Hip-Hop was all about breaks, mayne.
Before folks had the equipment to make beats, you just found a break clean enough to loop.
Disco cuts were like, 7-8 minutes long so they had 2 or 3 parts in a song you could chop.
Exactly!!!....and being that Disco was the first to use 12 inch record singles..it made it excellent for early hip hop deejays to use as far as extended beats, scratching, mixing and blending for the breakdancers
that's why you had Break beats which brought about the term B-BOYS
people have to realize Disco had gotten really Elitist once the white gay crowd in downtown manhatten gotten hold of it courtesy of clubs like the LOFT and STUDIO 54
these artsy fartsy clubs wasn't trying to let no black kids from Harlem, the BX and Brooklyn enter their venues...
so they had no choice but to do it OUT IN THE PARK ...courtesy of mobile deejays...which worked well..cause NYC parks was popping and considering many of the early pioneers such as Herc and Flash were of Carribean Heritage...the Jamaican influence of soundsystems with clashing (battling) on the mic and the turntables along with the disco mixing is what gave birth to HIP HOP
but movies like Saturday Night Live will have you believing that WHITE DISCO CLUBS is where it originated at..which is a lie!!!....
it was simply extended obscure soul and funk records that went beyond the standard 4 minute radio mark that gave birth to disco...cause people wanted to dance more and longer......and deejays were in high demand cause NYC clubs found it less expensive than hiring a band
so you had black clubs such as Bentleys , Nells and Smalls paradise along with Larry Levan's Garage club that were disco havens which led to it being discovered by Black Radio first WBLS.......which was the home of Frankie Crocker the legendary voice of NYC whom gave Mr. Magic and Marley Marl their start
So this debunk the claims of the poster saying that MARLEY MARL deaded DISCO ....

hell nah
if anything MARLEY helped keep it alive...I kow that cause I use to tape Mr. Magic and MARLEY MARL ON A REGULAR BASIS WHEN I LIVED IN nyc...AND Marley always blended disco breaks and tracks from artists like teena marie..james brown...and others with hip hop artists.......
in fact Marley Marl was so into vinyl and breaks he felt that the drum machine is what killed REAL HIP HOP cause it took away from the foundation of hip hop relying on vinyl breaks.....
disco breaks were so important to hip hop, cause like Jamaican dubs and riddems (instrumentals) they allowed the vocalist MC to express himself for long periods of time while keeping the folks dancing
keep in mind you had no RAP INDUSTRY per se in the 70's so they rapped over disco and funk braks mostly cause of the heavy percussion
here is a look at a KOOL HERC playlist featuring proto disco records basdically obscure soul, funk and jazz fusion tracks which also became the library for samples///
Proto Disco Classics
- I'll Bake Me a Man - Barbara Acklin (Brunswick, 1973)
- If You Love Me Like You Say You Love Me - Betty Wright (Alston, 1972)
- Black Skin Blue Eyed Boys - Equals (Shout, 1972)
- Rain - Dorothy Morrison (Elektra, 1971)
- Fencewalk - Mandrill (Polydor, 1973)
- Street Dance/Njia (Nija) Walk (Street walk) - The Fatback Band (Perception, 1973)
- Sultana/Rain 2000 - Titanic (Epic, 1972/1973)
- Dust Yourself Off and Try It Again - Beautiful Zion Choir (Myrrh, 1973)
- You're the One - Little Sister (Stone Flower, 1970)
- Music For Gong Gong - Osibisa (Decca, 1971)
- I Got It - Gloria Spencer (Jay Walking, 1971)
- Girl You Need a Change of Mind/Date With the Rain - Eddie Kendricks (Tamla, 1972)
- You Sure Know How To Love Your Man - Willie Hutch (Motown, 1974)
- Think (About It) - Lyn Collins (People, 1972)
- I Like What I Like - Everyday People (Paramount, 1972)
- Twenty-Five Miles/Running Back and Forth - Edwin Starr (Gordy, 1969)
- Feel the Need in Me - Detroit Emeralds (Westbound, 1972)
- Giving Up - Zulema (Sussex, 1973)
- Doing it to Death - Fred Wesley & The J.B.'s (People, 1973)
- Melting Pot - Boris Gardiner Happening (Dynamic, 1973)
- Beggin' - Timebox (Deram, 1968)
- Woman/Wild Safari - Barrabas (RCA, 1973)
- The Bottle - Gil Scott-Heron (Strata-East, 1974)/Brother to Brother (Turbo, 1974)
- I Can Understand It - The New Birth (RCA, 1973)/Valentinos (Atlantic, 1973)/Kokomo (Columbia, 1975)
- Pursuit of the PimpMobile - Isaac Hayes (Enterprise, 1974)