One consistent thing about hip hop is that it can and will flip anything. In this case, the phrase “break a leg,” usually associated with success, was remixed. With some help from the universe, it was symbolically changed — and with it, probably the trajectory of the history of hip hop — thanks to a broken arm.
“My DJ broke his arm, and we were booked to do a world tour,” recalled Kurtis Blow, hip hop’s first superstar, who became one of the major beneficiaries of these ripple effects, of the events that transpired roughly 40 years ago. “I asked him if he’d be ready to go and he said yes, but his father killed the plan. I was stuck and needed a DJ. My DJ suggested someone with equal skill and that was it: We made history.”
Peep the players in this story, in respective order: DJ Run (the son of Kurtis Blow) and Davy DMX — DJ Run relinquished his DJ position to Jason Mizell and partnered alongside Daryl McDaniels to form the collective RUN DMC. Davy DMX was able to parlay that opportunity to the heights of “All Time Great” in the hip hop genre, and his accolades were acknowledged Saturday, Aug. 24, as he was enshrined into the Long Island Music and Entertainment Hall of Fame (LIMEHOF).
This year’s class of Davy DMX, DJ Hurricane, and DJ Jazzy Jay took it back to the very essence of hip hop, as they paid homage to the glue of hip-hop music. “The induction of DJ Hurricane, Davy DMX, and DJ Jazzy Jay into the Long Island Music and Entertainment Hall of Fame highlights the importance of DJs in hip hop’s early days,” said LIMEHOF Vice Chair Tom Needham. “These pioneers transformed the art of DJing, making it a central element of the genre and influencing countless artists. Their legacy is a vital part of hip hop’s story, and we are proud to honor them.”
DJ Hurricane expressed gratitude, saying, “It’s always a blessing when someone wants to honor you and show that they appreciate the long hard work you put out through your career. I’m glad to be here to accept the flowers.”
To classify the class of 2024 as “just DJs” would be an inaccurate assumption. As the genre changed, so too did the role of the DJ. These three honorees also delved into the production realm to further justify their positions.
Blow, who was arguably the first to multitask on an A-level, understands that evolution all too well. “Production is a whole other world in rap/hip hop, and the DJ has a distinct advantage because he knows what people move to,” he said. He called his comrade Davy DMX “an incredible DJ, very accurate, fast, and quick.
“He was also a multi-talented musician. He plays guitar, bass, keyboards, and sings. From 1980 to 1986, when I was on my Rap Producer of the Year run, Dave was right there with me. In fact, this is the 40th anniversary of our greatest year in production. We had great records with Dr. Jeckle & Mr. Hyde, Sweet G, Love Bug Starski, the Fearless Four, and the Fat Boys.”
It was the following year that their legend was forged. “In 1985, Davy created the very first sample loop, which took the theory of the quick mix from the DJ and was able to keep a certain section of a song in continuous motion,” Blow said.
With that, the game changed forever. Early rap records until that time had a formula where studio musicians played popular radio songs or breakbeat staples. They could replicate the music but couldn’t duplicate the authenticity.
“With that song ‘If I Ruled The World,’ we revolutionized the whole industry because we were able to bring that real funk, soul, and feeling to hip hop,” said Blow.
With a lengthy résumé of stellar musicianship, Davy wants to make sure that the art of turntablism is maintained, just as he did early in his career. While researching his history, a story on YouTube caught my interest. The word is that cutting and scratching was a mystery in different regions of the country, particularly Los Angeles. Club owner Lonzo Willams invested in bringing one of the hottest acts in the country to his venue and got more than he bargained for. “The history of scratching on the West Coast came from the East Coast,” said Williams, who managed, at that time, a group called the World Class Wreckin’ Cru, featuring Dr. Dre and DJ Yella.
“I brought Kurtis Blow to California for the first time, and Davy DMX was his DJ. There was a song on his record with scratching, and we wanted to know how to make that noise. Davy taught Yella, and Yella taught Dre. Up until then, we weren’t scratching on the West Coast at all.”
That sentiment is what Davy wants to continue as he advises the present generation, “Always keep scratching in the music. We gotta keep the DJ in here.”
Concur, sir. Over and out, holla soon.
Like this:
Like Loading…
