KRS-One: “Anyone Who Has a Problem With Afrika Bambaataa Should Quit Hip-Hop” Read M
“Some of us are infallible,” KRS-One said. “Some of us are going to have to be untouchable or our entire culture is going to fall. Our culture cannot fall on the accusations of four people, that’s weak.”
Posted by Ish Gebor (Member # 18264) on :
It doesn't fall, and Bambaataa is not the Godfather of Hip Hop. KRS keeps mentioning this as if is fact, and at one point everybody believed it. But Bambaataa was a baby Spade, he wasn't a originator. The credit goes to the original Black Spades, "King Disco Mario" is the Godfather of Hip Hop. Peer such as Kool Herc were prior to Bam. People need to realize.
Posted by the lioness, (Member # 17353) on :
quote:Originally posted by Ish Gebor: "King Disco Mario" is the Godfather of Hip Hop.
Hip Hop is vocally rhyming over beats.
Posted by kdolo (Member # 21830) on :
KRS should know better...
Sometimes its ok to keep ur mouth shut.
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor: "King Disco Mario" is the Godfather of Hip Hop.
Hip Hop is vocally rhyming over beats.
Hop Hip is a culture, a composition of different elements. The foundation is at the Black Spades. They set these things in motion. Disco Mario is the founder / founding father aka the godfather. Africa Bambaataa was a "baby" Spade. Babies are little, as you probably will know.
[edit august 19 2023]
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor: "King Disco Mario" is the Godfather of Hip Hop.
so called break beats are nothing but a funky beat. That already existed. It's only a funk track stripped down so someone can rap over it.
The "four elements' is just something someone came up with. Certainly Hip Hop doesn't need graffiti and graffiti has no direct connection to music.
Also breakdancing is not essential to Hip Hop. Look at Hip Hop videos of the past 10 years . How many have breakdancing in them? .01%
And you don't even need a DJ to do a Hip Hop show it just looks cool to have one.
Also you completely ignored the theme of this thread. It is not about who is the "godfather" of "Hip Hop"
It is about KRS Ones remarks on child molestation allegations on Bambaata That is the more important issue
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,: so called break beats are nothing but a funky beat. That already existed. It's only a funk track stripped down so someone can rap over it.
The "four elements' is just something someone came up with. Certainly Hip Hop doesn't need graffiti and graffiti has no direct connection to music.
Also breakdancing is not essential to Hip Hop. Look at Hip Hop videos of the past 10 years . How many have breakdancing in them? .01%
And you don't even need a DJ to do a Hip Hop show it just looks cool to have one.
Also you completely ignored the theme of this thread. It is not about who is the "godfather" of "Hip Hop"
It is about KRS Ones remarks on child molestation allegations on Bambaata That is the more important issue
Why do you claim to know more than those from the Black Spade 1st division? They explain the music the listen to and what they danced to.
In the he second video was Kool Herc, talking about the Hip Hop Anthem. But for some funny reason you think you know more. lol Ignorant clown. There was a "select type of break beats", not just any beat. They already existed lol smh. How else could they play them? lol So much for your logic.
There is not four but five elements in Hip Hop culture.
quote:The DJ was the AXIS in the culture. Little do you know.
MARIO - THE FIRST KING OF HIP HOP CULTURE
Many Dj's, mc's and crews has had their time on top of the hip hop world...
Mario The Black Spades with their team of dj's was the first. 1970 - 1975...
Zulu King Cholly Rock sharing some of his great wealth of knowledge in hip hop history... He refers to Mario as "the first hip hop impresario"...Mario was responsible for starting the careers of some of our hip hop pioneers.
quote: [Intro: Just Ice and KRS One] To the best of my knowledge I guess that I'm fresh And when I manifest I never protest (Hold it, hold it. What's going on, Just?) Yo KRS, what's the, what's the, what's the purpose of you stopping me? (Yo man kick the rhymes you was just kicking to me a while ago) Aight
[Verse 1: Just Ice] I'll wax and maim, rappers who proclaim To be the epitome of this game Fronting like you hard, rugged and rough Soft like butter, creamy like a puff On the mic no sense, head very dense Just listen to the gangster and I will convince All that doubt my power of speech The title of the gangster they tried to impeach But um, it is protected by the black and the red It's not true all gangsters are dead Not a gangster with a gun, doing crime none of that Kill a MC with the rhyme cause I'm the gangster of rap In fact, exact, I'm the dominant black Coming full force on, and power that's packed For all the party people this is a fact For all the pioneers I'm going way back [Bridge: KRS One] Goddamn, that is funky funky funky fresh (Dope! Dope!) If you could just keep kicking that, we'll be alright til '88 Dig it (Dope! Dope!)
[Verse 2: Just Ice] Going way way back to the early days Of 75 and the Black Spades Chilling with my homeboy Muscle Man Ron In the Boogie Down Bronx BKA Pelan It was a privilege for people to see Bambaataa rocking hard at 123 On a Friday night the boys would come running To hear big beats that were shocking and stunning In the Hill, not a thing was chill Sound Masters on the loose and acting ill Up top, every weekend rock Either 131 or around that block But anywhere Uptown, you always heard the sound Hip Hop, funky beats, MCs getting down The truth I swear, admit and declare The Bronx was the first, I know, I was there The beats were dope, the sound was on By the way saying Peace to my brother Melquan Dedications have a little bit more The L Brothers, Grand Wizard Theodore I can't forget where we used to ill With the young Sound Masters in Castle Hill I can keep going on, for more and more With Breakout, and Baron, and the Funky 4 On the other side of town, the mics in their hands The lecherous, treacherous also perpetuous MCs cold in command And if you listen to that for an actual fact For all the pioneers I'm going way back
[Bridge: KRS One] Word! Now you know I know This is KRS with Just Ice (Dope! Dope!) Ha ha. Talk about dope beats (Dope!) Yo Just, kick me one more verse, please!
[Verse 3: Just Ice] Let's rest, so I can take a breath Cause I'm bearing the truth and nothing less No disrepect intended but I have to show ya If I didn't say your name that means I did not know ya To get to the point, to make it clear If I don't say your name that means you was not there It's true, I'm from the old school I'm the professor and they are my pupils I teach and never preach Not a bloodsucker, parasite or a leech I'm telling you how, it was or is The Bronx is the home for the Hip Hop kids A long time ago when I was raising hell With the nappy head of hair at the age of 12 I saw and heard, crews that rocked The Cold Crushers, Monsters, Breakout, Sasquatch You're not familiar with the funky sound That proves it right there, you wasn't down Had to earn a position, and do hard work You can ask Kool Herc or my man Red Alert He'll tell ya, because he knows for sure About Flash, EZ Mike, and the Furious Four I'll run off some names, with no offence Listen up real close, as I commence Coke La Rock, Clark Kent, my man Cool Fish Homeboy Tre Dee and Frisky Frisk Wonderful sincere, in the atmosphere Almighty Kay Gee at Union Square Dr. Kik rock on, and my man Shelt La Rocker B.I., KRS, C Rasta Definitely we would rock And I can't forget my homeboy Big Knot It's the truth and for an actual fact For all the pioneers I'm going way back
[Outro: KRS One and Just Ice] Well I think that's about as far back as we can go (Saying peace to my man T La Rock!) Word! Saying peace to my brother Scott La Rock, he's in here! (Scott La Rock rock on!) Word (DMX peace!) Peace! (Peace!)
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,: Certainly Hip Hop doesn't need graffiti and graffiti has no direct connection to music.
It was part of "urban culture/ street culture". It became integrated before the Wild Style. In Style Wars.
It was Fab 5 Freddy who met with Blondie, she knew people in the art scene, this way Wild Style was created. This is why she made a semi-rap song, with Fab 5 Freddy in it.
quote:In this interview w/ LA Stereo, hip hop pioneer Fab Freddy talks about his career: from being a graffiti artist to hanging out with Basquiat, his vision as a producer on "Wild Style" bringing all the hip hop elements together, YO MTV Raps, touring in France in the early 80ies, and hip hop culture in general.
These are typical B Boy songs.
Posted by the lioness, (Member # 17353) on :
quote:Originally posted by Ish Gebor: rap started with toasting.
no it didn't
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor: rap started with toasting.
no it didn't
Yes, clown it did. Toasting is the speech form taken from Jamaica by Jamaican communities who moved to the NY, Bronx, during the 50-60's.
quote: Toasting is a style of lyrical chanting which in Dancehall music involves a deejay talking over a riddim. Though the art of chanting over a beat is quite ancient, and found in many African-based musical traditions, Toasting became quite popular in Jamaica in the late 1960s and early 1970s. With the use of "sound systems" (traveling deejays and producers with large speakers and a library of beats and riddims) Toasting became a part of the musical entertainment.
Toasting has been used in various ways, whether it is chanting over a drum beat, as well as in Jamaican music forms, like incorporating it with genres such as Ska, Reggae, Dancehall, and Dub. Toasting is also often used in Soca and Bouyon music as well. Toasting's mix of talking and chanting may have influenced the development of MCing in the US Hip Hop music scene and now has channeled other forms such as singjaying which is the combination of singing and toastin
Grandmaster Caz on Coke La Rock Being Hip-Hop's First MC
quote: Speaking exclusively with VladTV, Grandmaster Caz schools Hip-Hop fans on the genre's humble stages, how b-boys came into fruition and why he considers Coke La Rock to be Hip-Hop's first emcee.
Caz says his influence came from artists like James Brown, Barry Manilow and Chicago. Since there were just two radio stations in the '70s, Hip-Hop's roots were infused by a mix of soul, folk and other sounds. The rapper and pioneer also explains that Hip-Hop borrowed many breaks or "get down" sections of popular songs. With the breaks encouraging listeners to get on the dance floor, breakdancers or "B-Boys" were born.
Caz's friendship with fellow pioneer Kool Herc happened organically since they were practically neighbors. While he was too young to go to his parties, he was able to enjoy them once they became outside functions.
While Caz considers himself to be the first actual rapper, he gives credit to DJ's who essentially spoke on the mic during parties. In addition to DJ Hollywood, Caz says he would give credit to Coke La Rock as Hip-Hop's first artist.
quote:Originally posted by the lioness,: [qb] I know what it is and rap didn't start with toasting
Are you serious? lol
want proof go back and watch the videos I added to that comment
lioness, orig B-girl
I have no idea why you put up a song like "Daddy U Roy - Wake The Town". lol
wake up fool, that's the first toasting record
quote:Originally posted by Ish Gebor:
It;s debatable whether: "Here Comes The Judge - Pigmeat Markham" was a Hip Hop song. the art of rhyming is older of course.
I didn't say it was a Hip Hop record pay attention
It's the first or one of the first records of rap over a funky beat
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor:
quote:Originally posted by the lioness,:
quote:Originally posted by Elmaestro:
quote:Originally posted by the lioness,: [qb] I know what it is and rap didn't start with toasting
Are you serious? lol
want proof go back and watch the videos I added to that comment
lioness, orig B-girl
I have no idea why you put up a song like "Daddy U Roy - Wake The Town". lol
wake up fool, that's the first toasting record
quote:Originally posted by Ish Gebor:
It;s debatable whether: "Here Comes The Judge - Pigmeat Markham" was a Hip Hop song. the art of rhyming is older of course.
I didn't say it was a Hip Hop record pay attention
It's the first or one of the first records of rap over a funky beat
LOL Wake up fool? LOL I posted relevant sources for you to read, but you can't comprehend. Typical.
Pigment Markham made a song on which he rhymed true so and it was cool, but where is the consistence in his songs with this style?
The MC's we speak of had consistency, this evolved eventually into what it became. Telling a joke once, doesn't make you a stand up comedian. That's what I am saying.
Even WIKI your favorite source says it:
quote: Toasting, chatting (rap in other parts of the Anglo Caribbean), or deejaying is the act of talking or chanting, usually in a monotone melody, over a rhythm or beat by a deejay. Traditionally, the method of toasting originated from the griots of Caribbean calypso and mento traditions.[1]
Toasting has been used in various African traditions, such as griots chanting over a drum beat, as well as in the United States and Jamaican music forms, such as ska, reggae, dancehall, and dub; it also exists in Grime and Hip Hop coming out of the United Kingdom, which typically has a lot of Caribbean influence. Toasting is also often used in soca and bouyon music. The African American oral tradition of toasting, a mix of talking and chanting, influenced the development of MCing in US hip hop music. The combination of singing and toasting is known as singjaying.
In the late 1950s deejay toasting was developed by Count Machuki.[2] He conceived the idea from listening to disc jockeys on American radio stations. He would do African American jive over the music while selecting and playing R&B music. Deejays like Count Machuki working for producers would play the latest hits on traveling sound systems at parties and add their toasts or vocals to the music. These toasts consisted of comedy, boastful commentaries, half-sung rhymes, rhythmic chants, squeals, screams and rhymed storytelling.
Posted by Elmaestro (Member # 22566) on :
quote:Originally posted by the lioness,: wake up fool, that's the first toasting record
I didn't say it was a Hip Hop record pay attention
It's the first or one of the first records of rap over a funky beat
Where are you from?
Posted by the lioness, (Member # 17353) on :
^ why are you wasting my time you said
"rap started with toasting"
then I posted the first toasting record in 1970
then I posted Pigmeat who actually recorded two songs in 1968 that actually sound like rap
take your L like a man
what you dont realize is that people make up their own history or exaggerate and bend.
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,: ^ why are you wasting my time you said
"rap started with toasting"
then I posted the first toasting record in 1970
then I posted Pigmeat who actually recorded two songs in 1968 that actually sound like rap
take your L like a man
what you dont realize is that people make up their own history or exaggerate and bend.
It is you who is wasting peoples times. Don't you get it? Multiple sources are saying this same. But as usually you insist on your opinions. lol smh Typical.
Then when some one asks you a question, your response is "stop wasting my time"? lol Typical.
Posted by Elmaestro (Member # 22566) on :
^ can you confirm that contemporary rap had direct influence from pigmeat (a comedian) in the early 70s?
And dude, dejaying has been a thing in NY since before wake this town was recorded... I don't understand your point or passion right now...Dejaying predates funk itself. Posted by the lioness, (Member # 17353) on :
quote:Originally posted by Ish Gebor:
quote:Originally posted by the lioness,: ^ why are you wasting my time you said
"rap started with toasting"
then I posted the first toasting record in 1970
then I posted Pigmeat who actually recorded two songs in 1968 that actually sound like rap
take your L like a man
what you dont realize is that people make up their own history or exaggerate and bend.
It is you who is wasting peoples times. Don't you get it? Multiple sources are saying this same. But as usually you insist on your opinions. lol smh Typical.
Then when some one asks you a question, your response is "stop wasting my time"? lol Typical.
I put up the evidence and proved these multiple sources wrong.
-you have to listen to the music to judge not what you've been spoon fed in commentary
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor:
quote:Originally posted by the lioness,: ^ why are you wasting my time you said
"rap started with toasting"
then I posted the first toasting record in 1970
then I posted Pigmeat who actually recorded two songs in 1968 that actually sound like rap
take your L like a man
what you dont realize is that people make up their own history or exaggerate and bend.
It is you who is wasting peoples times. Don't you get it? Multiple sources are saying this same. But as usually you insist on your opinions. lol smh Typical.
Then when some one asks you a question, your response is "stop wasting my time"? lol Typical.
I put up the evidence and proved these multiple sources wrong.
-you have to listen to the music to judge not what you've been spoon fed in commentary
Where is the consistence and direct influence? Where is that DIRECT evidence? This was people are asking, clown.
I couldn't find better, older 60's examples. But this is what we/ they are talking about.
quote:Yo what's up Blastmaster KRS One, this jam is kicking Word, yo what up D-Nice? (Yo what's up Scott La Rock?) Yo man we chilling just funky fresh jam I want to tell you a little something about us We're the Boogie Down Productions crew And due to the fact that no-one else out there knew what time it was We have to tell you a little story about where we we come from
[Hook x4] South Bronx, the South South Bronx [Verse 1: KRS-One] Many people tell me this style is terrific It is kinda different but let's get specific KRS-One specialize in music I'll only use this type of style when I choose it Party people in the place to be, KRS-One attack You got dropped off MCA cause the rhymes you wrote was wack So you think that hip-hop had its start out in Queensbridge If you pop that junk up in the Bronx you might not live Cause you're in
[Hook]
[Verse 2] I came with Scott La Rock to express one thing I am a teacher and others are kings If that's the title they earn, well it's well deserved, but Without a crown, see, I still burn You settle for a pebble not a stone like a rebel KRS-One is the holder of a boulder, money folder You want a fresh style let me show ya Now way back in the days when hip-hop began With Coke LaRock, Kool Herc, and then Bam B-boys ran to the latest jam But when it got shot up they went home and said "Damn There's got to be a better way to hear our music every day B-boys getting blown away but coming outside anyway" They tried again outside in Cedar Park Power from a street light made the place dark But yo, they didn't care, they turned it out I know a few understand what I'm talking about Remember Bronx River, rolling thick With Kool DJ Red Alert and Chuck Chillout on the mix When Afrika Islam was rocking the jams And on the other side of town was a kid named Flash Patterson and Millbrook projects Casanova all over, ya couldn't stop it The Nine Lives Crew, the Cypress Boys The real Rock Steady taking out these toys As odd as it looked, as wild as it seems I didn't hear a peep from a place called Queens It was seventy-six to 1980 The dreads in Brooklyn was crazy You couldn't bring out your set with no hip-hop Because the pistols would go So why don't you wise up, show all the people in the place that you are wack Instead of tryna take out LL, you need to take your homeboys off the crack Cause if you don't, well, then their nerves will become shot And that would leave the job up to my own Scott La Rock And he's from
[Hook]
The human TR-808, D-Nice The poet, the Blastmaster KRS-ONE The Grand Incredible DJ Scott La Rock Boogie... Down... Productions Fresh for '86, you suckers!
Posted by the lioness, (Member # 17353) on :
quote:Originally posted by Elmaestro: ^ can you confirm that contemporary rap had direct influence from pigmeat (a comedian) in the early 70s?
And dude, dejaying has been a thing in NY since before wake this town was recorded... I don't understand your point or passion right now...Dejaying predates funk itself.
If Dejaying predates funk then Dejaying is not Hip Hop it is just something that Hip Hop includes as part of it.
___________________
Pigmeat Markham Here come da Judge actually sounds like rap, compare it to toasting
Influence is another story, Rapper's Delight by the Sugar Hill Gang, 11 year later is the start of the rap music genre
rap doesn't start with toasting it's just something similar going on at the same time - start listening to some old toasting before you even get at me
Although it has been written that La Rock comes from Jamaica, in reality his parents were from North Carolina.
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,:
quote:Originally posted by Elmaestro: ^ can you confirm that contemporary rap had direct influence from pigmeat (a comedian) in the early 70s?
And dude, dejaying has been a thing in NY since before wake this town was recorded... I don't understand your point or passion right now...Dejaying predates funk itself.
If Dejaying predates funk then Dejaying is not Hip Hop it is just something that Hip Hop includes as part of it.
___________________
Pigmeat Markham Here come da Judge actually sounds like rap, compare it to toasting
Influence is another story, Rapper's Delight by the Sugar Hill Gang, 11 year later is the start of the rap music genre
rap doesn't start with toasting it's just something similar going on at the same time - start listening to some old toasting before you even get at me
What you still don't get is the consisted pathern. LOL SMH
The first MC's started with a toasting style, as it transformed to rap, as was shown multiple times. All who where there say this.
Actually it was Caz who wrote the Sugar Hill songs. And it was Sylvia who is at the foundation of the first Hip Hop label Sugar Hill Records.
quote:Originally posted by the lioness,: "Rapper's Delight by the Sugar Hill Gang, 11 year later is the start of the rap music genre"
LOL This person is crazy ignorant. It's so stupid it has to be a sickness.
Btw, Fatback - King Tim III was released before Sugar Hill. "b girl" lol
The Funky 4+1 did their thing long before they stated.
Posted by the lioness, (Member # 17353) on :
L-Brothers VS Herculords: Galaxy 2000 @ The Bronx River Center 1978 Part 1/5
L Brothers VS Herculords: Galaxy 2000. 1978 @ the Bronx River Center.
L-Brothers: Busy Bee Starsky, Kevie Kev, Master Rob AKA Robbie Rob, Grand Wizard Theodore, Mean Jean, DJ Cordio
Herculords: DJ Kool Herc, Coke La Rock, Clark Kent
Female MC: MC Smiley is also on this tape
rap around time 3:30
________________
1978, before Sugar Hill or King Tim,
Listen to the beginning of the song, that's the early MC style taken form toasting.
Grand Wizard Theodore. L Brothers all old school Hip Hop.
"The Herculoids never get on, on this tape.But much reference is made to the Herculoids by the L. Brothers in fact Kevie Kev or Busy Bee show absolutely no respect to The Herculoids. Saying often that they were no competition. Can you believe today a ticket for a show might cost 25 to 50 dollars. The night after this show at a place called Rock city on 169 and prospect the tickets cost $2 before 12midnite. Female M.C. Smiley even puts here mack down. J.D.L. is called Jerry Lewis at this time."
Where is the Pigmeat Markham dedication and appreciation?
On that note:
DJ KOOL HERC & COKE LA ROCK Celebrating 40 Years of Original Hip Hop Sounds at Cortona Park Summer
Moe Dee was a member of the Treacherous Three. The music is typical of a Hip Hop sound. As Grand Master Caz explained.
Posted by the lioness, (Member # 17353) on :
quote:Originally posted by Ish Gebor:
Where is the Pigmeat Markham dedication and appreciation?
He was 11 years ahead of his time
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor:
Where is the Pigmeat Markham dedication and appreciation?
He was 11 years ahead of his time
I take it you don't understand the words consistence and influence.
Anyway:
FUNKY 4 + 1- FOUNDATION LESSON
Biography of The Funky 4+1. Based on interviews with the Funky 4 members and other Foundation era Mc's, Dj's and members of the Hip Hop community - conducted by JayQuan & Troy L. Smith. Narrated, produced and edited by JayQuan.
quote:Originally posted by the lioness,: If Dejaying predates funk then Dejaying is not Hip Hop it is just something that Hip Hop includes as part of it.
lol what? ___________________
Pigmeat Markham Here come da Judge actually sounds like rap, compare it to toasting
...and?
Influence is another story, Rapper's Delight by the Sugar Hill Gang, 11 year later is the start of the rap music genre
No, Rapper's Delight was and is the Dawn of "Hip-Hop"
rap doesn't start with toasting it's just something similar going on at the same time - start listening to some old toasting before you even get at me
Boy oh boy lol.... There is a reason why I asked where you are from lol... where are you from?
Although it has been written that La Rock comes from Jamaica, in reality his parents were from North Carolina.
There were many minds and souls behind the engineering of the Hip-Hop Genre, A good amount of them, were of course, ....Jamaican. Show me this direct influence from pigmeat on the contemporary hip hop genre then I'll start taking this seriously. As of right now, I have no clue what your passion is, nor your purpose for raising such a "debate" lol
Posted by the lioness, (Member # 17353) on :
quote:Originally posted by Elmaestro:
Influence is another story, Rapper's Delight by the Sugar Hill Gang, 11 year later is the start of the rap music genre
No, Rapper's Delight was and is the Dawn of "Hip-Hop"
dawn = start of,
stop playin
Posted by the lioness, (Member # 17353) on :
Revenge Song / Enterprise Runaways soundtrack 1978
skip to time 2:40 for Enterprise
Runaways is a musical which was written, composed and directed by Elizabeth Swados, about the lives of children who run away from home and live on the city streets. The characters were taken from workshops conducted by Swados with real-life runaways in the late 1970s.
Posted by the lioness, (Member # 17353) on :
quote:Originally posted by Ish Gebor:
quote:Originally posted by the lioness,: [qb]
quote:Originally posted by Ish Gebor:
Where is the Pigmeat Markham dedication and appreciation?
He was 11 years ahead of his time
I take it you don't understand the words consistence and influence.
stop talking stupid, the phrase "ahead of his/her time" means the style would not catch on because society wasn't ready to be influenced at that early time.
Also they probably didn't see the potential in 1968 because it was a comedian who made the rap, so they didn't take it seriously. Had I have been there I would have become a record producer, She Diddy. Hip Hop would have started in 1969
Posted by the lioness, (Member # 17353) on :
Where is the Pigmeat Markham dedication and appreciation?
He was 11 years ahead of his time
I take it you don't understand the words consistence and influence.
stop talking stupid, the phrase "ahead of his/her time" means the style would not catch on because society wasn't ready to be influenced at that early time.
Also they probably didn't see the potential in 1968 because it was a comedian who made the rap, so they didn't take it seriously. Had I have been there I would have become a record producer, She Diddy
LOL The more you type the dumber it gets.
"Freak yo' yes yes yo' etc..." THAT IS Mcing.
They guys themselves are saying it. Toasting is the influence, MCing is the consistency which became RAP. Somehow you say no, you are not. I lioness tell you what you did. LOL
You do understand that Kool Herc is Jamaican? lol smh
quote:Originally posted by Ish Gebor: LOL the more you type the dumber it it gets.
Freak yo' yes yes yo' etc... THAT IS Mcing.
They guys themselves are saying it Toasting is the influence MCing is the consistence which became RAP. Somehow you say no, you are not. I lioness tell you what you did. LOL
You do understand that Kool Herc is Jamaican? lol smh [/QB]
fine, put up a toasting youtube
I deal with evidence
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor: LOL the more you type the dumber it it gets.
Freak yo' yes yes yo' etc... THAT IS Mcing.
They guys themselves are saying it Toasting is the influence MCing is the consistence which became RAP. Somehow you say no, you are not. I lioness tell you what you did. LOL
You do understand that Kool Herc is Jamaican? lol smh
fine, put up a toasting youtube
I deal with evidence
LOL I already did. Evidence of your ignorance is bliss.
If we have to approach his linguistically where do we start and where do we end? Root words, constants etc...
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,: Diddy caused Big's death ??
Revenge Song / Enterprise Runaways soundtrack 1978
skip to time 2:40 for Enterprise
Runaways is a musical which was written, composed and directed by Elizabeth Swados, about the lives of children who run away from home and live on the city streets. The characters were taken from workshops conducted by Swados with real-life runaways in the late 1970s.
That link doesn't work.
quote:Originally posted by the lioness,:
quote:Originally posted by Elmaestro:
Influence is another story, Rapper's Delight by the Sugar Hill Gang, 11 year later is the start of the rap music genre
No, Rapper's Delight was and is the Dawn of "Hip-Hop"
dawn = start of,
stop playin
The dawn of something that being came a worldwide phenomenon.
Anyway:
Sylvia Robinson: Mother of Hip Hop and the real "Cookie Lyon" #Empire
It does work I just checked it otherwise type the title in youtube
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,: It does work I just checked it otherwise type the title in youtube
"From a broadway musical soundtrack released on vinyl in 1978, these kids talk about the 1977 power blackout in NYC which apparently had an effect on hip hop culture up in the bronx."
quote:Originally posted by the lioness,: It does work I just checked it otherwise type the title in youtube
"From a broadway musical soundtrack released on vinyl in 1978, these kids talk about the 1977 power blackout in NYC which apparently had an effect on hip hop culture up in the bronx."
"In this episode of ‘Doggie Diamonds: No Filter’ my guest is Hakim Green of Channel Live/Boogie Down Productions. I asked him to give us some clarity on the statements KRS-One made about the Afrika Bambaataa situation (twice) and whether he agrees with those statements or not"
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor:
quote:Originally posted by the lioness,: It does work I just checked it otherwise type the title in youtube
"From a broadway musical soundtrack released on vinyl in 1978, these kids talk about the 1977 power blackout in NYC which apparently had an effect on hip hop culture up in the bronx."
What the poster claims is not true. The Funky 4 + 1 used to rap in the mid 70's.
show us the quote that the poster says that you say is not true
"1977 power blackout in NYC which apparently had an effect on hip hop culture up in the bronx."
It's the opposite. Back then the MCs we know now, were kids. The Funky 4 + 1 started out as a rap group formation in 1975. So how the heck can that claim be correct. I mean the info is out there. But it's ignorant people who have nothing to do with the culture who are making these odd claims.
And it need to stop, it needs to stop now! We are going to make Hip Hop great again!
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,: Fanatastic Four is corny this is better:
"In this episode of ‘Doggie Diamonds: No Filter’ my guest is Hakim Green of Channel Live/Boogie Down Productions. I asked him to give us some clarity on the statements KRS-One made about the Afrika Bambaataa situation (twice) and whether he agrees with those statements or not"
Lioness, stop your false allegations.
Your first response was:
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor: "King Disco Mario" is the Godfather of Hip Hop.
Hip Hop is vocally rhyming over beats.
Don't get it twisted. The battler is still in me, as you know. That is probably where it's coming from.
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by Elmaestro:
quote:Originally posted by the lioness,: show me an interview with a rapper - not a DJ who says they were influenced by the *comedian pigmeat*
fixed*
This convo is DOA, back to KRS and molestation allegations... for I don't understand whats going on here.
You're right,
KRS should not have said what he said, in the first place. Neither should he have continued with defending his position, on these allegations.
Saying, "I don't give a ****?" Was wrong.
Saying, "Anyone Who Has a Problem With Afrika Bambaataa Should Quit Hip-Hop” was wrong.
These are still allegations but these people who came out as victims deserve to be heard as well. Can it ever be proven? No I don't think so. There is no evidence other than their story.
Bam did the right thing, by letting the lawyer deal with this madism.
Posted by the lioness, (Member # 17353) on :
quote:Originally posted by Ish Gebor:
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor:
quote:Originally posted by the lioness,: It does work I just checked it otherwise type the title in youtube
"From a broadway musical soundtrack released on vinyl in 1978, these kids talk about the 1977 power blackout in NYC which apparently had an effect on hip hop culture up in the bronx."
What the poster claims is not true. The Funky 4 + 1 used to rap in the mid 70's.
show us the quote that the poster says that you say is not true
"1977 power blackout in NYC which apparently had an effect on hip hop culture up in the bronx."
It's the opposite. Back then the MCs we know now, were kids. The Funky 4 + 1 started out as a rap group formation in 1975. So how the heck can that claim be correct. I mean the info is out there. But it's ignorant people who have nothing to do with the culture who are making these odd claims.
And it need to stop, it needs to stop now! We are going to make Hip Hop great again!
New York had experienced blackouts before—there was a major outage in 1965 during which New Yorkers stayed mostly calm—but in 1977 the city experienced widespread looting.
“It was chaos that night,” says Caz. “And it was exciting afterwards. But while it was going on, it was scary.”
But Caz also believes that the 1977 blackout may have accelerated the growing hip-hop movement, which was just beginning to put down roots in the Bronx. His theory: The looting that occurred during the blackout enabled people who couldn’t afford turntables and mixers to become DJs.
Caz admits that he himself stole new equipment that night. “I went right to the place where I bought my first set of DJ equipment, and I went and got me a mixer out of there.” He continues, “After the blackout, all this new wealth … was found by people and they just—opportunity sprang from that. And you could see the differences before the blackout and after.”
Caz’s theory—that the hip-hop movement was catalyzed by the 1977 blackout—can’t really be confirmed. Joe Schloss, the hip-hop researcher from City University, buys it, with a caveat. “I think it’s true, but I think it’s also important to keep in mind that basically, hip-hop history is an oral history at this point, and that it’s all mythology in some sense—the true stories as well as the false stories.”
To learn more, check out the 99% Invisible post or listen to the show.
99% Invisible is distributed by PRX.
99% Invisible is a design podcast by Roman Mars. Delaney Hall is a reporter and producer for the public radio show State of the Re:Union, which explores the United States, one community at a time. _______________________________
The story is that Hip Hop may have been accelerated (not started) by looting in the blackout
Also where's the proof that Funky 4 + 1 started in 1975 and was rapping in 1975
quote:But Caz also believes that the 1977 blackout may have accelerated the growing hip-hop movement, which was just beginning to put down roots in the Bronx. His theory: The looting that occurred during the blackout enabled people who couldn’t afford turntables and mixers to become DJs.
Caz admits that he himself stole new equipment that night. “I went right to the place where I bought my first set of DJ equipment, and I went and got me a mixer out of there.” He continues, “After the blackout, all this new wealth … was found by people and they just—opportunity sprang from that. And you could see the differences before the blackout and after.”
Caz’s theory—that the hip-hop movement was catalyzed by the 1977 blackout—can’t really be confirmed. Joe Schloss, the hip-hop researcher from City University, buys it, with a caveat. “I think it’s true, but I think it’s also important to keep in mind that basically, hip-hop history is an oral history at this point, and that it’s all mythology in some sense—the true stories as well as the false stories.”
I have never heard of this. by none. None of the pioneers ever spoke of this. The only way to verify this, is by looking at the "catalyst explosion" of new upcoming DJ's of that time. Only then we can see the significance.
I did find a wiki on this,
quote:During the blackout, numerous looters stole DJ equipment from electronics stores. As a result, the hip hop genre, barely known outside the Bronx at the time, grew at an astounding rate from 1977 onward.[6]
Three decades later, Grandmaster Caz recalled for a Slate article and podcast that, when the power went out, he and his partner DJ Disco Wiz were playing records, running their equipment from an outlet in a park.
At first they thought the outage was local and caused by something they had done, but realized when they heard stores closing that it was citywide. He took advantage of the widespread looting in their part of the Bronx to get a mixing board, as did other aspiring rappers and DJs. "After the blackout, all this new wealth … was found by people and they just—opportunity sprang from that," he recalled. "And you could see the differences [in their sound] before the blackout and after."[7]
The problem is that nothing was really recorded and dated, because they were all young and children at that time. Sometimes literally kids, unaware of the outcome it would have decades later.
Sha-Rock on her book, which I haven't read yet myself.
quote: This is the 1st. Female M.C. in Hip Hop and one of my Favorite M.C.'s of all time. During the era of cassette tapes, as that's how most of us heard Hip Hop for the first time back in the 70's she was the only female voice for a long time... and that voice of hers was mesmerizing and harmonic she added a flavor that none of the other groups had besides the fact that she could hang with any of the EMCEE'S of the era.... I have to thank my man Jerry for getting me into the T-Connection where I finally got to see her and the Funky do there thing in 1979 when Hip Hop was still a Jam, before the true exploitation!
Of course rhyming on rhythm has always existed, that I said before. 1937-08-04, The Preacher and the Bear.
There are some who claim Spoken-Word is a predesossor to Rap. But eventually it is because of different elements, this is a fact.
But your'e right, Pigmeat Markham - Here Comes The Judge, can be considered the first real rap record. I can imagine parents had this in their home playing, while kids listened to this. Perhaps somewhere subconsciously there was influence. But that's all speculation. Nothing factual.
Posted by zarahan- aka Enrique Cardova (Member # 15718) on :
Excellent breakdown of hip hop history Gabor.. KRS's claim that: "There was no hip-hop before Afrika Bambaataa" is not quite true.
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by zarahan- aka Enrique Cardova: Excellent breakdown of hip hop history Gabor.. KRS's claim that: "There was no hip-hop before Afrika Bambaataa" is not quite true.
I knew quite a bit already, but I recently was exposed to the goldmines, however KRS is one of my favorite MCs ever:
"REAL UNDERGROUND HIP HOP HISTORY….The Culture of Hip Hop began as a teenage rebellion against racism and segregation in the Bronx NY…The Black Spades (led by a teenager in the Nation of Islam) formed to fight back against the racist in the Soundview/Parkchester area of the Bronx NY 1967-1974…The Original Black Spades fought using martial arts and military fighting tactics...The teenage Black Spades formed their own sub-culture which became the foundation of Hip Hop culture…During the early 1970's the Black Spades changed leadership...As they expanded, the Black Spades lost their original intentions and became the largest "street gang" in NY history..."
Sir Lord Comic & Count Machuki live footage in the hood
^^^ watch this, battling
___________________________
Again, show me any toasting audio that sounds closer to rap than Pigmeat Markham Here Comes da Judge 1968
the toasting influence on Hip Hop is more on the DJs who talk in between sings then rappers.
_____________________
Jamaican artists were influenced by earlier American R & B
Kool Herc is Jamaican, so he was making like toasters were the earliest ancestor of Hip Hop, nope
Posted by Ish Gebor (Member # 18264) on :
^ I already posted this on page 1, and I have posted numerous sources stating this. Your behavior is childish at this point.
Elmaestro asked you a few questions, and you refused you answer and properly adress them, yet you keep demanding answers from anyone else.
Definition: Toasting is a style of lyrical chanting which, in Dancehall music, involves a deejay talking over a riddim. Though the art of chanting over a beat is quite ancient, and found in many African-based musical traditions, toasting became quite popular in Jamaica in the late 1960s and early 1970s, and "sound systems" (traveling deejays and producers with large speakers and a library of beats and riddims) would feature toasting as part of their musical entertainment
Toasting is not only important in Jamaican music, but also featured heavily in the development of American popular music, as it was Jamaican-born toaster DJ Kool Herc who brought the style to Queens, subsequently setting off the entire history of rap and hip-hop music.
quote:Originally posted by Ish Gebor: ^ I already posted this on page 1,
I can't find it, please re-post the link of somebody toasting on a record prior to 1979 that I haven't posted
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor: ^ I already posted this on page 1,
I can't find it, please re-post the link of somebody toasting on a record prior to 1979 that I haven't posted
quote: [Coke La Rock] There is not a man that can’t be thrown A horse that can’t be rode A bull that can’t be stopped There is not a disco that I Coke La Rock can’t rock
The great Count Machukie steps it while Sir Lord Comic (who's releases for Joe Gibbs are among my favorites) chats. From the documentary, "Deep Roots Music".
Are you trying to trick people with video from 1983 ?
That dancehall clips is 4-5 years after Rapper's Delight and King Tim III
--stop wasting the readership's time
reference: Josie Wales recording session for Henry 'Junjo' Lawes at Channel One in 1983, Volcano at Skateland 1984 -Josey Wales, Papa Toyan, Yellowman.
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor:
quote:Originally posted by the lioness,: [qb]
quote:Originally posted by Ish Gebor: ^ I already posted this on page 1,
I can't find it, please re-post the link of somebody toasting on a record prior to 1979 that I haven't posted
Are you trying to trick people with video from 1983 ?
That dancehall clips is 4-5 years after Rapper's Delight and King Tim III
--stop wasting the readership's time
reference: Josie Wales recording session for Henry 'Junjo' Lawes at Channel One in 1983, Volcano at Skateland 1984 -Josey Wales, Papa Toyan, Yellowman.
LOL LOOK WHO IS TALKING,... "Stop waiting a the readers time".(?)
How is that tricking when somebody else has uploaded a video of a live session, and says its from the 70's.
Despite of it being from the 70's, 80's or not, it showed what toasting was like in a live session.
You claim to hail from the Bronx (original b-girl). But don't know about the Jamaican influences.lol Now you have the nerve to pop that junk, about waisting people's time. LOL
Lioness, you are a complete FRAUD, who known for being a liar. If you are this "original" as you claim, it would mean that you are in the same age range as the pioneering people, and that you knew these pioneering people. You however, don't know jack about what they state.
quote: Yet these northeastern Bronx neighborhoods are home to one of the largest concentrations of Jamaicans in the city, with Crown Heights
[...]
The Bronx became the first suburb for West Indians," said Karl Rodney, publisher of The New York Carib News, speaking from personal experience. Mr. Rodney, himself of Jamaican origin, bought his first house in the United States in Williamsbridge, before moving to Westchester in 1969, a common migration of the last several decades.
TOASTING, the Jamaican equivalent of rapping, was a formative influence on American rap and hip-hop music. And Jamaican artists like Sister Carol, who was at S.O.B.'s on Tuesday evening, could still teach American rappers a thing or two about rhythmic fluidity and about combining chanted rhyming with the structured melodic ''hooks'' of pop music.
Some of the newer rap artists are concentrating on the development of a flexible, rhythmically resilient sense of line, syncopation and internal rhyming; Rakim, of the duo Eric B. and Rakim, is one who comes readily to mind. But the unadorned beat-box rhythms and hard-edged boasting of L. L. Cool J and Run-D.M.C. reach a wider audience.
Sister Carol, who was introduced as ''the movie star, singer and D.J. with a whole lot of upful things to say,'' doesn't brag and preen as much as American rappers and Jamaican toasting D.J.'s such as Yellowman. And her music isn't as insistent. She tends to build her chants around tonal centers, inject triplet figures into the strongly duple meter of her lines in a free and easy fashion, and make effective use of dynamics, a mode of variation United States rappers are just beginning to consider. She combines wit, personal and political commentary and dance-hall cheerleading in a similarly fluid manner.
Backed by the High Life Players, Sister Carol gave a musical, no-nonsense dance-hall-style reggae performance at her early show on Tuesday. She encouraged the loose, sinuous band to drop and add instrumental parts creatively in a real-time imitation of the studio dub mixer's art, and kept firm control of the show's pacing and drive. Her toasting melded seamlessly into the melodious, hypnotic grooves the musicians laid down.
Sister Carol's toasting on ''Wild Thing,'' in the recent film ''Something Wild,'' won her a larger audience than that enjoyed by most roots reggae artists. Her singing may be too uneven to help her hold onto that audience, but her toasting is dynamic and distinctive.
quote:It was stated earlier in my unit that the ‘Hip Hop’ subculture and rap music seemed to have originated in the United States in the Bronx. Before discussing rap music in the United States one must examine Jamaican music because it had a tremendous effect on American rap music. One style of Jamaican music that needs to be explored was known as ‘toasting’.
There are four areas which Jamaican ‘toasting’ and American rap music have in common. First, both types of music relied on pre-recorded sounds. Second, both types of music relied on a strong beat by which they either rapped or toasted. American rap music relied on the strong beat of hard funk and Jamaican “toasting” relied on the beat from the Jamaican rhythms. Third, in both styles the rapper or toaster spoke their lines in time with the rhythm taken from the records. Fourth, the content of the raps and toasts were similar in nature. For example, as there were boast raps, insult raps, news raps, message raps, nonsense raps, and party raps there also existed toasts that were similar in nature. At this point in my unit I will introduce my students to some music of some notable Jamaican toasters such as U Roy, Duke Reid, Sir Coxsone, and Prince Buster. In addition, I will ask my students to bring in some rap records which illustrate the different types of raps mentioned above.
Dick Hebdige in his book, “Cut ‘N’ Mix” described Jamaican ‘toasting’ as when the Jamaican disc jockies talked over the music they played. This style developed at dances in Jamaica known as “blues dances”. “Blues dances” were dances which took place in large halls or out in the open in the slum yards. “Blues dances” were a regular feature of ghetto life in Jamaica. At these dances black America R&B records were played. Jamaicans were introduced to these records by black American sailors stationed on the island and by American radio stations in and around Miami which played R&B records. Some favorite R&B artists were Fats Domino, Amos Melburn, Louis Jordan, and Roy Brown. There was a great demand for the R&B type of music, but unfortunately there were no local Jamaican bands which could play this type of music as well as the black American artists. As a result, ‘sound systems’ (comprised of DJs, roadies, engineers, bouncers) which were large mobile discotheques were set up to meet this need.
The record playing systems of ‘sound systems’ had to be large so people could hear the bass by which to dance according to Hebdige. The major player in the ‘sound systems’ was the DJ. Some notable Jamaican DJs were Duke Reid, Sir Coxsone, and Prince Buster. They were performers as well as DJs. For example, Duke Reid dressed in a long ermine cloak with a pair of Colt 45s in cowboy holsters with a cartridge belt strapped across his chest and a loaded shotgun over his shoulder. This outfit was topped off with a gilt crown on his head. Just as there were to be DJ battles (competition) in the Bronx, they would occur first in Jamaica with one DJ trying to out play another DJ. As in both ‘battles’, here in the U.S. and Jamaica, the competition boiled down to who had the loudest system and the most original records and technique. It was not uncommon for things to get out of hand and for fighting to erupt during these DJ battles at the Jamaican “blues dances” once the crowds got caught up in this frenzy. It was said that Duke Reid would bring the crowd under control by firing his shotgun in the air.
At first Jamaican toasting began when DJs would ‘toast’ over the music they played with simple slogans to encourage the dancers. Some of these simple slogans were “Work it, Work it” and “Move it up”. As ‘toasting’ became more popular so did the lengths of the toasts. One of the first big “toasting” stars was a Jamaican named U Roy (his real name was Ewart Beckford). Another technique which developed along side ‘toasting’ was called ‘dubs’. ‘Dubbing’ was when the record engineers would cut back and forth between the vocal and instrumental tracks while adjusting the bass and the treble. This technique highlighted the Jamaican ‘toasting’ even more.
There are four areas which Jamaican ‘toasting’ and American rap music have in common. First, both types of music relied on pre-recorded sounds. Second, both types of music relied on a strong beat by which they either rapped or toasted. American rap music relied on the strong beat of hard funk and Jamaican “toasting” relied on the beat from the Jamaican rhythms. Third, in both styles the rapper or toaster spoke their lines in time with the rhythm taken from the records. Fourth, the content of the raps and toasts were similar in nature. For example, as there were boast raps, insult raps, news raps, message raps, nonsense raps, and party raps there also existed toasts that were similar in nature. At this point in my unit I will introduce my students to some music of some notable Jamaican toasters such as U Roy, Duke Reid, Sir Coxsone, and Prince Buster. In addition, I will ask my students to bring in some rap records which illustrate the different types of raps mentioned above.
Steven Hager in his book states that in 1967 a young Jamaican would immigrate to the Bronx bringing with him his knowledge of the Jamaican ‘sound system’ scene and Jamaican ‘toasting’ style. His name was Clive Campbell. He was known as Kool Herc in the Bronx. Campbell received the nickname Hercules while he was attending Alfred E. Smith High School in 1970 by a friend. His friend called him Hercules because of his physique. Clive was into weight lifting. Clive did not like the name Hercules so he shortened it to Herc. When Herc became a graffiti writer he took the tag name Kool Herc. Kool Herc began to DJ in 1973 once he had amassed a great sound system. The Jamaican influence of having a large sound system was not lost on Herc. Herc realized that in order for large crowds to dance to his music they needed to hear the beat. Kool Herc seldom played an entire song. He knew which part of the record sent his audience into a frenzy. It was usually a 30 second “break” section in which the drums, bass, and rhythm guitar stripped the beat to its barest essence. Herc would buy two copies of the same record and play it over and over emphasizing the break section. Herc used two turntables to accomplish this feat. This technique became known as “beats” or “break-beats”. As in graffiti, style was important and to be imitated if it was good. What was odd about Herc’s style was that he did not use headphones to locate the breaks on the other turntable as other DJs would do who would later use his style. As with the onset of Jamaican ‘toasting’, Kool Herc also used simple phrases to encourage his dancers. But as the mixing in the “breaks” between the two turntables required more concentration, Herc became the first DJ to create MC-Dance team. (While Kool Herc performed at a club named the Hevalo, dancers to his music became known as ‘break dancers
Are you trying to trick people with video from 1983 ?
That dancehall clips is 4-5 years after Rapper's Delight and King Tim III
--stop wasting the readership's time
reference: Josie Wales recording session for Henry 'Junjo' Lawes at Channel One in 1983, Volcano at Skateland 1984 -Josey Wales, Papa Toyan, Yellowman.
LOL LOOK WHO IS TALKING,... "Stop waiting a the readers time".(?)
How is that tricking when somebody else has uploaded a video of a live session, and says its from the 70's.
Despite of it being from the 70's, 80's or not, it showed what toasting was like in a live session.
I researched it and it's from 1983-1984, no doubt about it
so you fuked up falling for the video title but not checking it
Again listen to the music mainly non-rhyming and the beat is ska or reggae not funk Kool Herc is biased because he's Jamaican himself and wants to claim the whole root of Hip Hop for Jamaicans. All these other authors are just copying what he said. I have already proved rhyming rhythmically has an older history in the United States. Toasting is something going on at the same time as the early official Hip Hop -there are no toasters who in 1977-1979 transformed their style turning into Hip Hop rappers. Rap is American culture. Jamaicans have their own reggae styles and they received a lot of influence form American R & B as well as their own indigenous folk music
Posted by Ish Gebor (Member # 18264) on :
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor:
quote:Originally posted by the lioness,:
quote:Originally posted by Ish Gebor: [qb]
quote:Originally posted by the lioness,: [qb]
quote:Originally posted by Ish Gebor: ^ I already posted this on page 1,
I can't find it, please re-post the link of somebody toasting on a record prior to 1979 that I haven't posted
Are you trying to trick people with video from 1983 ?
That dancehall clips is 4-5 years after Rapper's Delight and King Tim III
--stop wasting the readership's time
reference: Josie Wales recording session for Henry 'Junjo' Lawes at Channel One in 1983, Volcano at Skateland 1984 -Josey Wales, Papa Toyan, Yellowman.
LOL LOOK WHO IS TALKING,... "Stop waiting a the readers time".(?)
How is that tricking when somebody else has uploaded a video of a live session, and says its from the 70's.
Despite of it being from the 70's, 80's or not, it showed what toasting was like in a live session.
I researched it and it's from 1983-1984, no doubt about it
so you fuked up falling for the video title but not checking it
Again listen to the music mainly non-rhyming and the beat is ska or reggae not funk Kool Herc is biased because he's Jamaican himself and wants to claim the whole root of Hip Hop for Jamaicans. All these other authors are just copying what he said. I have already proved rhyming rhythmically has an older history in the United States. Toasting is something going on at the same time as the early official Hip Hop -there are no toasters who in 1977-1979 transformed their style turning into Hip Hop rappers. Rap is American culture. Jamaicans have their own reggae styles and they received a lot of influence form American R & B as well as their own indigenous folk music
You did not really understand the article, do you lol.
There was a vibrant Jamaican community. Like other immigrants from other Caribbean places. They made up the demographic of the Bronx during that time. All these fused with one another logically. lol
And if you have a problem with that title, contact the uploaded and tell him her that it is not correct. It said 70's and that's it. This doesn't mean that this style wasn't before. The difference you can't see to grasp is hat the toasting in that video was a live session, not a recorded studio track. You have lost BIG TIME!
Since you claim to heal from the Bronx, show and proof upload a video with pioneers. For now you have proven NOTHING, you are nameless person with an opinion. Coke La Rock: Hip Hop's First MC hang out with Kool Herc, etc...And you weren't there.
You just can't help yourself.
quote: Definition: Toasting is a style of lyrical chanting which, in Dancehall music, involves a deejay talking over a riddim.
Though the art of chanting over a beat is quite ancient, and found in many African-based musical traditions, toasting became quite popular in Jamaica in the late 1960s and early 1970s, and "sound systems" (traveling deejays and producers with large speakers and a library of beats and riddims) would feature toasting as part of their musical entertainment.
Ska Music
In the early 1960s, ska music took shape. Combining traditional mento with elements of American R&B and boogie-woogie, which was immensely popular in Jamaica at the time, ska was a soulful genre which featured harmony singing, upbeat and danceable rhythms, a horn section, and songs that are frequently about love.
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