C Forged in the fires of the Bronx and Kingston, Jamaica, hip-hop has been a generation-defining global movement. In a post-civil rights era rapidly transformed by deindustrialization and globalization, hip-hop gave voiceless youths a chance to address these seismic changes, and became a job-making engine and the Esperanto of youth rebellion. Hip-hop crystallized a multiracial generation's worldview, and forever transformed politics and culture. But the epic story of how that happened has never been fully told. R33 The Hip Hop Movement offers a critical theory and alternative history of rap music and hip hop culture by examining their roots in the popular musics and popular cultures of the Civil Rights Movement and Black Power Movement.
S Hip-Hop Turntablism, Creativity and Collaboration values hip-hop music as worthy of musicological attention and offers a new approach to its study, focusing on the music itself and providing a new framework to examine not only the musical product, but also the creative process through which it was created. Learn how security tapes of the incident came up missing, why witnesses are no longer talking, and more. This well-crafted hour-long documentary - produced in conjunction with NYC's City Lore project and Latino Public TV - traces the music of the South Bronx, where Puerto Ricans who emigrated from Puerto Rico to the South Bronx in the s and 60s merged their music with the African-Americans who moved in during the s to create the original hip-hop movement of break dancing, scratching and B Boys.
Hip-hop performer Chuck D and heir to Chess Records, Marshall Chess, travel to Chicago to explore the history of Chicago blues and to make an album that will pair contemporary hip-hop artists with veteran blues musicians. Archival Resources New to Archives?
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Check out:. Evening With series. Darryl McDaniels. Chuck D This catalog search provides links to a variety of archival materials in our collections on this artist.
Turntable Music Symposium 23rd January , University of Northampton | James Kelly's blog
Grandmaster Flash This catalog search provides links to a variety of archival materials in our collections on this artist. Hip-Hop This catalog search provides links to a variety of archival materials in our collections on this topic. Public Enemy This catalog search provides links to a variety of archival materials in our collections on this artist. This catalog search provides links to a variety of archival materials in our collections on this artist.
Seen within a broad context, the files offer a condensed documentation of the history of hip-hop through the s. There is a focus not only on individual rap artists, producers, and record executives, but also on the controversies that surrounded the hip hop world related to violence, sampling rights, and censorship debates.
ARC James Bernard Papers The James Bernard Papers span the year to and consist of correspondence, clippings, financial records, and other documents related to The Source , promotional materials from the National Hip Hop Political Convention, interview transcripts, press kits, and single issues of non-music magazines related to African American culture, as well as VHS cassettes, two CD-Rs, and audiocassette recordings of interviews. ARC Datwon Thomas Collection The Datwon Thomas Collection spans the years to and consists of clippings, correspondence, photographs, flyers, and a calendar documenting Thomas' career as a music journalist.
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Their music was danceable despite being experimental. It flowed even though it was built on rupture. It could be just-as-if-not-more-funky than the source materials it was built on. In the video below, Theodore demonstrates his needle drop technique.
In an interview with rap radio DJ Billy Jam, he describes it this way:. I used to come home from school and go in my room and practice a lot and this particular day I came home and played my music too loud and my mom was banging on the door and when she opened the door I turned the music down but the music was still playing in my headphones and she was screaming 'If you don't turn the music down you better turn it off' and I had turned down the speakers but I was still holding the record and moving it back and forth listening in my headphones and I thought 'This really sounded something And so it's fitting that scratching itself has been adapted in so many musical settings over the years.
There's an obvious political dimension to this argument, where an object can be used and consumed in a way that undermines the underlying power relations through which it was created, distributed, and sold. This resonance has been seized upon in hip hop, in particular, when it comes to the turntable-as-object.
As the stylus moves across the spiraling groove of the vinyl record, both linear and repetitive, it enacts a form of movement that echoes Black American history, where progress in civil rights has been repeatedly offset by the reincarnation of past travesties, reborn in new guises.
On a more mundane level, it also echoes the back-and-forth interplay between consumption and production in hip hop, the disembedding and reembedding of found sounds in the music, the push-and-pull of rhythmic syncopations that define the music and its funky forebears, and the fuzzy line between innovation and repetition that's at the heart of the creative process. There could be no better visual metaphor for all of this than Grand Wizzard Theodore's turntables—objects than helped spawn a whole new process of music-making, a process rooted in the give-and-take interplay between music-as-artifact and music-as-oral-tradition.
Chang, Jeff. Durham: Duke University Press, The article recounts the accidental invention of "the scratch" by Bronx DJ Grand Wizzard Theodore, going on to survey the DJ's power to conjure alternative worlds of space and time--worlds where sound, not geography or chronology, binds the universe. These worlds, however, are endangered by the culture industry and its ownership in many cases of the sonic raw materials used to transform time and space, a claim to ownership that is constantly and creatively subverted by collectors, crate diggers, and DJs.
D'Arcangelo, Gideon. Hamamatsu: NIME, This essay outlines a framework for understanding new musical compositions and performances that utilize pre-existing sound recordings. In attempting to articulate why musicians are increasingly using sound recordings in their creative work, the author calls for and shows examples of new performance tools that enable the dynamic use of pre-recorded music such as record scratching and sampling.
By using two variable speed turntables connected by a mixer, hip hop DJ began blending recording songs in seamless continuity. Blending and mixing gave way to scratching, or backspinning a record in rhythm. This gave DJs a way to put more of their own musical selves into the playback, featuring their rhythmic skills. Grand Wizzard Theodore is attributed with inventing scratching in Similar practices emerged concurrently in the New York art world around the same time in the work of conceptual artist Christian Marclay.
If recorded sound creates fixed musical experiences that sit in our memory like non-biodegradable plastics, then the digital sampler is a kind of music recycling machine that breaks down, digests and processes these memories for reuse.
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This points the way to a new form of give and take in creative influence. The sampler has been a first step in re-establishing the process of call and response, familiar from oral traditions, in the all-electronic medium. Jam, Billy. Accessed August 9, An interview with the hip hop DJ credited with the invention of the scratch.
For someone who lives for scratch music, visiting legendary DJ Grand Wizzard Theodore GWT --the creator of the scratch--at his Bronx, New York home could only be compared to an Elvis Presley fan making a pilgrimage to Graceland to visit the King of rock 'n' roll in his day.