Rap/Hip Hop 1970’s

The 1970s marked the early days of hip-hop, with live performances, block parties, and club shows being the primary focus of the scene. The majority of hip-hop tracks during this time were not officially recorded or released.
However, a few tracks emerged towards the end of the decade, signaling the beginning of the transition to recorded music. Some notable recordings from this era include “King Tim III (Personality Jock)” by Fatback Band, “Rapper’s Delight” by The Sugarhill Gang, “Christmas Rappin'” by Kurtis Blow, “Spoonin’ Rap” by Spoonie Gee, and “To the Beat Y’all” by Lady B.
DJ Kool Herc, Afrika Bambaataa, Grandmaster Flash and the Furious Five, The Sugarhill Gang, Kurtis Blow, Spoonie Gee, The Treacherous Three, The Funky 4 + 1, The Cold Crush Brothers, and other artists were instrumental in shaping the early hip-hop scene through their live performances and recordings in the 1970s.

DJ Kool Herc
While DJ Kool Herc did not have any official records released, his influence comes from the live performances and block parties he hosted during the 1970s.

Afrika Bambaataa
“Zulu Nation Throwdown” ft. The Cosmic Force (1980)
“Jazzy Sensation” ft. The Jazzy Five (1981)
“Planet Rock” ft. The Soulsonic Force (1982)
“Looking for the Perfect Beat” ft. The Soulsonic Force (1982)
“Renegades of Funk” ft. The Soulsonic Force (1983)

Grandmaster Flash and the Furious Five
“Superrappin'” (1979)
“Freedom” (1980)
“The Birthday Party” (1981)
“Scorpio” (1981)
“It’s Nasty (Genius of Love)” (1981)

The Sugarhill Gang
“Rapper’s Delight” (1979)
“8th Wonder” (1980)
“Apache” (1981)
“Showdown” ft. The Furious Five (1981)
“The Lover in You” (1982)

Kurtis Blow
“Christmas Rappin'” (1979)
“The Breaks” (1980)
“Hard Times” (1980)
“Starlife” (1981)
“Tough” (1982)

Spoonie Gee
“Spoonin’ Rap” (1979)
“Love Rap” ft. The Treacherous Three (1980)
“Monster Jam” ft. Sequence (1980)
“Spoonie Is Back” (1981)
“The Big Beat” (1983)

The Treacherous Three
“The New Rap Language” (1980)
“Body Rock” (1980)
“Feel the Heartbeat” (1981)
“At the Party” (1981)
“Yes We Can-Can” (1982)

The Funky 4 + 1
“That’s the Joint” (1980)
“Rappin’ and Rocking the House” (1979)
“Do You Want to Rock” (1982)
“Superstars” (1981)
“Square Biz” (1982)
The Cold Crush Brothers
“Punk Rock Rap” (1981)
“Fresh, Wild, Fly & Bold” (1984)
“Heartbreakers” (1981) (Live performance at Harlem World)
“Weekend” (1982)
“The Bronx” (1985)

Busy Bee Starski
“Making Cash Money” (1982)
“School Days” (1983)
“Suicide” (1984)
“Busy Bee’s Groove” (1988)
“Get Busy” (1990)

Lovebug Starski
“Gangster Rock” (1984)
“You’ve Gotta Believe” (1984)
“Do the Right Thing” (1986)
“House Rocker” (1986)
“Amityville (The House on the Hill)” (1986)

The Fearless Four
“Rockin’ It” (1982)
“Just Rock” (1983)
“It’s Magic” (1983)
“Problems of the World” (1983)
“Dedication” (1984)

The Crash Crew
“High Powered Rap” (1980)
“Breaking Bells (Take Me to the Mardi Gras)” (1981)
“On the Radio” (1981)
“We Are Known as Emcees (We Turn Party’s Out)” (1983)
“We Want to Rock” (1981)

DJ Hollywood
“To Whom It May Concern” (1979)
“Shock, Shock The House” (1980)
“Hollywood’s World” (1981)
“Love is Not a Game” (1982)
“Let’s Get It On” (1986)

Eddie Cheeba
was a live performer and influential DJ but did not have any officially released records during the 1970s. His impact on hip hop came from his live shows and club performances.

The Sequence
“Funky Sound (Tear the Roof Off)” (1979)
“And You Know That” (1980)
“Simon Says” (1982)
“I Just Want to Know” (1983)
“Here Comes the Bride” (1984)

DJ Charlie Chase and MC Tony Tone
As part of the Cold Crush Brothers, DJ Charlie Chase and MC Tony Tone contributed to the group’s performances and releases. Please refer to the list of songs mentioned for The Cold Crush Brothers.

Kool DJ AJ
Like DJ Hollywood and Eddie Cheeba, Kool DJ AJ did not have any official records released during the 1970s. His contributions to hip hop came from his live performances and collaborations with other artists such as Kurtis Blow and Busy Bee Starski.

The Cosmic Force
“Zulu Nation Throwdown” ft. Afrika Bambaataa (1980)
As part of Afrika Bambaataa’s extended group of collaborators, The Cosmic Force appeared on several tracks with Bambaataa. They are most known for their collaboration on “Zulu Nation Throwdown.”

The Jazzy Five
“Jazzy Sensation” ft. Afrika Bambaataa (1981)
Like The Cosmic Force, The Jazzy Five were part of Afrika Bambaataa’s extended group of collaborators. They are best known for their collaboration on “Jazzy Sensation” with Bambaataa.

The majority of hip-hop songs were officially recorded and released in the early 1980s.
During the 1970s, the hip-hop scene was primarily focused on live performances, block parties, and club shows, with very few recordings released.

However, there were a few recorded tracks that emerged in the late 1970s, signaling the beginning of hip-hop’s transition from live performances to recorded music.

Here are some of those recordings:

Fatback Band – “King Tim III (Personality Jock)” (1979) – Often considered one of the first recorded hip-hop tracks, this song predates “Rapper’s Delight” by a few months.

The Sugarhill Gang – “Rapper’s Delight” (1979) – Widely recognized as the first commercially successful hip-hop single, this track brought the genre to a broader audience.

Kurtis Blow – “Christmas Rappin'” (1979) – This holiday-themed rap song helped establish Kurtis Blow as one of the earliest solo rappers.

Spoonie Gee – “Spoonin’ Rap” (1979) – Known for his smooth delivery and storytelling style, Spoonie Gee’s “Spoonin’ Rap” was an early hip-hop recording that showcased his talent.

Lady B – “To the Beat Y’all” (1979) – As one of the first female MCs, Lady B’s “To the Beat Y’all” was an influential recording that demonstrated the growing diversity of hip-hop.

Hip Hop: The Evolution from the 1960s to Present

Introduction

Hip-hop, an African-American musical genre that emerged in the South Bronx in the 1970s, has since evolved into a global phenomenon. The culture has given birth to some of the most influential musicians and artists of our time, from James Brown and Grandmaster Flash to Cardi B and Kendrick Lamar. Throughout its evolution, hip-hop has reflected the changing socio-political landscape of African-American life in the United States, from the civil rights movement to the crack epidemic and beyond. In this essay, we will explore the evolution of hip-hop from the 1960s to the present day, using quotes from prominent figures in the black community to shed light on the impact of this genre on African-American music and culture.

The 1960s: Hip Hop’s Origins

The 1960s saw the birth of Hip Hop, a cultural and musical movement that was heavily influenced by the socio-economic conditions of African American communities in the South Bronx. As a reaction to the marginalization and disenfranchisement experienced by African Americans, Hip Hop emerged as a means of self-expression and identity formation. As Grandmaster Flash, a pioneering Hip Hop DJ and producer, notes: “Hip Hop was our way of taking something negative and turning it into something positive.”

The 1960s marked a pivotal era in African-American history, as the civil rights movement gained momentum and a wave of cultural and social changes swept the country. During this time, soul music emerged as a powerful form of African-American expression, with artists like James Brown and Aretha Franklin leading the charge.

“I’m black and proud. I’m proud to be a black man. I’m proud of my race. I’m proud of who I am. I’m proud of what I’ve done for my people.” – James Brown

“Soul is a way of life – but it’s also a way of singing and playing music. It’s all about passion and emotion and feeling.” – Aretha Franklin

“We’re going to fight racism not with racism, but we’re going to fight with solidarity.” – Fred Hampton

The 1970s: Black Pride and Political Consciousness

The 1970s marked the rise of Black Pride and Political Consciousness in Hip Hop. African Americans were struggling against racism, poverty, and discrimination, and Hip Hop provided a platform for political expression and social commentary. The music was characterized by a sense of empowerment and an affirmation of black identity.

The 1970s saw the emergence of the Black Power movement, which emphasized self-determination and empowerment for African-Americans. It was during this time that hip-hop emerged as a form of expression for black youth in the Bronx.

“Hip-hop is the voice of this generation. Even if you didn’t grow up in the Bronx in the 70s, hip-hop is there for you. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together.” – Jay-Z

“Hip-hop is the voice of the people. It reflects the struggles and triumphs of the black community. It’s a way of telling our stories, our hopes, and our dreams.” – Chuck D

“Hip-hop is not just music, it’s a movement. It’s a way of life, a culture. It’s about breaking down barriers and bringing people together.” – Queen Latifah

The 1980s: The Crack Epidemic and Gangsta Rap

The 1980s saw the rise of the crack epidemic, which had a significant impact on African American communities and Hip Hop culture. Gangsta Rap emerged as a sub-genre that reflected the harsh realities of life in inner-city neighborhoods.

The 1980s were a turbulent time for African-Americans, as the crack epidemic swept through urban communities, fueling poverty, violence, and the mass incarceration of black men. During this time, gangsta rap emerged as a form of expression for artists like N.W.A. and Ice-T.

“I never knew the ghetto until I was grown up. But being black, you’re born into it. The word ‘ghetto’ is a Jewish word, but it’s become synonymous with the black experience in America.” – Ice-T

“Our art is a reflection of our reality. Gangsta rap reflects the reality of the streets, the poverty, the violence, and the struggle for survival.”

The 1990s: Gangsta Rap and Bling Era

The 1990s saw the rise of gangsta rap, a subgenre that focused on the violent realities of inner-city life. The West Coast was the epicenter of this movement, with artists like N.W.A., Ice-T, and Snoop Dogg becoming household names. The lyrics of gangsta rap often depicted drugs, guns, and gang violence. This genre’s popularity coincided with the rise of the “bling era,” a time when rappers flaunted their wealth through jewelry, cars, and clothing. It was a stark contrast to the poverty and violence depicted in their lyrics.

Ice-T: “Gangsta rap is just reality rap. It’s describing what’s going on. It’s not pro-violence, it’s just reporting violence.”

Eazy-E: “We’re not promoting violence. We’re just letting people know what’s going on in our communities.”

Tupac Shakur: “I’m not saying I’m gonna rule the world, or that I’m gonna change the world, but I guarantee that I will spark the brain that will change the world.”

The 2000s: Crunk, Dirty South, and Trap Music

In the 2000s, Southern rap took center stage with the rise of crunk, a high-energy subgenre characterized by its loud beats and call-and-response style. Dirty South rap also emerged during this time, featuring artists like Outkast and Ludacris. Towards the end of the decade, trap music gained popularity, with artists like T.I. and Young Jeezy popularizing the genre’s signature sound of hard-hitting beats and dark lyrics.

“Crunk music is just high energy. It’s about having fun, getting hype, and getting crunk.” – Lil John

“Trap music is just reality rap. It’s the voice of the streets. It’s what’s really going on in the hood.” – T.I.

“Dirty South rap is just a reflection of where we’re from. It’s our culture, our language, our slang.” – Ludacris

The 2010s: Mumble Rap, Trap, and SoundCloud Rap

The 2010s saw the rise of a new sub-genre of rap called “mumble rap,” which features artists who prioritize the melody and flow of their lyrics over the actual words. This sub-genre received criticism for its lack of lyricism and perceived shallowness. However, it gained popularity among younger audiences, with artists like Lil Uzi Vert and Future leading the charge. Trap music continued to dominate the airwaves, with artists like Migos and Young Thug incorporating trap beats into their music.

“Mumble rap is just a new style. It’s about the vibe, the melody. It’s about how the music makes you feel.” – Lil Uzi Vert

Trap music is just a reflection of our environment. It’s the sound of the streets. It’s how we talk, how we dress, how we live.” – Future

“Mumble rap has its place, but it’s not what I’m about. I believe in the power of words and the impact they can have on people’s lives.” -Kendrick Lamar

*Fun Fact

KRS-One, born Lawrence Parker, first rose to prominence as a member of the hip-hop group Boogie Down Productions (BDP) in the mid-1980s. His first recording with BDP was the single “South Bronx,” released in 1986. This track was a response to MC Shan’s “The Bridge” and marked the beginning of the Bridge Wars, a rivalry between hip-hop artists from the Bronx and Queensbridge.

In 1987, Boogie Down Productions released their debut album, “Criminal Minded,” which further established KRS-One as a leading figure in hip-hop. As the primary lyricist and frontman of BDP, KRS-One’s socially conscious and politically charged lyrics set him apart from many of his contemporaries, and he went on to have a successful solo career after the group disbanded in the early 1990s.

Early rap sound a lot like funk

Indeed, early rap and hip-hop were heavily influenced by funk music. Funk emerged in the late 1960s and became a popular genre in the 1970s, characterized by syncopated rhythms, complex grooves, and a heavy emphasis on basslines. Many early hip-hop artists and DJs, such as Kool Herc, Afrika Bambaataa, and Grandmaster Flash, were inspired by funk and incorporated its elements into their music.

Funk music provided the foundation for early hip-hop by offering a wealth of breakbeats and basslines for DJs to sample and loop. As hip-hop DJs began to isolate and extend the breaks from funk songs, these breaks became the rhythmic backbone for MCs to rap over. This practice laid the groundwork for the beats and instrumentals that would come to define hip-hop music.

Additionally, the use of funk samples contributed to the overall sound of early hip-hop. Many pioneering hip-hop songs, such as “Rapper’s Delight” by The Sugarhill Gang and “Planet Rock” by Afrika Bambaataa & The Soulsonic Force, featured samples from well-known funk tracks.

As hip-hop evolved over time, its connection to funk music remained strong, with many artists continuing to sample and draw inspiration from funk throughout the years. Although the genre has expanded and diversified over time, the influence of funk on the development and sound of hip-hop is undeniable.

So rap music was popular at the same time as disco music?

Yes, rap music and disco music were both popular during the late 1970s and early 1980s, although they catered to different audiences and had distinct styles.

Disco music emerged in the early 1970s and reached its peak in the mid-to-late 1970s. It was characterized by four-on-the-floor beats, syncopated basslines, orchestral arrangements, and a strong emphasis on the rhythm section. Disco’s popularity was fueled by dance clubs and the rise of DJ culture.

Iconic disco artists include Donna Summer, Chic, and the Bee Gees.
Rap music, as an early form of hip-hop, began to gain traction in the mid-to-late 1970s. Rooted in African American and Latino communities in New York City, rap music focused on DJs mixing and extending breaks from funk and soul records, accompanied by MCs who rapped over these beats. Early rap artists include Grandmaster Flash and the Furious Five, The Sugarhill Gang, and Afrika Bambaataa.

While both genres were popular during the same period, they appealed to different tastes and subcultures. Disco was more mainstream, appealing to a broad audience and dominating the radio and club scenes. Rap music, on the other hand, was initially a more underground and localized movement, mainly concentrated in urban communities.

The two genres did occasionally intersect, as some rap artists sampled or incorporated disco elements into their music. For example, “Rapper’s Delight” by The Sugarhill Gang, one of the first commercially successful rap songs, heavily samples Chic’s disco hit “Good Times.” Despite these occasional crossovers, rap and disco largely remained distinct genres with different sounds and audiences.

So what’s the difference between rap and hip-hop?

The terms “rap” and “hip-hop” are often used interchangeably, but they have distinct meanings within the broader context of the culture.

Rap refers specifically to the vocal style and technique of rhythmically speaking, rhyming, or chanting lyrics over a beat. It is a key component of hip-hop music, with MCs (short for “Master of Ceremonies” or “Microphone Controller”) delivering their raps over beats crafted by DJs or producers.

Hip-hop, on the other hand, encompasses a broader cultural movement that goes beyond music. Hip-hop culture originated in the South Bronx in New York City in the 1970s and has since expanded globally. It comprises four main elements, often referred to as the “four pillars” of hip-hop:

MCing (rapping) – The vocal delivery of rhythmic, rhyming lyrics over beats.

DJing – The art of mixing, scratching, and manipulating recorded music, usually using turntables and a mixer, to create new sounds or beats.

Breakdancing (B-boying or B-girling) – A style of street dance characterized by acrobatic moves, intricate footwork, and stylistic freezes.

Graffiti art – A form of visual expression using spray paint or other mediums to create stylized lettering and images on walls, buildings, and other surfaces, often in public spaces.

While rap music is an integral part of hip-hop culture, it is just one aspect of the broader movement. Hip-hop encompasses not only the music but also the dance, art, and fashion associated with the culture. When discussing the difference between rap and hip-hop, it is essential to recognize that rap is a musical style within the larger framework of hip-hop culture.

Hip-hop culture emerged in the South Bronx in the early 1970s as a response to social, economic, and political challenges faced by African American and Latino communities. The four elements of hip-hop – MCing, DJing, breakdancing, and graffiti art – each have their own unique history and development.

MCing (rapping):

MCing is the art of delivering rhythmically spoken, rhymed lyrics over a beat. Early MCs drew inspiration from Jamaican toasting, a style of rhythmic chanting over dub instrumentals, and African American oral traditions, such as storytelling and spoken-word poetry. Pioneering MCs like DJ Kool Herc, Grandmaster Flash, and Afrika Bambaataa would hype the crowd at block parties and clubs, often accompanied by a DJ who provided the beats. As hip-hop music evolved, MCs became more focused on lyricism, wordplay, and storytelling, with artists like Rakim, Big Daddy Kane, and KRS-One pushing the boundaries of the art form.

DJing:

DJing is the art of mixing and manipulating recorded music to create new sounds and beats. In the early days of hip-hop, DJs like Kool Herc, Afrika Bambaataa, and Grandmaster Flash would use turntables and mixers to extend the break sections of funk, soul, and disco records, providing a continuous beat for MCs to rap over and dancers to move to. Techniques such as scratching, beat juggling, and cutting were developed by DJs like Grand Wizard Theodore, helping to create the unique sound of hip-hop. As the genre progressed, DJs began using drum machines, samplers, and digital technology to produce beats, with producers like Dr. Dre, DJ Premier, and J Dilla shaping the sound of hip-hop.

Breakdancing (B-boying or B-girding):

Breakdancing is a style of street dance that emerged alongside hip-hop music in the early 1970s. It is characterized by acrobatic moves, intricate footwork, and stylistic freezes. Breakdancing originated as a form of competition among rival street gangs in New York City, with dancers battling each other to show off their skills and gain respect. Early breakdancing pioneers like Crazy Legs and the Rock Steady Crew helped popularize the dance, and it soon spread to other cities and countries. Breakdancing became a global phenomenon in the 1980s, with movies like “Wild Style,” “Beat Street,” and “Breakin'” introducing it to mainstream audiences. Today, breakdancing is recognized as a legitimate art form, with competitions held worldwide and even being included as an Olympic sport for the 2024 Paris Games.

Graffiti art:

Graffiti art is a form of visual expression that uses spray paint, markers, or other mediums to create stylized lettering and images on walls, buildings, and other surfaces. It has its roots in the political and social protest movements of the 1960s and 1970s, as well as in the artistic traditions of African American and Latino communities. Early graffiti artists like TAKI 183 and CORNBREAD began “tagging” their names in public spaces, gaining notoriety and inspiring others to do the same. As graffiti art became more elaborate and stylized, artists like Lee Quiñones, Dondi White, and Lady Pink emerged, creating large-scale murals and “pieces” that were recognized as works of art. Although graffiti art is often associated with vandalism and has faced legal challenges, it has gained acceptance as a legitimate art form in recent years, with many artists exhibiting their work in galleries and museums.

Together, these four elements form the foundation of hip-hop culture, shaping its unique identity and reflecting the creativity, resilience, and self-expression of the communities from which it emerged. Over the years, hip-hop has evolved and diversified, but these core elements remain central to the culture.

As hip-hop grew in popularity, it began to influence and be influenced by other cultural movements and musical styles. The fusion of hip-hop with genres like rock, jazz, and electronic music led to the development of various subgenres and styles. Hip-hop’s impact on fashion, language, and social issues has been profound, with artists using their platform to address topics like racial inequality, police brutality, and economic disparity.

Today, hip-hop is a global phenomenon, with artists and fans from all corners of the world participating in and contributing to the culture. The four elements of hip-hop – MCing, DJing, breakdancing, and graffiti art – continue to be celebrated and practiced, both as individual art forms and as part of the larger cultural movement. As hip-hop enters its sixth decade, its future remains bright, with new artists, sounds, and styles continually pushing the boundaries of what the genre can be.