[cont'd]

Steven Hager in his book states that in 1967 a young Jamaican would immigrate to the Bronx bringing with him his knowledge of the Jamaican 'sound system' scene and Jamaican 'toasting' style. His name was Clive Campbell. He was known as Kool Herc in the Bronx. Campbell received the nickname Hercules while he was attending Alfred E. Smith High School in 1970 by a friend. His friend called him Hercules because of his physique. Clive was into weight lifting. Clive did not like the name Hercules so he shortened it to Herc.

When Herc became a graffiti writer he took the tag name Kool Herc. Kool Herc began to DJ in 1973 once he had amassed a great sound system. The Jamaican influence of having a large sound system was not lost on Herc. Herc realized that in order for large crowds to dance to his music they needed to hear the beat. Kool Herc seldom played an entire song. He knew which part of the record sent his audience into a frenzy. It was usually a 30 second "break" section in which the drums, bass, and rhythm guitar stripped the beat to its barest essence.

Herc would buy two copies of the same record and play it over and over emphasizing the break section. Herc used two turntables to accomplish this feat. This technique became known as "beats" or "break-beats". As in graffiti, style was important and to be imitated if it was good. What was odd about Herc's style was that he did not use headphones to locate the breaks on the other turntable as other DJs would do who would later use his style.

As with the onset of Jamaican 'toasting', Kool Herc also used simple phrases to encourage his dancers. But as the mixing in the "breaks" between the two turntables required more concentration, Herc became the first DJ to create MC-Dance team. (While Kool Herc performed at a club named the Hevalo, dancers to his music became known as 'break dancers') There are several other DJs that made contributions to American rap music that need to be noted of whom my students may not be aware.

Most students if you ask them are aware of a technique called 'scratching', but are unaware of who started it. The technique called 'scratching' was invented by a DJ called Theodor. 'Scratching' involves the DJ spinning a record backwards and forward very fast while the needle is in the groove. A record when it is handled in this way can become a percussive instrument. With the advent of the CD, this technique may become obsolete. Another important Bronx DJ was George Saddler who was known as Grandmaster Flash.

Grandmaster Flash was an expert at 'punch phasing'. 'Punch phasing' is when a DJ hits a particular break on one turntable while the record on the other turntable is still playing (and it does not necessarily have to be the same record as in the case of Herc's "break-beat" style). 'Punch phasing' is used to accentuate the beat and rhythm for the dancing crowd. Flash also used a beat box. This was a machine that produced an electronic beat. As time went on some rap groups had members who were known as 'human beat boxes' who produced sounds using their mouth, lips, and throats. This technique has faded in use. One group that was famous for the 'human beat box' sound was known as the Fat Boys.

There is one other early American DJ that deserves mentioning and that is Afrika Bambaataa. Bam ran a sound system at the Bronx River Community Center. As Bob Marley was a spokesperson for reggae, Bam was an ambassador and spokesperson for the 'Hip Hop' culture. Afrika Bambaataa was the name of a famous 19th century Zulu chief, the name means Affectionate Leader. Bam took his role as a leader in the 'Hip Hop' culture seriously.

In 1975 Bam founded an organization known as the Zulu Nation. The major function of this organization was to replace gang rumbles and drugs with rap, dance, and the 'Hip Hop' style. There is a chapter of the Zulu Nation in New Haven. At this point in my unit I will see if it is possible to get a representative from this chapter to visit my classroom.

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