1970s-Present SECULAR Rap/Hip-Hop BACK TO A TIME LINE ROCK HOUSE ELECTRO-FUNK DETROIT TECHNO NEW JACK SWING HOLY HIP-HOP/CHRISTIAN RAP DISCO FUNK JAZZ HIP-HOP FUSION G-MAN Park Jam in the Bronx Rap music is stylistically and lyrically diverse, representing a range of experiences and worldviews that characterize the multiple and changing voices among African American youth. Rap is original poetry recited in rhythm and rhyme over prerecorded instrumental tracks. Rap music (also referred to as rap or hip-hop music) evolved in conjunction with the cultural movement called hip-hop. Rap emerged as a minimalist street sound against the backdrop of the heavily orchestrated and formulaic music coming from the local house parties to dance clubs in the early 1970s. Its earliest performers comprise MCs (derived from master of ceremonies but referring to the actual rapper) and DJs (who use and often manipulate pre-recorded tracks as a backdrop to the rap), break dancers and graffiti writers. From its humble beginnings in the Bronx, NY, rap music has moved into the mainstream, redefining the soundscape and character of American popular culture and contributing to the growth of a billion-dollar entertainment industry. Hip-hop music culture is a product of African American, Afro-Caribbean and Latino inner-city communities plagued by poverty, the proliferation of drugs, and gang violence in the 1960s and early 1970s. Some MCs and DJs were members or former members of gangs who used DJing, dancing, and MCing as an alternative to gang warfare. DJ Kool Herc gave the community its blueprints and its first brand of hip-hop music, called b-beat. Hip-hop DJs and MCs originally performed in local house parties and community centers, city parks, neighborhood block parties, and, eventually, local clubs. By the mid-1970s, performance venues included local clubs whose proprietors recognized the commercial potential of this artistic expression. Record and film producers then noticed and began to capitalize on hip-hop culture. Sylvia Robinson of Sugarhill Records introduced rapping into the mainstream with the release of "Rapper's Delight" (1979) by the Sugarhill Gang. In the 1980s several commercial hip-hop films such as Wild Style (1982), Style Wars (1983), Beat Street (1984), Krush Groove (1985) and Disorderlies (1987) flooded the market with the sound of rap. Major record companies formed partnerships with independent labels and producers specializing in rap music. MCing evolved into the rap music industry while DJing went underground and re-established itself as turntablism (the art of manipulating music with LP records and mixers to create unique rhythms and sounds). Changes to the musical production of hip-hop, along with growing stylistic diversity and advances in technology, led to the community-imposed concept of an old and new school. The “Old School” is associated with the period from the early 1970s to the mid-1980s. Initially, DJs were the featured attraction, juggling beats amplified through large sound speakers and shouting praises and catch-phrases to incite crowd participation. Pioneering DJs include Kool Herc and Afrika Bambaataa, Grand Wizard Theodore, Grandmaster Flash, and Grandmixer D.ST. When their musical collages and turntable manipulations became so complex that they required their full attention, DJs included a crew of MCs to engage and interact with the crowd of dancers. Grandmaster Flash transferred his street or live mixing style to the studio on “Grandmaster Flash on the Wheels of Steel” (1981). A year later, Afrika Bambaataa ("Planet Rock" 1982) advanced the studio DJing tradition through the use of synthesizers, the 808 drum machine, computers, and analog and digital recording machines and other advanced technologies influenced by Kraftwerk’s “Trans-Europe Express” (1977), and “Numbers” (1981) coupled with funk aesthetics such as Captain Sky’s “Supersperm” (1978) and the rock-style of Babe Ruth Band’s “The Mexican” (1972).
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🐉🔥🔥🔥🔥🔥🐉
1970s-Present
SECULAR
Rap/Hip-Hop
BACK TO A TIME LINE
ROCK HOUSE
ELECTRO-FUNK
DETROIT TECHNO
NEW JACK SWING
HOLY HIP-HOP/CHRISTIAN RAP
DISCO
FUNK
JAZZ HIP-HOP FUSION
G-MAN Park Jam in the Bronx
Rap music is stylistically and lyrically diverse, representing a range of experiences and worldviews that characterize the multiple and changing voices among African American youth.
Rap is original poetry recited in rhythm and rhyme over prerecorded instrumental tracks. Rap music (also referred to as rap or hip-hop music) evolved in conjunction with the cultural movement called hip-hop. Rap emerged as a minimalist street sound against the backdrop of the heavily orchestrated and formulaic music coming from the local house parties to dance clubs in the early 1970s. Its earliest performers comprise MCs (derived from master of ceremonies but referring to the actual rapper) and DJs (who use and often manipulate pre-recorded tracks as a backdrop to the rap), break dancers and graffiti writers.
From its humble beginnings in the Bronx, NY, rap music has moved into the mainstream, redefining the soundscape and character of American popular culture and contributing to the growth of a billion-dollar entertainment industry. Hip-hop music culture is a product of African American, Afro-Caribbean and Latino inner-city communities plagued by poverty, the proliferation of drugs, and gang violence in the 1960s and early 1970s. Some MCs and DJs were members or former members of gangs who used DJing, dancing, and MCing as an alternative to gang warfare. DJ Kool Herc gave the community its blueprints and its first brand of hip-hop music, called b-beat. Hip-hop DJs and MCs originally performed in local house parties and community centers, city parks, neighborhood block parties, and, eventually, local clubs. By the mid-1970s, performance venues included local clubs whose proprietors recognized the commercial potential of this artistic expression. Record and film producers then noticed and began to capitalize on hip-hop culture. Sylvia Robinson of Sugarhill Records introduced rapping into the mainstream with the release of "Rapper's Delight" (1979) by the Sugarhill Gang. In the 1980s several commercial hip-hop films such as Wild Style (1982), Style Wars (1983), Beat Street (1984), Krush Groove (1985) and Disorderlies (1987) flooded the market with the sound of rap. Major record companies formed partnerships with independent labels and producers specializing in rap music. MCing evolved into the rap music industry while DJing went underground and re-established itself as turntablism (the art of manipulating music with LP records and mixers to create unique rhythms and sounds). Changes to the musical production of hip-hop, along with growing stylistic diversity and advances in technology, led to the community-imposed concept of an old and new school. The “Old School” is associated with the period from the early 1970s to the mid-1980s. Initially, DJs were the featured attraction, juggling beats amplified through large sound speakers and shouting praises and catch-phrases to incite crowd participation. Pioneering DJs include Kool Herc and Afrika Bambaataa, Grand Wizard Theodore, Grandmaster Flash, and Grandmixer D.ST. When their musical collages and turntable manipulations became so complex that they required their full attention, DJs included a crew of MCs to engage and interact with the crowd of dancers. Grandmaster Flash transferred his street or live mixing style to the studio on “Grandmaster Flash on the Wheels of Steel” (1981). A year later, Afrika Bambaataa ("Planet Rock"
1982) advanced the studio DJing tradition through the use of synthesizers, the 808 drum machine, computers, and analog and digital recording machines and other advanced technologies influenced by Kraftwerk’s “Trans-Europe Express” (1977), and “Numbers” (1981) coupled with funk aesthetics such as Captain Sky’s “Supersperm” (1978) and the rock-style of Babe Ruth Band’s “The Mexican” (1972).