Fact: the first rappers wasnt from da Bronx... they was Pimps down south

[IllmaticDelta]

As far as the origin of knowing about the "break" part of the record

Yes, the Disco Dj's were aware of the break and some of them stuck to the break part. The main difference between what most of the Disco DJ's did and what Herc/later hiphop dj's did was that the HipHop DJ's stuck to the break and looped it over and over whereas the Disco DJ might tease with the break for a bit but still play the rest of the record.

On Herc dj'ing style. At his early jams he attempted to play many things, Reggae included but the crowd didn't like it. At this point, early on, the crowd was basically all black (black american and West Indians) because Puerto Ricans hadn't caught on yet. They wanted to hear Funk music so that's what he played. He was playing the entire song on one turtable at this point. As time went by Herc realized that the crowd would get really hyped during the "break" (basically the part when the music kinda drops out and all you hear in the drummer or the bass) parts of the Funk songs which lead him to only playing the break parts of the songs. He did this in by borrowing the Disco technique of 2 turntables to play 2 records so he could string breaks together. His technique was crude and not up to par with Disco style djing but he called it the "Merry Go Round".

 

[IllmaticDelta]

A little more on the Disco DJ's

.
.
.



vs the Herc, Bronx crowd

 

[K.O.N.Y]

bugs please take your medication...

"thier would be no HIP HOP without JAMAICAN MUSIC CULTURE!"





Jamaican Deejays would Toast (rap) on the mic while the selector (turntabilist) would spin a dub riddem (instrumental track) matter of fact Kool Herc had a crew of mic men (m.c's) whom were referred to themselves as TOASTERS......which was basically the root of the chants and poetic slogans i.e (say hoe....everybody scream!) that would lead to modern day rapping in the MC style...

and keep in mind...all this was taking place in Jamaica , 20 years prior to what Rudy Ray Moore was doing in those blackexploitation flicks and stageshows.....men like Count Matchuki , Lord Comic, Dennis Alcapone, U Roy, Jah Stitch aka Uglyman were toasting or as the yankees say RAPPING along to vinyl being spun..that my friend is the DIRECT LINK and BIRTH OF HIP HOP.

Its more accurate to say their would be no hip hop if it wasn't for funk and disco music

"Toasting" as it is called over there, was being done by black americans way back in the thirties.

Hell jamaican music as we know it would be a lot different without AA influence. If we want to take it their

 

[IllmaticDelta]

More on the Disco side

Founding Fathers: Before The Bronx

History is always up for debate. For instance, DJ Kool Herc, the Godfather of Hip-Hop, officially “started” Hip-Hop culture that fateful evening he DJ’d his sister’s birthday party in The Bronx in 1973, right? While those details are generally accepted as gospel, there are DJ’s in the boroughs of Brooklyn and Queens, contemporaries of Herc, that would beg to differ.

Enter

Hasan Pore and Ron “Amen-Ra” Lawrence. The childhood
friends grew up in Queens, jamming in its parks and pretty much oblivious to
whatever parties were going down in the BX. “We need to tell our version, to
let them exactly know what was going on in other boroughs as well,” says
Lawrence, one of Bad Boys original Hitmen producers
and a member of the group 2 Kings In a Cypher with Deric “D-Dot” Angelettie.
Together, Pore and Lawrence have created a documentary called Founding Fathers, with the goal of
shedding light on Hip-Hop’s too often forgotten originators.


We’re not trying to discredit the Bronx,” emphasized Pore before adding, “there’s
just another story.” So no, Pore and Lawrence are not looking to smear the legacy of one Kool Herc.
What they do want is for proper credit to be given to more individuals worthy of the label “pioneer.”


Sounds fair. Here is what they had to say.

AllHipHop.com: What sparked the idea to

do this project?

Hasan Pore: We were just sitting down and
talking about the dates that are out there as far as the history with Kool Herc. And we just went back
and realized that in ’74, the same thing was going on in our neighborhoods and
actually was going on before ’74. You know we just started putting our dates
together and really realized, “Wait a minute, we really were jamming in
the parks prior to ’74.”

So we started getting in contact with a lot of DJs in our neighborhoods and
started talking to these guys and they were basically like, “Yeah we were
definitely doing it prior to ’74,” and they never knew of anyone else from
the Bronx doing it ‘til later on.



Ron “Amen-Ra” Lawrence: Hasan and I—we grew up together. I knew Hasan since I was 7 or 8 years old. So as we were growing up, we took our experiences into the music game. So you know I started off as
the MC, DJ, and then went on into producing. Coming from various boroughs,
everybody had heroes. So cats from the Bronx came out, they were the ones to
take it to move up to the next level. So when they looked to their heroes, they pointed to Kool Herc.

So you know, me coming out the game, and Hasan, being
successful in the game we point to our heroes. Just being that the lights
wasn’t shining in Queens first, we never got to tell our story first. So that’s one of the reasons we went back to say, “You know what, we need to tell our version, to let them exactly know what was going
on in other boroughs as well.” Because as they’re concerned, it never existed, because they didn’t know about it.

AllHipHop.com: Now who are some of those heroes of yours?

Amen-Ra: You have Newsounds, you have Disco Twins, you have King Charles,
you have Grand Master Flowers…

Hasan: Dance Master. Infinity Machine.



Amen-Ra: Heating Machine. But if you ask anybody in Queens, they’ll tell you, “Hey this is what i knew growing up.” They didn’t know about Kool Herc, because they wasn’t in the Bronx.

Hasan: The way the clip looks it looks as if
we’re going at the Bronx [but] we’re not going at the Bronx in no fashion.
We’re basically just telling our history. And it just so happens that the
history that’s being told out there is that it started in the Bronx in ’74.

We’re not coming out trying to diss anybody or anything,
it’s just that if you know the way history is written, it’s just people are gonna comment and you know it’s just gonna-like Ron said, we’re just putting it out telling our history of what we see when we
were growing up and what we see playing in the parks. We all heard of theseguys, you know [Grandmaster] Flash and all these guys but it was just a little later.

Back then, it’s not like today where you just travel all over New York. When you lived in Queens, you stayed in Queens, you lived in the Bronx, you stayed in the Bronx. You might have
traveled because you had family in another borough or something, but the
culture you grew up in was basically where you lived.


AllHipHop.com: So in Founding Fathers y’all covered
pioneering DJs from Queens & Brooklyn, anywhere else?

Hasan: No. Honestly when me
and Ron talked about doing this, we were just really doing the Queens
theme. But after we talked to these guys, they told us about people that were
in the circle of DJs, and that’s how we ended up going to Brooklyn. And then we
ended up going to the Bronx because you know we got Pete DJ Jones, he’s from
the Bronx.

The story is not just we’re saying that Hip-Hop didn’t start in the Bronx, we’re
just saying it pre-dates the 1974 ‘cause Pete DJ Jones, this guys in his 60s
and he was playing music in the Bronx in the late ’60s.

Amen-Ra: This is where it gets
separated because you got cats like [DJ] Hollywood who we got as well. But the
problem with that is it’s kind of separated because they kind of start with Kool Herc and they leave out the
cats before them because they try to say,

“These cats were Disco DJs, so we’re gonna start with Kool Herc,” you
know what I mean? So what that does is kind of exed those guys out. It kind of ex’s out Hollywood’s legacy as well.
If you look back, the Disco didn’t even exist, it was just all about playing what
was hot. A lot of these cats were digging in the crates, they were finding the jewels. That became a major
problem because none of that stuff existed. I mean the word “Hip-Hop”
didn’t even exist at that time. It was just that whatever they thought was hot,
when they heard the break part of a record, that’s just what was going on.
Everybody had two turntables and a mixer, they was doing they thing.

AllHipHop.com: No pun intended, but
would you say that is when the break happens? Because from what I’ve read and
speaking to people names like DJ Jones and Hollywood get mentioned as “precursors”
but that it was Herc, Bambaataa and Flash that were heavy into the breakbeats.

Amen-Ra: Well they got it from them!

Hasan: Let me answer this one. Like Ron said
we’re talking before the Disco era. There was no word for Disco, that word
wasn’t even invented yet. And these guys started playing music even before the
mixer was invented. So they had to learn to go record to record, and you’re
talking about playing with 45s. So they had to extend the records. So they were
playing the intros, the 4-bars or whatever, the little break part—they was doing that.

All the records that Herc, Flash and all these guys were
using, those records weren’t “Hip-Hop” records. You’re talking about from Jazz,
to Rock, or to whatever. And then people put a title on it. “Mardi Gras” [Bob
James “Take Me to the Mardi Gras”] is probably one of the biggest break beats, that’s a Jazz record. So who determined that was a Hip-Hop record? That title came later, that title came in the ’80s.

Amen-Ra: And even after the Disco era
came in, I mean I don’t know why these guys are ashamed of the Disco era, but
Hip-Hop had such an impact before it was even Hip-Hop. Disco had such an impact
on that scene that 90 percent of those break beats, were Disco records. You
know what I’m saying. I mean I can go down a list. I mean there’s “Frisco Disco”, there’s “I Can’t Stop,” the “Freedom” record which Flash and em’ put out, then you had “Good Times” [Chic] which was “Rapper’s Delight”, you had “8thWonder.” I mean all those records, that was the time.

Flash’s right hand man was Disco (Beat), they partied at the Disco Fever you know. Kurtis Blow says “Rapping
to the Disco beat!” on “Super Rappin’,” which was part of the “Good Times” Disco record.

Hasan: You had the Crash Crew in Harlem, Disco Dave…

Amen-Ra: Disco Dave and Disco Mike.

Everything was Disco this, Disco that. They tried to separate it like it didn’t
exist. And you can’t do that because that was a sign of that times.

Hasan: Just like back in the day, before it
was named Hip-Hop, it started from something, it morphed into something else,
but it had its seed somewhere. You know someone didn’t come out of no where and
just start saying “Oh I’m gonna start cuttin’ and scratchin’.”



AllHipHop.com: No doubt, everything is in different stages.

Amen-Ra: The thing is, like Herc, Flowers…they may have not been cuttin’ and stratchin’ but the whole idea of playing in the parks with the systems, and if you prefer to say mixin’ back-in-forth- or switchin’ back-in-forth—it
existed. Cats would say, “Well it wasn’t Hip-Hop because they weren’t cuttin’ and scratchin’ and they
weren’t spinning on their backs. So therefore it wasn’t Hip-Hop.” But you can’tsay that.

Hasan: Yeah because it wasn’t even called
Hip-Hop back then. You know we’re just jammin’,
listening in the parks. That’s all it was. Kool Herc, I was told his history is that he was the first one,
he didn’t cut, he didn’t scratch, he didn’t do none of that; he just played records. So is that Hip-Hop just because you’re playing records in the park? If people want to take that stance- even if they want to
include that and say, “Ok that was Disco”, you can’t include it. The whole idea if taking your equipment to the park and playing music, that’s where the whole thing came from—playing music in the parks. When you grew up,
everybody wanted to have two turntables and a mixer. That was the culture back in the ’70s.

Amen-Ra: I think the difference was in
Queens and in Brooklyn, there was more emphasis on the
sound systems. Up in the Bronx, they had sound systems but they didn’t compare
to what Queens and Brooklyn had.



AllHipHop.com: How so?

Amen-Ra: When they saw Kool Herc’s stuff, or they saw
someone else for that matter, it looked monstrous to them, you know, it looked
ridiculous. But when it came to Queen, the stuff didn’t compare. It was a whole
other level.



AllHipHop.com: As far as features or how loud it could get?

Amen-Ra: It had a lot to oi with the quality and the amount of money spent on the
equipment.

Hasan: It’s like you having someone outside
playing music with the house system. Then someone comes with a professional
sound system, and these guys were playing with the professional sound systems.
These guys played in clubs back then. They brought their professional sound
system to the club. Like when Flash came to Queens, he didn’t have a sound system. Whenever he played,
and I’m talking about indoors, he would play on someone else’s sound system, hedidn’t have a system.

Amen-Ra: He may have had one, but it wasn’t a powerful to the point that…

Hasan: That’s what I’m saying. When I say
system, I’m not talking about no house jam, I’m
talking about a real system. He didn’t have that. When he played in different
places indoors, he never came to Queens with his own sound system. He came and
he played on King Charles, Infinity Machine, the Disco Twins—he played on
their systems. And then when he played on their systems, it was a whole
different thing because they were using real studio quality mixers; not the cheap mixers, not the cheap turntables, none of that.

 

[IllmaticDelta]

cont

Amen-Ra

: Yeah. And they had the Disco
Twin Sound System. Disco Twins played a big part later on in the game,
especially for like Bronx parties and stuff. So if it wasn’t sound systems you
heard in the club, they were using the Twin’s stuff whether it was in the
Superstar Cafeteria or whatever.



AllHipHop.com: For these DJs covered in

the Founding Fathers documentary what
were the crowd’s demographics like compared to like say Herc
or Bambaataa? I ask because been noted they had more
of the youth following them because in the example of DJ Jones, he was playing
in clubs where teenagers couldn’t get in.


Amen-Ra: When you talk in the parks,

you’re talking youth.



Hasan: Also remember that if you were 7, 8
years old and you lived a couple of blocks from the park, and you just heard
that bass, you just heard the music. Maybe you couldn’t stay for the whole
thing, but you went to see what was going on. And that was the scene, Everyone was just partying and if you were the young buck, you was probably standing in front of the turntables behind the rope looking at
the guy like, “What is he doing?” Like I said, that was the seed that was planted, that was what made everybody want to become a DJ.



Amen-Ra: If you look at the history the
way things evolved, eventually the sound systems took the backside because it
became deemphasized [in favor of] the turntable. And then when the scale of the
turntable became popular…the MC always assisted the DJ. But when the record
deal came into play, guess what? The DJ took a backseat. The DJ wasn’t the star anymore, it was about the MC. So everything evolves into the next stage.



AllHipHop.com: So Founding Fathers,
when can people finally get to see the entire documentary?

Hasan: We’re getting ready to put a website
up. I want to get you some clips so you know where you can get it on your site and we
can start getting this thing moving.

AllHipHop.com: When did y’all start creating this

project?

Hasan: The project started about three years

ago.

AllHipHop.com: Did you have any difficulties

trying to track down some of these cats, or was everybody forthcoming?

Hasan: I mean it was difficult trying to get in contact with some of the people, but once we told them what we were doing,
they were basically like “It should have been done a long time ago.”
Like a lot of people- you know a lot of these DJs, they felt like they were
never a part of the history, and they know that they are. So they’re looking at
this like it’s about time and people are going to know.

When we talk about Herc, Flash and all these guys, they
know these guys. They played with them. It’s just that they were never a part
of the history. No one ever mentioned them. So it’s not like someone’s mentioning names that nobody knows or anything. As far as Brooklyn and Queens, if you’re over 35, you’ve heard of these dudes.



AllHipHop.com: Have ya’ll tried to
reach out to Herc or Flash to hear what they had to say?

Hasan: Naw,

the reason we didn’t is because their story is already told. So it didn’t make
sense. Everybody knew their history already and this is not their story.

Amen-Ra: And let me say this too, my brother [Dance Master] was a DJ, so he was my influence growing up as a kid. He had a Richard Long sound system. Now Richard Long was like the man who put all the sound systems in the major clubs in New York City. The Garage, Studio 54, I mean that’s just to name a few. My brother was like the first to come out with the console. That was like the turntable coffin to the streets. They hadn’t even seen that before. This became a street thing because the Disco Twins took the torch to the next level because when the Disco Twins saw my brother’s system, he introduced him to the whole Richard Long thing, and then he took the whole console thing and moved it around the rest of New York City. So that was
a big deal because that’s a part of Hip-Hop.


That console…I mean every DJ that had turntables and a mixer, had a console now.
Whether it’s a CD turntable, whatever it is right now it’s in the console. One
time Richard Long had to have the patent for that because he owned it. Then you
had cats from Manhattan, DJ Hollywood the cat that they don’t even want to
involve him in, and this is the cat that came up with the, “Let me hear you say ho,” “Throw ya hands in the air,
and wave them like you just care,” every MC points at that. How are you going to try and say that that ain’t
Hip-Hop?

Hasan: Getting back to Richard Long, you’re dealing with a guy who built sound systems for these clubs that ‘til this day, people that used to go to The Garage, The Studio 54, you still don’t hear the
sound that you heard back then. You know you had DJs like Ron’s brother Dance Master-he had the same system that was in those clubs. He had a mobile system,
so you have to imagine having that type of equipment in the park that you can
hear 10 blocks away, you can hear the bass. So when you talk about Hip-Hop the
culture, they say the music, DJ’ing, rapping, breakdancing, graffiti…that culture is a lot of other
things intertwined in that because people that were playing music in those days, they became sound engineers, and what have you. So it’s not only what you see as far as the entertainment in the entertainment world. People marked intodifferent types of employment.



AllHipHop.com: Any final comments?

Hasan: I just want to emphasize that we’re
not trying to discredit the Bronx, there’s just another story.

Amen-Ra: I think everybody should look
forward to this because it’s going to be an educational piece and I think that
it will work well everywhere because it’s going to be useful information that a
lot of cats never really knew. So whether it be for like the school systems or
the younger generation, even the older generation from different states and
countries who always knew about the foundation, here’s another story as well.
Here’s another perspective that you never heard about.

We know the Bronx’s story, but remember there’s five
boroughs to New York City. These MCs, DJ’s, whatever you want to call it back
then, when it came to they jammin’- even when they stayed in their own boroughs, at times they had to come to Manhattan to do certain things. Manhattan was where you did your shopping, where you did your
partying, or what have you. Even if you wanted to buy equipment, everyone had
to meet up at a central focal point and that was Manhattan. So you know a lot of things just kind of branched off that whole interaction.

Hasan: Everybody else made money off of this music except the people that invented it, even back then Cerwin-Vega was a small company. If it wasn’t for that street day, the DJs that we’re talking about-you know I’m not going to say there wasn’t going to be an existence, but would they even be as big as they are because these guys are basically the ones that put them on the map. The same thing with Technics, if these guys didn’t bring these things to the streets, no one would have been buying these turntables, would they be what
they are right now?

 

[observe]

Good post illmatic delta,,sick of hearing these fukk boys say that Jamaica influenced hip hop when it was the other way around,,the U.S has had more influence over Jamaica like how they used to sing oldies like us back in the days,,the only thing Jamaica influenced was herc being born there,,that's it

 

[ucanthandlethetruth]

Gotta correct some stuff in this thread..


One thing most people don't know is that HipHop culture evolved out of 2 schools..

1. Older Disco Dj's (they came before herc and were all over New York from the Bronx, Brooklyn, Manhattan and Queens, People like Pete DJ Jones and Grandmaster Flowers for example)
-these Disco Djs were professional disco dj's who did blends, mixing, beat matching etc..
-they played to more middle class and college educated types of crowds and some of them did outside parties and park jams.
-they made more money and you couldn't go to the parties they held w/o dressing up
-the playlists were heavy on disco, disco-funk and some pure hardcore funk
-manipulating songs by having 2 copies of the same record
-the rappers were the kings/crowd drawers...
.
.
.


2. Dj Kool Herc and his followers (he started in 1973 and was based in the Bronx)

.
.
.


-these were younger crowds...like 18 and under

-these were mainly park jams where anyone could go
-they didn't do Disco dj techniques at first. All they did was play records all the way through
-the playlists were mainly hardcore funk with some disco-funk and disco. The younger crowds wanted that pure Funk over the disco (Herc even tried to play reggae at first but noone liked it according to him)
- at these jams, the DJ was king...this was before rappers appeared in the Herc seen.
.
.
.


The Bronx scene mainly happened because they could not afford to get into the Disco clubs or they were too young to get into them so the Bronx scene sprung up as an alternative for the younger kids/teens.







Do you know where Jamaicans actually first picked up what they call toasting? Black American radio Dj's of the 1940's R&b era




American rapping and Jamaican Toasting and dancehall style are related/cousins but its through a different route.. Oldschool black american jive talking-patter!.



The first modern rappers in he scene(s) that birth HipHop were actually Disco Dj"s!!. For the record, Coke La Rock didn't rap like a modern rapper and he's actually from North Carolina


The first people in NYC to "Rap" on the mic were these Disco DJ's like Dj Hollywood and Lovebug Starski . The Kool Herc school of "Mcing" which started off with his main sidekick/MC by name of Coka La Rock . The confusion as where to Rapping started comes from the misconception that American Rapping evolved out of Jamaican "Toasting" via Coke La Rock who was thought to thought to be of Jamaican descent




"The first emcee in hip hop history has been ignored and disrespected for far too long. That is why he will be the first representative of the original hip hop generation to be inducted into the High Times Counterculture Hall of Fame at the High Times Cannabis Cup in Amsterdam on November 25, 2010. In this video, Coke discusses how he got his name (from drinking chocolate milk), some of the errors in fact that have been circulated about him, and talks in detail about the night Kool Herc was stabbed at a party, an event which led to Coke withdrawing from the hip hop scene just as Grandmaster Flash, the L Brothers, The Funky Four, and the Cold Crush Brothers were emerging to take hip hop to new heights."


.
.
.
.

Herc and Coke La Rock did not rap or do syncopated talking that rhymes while flowing to a beat/music. What Coke La Rock did was more like a radio Dj which is more like Jamaican toasting. Now, the question is, what is the relationship between American Rapping and Jamaican Toasting? The connection is oldschool Afram Jive speak/patter/other oral traditions! Jamaican Toasting is an offshoot of Afram Jive that Jamaicans picked up on in the 1940's/50's from Black Radio DJ and Jazz R&B records. Read below..

More on Jocko, one of the american dj's who was imitated in Jamaica

"
Douglas "Jocko" Henderson ranks with Daddy O' Daylie and Hot Rod Hulbert as one of the original rhythm and blues radio disc jockeys. His smooth, swinging, rhymed talkovers were imitated by the jocks of the early rock and roll era, and became one of the major sources for the rap style. Though his influence on hip-hop was crucial, it took an indirect route as the model for the toasts of early Jamaican sound system deejays. Some say that Jocko's syndicated radio shows, beamed into the Caribbean from Miami provided the standard for Jamaican deejays. Another story claims that sound system promoter and record producer Coxsone Dodd encountered Jocko on one his record buying trips to the U.S., and encouraged his dee-jays to imitate Jocko's style. However his influence reached Jamaica, titles like "The Great Wuga Wuga" by Sir Lord Comic and "Ace from Space" by U. Roy were catch phrases directly appropriated from Jocko's bag of verbal tricks. When Kool DJ Herc adapted the Jamaican sound system to New York City party crowds, the stylized public address patter that accompanied his bass heavy program was rooted in Jocko's rhyming jive patter.

Jocko started in radio in the Baltimore of 1950, moving to Philadelphia, where he attained enough momentum to arrange a daily commute to New York for a second shift. It was in New York that he hosted "Jocko's Rocket Ship", a black oriented television dance party show that was the forerunner of "Soul Train". He also made many appearances as an M.C. of rhythm and blues shows and hosted large scale record hops that anticipated ballroom disco shows."

http://www.allmusic.com/artist/jocko-mn0000113325/biography

.
.
.
Definition of toasting in Jamaican culture



Definition of "Toasts" in Black American culture



.
.
.
Now to get a description of what Herc and his 2 sidemen were doing on the mic..The first people to "rap" in the Bronx scence were members of the Furious Five. These were people like Melle Mel and Cowboy

Quote from Scorpio one of the founding members to the group, Grandmaster Flash and the Furious 5




http://www.thafoundation.com/scorpiof5int.htm



.
.


Quote From Kool Herc on how rapping started




http://hiphop101a.blogspot.com/2008/06/once-upon-time-in-bronx-rise-of.html

Quote from Kevie Kev the captain of the L- Brothers, Leader of the Fantastic Four and Five M.C.s and a member once of the Furious Five M.C.s. This interview is very telling because it explains why what he call "rappers" today were called "emcees" in the Herc Bronx scene.




.
.
.


Definition of Master of Ceremonies (MC)





This is exactly what Herc and his 2 sidemen were doing in the early days in the Bronx. At that point, there were no rappers=syncopated talking that rhymes while flowing to a beat/music . Rappers in the modern sense did exist with the Disco DJ's though. You didn't have rappers in the Bronx/herc scene before Melle Mel and Cowboy.

.
.
.
Read Grandmaster Caz's and Grandmaster Flash's thought on the early MC's and where rapping came from below. Afrika Baambaata alos cites some influences

this nikka came in and laid the smackdown

 

[IllmaticDelta]

 

[bouncy]

@IllmaticDelta props for teaching the truth and putting me on to some stuff. Hip hop history is like most history that is told to the mainstream, simplified, and made to seem like it was birthed out of nowhere. I guess they do it because it keeps people attention and reminds them of a movie but life is more complexed then that, so the history of something or a people needs a more complexed story.

Major props on the lesson, especially with the toasting and radio connection.

 

[K.O.N.Y]

@IllmaticDelta

Breh much knowledge was dropped in this thread. U see the naysayers aint even coming back no more

 

[bouncy]

Watching that founding fathers trailer makes me think that in order for hip hop or rap music to change, it needs to go back to how it started, and that's with the DJ playing music that sounds banging regardless of its genre, and to a crowd that will appreciate it. Then we will have new form of rap that evolves from it because now rap music has turned into a caricature of itself. Its almost a joke.

 

[vaudevillevillain]

lets be real... them bronx street n1ggas wasnt listening to no damn jamaican music and gettin influenced.... Kool Herc brought the way jamaican dj's rocked a party to the bronx... and thats where it stops... all them rappers was influenced by pimps

like the way you rock a party aint important

aint no pimps rockin no fukkin club

 

[shopthatwrecks]

back in the 60's Rudy Ray Moore would stand in a cipher and spit rhymes... as seen in the Dolemite movie... South pimp n1ggas was rapping down south years before it got to the bronx



every rapper from Too Short to Rakim looked up to Rudy Ray Moore... Muhammad Ali even was even influenced by him




1:11mark... one of the realest moments in hiphop history... the god rakim got one of the first known mc's to make a cameo in his video


not only has he inspired your favorite mc's, he inspired your favorite comedians... Eddie Murphy, Richard Pryor, Chris Rock

4:24mark...

good point but i got ol schools who say blowfly was the originator

everybody from odb to dj quik has used his songs n lyrics alot of ppl argue that rap dirty was the first rap song

hell odb started off his 1st album with a old blowfly song...the first timeeeeeeeeeeeeeeeeeeee..ever u suckeddddddddd my dikkkkkkkkkk

 

[IllmaticDelta]

An old "Dirty Dozens" song. "Gangsta jazz"




This is the type of stuff Dolemite comes from

 

[Sbp]

An old "Dirty Dozens" song. "Gangsta jazz"




This is the type of stuff Dolemite comes from

Man Ferd way more gutter than Lil Reese