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Hip-Hop...the new Dance sound?

By the way, would the new song by Egyptian Lover be considered freestyle today? I know it would've been all over the compilations if it were released 10 years ago when Brissa, La Rissa, and Jocelyn Enriquez were hot. It would've been on the German Freestyle compilations as well with Smash and Anthony Norris.

If the new Egyptian Lover blew up on radio, then we'd have more than just Black Eyed Peas "rock that body" using the chipmunk voices right now. Only difference, one would be breakbeat / freestyle or whatever you want to call it, and the other would be, well... actually it'd all be pop.
 
How does this track differ from Aleem’s/Leroy Burgess’ “Release Yourself” which was released the same year? They are both singing and the beat is basically the same, yet you call one “electro” and the other “arguably the first freestyle record.”

The Nayobe track has the Salsa piano and the latin horns along with clave and syncopation that's how is different.

Latin/Afro-Latin rhythms – especially featuring the clave – could be found in a continual string of music going back from post-disco to disco to soul of the late 60s/early 70s. Not unique to, developed by, or solely used by freestyle artists.

Let The Music Play doesn’t have piano and horns even as synth reproduction. Release Yourself is obviously syncopated

You ask me what made "Please don't go" different from Aleem’s/Leroy Burgess’ “Release Yourself” and that was my response.

I asked that question in the context of why you call one freestyle but not the other. I assumed your answer would be pointing out what makes one freestyle and not the other. If there’s some other factor or factor then let me know.


True, but nothing to do with the original question.

It does if you claim those elements to be essential in defining a freestyle track.

You claim the first freestyle track to be either “Please Don’t Go” or “Let The Music Play”

So I’ll just ask again: What makes “Please Don’t Go” and “Let the Music Play” freestyle in your opinion, but not “Release Yourself?”



Release Me, Funk Boutique, Don’t You Want Me, Prove My Love …
In My Eyes (which you didn’t label), When I Hear Music, Louder Than Love, I Wonder If I Take You Home, Silent Morning, Together Forever. So those sounds aren’t requirements.

Again, nothing to do with the original question.

Yes it does. Do you consider those tracks freestyle and if so why?


If you want me to answer what sets most freestyle songs apart then I can give you a broader answer not solely based on one song.

OK. Go on ...

And are you under 35 years old?




I found the one person that has heard of it after many debates for around 15 years on many freestyle sites.

Perhaps you and the fansite posters don’t work in the music industry. By the way, what was being said in all those 15 years of debate? The group Freestyle never came up?


You can produced a certain style of music it doesn't necessarily mean you were a part of that scene.

So now you’re defining the music based on “scene participation” versus musical characteristics? Whose scene? Where? Tony wasn’t part of the Florida scene?

If Chris Barbosa unfortunately passed away right after he produced “LTMP”, would that song then not be freestyle because he didn’t have a chance to be part of a scene?


There's no doubt that experience is relative but the story of freestyle has been written.In my High School African-Americans detested freestyle and would not dance at our dances when freestyle came on.

Again, you’re using you own limited knowledge and experience. Not all Af-Ams like “freestyle” of course. There are plenty of Whites and Latinos who detest it or any rhythmic music as well. Also, the reverse can be true – Latino kids might detest R&B and rap and not dance to it at some schools. What happened at your school didn’t necessarily happen everywhere.

At my HS most of the White kids did not like rap. Many of them probably feel differently now as maturity usually brings perspective. However many people are still caught in a HS mentality about music. I mentioned the whole insider/outsider, our music/their music, winner/loser dynamics in another post.



On a national level freestyle didn't received much if not any airplay on what are called Urban stations now.

Compared to what radio stations? Rock? AC? Top 40? Country? Classical? Urbans were some of the few, if not the main for some tracks, stations playing this music up until the late 80s. Even you claim TKA was getting major airplay on an Urban.


That's one of the reasons stations lile Hot 97 NY and Power 106 LA first went on the air so they can play dance music that was not accepted on Top 40 and Urban stations back then such as freestyle.

This music was played on both Top 40 and Urban. Stations like Power and Hot were called crossover/churban/dance precisely because they brought hit urban music over to a Top 40 format, hence trying to focus on mass appeal music. Many Latinos were attracted to the format so obviously Latino artists would fit well into the mix. Power 106 also had a significant black listenership up until KKBT debuted, and had leaned heavily urban at times. Most of the crossover/churbans were aggressive on R&B, dance, and rap. And by the way, rap was the most non-accepted music on all stations including Urban. In markets like NY, the crossover station could be more “dancey”.

At any rate, “freestyle’s” time in the sun was short-lived even on crossover radio. For example, take a look at how soon freestyle artists subsided from KMEL Summer Jam line-up: http://www.njs4ever.com/index.cfm/pageId/316 . Nationally, freestyle’s heyday was 1987-1990. That’s shorter than its club/street/urban period of 82/83 – 87. Power 106 and Hot 97 went hip-hop by 1993.


In fact,TKA'S first track "One Way Love" was getting major airplay from the Urban station KISS FM in NY. TKA did an in studio interview and the day after, their song was pulled with no reason given. Was it because they realized that they weren't African-American?

“They” who? The radio staff? Why do you assume that was the reason? Perhaps TKA or their manager or label rep did or didn’t do or say something a staff member liked. That’s the radio biz. Especially back then.

TKA’s next single “Tears May Fall” charted higher on the Hot Black Singles chart (lol that was the chart name back then) than “One Way Love” (and didn’t chart Hot 100 at all, btw). Surely the word would’ve gotten out that they were Latino by then, so your theory doesn’t sound plausible.

Also, Lisa Lisa (Velez) since her debut was clearly Latina and also enjoyed consistent success on Urban radio and is still a gold urban artist.
 
As many of you may know (or could probably sense from some of my posts throughout the past year), I grew up half of my younger life in Atlanta and.. pretty much regret those days of my life. I've been to predominantly African American schools, and although I'm African American myself, I must admit one thing.

I know exactly how it is in the African American community, ESPECIALLY when it came to trying to introduce a "weird" sound to many people who believed I was supposed to like hip hop because I was African American. I've been through it all - from being told I could get beat up for playing "white music" by UB40 to someone literally wanting to pull a gun on me because I played "summertime summertime" in the classroom in his presence and it wasn't "gangsta" enough for him.

So... I can believe some just about everything people say regarding certain things not being played because they weren't a certain race. Nothing new to me. Now, I will not get deep into the stories and my thoughts and get myself banned from this forum, but I'll just say a lot of my negative views towards Atlanta and certain types of music came from those experiences.

I used to always wonder why booty bass was accepted in Atlanta, yet if I tried to introduce house or freestyle (which was also uptempo) people would not accept it? I used to always wonder why there was NO freestyle in Atlanta on any radio stations? Then I grew up and learned a few things...

It really sucked that during that time of my life, I was stuck in Atlanta, all meanwhile here in Phoenix and L.A. and San Fransisco's WiLD 94.9 especially, they were playing ALL the sounds I liked, and the year I came back to live in Phoenix was the same exact year the station playing all those Angelina, Energy, Charm Farm, Amber...etc stuff decided to go all hip hop.

It's sad that we must have racism in music and people who judge music based on race or who they consider "their people". It's also sad that there are these labels like "white music" and "Black music", and even more sad that people couldn't even tell that the music I was trying to introduce was actually LATIN freestyle!

Anyway, for those of you interested in more on my Atlanta urban/dance experiences and my views on demographics...etc, see the following link -  http://www.freestyleremix.com/forum/viewtopic.php?f=1&t=10253&start=20 (See post #4down) - I've removed all the stuff I wrote on facebook and MySpace... for obvious reasons, but that link will give you somewhat of a more in depth cliff notes version report on things I had to put up with for playing "music I wasn't supposed to like because I was black"  (Keep in mind when I say "cliff notes", I'm talking SPECIFICALLY to my one post, that's the 4th one down on that page). The link takes you to page 2, by the way.

I've been trying to avoid getting into this topic, but since we've slid into it, I'll just keep it short, censored, and sweet and say:
YES, RACE DOES PLAY A ROLE IN THE MUSIC INDUSTRY AND HOW SOME CHOOSE TO JUDGE MUSIC.

And it was because of those past experiences that I believed many freestyle artists who talked about the fact their race played a large factor in why their music wasn't accepted. I wont name names, but these are freestyle artists that many of you know.

It's sad, but that's just how it is, and it's unfortunate we live in a society where... actually I will not get into it. If you want to see more, view the link. http://www.freestyleremix.com/forum/viewtopic.php?f=1&t=10253&start=20 (See post #4down)
 
Ok... so just to let you know a tad bit more on how my interests and fascination with (rhythmic) radio and this whole bass n freestyle sound developed (since it is related to the current topic of discussion), it all started (or intensified) when:

I had (was forced) to live in Atlanta and go to school there for 8 years, then return to Phoenix during summer breaks, and I realized that half of the stuff I liked did not play on Atlanta radio. I really started to want to know why this was happening, and every summer (or christmas break) I'd visit Az and Cali (and sometimes Massachusetts) and heard things that would not dare come on Atlanta radio, the more fascinated I became. My fascination only increased the more my classmates rejected "my sound" because they thought it wasn't "black music". I wanted to figure out why in a city that was very heavy on booty bass music, late 90's freestyle beats was not heard or accepted. I also wanted to know why I'd come to Phoenix and hear certain songs by Livin Joy, Captain Hollywood Project, Nikki French, AB Logic...etc. and then go to Atlanta to not hear it? I wondered why there was no Mighty Dub Kats, no Fun Factory, no Rockell "I fell in love", only ONE Robin S song... BASICALLY NO LATE 90'S FREESTYLE etc. in Atlanta. I spent all summer long during summer breaks glued to the radio in Az and Cali recording tapes to carry myself through an entire school year when I went back to Atlanta.

To be honest with you, I didn't know about freestyle until about 1995 and didn't even discover Stevie B, whom I was working with last year, until 1996! Why? Because... well, you know! I had no proper top 40 or rhythmic station to listen to in Atl! However, when I was younger, I didn't understand all that. I just figured "Oh well I guess I just have to depend weekly on Rick Dees to hopefully play something out of the ordinary since the stations themselves wont do it" because sometimes Rick Dees did drop some Lina Santiago and Jocelyn Enriquez.

Interestingly enough, despite me playing my forbidden music and being beheaded in class on a daily basis for it, there were quite a few who liked it and wanted to hear more each day, although they tried to act like they didn't like it. They were all puzzled on why much of the stuff I had sounded like booty bass, but had electro sounds rolling throughout the songs. They didn't understand K5 "passion", Planet Soul "set u free", Jocelyn Enriquez "do you miss me" and "a little bit of ecstacy", Angelina "release me", Devone "devotion", and my remixes of No Mercy "where do you go...etc. and Charm Farm...etc etc etc. No matter how much they talked down on it, sure enough, the headphones stayed on and they listened to the entire songs and many finally admitted it was really cool.

So, for some of you that might have been wondering, this is why Corina's version of "Summertime summertime" meant so much to me. This was a freestyle record I ACTUALLY HEARD ON WHTA ATLANTA, produced by So So Def, WITH the version with the electro sound on it being on the compilation! I still remember how excited I was the day the dj mixed in the SPANISH version of "summertime summertime" on WHTA (which was the FIRST time I actually discovered there was a version with electro sounds in it, since the original radio dj edit didn't have those sounds in it). That was like a HUGE EVENT to me because my thinking was "if I'm hearing this, then a whole bunch of other people in Atlanta are hearing this happen as well - ON THE HIP HOP STATION!" (I wasn't aware of there being a video of that song until mid 2007, so I had NO IDEA Lil Jon was in it at the time...as you could imagine what my level of excitement would've been if I knew back then..)

So, when you see me here "obsessing" about the fact that someone needs to bring back the electro sound in today's modernized uptempo beats and getting excited about Ne-yo's "beautiful monster" which has a hint of that sound in it, now you know where the passion for that sound came from and how it started. I guess now you can also understand my unusual height in excitement last year every time someone put out a new dance styled song and it was exposed on hit radio for everyone to hear. My intense desire to have the dance & freestyle sound heard was embedded in me during childhood and stuck with me ever since... How I got into hip hop was when I was pressured into in during my last year in Atl, then came back to Phoenix only to discover the station I depended on for dance changed to hip hop - the year I moved back. We also had the new KPTY Arizona's Party Station that same year, but they only MIXED dance at night and on the weekends. I had to sit through rhythmic hip hop hits to get to the dance sound (the same with Power 106 L.A.).... oh, and it was those rhythmic and rhythmic top 40's where they had mixshows that consists of dance that I used to stay up all night listening to (which is also how I became a night owl).

AND BAM! THAT'S HOW I GOT INTO THE RHYTHMIC / RHYTHMIC TOP 40 SOUND AND ALL THE STUFF I'M INTO NOW!

- Booty Bass, Freestyle, Rhythmic R&B, Electro Bass, and the new sound of today with no name -
.

Now you know.  ;D
 
Lastly, that also explains many of my posts in the Atlanta section and why I knew putting a rhythmic ac there was THE HEIGHT OF STUPIDITY. How do you go from almost two decades of no rhythmic or rhyhtmic top 40 history to a rhythmic ac and expect it to be successful? What was the plan? To suddenly introduce Lisette Melendez, George Lamond, Stevie B, Lil Suzy, TKA in 2010? That was silly.

At least the new stations they got right after I moved from Atl (WBTS and WWWQ) did finally introduce Jocelyn Enriquez, Planet Soul, La Rissa, and a few other things to Atlanta in 2001 before new owners took over and "ruined" the stations and now everyone in the Atlanta section is wondering why no one could do a proper job of top 40 and rhythmic. Better late than never.

The only freestyle songs I remember hearing quite a bit on Atlanta radio was

Shannon - let the music play
Debbie Deb - When I hear music
Afrika Bambaataa - Planet rock
The Egyptian Lover - Egyptian Lover
Lisa Lisa - when I take you home
and at some point somewhere on the dial
Collage - I'll be loving you

and other similar things.

At that time, I wasn't savvy about all the music genre terms, so I just called it all house since that's what I thought it all was. As you could imagine, me trying to explain my sound was just as confusing as everyone is today calling things whatever they want.
 
Kdm, I think the reason tracks "Do you miss me" or "A lil bit of extasy" were somewhat accepted was because Jocelyn had already come out with a previous album fill wih freestyle hits.That's the reason some artists with hybrid tracks get accepted and others don't.She already had a following with freestyle fans.After her progressive freestyle phase she went on to record that Stars on 54 track"If you could read my mind' with Ultra Nate and from there continue to do House music.

On another note ,I happen to think some songs by Akon and the likes of Jay Sean are a new twist on freestyle.You'll never hear that on freestyle boards because they're stuck in the past to put it simply.Not all but many.Last year Jordan Sparx remade "Let the music play" and this year Andrea Bailon (from the Cheetah Girls) remade "Take you home".

In the UK,we also have the Arthur Baker remix of Hurt's "Wonderful life" http://www.youtube.com/watch?v=sasBLRN-KDM
Cheryl Cole has a track on her album that sounds alot like the late 90's progressive freestyle sound http://www.youtube.com/watch?v=cpmGz71Aqxg
 
To expand on this:

No one really seems to know where the term freestyle came from

Putting together all your statements, you suggest that this music was called club until the early 90s when the freestyle label suddenly sprung out for no reason. But now the freestyle label is the preferred term for the music despite the “club” and “heartthrob” labels preceding it. So that would mean the music wasn’t called freestyle when it was produced, right? So anything produced before 1991 wasn’t called freestyle - but you are retroactively cherry-picking and labeling songs freestyle now? And now nobody knows why starting in the 90s (according to you) freestyle replaced the other labels despite the fact that it’s the most common term used for the music today? That makes more sense to you? Besides, if you’re going to go back and label the music this late in the game why not just call it disco or electro? If there was no "freestyle" label at the time then again, there would not have been the difference you imply between Aleem and Nayobe on one hand and Nayobe and Shannon on the other (ie that the former are different while the latter are the same).

Another important point I want to make about the whole Black people at your school didn’t dance to freestyle. This applies to all “dance” fans and dance music forms. You have to assess why you like certain music and songs. You might feel a bit of group pride, or pride in music that you’ve deemed to be “your music”, which causes you to support some songs or artists regardless of the quality. Others might not have that same vested interest. Others might be actually listening to the music and deciding yay or nay.

I say that because, looking back I recall thinking a lot of the freestyle and other “non-R&B” dance music I heard on crossover radio was poor quality. Most of the R&B was tight because only the verifiable hits were usually added, ie the songs had been top hits on Urban radio already. With “freestyle” and some other dance, the music would seem to be added just because certain listeners were requesting “that kind” of music. Or perhaps some were hits on the Dance Club Play chart, but with the selectivity, cliquishness, and politics of that whole process, I wouldn’t add songs based off that chart alone.

I especially remember Johnny O’s “Fantasy Girl” and Cynthia’s “Change On Me” because I never understood what people saw in those. After hearing those songs once I’d cringe every time they’d come on the radio again. Their vocals are weak and the beat/composition is so uninspiring, yet some people liked them for whatever reason. Problem is, when the general public then hears these weak songs they might start associating those bad qualities with “that” music, especially if you’re going to separate and label that music apart from other similar sounding music. Then “that” music becomes the music with the weak vocals, poor production, same old beat, that’s popular only because of rabid fans and not because it’s good. You’ve heard this all before if you’ve been chatting it up with freestyle fans for over 15 years.

All this speaks to points I’ve made before. Dance fans ought to be less concerned about labeling music, who’s inside or outside “the community”, and getting giddy over poor quality music making onto radio for no other reason than you think it’s “your music.” Also expand your music range. There’s a lot of good music with a sound similar to what people claim to like, but they’re probably overlooking it for whatever reason.
 
Ok,I see where this exchange is heading. "Your music is better than my music". ::)

I was actually enjoying my exchange with you but I don't see a reason to continue now. My ego doesn't need to get stroke.

I say that because you pull the "Im in the industry card". Here's a news flash-This is an industry website most people are.

I take most of my cues from as a fan who grew up on this music (Im 35 since you asked) from my exchanges on freestyle forums with some the better known freestyle producers,interviews,and Joey Gardner's Liner Notes from Freestyle's Greatesr Beats. And with all those sources you seem to be the most contradictory with some things you wrote. I like to hear different takes on how certains genres evolve whether or not I heard it before. If your only claim to certain things you say is "Im in the industry" then that won't do me any good. I can't talk to someone else on freestyle's history and say "this poster from radio-info by the name of "andone" said such and such. That wouldn't cut it as a verifiable source.
 
KDM, you said a lot but I’ll summarize my thoughts.

As mentioned before, freestyle’s heyday was 1987-1990, and even then it was only on radio in any significant amount in a handful of major markets like NYC, LA, Miami, SF, Chicago, Philly, and maybe Houston from late 1986 to late 1988; it expanded more from 89 to 90. I’ve come across plenty of Latinos in California – in person and online – who didn’t grow up listening to freestyle because they missed it during its heyday. They were listening to something else or they were born too late to catch it or notice it. So I wouldn’t blame the city of Atlanta and/or black people for denying you of freestyle.

In fact, I can’t think of one dancey freestyle song that was Top 10 on Billboard’s Hot 100, though “I Wonder If I Take You Home” was top 10 on Hot Black Singles (#6 vs. #34 pop). All of “freestyle’s” top 10 hits were pop ballads. Most of the dance stuff peaked below the top 40; a few – very few – made it up to around late teens/twenties range.

That said, freestyle was easy to miss for the vast majority of people in the U.S. unless they happened to be listening to crossover radio during that window of 3 to 4 years.

About the appeal, you have to also keep in mind how this music was marketed and even how its fans treated the music. I’ve actually heard someone say years ago (ie this is not based on Tony’s comment above) that freestyle is music by and for Latinos and Italians. If others are hearing those types of comments, don’t you think that would limit its appeal?

Regarding marketing and industry politics. I remember in 1988 going to a record store to look at cassettes (remember those) that I might want to buy. One that I looked at was Sweet Sensation. Some weeks or months later I went back to the same record store because now I was ready to buy. I went to look through several cassettes again. When I saw Sweet Sensation’s cover picture, Betty’s skin color was much lighter than it had been before (it looked like a bleach job or heavy makeup), and at the time it looked to me that the other two brown-skinned singers were replaced with much lighter ones (I’ve since learned that only one was replaced). I don’t know why those decisions were made – there could be a legitimate reason for the personnel change at least, but as a consumer, at that moment, fair or not, I decided not to buy that cassette and to spend my money on another that I wanted. People make decisions like that all the time for their own reasons. “Dance” community take note.

And Morpheux, you see impressions do go both ways

ps I guess I should clarify that I didn’t have anything against singers being lighter-skinned, it was more about the cynicism from thinking a record company is propagating the whole “lighter look is more appealing” meme of the time. I was in college at that point … nuff said.
 
Just a couple of things. On the lighter skin observation with the covers, I noticed that too with some freestyle covers and even more so with other pop and r&b.It's still ongoing today.

There were around 10 freestyle songs that made it to he top 10 on Billboards Hot 100. The highest being Temptation by Corina at # 5 unless you consider "Let the music play" as freestyle then that will take the honors at # 3.Not many too boot but thats the case with anything dance post Disco era.

Lastly,what is your take on these songs:

Pebbles - Girlfriend http://www.youtube.com/watch?v=GU0sFIhwZ_k

Nu Shooz -I Can't Wait http://www.youtube.com/watch?v=XR3zteEKAFg&feature=related

Information Society - Running http://www.youtube.com/watch?v=XUdlOAmPm_Q

Nolan Thomas-Yo lil brother http://www.youtube.com/watch?v=UsKH5WnZUvc

Joyce Simms-All and All http://www.youtube.com/watch?v=WATXIqclV6c

Michel'le - Nicety http://www.youtube.com/watch?v=r6m1Vz7I0BA

Deborah Harry -In love with love remix http://www.youtube.com/watch?v=bw2ZhtV03KM&feature=related

Lady Gaga - No Way http://www.youtube.com/watch?v=jVLYzWvh5I8
 
The people I dealt with in Atlanta had no idea freestyle was more of a hispanic sound. They just assumed it was all "white" ppl music, therefore it wasn't cool enough and had too much electronica going on within the music to be part of the booty bass family. A lot of hip hoppers don't mess around with anything that isn't "hard enough", or is wack to them. Even when I came back to Phoenix, the other day "maybe two or three years ago" I let a young African American boy who was listening to all kinds of hip hop and had some knowledge on bass music listen to "bailando bailando" by Angelina, and after 1.2 seconds literally, headphones came off and he said "aw hell naw I ain't listenin to stuff like that". I also remember when I used to try to introduce the music with people I used to hang out with who worked at the Indoor Swapmart, selling Dj Clue, Dj Envy, and other hip hop & r&b mixtapes. The bass remix of "thuggish ruggish bone" was acceptable to them, but I got into anything with more melody and singing, it was "hell no". I also remember walking by the both where this African American girl was playing something by Destiny's Child on a cd single. The remix that caught my attention had house beats. Of course I stopped and asked her a few questions about it. Basically what I got back form her was "she was just too lazy to get up and change it, but usually when it starts going 'bump, bump, bump, bump' like that I turn it off". I wonder who trained people in America to be so closed minded, and who trained people that certain music belongs to certain colors - and I was supposed to abide by that? Even as an adult people still seem to be amazed that I like freestyle and know about latin house.

Anyway, I'm just glad I grew up out of those years where those ignorant rules existed. I may have grown into a more mature style of ignorance where I'm expected (even by family members) to vote for anyone who shares my skin color rather than based on facts, logic, and common sense in elections, but that sure beats being "ordered to" listen to a certain type of music. I still even remember when THE TEACHER of that Junior High school in Atl was like "boy turn that off- what kind of mess is that?" When I played that "summertime summertime" by Corina in the classroom. Too bad she wasn't aware of who produced it and what station I recorded it off of.

I do have to respect Pitbull for doing things that many other people would never think to do with music. Too bad the ONLY song from him to hit in Atlanta was "calle ocho" that I'm aware of after all my years of research (since 2007 or so). I guess "The anthem" didn't make it because you probably had to know where the sample came from in order to respect it. There was no Dj Laz or Jonny Z in Atlanta. I knew about it because I went to California and listened to Dj Enrie, Dj Lynwood, The Baka Boys, the Power Workout at noon...etc. I guess I experienced all this for a reason. However, I would've preferred to have grown up where the music I loved was during the years it was hot.
 
I guess I was writing while you posted

Ok,I see where this exchange is heading. "Your music is better than my music". ::)

So reading comprehension is a lost art. ::)

I don’t get how you read that unless it’s just hypersensitivity. Is it because I pointed out that Cynthia and Johnny O are weak vocally? In my opinion they are very weak vocally. Is it because I pointed out that a lot of bad freestyle made to radio? It did, and a lot of freestyle fans agree. There was good freestyle too. Is it because I pointed out the stereotypes that people apply to freestyle music? Freestyle fans on message boards point out those same stereotypes for the same reason I did – to let you know what attitudes are out there.

Is it because I pointed out that only R&B hits made it to crossover/churban/dance radio? That was the point of those stations! They only played crossover R&B hits. There was bad R&B too … it didn’t crossover, it got airplay only Urban radio if at all.

Is it because I showed that musically there’s not much difference between what you call “your music … my music”? After I mentioned the HS mentality of unnecessary labeling and division?

If I have to explicitly spell out all the stuff “between the lines” and restate everything I’ve said before then my posts will be three times as long and they’re long enough as it is.

Or perhaps when people run out of answers and rebuts, they just end the discussion.

I was actually enjoying my exchange with you but I don't see a reason to continue now. My ego doesn't need to get stroke.

Glad you got some enjoyment. I certainly wasn’t trying to stroke anything.

Here's a news flash-This is an industry website most people are.

Yeah I know. And industry =/= intelligence. Trust.

You don’t have to accept or believe anything I say. I find that most people prefer information that fits better with their preconceptions. You’re entitled. Do your own research, just skip over my posts and don’t feel obligated to respond to anything I post.
 
As far as the light skin thing, I did notice that on many cd's like Angelina's first album, Katalina, Lil Suzy...etc. Back when I didn't know any better, I also used to think they were caucasion. However, Jocelyn Enriquez didn't do this and I assumed she was black based on her cassette single album cover for "a little bit of ecstacy". What's funny is when I played that in class and let people see her and think "she's a black chic", people were more willing to listen. Only problem was "she looked weird".

They should've never killed Power 99 in Atl way back when they did, and probably, things would've been different. There was no way people were going to listen to that alternative rock leaning CHR we had, so the ONLY source for acceptable hits was on urban stations. Therefore, I guess that's all people knew since that's all that was fed.

What a time it was... No Max-a-million, no Fun Factory, an edit of "runaway" by Real McCoy with the second verse cut out on the Adult CHR... NO OUTHERE BROTHERS... It was sad. Johnny O and Nice & Wild? NOBODY knew what that was. I learned when I came back to Phoenix for good in 1997.
 
I came back for a correction but see there are more comments. I'll reply to those when I have a chance.

I just remembered "Let The Music Play" was top 10 Urban and Pop (#2 U and #8 P). Funny when I was trying to think of a "dancey freestyle" song I was focused on more of the "crossover radio" phase of freestyle. In my mind, I usually associate Shannon with all the early 80s so-called "electro" stuff. I can't think of any other right now.

edited to add:
OK I just read that other post mentioning "LTMP". I hadn't read that before I posted, but as stated whether it's freestyle or something else is debatable but I'd include it as indication of what has actually been a "hit" for that general sound. "Let The Beat Hit 'Em" was #1 R&B but I didn't include it because the sound is so far off from that deemed "freestyle". Same with Head To Toe and Lost In Emotion, both #1 on both Pop and R&B. if they're others i think of i'll mention
 
KDM 7000 said:
As far as the light skin thing, I did notice that on many cd's like Angelina's first album, Katalina, Lil Suzy...etc. Back when I didn't know any better, I also used to think they were caucasion. However, Jocelyn Enriquez didn't do this and I assumed she was black based on her cassette single album cover for "a little bit of ecstacy". What's funny is when I played that in class and let people see her and think "she's a black chic", people were more willing to listen. Only problem was "she looked weird".

They should've never killed Power 99 in Atl way back when they did, and probably, things would've been different. There was no way people were going to listen to that alternative rock leaning CHR we had, so the ONLY source for acceptable hits was on urban stations. Therefore, I guess that's all people knew since that's all that was fed.

What a time it was... No Max-a-million, no Fun Factory, an edit of "runaway" by Real McCoy with the second verse cut out on the Adult CHR... NO OUTHERE BROTHERS... It was sad. Johnny O and Nice & Wild? NOBODY knew what that was. I learned when I came back to Phoenix for good in 1997.

I'm not sure if you know but Jocelyn Enriquez is Filipina. For a while there in the mid 90's there were a a fair amount of Filipino artists coming mostly from the Bay Area. Artists like Buffy,Make Believe and Sharyn Maceren come to mind.
 
KDM,

I get what you’re saying. I grew up in a community similar to yours, though I get the impression that you are some years younger than me. I’ve since lived in a number of different places. I remember back in the 80s hearing a black guy saying “I don’t want to hear that cha-cha music” when a Will To Power song came on the local urban radio station (the irony is that his Latina girlfriend or baby mama was there and yes she rolled her eyes when he said that). Honestly, that’s the only derisive comment I can recall hearing (or seeing) from a black person about “freestyle” – the music (I’ve heard some comments about specific songs but there was no deriding of the genre or the singer’s ethnicity).

Unfortunately I’ve heard and especially read both more and worst comments deriding R&B and hip-hop from non-blacks, including having the music referred to as m___y music or m_y_e music n____r music or b___k s__t or of course the ubiquitous label of “crap”. So it goes both ways, and of course the higher the profile of the music, the more prone to attack it is. That is, you’re not prone to talk about music that you don’t hear.

I try not to focus on the negative people. Obviously many people enjoy and/or respect various kinds of music. Or they might have specific tastes and should feel no obligation to like any particular kind of music (but can refrain from trying to defame an entire genre and/or ethnicity in the process).

But if you look at the larger picture, the stereotypes and assumptions people make regarding who is open to what “genre” of music or ethnicity of singers is myopic. That’s why I’ve pointed out when “freestyle” songs or artists have performed well on the R&B/Hip-Hop charts. So to suggest that black people don’t, haven’t, or wouldn’t support these artists is contrary to reality. By the way (because some people need things spelled out), I pointed out the industry event (and the age and ethnicity of the attendees) because these people would very well know who these “freestyle” artists are versus a random group of people who might not recognize the artists. So when someone says “black people at my HS didn’t dance to freestyle” or black PDs drop non-black artists from their playlists or blacks are in no way receptive to “freestyle” those are assumptions that are not true universally or perhaps not true in the first place.

Similarly, there are plently of non-blacks who enjoy various music including and especially hip-hop/R&B. In my experience at parties thrown by Latinos or Filipinos there is plenty of hip-hop/R&B, and obviously the success of rhythmic CHR amongst these groups and others suggest reception to the music. So, I’d be foolish if I focused solely on the negative comments of people when deciding how and to whom I promote music.

You appear to be doing the right thing by trying to mix similar styles and sounds. Pointing out the commonalities, or what I sometimes the “segue-ability”, of music might help bridge styles that are often deemed incompatible for non-musical reasons. So you can counteract attitudes like this:

freestyle was known as "Latin Hip-Hop". I've always considered that term "fraudulent" to me because while yes, it was a Latin sound, there was NOTHING about it that had anything to do with hip-hop!

…which was how this line of conversation started. And incidentally, if you go back and read the discussion no one has provided any solid argument that “freestyle” had nothing to do with hip-hop.

(And incidentally, I guess “Latin Hip-Hop” was another term that came out of nowhere for no reason at all, yet somehow stuck)


However, I would've preferred to have grown up where the music I loved was during the years it was hot.

Understood, but as I pointed out that was a small window of time. And now I remember why I didn’t think of songs like “LTMP” when trying to find dancey freestyle hits – it wasn’t released within freestyle’s heyday of the late 80s, which was what I was referring to. Plus you heard that song – and “IWIITYH” – anyway.

Keep in mind too, it’s easy to romanticize the past but keep some proper perspective. Things might be different now, but back then (80s) you might not have enjoyed going to a club that played only freestyle. Maybe, maybe not, depending on the club, city, clientele, etc.
 
andone said:
So when someone says “black people at my HS didn’t dance to freestyle” or black PDs drop non-black artists from their playlists or blacks are in no way receptive to “freestyle” those are assumptions that are not true universally or perhaps not true in the first place.

It's rather silly to say "someone" when you know it was me (LoL)who made the comment about blacks not dancing to freestyle at my school. This was my experience at my High School and I had other experiences where I was told not so nicely about how the music suck.By no means am I singling out just blacks,it was just in response to your comment how blacks dance to freestyle at your school.You gave your experience and I gave mine.I doubt anyone is going to take anything we both say as universally true.

Let me clarify my other comment since you didn't repeat it verbatim. I said that KISS FM NY dropped TKA from their playlist after an in studio interview and was it possible because they weren't African American. This is something that one of the lead singers has said in the past.Just do a search and you will find his quotes on the subject.Who's to say what the real reason was? It was suspicious that they did such a move because it was their # 1 song at the time.











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andone said:
…which was how this line of conversation started. And incidentally, if you go back and read the discussion no one has provided any solid argument that “freestyle” had nothing to do with hip-hop.

(And incidentally, I guess “Latin Hip-Hop” was another term that came out of nowhere for no reason at all, yet somehow stuck)

The term represented what it mostly was at the time.Mostly Latin Kids singing love melodies over sped up Hip Hop Beats with latin rhythms thrown into the mix along with the dance sounds of the time. It was the birth of the Urban Latin artist.Prior to this era in the early to mid 80's,there was never such a massive movement of Latin artists in the American music scene.
 
It's rather silly to say "someone" when you know it was me (LoL)

It’s not silly. I suggested you skip over my posts and not feel obligated to respond; suggestions which weren’t heeded I guess. That post was not addressed to you, and I didn’t want to tempt you by placing your name in the post, and while “skipping over” you might have seen your name and felt the need to read. Apparently you went on to read the entire post (and reply) despite your name not being anywhere to be found.

Look, I’m sure you and I both have limited free time in life and we can both wisely choose how to spend our free time. Nothing said here has been new, illuminating, or mind-changing for me, and you’d probably “say” the same. There’s no need for you to continue engaging in unproductive internet discussion with some guy named andone on radio-info playing his “industry card”. Agree? ::)
 
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