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Name me all the wiggys from Detroit.

no doubt, u bboy ? Ive been doing it for 3 years now

yea i know what you mean and everything and believe me i see your points i'm not oblivious to those facts

the whole point is maximizing the situation while it still exists, otherwise you and i and everyone else will be referring to now as "the good ole days"

Dammit Mayun, Ya'll had me laughing and made me miss doing whatever that 50!/100/250 shit!
I finally figured out what the fuck was going on yesterday (after months) and now I missed my opportunity!
Fuck!

Eminem? Or is he not 'hip hop' enough anymore. These things change too fast for me to follow.

And FYI, anyone who tries to argue that hip-hop/rap is NOT a black genre is out of their mind.

I'll ask one time and one time only,where are you personally from? If you have more tree's than houses YOU might think you have some type of "grasp" on hiphop culture but you're obviously an act...Where from?

'Nuff cracka!

Well hey, at least you admit it. If you can make it out unscathed, well great. I'd say being named individually in a lawsuit by the largest ISP on the planet isn't a good start, but keep a low profile, 'homie'.

On that positive note I too will bow out.

wtf ?? u think hiphop is the bronx ? it originated from there yes
doesn't mean it doesnt spread, u obviously dont know anything by basicly saying if u live in a good area u just fronting the culture?

ncp hiphop in its true form isnt about how fucking hard you are or how much drugs you sold - its about unity. movies like breakin where they danced and painted for turf rather than punching each others lights out is where the roots lie. gangsta rap and fuck you nigga is its own other tangent and should be dealt with separately from what he is talking about.

fucking praise the lord
testify testify

someone on my level
heres some more info

Hip Hop is a culture consisting of 4 elements which bases on creativity:
B-Boying stands for the danced,
MCing for the literal,
DJing for the musical and
Writing for the graphical expression.

Hip Hop can't be consumed, it has to be lived (not by buying expensive clothes but by improving his skills in one or more of the elements day by day).
Hip Hop started in the middle of the 70ies in the Bronx in New York City (USA). The basic idea of this culture was that there should be a war with creativity, not with weapons: a battle of different (and better) styles to turn the senseless violence into productive energy.

for sure - we all have to make our money while we still can.

one love 'homie' hahahaha stay up good flaming with ya

If I put on leiderhosen and play in a polk band, am I acting German?

You try and integrate yourself into something you never would have encountered in your life otherwise.

Some white kid from colorado acting like an urban black kid is as absurd as a white kid from the burbs acting and dressing like a kid from saudi arabia. Is he acting like an arab, or is he an arab?

The scene you are tring to jack isnt one you can buy at the mall junior. Its not just a uniform you put on, or a dialect you turn off and on at your whimsy to whoo chatroom girls.

You are an idiot. You will die alone.

i got witnesses up in here i feel the strength

down

Dat Nigga from COMPTON fool!

Don't fuck with the "Boyz in the Hood"!
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THE ROOTS


The origin and the roots of the Hip Hop culture are located in the South Bronx in New York City (USA). This borough experienced radical changes during the 60ies because of bad urban construction planning (e.g. building an expressway through the heart of the Bronx, building of huge apartment complexes, ..). The middle class consisting of Italian, German, Irish and Jewish families moved away because of the decreasing quality of life. Instead of them more and more poor Afroamerican and Hispanic families settled down. Because of the augmented poverty the problems caused by crime, drugs and unemployment increased.

In the year '68 seven teenagers who named themselves the "Savage Seven" started to terrorize their neighbourhood and with their activities they laid the groundwork for something that domineered the Bronx during the next 6 years: Streetgangs. Within shortest time gangs appeared on every street corner and names like "Black Spades" (arised out of the "Savage Seven" because of the increasing number of members), "Savage Skulls", "Seven Immortals", "Seven Crowns", "Savage Nomads", "Ching Aling", "Black Skulls", "Latin Kings", "Young Lords" and many others could be seen everywhere.

After the gang activities reached their top in '73, they died out one after the other. The reason for this turn can be found on different levels. On one side gangs got rotten out by other gangs, got involved into the drug misery or got that big that their members didn't want to be involved anymore. On the other side times were changing in general and people of the 70ies went to (block-) parties and clubs and loved the music and the dance more and more. But the number of gangs mainly also decreased because more and more people (especially also former gang members) got involved in the Hip Hop culture and found there a new activity. Because the basic idea of the Hip Hop culture was (and still is!) to compete with creativity in one of the 4 elements and not with violence.

The driving force of all these activities within the 4 elements was to break out of the anonymity, to get heard and seen and to spread his name. And if somebody wanted to improve his skills he hadn't any time left for doing bad things but he had to put his whole energy into the Hip Hop culture and with that he helped to bring it further to the next level and to develope its elements more and more and he also inspired again other heads.

Kool Herc is all over known and respected as the "father" of the Hip Hop culture as he contributed a lot to its birth and development. Born in Jamaica he immigrated in '67 (at the age of 12) from Kingston and he brought his knowledge about the Jamaican soundsystem scene and the "toasting" to the Bronx. Clive Campell, as Kool Herc is really named, was called "Hercules" by his fellow pupils in High School because of his physical appearance. But he didn't like this nickname and took a shortcut to "Herc". And then when he started to "write" he used the tagname "Kool Herc". Around '73 he attracted more and more attention as a DJ in his neighbourhood. In the beginning he used the sound equipment of his father but soon after he extended his equipment and also his followers continuously. Beside of numberless gigs at blockparties, parties in parcs and schoolyards, soon later he got also gigs in famous clubs like the "Twilight Zone" or the "T-Connection". The reason for his succes and for making people dance was on the one hand because he followed the soundsystem philosophy of his homeland that the system had to be bigger, heavier and louder than all others. On the other hand (and probably also the more important reason) he created and developed a revolutionary technique to spin the records. He never played the whole (funk-) song but only the part which made people freak out the most: the break - the part where the beat was played in its purest form. But because the breaks of the songs were only some seconds long he expanded them by using 2 turntables with 2 records. With this "break-beats" he layed the foundation for the B-Boys (Break-Boys. Dancers who freaked out on the dancefloor during these breaks) and the MCs (Masters of Ceremony. Entertainer on the microphone who amused the people and made them dance with their rhymes). Comparable to the Jamaican "toasting" from time to time Kool Herc used some phrases to make people dance and to welcome friends. But when the mixing of the beats got more and more complicated and thus more concentration was needed and entertaining the crowd also on the microphone wasn't possible anymore, he passed the microphone to 2 friends of him who consequently represented the first MC team: Coke La Rock and Clark Kent. Kool Herc and his soundsystem including his 2 friends on the mic were soon after known all over as "Kool Herc and the Herculoids".

Afrika Bambaataa (aka Kahyan Aasim - born 1957) is all over known and respected as the "godfather" or the "grandfather" of the Hip Hop culture as he brought everything together and laid the groundwork for the culture. He was a member and leader of one of the biggest gangs - the "Black Spades" and he was also an eager record collector. Although he was DJing at parties already since '70, he got more interested in it after having seen Kool Herc on the turntables in '73 and thus he was DJing more and more in the Bronx River Community Center where he had also his own soundsystem. Around the same time also his gang started to die out. Soon later he formed a performance group named the "Bronx River Organization" which he shortly after renamed to "The Organization". Because of his former position in the gang he had soon a faithful audience which consisted also of former gang members. Around '74 he reorganized "The Organization" and renamed it to the "Zulu Nation", inspired by his studies about the African history at that time (he was impressed by the Zulus because they fought with full honour and simple weapons against the colonialism power in spite of apparently inferiority). Also 5 dancers joined his organization and he named them the "Shaka Zulu Kings" or short "Zulu Kings" and beside of the "****** Twins" they were the very first B-Boying crew ever. The "Zulu Nation" organized parties and meetings at which the members, especially Afrika Bambaataa tried to pass as much knowledge about the Hip Hop culture as possible and to give people an alternative to the gang activities and the drug misery. Because although "Lovebug Starski" was the one who came up with the notion "Hip Hop", it was mainly Afrika Bambaataa and his Zulu Nation who united the different elements and formed them to a whole culture. Afrika Bambaataa's idea was to transform the negativity of the gangs into positive energy. Also because he lost his best friend in the gang war during that time he was one of the very few who not only realized that this gang war was senseless but who also tried to do something against it. As people were also more and more engaged in the 4 elements at that time and as they were together to have party and show their skills (DJs mixed the break-beats, MCs rhymed to them, B-Boys danced to them and most of these people were also Writers) Bambaataa used them to spread his message to fight with creativity and not with violence.

With the integration of the 4 elements in the Hip Hop culture a situation of general competition arised that pushed people permanently to get better and more creative. Thereby it was an unwritten law that everybody was creating his own style without copying from others and stealing their ideas (so called "biting"). Also an overall respected guideline was: Peace, unity, love and having fun. The groundwork for the different elements was laid already before but with the integration in the Hip Hop culture their development was speeded up rapidly.

THE ELEMENTS


Writing
Painting on walls is around since mankind exists but Writing (also known as "Graffiti") set a new standard. Forerunners of todays well known phenomenon were writings of political activists and so called gang graffitis which were used by gangs to mark their territory. Not till the end of the 60ies Writing started to develop as we know it nowadays. Individuals wrote their nicknames all over to make it famous (writing the name » writer/writing). Already from the middle until the end of the 1960ies two writers from Philadelphia with the nicknames Cornbread and Cool Earl wrote their names all over the town and thus also attracted attention to the local press. It is not quite clear how this phenomenon found its way to New York and if there is a connection at all or if it was a spontaneous appearance but soon after writers also appeared in Washington Heights (New York City). One of the very first and most important was Julio 204. Other names like Frank 297 and Joe 136 could be seen really early too. The first writer who got known all over New York was Taki 183. It was the nickname of a Greek named Demetrius who lived in the 183. street and who was a foot messenger and thus was moving through the whole town. His numerous "tags" with this unusual name caused the New York Times to write an article about him in 1971. Because of that he got well known and more and more writers started to write their tags all over the town. In the beginning is was enough to write his name as often as possible to get famous but as the competition was getting tougher and the rivals more numerous it wasn't long until also the subway system was used to spread his name and it was also more and more about how one wrote his name to stand out of the mass. Because of that everybody had to be creative by developing their own alphabet and style of the letters. This was the beginning of the "Stylewars". To stand out even more and be different and unique, soon after also decorations were added to the letters. The next step was the size: As one was limited with markers people started to use spraycans with which one could also write much bigger and thicker letters. Because of that soon after the outlines of the letters were painted with another color and also decorations were added to the surface of the letters. The first so called masterpiece was done by Super Cool 223. Other pioneers were people like Stay High 149, Phase 2, Riff 140, Tracy 168, Cliff 159, Blade, Flint 707 and many more.

B-Boying

B-Boying - also known as Breaking or "Breakdance" (the latter term was created by the media) - should not be mixed up with Popping (Electric Boogaloo) and Locking because these dancestyles have their own terms, histories and pioneers. The expression B-Boying probably originated from the african word "Boioing" which means to "hop, jump" and which was used in the Bronx River area (NYC) to describe the bouncy style of Breaking that the B-Boys did. It was also used to describe the ball on their ski hats that went boioing when they danced. The "B" of B-Girl/B-Boy stands for Break-Girl/Break-Boy (some use it also for Boogie or Bronx) because they got down to the floor during compounded and therefore expanded breaksections of records: Break on the Breaks. Rocking, as Breaking was first known as, was a reflection of African American as well as Latino (Puerto Rican) culture brought by the immigrants and emerged in New York City in the late 60ies and beginning of the 70ies. In the early stages this dance was done upright, a form which became known as "top rocking". The structure and form of toprocking has influences from Brooklyn uprocking, tap dance, lyndi hop aka jitterbug, salsa (like the latin rock), Afro Cuban and various African and Native American (like the indian step) dances. There is also a toprock Charleston step called the "Charlie Rock". Another major influence and inspiration was James Brown with his hits "Popcorn" (1969) and "Get on the Good Foot" (1972): Inspired by his energetic and almost acrobatic dance on stage, people started to dance the "Good Foot". As the tradition of dance battle was already well established at that time and as Rocking/Breaking also got incorporated into the Hip Hop culture ("fight with creativity not with weapons"), it became more and more a dance that involved the dancer using their imagination to execute foot stomps, shuffles, punches and other battle movements. As a result it wasn't long before top rockers extended their repetoire to the ground with "footwork" ("floor rocking") and "freezes". Floor rocking, influenced by material arts films from the early 70ies, tap dance (russian style footwork, swipes, sweeps, one shot headspins from a cart wheel, ..) and other dance forms, didn't replace toprocking but it was added to and became another key point in the dance. The main goal in a Breaking Battle was to beat the "opponent" by being more creative with Steps and Freezes and by doing better and faster Moves. Pioneers were people in crews like The Nigga Twins, The Zulu Kings, Rockwell Association, Starchild La Rock, the Crazy Commanders and many more.

for the love of god.

DJing

Although the turntable was invented already in the end of the 19th century it was not til the beginning/middle of the 1970ies until it was revived. DJing existed already before but people like Kool Herc, Grandwizard Theodore and Grandmaster Flash changed it fundamental. The turntable was not only used to spin records one after the other but further also as an independent instrument. Kool Herc developed a revolutionary technique to extend the drum breaks by needle dropping and backspinning the records. With this he created the foundation of break beats. Grandwizard Theodore for his part had a deep and momentous experience in the year 1977: One day when his mother came to his room to tell him to turn down the volume of his soundsystem he immediately stopped the record which was spinning on his turntable. While he was holding the record it went slightly back and forth and because the needle was still on it, interesting new sounds were created. Grandwizard Theodore was fascinated in such a way that he continued to experiment on it and soon after he was known all over New York as the inventor of "scratching". Grandmaster Flash took over the techniques of Kool Herc and Grandwizard Theodore and developed them further. As he was also technically talented he worked on and extended his mixer so that he could listen to two records at the same time. With this technique he could perfect the mixing and merging of records. Grandmaster Flash was also the first who released a track featuring his DJing skills: "The Adventures of Grandmaster Flash on the Wheels of Steel" (1981). Another DJ with big influence was Africa Bambaataa who was well known all over the town for his huge record collection which he tried to use completely in every set he did because he wanted to combine and merge all kind of different music like Funk, Rock, Pop, Folk or Disco (it just had to be funky!) to get the ultimate party vibe. Although all above mentioned DJs tried to use the turntable more and more like an instrument and not just like a tool to play music, it was Grandmaster DST who presented it for the first time in public as an independent instrument in Herbie Hancocks song "Rock it" (1983) where his scratches to the beat were not just decoration but an important part of the sound characteristics. This revolutionary advancement of the use of turntables as an independent instrument with unlimited possibilities is nowadays worldwide known as "turntablism" (this term wasn't introduced before the middle of the 1990ies by DJ Q-Bert and DJ Babu though).

MCing

.


PREJUDICES


Hip Hop is not Rap!
Hip Hop is the culture. Rap is the music.

Hip Hop music is not the softer variant of Rap music!
There is nothing like Hip Hop music. You may call it R'n'B or Pop.

Rap is not equal to MCing!
MCing is the creative expression with lyrics. It's entertaining and moving up the crowd. It's about skillful and creative lyrics. Not every song that has Rap parts in it is an result of the Hip Hop culture. Don't believe the hype! Hit Pop is not Hip Hop!

It's not about cloths, it's about skills!
The industry made this "dress code" to make money.
In the early days of the Hip Hop culture cloths had their relevancy and utility. Sneakers and track suits for dancers (Adidas and Puma were the cheapest brands), hooded sweaters for writers (that they weren't that flashy in the darkness), ... Also it was about being creative with the cloths and about having style.

Hip Hop lifestyle is not hanging around, smoking blunts, being passive and just consume!
Living Hip Hop is about being active and improving his skills in one or more elements daily to inspire others to keep the culture alive and to bring it to the next level.

Hip Hop is not violent, bad or negative!
Hip Hop was made to fight against the violence (gangs): war with creativity, not with weapons. Turn the negativity into positivity!

Hip Hop is not only lived in the ghettos of the USA!
Although it originated in NYC, Hip Hop is lived all over the world nowadays!
It's not where you're from, it's where you're at!
Hip Hop is not about living a gangster life in a ghetto.
(But Hip Hop can take you out of such a situation because it gives you many possibilities and new aims for your life.)
Hip Hop is about learning about the culture, about helping to develop it and thus about giving something back to the culture by inspiring others or/and by spreading the (true and right!) word.
There are different conditions in every country but the situation is mostly the same: People wanna be seen and heard, wanna break out of the everyday life and wanna belong to a community.
Thus it doesn't astonish that mainly people who belong to minorities in the respective countries are addicted to the Hip Hop culture. But not only them!
Hip Hop doesn't have any borders, neither linguistical, nor geographical, nor religiously, nor socially! That's what makes this culture so unique!

Gracefully so...

i bet u knew all this already since u iknow ur from detriot and u seem to know the REAL culture.. right

mark my words i will meet you and provided you are not a closed minded schleb you and i will probably get along.

your comments are funny and i give you credit for your insight but the bottom line still stands - this thread started about some fucking pictures we posted and the comments that followed are based on those pictures.

the idiocy is blinding.

Printing the Hip Hop Literature is kinda gay fam. No need in proving shit. Tru Hip Hop is like arguing politics and religion. If you weren't there you just wont get it. It was a presence, nah mean

Blame it on MTV and their parents not kicking their asses the first time they came home with 14 inch wide pant legs and a belt line down around their knees. I for one cannot wait until this whole "wigger" white rapper fad wears off. It's pathetic. They even talk in ways that make no fucking sense y0

Learn more about Hiphop at your school library...

thats true, no hurt in educating the close minded

indeed,depending on your age and where you're from...Where are you getting your "culture" that you live out daily from? books,tv and movies am I wrong?... It's like you study to be something you're not... Do you... and please watch a fuckin Sprite commercial or something

YT,where did you develope the forced accent from thats ever so obvious on your spam flows over Big Tymer beats? Since when do white kids from Colorado sound like a 30 year old black man? lol

I'm from D.C. my dude,you get respect for being yoursel,the white and black people on my block survived that way..People like you would have a world of trouble in the real culture scenario..LOOK! wouncie is laughing at your ass,that should tell you something lol

who cares about hip-hop, it's not even music, it's broken sentences with no meaning above gang war, smacking your bitch up, drugs, and the pathetic lives these so called hip-hop artists brought unto themselves.

ok listen up.

this is not too hard a concept to grasp. I am not in it, I am no hip hop expert. However, that being said, I have been around it enough to know what it is, and what it is not.

Some white kid from Littleton Colorado is not it. Copying what you see on tv... is not it.

If I watch a tv show on skinheads and I buy myself some boots and braces and shave my head, does that make me a skinhead? Thats the problem with you wiggers, you fail to see the obvious. You think that just because you do a reasonable immitation of it, that you are it.

No, you are not it.

thats not my "style" whodi fo shodi
listen to like penned secretions or some other nonspam jam if you want to get a bead on what i sound like

colorado baby im from the mountain wiggers unite

You my friend, ..... Are an Idiot.

Ignorance comes in all shapes,colors and sizes.

these fucking honkeys would get beat down here in cali, or surely get their ass handed to em back in New Orleans in the Fisher Projects or the Caliope or Melpomene areas.

Colorado Thugs, hmmm never ran across any.

Reminds me of some 'Urban Kids: Gangs & Guns' special I saw with lil white punks with Mack 10s and shit, hooded up wioth ski masks and gold teeth.

fucking ridiculous.

You should all be set on fire.

COLROADO WE R HURD PH3R US

...

ok i forgot what we were arguing about
but like before, i agree with you , i know a wigger when i see one ... hell i laugh at them all the time for faking

but ytcracker to me isn't one thats all
but i agree with u , not hard to spot one

Candyman,you just proved my point...You're actually STUDYING somebody elses life..Putting on a fitted,throwing on a throwback,lacing up your AF 1's while saying "holla" and "yo" every other word DOES NOT mean dick to an actual person who lives it.You're probably one of those guys who were in the skateboard trend until you were 16 and then saw a music video and wanted to be "street"... Keep copying and pasting somebody elses words,thats basically your life I'm sure...


BEDTIME,can't even type

yea sorry lost my grammatical touch there for a second.
flip the wigger mode off one time.

I feel sorry that you don;t see the truth. I find nothing musical about it. There is no theory involved in rap what so ever. Rap groups are nothing more than an acting groups. Like ok, there are SOME notes involved. But playing the same whining background noise over and over and slightly varying the LFO does NOT count.

"Bangin in Little Rock"

Maybe you need to reanalyze your angle. You can't see much from the other side.

You'll never get it, so just don't try. Nor will I spend another bit of energy replying back to you.

ahahah i like that

Wiggers are the reason I have a shotgun.

Dude here mexican skinheads beat down whiteboys like that.

you should marry iwantchixxx

wigger "wig-err"

A pejorative term for a caucasian kid ("white" person) who mimicks language, dress and mannerisms of black ghetto kids.

YT are you guys really based in colorado?