Hip-Hop Turns 40 - Chris "Preach" Smith

Where it all began, 1520 Sedgwick Avenue, The Bronx, NY.


Hip Hop turns 40 years of age. Today.

This culture, this art form we call hip hop celebrates its
birthday today with the first ever jam by the legendary
architect of the culture, DJ Kool Herc. It was held in the
rec room of 150 Sedgwick Avenue up in Morris Heights,
found in the Boogie Down Bronx. A simple back to school
jam for his sister became the origin point for a culture
that has seen tremendous heights on a global scale. It
is entirely surreal, and yet makes a whole lot of sense
to me and others in my generation that hip-hop turns
40 for a variety of reasons. Some more personal than
you would think.



I’ve been turning over and over in my mind exactly 
what it means for hip-hop to be 40. One of the first
things that stands out is just how ingrained it is within
our daily lives. Think about it: hip-hop is probably the
last true American musical art form since jazz. Born
from a melting pot of ingenuity and influences. It 
took inspiration and was shaped by many thanks to
Afrika Bambatta and the Universal Zulu Nation.
DJ’ing, the MC, breaking and writing. Four distinct
columns of a culture that at the outset was consigned
to the remnants of the South Bronx. Yet it survived.
Not without sacrifice, and not without love and care.
And perhaps that is why there is a bittersweet feeling
that lingers in the spirit. For a lot of us, there is a
vastly distinct difference between hip-hop and what
is peddled as hip-hop that we call ‘rap’. And it is sad,
but necessary to do. Because as the culture turns 40,
we realize that there is maturity, but not nearly enough
of it.

Take into account that most of the top MC’s and groups
in the culture are above 40 years of age. Hip-hop, as
I have stated before in earlier pieces, is a culture that
is vibrant and driven with the spirit of youth. And while
there are a slew of younger MC’s out there with quality
releases, it remains to be seen if they’ll have the staying
power of the older MC’s we’re all used to. And that is an
issue with many facets to it. Some of the older MC’s are
not supported by major labels who have eschewed art
for profit by any means. They’ve had to go the indie
route to keep releasing albums. There’s constant tours
and shows because this is their living. And not every
tour is like the recent Kings Of The Mic Tour put on by
LL Cool J. In most cases, they have to go overseas to
get substantial love and the paper to match. (More on
that in a bit.) The corporations behind these labels have
a LOT to do with that. They’ve pushed rappers with little
to no talent and a lot of crafted style to the forefront.
It almost becomes a musical dog and pony show, bling
optional. These rappers get crossover appeal and it brings
in the bucks. You’ll hear a Nicki Minaj or a Drake on pop
music stations all the time over someone like Eve or 
Nas. Superficiality over substance. The messages that 
would inform and empower get pushed aside for those
that say, ‘eat, drink, drug, spend, party’. This adds to the
negative imagery some have always had against hip-hop
since its inception. Much like jazz - when it began its rise,
it was referred to as ‘jungle music’ that spurred high
cannabis use. Now labels have exploited hip-hop to a
degree where private prison companies get in on the
action. (Looking at you, Interscope.)

Another issue as hip-hop gets older is, the accepted 
degradation of women. Misogyny and the mic go hand
in hand it seems more than ever, to the point where
rape is now being seen as clever thanks to Rick Ross
and others. If hip-hop is viewed by some as a religion
of sorts, then like those other major religions it seems
to have made the role of women a second-class one.
This despite the contributions of Sha Rock, Angie B,
Roxanne Shante and countless other women who
have commanded respect on the mic since day one.
The corporate influences are to blame, but so is the
peer pressure and lack of strutured education within
the culture. It’s issues like this and others that have
made a number in my age group who grew up with
the culture turn away from it in some degree.

DJ Kool Herc, today.

Afrika Bambatta.

There’s a passage from notable British-Indian author Salman
Rushdie’s Haroun and The Sea of Stories that sticks in the mind
whenever I discuss hip-hop and what it has been and some of
what has happened to it. “The oldest stories ever made, and
look at them now. We let them rot,we abandoned them, long
before this poisoning.” We have been part of the problems that
plague this culture. But what gives me hope, what gives many
of us who haven’t given up on hip-hop all this time hope is the
absolute LOVE that still lies at the heart of the culture. Head 
overseas and you’ll see that in full force. Check the documentary
‘Estilo Hip Hop’ and see how MCs and DJ’s in Peru make concerts
happen with equipment and an extension cord much like the park
jams of old around NYC back in the day. I’ve caught b-boy battles
in Amsterdam. Seen footage from shows in Tokyo. I’ve caught
a glimpse of graf pieces from all over the planet. That love is
there. And quiet as it’s kept, there are many hard at work here
to keep the culture relevant and present for all. There’s a good
number of educators now using hip-hop as a vital part of their
curriculum. There’s others who are using hip-hop music as ways
to teach about being entrepreneurs. And many others who still
continue to use hip-hop as a tool to educate and mobilize against
injustice here and abroad. Those people, as much as the pioneers,
need our attention. They need our love and respect.

Hip-hop turning 40 today is a moment not unlike that where
you realize that not only are you getting older, but those that
love and have guided you are as well. And you begin to truly
understand what it means to carry on the weight of their
lives and experiences in you. And you realize that it is your
duty to do so being that you love them. The same goes for
hip-hop. If the culture is to keep on, those of us who call
ourselves fans have to appreciate the contributions of those
who brought us to this point. Appreciate the new, but revere
the old with respect due to both. Rail against anything that’s
deleterious to hip-hop. And pass all that wisdom on to the 
babies. Because no culture can thrive if the knowledge isn’t
taken care of and passed on dutifully. Hip Hop is saving lives
daily, despite the negativity. Think about how many people
from its outset it saved. Think about how many have gotten
a purpose from this culture. Think about how, in 40 years,
Hip Hop permeates EVERYTHING on this planet. Can’t do
that without sacrifice, dedication and love.

Happy birthday to hip-hop. May you have 40 more years
and beyond.