“Tryin’ to Make a Dollar Out of Fifteen Cent”
The Emergence of Hip Hop as an Industry
By: Mike Schepker
Starting in the
late 1970’s
Hip
hop culture is a child of
Graffiti
is not a product of hip hop. Hip hop adopted
the art because they both represented the same feelings of the artists that
created it, the outcasts and people who were not given voices. Graffiti’s history can date back to World War
II.[1] The artists who sprayed graffiti around the
cities, especially in
Several galleries
were opened by “Fab 5” Freddy Braithwaite, the “Fab 5” being his graffiti group’s
moniker, with the help of some friends in the art world.[3] Some
of these taggers were able to sell twelve foot canvases of their work for
upwards of ten to twelve thousand dollars.[4] Some of the graffiti could be found in Subway Art, a glossy publication which
shows the fascinating pop culture that grew up around community art graffitists
in
Lee Quinones, a tagger
in
Insiders affiliated
with major labels never thought hip hop would make it onto radio. It was something that only the cool people
listened to; something you had to seek out and find in order to hear. It started out as two turntables mixing
records together with a Master of Ceremonies introducing each track. It evolved into a DJ show with disc jockeys
scratching and mixing the records while the MC (now Mic Controller instead of
Master of Ceremonies) spoke words over the instrumentals. Then, you finally had “rap,” where artists
would speak in rhythm over the music. These
DJs and MCs would play on the streets and parks of their neighborhoods, such as
the Bronx, Queensbridge, and other
Until 1979 the sole documentation of
The
DJ was one of the most important characters in the hip hop arena in the
1980’s. Innovators such as Afrika
Bambaataa, Kool Herc, and Grandmaster Flash turned the “wheels of steel” into a
bona fide instrument. Grandmaster Flash
popularized the scratching that Grand Wizard Theodore invented.[10] Flash was a showman who not only mixed the
records, but enjoyed putting on a show for the audience. He could spin with his back to the
turntables, as well as using his feet to mix the records. He also is credited for some major
innovations with the turntable. “Punch
phrasing,” playing a quick burst from a record on one turntable while it
continues on the other, and “break spinning,” alternately spinning both records
backward to repeat the same phrase over and over, are credited to Flash.[11] Because of his showmanship, Flash played to sold
out shows, at places like
This all changed
in 1979 when an unknown hip hop group called The Sugarhill Gang recorded
“Rapper’s Delight” that was released on Sugar Hill Records, an independent,
black-owned, label that was one of the first companies to make hip hop a product
to buy. The song became a
huge success as a single and eventually sold over two millions copies, peaking
at number four on the Billboard
R&B charts and number thirty-six on the pop charts.[13] This was really the first time hip hop left
the
Russell Simmons
was brought up in Hollis,
“Christmas
Rappin’” was Simmons’ first time of his illustrious career, that he entered the
studio. When the song was completed,
Simmons began shopping it around to various labels for release. As Simmons said in Life and Def: Sex, Drugs, Money + God, “There was interest, but no
one was biting. The industry’s attitude
was that “Rapper’s Delight,” despite its
Sugar Hill Records did find some more success on their roster. The legendary Grandmaster Flash and the Furious Five signed to Sugar Hill Records and made its mark in hip hop in 1980. The group released the record “Freedom” which hit the top 20 on the R&B charts. 1981’s “The Adventures of Grandmaster Flash on the Wheels of Steel” was the first record to feature complex cuts and scratches, and introduced the name Grandmaster Flash as their originator. But it was 1982’s “The Message” which became the first hip-hop social commentary on ghetto life, and which became a critical crossover hit for Grandmaster Flash and the Furious Five.[16] Meanwhile, Simmons was out on tour with Blow promoting the “Christmas Rappin’” single. Though Blow had two Gold singles (sales of five-hundred thousand each), hip hop was still far from the minds of the major labels in the industry. They still didn’t see it as a marketable form of music. While there were many very successful independent hip hop labels that started in the mid-eighties, Russell Simmons and Def Jam turned the underground hip hop movement into an industry, and made hip hop music and culture a marketable, successful product.
In 1984 two very
different people with very different backgrounds met and would come to create
one of the most successful musical ventures in the industry’s history. Not only was it that successful, but it was
successful with a music the major labels didn’t see as becoming
successful. The first guy was Rick
Rubin, a former punk musician who loved the rebelliousness of this new form of
music. The other was Russell Simmons, the
concert promoter in
In
1984, Simmons candidly told Gary Harris, a former Def Jam executive, “I’m sick
of making people rich. I want to own my
own shit, my own record label, my own movie company.”[17] It was this mentality that drove Simmons to
find Rubin. When Simmons found Rubin,
he was surprised to find a white kid, but then “realized that Rick Rubin and I
had a lot in common.”[18] Simmons decided to ask Rubin to co-produce an
album by RUN-D.M.C., a group that Simmons was working with that also included
his brother, Joseph Simmons. RUN-D.M.C.
were probably the most popular and successful hip hop act of the time, but that
did not mean they garnered much chart success.
It wasn’t until Rick Rubin convinced the boys of RUN-D.M.C. to
collaborate on a song with Aerosmith.
The result was “Walk this Way,” which became the first rap record to
appear in heavy rotation on MTV.
By this time, Simmons knew he did the right thing in pairing up with
Rubin, even though Simmons had been working with the group prior to meeting
Rubin, and the group was never signed to Def
Simmons and Rubin each put up four-thousand dollars for the formation of Def Jam Records. Simmons immediately started using his contacts from his promotion and management business, Rush Management, to gain the attention of Billboard magazine. Def Jam was officially founded in the summer of 1984. Simmons stated that, “The purpose of this company is to educate people as to the value of real street music by putting out records that nobody in the business world would distribute but us.”[19] Surprisingly, it was their work with people not on the label that gave them their initial notoriety. It was working on the album King of Rock by Run-D.M.C. that gained Rubin and Simmons recognition from major labels interested in what Rubin and Simmons were doing with the new phenomenon called hip hop. Not only was Simmons having huge success as a concert promoter, manager of such acts as Kurtis Blow and Run-D.M.C., but he also orchestrated one of the first hip hop clothing partnerships.
Simmons
and Lyer Cohan, who worked for Simmons’ Rush Management and would become head
of Def Jam Records, set up a deal with German shoe manufacturer, Adidas. While playing at
About
the same time that Rubin and Simmons started meeting with major labels for
distribution, a young MC from
With
the new distribution deal, Def Jam could finally afford to move out of the
dorms and into real offices. They moved
into a three-storey building in
The Beastie Boys only released one album on Def Jam Records before leaving because of royalty issues. But it was this one album, Licensed to Ill, which can be considered the most important album in Def Jam’s and even hip hop’s history. Licensed to Ill was the product of the rebel punk attitude that ran rampant in the 1980’s. In fact, before converting to the rap style in which they became famous, the Beastie Boys were members of various punk bands. It was this attitude that got them recognition from millions of teens. It was their rebellious behavior on tours with Run-D.M.C. and even Madonna, which won them fame in the media. With major exposure like this, it was no surprise to Simmons or Rubin that they would have a hit on their hands.
The album’s first
single was “(You Gotta) Fight for Your Right (To Party).”
Def Jam wasn’t the only label that helped hip hop become what it is today. The reason it receives so much attention in this paper, is because it is the company that demonstrates it the best out of all the others, and also because Simmons’ willingness to take chances in other industries, like movies, which will be addressed later. Now, it is appropriate to discuss briefly some of the other labels that helped propel hip hop forward.
Tommy Boy Records,
started in 1981, and released the definitive hip-hop 12” single, “Planet Rock”
by Afrika Bambaataa and the Soul Sonic Force. This was the record every DJ
coveted and had in their crates, this was the record that inspired countless
MC’s to pick up the mic, this was the record everyone rhymed over, in the parks
and in the clubs. Planet Rock exposed millions to the exciting
Sugar Hill Records, the company that introduced the world to hip hop in a big way, never experienced major success after their first record. As Russell Simmons said in Life and Def, “Sugar Hill should have been as successful and enduring a label as Def Jam, but they weren’t able to build on that early monopoly position. As more labels moved into the rap game, Sugar Hill’s deals looked less attractive, and the newer talent signed elsewhere.”[32] In 1986, Sugarhill Records declared bankruptcy.
Ruthless Records
was one of the first independent labels to hit it big on the West Coast. Founded by Eazy E, born Eric Wright, Ruthless
was surrounded by controversy from its inception. Shortly after its formation, the Federal
Government started investigating the label, claiming it was financed with drug
money. The controversy became even
bigger when Eazy E and friends Dr. Dre, MC Ren, DJ Yella, and Ice Cube formed
NWA. Their records sold millions and
created controversy with the single “Fuck the Police,” an indictment on corrupt
police officers in
With all the success that these record labels
had, it was only a matter of time before
One of the first movies to incorporate the hip hop culture was Breakin’, a story of a jazz dancer that meets up with two break dancers. To date, this movie has grossed upwards of thirty-six million dollars.[34] Because this was a low budget movie that grossed so much, the producers thought it necessary to create a sequel, entitled Breakin’ 2: Electric Boogaloo. In the sequel, break dancers prevent their local recreation center from being bulldozed. This movie was not as near successful, grossing only six million dollars.[35] What Breakin’ tried to do was copy from the successful movie Wild Style but wound up exploiting it. Wild Style, a film starring a variety of rappers, is considered one of the best hip hop movies. Not only did this 1982 movie expose more of the world to hip hop, but its soundtrack spread the music to areas where the film had not been shown. “The people in the film are the ones who helped create the original rap scene.”[36]
The next major
movie to be made by
One of the biggest hip hop movies of the 1980’s was, not surprisingly, based on Russell Simmons’ life. Krush Groove was loosely based on Def Jam Records’ formation, and included LL Cool J, Run-D.M.C., the Beastie Boys, Kurtis Blow, and Rick Rubin. The film had a three million dollar budget, and went on to gross fifteen million in theatres. The movie had a fun, light-hearted approach to the hip hop scene, focusing on the formation of the label and the ultimate prize for all the rappers in the movie, a contest in which the winner would get a recording contract with a major label. Of course, it was filmed as more of a hip hop musical, with the acts breaking out into songs throughout the movie. Even though this was produced with Rubin and Simmons, creative control went to the director. According to Simmons, “There were a lot of scenes that embarrassed us. They were too bubble-gum.”[38] This lead Simmons to create an edgier film, whose story was similar to the one in Krush Groove.
The resulting
“edgier” movie was Tougher than Leather. The story was about Run-D.M.C. getting
harassed by a group of gangsters. This
film also featured Def Jam acts, including the Beastie Boys, Slick Rick, and
Rick Rubin, as well as Simmons himself. The
movie cost only seven-hundred thousand to make, but that was almost lost when
Simmons couldn’t find anyone to distribute it.
Finally, he sold the rights to New Line Cinema and made the cost of the
movie back. The movie was criticized
deeply. One New York Times reporter claiming it was “vile, vicious, despicable,
stupid, sexist, racist and horrendously made.”[39] It did gross over three-million dollars in
the
In the 1980s you
saw hip hop music and culture become a major industry. Graffiti galleries were highly successful in
[1] George, Nelson. Hip Hop
[2] Ibid., 12
[3] Light, Alan. TheVibe
History of Hip Hop.
[4] The History of Graffiti. 12 Apr. 2005 <http://www.jam2dis.com/j2dgraffitihist1.htm>.
[5] Mcewen, Mike. "Graffiti: Art or Vandalism." The Advertiser 4 Oct. 1986: 1-3. Nationwide News Pty Limited. 12 Apr. 2005
[6] "Graffiti on Canvas." Newseek. 18 Apr. 1983: LexisNexis. 12 Apr. 2005. Keyword: Graffiti.
[7] The History of Graffiti Writing. Institut for Graffiti-Research. 12 Apr. 2005
<http://www.hiphop-network.com/articles/graffitiarticles/historyofg
raff-arpone.asp>.
[8] "Russell Simmons
Unplugged." 60 Minutes II. CBS,
<http://www.cbsnews.com/stories/2004/02/09/60II/printable598970.shtml>.
[9] David Toop, Rap Attack
African Jive to
[10] George, Nelson. Hip
Hop
[11] Ibid., 19.
[12] Ibid., 24.
[13] Light, Alan. TheVibe
History of Hip Hop.
[14] Ogg, Alex. The Men
Behind Def
[15] Ibid.
[16] Grandmaster Flash: Biography. 15 Apr. 2005 <http://www.grandmasterflash.com/bio.html>.
[17] Ogg, Alex. The Men
Behind Def
[18] Simmons, Russell. Life
and Def: Sex, Drugs, Money + God.
[19] Ogg, Alex. The Men
Behind Def
[20] Simmons, Russell. Life
and Def: Sex, Drugs, Money + God.
[21] Ogg, Alex. The Men
Behind Def
[22] Ibid., 38.
[23] Ibid., 39.
[24] Ibid., 58.
[25] Ibid., 59.
[26] "Top Black Charts." Billboard 29 Nov. 1986: 25.
[27] "Top Black Charts." Billboard 6 Dec. 1986: 28.
[28] Ogg, Alex. The Men
Behind Def
[29] Chappell, Kevin. "The Half-Billion-Dollar Hip-Hop Empire of Russell Simmons." Ebony July 2003: 169.
[30] Lee, James. Tommy Boy
Records. 12 Apr. 2005
<http://www.tommyboyfulfillment.com/story.html>.
[31] Reid, Shaheem. Hip-Hop is History. VH1. 11 Apr. 2005
<http://www.vh1.com/artists/news/1452827/03082002/digital_underground.jhtml>.
[32] Simmons, Russell. Life
and Def: Sex, Drugs, Money + God.
[33] Bone Thugs-n-Harmony. Sony Music. 11 Apr. 2005 <http://bonethugsnharmony.com/>.
[34] Business Data for
Breakin'. IMDB. 12 Apr. 2005 <http://imdb.com/title/tt0086998/business>.
[35] Business Data for Breakin' 2: Electric Boogaloo. IDMB. 12 Apr. 2005
<http://imdb.com/title/tt0086999/business>.
[36] Palmer, Robert. "The Pop Life; Rp and Hip-Hop Music in Wild Style." The New York Times 22 Feb.
1984, Late City Final ed., sec. C:18.
[37] Maslin, Janet. "The Screen: Rappin Opens." The New York Times 11 May 1985, Late City Final ed., sec.
1:14.
[38] Simmons, Russell. Life
and Def: Sex, Drugs, Money + God.
[39] Harrington, Richard.
"Movies; Leather: Rap Rip-Off." The
[40]Simmons, Russell. Life
and Def: Sex, Drugs, Money + God.
Copyright 2005 By Mike Schepker
Use of this work is prohibited. This work shall not be quoted or built upon without explicit written approval by the author. Contact mike (at) mikeschepker.com