What is Hip Hop?: A Historical Definition of Rap pt2 (Street Hustlers to Revolutionary Poets)

This is part 2 of an article we penned called  The Historical Definition of Rap pt1. In that piece we talked about how the term Rap had been around long before DJ Kool Herc and his sister Cindy Campbell threw that first landmark Back to School party August 11 1973 in the community center at 1520 Sedgwick Ave in the Bronx.

Many are not aware that when Herc and his partners Coke La Rock and later Clark Kent rocked the mic, they used the words ‘rhyming’ and ’emceeing’ to describe their vocal expressions. The word Rap became attached to Hip Hop in 1979 with the release of Rapper’s Delight by the Sugar Hill Gang.

Prior to ’79, the word Rap was attached to a variety of other vocal activities most notably slick, persuasive talk from street hustlers, pimps and players. Rapping was all about mesmerizing and dazzling folks with words with an end goal of convincing one to give up everything from money to property to sexual favors. if you were said to have ‘a good rap’, then it meant you had the gift of gab which in many circles was revered and respected.

Dolemite

With respect to the act of rapping, many seem to think that saying rhymes in a syncopated fashion over music is unique to Hip Hop. That’s a mistake. To not see Rap as something that is rooted in deeper histories, is to short change Hip Hop culture. Simply put Rap is part of a continuum. Every generation within Black America can point to an activity or music style that included rap-like vocal expressions. They range from little girls doing double dutch jump rope to young kids doing engine engine number nine type rhymes to determine who would be it when playing tag.

We’ve seen expressions that we associate with rap today show up in the form of popular artists like Rudy Ray More aka Dolemite who did tons of movies where he did routines like his signature Signified Monkey .

We saw it surface with singer song writer Clarence Reid aka Blowfly who did x rated songs like Sesame Street and Rapp Dirty which was released in 1980 but according to him was written in 1965.

Both More and Reid come from a generation where street talk that encompassed rhyme was not unusual. Sometimes called signifying, testifying or playing the dozens, such expressions are key foundations and precursors to Rap.

We saw Rap expression show up in songs like Here Comes the Judge released in 1968 by comedian Pigmeat Markham. Although not called ‘rap’ it clearly could stand alongside anything we hear today.

http://www.youtube.com/watch?v=DvMBxlu62c0

We saw rap with Louis Jordan and his group Tympany Five and their landmark cut The Meeting which was released in 1962

In the same vein as Pigmeat is actor Lincoln Perry better known as Stepin Fetchit. The controversial character who many felt kept alive nasty stereotypes of Black people being lazy and shiftless was during his heyday in the 1940s,  the most successful Black actor in all of Hollywood. In this memorable scene from the 1945 musical Big Timers we see Perry hit up the piano and rap, decades before what we know as Hip Hop emerged..

http://www.youtube.com/watch?v=5qALvc-MIDY

Last Poets

We saw Rap expressions manifest itself in the form of revolutionary acts like the Last Poets, Gil Scott Heron and the Watts Prophets who are considered the grandfathers and godfathers to  modern-day rap. These acts emerged on the scene in the late 60s early 70s with the express purpose of providing sound tracks for the various Black liberation struggles taken place all over the country…Songs like When the Revolution Comes,  The Revolution Will Not Be Televised and Tenements respectively exemplified the type of vibe they were kicking on the eve of Hip Hop’s birth.

Over the years not only have many of the songs from these acts have been sampled, but some of these acts have from time to time been featured in songs with popular artists. For example the Last Poets are featured on Common‘s song The Corner and Nas‘ You Can’t Stop Us Now‘ which borrows the baseline from a classic  Temptations cut ‘Message to a Blackman‘

The Last Poets rap influence is shown on cuts like the White Man’s Got a God Complex which was featured on the ‘This is Madness‘ album (1971). It was remade 20 years later by groups like Public Enemy and Def Jef. Below is the PE version which keeps alot of original cadence in tact.

The Def Jef version of  God Complexx, shows not only the influence of the Last Poets but also Gil Scott-Heron as he uses the beat from Revolution Will Not Be Televised.

Ironically groups like NWA who were perceived as having an anti-revolutionary message sampled the Last Poets ‘Die Nigga‘ off their album ‘The Original Last Poets Right On‘ (1970) and made them known to younger generations with songs like ‘Real Niggaz Don’t Die‘ off the ‘Efil4zaggin’ (1991)

https://www.youtube.com/watch?v=6jy6Nebd_e0

Gil Scott-Heron is often called the Godfather to Rap. It was a title he shunned, stating he preferred to be known as a bluesologist. Nevertheless, Heron was a towering figure whose signature song Revolution Will Not be Televised was redone by too many Hip Hop artists to name. Cuts like B-Movie and ReRon which were released in 1980 and 1984 respectively demonstrated his Heron’s rapping ability.

He was also one of the first artists from the 60s/ Black Power generation to jump on a song with than modern day rap artists..The anti-Apartheid song Let Me See Your ID  (1985) which features, Run DMC, Kurtis Blow and Mele-Mel to name a few was monumental. The content and purpose of the song was incredible, but also although unintended it contrasted the generational differences in rap styles.

The Watts Prophets have not only been heralded as important figures in the emergence of West Coast rap, but  in 1970 they released an album called ‘Rappin’ Black in a White World’. Many consider that to be the first to use the word ‘Rap’ to describe a  recording that featured rhyming, This groundbreaking album proceeds   ‘Rapper’s Delight‘ by almost 10 years.

http://www.youtube.com/watch?v=g8MRWekOjrY

One artist who is in the same vein as these revolutionary poets but not as well-known is Stax Record recording artist John KaSandra nick named ‘Funky Philosopher‘. He did a bunch of black conscious songs in the early 70s including one that is many ways a head of its time for the emerging Hip Hop rap scene at the time..  ‘(What’s Under) The Natural Do’ (1970) is an incredible song that talks about Black power  and how folks are gonna have to do more than just wear an Afro hairstyle in order to uplift the community.

http://www.youtube.com/watch?v=tQow4jYVM9I

One can’t talk about the Last Poets, Gil Scott Heron and Watts Prophets and their influence on Rap without talking about the Black Arts Movement which proceeded them and exerted profound influence. BAM  introduced a style of spoken word that was hard-hitting, uncompromising and often recited over Bebop and Jazz. BAM co-founder Amiri Baraka than known as Leroy Jones illustrates that style with his famous piece Black Art.

Baraka’s ‘rap’ along with the spoken word and slang executed by others within the Black Arts Movement were such that it was hard for folks outside the scene to pick up and appreciate.It was for the Bebop crowd who coincidently called themselves ‘Hip’. It was deliberate in challenging the mainstream and being anti-establishment. It’s deliberately uncomfortable Many like to draw parallels to Hip Hop.

http://www.youtube.com/watch?v=Dh2P-tlEH_w

BAM member Sonia Sanchez gives a brief history of that time period and how their spoken word paved the way for modern-day raps heard within Hip Hop. Sonia Sanchez: From Black Arts to Hip Hop

http://www.youtube.com/watch?v=JtRffMdbB0Y

Members of BAM

Just for added understanding, one may wanna peep this brief documentary on bebop which was the precursor to the Black Arts Movement. Again here you will be able to draw some strong parallel to Hip Hop, especially when you consider that Bebopers called themselves coined the term ‘Hip’ which is how they referred to themselves. Peep  Bebop Jazz the Evolution of Culture Through Music.

These are just a few highlights of the many artists and expressions that are akin to rap to be in our midst before the birth of Hip Hop..Look out for pt 3 which deals with the influence of Black Radio deejays on what we know as Rap..

written by Davey D

OLM News w/ Davey D… Intv w/ Sgt Ron Stallworth on Infiltrating the KKK

One of the most intriguing and insightful individuals we ever sat down with is former Gang Intelligence Coordinator for the Utah police department, Sgt Ron Stallworth. Currently teaching, he is considered in law enforcement circles to be the foremost expert on what many have dubbed gangsta rap.

Yes, we know over the years there’s been a lot of attention given to ‘Hip Hop cops’ like Derrick Parker and the huge dossiers he and others had amassed on rappers, but Stallworth is the original. He’s penned several books on the gangsta rap, which up until recently were only available for law enforcement. Each one of the 4 books I have easily surpass the information and scholarship that we would see with current Hip Hop books on the market.

Stallworth explained that as a peace officer, writing and paying attention to detail is an important part of the job. Overlooking details and cutting corners could be the difference between life and death in the field, hence, his writings and books were and do reflect that..

Stallworth in his writings  attacked the subject of gangsta rap and Hip Hop  with a couple of thoughts in mind. First, he felt it was crucial to connect the historical dots. He was well aware that Hip Hop and Gangsta Rap did not occur in a political or social vacuum. He’s quite clear in noting that Black music expression is connected to struggle and key movements. he details these movements in his writings and explains how and why they are connected  Hip Hop.

Sgt Ron Stalworth

Stallworth covers everything from the Black Panthers to the Black Liberation Army, to the Nation of Islam to the Five Percenters to the Black Arts Movement and that’s just the tip of the iceberg. These details aren’t so much a rap sheet where he starts identifying particular folks. Instead he details such facets like the way the oral traditions are similar and contrasted with key orators in the Panthers vs popular gangsta rappers of the early 90s.  He in great detail, explains how the agendas and ideology of past  political and social movements manifest themselves in so-called gangsta rap.

Stallworth wanted to make sure those reading his work would have a better understanding who were was saying what and how it really matched up in real life. Stallworth would spend hours listening to artists, transcribing their lyrics and cross referencing their words with real life.  He noted that surprisingly lots of artists would literally brag about their exploits, gang affiliations etc.. he noted that many more were telling tall tales or being mouth pieces for neighborhood shot callers. Over the years Stallworth got good at knowing who was real and who was fake. He also got good at breaking down the lingo, double speak and street codes which unearth lots of information and insight.

Sgt Ron Stallworth holding KKK Membership card

In our round table interview we cover a lot of this.. But that’s only the beginning of Stallworth’s claim to fame. prior to getting into studying gangsta rap, Stallworth had infiltrated the Ku Klux Klan.It wasn’t just any KKK chapter. It was one that was stationed in the military bases in Colorado where they were actively recruiting. Stallworth as a brown skin Black man managed to not only infiltrate the chapter, but was offered an opportunity to be chapter leader. Yes, you read that right, its something out of a Dave Chappelle skit, 20 years before Chappelle showed up on the scene..  Stallworth carries a signed membership card from Klan leader David Duke who had no idea that he had been infiltrated..

We start off our round table discussion by talking about Stallworth investigation of the KKK and talk about the current rise of hate groups. During our discussion, he explained that he was going back to Colorado to speak to officers and fill in some key gaps of what he calls the ‘Lost Chapters‘. Stallworth explains that his boss at the time wanted the files on that case to be destroyed. Stallworth kept them and has no regrets considering the significance.

Enjoy this interview w/ Ron that recently aired on Free Speech Tv.. He gives us a lot of game to soak up..

http://www.youtube.com/watch?v=iGvcl7nTscE