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so these people [on campus] They weren’t dancing the traditional Bey dance. [some of] Those who came out of the dance era that actually predates hip-hop in New York were old. They were older and doing other things. And the charm of hip-hop from New York was precisely in the visuals of dance.
We have to acknowledge the fact that the Bay Area had a hip-hop element even before 1973, right?
we’ve always danced Percussion will always be ours, right? Black people are drum people. Taiko is not a foreigner, because natives are taiko people. And rhyming has been around for a very long time. We never put all those elements together in a package. Again, it’s not “either”, it’s “both”.
One of the big things that jumped out at me about the video is that it’s in Sproul Plaza. It is home to the free speech movement and anti-Vietnam War protests. Does having this event in the same sacred place lend some kind of legitimacy? Legitimacy has weight, but does it have weight?
I don’t think people thought that at the time. I certainly wasn’t. The reason we did it at his Sproul Plaza was because it was where all black people, fraternities, alphas that were probably the biggest hang out. And when Kappa did a step show, did you do it at Sprawl Square? Sproul Plaza is at the entrance of the campus, so if he wants to get the maximum number of people, he will do it at Sproul Plaza. The second was in Zellerbach, and it wasn’t like, “Oh, there was a free speech movement here, let’s do it at Sproul Plaza.”
You said you handed out flyers there.
It wasn’t a flyer, it was an article I wrote to explain what hip-hop is.
One seat, right?
Paperback, yes.
Why should I hand out a summary material describing hip hop?
People didn’t know at the time, so you wanted to make sure they had it. why are you looking at this? Again, for many, it was the first time they had seen such a live performance. We take it for granted now, but in 1984 it wasn’t.There was not [hip-hop] Block the party here. So there were many first-timers. And I wanted to make sure they understood.
My mother was angry because I didn’t give her name. “I want people to know you wrote this by writing your name,” she says. And I was like, ‘No, well, they saw me pass it.But it became important because so many people used that article. San Francisco ChronicleSome were quoting from there and didn’t know where it came from. You saw it on the website years later, right? But it’s actually on my site. I was asked to write for a magazine, so I rewrote and added.
How did hip-hop culture spread to the Bay Area in the early days?
It spread like any other place with black people. First, you have to ask a question. What part of hip hop?So we need to bring Graf his writers here to analyze how they were conveying secrets, understandings and cultural aesthetics. People like Refa One.
I think we as DJs have a whole path that we’ve taken, right? … let me give you an example. There was a guy named Quickie Kev on campus and I was his main DJ, but Quickie Kev came out of his LA and knew how to scratch.his wounds were picked up from [the radio station] KDAY. At that time they had a lot of DJs. Tony G. Joe Cooley, right? So there was ‘LA Fast Scratch’ and that’s what we called it. And he picked it up, and he had bad intentions for it. So every time he had a party, people would sit like, ‘Hey, how do we do this? So it became one way some of its tricks were passed on. they have mastered it.
Was there a point in the late ’80s/early ’90s where hip-hop was irreversibly established?
when beat street I came out, I don’t think there was any turning back. Shout out to Harry Belafonte and all the people who put it together.i know we had crush grooveWhen wild style I was out before that.but i think beat street Because it was so mainstream, it was for people who grew up with it in New York – this was validation.
I remember being in a place called the Promenade next to the Marble Hill Project in the Bronx. And my crew was partying. And I remember sitting there and being like, ‘Wow, look at all these people here. And I said, ‘Do people all over the world know what we’re doing? I can’t believe this. it just hit me. And within two years “Rapper’s Delight” came out and it was irreversible.
Now let me ask you one more question. What will hip-hop look like 50 years from now?
Hip-hop is the continuation of black expression and it’s not going anywhere. No, would you like to stop dancing? No, are the rhythms different? absolutely. You can use crunk beats, boom bop beats, high-fee beats, underground lo-fi beats, jazzy beats, right? 808 beats, Miami base beats are available. Hip hop has 50 different beats. In 50 years there will be a new beat. It may not be called hip-hop, but it will still be here.
Because at its core, hip-hop is an expression of people wanting to create a community with each other. People who want to lose themselves in other ways, express themselves, and not be limited to what society says is legitimate representation.
The key for us is whether we can connect the past with the present. And can the past and present be connected to the future? that is our job. So we’re here to open your heart.As Black Moon says, “Open your heart.”
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