How Did Hip-Hop Start - Research Paper Example

?One of the most difficult aspects of seeking to trace the origin of a particular form of music is with regards to whether you ultimately trace the influences for the individuals that first channeled these influences as a means of explaining the ultimate origin of the genre. For purposes of this brief analysis, the author will focus upon the individuals that brought hip-hop to prominence. In addition, a brief an ancillary discussion will be raised with regards to the influences that contributed to the genres prevalence and somatic elements enjoyed within it. It is the further hope of this author that by engaging with the information within this essay, the reader will calm to a more full and complete understanding of the way in which and pop music was born and why it has developed in the unique way in which it has. As with many forms of art and expression, hip-hop was born during the early 1970s. Beyond merely giving birth to this defining genre of uniquely American music, this particular decade, as well as the one which preceded it, was fertile ground for the development and expression of new art forms, music, means of understanding, philosophy, and a range of other expression and thought related activities. Due to the way in which society was beginning to cast off the balance that it previously defined it and actively seeking to create new realities and means of expression to fit the needs and trends of the current generation, hip-hop was yet another in a long line of new wave expressionism that ultimately caught on and has prevailed for over 40 years now. Just as with rock ‘n roll before it and jazz before rock ‘n roll, hip-hop has its roots in the evolution in combination of many other types of music. In such a way, it cannot and should not be understood by the reader that the Apollo is somehow unique and was ultimately created from any type of a blank slate. Rather, it was merely the evolution of different textural and musical elements that existed long before the label of hip-hop was appropriately able to be applied. Historically speaking, the earliest exhibition of hip-hop music took place in New York in the year 1973 (Alridge & Stewart 191). Accordingly, the DJ who was presiding over a birthday party at the time was originally of Jamaican descent and referred to by his stage name as DJ Kool Herc. Contrary to popular belief, hip hop music was not originally an American invention. Although one can of course claim that due to the fact that it of all within the United States, it somehow holds the title of being American, the fact of the matter is that DJ Kool Herc was originally Jamaican and had only come to the United States three years prior to exhibiting this unique style of music within the birthday party he presided over. Before delving into the actual nuts and bolts of how hip-hop was defined within DJ Kool Herc’s individual style, it is necessary to discuss some of the primal influences that he experienced within Jamaica. Firstly, it can and should be understood by the reader that Jamaica represented a unique environment in which former African slaves far outnumbered Caucasians. As a function of the way in which British trade, sugar plantations, run manufacturing, and slave trading were affected for much of Jamaica’s history, this demographic differential was realized. In such a way, as compared to the United States Jamaica had a more homogenous culture that shared in distinct societal, musical, religious, and other levels of self identification and oneness. In such a way, DJ Kool Herc’s early influence was with regards to the fact that he was raised in the capital of Jamaica, Kingston, and regularly accompanied his father’s band in many musical performances (Brunson 7). One particular aspect of DJ Kool Herc’s style that was developed and evolved within Jamaica was with regards to how he emulated the toasting style that many Jamaican DJs utilize as a means of talking over four toasting the records he spun. This in and of itself was a primal influence with regards to the way in which hip-hop eventually came to be dominated by poetic spoken words set to beat. With regards to how these primal influences all came together in order to create hip-hop under DJ Kool Herc’s influence, one biographer noted the following: “I was noticing people used to wait for particular parts of the record to dance, maybe [to] do their specialty move." This realization of the fact that individuals within the audience were ultimately standing around and waiting for the drumbeats or the moment in time in which instrumentation would cease in lieu of, prompted DJ Kool Herc to seek to integrate these desires with what the crowd actually wanted to hear. This practice ultimately came to be defined as break dancing; due to the fact that the break in the instrumentation allowed for the individuals on the dance floor opportunity to dance to a more full and complete level than they would previously have been allowed to do within traditional forms of popular music at that time (Woldu 19). Little by little, DJ Kool Herc began to achieve notoriety in around the Bronx region of New York. As he began to throw more and more parties and his unique style began to be heard by more and more individuals, key aspects of hip-hop were born; this at a time in which the term hip-hop was still six years from formally being recognized. Ultimately, this style was concentric upon DJ Kool Herc utilizing the musicality of prior artists and mixing in his signature break beats and voiceover MC as part of his unique style. Although it is not the intent of this author to minimize the role in which DJ Kool Herc had in formulating and defining elements of hip-hop, it was ultimately not his own music that survived the test of time. Rather, the wave that he inspired and the artists that key encouraged with the ones they continued the movement long after he had faded from notoriety. As with most avant guard forms of artistry, DJ Kool Herc was far ahead of his time. As such, the three most important early hip-hop songs that help to define the genre and development to a more complete and nuanced degree are as follows: In the Jungle Groove’s “Give It Up or Turn It Down”, The Isley Brothers “Get Into Something”, and Booker T. & The M.G.’s “Melting Pot”. With respect to “Give It Up or Turn It Down”, this particular song became something of a hip-hop national anthem due to the fact of its widespread popularity, a level of popularity that DJ Kool Herc was never able to enjoy, and the fact that the musical composition of this particular piece allowed for the type of breaking dance battle to ensue between the members of the audience. This of course came to be seen as some of the first dance offs related to this genre of music that ever occurred (Alridge 236). Likewise, The Isley Brother’s piece “Get Into Something” took the idea of the drumbeat even further and created distinctive running baseline that the fines so munch of current hip-hop/rap music within the modern era. Lastly, “Melting Pot” evokes some of the evolutionary types of influence that helps develop hip-hop as its own unique style. For instance, when listening to “Melting Pot”, the listener becomes keenly aware of the fact that jazz as well as elements of rock ‘n roll have heavily influenced upon the creation of this particular piece. In such a way, it is the hope of this author that after reading the preceding discussion and analysis of hip-hop and its birth, one will be able to calm to the realization in conclusion that hip-hop not only was an evolution from existing forms of music but was like any other development something that links the artistic talents and expressions of a number of different individuals in order to fully manifest itself. Moreover, rather than denoting hip-hop as a uniquely American expression, it should be understood by the reader that it was influence by American individuals; however, it was ultimately first exhibited by a non-native of the United States, DJ Kool Herc; a Jamaican. Works Cited Alridge, Derrick P. "From Civil Rights To Hip Hop: Toward A Nexus Of Ideas." Journal Of African American History 90.3 (2005): 226-252. Academic Search Complete. Web. 5 May 2013. Alridge, Derrick P., and James B. Stewart. "Introduction: Hip Hop In History: Past, Present, And Future." Journal Of African American History 90.3 (2005): 190-195. Academic Search Complete. Web. 5 May 2013. Brunson III, James E. "Showing, Seeing: Hip-Hop, Visual Culture, And The Show-And-Tell Performance." Black History Bulletin 74.1 (2011): 6-12. Academic Search Complete. Web. 5 May 2013. WOLDU, GAIL HILSON. "The Kaleidoscope Of Writing On Hip-Hop Culture." Notes 67.1 (2010): 9-38. Academic Search Complete. Web. 5 May 2013. Read More