis that pointed the tes all h in Damage, Incorporated. finger at the established institutions as well as the African] Crris Gaudette consolodates all thing heavy

American people themselves. Singles like “Night of the living baseheads” and “Black steel in the hour of chaos” each cover| Yhursday 3PM toSPM. issues of drugs and crime, but they differ on causal factors and even the consequences are separate. ; . ..| Twiceaweek, take atrip into schizophrenia with you host Chris Gaudette. Playing a wide range sustingn ad Reach thee boschegher colideclen a rater OF of styles but with a focas on n the hard and heavy itis Chris's goal toleavehis

e ite ite : : : more. the shetio colmnaaieyaneitl werful to be ignored, even by listeners eithercompletely or begging hiphop artists like Puff Daddy and Mase who contrib- ute to the dilemnas of inner city life rather than help them. The times of KRS-One, N.W.A., Paris, Disposable Heroes of Hiphopracy and Public Enemy are to be rejuvanated in the very new fete. Public Enemy Jt takes a nation of millions to hold us back ei 1988) countdown to armageddon-bring the noise-don't believe the flavor flav cold lampin- terminator x to the edge of panic-mind terrorist-louder than a bomb-caught, can I get a witness-show em whatcha

ot-she watch channel zero-night of the living baseheads- Black steel in the hour of chaos-security of the first world- rebel without a pause-prophets of rage-party for your right to fight

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