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we celebrate UNIVERSAL ART KULTURE and ONE ENERGY

Universal Zulu Nation Romania Chapter   rocks tha Zulu and HipHop Anniversary with a Zulu Party Cypha including Real Music Dance Rhymes Drawings Art  Kulture and Energy.We Celebrate  in tha Cypha  rockin Art with Djeein Bboyin Emceein Graffiti Writin Kulture Words and Energy Vibration

13 november Unirea Square in tha Underground Zulu Place 14.00

“Hip Hop.. the whole chemistry of that came from Jamaica… I was born in jamaica and I was listening to American music in Jamaica.. My favorite artist was James Brown. That’s who inspired me.. A lot of the records I played was by James Brown. When I came over here I just put it in the American style and a perspective for them to dance to it. In Jamaica all you needed was a drum and bass. So what I did here was go right to the ‘yoke’. I cut off all anticipation and played the beats. I’d find out where the break in the record was at and prolong it and people would love it. So I was giving them their own taste and beat percussion-wise.. cause my music is all about heavy bass…

KOOL HERC

Unsurprisingly, many have laid claims to roles as kings or kingmakers of the Hip Hop tradition. Most students, however, find one name cropping up time and again. To all intents and purposes, hip hop started the day Jamaican-born Clive Campbell, aka Kool Herc, first set foot in New York in 1967. ‘At the age of thirteen I migrated to the States, early ’67, to the Bronx. It was winter, it was cold.’ By 1969, Herc was partying regularly at local clubs, but noticed that the crowds he joined frequently object to the city’s distant, cocksure DJs. ‘I used to hear the gripes from the audience on the dancefloor. Even myself, ’cause I used to be a breaker (breakdancer). Why didn’t the guy let the record play out? Or why cut it off there? So with that, me gathering all this information around me, I say: “I think I could do that”. So I started playing from a dancefloor perspective. I always kept up the attitude that I’m not playing it for myself, I’m playing for the people out there.’ Kool HercDJs needed to establish an identity or niche in this highly competitive market. Herc was determined to find records that no one else owned, to distinguish himself from the pack. As an example, he pressed his father into buying James Brown’s Sex Machine LP in 1969. ‘A lot of people wanted that record and couldn’t really find it. So a lot of people used to come to the party to hear that.’ Herc did his research, checking out what was being played on local jukeboxes to test a song’s popularity and picking up rarities at Downstairs Records on 42nd Street and the Rhythm Den. ‘This is where your recognition, your rep comes from. You have a record nobody else got, or you’re the first one to have it. You’ve got to be the first, can’t be the second.’ While violence has become rap’s defining characteristic in the 90s, hip hop actually started out as a means of ending black-on-black fighting two decades earlier. the Bronx citizen of the early 70s had much to live in fear of. ‘The gangs came and terrorised the whole neighbourhood, the boroughs. Everybody just ran back into their house. There was no more clubs. If you did do a house party, it had to be: “I have to know you. Don’t bring nobody who I don’t know to my house.” It lasted for a while until the parents started to come in early, and find a house full of kids, tearing up the new furniture that she just put some money down on. The kids were still seeking for a place to release this energy.’ Herc’s sister asked him to help out by playing music in the recreation room of his family’s housing block, 1520 Sedgewick Towers. ‘OK, I throw my hand at it, and she rented the recreation room, I think for twenty-five dollars at the time. We could charge it at twenty-five cents for girls, fifty cents for fellas. It was like, “Kool Herc, man. He’s giving a party, westside man. Just be cool, that’s what I’m saying, come and have a good time. Just don’t ditch the programme.” Dodge High School, before it became co-educational, was an all girls establishment. Not least for that reason, it became, by reputation, the top venue for aspiring DJs, as Melle Mel recalls. ‘ If you got to do Dodge High School, you was the fuckin’ man. And Herc used to do it every year…’ Searching for further innovations for his sets, Herc patented the breakbeat, the climatic instrumental section of a record, partly trough his existing knowledge of the dub plates or ‘versions’ prevalent in Jamaican reggae. ‘ I was using some of the breakdown parts. Every Jamaican record has a dub side to it. So I just tried to apply that. As the years went along I’m watchin people, waiting for this particular break in it, the rhythm section. One night, I was waiting for the record to play out. Maybe there are dancers waiting for this particular break. I could have a couple more records got the same break in it – I wonder, how it be if I put them all together and I told them: “I’m going to try something new tonight. I’m going to call it a merry-go-round.” The B-Boys, as I call it, the energetic person, they’re waiting just to release this energy when this break comes in.’ Herc saw a ready-made audience for his ‘breakdowns’. The merry-go-round involved him mixing sections of James Brown’s ‘Give It Up Or Turn It Loose’ into Michael Viner’s ‘Bongo Rock’ and back out into Babe Ruth’s ‘The Mexican’. His audiences loved it. The merry-go-round became the blueprint for hip hop… The first to react to the innovations, naturally enough, were Herc’s party-goers. Breakdancers, or B-Boys, began to interpret Herc’s idiosyncratic style with routines of their own. Some historians trace the development of Breakdancing to the African martial arts form, capoeta, brought to America by slaves a century before. No one is entirely sure of the identity of the first New York breakdancer, but it was certainly popularised by members of the Zulu Nation. The discipline of Breakdancing / B-Boying was one of four seperate styles that eventually converged through the late 70s. Up-rocking was a kind of non-contact mock martial art first seen in Brooklyn. Plus there were two imported West Coast styles – Pop-locking (a mixture of strutting, robotics and moonwalking) and Body-popping (developed on the West Coast by Boogaloo Sam).

Clive Campbell was the first of six children born to Keith and Nettie Campbell in Kingston, Jamaica. While growing up, he saw and heard the sound systems of neighborhood parties called dancehalls, and the accompanying speech of their DJs, known as toasting. He moved to the Bronx, New York in November 1967.^[1] The creation of the Cross Bronx Expressway by Robert Moses (completed 1963, with further construction continuing through to 1972) had uprooted thousands in the Bronx, displaced communities, and led to “white flight” due to lowered property values in its wake.^[2] Many landlords resorted to arson in order to recoup money through insurance policies. A violent new street gang youth culture emerged there around 1968, and had spread with increasing lawlessness across large parts of the Bronx by 1973.^[3]

Campbell attended the Alfred E. Smith Career and Technical Education High School in the Bronx, where his height, frame, and demeanor on the basketball court prompted the other kids to nickname him “Hercules“. He began running with a graffiti crew called the Ex-Vandals, taking the name Kool Herc.^[4] Herc recalls persuading his father to buy him a copy of “Sex Machine” by James Brown, a record that not a lot of people had, and one which they would come to him to hear.^[5] He and his sister, Cindy, began hosting back-to-school parties in the recreation room of their building, 1520 Sedgwick Avenue.^[6] Herc’s first soundsystem consisted of two turntables and a guitar amplifier, on which he played records like James Brown‘s “Give It Up Or Turnit A Loose“, The Jimmy Castor Bunch‘s “It’s Just Begun” and Booker T & the MG’s‘ “Melting Pot”.^[4] With Bronx clubs afflicted with the menacing presence of street gangs, uptown DJs catering to an older disco crowd with different aspirations, and commercial radio also catering to a demographic distinct from kids in the Bronx, Herc’s parties had a ready-made audience.

The break

At these parties in the recreation room at Sedgwick Avenue, DJ Kool Herc developed the style that was the blueprint for hip hop music. Herc used two copies of the same 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 and prolonged it. As one record reached the end of the break, he cued the other record back to the beginning of the break, thereby extending a relatively small part of a record into a “five-minute loop of fury”.^[9] This innovation had its roots in what he called “The Merry-Go-Round”—a switching from break to break done at the height of the party. Herc told The New York Times he first introduced the Merry-Go-Round into his sets in 1972.^[10] The earliest known Merry-Go-Round involved playing James Brown’s “Give It Up or Turnit A Loose” (with its refrain, “Now clap your hands! Stomp your feet!”), then switching from its break into the break from “Bongo Rock” by The Incredible Bongo Band, and from “Bongo Rock”‘s break into that of “The Mexican” by the English rock band Babe Ruth.^[11] Kool Herc also contributed to developing the rhyming style of hip hop by punctua with slang phrases from the DJ’s microphone: “Rock on, my mellow!” “B-boys, b-girls, are you ready?” “This is the joint!” “To the beat, y’all!” “You don’t stop!”^[12][13] For his contributions Herc is called a “founding father of hip hop,”^[14][15] a “nascent cultural hero,”^[16] and an integral part of the beginnings of hip hop by Time.^[17][18]

On August 11, 1973, DJ Kool Herc was a Disc Jockey and Emcee at a party in the recreation room at Sedgwick Avenue.^[19] It was not the actual “Birthplace of Hip Hop” – the genre developed slowly in several places in the 1970s – it was verified to be the place where one of the pivotal and formative events occurred.^[19] Specifically, DJ Kool Herc:

extended an instrumental beat (breaking or scratching) to let people dance longer (break dancing) and began MC’ing (rapping) during the extended breakdancing. … [This] helped lay the foundation for a cultural revolution.

B-boys and b-girls

The “b-boys” and “b-girls” were the dancers to Herc’s breaks, who were described as “breaking”. The obvious connection is to the breakbeat, but Herc has noted that “breaking” was also street slang of the time meaning “getting excited”, “acting energetically” or “causing a disturbance”.^[20] Herc’s terms “b-boy”, “b-girl” and “breaking” became part of the lexicon of hip hop culture even before that culture itself had a name. Early Kool Herc b-boy and later DJ innovator Grandmixer D.ST describes the early evolution thus: ” … [E]verybody would form a circle and the B-boys would go into the center. At first the dance was simple: touch your toes, hop, kick out your leg. Then some guy went down, spun around on all fours. Everybody said wow and went home to try to come up with something better.”^[12] This was the form the media in the early eighties called “breakdance“; the same form the dance critic of the New York Times in 1991 declared “an art as demanding and inventive as mainstream dance forms like ballet and jazz.”^[21] Since the overall emerging culture was yet to be named, its followers were likely to identify as “b-boys” over and above the specific connection to dance, a usage that persisted in following years.^[22]

Move to the streets

With the mystique of his graffiti name, his physical stature, and the reputation of his small parties, Herc had become somewhat of a folk hero in the Bronx. Herc began to play at the nearby Twilight Zone club,^[6] the Havelo club, the Executive Playhouse club, the PAL on 183rd Street,^[4] and high schools such as Dodge High School and Taft High School.^[23] Rapping duties were delegated to Coke La Rock. Herc’s collective, known as The Herculords, was further augmented by Clark Kent and dancers The Nigger Twins.^[4] Herc also took his soundsystem—now upgraded to one of legendary volume^[24]—to the streets and parks of the Bronx. Nelson George recalls a schoolyard party:

The sun hadn’t gone down yet, and kids were just hanging out, waiting for something to happen. Van pulls up, a bunch of guys come out with a table, crates of records. They unscrew the base of the light pole, take their equipment, attach it to that, get the electricity – Boom! We got a concert right here in the schoolyard and it’s this guy Kool Herc. And he’s just standing with the turntable, and the guys were studying his hands. There are people dancing, but there’s as many people standing, just watching what he’s doing. That was my first introduction to in-the-street, hip hop DJing.^[25]

On August 11, 1973 he deejayed a back to school party for his sister Cindy in the community Rec room at the 1520 SEDGWICK AVENUE housing complex. This humble event would put the term Boogie Down in the Bronx and change the world forever.

DJ Kool Herc performed the ground breaking art form of the Merry-Go-Round using 2 Turntables at one time. Herc extended the funky break beats by isolating and repeating them over an over on the Original 1’s and 2’s of Hip Hop.

He tapped his Jamaican roots where Island Djs at yard party’s would toast individuals…Herc used the Mic to move the original house party with shout-outs over the records, which began the element of Emceeing.

His parties featured a new style of dance where people would up-rock or hit the ground to go off. Herc named these young cats “b-boys”.

Herc’s massive sound system, named the “Herculords” were legendary- against which other DJs could not compete. His music could be heard from blocks away and was capable of making people’s bodies literally feel da beat .

Kool Herc would drive the Herculords around the Boogie Down in his convertible moving hip hop one street, one hood and one borough at a time.

Soon Kool Herc had to move the party outside from 1520 Sedgwick Ave. to CEDAR PARK. He hot wired a street lamp to juice up his Herculord speakers. Three thousand people showed up in complete darkness that summer night. Hip Hop would never be contained in-side again.

BBOY SESSION in boogie down Pascani

It Begun in Afrika, Jamaica, Boogie Down Bronx

Real Music and Dance representin HipHop Art and Kulture

BBOY CYPHAS IN THA JUNGLE

contact lilvietnam 4 details ONE TWO ONE TWO

when u gonna undastand and feel those words: ROCK tha JUNGLE then u re very close to be TRUE HIPHOP ARTIST
IT BEGUN IN AFRIKA