The History of The Culture
Hip hop was first used by Africa Bambatta (Godfather of Hip-Hop culture, Father of the Electro Funk sound, founder of the Universal Zulu Nation, visionary, historian, and the Master of Records) back in the early 80’s to describe the culture which incorporates: Break dancing, Djing (cuttin’ and scratching) , Emceeing (rapping), and Graffing. Before that the word hip hop referred to a phrase that MC’s said on the mic.
Hip hop is a lifestyle with its own language, dress, music and way of thinking that is continuously shifting. Each of the four elements also have a language, dress, music and way of thinking, but they are much closer to each other than to other cultures. Nowadays because break dancing and graffiti have gone mainly underground the words ‘rap’ and ‘hip hop’ have been used interchangeably, but it should be noted that all four elements of hip hop culture still exists. They’ve just evolved onto new levels.
The first known example of what is now known as hip hop dance was in 1969, when Don Campbell became a well-known street dancer in Los Angeles and invented a dance called “Campbellock”. Shortly after that, in 1970, Hip Hop “Grandfather” Afrika Bambaataa started to DJ.
Modern day rap music finds its immediate roots in the “toasting” (where they would compete to see who’s system was the loudest) and dub talk (or free styling) over elements of reggae music. In the early 1970’s, a Jamaican DJ Clive Campbell known as Kool Herc moved from Kingston to NY’s West Bronx. Here, he attempted to incorporate his Jamaican style of Djaying which involved reciting improvised rhymes over the dub versions of his reggae records. Unfortunately, New Yorkers weren’t into reggae at the time. So, Kool Herc adapted his style by chanting over the instrumental or percussion sections of the day’s popular songs. Herc pioneered the break beat movement by mixing short percussion breaks in the music. Because these musical breaks were relatively short, he had to devise a way to extend them indefinitely. Kool Herc did this by using an audio mixer and two identical records in which he continuously replaced the desired segment. This is what is still used today by DJ’s to create break beats, club mixes, and other forms of music.
In those early days, young party goers initially recited popular phrases and used the slang of the day to the instrumental breaks. For example, it was fashionable for DJ to acknowledge people who were in attendance at a party. These early raps featured someone such as Herc shouting over the instrumental break; ‘Yo this is Kool Herc in the joint-ski saying my mellow-ski Marky D is in the house’. This would usually evoke a response from the crowd, who began to call out their own names and slogans in hopes that Herc would identify them on the mic.
As this phenomenon evolved, the party shouts became more elaborate as Djays in an effort to be unique, began to incorporate little rhymes-‘DJ Zee is in the house/An she’ll turn it out without a doubt.’ It wasn’t long before people began drawing upon outdated dozens and school yard rhymes. Many would add a little twist and customize these rhymes to make them suitable for the party environment. At that time rap was not yet known as ‘rap’ but called ‘emceeing’.
With regards to Kool Herc, as he progressed in his Djaying skills, he eventually turned his attention solely to the complexities of djaying and let two friends Coke La Rock and Clark Kent (not Dana Dane’s DJ) handle the emceeing duties. This was rap music first emcee team. Kool Herc was known as the man with the strongest and loudest system in the hip hop world. His amp was a Macintosh, the most powerful amp of that time. His speakers were so loud he called them Herculoids. Therefore, they became known as Kool Herc and the Herculoids. Present day teams include famous names such as “Run DMC”, “Rocafella”, “Murder Inc.” and “Cash Money Millionaires” and not so famous names such as “Kenetic Force Krew” and “SDMCs”.
Rap became popular because it offered young urban New Yorkers a chance to freely express themselves. This was basically the same reason why any of the aforementioned verbal/rhyme games manifested themselves in the past. More importantly, it was an art form accessible to anyone. You didn’t need a lot of money or expensive resources to rhyme. You didn’t have to invest in lessons, rapping was a verbal skill that could be practiced and honed to perfection at almost anytime, through written rhymes, and simply free styling.
Rap also became popular because it offered unlimited challenges. There was always someone out there better than you, someone you had to strive to beat. There were no real set rules, except to be original and to rhyme on the beat of the music. Anything was possible. One could make up a rap about street wars or how good his DJ was. The ultimate goal was to be perceived as being ‘def’ (good) by one’s peers. The fact that the praises and positive affirmations a rapper received were on par with any other urban hero (sports star, tough guy, comedian, etc.) was another drawing card. These rappers didn’t have to be “thugged out” or athletic, Anyone can do it.
Finally, rap, because of its inclusive aspects, allowed one to accurately and efficiently inject their personality. If you were laid back, you could rap at a slow pace. If you were hyperactive or a type-A, you could rap at a fast pace. No two people rapped the same, even when reciting the same rhyme. There were many people who would try and emulate someone’s style, but even that was indicative of a particular personality.
Rap continues to be popular among today’s urban youth for the same reasons it was a draw in the early days: it is still an accessible form of self expression capable of eliciting positive affirmation from one’s peers. Because rap has evolved to become such a big business centered around the ‘cash, money, cars, an ho’s’ , it has given many the false illusion of being a quick escape from the harshness of inner city life. There are many kids out there under the belief that all they need to do is write a few ‘fresh’ (good) rhymes and they’re on their way to the good life.
Throughout history, music originating from America’s Black communities has always had an accompanying subculture reflective of the political, social and economic conditions of the time and the people in the respective culture. Some examples of this are Jazz, Reggae, and R&B. Rap is no different. Hip hop is the culture from which rap emerged. Hip hop continues to be a direct response to an older generation’s rejection of the values and needs of young people. Initially all of hip hop’s major facets were forms of self expression. The driving force behind all these activities was people’s desire to be seen and their voices heard. Hip hop came about because of some major format changes that took place within Black radio during the early 70’s.
Prior to hip hop, black radio stations played the role in the community be being a musical and cultural preserver or griot (story teller). It reflected the customs and values of the day in particular communities. It set the tone and created the climate for which people governed their lives as this was a primary source of information and enjoyment. This was particularly true for young people. Interestingly enough, the importance of Black radio and the role DJs played within the African American community has been the topic of numerous speeches from some very prominent individuals.
For example in August of ‘67, Martin Luther King Jr. addressed the Association of Television and Radio Broadcasters. Here he delivered an eloquent speech in which he let it be known that Black radio DJs played an intricate part in helping keep the Civil Rights Movement alive. He noted that while television and newspapers were popular and often times more effective mediums, they rarely conveyed themselves so that Black people could relate to them. He basically said Black people were checking for the radio as their primary source of information.
In August of 1980 Minister Farrakhon echoed those thoughts when he addressed a body of Black radio Djs and programmers at the Jack The Rapper Convention. He warned them to be careful about what they let on the airwaves because of its impact. He spoke about the radio stations being instruments of mind control and how big companies were going out of their way to hire ‘undignified’ ‘foul’ and ‘dirty’ DJs who were no longer conveying good information to the community. To paraphrase him, Farrakhon noted that there was a fear of a dignified DJs coming on the airwaves and spreading that dignity to the people he reached. Hence the role radio was playing was beginning to shift Black radio DJs were moving away from being the griots; Black radio was no longer speaking the language of both a young and older generation so they could define and hear themselves reflected in this medium.
In the early days rappers flowed on the mic continuously for hours at a time non stop. Most of the rhymes were pre-written but it was a cardinal sin to recite off a piece of paper at a jam. The early rappers started off just giving shout outs and chants and later incorporated small limericks. Later the rhymes became more elaborate, with choruses like ‘Yes Yes Y’all, Or ‘One Two Y’all To The Beat Y’all being used whenever an emcee needed to gather his wind or think of new rhymes. Most emcees rhymed on a four count as opposed to some of the complex patterns one hears today. However, early rappers took great pains to accomplish the art of showmanship. There was no grabbing of the crotch and prancing around the stage. Pioneering rapper Mele-Mel in an interview pointed out how he and other acts spent long hours rehearsing both their rhymes and routines. The name of the game was to get props for rockin’ the house. That meant being entertaining. Back in the late 70s early 80s, artists weren’t doing one or two songs and leaving, they were on the mic all night long with folks just standing around watching. Folks had to come with it or be forever dissed.
Before the first rap records were put out (Fat Back Band’s King Tem III’ and Sugar Hill Gang’s ‘Rapper Delight’), hip hop culture had gone through several stages. By the late 70’s it seemed like many facets of hip hop would play themselves out. Rap for so many people had lost its novelty. For those who were considered the best of the bunch; Afrika Bambaataa, Chief Rocker Busy Bee, Grandmaster Flash and the Furious Four (yes initially there were only 4), Grand Wizard Theodore ad the Fantastic Romantic Five, Funky Four Plus One More, Crash Crew, Master Don Committee to name a few had reached a pinnacle and were looking for the next plateau.
Many of these groups had moved from the ‘two turntables and a microphone stage’ of their career to what many would today consider hype routines. For example all the aforementioned groups had routines where they harmonized. At first folks would do rhymes to the tune of some popular song. The tune to ‘Gilligan’s Island’ was often used. Or as was the case with he Cold Crush Brothers, the ‘Cats In the Cradle’ was used in one of their more popular routines. As this ‘flavor of the month’ caught hold, the groups began to develop more elaborate routines. Most notable was GM Flash’s’ Flash Is to The Beat Box’. All this proceeded ‘harmonizing/hip hop acts like Bel Biv DeVoe by at least 10 years.
The introduction of rap records in the early 80’s brought a new meaning on hip hop and took it to a whole new level. Emcees could make money, other than small amounts at local gigs, by free styling and rapping in general. It provided participants a new level to reach. Rap records inspired hip hoppers to take it to another level because they now had the opportunity to let the whole world hear their tales not just their block. It also offered a possible escape from the ghetto. Kids who never had a chance to get out of the projects, were given the opportunity to get out of the ghetto just by writing rhymes.
In the early days of hip hop, there were break dance crews who went around challenging each other. Many of these participants were former gang members who found a new decidedly less violent activity. Bambataa’s Universal Zulu Nation was one such group. As the scene grew, block parties became popular. It is interesting to note that the music being played during these gigs was stuff not being played on radio. Here James Brown, Sly & Family Stone, Gil Scott Heron and even the Last Poets found a home. Hence a younger generation began building off a musical tradition abandoned by its elders. Break beats picked up in popularity as emcees sought to rap longer at these parties. It wasn’t long before rappers became the ONLY vocal feature at these parties. A microphone and two turntables was all one used in the beginning. With the exception of some break dancers the overwhelming majority of attendees stood around the roped off area and listened carefully to the emcee. A rapper sought to express himself while executing keen lyrical agility. This was defined by one’s rhyme style, one’s ability to rhyme on beat and the use of clever word play and metaphors.
The words ‘Break Boy and Break Girl’ originated from the Bronx of New York. Down at the Roxy, Dj Kool Herc would play the ‘breaks’ of songs. Meaning, he would only play parts of the songs where it was beat only, no lyrics. This would excite the people to dance. So in turn girls and guys who danced to these ‘breaks’ were called ‘Break Boy and Break Girl’ or ‘B-Boy; B-Girl‘ in short.
Break dancing started with the James Brown’s 1969 “Get on the Good Foot“. When on stage James Brown would dance around with such energy and almost acrobatic moves, many people began mimicking his moves, so they called it the “Good Foot“. The ‘Good Foot‘ was mainly dancing around that involved drops or spins on the floor. Thus, the beginning evolution of break dancing.
During the 1970’s martial arts were also very popular, so B-Boys (for the most part) incorporated martial art stunts to ‘wow’ the crowds. This is how ‘Top Rockin’, ‘Up Rockin’ and battling started.
Groups of teenagers would gather together and form ‘crews’ or groups of b-girls and b-boys that were affiliated with one another, similar to a gang; some of the most famous, best and original are New York City Breakers; Rock Steady Crew (RSC); 7Gems and Zulu Nation. To settle disputes crews would meet up and ‘Battle’. Usually a lot of Up Rocking and ‘Floor Works’ also known as ‘down rock‘ or ‘foot work‘. But most of the time these battles would cause more problems rather then solve them.
‘Ground Work’ or ‘Floor Work’ was mainly the dancer shuffling around on the floor. These were the main aspects of Break Dancing until the Rock Steady Crew (RSC) came around. This crew along with Zulu nation were the ones to take Break Dancing to a new level. They introduced new moves such as the ‘Windmill’, ‘Flares’, and ‘1990s’. These moves were taken from any number of places, from martial arts to floor gymnastics to African dance. Most of these moves came from Capoeria, a Brazilian form of fighting which looks similar to jumping high off of the ground an kicking/spinning, as well as gymnastics. As of recently I have seen many fellow B-Girls bring ballet and modern dance to the floor.
Break dancing is an art form, each b-girl and b-boy have their own unique style and way of approaching the dance. Breaking takes great dedication and energy as well as stamina. To be considered “fresh” or good one must combine “power” moves such as flares, windmills, and air tracks, with “style” moves such as freezes, foot work, and 90’s, perfectly while hitting the beats, and being aesthetically pleasing to watch. Some of the breakers that have managed to reach this level are, Crazy Legs, Asia One, and Loki. There are also entire crews that have reached this level, and are respected world wide for their expertise in the field of breaking such as Circle of Fire and Rock Steady Crew. You may be wondering how these crews and individuals become world renowned for their breaking skills. Well, the answer is very simple. Large scale breaking competitions such as Battle of the Year. These are huge battles held in enormous arenas where either by invite or by paying, crews from all over the world come to battle it out to see who is the best in the world. These competitions are video taped, and used by aspiring breakers the world over.
The most misunderstood element of hip hop is graffiti. Most people assume tat graffiti artist simply “tag” things to deface property or to break law. But this is simply not true. Graffiti artist are just as much artist as those who draw on paper, and paint on canvas, their mediums are walls and spray paint.
The origin of tagging, began in New York City in the early 70s by Vic, a mail courier who rode the local subways and buses to deliver his packages. He set a goal for himself to visit every subway and ride every bus in NY. (aka “All City”) He began to write his name (Vic) and his courier ID number (156) on every subway and bus he rode on. Phase 2 (bubble styles), Case 2, Tracy 168, Sly II, Chain 3, Lee 163d, Julio 204, Frank 207 and Joe 136 were some of the many early NYC tag names as well as originators of various styles of piecing such as: bubble, wildstyle and computer style. No one knows who started graffiti during this era but we do know who made it famous. It was TAKI 183, a Greek teenager from Washington Heights named Demetrius.
One of the most revered graffiti crews and earliest group to form was the Ex-Vandals. “Independent Writers” indicated their crew affiliation by writing “INDS” after their tags. Graffiti group “Wanted” was founded by TRACY 168 in 1972. Tracy was a white kid who was so tough that he was allowed to hang out with the Black Spades (At its peak in the seventies “Wanted” had over seventy members.) The Graffiti bombing movement began in the mid to late ’60s in Philly, PA by writers CORNBREAD and COOL EARL.
In 1974, Graffiti Art has become widely visible on New Yorks subway cars. By 1975, New York City was broke with a poorly maintained transit system. Bubble lettered throw up pieces appeared all over the cars. “Throw ups” peaked from ‘75 thru ‘77 from throw up kings IZ, PI, IN, LE, TO, OI, FI, CY, TEE, PEO, TI 149 and DY 167.
Graffiti changed in 1976 as artist Lee Quinones became well known for his subway car murals. Lee Quinones is considered without question the grand expressionist, Jackson Pollack of the New York Graffiti Art Movement. His work, virtually from the beginning, has had the same quality and commitment as his recent paintings. It can be praised for its directness, commentary on everyday life and the forthright manner in which he addresses himself to his subject matter. In simple, Lee’s style is rooted in popular culture, but retains the screeching dynamicizm of yesterday’s subways while still using the graffiti based tool the spray can.
In 1977, The New York City Transit Authority established a giant subway car wash at it’s Coney Island train yard at an annual cost of $400,000. They sprayed petroleum hydroxide to clean the cars. Graffiti’s “style revival” started in late ‘77 with crews TDS, TMT, UA, MAFIA, TS5, CIA, RTW, TMB, TFP, TC5, and TF5.
In 1978 Lee Quinones, followed TRACY 168’s lead and abandoned painting his murals on subway trains and started painting them on handball courts. With the release of the cult-classic movie “Warriors” which details street gangs throughout New York’s 5 boroughs graffiti picks up, as the world gets a taste of subway graffiti. In 1982, the first movie documenting all four elements of hip hop culture, directed by Charlie Ahearn is released. This movie showcases performances from Grandmaster Flash, Grandwizard, Theodore, DJ AJ and the Rock Steady Crew member Crazy Legs and Frosty Freeze as well as appearances by graffiti legends Lee, Zephyer, Fab 5 Freddy, Lady Pink, Crash, Daze, and Dondi. This was the start of America’s infatuation with hip hop culture. In 1983 a documentary of subway graffiti in New York entitled “Style Wars” is aired on PBS featuring many of the popular graffiti writers of the time giving interviews as well as raw footage of hip hop’s other elements in Rock Steady Crew, Busy Bee and Grandmaster Flash.
Over the years, graffiti has emerged in some unique ways. Artist who choose not to “deface” property, turned to “black booking” or drawing / planning out pieces on paper using markers, pencils, pens and any other coloring/writing materials. In competition, yes graffiti has its competitions too, black books are judged and then the top writers are asked to “throw up” a piece.
All four elements of hip hop have their unique sub cultures, but the wonderful thing about hip hop is that any one can join the ranks. All it takes is a little rhythm, a little talent, a little dedication, and a lot of heart. As one of my favorite b-girls, electron, once said “B-girling is what stirs my soul , hip hop pumps the blood through my veins . I’m totally fine with whatever anybody else wants to dance or listen to , so long as I can do my dance in peace.” I think this is what all hip hop heads feel deep down inside. For me Breaking is more than something fun to do, and Hip hop is more than a culture. it’s a way of life. Its something that gives you a positive way to express yourself through improving your self-esteem with out hurting others. The Hip hop community is like no other culture. It is inclusive, and supportive for the most part, granted like all major cultures it has it’s “bad” side which likes to cause trouble, but in general it is a supportive group of people trying to get better at their given element/s. Hip hop is all about respect. Respect for yourself, respect for your competition, respect for all four elements, respect for those who came before you , and respect for those just coming along. Hip hop: its more than a dance, or music, or even art; it’s a culture!
Article is written by B-Girl Bali
