DJ Kool Herc The break What was the break? Herc used the record to focus on a short, heavily percussive part in it: the "break". What did the break consist of? Specifically, DJ Kool Herc: extended an instrumental beat (breaking or scratching) to let people dance longer Did people like it? ... [This] helped lay the foundation for a cultural revolution. How did it lead to a cultural evolution? extended an instrumental beat (breaking or scratching) to let people dance longer (break dancing) and began MC'ing (rapping) during the extended breakdancing. ... [
Did he influence others?
Did Herc influence others?
DJ Kool Herc developed the style that was the blueprint for hip hop music. Herc used the 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 the break and prolonged it by changing between two record players. As one record reached the end of the break, he cued a second record back to the beginning of the break, which allowed him to extend a relatively short section of music into "five-minute loop of fury". This innovation had its roots in what Herc called "The Merry-Go-Round," a technique by which the deejay switched from break to break at the height of the party. This technique is specifically called "The Merry-Go-Round" because according to Herc, it takes one "back and forth with no slack." Herc told The New York Times that he first introduced the Merry-Go-Round into his sets in 1972. 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 that record's break into the break from a second record, "Bongo Rock" by The Incredible Bongo Band. From the "Bongo Rock"'s break, Herc used a third record to switch to the break on "The Mexican" by the English rock band Babe Ruth. Kool Herc also contributed to developing the rhyming style of hip hop by punctuating the recorded music with slang phrases, announcing: "Rock on, my mellow!" "B-boys, b-girls, are you ready? keep on rock steady" "This is the joint! Herc beat on the point" "To the beat, y'all!" "You don't stop!" For his contributions, Herc is called a "founding father of hip hop," a "nascent cultural hero," and an integral part of the beginnings of hip hop by Time. On August 11, 1973, DJ Kool Herc was a disc jockey and emcee at a party in the recreation room at Sedgwick Avenue. 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. According to music journalist Steven Ivory, in 1973, Herc placed on the turntables two copies of Brown's 1970 Sex Machine album and ran "an extended cut 'n' mix of the percussion breakdown" from "Give It Up or Turnit Loose", signaling the birth of hip hop. CANNOTANSWER
blueprint for hip hop music.
Clive Campbell (born April 16, 1955), better known by his stage name DJ Kool Herc, is a Jamaican-American DJ who is credited for originating hip hop music in the Bronx, New York City, in the 1970s through his "Back to School Jam", hosted on August 11, 1973, at 1520 Sedgwick Avenue. After his younger sister, Cindy Campbell, became inspired to earn extra cash for back-to-school clothes, she decided to have her older brother, then 18 years old, play music for the neighborhood in their apartment building. Known as the "Founder of Hip-Hop" and "Father of Hip-Hop", Campbell began playing hard funk records of the sort typified by James Brown.

Campbell began to isolate the instrumental portion of the record which emphasized the drum beat—the "break"—and switch from one break to another. Using the same two-turntable set-up of disco DJs, he used two copies of the same record to elongate the break. This breakbeat DJing, using funky drum solos, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers helped lead to the syncopated, rhythmically spoken accompaniment now known as rapping.

He called the dancers "break-boys" and "break-girls", or simply b-boys and b-girls. Campbell's DJ style was quickly taken up by figures such as Afrika Bambaataa and Grandmaster Flash. Unlike them, he never made the move into commercially recorded hip hop in its earliest years.

Biography

Early life and education

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 dance halls, and the accompanying speech of their DJs, known as toasting. He emigrated with his family at the age of 12 to The Bronx, New York City in November 1967, where they lived at 1520 Sedgwick Avenue.

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".  After being involved in a physical altercation with school bullies, the Five Percenters came to Herc's aid, befriended him and as Herc put it, helped "Americanize" him with an education in New York City street culture.  He began running with a graffiti crew called the Ex-Vandals, taking the name Kool Herc. Herc recalls persuading his father to buy him a copy of "Sex Machine" by James Brown, a record that not a lot of his friends had, and which they would come to him to hear. He used the recreation room of their building, 1520 Sedgwick Avenue.

Herc's first sound system consisted of two turntables connected to two amplifiers and a Shure "Vocal Master" PA system with two speaker columns, on which he played records such as James Brown's "Give It Up or Turnit a Loose", Jimmy Castor's "It's Just Begun" and Booker T. & the M.G.'s' "Melting Pot". With Bronx clubs struggling with street gangs, uptown DJs catering to an older disco crowd with different aspirations, and commercial radio also catering to a demographic distinct from teenagers in the Bronx, Herc's parties had a ready-made audience.

The "break"
DJ Kool Herc developed the style that was the blueprint for hip hop music. Herc used the 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 the break and prolonged it by changing between two record players. As one record reached the end of the break, he cued a second record back to the beginning of the break, which allowed him to extend a relatively short section of music into  "five-minute loop of fury". This innovation had its roots in what Herc called "The Merry-Go-Round," a technique by which the deejay switched from break to break at the height of the party. This technique is specifically called "The Merry-Go-Round" because according to Herc, it takes  one "back and forth with no slack."

Herc stated that he first introduced the Merry-Go-Round into his sets in 1972. 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 that record's break into the break from a second record, "Bongo Rock" by The Incredible Bongo Band. From the "Bongo Rock"'s break, Herc used a third record to switch to the break on "The Mexican" by the English rock band Babe Ruth.

Kool Herc also contributed to developing the rhyming style of hip hop by punctuating the recorded music with slang phrases, announcing: "Rock on, my mellow!" "B-boys, b-girls, are you ready? keep on rock steady" "This is the joint! Herc beat on the point" "To the beat, y'all!" "You don't stop!"  For his contributions, Herc is called a "founding father of hip hop," a "nascent cultural hero," and an integral part of the beginnings of hip hop by Time.

On August 11, 1973, DJ Kool Herc was a disc jockey and emcee at a party in the recreation room at Sedgwick Avenue. Specifically, DJ Kool Herc:

According to music journalist Steven Ivory, in 1973, Herc placed on the turntables two copies of Brown's 1970 Sex Machine album and ran "an extended cut 'n' mix of the percussion breakdown" from "Give It Up or Turnit a Loose", signaling the birth of hip hop.

B-boys and b-girls
The "b-boys" and "b-girls" were the dancers to Herc's breaks, who were described as "breaking". Herc has noted that "breaking" was also street slang of the time meaning "getting excited", "acting energetically," or "causing a disturbance". Herc coined the terms "b-boy", "b-girl," and "breaking" which became part of the lexicon of what would be eventually called hip hop culture. Early Kool Herc b-boy and later DJ innovator Grandmixer DXT describes the early evolution as follows:

 ... [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.

In the early 1980s, the media began to call this style "breakdance," which in 1991 the New York Times wrote was "an art as demanding and inventive as mainstream dance forms like ballet and jazz." Since this emerging culture was still without a name, participants often identified as "b-boys," a usage that included and went beyond the specific connection to dance, a usage that would persist in hip hop culture.

Move to the streets
With the mystique of his graffiti name, his physical stature, and the reputation of his small parties, Herc became a folk hero in the Bronx. He began to play at nearby clubs including the Twilight Zone, Hevalo, Executive Playhouse, the PAL on 183rd Street, as well as at high schools such as Dodge and Taft. Rapping duties were delegated to Coke La Rock and Theodore Puccio. Herc's collective, known as The Herculoids, was augmented by Clark Kent and dancers The Nigga Twins. Herc took his soundsystem (the herculords) —still legendary for its sheer volume—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.

Influence on artists
In 1975, the young Grandmaster Flash, to whom Kool Herc was, in his words, "a hero", began DJing in Herc's style.  By 1976, Flash and his MCs The Furious Five played to a packed Audubon Ballroom in Manhattan. Venue owners were often nervous of unruly young crowds, however, and soon sent hip hop back to the clubs, community centres and high school gymnasiums of the Bronx.

Afrika Bambaataa first heard Kool Herc in 1973. Bambaataa, at that time a general in the notorious Black Spades gang of the Bronx, obtained his own soundsystem in 1975 and began to DJ in Herc's style, converting his followers to the non-violent Zulu Nation in the process. Kool Herc began using The Incredible Bongo Band's "Apache" as a break in 1975. It became a firm b-boy favorite—"the Bronx national anthem"—and is still in use in hip hop today. Steven Hager wrote of this period:

For over five years the Bronx had lived in constant terror of street gangs. Suddenly, in 1975, they disappeared almost as quickly as they had arrived. This happened because something better came along to replace the gangs. That something was eventually called hip-hop.

In 1979, the record company executive Sylvia Robinson assembled a group she called The Sugarhill Gang and recorded "Rapper's Delight". The hit song ushered in the era of commercially released hip hop. By that year's end, Grandmaster Flash was recording for Enjoy Records. In 1980, Afrika Bambaataa began recording for Winley. By this time, DJ Kool Herc's star had faded.

Grandmaster Flash suggests that Herc may not have kept pace with developments in techniques of cueing (lining up a record to play at a certain place on it). Developments changed techniques of cutting (switching from one record to another) and scratching (moving the record by hand to and fro under the stylus for percussive effect) in the late 1970s. Herc said he retreated from the scene after being stabbed at the Executive Playhouse while trying to intercede in a fight, and the burning down of one of his venues. In 1980, Herc had stopped DJing and was working in a record shop in South Bronx.

Later years
Kool Herc appeared in Hollywood's motion picture take on hip hop, Beat Street (Orion, 1984), as himself. In the mid-1980s, his father died, and he became addicted to crack cocaine. "I couldn't cope, so I started medicating", he says of this period.

In 1994, Herc performed on Terminator X & the Godfathers of Threatt's album, Super Bad. In 2005, he wrote the foreword to Jeff Chang's book on hip hop, Can't Stop Won't Stop. In 2005 he appeared in the music video of "Top 5 (Dead or Alive)" by Jin from the album The Emcee's Properganda. In 2006, he became involved in getting Hip Hop commemorated at the Smithsonian Institution museums. He participated in the 2007 Dance parade.

Since 2007, Herc has worked on a campaign to prevent 1520 Sedgwick Avenue from being sold to developers and withdrawn from its status as a Mitchell-Lama affordable housing property. In the summer of 2007, New York state officials declared 1520 Sedgwick Avenue the "birthplace of hip-hop", and nominated it to national and state historic registers. The city's Department of Housing Preservation and Development ruled against the proposed sale in February 2008, on the grounds that "the proposed purchase price is inconsistent with the use of property as a Mitchell-Lama affordable housing development". It is the first time they have so ruled in such a case.

Serious illness
According to a DJ Premier fan blog, The Sources website and other sites, DJ Kool Herc fell gravely ill in early 2011 and was said to lack health insurance. He had surgery for kidney stones, with a stent placed to relieve the pressure. He needed follow-up surgery but St. Barnabas Hospital in the Bronx, the site that performed the previous surgery, requested that he make a deposit toward the next surgery, because he had missed several follow-up visits. (The hospital noted that it would not turn away uninsured patients in the emergency room.) DJ Kool Herc and his family set up an official website on which he described his medical issue and set a larger goal of establishing the DJ Kool Herc Fund to pioneer long-term health care solutions. In April 2013, Campbell recovered from surgery and moved into post-medical care.

First vinyl record
In May 2019, Kool Herc released his first vinyl record with Mr. Green.

Discography

Albums
2019 – Last of the Classic Beats (with Mr. Green)

Guest appearances
Terminator X – "Herc's Message" from Super Bad (1994)
The Chemical Brothers – "Elektrobank" from Dig Your Own Hole (1997)
Substantial – "Sacrifice" from Sacrifice (2008)

Notes

References
Chang, Jeff. Can't Stop Won't Stop: A History of the Hip-Hop Generation. St. Martin's Press, New York: 2005. 
Cross, Brian. It's Not About A Salary...Rap, Race and Resistance in Los Angeles. New York: Verso, 1993. 
Hager, Steven, "Afrika Bambaataa's Hip-Hop", Village Voice, September 21, 1982. Reprinted in And It Don't Stop! The Best American Hip-Hop Journalism of the Last 25 Years. Cepeda, Raquel (ed.). New York: Faber and Faber, Inc., 2004. 
Ogg, Alex, with Upshall, David. The Hip Hop Years, London: Macmillan, 1999 
Shapiro, Peter. Rough Guide to Hip-Hop, 2nd. ed., London: Rough Guides, 2005 
Toop, David. Rap Attack, 3rd. ed., London: Serpent's Tail, 2000

External links

Official Website of DJ Kool Herc

A biography of DJ Kool Herc at OldSchoolHipHop.com
Lengthy Kool Herc bio @ hiphop.sh

1955 births
American rappers of Jamaican descent
American hip hop DJs
The Godfathers Of Threatt members
Jamaican hip hop musicians
Jamaican emigrants to the United States
Musicians from Kingston, Jamaica
Rappers from the Bronx
Living people
21st-century American rappers
Above the Influence originated as a government-based campaign of the National Youth Anti-Drug Media Campaign conducted by the Office of National Drug Control Policy in the United States that included broad messaging to focus on substances most abused by teens, intended to deliver both broad prevention messaging at the national level and more targeted efforts at the local community level.

The media campaign had two distinct areas of focus: a teen-targeted Above the Influence Campaign, and a young-adult-targeted anti-meth campaign. By law, the purpose of the media campaign was to prevent drug abuse among teens in the United States; increase awareness of adults of the impact of drug abuse on young people; and encourage parents and other interested adults to discuss with young people the dangers of illegal drug use.

The goal of this campaign was to help teens stand up to negative pressures, and influences. The more aware one becomes about the influences around them, the more prepared they will be to face them, including the pressure to use drugs and alcohol. 

"Above the Influence" is symbolized by its campaign logo featuring an arrow pointing up with a circle around it.

As of March 2014, federal funding and oversight of Above the Influence ceased, and it transitioned to become a program of the not-for-profit Partnership for Drug-Free Kids.

Studies
In 2006, the Government Accountability Office released the results of a five-year study, concluding that the previous "My Anti-Drug" campaign was ineffective, and likely counterproductive, leading those exposed to an increased perception that others use marijuana, stating, "analysis also indicated that among current, non-drug-using youth, exposure to the campaign had unfavorable effects on their anti-drug norms and perceptions of other youths’ use of marijuana — that is, greater exposure to the campaign was associated with weaker anti-drug norms and increases in the perceptions that others use marijuana."

In 2011, Ohio State University released the results of an independent scientific study stating that the Above the Influence campaign appears to have effectively reduced marijuana use by teenagers.

"Evidence for the success of Above the Influence is especially heartening because the primary independent evaluation of its predecessor campaign, 'My Anti-Drug', showed no evidence for success", said Michael Slater, principal investigator of the new study and professor of communication at Ohio State University. "The 'Above the Influence' campaign appears to be successful because it taps into the desire by teenagers to be independent and self-sufficient", Slater said.  He also mentioned the limitations of the study.  These include the fact that findings regarding the ONDCP campaign were based on survey results and not a randomized, experimental design in which some youth saw the ONDCP campaign and others did not.  Another limitation was that the study, while taking place in twenty communities around the U.S., did not use a random sample of U.S. youth.

See also
 TheTruth.com
 Public Service Announcement

References

External links
 
 Above the Influence White House whitepaper 

Advertising campaigns
History of drug control
Drug policy of the United States
2005 introductions
2005 neologisms
American advertising slogans
History of drug control in the United States Boris Vasilievich Avilov (1874–1938) was a Russian Marxist who left the Bolsheviks as he did no go along with their support for Lenin. He joined Vladimir Bazarov, Gavriil Lindov and others to form the United Social-Democrat Internationalists. They set out to bring together the Menshevik-Internationalists with the more moderate Bolsheviks into a new group. Despite always being very small, the group wielded a certain influence through the editorial line of their widely-read newspaper Novaya zhizn in 1917–18. At the Second All-Russia Congress of Soviets in October 1917 the group remained at the congress although the Mensheviks and Socialist-Revolutionaries walked out in protest over the Bolshevik seizure of power.

References

1874 births
1938 deaths