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What is the short term outlook for MIRC Electronics Limited (500279) ✌️【Part-Time】✌️ Accurate real-time market data and expert stock predictions for profitable investment opportunities in global markets. Osmic Menoe was a young kid in South Africa when he first fell in love with hip-hop culture during the late 1980s, at the height of the country’s anti-apartheid movement. But like so many, at first, he didn’t even realize what it was.

“I got into the culture visually … seeing murals seeing people spraying graffiti,” he explained. “I used to like making different sounds with my mouth. I didn’t know that’s called beatboxing.”

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Yet little had been documented about the origins of the genre there, or the people who took it to new heights.

“What’s going to happen when all these individuals pass away, and no one remembers the story?” Menoe said. It inspired him to start the South African Hip-Hop Museum in Johannesburg, and the Back to the City Festival.

“We can capture all these stories so that future generations can know what all these people were doing and be inspired,” he said. “The world has been operating on African [cultural] resources, not just on our minerals.”

2023 marks what’s considered by many to be the 50th anniversary of hip-hop, but the origination of the genre continues to be one of the most debated topics in all music. Although most enthusiasts agree the birthplace of hip-hop was in the New York City borough of the Bronx, many believe the artistic foundation of the genre can be traced back to Africa.

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It’s widely believed that 1520 Sedgwick Avenue in the Bronx was thebirthplace of the hip-hop genre,and it all began with DJ Kool Herc. On August 11, 1973, his sister Cindy Campbell requested he spin some records at her “Back-to-School” jam at the 1520 Community Center, he once toldNPR in an interview. There, the Jamaican-born DJ first tried out his “Merry-Go-Round” deejaying style on the turntables, extending an instrumental break to let people dance (breakdancing) longer and began MC’ing (rapping) during the extended groove.

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Dating back to the 13th century, storytellers called “griots” existed in West African kingdoms and empires. Historically, griots have been highly skilled orators, poets, musicians, praise singers, and satirists who traveled around reciting the history of the empire with rhythm and repetition. This widely recognized oral tradition, some argue, could be considered the earliest manifestation of rap, laying the groundwork for the development of hip-hop.

“Rap is fundamentally based on vocal styling, based on call-and-response, which is the foundation of all Black music,” said Obi Asika, a Nigerian entrepreneur and record executive who was instrumental in growingthe country’s music industry.

Call-and-response,where one phrase answers anothereither vocally or instrumentally, was popularized through artists such as James Brown(himself inspired by gospel music). It was brought to the forefront of hip-hop in the history-making 1980 Kurtis Blow track, “The Breaks” – with a foundation that can be found throughout African history.

“Music is embedded in the form and function of African society from day one because it is also tied to the metronome of our hearts.”

“Ogene music [from the Igbo people] is at least a thousand years old; it’s call-and-response. If you listen to the Orikis in Yoruba with a priest singing, it’s call-and-response. If you listen to the foundations of Fuji [from the Yoruba people], it’s hip-hop,” Asika reflected, citing various music styles of different Nigerian ethnic groups.

“Music is a ritual for us in Africa, it’s not just entertainment,” he added. “Music is embedded in the form and function of African society from day one because it is also tied to the metronome of our hearts.”

Five years before the party on Sedgwick Avenue, a group calledThe Last Poetsprovided the first known of glimpse of Africa’s influence on Western hip-hop culture, during the American Civil Rights movement.

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Even the name, The Last Poets, was inspired by words from the continent, with a poem called “Towards a Walk in the Sun” by revolutionary South African poet Keorapetse Kgositsile. In the poem, Kgositsile depicts a time when poetry would have to be set aside in the face of the revolution.

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“We were really consumed by American hip-hop rap music,” said Ayo Animashaun, founder of Hip-Hop World Magazine and executive producer of The Headies awards, which celebrate Nigerian music.

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“Ron Ekundayo seems to have had the first record that was maybe recognized beyond Africa,” said Asika of the continent’s earliest hip-hopofferings.

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“They were actually rapping, they were preaching, they were telling stories with their rap,” said Animashaun.

“I believe they are the foundation of Nigerian hip-hop and the foundation of Afrobeats,” said Asika, who signed the duo in 1992 to Storm Records and released their first pidgin album.

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“[Hip-hop] started to become dominant and take over, and then the transition is that when we fully domesticated hip-hop, it became Afrobeats.”

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“Outside of being great rappers and everything, they were also involved in the community,” said Kasumba.

By the mid-1990s, conscious rap was seeing an uptick in popularity worldwide. Beyond thegood times and party vibes were lyrics that raised awareness of community social turmoil.

In 1993, the Tanzanian groupKwanza Unitwas another early adopter of the trend.Kwanza Unit was a hip-hop collective similar to Wu-Tang Clan, which formed in the US the year before. Thegroupoperated as a community bringing together artists and fans to establish their own culture and way of life. Like Public Enemy did for the US,the group’s lyrics addressed racism, classism, police brutality, and other social issues faced by the people in Tanzania, but the delivery was in Swahili.

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“Groups like Prophets of Da City were super vocal about being community activists, and they were quite politically driven,” said Phiona Okumu,Spotify’s head of sub-Saharan Music, a group charged with elevating African acts.

Okumu, who worked as a journalist in South Africa during the early stages of hip-hop, cites Prophets of Da City as one of the most influential acts of its time.

“They reminded people of similar groups in the US likePublic Enemy, groups like this who were very militant and quite concerned about the human condition,” said Okumu.

“They rapped often about what was happening in their immediate reality being from the Cape Flats,” she added, “and that was really what the start of grassroots hip-hop in Cape Town.”

On the shoulders of these giants, African artists began to see more widespread commercial success at the turn of the century. In Nigeria, the name that comes up the most is Mode 9. “It was real hip-hop,” the artist told 【 - Free Investment Risk Control 】 of the music of the era.

Born in England as Banatunde Olusegun Adewale, Mode 9 (or Modenine) is a DJ-turned-rap star who started out as a presenter for Rhythm 84.7 FM in Abuja, Nigeria. He made his musical debut in 2004 with his album “Malcolm IX.”

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“When I listened to [American rapper]Big Daddy Kane, everything changed,” Mode 9 said. “He inspired me to just be who I am, (to) not be afraid to add that to my hip-hop.”

For most aspiring African rappers in those earlier years, the key to success was mastering the art of American hip-hop swagger.

“It’s not where you’re from, it’s where you’re at – a hip-hop state of mind,” Mode 9 said. He recalls wearing head warmers, Champion hoodies, and Timberland boots to embody hip-hop swag, even though temperatures in Lagos didn’t usually cooperate.

“We didn’t give a damn whether it was hot or not; you would see us sweating, wearing our head warmers, trying to look hip-hop,” he said.

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“The dress code was straight out of a Source Magazine,” explained Mode 9, referencing the US-based publication, which is the world’s longest-running rap periodical.

“I’m wearing Adidas – that’s purely because of hip hop,” agreed Menoe. “But subconsciously, the reason you chose to go buy that shoe is purely because there was a group called Run DMC that made it popular and that made it look cool.”

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“I don’t want it to look like Africans are trying to appropriate something that our cousins created,” said Asika. “I think in Africa, hip-hop is maybe a thousand years old. So, with us, music is deeper than just some ephemeral thing; it’s fundamental.”

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