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August 29, 2023The Indispensable Role of DJs in Hip Hop Culture:
50 Years of Innovation and InfluenceAs we celebrate the 50th anniversary of hip hop, it’s essential to acknowledge and celebrate the critical role that DJs have played in shaping the culture since its inception. From humble beginnings in the South Bronx during the 1970s to becoming a global phenomenon, hip hop has evolved and grown exponentially, and at the heart of this movement lies the pioneering DJs who have been instrumental in its evolution. Their artistic prowess, creativity, and ability to connect with audiences have not only defined the sound of hip hop but also sparked a cultural revolution that transcends borders and generations.
The Birth of Hip Hop and the DJ’s Pivotal Role
In the early 1970s, a cultural revolution was brewing in the impoverished neighborhoods of the South Bronx, New York City. This movement, which would later be known as hip hop, emerged as a response to social and economic hardships, providing an outlet for artistic expression and creativity for the marginalized youth of the time. Among the founding pillars of hip hop were the DJs, who played an integral role in shaping the nascent culture.
The first hip hop parties were organized by visionaries like DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash. They used turntables, mixers, and creativity to extend the instrumental breaks of funk and soul records, laying the groundwork for the distinctive sound of hip hop. This technique, known as “breakbeat,” allowed MCs (rappers) to rhyme over the extended instrumental sections, giving birth to rap music as we know it today.
DJ Kool Herc, considered one of the pioneers of hip-hop, is known for his influential DJing techniques that laid the foundation for the genre. He gained popularity in the early 1970s by hosting parties in the Bronx, New York, and is credited with inventing the breakbeat technique, which involved isolating and repeating the instrumental section of a song to extend the danceable groove.
At his sister’s party (Cindy Campbell) on August 11, 1973, DJ Kool Herc is said to have played a mix of funk, soul, and early disco records. He would focus on the instrumental sections, known as the “breaks,” and use two turntables to extend the beat, keeping the crowd dancing. Some of the songs and artists that he might have played during this time could include James Brown, The Incredible Bongo Band’s “Apache,” and other funk and soul classics. DJ Kool Herc’s innovative DJing style and music selection heavily influenced the development of hip-hop culture and laid the groundwork for the future of the genre.DJ Kool Herc and the birth of hip-hop | Christie’s – https://youtu.be/Jdb3MTz7xXgPreserving and Innovating the Hip Hop Sound
DJs not only laid the foundation for hip hop but also played a pivotal role in preserving the culture’s essence as it evolved. As the genre gained popularity and diversified, DJs became the curators of the hip hop sound, introducing new music and pushing the boundaries of creativity. They dug deep into record crates, unearthing rare samples and forgotten gems, which were often the building blocks for new beats and tracks.
In addition to preserving traditional hip hop elements, DJs were also at the forefront of incorporating new technologies into the music-making process. The advent of digital sampling and production tools in the 1980s and 1990s revolutionized hip hop production, enabling DJs to create entirely new sounds and experiment with innovative techniques. Through this continuous innovation, DJs have kept hip hop fresh and relevant, appealing to new generations of music enthusiasts while maintaining the culture’s authenticity.
Live Performances and Crowd Interaction
One of the most distinct aspects of hip hop culture is the energy and connection between the DJ and the crowd during live performances. DJs are the lifeblood of hip hop shows, controlling the pace and vibe of the event, and using their skills to engage and excite the audience. They can scratch, juggle beats, and blend tracks seamlessly, creating an immersive and electrifying experience for all attendees.
Moreover, hip hop DJs have often been the bridge between artists and their fans, helping to launch the careers of many iconic rappers. They have a unique ability to read the crowd and adjust their set to match the mood, making each performance a one-of-a-kind experience. This interaction between DJ and audience has fostered a sense of community within hip hop culture, transcending cultural and geographical boundaries.
Global Impact and Cultural Exchange
Over the past five decades, hip hop has transcended its Bronx origins to become a global cultural phenomenon. This worldwide reach would not have been possible without the contributions of DJs, who played a significant role in exporting the hip hop sound to every corner of the globe. From Europe to Asia, Africa to South America, hip hop DJs have been instrumental in introducing the genre to diverse audiences and facilitating cultural exchange.
Conclusion
As we celebrate 50 years of hip hop, it is essential to recognize and honor the crucial role that DJs have played in the evolution and dissemination of this influential cultural movement. From its humble beginnings in the Bronx to becoming a global force, hip hop owes much of its success to the artistic innovation, creativity, and dedication of the DJs who have shaped its sound and maintained its authenticity throughout the years. Their influence extends beyond just music; it is embedded in the very fabric of hip hop culture, connecting people from all walks of life and paving the way for future generations of artists and enthusiasts alike. Here’s to the DJs who continue to make hip hop a vibrant, dynamic, and ever-evolving force in the world of music and beyond.
ResourcesThe birth of Hip Hophttps://www.theguardian.com/music/2011/jun/13/dj-kool-herc-block-party
https://rockthebells.com/articles/dj-kool-herc-rec-room-party/
https://www.forbes.com/sites/yolandabaruch/2022/08/11/dj-kool-hercs-sister-cindy-campbell-talks-the-birth-of-hip-hop-christies-auction/?sh=302402544f4f
https://www.pastemagazine.com/music/dj-kool-herc/dj-kool-herc-the-back-to-school-party-that-started“Scratchology” – takes a historical look at the art of the DJ with scratch-heavy cuts spanning the annals of hip-hop – The X-Ecutioners Scratchology 2003 Full Album
A classic compilation album that perfectly exemplifies the importance of DJs in hip hop culture is “Ultimate Breaks and Beats.” Released in the 1980s and 1990s, this influential series of compilations played a pivotal role in shaping the hip hop sound and solidifying the role of DJs in the genre’s development.
“Ultimate Breaks and Beats” was a collection of various rare and hard-to-find funk, soul, and jazz tracks that featured exceptional drum breaks and instrumental sections. The series was curated by a team of DJs and producers, including Louis Flores (BreakBeat Lou) and Lenny Roberts, who recognized the value of these breaks as essential tools for hip hop DJs and producers.
These breaks and beats became the foundation for countless hip hop tracks and were heavily sampled by iconic producers like DJ Premier, Pete Rock, and J Dilla, among others. Many legendary rap songs were built on the backbone of these compilations, including classics like “Eric B. Is President” by Eric B. & Rakim, “Ain’t No Half Steppin'” by Big Daddy Kane, and “Shook Ones Pt. II” by Mobb Deep.
The “Ultimate Breaks and Beats” series not only preserved and celebrated the original music but also introduced these funk and soul classics to a new generation of music enthusiasts. It exemplified how DJs served as musical archaeologists, digging for rare and forgotten gems to provide fresh sounds and innovative beats that continue to influence hip hop and other genres to this day.
Through “Ultimate Breaks and Beats,” DJs showcased their creativity and artistic prowess, highlighting their crucial role in the evolution of hip hop culture. These compilations acted as a bridge between the past and the present, demonstrating the ongoing significance of DJs in maintaining the authenticity and innovation that has made hip hop an enduring and globally embraced art form.
The Ultimate Breaks and Beats | UBB (1986-1991)Honour and spread the spirit of Hip Hip by striving and guiding towards greatness! Learn. Educate. Progress. [...]Read more...
August 15, 2023What is Graffiti, where it came from and what forms does it take today?
In America around the late 1960s, graffiti was used as a form of expression by political activists, and also by gangs such as the Savage Skulls, La Familia, and Savage Nomads to mark territory. Towards the end of the 1960s, the signatures – tags – of Philadelphia graffiti writers Top Cat Cool Earl and Cornbread started to appear. Around 1970-1971, the center of graffiti innovation moved to where writers following in the wake of TAKI 183 and Tracy 168 would add their street number to their nickname, “bomb” a train with their work, and let the subway take it—and their fame, if it was impressive, or simply pervasive, enough—”all city”. Bubble lettering held sway initially among writers from the Bronx, though the elaborate Brooklyn style Tracy 168 dubbed “wildstyle” would come to define the art. The early trendsetters were joined in the 70s by artists like Dondi, Futura 2000, Daze, Blade, Lee, Zephyr, Rammellzee, Crash, Kel, NOC 167 and Lady Pink.
The relationship between graffiti and hip-hop culture arises both from early graffiti artists practicing other aspects of hip-hop, and its being practiced in areas where other elements of hip-hop were evolving as art forms. Graffiti is recognized as a visual expression of rap music, just as breakdancing is viewed as a physical expression. The book Subway Art (New York: Henry Holt & Co, 1984) and the TV program Style Wars (first shown on the PBS channel in 1984) were among the first ways the mainstream public were introduced to hip-hop graffiti.
The exact geographical location of the first “tagger” is difficult to pinpoint. Some sources identify New York (specifically taggers Julio 204 and Taki 183 of the Washington Heights area), and others identify Philadelphia (with tagger Corn Bread) as the point of origin. Yet, it goes more or less undisputed that New York “is where graffiti culture blossomed, matured, and most clearly distinguished itself from all prior forms of graffiti,” as Eric Felisbret, former graffiti artist (DEAL CIA)and lecturer, explains.
Soon after graffiti began appearing on city surfaces, subway cars and trains became major targets for New York City’s early graffiti writers and taggers, as they allowed the writer’s name to be seen by a wider audience. The subway rapidly became the most popular place to write, with many graffiti artists looking down upon those who wrote on walls. Sociologist Richard Lachmann e writes, “Much of the best graffiti was meant to be appreciated in motion, as it passed through dark and dingy stations or on elevated tracks. Photos and graffiti canvases cannot convey the energy and aura of giant artwork in motion.”
Graffiti on subway cars began as crude, simple tags, but as tagging became increasingly popular, writers had to find new ways to make their names stand out. Over the next few years, new calligraphic styles were developed and tags turned into large, colorful, elaborate pieces, aided by the realization that different spray can nozzles (also referred to as “caps”) from other household aerosol products (like oven cleaner) could be used on spray paint cans to create varying effects and line widths. It did not take long for the crude tags to grow in size, and to develop into artistic, colorful pieces that took up the length of entire subway cars.
It is important to note that contemporary graffiti has developed completely apart from traditional, institutionalized art forms. Art critic and curator Johannes Stahl writes that, “We have long since got accustomed to understanding art history as a succession of epochs But at the same time there has always existed something outside of official art history, a unruly and recalcitrant art, which takes place not in the sheltered environs of churches, collections or galleries, but out on the street.” Graffiti artists today draw inspiration from Art History at times, but it cannot be said that graffiti grew directly out of any such canon or typology. Modern graffiti did not begin as an art form at all, but rather, as a form of text-based urban communication that developed its own networks. As Lachmann notes, rather than submitting to the criteria of valuation upheld by the institutionalized art world, early graffiti writers developed an entirely new and separate art world, based on their own “qualitative conception of style” and the particular “aesthetic standards” developed within the community for judging writers’ content and technique.
Stencils
Stencils (also known as stencil graffiti) are usually prepared beforehand out of paper or cardboard and then brought to the site of the work’s intended installation, attached to the wall with tape, and then spray painted over, resulting in the image or text being left behind once the stencil is removed. Many street artists favor the use of stencils as opposed to freehand graffiti because they allow for an image or text to be installed very easily in a matter of seconds, minimizing the chance of run-ins with the authorities. Stencils are also preferable as they are infinitely reusable and repeatable. Sometimes artists use multiple layers of stencils on the same image to add colors, details, and the illusion of depth
Wheat Paste
Wheat paste (also known as flour paste) is a gel or liquid adhesive made from combining wheat flour or starch with water. Many street artists use wheat paste to adhere paper posters to walls. Much like stencils, wheat paste posters are preferable for street artists as it allows them to do most of the preparation at home or in the studio, with only a few moments needed at the site of installation, pasting the poster to the desired surface.
Street Art Interventions
Some street artists create three-dimensional sculptural interventions, which can be installed surreptitiously in public spaces, usually under the cover of darkness. This type of work differs from Public Art in that it is rebellious in nature and completed illegally, while Public Art is officially sanctioned/commissioned (and thus more palatable to a general audience). Unsanctioned Street Art interventions usually aim to shock viewers by presenting a visually realistic, yet simultaneously unbelievable situation.
Reverse Graffiti
Reverse graffiti (also known as clean tagging, dust tagging, grime writing, clean graffiti, green graffiti, or clean advertising) is a method by which artists create images on walls or other surfaces by removing dirt from a surface.
Mixed Media
There are street artists who experiment with other media, such as Invader (Paris), who adheres ceramic tiles to city surfaces, recreating images from the popular Space Invaders video game of 1978. Invader says that tile is “a perfect material because it is permanent. Even after years of being outside the colors don’t fade.”
Many other artists use simple stickers, which they post on surfaces around the city. Often, these stickers are printed with the artist’s tag or a simple graphic. Others invite participation from the audience, like Ji Lee who pastes empty comic speech-bubbles onto advertisements, allowing passers-by to write in their own captions.
There are also artists who create Street Art interventions through the use of clay, chalk, charcoal, knitting, and projected photo/video. The possibilities for Street Art media are endless.
Later developments – Into the mainstream
Street Art continues to be a popular category of art all over the world, with many of its practitioners rising to fame and mainstream success (such as Bristol’s Banksy, Paris’ ZEVS, and L.A.’s Shepard Fairey). Street artists who experience commercial success are often criticized by their peers for “selling out” and becoming part of the system that they had formerly rebelled against by creating illegal public works. Communications professor Tracey Bowen sees the act of creating graffiti as both a “celebration of existence” and “a declaration of resistance.” Similarly, Slovenian Feminist author Tea Hvala views graffiti as “the most accessible medium of resistance” for oppressed people to use against dominant culture due to its tactical (non-institutional, decentralized) qualities. For both Bowen and Hvala these unique positive attributes of graffiti are heavily reliant on its location in urban public spaces. Art critic and curator Johannes Stahl argues that the public context is crucial for Street Art to be political, because “it happens in places that are accessible to all it employs a means of expression that is not controlled by the government.” Street artist BOOKSIIII holds an opinion not uncommon of many of today’s street artists, that it is not inherently wrong for young artists to try to make money from galleries and corporations for their works, “as long as they do their job honestly, sell work, and represent careers,” yet at the same time he notes that “graffiti does not stay the same when transferred to the gallery from the street. A tag on canvas will never hold the same power as the exact same tag on the street.”
This movement from the street to the gallery also indicates a growing acceptance of graffiti and Street Art within the mainstream art world and art history. Some apply the label “post-graffiti” to the work of street artists that also participate in the mainstream art world, although this is somewhat of a misnomer, as many such artists continue to execute illegal public interventions at the same time as they participate in sanctioned exhibitions in galleries and museums. This phenomenon also presents difficulties for art historians, as the sheer number of street artists, as well as their tendency to maintain anonymity, makes it hard to engage with individual artists in any sort of profound way. Moreover, it is difficult to insert Street Art into the art historical canon, as it did not develop from any progression of artistic movements, but rather began independently, with early graffiti and street artists developing their own unique techniques and aesthetic styles. Today, street artists both inspire and are inspired by many other artistic movements and styles, with many artists’ works bearing elements of wide-ranging movements, from Pop Art to Renaissance Art.
Resources
The Business of “Getting Up”: Street Art and Marketing in Los Angeles
https://www.tandfonline.com/doi/pdf/10.1080/08949460903472952
AN ETHNOGRAPHY OF ICONOCLASH 1,2 An Investigation into the Production, Consumption and Destruction of Street-art in London
https://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.829.1662&rep=rep1&type=pdf
The call and response of street art and the city
https://www.tandfonline.com/doi/pdf/10.1080/13604810903528862?needAccess=true [...]Read more...
June 19, 2023The History of Hip Hop: From the Streets to Global Domination
Hip Hop is one of the most if not the most influential genres that have revolutionized the music industry, and emerged from the vibrant streets of the Bronx in the 1970s. What began as a cultural movement has since evolved into a global phenomenon, transcending boundaries and uniting people across the world. In this article, we will delve into the captivating history of Hip Hop, tracing its roots, exploring key milestones, and highlighting the artists who shaped its trajectory.
1925Dancer Earl Tucker (also known as Snake Hips) incorporates floats and slides into his dancing, which would later inspire breakdancing.
1962James Brown’s drummer, Clayton Fillyau, uses the breakbeat on the record “Live at the Apollo” These beats would later influence break dancers.
1965Muhammad Ali delivers one of the earliest rap lines before his bout against Sonny Liston.
1969James Brown records “Sex Machines” and “Funky Drummer.” Both songs would later influence percussion in Hip Hop.
Since its beginning, there are 4 main elements of Hip Hop: DJing, Rapping, Graffiti art, and Breakdancing, although the culture is recognizing 5 more: Beatboxing, Street Fashion, Street Language, Street Knowledge & Street Entrepreneurialism.
Hip Hop’s origins can be traced back to the marginalized neighborhoods of the Bronx, New York City, in the early 1970s. A creative fusion of music, dance, graffiti art, and spoken word served as an outlet for young African Americans and Latinos to express their experiences, frustrations, and aspirations. Block parties and DJ battles became the breeding ground for this new art form, with pioneers such as DJ Kool Herc and Afrika Bambaataa laying the foundation for Hip Hop’s future.
1973DJ Kool Herc deejays his first block party in the Bronx.
1975DJ Grand Wizard Theodore invents the record scratch.
1976DJ Afrika Bambaataa battles Disco King Mario in the first DJ battle.
The 1980s witnessed the emergence of Hip Hop’s Golden Age, characterized by innovative sounds, politically charged lyrics, and the birth of rap as a powerful storytelling medium. Artists like Grandmaster Flash & The Furious Five, Run-D.M.C., Public Enemy, and Ice-T became household names, using their music to address social issues, racial inequality, and urban realities. Hip Hop also found its voice through iconic record labels like Def Jam and artists such as LL Cool J and Beastie Boys, who further expanded its reach and influence. Other artists that came of Hip Hop’s old-school era include Queen Latifah, who, along with Salt-n-Pepa, brought women into the genre, the Fresh Prince, aka, Will Smith, and M.C. Hammer, all of whom popularized hip-hop music even more.
1983Ice T pioneers rap on the West Coast. Michael Jackson does the moonwalk, borrowing Breakdance moves.
1985Salt-n-Pepa enters the scene as one of the first female rap groups.
1986The Beastie Boys released “Licensed to Ill”. Run-DMC & Aerosmith’s “Walk This Way” becomes the first Rap act to merge Hip Hop and Rock and Roll
1987Public Enemy releases “Yo! Bum Rush The Show”
1988N.W.A released “Straight Outta Compton”
1988First Rapper to Win a Grammy – Will Smith – “Parents Just Don’t Understand.” – DJ Jazzy Jeff & The Fresh Prince
1989A group of friends in Manhattan forms “A Tribe Called Quest”
The 90s marked a significant turning point for hip hop as it entered the mainstream. The rise of gangsta rap, led by artists like N.W.A., Tupac Shakur, and The Notorious B.I.G., reflected the harsh realities of inner-city life, capturing the attention of listeners worldwide. Simultaneously, acts like A Tribe Called Quest and De La Soul brought a more alternative and conscious flavor to the genre, diversifying its sound which led to Hip Hop embracing the digital revolution during the 2000s, as the internet and social media platforms became powerful tools for artists to connect directly with their fans. This era witnessed the rise of artists such as Jay-Z, Eminem, and Kanye West, who pushed boundaries, merged genres, and solidified hip hop’s place in popular culture. Hip Hop became a worldwide phenomenon at this point, too, with new audiences and artists emerging in places like Asia, Europe, and many others.
1991N.W.A sells nearly one million copies of “N****z For Life” in its first week of release.
1991First Rapper To Launch a Clothing Line – Play (of Kid ‘n Play) – IV Plai
1991First Mixtape DJ to Get a Record Deal – Kid Capri “The Tape” – 1991
1992Dr. Dre’s album “The Chronic” goes multi-platinum. Wu-Tang Clan release 36 Chambers.
1994First Female Solo Rapper to Go Platinum – Da Brat
1995Queen Latifah wins a Grammy award for Best Rap Solo Performance.
1996Jay-Z releases “Reasonable Doubt”. The Fugees’ album, The Score, wins two Grammys and debuts at number one. Tupac Shakur is fatally shot.
1997Notorious B.I.G. is shot and killed.
1998Lauryn Hill’s solo album, The Miseducation of Lauryn Hill, earns 11 Grammy nominations and five wins. ODB crashes the stage during Shawn Colvin’s acceptance speech at the Grammys
1999Eminem sells four million copies of “The Slim Shady LP”
2002Talib Kweli debuts his solo album and introduces himself as a political voice.
2008Jay-Z becomes the first rapper to headline Glastonbury, the largest greenfield music and performing arts festival in the world.
2009Run-D.M.C. are inducted into the Rock and Roll Hall of Fame
In the 2010s and beyond, Hip Hop continued its unstoppable ascent, becoming the dominant force in popular music worldwide. Artists like Drake, Kendrick Lamar, and J. Cole achieved unparalleled success, while diverse sub-genres and regional scenes thrived, showcasing the genre’s versatility and adaptability. Because Hip Hop just won’t stop!
2013Diddy Launches TV Network, Revolt TV
2014Dr. Dre sells Beats Electronics to Apple for $3 Billion
2015Jay-Z launches Tidal Streaming Service
2016J. Cole’s “Forest Hill Drive” becomes the First Hip-Hop album to go Platinum without guest appearances in over 20 years
2017Kanye West’s Life of Pablo Becomes First Streaming-Only Album Certified Platinum
2017Jay-Z Becomes First Rapper Inducted Into the Songwriters Hall of Fame
2018Kendrick Lamar’s Damn. Becomes the First Non-Classical or Jazz Work to Win a Pulitzer Prize
2019Cardi B Becomes First Solo Female Rapper to Win a Grammy for Best Rap Album With Invasion of Privacy. Jay-Z Becomes Hip-Hop’s First Billionaire
The movement and the lifestyle have come a long way from the humble beginnings in the Bronx. Hip Hop has transcended cultural and geographical boundaries, evolving into a global phenomenon that resonates with people of all backgrounds. From the pioneers of the 1970s to the trailblazers of today, Hip Hop remains a vital form of artistic expression, addressing social issues, telling stories, and captivating audiences around the world. Its influence can be felt in music, fashion, dance, and popular culture. As we celebrate the history of Hip Hop, let us recognize its enduring impact and the power of music to bridge divides and ignite change. The culture needs to spread and educate younger generations, for a much more positive future. Riding with them youngin’ is pure common sense.
Honour and spread the spirit of Hip Hop! One.
[...]Read more...
March 8, 2022Daily Flash Lecture #1
☀️ Good morning, Hip-hopperz and welcome to your daily dose of your favorite “Daily Flash Lecture”! ?We hope you have a spectacular day, the sun is up and so are we! So let’s get straight into it! S01xE01 is HERE! What a special moment this is! We really hope you will enjoy our very first “Daily Flash Lecture” episode and hopefully start your day fully surrounded by good vibes only! ??Today we bring you El Da Sensei, Tame One and DJ Kaos, better known together as “Artifacts”, or “The Brick City Kids”, originating from Newark, New Jersey! ?▪️ Well known for their underground music that paid homage to the four elements of hip hop, their most popular single “Wrong Side of Da Tracks” paid special homage to the graffiti art, as they were graffiti artists themselves! ?✊▪️ The Artifacts released their first album, “Between a Rock and a Hard Place” on October 27, 1994 and it was more than well received by the underground hip hop audiences, featuring loads of b-boy and graffiti themes, unlike their second material, “That’s Them”, released on April 15, 1997, album that featured similar material, but it did not receive as much recognition as their debut effort, so soon after the release they split, dedicating themselves to their solo careers. ??▪️ Since then El Da Sensei has released several solo albums, while Tame One became part of the hip hop supergroup “The Weathermen”. Tame One, along with Jay Burnz Jay, are Founder and Co-founder of the super hip hop group “The Boom Skwad” since 1992, of which Tame One is President. He appointed Jay Burnz Jay as Vice President of “The Boom Skwad”. ??▪️ They are in the process of collaborating on a new album and Tame One confirmed in an interview on March 22, 2013 that “Artifacts” are reunited, their fans still waiting for them to release that brand new album they have been waiting for years! ?⏳▪️ One of the most classy and influential hip hop groups ever, they are the perfect example of dedication and loyalty, regarding themselves and also their fanbase! Trust! ?Roll safe, honour and spread the spirit of Hip Hop! ???? [...]Read more...
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