Kool Herc: A Living Legend
Thirty five years after he began the movement, Kool Herc's house still stands.
Interview by Anda Untila
Photography by Che Kothari
DJ Kool Herc is the Bronx-battle-tested disc jockey that is most often credited for bringing the basic foundation of hip hop to life on the surfaces of his two turntables. In the early 1970's, at the age of twelve, he immigrated with his family to New York City from Kingston, Jamaica. Not long after, he began throwing his free community parties This is the young man who ignited the spark, with the technique of isolating the "break beat" of the classic funk, disco, soul and reggae records that he, and his mc crew, the Herculords expose to the audiences in the neighborhood. He and his soundbwoy crew were notorious around town for their dominating treble and bass speakers as part of his custom sound system. The immortal address of 1520 Sedgwick Avenue is where Herc and his sister first thought of making twenty five cents a head for one of their local jams. From those days, Herc has always kept it true to his intent of spreading peace love and good vibrations. Nearly fourty years ever since he came to America. He continues to give good music and good messages to anybody who wants to have a good time at the party. The legendary DJ Kool Herc is in many ways, hip hop’s architect.
EW: You helped give birth to hip hop almost four decades ago. That must be surreal for you. Where did you see hip hop going at the time?
KH: I didn’t know, I didn’t name it either (laugh’s). I was just doing my thing. People appreciated me, appreciated the music I was giving them, I didn’t act above them. I just let them know they can’t come up and do anything to destroy atmosphere for many more people. Nobody knew where it was going. Some were knocking it, they still knocking it today! Hip Hop is still in its infancy. Its only thirty five years old, its still young.
EW: So if you didn’t name it, who did?
KH: I throw the bone out there between Love Bug Starsky and Busy Bee. They can fight for that bone.
EW: But, credit is due…you pretty much laid down the blue print.
KH: Oh yeah, but at the time no one could for see the future, I didn’t know, we was just having fun. Weeks became months, months became year, year became years, years become decades.
EW: Your fun has become something universal.
KH: Yes, exactly. Its like Christmas and Christmas ain’t going no where. People just need to deal with hip hop and stop throwing rocks at it
EW: You are still getting bookings to dj events all over. What motivates you to still play?
KH: For who I am, and for the acknowledgement of getting called to be a part of a show, I respect that. A person of my position in hip hop, its only right to be at large hip hop events. I’m not out of place; people should dance to the music that started a culture. That should be exciting for people.
EW: Do you think get the respect you deserve?
KH: I’m trying to get back in it. I’m not known in certain circles, so I’m knocking at the back door trying to get back in, I’m looking at it like ‘Wow fellas can I get in?’ I cant.
EW: Do you think current hip hop artists are using the platform of hip hop properly?
KH: Well it was nice when Kanye West spoke for a community of cast outs. Not just white people, black people, just people who are not going to go up the ladder. Nobody knew it was coming, nothing was sent in advance, and when Kanye West used that platform to let his voice for the community be heard I respected that.
EW: Do you think that an mc has a responsibility to their audience?
KH: Not a responsibility, but he’s just letting me know that he’s sharing the same thing I’m feeling. No matter how much gold or jewelry he has, he’s still in touch with his race and is part of a whole. I wish many more up in his position would speak out and not worry about the money, loss of status, and all of that stuff.
EW: Do you think its possible to be true to the fundamentals of hip hop and still do well commercially?
KH: Why not? It brings the money to the table. That don’t mean you have to roll with it, you just put the money where its going to count and people can enjoy it. I don’t mind that cause this thing wasn’t suppose to go no where, now its making money. Use it but don’t misuse it; there’s a lot of misuse going on.
EW: You wrote the introduction to Def Jams “Can’t Stop, Won’t Stop” and in the end you said “people have to understand it’s not about keeping it real, it’s about keep it right”. Do you think that’s the essence of the struggle of hip hop today?
KH: It is. Don’t forget where you come from. I mean you don’t have to stay there, you can pass though, and you can lend your support. Bring it back to the neighborhood. We got a basketball court here and we need to pave it. You know, take care and preserve it. Don’t jerk it up when you bring it back here. But so far, not too many have brought it back besides the Cash Money Millionaire crew. They need to follow the example of those people right there, you know Manny Fresh and the Birdman, because they got schools with computers equipment for the neighborhood. They done bought the projects out, and that’s how powerful money is in hip hop; to buy out the projects
EW: Is it the commercialization and commoditization of the hip hop that has made people lose touch with what’s real?
KH: It can be, but I can’t knock something that wasn’t supposed to go no where. Firstly, black people aren’t supposed to exist on this continent and they do. And while they’re existing, they’re disrespected they ancestors so therefore it’s a lost generation of Jim Crow type of stuff that’s still here and we haven’t straightened that out. This music is just another form of escapism away from the reality and the reality is that we still here, not to exist, but to move and dance around making money and not looking out for the generation that’s coming behind them. It’s really out of touch and I don’t sign those guys checks so I cant run my mouth like I’m a hip hop saviour. I’m not with that; I’m here struggling like everybody else. I believe the powers that are out there, I don’t know why they don’t want to take a more political stand for the community not just for political and presidential stuff, I’m talking about community grass roots that there notoriety could bring attention to. The government doesn’t always have to come to bail you out. The government is here to assist you but we don’t always need to be waiting for their hand outs.
Catch Kool Herc on Myspace: http://www.myspace.com/thefatherofhiphop
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herc is cool
That last answer is crucial. Like Bambatta, Herc is not distracted by politrix power. The focus is the community around you, not banking on political leaders to give you support. This is where the self expression of hip hop meets the self determination of reggae and I guess it's not suprising coming from Herc who is basically a Jamaican soundsystem operator in New York. Big interview!
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Hello. I'm a rapper from Portugal called Nessa. I'm making a school work about HipHop (the origin, their elements and how is going HipHop in Portugal). I'm gonna make a presentation about that, so I have to search for good information to support my work and I put "Kool Herc" in google search. And appears this site, this interview by chance. But it's not by chance that appears this knowledge about HipHop. I just love the words of Kool Herc, and I'm so glad to see that a MAN like him can have such a humility.
"Hip Hop is still in its infancy. Its only thirty five years old, its still young." This quote make my day, my week, my year and possible my life. It's beautiful and motivator see that the father of HipHop will never renounce their kids. ONE LOVE
>> nessa_bu_202@hotmail.com
>> www.myspace.com/ladupla1
website information
hi, i am doing an assignment and i was wondering if i could use your picture of kool herc..pease send your reply to TWong@msben.nsw.edu.au
thankyou!