let it ride

Let Me Ride" is the third single released by Dr. Dre from his 1992 album The Chronic. It experienced moderate success on the charts until it became a hit after Dr. Dre won a Grammy Award for Best Rap Solo Performance during the Grammy Awards of 1994. Snoop Dogg is involved for a "Rollin' in my 6-4" phrase that transmits the verses into the chorus and in some background vocals. The vocals are sung by Ruben and Jewell. This single helped "The Chronic" achieve more than 3 million copies sold (referred to as triple platinum in the music business). It has several samples mixed into the song from Parliament's "Mothership Connection (Star Child)" and "Swing Down, Sweet Chariot", James Brown's "Funky Drummer" and Bill Withers's 1971 hit "Kissin' My Love".The music video was shot on location in Los Angeles on Slauson Avenue and was directed by Dr. Dre. It is the second lowrider cult video of Dre's cinematographer "walk of life" that was nominated for a MTV Video Music Award for Best Rap Video in the same year. Many helicopter-view camshots of the super-highways of Compton, some cuts of Snoop, a car-shooting scene, and mostly a street party that characterizes the plot. Ice Cube appears walking out from a Women's bathroom in the midst and says "Damn right it was a good day" referring to his 1992 solo single. Dr. Dre also refers to the CPT on this single and this album, in which he abbreviates for "Compton", the city in which he is from in California. The Lady of Rage makes a cameo scene also. In the end a Parliament live concert is shown for a few seconds and with original vocals. The video is some shorter that the single track and is only 4:03 minutes long.
The song has a remix version with much more involvement of Snoop Dogg and Daz that was recorded simultaneously with the original version and had been edited out when the solo version was chosen to be a part of the album. Originally it was to be 4:43 minutes long and Daz and Snoop Dogg's verses in the lyrics gives us the clue why Dr. Dre is left out from the composers' credits. The beat was later remade and the instrumental was used for the Up In Smoke Tour in 2000.
Rapper The Game refers to "Let Me Ride" in a song of his, entitled "Put You on the Game", where he claims to be in a car with Dre in the back and bitches screaming "let me ride!". This is also done by Fabolous in his hit "Can't Deny It", with "bitches be yellin "let me ride", like I'm Snoop, and Dr. Dre.". Nate Dogg also refers to "Let Me Ride" in Warren G's song "Regulate" from Warren's album Regulate... G Funk Era in which he says, "She said "my car's broke down and you seem real nice, would ya let me ride?"". The Game's single "Let's Ride (Strip Club)" also appears to be a reference to "Let Me Ride", as The Game is an avid fan of Dr. Dre and his early group N.W.A The Grammy Award for Best Rap Solo Performance was awarded from 1991 to 2002, alongside the Best Rap Performance by a Duo or Group. Previously a single award was presented for Best Rap Performance. In 2003 this award was split into separate awards for Best Female Rap Solo Performance and Best Male Rap Solo Performance. In 2005 it was again presented as a single award.
Years reflect the year in which the Grammy Awards were presented, for works released in the previous year.
music video is a short film or video that accompanies a complete piece of music, most commonly a song. Modern music videos are primarily made and used as a marketing device intended to promote the sale of music recordings. Although the origins of music videos go back much further, they came into their own in the 1980s, when MTV's format was based around them. The term "music video" first came into popular usage in the early 1980s. Prior to then, such clips were described by various terms including "promotional films" or "promotional clips".
Music videos use a range of styles of filmmaking, including animation, live action filming, documentaries, and non-narrative approaches such as abstract film. Some music videos blend different styles, such as animation and live action.
Musical short films were made by Lee De Forest in 1923-24, followed by thousands of Vitaphone shorts (1926-30), many featuring bands, vocalists and dancers. In the 1920s, the animated films of Oskar Fischinger (aptly labelled "visual music") were supplied with orchestral scores. Fischinger also made short animated films to advertise Electrola Records' new releases. In 1929 the Russian director Dziga Vertov made the 40-minute Man with the Movie Camera, an experiment on filming real, actual events, contrary to Georges Méliès theatrical approach. The film is backed by music played live by an orchestra, and it has no dialogue.
In the 1936 film version of Show Boat, during Paul Robeson's classic rendition of Ol' Man River, the camera does a full pan around him as he sits on a wharf singing. Then the scene dissolves to an expressionist montage set against deliberately artificial backgrounds, showing Robeson "acting" in accordance with the lyrics of the song (toting barges, lifting bales, etc.). After this, other dock workers file in behind Robeson and seat themselves around him to sing the second chorus of the song, with the scene once again shifting to another expressionist scene, this time of workers toiling.
Sergei Eisenstein's 1938 film Alexander Nevsky, used extended scenes of battles choreographed to a score by Sergei Prokofiev, a score that had already been composed before shooting began, so that the scene could be edited in accordance with the music.
Animation artist Max Fleischer introduced a series of sing-along short cartoons called Screen Songs, which invited audiences to sing along to popular songs by "following the bouncing ball". Early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons.
The early animated films by Walt Disney, his Silly Symphonies, were built around music. The Warner Brothers cartoons, even today billed as Looney Tunes and Merrie Melodies, were initially fashioned around specific songs from upcoming Warner Brothers musical films. Live action musical shorts, featuring such popular performers as Cab Calloway, were also distributed to theatres.
Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues (1929) featuring a dramatized performance of the hit song. It was shown in theatres until 1932. Numerous other musicians appeared in short musical subjects during this period. Later, in the mid-1940s, musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film Lookout Sister; these films were, according to music historian Donald Clarke, the ancestors of music videos.[1]
Another early form of music video were one-song films called "Promotional Clips" made in the 1940s for the Panoram visual jukebox. These were short films of musical selections, usually just a band on a movie-set bandstand, made for playing. Thousands of soundies were made, mostly of jazz musicians, but also of "torch singers," comedians, and dancers. Before the Soundie, even dramatic movies typically had a musical interval, but the Soundie made the music the star and virtually all the name jazz performers appeared in Soundie shorts. The Panoram jukebox with eight three-minute Soundies were popular in taverns and night spots, but the fad faded during World War IIIn 1956, Petrushka, directed by John David Wilson for Fine Arts Films aired as a segment of the Sol Hurok Music Hour on NBC. Igor Stravinsky conducted a live orchestra for the recording of the event. In 1957 Tony Bennett was filmed walking along The Serpentine in Hyde Park, London as his recording of "Stranger in Paradise" played; this film was distributed to and played by UK and US television stations. According to the Internet Accuracy Project, disk jockey-singer J.P. "The Big Bopper" Richardson was the first to coin the phrase "music video", in 1959In 1960 the Scopitone, a visual jukebox, was invented in France and short films were produced by many French artists, such as Serge Gainsbourg, Françoise Hardy and Jacques Dutronc to accompany their songs. Its use spread to other countries and similar machines such as the Cinebox in Italy and Color-Sonic in the USA were patented.[3] In 1961 Ozzie Nelson directed and edited the video of "Travelin' Man" by his son Ricky Nelson. It featured images of various parts of the world mentioned in the Jerry Fuller song along with Nelson's vocals. In 1964, Kenneth Anger's underground experimental short film Scorpio Rising used popular songs.
In Canada, for Singalong Jubilee, Manny Pittson began pre-recording the music audio, went on location and taped various visuals with the musicians lip-syncing, then edited the audio and video together later. Most music numbers were taped in studio on stage, and the location shoot "videos" were to add variety. [4]
In 1964 The Beatles' first major motion picture, A Hard Day's Night, used filmed live action sequences accompanied by music. The US TV series The Monkees from 1966 to 1968 also consisted of film segments that were created to accompany various Monkees songs. In 1964, The Beatles began filming short promotional films for their songs which were distributed for broadcast on television variety shows in other countries, especially the US as a way to promote their record releases without having to make television appearances. (At the same time, The Byrds began using the same strategy to promote their singles in the United Kingdom, starting with the 1965 single "Set You Free This Time".)
By the time The Beatles stopped touring in late 1966 their promotional films, like their recordings, were becoming increasingly sophisticated. Their films for "Rain" and Paperback Writer" used rhythmic editing, slow motion, and reversed film effects. In 1966 the clip of Bob Dylan's "Subterranean Homesick Blues" filmed by D A Pennebaker shows Dylan standing still, holding up a series of cue cards featuring the song's lyrics in time to the music.
The Kinks made one of the first real "plot" promo clips for a song. For their single "Dead End Street" (1966) a miniature comic movie was made, where members of Kinks acted like undertakers in old London streets. The clip also shows photo stills from Great Depression, uprising dead man and Ray Davies playing an old woman. No lip-sync but clip was edited according to phases of song. The promo clip was banned in BBC because of "poor taste".[citation needed]
Another plot clip was made for The Who's "Happy Jack" in the same year. In the little movie the band is acting like a gang of idiotic thieves robbing an apartment. They can't resist eating a cake and this leads to a cream-pie battle with a cop. There is no lip-sync in this clip either.
The Beatles' films for "Strawberry Fields Forever" (directed by Peter Goldmann) and "Penny Lane", in 1967 used techniques borrowed from underground and avant garde film, such as reversed film effects, dramatic lighting, unusual camera angles, and color filtering added in post-production. These psychedelic music-themed films attempt to "illustrate" the song in an artful manner.
Procol Harum made two promos for their hit "A Whiter Shade of Pale". First, the better known shows band members (the line-up which recorded the song) walking in the ruins, then band performing song onstage and documentary footages of Vietnam war. Second, more obscure and psychedelic, shows whole band (the classic Procol Harum line-up) running towards camera, then grotesque close-up of Gary Brooker badly lip-syncing the song and several surrealistic footages of band acting and standing by a church. Other frames show band in London crowded streets, Brooker standing somewhere in Picadilly Circus etc.
The Troggs made a monochrome clip for their hit "Love Is All Around", showing singer Reg Presley`s love affair with a girl in the train where the band is traveling. Clip includes some concert scenes, also several close-ups, a mess silver paper, girl's nude back covered with ornaments, flowers in compartment and other psychedelic elements.
The Doors had a strong interest in film[citation needed], since both lead singer Jim Morrison and keyboard player Ray Manzarek had studied film at UCLA. The clip for their debut single "Break On Through" is a filmed performance that uses atmospheric lighting, camera work and editing. The 1968 anti-war single "The Unknown Soldier", depicts a mock execution by firing squad with extensive intercutting of archival footage and TV footage of the carnage of the Vietnam War.
The Rolling Stones appeared in promotional clips for songs such as "We Love You" (which made reference to the persecution of Oscar Wilde), "2000 Light Years From Home", "Child of the Moon" and "Jumpin' Jack Flash" and collaborated with Jean-Luc Godard on the film Sympathy for the Devil. The popularity of the 1968 animated film Yellow Submarine prompted The Byrds and The Beach Boys to also make promotional films.
Leonard Nimoy's notorious The Ballad of Bilbo Baggins (1968) is also an example of an early music video.
The Carpenters made a promo clip of their cover of the Beatles hit Ticket to Ride. They would also go on to make other videos in the 70s.
After 1969 the independent music movie clips came out of fashion with psychedelic music and style. In late 60s and early 70s bands preferred performing in TV shows which themselves became visually more attractive. Some of them released straight documentaries like The Beatles "Let It Be" or Rolling Stones "Gimme Shelter