история репа или хх культуры !!!! реферат

вообщем ищеться !!!

In the early eighties, Rappers like “EASY E”, “DR. DRE”,“ICE CUBE”, and “DJ QUICK” were nothing more than young kids growing up in the harsh streets of Compton. Snoop Dog was in North Long Beach, which is on the border of Compton, involving himself with a Crip gang.

Easy E, DR. DRE and Ice Cube were hanging out in the area of Atlantic Dr., a street in Compton known for the sales of narcotics, and a known hang out for “Atlantic Drive, N-hood and Kelly Park Crips”.

The influence of rap started in the Jamaica, then New York City, eventually getting to the west coast. Compton rappers began to sing songs about the street life, growing up as a gang member in Compton. They began making
underground tapes, which spread like crazy with the youth of Compton, and they loved it. These rappers would call it “Gangster Rap”.

Easy E admitted in a interview that he was able to start his record label from money obtained from selling Cocaine on the streets of Compton. DJ. Quik also started his own record label called Total Trak Productions. If you have any doubts DJ Quik has gang ties, all you really have to do is listen to the lyrics of his songs. If that’s still not enough the initials of his gang is, “TTP”, which of course stands for “Tree Top Pirus”. The initials of his record label are “TTP”, Total Trak Productions, you can make your own assumption, but we know the truth.

The early nineties were upon us, Gangster rap had put the city of Compton on the map. N.W.A.’s “ Straight Outta Compton “ album that featured the song “ Fuck The Police “, made the city well known across the world.

It was about this time when known “Mob Piru” member Marion Suge Knight wanted to start Death Row Records.

Suge’s Death Row Records was making money in the millions with Tupac and Snoop Dog pumping out the hits. Sean Puffy Combs “Bad Boy” label on the East Coast was also a huge success with Christopher “Biggie Smalls” Wallace and “Sean” becoming best of friends. Suge Knight’s “Death Row Records” was constantly being investigated for numerous crimes.

Rap music had come a long way too, but the East Coast vs. West Coast clash was about to begin, and it was for real. The top performers in the rap industry were gathered in Los Angeles for the Soul Train Music Awards in 1994, which included Snoop Dog, DJ Quick, etc. Also at the event, the CEOs of the biggest rap labels, Puffy Combs of “Bad Boy Records” in New York City on the East Coast and Suge Knight of “Death Row Records” strait out of Compton on the West Coast. Also present were the respective entourages of the two groups that consisted of off duty police officers from Compton and L.A.P.D., and of course, the gang members from Los Angeles and Compton that made up the crew.

The East Coast vs. West Coast rivalry had made its way into the lyrics of the songs and had become increasingly personal. This begun to parlay into the utmost disrespect aimed at members of “Death Row” and “Bad Boy Records”.

This was gangster rap, and industry whose code was the code of the gangs in the street. Within the gangs there are certain lines you don’t cross. Certain things you do not say, and when you’re disrespected you hit back hard, or you’re a punk. To people who were involved in gangs or who knew gang culture it was only a matter of time until people started dying.

The awards show was televised and went on as scheduled. The east coast/ west coast rivalry and disrespect shown was quite evident to those who understand gangs. To the mass audience it probably played out as the many publicity rivalries established in wrestling and boxing. The show was over for now, and the rap industry insiders went to the after party at the El Rey Theatre. The off duty cops were there but they were by far outnumbered by the gang members. A fight began involving DJ Quick, TTP, and mob gang members against the victim. In the end the man was beat and kicked until he was dead. As is usual in gang related assaults and murders, everyone began leaving in a hurry, and nobody knew anybody or saw anything.

Due to the many problems with the “El Rey” murder case, the investigation soon fizzled out with the usual “we know who did it, but get someone to testify” that is so common in gang cases.

The American public, who had been in such an uproar at the beginning of the gangster rap over its profanity, violence, and “Fuck the police” messages, had been somewhat quelled by the free speech at any cost liberals, and warning stickers on their kid’s C.D.s.

Gangster rap had become mainstream America, and the kids were idolizing those that preached the narcotics, gang lifestyle. Crips and Bloods were in cities across America, and middle class kids were emulating them, talking, and dressing like them, and joining gangs like them. The gangster rap murders to come would further open the eyes of the public, but would often leave more questions as to why, than there answers.

Federal Task Forces formed to investigate the gang narcotic ties within the rap music industry and specifically Death Row Records.

By the time Suge Knight was sent to prison several years later, the Task Force had nothing to violate him on, and he ended up being violated due to his part in the assault of Orlando Anderson (the night Tupac was shot), based on the interview of Anderson by the Compton Police Department’s Gang Unit.

Essentially, there was no task force with the ability to gather the needed intelligence to adequately investigate a gang narcotic based industry that was growing rapidly. An industry where extortion, intimidation, and murder was common place and involved cities around the country, but it’s roots were in Compton.

The night Tupac and Suge Knight were shot in Las Vegas, Las Vegas Police Department found that just prior to the shooting, a Compton gang member by the name of Orlando had been beaten by Suge, Tupac, and Mob gang members at the MGM Grand.

The only Orlando that we knew as a Compton gang member was Orlando Anderson of the South Side Crips (SSC). The SSC are enemies of the associates of Death Row Records (DDR), which include the Mob Pirus, Leuders Park Piru, and Elm Lane Piru, but there were no know major incidents between the sets for sometime.


Tupac and Suge were shot the night of September 7, 1996. Most of the Compton gang members involved had returned to Compton on September 8th, and 9th. As we were coordinating with LVPD, contacting informants, and gathering information, the City of Compton was the battleground. The next 5 days in Compton, the toll would be 3 murders and 11 attempted murders as a result of this feud. The Gang Unit was working many hours investigating these murders and attempted murder scenes. Interviewing numerous gang members and informants, conferring with LVPD and LASD, and kicking in doors seizing several weapons, ammunition, and gang intelligence information and photos.

all these incidents for use in a large scale affidavit for warrants in an attempt to stop the violence that was escalating.

We would serve these warrants within 2 weeks of the death of Tupac Shakur. This was the Compton way, quickly and decisively stopping the ongoing feud in Compton.

The Compton Gang Unit was subpoenaed for Suge Knight’s revocation hearing in December 1996, based on information, photos, recovered during the warrants and our interview of Orlando Anderson. The Death Row Task Force was unable to produce anything compelling enough to hold Suge in violation.

Detective Richardson testified to what Anderson had really told us about the assault in Las Vegas. Detective Richardson testified, and the Judge revoked Knight’s probation and sentenced him to the maximum 9 years.

The affidavit written regarding the murder of Tupac Shakur would in a few months again be broadcast on the news across America. Particularly, the beginning that stated, “There is an ongoing feud between Tupac Shakur and the Blood related Death Row Records with Rapper Biggie Small’s and the East Coast Bad Boy Records which employed South Side Crips gang members as security”.

Informants interviewed by us around the time Tupac was murdered had established connections between South Side Crips and New York based Bad Boy Records, and Biggie Smalls.

The shooting of Tupac was still fresh in the minds of many who attended the 11th Annual Soul Train Awards in Los Angeles on May 9, 1997, but nobody expected what would happen next. The party for the awards was held at the Peterson Museum in Los Angeles many of the rap music insiders were present including “Bad Boys” Puffy Combs and Biggie Smalls. Suge Knight was glaringly absent due to his incarceration, however many of Death Row Records
people were there. Also present were many South Side Crips.

As the Bad Boys entourage, including Puffy and Biggie, loaded into two brand new SUVS, and several vehicles as they left the event. A dark green or black impala SS drove next to Biggies vehicle. The lone occupant – a male dressed in black Muslim garb opened fire with a 9 mm. Handgun. Biggie was hit several times by the gunfire. A short time later he would die of his injuries. Though there were several off duty and on duty police personnel, and hundreds of fans near the shooting, the gunman escaped without as much as anyone getting a license number. The Gang Unit met with the Los Angeles Detectives and discussed the murder of Biggie Smalls. The Los Angeles Department had over twenty detectives assigned to investigate the case. During the meeting, it was decided that the prevailing theories of the murder were as follows. That it was a Death Row Records hit in retaliation for the shooting of Suge Knight and Tupac Shakur. The other theory, it was a South Side Crips hit for money owed to them by Bad Boy Records and Biggie Smalls for security fees owed, or money owed for the murder of Tupac.

Immediately after the murders of Biggie Smalls, attention again shifted to the Compton connections. Simultaneously, an international gang feud within South Side Crips had erupted with several persons wounded and one killed. We investigated these shootings and immediately wrote a gang search warrant affidavit. Los Angeles Police Department accompanied the Compton Police Department on the service of the warrants. Evidence seized included a new black Impala SS.

By July 22nd, 1998, the Tupac Shakur and Biggie Smalls investigations had been stalled, and Suge Knight was doing time for probation violation. Orlando Anderson was suing Tupac’s estate and Death Row Records for the assault on him. Tupac’s mother Alfeni Shakur was in turn suing Orlando Anderson for the wrongful death of her son.

The suspect in Tupac’s murder- Orlando Anderson was himself killed in a gang drug related shootout in Compton that left three dead in June 1998. The next day a small article appeared in the Los Angeles Times entitled “Suspect in Tupac’s Murder Slain in Shootout

We also continued to talk with informants regarding Death Row murders and the murders of Tupac and Biggie Smalls. We never anticipated that our years of intelligence gathering was going to be brought to an abrupt halt, before being able to complete out investigations which we believe would have produced the identity of the murders in all these crimes

Rap History
Uploaded by counterfeitdonar on Aug 16, 2005

--------------------------------------------------------------------------------

Rap History

Rap music as a musical form began among the youth of South Bronx, New York in the mid 1970’s. Individuals such Kool Herc and Grandmaster Flash were some of the early pioneers of this art form. Through their performances at clubs and promotion of the music, rap consistently gained in popularity throughout the rest of the 1970’s. The first commercial success of the rap song “Rapper's Delight” by the Sugar Hill Gang in 1979 helped bring rap music into the national spotlight. The 1980’s saw the continued success of rap music with many artists such as Run DMC (who had the first rap album to go gold in 1984), L.L. Cool J, Fat Boys, and west coast rappers Ice-T and N.W.A becoming popular. Today, in the late 1990’s rap music continues to be a prominent and important aspect of African- American culture. Rap music was a way for youths in black inner city neighborhoods to express what they were feeling, seeing, and living and it became a form of entertainment. Hanging out with friends and rapping or listening to others rap kept black youths out of trouble in the dangerous neighborhoods in which they lived. The dominant culture did not have a type of music that filled the needs of these youth, so they created their own. So, rap music originally emerged as a way "for [black] inner city youth to express their everyday life and struggles" (Shaomari, 1995, 17). Rap is now seen as a subculture that, includes a large number of middle to upper white class youths, has grown to support and appreciate rap music. 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. Those within this subculture consider "the other group" to be those people who do not understand rap music and the message rap artists are trying to send. The suppresser, or opposition, is the dominant culture, because it ignores these problems and perhaps even acts as a catalyst for some of them. “The beats of rap music has people bopping and the words have them thinking, from the tenement-lined streets of Harlem, New York, to the mansion parties of Beverly Hills, California” (Shomari, 1995, 45). Rap music, once only popular with blacks in New York City, Washington, D.C., and Philadelphia, has grown to become America's freshest form of music, giving off energy found nowhere else. While the vocalist(s) tell a story, the sic jockey provides the rhythm, operating the drum machine and "scratching". Scratching is defined as “rapidly moving the record back and forth under the needle to create rap's famous swishing sound” (Small, 1992, 12). The beat can be traditional funk or heavy metal, anything goes. The most important part of rap is "rapping," fans want to hear the lyrics. During every generation, some old-fashioned, ill-humored people have become frightened by the sight of kids having a good time and have attacked the source of their pleasure. In the 1950s, the target was rock 'n' roll. Some claimed that the new type of music encouraged wild behavior and evil thoughts. Today, rap faces the same charges. Those who condemn this exciting entertainment have never closely examined it. If they had, they would have discovered that rap permits kids to appreciate the English language by producing comical and meaningful poems set to music. Rappers don't just walk on stage and talk off the top of their heads. They write their songs, and they put a lot of though into them. Part of rapping is quick wit. “Rappers like L.L. Cool J grew up rapping in their neighborhood, and they learned to throw down a quick rhyme when they were challenged” (Nelson,Gonzales, 1991, 135). But part of it is thoughtful work over many hours, getting the words to sound just right so that the ideas come across with style. As L.L. Cool J describes it, "I write all my songs down by hand. Each song starts with a word, like any other sentence, and becomes a manuscript." (Nelson, Gonzales, 1991, 137). Many performers set a positive example for their followers. Kurtis Blow rapped in a video for the March of Dimes' fundraising drive to battle birth defects and he has campaigned against teenage drinking as a spokesperson for the National Council on Alcoholism. On the television show "Reading Rainbow," Run-D.M.C. told viewers how books enabled them to become "kings of rock." On another occasion, group member Darryl "D.M.C." McDaniels said, "Little kids like to follow me around the neighborhood. I tell them to stay in school. Then I give them money to get something in the deli." Run-D.M.C. is one of the numerous rap combos advising kids to keep off drugs. Doug E. Fresh and Grandmaster Flash have each made records telling of the horrors of cocaine. On Grandmaster Flash's hit "White Lines," he details how the drug can ruin a life, and shouts, "Don't do it!" From it's inception, rap indured a lot of hostility from listeners--many, but not all, White--who found the music too harsh, monotonous, and lacking in traditional melodic values. However, millions of others - often, though not always, young African-Americans from underprivileged inner city backgrounds - found an immediate connection with the style. Here was poetry of the street, directly reflecting and addressing the day to day reality of the ghetto in a confrontational fashion not found in any other music or medium. “You could dance to it, rhyme to it, bring it most anywhere on portable cassette players, and, in the best rock 'n' roll tradition, form your own band without much in the way of formal training” (Small, 1992, 177). The basic workouts of early rappers like Kurtis Blow and the Fat Boys can sound a bit tame today. Many were still expecting the music to peter out before Run D.M.C. came along. Rap was, and to a large degree still is, a singles oriented medium, but these men from Queens proved that rappers could maintain interest and diversity over the course of entire full-length albums. Combining hard beats and innovative production with material that emphasized positive social activism without ignoring the cruel realities of urban life, they found as much favor with the critics as the street. Among the first rap groups to climb the pop charts in a big way, they also were among the first to make big inroads into the White and Middle-American audiences when they teamed up with Aerosmiths's Stephen Tyler and Joe Perry for the hit single "Walk This Way." The mid- and late '80s saw rap continue to explode in popularity, with the “birth” of superstars like LL Cool J and Hammer (the latter is often accused of providing a safe rap- pop alternative). Although most early rap productions originated in New York City and its environs, the music took hold as a national phenomenon, with strong scenes developing in other East Coast cities like Philadelphia, as well as West Coast strongholds in Los Angeles and Oakland. Production techniques became increasingly sophisticated; electronics, stop-on-a-dime-editing, and sampling from previously recorded sources became prominent. The increased emphasis on electronic beats led to the popularization of the term "hip-hop," a designation which is by now used more or less interchangeably with rap. The Beastie Boys, obnoxious white ex-punks from New York, brought rap further into the Middle American mainstream with their “vastly popular hybrids of hip-hop, hard rock, and in your face braggadocio” (Nelson, Gonzales, 1991, 12). While rap had always forthrightly dealt with urban struggle, the late '80s saw the emergence of a more militant strain of the music. Sometimes advantaged neighborhoods of South Central Los Angeles, although performers like Philadelphia's Schoolly D probed that the genre was not specific to the area. Boogie Down Productions laid down a prototype that was taken to more extreme measures by N.W.A., who reported on the crime, sex and violence of the ghetto with an explicit verve that some viewed as verging on celebration rather than journalism. Enormously controversial, and enormously popular with record buyers, several N.W.A. members went on to stardom as solo acts, including Ice Cube, Eazy-E, and Dr. Dre. The most popular and controversial of the militant rappers, the New York based Public Enemy, were perhaps the most political as well. Their brand of activism, like that of Malcolm X's two decades earlier, made a lot of people, including liberals, pretty uncomfortable, with their emphasis upon Black Nationalism and careless anti-Sematic, homophobic, and sexist references. Groups such as Public Enemy ignited an ongoing debate in the media. Activist-oriented critics and audiences found a lot to praise in their music. At the same time, they could not let the xenophobic tendencies of these acts pass unnoticed, or ignore the frequent quasi-celebration in much rap music of misogyny, drugs, and violence, and the status to be gained in the urban community by the practice thereof. Passionate advocates of civil liberties and free speech wondered, sometimes aloud, whether rappers were taking those privileges too far. Newly emerging gangsta rappers like Snoop Doggy Dogg, Slick Rick, and 2Pac not only take the violent subject matter of their lyrics to new extremes (and to the top of the charts), but have been accused of enacting their scenarios in real life, landing in jail for manslaughter or fighting similarly grave charges. These performers often unrepentantly contend they are only reporting things as they happen in the 'hood, of a culture that not only shoots people, but is being shot at. Many critics find their line between art and reality too thin, and hate to see them spreading their gospel from the top of the charts (2Pac's 1995 album "Me Against the World" debuted at No. 1 even as he was serving a prison sentence), or serve as role models for international youth. Gangsta rap may have gotten a lot of the headlines in recent years, but the field of rap as a whole remains diverse and not as dominated by the shoot-'em-out minidramas of gangsta rap, as many would have you believe. De La Soul took rap and hip-hop productions to new heights with their 1989 debut Three Feet High & Rising, an almost psychedelic sampling and editing of a wildly eclectic pool of sources that would do Frank Zappa proud. Their humorous and cheerful vibe inspired a mini-school of "Afrocentric" acts most notably the Jungle Brothers and A Tribe Called Quest. Arrested Development, Digable Planets, and Digital Underground also pursued playful, heavily jazz- and funk-oriented paths to immense success and high critical praise. The work of 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 Roxannes), the pop (Salt-N-Pepa), and the feminist (Queen Latifah). It is a measure of rap's huge influence that the style has infiltrated mainstream soul and rock as well. Producer Teddy Riley gave urban-contemporary performers like Bobby Brown a vaguely hip edge with his brand of "New Jack Swing," White alternative rockers like G. Love and most notably Beck devised a strange hybrid of rap, blues, and rock. Vanilla Ice probed that Whitbread pop-rap could top the charts, though he was unable to sustain his success. More than most genres' rap/hip-hop has become a culture with its own sub-genres and buzzwords what can seem almost impenetrable to the novice. Despite this proliferation of schools of production and performance, many rap records can appear virtually indistinguishable from each other to a new listener. And there's no getting around the fact that a lot of them are. “The market is saturated with repetitive beats and monotonously uncompromising slices of urban street life, to the point that they've lost a lot of both their musical novelty and shock value” (Rose, 1994, 56). 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 multiplatinum rap/hip-hip acts than you can count. Shinehead, Shabba 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, US3, 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 music business. Rap fans are also starting to accept more white artists. 3rd 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, Tone Loc became the first rapper ever to reach number one on the pop charts. He did it with his hit single "Wild Thing" in 1989. Of course, there are still plenty who are afraid of rap and won't listen to it's message. 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. With these new versions and variations comes new fans and renewed faith from old fans. Regardless of how many rap artists land in jail or end up dead, this music will live on. The fans will make sure of it.

The History Of Rap: Vol. 1: The Genesis
In the early 1970s a musical genre was born in the crime-ridden neighborhoods of the South Bronx. Gifted teenagers with plenty of imagination but little cash began to forge a new style from spare parts. Hip-hop, as it was then known, was a product of pure streetwise ingenuity; extracting rhythms and melodies from existing records and mixing them up with searing poetry chronicling life in the 'hood, hip-hop spilled out of the ghetto.

From the housing projects hip-hop poured onto the streets and subways, taking root in Bronx clubs like the Savoy Manor Ballroom, Ecstasy Garage, Club 371, The Disco Fever, and the T-Connection. From there it spread downtown to the Renaissance Ballroom, Hotel Diplomat, the Roxy, and The Fun House. It migrated to Los Angeles, where a whole West Coast hip-hop scene developed, sporting its own musical idiosyncrasies, its own wild style.

Through television shows like BET's Rap City and Yo! MTV Raps and a succession of Hollywood movies, hip-hop gained millions of new fans across America, in places far removed from the genre's Bronx roots. It spread to Europe, Asia, Africa, and nearly every continent on Earth, gaining more cultural significance as the years rolled by. Today it is one of the most potent and successful musical forms of the 20th Century.

Hip-hop is the voice of a generation that refused to be silenced by urban poverty, a local phenomenon fueled with so much passion and truth it could not help but reach the entire world. Like every musical genre that came before, hip-hop has its pioneers, artists who were essential in defining and popularizing the art form. This CD series showcases those legendary artists -- their songs and their enormous talents -- who created what today is known as rap.

The History Of Rap. How can we truthfully tell this story? There are so many different versions. Who is correct? There were approximately ten different pioneers, each of whom stakes a claim as the originator: Pete DJ Jones, Kool DJ Herc, DJ Hollywood, Eddie Cheeba, "Love Bug" Starski, Grand Master Flash, Afrika Bambaataa, Kurtis Blow, the Sugarhill Gang, Run DMC.

The names fit together like pieces to a puzzle. And as we assemble the puzzle, we have to give equal props to all, because it is the individual contributions, pieced together, that explain the true history of this billion-dollar-a-year phenomenon.

To understand the history of rap, you need to know two things:

1. Rap is talking in rhyme to the rhythm of a beat.

2. Hip-hop is a culture, a way of life for a society of people who identify, love, and cherish rap, break dancing, DJing, and graffiti.

In the early '70s, when I was about 13 or 14 and disco was monopolizing the mainstream airwaves, the rap movement was just being born. A man by the name of Pete DJ Jones was about the most notable DJ during those early days. To me he epitomized the true meaning of a DJ. He had the precise timing necessary to enable the partygoer to dance nonstop while keeping the break of a record playing continuously. He had a clean mixing style and an excellent sound system.

I remember seeing Pete at a club called McCoys on 43rd Street and Third Avenue (midtown Manhattan) in 1972. I was 13 then and got in the club by using a phony ID. What I experienced that night was something that not only changed the course of my life, but also would eventually revolutionize the music industry. Pete was New York's #1 DJ. He had an MC named JT Hollywood (not to be confused with DJ Hollywood, who came on the scene around 1973), who was the first real MC I can remember. (During those early days an MC was the master of ceremonies -- the host of the party, show, or gathering. He told the crowd where they were and the DJ's name. He motivated them to have a good time.) What really knocked me out about JT Hollywood that night was when he said to the people, "If you want to have a good time tonight, somebody say 'Oh Yeah.'" The crowd of 1,000 responded by shouting, "Oh Yeah!"

Pete DJ Jones became my hero, and I followed him everywhere. I studied him, his style, his playlist, his MCs: JT Hollywood, JJ the Disco King, and the great "Love Bug" Starski. I followed him to all of the big midtown black clubs: Nell Gwynn's, Pippins, Nemos, Justine's, Ipanemas. I became a Pete DJ Jones follower and a DJ myself later on that year.

The teenagers of the South Bronx and Harlem didn't have the money to pay for admission to the expensive midtown and downtown clubs, so they had their own parties. Along the way, clubs, house parties, and block parties sprang up all over New York ghettos, giving birth to the neighborhood DJ and MC. Something of a mutation of disco, hip-hop was also a rebellion against disco.

Kool DJ Herc, the godfather of hip-hop, was a Jamaican-born DJ who moved to the Bronx in 1967. With his unique playlist of R&B, soul, funk, and obscure disco, Herc quickly became the catalyst of the hip-hop way of life. The kids from the Bronx and Harlem loved his ghetto style, which gave birth to the concept of the B-Boy. The B-Boy -- or beat boy, break boy, Bronx boy -- loved the breaks of Kool Herc, and as a result soon created break dancing. These were the people of the hip-hop culture. While Pete DJ Jones was #1 for the black disco crowd in NYC, Herc and the B-Boys were the essence of the hip-hop movement, because of they lived the lifestyle. The way they danced, dressed, walked, and talked was unique, as opposed to most of the disco artists and fans of the time, who were not as in touch with the urban streets of America.

The B-Boy crowd was different from the middle class blacks who were represented at Pete DJ Jones' parties. There was no dress code at a B-Boy party; we were younger and wore tennis shoes, jeans, mock necks, Playboys, Kangols, sweatsuits, etc. I remember many weekends going downtown to 43rd Street and Lexington Avenue to Nell Gwynn's on Friday night to check out Pete DJ Jones, and then traveling uptown the following night on the Number 4 train to the Bronx to check out Kool Herc at the Executive Playhouse. I was torn between these two DJs. I've had many debates about Pete DJ Jones' precise timing and Kool Herc's playlist. Songs like:

"Give It Up Or Turnit A Loose (In The Jungle Groove Remix)" by James Brown. This is the national anthem of hip-hop. Every B-Boy, MC, rapper, DJ, rap group, break-dancer, and aerosol artist knew this song, and when it was played at a party or club, everyone knew it was time for the best B-Boys to do battle. Definitely the highlight of the night.

"Get Into Something" by The Isley Brothers. Many people remember The Isley Brothers for their ballads, but this song has a drum break that is incredible. Excellent for the B-Boy break-dancer in you.

"Melting Pot" by Booker T. & The M.G.'s. This song is one of my favorites. The jazz feel epitomizes what hip-hop is all about. You'll love this one.

"Listen To Me" by Baby Huey. A strictly underground song for real B-Boys and Kool DJ Herc fans. Strong intro with strong R&B tracks.

"Scorpio" by Dennis Coffey & The Detroit Guitar Band. This song was a big national hit in 1971. Very funky and with an incredible break as well. Young MC used it in "Bust A Move" as did LL Cool J in "Jingling Baby."

"It's Just Begun" by The Jimmy Castor Bunch. The song's intro is probably its most popular part: "What we're gonna do right here is go back -- way back." Check out the guitar solo and the break.

"Apache" by Michael Viner's Incredible Bongo Band. This is one of the records Kool DJ Herc brought over from Jamaica. A calypso hip-hop feel with incredible percussion breaks. Also check out the guitar line that the Sugarhill Gang pilfered in their version of the same song.

"Hum Along And Dance" by The Jackson 5ive. Only a real B-Boy or a hard-core Jacksons fan would know this song. It may seem unbelievable that Michael Jackson contributed to the creation of hip-hop, but if you don't believe me, check out how funky this song is.

"Love The Life You Live" by Black Heat was another of my B-Boy favorites. This song has the most incredible break for your power moves. Many people know the original by Kool & The Gang, but this version is for the real B-Boy.

"Theme From S.W.A.T." by Rhythm Heritage. Pete DJ Jones loved to cut up the break of this song whereas Kool Herc couldn't quite pull it off. Remember the TV series S.W.A.T.? We're going way back here....

"Dance To The Drummer's Beat" by Herman Kelly & Life actually came out during the end of Kool Herc's reign. Hollywood, Eddie Cheeba, Starski, and Flash made it popular in the late '70s. There is a great percussion break that became very popular, enabling the DJ to show his skills.

"King Tim III (Personality Jock)" by Fatback was the first rap record. King Tim III was a rapper from Harlem who got a break by landing a job with old school dogs of funk Fatback. He would rap during the band's musical breakdowns, entertaining the crowd with call and response. When it comes to giving credit for making the first rap record, people get amnesia. I remember him -- he deserves the credit.

It is mandatory to express the importance of these songs. You have to understand that disco music was the hottest thing out -- it was a craze that infiltrated all of American society. We were the rebels who couldn't relate. We weren't going for it. These songs represent our attitude. They feature strong R&B dance tracks, some with roots in Jamaica and Africa (via Kool DJ Herc). These are 12 of my favorites out of about 100. I love the breaks of these songs -- they enabled the B-Boys to get off their best moves, creating a circle of people around them who would watch amazed as the best would battle in dance. I was one of those B-Boy dancers and one of the best in Harlem. I loved to travel up to the Bronx and battle with the Herculoids (Kool Herc followers): The Nigga Twins, Clark Kent, D.ST, DJ Coke La Rock, etc. When I went to Pete's gigs there was rarely any competition, except for when I battled Dancin' Doug from the Polo Grounds for the crown of Harlem. I lost that night at Nell's, so I think I was about the second best B-Boy in Harlem. What a feat -- ugh -- I mean defeat! But as for Kool DJ Herc (my other hero) and the Herculoids, they blasted NYC with a trend that soon became a culture for all the world to embrace. (Did you know I changed my name to Kool DJ Kurt for a while in 1976?)

DJ Hollywood was the first rhythmic disco rapper. Unlike Herc he was not confined to the South Bronx. He would DJ downtown, midtown, and throughout the five boroughs of New York City -- although he gained his fame at Club 371 in the Bronx. His flyers read: "Featuring the Golden Voice of DJ Hollywood."

Hollywood was mainstream disco, but he was also the first DJ to interweave that sound with rhythmic rap as we all know it. And unlike the DJs and MCs before him who were basically like radio announcers generating crowd participation, Hollywood put raps together in rhythm with chants -- with eloquent, simple rhymes and a lot of crowd response. "Everybody scream!" was his house-rocker, and "Throw ya hands in the air!" became a chant heard at concerts around the world.

In 1975, '76, and '77 Hollywood became New York's #1 DJ and, space permitting, could draw up to 2,000 people on any given night. During that time Club 371 became the #1 club in the city. I remember going there back in 1977. The lines wrapped around the block. It was impossible to get in if you didn't have the juice. Luckily I knew Reggie Wells, the club's musical director, who went to CCNY with Russell Simmons and I.

As with Pete DJ Jones and Kool DJ Herc, not only did Herc and Hollywood dislike one another, but neither recognized nor respected the other's contributions. For the most part, even their fans were different. The B-Boys were from the ghetto, while disco was for the middle class and the rich. But there was hip-hop in both worlds. It was the hip-hop tug-o'-war -- disco rappers versus the B-Boys.

DJ Hollywood became another hero of mine because of his great voice. The man had style and class. DJ Junebug, the DJ behind Hollywood, was just as exceptional as Pete DJ Jones and Grand Master Flash. Tragically, he was murdered in the early '80s. God bless you, DJ Junebug.

Grand Master Flash (Joseph Saddler) earned his name with his speed on the turntables. He rose to legendary status in the world of hip-hop right as Kool Herc's reign was ending. A B-Boy to the extreme, Flash's DJ style took Herc's playlist to the next level. He was the first (even though some say it was the Grand Wizard Theodore) to utilize "scratching" and "cutting" -- taking two records and keeping the break repeating continuously -- thus rearranging the song and creating an extended instrumental groove over which the MC or rapper could entertain the crowd with raps. Flash studied the techniques of Kool DJ Herc, Grandmaster Flowers, Maboya, Plummer, and Pete DJ Jones. But it was Flash's desire to emulate Pete's style while playing the "antidisco" music favored by Herc that led to his turntable experimentations -- and took hip-hop to the next level.

In 1974 Flash began playing parties in the neighborhood and gained quite a reputation for rocking the house. Two years later he teamed up with rapper Keith Wiggins, who soon became known as Cowboy, and the pair rocked parties throughout the South Bronx. (Note: Flash, a B-Boy, did not play the same circuit as Hollywood, a disco rapper, but they were both hot at the same time.)

In 1976 Flash and Cowboy were joined by Melle Mel (Melvin Glover), Kidd Creole (Nathaniel Glover), Mr. Ness -- aka Scorpio (Eddie Morris) -- and later Rahiem (Guy Williams). Who knew then that they would become the premier rap group of the early '80s? Grand Master Flash & The Furious 5 went on to gain immense recognition in the recording industry with several hit records.

I didn't get a chance to experience Flash until late '77, because I was a DJ and an MC myself, doing disco shows in and around New York. When I did see him perform at the Hotel Diplomat, there was a spotlight on his hands. He had rings on every finger, and the reflection of the spotlight on his rings made it seem as if his hands were sparkling as he cut up the beats. He was a most incredible DJ; he inspired me to get back to the B-Boy school of hip-hop. So it was a dream come true when I finally got the chance to work with Flash & The Furious 5 in 1978. We were called Grand Master Flash & The Furious 7 (Kool Kyle was the seventh MC).

Afrika Bambaataa is a bona fide hip-hop legend. He is affectionately known as the grandfather of hip-hop, having been a part of the movement since 1972. The former gang leader of the Black Spades, Bambaataa is the founder of the Zulu Nation, an organization dedicated to peace, love, and unity. The Zulu Nation is said to have worldwide membership of more than 400,000, including some of rap music's brightest stars. Celebrated master of the beats, Bambaataa is known to have more than 25 crates of records! His 1982 hit, "Planet Rock," is still a highly sampled reference standard.

I have talked about Flash and Bambaataa in Volume 1 because they were influential during these early days. Since their records actually came out later, I will mention them in the next volume as well. Also, Run DMC and I will be mentioned in Volumes 2 and 3 although we were significant back in these early days as well.

There were many MCs, groups, and DJs who participated during the beginning of rap, and they should not go unrecognized. This "family tree" traces their lineage:

Chart #1: The Early to Mid-'70s

In the beginning there was rhythm...until something else emerged from New York City's South Bronx: a rougher, rowdier spin on funk innovators like James Brown, George Clinton, Marvin Gaye, and Sly Stone. Rap. Based on the fundamentals of "beats" (copped off other people's records) and "breaks" (assisted by a turntable and some discreet crossfading), the MCs' contrasting delivery styles soon split along two camps: Disco and B-Boys.

Disco: Appealed more to black disco crowd and stressed crowd response over actual rhyming.

Pete DJ Jones -- New York's #1 DJ, c. early '70s. His mixing style and sound system kept 'em moving with MCs the Disco King and JT Hollywood.

DJ Hollywood -- c. 1974. One of the genre's early top New York DJs; assisted by DJ Junebug, who was murdered in the early '80s. Key record: "Hollywood's World."

Eddie Cheeba -- New York's #1 DJ, c. 1975-77, earning $2,000 a night.

"Love Bug" Starski -- Goes back to the days of Pete DJ Jones. His career peaked in the mid to late '70s. Kurtis Blow: "The only guy I ever saw who could play to both crowds. Nobody could mess with 'Love Bug'!" Key record: "Gigolette."

Early Originators:


Plummer
Maboya
Grandmaster Flowers (supported James Brown at Yankee Stadium).
All came in Jones' wake as disco DJs/MCs

Kurtis Blow -- né Walker; Kool DJ Kurt, c. 1976.
Felt drawn to both camps for different reasons: "When I saw Pete [DJ Jones], I realized it didn't have to be one or the other."

B-Boys: More in touch with the streets than their counterparts. Favored a tougher, rapid-fire rhyming approach.

Kool DJ Herc -- "The godfather of hip-hop"; despite his slight rhyming skills, his massive stature and sound system inspired such followers as...

"Herculoids"

Afrika Bambaataa -- Founded modern B-Boy style. Ex-Black Spades gang leader's 26 record crates made him a topflight DJ.

Grand Master Flash -- "Herculoid" who created his own aggressive turntable style. As Raheem notes: "To see Flash at that time, you'd be in awe. He'd catch [a record] in the air...handcuffed!" Accompanied by "Cowboy" Keith Wiggins, one of rap's first certified MCs, Flash formed Future Players. Often strapped for cash, they didn't seem strapped for acts, as attested by earlier efforts.

Paul Winley -- Issued two Bambaataa 12-inch singles in 1980, including "Zulu Nation Throwdown."

Bobby Robinson -- Enjoy Records (1979-82). Debuted Flash and crew ("Superrappin'") and Funky 4 + 1, which included future Furious Fivester Raheem, among others.

Sylvia Robinson, Joe Robinson, Joey Robinson Jr. -- Family-run Sugar Hill took over when Bobby Robinson of Enjoy Records dropped out of the scene.

Russell Simmons -- Then a local promoter (c. 1979-80), just taking it all in....

CHART #2: 1979-'84

Why is it so difficult to sort out hip-hop's maze of claims, counterclaims, and contradictions? Nobody worried about documenting what remained essentially a local scene, nor the diehard separation between the B-Boy and disco camps, which never acknowledged each other's contributions. With the success of Kurtis Blow's "Christmas Rappin'" (1979) and "The Breaks" (1980), along with "King Tim III (Personality Jock)" (Fatback, 1979) and "Rapper's Delight" (Sugarhill Gang, 1979), the original categories evolved into "just plain ol' rap!" as Kurtis would have it.

Grandmaster Caz -- His rhymes are said to have provided the backbone of rap's (and Sugarhill's) first big hit....

Sugarhill Gang -- Michael "Wonder Mike" Wright, Guy "Master Gee" O'Brien, and Henry "Big Bank Hank" Jackson. "Rapper's Delight," "8th Wonder," "Apache," "Funk Box."

The Treacherous Three -- "Feel The Heartbeat"

Grandmaster Melle Mel & The Furious Five -- "White Lines (Don't Do It)," "Jesse." Recruited new members and kept group's name for two years following the '83 split.

Sugar Hill Records
Rahiem: "The way they were able to get records on the street -- that was amazing! If we cut that week, the record was on the street next week."

Spoonie Gee -- "Monster Jam," "Spoonin' Rap," "Spoonie Is Back"

The Sequence -- Angie B, Cheryl the Pearl, Blondie. "Funk You Up," "Monster Jam," with Spoonie (well, what else would you call it?)

Grand Master Flash & The Furious 5 -- "The Message," "Freedom," "It's Nasty (Genius Of Love)," "New York, New York"
Flash -- Went to Elektra with Raheem and Kid Creole
Rahiem -- "Reflecting back, 'Message II (Survival)' and 'New York, New York' should have been on The Message album. That wasn't in our foresight, and I guess it wasn't in Sylvia's either."
Remained rap's preeminent group until discontent with their label, and internal dissension, led to court battle, then split into rival camps. Rahiem: "I remember one Christmas 'The Message' had been out a few months, and we were expecting some kind of money, and when it didn't happen, I remember the group pitching a bitch about it. When I say 'divided,' we were divided over our decisions, and when I say 'conquered,' we were conquered...over money. In the music business, you don't get what you deserve -- only what you negotiate."

Kurtis Blow -- Early successes led to supporting Bob Marley and the Commodores on tour and management by Russ Simmons. Russell's younger brother Joey Simmons (Run) broke his arm, so he couldn't DJ for Blow in 1980. No matter; Blow produced Joey's crew as well as the Fat Boys, who both reaped considerable benefits from Kurtis' guitarist, Larry Smith, and multi-instrumental DJ, Davy DMX!

Run DMC -- "It's Like That," "Sucker MCs," "Rock Box"

Fat Boys -- né the Disco Three, c. 1983. "The Human Beatbox" Darren "Buff" Robinson (died of cardiac arrest in '95), Mark "Prince Markie Dee" Morales, Damon "Kool Rock-ski" Wimbley

Afrika Bambaataa -- "Planet Rock," "Funk You," "Renegades Of Funk," all smashes on Tommy Boy Records.
Mr. Biggs
Pow Wow
MC G.L.O.B.E.
Jazzy Jay -- producer, "Jazzy Sensation"

"Love Bug" Starski -- "At The Fever"/"You Gotta Believe," 1983

Rob Base & D.J. E-Z Rock -- "It Takes Two"

Whodini -- "Friends"

UTFO -- "Roxanne, Roxanne"

Juice Crew -- Roxanne Shanté, M.C. Shan, Biz Markie, Big Daddy Kane. All off to solo careers.

Chart #3: 1984-Present

The mid- to late '80s marked a new reality: East meets West, with the new, California-based breed seemingly taking their counterparts to the cleaners, businesswise and saleswise. For example, Ice-T's earliest pressing deal with Macola Records guaranteed him 50 percent for every 12-inch record sold. N.W.A.'s main men, Dr. Dre and Ice Cube, have expanded on that capitalism to form their own production companies, labels, and spinoff ventures (has anybody forgotten the Wu-Tang Clan's "Wu Wear" yet?). Artistically, the genre split into "hard-core," with political and social commentary versus the in-your-face "gangsta" acts, who have earned razzes from Democrats and Republicans, critics, old-school acts, educators, and parent groups alike. "Music is always a reflection of where we are," quoth Rick Rubin. Indeed, what else is new?

West Coast

Duffy and Jerry Hooks -- Made first inroads with their 1981 "Gigolo Rapp" 12-inch.

L.A. Dream Team
The Egyptian Lover
Toddy Tee & Mixmaster Spade
Kurtis: "They did the first sing-rap, like Domino does..."

Ice-T
Widely regarded as the creator of the "crime rhyme"; early records like "6 In The Morning" and movie roles (Breakin' 2: Electric Boogaloo) paid off big in the studio. He hasn't looked back after the rough 1987's Rhyme Pays and landmarks like 1991's O.G. Original Gangster.

World Class Wreckin Cru
When Prince-style funk and braids didn't move the requisite units, along came an alleged drug dealer in Eric Wright (Eazy-E), whose profits helped fund Ruthless Records (thanks to a J.J. Fad smash in '88), and a new attitude.

Tupac Shakur (2Pac)
One of Death Row's biggest acts. His acclaimed roles in Poetic Justice and similar platinum sales weren't enough to prevent his 1996 murder in Las Vegas. His posthumous album, The Don Killuminati: The 7 Day Theory, moved units anyway.

Offshoots

By the '80s women had made inroads into what had been virtually an all-male preserve, including: Queen Latifah and Salt-N-Pepa.

Eric B. & Rakim -- Production wizardry proved no hedge against personal hassles. Key record: "Paid In Full"

N.W.A. (Niggas With Attitude)
Only two albums -- 1988's Straight Outta Compton, and '91's Efil4zaggin (read it backwards!) -- and both were hugely successful. The group fell apart in '91 due to business hassles, but they left their mark!
Dr. Dre -- Successful solo/production career. After N.W.A. split up, Dre established Death Row Records in 1992, where he recorded his solo album The Chronic, which sold three million copies and spent eight months in the Billboard Top 10. His first artist signing was Calvin Broadus, whom Dre rechristened Snoop Doggy Dogg, yielding the multiplatinum Doggy Style album along the way. By 1994 he'd rapped on or produced albums selling nearly 28 million copies.
Eazy-E -- d. 1995 of AIDS complications
Ice Cube -- Like Dre, Ice Cube (né O'Shea Jackson) has expanded his provocative stance into an awesome multimedia profile, including music production, a movie production company, movie roles, and of course a string of solo work, including 1990's AmeriKKKa's Most Wanted and 1991's Death Certificate, which Entertainment Weekly called "20 tracks of the most visceral music ever allowed in public." Despite protests from the Simon Wiesenthal Center and the Southern Christian Leadership Conference over his material's inflamatory stance, Cube seems hardly about to tone anything down for anybody. Why should he when his 1992 album The Predator topped Billboard's pop and R&B chats simultaneously -- the first album to do so since Stevie Wonder's Songs In The Key Of Life (1976)?
DJ Yella
MC Ren
(Solo careers)

East Coast
(Hard-core)

Run DMC -- Lost steam after failure of 1988's Tougher Than Leather movie and lawsuits against their label, Profile Records; came back strong with 1993's Down With The King album.

LL Cool J -- "Rock The Bells," "I Can't Live Without My Radio," "I Need Love"

Slick Rick
Two more successful parts of Russ Simmons' and Rick Rubin's Def Jam empire. Cool J grew into mainstream success (at last count, two possible versions -- clean and X-rated -- of his forthcoming autobiography are being discussed), while Rick went to prison for attempted murder (which yielded the aptly titled I Shouldn't Have Done It album). Two different stars, two different tales! Kurtis: "[Rick] definitely acted that way...off the record!"

Public Enemy -- "Miuzi Weighs A Ton," "Don't Believe The Hype," "Welcome To The Terrordome"
Chuck D and Flavor Flav -- Rappers
Terminator X -- DJ, cuts Professor Griff -- Minister of Information
Picked up political direction when other Def Jam earners lost ground. Yo! Bum Rush The Show (1987), It Takes A Nation Of Millions To Hold Us Back (1988), and Fear Of A Black Planet (1990) set a higher, socially conscious standard. Flav's string of drug busts and Chuck's growing multimedia profile (Slam Jamz Productions) have put the group on hiatus, though a new album is rumored for this year.

Boogie Down Productions -- "Stop The Violence"
Begun by KRS-One and DJ Scott La Rock (killed, 1987) along similar lines as Public Enemy. By Any Means Necessary (1988), Ghetto Music: The Blueprint Of Hip Hop (1989), and Edutainment (1990) raised the genre's political consciousness and added D-Nice along the way

-- Researched, compiled, and designed by Ralph Heibutzki
-- Graphics: Lisa D. Quinlan

As you can see, there are many artists who stake legitimate claims to their part in the genesis of rap music. Pick your favorite. As for me, I love them all. In the end, we're all in the same gang, pieces of the same puzzle that is the history of rap. The history lesson will continue with Volume 2....

-- Kurtis Blow

There is no holiday season without "Christmas Rappin'," and there was no 1980 without "The Breaks," thanks to B-Boy, disco DJ, and old-school rap pioneer Kurtis Blow. His first five albums helped launch the international rap attack that revolutionized the music industry. His creation of the sample loop changed the way rap records are made.

Blow's seminal hit "The Breaks" was the first certified-gold rap record. Another of his major hits, "If I Ruled The World," was recently covered by star rapper Nas. Kurtis currently hosts a weekly old-school hip-hop radio show on KPWR (Power 106-FM) in Los Angeles.

*****

ну надо же думал не дождусь......спасибо Зайка !!!!! Respect !!!

да не за что...это на самом деле было очень просто...если ещё что нить надо будет обращаяся!

да Я знаю что просто....просто Я за компом максимум на 10 - 15 минут да и то не до этого почту проверяю и всё.......спасибо Зайка !!!!