1979
The Oldest Boomer is 33 years old.

Cost of the Average House; $71,800
Median Family Income: $16,530
Minimum Wage: $2.90 /hr.
Gallon of milk: $1.59
Gallon of Gasoline: 75 cents – $1.08
New Car:
AMC Pacer: $3,000
Pontiac Sunbird: $4,274
Toyota Corolla: $3,698
Music: The Sugarhill Gang, “Rapper’s Delight.” Kiss, “I Was Made For Lovin’ You.” The Jacksons, “Shake Your Body, Down to the Ground.” Sex Pistols, “Friggin’ in the Riggin.” Buggles, “Video Killed the Radio Star.” Sister Sledge, “He’s the Greatest Dancer.” Anne Murray, “I Just Fall in Love Again.” Donna Summer’s, “Bad Girls.” The Police, “Message in a Bottle.” Marianne Paithfull, “The Ballad Of Lucy Jordan.” Tom Petty & the Heartbreakers, “Don’t Do Me like That.” Rod Stewart, “Do Ya Think I’m Sexy.” M, “Pop Muzik.” Billy Joel, “Big Shot.” ABBA, “Does Your Mother Know” & Gimme! Gimme! – A Man After Midnight.” The Stranglers, “Duchess.” The Specials AKA, “Gangsters.” Blondie, “Heart of Glass” & Sunday Firl.” Dr. Hook, “When You’re in Love with a Beautiful Woman.” Barbara Streisand & Donna Summer, “ No More Tears, Enough is Enough.” Doobie Brothers, “What a fool Believes.” Gali Atari, “Hallelujah.” Art Garfunkel, “Bight Eyes.” Michael Jackson, “Don’t Stop ‘Til You Get Enough.” The Knack, “My Sharona.” Judas Priest, “Take On the World.” Herb Alpert, “Rise.” Gloria Gaynor, “I Will Survive.” Donna, “Hot Stuff.” Peaches & Herb, “Reunited.” Cliff Richard, “We Don’t Talk Anymore.” David Bowie, “Boys Keep Swinging.” Supertramp, “Goodbye Stranger.” AC/DC, “Highway to Hell.” Dr. Fellgood, “Milk and Alcohol.” Pink Floyd, “Another Brick in the Wall.”
1979 – Rap music goes beyond the streets of New York.
1979 – Disco reigns supreme with several # 1 hits from The Bee Gees and Donna Summer this year.

From the book Boomers How We changed The World
By Richard A. Jordan

A real cool book, check it out. A great gift for the Boomer in your life and you.

OLD SCHOOL

Sylvia Robinson: Mother of Hip Hop and the real “Cookie Lyon”

the history of hip hop (1981)

Aerosmith / RUN-DMC – Walk This Way

The sights and sounds of old school

THE GOLDEN AGE OF HIP HOP

BLACKSTREET Dr. Dre and Queen Pen  No Diggity

“Old School Golden Years of HIP HOP”

HIP HOP PAGE

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The Hip Hop Dance Experience – History of Dance

 HIP HOP PAGE

Hip Hop was Hip and it did make you Hop.

ALL YOU HAD TO DO WAS PUT THIS RECORD ON AND YOUR PARTY WAS STARTED. Mr. Loverman by Shaba Ranks

 

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Women’s Octavia Watches are only $14.99 at SuperJeweler.com ! HIP HOP PAGE

old school

90s Hip Hop   The Golden Years music video DANCE

                                                 Old School

Track Listings

1. Super Freak – Rick James
2. Celebration – Kool & The Gang
3. Early In the Morning – The Gap Band
4. Too Hot Ta Trot – Commodores
5. Real Love – Jody Watley
6. Do You Love What You Feel – Rufus
7. Don’t Stop the Music – Yarbrough & People
8. Candy – Cameo

9. Let It Whip – Dazz Band
10. Oh Sheila – Ready For The World
11. Feels Good – Tony! Tony! Tony!
12. Rub You the Right Way – Johnny Gill
13. Don’t Be Cruel – Bobby Brown
14. Girlfriend – Pebbles
15. No Diggity – Blackstreet
16. Upside Down – Diana Ross

 

ICE – T, THE FAT BOYS, D J JAZZY JEFF & THE FRESH PRINCE, BIG DADDY KANE, TUN-D.M.C., GANG STARR, SNOOP DOGY DOGG, LL COLL J, 2 LIVE CREW, DE LA SOUL, PUBLIC ENEMY, DR. DRE, ARRESTED DEVELOPMENT, CHUBB ROCK, DOUG E. FRESH, NAUGHTY BY NATURE, KID ‘N PLAY, ICE CUBE, HEAVY D & THE BOYZ,QUEEN LATIFAH, SICK RICK, TUPAC SHAKUR,
SALT-N-PEPA, THE NOTORIOUS B.I.G., M.C. HAMMER……….

                                  

OLD SCHOOL LOVE

Old School Classics
The Old School

Rap music arose from and helped shape the African-American desperation in the inner cities, many times decrying poverty, drugs, and gang-inspired violence. The music originated in the ghettos of New York City. As disco started to become popular in New York during the early 1979sm sine disc jockeys in the Bronx and Harlem began to play at parties. Rather than use an entire song, some record spinners such as Kool Herc (b. Clive Campbell) began to play, or sample, short fragments, usually the percussion breaks, which the dancers requested. Starting in 1973, he “took the music of Mandrill, like “Fencewalk,’ certain disco records that had funky percussion breaks and he just kept that beat going” recalled Afrika Bambaataa, who began spinning records three years after Herc. “It might be that certain part of the record that everyone waits for.” The rap pioneers sampled all types of music. As Afrika Bambaataa explained, “The music itself is colorless’ cause you can’t say, I don’t like R&B, I don’t like heavy metal, when half the XXX that’s out comes from all the different styles of records that’s out there.

Though having eclectic tastes, rappers favored polyrhythmic funk over the more simplistic disco. “We was against the disco that was happenin’, we had the funk back ’cause they wasn’t playing James, Sly, or Parliament no more,” remarked Bambaataa. How the funk came back on the scene was through hip-hop, through the street, agreed Jazzy Jay, a member of one of Bambaataa’s groups.’ “All of them-James Brown, George Clinton, Parliament, all that-that was almost dead. Disco was in, everybody was hustling, and the disco deejays were taking over. Well, what happened, the kids just rebelled. They wanted something that they couldn’t hear on the radio and everything. They wanted something else”. Kool Herc started to add special effects to the samples of the funky music. Following the lead of his fellow  Jamaican, reggae producer King Tubby (b. Osbourne Ruddock,), he removed most vocals from the track to create a “dub” version of the song and then added echo and reverb to the altered rhythm track. Using a special stylus, other spinners such as the teenaged Theodore Livingston rotated, or scratched, the records back and forth to produce a unique rhythmic pattern. Kool Herc sometimes mixed the beat with two turntables, quickly fading one song into another. Through these methods, he wove together intricate polyrhythms into a staccato sound that mimicked the short, abrupt changes that had become commonplace on commercial television. Building on the African oral history tradition and copying Jamaican U-Roy, who had spoken, or toasted, to the dubs of King Tubby, Kool Herc began to talk along with the halting, polyrhythmic sounds. Afrika Bambaataa remembered that “Herc took phrases, like what was happening in the in the streets, what was the new saying going round the high school like ‘rock on my mellow,’ ‘to the beat y’all,’ ‘you don’t stop.’ and just elaborated on .” Soon, other disc jockeys such as rap pioneer Bambaataa and DJ Hollywood, who played disco records at the Apollow Theater during breaks, started to rap to their sampled music. “To attract their own followings, some of these DJs would give raps to let the crowd know who was spinning to records,” explained rapper Kurtis Blow (b. Curtis Waker). “As time went by, these raps became more elaborate, with the DJ sometimes including a call – and -response ‘conversation with the regulars in the house.” Bambaataa summarized, “We just took the Jamaican style and put it to American records.” From the book ROCKIN’ IN TIME A social history of rock-and -roll by David P. Szatmary.

It might take a minute to get with the writer’s style, but it is hard to put this book down. Real cool.

80’s -90s Old School Hip-Hop Megamix

While many considered Biggie ahead of his time, author Jake Brown clearly cites why it was his time . He didn’t live in or up to the moment ?he actually created it. Biggie controlled his time, by the very nature of what he achieved in it. When his time was up, he had done what he set out to do, and it was historic ! Biggie Smalls’ life was lived in the fast lane. – The Notorious B.I.G. quickly became a household name among hip hop fans and all responsibility would rest on him as he made his way up hip hop aisles to center stage. What took hip-hop by storm with the debuts of the Notorious B.I.G. was his candid rapping style. He seemed to welcome the challenge, as if he was already resigned to his fate, hence, ready for death, or whatever the world could throw at him . In Ready to Die: The Story of Biggie Smalls ? The Notorious B.I.G . author Jake Brown reveals Biggie’s sensitive side as well as his hard-core media stance; it explores his motivations, his loyalties and his roots. In a true sense, it strips away the media frenzy and sheds light on the truth, bringing you up close and personal into the rise of Bad Boy Entertainment which would make Sean Puffy Combs (Puff Daddy) a mogul in his own right; Tupac Shakur; Faith Evans; Lil Kim and the Junior Mafia.
As a life-long hip-hop fan of both the East and West Coast, I grew up listening to rap without any allegiance other than to the music. I was amused by the lyrical beefs between 1980s rap super-stars like Big Daddy Kane and Ice T with their counterpart LL Cool J, who, at his worst, threatened to “squash you like a Jelly Bean.” As that was my childhood, it was also coincidentally hip-hop’s, wherein rap as a commercial entity was only a few years old and still evolving. By that fact, much of the content of hip-hop’s broader message was innocent-most often about groupies-break dancing, riches, partying, driving expensive cars. There was competition among hip-hop peers, but it was purely competitive as everyone was still on the come-up. In a comparative sense to the state of hip-hop a few years later on, in the early 1990s, the aforementioned content was at best peripheral-wherein references were made to the violence and poverty that ravaged inner-city America and its populous, but rarely explicitly-at least not without Tipper Core’s dreaded ‘Parental Advisory Sticker’, which all but banished and artist’s album from mainstream exposure in the days of Run DMC and Kool Moe Dee. All that changed as hip-hop became a teenager and began rebelling, wherein ‘gangster rap’ artists like N.W.A. and Ice T came to popularity, selling platinum albums with almost no radio play or video support on MTV. Opening the doors for Death Row records’ takeover in 1992, the exposure became even greater for rap fans as Dr. Dre and Suge Knights’ arsenal of ganland-affiliated rap stars like Snoop Doggy Dogg rapped candidly over hooky, top-40 friendly instrumentals about their gang affiliations, drug dealing, arrests and prison time, and run-ins with fellow gangs. The graphic nature of the lyrical content of this music, for example concerning the open discussion of automatic weapons like the AK-47 Assault Rifle and the 9 Millimeter or Gluck hand guns, had previously been only as focused on by pop culture in the context of action movies starring Sylvester Stallone and Arnold Schwarzenegger. As the decade wore on, and both Tupac Shakur and the Notorious B.I.G. brought hip-hop full circle as a billion-dollar, mainstream entity unto itself, the violence and sexual content that hip-hop artists  regularly displayed in their music stood in stark contrast, almost as a stranger, to the memory I had as a young listener of rap as a fledgling sound not ten years earlier. I had grown into a teenager myself, so of course I accepted and embraced the evolution of hip-hop; specifically its lyrical content, as a reflection of reality, which in many cases, is was……
From the book READY TO DIE The Story of BIGGIE SMALLS NOTORIOUS B.I.G.

By National Bestseller Jake Brown

                
Samantha M.C. LUCK

 

 

HIP HOP PAGE

Hip Hop Sessions – Rap Hip-Hop/Urban Political Rap Hardcore Rap Golden Age Pop-Rap Jazz-Rap East Coast Rap Alternative Rap Old-School Rap – Rap

Maximum Rap – Rap Hip-Hop/Urban G-Funk Hardcore Rap West Coast Rap Golden Age Jazz-Rap Gangsta Rap East Coast Rap Alternative Rap Old-School Rap – Rap

   RnB Old School  Hip Hop Golden Years

Aerosmith: Rock For The Rising Sun-blu-ray Disc

This encyclopedic comics history of the formative years of hip hop captures the vivid personalities and magnetic performances of old-school pioneers and early stars like DJ Kool Herc, Grandmaster Flash and the Furious Five, plus the charismatic players behind the scenes like Russell Simmons; Debbie Harry and Keith Haring.

The King of Old School Go Go CHUCK BROWN and the SOUL SEARCHERS – BUSTIN’ LOOSE
Old School Classics: An Education In Hip Hop (2CD)
The Underground DJ Network: Intro; Eric B & Rakim: Let The Rhythm Hit `Em; Run DMC: Peter Piper; LL Cool J: Mama Said Knock You Out; Black Sheep: The Choice Is Yours; Public Enemy: Bring The Noise; Slick Rick: Mona lisa; Run DMC: Walk This Way; Mantronix: King Of The Beats; Public Enemy: Fight The Power; Biz Markie: Something For The Radio; Eric B & Rakim: Follow The Leader; Run DMC: Beats To The Rhyme; The 45 King: The 900 Number; Big Daddy Kane: R.A.W.; De La Soul: Say No Go; Digital Underg…
Example of link

The Look and feel of OLD SCHOOL
Kennedy Center Honors Herbie Hancock – with Snoop Dogg and friends

 

 

 

 

 

 

 

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