The Golden Era of East Coast Hip-Hop

The Golden era of east coast hip-hop This piece will demonstrate an understanding of the golden era of East coast hip-hop, from 1986 to 1993, focusing and analysing the historical roots, influences and inspirational individuals, giving reference to musical examples that shaped East coast hip-hop. Attention will also be centred on the legacy left, concentrating on the music that was influenced as well as the resulting change in fashion and political views. Historical roots & influenceThe East coast was influenced somewhat by the traditions of West African culture, the Griots dating back hundreds of years who travelled as poets and lyricists, contributed greatly to the lyricism of East coast hip-hop; the music of the Last Poets, Gil Scott-Heron and Jalal Mansur Nurriddin, had great importance to the development of east coast hip hop with their early raps and rhythm. The furthermost direct influence on East coast hip-hop was the Jamaican style of ‘Toasting’, which consisted of chanting over African American R&B records.African American sailors  introduced  Toasting’  in the 1960s at dances termed  Ã¢â‚¬ËœBlues dances’,  whilst in port. The advent of Hip-hop culture can be traced back to the ever more widespread block parties of New York City (1973), where a cross cultralization of African Americans and Puerto Ricans began in the South Bronx. These block parties mostly comprised of DJs playing vernacular genres such as soul, funk and disco, DJ Kool Herc amongst them, was credited with the development of East coast hip-hop, his technique of isolating the ‘break’ from a hard hitting funk track and extending it by using two copies of the same record became very popular.He emigrated to America (1967) from Jamaica bringing with him the already popular DJ style of break-beat mixing used in Jamaican Dub music. He encouraged B-boying or break-dancing, which became part of the four elements of hip-hop culture (B-boying, rap, graffiti and Djing), he  introduced a generation of sampling, which was extensively used in 80s hip-hop whilst creating a generation of  Djs  and influencing artists such as Grandmaster Flash, Afrika Bambaatta and DJ Premier. Gangs had great influence on the evolution of East coast hip-hop culture, from guarding equipment, security for Djs, to collecting money off the doors of parties.Afrika Bambaatta once head of the largest gang in New York, the Black Spades, managed to create one the largest movements in hip-hop culture, the Zulu Nation. This hip-hop awareness group began organizing social events for the youths of New York, merging the main the four elements of hip-hop, B-boying, graffiti, rapping and Dj mixing to create a place of unity and peace, where issues could be settled without violence and where the youth could socialize, as well as promoting black power.Bambaatta had great effect on the growth of hip-hop culture; one very influential piece he produced was Planet rock (1982), which became one of the most ever sampled and remixed tracks in hip-hop. The influence from Kraftwerk is apparent throughout; the melody from the Trans-Europe express (1977) is used as well as their style of synthetic drums and rhythms. Arthur Baker, the producer, set a blueprint for future producers by the use of the Roland TR-808. Distinctive elements & individualsIn divergence to many early raps, which utilized basic rhyme patterns, East coast can be defined by its emphasis on poetic skill; it may also be characterized by its intricate wordplay, metaphors, polysyllable rhymes and smooth conveyance, production may be perceived as ‘hard hitting’, aggressive and mainly sample driven, as seen in Dj Premier’s iconic production. A major influential duo in East coast rap was Eric B & Rakim, who made sampling James Brown the main basis of hip-hop in the late 80s and early 90s.The duo saw their debut with the single Eric B is president (1986), which consis ted of Rakim’s notable laidback vocal style and Eric B’s distinguished scratching. The original record recognized Eric B as the producer and Marley Marle as the mixer, but the fact was, Marley Marle arranged the parts together; the duo just simply paid him, due to their lack of knowledge with studio equipment.The track contained the famous baseline from Fonda Rae’s over like a rat (1982) above drums from the Honey Dipper’s Impeach the president (1972) and the vocal sample of James Brown’s funky president (1974), which was the scratched by Eric B; a subtle 808 kick was also layered underneath. Marley Marle produced the entire track using a four track recorder and an Akai Mpc Renaissance, he described these confines as, â€Å"Limitations made us what we were,† he said. â€Å"We were making classic hip hop in the projects in the living room, no studio and a four track.So it’s not where you’re from, it’s where you’re at. Sometimes limitations are good†[1]. The duo had their album debut with Paid in full (1987) which soon became East coast hip-hop’s most influential album of the golden era, with Rakim’s style setting a blueprint for future East coast rappers, it was taken from the old-school era to the lyrical dexterity known to define East coast hip-hop of the 90s. Rakim’s jazz influences were portrayed throughout the album with his tranquil implementation.Yvonne Bynoe describes this era as â€Å"During this period, it was rap artists, rather than Black churches or traditional civil rights organizations, who through their music and personas connected with disenfranchised urban youth†[2]. James Brown had a very similar influence, â€Å"His music not only reflected the stride of and the diligence and militancy of the Black liberation struggle, but some of his songs became anthems of Black Pride in the face of racism and state repression, such as, â€Å"Say it L oud, I’m Black and I’m Proud,† which echoed a mantra of Emiliano Zapata, â€Å"We’d rather die on our feet / Than be livin’ on our knees†[3].These views on Black Nationalism, social states and Afrocentrism became the main reasons for the extensive sampling of James Brown in this era, many would agree that without James Brown hip-hop would not be where it is today. K. R. S One became a foremost influence to the East coast hip-hop movement, eager to express his West Indian heritage he began creating a new hip-hop reggae style, deeply motivated by reggae legend Shinehead he started to incorporate and promote Jamaican dance hall expressions into hip-hop music.He had his debut after founding BDP (Boogie Down Productions), combined with D-Nice and DJ Scot La Rock with the influential album Criminal Minded (1987), which soon gained credit for the establishment of gangsta rap. The album’s production followed the path of Eric B and Rakim by the wide acceptance of sampling James Brown. Poetry (1987) contained samples from James Brown’s Don’t tell it (1976), Dope beat (1987) enclosed samples from ACDC Back in Black (1981) and Criminal minded incorporated the vocal melody from the Beatles Hey, Jude (1968).The Jamaican inspiration is present throughout the album, utilizing the ‘Diseases’ riddim which began with Yelowman’s reggae song Zunguzung (1982), the groove can strongly be heard in Remix for p & 9mm but was more hostile and provocative. Criminal minded was the first album to contain a vivid portrayal of real life in the south Bronx streets; it paved the way for the next decade of gangsta rap. The albums was the first of their kind to promote gun violence as can be heard in 9mm and the brandishing of firearms on the front cover, which soon became widely accepted in the 90s era.The album was mainly produced by K. R. S; it is sampled based production, a very aggressive style and utilizing t he sampling of funk ‘breaks’. The legacy The legacy East coast hip-hop left was vast, greatly expanding to a more commercially viable demographic, with the help of Bambaatta, it was spread worldwide. Dr. Joycelyn Wilson describes the legacy left, â€Å"Surely the cultural expressions in a hip-hop lifestyle created a way for many people across a variety of backgrounds to grow wealth, extend the boundaries of their artistic talents and establish a foothold in areas of political and civic engagement†[4].Political and social views expressed through music had been preserved in many other styles of music, gangsta rap was soon to follow the golden era, heavily influenced by Eric B & Rakim and K. R. S, it became a dominant force in hip hop culture up until its collapse in the late 1990s. The majority of early rap was accredited for decreasing gang violence but the emergence of gangsta rap did completely the opposite, many youths of society would come to express the quarr els of individuals into a nationwide dispute, this can be seen in the feud between the Blood and the Crips gangs.The golden era was the most innovative, diverse and creative period in hip-hop; it developed many new styles of popular music, formed new words, which have currently entered our daily vernacular and penetrated conventional culture. The early fashion style of the B-boys (baggy jeans, trainers, jewellery and tracksuits etc. ) has been echoed throughout mainstream society, with the majority of popular fashion companies following. Businesses such as Adidas, Nike, Fred Perry, and so forth have all played part in spreading hip-hop fashion to the masses.Many genres have been influenced since this era from the direct sampling of raps as seen in early jungle, (Dj Hype’s early production is a good example), to mainstream pop culture taking direct influence, having such artist as N. E. R. D, Nelly and Mary J Blige having number ones during the 2000s. Graffiti has since become a worldwide, recognised art form, from being regarded simply as vandalism, to now having designated art galleries for street art, artists such as Banksy have taken direct influence from hip-hop culture to develop their own skills. Bibliography Krims, A . (2000). Analyzing rap: An outline.Rap Music and the Poetics of Identity. Cambridge: Cambridge University Press. p12-17. Plough, G. (2004). Hip-Hop is more than just a music to me: The potential for a movement in the culture. Check It While I Wreck It: Black Womanhood, Hip-Hop Culture, and the Public Sphere. Holliston: Northeastern University Press . p3-12. Price, E . (2006). The rise and spread of Hip-hop culture . Hip-Hop Culture. /: ABC-CLIO Ltd . p1-17. Vierkant, P. (16 July 2007 ). James Brown and his influential power in music. James Brown and the black power movement or was America's soul brother number one a black nationalist?.Munich: GRIN Verlag oHG . p21-38. Andrew copyright extraordinaire. (2012). Hip Hop Influence Throug h the Years. Avalable: http://altavozdistroco. com/2012/02/28/hip-hop-influence-through-the-years/. Last accessed 18th Feb 2013. Bynoe Y. 2005. HIP-HOP POLITICS: DECONSTRUCTING THE MYTH . Available at: http://funk-the-system. net/hiphopolitics. html. Last accessed 20th Feb 2013. Dubspot. (2012). Marley Marl ‘Classic Recipes' – Recreating Eric B. & Rakim ‘Eric B. Is President' . [Online Video]. 28 November. Available from: http://youtu. be/hvob_fcrRZs. Last accessed: 19th February 2013.Dr. Wilson, J. (2011). What Will Be Hip-Hop's Legacy?. Available at: http://www. theroot. com/views/what-will-be-hip-hop-s-legacy-it-s-complicated? page=0,1. Last accessed 19th Feb 2013. Hales, L. (2007). James Brown left indelible mark on Black culture. Available: http://www. workers. org/2007/us/james-brown-0111/. Last accessed 18th Feb 2013. Linebarger, J. (/). HIP-HOP’S LEGACY AND IMPACT ON POPULAR CULTURE. Available: http://www. sbea. mtu. edu/users/jdlineba/Hiphop%20rese arch%20final. pdf. Last accessed 2nd Feb 2013. Smith, K. (/). The Influence of Hip Hop Music on Society.Available: http://www. ehow. com/about_6635022_influence-hip-hop-music-society. html. Last accessed 15th Jan 2013. Wood, J . (2004). RAP MUSIC. Available: http://novaonline. nvcc. edu/eli/evans/his135/Events/Rap79/RapMusic. html. Last accessed 18th Feb 2013. Wikipedia. (2013). Rapping. Available: http://en. wikipedia. org/wiki/Rapping. Last accessed 18th Feb 2013. ———————– [1] Dubspot. (2012) [2] Bynoe Y (/) [3] Hales, L. (2007) [4] P. 2 Dr. Wilson, J. (2011) ———————– q? w? e? r? t? y? u? i? o? p? a? s? d? f? g? h? j? k? l? z? x? c? v? b? n? m? q? ? e? r? t? y? u? i? o? p? a? s? d? f? g? h? j? k? l? z? x? c? v? b? n? m? q? w? e? r? t? y? u? i? o? p? a? s? d? f? g? h? j? k? l? z? x? c? v? b? n? m? q? w? e? r? t? y? u? i? o? p? a? s? d? f? g? h? j? k? l? z? x? c? v? b? n? m? q? w? e? r? t? y? u? i? o? p? a? s? d? f? g? h? j? k? l? z? x? c? v? b? n? m? q? w? e? r? t? y? u? i? o? p? a? s? d? f? g? h? j? k? l? z? x? c? v? b? n? m? q? w? e? r? t? y? u? i? o? p? a? s? d? f? g? h? j? k? t? y? u? i? o? p? a? s? d? f? g? h? j? k? l? z? x? c? v? b? n? m? q? w? e? r? t? y? u? i? o? p? a? s? d? f? g? h? j? k? l? z? x? c? v? b? n? m?