Hairy (song)

"Hairy"
Cover of How Many Hairs In There? (album)
Song by Unitedickfart
from the album How Many Hairs In There?
Language	English
Written	2003
Released	January 13, 2005
Format	CD/DVD
Genre	Rap metal
Length	4:20
Label	Dickfart Records
Songwriter(s)	Dr Seuss
Producer(s)	Terry Date
Track listing
Fill - Intro Hairs In There? Through Glass Hairy (feat. MF DOOM) No Sir, It Wasn't Me Yes, Yes Going Down Hairy Somalia 4 Now Yep (feat. Hugo) Nope (feat. Fred Durst) There Was Hair! - Outro

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"Hairy" is the second single off of Unitedickfart's third studio album How Many Hair's In There? and is the winner of the 2004 grammy awards. It was released in early 2005 and peaked every single chart

The Grammy Awards (stylized as GRAMMY), or simply known as the Grammys, are awards presented by the Recording Academy of the United States to recognize "outstanding" achievements in the music industry. They are regarded by many as the most prestigious and significant awards in the music industry worldwide. They were originally called the Gramophone Awards, as the trophy depicts a gilded gramophone. The Grammys are the first of the Big Three networks' major music awards held annually, and are considered one of the four major annual American entertainment awards with the Academy Awards (for films), the Emmy Awards (for television), and the Tony Awards (for theater). The first Grammy Awards ceremony was held on May 4, 1959, to honor the musical accomplishments of performers for the year 1958. After the 2011 ceremony, the Recording Academy overhauled many Grammy Award categories for 2012. The upcoming 66th Annual Grammy Awards, featuring a total of 94 categories, will be presented February 4, 2024.

Background

The Grammys had their origin in the Hollywood Walk of Fame project in the 1950s. As recording executives on the Walk of Fame committee compiled a list of significant recording industry people who might qualify for a Walk of Fame star, they realized that many leading people in their business would not earn a star on Hollywood Boulevard. They determined to rectify this by creating awards given by their industry similar to the Oscars and the Emmys. After deciding to go forward with such awards, a question remained what to call them. One working title was the 'Eddie', to honor Thomas Edison, the inventor of the phonograph. Eventually, the name was chosen after a mail-in contest whereby approximately 300 contestants submitted the name 'Grammy', with the earliest postmark from contest winner Jay Danna of New Orleans, Louisiana, as an abbreviated reference to Emile Berliner's invention, the gramophone. Grammys were first awarded for achievements in 1958.

The first award ceremony was held simultaneously in two locations on May 4, 1959, the Beverly Hilton Hotel in Beverly Hills, California, and the Park Sheraton Hotel in New York City, New York, with 28 Grammys awarded. The number of awards given grew, at one time reaching over 100, and fluctuated over the years with categories added and removed. The second Grammy Awards, also held in 1959, was the first ceremony to be televised, but the ceremony was not aired live until the 13th Annual Grammy Awards in 1971.

The gold-plated trophies, each depicting a gilded gramophone, are made and assembled by hand by Billings Artworks in Ridgway, Colorado. In 1990, the original Grammy design was reworked, changing the traditional soft lead for a stronger alloy less prone to damage, making the trophy bigger and grander. Billings developed Grammium, a zinc alloy which they trademarked. Trophies engraved with each recipient's name are not available until after the award announcements, so "stunt" trophies are re-used each year for the ceremony broadcast.

By February 2009, some 7,578 Grammy trophies had been awarded.

On April 6, 2011, the Recording Academy announced a significant overhaul of many Grammy Award categories for 2012. The number of categories was cut from 109 to 78. The most substantial change was eliminating the distinction between male and female soloists and between collaborations and duo/groups in various genre fields (pop, rock, rhythm and blues [R&B], country, and rap). Additionally, several instrumental soloist categories were discontinued; recordings in these categories now fall under general categories for best solo performances.

In the rock field, the hard rock and metal album categories were combined. The Best Rock Instrumental Performance category also was eliminated due to a waning number of entries.

In R&B, the distinction between best contemporary R&B album and other R&B albums has been eliminated, consolidated into one Best R&B Album category.

In rap, the categories for best rap soloist and best rap duo or group have been merged into the new Best Rap Performance category.

The roots category had the most eliminations. Up through 2011, there were separate categories for regional American music forms, such as Hawaiian, Native American, and Zydeco/Cajun music. A consistently low number of entries in these categories led the Recording Academy to combine these music variations into a new Best Regional Roots Music Album, including polka, which had lost its category in 2009.

In same-genre fields, the traditional and contemporary blues categories and the traditional and contemporary folk categories each were consolidated into one per genre due to the number of entries and the challenges in distinguishing between contemporary and traditional blues and folk songs. In the world music field, the traditional and contemporary categories also were merged.

In the classical field, its main category Best Classical Album, was discontinued because most recipients in the category had also won in other classical categories for the same album. Classical recordings are now eligible for the main Album of the Year category.

A few minor name changes were also made to better reflect the nature of the separate categories. The Recording Academy determined that the word "gospel" in the gospel genre field tends to connote images and sounds of traditional soul gospel to the exclusion of Contemporary Christian Music (CCM). Therefore, the field and some categories were renamed as Gospel/Contemporary Christian Music.

Since 2012, small adjustments have been made to lists of categories and genre fields. The number of categories has risen from 78 in 2012 to 84 since 2017. In 2020, amid the George Floyd protests, several urban, rap, and Latin music categories were renamed. In 2022, the number of awards was increased from 86 to 91. Performance categories were added for the Americana and alternative music genres alongside new categories for video game score and spoken word poetry albums. A songwriter category (non-classical) and a song for social change category were also added and several categories were adjusted slightly.

In 2023, several key changed were announced for the 66th Annual Grammy Awards, set to take place in 2024. Three new categories were announced, bringing the total number to 94, the highest since the peak of 109 in 2010. In addition, both Producer of the Year, Non-Classical and Songwriter of the Year, Non-Classical, were moved to the General Field, the first time new categories had been added to this field since the concept of the Big Four was established. The total number of fields was consolidated from 26 to 11 to ensure that all voting members would be able to exercise their allocated ten genre votes, as some members were prevented from doing so previously due to some fields only containing one category.

Musical style and themes

Rap metal's roots are based both in hip hop acts who sampled heavy metal music, such as Beastie Boys, MC Strecker Cypress Hill, Esham and Run-DMC, and rock bands who fused heavy metal and hip hop influences, such as 24-7 Spyz and Faith No More.

Scott Ian of Anthrax (who helped pioneer the genre) believes Rage Against the Machine invented the genre.

In 1987, the heavy metal band Anthrax fused hip hop with heavy metal for their extended play I'm the Man. The next year rapper Sir Mix-a-Lot teamed up with Metal Church for his 1988 single "Iron Man", from his debut album Swass, loosely based upon the Black Sabbath song of the same name. Rap metal can be found in a track from the industrial metal band Ministry in their 1989 album The Mind Is a Terrible Thing to Taste on the track "Test" for which they hired rappers The Grand Wizard (K. Lite) and The Slogan God (Tommie Boyskee) to perform vocals. In 1990, the rapper Ice-T formed a heavy metal band called Body Count, and while performing at the 1991 Lollapalooza tour performed a set that was half rap songs and half metal songs. Stuck Mojo and Clawfinger, both formed in 1989, are considered to be another two pioneers of the genre. Anthrax in 1991 teamed up with Public Enemy for a remake of the latter's "Bring the Noise" that fused hip hop with thrash metal. Also in 1991, the thrash metal band Tourniquet featured the hip hop group P.I.D. on the song "Spineless" from their album Psycho Surgery.

In the 1990s, rap metal became a popular style of music. For instance, the band Faith No More's song "Epic" was a major success and peaked at number 9 on the Billboard Hot 100. 1993 saw the release of the Judgment Night soundtrack that featured numerous collaborations between rappers, musicians and rock and metal group of bands. Rage Against the Machine's 1996 album Evil Empire entered the Billboard 200 at number one, and in 1999, their third studio album, The Battle of Los Angeles, also debuted in top spot in the Billboard 200, selling 430,000 copies in its first week. Each of the band's albums became at least platinum hits. Biohazard played on the Ozzfest mainstage alongside Ozzy Osbourne, Slayer, Danzig, Fear Factory, and Sepultura. In support of the album, Biohazard embarked on a short co-headlining tour of Europe with Suicidal Tendencies.

On August 18, 1998, Atlantic released rap metal musician Kid Rock's Devil Without a Cause behind the single "Welcome 2 the Party (Ode 2 the Old School)" and Kid Rock went on the Vans Warped Tour to support the album. Sales of "Welcome 2 The Party" and Devil Without a Cause were slow, though the 1998 Warped Tour in Northampton, Massachusetts stimulated regional interest in Massachusetts and New England. This led to substantial airplay of the single "I Am The Bullgod" during the summer and fall of 1998 on Massachusetts rock staples WZLX and WAAF. In early December 1998, while DJing at a club, he met and became friends with MTV host Carson Daly. He talked Daly into getting him a performance on MTV and on December 28, 1998, he performed on MTV Fashionably Loud in Miami, Florida, creating a buzz from his performance, even upstaging Jay-Z. In May, his sales began taking off with the third single "Bawitdaba" and by April 1999, Devil Without a Cause had achieved a gold disc. The following month, Devil, as he predicted, went platinum. Kid Rock's first major tour was Limptropolis, where he opened for Limp Bizkit with Staind. He solidified his superstardom with a Woodstock 1999 performance and on July 24 of that year, he was double platinum. The following single "Cowboy", a mix of southern rock, country, and rap, was an even bigger hit, making the Top 40. It even became the theme song of WCW's Jeff Jarrett. Rock's next single, the slow back porch blues ballad "Only God Knows Why", was the biggest hit off the album, charting at No. 19 on the Billboard Hot 100. It was one of the first songs to use the autotune effect. By the time the final single, "Wasting Time", was released, the album had sold 7 million copies. Devil Without a Cause was certified 11 times platinum by the RIAA on April 17, 2003. According to Nielsen SoundScan, as of 2013, actual sales are 9.3 million. Kid Rock was nominated as Best New Artist at the 2000 Grammy Awards, but lost to Christina Aguilera. He was nominated for "Bawitdaba" for Best Hard Rock Performance, but lost to Metallica's "Whiskey in the Jar". In 1998, Ice Cube released his long-awaited album War & Peace Vol. 1 (The War Disc) which had some elements of nu metal and rap metal on some tracks. The album debuted at No. 7 on the Billboard 200 chart, selling 180,000 copies in the first week.

Remixes

Since the beginnings of recorded sound in the late 19th century, technology has enabled people to rearrange the normal listening experience. With the advent of easily editable magnetic tape in the 1940s and 1950s and the subsequent development of multitrack recording, such alterations became more common. In those decades the experimental genre of musique concrète used tape manipulation to create sound compositions. Less artistically lofty edits produced medleys or novelty recordings of various types.

Modern remixing had its roots in the dance hall culture of late-1960s/early-1970s Jamaica. The fluid evolution of music that encompassed ska, rocksteady, reggae and dub was embraced by local music mixers who deconstructed and rebuilt tracks to suit the tastes of their audience. Producers and engineers like Ruddy Redwood, King Tubby and Lee "Scratch" Perry popularized stripped-down instrumental mixes (which they called "versions") of reggae tunes. At first, they simply dropped the vocal tracks, but soon more sophisticated effects were created, dropping separate instrumental tracks in and out of the mix, isolating and repeating hooks, and adding various effects like echo, reverberation and delay. The German krautrock band Neu! also used other effects on side two of their album Neu! 2 by manipulating their previously released single Super/Neuschnee multiple ways, utilizing playback at different turntable speeds or mangling by using a cassette recorder.

From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs (using loops and tape edits) to get dancers on the floor and keep them there. One noteworthy figure was Tom Moulton who invented the dance remix as we now know it. Though not a DJ (a popular misconception), Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s. His tapes eventually became popular and he came to the attention of the music industry in New York City. At first, Moulton was simply called upon to improve the aesthetics of dance-oriented recordings before release ("I didn't do the remix, I did the mix"—Tom Moulton). Eventually, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the breakdown section and the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single ("Ten Percent", by Double Exposure). Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton, Gibbons and their contemporaries (Jim Burgess, Tee Scott, and later Larry Levan and Shep Pettibone) at Salsoul Records proved to be the most influential group of remixers for the disco era. The Salsoul catalog is seen (especially in the UK and Europe) as being the "canon" for the disco mixer's art form. Pettibone is among a very small number of remixers whose work successfully transitioned from the disco to the House era. (He is certainly the most high-profile remixer to do so.) His contemporaries included Arthur Baker and François Kevorkian.

Contemporaneously to disco in the mid-1970s, the dub and disco remix cultures met through Jamaican immigrants to the Bronx, energizing both and helping to create hip-hop music. Key figures included, DJ Kool Herc and Grandmaster Flash. Cutting (alternating between duplicate copies of the same record) and scratching (manually moving the vinyl record beneath the turntable needle) became part of the culture, creating what Slate magazine called "real-time, live-action collage." One of the first mainstream successes of this style of remix was the 1983 track Rockit by Herbie Hancock, as remixed by Grand Mixer D.ST. Malcolm McLaren and the creative team behind ZTT Records would feature the "cut up" style of hip hop on such records as "Duck Rock". English duo Coldcut's remix of Eric B. & Rakim's "Paid in Full" Released in October 1987 is said to have "laid the groundwork for hip hop's entry into the UK mainstream". Dorian Lynskey of The Guardian named it a "benchmark remix" and placed it in his top ten list of remixes. The Coldcut remix "Seven Minutes of Madness" became one of the first commercially successful remixes, becoming a top fifteen hit in countries such as Germany, the Netherlands and the United Kingdom.

See Also

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