By Mickey Hess
The intense impression of hip-hop track on American tradition during the last 3 many years is indisputable. on the leading edge of this worldwide phenomenon stand artists who broke new floor, either musically and politically. This detailed reference offers great entries at the so much progressive hip-hop artists and innovators, prior and current, and gives in-depth assurance of every icon's effect in shaping hip-hop tune. a necessary reference for prime institution and public libraries, this encyclopedia can help scholars and readers discover the ancient and cultural framework of hip-hop because it extends to newer artists.From Run DMC, the mythical crew credited with bringing rap to the mainstream, to Salt N Pepa, the 1st all-female teams to stake their declare within the male ruled global of hip-hop, to Kanye West's breakout profession as a manufacturer and rapper, this encyclopedia recovers the histories of vital artists either in and out the hip-hop mainstream, all whereas studying the numerous and ever-changing sorts of the track. finished profiles are better by means of sidebars highlighting such issues as rivalries among artists, the significance of geographic zone, musical recommendations (including sampling technologies), felony matters, media scandals, and wider phenomena, events, or varieties of hip-hop that have been sparked via a selected artist or workforce. Hip-hop fanatics will relish the severe research of the icons' social and cultural impression in addition to problems with enduring importance, reminiscent of the impact of gangsta rap on adolescence tradition. A timeline, a complete creation, a number of photographs, and an intensive bibliography of print and digital assets for additional analyzing are integrated, making this encyclopedia a vital reference for academics and scholars drawn to realizing the heritage and way forward for hip-hop tune.
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Extra info for Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture (Greenwood Icons) Two Volumes
Sample text
Daddy-O” Winslow and his many followers across the South, not to mention such influential figures as Tommy “Dr. Jive” Smalls and Douglas “Jocko” Henderson. In something of an ironic twist, Herc and Coke La Rock would later synthesize what they had absorbed from these Jamaican versions of African American disc jockey performance with the New York–based descendents of the same models, including such white disc jocks as Wolfman Jack and Cousin Brucie, both of whom Herc cites as early influences on both his talkover style and his American accent.
In hip hop’s founding years, there was no major media outlet for the music; radio stations or programs, magazines, television programs, and even professional recordings with a hip hop format were nonexistent. In response to this void, mixtapes became the platform to give the music exposure. Also, because these artists did not have recording contracts, the mixtapes became a source of revenue for the DJs. In the 1970s, pioneer hip hop DJs such as Kool Herc, Grandmaster Flash, Afrika Bambaataa, and DJ Hollywood would often sell recordings of their club performances via mixtapes.
Having such a system also meant that Herc was not a DJ for hire: He was a soundman with his own system and he needed neither promoters nor club owners to help him do his thing, throw his parties, run his business. Like many of his enterprising peers, Herc also invested a good deal of his early earnings back into his system, maintaining a state-of-the-art edge over his competitors. Although hip hop’s myth of origins often emphasizes the crushing poverty of the Bronx and the resourcefulness of young people who, abandoned by the state and the system, made do with what was available, such a story also tends to downplay the degree to which hip hop’s pioneers borrowed and hustled and saved in order to obtain what they needed to make their art and their living.