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    The History of Hip Hop: Volume 2
    The History of Hip Hop: Volume 2
    The History of Hip Hop: Volume 2
    Ebook146 pages1 hour

    The History of Hip Hop: Volume 2

    By Eric Reese

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    About this ebook

    Graffiti art. DJ battles. This is the story of hip hop's cultural revolution.

    Hip-hop exploded from simmering inner-city streets into chart-topping beats and rhymes

    LanguageEnglish
    PublisherEric Reese
    Release dateOct 1, 2023
    ISBN9781925988697
    The History of Hip Hop: Volume 2
    Author

    Eric Reese

    "Every book I write goes into uncharted territories others won't pen."   About me: I'm Eric Reese, born in Philadelphia, Pennsylvania. I've worked as a community organizer, educator, graphic design, human services and a number of other fields.  I'm the recipient of the first Mayoral Scholarship of Philadelphia (1993), the Philadelphia Federation of Teachers Human Relations Award (1989) and a few other awards and scholarships nationally and globally.  I've always had an interest in writing especially from the old-journal-in-the-morning days as many of my books today reflect my experiences here and abroad.  When I have time for myself, I love traveling, mediating and researching new marketing tactics. One of my weirdest experiences was when I once lived on a top roof in an apartment building in Beirut for a few weeks until I found somewhere to stay during the war in Afghanistan. Every night, I'd listen to BBC radio and hear the chaos while not be detected.  Some say that my lively and energetic character has made me many friends across the world. I really hope so; with many friends come many enemies. In the future, I'd love to own a large home somewhere in a quiet peaceful spacious area where my neighbors are not close but not far. Now I live wherever is called home at the time in hopes of achieving my goal one of these days. You can contact me at feekness@gmail.com

    Read more from Eric Reese

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      Book preview

      The History of Hip Hop - Eric Reese

      INTRODUCTION

      Hip-Hop began in the Bronx in New York City during the late 1970s. The origins of the word are often disputed. Some argue whether it started in the South or West Bronx. While the term hip hop is often used to refer only to hip hop music (also called rap), hip hop is four elements considered essential to understanding hip hop musically. Afrika Bambaataa of the hip hop collective, Zulu Nation outlined the pillars of hip hop culture, coining the terms: rapping (also called MC or Microphone Commander), a rhythmic vocal rhyming style (orality), (turntablism), which is making music with record players and DJ mixers (aural/sound and music creation), b-boying/b-girling/break dancing (movement/dance), and graffiti art. Other elements of hip-hop subculture beyond the main four are: hip-hop culture and historical knowledge of the movement (intellectual/philosophical); beatboxing, street entrepreneurship; hip-hop language, and street knowledge among others.

      Even as the hip-hop movement continues to expand globally, the four foundational elements provide coherence and a strong foundation for hip-hop culture. Hip Hop is simultaneously a new and old phenomenon; the importance of sampling tracks, beats, and basslines from old records to the art form means that much of the culture has revolved around updating classic recordings, attitudes, and experiences for modern audiences. Sampling older culture and reusing it in a new context or a new format is called flipping in rap culture. 

      Hip hop follows in the footsteps of earlier African-American-rooted musical genres such as blues, jazz, rag-time, funk, and disco. It is the language known to urban environments of America. According to KRS-One, Hip hop is the only place where you see Martin Luther King Jr.’s ‘I Have a Dream Speech’ in real life. KRS also mentions that hip hop is beyond something such as race, gender, or nationality; it belongs to the world. 

      In 1990, while working with the rap group Snap!, Ronald Bee-Stinger Savage, a former member of the Zulu Nation, is credited for coining the term Six Elements of the Hip-Hop Movement by being inspired by Public Enemy’s recordings. The elements are:

      • Consciousness Awareness

      • Civil Rights Awareness

      • Activism Awareness

      • Justice

      • Political Awareness

      In the 2000s, with the rise of new media platforms and Web 2.0, fans discovered streamed hip-hop through Myspace, YouTube, WorldStar Hip-Hop, SoundCloud, and Spotify.

      1 ELEMENTS OF HIP-HOP

      In the beginning, the house of Hip Hop was built on five fundamental pillars – MCing, DJing, Breakdance, Graffiti, and Knowledge. A house built on rock must stand. The pillars ushered Hip Hop into the 21st century as a cultural phenomenon was formulated by DJ  Afrika Bambaataa of the hip-hop collective,  Zulu Nation. The knowledge of the five elements might not be widespread, but its structural significance should not be understated. With a myriad of styles to hip hop, the elements provide coherence to the genre. Let’s break them down:

      1) DJing (aural) – This was a newfound manipulation of sounds that were used to create music. The innovative breaks and isolation of the percussive beat gave hip-hop its initial rise. Kool DJ Herc, who was the first to create hip-hop in the 1970s, started this new form of DJing. In the early days, the DJs were the stars and later rappers such as Kurtis Blow and Grand Master Flash with their ingenious rhymes took the spotlight.

      2) MCing (oral) – Manifested from the social conditions of the time. This form of poetic and verbal acrobatics was derived from ancient African culture and oral tradition. Also known as rapping this element removed the veil that isolated the wider culture from the social conditions of many under-served urban communities. The rapid-fire wordplay spoke the truth of stories that weren’t being told and gave rise to a new urban narrative.

      3) Breakdance (physical) – Groups such as Shaka Zulu Kings, Zulu Queens, and the Rock Steady Crew gave rise to B-Boying/B-Girling. Breaking can be described as poetry in motion. Its acrobatics style with influences of gymnastics, Capoeira, martial arts, and other cultural influences speaks to the innovative wave ushered in by hip-hop culture.

      4) Graffiti (visual) – This is one of the most controversial of the elements. As most graffiti artists leave their artwork in public places and tag it by leaving their names. TAKI 183, made this form of artistic representation famous and in neighborhoods such as Wynwood, Little Haiti, and Opalocka, we can see this art form’s widespread integration with bursts of energy and vibrancy on buildings throughout the cities.

      5) Knowledge (mental) – This element is the thread that weaves all the other elements together. Knowledge of self refers to the Afro-diasporic mix of spiritual and political consciousness designed to empower members of oppressed groups, according to Travis Gosa in his book entitled The Fifth Element of Hip Hop: Knowledge. This quote merges with the vision that Bambaataa had of hip-hop as a force for social change.  Bambaataa states that America has systematized our minds to be into materialism", but instead of buying into this notion, we should think about how we can give back to our communities. 

      Hip Hop is more than art, but is a social movement that values art as a form of disrupting the norm and creating dialogue that encourages societal change.

      2 HIP-HOP THROUGH THE YEARS

      In the 1980s, the next wave of musicians from New York came to light. At the forefront was Run-DMC, a trio of middle-class African Americans from Queens who fused rap with hard rock, defined a new style of hip fashion and became staples on MTV as they brought rap to a mainstream audience. They were signed to Profile Records, one of several new labels that took advantage of the growing market of rap artists.

      Def Jam Records had three of the dopest hip-hop artists on their label; LL Cool J, rap’s first romance rapper; the Beastie Boys, the first white hip-hop trio who broadened rap’s audience and popularized digital sampling and Public Enemy, who rapped on African American social awareness similar to Grandmaster Flash and the Furious Five’s song, The Message which was released in 1982.

      During the Golden Era (1989–1993) De La Soul—whose debut album on Tommy Boy Records, ‘3 Feet High and Rising’ pointed hip hop in a more conscientious direction while female rappers such as Queen Latifah, MC Lyte, and Salt-n-Pepa offered lyrics pointing to feminism, black awareness, and female urban narratives. Hip-hop artists including DJ Jazzy Jeff and the Fresh Prince from Philly and M.C. Hammer, from Oakland, raised the roof in pop, dance, and commercialism.

      The most impactful response to New York’s hip-hop scene, came from Los Angeles, beginning in 1989 with N.W.A.’s dynamic album, ‘Straight Outta Compton.’ N.W.A. (Niggaz With Attitude) —Ice Cube, Eazy E, MC Ren, DJ Yella, and Dr. Dre—led the way as West Coast rap grew in prominence. Their graphic, violent tales of the real life of the inner cities, and those of LA rappers such as Ice-T, MC Eiht, and MC Breeze, and of East Coast counterparts such as Schoolly D and the Hilltop Crew gave rise to the genre known as gangsta rap. In the early 1990s, Death Row Records built an empire around Dr. Dre, Snoop Dogg, and the rapper-actor, Tupac Shakur, causing a rivalry with New York City’s Bad Boy Records led by Sean Puffy Combs. This developed into a media-fueled hostility between the East Coast and West Coast, which culminated in the still-unsolved murders of Shakur and Notorious B.I.G.

      By the mid-1990s, hip-hop was artistically dominated by the Wu-Tang Clan, from New York City’s Staten Island, Mobb Deep, Nas, Hit Squad, Diddy, Gangstarr, Biggy Smalls headed by Diddy- rapper, producer, and president of Bad Boy Records, and the Fugees, who mixed pop music hooks with politics which later launched the careers of rappers, Wyclef Jean and Lauryn Hill.

      Although long believed to be popular with urban African American males, hip-hop became the best-selling genre of popular music in the United States in the late 1990s. Its impact was global, with formidable audiences and artist pools in cities such as Paris, Tokyo, Sydney, Cape Town, London, and Bristol, England (where the spin-off trip-hop started). Hip Hop was responsible for generating huge sales in fashion, liquor, electronics, and automobiles that were popularized by its artists on MTV and The Box and in hip-hop-based publications such as The Source and Vibe. A canny blend of entrepreneurship and aesthetics, hip-hop was the wellspring of several staple techniques of modern pop music, including digital drumming and sampling (which introduced rap listeners to the music of a previous generation of performers, including Chic, Parliament-Funkadelic, and James Brown, while creating copyright controversies).

      As the century turned, the music industry entered into a crisis, brought on by the advent of digitizing. Hip-hop suffered at least as severely as or worse than other genres, with sales tumbling. Simultaneously, though, it solidified its standing as the dominant influence on global youth culture. Even the popular boy bands, such as the Backstreet Boys and *NSYNC, drew heavily on hip-hop sounds and styles, and rhythm and blues and gospel had adapted so fully to the newer approach that stars such as Mary J. Blige, R. Kelly, and Kirk Franklin straddled both worlds.

      In the early 2000s, hip-hop’s creative

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