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On August 11, 1973, DJ Kool Herc was a disc jockey and emcee at a party hosted by himself and his younger sister Cindy at 1520 Sedgwick Avenue. [23] She wanted to earn extra cash for back-to-school clothes, so she decided to throw a party where her older brother, then just 18 years old, would play music for the neighborhood in their apartment ...
THE SPIN INTERVIEW: DJ Kool Herc Read More » The post THE SPIN INTERVIEW: DJ Kool Herc appeared first on SPIN. Set the scene: 1520 Sedgwick Avenue in the Bronx, August 11, 1973, a summer party in ...
DJ Kool Herc, known as the Father of Hip-Hop, was responsible for importing many of the elements of Jamaican sound system culture to New York. Having immigrated with his family to the Bronx from Kingston at the age of 12, Herc grew up around dancehall parties, and despite being too young to enter, he would hang out outside the parties and ...
Can't Stop Won't Stop: A History of the Hip-Hop Generation is a 2005 book by Jeff Chang chronicling the early hip hop scene.. The book features portraits of DJ Kool Herc, Afrika Bambaataa, Chuck D, and Ice Cube, among others, and is based on numerous interviews with graffiti artists, gang members, DJs, rappers, and hip hop activists.
The concert extravaganza will be Aug. 11, celebrating the date in 1973 when Clive "DJ Kool Herc" Campbell led a back-to-school party inside the community center at 1520 Sedgwick Ave. and gave ...
Hip-hop may belong to the world now, but there’s little question that the sound and culture that took over the world had its start in the New York City borough of the Bronx in the summer of 1973 ...
In 1973, Jamaican-born DJ Kool Herc, widely regarded as the "father of hip-hop culture," performed at block parties in his Bronx neighborhood and developed a technique of mixing back and forth between two identical records to extend the rhythmic instrumental segment, or break. Turntablism, the art of using turntables not only to play music but ...
DJ Kool Herc developed the style that was the blueprint for hip hop music. Herc used the record to focus on a short, heavily percussive part in it: the "break". Since this part of the record was the one the dancers liked best, Herc isolated the break and prolonged it by changing between two record players.