As a site of an double violence judged a run explore will cspans global audience will see this. The information in this lecture is come from two major sources. We have done over 300 interviews with people who grew up in the bronx in the 1930s. In the process, pupil documented this createsations something called the bronx berlin using this, which is a change between social workers in berlin and new york city, infusing hiphop to motivate and reach the youth. I have been to berlin six times. Will have a chance to experience firsthand how hiphop culture has spread in europe. This was enthusiastically adopted here. Here and, and many other portions of the world. The substance of my lecture explores the bronx history, which many people are familiar with. On to explain what definition of hiphop i will be using in this. An artform taken to its highest by two puncture court, many dutchman but feel a bit this elements, ms. Cle at many hiphop artist. I describe as a multilayered instance of which wrapping is only one owner. In the bronx in the early and arounds communities the world in the 1980s its still spreading to this day, consisting of connected components. Which was the original artform for the hiphop revolution. When people talk about the start of hiphop, they talk about djs who helped spread this through the bronx. Second form was breakdancing. Group dancerobatic that had more than a few commonalities with this. Groupon dance and latin music and rhythm and blues and fog. Remedial. Is its a form of illegal public art and selfexpression which would have its way here, announcing hiphop events as well as our building and transportation systems, especially buses and subways. Least, mc t varying being assertively political. This art forms which are merged in the bronx in a late 1970s spread around the world to gather, disseminated by film and music video, and can be found today in every city in the world in one form or another. Let me give an example of this. When i was first brought to berlin to lecture about hiphop culture in 2005, my folks took me to an abandoned school in a section of that city which was turned into a Community Center. I was stunned by the visual image projected that every surface inside and outside the building was covered by the elaborate multicolored repeating thing in the style of the covered subway train to new york. Clearly in this section of related, what we see as quote vandalism by many new yorkers could be encouraged among young people in immigrant neighborhoods secondly, i was ,aken to a great dance class where many women, some wearing his jobs, were perfecting and smooth. Finally, i was shown the stateoftheart music studio with the makers and raptors, who were producing original music in which the language of choice moved between german turkish and english. Turkey, immigrants from are the largest Minority Group in berlin and germany generally. This was not the only place where i saw i saw the same glorification of the four elements of hiphop in three other Community Centers in berlin, most of them serving immigrants from turkey, the middle east and eastern europe, as well as other Community Centers in barcelona, spain. In all these places, as well as their counterparts in paris, havana, rio de janeiro, rome, tokyo, and even hanoi, the art forms are cultivated with love and respect and transmitted to new generations of youth, along with the understanding that they started in the bronx. I will pass around a book of french hiphop. Which is an Art Exhibition in paris, which explains visually how hiphop, which started in the bronx, spread to paris and its suburbs. And then became an integral part of the movement known as the arab spring, where the art of hiphop was part of the social movement in many different countries. So what started in the bronx has gone global. The big question here is, why the bronx . Why did this multidimensional artform starts in the bronx and why did it spread . And in answering this question i will be looking at three different variables. One, the unique Cultural Capital of the bronx and its people, which derived from immigration and the mixing of cultures. Two, the tragedies which befell the bronx in the 1960s and 1970s, once regarded as unique, which would hit other cities and communities and subsequent years, not only in the u. S. But in many other places. And third, the easy accessibility of the bronx via Public Transportation. Harlem, midtown manhattan, the village in the lower east side, where culture makers and entrepreneurs, when they saw what was going on in the bronx, where in a position to market what they saw nationally and globally. So, before going into these three underlying factors, the Cultural Capital the bronx, the tragedies that struck the bronx, and the proximity of the bronx to culture making centers in new york, i want to give you a brief hiphop timeline. Most scholars think the big bang, which launched hiphop, took place at the parties held by Cindy Campbell and her brother, aka, dj cool at the Community Center of a housing complex at 1520 sedgwick avenue in 1973. There, the dancers of the party would go crazy if they used two turntables and sections of popular records, which they called break beats, into 10 minutes of percussion pure percussion bid after several successful parties at the youth center, he decided to take his sound system into a public park 10 blocks north of his house, cedar park, using electricity from the bottom of a lamp post. Thousands of young people came to the outdoor jams, which were not broken up by police, even though they were done without a permit. And other talented djs in the bronx decided to follow the example. Among these were former gang leaders from the bronx, one of them who called himself africa bom botta, and a young man who had trained in electronics at a Vocational High School who called himself grandmaster flash. By 1976, parties where the djs competed with one another to create the most danceable beats using breaks from records were taking place all over the bronx in parks and Community Centers, in school yards and abandoned buildings. At these parties, dance competitions between the cruise crews, using innovative steps taken from martial arts movies, latin dancing, and a james brown moves, became common occurrences almost to the point where they were as much a part of the event as the djs. Soon the djs, that were competitive with one another, started to try to distinguish themselves by commandeering street poets to rhyme over there beats. And by the late 1970s, the artistry of the rappers was starting to gain as much attention as the djs and the dancers. By now, the parties were starting to spread into private clubs and dance halls, as well as parks and Community Centers, places like the stardust and disco fever, and the people from other parts of the city and region were starting to take notice. Then in 1979, a record entrepreneur from englewood, new jersey named sylvia robertson, who had once been a senior in the bronx singer in the bronx, decided to try to record the music. There were new Business Opportunities to be found in the bronxbased art form. Within five years, scores of rap records were being produced. Some which have their own music videos. And massmarket films were produced which highlighted the bronx setting for hiphop, as well as the djs, the breakdancing, the graffiti and wrapping, which were all integral parts of the scene. As a result, hiphop in all forms of spread around the city, the nation and the world, almost always in places where there were large numbers of people who felt this franchise and marginalized. So essentially the marketing of hiphop, which spread outside of the bronx around the country and the world, really began in the late 1970s. And for the first six years, and there was little outside attention given to what was later hailed as a musical revolution. So that is the broad story. Why the bronx . Lets look first at the population of the bronx and the sonic universe that they lived in prior to hiphop. The concept of a sonic universe is to me very important, because a lot of you know when we were talking about rock and roll that the sonic universe of many workingclass communities was receptive to harmonic music. In the 1970s, those same communities are becoming responsive to a much more percussive and inyourface kind of music. So what are some of the features of the bronx culturally that led the bronx to have more receptivity to the percussive elements of this music than many other places . Here you have to understand something about the unique history of the bronx. Well before the emergence of hiphop, several neighborhoods in the south bronx had a mixture of cultures and traditions that made them unique in new york city. And the nation enforced musical creativity. In the 1940s, 50s and 60s, too large workingclass neighborhoods in the south bronx, where peacefully integrated were peacefully integrated by different population streams coming from harlem. Africanamericans originally from the u. S. South, west indians from caribbean countries like jamaica and barbados, and spanishspeaking people coming from puerto rico, cuba and panama. Each of these peoples brought their own musical traditions to the neighborhood schools and housing projects that they lived in, and over time they fused in the most remarkable ways. By the 1950s, the clubs, theaters and churches and schools in these neighborhoods were places where you could hear afrocuban music, doowop and rhythm and blues, deep up and beebop and dixieland jazz, and calypso. Now these forms began to evolve as the americanborn youth began to transform them, giving rise to salsa, funk and latin soul. After awhile, the white population of those neighborhoods largely moved out, leaving only a few people left behind. But what you had in the bronx was a mixture of more people from different parts of the african than existed anywhere in new york city. And having people from these different traditions living in the same Apartment Buildings and housing projects produced the unique, sonic universe where melodies and his songs in different languages took place in a backdrop of powerful percussion. And i want to give you a few quotes which describe what it was like. Nowhere else in new york city did people who came from the american south, or from the anglophone caribbean, live in proximity with spanishspeaking people from the caribbean. And as a result, everyone in the bronx danced to latin music and had an experience of hearing latin percussion. Let me read you a couple of quotes that will bring this to life, because it helps prepare the way for hiphop. This comes from a book by alan jones. The Patterson Houses, which opened in the 1950s, at night were alive with activity and sound. Music is everywhere, coming out of peoples apartments and out of park benches. On one side of the street you would have people bring out turntables with speakers. On the other side you could hear brothers singing a Frankie Lyman song, why do fools fall in love . But the one constant every night without fail was the sound of Puerto Ricans playing their bongos in local parks and playgrounds. The steady beat of those drums boom, boom, bam, boom, with background music to my living reality. Now a quote from african bilbao to, who grew up in the bronx river houses. I will say this, wherever we were, the Puerto Ricans was there. I dont like to get into it when we call them Puerto Ricans, they are africans like us. We got to remember that are puerto rican brothers are the ones that kept africa alive. They are the africans that kept the drums, they kept the gods of santeria alive. In the 1960s, blacks and Puerto Ricans were always playing the conga. Always had the rhythms. This is from the next quote, this is from ray manea, who became a prominent musician in the latin music genre, but also play jazz. After i got to play the conga drums, i had a bunch of friends that were all interested in playing the conga. The puerto rican kids in my area, we started to jam on the roof. It was every saturday and every sunday, everybody would go to the roof with their drums and we would play all kinds of rhythms. It was like a big party with the drums. Meanwhile, down in the bottom, down on the street, we had black people and they were into doo wop. The black folk, they took their drums away, so they had to invent something and they invented doo wop. They were dooop, we were rhythm. African rhythm. We were playing and thank god they never took our drum away. This is one of the things that is unique, the constant sounds of german in these multiple fast sounds of drumming in these projects. That was the progressive sound. Folks in the bronx, whether they had families that had come from the caribbean from the south, from puerto rico, and doris, the honduras, those drum sounds where part of their sonic universe. Because that is what the bronx was like. But the people did not only hear the sounds, they danced. The bronx was a dancing community. People danced in their homes, in their clubs, in schools, and in the streets. And people shared their dance traditions. If you grew up in the south bronx, whether you are black, latino or white, you dance the latin. If you were latino you probably slow danced to the drifters and fast danced to james brown. Vicki archibald, a social worker that grew up in the Patterson Houses in the 1950s and 60s, describes how latin music became a powerful force in the life of her black friends and neighbors. Frankie lyman was one of my favorites, but i loved all kinds of music, including latin music. It was in the sixth grade when i first was introduced to latin music. Before then, i heard it, but i do not really dance to it. As i got older, i noticed more black people dancing to latin music and they were good. They used to dance for my professionally in places and we watched these folks who also lived in patterson, who are maybe high school age, and we fell in love with the music. And as my doctoral student lisa reminds us, many of the people from the spanish caribbean were also black. Were also of african descent. So you had this diverse, Multicultural Community tuned in to this percussive music and to dancing. And this was, there were places like that in other parts of the city, but nowhere where the percussive traditions as a strong and as public as in the bronx. In the south bronx, music and dancing were everywhere. Nothing was more prized than music that forced you to dance, because of the powerful beats. For the 30 years before the hiphop jam, the bronx was swaying to the rhythms of the African Diaspora indoors and outdoors, in parks and a schoolyard, Community Centers and clubs, and in the streets where people took record players out in the summer for block parties and outdoor jams. Well before djs started hooking up sound systems, the panels at the bottom of light poles, small puerto rican bands called tiki rikis, in imitation of the sound of roosters, where doing the same thing with amplifiers when they played in the parks. Something that was recalled for us in an interview by a great south bronx percussionist named angel rodriguez. But not only Puerto Ricans brought amplified music to the streets. From the early 1960s on, it was extremely common for africanamerican as well as latino bronx residents to bring their portable record players outside and dance on the sidewalks on hot summer nights. Teresa roberts, a bronx schoolteacher whose father was africanamerican and his mother was puerto rican, talked about how people entertained themselves outside of her Apartment Building during the summer months. We are talking largely in the 1960s, before the parties. In my building it was normal for people to bring their equipment outside. Whoever would have the best equipment for a good stereo, they would bring their radio right from the living room and bring it outside and play it. Sometimes people would put their speakers in the window with a dj working the system and would stand outside in front of the building and we would dance. This was all before hiphop. The percussion, the dancing, the mingling of cultures. Um, when had his big bang and created 10 minutes of pure percussion at the Community Center, the young people of the bronx were not only predisposed to respond to it joyously, they were prepared to dance to it like their parents and grandparents had it done, although in different positions. Which brings it to another element of the Cultural Capital of the bronx, which helped it to spawn hiphop, a new wave of caribbean immigration from the anglophone caribbean that followed the relaxation of immigration quotas in 1965. Some of you may know, 1965 immigration laws were passed which drastically cut the quotas that were set up for immigration from the caribbean, eastern europe, and Southern Europe in 1924. Clive and Cindy Campbell were among the more than 10,000 jamaican immigrants who came to the bronx between 19651970 by bringing with them, among other things, the sound system culture of that country which helped spawn reggae. Young people like Clive Campbell came from a society where people made extra cash by sponsoring parties with huge amplifiers and speakers, often in the outdoor spaces, playing the most popular records. It is that tradition that he and his sister brought to sedgwick with a louder sound system that nobody had ever heard. The sound system alone could not excite the crowd. Campbell combined the power of his amplifiers with something they had never heard before, something that made them dance with power and frenzy they had never had before, a sound that reflected the percussion traditions they had grown up with and the sonic universe of the community where the fire engines and Police Sirens were moaning, and the windows of cars and buildings were being shattered. Later, that experience woul