Day 2 - Finding Our Way - Taking Notes

You just cannot realize how proud I am to have started this course "Hip Hop: Art, Science and Business" at YFCR, a Gary, Indiana nonprofit. But I'm even more thrilled to be affiliated with our main instructor, Thomas Daniel. This guy is teaching hip hop for real to youngsters who are inundated with nonsensical rap on a daily basis. He brings a breath of fresh air and "uplift" to the wasteland that engulfs our youth.

What follows is an essay written by young Tommy Daniel on the history of hip hop.

[NOTE: if you are a student of this class here's your chance to get caught up on the notes in case you didn't write good notes in class.] :-)

"Unlike any other subculture in American history, the hip hop culture has transcended ethnic, class, and gender boundaries. Because of its eclectic audience, it has the greatest opportunity to build educational and ethnic bridges, to improve race relations and can be used to teach historical urban art appreciation.
The “hip hop culture” has permeated popular culture in an unprecedented fashion. Because of its enormous cross-over appeal, the hip hop culture is a potentially great unifier of diverse populations. Although created by black and Latino youth on the street, hip hop's influence has become worldwide.

Today, hip hop's rap component is the fastest growing music genre in the U.S. , accounting for more than 10 percent of the $12.3 billion music sales in 1998. Rap music has become the linchpin of the hip hop culture. The overall hip hop culture has been established by this musical art form. The language (street slang), dress (baggy pants, caps worn backwards, flashy sneakers), and style of the hip hop culture have all evolved from rap music.

To illustrate rap's widespread popularity, according to Soundscan, a company in Hartsdale , N.Y. that monitors music sales, at the end of 1998, 9 of the 15 albums on the pop chart were rap. At the end of 1998, three of the top selling albums were rap acts: Jay Z, Outkast, and A Tribe Call Quest. According to Neil Strauss, "rap is replacing rock and roll as the most popular genre of music among youth". Thirty years ago, in the suburbs you heard teenagers blasting music from such rock artist as the Byrds, Doors, the Eagles, Van Halen, and Guns `N' Roses. Today, teenagers are blasting rap music from such artist as Jay Z, Common, Lil John, Kanye West and Outkast.

According to the Recording Industry Association of America, rock music accounted for 46.2 percent of the industry's $12.3 billion in sales during 1997. But this figure is down to 32.5 percent. Meanwhile rap music's share of sales has increased 150% over the last ten years and is still rising. Approximately 75% of the rap and hip hop audience is non-black. It has gone from the fringes, to the suburbs, and into the corporate boardrooms. Indeed, McDonald's, Coca Cola, Sprite, Nike, and other corporate giants have capitalized on this phenomenon.

Indeed, it is this industrial capitalization of Hip Hop culture that is responsible for the ignorant perceptions of its art forms. Since the early to mid 90’s, hip-hop has undergone changes that purists would consider degenerating to its culture. At the root of these changes is what has been called “commercial hip-hop". Commercial hip-hop has deteriorated what so many in the 70's and 80’s tried to build- a culture of music, dance, creativity, and artistry that would give people not only something to bob their head to, but also an avenue to express themselves and deliver a positive message to their surroundings.. Its positive derivatives have been overshadowed by the commonplace of vulgarity and the glorification of media status symbols.

What does the term “commercial” mean? It can take on various meanings, but in essence that term is used to label artists who have alienated parts of the hip-hop culture in their work. The High and Mighty, a duo from Philadelphia signed to Rawkus Records, summed up what commercial hip-hop is in their 1999 single release, “The Meaning”. Mr. Eon says: “…they’re tryin’ to turn hip-hop to just plain rappin’/let the poppers pop/and the breakers break…” But the disenchantment with artists who don’t appreciate hip-hop as consisting of various subsets is not new. Underground artists, predominately hip-hop purists, have lashed out on perpetrators for many years.

According to KRS ONE, the founder of the Temple of Hip Hop and widely known rap pioneer, "rap is something you do; hip hop is something you live". There seems to be a disproportionate amount of our inner city youth, world-wide, who do not understand that Hip Hop is a culture of protest, uplift and artistic appreciation. Media and corporations have preyed off of the ignorance of youth in order to promote their own financial interests. These corporations depend on fashionable, generational trends. Unfortunately, these latest crazes are overflowing with violence, disrespect and a love of quick money schemes which perpetuate the status quo.

Today's youth must inherit a historical understanding of the multi-faceted consistency of Hip Hop Culture. The Refinitions (or redefined definitions) are a collection of Hip Hop cultural terms and codes designed to protect, preserve and establish Hip Hops common Spirit and raise the self-worth of the true "Hiphoppa" and those who are unfamiliar with the culture. Hip Hop organizations may practice a different set of elements and terms. However, The Refinitions remain the primary teaching tool of those who are live within the culture of Hip Hop. With this body of knowledge we raise our self-worth as Hiphop cultural Specialists. These elements are as follows:


BREAKIN: (The study and application of street dance forms). Commonly called Break Dancing or B-Boying, it now includes the once independent dance forms; Up-Rockin, Poppin and Lockin, Jailhouse or Slap-Boxing, Double Dutch, Electric Boogie and Capoeira martial arts.

It is also commonly referred to as Freestyle Street dancing. The practitioners of traditional Breakin are called B-Boys, B-Girls and Breakers. Breakin moves are commonly used in aerobics and other exercises that refine the body and relieve stress. Dance and other rhythmic body movements appear at the genesis of human awareness. Dance is also a form of communication. Break-dancing acrobatic style of street dancing.



EMCEEIN: (The study and application of rhythmic talk, poetry and divine speech). Commonly referred to as rappin or Rap. Its practitioners are known as emcees or rappers.

The emcee is a Hip Hop poet who directs and moves the crowd by rhythmically rhyming in spoken word. The emcee is a cultural spokesperson. Technically, the emcee is a creation of his/her community whereas the rapper is a creation of his/her recording corporation.

The word emcee comes from the abbreviated form of Master of Ceremonies (M.C.). In its traditional sense, M.C. referred to the hosting of an event the master of a ceremony or an event.

In its ancient sense, to emcee meant to pray or to communicate with God. It was used by the Greeks to communicate with their oracles and to pray to their gods.

The earliest known forms of Emceein were done by the ancient priest, sages and philosophers of Africa and Asia. Later in history, the ancient art of Emceein would be practiced by African griots and djelees as they went from village to village teaching (or rather performing) history and important life lessons.

Emceein (or rhythmic speech/divine speech) also appears at the genesis of human awareness. It is the language of the heart.

Early "Hiphoppas" transformed the traditional character of the Master of Ceremony to include crowd participation routines and poetry. Today, the emcee seeks to be a master of the spoken word, not just the best rapper or poet.

Emceein (when properly understood) manipulates air through sound vibration in an attempt to alter or expand consciousness.

Emcees also deliver lectures and other forms of public instruction. Most emcees rate themselves on their ability to rock a party, speak clearly and/or tell a good story, NOT ON PLATINUM CHAINS, 24" RIMS, AIR JORDANS, etc...

Know this. A talented emcee almost always becomes a respected rapper. But a talented rapper usually never becomes a respected emcee.

The emcee expresses through rhyme what is already on your mind, whereas the rapper tells you all about his or her self. True emcees are encouraged to study both styles for maximum success.

Popularized by: Cab Calloway, Coke La Rock, Pebblie Poo, Sha Rock, Chief Rocker Busy Bee, Keith Cowboy, Melle Mel, Grandmaster Caz, Rakim, Queen Lisa Lee, Slick Rick, Big Daddy Kane, MC Lyte, Muhammad Ali, and others.



GRAFFITI ART: (The study and application of street calligraphy, art and handwriting). Commonly called Aerosol Art, Writin', Piecin', Burnin', Graff and Urban Murals. Other forms of this art include Bombin' and Taggin'. Its practitioners are known as Writers, Graffiti writers, Aerosol artists, Graffitists and Graffiti artists.

Also at the genesis of human awareness, writing on walls, trees, stones, clothing, etc. plays an important part in the development of human intelligence and self-expression. Most inner-city children instinctively begin learning to write by writing on walls.

Ancient humans of prehistoric times would put certain berry juice in their mouths and blow or spit their images onto cave walls sometimes in total darkness just as the modern graffiti writers of the 1970s and 1980s would do with their aerosol spray cans on the sides of subway trains.

Today, Graffiti artists seek to be masters of handwriting and art. Graffiti artists rate themselves on their ability to write and/or draw a good story. Many writers have become graphic artists, fashion designers, photographers and motion picture directors.

Know this. Graffiti as art is not vandalism! Traditionally, the word Graffiti originated from the Italian term Graffito meaning; a scratchthus its connection with Deejayin (visual deejayin).

Graffiti was a term given to Hip Hops graphic art animation when it appeared legally and illegally on public and private properties as an act of social protest (especially on subway trains).

Similar to the way Emceein was labeled Rap and Breakin was labeled break dancing; so it became with writin, bombin, piecin, burnin and taggin which have all come to be labeled graffiti.

Graffiti writing or drawing that is scribbled, scratched, or sprayed onto a surface.

Popularized by: Taki 183, Phase 2, Stay High 149, Kase 2, Lee, Chico , Cope 2, TATs Cru, Presweet, Iz the Wiz, Seen, Quik, O.E., Revolt, Dondi, Zephyr, Futura 2000, and others.


DEEJAYIN: (The study and application of Rap music production and radio broadcasting). Commonly refers to the work of a disc jockey. However, Hip Hop's disc jockey doesn't just play vinyl records, tapes and compact discs.

Hip Hop's deejay interacts artistically with the performance of a recorded song by cuttin, mixin, and scratchin the song in all of its recorded formats.

Even beyond music and other forms of entertainment, Deejayin as a conscious awareness not only inspires our style of musical instrumentation, it also expresses the desire and ability to create, modify and/or transform music technology. Its practitioners are known as turntablists, deejays, mixologists, grandmasters, mixmasters, jammasters, and funkmasters. Disc Jockey- presenter of recorded music.

Popularized by: El Marko, Kool DJ Herc, Afrika Bambaataa, Jazzy Jay, Grand Master Flash, Grand Wizard Theodore, Kool DJ Red Alert, DJ Cash Money, Marley Marl, Brucie B, Chuck Chillout, Kid Capri, Afrika Islam, Jam Master Jay, and others.



BEATBOXIN: (The study and application of body music). Commonly refers to the act of creating rhythmic sounds with various parts of the body; particularly the throat, mouth and hands. Its practitioners are known as Human Beatboxes or Human Orchestras.

Beatboxin is about seeing and using the body as an instrument. Earlier versions of this expression included Handbone or Hambone. However, modern Beatboxin originates from the act of imitating early electronic drum machines.

The early electronic drum machines were some of the original beat boxes; and to skillfully imitate them was called Beatboxin. However, ancient Beatboxin was the ability to imitate the sounds of Nature with one's own body parts.

Not only is Beatboxin a form of communication, Beatboxin' is also found at the genesis of human awareness. In fact, imitating the sounds of Nature (or one's natural environment) is at the very beginning of human communication, knowledge and survival.

Popularized by: Doug E. Fresh, Biz Markie, The Fat Boyz, DMX, Greg Nice, Bobby McFerrin, Emanon, Click the Super Latin, K-Love, Rahzel, and others.


STREET KNOWLEDGE: (The study and application of ancestral wisdom). Commonly refers to the basic common sense and accumulated wisdom of inner-city families. It consists of techniques, phrases, codes and terms used to survive within the inner-cities.

It involves the ability to reason soundly with or without the ideas or validation of the traditional academic mainstream. Street Knowledge is the accumulation of Hip Hops cultural self-awareness.

Its practitioners are known as Hiphoppas as well as Sisters, Brothers, Goddesses, Gods, Mothers, Fathers, Teachers, Queens , Kings, Princesses, Princes, Lords and Divine.

Contrary to the myth that knowledge is only accumulated in quiet, ordered, academic environments much of Hip Hops communal knowledge can be found with its comedians, poets and authors. Hiphoppas learn and transfer knowledge through laughter and having fun. Streetwise knowing how to survive modern urban life.

Popularized by: Malcolm X, Dr. Cornell West, Martin Lawrence, Afrika Bambaataa, Clarence 13X, Minister Louis Farrakhan, Kwame Toure, Chuck-D, Nas, Dick Gregory, Chris Rock, Tupac Shakur, The Wayans Brothers, Sista Souljah, and others.



STREET LANGUAGE: (The study and application of street communication). Commonly referred to as Black English, Urban Slang and Ebonics. It is Hip Hops language and linguistic codesthe verbal communication of the streets.

Advanced Street Language includes the correct pronunciation of one's native and national language as it pertains to life in the inner-city. In addition, advanced Street Language deals with ones communication even beyond what one says.

Street Language is not always spoken words. Hip Hops Street Language includes certain street codes that may not be communicated in words at all.

Still, Street Language (as it pertains to the spoken word) is Hip Hops attempt to free itself from the confinement of standard language and standard views of reality.

English (for example) does not have enough words or definitions to describe how we (Hiphoppas) feel about the world. This is what makes our Street (slang) Language so important to our state of freedom.

Street Language helps Hiphoppas interpret their world their way. Its practitioners are known as Hiphoppas.

Popularized by: Richard Pryor, Martin Lawrence, the Last Poets, Chris Rock, The Watts Poets, James Brown, Gil Scott Heron, E-40, DJ Hollywood, Lovebug Starsky, Nas, Fab 5 Freddy, Frankie Crocker and others.


STREET FASHION: (The study and application of urban trends and styles). Commonly refers to the clothing trends of the inner-city. However, Street Fashion deals with all trends and styles of Hip Hops culturewhats in and whats out regardless of the expression. Its practitioners are known as Hiphoppas.

Self-expression through Street Fashion is an important way to present Hip Hops unique identity to the world. Street Fashion represents the prominence of all Hip Hop cultural codes, forms and customs.

Not only is fashion a very ancient form of communication, but our expressed consciousness was (and still is) also represented in the way in which we adorned, colored and dressed ourselves.

Popularized by: The Black Spades, The Black Panthers, The Crips, The Bloods, Jew Man, Ron 125th, Dapper Dan, Shirt Kings, Lugz, FUBU, Karl Kani, Sean Jean, Wu Wear, Fat Joe 560, Phat Farm, and others.


STREET ENTREPRENUERIALISM: (The study and application of fair trade and Hip Hop business management). Commonly referred to as street trade, having game, the natural salesman or the smooth diplomat. It is the readiness to engage in the creation of a business venture that brings about grassroots business practices. Many of Hip Hops apprenticeships begin here.


Different from entrepreneur-ism which may include the techniques and practices of the entrepreneur, entrepreneurial-ism focuses upon the motivating Spirit to be self-employed, inventive, creative and self-educated.

It is this Spirit; the Spirit of self-creation, the urge to create and sell ones own talents, discoveries and inventions that is encouraged by these teachings. Its practitioners are known as hustlers and self-starters. Entrepreneural self-motivated creative person who undertakes a commercial venture.

If messages of love, peace, anti-racism, and human uplift are resonated among the hip hop population, it can have an enormous impact on ethnic relations in our society. In the 1950s and 1960s the Beat Culture spoke of love, yet challenged the status quo in ways that did not compromise their rebellious spirit. In the same vein, it is possible for the hip hop culture to keep its rebellious street flavor and speak to issues such as love and respect for all. It is possible for rap artists such as Master P, Wyclef Jean, and Busta Rhymes to empower America and the world's youth like Bob Dylan, John Lennon, and Bob Marley did. "

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