Groove Music: The Art and Culture of the Hip-Hop DJ

By Mark Katz | Go to book overview

4
Expansions: 1983–1989

Barely known beyond a few Bronx ZIP codes, hip-hop in 1973 hadn’t yet been named, and few if anyone considered it—whatever exactly it was—to be a distinct art form. Ten years later, hip-hop was a household word and had an identity as a four-pillared artistic and cultural phenomenon combining music, dance, and painting. Millions of hip-hop records were funking up stereos across the world, while b-boying, MCing, and graffiti were known to millions more via newspapers, television, and film. Highbrow galleries featured the work of graffiti artists; national networks covered a b-boy battle staged outside Manhattans venerable Lincoln Center.1 Hip-hop was branching out, it was moving on up, and it was changing.

DJing was swept up in these changes as well, but the changes suggested conflicting possible futures for the art form. Some DJs were tremendously popular, holding forth at the hottest downtown New York venues or rocking audiences in Europe and Asia. The 1983 scratch vehicle “Rockit” made a star out of Grandmixer D.ST and showed the world that DJs could be instrumentalists in their own right. Yet these star DJs were outliers. More commonly, DJs of the early 1980s served to provide sonic support for MCs, at least those who weren’t replaced by digital audiotapes. Introduced in 1987, the DAT (digital audio tape) allowed producers to record beats onto high-quality backing tapes, which could then accompany MCs in concert, leaving many DJs out of the loop completely. As hip-hop journalist Lefty Banks observed, “The DAT eliminated the cost and hassle of bringing DJs on tour, and let rappers bask solo in the glow of the marquee.”2 But back in the pre-DAT age of 1983 it was anybody’s guess as to whether the art of the hip-hop DJ would flourish or fade.

In a sense the DJ both flourished and faded—faded from the mainstream, but flourished in the underground. These competing trajectories make it impossible

-100-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Groove Music: The Art and Culture of the Hip-Hop DJ
Table of contents

Table of contents

  • Title Page iii
  • Acknowledgments vii
  • Contents xiii
  • About the Companion Website xv
  • Introduction 3
  • 1 - The Breaks and the Bronx- 1973–1975 14
  • 2 - Mix and Scratch—The Turntable Becomes a Musical Instrument- 1975–1978 43
  • 3 - Out of the Bronx and into the Shadows- 1978–1983 70
  • 4 - Expansions- 1983–1989 100
  • 5 - Turntablism- 1989–1996 127
  • 6 - The Art of War-the Dj Battle- 1991–1996 153
  • 7 - Legitimacy- 1996–2002 179
  • 8 - Fallinq Barriers- 2002–2011 214
  • Conclusion- Full Circle 249
  • Appendices 254
  • Notes 265
  • Discography 296
  • Bibliography 303
  • Index 313
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 333

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.