Rap and Hip Hop

In the words of KRS-One, a prominent New York emcee, “Rap is something you do, hip hop is something you live.” Even though hip hop was a cultural movement composed around five main practices: graffiti, beat boxing, break dancing, DJing, and rapping, as it is known today, it usually denotes a specific genre of music characterized by rap music. Rap is the recitation of rhymed lyrics over a beat or with musical accompaniment. Because of its roots as a form of expression for the multi-cultural impoverished youth of the South Bronx New York, rap music is usually emotionally charged and contains a message (Rose, Voices From the Margins; Rose, All Aboard the Night Train).

History

The South Bronx is usually attributed with the birth of hip hop. In the 1970’s a series of events led to the heavy population of financially disadvantaged people of various races in various sections of New York; one such location was the South Bronx. Lacking the dynamics of a proper community, DJ’s began to emerge providing the people with opportunities to develop a sense of community. Through block parties thrown by DJ’s, their popularity, as well as the popularity of their music, began to grow (Rose, Voices From the Margins).

Forefathers of Hip Hop

Three prominent DJs, DJ Kool Herc, Afirka Bambaataa, and Grandmaster Flash, are considered the fathers of hip-hop and rap music (George). DJ Kool Herc was responsible for popularizing the practice of throwing massive street parties that the community would attend (Fernando Jr.). Bambaataa, although copying Herc’s model, contributed by surpassing him in his selection of records and acquired the nickname The Master of Records (Fernando Jr.; Williams). Additionally, Grandmaster Flash surpassed Herc in his ability to manage the turntables with great speed and fluidity (Fernando Jr.; George). Together, these three figures were influential in the incorporation of hip hop into the mainstream of American Popular Music. 

“Rapper’s Delight”

Towards the end of the 70’s hip hop music and rap began to take on a life of its own. With its growing popularity and increasing number of artists, it began to attract attention; first to take notice was Sylvia Roberts. Due to her participation in the distribution and production of R & B music, Sylvia was able to recognize the potential of hip hop and rap music to gain popularity and to be successful (Greenberg). She put together the group Sugarhill Gang which recorded the song “Rapper’s Delight,” which immediately gained success. It reached No. 36 on U.S. charts and became the largest selling 12 inch record (Appell and Hemphill; Greenberg). When genuine hip hop artists saw the success of “Rapper’s Delight” and realized the potential for success, it motivated them to come out with records of their own.

New Wave

After the boom in the industry created by Herc, Bambaataa, and Flash a new wave of artists became popular, and took the genre in a new direction. Rap became a new kind of music produced by a new kind of person. The two most influential figures in this new kind of rap, and in all rap, hail from opposite coasts, but similar backgrounds – both were raised without fathers and spent time in jail. New York is represented by Notorious BIG (or Biggie Smalls), while Tupac Shakur comes from California. The two personified their respective styles and paved the way for nearly every rapper you hear today. The two were not the first rappers on the scene, the first to find success, or the best selling among their peers. But together they brought more attention to the genre than anyone else had managed to do. Biggie’s style was focused on his drug dealer mentality, deep booming voice, and fast past rhymes. Tupac’s intelligence was what fueled him to become widely accepted as the best rap lyricist of all time ( Edwards ). All Eyez On Me was Tupac’s bestselling album and Life After Death was what catapulted Biggie into the top 5 best selling rap albums ever. Because they both were at their prime at the same time they divided the fans, creating tension that got the music industry, and more importantly media’s, attention ( Dyson ). The feud between the two consisted of arguments, accusations, disses in their songs, and fights between their posies ( Toure ). Their early deaths came as a shock to everyone, both being killed before 26. It was widely believed that the two were heavily involved in the other’s demise, but no evidence was ever found to incarcerate either one. Today’s rappers, such as Lil’ Wayne, Kanye West, 50 Cent, and others all praise Biggie and Tupac and reference them as either the reason they started rapping, or major influences on their own styles. 

by Jamie Noonan and Will Lawler

"Hip Hop." Appell, Glenn and David Hemphill. American Popular Music. Belmont: The Thomson Corporation, 2006. 383-394.

Fernando Jr., S. H. "Back In the Day ." The Vibe and History of Hip Hop. New York : VIBE Ventures, 1999. 13-21.

George, Nelson. "Hip-Hop's Founding Fathers Speak the Truth." Forman, Murry and Mark Anthony Neal. That's the Joint. New York: Routledge, 2004. 45-55.

Greenberg, Steve. "Sugar Hill Records." The Vide and History of Hip Hop. New York: VIBE Ventures, 1999. 23-32.

Rose, Tricia. "All Aboard the Night Train." Rose, Tricia. Black Noise . Hanover: University Press of New England, 1994. 21-62.

Williams, Richard. "The Sound of Surprise." Potash, Chris. Reggae, Rasta, Revolution. New York: Schirmer Books , 1997. 145-148.

Dyson, Michael E. Holler If You Hear Me.

Toure. "Pop Music; Biggie Smalls, Rap's Man of the Moment." The New York Times 18 Dec. 1994: 1-2. Print.

Edwards, Walter. "From poetry to rap: the lyrics of Tupac Shakur." The Western Journal of Black Studies Summer 2002. Print.