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A Look Back On Hip Hop In The 70s

A Look Back On Hip Hop In The 70s

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In honor of Hip Hop’s fiftieth Anniversary, The Shade Room want to commemorate the moments, the pioneers, and the instruments of the artwork kind which have in the end transcended the music style, influencing each side of modern-day standard tradition. Join us every week as we glance again at 5 a long time of hip hop.

RELATED: Birdman Says CEOs Should Be Celebrated For Hip-Hop’s fiftieth Anniversary: ‘Respek Our Hustle’

August 11, 1973: Hip Hop Is Born In The Bronx, New York

As influential as hip hop has grown to be, it’s onerous to imagine the style made its roots in a “small community room” on the primary flooring of a Bronx condominium constructing. According to NPR, a back-to-school get together was hosted by 18-year-old Clive “DJ Kool Herc” Campbell at 1520 Sedgwick Avenue on August 11, 1973.

Al Pereira/Getty Images

The “modest” engagement reportedly featured an admission price of 25 cents for women and 50 cents for boys. According to History, the occasion landed a teenage DJ Kool Herc in entrance of “his biggest crowd ever.” Additionally, he was additionally outfitted “with the most powerful sound system he’d ever worked.”

“Everybody that talks about Herc’s parties back then talks about two things,” writer Jeff Chang informed NPR. “They talk about the intensity, the pure sound of the sound system — but they also talk about the music that Herc played.”

Until then, Herc had been observing his party-going crowds. Additionally, lending a eager eye to what made them dance and perfecting a DJ approach in response.

“I was noticing people used to wait for particular parts of the record to dance, maybe [to] do their specialty move,” DJ Kool Herc defined, as per History.

Herc discovered that this second occurred in the course of the drum breaks of information — when vocals and different instrumentals would briefly be absent. And on August 11, 1973, he examined utilizing two turntables “to switch back and forth” between “two copies of the same record.” This prolonged partygoers’ dance breaks.

“And when I extended the break, people were ecstatic, because that was the best part of the record to dance to, and they were trippin’ off it,” Herc defined in 1997, as per The Guardian. “After I did it for the first time, there was no turnin’ back – everybody was comin’ to the party for that particular part of my set.”

At the time, Herc referred to the tactic because the merry-go-round. However, immediately, it has come to be generally known as the “break beat.”

Herc’s pioneering of the artwork would affect pivotal figures to comply with akin to Joseph “Grandmaster Flash” Saddler. According to his official web site, Saddler would invent “The Quick Mix Theory.” The idea consists of the DJ strategy of “cutting,” “scratching,” and “transforming” the turntables with one’s fingertips.

The observe in the end elevated the DJ’s “status” in hip hop.

“This allowed a DJ to make music by placing his fingertips on the record and gauging its revolutions to make his own beat and his own music,” Grandmaster Flash’s official biography reads. “He laid the groundwork for everything a DJ can do with a record today, other than just letting it play.”

November 12, 1973: Afrika Bambaataa & The Rise Of Zulu Nation

Afrika Bambaataa is taken into account one of many godfathers of the musical motion and the founding father of the Universal Zulu Nation. According to HipHopComponents, the impartial group is the “oldest” and “largest… grassroots Hip Hop organization.” Additionally, the group promoted the 5 “elements” of the style.

The parts embody emceeing, djing, graffiti art work, breakdancing, and information, as per ZuluNation.

“Graffiti is the writing of language or the scribe that documents the history. Emcee is the oral griot, the conveyer of the Message. DJing is the [heartbeat], the drum of the art or movement… B-Boy/Girl is the exercise and the human expression through dance or body movement to keep the body in proper health. Knowledge is the reason why we are who we are… where are we today [and] How… we take the artistic expression of Hip Hop and find our purpose in LIFE!”

According to HipHopComponents, Bambaataa believed that educating the lots about hip hop and its 5 parts would shift minority focus to “peace, love, unity… so that people could get away from the negativity… plaguing our streets…”

Editor’s Note: The Shade Room notes that Afrika Bambaataa was reportedly faraway from the Universal Zulu Nation in 2016, as per REVOLT. The resolution arrived after Bambaataa was accused of a number of cases of sexually abusing minors throughout his early profession. Bambaataa has since denied the allegations.

DJ Lovebug Starski Coins The Term “Hip Hop”

At this level, though the music style had been birthed and its parts expressed, it had but to be given an official identify. That is till Kevin “DJ Lovebug Starkski” Smith and the Furious Five’s Keith Cowboy are stated to have coined the time period “hip hop” whereas emceeing.

According to Chang, as per Medium, this historic step ahead occurred on the pair’s farewell get together for a pal.

“I’d say the ‘hip,’ he’d say the ‘hop.’ And then he stopped doing it, and I kept doing it… I said a hip-hop, a hibbit, hibby-dibby, hip-hip-hop and you don’t stop,” Smith defined, as reported by Medium.

Decades later, Bambaataa would clarify why the time period caught.

“Well, I chose the name hip-hop’ because of the clichés brothers was using in their rhymes—Love Bug Starski and Keith Cowboy from Grandmaster Flash and the Furious Five… I liked the sound of what they were saying… I said, ‘This is hip and when you feel that music you gotta hop to it, so that’s when we called it ‘hip hop.’”

1974: Grandmaster Caz, The Rise Of Rap & The Emcee

At this level, hip-hop invaded events of all types, the houses of many, and past. The DJ’s turntable would turn into a vital part to make the celebration potential. However, a brand new ingredient would start to solidify its area within the style: the emcee who would rock the mic.

“They’re seeing folks in the party, their friends, and they’ll shout people out, they’ll do it in these funny little rhymes,” Jeff Chang informed NPR whereas describing the rise of the emcee. “And these rhymes develop into more rhymes, right? You know, shouts and cries that are basically about urging the party to get higher and higher. So they keep on kind of evolving that and that actually turns into rap.”

Curtis “Grandmaster Caz” Brown, a DJ who doubled as an emcee, would lay the inspiration for many who rocked the mic after him. Caz grew to become identified for his capacity to “rhyme and cut” the turntable “simultaneously,” as per OldSchoolHipHop.

Grandmaster Caz would ultimately go on to affix the Cold Crush Brothers group. Additionally, he reportedly impressed the likes of KRS-1, Big Daddy Kane, and famed rap storyteller, Slick Rick.

August 2, 1979: Sugarhill Gang Records “Rapper’s Delight” & Hip Hop Sees Its First Lady

In addition to inspiring the aforementioned artists, Grandmaster Caz would additionally seemingly encourage the group that may make hip-hop mainstream — The Sugarhill Gang. According to OldSchoolHipHop, a member of the group, Henry Jackson, would earn the eye of music trade govt Sylvia Robinson.

Instead of sharing his personal lyrical prowess with Robinson, Jackson would allegedly cross off a verse of Caz’s as his personal. Then, he would be a part of two different males, Wonder Mike, and Master Gee, in creating The Sugarhill Gang. The group would go on to document their debut document, “Rapper’s Delight,” using Caz’s verse.

On September 16, 1979, the document was launched and in the end reached the highest of the charts.

During this similar 12 months, the Bronx-bred group, Funky 4, would add the addition of Sharon “MC Sha-Rock” Green to create the Funky 4 + 1. According to Women & The American Story, Green was the “the first female MC of a hip hop group.” Additionally, she was dubbed the “First Lady of Hip Hop.”






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