Stop calling my culture "Hip-Hop"

Kyle C. Barker

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PG County isn't that sweet Bro.



I take it that you grew up as one of those dirty water drinking City nikkaz.



You're ideology of PG County Maryland comes from a division in Theology from Economically Inclined Caucasian People who decided to go a different way (behind the scenes) than a different group of Likewise Caucasians who had the "opposite" Theology.


Because y'all, in a nutshell, feel some type of way about PG County receiving more Funds [here and there].


Even though whole time anybody who actually lives in the so-called "DMV" has pretty much gravitated in and out of the area. Considering alot of our Roots come from The Carolinas, Virginia, and Kentucky.



You gotta be one of those super old nikkaz tho. A real life :flabbynsick:


And you must be one of them nikkas that ate too many paint chips

:scusthov:


Fukk outta here trying to do your best art barr impersonation while somehow managing to make less sense with your smart dumb nikka self.
 

DJDONTNOBODYPAYME

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And you must be one of them nikkas that ate too many paint chips

:scusthov:


Fukk outta here trying to do your best art barr impersonation while somehow managing to make less sense with your smart dumb nikka self.


I never heard of @Art Barr before the day I signed up first on here, on the Creator that's my word.




But here's what's funny about that tho. Art Barr has heard of Me before I heard of him.
 

Juneya

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@IllmaticDelta 's posts are the reason why I love the internet and the premise of this thread is the reason why I hate it.

Lmao... Yet... 38 pages later all you nikkas is still in here...

Once again. All he did was post the people who tried to alter the history. And then say their history is right. It's like posting bin laden videos to say that terrorism is justified.

I posted receipts everytime you ask for receipts. Just because it's not the favorable opinion doesn't mean it's not historical facts. Y'all are just choosing to ignore them. Because y'all are systematically programmed to look down on other black people.
 

Juneya

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Tell me how b Bboying formed with moves from Capoeria around the same time one of the few masters moved to NYC does not relate?

Because @IllmaticDelta said so?
Because there is no YouTube video relating them?

The nikkas in New York were/are under the false impression that they created something unique. Posting them saying that they created something unique is not proving they created something unique.

Posting all the other examples of hip hop culture around the world before NYC IS PROVING that they didn't not create something unique.

Y'all are only being dumb cause you think it's cool too
 
Last edited:

Juneya

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"When the players begin a roda, the circle in which the game is played, the Mestre (master), sets the rhythm, or pace of the game, with the berimbau, which is considered the heart of capoeira and indispensible to all societies. The capoeiristas in the circle begin to clap and everyone sings the song, following in the African tradition of call and response. The two players pay respect to the berimbau, then crouch underneath it waiting for their cue to play. They shake hands and move into the center of the roda. There, the players combat in an intricate dialogue of kicks, fakes and esquivas (dodges -- there are few blocks in capoeira), each taunting and attempting to confuse the other player. The game is fueled by the energy of the roda's players and the rhythm and mood of the song that the berimbau player has set. Furacao explains, "the roda is a traditional manifestation found in a lot of other African rituals. The roda's where you close in the energy ... it's where people pay respect to the musicians ... that's how you circle in the vibe. Ciphers, for people doin they Hip Hop, when people are dancing in a club, when they rhyming -- that's how you get that human energy." Here, we begin to see one of several parallels between breaking and capoeira.

Capoeira made its debut in NYC in the early 1970s with Jelon Viera and Loremil Machado, so the probability of their knowledge of each other is pretty substantial. Furacao talks about the early days of capoeira in New York City: "They didn't have instruments, so they would do capoeira presentations for money ... and that was in 1975 and breakdancing evolved around 1979/1980 ... They would first come out, do their solos, so you could see where maybe the uprock came from, probably from the ginga [the basic upright movement of capoeira]. Right there you could go into a floor movement ... queda de rins [the baby], where they freeze on the floor. Head spins [piao de cabeca] -- these movements in capoeira, they go back ... They're both beautiful art forms."
 

Juneya

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Since the Capoeria players didn't have instruments... And the turntable was beginning to be used as one.................
 

Juneya

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In the 1950's, radio djs would appear in person to host sock hops for kids all over the country. In Kingston, Jamaica, promoters calling themselves DJs would throw gaint dance parties in the streets, and djs would blast their beats from huge PA systems. Jamaicans called these party entrepenuers Sound Systems.


Lmao more

Prolly not true because @IllmaticDelta didn't say it was true
 

mobbinfms

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"When the players begin a roda, the circle in which the game is played, the Mestre (master), sets the rhythm, or pace of the game, with the berimbau, which is considered the heart of capoeira and indispensible to all societies. The capoeiristas in the circle begin to clap and everyone sings the song, following in the African tradition of call and response. The two players pay respect to the berimbau, then crouch underneath it waiting for their cue to play. They shake hands and move into the center of the roda. There, the players combat in an intricate dialogue of kicks, fakes and esquivas (dodges -- there are few blocks in capoeira), each taunting and attempting to confuse the other player. The game is fueled by the energy of the roda's players and the rhythm and mood of the song that the berimbau player has set. Furacao explains, "the roda is a traditional manifestation found in a lot of other African rituals. The roda's where you close in the energy ... it's where people pay respect to the musicians ... that's how you circle in the vibe. Ciphers, for people doin they Hip Hop, when people are dancing in a club, when they rhyming -- that's how you get that human energy." Here, we begin to see one of several parallels between breaking and capoeira.

Capoeira made its debut in NYC in the early 1970s with Jelon Viera and Loremil Machado, so the probability of their knowledge of each other is pretty substantial. Furacao talks about the early days of capoeira in New York City: "They didn't have instruments, so they would do capoeira presentations for money ... and that was in 1975 and breakdancing evolved around 1979/1980 ... They would first come out, do their solos, so you could see where maybe the uprock came from, probably from the ginga [the basic upright movement of capoeira]. Right there you could go into a floor movement ... queda de rins [the baby], where they freeze on the floor. Head spins [piao de cabeca] -- these movements in capoeira, they go back ... They're both beautiful art forms."
:ohhh:
@Juneya posting receipts now
 

mobbinfms

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In the 1950's, radio djs would appear in person to host sock hops for kids all over the country. In Kingston, Jamaica, promoters calling themselves DJs would throw gaint dance parties in the streets, and djs would blast their beats from huge PA systems. Jamaicans called these party entrepenuers Sound Systems.


Lmao more

Prolly not true because @IllmaticDelta didn't say it was true
:francis:
Nobody is disputing this though.
 

IllmaticDelta

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Lol. Again you are talking about a time where rapping came together with break beats and attributing that to the birth of a culture that alread exist.

:dwillhuh:Am I talking to myself or what?

Just because they HIGHLIGHTED IT IN NEW YORK. Rapping and break beats and dj all existed before hip hop. Period. You said it yourself multiple times

My last post acknowledged all of this


How am i reaching? Cause i put it together with the rest of history instead of ignoring it???

:beli:

Lol again you are pretending to be dumb

:skip:

As I said the individual elements that make up HipHop were around in Black America already before HipHop.

rapping?




the steps/style of dance that would later come to be known as bboying and hiphop dance?






breakbeats?





2 turntables and a mixer djing?





..more facts




^^Pete Dj Jones was a Disco Dj and is also the one that taught Grandmaster Flash his disco influenced (mixing, blending etc..) style. He predates Herc


When I heard the news that Pete “DJ” Jones had passed away last Wednesday, January 15th at age 79, I was instantly taken back to my youth in the 1970′s. I just knew I would see a bunch of websites and blogs paying respect to this man, but here we are days later and I’ve only seen a few quick notices of his passing. Well I’m not gonna let him go out like that.
You see, before Hip-Hop was Hip-Hop, there were New York DJs Like Pete DJ Jones, Grandmaster Flowers from Brooklyn, DJ Kool Herc from the Bronx and other innovators laying the groundwork that would go on to inspire many of those who were experiencing a new vibe from the streets. Ask DJ Grand Master Flash, rapper Kurtis Blow, and Lovebug Starski who put them on and inspired them, and they will tell you that Pete DJ Jones played a vital role in guiding and advising them. In fact, both Kurtis Blow and Grandmaster Flash have both said that Pete was the first DJ they ever saw play on two turntables with two copies of the same record. These were not the only protégés of Pete DJ Jones at that time.

In the late 1970′s, after years of casual drawing at home and later getting hooked on the unique street and graffiti art that broke out across New York City at that time, I presented my portfolio and was accepted to attend the High School of Art & Design in Manhattan. Some of my classmates included artist Chris “Daze” Ellis, whose works are currently showing at TT Underground and The Museum of the City of New York. East Harlem was my main stomping ground back then, but I became friends with some Art & Design students from the Bronx including one who was good friends with Pete DJ Jones. He would help Pete transport his massive mobile DJ sound system to shows around the city and I would eventually tag along to help, and get to know Pete, who was a gentle giant that stood at about 6 foot 7-inches tall. When Pete had a party to DJ, I would hop on the subway and head up to 161st street Yankee Stadium stop in the Bronx and walk over to meet up with our crew at his bar “Pete’s Lounge” on 164th Street and Ogden Avenue, while trying hard to avoid all the Angel Dust heads and stick-up kids that were around back then. We’d load up his sound system into his flat-fronted Volkswagon bus and head out to set up at either a restaurant space, club, community center, outdoor block party in the parks, or other unique venues in the Bronx, midtown -Manhattan, and Harlem. When I say unique, I mean places like The Audubon Ballroom, where Malcolm X was assassinated (now The Malcolm X & Dr. Betty Shabazz Center ) and the historic “Renny” Renaissance Ballroom, both in Harlem, where we would unload the sound system and the many crates of records and proudly bring it all into the venue and set it up.

Pete DJ Jones was known for having one of the top mobile DJ sound systems of the day. I’m talking about floor-thumping Cerwin Vega bass cabinets, Bose mid-range speakers, Klipsch horns and an essential array of tweeters for the high end, all powered by some powerful McIntosh amps. I also remember Pete’s huge GLI mixer that I was able to touch now and then while setting up or breaking down the sound system. His sound equipment was so top-quality that other DJs who have tried and knew how hard it was to put together a quality mobile sound system, looked forward to stepping in and playing on Pete’s system. I was fortunate to experience these ground breaking DJs and parties first-hand at age 17, along with all of the artistic forms of expression that came out of the inner-city that would eventually come to be collectively known as Hip-Hop culture. These were around the days when DJ Grandmaster Flash was king of the wheels of steel, Lovebug Starski was the first to include the phrase “Hip-Hop” in his raps, and Afrika Bambaataa described the elements of DJing, rap, graffiti, and B-boy break dancing as Hip-Hop culture – Peace, Unity, Love and having FUN!

So here’s to you Pete DJ Jones. Hip-Hop and dance music emerged from those days when people like you set the stage and helped to inspire a new vibrant scene influenced by a wide spectrum of music in clubs and on the streets of New York City! You are a pioneer in the DJ world and a true inspiration for DJ and Hip-Hop culture. Rest in peace.

This is history ya’ll, watch these videos below for more on Pete DJ Jones and other unsung pioneers from that era! - Tony E

In Memory of Pete DJ Jones
 

Juneya

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:dwillhuh:Am I talking to myself or what?



My last post acknowledged all of this




:beli:



:skip:

As I said the individual elements that make up HipHop were around in Black America already before HipHop.

rapping?




the steps/style of dance that would later come to be known as bboying and hiphop dance?






breakbeats?





2 turntables and a mixer djing?





..more facts




^^Pete Dj Jones was a Disco Dj and is also the one that taught Grandmaster Flash his disco influenced (mixing, blending etc..) style. He predates Herc




In Memory of Pete DJ Jones



Lmao. Another good post...
Undeniably lol
 
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