ABSTRACT
This chapter introduces the 'middle eights' of soul records were used by 1970s' DJs to produce a seamless mix of rhythm. Outlining the state of rap music in the late 1990s, Krims draws a distinction between old-school rap, 'hardcore' rap, 'commercial' rap, regionally specific rap, party rap, mack/pimp rap, jazz/bohemian rap and reality rap. Employing a sung-rhythmic style, old-school rap has much sparser vocals and instrumentation than modern styles. Krims also highlights a further subgeneric split within mack/pimp rap, which he refers to as don or Big Willy rap. The nature of the lyrical focus of this form of rap also defines the features of a split between two further subgeneric divisions of reality rap. While jazz rap is often as didactic as reality rap, reality rap is far less likely to be as lyrically 'positive' as the jazz style.
