THE ORIGINS OF HIP-HOP AND RAP In the late 1970’s a new, popular form of urban youth culture emerged in the Bronx, New York that changed the face of popular music and American culture. Throughout its development, hip-hop has become a vastly commercialized, inextricable component of popular American culture; however, it took the efforts of many pioneers and innovators to shape modern hip-hop culture and music. By exploring hip-hop’s origins, one can better understand its evolution and its positive influence on different social groups throughout the United States. There are many misconceptions about what the term hip-hop entails. Many believe hip-hop is synonymous for rap music; however, hip-hop encompasses all the cultural elements of surrounding rap.
In its beginning, the hip-hop subculture included dee-jay ing, emceeing, graffiti, and break dancing. These elements contributed greatly to hip-hop, and therefore must be considered when examining the evolution of hip-hop into the major cultural force it has become. ‘s origins begin much farther back than the 1970’s. According to Black Arts literary critic Addison Gayle, Jr.
, Black Art has always been based on the anger felt by African Americans. Thus, he draws a connection between the Black Arts Movement of the ’60 s and hip hop culture. Hip-hop culture absorbed many of the convictions and aesthetic criteria that evolved out of the Black Arts Movement, including calls for social relevance, originality, and an effort to challenge American mainstream artistic culture (Gladney 291). Graffiti, rap music, and break dancing were all forms of artistic expression within the hip-hop culture. As writer Marvin J. Gladney asserts, “Those who pioneered hip-hop were offering artistic expression designed to cope with urban frustrations and conditions” (Gladney 292).
Scholar Cornell West believes that hip-hop is more than just feelings of frustration, but also an outward protest of the poor living conditions in the black ghetto which is intended to reach its listener on a personal level. He explained: lack rap music is primarily the musical expression of the paradoxical cry of desperation and celebration of the black underclass and poor working class, a cry that openly acknowledges and confronts the wave of personal cold heartedness, criminal cruelty, and existential hopelessness in the black ghettos of Afro American. (West 26) Thus, rap developed as a form of artistic expression articulating the urban impoverished experience. Many youth in America today are considered part of the rap subculture because they share a common love for a type of music that combines catchy beats with rhythmic music and thoughtful lyrics to create songs with a distinct political stance. Rap lyrics are about the problems rappers have seen, such as poverty, crime, violence, racism, poor living conditions, drugs, alcoholism, corruption, and prostitution. These are serious problems that many within the rap subculture believe are being ignored by mainstream America.
Those within the rap subculture recognize and acknowledge that these problems exist. As New York City expanded due to the influx of immigrants new forms of public transportation were required. Thus, in 1959 the New York Parks Commissioner Robert Moses began building an expressway through the heart of the Bronx (Rhodes). The result was the migration of middle-class Italian, German, Irish, and Jewish people from the neighborhood (Rhodes).
African American and Hispanic families began moving into the vacated sections of the Bronx. Then, in 1968, Moses created 15, 382 unit co-op apartment complexes eliminating the presence off a middle-class. Without middle class residents many landlords were forced to sell their buildings to “professional slumlords” leaving many vacated and rundown buildings (Rhodes). The Bronx was left in a deteriorated state; these destitute conditions instilled frustration within the impoverished communities.
Before hip-hop music was widespread, hip-hop’s other cultural aspects developed at the forefront of the popular culture around the Bronx. Graffiti played a significant role in helping define hip-hop culture in its early stages. Like many other elements of hip-hop’s history, the direct roots of the graffiti movement are unclear. Although graffiti had existed for a long period of time, it developed into a significant art form. It was not until 1969 that graffiti began to materialize as a new form of expression for New York youths (Rhodes). A Greek teenager from New York named Demetrius is attributed with making graffiti famous, after he began spraying his tag name “TAKI 183” in various places across the city (Rhodes).
Demetrius’ tag name was comprised of his nickname “Taki” and the street he lived on 183 rd street (Rhodes). In the early stages of graffiti writing, artists limited themselves to spraying their tag names (Rhodes). Artists earned respect by creating creative lettering styles. The mid-70’s signaled a change in graffiti, as artists began painting large murals on subway cars (Rhodes). Graffiti writing groups formed, uniting talented artists who created murals that expressed the thoughts and sentiments of the impoverished and disenfranchised city dwellers. New York City’s Transit Authority reacted to the growing trend of subway car murals by establishing a subway car wash at the Coney Island train yard in 1977 (Rhodes).
This discouraged writers from spraying subway cars, and as a result, murals began appearing on handball courts instead. Graffiti writing essentially helped define the visual component of hip-hop culture, and provide voice to an overlooked portion of the New York population. Nowadays, graffiti’s prevalence in hip-hop culture has subsided; however, graffiti is still visible in urban settings, and its ability to communicate the sentiments of its artists continues. Although graffiti no longer represents the visual aspects of hip-hop, it has developed its own role in American culture. Unlike the 1977 subway car wash, in recent days the government has funded graffiti murals, officially establishing it as a legitimate art form.
Still, the original art from of tagging and graffiti has lingered within some social groups. Tagging has continued to be strongly connected to gangs, acting as a territorial marker. In addition tagging has become popular within select urban groups worldwide. Graffiti, however, has developed two different identities. Unlike the murals painted on the subway cars of NYC which depicted the challenges of the people of the ghetto, newer graffiti murals are often solely artistic expression without an underlying political message of protest. Still, graffiti is often associated with the street culture of hip-hop and continues to provide an artistic outlet expressing similar sentiments expressed in rap music.
As the hip-hop movement progressed the emphasis shifted away from graffiti and tagging, and towards the DJ and MC. The disc jockey or DJ, may in many ways be considered the original founder of rap music, because the DJ created the sound responsible for rap. Of the many influential DJs that have been given credit for founding rap’s unique sound, perhaps none were as significant as Clive Campbell (a. k. a. Kool Herc), who is credited with inventing the “breakbeat” (Rhodes).
Herc immigrated to the West Bronx from Jamaica in 1967 (Unofficial Timeline). He was nicknamed “Hercules” or “Herc” for short because of his athletic talents (Rhodes). In 1973, Herc d’ebuted as a DJ, beginning his intense passion for deejay ing. Herc is best known for creating the break-beat.
The “break” is the part of the record when the drums or percussion take over the song (Light 15). Thus, Herc played two copies of the same record and extend the “break” by switching back and forth between the records. The result was the creation of the breakbeat, which helped define and produce an entire sub-culture. Another DJ who played a crucial role in the development of rap music was Joseph Saddler (a. k.
a. Grandmaster Flash) (Light 19). Flash and Herc are two of the most influential pioneers in the hip-hop industry. One of Grand Master Flash’s greatest achievements was the creation of the cue monitor, which allowed the DJ to hear one record through their headphones while the other record was playing (Light 19).
This tool was vital in allowing the DJ to locate specific sections of the record. Additionally, Flash helped popularize the technique of “scratching” in which the DJ uses the sound of the record players needle moving back and forth over the record to create a rhythmic sound (Light 19). While DJs were the primary foundation of rap music, the MC began gaining ground, and by the late 1970’s, the MC had taken over the focus of the audience, leaving the DJ in the background. Eventually the simple rhymes expanded, and MCs emerged as a separate entity. Grandmaster Flash and the Furious Five were at the forefront of the shift to the MC (Light 19). The Furious Five comprised Keith Wiggins (a.
k. a. Cowboy), Melvin Glover (a. k. a. Mell e Mel), Danny Glover (a.
k. a. Kid Creole), Eddie Morris (a. k. a.
Scorpio), and Guy Williams (a. k. a. Rahim) (Light 19). The Five elevated and evolved the art of emceeing by employing more complex rhymes and rhyming styles (Light 19). In the wake of the Furious Five’s success, other MC crews developed.
These artists demonstrated an ability to communicate the experience of the oppressed. This is evidenced in the Five’s song “the Message,” which communicates the pain and sense of hopelessness instilled by the American urban ghettos: A child was born, with no state of mind/Blind to the ways of mankind/God is smiling on you but he’s frowning too, /Cause only God knows what you go through/You grow in the ghetto, living second rate/And your eyes will sing a song of deep hate/The places you play and where you stay/Looks like one great big alley way (Leo’s Lyrics) This song established a precedent for a great deal of rap music that would follow it in the years to come. Rather than only producing pop songs, intended to gain commercial appeal, groups like the Five also strove to articulate the ills of American culture, and give voice to the exploited and disenfranchised. Yet, despite rap music’s immense popularity within New York City’s African American community, many Americans had never even heard rap music, and thus, the music’s message was limited to a specific audience. This, however, would change with the release of a record that would mark hip-hop’s entrance into mainstream American culture.
In October of 1979, a trio made up of unknown rappers, Michael Wright (a. k. a. “Wonder Mike”), Guy O’Brien (a. k. a.
“Master Gee), and Henry Jackson (a. k. a. “Big Bank Hank”), who called themselves the Sugar hill Gang, recorded the song “Rapper’s Delight” by rhyming over the music from the disco band Chic’s number one single “Good Times” (Light 21). The song was released on Sugar Hill records, and it became an overnight phenomenon, as many people outside of the hip-hop scene in New York were given their first exposure to rap music (Light 21). Some consider “Rapper’s Delight” to be hip-hop’s entrance into commercialism.
Although the response to “Rapper’s Delight” was overwhelmingly positive, many of the hip-hop pioneers were disillusioned about its success. Some felt the song did not properly represent hip-hop, and rap innovators like Grandmaster Flash wondered why relatively unknown and inexperienced MCs were getting so much attention (Ahearn 196). Despite the hype and controversy surrounding the record, it was apparent that “Rapper’s Delight” had changed the dynamic of rap music. Instead of performing at block parties and clubs, MCs and DJs were signing recording contracts and making records. Grandmaster Flash commented on this transformation saying, “The game of hip-hop changed. ‘Rapper’s Delight’ just set the goal to a whole ‘nother level.
It wasn’t rule the Bronx or rule Manhattan, or rule whatever. It was now how soon can you make a record” (Ahearn 196). It was clear that hip-hop was heading into an entirely different direction. It was slowly making its way into American pop culture. In 1981 hip-hop continued its push into the American cultural landscape with the release of the New York punk band’s record “Rapture,” in which lead singer Debbie Harris raps one of the song’s verses. The song was followed by a video, which attempted to portray New York hip-hop culture with graffiti murals and break dancers.
“Rapture” became a relatively formidable hit, and as Blondie band member Chris Stein remarked, “A really odd note is that that song really was the first rap song that most people heard. Or most white people” (Ahearn 284). Yet, the impact of “Rapture” and the growing popularity of various rap artists had nowhere near the impact that three middle-class African Americans from Hollis, Queens, New York would have in bringing rap music and hip-hop culture to the masses. Rap music experienced a massive change in 1983, when Run- D. M. C.
released “Sucker MCs.” The group brought a brand new sound and style to hip-hop. As writer Sasha Frere-Jones explained, “In 1983, rhymes were mostly about bragging and boasting tales of partying and being your bad self. The backing tracks were still largely live renditions of obscure ’70’s funk tunes. Rap is a highly macho (some would say sexist) environment, but some female performers arose to provide a much needed counterpoint from various perspectives: the saucy (the various Roxanne’s), the pop (Salt-N-Pepa), and the feminist (Queen Latifah). Rap music has lost none of its momentum as we head into the last half of the 1990’s. Scenes continue to proliferate, not just on the coasts, but in Atlanta, Houston, and such unlikely locales as Paris.
It may appeal more to inner-city adolescents than anyone else may, but gangsta rap may be bigger than anything else in R&B music may commercially, and there are more multi-platinum rap / hip -hip acts than you can count. Shine head, Shabby Ranks, and less heralded performers like Sister Carol have fused reggae and rap. And the jazz and rap worlds are being brought closer together than ever through the efforts of “Gang Starr and their lead Guru, US 3, and the landmark Stolen Moments: Red, Hot + Cool compilation, which united many of the top names of hip-hop and jazz” (Rose, 1994, 67). Rap is still a new music form. It is expanding every day, and the sound has grown wide enough to include scores of future stars.
Some rap is rock-based, some is funk, and some is very close to the original “street” sound. A few of the present stars will definitely have a noticeable impact on the future of rap. Themes that are found more and more in rap lyrics are: pride in an African heritage and the call for harmony between men and women. Queen Latifah and MC Lyte are working hard to open doors to women in the entertainment industry.
Hip-Hop fans are also starting to accept more white artists. 3 rd Bass and Vanilla Ice are new white rap acts with promise. The time is near when all of America will be bopping to rap. Rap has already shown signs of crossing over to a new audience. A Grammy category was added for rap music in 1989. D.
J. Jazzy Jeff and the Fresh Prince were the first winners for their single, “Parents Just Don’t Understand.” In 1990 Young MC took home the prize for “Bust a Move.” And with real proof that rap is reaching more people. Along with the birth and growth of rap comes censorship. This has become a big issue within the music industry, and rap music is at the center of the controversy. Some people want to put warning labels on certain rappers’ albums and newspapers and magazines have been printing articles about the bad influence that some rappers have on kids. What is it about the music that people find so troubling? Some rappers use strong language.
Others are accused of writing racist lyrics, or lyrics that are insulting to women. As with all kinds of music, the more popular it becomes, the more likely you are to find both good and bad sides. But the positive side of rap greatly outweighs the negative. And its positive messages seem to be spreading. The number of new rappers that grows everyday will bring about new forms of rap and constant changes on the “old school” versions of the music. Rap continues to grow in the same way that it started.
Rap is derived from Hip-Hop which is made up of pure soul and spirit. The entertainment industry has grown to new heights due to the influence of Hip-Hop. It can be difficult to understand such a raw form of music. The provocative nature of rap and hip-hop provokes change in the same kind of way.
Music has evolved since the first day that man ever sang, and in forty years Hip-Hop has grown lifetimes. Hip-Hop is like, “The rose that grows from concrete.” – Tupac Amaru Shakur. With little water from society, this seed has spread throughout the United States. The flashy, eye-catching image of Hip-Hop can be deceiving because hip hop is based on emotion and expression also known as cause and effect, just like any other form of music. Hip-Hop contains all the cultural elements of black America, and in this case ignorance is not always bliss. Bibliography Light, Alan, ed.
The Vibe History of Hip Hop. New York: Three Rivers Press, 1999. Rhodes, Henry. The Evolution of Rap Music in the United States. Yale? New Haven Teachers Institute. Nov 10.
2005 web > Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Hanover, Wesley University Press, 1994. Unofficial Hip Hop Timeline. 10 Nov.
2005 http: //www. b? boys. com / hiphop timeline . html. West, Cornel.
The Cornel West Reader. N. p. : Perseus Publishing, 1999..