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Hip-Hop's Founding Fathers Speak the Truth

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Hip-Hop's Founding Fathers Speak the Truth 4 Hip-Hop's Founding Fathers Speak the Truth The Nelson George interview with three of rap music's originators-Afrika Bambaataa, Kool DJ Herc, and Grandmaster Flash-presents a reflective look at the atmosphere within which hip-hop evolved while detailing the competitive nature of their relations within localized commercial mar­ ket conditions. George, who for over twenty-five years has provided astute journalistic and cultur­ al analysis of hip-hop, elicits descriptions of urban social change, technological issues, and aes­ thetic innovation from hip-hop's "founding fathers" and, through their words, it is evident that the early hip-hop scene was a fragmented amalgamation of practices, interests, and objectives. Rap is a highly appropriative music, borrowing inventively from myriad sources in the creation of new sonic forms. Moreover, rap music relies on the appropriation and rechanneling of music technologies, especially the turntable, mixer, and vinyl record which, in the hands of DJ trailblaz­ ers, were invested with new meanings and applications. Describing the merging of electronic tech­ nologies with new lyrical styles and stage craft, George offers a valuable profile of early hip-hop performance and the formation of what are today acknowledged as established hip-hop conven­ tions. In this interview, one of the ·more resonant features is the emphasis on family and commu­ nity as nurturing forces that provide an essential foundation for the work and play among hip-hop's first professional DJs. Hip-Hop'sFounding Fathers Speak the Truth Nelson George Kool DJ Herc. Afrika Bambaataa. Grandmaster Flash. Old School, you say? Hell, these three are the founding fathers of hip-hop music-the progenitors of the world's dominant youth culture. For them, hip-hop is not a record, a concert, a style of dress or a slang phrase. It is the constancy of their lives. It defines their past and affects their view of the future. As DJs in the '70s, these three brothers were the nucleus of hip-hop-finding the records, defining the trends, and rocking ·massive crowds at outdoor and indoor jams in parts of the Bronx and Harlem. What hip-hop was and has become is the subject of the first collective interview involving Herc, Bambaataa · and Flash-the first time, in fact, that Herc has spoken on record in over ten years. One late summer evening they sat together, first in a Broadway photography studio and later at The Source's offices, telling stories, laughing at old rivalries and setting history straight. Kool DJ Herc (aka Clive Campbell) used the sound systems of the Caribbean as the model for his mammoth speaker setup. But the sensibility that led him to scout for obscure records and mesh beats from blaxploitation soundtracks with Caribbean dance hits, soul grooves and novelty records was born of the hectic world that was the Bronx during the Carter adminis­ tration. Hip-hop's sonic montage was conceived by him in city parks and school yards, where crowds flocked to hear him play, grooving to the beats he unearthed. Fact is, there were no B­ boys until Herc labeled them so. If Kool Herc is the base, then Bambaataa and Flash are twin pillars who complemented and extended the original vision. Barn came through New York's early '70s gang banging era unharmed but wiser. Seized by an enormous musical curiosity and a communal vision of African-American empowerment, he founded the Zulu Nation, the single most enduring insti­ tution in hip-hop. While labels and clubs have come and gone, the Zulu Nation emerged from the Bronx River Community Center into a collective with adherents around the world. At its center all these years is Bambaataa, who found musical inspiration in rock, Third World music and, most crucially, the electronic instrumentation that would support his breakthrough group, the Soul Sonic Force. Grandmaster Flash (Joseph Saddler) was a teenager fascinated by records and audio circuitry. Aside from having a wide musical interest, Flash became intrigued with the possi­ bilities the technology surrounding music suggested for innovation. The concept of scratching-now the backbone of hip-hop DJing-came out of his laboratory (with an assist from his friend Grand Wizard Theodore). Flash's introduction of the "beat box" turned DJs 44 HIP-HOP'S FOUNDINGFATHERS SPEAK THE TRUTH • 45 from beat mixers to beat makers. And the building blocks of rapping as we know it were laid by the crew that gathered around Flash-initially, Kid Creole, his brother Melle Mel and the late Cowboy. The conversation that evening was wide ranging, including issues of historical detail and philosophy. Who was the first to scratch a record? Was DJ Hollywood the first hip-hop rapper? What was the relationship between break dancing and rapping? Who first played "Apache"?These and other often-debated questions are addressed by the people who were in the eye of the cultural hurricane. In a broader sense, Herc, Bambaataa and Flash talk at length about the all-embracing musical curiosity that inspired hip-hop's creation and how debates about "hardcore" and "sell­ out" records run contrary to the scene's roots. The wholesale dissing of women, the increasing violence between rival rap posses and the control of rap's manufacture by major corporations troubles them. The camaraderie of these rivals-turned-griots, the good humor in their remembrances and the vivid descriptions of epic park parties are a powerful contrast to the Black-on-Black crime that scars much contemporary hip-hop. Because of their shared affection and respect, this conversation is not mere nostalgia-it is a testament to why mutual respect is integral to hip-hop's future. AFRIKABAMBAATAA: Most people today, they can't even define in words, hip-hop. They don't know the whole culture behind it. GRANDMASTERFLASH: You know what bugs me, they put hip-hop with graffiti. How do they intertwine? Graffiti is one thing that is art, and music is another. KOOLDJ HERC:I was into .graffiti. That's where Kool Herc came from. THE SOURCE:Were people doing tags and shit when you were playin'? BAM:No, they did tags on the wall. See before the whole word hip-hop, graffiti was there before that. But really when the Zulu Nation pulled the whole thing together and we laid down the whole picture. You know, the graffiti and the breakdancers. HERC: That's where the graffiti artists were congregating at. Going to the Factory West, or going to the Sand Pad, or going down to the Nell Guen on 42nd Street, or going to the Puzzle up there on 167th street, or to the Tunnel. That's where the graffiti guys used to hang out. That's how hip-hop came a long way. BAM:It was there with the street gang movement. The gangs would've started dying down, but you still had the graffiti crews coming up into the hip-hop culture. Once everything started coming into place, we started doing shows and traveling into different boroughs. Then we started traveling to different states and that's when we threw everything together. HERC:And the thing about graffiti was, I was the guy with the art. I liked graffiti flyers. My graf- fiti friend used to do my flyers. BAM:Sometimes we didn't need flyers, we just say where we gonna be and that's where we at. HERC:Block party, we gonna be over there, be there! That was it. FLASH:Or what might happen is, if I'm playin', I'll say "Herc's givin' a party tomorrow in the street," or if Barn's playin', Barn will say, «Flash will be here." THE SOURCE:Ok, how does breakdancing, or breaking fit into all that? FLASH:It was basically a way of expressing how the music sounds. Early breakdancing you hardly ever touched the floor. I would say, maybe this is a bad comparison, but it was more like a Fred Astairish type of thing-stylin', the hat, you know, touchin', white laces, finesse, that's where the two intertwined. It was like just one particular couple would draw a crazy crowd in the street. Stylin', nothing sweaty, they wouldn't break a sweat. Just fly. Like Eldorado, like Mike, Sasa, Nigger Twins, Sister Boo. BAM:You had Mr. Rock, the Zulu Queens, the Zulu Kings. THE SOURCE:So when did it get involved with guys getting' on the floor? 46 • NELSON GEORGE BAM:Well the first form of breakdancing started with the street gangs with a dance called "Get on the Good Foot'' by James Brown. There were a lot of women who was really into the breakdancing too that would tear the guys up in the early stages. But then it all came together. HERC: They started to bet money. BAM:The first era lasted for a while then _it died down. And then the second generation came. HERC:The Puerto Ricans carried breakdancing. FLASH:They took it to the next level for sure. HERC: They carried all forms of hip-hop music with dancing. FLASH:It died for a while then it came back and i~ was this new acrobatic, gymnastic type of style. BAM:And really with some of them, they had been doing this since '77 and it never really died with them. Especially with the Rock Steady Crew, the New York City Breakers, and a couple of those crews. THE SOURCE:OK, the phrase B-boy. What does that mean to you? HERC: The boys that break. When somebody go off in the neighborhood, "Yo, I'm ready to break on somebody," so we just say B-boys, you know, breakers.
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