![]() Pete DJ Jones, a transplant from North Carolina, was popular in Manhattan club circles. David Corio/Michael Ochs Archives/Getty Images A couple more James Brown songs you can put in there like “Soul Power” and “Sex Machine,” and “Escape-ism,” “Make It Funky” - songs like that.Īfrika Bambaataa, 1980. “Shaft in Africa.” “Apache” by Michael Viner’s Incredible Bongo Band. You got “Scorpio” by Dennis Coffey and the Detroit Guitar Band. There was a special playlist of B-boy songs, break dance songs - I can rename right now about 10 of them: “Give It Up or Turnit a Loose” by James Brown, “Get Into Something” by the Isley Brothers, “Listen to Me” by Baby Huey, “Melting Pot” by Booker T. Kurtis Blow (artist, producer): He played the music that we wanted to hear. MC Debbie D (artist): When Kool Herc comes out and he starts playing music, and then other notable DJs get involved - Bambaataa, Flash, L Brothers - and they start playing their music, we’re all going to the jams. Herc was the commander, putting people in place. Sadat X (artist, Brand Nubian): I remember Herc being this larger-than-life figure, just muscles, with the glasses on. ![]() Grandmaster Caz (Cold Crush Brothers): Herc was a mythical figure in the neighborhood. The dance was around before hip-hop the actual dance style was developed from playing soul music and that playlist that. Kurtis Blow (artist, producer): A big part of hip-hop is break dancing, B-boying. N.W.A, Gladys Knight Score Laughs, Praise With Lifetime Achievement Grammys DJ Kool Herc enlisted the help of his friend Coke La Rock, regarded as hip-hop’s first MC, as La Rock adapted toasting by shouting out the names of friends and encouraging partygoers to dance. Acrobatic dancers known as B-boys, B-girls, and breakers (the media eventually labeled them as break dancers, a term still in wide circulation today) flocked to DJ Kool Herc’s parties to compete in dance circles - no longer having to wait out lengthy songs for a brief moment to get down. He hosted popular block parties and created Kool Herc & the Herculoids with Clark Kent. At the party, before an appreciative audience of neighborhood teenagers, DJ Kool Herc performed his “Merry-Go-Round” technique of isolating and prolonging the breakbeat sections of songs (the drum patterns used in interludes - breaks - between sections of melody) by switching between two record players.ĭJ Kool Herc became a folk hero in the Bronx as his parties attracted larger and larger crowds. ![]() By then, the teenage Campbell had assembled his own massive sound system, along with an eclectic record collection that included selections from James Brown and the Incredible Bongo Band. On August 11, 1973, Campbell hosted a back-to-school fundraising party for his sister, Cindy, at 1520 Sedgwick Avenue in the west Bronx - and he is widely credited with birthing hip-hop on that day. Campbell involved himself in the city’s emerging graffiti scene - which had arrived after originating in Philadelphia - and assumed the tag name Kool Herc. Campbell arrived in the Bronx during the reign of feel-good disco music, which intersected with the civil rights era and the dire financial straits of a New York City that was facing a declining population and labor unrest. In Kingston, Campbell had become infatuated with the reggae and dub music that blared from giant portable sound systems, and DJs who toasted or talked over instrumental tracks. ![]() In this exclusive excerpt from “ The Come Up: An Oral History of the Rise of Hip-Hop,” Abrams tells how the infamous 1977 New York City blackout helped electrify a sound and cultural force.Ĭlive Campbell migrated as a child with his family from Jamaica to the United States in the late 1960s, leaving one country roiled by political instability for another. Abrams traces the music’s humble beginning in the Bronx and DIY block parties to some of the most popular music in the world today. Journalist Jonathan Abrams spent the last four years compiling an enlightening, entertaining, and deeply researched history of hip-hop.
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