hip hop music

HISTORY ABOUT HIP HOP

INTRODUCTION;

Hip hop is the music gentre consisting of stylized rhythmic music that commonly accompanies rapping, a rhymic and rhymic speech that chanted.

It developed as a part of hip hop culture, a subculture defined by 4 keys stylistics elements

              

1. MCING/RAPPING 2.DJING/SCRACHING 3.BREAK DANCING 4.GRAFITTI WRITING

Other elements includes sampling (or synthesis) and beat boxing

While often used to refer rapping hip hop more properly denotes the practice of entire subculture

The term hip hop music is used synonymously with the term rap music.

 

ORIGIN OF THE TERM;

Creation of the term hip hop is often created to KEITH COWBOY….rapper with GRANDMASTER FLASH and the furious five.

What is the GRANDMASTER FLASH AND FURIOUS FIVE?

Furious five (kung fu panda) was influential American hip hop group formed in the south BRONX, of New York City in 1978,composed of one Dj (GRANDMASTER FLASH)

And 5 rappers (Melle Mel, Kidd Creole, Cowboy, Mr Ness/Scorpio and Rahiem)

However the Lovebug Starski, Keith Cowboy and Dj Hollywood used the term when the music was still known as disco rap.

It is believed that Cowboy created the term while teasing a friend who had just joined the U.S army, by scat singing the word hip hop/ hip hop in the way that mimicked the rhymic cadence of soldiers marching.

Cowboy later worked the hip hop cadence into a part of his stage performance, which was quickly used by other artist such as The Sugar hill Gang, Universal Zulu nation founder Africa Bambataa is created first to describe the subculture in which the music belonged, although it is also suggested that it was a derogatory term to describe the type of music.

The first use of the term in print was in the village voice
(Is the free weekly newspaper and news and features website in New York that investigative articles, analysis of current affairs, culture arts and music ) by Steven hager later author of a 1984 history of hip hop.

1970’s

ORIGIN;

Hip hop as music and culture formed during the 1970’s when the block parties (is the large public party in which many members of a single neighbourhood congregate) become increasingly popular in New York City, particularly among African American youth residing in the Bronx

Block parties incorporated Djs who played popular genres of music especially funk and soul music.

Due to the positive reception djs began isolation the percussive breaks of popular songs.

This technique was when common in Jamaican dub music, and was largely introduced into New York by immigrants from JAMAICA and else where in the CARIBBEAN including DJ KOOL HERC, who is generally considered the father of HIP HOP, because the percussive break in funk, soul and disco records were generally short, Herc and other djs began using two turntables to extend the breaks.

Turn tablist techniques such as scratching (attributed to Grand wizard Theodore) ,beat mixing and/or matching and beat juggling eventually developed along with the breaks, creating a base that could be rapped over in a manner similar to signifying as well as the art of toasting another influence found in Jamaican dub music.

Hip hop music in its infancy has be described as an outlet and a voice for the disenfranchised youth of low economic areas as the culture reflected the social, economic and political realities of their lives.

INTRODUCTION OF RAPPING;

Rapping; also referred to as MCING or EMCEEING is a vocal style in which the artist speaks lyrically in rhyme and verse generally to an instrumental or synthesized beat

Hip hop predates the introduction of rapping into hip hop culture and rap vocals are absent from many hip hop tracks such as hip hop, be bop ( don’t stop) by man parrish , Chinese arithmetic  by Erick B and Rakim, “al naafiysh ( the soul)” and we ‘re rocking the planet” by hashim and  Destinstion earth by Newcleus.

The roots of rapping are found in African –American music and ultimately African music

Particularly that of the griots of West African culture. The African American traditions signifyin the dozens, and jazz poetry all influence hip hop music as well as the call and response patterns of African, African –American religious ceremonies.

Soul singer JAMES BROWN and musical comedy acts such as RUDY RAY MOORE and BLOWFLY are often considered as the godfather of hip hop music.

Dj Kool Herc and Coke la Rock provided an influence on the vocal style of rapping by delivering simple poetry verses over funk music breaks.

Often these were collaborations between former gangs such Africa bambataa’s universal Zulu nation now an international organization. Melle Mel a rapper with the Furious Five is often created with being the first rap lyricist to call himself ‘mcs’

Read More

the history of hiphop music

THE HISTORY OF HIPHOP MUSIC:

The roots of hip hop are found in African-American music and ultimately African music. The griots of West Africa are a group of traveling singers and poets who are part of an oral tradition dating back hundreds of years. Their vocal style is similar to that of rappers. The African-American traditions of signifyin', the dozens, and jazz poetry are all descended from the griots. In addition, musical 'comedy' acts such as Rudy Ray Moore and Blowfly are considered by some to be the forefathers of rap.

Within New York City, griot-like performances of spoken-word poetry and music by artists such as The Last Poets, Gil Scott-Heron[8] and Jalal Mansur Nuriddin had a significant impact on the post-civil rights era culture of the 1960s and 1970s.
Hip hop arose during the 1970s when block parties became increasingly popular in New York City, particularly in the Bronx, where African American and Puerto Rican influences combined.[9][10] Block parties incorporated DJs who played popular genres of music, especially funk and soul music. Due to the positive reception, DJs began isolating the percussion breaks of popular songs. This technique was then common in Jamaican dub music[11][12] and had spread to New York City via the substantial Jamaican immigrant community.

One of the first DJs in New York to use dub style mixing was the Jamaican-born DJ Kool Herc, who emigrated to the United States in 1967. Dub music had become popular in Jamaica due to the influence of American sailors and rhythm & blues. Large sound systems were set up to accommodate poor Jamaicans who couldn't afford to buy records and dub developed at the sound systems. Because the New York audience did not particularly like dub or reggae, Herc switched to using funk, soul and disco records. As the percussive breaks were generally short, Herc and other DJs began extending them using an audio mixer and two records.
Turntablist techniques, such as scratching (seemingly invented by Grand Wizzard Theodore[13][14]), beat mixing/matching, and beat juggling eventually developed along with the breaks, creating a base that could be rapped over. These same techniques contributed to the popularization of remixes as the looping, sampling and remixing of another's music, often without the original artist's knowledge or consent, can be seen as an evolution of Jamaican dub music,[11][12] and would become a hallmark of the hip hop style.

Jamaican immigrants also provided an influence on the vocal style of rapping by delivering simple raps at their parties, inspired by the Jamaican tradition of toasting.[11][15] DJs and MCs would often add call and response chants, often consisting of a basic chorus, to allow the performer to gather his thoughts (e.g. "one, two, three, y'all, to the beat").
Later, the MCs grew more varied in their vocal and rhythmic delivery, incorporating brief rhymes, often with a sexual or scatological theme, in an effort to differentiate themselves and to entertain the audience. These early raps incorporated the dozens, a product of African American culture. Kool Herc & the Herculoids were the first hip hop group to gain recognition in New York[citation needed], but the number of MC teams increased over time.

Often these were collaborations between former gangs, such as Afrikaa Bambaataa's Universal Zulu Nation - now an international organization. Melle Mel, a rapper with The Furious Five is often credited with being the first rap lyricist to call himself an "MC."[16] During the early 1970s B-boying arose during block parties, as b-boys and b-girls got in front of the audience to dance in a distinctive and frenetic style. The style was documented for release to a world wide audience for the first time in documentaries and movies such as Style Wars, Wild Style, and Beat Street. The term "B-boy" was coined by DJ Kool Herc to describe the people who would wait for the break section of the song, getting in front of the audience to dance in a distinctive, frenetic style.[17]

Although there were many early MCs that recorded solo projects of note, such as DJ Hollywood, Kurtis Blow and Spoonie Gee, the frequency of solo artists didn't increase until later with the rise of soloists with stage presence and drama, such as LL Cool J. Most early hip hop was dominated by groups where collaboration between the members was integral to the show.[18] An example would be the early hip hop group Funky Four Plus One, who performed in such a manner on Saturday Night Live in 1981.[19]
Hip hop music was an outlet and a "voice" for the disenfranchised youth of low-economic areas[20] as the culture reflected the social, economic and political realities of their lives.[21]

Read More

watengwa ushahidi wa harakati za ukombozi

HIKI NDICHO KILICHO ANDIKWA KATIKA KURASA ZA WATENGWA:

Watengwa is a revolutionary hiphop group of musicians based in the slums of Kijenge ya juu Arusha Tanzania East Afrika. The group was established back in 1990’s by 11 members, but the group spread into many neighborhoods of Arusha. The original members of Watengwa include, Jcb, Umbwa Mzee a.k.a Chindo, Alwatan Kwele, Chacalito (Chaca), Yuzzo, Donii .a.k.a Don pronke, Chabba, D’wee, Bung’aa, Comz, Lau, Ghetto Queen, TypeY, and Chaba.  Since its inception the group has grown and evolved; the gifted artists and friends of Watengwa are too many to name.



Before Watengwa came into existence many members had their own music groups, for instance; Umbwa Mzee, Donii and Rober performed together as Bootcamp, while Jcb a.k.a Degree, Lord Eyes and Spark’s group was known as Hardcore Unit. Chaca came from Aangserian, Yuzzo from Kikosi cha Mizinga, Chaba from ATF (Arusha town finest) and Kwele hailed from Dop Squad. When Hardcore Unit split up Spark went on and formed KCK while Lord Eyes started Nako2Nako.  JCB initiated Watengwa, and the rest connected through various channels to build the Watengwa family and ideology.

Jcb and Umbwa have been foundational in the formation and growth of Watengwa. After Umbwa finished computer studies at Aptech Institute, he suggested they open a music studio in Kijenge ya Juu, creating an accessible and local space for Arusha artists.  Up until this point, most artists needed to travel to Dar –es salaam, in order to record their music.  When the studio was opened (circa 2000) the group barely scraped together needed recording equipment.  Armed with an unreliable microphone, a shoddy keyboard and pirated musical software for their single computer they not only produced music but provided a platform that had empowering effects on Arusha artists and youth.

Watengwa lyrics are rooted in real life experiences, with particular attention to the worldview of Afrikans and the global flows that inform their lives. Watengwa considers  themselves a revolutionary army in the fight for positive ways of confronting and surviving street life.  While their music is deeply embedded in Afrikan perspectives and realities, they have been influences by western Hip-hop legends such as MC Hammer, Kool Moe Dee, Busy Bee, Public Enemy, Snoop, Dr. Dre, NWA, Warren G, Salt n Pepa, Heavy D, Wu-tang, Notorious B.I.G, Onyx, Lost boys, Guru, and Immortal Technique.

 

Watengwa Albums and Mix tapes.

​

​Watengwa’s first album was launched on December 6, 2002, entitled Iliandikwa (It was written). The album was self produced and financed in Kijenge ya juu studio, and sold by Watengwa members in the streets.  As their songs gained popularity, they received limited radio play; restricted by imbalances of power existing in the music industry. They were denied adequate airtime from radio djays and presenters who demanded bribes, or coerced them to commercialize their style. They were pressured to follow trends in lyrics and beats that prioritized entertainment and club life over education and advocacy. Watengwa refused to engage in bribery and did not waver in their message or sound.  The album sales occurred largely in the slums of Kijenge ya juu and around Tanzania supported by those with similar values and commitments to the voices and struggles of the masses.



The second album, Full ile Laana (more than you desire) was released in 2006. The album was launched to a packed audience in Triple A complex. Produced by Omega 5 (Saidi Muya) and Umbwa Mzee, it was an instant hit in Arusha city. Watengwa made the intentional choice to self-distribute their work as a way to maintain ownership and protect profits for its members.  In Full ile Laana, some of the most popular songs are “You can go ahead” and “Mi sio nyani”.

“Mi sio nyani” resonated with people because of its strong message about the hegemony of Western ideas.  The song deconstructs theories of evolution that argue Afrikans evolved from monkeys.  Western theories of history are taught and accepted in many Afrikan schools, but have the potential to perpetuate the damaging notions that Afrikans are primitive.  While the song does not oppose the whole evolutionary theory, in questioning its assumptions it raises awareness and encourages critical thinking.   Essentially it calls for increased respect and dignity, so that Africans can be regarded as powerful and contributing human beings.  It promotes engagement with a different history, one that acknowledges that Africans had the first democracies, and were the first prophets, mathematicians and scientists.  In this song, Watengwa addresses serious and deep-seeded internalized racism and devaluing that many Afrikans confront growing up in an inequitable world.  One of the many detrimental effects on communities and youth is that they come to view themselves as incapable and lacking instead of visionaries and change agents in the cradle of civilization.

Watengwa continues its mission in educating the masses through hip-hop, and raising awareness on issues like drug abuse, empowering women, school corporal punishment, the importance of self determination, and Afrikan identity. More recent albums include Pigo Takatifu (The wholly Battle), Jicho la Tatu (Third eye), Nakala za Makalla (Copies of Makalla), and The Future.  The forthcoming album is Full ile Laana Volume II currently in its final production stages in France.

Watengwa Collaborations. 

​

​Watengwa has featured and worked together with diverse and conscious musical artists such as , Mukupa, X-plastaz, Abbas Kubbaf of K- South, Hashim Dogo of Kikosi cha Mizinga, Nash Mc, Nakaaya, Ukoo Flani Mau Mau, Mc Black, Warriors from the East, Mama C, M1 of dead prez, Fid Q, Jay mo of Wateule, Zavara Mponjika Kwanza Unit, T.G.P, Majani of Bongo Records, Nako2Nako, KCK, Simon Kvamm of Nephew group from Denmark and various artist in France.

 Real Name: Lomayani Jonas Lotuno   A.k.a: Umbwa Mzee a.k.a Chindo

​
​Started music in 1996 with Rober Baro, calling ourselves Boot Camp. Dony joined us in 1998. We had no studio at that time so we recorded a couple songs with Dj Muddy at Crystal Club.  But these were just straight recording, no editing or anything!!  In 2000 a friend of mine (JCB) who had his own crew, and was thriving in the industry, introduced me to his friend who's a big producer in Tz, P funk. I was like, ‘Seriously?’.

So we planned and took a trip to Dar and met P.Funk in the studio.  He had a recording appointment at the time while working, J told P Funk that I'm a good lyricist.   P asked me- You sure you can spit?, I said yes...  He quickly made a beat and told me go to the booth… I recorded Nawaza, and P immediately said ‘I'm gonna do an album for you guys together’. J said ‘Ok, from now, we are called Watengwa’.

---

Real Name: Jacob Makalla             A.k.a: Jcb a.k.a Degree a.k.a Jesus Comes Black.



Jacob makalla aka jcb, I started music game back in 90's, but actively  involved in  the game in 1996, with my first group that went by the name of Hardcore Unity. Hardcore Unity was made by members like Spack Dogy, Lord eyes and Mastiff.  In 2000 I moved to Kijenge Juu and established Watengwa with  Chindoman a.ka Umbwa Mzee, where i have stayed until now.

​

Me and Watengwa have done four album and  three mix tapes so far. In 2010 I released a solo album , that was entitled Nakala za Makalla Volume I.  In 2011 I received two music awards from Tanzania music awards. In 2012 Watengwa visited Paris in france  and managed to put togethe one  album that goes by the name Full ile laana Volume II.

---

---

 

​Real Name: Francis Thomas                      A.k.a: Chaba

Representing 009, Ungalimited Arusha, Francis Thomas is the name his parents gave him, he was born on 15th,april 1983 in Mt Meru hospital Arusha, raised by a DJ father and a tailor mother.

​Raised in a musical family, he grew up listening to Cool and The Gang a lot  and as a kid he danced Michael Jackson songs. In late 90’s he got interested in Hip Hop culture listening rap songs from 2pac and The Notorious B.I.G.  At the age 14 he begun learning how to write lyrics.



In 2000 he met Jcb who helped him a lot, in finding good rap music tapes and cds to listen to, because Jcb has been around the game longer than him. This played a very crucial part in his writing career and building his rapping skills.  In 2002 he formed a crew called “ATF" (Arusha town finest) with his high school colleagues, DeoG and Up T. Chaba first song was Wamejaribu engineered by Umbwa Mzee and In 2005 Chaba dropped his second single “Kama unaflow” produced by Chindo man, this track introduced him even more in the streets as it got some airtime as well.

​

Currently Chaba is working on his solo album that goes by the name "Nyota njema ya mtaa", under Producer Daz Knowledge​. Apart from music, Chaba works as a tour guide at Asilia Tour Safaris. ​​

---

---

 

Real Name: John Kweka                             A.k.a: Chakalito a.k.a Chaca

Chaca raising a philosophical question .



"Siku hizi madhehebu  yanaabudu ghadhabu, adhabu dhahabu, mvinyo wa zabibu na ulabu, sababu mwisho wa ibada mzee wa sinagogi ataongelea tu mahesabu. Ninavoyoelewa mimi, dini utamduni desturi mali nimekosea jamani, sema kama nimemuuzi manani, dini si sadaka, kuabudu si kukusanyika na kulia si kuskika, tumepotoka hatuna dini za kiafrika".       a rhyme from Dini ni nini? song - Chakalito​​

---

---

 

Real Name: Donald Mkindi                  A.k.a: Donii a.k.a Don Pronke



Is only Mc of Watengwa who has a unique way of rhyming without writing.  Before joining Watengwa, Donii was a member of Bootcamp alongside Chindo and Robber.

​

Donii has recorded a lot of songs since Watengwa came into existence. His song Chokoraa was a hit in 2008 followed by the song ” music is my life” featuring Nakaaya in 2009.

---

---

 

​Real name: Lau Mafuru                              A.k.a: Lau​​



 I was born in Serengeti and moved to Arusha in 1988, I am another important  icon when it comes to Watengwa formation. I met Dwee and Umbwa Mzee in  1998 and begun to rap at Mawingu Club in Arusha City, alongside D'wee. I then joined Watengwa officially in 2000.  I have released many single tracks,  but the most recent is Lau-endless. 

​

For me , Hip-hop means presenting real life, real messages that will help people to get out of their misery. Me and my wife, have  co founded Boma la Mama, ​a nonprofit that aims to decrease maternal and neonatal mortality in Tanzania by establishing, funding and operating a birth centre and a midwifery education program. I am  also the founder of Boma Africa Outreach Program

---

---

 

Real Name: Abadallah Said Mshakamari               A.k.a: Dwee



Dwee is another solid foundation of Watengwa. Dwee as known to many,  he begun music path in 1998. He used to perform in Mawingu club with members like Lau, Chindo and other artist of Arusha. Dwee has been with Watengwa group since its inception, both as a performer and producer.He has produced a few songs for artist in Arusha.

​

He is also a talented drummer and a skillful beat boxer.  Currently volunteers teaching music productions and drumming at the United African Alliance Community Center

---

---

 

Real Name:  Bung'aa                                   A.k.a: Bung'aa



Bung’aa  as known to many, is a member of Watengwa who has various talents. He has a rich background knowledge in paper Mache, sculpture and graffiti writing.  He is also a performing artist.



He begun working with Watengwa in 2000 as a graffiti writer then moved to music. He runs his own business, selling various artifacts. He has released a lot of songs but the most current is Jembe la mpini. He resides in Arusha City.

---

---

 

Real Name: Rubama                                                        A.k.a: Yuzzo



Yuzzo chanting down the babylon. 



"Hawana huruma huwa baadhi ya maradhi ni miradi yao, zao kuvuna, amini usiamini rushwa wanapromote wao, wakishindwa wanasponsor upinzani, hakuna mchezo mchafu kama siasa duniani, vibaraka wanawaweka madarakani “ -   Rasta ninaposimama song. Yuzzo​

---

---

 

​Real Name: Alwatan Kwele                     A.k.a: Alwatan Kwele



Alwatan Kwele is a Philly based Hip Hop artist, Producer and Photographer originally from Arusha,Tanzania.



A member of Watengwa, Alwatan Kwele has been making music since 1995 as an emcee. He produced the album "Freedom or Nothing" and "Warrior for Peace" (co-produced with Chizi na Brain) at the PPP and Yabisi Studio.

He has collaborated with: Kamau from Ukoo Flani Mau Mau, Ambrose from Mandugu Digital, Mzee Comson, Mama Charlotte O`Neal, Jahson (ATL), Crystal Leigh and youth world wide.
He has also been working with different organizations as a community activist, in Arusha and now Philadelphia. He has also co - founded Akili project, a movement that provides  youth exchange program within Tanzania and Africa as a whole.



---

---

 

Real Name: Emmy Shirima                         A.k.a:  Ghetto Queen​



I come from the heart of Afrika and Afrika is the heart of the world. I was born in rift valley under the shadows of Kilimanjaro and Meru. I met Watengwa in 2000 soon after, I became a member of the crew.

​

I recorded songs like Nilipotoka , Mwelekeo and Ujio (Produced by Chindo) which I featured most of the Watengwa artist). These songs introduced me well to the public.  Hip-hop is my art, it’s people’s culture, I live it and grow with it.

---

---

 

Real Name:       Ghost B                                                                 A.k.a: Ghost B

​

​"Hiphop hatutayumba". Arusha song - Ghost B

---

---

 check nao kupitia  @: +255-713- 641-677

Read More