40 thoughts on “Big Pun and the Puerto Rican/Latino presence in Hip Hop”
Pressed on this topic
Boricuas have been there from the beginning. Pun was just the latest and the greatest.
In Agreement
I totally agree with BronxBoy. Big Pun did not put us on the Hip-Hop map…he put us BACK on the map. Latinos have been there since day one.
history lesson
Maybe someone can provide some information for us too young or too old to remember. I remember the graffiti because my brother used to tag but not much else.
music
HI
RE: In Agreement
Your saying that Latinos have BEEN on the hip-hop map can u please give me some names before big pun? I must really not know enough about hip-hop but i cant say i recall any Hispanics that put it down as hard as pun did before him.
How about this
My boyz Latin Empire
RE: RE: In Agreement
Nobody put it down as hard as PUN did. What he did was ridiculous! Let’s not confuse the issues, but lets not forget the Hispanics who were representin’ on the scene before PUN. For instance the original Porto Rock of Latin Empire, Tito of the Fearless Four and Jimmy Lee of the original Rock Steady Crew. Let us not forget! There’s a documentary coming soon titled DAY ONE, which will explain it all. Look out for it early 2003.
RE: history lesson
Hi Clara,
We were having a discussion about the Latino presence in Hip-Hop. To bring you up to date, Big Pun was the first, solo, Latino Hip-Hop artist to go platinum with his first album “Capital Punishment”, but it is important to understand that Latinos have played an important part in the Hip-Hip revolution/culture since day one. A documentary titled “DAY ONE” will be out next year and will explain it all. Keep an eye out for it. All the best.
RE: music
Hi Quiggy,
We were having a discussion about the
Latino presence in Hip-Hop. To bring you
up to date, Big Pun was the first, solo,
Latino Hip-Hop artist to go platinum
with his first album “Capital Punishment
, but it is important to understand that
Latinos have played an important part in
the Hip-Hip revolution/culture since day
one. A documentary titled “DAY ONE” will
be out next year and will explain it all
Keep an eye out for it. All the best.
i saw the dvd on big pun
i saw big pun: still not a player and thought it was really great. it really tells you things about him that you might not want to know but you need to know in order to understand what was driving this poor devil.
The legacy of Latinos in Hip-Hop Y Mas.
There were many pioneers like Charlie Chase from Cold Crush Brothers, the original Rock Steady Crew, Rockwell, Lee Quinones, Jorge Fabel Pabon, Ken Swift, Tito, and so many, many others that were putting it down before Big Pun even knew what a microphone was.
Hip-Hop culture has been around since 1973(When Bam and the rest of the Zulus put the five elements together at the Bronx River Jams – B-boying, Mceeing, Djing, Graffity, and the most important, Knowledge of Self) but some can argue that the culture is as old as the music of the Diasporas. When you watch old Salsa concerts and see Singers doing Backspins or Bugalu artists singing in Rhyme Scatting, or old Semigrafias(Posters) created by the Nationalist in P.R., Cultural Murals by Chicanos in the West and South, Capoeira in Central Park, Clave and Rhumba Beats influencing DJ’s and beyond, you can see the influence that Latinos have on creating this culture. However, due to racism and divisions within the Black and Latino community, Latinos have largely been ignored by the Hip-Hop community(with the exception being the Zulus).
There has yet to be a book or film really created that actually chronicles Latinos involvement in the culture known as Hip-hop from an academic and historical perspective. Many have tried, but interviewing one or two cats is not chronicling the whole culture and Latinos inside that culture. You have to get all the pioneers to put their stamp on the Culture, then look at those academics who have been participating in the culture or can break down the historical roots of why a B-Boy Up-Rocks like a Capoeira Master, or why MCee’s sound like old Nuyorican Poetas, etc… This hasn’t been done although a few older scholars have tried to monopilize themselves here and there as the sole scholars of the Latino Hip-Hop movement. I think that actual young Hip-Hop Diaspora scholars who actually lived and breathed the culture combined with the actual pioneers of the past and present could possibly do a good job but I have yet to hear of funding being made available to do this. Many have tried but all have failed in making a true documentary, film, book on the whole Culture and Latinos impact. Although films like “Scratch” have come close while films like “Beat Street” and “Wild Style” just put money into opportunists pockets. You can’t talk about the MC without talking about the influence of the Nuyorican Poets. You can’t talk about the B-Boy without talking about Capoeira. Most important, you can’t talk about Hip-Hop culture without talking about early 1970’s New York Gang Culture.(See the Chingalings, Savage Skulls, Black Spades for reference. Some of the greatest B-boys that ever lived where Gang members.)
Notice that in this entire discussion I said Hip-Hop, and not Rap which is something completely different. One is a business another is a culture. Hip-Hop born 1973, Rap born 1979.
As far as Big Pun being the greatest, well that’s another issue. Was he gifted as an Emcee, yes! Was he the greatest Latino MC? No. In order to establish himself as the greatest, he would have had to battle every real Latino MC living out there and that’s not exactly how the story goes. Yes, he was quick with the tongue but as far as using his MC gifts to uplift and rapping about diverse subject matter to become a true MC who lives and breathes the culture, he was definitely limited. Not on the level of a KRS-ONE, or Black Thought, or even Guru as far as subject matter but definitely able to hold his own with rappers like Kool G. Rap, Nas, etc… For every Big Pun there are thousands of Latinos out there who can breathe fire with the gift of tongue but are never given the chance.
Big Pun was lucky in that he connected himself with the right people and had enough skills to know that connecting the Black and Latino Diasporas would sell records. His biggest hits came from addressing both his Latino and Black audience like Joe Cuba and Machito did back in their hey day. However, when it was all said and done, and you dissected his lyrics, there was nothing there that would move you to say that he was the greatest. Just because one can rap extra fast because they are carrying all this weight and need to breathe doesn’t make you the greatest. That’s like saying that Mike Jordan is the greatest Baller when there were cats playing in the ghettos of New York and at the Rucker who could probably outplay him in every position, etc… Can’t have a greatest cause there’s always someone out there with your number or with more GANAS!
The tragedy of Big Pun is that he was an abusive individual who himself was a product of abuse. He worked on his craft to create a better life for himself, but in the end, his own people let him eat himself to death instead of doing everything in their power to stop him or taking him to counseling for his abuse. People worshipped him while behind closed doors, he was merely a reflection of that man that he should have been. Instead of using his craft to move his people into learning their history and escaping the cycles of poverty, he used his craft to promote negativity and the Bling Bling lifestyle. The greatest sin in the world, wasted talent. Why go Platinum and move booties when you could use your skills to move mountains instead.
The greatest and tragic MC that ever lived was Hector Lavoe, but that’s another story, for another day…
Thank you
Thank you. You seem to have a wealth of information. Is there any way of contacting you?
RE: Thank you
Clara,
Good to see that some people do read the forum.
Leave me an email and I’ll contact you or a web address etc… cause you never know who is reading these forums. We could have the Puerto Rican Jeffrey Dahmer for all we know reading this forum so I tend to be careful.
Anyway, check out a book called “Musica” which chronicles the history of Latin music. Excellent book, the guideline for doing what Ken Burns did with Jazz except that we could do it with Latin Music.
RE: RE: Thank you
How do you know I’m not he? That is, the PR Dahmer. Kidding. Actually, I think it’s great that we have this forum to openly share this information. I’m sure that if I want to know, there are others too who want to know. Thanks.
RE: RE: RE: Thank you
Clara,
Let’s just say that those who know Nuyorican writers who are under the age of 35 and are Puerto Rican Scholars in their own right know who I am and what I do. Anyway, if you’re interested in knowing more just find out who are the current batch of Puerto writers Mavericks shaking the establishment today and are usually on tour lecturing in colleges and doign community work with youth. You’ll probably find me through the writings of this group.
Now if only Hollywood doesn’t mess up the Hector Lavoe Story or the movie on LA Lupe which is in the works… Ay Bendito! That’s asking for too much.
New Book: New York Ricans from the Hip Hop Zone
New York Puerto Ricans have been an integral part of hip hop culture since the very beginning: from 1970s pioneers like Rock Steady Crew’s Jo-Jo, to recent rap mega-stars Big Punisher and Angie Martinez. Yet, Puerto Rican participation and contributions to hip hop is frequently downplayed, if not completely ignored. When their presence has been acknowledged, it is usually misinterpreted as a defection from Puerto Rican culture and identity into the African American camp. But, Rivera argues nothing could be further from the truth. Through hip-hop, Puerto Ricans have simply stretched the boundaries of Puerto Ricanness and latinidad.
******
New York Ricans from the Hip Hop Zone
by Raquel Rivera
This is the first book to explore the Puerto Rican dimension of hip-hop. This volume explores the history of hip-hop music from the standpoint of the New York Puerto Rican community, which has been instrumental in its development.
stretching the boundaries period
The Puerto Rican presence in the formation and development of hip hop stretched the boundaries of that underground culture by keeping it in the mix — bregando, rather than staying within preset cultural margins in the U.S.
I would say that PR not only extended or stretched the boundaries of Puerto Rican identity but also stretched the boundaries of African American identity and culture. Thus, hip hop.
what about puerto Rican history between…?
me gustaria saber que paso en Puerto Rico entre 1800 y 1917,
Good question!
Perhaps this could be a future Forum topic. What was happening in Puerto RIco between 1800 and 1917? A great deal. In the 19th Century, Puerto Rico struggled for independence against Spain as most of the Spanish Empires colonies did. In fact, Simon Bolivar had part of his army attempt an invasion of Puerto Rico to liberate it. Slavery too was abolished. El Grito de Lares, the first massive and self-conscious attempt to overthrow colonialism took place in September 23, 1868.
reggae question
i want to know how did puerto ricans (hispanics) get to make this type of music….and were did it come from.
music coment
i think that big punisher was a big roll model in the u.s. he showed every rapper in the indistry that puerto rican
can flow also
I’m not a hater…
Why is it that only the rappers who hit Hot 97’s level of hip hop ever get any recognition? Tony Toca has worked with most of the big acts in hip hop but never gets any recognition. In all of his work he always mentions our culture in a positive light, adding history and cultural slangs that we all know. Only the “thugs wit tha drugs pumpin out slugs” get the model status? Meanwhile they’re only Puerto Rican (not even Boricua, maybe morena?) when the desfile comes through town.
Roll or Role?
He definitely was a ROLL model–considering how obscenely overweight he was. But I think you meant to say ROLE model. In this case, he excelled as a rapper but failed dismally as a husband. He used to beat his wife pretty badly it seems.
By the way, INDISTRY is spelled INDUSTRY–with a U not an I.
Just trying to be helpful.
RE: Good question!
Hi, You seem to know alot about our history. Can you recommend any books?
RE: reggae question
It came from puerto ricans that live in nyc and move to pr who start to let there family and friends listen to dancehall which comes from Jamaica and thats how it started
RE: reggae question
It came from puerto ricans that live in nyc and move to pr who start to let there family and friends listen to dancehall which comes from Jamaica and thats how it started
RE: The legacy of Latinos in Hip-Hop Y Mas.
Hey Reverend Pepe, I enjoyed ur message and appreciate your knowledge..i am in charge or puttin latin music programs together for my Latin American Student Organization (LASO), at Montclair State University, in New Jersey…I feel where your coming from and i want to use this position to education our Latin communiy on this issue…if there is a way i can contact u so we can talk more on this topic please inform me of ur contact information….feel free to contact me on my cell at 973-296-8322..thanx..
Some info you requested
I would start off with:
The Puerto Ricans: A documentary history
edited by Kal and Olga Wagenheim
Historia de Puerto RIco
by JL Vivas Maldonado
Island Paradox: Puerto Rico in the 1990’s
by Francisco L. Rivera-Batiz and Carlos E. Santiago
La Ayuda Militar Como Negocio: Estados Unidos y el Caribe
by Humberto Garcia Muñiz and Gloria Vega Rodriguez
RE: Not so!
Hip hop as a phenomenon grows out of the South Bronx and it is fundamentally a Nuyorican phenomenon that fuses with the African American and new Jamaican sounds (at the time) of reggae. But it happens in the Bronx. Not in Jamaica and Not in Harlem. It happened where all these cultures converged within the completely desolate and godforsaken South Bronx.
The Real Latino Presence in Hip-Hop
Familia,
Okay, since most of us reading this thread are looking for more information on Latinos in Hip-Hop, or to be exact, Puerto Ricans in Hip-Hop Culture, then I have the answer for you. Check out http://www.thefreshestkids.com/, a documentary about the B-boy and Hip-Hop culture.
As many of you might know, the B-boy or B-girl is the living embodiment of this culture we call Hip-Hop. This is by far the best documentary, “The Freshest Kids”, that I have seen on the subject matter. (NO, I am not associated with the film or getting paid by Pepe Jenkins or anyone named like that to promote the film. The documentary is simply, as we say in the old school: Fresh! No Pun intended)
I would have to say that I like this documentary a whole lot better then Raquel Z. Rivera’s book: New York Ricans from the HiP-Hop Zone, blah, blah, blah. While her book focused mostly on Big pun and the MC’s(Who come much later in the development of the culture), it only focuses one or two pages here and there on the B-boy. This I think was a critical mistake on something that could have been a great resource for those who want to learn more about Hip-Hop. Her book didn’t probe deep enough into the complexities of Hip-Hop culture and its development. How did the Savage Skulls and the Black Spades, vicious New York Gangs, contribute to Hip-Hop culture? How did the Boogaloo and Popping and Locking in the West Coast affect B-boys and Hip-Hop heads in the East Coast? Where was the early Nuyorican Poets in the phenomenom of MC development in the 70’s, etc…
The Freshest Kid documentary is good in that you meet the pioneers of this culture, Boricuas and others who where there from day one. Speaking in their own words and not by some academic who doesn’t even live this culture.
While I commend and respect all those who have come forth to put their mark on putting this culture into the academia, the actual words of the B-boy and B-Girl are still missing from the equation.I would rather read a book based on interviews then someone from the outside looking in at this culture. You get a fairer picture in that context.(By the way – Crazy Legs is not the say all and be all the Breaking when it comes to doing your research. There are others who were there from day one before he even knew what B-boying was about. He’s a talented individual with good knowledge but that doesn’t make him the God of Hip-Hop. Many folks always try to put all their research on one person when they try to talk about Hip-Hop. That’s just as absurd as saying that Russel Simmons is Hip-Hop.)In addition, the whole issue of Race is also put into one or two pages instead of focusing a whole chapter on how this affects the whole Hip-Hop community and perceptions by the Puerto Rican community of Hip-Hop culture.
So how does one get a hold of this documentary, they can either get it from the site or do like me, take their “culitos” down to “FAT BEATS” down in downtown NYC and buy it from them. If I have to tell folks what’s “Fat Beats” then that’s another post in this discussion board.
For the brother from NJ who likes this posting and wanted more information, I would say to try to bring cats like Jorge Fabel Pabon, Prince Ken Swift, TATS CRU, Baambataa, Wiggles, Sweepy or Lucky Strike if you really want to hear from folks who actually live and breathe this culture. Those are real Hip-Hop heads, not academics or BET/MTV folks, but actually grimy folks who sweat blood for this cultura.
Although,I do lecture on this and other subjects, them brothers are the most on point when it comes to Latinos in Hip-Hop. Also, try to check out the Rock Steady Crew videotapes that are available through the internet. Those are another source of information on this culture. Actually, see if you can attend their anniversay in NYC when they have it every year. Good place to meet with all kinds of Hip-Hop purist and see the culture first hand.
If that still doesn’t fill your fix for knowledge, check out the few Latino Speakers Bureaus that actually have Nuyorican scholars who know about this subject. Pa’lante! Y Suerte!
RE: The Real Latino Presence in Hip-Hop
i can tell u exactly how latinos effected POPPIN AND BOOGALOO
AND OTHER ARTFORMS. I AM ORIGINAL OF GROUP FROM THE BAY AREA.. THAT INFLUENCED WHAT IS KNOW TODAY ..
A GROUP FROM FRESNO ..THE ORIGINATED
BOOGALOO/POPPIN. :ELECTRIC BOOOGALO..
BUT EVEN BEFORE THERE WAS STRUTTING.. AND OTHER ARTFORMS..
miguel piñero
to anyone who might know something about the poet Piñero. I am Brazilian and I am a student of Literature. I read a few of Piñero’s plays and I fell in love with his writings. It is very hard for me to get a hold of his poems here in Brazil. If anyone has anything about the poet and any of his writings, please contact me. Thank you
ALL ABOUT THE MIMICING PUERTO RICAN RACE. ALL YOU PUERTO RICANS FRAUDULENTLY LOVE TO FABRICATE AND FORGED BLACK PEOPLE. TO THE PUERTO RICAN POSTERS, PUERTO RICAN DIDNOT CREATE RAP/HIP-HOP, YA MEANT THAT YOU PUERTO RICANS COPIED THE BLACK- AFRICAN-AMERICANS HIP-HOP CULTURE. PUERTO RICANS BOTH MALES AND FEMALES CULTURE IS TO COPY EVERY SINGLE THING BLACK PEOPLE DO, THEY NEED TO PUT DOWN THE PUERTO RICAN FLAG AND WAVE THE RED, BLACK AND GREEN FLAG, THAT’S HOW MUCH YOU PUERTO RICANS ARE MIMICING AND COPING EVERY SINGLE THING BLACK PEOPLE DO. PUERTO RICANS COPY OUR STYLES OF DRESS, PUERTO RICANS COPY OUR DANCES, NOTE BLACK PEOPLE CREATED BREAKDANCING BACK IN 1969, PUERTO RICANS CAME RIGHT BEHIND BLACK PEOPLE AS THEY ALWAYS DO, AFTER BLACK GANGS DROPPPED BREAKDANCING AND WAS OUT-OF-STYLE IN THE 70′S, THE PUERTO RICANS GRABBED THE DANCE AND ARE ALSO TRYING TO NOW SAY THEY CREATED THE DANCE. PUERTO RICANS ARE ALSO NOW TRYING TO SAY THEY CREATE RAP/HIP-HOP WHAT ARE YOU PUERTO RICANS THAT MUCH FULL OF THIEVERY THAT YOUR WILLING TO STEAL OUR CULTURE? PUERTO RICANS COPY OUR HAIR BRAIDS AND CORNROLLING THIER HAIR. PUERTO RICANS ARE EVEN STARTING TO DREAD LOC THIER HAIR, PUERTO RICANS ARE COPYING OUR MANNERISMS OUR SPEECH OUR SLANGS SUCH AS THE WORD NIGGA. AS IF THEY WAS SIDE BY SIDE WITH AFRICAN AMERICANS WHEN THE WHITE MAN WAS CALLING BLACK PEOPLE NIGGERS AND HANGING BLACK PEOPLE FROM TREES. YOU SPICS NEED TO KNOW THAT BLACK PEOPLE WHO ARE USING THAT WORD IS OUT OF HISTORICAL INJURY. WHY DO YOU PUERTO RICANS SO LOOSLY USE THE WORD NIGGER/NIGGA? WHEN YOU CAN USE THE WORD SPIC TO EACHOTHER? YOU NEED TO NOTE THAT NOT ALL BLACK PEOPLE LIKE TO HEAR THE WORD NIGGER/NIGGA AS LOOSLY AS YOU SPICS ARE USING IT AROUND OUR ELDER AFRICAN-AMERICAN BLACK PEOPLE IN AMERICA. YOUR A DISRESPECFUL BUNCH OF LATIN WHITE BASTARDS, THIS IS HOW MUCH YOU SPICS ARE IMITATING BLACK PEOPLE. MEANING OF PUERTO RICANS MEANS TO COPY THE ACTIONS, APPEARENCE, MANNERISM AND SPEECH OF BLACK PEOPLE. BUST THIS BELIEVE IT OR NOT, I SAW A SITE THAT MEXICANS INDIANS ARE SAYING THAT PUERTO RICANS HAVE STOLE THIER FOOD RECIPES AND CALLED IT THERE OWN AND MAKING MONEY OFF OF THEM. THIS PUERTO RICAN RAGGAETON IS ALSO COPIED FROM THE BLACK PEOPLE OF PANAMA, YOU PUERTO RICANS STOLE THAT AND MAKING LOTS OF MONEY OFF OF THIER MUSIC, PUERTO RICANS ALSO COPIED SALSA MUSIC FROM THE AFRICANS. THE TRUTH OF IT ALL IS THAT PUERTO RICANS ARE CULTURE MOCKERS. THEY ARE STEALING EVERYBODIES SHYT AND FAKING IT TO BE THIER OWN INVENTION. STOP THE MADNESS PUERTO RICAN’S BE YOURSELVES AND STOP TRY TO RE-EDIT YOURSELVES AS BEING PART OF THE CREATION OF THE HIP/HOP CULTURE. YOU PUERTO RICAN’S/LATINOS DONT CREATE NOTHING UNTIL BLACKS CREATE IT FIRST. EXAMPLE: THE WHITE SPAINARD MAN, YOUR GENETIC WHITE DADDIES OR PAPI’S USED TO CALL YOU PUERTO RICAN’S SPICS BUT INSTEAD OF IDENTIFYING YOURSELVES WITH CALLING EACHOTHER SPICS, YOU PERFER TO COPY BLACK PEOPLES SLANG WORDS SUCH A NIGGER/NIGGA. TO THAT FAT STINKY SPIC FAT JOE AND J-HO AND ALL OTHERS, DO YOU REALLY HAVE TO MOCK AND DICK AND CLIT RIDE BLACK PEOPLE SO MUCH, THAT YOU HAVE TO USE THE NIGGA WORD? WHY NOT USE SPIC OR SPIC-O-ROO’S. GOSH YOU PUERTO RICANS ARE SO UNORIGINAL. BLACK PEOPLE USE THE NIGGER/NIGGA WORD OUT OF HISTORICAL INJURY WHERE AS YOU MOCKING ASS PUERTO RICAN’S ARE USING IT AS A SLANG OR WHO KNOWS MAYBE EVEN AS A TERM OF FLAT OUT NIGGER TO BLACK PEOPLE. AFTER ALL YOU PUERTO RICANS ARE THE WHITE MANS SEED.
PUTTING-THIS-SELF-CREATED-PUERTO-RICAN-LIE-TO-REST-ONCE-FOR-ALL. MANY OF YOU PUERTO RICANS DON’T KNOW BLACK HISTORY THATS WHY ITS SO EASY FOR YOU PUERTO RICANS TO SAY THAT YOU HELPED TO CREATE THE RAP/HIP-HOP CULTURE. IN THE BEGINNING WAS AFRICA. THE AFRICAN TRIBAL RHYTHMS AND MUSICAL TRADITIONS SURVIVED THE TRANSPORTATION OF KIDNAPPED MILLIONS OF AFRICAN’S TO AMERICA, TO JAMAICA, TO HAITI, AND TO MANY OTHER LANDS, AFTER OVER 400 YRS OF SLAVERY IN AMERICA AND OTHER LANDS, THE OLD SOUNDS OF AFRICA BECAME THE SOUNDS OF THE AFRICAN AMERICANS THE JAMAICANS THE HAITIANS AND ALL OTHERS. THOSE BLACK PEOPLE WERE ALREADY RAPPING RHYTHMIC USE OF SPOKEN WORDS BACK THEN. BLACK PLANTATION WORKERS BEGAN TO SING TRIBAL CHANTS AGAINST THE WHITE MANS OPPRESIVE SOCIETY. THE JAMAICANS ALSO WERE SINGING TRIBAL CHANTS. SPEEDING UP TO NOW “THE GOD FATHER OF SOUL” “JAMES BROWN” 1933 TO 2006 RIP WAS ALSO A MAJOR INFLUENCE ON THE TECHNIQUE OF RAPPING AND BREAKDANCING. EVERYTHING BLACK PEOPLE OF AFRICAN DECENTANTS DO, YOU PUERTO RICANS HAVE TO COPY AND MIMIC US, AND ARE NOW TRYING TO MAKE A HISTORY ALONG SIDE WITH BLACK PEOPLE. KISS OUR ANCENSTORS BLACK ASSES, AND MY BLACK ASS TOO. YOU PUERTO RICANS WAS NOT EVEN IN AMERICA WHEN BLACK PEOPLE WERE RAPPING RHYTHMIC SEMI-SONGS. YOU PUERTO RICANS STARTED COMING TO AMERICA IN THE 1950’s? SPEEDING UP THE ERA TO THE 70’S. HOWEVER DJ KOOL HERC, AFRICA BAMBAATAA AND GRANDMASTER FLASH WHO ARE ALL OF AFRICAN DESCENDANT/BLACK PEOPLE, BEGAN TO EXPERIMENTED AND CREATE CUTTING AND SCRATCHING AND MIXING 2 COPIES OF THE SAME RECORD. BEFORE YOU PUERTO RICANS COPIED AND MIMIC THEM. SINCE WHEN HAVE YOU PUERTO RICANS BEEN USING RHYMING SLANG? EVERYBODY KNOWS THAT RHYMING SLANG STARTED AND BEGIN WITH BLACK PEOPLE, BUST THIS IN THE 70’S BLACK PIMPS WERE TALKING RHYMING SLANG IT WAS CALLED STREET JIVE. THE BLACK PEOPLE WERE HALF SINGING/THE RHYTHMIC STREET TALK/RAPPING. PUERTO RICANS DIDNOT CREATE RAP. SO GET THAT PUERTO RICANS LIE OUTTA YA HEADS. TO BLACK PEOPLE DON’T LET THE PUERTO RICANS RE-WRITE THEMSELVES AS EQUAL CREATORS IN OUR ORIGINAL MUSIC CREATIONS. PUERTO RICANS COPIED AND WILL ALWAYS COPY BLACK PEOPLE GLOBALLY. RIGHT NOW PUERTO RICANS ARE CURRENTLY COPYING OUR JAMAICAN BROTHAS REGGAE MUSIC. HOWEVER REGGAETON IS LACKING SOUL OF THE REAL ORIGINAL REGGAE. BLACK PEOPLE GLOBALLY WE ARE A UNIVERSAL PEOPLE WE ARE ALWAYS CREATING NEW DANCE MOVEMENTS AND NEW RHYTHMS, AND WILL ALWAYS BE MOCKED AND COPIED OTHERS BECAUSE THEY CAN’T CREATE NOTHING UNTIL WE BLACK PEOPLE CREATED IT FIRST. SO SAY IT LOUD WERE BLACK AND WERE PROUD! BLACK UNITY, ONE BLOOD, ONE LOVE. PS. ALL YOU PUERTO RICANS NEED TO BURN YOUR PUERTO RICAN FLAG AND RAISE THE RED, BLACK AND GREEN FLAG, BECAUSE YOU PUERTO RICANS ARE ALWAYS GONNA BE IN BLACK PEOPLE BITERS.
reall shit cuzz!
I have been following rap for awhile and going to New York Brooklyn and buying records ect. The Puerto Rican presence in hip hop was always there. Rock steady crew and remember all those break dance movies?
What about Mantronix and Lisa Lisa and the cult jam?
In the early 80s one of many Boricuas in the Hip Hop Hall Of Fame back in the days was M Morales (Prince M D) the main raper from the FAT BOYS. LEE MORALES best grafitty artist in the world was olso theare and he is from Ponce, Puerto Rico. What obout D.Js and turntabilist the list is to long it all started in the Disco era and hundreds of Puerto Rican were olready DJng at Studio 54 and at the South Bronx.
How Puerto Rican got in the SouthBronx in the early 50s and went to war with blacks and italians and got their space in the SouthBronx called “El Barrio” in N.Y. theares a Documentary called Yo Soy Boricua PA’Que Tu LO Sepas! an Original IFC document. Uncover the side of Puerto Ricans absent from U.S. history books. This document is Directed by Rosie Perez. Jamaican talent, Puerto Rican talent and afro american talent were all united in this life style called HipHop. Thanks to the Godfather of Hiphop D.J. Affrica Bambatta (Zulu Nation) our Puerto Rican talent was officialy united in the Zulu Nation. Remember our war/strugle back in the days at the South Bronx, we all came a long way. Pease and unity.
Hip Hop is Black Music/Culture. Ricans came LATER! Stop trying to make excuses
Pressed on this topic
Boricuas have been there from the beginning. Pun was just the latest and the greatest.
In Agreement
I totally agree with BronxBoy. Big Pun did not put us on the Hip-Hop map…he put us BACK on the map. Latinos have been there since day one.
history lesson
Maybe someone can provide some information for us too young or too old to remember. I remember the graffiti because my brother used to tag but not much else.
music
HI
RE: In Agreement
Your saying that Latinos have BEEN on the hip-hop map can u please give me some names before big pun? I must really not know enough about hip-hop but i cant say i recall any Hispanics that put it down as hard as pun did before him.
How about this
My boyz Latin Empire
RE: RE: In Agreement
Nobody put it down as hard as PUN did. What he did was ridiculous! Let’s not confuse the issues, but lets not forget the Hispanics who were representin’ on the scene before PUN. For instance the original Porto Rock of Latin Empire, Tito of the Fearless Four and Jimmy Lee of the original Rock Steady Crew. Let us not forget! There’s a documentary coming soon titled DAY ONE, which will explain it all. Look out for it early 2003.
RE: history lesson
Hi Clara,
We were having a discussion about the Latino presence in Hip-Hop. To bring you up to date, Big Pun was the first, solo, Latino Hip-Hop artist to go platinum with his first album “Capital Punishment”, but it is important to understand that Latinos have played an important part in the Hip-Hip revolution/culture since day one. A documentary titled “DAY ONE” will be out next year and will explain it all. Keep an eye out for it. All the best.
RE: music
Hi Quiggy,
We were having a discussion about the
Latino presence in Hip-Hop. To bring you
up to date, Big Pun was the first, solo,
Latino Hip-Hop artist to go platinum
with his first album “Capital Punishment
, but it is important to understand that
Latinos have played an important part in
the Hip-Hip revolution/culture since day
one. A documentary titled “DAY ONE” will
be out next year and will explain it all
Keep an eye out for it. All the best.
i saw the dvd on big pun
i saw big pun: still not a player and thought it was really great. it really tells you things about him that you might not want to know but you need to know in order to understand what was driving this poor devil.
The legacy of Latinos in Hip-Hop Y Mas.
There were many pioneers like Charlie Chase from Cold Crush Brothers, the original Rock Steady Crew, Rockwell, Lee Quinones, Jorge Fabel Pabon, Ken Swift, Tito, and so many, many others that were putting it down before Big Pun even knew what a microphone was.
Hip-Hop culture has been around since 1973(When Bam and the rest of the Zulus put the five elements together at the Bronx River Jams – B-boying, Mceeing, Djing, Graffity, and the most important, Knowledge of Self) but some can argue that the culture is as old as the music of the Diasporas. When you watch old Salsa concerts and see Singers doing Backspins or Bugalu artists singing in Rhyme Scatting, or old Semigrafias(Posters) created by the Nationalist in P.R., Cultural Murals by Chicanos in the West and South, Capoeira in Central Park, Clave and Rhumba Beats influencing DJ’s and beyond, you can see the influence that Latinos have on creating this culture. However, due to racism and divisions within the Black and Latino community, Latinos have largely been ignored by the Hip-Hop community(with the exception being the Zulus).
There has yet to be a book or film really created that actually chronicles Latinos involvement in the culture known as Hip-hop from an academic and historical perspective. Many have tried, but interviewing one or two cats is not chronicling the whole culture and Latinos inside that culture. You have to get all the pioneers to put their stamp on the Culture, then look at those academics who have been participating in the culture or can break down the historical roots of why a B-Boy Up-Rocks like a Capoeira Master, or why MCee’s sound like old Nuyorican Poetas, etc… This hasn’t been done although a few older scholars have tried to monopilize themselves here and there as the sole scholars of the Latino Hip-Hop movement. I think that actual young Hip-Hop Diaspora scholars who actually lived and breathed the culture combined with the actual pioneers of the past and present could possibly do a good job but I have yet to hear of funding being made available to do this. Many have tried but all have failed in making a true documentary, film, book on the whole Culture and Latinos impact. Although films like “Scratch” have come close while films like “Beat Street” and “Wild Style” just put money into opportunists pockets. You can’t talk about the MC without talking about the influence of the Nuyorican Poets. You can’t talk about the B-Boy without talking about Capoeira. Most important, you can’t talk about Hip-Hop culture without talking about early 1970’s New York Gang Culture.(See the Chingalings, Savage Skulls, Black Spades for reference. Some of the greatest B-boys that ever lived where Gang members.)
Notice that in this entire discussion I said Hip-Hop, and not Rap which is something completely different. One is a business another is a culture. Hip-Hop born 1973, Rap born 1979.
As far as Big Pun being the greatest, well that’s another issue. Was he gifted as an Emcee, yes! Was he the greatest Latino MC? No. In order to establish himself as the greatest, he would have had to battle every real Latino MC living out there and that’s not exactly how the story goes. Yes, he was quick with the tongue but as far as using his MC gifts to uplift and rapping about diverse subject matter to become a true MC who lives and breathes the culture, he was definitely limited. Not on the level of a KRS-ONE, or Black Thought, or even Guru as far as subject matter but definitely able to hold his own with rappers like Kool G. Rap, Nas, etc… For every Big Pun there are thousands of Latinos out there who can breathe fire with the gift of tongue but are never given the chance.
Big Pun was lucky in that he connected himself with the right people and had enough skills to know that connecting the Black and Latino Diasporas would sell records. His biggest hits came from addressing both his Latino and Black audience like Joe Cuba and Machito did back in their hey day. However, when it was all said and done, and you dissected his lyrics, there was nothing there that would move you to say that he was the greatest. Just because one can rap extra fast because they are carrying all this weight and need to breathe doesn’t make you the greatest. That’s like saying that Mike Jordan is the greatest Baller when there were cats playing in the ghettos of New York and at the Rucker who could probably outplay him in every position, etc… Can’t have a greatest cause there’s always someone out there with your number or with more GANAS!
The tragedy of Big Pun is that he was an abusive individual who himself was a product of abuse. He worked on his craft to create a better life for himself, but in the end, his own people let him eat himself to death instead of doing everything in their power to stop him or taking him to counseling for his abuse. People worshipped him while behind closed doors, he was merely a reflection of that man that he should have been. Instead of using his craft to move his people into learning their history and escaping the cycles of poverty, he used his craft to promote negativity and the Bling Bling lifestyle. The greatest sin in the world, wasted talent. Why go Platinum and move booties when you could use your skills to move mountains instead.
The greatest and tragic MC that ever lived was Hector Lavoe, but that’s another story, for another day…
Thank you
Thank you. You seem to have a wealth of information. Is there any way of contacting you?
RE: Thank you
Clara,
Good to see that some people do read the forum.
Leave me an email and I’ll contact you or a web address etc… cause you never know who is reading these forums. We could have the Puerto Rican Jeffrey Dahmer for all we know reading this forum so I tend to be careful.
Anyway, check out a book called “Musica” which chronicles the history of Latin music. Excellent book, the guideline for doing what Ken Burns did with Jazz except that we could do it with Latin Music.
RE: RE: Thank you
How do you know I’m not he? That is, the PR Dahmer. Kidding. Actually, I think it’s great that we have this forum to openly share this information. I’m sure that if I want to know, there are others too who want to know. Thanks.
RE: RE: RE: Thank you
Clara,
Let’s just say that those who know Nuyorican writers who are under the age of 35 and are Puerto Rican Scholars in their own right know who I am and what I do. Anyway, if you’re interested in knowing more just find out who are the current batch of Puerto writers Mavericks shaking the establishment today and are usually on tour lecturing in colleges and doign community work with youth. You’ll probably find me through the writings of this group.
Now if only Hollywood doesn’t mess up the Hector Lavoe Story or the movie on LA Lupe which is in the works… Ay Bendito! That’s asking for too much.
New Book: New York Ricans from the Hip Hop Zone
New York Puerto Ricans have been an integral part of hip hop culture since the very beginning: from 1970s pioneers like Rock Steady Crew’s Jo-Jo, to recent rap mega-stars Big Punisher and Angie Martinez. Yet, Puerto Rican participation and contributions to hip hop is frequently downplayed, if not completely ignored. When their presence has been acknowledged, it is usually misinterpreted as a defection from Puerto Rican culture and identity into the African American camp. But, Rivera argues nothing could be further from the truth. Through hip-hop, Puerto Ricans have simply stretched the boundaries of Puerto Ricanness and latinidad.
******
New York Ricans from the Hip Hop Zone
by Raquel Rivera
This is the first book to explore the Puerto Rican dimension of hip-hop. This volume explores the history of hip-hop music from the standpoint of the New York Puerto Rican community, which has been instrumental in its development.
stretching the boundaries period
The Puerto Rican presence in the formation and development of hip hop stretched the boundaries of that underground culture by keeping it in the mix — bregando, rather than staying within preset cultural margins in the U.S.
I would say that PR not only extended or stretched the boundaries of Puerto Rican identity but also stretched the boundaries of African American identity and culture. Thus, hip hop.
what about puerto Rican history between…?
me gustaria saber que paso en Puerto Rico entre 1800 y 1917,
Good question!
Perhaps this could be a future Forum topic. What was happening in Puerto RIco between 1800 and 1917? A great deal. In the 19th Century, Puerto Rico struggled for independence against Spain as most of the Spanish Empires colonies did. In fact, Simon Bolivar had part of his army attempt an invasion of Puerto Rico to liberate it. Slavery too was abolished. El Grito de Lares, the first massive and self-conscious attempt to overthrow colonialism took place in September 23, 1868.
reggae question
i want to know how did puerto ricans (hispanics) get to make this type of music….and were did it come from.
music coment
i think that big punisher was a big roll model in the u.s. he showed every rapper in the indistry that puerto rican
can flow also
I’m not a hater…
Why is it that only the rappers who hit Hot 97’s level of hip hop ever get any recognition? Tony Toca has worked with most of the big acts in hip hop but never gets any recognition. In all of his work he always mentions our culture in a positive light, adding history and cultural slangs that we all know. Only the “thugs wit tha drugs pumpin out slugs” get the model status? Meanwhile they’re only Puerto Rican (not even Boricua, maybe morena?) when the desfile comes through town.
Roll or Role?
He definitely was a ROLL model–considering how obscenely overweight he was. But I think you meant to say ROLE model. In this case, he excelled as a rapper but failed dismally as a husband. He used to beat his wife pretty badly it seems.
By the way, INDISTRY is spelled INDUSTRY–with a U not an I.
Just trying to be helpful.
RE: Good question!
Hi, You seem to know alot about our history. Can you recommend any books?
RE: reggae question
It came from puerto ricans that live in nyc and move to pr who start to let there family and friends listen to dancehall which comes from Jamaica and thats how it started
RE: reggae question
It came from puerto ricans that live in nyc and move to pr who start to let there family and friends listen to dancehall which comes from Jamaica and thats how it started
RE: The legacy of Latinos in Hip-Hop Y Mas.
Hey Reverend Pepe, I enjoyed ur message and appreciate your knowledge..i am in charge or puttin latin music programs together for my Latin American Student Organization (LASO), at Montclair State University, in New Jersey…I feel where your coming from and i want to use this position to education our Latin communiy on this issue…if there is a way i can contact u so we can talk more on this topic please inform me of ur contact information….feel free to contact me on my cell at 973-296-8322..thanx..
Some info you requested
I would start off with:
The Puerto Ricans: A documentary history
edited by Kal and Olga Wagenheim
Historia de Puerto RIco
by JL Vivas Maldonado
Island Paradox: Puerto Rico in the 1990’s
by Francisco L. Rivera-Batiz and Carlos E. Santiago
La Ayuda Militar Como Negocio: Estados Unidos y el Caribe
by Humberto Garcia Muñiz and Gloria Vega Rodriguez
RE: Not so!
Hip hop as a phenomenon grows out of the South Bronx and it is fundamentally a Nuyorican phenomenon that fuses with the African American and new Jamaican sounds (at the time) of reggae. But it happens in the Bronx. Not in Jamaica and Not in Harlem. It happened where all these cultures converged within the completely desolate and godforsaken South Bronx.
The Real Latino Presence in Hip-Hop
Familia,
Okay, since most of us reading this thread are looking for more information on Latinos in Hip-Hop, or to be exact, Puerto Ricans in Hip-Hop Culture, then I have the answer for you. Check out http://www.thefreshestkids.com/, a documentary about the B-boy and Hip-Hop culture.
As many of you might know, the B-boy or B-girl is the living embodiment of this culture we call Hip-Hop. This is by far the best documentary, “The Freshest Kids”, that I have seen on the subject matter. (NO, I am not associated with the film or getting paid by Pepe Jenkins or anyone named like that to promote the film. The documentary is simply, as we say in the old school: Fresh! No Pun intended)
I would have to say that I like this documentary a whole lot better then Raquel Z. Rivera’s book: New York Ricans from the HiP-Hop Zone, blah, blah, blah. While her book focused mostly on Big pun and the MC’s(Who come much later in the development of the culture), it only focuses one or two pages here and there on the B-boy. This I think was a critical mistake on something that could have been a great resource for those who want to learn more about Hip-Hop. Her book didn’t probe deep enough into the complexities of Hip-Hop culture and its development. How did the Savage Skulls and the Black Spades, vicious New York Gangs, contribute to Hip-Hop culture? How did the Boogaloo and Popping and Locking in the West Coast affect B-boys and Hip-Hop heads in the East Coast? Where was the early Nuyorican Poets in the phenomenom of MC development in the 70’s, etc…
The Freshest Kid documentary is good in that you meet the pioneers of this culture, Boricuas and others who where there from day one. Speaking in their own words and not by some academic who doesn’t even live this culture.
While I commend and respect all those who have come forth to put their mark on putting this culture into the academia, the actual words of the B-boy and B-Girl are still missing from the equation.I would rather read a book based on interviews then someone from the outside looking in at this culture. You get a fairer picture in that context.(By the way – Crazy Legs is not the say all and be all the Breaking when it comes to doing your research. There are others who were there from day one before he even knew what B-boying was about. He’s a talented individual with good knowledge but that doesn’t make him the God of Hip-Hop. Many folks always try to put all their research on one person when they try to talk about Hip-Hop. That’s just as absurd as saying that Russel Simmons is Hip-Hop.)In addition, the whole issue of Race is also put into one or two pages instead of focusing a whole chapter on how this affects the whole Hip-Hop community and perceptions by the Puerto Rican community of Hip-Hop culture.
So how does one get a hold of this documentary, they can either get it from the site or do like me, take their “culitos” down to “FAT BEATS” down in downtown NYC and buy it from them. If I have to tell folks what’s “Fat Beats” then that’s another post in this discussion board.
For the brother from NJ who likes this posting and wanted more information, I would say to try to bring cats like Jorge Fabel Pabon, Prince Ken Swift, TATS CRU, Baambataa, Wiggles, Sweepy or Lucky Strike if you really want to hear from folks who actually live and breathe this culture. Those are real Hip-Hop heads, not academics or BET/MTV folks, but actually grimy folks who sweat blood for this cultura.
Although,I do lecture on this and other subjects, them brothers are the most on point when it comes to Latinos in Hip-Hop. Also, try to check out the Rock Steady Crew videotapes that are available through the internet. Those are another source of information on this culture. Actually, see if you can attend their anniversay in NYC when they have it every year. Good place to meet with all kinds of Hip-Hop purist and see the culture first hand.
If that still doesn’t fill your fix for knowledge, check out the few Latino Speakers Bureaus that actually have Nuyorican scholars who know about this subject. Pa’lante! Y Suerte!
RE: The Real Latino Presence in Hip-Hop
i can tell u exactly how latinos effected POPPIN AND BOOGALOO
AND OTHER ARTFORMS. I AM ORIGINAL OF GROUP FROM THE BAY AREA.. THAT INFLUENCED WHAT IS KNOW TODAY ..
A GROUP FROM FRESNO ..THE ORIGINATED
BOOGALOO/POPPIN. :ELECTRIC BOOOGALO..
BUT EVEN BEFORE THERE WAS STRUTTING.. AND OTHER ARTFORMS..
miguel piñero
to anyone who might know something about the poet Piñero. I am Brazilian and I am a student of Literature. I read a few of Piñero’s plays and I fell in love with his writings. It is very hard for me to get a hold of his poems here in Brazil. If anyone has anything about the poet and any of his writings, please contact me. Thank you
ALL ABOUT THE MIMICING PUERTO RICAN RACE. ALL YOU PUERTO RICANS FRAUDULENTLY LOVE TO FABRICATE AND FORGED BLACK PEOPLE. TO THE PUERTO RICAN POSTERS, PUERTO RICAN DIDNOT CREATE RAP/HIP-HOP, YA MEANT THAT YOU PUERTO RICANS COPIED THE BLACK- AFRICAN-AMERICANS HIP-HOP CULTURE. PUERTO RICANS BOTH MALES AND FEMALES CULTURE IS TO COPY EVERY SINGLE THING BLACK PEOPLE DO, THEY NEED TO PUT DOWN THE PUERTO RICAN FLAG AND WAVE THE RED, BLACK AND GREEN FLAG, THAT’S HOW MUCH YOU PUERTO RICANS ARE MIMICING AND COPING EVERY SINGLE THING BLACK PEOPLE DO. PUERTO RICANS COPY OUR STYLES OF DRESS, PUERTO RICANS COPY OUR DANCES, NOTE BLACK PEOPLE CREATED BREAKDANCING BACK IN 1969, PUERTO RICANS CAME RIGHT BEHIND BLACK PEOPLE AS THEY ALWAYS DO, AFTER BLACK GANGS DROPPPED BREAKDANCING AND WAS OUT-OF-STYLE IN THE 70′S, THE PUERTO RICANS GRABBED THE DANCE AND ARE ALSO TRYING TO NOW SAY THEY CREATED THE DANCE. PUERTO RICANS ARE ALSO NOW TRYING TO SAY THEY CREATE RAP/HIP-HOP WHAT ARE YOU PUERTO RICANS THAT MUCH FULL OF THIEVERY THAT YOUR WILLING TO STEAL OUR CULTURE? PUERTO RICANS COPY OUR HAIR BRAIDS AND CORNROLLING THIER HAIR. PUERTO RICANS ARE EVEN STARTING TO DREAD LOC THIER HAIR, PUERTO RICANS ARE COPYING OUR MANNERISMS OUR SPEECH OUR SLANGS SUCH AS THE WORD NIGGA. AS IF THEY WAS SIDE BY SIDE WITH AFRICAN AMERICANS WHEN THE WHITE MAN WAS CALLING BLACK PEOPLE NIGGERS AND HANGING BLACK PEOPLE FROM TREES. YOU SPICS NEED TO KNOW THAT BLACK PEOPLE WHO ARE USING THAT WORD IS OUT OF HISTORICAL INJURY. WHY DO YOU PUERTO RICANS SO LOOSLY USE THE WORD NIGGER/NIGGA? WHEN YOU CAN USE THE WORD SPIC TO EACHOTHER? YOU NEED TO NOTE THAT NOT ALL BLACK PEOPLE LIKE TO HEAR THE WORD NIGGER/NIGGA AS LOOSLY AS YOU SPICS ARE USING IT AROUND OUR ELDER AFRICAN-AMERICAN BLACK PEOPLE IN AMERICA. YOUR A DISRESPECFUL BUNCH OF LATIN WHITE BASTARDS, THIS IS HOW MUCH YOU SPICS ARE IMITATING BLACK PEOPLE. MEANING OF PUERTO RICANS MEANS TO COPY THE ACTIONS, APPEARENCE, MANNERISM AND SPEECH OF BLACK PEOPLE. BUST THIS BELIEVE IT OR NOT, I SAW A SITE THAT MEXICANS INDIANS ARE SAYING THAT PUERTO RICANS HAVE STOLE THIER FOOD RECIPES AND CALLED IT THERE OWN AND MAKING MONEY OFF OF THEM. THIS PUERTO RICAN RAGGAETON IS ALSO COPIED FROM THE BLACK PEOPLE OF PANAMA, YOU PUERTO RICANS STOLE THAT AND MAKING LOTS OF MONEY OFF OF THIER MUSIC, PUERTO RICANS ALSO COPIED SALSA MUSIC FROM THE AFRICANS. THE TRUTH OF IT ALL IS THAT PUERTO RICANS ARE CULTURE MOCKERS. THEY ARE STEALING EVERYBODIES SHYT AND FAKING IT TO BE THIER OWN INVENTION. STOP THE MADNESS PUERTO RICAN’S BE YOURSELVES AND STOP TRY TO RE-EDIT YOURSELVES AS BEING PART OF THE CREATION OF THE HIP/HOP CULTURE. YOU PUERTO RICAN’S/LATINOS DONT CREATE NOTHING UNTIL BLACKS CREATE IT FIRST. EXAMPLE: THE WHITE SPAINARD MAN, YOUR GENETIC WHITE DADDIES OR PAPI’S USED TO CALL YOU PUERTO RICAN’S SPICS BUT INSTEAD OF IDENTIFYING YOURSELVES WITH CALLING EACHOTHER SPICS, YOU PERFER TO COPY BLACK PEOPLES SLANG WORDS SUCH A NIGGER/NIGGA. TO THAT FAT STINKY SPIC FAT JOE AND J-HO AND ALL OTHERS, DO YOU REALLY HAVE TO MOCK AND DICK AND CLIT RIDE BLACK PEOPLE SO MUCH, THAT YOU HAVE TO USE THE NIGGA WORD? WHY NOT USE SPIC OR SPIC-O-ROO’S. GOSH YOU PUERTO RICANS ARE SO UNORIGINAL. BLACK PEOPLE USE THE NIGGER/NIGGA WORD OUT OF HISTORICAL INJURY WHERE AS YOU MOCKING ASS PUERTO RICAN’S ARE USING IT AS A SLANG OR WHO KNOWS MAYBE EVEN AS A TERM OF FLAT OUT NIGGER TO BLACK PEOPLE. AFTER ALL YOU PUERTO RICANS ARE THE WHITE MANS SEED.
PUTTING-THIS-SELF-CREATED-PUERTO-RICAN-LIE-TO-REST-ONCE-FOR-ALL. MANY OF YOU PUERTO RICANS DON’T KNOW BLACK HISTORY THATS WHY ITS SO EASY FOR YOU PUERTO RICANS TO SAY THAT YOU HELPED TO CREATE THE RAP/HIP-HOP CULTURE. IN THE BEGINNING WAS AFRICA. THE AFRICAN TRIBAL RHYTHMS AND MUSICAL TRADITIONS SURVIVED THE TRANSPORTATION OF KIDNAPPED MILLIONS OF AFRICAN’S TO AMERICA, TO JAMAICA, TO HAITI, AND TO MANY OTHER LANDS, AFTER OVER 400 YRS OF SLAVERY IN AMERICA AND OTHER LANDS, THE OLD SOUNDS OF AFRICA BECAME THE SOUNDS OF THE AFRICAN AMERICANS THE JAMAICANS THE HAITIANS AND ALL OTHERS. THOSE BLACK PEOPLE WERE ALREADY RAPPING RHYTHMIC USE OF SPOKEN WORDS BACK THEN. BLACK PLANTATION WORKERS BEGAN TO SING TRIBAL CHANTS AGAINST THE WHITE MANS OPPRESIVE SOCIETY. THE JAMAICANS ALSO WERE SINGING TRIBAL CHANTS. SPEEDING UP TO NOW “THE GOD FATHER OF SOUL” “JAMES BROWN” 1933 TO 2006 RIP WAS ALSO A MAJOR INFLUENCE ON THE TECHNIQUE OF RAPPING AND BREAKDANCING. EVERYTHING BLACK PEOPLE OF AFRICAN DECENTANTS DO, YOU PUERTO RICANS HAVE TO COPY AND MIMIC US, AND ARE NOW TRYING TO MAKE A HISTORY ALONG SIDE WITH BLACK PEOPLE. KISS OUR ANCENSTORS BLACK ASSES, AND MY BLACK ASS TOO. YOU PUERTO RICANS WAS NOT EVEN IN AMERICA WHEN BLACK PEOPLE WERE RAPPING RHYTHMIC SEMI-SONGS. YOU PUERTO RICANS STARTED COMING TO AMERICA IN THE 1950’s? SPEEDING UP THE ERA TO THE 70’S. HOWEVER DJ KOOL HERC, AFRICA BAMBAATAA AND GRANDMASTER FLASH WHO ARE ALL OF AFRICAN DESCENDANT/BLACK PEOPLE, BEGAN TO EXPERIMENTED AND CREATE CUTTING AND SCRATCHING AND MIXING 2 COPIES OF THE SAME RECORD. BEFORE YOU PUERTO RICANS COPIED AND MIMIC THEM. SINCE WHEN HAVE YOU PUERTO RICANS BEEN USING RHYMING SLANG? EVERYBODY KNOWS THAT RHYMING SLANG STARTED AND BEGIN WITH BLACK PEOPLE, BUST THIS IN THE 70’S BLACK PIMPS WERE TALKING RHYMING SLANG IT WAS CALLED STREET JIVE. THE BLACK PEOPLE WERE HALF SINGING/THE RHYTHMIC STREET TALK/RAPPING. PUERTO RICANS DIDNOT CREATE RAP. SO GET THAT PUERTO RICANS LIE OUTTA YA HEADS. TO BLACK PEOPLE DON’T LET THE PUERTO RICANS RE-WRITE THEMSELVES AS EQUAL CREATORS IN OUR ORIGINAL MUSIC CREATIONS. PUERTO RICANS COPIED AND WILL ALWAYS COPY BLACK PEOPLE GLOBALLY. RIGHT NOW PUERTO RICANS ARE CURRENTLY COPYING OUR JAMAICAN BROTHAS REGGAE MUSIC. HOWEVER REGGAETON IS LACKING SOUL OF THE REAL ORIGINAL REGGAE. BLACK PEOPLE GLOBALLY WE ARE A UNIVERSAL PEOPLE WE ARE ALWAYS CREATING NEW DANCE MOVEMENTS AND NEW RHYTHMS, AND WILL ALWAYS BE MOCKED AND COPIED OTHERS BECAUSE THEY CAN’T CREATE NOTHING UNTIL WE BLACK PEOPLE CREATED IT FIRST. SO SAY IT LOUD WERE BLACK AND WERE PROUD! BLACK UNITY, ONE BLOOD, ONE LOVE. PS. ALL YOU PUERTO RICANS NEED TO BURN YOUR PUERTO RICAN FLAG AND RAISE THE RED, BLACK AND GREEN FLAG, BECAUSE YOU PUERTO RICANS ARE ALWAYS GONNA BE IN BLACK PEOPLE BITERS.
reall shit cuzz!
I have been following rap for awhile and going to New York Brooklyn and buying records ect. The Puerto Rican presence in hip hop was always there. Rock steady crew and remember all those break dance movies?
What about Mantronix and Lisa Lisa and the cult jam?
In the early 80s one of many Boricuas in the Hip Hop Hall Of Fame back in the days was M Morales (Prince M D) the main raper from the FAT BOYS. LEE MORALES best grafitty artist in the world was olso theare and he is from Ponce, Puerto Rico. What obout D.Js and turntabilist the list is to long it all started in the Disco era and hundreds of Puerto Rican were olready DJng at Studio 54 and at the South Bronx.
How Puerto Rican got in the SouthBronx in the early 50s and went to war with blacks and italians and got their space in the SouthBronx called “El Barrio” in N.Y. theares a Documentary called Yo Soy Boricua PA’Que Tu LO Sepas! an Original IFC document. Uncover the side of Puerto Ricans absent from U.S. history books. This document is Directed by Rosie Perez. Jamaican talent, Puerto Rican talent and afro american talent were all united in this life style called HipHop. Thanks to the Godfather of Hiphop D.J. Affrica Bambatta (Zulu Nation) our Puerto Rican talent was officialy united in the Zulu Nation. Remember our war/strugle back in the days at the South Bronx, we all came a long way. Pease and unity.
Hip Hop is Black Music/Culture. Ricans came LATER! Stop trying to make excuses