Hip Hop History

INTRODUCTION

Hip Hop was born in the Bronx, New York City, in 1973. Over time, the culture of Hip Hop was founded on four elements: DJing, rapping, graffiti writ- ing, and break dancing. Using these four elements, Hip Hop took the world by storm, and it is now a key element of pop culture.

In the early 1970s, New York City was in a tough financial situation. By 1975, the city was on the brink of bankruptcy. Drug use was common, and the city was flooded with violence and destruction. City officials cut art and music programs from public schools. Kids in the city had to find a new escape, and they paved the way for Hip Hop’s birth. Eventually, this role developed into THE FOUR PILLARS OF HIP HOP longer sessions of spoken, rhythmic wordplay and rhyming, which in turn DJing became rapping. In the 1980’s, rappers began using more intricate patterns and A pioneer named DJ Kool Herc has explored an array of lyrical techniques. been crowned as Hip Hop’s godfa- ther. He was the first person to be a The lyrical content of many early rap Hip Hop DJ and create a mix of groups focused on social issues, most songs. He extended the beat of a notably in the seminal track "The Mes- song by using two record players, sage" (1982) by Grandmaster Flash and and isolated the percussion "breaks" the Furious Five, which discussed the by using a mixer to switch between realities of life in the housing projects. the two records. In those days, the DJs were the stars in the streets. At One rapper who really took it to another first, there were no rappers to rap level was Rakim. Before Rakim, most rap- over their beats. But the DJ’s had pers would use very similar rhyming pat- “hype men,” individuals who would terns. Rakim listened to a lot of Jazz -- hype up the crowd for the DJ. These specifically John Coltrane -- and began to hype men would eventually become rap to the rhythms of John Coltrane’s rappers. saxophone.

DJ Kool Herc

MC’ing

The hype men or “MCs” (masters of ceremony) would introduce the DJ and try to pump up the audience. The MC spoke between the DJs songs, urging everyone to get up and dance. MC’s would also tell jokes and use their energetic language and enthu- siasm to rev up the crowd. Eventually, this role developed into A lot of different types of styles of art came longer sessions of spoken, rhythmic out of graffiti. One of the most popular was wordplay and rhyming, which in turn bubble lettering, in which taggers would became rapping. In the 1980s, rappers bubble up letters in order to give it a style. began using more intricate patterns and Graffiti writers would also “battle” around the explored an array of lyrical techniques. city to see who could be more creative with their styles. The 1983 film “Wild Style” is The lyrical content of many early rap widely regarded as the first hip hop motion groups focused on social issues, most picture, and it featured important figures notably in the seminal track "The Mes- within the New York graffiti scene in those Grandmaster Flash and the Furious Five sage" (1982) by Grandmaster Flash and times. Graffiti is understood as a visual expres- the Furious Five, which discussed the sion of rap music, just as break dancing is realities of life in the housing projects. viewed as a physical expression.

One rapper who really took it to another level was Rakim. Before Rakim, most rappers would use very similar rhyming patterns. Rakim listened to a lot of Jazz -- specifically John Coltrane -- and began to rap to the rhythms of John Coltrane’s saxophone. Rakim

Grafﬁti -- Graffiti is the most controversial of hip hop's MC’ing elements. Hip hop affiliates would use this form of art to The hype men or “MC’s” stylize their unique name or (masters of ceremony) would logo. In the early days of introduce the DJ and try to Hop Hop, this was consid- pump up the audience. The ered a form of propaganda MC spoke between the DJ's or promotion, even though songs, urging everyone to get spray-painting public or pri- up and dance. MC’s would vate property without con- also tell jokes and use their sent can be considered van- energetic language and enthu- dalism, and the "tagger" siasm to rev up the crowd. may be subject to arrest and prosecution. A lot of different types of styles of art came out of graffiti. One of the most popular was bubble lettering, in which taggers would bubble up letters in order to give it a style. Graffiti writers would also “battle” around the city to see who could be more creative with their styles. The 1983 film “Wild Style” is widely regarded as the first hip hop motion picture, and it featured important figures within the New York graffiti scene in those times. Graffiti is understood as a visual expression of rap music, just as break dancing is viewed as a physical expression.

Street gangs were prevalent in the poverty of the South Bronx, and much of the graffiti, rapping, and breakdancing at these parties were all artistic varia- tions on the competition and one-upmanship of street gangs. Sensing that gang members' Grafﬁti -- Graffiti is the most often violent urges could be controversial of hip hop's turned into creative ones, Afrika elements. Hip hop affiliates Bambaataa (left) founded the would use this form of art to Zulu Nation, a loose confedera- stylize their unique name or tion of street-dance crews, graf- logo. In the early days of fiti artists, and rap musicians. Hop Hop, this was considered a form of propaganda Breaking: “Breaking” or break dancing is a form of dance that developed or promotion, even though along side the rise of Hip Hop. It has many influences: martial arts, Russian spray-painting public or pri- folk dance, and dance moves popularized by Michael Jackson, James Brown vate property without con- and California funk. Break dancers were so-called because they would sent can be considered van- dance over a song's rhythmic break. Like many aspects of hip hop, there dalism, and the "tagger" was battling involved, and soon enough there were “crews” battling each may be subject to arrest and other all over NYC. Now we see break dancing all over the media, from prosecution. music videos to commercials. CONCLUSION

Hip Hop has become a world-wide phenomenon. Not only has it retained its original popularity -- it has hugely surpassed it. Hip Hop was not universally appreciated at its beginning, and many thought it would just be a phase. Now it not only dominates the music industry, but also the fashion industry, and many other aspects of popular culture. It crosses social classes, cul- tures, and national borders.