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... s 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 raps 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 dated as a DJ, beginning his intense passion for decaying.
Herc is best known for creating the breakbeat. 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. Male Mel), Danny Glover (a. k. a. Kid Creole), Eddie Morris (a. k.
a. Scorpio), and Guy Williams (a. k. a. Raheim) (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 Fives success, other MC crews developed. These artists demonstrated an ability to communicate the experience of the oppressed. This is evidenced in the Fives 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 hes 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 (Leos 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 musics immense popularity within New York Citys African American community, many Americans had never even heard rap music, and thus, the musics message was limited to a specific audience. This, however, would change with the release of a record that would mark hip-hops entrance into mainstream American culture.
In October of 1979, a trio made up of unknown rappers, Michael Wright (a. k. a. Wonder Mike), Guy OBrien (a. k. a.
Master Gee), and Henry Jackson (a. k. a. Big Bank Hank), who called themselves the Sugar hill Gang, recorded the song Rappers Delight by rhyming over the music from the disco band Chics 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 Rappers Delight to be hip-hops entrance into commercialism.
Although the response to Rappers 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 Rappers 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. Rappers Delight just set the goal to a whole nother level.
It wasnt 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 bands record Rapture, in which lead singer Debbie Harris raps one of the songs 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 []...
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Research essay sample on The Origins Of Hip Hop And Rap
