{"id":7689,"date":"2013-10-04T12:14:12","date_gmt":"2013-10-04T16:14:12","guid":{"rendered":"http:\/\/wayneandwax.com\/?p=7689"},"modified":"2015-01-07T13:29:33","modified_gmt":"2015-01-07T17:29:33","slug":"to-make-an-unforgivably-short-story-longer","status":"publish","type":"post","link":"https:\/\/wayneandwax.com\/?p=7689","title":{"rendered":"To Make an Unforgivably Short Story Longer…"},"content":{"rendered":"

Thanks to all for passing around the raggamuffin hip-hop articles & mix<\/a>. As it happens, the cosmos smiled on our cross-platform publication by arranging for a rather resonant listicle to appear at the bredrin-blog LargeUp<\/a> just the next day: a Toppa Top 10 devoted to “Raggamuffin Gangster Rap<\/a>“!<\/p>\n

West Coast examples of raggamuffin rap only appear briefly toward the end of our mix<\/a>, so it’s great to have the picture fleshed out a little more. Here’s the hook — <\/p>\n

Back when Shabba and Super Cat were killing the game in the early \u201990s, the influence of dancehall could be felt throughout hip-hop. While East Coast rappers with Caribbean backgrounds like KRS-One and Heavy D collaborated with dancehall\u2019s heavyweights themselves, artists from the West Coast\u2014where the connections to Jamaica were less apparent\u2014had to get a little more creative. Hence, the faux raggamuffin deejay styles on records by NWA, DJ Quik and other gangster rap acts of the day.<\/p><\/blockquote>\n

Read the rest<\/a>. <\/p>\n

<\/p>\n

While I’ve got you here, I thought I should share something of an author’s cut of the Cluster Mag article<\/a>, which had to be about half the length that I wanted it to be. At one point in the article, there appears a rather brief history of Jamaican soundsystem culture, accompanied by the disclaimer, “To make the very long story unforgivably short…”<\/p>\n

Well, what else are blogs for? Here’s the longer version for any of you who care to read. For me, the little leaps of logic involved in the beginnings of reggae and rap really do deserve explication and emphasis —<\/p>\n

Playing records to people, interactively, sounds totally commonplace today, because it is. But at the time that \u201csoundsystems\u201d in Kingston started holding dances backed not by bands but by savvy selectors with hot and hit records and powerful speakers, that sort of thing was hardly seen outside of sock hops or the first French discoth\u00e8ques. As they later did with the recording studio itself, Jamaicans were in the process of making the jukebox a live instrument, which required some little leaps of logic and a lot of ingenuity. <\/p>\n

When Clement \u201cCoxsone\u201d Dodd was working as a migrant laborer in Florida in the 1950s, he attended lots of parties. And while picking oranges, he was also picking up plenty of the 45s running the local jukeboxes. Back then, there were two main sources for the soundtrack of the party: canned jukebox or live band. Returning home to Kingston, Coxsone decided to combine the two: to play records as live performance<\/em>. He started with a PA at his parents\u2019 pharmacy, bringing in customers with the slick sounds of Southern R&B. Before long Coxsone\u2019s Downbeat soundsystems were operating across Western Kingston and beyond, vying with Duke Reid\u2019s Trojan as keeper of the best downtown dancehall sessions. Soon after, he opened up Studio One, where the feedback loop between what dancers liked and selectors played could be made even tighter. Eventually, through the magic of dubplates and multitracks, selectors could rinse instrumental versions of popular tunes while, inspired by African-American radio disc jockeys, jive-slanging \u201cdeejays\u201d such as King Stitt and U-Roy toasted in a local, cosmopolitan tongue. It didn\u2019t take much longer, if another little leap of logic, for these masters of ceremony to become recording stars in their own right: in 1970, U-Roy\u2019s first \u201ctalkover\u201d singles\u2014a trio of rocksteady-repurposing novelties\u2014held the top spots on Jamaican radio for months. <\/p>\n

This interactive approach to playing commercial dance records is, of course, essentially the same insight that would engender disco right around the same time, and which carries forward via house, techno, and their EDM ilk as perhaps the dominant paradigm of modern musical experience. It is also the same insight that sparked hip-hop\u2014quite directly, in fact. <\/p>\n

As the story goes, hip-hop was born on a summer night in 1973 in a rec-room on the ground floor of 1520 Sedgwick Avenue, an apartment building in the West Bronx, when Clive Campbell, better known as Kool Herc, hosted a party with his older sister Cindy. Born and raised in Kingston, Campbell was well familiar with the importance of a customized\u2014and loud and clear\u2014sonic experience. For the party, Herc borrowed a powerful PA from his father, a soundman for local R&B acts, and played the role of selector, hand-picking and cueing up records, as well as MC, using a mic to praise partygoers with rhyming routines, and to hype the musical selections, make announcements, and encourage dancing. <\/p>\n

Like any good DJ, Herc sought to respond to the demands of his audience. Given the context, this entailed embracing certain soundsystem techniques\u2014especially the license to manipulate a recording in realtime\u2014while departing from what one might have heard at a dance in Jamaica. Despite borrowing liberally from soundsystem culture, Herc didn\u2019t play reggae at the party. Among his peers, Jamaican music and style had yet to undergo the cool recuperation that eventually followed Bob Marley\u2019s success and, more important in New York, the violent dominance of the drug trade by Jamaican gangs, or \u201cposses,\u201d in the mid-80s. Just as Herc made an effort to swap his Jamaican accent for a Bronx brogue, he played soul, funk, and driving disco tracks\u2014especially records with stripped-down, percussion-led breaks\u2014in place of reggae anthems. <\/p>\n

Herc and Cindy began throwing parties regularly, and the audience steadily grew\u2014as did Herc\u2019s crew, including dedicated MCs like Coke La Rock and a coterie of flashy dancers. Running out of room at 1520 Sedgwick, Herc relocated to nearby Cedar Park where, repurposing what little civic infrastructure remained in a place haunted by the politics of neglect, electricity from a utility pole powered the soundsystem. In contrast to clubs, where cover charges and age restrictions kept teenagers out, the \u201cpark jams\u201d were active incubators, stylistically and socially, of a new kind of public youth culture. In this way, Herc\u2019s burgeoning audience, some driven West by gang violence in the South Bronx, helped essentially to co-produce a remarkable phenomenon: a vibrant party scene where local culture thrived as DJs, MCs, and dancers wrested new forms out of the resources at hand.<\/p>\n

Hip-hop was so tied to realtime social gatherings in its early years that the idea of committing such performances to tape and selling them as commodities required some imagination. Recordings of parties were made, of course, and tapes circulated informally and even quasi-commercially, but it was not until a seasoned and savvy record executive, Silvia Robinson of Sugar Hill Records, saw potential in the form that the rap song emerged as such, six years after Herc\u2019s back-to-school jam on Sedgwick Ave. Most of hip-hop\u2019s biggest names at that time were not easily convinced, or drawn away from the relatively lucrative party circuit, so Robinson\u2019s first attempt was more a studio simulation than a faithful rendering of contemporary party practice. Assembling a ragtag crew of aspiring rappers as the Sugar Hill Gang, Robinson released a 15-minute single called \u201cRapper\u2019s Delight\u201d stitching together popular routines drawn from such prominent MCs as Grandmaster Caz over a replayed loop from Chic\u2019s \u201cGood Times,\u201d then a current favorite among hip-hop DJs. Despite its unusual length for a pop single, as a passably genuine artifact of hip-hop\u2019s sprawling party style, \u201cRapper\u2019s Delight\u201d became a massive hit on urban radio, selling millions of copies and offering the wider world its first exposure to hip-hop. (Multiple Jamaican acts recorded reggae-fied versions of the song before the year was out.)\n<\/p><\/blockquote>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Thanks to all for passing around the raggamuffin hip-hop articles & mix. As it happens, the cosmos smiled on our cross-platform publication by arranging for a rather resonant listicle to appear at the bredrin-blog LargeUp just the next day: a Toppa Top 10 devoted to “Raggamuffin Gangster Rap“! West Coast examples of raggamuffin rap only […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[185,335,404,118,402,381,145,408],"class_list":["post-7689","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-commerce","tag-gangsta","tag-hip-hop","tag-industry","tag-jamaica","tag-kingston","tag-newyork","tag-reggae"],"_links":{"self":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/7689","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7689"}],"version-history":[{"count":7,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/7689\/revisions"}],"predecessor-version":[{"id":7696,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=\/wp\/v2\/posts\/7689\/revisions\/7696"}],"wp:attachment":[{"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7689"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7689"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wayneandwax.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7689"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}