Beats By Dre White Solo, Rap music originated as a cross-cultural product. Most of its important early practitioners-including Kool Herc, D.J. Hollywood, and Afrika Bambaataa-were either first- or second-generation Americans of Caribbean ancestry. Herc and Hollywood are both credited with introducing the Jamaican style of cutting and mixing into the musical culture of the South Bronx. By most accounts Herc was the first DJ to buy two copies of the same record for just a 15-second break (rhythmic instrumental segment) in the middle. By mixing back and forth between the two copies he was able to double, triple, or indefinitely extend the break. In so doing, Herc effectively deconstructed and reconstructed so-called found sound, using the turntable as a musical instrument.
While he was cutting with two turntables, Herc would also perform with the microphone in Jamaican toasting style-joking, boasting, and using myriad in-group references. Herc\'s musical parties eventually gained notoriety and were often documented on cassette tapes that were recorded with the relatively new boombox, or blaster, technology. Taped duplicates of these parties rapidly made their way through the Bronx, Brooklyn, and uptown Manhattan, spawning a number of similar DJ acts. Among the new breed of DJs was Afrika Bambaataa, the first important Black Muslim in rap. (The Muslim presence would become very influential in the late 1980s.) Bambaataa often engaged in sound-system battles with Herc, similar to the so-called cutting contests in jazz a generation earlier. The sound system competitions were held at city parks, where hot-wired street lamps supplied electricity, or at local clubs. Bambaataa sometimes mixed sounds from rock-music recordings and television shows into the standard funk and disco fare that Herc and most of his followers relied upon. By using rock records, Bambaataa extended rap beyond the immediate reference points of contemporary black youth culture. By the 1990s any sound source was considered fair game and rap artists Beats By Dre White Solo borrowed sounds from such disparate sources as Israeli folk music, bebop jazz records, and television news broadcasts.
In 1976 Grandmaster Flash introduced the technique In 1979 the first two rap records appeared: \"King Tim III (Personality Jock),\" recorded by the Fatback Band, and \"Rapper\'s Delight,\" by Sugarhill Gang. A series of verses recited by the three members of Sugarhill Gang, \"Rapper\'s Delight\" became a national hit, reaching number 36 on the Billboard magazine popular music charts. The spoken content, mostly braggadocio spiced with fantasy, was derived largely Beats By Dre White Solo from a pool of material used by most of the earlier rappers. The backing track for \"Rapper\'s Delight\" was supplied by hired studio musicians, who replicated the basic groove of the hit song \"Good Times\" (1979) by the American disco group Chic. Perceived as novel by many white Americans, \"Rapper\'s Delight\" quickly inspired \"Rapture\" (1980) by the new-wave band Blondie, as well as a number of Beats By Dre White Solo other popular records. In 1982 Afrika Bambaataa\'s \"Planet Rock\" became the first rap record to use synthesizers and an electronic drum machine. With this recording, rap artists began to create their own backing tracks rather than simply offering the work of others in a new context. A year later Bambaataa introduced the sampling capabilities of synthesizers on \"Looking for the Perfect Beat\" (1983).of quick mixing, in which sound bites as short as one or two seconds are combined for a collage effect. Quick mixing paralleled the rapid-editing style of television advertising used at the time. Shortly after Flash introduced quick mixing, his partner Grandmaster Melle Mel composed the first extended stories in rhymed rap. Up to this point, most of the words heard over the work of disc jockeys such as Herc, Bambaataa, and Flash had been improvised phrases and expressions. In 1978 DJ Grand Wizard Theodore introduced the technique of scratching to produce rhythmic patterns.
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