Why Hip Hop Began in the Bronx- Lecture for C-Span
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod. -
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 90 LOVE IS STRANGE, Mickey and Sylvia Produced by Bob Rolontz; written by Ethel Smith [Bo Diddley] Groove 0175 1957 Billboard: #11 Mickey Baker's middle name was "Guitar," or anyway that's how they billed the tough, red-headed Kentuckian as one of the leaders of the great band featuring saxophonists Sam "The Man" Taylor and King Curtis that dominated New York's R&B recording scene in the fifties. Sylvia - Little Sylvia, she was originally called - was a lot younger than Mickey but she convinced him to teach her guitar. It was also Sylvia's idea that she and Mickey should form a team (although he swears he couldn't convince her to make their relationship more intimate, which suggests something about the veracity of things that happened later). They hooked up musically sometime in 1955. Their manager persuaded Bob Rolontz, a former Billboard reporter running Groove Records, RCA's R&B label, to sign them up. They came up with "Love is Strange" at their second session. Allegedly, they were given the song by Ethel Smith, Bo Diddley's wife. Maybe they were, but Smith didn't write it. Bo did. He didn't want to cut it himself because he was pissed off at his music publishers because they never gave him enough money, so he passed the song along. Rolontz at first thought the concept was crazy, especially because they wanted a children's chorus to sing the refrain, then insisted that the duo sing it themselves and rehearse the number with unheard-of thoroughness. -
Boo-Hooray Catalog #10: Flyers
Catalog 10 Flyers + Boo-hooray May 2021 22 eldridge boo-hooray.com New york ny Boo-Hooray Catalog #10: Flyers Boo-Hooray is proud to present our tenth antiquarian catalog, exploring the ephemeral nature of the flyer. We love marginal scraps of paper that become important artifacts of historical import decades later. In this catalog of flyers, we celebrate phenomenal throwaway pieces of paper in music, art, poetry, film, and activism. Readers will find rare flyers for underground films by Kenneth Anger, Jack Smith, and Andy Warhol; incredible early hip-hop flyers designed by Buddy Esquire and others; and punk artifacts of Crass, the Sex Pistols, the Clash, and the underground Austin scene. Also included are scarce protest flyers and examples of mutual aid in the 20th Century, such as a flyer from Angela Davis speaking in Harlem only months after being found not guilty for the kidnapping and murder of a judge, and a remarkably illustrated flyer from a free nursery in the Lower East Side. For over a decade, Boo-Hooray has been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Evan, Beth and Daylon. -
Discography of the Turbo Label
The Labels of Joe and Sylvia Robinson The All-Platinum Label was formed by Joe and Sylvia Robinson, husband and wife in New Jersey in 1969. Sylvia Robinson was one-half of the duo Mickey and Sylvia of “Love is Strange” fame. George Kerr and the Robinson’s were responsible for A&R. Joe Robinson had parlayed a music publishing company that he established years before in New York into the All-Platinum, Stang, and Turbo record labels. Artists included his wife Sylvia, The Moments, Brother to Brother, Shirley and Company, Linda Jones, Jack McDuff and Chuck Jackson The labels were All-Platinum, Stang, Turbo and Vibration. All-Platinum distributed Charisma (US) which released Malcolm X recordings, More which released Eldridge Cleaver recordings and Maple which released R&B and Psychedelic. In the late 70’s All-Platinum went bankrupt. The Robinson’s then formed Sugar Hill Records in 1979 with Milton Malden and financial funding of Morris Levy, the owner of Roulette Records and pioneered Rap Music The Sugar Hill label's first record was "Rapper's Delight" (1979) by The Sugarhill Gang, which was also the first Top 40 hip hop single. Afterwards Grandmaster Flash, The Sequence, Funky Four Plus One, Crash Crew, Kool Moe Dee, The West Street Mob, and Melle Mel joined the label. Sugar Hill's in-house producer and arranger was Clifton "Jiggs" Chase. The in-house recording engineer was Steve Jerome. Al Goodman, leader of The Moments, ran the show and George Kerr was a major producer. Joe and Sylvia's sons Joey and Leland were also active in the business. -
Grandmaster Flash and the Furious Five
Grandmaster Flash and the Furious Five To download an editable PowerPoint, visit edu.rockhall.com Grandmaster Flash and the Furious Five: Fast Facts • Formed in 1976 in the South Bronx, New York; broke up by 1986 • Members: DJ Grandmaster Flash and rappers Melle Mel, Kidd Creole, Mr. Ness/Scorpio, Cowboy, and Rahiem • Recorded at Sugar Hill Records, the first hip-hop record label • Grandmaster Flash revolutionized the use of turntables in hip-hop by developing techniques such as “scratching” and “punch phrasing.” • First hip-hop group to be inducted into the Rock & Roll Hall of Fame (2007) Grandmaster Flash and the Furious Five: Important Bronx Locations New Jersey ▪ South Bronx (Bronx), New York New York City Recognized birthplace of hip-hop music and culture; Grandmaster Flash and the Furious Five’s home neighborhood Queens ▪ Harlem (Manhattan), New York Recorded with Enjoy Records until 1980 ▪ Englewood, New Jersey Brooklyn Recorded with Sugar Hill Records (the first hip-hop record label) from 1980 to 1984 Staten Island Grandmaster Flash and the Furious Five: Two Essential Songs “Superappin’” “The Message” • Released in 1982 on Sugar Hill • Released in 1979 on Records Enjoy Records • Features Melle Mel and guest • One of the earliest rapper Duke Bootee rap records ever sold • Conveys the difficulties of life in the • Mimics the “hip-hop South Bronx, with lyrics about jam,” a live performance poverty, violence, and with audience interaction drug use • Hip-hop was originally heard • Early example of at lengthy dance parties, so a “conscious rap,” where 12-minute song seemed very lyrics convey a serious, short! often political message Grandmaster Flash’s Turntable Innovations • Grandmaster Flash developed turntable techniques and special effects that gave DJs more musical freedom. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
DJ Skills the Rise of the Hip-Hop DJ 3
The Rise of the Hip-Hop DJ 1 74 The Rise of The Hip-hop DJ DJs were Hip-hop’s original architects, and remain crucial to its contin- ued development. Hip-hop is more than a style of music; it’s a culture. As with any culture, there are various artistic expressions of Hip-hop, the four principal expressions being: • visual art (graffiti) • dance (breaking, rocking, locking, and popping, collectively known in the media as “break dancing”) • literature (rap lyrics and slam poetry) • music (DJing and turntablism) Unlike the European Renaissance or the Ming Dynasty, Hip-hop is a culture that is very much alive and still evolving. Some argue that Hip-hop is the most influential cultural movement in history, point- ing to the globalization of Hip-hop music, fashion, and other forms of expression. Style has always been at the forefront of Hip-hop. Improvisation is called free styling, whether in rap, turntablism, breaking, or graf- fiti writing. Since everyone is using the essentially same tools (spray paint for graffiti writers, microphones for rappers and beat boxers, their bodies for dancers, and two turntables with a mixer for DJs), it’s the artists’ personal styles that set them apart. It’s no coincidence that two of the most authentic movies about the genesis of the move- ment are titled Wild Style and Style Wars. There are also many styles of writing the word “Hip-hop.” The mainstream media most often oscillates between “hip-hop” and “hip hop.” The Hiphop Archive at Harvard writes “Hiphop” as one word, 2 DJ Skills The Rise of the Hip-Hop DJ 3 with a capital H, embracing KRS-ONE’s line of reasoning that “Hiphop Kool DJ Herc is a culture with its own foundation narrative, history, natives, and 7 In 1955 in Jamaica, a young woman from the parish of Saint Mary mission.” After a great deal of input from many people in the Hip-hop community, I’ve decided to capitalize the word but keep the hyphen, gave birth to a son who would become the father of Hip-hop. -
April 1, 2011 Thru June 30, 2011 Performance Report B-11
Grantee: New York City, NY Grant: B-11-MN-36-0103 April 1, 2011 thru June 30, 2011 Performance Report 1 Community Development Systems Disaster Recovery Grant Reporting System (DRGR) Grant Number: Obligation Date: Award Date: B-11-MN-36-0103 Grantee Name: Contract End Date: Review by HUD: New York City, NY 03/10/2014 Reviewed and Approved LOCCS Authorized Amount: Grant Status: QPR Contact: $9,787,803.00 Active Lindsay Haddix Estimated PI/RL Funds: $0.00 Total Budget: $9,787,803.00 Disasters: Declaration Number No Disasters Found Narratives Summary of Distribution and Uses of NSP Funds: The Ely Avenue project was initially conceptualized in 2006 to build ten two-family homes in the Baychester neighborhood of the Bronx. The construction began on schedule and continued until the project was 75% built. The Ely Avenue project will be carried out under NSP Eligible Use B: Acquisition and Rehabilitation and CDBG Activity Sec. 570.201(a) Acquisition. A new developer, using a combination of $1,500,000 of NSP3 funds, a private mortgage and equity would acquire the project and complete the remaining construction. Upon completion, all 20 units would be rented to low, moderate and middle-income individuals and families at, or below 120% of the area median income (AMI). The Kelly Street 25% project consists of a 79 unit, five building portfolio located on Kelly Street in Longwood/Hunts Point neighborhood of the Bronx. The portfolio was initially acquired by a speculative investor and has since fallen into a severe state of physical distress.An affordable housing owner, WFH Advisors would purchase the portfolio of buildings using a combination of funds that includes $2,446,825 in NSP3 funds. -
'What Ever Happened to Breakdancing?'
'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud. -
The Evolution of Graffiti Art
Journal of Conscious Evolution Volume 11 Article 1 Issue 11 Issue 11/ 2014 June 2018 From Primitive to Integral: The volutE ion of Graffiti Art White, Ashanti Follow this and additional works at: https://digitalcommons.ciis.edu/cejournal Part of the Clinical Psychology Commons, Cognition and Perception Commons, Cognitive Psychology Commons, Critical and Cultural Studies Commons, Family, Life Course, and Society Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, Liberal Studies Commons, Social and Cultural Anthropology Commons, Social and Philosophical Foundations of Education Commons, Social Psychology Commons, Sociology of Culture Commons, Sociology of Religion Commons, and the Transpersonal Psychology Commons Recommended Citation White, Ashanti (2018) "From Primitive to Integral: The vE olution of Graffiti Art," Journal of Conscious Evolution: Vol. 11 : Iss. 11 , Article 1. Available at: https://digitalcommons.ciis.edu/cejournal/vol11/iss11/1 This Article is brought to you for free and open access by the Journals and Newsletters at Digital Commons @ CIIS. It has been accepted for inclusion in Journal of Conscious Evolution by an authorized editor of Digital Commons @ CIIS. For more information, please contact [email protected]. : From Primitive to Integral: The Evolution of Graffiti Art Journal of Conscious Evolution Issue 11, 2014 From Primitive to Integral: The Evolution of Graffiti Art Ashanti White California Institute of Integral Studies ABSTRACT Art is about expression. It is neither right nor wrong. It can be beautiful or distorted. It can be influenced by pain or pleasure. It can also be motivated for selfish or selfless reasons. It is expression. Arguably, no artistic movement encompasses this more than graffiti art. -
Bronx Bus Map October 2018
Bronx Bus Service Color of band matches color of route on front of map. Borough Abbreviation & Route Number Bx6 East 161st/East 163rd Streets Major Street(s) of Operation For Additional Information More detailed service information, Route Description Daytime and evening service operates between Hunts Point Food Distributon Center, and Riverside Dr West (Manhattan), daily. timetables and schedules are available Daily means 7 days a week. Terminals on the web at mta.info. Or call 511 and AVG. FREQUENCY (MINS.) say Subways and Buses”. Timetables TOWARD HUNTS PT TOWARD RIVERSIDE DR W AM NOON PM EVE NITE Toward Riverside Dr W means the bus originates at the opposite terminal, Hunts Pt. and schedules are also displayed at most Days & Hours of Operation WEEKDAYS: 5:14AM – 1:10AM 4:32AM – 12:30AM 6 10 8 8 – SATURDAYS: 6:00AM –1:00AM 5:16AM – 12:20AM 12 12 12 10 – bus stops. Note: traffic and other As shown, the first bus of the Weekdays Morning Rush Service, SUNDAYS: 5:52AM –1:10AM 5:29AM – 12:30AM 15 12 12 11 – conditions can affect scheduled arrivals IF YOU SEE (traveling toward Hunts Point Food Distribution Center) Frequency of Service and departures. leaves Riverside Drive West at 5:14 am. The approximate time between buses, in minutes. The last bus of the Weekdays Evening Service Late night service operates between Hunts Point Food Distribution In this case, Buses should arrive every 6 minutes leaves Riverside Drive West at 1:10 am. Center and West 155 St/Amsterdam Av (Manhattan), daily. during the Weekdays Morning Rush Service.