Talk:Hip hop music/Archive 5

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Semi-protected edit request on 15 December 2018

Please add the following text under the category "Origin of the term"; and at the bottom of it.

Others claim that Bronx rapper Man Parrish is the actual unsung musician who is to be first credited with using the term Hip Hop and unintentionally bringing the term into the mainstream limelight to describe what critics and journalists previously called Disco-rap and Electro. (Rap artists that sounded similar to critics but were too distinct musically and could not be grouped together to be called "Rap".) The term "Hip Hop" can be seen in the first half of the title of Man Parrish's 1982 song "Hip Hop Be Bop (Don't Stop)".

Man Parrish claims that he was never aspiring to be a Rapper, and was actually a "Dance musician" that was influenced by Electronic music and New Wave. But although he did rhyme on his Dance tracks to make them catchy; He never actually saw himself as a "rapper" or "Hip Hop" artist. And that the term Hip Hop just stuck with him when journalists mentioned him and other New York City musicians.

Parrish claimed he only used the term "Hip Hop" in his Electro song only because it sounded catchy; And rhymed perfectly with "Be Bop" and "Don't Stop". Although, he did not initially coin the term and had only borrowed it; just like the term Be Bop. It was then after the release of this 1982 single by Man Parrish that many music journalists began to actively and informally use the term by 1984; And many musicians identifying as Rappers and Electro musicians within the New England area began to follow through with renaming their music style "Hip Hop". It was here eventually that the term Hip Hop became the formal name of the Rapping genre; In contrary to the previously informal but more common name of "Rap music"; By now overriding the more earlier and now obscure and obsolete terms Disco-rap/Electro that were used between 1979-1982.

Musician Kurtis Blow also claims that he never initially saw himself as a Rapper or Hip Hop musician at first; and that his music was only an attempt by Blow to create and reciprocate Funk music inspired by his idol, James Brown. Kurtis Blow claimed that his band was actually a "Funk" band, and that the Rapping and rhyming in his music (in reference to "Rapper's Delight" by The Sugarhill Gang) was only pure coincidence. (In the early 1980s, Blow was not yet aware of the term "rapping" or "Hip Hop", at this time.) He has since readily accepted the title of being recognized as a Hip Hop artist over being a Funk artist; and even has gone on to produce for other Hip Hop musicians by the mid-80s and had become by-then a Hip Hop pioneer, respectively. Wasylkowski (talk) 01:59, 15 December 2018 (UTC)

References

 Not done: please provide reliable sources that support the change you want to be made. Izno (talk) 18:30, 15 December 2018 (UTC)

Dating the origins

The sentence on the birth of hip-hop is, subjectively, wrong, through subjectivity.

In 1977, I was Program Controller of University Radio Loughborough, in the UK. We had been at the cutting edge of Concept Rock, having discovered Mike Oldfield (from his sister Sally, who was a folk musician performing at the annual Easter Loughborough Folk Festival) and Kraftwerk (from a sample tape) - Radio One then picked them up from us and promoted them nationally.

One day in late 1977, from out of the blue, I received a letter from the A&R teams, notifying us that they would no longer be promoting anything other than hip-hop and punk. I was very much under the impression that this was because of the self-indulgent behaviour of many stars of the day, whose expenses were starting to outrun their contribution. Newbies cost a damned sight less, and are far easier to manipulate - and so they created the gangsta culture which now leaves bodies on our streets. The letter was left in the records of URL, which have doubtless long since gone to the great sgredder in the sky.

This therefore is a first-prson - and therefore inadmissible without corroboration - report of where the genre first came to my attention. Musically, both styles ditched classical form for anarchy, and that then effectively meant that with little possibility of organised harmonic and melosic forms, intrumentation and dynamics, about the only remaining resource was voice and vocal percussion - which wasn't new, in passing. That then led from hip-hop to beatbos (and yes, I have more recently worked for Shlomo, on the Beyond the Bassline project on his facebook site - the ideation of the second half of MArch PEace was mine) and the rest of the derivative styles. — Preceding unsigned comment added by 90.197.55.25 (talk) 09:52, 29 January 2019 (UTC)