Part 1: History

Many of those new to beatmaking either haven’t made enough effort to learn the art form comprehensively, or they lack the resources to do so. Therefore, they are unfamiliar with the root structure and nuance of beatmaking and hip hop culture in general. This is why a study of the history of beatmaking and hip hop culture is critical. For it is through the unraveling of this history that we are all taken towards a truer understanding of hip hop’s and beatmaking’s essence and significance, both then and now. Also, this part covering the history of hip hop culture, hip hop/rap music, and beatmaking is especially crucial because the best way to preserve the culture and art form is by learning about its origins and its earliest developments; which makes learning from the earliest available resources and/or devoted practitioners of the art form essential. The key to the history and initial intentions of the art form can be found in the actions of its principle architects. Regardless of other opinions, theories, or assumptions, the principle architects remain the highest authorities.

I should further add that despite what some contemporaries may have you believe, the newest thing, trend, or development is always, essentially, a throwback or a homage to an earlier time within a given tradition. Hence, with the knowledge of the historical context in which hip hop/rap music was created, as well as with a historical account of the developments that occurred in the beatmaking tradition, you will be more comfortable in your moves towards innovation. Finally, as with any art form, it is necessary for beatmakers, being the auteurs that we are, to have a solid foundation (i.e. a healthy knowledge base and accurate historical understanding) in order to more effectively make beats.

Here, I should point out what kind of history exists in this part of the book. First, while this book is fundamentally about the beatmaking tradition as it exists within the hip hop/rap music tradition, no musical tradition can be properly understood outside of the context from which it was born. Therefore, the history part of this book is primarily concerned with the formative years of hip hop culture, hip hop/rap music, and, of course, the beatmaking tradition. Second, my aim is to present an accurate, objective audit of hip hop, one that is based on the historical evidence as it truly was, regardless of how favorable that historical evidence may have been or is to one group or the other. Point is, frank discussions based on the factual conditions that led to the formation (or formulation) of hip hop are critical to any real understanding of hip hop culture, hip hop/rap music, or beatmaking. Finally, it is not my purpose to romanticize the early history of hip hop. I’m certainly not concerned with sanitizing hip hop’s story, or presenting a neat and clean “version” of hip hop’s earliest beginnings in an effort to make some readers more comfortable. If the details of the historical backdrop of hip hop and its formation cause a level of discomfort for some readers, particularly with regards to the South Bronx Disaster, then I consider the history part of this study a success.