Search Results for: origin of hip hop

This is part 2 of an article we penned called The Historical Definition of Rap pt1. In that piece we talked about how the term Rap had been around long before DJ Kool Herc and his sister Cindy Campbell threw that first landmark Back to School party August 11 1973 in the community center at 1520 Sedgwick Ave in the Bronx.

Many are not aware that when Herc and his partners Coke La Rock and later Clark Kent rocked the mic, they used the words ‘rhyming’ and ’emceeing’ to describe their vocal expressions. The word Rap became attached to Hip Hop in 1979 with the release of Rapper’s Delight by the Sugar Hill Gang.

Prior to ’79, the word Rap was attached to a variety of other vocal activities most notably slick, persuasive talk from street hustlers, pimps and players. Rapping was all about mesmerizing and dazzling folks with words with an end goal of convincing one to give up everything from money to property to sexual favors. if you were said to have ‘a good rap’, then it meant you had the gift of gab which in many circles was revered and respected.

Dolemite

With respect to the act of rapping, many seem to think that saying rhymes in a syncopated fashion over music is unique to Hip Hop. That’s a mistake. To not see Rap as something that is rooted in deeper histories, is to short change Hip Hop culture. Simply put Rap is part of a continuum. Every generation within Black America can point to an activity or music style that included rap-like vocal expressions. They range from little girls doing double dutch jump rope to young kids doing engine engine number nine type rhymes to determine who would be it when playing tag.

We’ve seen expressions that we associate with rap today show up in the form of popular artists like Rudy Ray More aka Dolemite who did tons of movies where he did routines like his signature Signified Monkey .

We saw it surface with singer song writer Clarence Reid aka Blowfly who did x rated songs like Sesame Street and Rapp Dirty which was released in 1980 but according to him was written in 1965.

Both More and Reid come from a generation where street talk that encompassed rhyme was not unusual. Sometimes called signifying, testifying or playing the dozens, such expressions are key foundations and precursors to Rap.

We saw Rap expression show up in songs like Here Comes the Judge released in 1968 by comedian Pigmeat Markham. Although not called ‘rap’ it clearly could stand alongside anything we hear today.

http://www.youtube.com/watch?v=DvMBxlu62c0

We saw rap with Louis Jordan and his group Tympany Five and their landmark cut The Meeting which was released in 1962

In the same vein as Pigmeat is actor Lincoln Perry better known as Stepin Fetchit. The controversial character who many felt kept alive nasty stereotypes of Black people being lazy and shiftless was during his heyday in the 1940s, the most successful Black actor in all of Hollywood. In this memorable scene from the 1945 musical Big Timers we see Perry hit up the piano and rap, decades before what we know as Hip Hop emerged..

http://www.youtube.com/watch?v=5qALvc-MIDY

Last Poets

We saw Rap expressions manifest itself in the form of revolutionary acts like the Last Poets, Gil Scott Heron and the Watts Prophets who are considered the grandfathers and godfathers to modern-day rap. These acts emerged on the scene in the late 60s early 70s with the express purpose of providing sound tracks for the various Black liberation struggles taken place all over the country…Songs like When the Revolution Comes, The Revolution Will Not Be Televised and Tenements respectively exemplified the type of vibe they were kicking on the eve of Hip Hop’s birth.

Over the years not only have many of the songs from these acts have been sampled, but some of these acts have from time to time been featured in songs with popular artists. For example the Last Poets are featured on Common‘s song The Corner and Nas‘ You Can’t Stop Us Now‘ which borrows the baseline from a classic Temptations cut ‘Message to a Blackman‘

The Last Poets rap influence is shown on cuts like the White Man’s Got a God Complex which was featured on the ‘This is Madness‘ album (1971). It was remade 20 years later by groups like Public Enemy and Def Jef. Below is the PE version which keeps alot of original cadence in tact.

The Def Jef version of God Complexx, shows not only the influence of the Last Poets but also Gil Scott-Heron as he uses the beat from Revolution Will Not Be Televised.

Ironically groups like NWA who were perceived as having an anti-revolutionary message sampled the Last Poets ‘Die Nigga‘ off their album ‘The Original Last Poets Right On‘ (1970) and made them known to younger generations with songs like ‘Real Niggaz Don’t Die‘ off the ‘Efil4zaggin’ (1991)

https://www.youtube.com/watch?v=6jy6Nebd_e0

Gil Scott-Heron is often called the Godfather to Rap. It was a title he shunned, stating he preferred to be known as a bluesologist. Nevertheless, Heron was a towering figure whose signature song Revolution Will Not be Televised was redone by too many Hip Hop artists to name. Cuts like B-Movie and ReRon which were released in 1980 and 1984 respectively demonstrated his Heron’s rapping ability.

He was also one of the first artists from the 60s/ Black Power generation to jump on a song with than modern day rap artists..The anti-Apartheid song Let Me See Your ID (1985) which features, Run DMC, Kurtis Blow and Mele-Mel to name a few was monumental. The content and purpose of the song was incredible, but also although unintended it contrasted the generational differences in rap styles.

The Watts Prophets have not only been heralded as important figures in the emergence of West Coast rap, but in 1970 they released an album called ‘Rappin’ Black in a White World’. Many consider that to be the first to use the word ‘Rap’ to describe a recording that featured rhyming, This groundbreaking album proceeds ‘Rapper’s Delight‘ by almost 10 years. They also featured a woman vocalist named Dee Dee McNeil who isn’t often named when speaking of the Watts prophets

https://www.youtube.com/watch?v=hHxM71rcQus

One artist who is in the same vein as these revolutionary poets but not as well-known is Stax Record recording artist John KaSandra nick named ‘Funky Philosopher‘. He did a bunch of black conscious songs in the early 70s including one that is many ways a head of its time for the emerging Hip Hop rap scene at the time.. ‘(What’s Under) The Natural Do’ (1970) is an incredible song that talks about Black power and how folks are gonna have to do more than just wear an Afro hairstyle in order to uplift the community.

http://www.youtube.com/watch?v=tQow4jYVM9I

One can’t talk about the Last Poets, Gil Scott Heron and Watts Prophets and their influence on Rap without talking about the Black Arts Movement which proceeded them and exerted profound influence. BAM introduced a style of spoken word that was hard-hitting, uncompromising and often recited over Bebop and Jazz. BAM co-founder Amiri Baraka than known as Leroy Jones illustrates that style with his famous piece Black Art.

Baraka’s ‘rap’ along with the spoken word and slang executed by others within the Black Arts Movement were such that it was hard for folks outside the scene to pick up and appreciate.It was for the Bebop crowd who coincidently called themselves ‘Hip’. It was deliberate in challenging the mainstream and being anti-establishment. It’s deliberately uncomfortable Many like to draw parallels to Hip Hop.

http://www.youtube.com/watch?v=Dh2P-tlEH_w

BAM member Sonia Sanchez gives a brief history of that time period and how their spoken word paved the way for modern-day raps heard within Hip Hop. Sonia Sanchez: From Black Arts to Hip Hop

http://www.youtube.com/watch?v=JtRffMdbB0Y

Members of BAM

Just for added understanding, one may wanna peep this brief documentary on bebop which was the precursor to the Black Arts Movement. Again here you will be able to draw some strong parallel to Hip Hop, especially when you consider that Bebopers called themselves coined the term ‘Hip’ which is how they referred to themselves. Peep Bebop Jazz the Evolution of Culture Through Music.

These are just a few highlights of the many artists and expressions that are akin to rap to be in our midst before the birth of Hip Hop..Look out for pt 3 which deals with the influence of Black Radio deejays on what we know as Rap..

written by Davey D

Podcast: Play in new window | Download

Filed Under: 2012 Daily News Tagged With: Black Arts Movement, Blowfly, Clarence Reid, Coke La Rock, Def Jef, DJ Kool Herc, Dolemite, Funky Philoposher, Gil Scott Heron, Hip Hop, John Kasandra, Last Poets, Music, Pigmeat Markham, rap music, Rapping, Rudy Ray More, sonia sanchez, Watts Prophets

AeroSoul3 Healing the Hood from Khemet 2 Aztlan (Hip Hop Pioneers Return to the Bay)

July 10, 2012 By mrDaveyd

Refa One

Bay Area legend Refa One is no joke when it comes to fighting for the people in our community. He is uncompromising in the face of white supremacy and oppression. He’s clear about holding himself and all of us in the community accountable when it comes to setting fast and hard guidelines for the youth he works with to follow.

When there’s a problem in the hood, Refa is not one to sit around waiting for the Mayor, the NAACP or some other messianic leader to come along and solve it. He and the Northstar Zulu Nation chapter he rolls with are quick to step up and show and prove.They show love.. Demonstrate skillz and speak to the importance of connecting back to the essence of who we are as a people and what Hip Hop ultimately is..

“Youngstas on the block should not have to go downtown and leave the neighborhood to see artist put in work designed to address issues and bring about social change”.. Refa would often say. He notes its important that him and others stay rooted in the hood and be visible to the community when they do their work. Over the years its made a difference. Places where Refa and his crew have painted have been claimed by the community as respected spaces where folks can gather and be free of drama.

Last year he brought several dozen African-American graf pioneers from NY and all over the world for AeroSoul 2. their goal was to build and work on ways to take back our neighborhoods and redirect Hip Hop culture which they felt was hijacked and misdirected by corporate interests..Aerosoul 3 is set to jump off this week.. It has abigger goal of not only using art to touch the masses and help heal, but also to connect and build bridges to various Black and Brown communities all over.. Hence the name from Khemet to Aztlan..

We got a chance to sit down and talk w/ Refa as well a Docta, a well-known artist from Senegal. Here’s our convo which aired on Hard Knock Radio.. In this interview you hear incredible music from Bay Area legend Bas1. Later this week we’ll be speaking with some of the pioneering graf writers out of NY..

For more info go to website where you can watch the trailer

http://www.refa1.com/1/post/2012/06/refa-one-feature-artist-in-aerosoul-3july-13th-2012.html

Below is information Refa posted about the historic gathering of AeroSoul 3

That’s right ‘chall… AeroSoul, the world’s most comprehensive body of work focusing on the African/Black experience in Spray Can Writing Culture is coming to San Francisco California this summer July 13th-15th.

The Exhibit will break historical ground at the prestigious African-American Art & Culture Complex in San Francisco’s Fillmore district. 2012 marks the 3rd year for this annual Pan-African Spray Can Art Festival.

AeroSoul 3, “From Khemet to Aztlan” will feature a body of work accentuating the African presence in art from Ancient Africa to the early African presence in the western hemisphere through the style lens of HipHop Calligraphy and iconography. This collection work and artifacts will represent some of the worlds most skilled muralist and illustrators in the African Diaspora.

AeroSoul3 will chart the historic evolution of Spray Can Writing Culture from it’s East Coast (New York City/Philadelphia) origins to it’s style successors world-wide through the narrative of the African experience. Artist from across the United States, Europe and West Africa will converge for this annual festival to celebrate the African Legacy in Spray Can Writing Culture as well as joining together to paint a Mural in the tradition of the HipHop genre. The Gallery exhibit will run a full 6 month period from July 2012-February 2013.

During the Opening weekend an Artist panel from around the globe as well as representatives from different dynastic periods will speak about the state of the art and their rich experience. This year AeroSoul 3 is proud present the Youth edition of the exhibit that will run congruently at the AAACC.

The Youth show will highlight the young and upcoming masters of the craft that have been engaged in programs provided by AeroSoul Art instructors. The AeroSoul line up is very impressive this year with a cast of writers from NewYorks 1970’s & 80’s era, Riff170, Slave TF5, Butch2,Tean TMT, Kade TMT,Chain3,Skeme, Shame125, Sak MBT, and Soon1 to name a few. Mark your calendars folks, this historic event to promote the legacy of writing culture and end youth violence through art is not to be missed. For more info go towww.AeroSoulArt.com and www.AAACC.org

HipHop Lives!

Podcast: Play in new window | Download

Filed Under: 2012 Daily News Tagged With: AeroSoul3, African Diaspora, Grafitti, hiphop, Refa One

Today is James Brown’s Bday: Did Your Local Hip Hop Station Remember Him?

May 3, 2012 By mrDaveyd

Today is May 3rd and for many of us this date holds no real meaning except that it either signifies another payday or the start of Cinco de Mayo weekend (Cinco de Mayo is May 5th). Sadly, there are many of us who are knee-deep in Hip Hop culture who have never took notice when May 3rd rolled around, but perhaps we should. After all, it was on this day back in 1933 in Barnwell, South Carolina that Hip Hop’s true Godfather was born.

Like so many within Hip Hop he had a harsh childhood. Before he was even 5 years old, Hip Hop’s ‘true Godfather was shipped off to Augusta, Georgia where he lived in a brothel owned by his Aunt. As a child he earned his keep by running errands and trying to solicit soldiers from the nearby base to visit his Aunt’s establishment. Like so many who came after him, the hardships and him needing to hustle led to a life of crime. He eventually had to serve jail time until he finally got himself together. It was that humble and troubled upbringing that sparked a fire and laid down the ethos of Hip Hop-to create something out of nothing.

No, I’m not talking about is not Kool Herc, Afrika Bambaataa, Grandmaster Flash or any of the other often named pioneering cats. However, if you sit any of them down in a room, they will tell unequivocally that they are children and grandchildren to this individual who wound up being Hip Hop’s original driving force and musical inspiration. His music, vocal delivery and showmanship would influence everyone from Chuck D of Public Enemy to MC Hammer.

One has to understand that back in the days when Hip Hop was first evolving in the 1970s Hip Hop’s pioneering figures routinely paid tribute to the musical offerings of this individual. While Black radio stations moved in a direction that embraced formalized disco, the musical landscape of the early Hip Hop Park Jams was juxtaposed. Classic songs like ‘Soul Power‘, Pass The Peas‘, Funky Drummer‘ and ‘Get Up, Get Into It, and Get Involved‘ would blare through the sound systems of Hip Hop’s early deejays and drive the early b-boys and b-girls to the edge. In later years many would point to this individual’s signature dance ‘the Good Foot‘ and his song ‘Get On the Good Foot‘ as the inspiration for what we now call ‘break dancing’.

http://www.youtube.com/watch?v=4DAfBZbz3tI

For those who don’t know who I’m talking about; it’s the ‘Hardest Working Man in Show Business‘. I’m talking about ‘Mr. Dynamite’ himself-Soul Brother #1- James Brown and today-May 3rd is his birthday. There are more than a few good reasons to celebrate. Let’s just say for starters that no individual has been sampled more times than James Brown. To date his music al treasure chest has been sampled by more than a thousand artists. To see a partial list of all the songs that contain James Brown samples go to http://www.xampled.com/blog/sampled-from/james-brown/

Peep this insightful incredible interview w/ James Brown from Detroit’s Black Journal

http://www.youtube.com/watch?v=Y-_8oRFB-9c

Professor Rick Vincent-

‘History of Funk‘ author and KPFA Radio host Professor Ricky ‘The Uhuru Maggot’ Vincent notes that James Brown is perhaps the most important individual in modern music who has done more to change the structure of Black music than any other person in history. Vincent explained that in many respects James Brown ‘Africanized’ Black music by changing the rhythm, the structure and the manner in which soul/Black music was played.

Vincent elaborated by noting that prior to James Brown, much of Black music was based in the Blues tradition which derived from the slave experience and the fact that we were not allowed to play the drum. Much of our music had a melancholy feel that was sometimes accompanied by polyrhythmic swings. This ‘swing’ aspect is clearly defined in traditional music forms of Black music like Spirituals, Ragtime, Bebop, Jazz and early Rock-N-Roll which was called Race Music. According to Vincent, this polyrhythmic swing aspect was essentially our collective attempts to recreate the drum

When James Brown entered the scene all that changed. He delivered the drum front and center. Vincent noted that James Brown brought out a more prominent rhythmic foundation for the music and introduced the important concept of ‘Hitting on the One’. James Brown focused his entire band including the complex horn, rhythm guitar and keyboard arrangements of his band mate Fred Wesley, Pee Wee Ellis and Nat Jones to ‘deliver on the one’. James Brown punctuated his efforts by using his voice with his vintage grunts, groans and screams as a binding force which also drew everything ‘on the one’. It seems so simple and commonplace today, but back then it was ground breaking.

Vincent who eloquently breaks this whole thing down in book ‘The History of Funk’ went on to add, that prior to James Brown most American music built upon the Blues tradition. After James Brown, American music built upon the tradition of the Funk concept of ‘Hitting on the one’. Everything from ‘disco’ to ‘modern rock’ to Hip Hop has built upon that concept introduced by James Brown. In later years the West Coast Hip Hoppers would build around the music of Parliament and George Clinton who themselves were directly influenced and inspired by the ‘Hit it on the One’ concept of James Brown.

What’s even more interesting about James Brown was the fact that early Hip Hoppers kept his name in circulation and his music ‘in the mix’ at a time when many in the music industry seemed to move beyond him. Vincent explained that in the 60s James Brown for the most part had become a pop star who was delivering hit after hit. [The only person to have more number one records then James Brown was Elvis Presley]. He suddenly found himself out of favor on the pop side of town after he delivered his anthem ‘Say It Loud I’m Black and I’m Proud’. Songs which came after like ‘The Big Payback’ which was his most successful venture came after further pushed him away. He had simply become two Black for pop radio.

By the early to mid 70s Black radio at least in New York City had stopped playing James Brown despite the fact that he was recording 2-3 albums a year. That’s at a higher pace then 2Pac and that’s not counting the additional recordings he delivered with members of the James Brown family which included artists like Lynn Collins, Marva Whitney, Bobby Byrd, Maceo, Fred Weasly and the JBs, and Martha High. Brown’s relentless drive positioned him to be a major force in music during the 70s and while he did drop a couple of big hits he wasn’t the mainstay artist like those who came after him and built upon his concepts.

https://www.youtube.com/watch?v=1N5jY00z_Sk

Vincent noted, the problem that James Brown was running into was the fact that many of the artists who came after him retooled their overall sound to be smoother and more mellow. In the early 70s artists like Curtis Mayfield, Eddie Kendrick, Marvin Gaye and Teddy Pendergrass ruled the airwaves with their message type songs over melodic beats. For the most part James Brown remained raw and gritty and very street.

By the mid 70s to late 70s disco began to take hold and displaced the sounds delivered by many of the aforementioned soulful artists. At one point James Brown tried to shake things up and boost sagging record sales by releasing an album called ‘The Original Disco Man‘ which contained a song called ‘Too Funky‘. Sadly, the album never ‘moved the crowd’ and wound up flopping.

James Brown & Afrika Bambaataa

So while James struggled to get a foot hold within the changing discotized music industry, in the parks and on the early Hip Hop sets of the Bronx, James Brown was king. You could not go to a jam and not hear James Brown. And soon as one of his jams hit the turn tables the place would go wild. His raw gritty street style sound was embraced whole heartedly by the Hip Hop community who rode with him full throttle all the way up until the late 80s. By then James Brown had hooked up with a number of rap artists including Afrika Bambaataa, Full Force and MC Hammer to record songs.

https://www.youtube.com/watch?v=ZS0W57nFZcg

It wasn’t until the p-funk/George Clinton inspired sounds of West Coast Hip Hoppers began to emerge that James Brown began to take a back burner within Hip Hop circles. It also didn’t help that he along with the rest of the music industry started clamping down on recording artists were sampling his music like there was no tomorrow.

We could do an entire book on the significance of James Brown. In fact there are several that are already written and film maker Spike Lee is gearing up to do a movie that chronicles the life and times of Mr. Brown.

It’s both interesting and sad that many of us in Hip Hop allow our pioneers to drift away in obscurity. Many of us even get arrogant and try to act like that what they are doing is new and unique when in fact it has been done before over and over. Without the history, not only do we not have the opportunity to build on past legacies, we also run the risk of making false analysis and assumptions.

For example, I ran into some ‘keep it real type cat’ who took the position that James Brown had nothing to do with Hip Hop. Dude really believed what he was saying but as we talked I came to find out that he did not know that James had even recorded a song with Bambaataa. But at 19 years old where was he really gonna get that info? He wasn’t even born when that landmark record ‘Unity‘ was first released. The local Hip Hop stations never play the song and even sadder they certainly they don’t do any interviews with Bambaataa or James Brown when he was alive and came to town.

Contrast that with the type of respect and reverence folks have for rock icons. We celebrate their birth dates and various milestones of their careers. Music legends like The Beatles, Elvis Presley, The Rolling Stones and even Kurt Cobain of Nirvana are given major dap as their musical legacies are passed down from one generation to the next.

Recently former Beatle Paul McCartney swung through Oakland to kick off his tour and it was a sight to behold. Not only did the event sell out and was the lead story on the evening newscasts, you also got a chance to see in attendance father and son and in some cases, grandfather, father and son. The bottom-line there was definitely an appreciation and an upholding of the musical heritage and legacy for a sizable segment of our population. Rock-N-Roll will live forever, because fans and practitioners make it a point to never let their heroes wither away into obscurity.

http://www.youtube.com/watch?v=G7JUzrkQZkQ&feature=related

The perception is that Little Johnny from the suburbs is likely to know at least a little something about Elvis or The Beatles while Little Darnel from the hood is hard pressed to tell you something about the most recent musical icons. I swear to God when I speak at schools I’m amazed how kids who love Juvenile, BG and Jay-Z will draw blank stares when you mention groups like X-Clan, Jungle Brothers and even Public Enemy. They’re completely at a loss when you start talking about James Brown, George Clinton and others. Sure they may have heard the names, but they never heard the songs. Sadder still they have no idea of their importance. Hence, that is the reason for penning this article. It’s up to us to make the necessary changes. Not only do we wanna say happy Birthday James Brown, but also we want to pass along a few tidbits to build upon.

For more info on James Brown be sure to peep out Ricky Vincent’s book ‘The History of Funk‘. Also be sure to peep www.kpfa.org starting tonight after 7pm and all day Saturday to hear non stop James Brown…

written by Davey D

http://www.youtube.com/watch?v=BawG-N9_FR8&feature=related

https://www.youtube.com/watch?v=MBKz8pDNuto

Filed Under: 2012 Daily News Tagged With: Afrika Bambaataa, bboying, break dancing, Funk music, Good foot dance, History of Funk, James brown, James Brown birthday, Ricky Vincent, Say It Loud – I'm Black and I'm Proud

An Epic Intv w/ Jeru tha Damaja: Maturing In Hip Hop & Making An Album in Poland

April 27, 2012 By mrDaveyd

It’s always good to chop it up w/ Brooklyn emcee Jeru tha Damaja.. We go back a long ways and with each interview he provides more and more jewels.

This past week was no different, Jeru came by the crib where we chopped it up about everything under the sun.. We talked about the origins and meaning of his name and what he meant when he used the tag ‘damaja’. It was a question I never asked, believe it or not.. he said it meant he was one to destroy the mics and destroy misconceptions…

We talked about maturing in the industry and the importance of not being seen as ‘old school’ but instead being seen as classic.. We talked about the importance of Hip Hop pioneers Kool Herc and Afrika Bambaataa who recently celebrated birthdays. Jeru explained about how both men have always respected him and he in turn have viewed them as big brothers who have positive impact on him..

We talked about his friendship w/ the late Guru of Gang Starr. Jeru reminisced how Guru rescued him from the streets and help give him direction. he talked about the formidable rap crew that included Group Home, MOP, they had when Guru released th Ill Kids project. He regretted that everyone didn’t stick together We also talked about the issues related to the 2Pac hologram its pros and cons.. We also talked about his travels and what parts of the world he likes performing in.. Jeru talked about a new album he just did in Poland that features both American and Polish emcees..

http://www.youtube.com/watch?v=DjtDZj-nkJ4

Filed Under: 2012 Daily News Tagged With: Afrika Bambaataa, Brooklyn, DJ Kool Herc, Group Home, Hip Hop, Jeru, Jeru the Damaja, Poland

Music Industry Execs Want NightClub & Hip Hop DJs to Pay Royalties for Songs-Case Before Appeals Court

April 1, 2012 By mrDaveyd

Last week the eyes and ears of the country were focused on the Supreme Court as they started oral arguments around the constitutionality of key aspects of the Affordable Healthcare Act. Outside the Supreme Court things were contentious as advocates squared off with Tea Party types who opposed having HCR to be a requirement.Many said this case would be one for the history books…a landmark case for the ages.

Not too far from the Supreme Court sits the Court of Appeals for the District of Columbia. There another case of historic proportions is underway. The large crowds and onslaught of media trucks weren’t present, yet what comes of this Court of Appeals could have an immediate and long lasting impact for anyone who listens or plays music in today’s digital world. In these hallowed halls justices are debating copyright and who pays for what when it comes to music. The proceedings are entering it’s 4th week.

Judges of the US Copyright Royalty Board

What’s at stake is whether or not the 3 appointed administrative judges who make up the US Copyright Royalty Board are constitutional. For those who don’t know, this 3 judge body which consists of James Scott Sledge (Chief Copyright Royalty Judge), Stanley Wisniewski, and William J. Roberts are the ones who soley determine royalty rates and set terms for copyright statutory licenses. many have suggested these 3 individuals who are appointed by the Librarian of Congress are too powerful and need to have additional oversight.

For a long time very little attention was paid to this office, but in recent years the CRB has determined royalty rates for Internet radio, Satellite radio like Sirius XM, cable TV, cell phones, ring tones and anything else where music is broadcasted or transmitted digitally. Many feel that over the years the rulings from CRB have been a Godsend for corporate copyright owners, major record labels, publishing houses who been able to collect enormous sums of money from digital music users.

The most recent rates set by the CRB, which will stay in effect to 2015, require commercial internet stations to pay upwards to $50,000 per station annually and .25 cent per song/ per listener. Many webcasters, including the world’s largest, Pandora as well as many others who own digital media businesses, have long complained thatCRB royalty rates were too high and crippling business. On the other side, music industry tycoons have been clamoring to charge more. They said anyone using music in digital form hasn’t paid enough and needs to ante up and help fill their coffers. It’s a vicious tug of war that has led to CRB’s constitutionally being challenged.

It’ll be at least a year before the final arguments are heard in before the Appeals Court, in the meantime industry executives have been rushing to put ironclad laws in place, so in the event CRB is dismantled the rulings they enacted stay in place.

Industry tycoons wanna start charging DJs to play their songs

Industry tycoons are now turning their sights to Club and Mobile DJs and want to start charging them for the commercial and non commercial use of their songs. This added fee would be on top of what night clubs and restaurants already pay to organizations like ASCAP and BMI. They’ve been emboldened by a recent 9th Circuit court ruling where deejays were found to be in breach of copyright for playing music at Roscoe Chicken and Waffles in Los Angeles.. You can read that case HERE

Industry big wigs are anxious to get a ruling on DJs just as American Idol executive Simon Cowell is set to launch a DJ Talent Show.. You can read about that HERE Many feel that the DJ talent show will move millions away from playing instruments and into the DJ realm which now thanks to digital tools and mp3s make it easy for anyone to get involved in the profession. many are seeing the potential for huge dollar signs..Others see dollar signs but have a specific beef..

If Ernie Le Saviour has his the way music is presented will be forever changed

Ernie Le Saviour a veteran musician, film maker and now music executive has been leading the charge.In a recent interview he said; “DJs have been illegally profiting off the hard work us musicians put in. They make thousands of dollars a night and we don’t see one red cent.”

Saviour continued, “What really chaps my hide, is these DJs have been illegally rearranging (mixing) and ruining the composition of songs. A lot of hard work was put into making a song. As a professional flautist, one needs to understand that hours were spent perfecting the final product. We didn’t put our heart and soul into a song only to have some lazy, non-musicially inclined disc jockey to go tinkering and MIS-arranging our stuff”.

Saviour who is a flute player, can be heard playing in the back of classic songs like Flashlight by Parliament, Getaway by Earth Wind & Fire and most notably Paid in Full by Eric B & Rakim. He is scheduled to testify next week before the Court of Appeals. There he will plans to express his outrage at nightclub deejays..

Savior explains; Late last year, My son dragged me went to some fancy nightclub in Vegas where I had to pay 50 dollars to go see some bib Black guy with a 1960s style Afro and an Afro pick in his head spin records. My son was all excited and told me it Questluv. I thought it was strange, because this guy Questluv is a musician.. I see him every night on one the Jimmy Fallon show where plays drums..”

“Seeing him on the turntables troubled me. I kept asking myself; ‘Why would a professional drummer be deejaying? In my world that’s going backwards. As a professional flautist, I would never stoop down and deejay. It takes skillz to blow..it requires very little to spin”, said Saviour

DJs like Questluv have angered Ernie Le Saviour

He continued; “Anyway as the night goes on, we’re getting ready to leave when suddenly I hear this song ‘Paid in Full’. This is the song where I play both the transverse flute and the western style, Db piccolo better known as a soprano flute. I’m excited and thinking this large crowd will get to hear a master musician. Then boom disappointment.. First problem This DJ Mr Questluv, sped the song up, so when you hear me playing my flute its in an F key when the original was done in a C…That was unacceptable”

Savior goes on; “Next problem is this Quest guy cuts off the flute mid stream, right before my crescendo. He repeats this over and over again.(Quest was back spinning)”

“I told my son, ‘That is not how the song was made’ . It made me look incompetent. As a professional a flautist I was embarrassed. Who gave this deejay permission to change the arrangement in my song.. in front of hundreds of people nevertheless.? I said to my son there ought to be law against this and I wanna be compensated”

Congressman John Conyers

Saviour expressed his outrage to fellow music executives. He called Congressman John Conyers who has doing lots of work to help musicians get paid through a performance royalty tax under HR 848. Conyers wants radio stations to pay for each song they air and may soon get his way.. Saviour who attended two briefings put on by Conyers, concluded: “If radio can pay, why can’t these damn deejays?”

The way current copyright laws are written now, Ernie Le Saviour is not entitled to any compensation accept what is determined by ASCAP or BMI.. If he has his way sections 114 and 115 of current copyright law will be re-written to add provisions that will apply to deejays and remixers.

Saviour says anyone who presents music in a digital form on popular platforms like Serato, Torque or any other digital music device, either as deejay or any other presenter, should be required to obtain a compulsory license before rearranging a song in public. In other words you will not be allowed to, mix, remix or alter the song in anyway without the permission of the artist and copyright holders. Saviour contends that the public has a right and reasonable expectation to hear the music as it was originally intended.

“Can you imagine if I ran up on stage and started playing the drums any old way and said it was a Questluv composition? It would be foul.. So I ask that people not mess with the arrangement of my flute. As a professional flautist I have standards and they can’t be respected, then we’ll have to legislate it.”

Saviour also wants deejays to pay similar rates like Internet Radio, 25 cent per song..he noted that with the new technology, digital devices can be checked remotely, so as soon as a deejay puts on a record, it will leave digital footprint allowing Saviour and other executives to collect royalties.. Thus far Saviour’s proposal is being well received and may get some favor before the Appeals Court.

Ernie Le Saviour will be address the Appeals Court of District of Columbia this Wednesday at 2pm EST.. If you would like to weigh in or get more info on how to support or oppose.. You can reach out HERE

written by Davey D

Filed Under: 2012 Daily News Tagged With: Appeals Court, Copyright Royalty Board, Disc jockey, James Scott Sledge, Simon Cowell, Stanley Wisniewski, supreme court, William J. Roberts

An Open Letter to Rick Ross & all of the so-called “Bosses” of Hip Hop by Gat Turner

March 29, 2012 By mrDaveyd

This is an incredible an insightful letter penned by Gat Turner..He brings a lot of clarity and insight around the silence f many of our ‘Big Boss’ rappers… U can peep the original HERE -Davey D-

In the name of Allah, The Most Gracious, The Most Merciful.

May this letter find you in the best of health and spirit.

Peace,

I felt compelled to write this letter because it seems that everybody is screaming that they are a “Boss” in the rap game today, & some of the brothers (and sisters) have become quite clever & adept in their declaration of this title. Dons, Bosses, & Generals are just a few of the titles that these kinds of rappers claim, denoting their authority, leadership and ability to call shots and command allegiance by an untold amount of soldiers, both seen and unseen.

I am an admitted fan of gangsta movies like the Godfather Trilogy, Scarface, Goodfellas, Casino & even “hood” favorites like New Jack City, Paid In Full, and Belly. I study these films, not because I enjoy the sex, profanity, & violence, I am a fan of these films because I like to study the underlying principals in the movies.I like to analyze the principals behind of the rise and fall of the protagonists in these films.

In The Godfather I, it was fascinating to me identifying the intangibles that made Don Corleone powerful. It was not just his wealth that made his network viable, but it was also how he leveraged his money to work for not only himself, but also his “Family”. His power was also in his political contacts, his sacrifice and his charity. Interestingly, both Godfather I & II opened with a wedding scenes, that were also obscure invitations to those in the family, (or close to the Family) to petition the Don for a favor. These favors ranged from monetary loans to political accommodations. These scenes showed how when the Don bestowed his benevolence upon you, there was also an unspoken understanding that in the future, there was a possibility that you may be called upon to reciprocate his graciousness. The Don sacrificed for you, and because of this act of beneficence, you felt obligated to be at his disposal. Many people misinterpret this type of loyalty solely as fear.

With just minimal study of the Godfather Trilogy, I recognized all of the principals of Kwanzaa displayed throughout the stories. I could easily demonstrate how every boss/don commanded Unity (Umoja), had Self Determination (Kujichagulia), inspired Collective Work and Responsibility (Ujima), pooled their resources for Cooperative Economics (Ujamaa), had a single driven Purpose (Nia), then demonstrated Creativity (Kuumba), & showed Faith (Imani) when pursuing that purpose. These principals are all active ingredients in the recipe of any Gangsters’ success story, and the violation of these principals is always the undoing of not only the protagonist, but also the entire Family.

Gat, why are you talking about this “gangsta shit”? I am talking about this because it is all that I hear on the radio stations, it is all that I see on the rap video shows, & this is all that I read about in the Hip Hop publications. It seems nowadays that as soon as we gets a cash advance, we are screaming that we’re a “Boss” & promoting this so called gangsta culture! Well it’s time for us to examine the people who are claiming to be “Bosses”, and see if they really are.

It is common knowledge that many rappers and record execs do live lavish lifestyles. As the late great Notorious B.I.G. once said, “Money, clothes and hoes is all a nigga knows…” It is also common knowledge that many of these so-called “Bosses” place hefty bets well into the 100’s of thousands of dollars on boxing bouts, Super Bowls, & NBA Championships. I’m sure that there will be some mind blowing wagers on this year’s Final Four, but before you place that bet let me have your attention for just a second. If it be the will of Allah, you may have a change of heart with what to do with your money, by the time that I’m finished this letter.

Trayvon Martin

On February 26, 2012 a young man named Trayvon Martin was murdered in cold blood and his known killer remains at large. There have been a number of substantial demonstrations in the streets across America in protest of this injustice. Our people are outraged at how this travesty has been handled. The New Black Panther Party even scraped up $10,000 and offered it to anybody who had knowledge of the killer’s whereabouts so that they could make a citizens’ arrest.

Well, most of the “Bosses” trick that measly amount of money off at the strip club in one a night “making it rain” or “buying the bar out”. Many underground artists have made songs, written poetry, used their cameras, pencils and paintbrushes in tribute to our slain brother. As much as we rap about killing each other in the mainstream, it seems that at least one of you would have had the courage to make a “Kill George Zimmerman” song. The fact that no one has done this, shows me that we aren’t as ignorant as we pretend to be.

Gat Turner, are you advocating that someone kill George Zimmerman?! All of you scared to death Negroes calm down. No, I’m not advocating the murder of George Zimmerman… not yet at least. My point is simply that we are very vocal, bold and careless with our speech when it comes to “Beef” with each other, but we are very cautious, fearful and reserved when it comes to “Real Issues” that affect our community, our people, and our fan base. I would like to see some of these “Bosses” or “Dons” offer some form of support to Trayvon Martin’s family, whether financial or even just a comforting word would mean a lot to a mourning family in their bereavement, & it would make a tremendous impact and statement to your fans. I will acknowledge that some of these so-called “Bosses” have donned hoodies in solidarity with Trayvon’s family and their supporters, but hell even babies & puppies have done that.

Gat, why are you calling out these so called “Bosses” in general, and Rick Ross in particular? I am calling them out because it’s time. I can’t say this for sure but I wouldn’t doubt that Trayvon has purchased at least one record by a so called “Boss”. I singled Rick Ross out in particular because he is actually from Florida, the state where Trayvon’s murder took place. He is probably the most successful of all the rappers that come from there, & many would argue that he is the most talented. He is also most known for being a “Boss”, or at least proclaiming to be one.

Gat, do you expect Rick Ross to become an activist? No I don’t. I wouldn’t expect to see Don Corleone holding a picket sign yelling, “No Justice, No Peace” either. Do I expect him to give a damn? Yes I do, if he’s indeed what he proclaims to be. A true “Boss” is always concerned with that which is not in order around him, because it affects him, it affects his family, and affects his business. There is no way that Don Corleone would allow some Blackman to wander into his neighborhood/territory and kill some Italian child for nothing & that crime go unpunished. He would be involved. (I will leave the level of his involvement to your own imagination.) If one is truly a “Boss”, everything that happens in his jurisdiction has to go through him. Any criminal activity taking place in his territory, he has knowledge of, because it first had to go through him. Any politician seeking office, first sought his endorsement. Even religious leaders and activists have to seek his blessing, in order to demonstrate or officiate in an area that he has carved out as his own.

If you are not garnering this type of respect from your followers, fans, and communities please stop false flagging, because you are confusing the people. Hell, even the poet/emcee/spoken word community in my hometown (Milwaukee, WI) can call on a hundred men for a worthy cause. How much more should a “Boss” be able to do with millions of dollars in his war chest, and millions of fans at his disposal?

To be a "true" Don or Boss requires tremendous sacrifice.

Before I continue, I think that this title does deserve a little clarity. It is important to note that just because one has sold dope before he/she made a record, doesn’t make him/her a “Boss”. It makes you a former dope peddler. Just because one has excess money that they choose to squander on loose women, expensive alcohol, & drugs, this doesn’t make you a “Boss”either. It makes you a trick, an alcoholic, &/or an addict. If you have killed someone that looks like you and gotten away with it, that doesn’t make you a “Boss”. It makes you a murderer and an agent in your own genocide. Finally, nice clothes, cars, homes or material possessions don’t make you a “BOSS”. It just makes you a nigga with a lot of expensive toys…

I am not disillusioned. I know that we have come a long way from the likes of a Nina Simone, Paul Robeson, Bob Marley, Marvin Gaye, Curtis Mayfield, and a Tupac. There are indeed those of us who are out here striving to follow in there footsteps, but you may never hear us on your radio or see us on your television. The enemy has gotten much wiser in his efforts to keep the people focused on filth and indecency so that they remain ignorant. Perhaps it is not even fair for me to expect today’s “mainstream” artists to pick up the torch and carry on where the aforementioned artists left off. It is however fair for me to expect them to represent the Truth in their music, & to step up when the opportunity presents itself for them to be what they claim they are. In this case, many are claiming to be “Bosses”.

Though I admit to admiring some of you self-proclaimed “Bosses” for your lyrical creativity and swagger, there is one thing that history has made very clear and very evident…. YOU ARE NOT THE BOSS OF ME! This is the Smokin’ Gat! #justice4trayvonmartin

written by Gat Turner

original article: https://www.facebook.com/notes/gat-turner/youre-not-the-boss-of-me-an-open-letter-to-rick-ross-all-of-the-so-called-bosses/10150660740679858?notif_t=like

Filed Under: 2009-Daily Hip Hop News Tagged With: George Zimmerman, Godfather, Hip Hop, New Black Panthers, New Jack City, Trayvon Martin

Hip Hop Has Always Been Political

January 26, 2012 By mrDaveyd

Whenever we talk about Hip Hop and Politics it’s always done from the standpoint with us going to the ballot box as the ultimate goal. Don’t get me wrong, voting and participating in the electoral arena are important, but Hip Hop is so much bigger and so is politics.

For many of us politics is more than us voting for a particular candidate or having a catchy slogan that everyone chants at a rally. At its core, politics is about Empowerment. It’s the social, economic and political control of our communities with voting and political education being among the important steps we take to reach that goal.

Hip Hop is more than a ‘Hot 16‘, ‘fresh new gear‘ or ‘swagger devoid of substance‘. At the end of the day Hip Hop like politics is also about Empowerment. It’s about giving voice to the voiceless and helping remove both ourselves and the community from a position of being maligned and irrelevant with respect to the larger society. Like voting, knowledge and understanding of self and our communities is critical.

It’s important for us to have a firm understanding about the political and social conditions that existed at the dawn of Hip Hop’s birth in the early 70s. It’s important to note that our communities were under serious attack and the expressions associated with Hip Hop was one way in which we responded and ultimately coped.

The pioneers to this culture came up seeing how the FBI under the leadership of J Edgar Hoover and his Cointelpro Program, went all out to destroy the symbols of resistance and liberation from earlier generations including; Malcolm X who was killed, Martin Luther King who was killed and the Black Panther Party which was destroyed with many of its members jailed. Among those incarcerated during the dawning of Hip Hop was Afeni Shakur and the mother of Tupac. She along with her Panther comrades known as the New York 21. were jailed in 1971 while she was pregnant with Pac.

Also part of Hoover’s Cointelpro Program was to have his agents focus on Black Culture. He had his agents learn everything they could so they could control and disrupt the Black community. The FBI went all out to try and undermine the Black Arts Movement of the 1960s. Many feel the FBI kept aspects of its program alive to undermine aspects of Hip Hop which emerged in the aftermath of BAM. Below is a former FBI agent named Darthhard Perry speaking about the significance of Black culture and how the FBI sought to undermine it. I would urge people to watch the entire video, but the part that pertains to culture starts at 1hr 20 minutes into the video..

https://www.youtube.com/watch?v=UHnUFpCeGxQ

The Free Speech and Anti-War Movements were under attack with then President Nixon declaring an all out war on radical youth. Hippies and Yippies were two components of youth culture caught up in the cross hairs as were Black and Brown organizations like SNCC, the Young Lords and the Brown Berets.

During Hip Hop’s dawning, New York City was enduring serious financial hardship as it teetered on the brink of bankruptcy. That calamity was avoided when city leaders decided to keep the cops, the firemen and garbage workers and instead fired 15 thousand school teachers leaving many of us without after-school programs, extracurricular classes like music and art and our overall education, shortchanged on many levels.

All this was exasperated by greedy landlords in the South Bronx who were burning down tenement buildings almost every other day and collecting the insurance money. Their actions put an already stressed community into an economic tail spin as the Bronx became the worldwide symbol of urban decay.

While all this was going on, the NYPD seemingly working in tandem with President Nixon’s War on Youth had launched an all out war on the gangs that were starting to emerge in the Bronx. They even had a special gang division who were just as brutal back in the days as they are now. Compounding this war by the police, was the fact that many Black and Brown gangs formed because they found themselves under attack by what was known as white greaser gangs who didn’t take too kindly to the Bronx neighborhoods expanding its Black and Puerto Rican populations. Hence there was serious racial tension.

It was in this climate that Hip Hop emerged.

Charlie (Cholly) Rock an original Zulu Nation member and former Black Spade which was the largest gang in New York gives a run down of the political and social climate at the dawning of Hip Hop

http://www.youtube.com/watch?v=ycREFrL6-RA

The Spirit of Resistence: Hip Hop Has Always Been Political

Resistance-It’s a facet in Hip Hop that is not fully appreciated and reflected upon.

So again let me repeat… Hip Hop is resistance…It was us fighting back, standing up to and flipping the script on oppressive forces. Bottom line Hip Hop was always POLITICAL.

Afrika Bambaataa

It was political when Afrika Bambaataa a former Black Spade warlord while attending Stevenson High School in the Bronx sought to escape gang life and formed the Organization which he later turned into the Mighty Zulu Nation. This was Hip Hop’s first organization which had among its goals to be a youth movement.

It was political when you went to hear Bambaataa spin at a park jam and he would rock Malcolm X speeches over break beats, reminding us what our political ideology should be.

It was political when Bam took the name ‘Zulu’ for his new organization after being inspired by the movie of the same name that depicted the South African Zulus fighting European colonizers. As the Zulu Nation grew, Bambaataa sought to instill pride and bring out the best positive attributes from the people around him. He did this by referring to Zulu members as ‘Kings’ and ‘Queens’. Bam once told me he did this to help raise people’s self esteem with the hopes that they would live up to the lofty titles he bestowed.

https://www.youtube.com/watch?v=eL1YntDNRHo

It was political when Bambaataa and other artists including Kurtis Blow, Kool Herc, Mele-Mel, Run DMC and the Fat Boys all participated in the Artist United Against Apartheid project where they recorded several songs for the Sun City album. Later Bambaattaa would tour Europe doing concerts to raise money for the ANC (African National Congress).

http://www.youtube.com/watch?v=joYTCwNMdq8

What was even more remarkable and definitely ‘political’ about Afrika Bambaataa who was dubbed the Master of Records, was his goal to turn his former gang comrades into a positive force. Bam has often remarked how and he and others would spend lots of time working and building with folks. He said it took a ‘whole lot of meetings and whole lot of patience‘ but eventually folks grew and got it together.

When he started touring Bam took many of the folks from his Bronx River neighborhood with him. He gave them jobs as roadies or as security. He did whatever it took to get them into new environments to help expand their horizons. He was essentially doing a prison to work program years before the city was doing one. If that isn’t political I don’t know what is..

Years later we would see a number of other Hip Hop artists, most notably MC Hammer a former High Street Bank Boy out of Oakland, do similar things. Hammer spent hundreds of thousands of dollars creating jobs within his company in to help facilitate the transition friends and people in his neighborhood would have to make when returning home from the pen.

Hammer took his desire to transform lives to another level when he approached local Bay Area urban radio station KMEL in the early 90s and convinced them to let him air a radio show he created called Street Soldiers. The show was designed to give folks who were ‘in the life’ (gangs drugs etc) an opportunity to get out. Gang members would call in and talk about the challenges they were facing and get feedback from their peers and community experts who would help them turn their lives around. Hammer hosted the show for the first several months and then turned it over to current hosts Joe Marshall and Margret Norris of the Omega Boys club.

The Geto Boys

In a similar vein we have the Geto Boys out of Houston. Everyone is familiar with many of their politically charged rap songs that dealt with everything from crooked police to shady DEA Agents to a President and his quest for war. We’re also familiar with the fact that Willie D used to do a political talk show on Houston radio.

However, what many people didn’t know was that the GB spent quite a bit of money paying legal fees and other court costs trying to get innocent people out of jail. Bushwick Bill and Scarface talked about this in great detail a few years ago when they came on our daily Hard Knock Radio show to protest the state of Texas executing Shaka Sankofa. If I recall correctly, Bushwick said they spent at least 200-250 thousand dollars in their efforts. That was another example of Hip Hop’s spirit of resistence.

Hip Hop Has Always Addressed Electoral Politics

Melle-Mel recorded a song called ‘Jesse’ praising Rev Jesse Jackson-It one of the earliest rap songs encouraging folks to Get Out and Vote

Moving into the arena of the Ballot Box, Hip Hop has been a participant in some form or fashion going all the way back to 1984 when Melle-Mel of Grand Master Flash & the Furious 5 recorded a song called ‘Jesse’ which highlighted Reverand Jesse Jackson‘s historic run for the White House. The song also encouraged everyone to ‘Get out and Vote‘ while at the same time taking then President Ronald Reagan to task for the economic harm he was causing poor people around the country.

See Ronald Reagan speaking on TV, smiling like everything’s fine and dandy
Sounded real good when he tried to give a pep talk to over 30 million poor people like me
How can we say we got to stick it out when his belly is full and his future is sunny?
I don’t need his jive advice but I sure do need his jive time money
The dream is a nightmare in disguise (Let’s talk about Jesse)
Red tape and lies fill your for spacious skies (Let’s talk about Jesse)
But don’t think that DC just did it first (Let’s talk about Jesse)
There’s a lot of DC’s all over this universe (His name is Jesse)

Later in the song, Melle-Mel smashes on the former President for his initial refusal to meet with Jesse Jackson after he offered to go to Syria and help secure the release of Navy Lt. Robert O. Goodman Jr. who was being hostage after his plane was shot down when he ‘accidently’ flew into their airspace. Ironically even though the song was popular in clubs and at rallies, many urban station never played the record. Jackson himself, told me he didn’t hear the record until the some 10 years after it was recorded. Talk about a disconnect between generations. Below is a video of a live performance of this song that’s damn near been erased from history.

https://www.youtube.com/watch?v=V3IsCfMB0rk

In 1988 Luther Campbell aka Uncle Luke of the 2 Live Crew teamed up with one of his artists Anquette to back former US Attorney General Janet Reno who at the time was a Dade County (Miami) District Attorney vying for another term.

Anquette did this incredible James Brown inspired song called Janet Reno where she praised Reno for her legal prowess and for going after dead beat dads. The song helped Reno win the election which in turn angered her opponent a lawyer by the name of Jack Thompson.

http://www.youtube.com/watch?v=ROZllkxVshM

Janet Reno

Thompson sought revenge on Campbell and launched a campaign where he pressured officials throughout the state including Governor Bob Martinez and Broward County sheriff Nick Navarro to go after the 2 live Crew for violating state obscenity laws. Eventually Navarro won a ruling that deemed the group’s album As Nasty As They Wanna Be as obscene.

Local record store owners were warned not to sell the album or they would be arrested. Many shop owners protested but didn’t dare test Navarro. Things came to a head when 2 of the 2 Live Crew members were arrested for performing songs off the album. This is turn set off a huge legal firestorm around first amendment rights.

Campbell, fought this case all the way to the Supreme Court where Harvard Professor Henry Louis ‘Skip’ Gates testified on behalf of the 2Live Crew. He noted that the salacious material they recorded was rooted in the oral/song traditions of African-Americans. The ruling of obscenity were overturned. Again, all this legal drama was caused by Luke’s subversive efforts and Anquette’s song which help turn the tide in an election.

Now we could do an entire book on Hip Hop and Elections where we’d have to cover everyone from Diddy‘s Vote or Die efforts to Russell Simmons Hip Hop Summit Action Network to the Hip Hop Political Conventions that took place in 04, 06 and 08.

We’d also have to talk about the formation of Hip Hop Congress and the work they do on campuses around the country, the introduction of Rap Sessions and the political town halls they hold around the country, The League of Young Voters who put out Hip Hop oriented voting guides and recently has been doing work around the census and we’d have to cover Washington based Hip Hop Caucus that routinely engages elected officials on Capitol Hill and did the Respect My Vote Campaign in 08.

Below is a video of Diddy during his Vote or Die campaign speaking to a young Barack Obama in 2004 who at the time was running for US Senate in Illinois. In this interview Diddy predicts Obama would one day be President.

https://www.youtube.com/watch?v=NqzZWkMtz68

We would also have to talk about the recent victory of artist/activist Ras Baraka to the City Council in Newark. He used to serve as deputy mayor. We’d have to talk about the Honorable George Martinez who is currently serving as cultural Envoy, Hip-Hop Ambassador at U.S. State Department. Prior to him serving that position well known Brooklyn based freestyle artist Toni Blackman was this country’s Hip Hop Ambassador. I believe Martinez who also once served on the New York State Democratic Committee is currently running for Congress in NY’s 12th district.

Also running for Congressional office is author/ activist Kevin Powell. This is his second attempt and from the looks of things he stands a really good chance of beating the 28 year incumbent Edolphus Towns. The battle ground is in New York’s 10th district in Brooklyn. Below is an interview with him speaking on his run. It starts about 1:50 into the video.

https://www.youtube.com/watch?v=JMUL14RujC4

Lastly we’d have to talk about Dr Jared Ball out of Maryland who is best known for his political mix tapes ‘Freemix radio‘ ran for Green Party nomination for president in in 2008 and long time activist Rosa Clemente who made history by securing the vice presidential nomination for the Green Party. She and former Congresswoman Cynthia McKinney had their name on the ballots in all 50 states and garnered impressive numbers even though their historic bid was overshadowed by Barack Obama’s historic run for the White House which definitely brought out and politicized many in the Hip Hop generation.

Below is Rosa’s acceptance speech for the Green Party nomination at the Green Party Convention which was held in Chicago. She starts off by playing a song from Chicago natives Rebel Diaz. On stage with her is TJ Crawford who convened the National Hip Hop Political Convention two years earlier in Chicago.

https://www.youtube.com/watch?v=TzXB98dp9xM

From Paris to Brazil Fear of a Politicized Hip Hop

Never in our wildest dreams did marginalized Black and Brown ghetto youth living in the South Bronx, one of the poorest most dilapidated regions of the country ever think this culture of music, dance and oratory expressions we call Hip Hop would mean so much to so many people all over the world. From the slums of Nairobi, Kenya to the streets of Paris, France to the favelas in Rio, Brazil to the hoods in Detroit, to the streets in Gaza, Hip Hop’s presence is not only felt, but has been a driving cultural force in resistance movements especially amongst the young, poor and oppressed. Much of this was inspired by seminal artists like Public Enemy, KRS-One, dead prez , X-Clan and 2Pac to name a few who embodied this spirit of resistance.

For those who think this is far-fetched, think back to 2005 when Paris erupted in riots and over 200 French politicians signed a petition calling for legal action against Hip Hop acts and their aggressive lyrics which they said incited the riots. Acts like Monsieur R and Sniper became the main targets and were actually brought up on charges and faced lawsuits because of their songs that encouraged resistance to the police and government oppression.

In fact, Monsieur R was facing 3 years in jail for his song FranSSe, not because he had topless white women rubbing against the French flag, who symbolized how France was a ‘slut’, but because the song talked about French colonizing various parts of Africa and he dissed Napoleon and Charles de Gaulle and threatened to pee on them. He was charged with offending public decency. Luckily he beat the case. Below is a link to the video of the song..

https://www.dailymotion.com/video/x4ru9h

Although there were no government petitions signed, in the late 80s, the FBI’s assistant director Milt Ahlerich saw fit to shoot off a letter to Priority Records expressing outrage over the song ‘Fuck tha Police’ which was put out by NWA. In the letter he noted that “advocating violence and assault is wrong and we in the law enforcement community take exception to such action“. Over the years NWA found themselves not being allowed to perform that song at many of the venues because of police pressure. The one time they did in Detroit, 20 plain clothes officers rushed the stage to shut the group down.

MV Bill is an artist we should all know

Several years ago in 2004 a corporate MTV-like 2 day Hip Hop festival called Hip Hop Manifest featuring Snoop and Ja Rule was boycotted by a coalition of Brazilian artists including the enormously popular MV Bill who stated in a Stress magazine article “The organizers are not interested in our issues, or what we rhyme about, they just want to buy our legitimacy, and I have a moral commitment to uphold the history that has created hip-hop. I pity the black man who sells our history for a price.”

What was at stake was these corporate media promoters refused to reinvest the profits into the poor communities in the area and lower ticket prices to make the event more accessible. Many of the Brazilian artists gave up hefty paychecks and a chance to get a serious international spotlight, but they felt strongly about the issue and held their ground. They also put a call out to Snoop and Ja Rule and other American rappers to recognize the injustice they were fighting and invited them to come to spend time in the poor communities.

“We cannot allow ourselves to be seen simply as idols. Ever since I began creating hip hop, my dream was to show Black people that we could be free and break the shackles.” Snoop, isn’t this beautiful?”, is the question Sao Paulo rap star LF posted to Snoop in an open letter.

Below is a video from MV Bill showing what life is like in the Favelas and the child soldiers that guard them…

https://www.youtube.com/watch?v=rhKyMtd0sfQ

M-1 of dead prez who recently went to Gaza always represents for the people

These are just a few of the dozens of examples that could easily be cited to show the resistence and political nature within Hip Hop. From the anti-police brutality albums, put together by artists like Mos Def and Talib Kweli, to the legendary voter registration rallies in Harlem once put on by Sista Souljah to the Stop the Violence Movement started by KRS-One, to the Orphanage recently opened by Immortal Technique in Afghanistan to M1 of dead prez making a trip to Gaza to the anti-police brutality work done by groups like One Hood in Pittsburgh or Hip Hop Against Police Brutality in Texas, to Knaan having his song Raise the Flag be used in the World Cup to Invincible and Finale using their song Locust to make a full-fledge documentary about gentrification in Detroit, Hip Hop doesn’t give lip service to politics.

From the anti-war efforts put forth by numerous artists (over 200 songs have been recorded at last count) to the efforts around the Jena 6 with artists like Jasiri X doing a theme song. tireless work put forth by artists like David Banner, Nelly, and others in the aftermath of Hurricane Katrina to the recent efforts put forth by artists like Wyclef Jean, NY Oil, Mystic and many others to help bring relief to victims of the earthquake in Haiti, Hip Hop artists have proven to be responsive. Pick a subject, Immigration, Domestic Violence, Gulf Oil Spill, you name it and Hip Hop has and is there. The reason being that there are always people in our communities who will resist and are down to fight for freedom no matter what.

https://www.youtube.com/watch?v=p4P6v3pGGmI

Currently, Hip Hop’s biggest challenge is to resist all the attempts to dilute and redirect its potential to spark meaningful social and political change in the face of oppression. This especially true for Hip Hop that makes its way into corporate backed mainstream enclaves. The corporate agenda is to reduce Hip Hop down to a meaningless disposable song and to reduce politics to a voting over catchy phrase or sensationalistic headlines and scandal.

It’s no mistake that much of what I’ve written about has not been highlighted, celebrated, shown on TV or played on the radio. It’s not because people won’t find these acts interesting, newsworthy or popular. The end game is to lessen the influence of an artist and dumb down the audience so game can be run on us. That game of course is to sell us product and complacent ideology. The end game is to get Hip Hop to be used as a tool to drive consumerism vs activism and make the music and our people disposable entities to be discarded or conquered.

Return to Davey D’s Hip hop Corner

Filed Under: Essential Hip Hop Articles, Feature Tagged With: Afrika Bambaataa, cointelpro, elections, Hip Hop and politics

Japan’s Nuclear Fallout..Hip Hop artist Shingo 02 Speaks Out

March 17, 2011 By mrDaveyd

We chopped it up with longtime Japanese nuclear activist and famed Hip Hop artists Shingo 02 about whats going on in Japan. For those who don’t know Shingo has been speaking out about the potential dangers of these plants. He’s led protests, put out mixtapes and more importantly several years ago issued a widely read report on the topic. Sadly many of his concerns have come to light.. We spoke with him about this the other day on our daily Hard Knock Radio show.. You can peep the interview here: HKR Intv w/ Shingo 02 on Japan’s Nuclear Fallout

Here’s a quick essay Shingo wrote the other day from his blog at http://e22.com/blog/2011/03/14/radiation-why-we-should-be-concerned/ We also encourage you to check out his other site called http://stop-rokkasho.org/information/

RADIATION: WHY WE SHOULD BE CONCERNED

The following is a quick essay on what I believe to be technical misconceptions about radiation in the media.

First off, I understand people don’t have the patience to read more than a page of anything on the web. My main purpose here is to have something on here that I can be at peace with, for people to point to. That said, please read on, if you’re so inclined:

– – – – – – – – – – – –

People have sent me links to articles (both major and personal) stating that the nuclear disaster in Fukushima will be contained and shouldn’t be of any concern to the average citizen. Most seem to dismiss the potential effects of the intentional & unintentional leaks by blaming the media for sensationalism. Or are they?

For a lack of a better metaphor, just because an actor is having a public meltdown and the papers are right there to capitalize on it to sell more copies, it doesn’t mean that s/he isn’t.

While we all hope and pray the situation is not headed towards a Chernobyl-scale eruption, to assume the concerns are unfounded couldn’t be further from the truth. These articles do an excellent job explaining the basics of how a nuclear reactor works and its design to prevent a meltdown, but they all commonly seem to completely ignore these glaring points:

1. You should never equate the products of nuclear fission with background radiation, and other forms such as X-Rays.

The reason being, atomic fission splits Uranium (will write elements in caps) into dozens of combination of atoms, all of them highly radioactive. These radioactive isotopes do NOT exist in nature, because fission doesn’t happen on earth under normal circumstances, unless the Uranium is enriched by humans. (Fission was discovered in 1938, which lead to the atomic bomb and the same principles were applied to heating water, albeit at a much lower concentration.)

List of fission products: http://en.wikipedia.org/wiki/Fission_product_yield

(also, though I regret I haven’t done an english translation, I did post a Japanese report in 2006,
complete with diagrams here: www.e22.com/atom)

Some radioactive elements when ingested, will be mistaken as nutrients and stay in your body (since atoms in the same column of the periodic table have similar properties). Once stored in your body, they continue to affect the neighboring cells which could lead to uncontrolled genetic mutation = cancer. Example: Strontium acts like Calcium, Cesium acts like Potassium.

Measured by half-life, some dissipate after days, some stay on for years. Radioactivity is a term for high-energy electromagnetic waves, and sometimes they happened to be grouped with X-rays because of its ionizing nature. Ionizing roughly means that it is strong enough to break bonds of common molecules.

Therefore, just measuring the amount of radiation in arbitrary units and making judgements is the same thing as measuring the weight and ignoring the content. Counters are useful in detecting the presence of radioactivity, but what we really need to be aware of is what might be present, and where they originated.

2. Fission products are NOT the same as what happens when uranium decays. Uranium decays naturally over millions of years, through several steps and eventually settles into a stable form of Lead. Decaying does not stop, but fission will without the proper environment. If we are detecting any fission products, it is safe to assume that others in the dirty laundry basket are present as well.

3. The health effects of radiation exposure may depend on the person and age, but there is really NO safe limit for internal radiation, even at low-levels. Infants and fetuses are highly susceptible, because they are still developing critical organs and functions. Saying the opposite is quite irresponsible if you understand the consequences.

– – – – – – – – – – – –

In the case of the reactors in Japan, if the housings popped to release the pressure, and we’re also detecting traces of fission products, there could have been a compromise in the integrity of the reactor itself. We already know for certain there was nearly twice the maximum amount of pressure that it was designed for.

I don’t think it’s overreacting to err on the safe side. The main dividing issue is that undermining the effects of radiation is the main tactic used for decades by the proponents of the nuclear industry. If you think I sound I’m exaggerating, I recommend reading a study like this:

CHERNOBYL: 20 YEARS ON by ECCR (summary)
http://www.euradcom.org/publications/chernobyleflyer.pdf

I have personally interviewed many scientists and engineers who have worked inside plants. They all had to leave in order to expose the truth with great conscience. Although the technology has improved, the principles have remained the same since its inception. We really need to realize that most “fears” regarding nuclear energy is indeed very true. Otherwise, we wouldn’t be having such a big discussion in 2011.

Why do you think we haven’t had any new plants built in the US since Three Mile Island accident of 1979? Currently around 100, at one point the US government was aiming for 1000 nuclear power plants. The bottom line is nuclear plants are never safe nor economically viable, unless you’re heavily invested in Uranium.

Which side you want be on, is totally up to you.
Let’s keep working for the truth, for the people, for each other.

peace
Shing02

http://www.youtube.com/watch?v=IgozuAyAWys

http://www.youtube.com/watch?v=6L3Q5UMEtGQ

Filed Under: 2011 Daily News Tagged With: Chernobyl disaster, Japan, Japanese hip hop, Nuclear fission, Nuclear power, Radioactive decay, rap, Shingo 02, Three Mile Island accident

Physical Graffiti (The History of Hip Hop Dance)

February 27, 2011 By mrDaveyd

This is a dope article written by Hip Hop pioneer Jorge “Popmaster Fabel” Pabon of the Rocksteady Crew/ Universal Zulu Nation that gives us a brief outline on the history of Hip Hop dance. It was written in 1999 for the Rock-N-Roll Hall of Fame..

Preface: As we complete the third decade of what has been termed “hip-hop culture,” much has yet to be explored regarding its roots, history, terminology and essence. Deciphering theories from facts is a gradual, seeming endless process since many resources are scattered, leaving missing links in the chains of history. Nevertheless, it is safe to say that there are authentic facts, proven by sound testimony and evidence, regarding “hip-hop” history. These truths, unanimously agreed upon by the pioneers of the culture, should constitute the “hip-hop gospel,” whereas the questionable theories should remain as footnotes until proven to be fact.

In order to properly report the history of hip hop dance forms, one must journey both inside and outside of New York City. Although dance forms associated with hip-hop did develop in New York City, half of them (i.e. popping and locking) originated and developed on the west coast as part of a different cultural movement. Much of the media coverage in the 1980s grouped these dance forms together with New York’s native dance forms (b-boying/girling and Brooklyn uprocking), labeling them all “break dancing.” As a result, the west coast “funk” culture and movement were overlooked and underrated as the public ignorantly credited “hip-hop” as the father of the funk dance forms. This is just one example of misinformation that undermines the intricacies of each dance form, as well as their origins and structure. The intent behind the following piece is to explore the past, present and future of these dance forms and their contributions to the performing arts worldwide.

Note: The facts in this piece were obtained through conversations with and/or public appearances by: Boogaloo Sam, Popin’ Pete, Skeeter Rabbit, Sugar Pop, Don Campbellock, Trac 2, Joe-Joe, King Uprock, Kool DJ Herc, Afrika Bambaataa and other pioneers. Information was also obtained from various interviews in magazines.

In the early 1970s, the unnamed culture known today as “hip-hop” was forming in New York City’s ghettos. Each element in this culture had it’s own history and terminology contributing to the development of a cultural movement. The common pulse which gave life to all these elements is rhythm, clearly demonstrated by the beats the DJ selected, the dancers’ movements, the MCs’ rhyme patterns and the writer’s name or message painted in a flowing, stylized fashion. The culture was identified in the early 1980s when DJ Afrika Bambaataa named the dynamic urban movement “hip-hop.” The words, “hip-hop,” were originally used by MCs as part of a scat style of rhyming, for example: “Hip-Hop ya’ll and ya don’t stop, rock on, till the break of dawn.”

At about the same time, certain slang words also became titles of the dance forms, such as “rockin’” and “breakin’,” used generally, to describe actions with great intensity. Just as one could rock the mic (microphone) and rock the dance floor, one could rock a basketball game or rock some fly gear (dress impressively). The term “break” also had more than one use in the 70s. It was often used as a response to an insult or reprimand, for example, “Why are you breakin’ on me?” Break was also the section on a musical recording where the percussive rhythms were most aggressive and hard driving. The dancers anticipated and reacted to these breaks with their most impressive steps and moves.

Kool DJ Herc, originally from Jamaica, is credited with extending these breaks by using two turntables, a mixer and two of the same records. As DJs could re-cue these beats from one turntable to the other, finally, the dancers were able to enjoy more than just a few seconds of a break! Kool Herc also coined the terms “b-boy” and “b-girl” which stood for “break boys” and “break girls.” At one of Kool Herc’s jams, he might have addressed the dancers just before playing the break beats by saying, “B-Boys are you ready?! B-Girls are you ready?!” The tension started to mount and the air was thick with anticipation. The b-boys and b-girls knew this was their time to “go off!”

Some of the earliest dancing by b-boy pioneers was done upright, a form which became known as “top rockin’.” The structure and form of top rockin’ has infused dance forms and influences from Brooklyn uprocking, tap, lindi hop,James Brown‘s “good foot,” salsa, Afro-Cuban and various African and Native American dances. There’s even a top rock Charleston step called the “Charlie Rock“! Early influences on b-boying/girling also included martial arts films from the 1970s. Certain moves and styles developed from this inspiration.

https://www.youtube.com/watch?v=ahoJReiCaPk

https://www.youtube.com/watch?v=Zdz88MBWomo

Capoera, a form of self defense disguised as a dance, was introduced to Brazil by African slaves. This form has some movements which are very similar to certain b-boy/girl steps and moves. Unlike the popularity of the martial arts films, capoera was not seen in the Bronx jams until the 1990s. Top rockin’ seems to have developed gradually and unintentionally, leaving space for growth and new additions, until it evolved into a codified form.

http://www.youtube.com/watch?v=pFIzrklt0PQ

Although top rockin‘ has developed an identifiable structure, there is always space for individual creativity, often expressed through the competitive nature of the dance. The same is true of all dance forms associated with hip-hop and west coast funk; as long as dancers represent the root forms of the dances, the rest can be colored in with his/her own flavors.

As a result of the highly competitive nature of these dances, it wasn’t long before top rockers extended their repertoire to the ground with “footwork” and “freezes.” For instance, one dancer might start top rocking then drop to the ground, suddenly going into leg shuffles then a freeze before coming to his feet. His opponent might have to do twice as much floorwork or a better freeze to win the battle. The fancy leg movements done on the ground, supported by the arms, were eventually defined as “footwork” or “floor rocking.” In time, an impressive vocabulary of footwork, ground moves and freezes developed, including the dancers most dynamic steps and moves.

Top rockin’ was not replaced with floor rocking; it was added to the dance and both were key points in the dance’s execution. Many times one could tell who had flavor and finesse just by their top rockin’ before the drop and floor rock. The transition between top and floor rockin’ was also important and became known as the “drop”. Some of these drops were called: front swipes, back swipes, dips and corkscrews. The smoother the drop, the better.

Equally significant was the way dancers moved in and out of a freeze, demonstrating control, power, precision, and at times, humor. Freezes were usually used to end a series of combinations or to mock and humiliate the opponent. Certain freezes were also named, the two most popular being the “chair freeze” and the “baby freeze.” The chair freeze became the foundation for various moves because of the potential range of motion a dancer had in this position. The dancer’s hand, forearm and elbow support the body while allowing free range of movement with the legs and hips. From the chair freeze came the floor trac, back spin with the use of arms, continuous back spin (also known as the windmill), and other moves. These moves pushed the dance in a new direction in the early 1980s, the era of so-called “power moves.”
https://www.youtube.com/watch?v=FGiG47yG2KE

The first spins done in b-boying were one-shot head spins originally known aspencils; hand spins originally known as floats; knee spins; and butt spins. The first back spin came from a butt spin. Once a dancer gained momentum on his butt he could lie back and spin into a freeze. The next phase of backspin came from a squatted position tucking the arm and shoulder under the body onto the floor, then rolling onto the back and spinning. This spin developed from the neck move (a move in which the dancer rolls from one shoulder to the other). Finally, the backspin, from the foundation of a chair freeze, was developed.

“Power moves” is a debatable term since it is questionable which movement requires more power: footwork and freezes or spins and gymnastics. One notable point introduced by B-Boy Ken Swift is that spins are fueled by momentum and balance which require less muscular strength than footwork and freezes. The laws of physics prove this to be true: spins require speed and speed creates momentum. The advent of “power moves” brought about a series of spins which became the main focus of the media and the younger generations of dancers. The true essence of the dance was slowly overshadowed by an over abundance of spins and acrobatics which didn’t necessarily follow a beat or rhythm. The pioneers didn’t separate the “power moves” from the rest of the dance form. They were B-Boys who simply accented their performance with incredible moves to the beat of the music.

https://www.youtube.com/watch?v=_TujGJJFckE

https://www.youtube.com/watch?v=XQ9CgPi6R1c

In the late 1960s and early ’70s, Brooklyn, NY gave birth to another dance in Hip-Hop culture, known as “Brooklyn uprocking.” Inspired by similar or the same break beats used by b-boys/girls, this dance was more confrontational. Typically, two opponents faced each other and engaged in a “war dance” consisting of a series of steps, jerks, and the miming of weapons drawn against each other. There were also the “Apache Lines” where one crew stood in a line facing an opposing crew and challenged each other simultaneously. This structure was different from b-boying/girling since dancers in b-boy/b-girl battles took turns dancing while Brooklyn uprocking was done with partners. Brooklyn uprocking was also done to records played from beginning to end. In Brooklyn, DJs were mixing records and not cutting break beats. This allowed the uprockers to react to the song in its entirety, responding to the lyrics, musical changes and breaks.

https://www.youtube.com/watch?v=j4MRKLcud4U

Just as power moves became the focus of b-boying/girling, one particular movement known as “jerking” became the highlight of Brooklyn uprocking. Jerking is a movement which is used in direct battles, typically repeated throughout the break of the record. Today, Brooklyn uprocking consists almost entirely of jerking; the original from has been all but forgotten by the younger generation.

https://www.youtube.com/watch?v=RtOj3MqtJho

Brooklyn Uprocking also depended on quick wit, humor and finesse as opponents attempted to humiliate each other. Winning meant: displaying the swiftest steps; being receptive to the rhythms and counter rhythms of the music and the opponent; catching the opponent off guard with mimed assaults, humor, and endurance. Brooklyn uprocking consisted of quick arm and leg movements, turns, jumps, drops, and freezes. This dance was similar in spirit to b-boying/girling, yet different in form. Some pioneers believe top rocking’s first inspiration was Brooklyn Uprocking. The two forms developed simultaneously from similar inspirations yet kept their own identities.

The west coast was also engaged in a cultural movement throughout the 1970s. This scene was nourished by soul, R&B and funk music at outdoor functions and discotheques.

In Los Angeles, California, Don Campbell, also known as Don Cambellock, originated the dance form “locking.” Trying to imitate a local dance called the “funky chicken,” Don Campbell added an effect of locking of the joints of his arms and body which became known as his signature dance. He then formed a group named “The Lockers,” who all eventually shared in the development of this dance. The steps and moves created by these pioneers were named and cataloged. Some of these include: the lock,points, skeeters, scooby doos, stop n’go,which-away and the fancies. Certain members of The Lockers” incorporated flips, tucks, dives and other aerial moves reminiscent of the legendary Nicholas Brothers. The main structure of the dance combined sharp, linear limb extensions and elastic-like movement.

The “lock” is a specific movement which glues together combinations of steps and moves similar to a freeze or a sudden pause. Combinations can consist of a series of points done by extending the arms and pointing in different directions. Dancers combined fancy step patterns with the legs and moves done in various sequences. The Lockers also jumped into half splits, knee drops, butt drops, and used patterns which would take them down to the ground and back up to their feet. This dance gained much of its popularity through The Lockers’ various televised performances which include: the “Johnny Carson Show,” the “Dick Van Dyke Show,” the “Carol Burnett Show” and “Saturday Night Live.”

http://www.youtube.com/watch?v=uAIHco09KWY

In 1976, The Electronic Boogaloo Lockerswas formed in Fresno, California by Sam “Boogaloo Sam” Soloman, Nate “Slide” Johnson and Joe “Slim” Thomas. Since the group’s inception, Sam has continued to recruit and help each member master his individual form. Some of Sam’s early inspirations were Chubby Checker‘s “Twist;” a James Brown dance called “the Popcorn;” “the Jerk;” cartoon animation and the idiosyncrasies of everyday people. From these many influences, Sam combined incredible steps and moves conceiving a dance form which he named “Boogaloo.” This form includes isolated sharp angles, hip rotations and the use of every part of the body. Sam’s brother, Timothy “Popin’ Pete” Soloman, described Boogaloo as a dance which was done by moving the body continuously in different directions.

He also compared the body to a musical instrument in which the movement was as varied as the notes. Originally, “popping” was a term used to describe a sudden muscle contraction executed with the triceps, forearms, neck, chest and legs. These contractions accented the dancer’s movement causing a quick, jolting effect. Sam’s creation, popping, also became known as the unauthorized umbrella title to various forms within the dance, past and present. Some of these forms include: boogaloo, strut, dime stop, wave, tick, twisto-flex andslides. The transitions between steps, forms, and moves were fluid, unpredictable, precise, and delivered with character and finesse. Various forms were clearly showcased throughout the dancer’s solos and group routines. Eventually, popping was also misrepresented and lost its purity as younger generations strayed from its original forms.

The titles, “Electric Boogie” and “Boogie” were given, in ignorance, to the dance, in New York, after the Lockers and Electric Boogaloos performed on the television program, “Soul Train.” Unaware of the dance’s history, New Yorkers attempted to name the dance after The Electric Boogaloos (derived from the Electronic Boogaloo Lockers).

http://www.youtube.com/watch?v=ZIptfnO2z0w

Dancers in Los Angeles also distorted the name by calling it “pop-locking,” while in France, it was called “The Smurf.” Elements of pantomime were merged with the dance, diluting its original essence. Miming creates illusions of the body without a rhythmic structure whereas popping and boogaloo create movement synchronized to rhythmic patterns. Most of the time, this fusion was done unsuccessfully since one would stray from the beat of the music. Other townships in central California are credited for creating original forms of dance as well. Each region was identified by its style: San Jose was known for “flying tuts” and “dime stopping;” San Francisco had the “chinese strut;” “Filmore strutting” originated obviously in the Filmore area. Oakland became known for “Frankenstein hitting” and “snake hitting.” East Palo Alto was also known for “snake hitting.” “Roboting” and “bopping” were popularized in Richmond. Sacramento had its own dances called “Oak Parking,” “Bustin’,” and “Sac”-ing (pronounced ‘sacking’). Dime stopping, strutting and hitting all predate popping and have their own histories within the west coast funk movement. In summary, all of these dance styles have contributed to the evolution of phenomenal forms of expression!

A connection between the east and west coast movements are certain records which are danced to by b-boys/girls, Brooklyn uprockers, and lockers. One example is “Scorpio” by Dennis Coffey and the Detroit Guitar Band. For the most part, each dance form had a different musical influence, dress code and terminology (all of which were mismatched and misrepresented during the 1980’s media coverage of these dance forms).

https://www.youtube.com/watch?v=KBn_oUH8Uo0

As relatively new dance forms, b-boying/girling, Brooklyn uprocking, locking and popping are rarely seen in a theatrical setting. They are usually performed in music videos, commercials or films for just a few seconds revealing very little of their full potential. In many cases, the filming of these dances has been poor where only part of the body is captured, taking away from the full impact of the steps, moves, and illusions. The film editing of these dances also deprives the audience of transitions and composition, since the editors are usually unfamiliar with the structures of the dance forms. Proper consultation with the dancers concerning filming and editing can remedy this recurring problem.

Another challenge related to the commercialization of the dance forms is the loss of spontaneous performance. In a cipher, a circular dance space which forms naturally once the dancing begins, the dancers can direct their performance in various directions, uninhibited and free from all counts and cues. This freedom is the key to creativity since the dancer is constantly challenged with variations in music, an undefined dance space and potential opponents among the audience. The transition from cipher to stage has had its effects on the dancers and their craft.

What was once improvisational forms of expression with spontaneous vocabulary became choreography in a staged setting. A stage performance creates boundaries and can restrict the free flowing process of improvisation. The dancers are challenged in a different way. Nailing cues and choreography becomes the objective.

Another major difference between the original dance forms and staged versions is the positioning of the audience, since most traditional theaters have the audience facing the stage in one direction. Having to entertain an audience in one general location requires the dancer or choreographer to consciously space the performance allowing the best viewing of the dance. In order to preserve the true essence and dynamics of these dance forms, they should exist as a social and cultural reality celebrated in their natural environments i.e.: jams, events, clubs, etc. Theatrical film and video productions can be used as vehicles for their preservation as long as the essence of the form isn’t compromised and diluted in the process.

The same concern applies to the story lines and scripts pertaining to the dance’s forms and history. The mixing and blending of popping, locking, b-boying/girling, and Brooklyn uprocking into one form destroys their individual structures. Unfortunately the younger generations of dancers either haven’t made enough effort to learn each dance form properly, or lack the resources to do so. However the outcome is the same: hybrid dances with unclear form and structure.

In addition, each of the dance forms are performed best with their appropriate musical influences. Intermixing dance forms and their music forms dissolves their structures and ultimately destroys their identities. Dancing on beat is most important. Riding the rhythm makes the difference between dance and unstructured movement. The formula is simple, submission to the music allowing it to guide and direct equals dancing.

Finally, the best way to preserve the dances is by learning from the earliest available sources or a devoted practitioner of the form. The pioneers of these dance forms hold the key to the history and intentions of the movement. They remain the highest authorities regardless of other opinions or assumptions.

Unraveling the history of locking, popping, b-boying/girling and Brooklyn uprocking takes us towards a true understanding of their essence and significance in the world today. Many other genres of dance have borrowed without giving credit to their rightful owners. Hopefully, we will see the day when these dances are clearly distinguished and given their due respect. Every so often, the dance world is introduced to innovations which revolutionize the arts. In summary, the hip-hop and west coast funk movements have succeeded in replenishing the world with new exciting dance forms which entertain and change the lives of many people worldwide.

https://www.youtube.com/watch?v=YZWcBxLpjCg

http://www.youtube.com/watch?v=NpdLz0WFbQM

This article was commissioned by the Rock-N-Roll Hall of Fame and originally appeared on this website in 1999
http://www.rockhall.com/exhibitions/past.asp?id=496
For more information on Hip Hop Pioneer Popmaster Fabel contact him at toolsofwar@aol.com

Filed Under: 2011 Daily News Tagged With: Afrika Bambaataa, B-boy, Breakdancing, don campbell, Grandmaster Flash, Hip Hop, Kool DJ Herc, Locking, Popmaster Fabel, popping, Universal Zulu nation

Categories

Search Results for: origin of hip hop

The Spirit of Resistence: Hip Hop Has Always Been Political

Hip Hop Has Always Addressed Electoral Politics

From Paris to Brazil Fear of a Politicized Hip Hop