Congratulations to the DJ KOOL HERC

WHAT EVERY LATINO & JAMAICAN SHOULD KNOW ABOUT CHRONOLOGICAL BLACK AMERICAN CULTURAL HISTORY: Hip hop came directly out of The Black Power/Black Is Beautiful/ Black Arts Movement of the 1960's &1970's. This was the most culturally and politically active era in African American history. The teen contingent of the movement played out as presented on Soul Train produced by Don Cornelius beginning 1970 when the show was nationally broadcast from Chicago from 1970 to the end of 1971. He moved the show to LA, but he took several of his teen dancers with him to ensure the dance quality of the show would remain the same after the move. The TV show became our most powerful Black teen cultural influence for 36 years. Soul Train hit American popular culture like a cultural tsunami. It instantly eclipsed Dick Clark's American Bandstand in international popularity. Chicago is the capitol of African American Blues and Gospel Music. Chicago due to The Great Migration is Mississippi once removed. Chicago developed the best social dancers in Black America. Michael Jackson comes from that dance enclave. Because break dancing had been a part of the Chicago dance lexicon since the 1950's, most likely influenced by the Black dance crews seen on TV variety shows in the 1950's, the Chicago teens on Soul Train showcased break dancing as part of their dance repertoire. For the first time in or cultural history we had a national stage to spotlight Black music stars, show-off old and new Black dances, and to premiere new Black talent. Teens across this nation copied the break dancing seen on Soul Train, including The Black Spades. They sang James Brown's (who was a frequent guest on ST) "Soul Power." They personalized it by singing "Spade Power! They put their influence on break dancing to make it uniquely their own. James Brown's "Say It Loud, I'm Black and I'm Proud" was the Black teen national anthem. Those who recognize James Brown as the Godfather of hip hop, rarely mention the Black Power aspect of what he was promoting, along with other Black Protest stars like Curtis Mayfield (Movin' On Up), Nina Simone (To Be Young Gifted and Black), and Marvin Gaye (What's Goin' On album sold 2M albums in 30 days) among many others, that sparked the impetus for Black teen heightened involvement. The Black Arts Movement elevated rhyming Black Protest poets like H Rap Brown, Amir Baraka, Sonia Sanchez, Don L. Lee aka Haki Madhubuti, The Last Poets, and Mari Evans among others, to the forefront as the rapping voices of Black Power that politicized Black American teens. This Black teen cultural revolution was televised. Neither Puerto Ricans nor Jamaicans were singing, dancing, rapping about, nor identifying with our Black Is Beautiful/Black Power/Black Arts Movement. They still don't. Their great jealousy grew out of the international excitement generated by Black American teens dancing on national TV that did not include them. Because the broadcast came out of Chicago, not NYC, it singularly showcased Black American teens only. Soul Train is the genesis of the NYC PR and Jamaican great cultural jealousy. The emergence of The Black Spades Black Power gang culture gave PRs in the Bronx a local Black cultural expression they could cosplay in their jealous quest to leech the Black American teen international pop culture spotlight. Their desire for the same fame that Black teens had, is the reason NYC PRs in mass set aside their long-standing antipathy towards NYC African Americans in order to surreptitiously enter their ranks to gain acceptance so they could cosplay Black American dance, music and style. Five plus decades later Latinos have delusionally convinced themselves that they actually created what they effetely copied. Anyone who speaks about the development of hip hop and doesn't mention the worldwide influence the Black Is Beautiful/Black Power/Black Arts Movement or the impact of Soul Train, they don't know what they are talking about. The 10 years following the assassination of MLK, Black America was politically and culturally ablaze. Hip hop grew directly out of the tenor of those times. No immigrant group was powerful enough to influence Black American teen music, dance, nor style during that Black Power period, no matter where they were located. All other teens, white American teens and white college students, American immigrant teens in and outside of NYC, and teens around the world copied the powerful music, dance, and political colloquialisms (like "Right-On" and "Power To The People!") presented by African Americans from various regions across this nation. Contemporary self-aggrandizing cultural history revisionists like Colon and certain descendants of island immigrants have chosen the most active, the most vocal, and the most recorded period in Black American history to try and hijack. All their ever-changing revisionist folklore narratives are continually being debunked by authentic Black Americans, because they have no visual or journalistic documented evidence to support their delusional wishful claims, nor do they present acceptable reasoning that ratifies Puerto Rican/Jamaican bizarre demands to force their way into African American culture that resists their irrational intrusions.

WOW 😲 I love that Kool Herc going into the Rock & Roll Hall of Fame Kool Herc he's a Legend wow 😲

Jamaica to the world!!!

@derouen1234

7 ай бұрын

Culture vultures.

@haddingtoniangcp2464

7 ай бұрын

@@derouen1234 who are culture vultures?

@Thatgumurk

4 ай бұрын

@@haddingtoniangcp2464 you Jamaica

Hip-Hop isn't a genre of music...it's a 1970s Bronx subculture that died out in the early 80s. Rapping/Rap was a part of Black American society DECADES before the Hip-Hop movement existed.

Jamaican music such as Ska music, Rock steady, reggae, Dancehall, toasting come from Black Americans music

I see y’all still pushing that lie that Herc started Hip Hop