Freestyle music
From Wikipedia, the free encyclopedia
Freestyle or Latin Freestyle, also called Latin Hip Hop in its early years, is a form of electronic music that is heavily influenced by Hispanic culture. Performers such as, Safire, Lisa Lisa and Cult Jam, TKA, George Lamond, and Expose are direct products of this movement. Freestyle was originated as a dance in the urban scene of New York by the late 70's. It continues to be produced today and enjoys some degree of popularity, especially in urban Latino and Italian American population centers. Another popular modern genre, Florida breaks, evolved from this sound.
The music first developed primarily in New York City and Miami in the mid-1980s. It eventually spread to many other cities with Hispanic populations. Initially, it was a fusion of the vocal styles found in 1970s disco music with the syncopated, synthetic instrumentation of 1980s electro, as favored by fans of breakdancing. It was also influenced by sampling, as found in hip hop music. In the 1990s, the electro and hip hop influences were supplanted by house music. Freestyle music based on house rather than electro is sometimes referred to as Freestyle-House.
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[edit] Term usage
Why freestyle is actually called freestyle is subject to speculation.
Some feel the term freestyle may refer to the difference between the mixing techniques used by DJs spinning this form of music (at least in its pre-house incarnations) and those who were spinning disco, the only other widely played dance music that incorporated sung vocals. Disco, with its relatively predictable beat structure, could be mixed with smooth, slow, and consistent techniques, but freestyle's syncopated beat structures demanded that DJs get creative, incorporating aspects of both disco and hip-hop techniques; they often had to (or had more freedom to) mix more quickly and more responsively to the individual pieces of music.
Others believe it refers to the vocal technique: singing melodic pop vocals over the kind of beats that were previously used only with rap and semi-chanted electro-funk vocal styles was a form of freestyling —getting creative by mixing up the styles— somewhat akin to the use of the term in reference to competitive freestyle rap.
Another explanation is that the dancing associated with this music allows for a great degree of freedom of expression than the other music that was prevalent at the time. Each individual dancer is free to create his or her own style.
In Miami, the freestyle name evolved after confusion between Tony Butler's track Freestyle Express by Freestyle and Debbie Deb's When I Hear Music, a slightly older but more popular track that was produced by Butler. The sound became synonymous with Butler's production, and the name of the group he was in, Freestyle, became the genre's name.
Freestyle is also sometimes referred to (sometimes pejoratively) as "rollerskating music" due to its prevalence in roller rinks. In Miami (where Freestyle is largely prevalent), Freestyle is sometimes called Hot Wheels music after the Hot Wheels roller rink in Miami that was popular for playing Freestyle (the rink is now called Super Wheels).
[edit] The Sound
It is a genre with rather clear features: a dance tempo with stress on beats 2 & 4; syncopation on a bassline, lead synth, or percussion, with optional stabs (provided as synthesized brass or orchestral samples); 16th beat high-hat; a chord progression which lasts 8, 16, or 32 beats and is usually in a minor key; relatively complex, upbeat melodies with singing, verses, and a chorus, with themes about love or dancing. Freestyle music in general is heavily influenced by Latin music, especially with respect to rhythms and brass/horn and keyboard parts. The Latin "clave" rhythm can be felt in many songs (such as in the defining Clave Rocks by Amoretto). The tempo of Freestyle music is almost always between 110 and 130 beats per minute (BPM), typically around 118 BPM. The keyboard parts are often elegant and clever, with many short melodies and countermelodies, again a strong influence from Latin music. It also features complicated drum machine patterns that a human drummer would have extreme difficulty playing.
[edit] Early cultural effects
The new exciting sounds rejuvenated the funk, soul and hip hop club scenes. While most of the neighborhood clubs were closing their doors for good, some Manhattan clubs were suddenly thriving. Places like the Roxy, the Funhouse, Broadway 96, Gothams West, and Roseland that played this were packed. Records like "Play At Your Own Risk" by Planet Patrol, "One More Shot" by C Bank, "Numbers" by Kraftwerk, "Al-Naafiyish (The Soul)" by Hashim and "I.O.U." by Freeez became huge hits. Some producers wisely copied the sound and made songs that were more melodic. Records like "I Remember What You Like" by Jenny Burton, "Running" by soon-to-be pop stars Information Society, and "Let The Music Play" and "Give Me Tonight" by Shannon were all over New York radio. Many people list Let the Music Play as the first freestyle track. Indeed, Let the Music Play became freestyle's biggest record, still getting heavy airplay through radio and other venues. The song was produced by Chris Barbosa, a Latino from NY. Barbosa changed and refined the electro funk sound, adding Latin American rhythms and a totally syncopated drum sound. That was definitely a reason why the style came to be very popular among Hispanic Americans as well as Italian Americans. Furthermore, many DJs who played the music, such as Jellybean, Tony Torres, Raul Soto and Roman Ricardo were Hispanic. However, those on stage performing the songs were not, neither were most of the producers making the music. For example, Information Society's notable hit "Running", was written by Murat Konar, whom is of Turkish descent, and produced by the band, which are of Scandinavian descent. This marks a notable merging of underground Hispanic and African-American urban cultures, hence, the names Latin Hip Hop or Latin Freestyle. Now, the more neutral term Freestyle is generally preferred.
KPWR (Power 106) in Los Angeles, WQHT-FM (Hot 97) in New York, and XHRM-FM (Hot 92.5) in San Diego began playing hits by artists like TKA, Sweet Sensation, and Expose on the same playlists as Pop superstars like Michael Jackson and Madonna. Tracks like TKA's One Way Love, Safire's "Don't break my Heart"and Sweet Sensation's Hooked On You received new life and the success of these tracks as well as the just-released Show Me by the Cover Girls helped get them added to stations around the country. "(You Are My) All and All." by Joyce Sims became the first Freestyle record to cross over into the R&B market. It was also one of the first Freestyle records to crack the European market. Although still in its early stages, Freestyle was now getting national attention, and was fast becoming dance music for the 80s.
Company B, Stevie B, Paris By Air, Linear, Will To Power, and Exposé's later hits defined Miami Freestyle. Many labels confused New York Freestyle and Miami Freestyle, thinking they had the same audience. They thought their promotional strategy would work for both genres, which resulted in skipping the all too important step of cultivating a record at the street and club level before going to radio. This often led to poor results for the New York-based Freestyle. New York Freestyle, even in its most polished forms, retained a raw edge and underground sound, using minor chords that made the tracks darker and more moody. The lyrics also tended to be about unrequited love or other more somber themes, dealing with the reality of what inner city teens were experiencing emotionally.
Miami records on the other hand, tended to be more optimistic, using major chords similar to those used in early disco giving them a more upbeat sound. This is probably why the Miami records fared better at mainstream Pop radio than New York Freestyle. Some Miami artists like Stevie B, after doing their first shows in the New York market, saw the difference and began using the Miami sound combined with New York Freestyle, often with successful results.
[edit] California Freestyle
Although Freestyle's main territory was Miami and New York, it did have a recognizable following in California, particularly on the Bay Area PartyStation wild 94.9 and on Los Angeles radio station Power 106. Given California's large Latino community (predominantly Mexican), they greatly enjoyed the sounds of the Latin club scene in the East Coast, and although California Freestyle wasn't as prevalent New York or Miami Freestyle, there were a number of successful California Freestyle artists that also gained popularity from Freestyle fans in the East Coast. California Freestyle leans more toward a high-tempo dance beat, referred to as Hi-NRG, but still retains the sound of freestyle.
Timmy T, Jocelyn Enriquez, S-Factor, Angelina, Buffy, Daize, Rockell, One Voice, M:G and Spanish Fly were very notable Freestyle artists from California.
[edit] Freestyle as a pop-crossover genre
By 1989, Freestyle was at its peak as an underground genre. Around this time, Lisa Lisa and Cult Jam, one of the first Latino freestyle acts to get behind the microphone, began to make it big on the freestyle scene. Their records were produced by Full Force, who also made UTFO's music and even once worked together with James Brown. The music of Lisa Lisa and Cult Jam was less electro and more pop, and that was also probably the reason why groups such as Lisa Lisa and Cult Jam,Safire, TKA, Sweet Sensation and especially the Cover Girls were able to crossover into the pop market at the end of the 1980s.
Soon thereafter, however, freestyle was seemingly swallowed up by the mainstream pop industry: MC Hammer, Paula Abdul, Bobby Brown, New Kids On The Block and Milli Vanilli had definite freestyle influences, with their hip hop beats and electro samples, but were undoubtedly a new pop-mainstream form of the underground dance music of the 1980s, repackaged with catchier tunes, slicker production and MTV-friendly videos. Along with this pop appropriation of the genre and the success of these artists, not only on crossover stations but R&B stations as well, freestyle ceased to be as important as an underground genre, giving way to newer genres, such as Gangsta rap and new forms of Dance music coming from Europe, New York, Los Angeles, Chicago, Miami and Detroit, such as various styles of House, Trance and Rave, which seemed younger, fresher and newer than their freestyle influences.
[edit] The Freestyle Comeback
Freestyle, staying largely an underground genre with still a sizeable following in New York, has seen a recognizable comeback in the cities the music once dominated. In Miami, a Latin radio station shoved aside their Reggaeton music blocks to make room for Freestyle playlists. A summer 2006 Madison Square Garden concert showcasing Freestyle's greatest performers went very well-received, and new Freestyle being released appears to be well-taken by longtime Freestyle enthusiasts and newcomers alike. Black Eyed Peas often use Freestyle lyrics, and Miami rapper Pitbull collaborated with Miami Freestyle artist Stevie B to create an updated version of Stevie B's 1988 hit "Spring Love."
Many point at the recent 80's chic as a cause for Freestyle's sudden comeback. Here are some artists who used Freestyle samples:
- Adriana - "Until Tomorrow"
- Ciara - "1,2 Step"
- Black Eyed Peas - "My Humps"
- LL Cool J - "Control Myself"
- Field Mob - "So What"
- Xscape - "Wassup"
- Pitbull - "Fuego"
- Shauna K - "Dance"
- Janet Jackson - "Weekend"
- Nicole Scherzinger - "Steam"
- Ciara - "That's Right"
- Gwen Stefani - "Crash"
- Ciara - "Get Up"
[edit] Selected freestyle hits
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[edit] References
- Joey Gardner's Homepage (respected authority on Freestyle House)
- 100 Greatest Freestyle Songs
- 100 Greatest Electro Songs
[edit] External links
- - NewYorkFreestyle.com* - MaximumFreestyle.com
- - web station from Brazil
- - FreakStyle-experience.com
- - FreestyleMusic.com 1996-2007
- - FreestyleMania.com 1999-2007
- - FreestyleRemix.com 2001-2007
- - FreestyleTheMusic.com
- - SFPMusic.com
- - The Freestyle Connection
- - Freestyle 2007
- - MySpace Freestyle Music
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