• • • • • • • • • Website Clive Campbell (born April 16, 1955 ), better known by his stage name DJ Kool Herc, is a DJ who is credited with helping originate in the early–1970s in, New York City. Known as the 'Founder of Hip-Hop' and 'Father of Hip-Hop', Campbell began playing records of the sort typified by was an alternative both to the violent gang culture of the Bronx and to the nascent popularity of in the 1970s. Campbell began to isolate the instrumental portion of the record, which emphasized the drum beat—the '—and switch from one break to another. Using the same two turntable set-up of DJs, Campbell used two copies of the same record to elongate the break. This DJing, using hard funk and records with Latin percussion, formed the basis of hip hop music.

The spores found their way into every vent, open door, open window, and crack until a very scared Judy inhaled a massive amount. Judy saw something move out of the corner of her eye as she sneezed. Dale's ears began to wiggle as he heard Judy's sneeze. Dale asked, “Did I just learn enhanced hearing? No that's not it.

Campbell's announcements and exhortations to dancers helped lead to the syncopated, rhymed spoken accompaniment now known as. He called his dancers 'break-boys' and 'break-girls', or simply and b-girls. Campbell's DJ style was quickly taken up by figures such as and. Unlike them, he never made the move into commercially recorded hip hop in its earliest years.

The front of 1520 Sedgwick Ave., where Campbell lived with his family and threw his first parties. Clive Campbell was the first of six children born to Keith and Nettie Campbell in.

While growing up, he saw and heard the of neighborhood parties called, and the accompanying speech of their DJs, known as. He emigrated with his family at the age of 12 to, in November 1967, where they lived. Campbell attended the Alfred E. Smith Career and Technical Education High School in the Bronx, where his height, frame, and demeanor on the basketball court prompted the other kids to nickname him '. He began running with a crew called the Ex-Vandals, taking the name Kool Herc.

Herc recalls persuading his father to buy him a copy of ' by, a record that not a lot of his friends had, and which they would come to him to hear. He and his sister, Cindy, began hosting back-to-school parties in the recreation room of their building, 1520 Sedgwick Avenue. Herc's first soundsystem consisted of two turntables connected to two and a Shure 'Vocal Master' PA system with 2 speakers columns, on which he played records such as 's ', 's 'It's Just Begun' and ' 'Melting Pot'. With Bronx clubs struggling with street gangs, uptown DJs catering to an older disco crowd with different aspirations, and commercial radio also catering to a demographic distinct from teenagers in the Bronx, Herc's parties had a ready-made audience. The Break [ ] DJ Kool Herc developed the style that was the blueprint for.

Herc used the record to focus on a short, heavily percussive part in it: the '. Since this part of the record was the one the dancers liked best, Herc isolated the break and prolonged it by changing between two record players.

As one record reached the end of the break, he cued a second record back to the beginning of the break, which allowed him to extend a relatively short section of music into 'five-minute loop of fury'. This innovation had its roots in what Herc called 'The Merry-Go-Round,' a technique by which the deejay switched from break to break at the height of the party. This technique is specifically called 'The Merry-Go-Round' because according to Herc, it takes one 'back and forth with no slack.' Herc told that he first introduced the Merry-Go-Round into his sets in 1972. The earliest known Merry-Go-Round involved playing James Brown's 'Give It Up or Turnit a Loose' (with its, 'Now clap your hands! Stomp your feet!' ), then switching from that record's break into the break from a second record, '.

From the 'Bongo Rock's break, Herc used a third record to switch to the break on ' by the English rock band. Kool Herc also contributed to developing the rhyming style of hip hop by punctuating the recorded music with slang phrases, announcing: 'Rock on, my mellow!' 'B-boys, b-girls, are you ready? Keep on rock steady' 'This is the joint! Herc beat on the point' 'To the beat, y'all!' 'You don't stop!'

For his contributions, Herc is called a 'founding father of hip hop,' a 'nascent cultural hero,' and an integral part of the beginnings of hip hop. On August 11, 1973, DJ Kool Herc was a disc jockey and at a party in the recreation room at Sedgwick Avenue. Specifically, DJ Kool Herc: extended an instrumental beat ( or ) to let people dance longer () and began MC'ing () during the extended breakdancing. [This] helped lay the foundation for a cultural revolution.

— According to music journalist Steven Ivory, in 1973, Herc placed on the turntables two copies of Brown's 1970 album and ran 'an extended cut 'n' mix of the percussion breakdown' from ', signaling the birth of hip hop. B-boys and b-girls [ ] The 'b-boys' and 'b-girls' were the dancers to Herc's breaks, who were described as 'breaking'. Herc has noted that 'breaking' was also street slang of the time meaning 'getting excited', 'acting energetically,' or 'causing a disturbance'. Herc coined the terms 'b-boy', 'b-girl,' and 'breaking' which became part of the lexicon of what would be eventually called hip hop culture. Early Kool Herc b-boy and later DJ innovator describes the early evolution as follows: '.

[E]verybody would form a circle and the B-boys would go into the center. At first the dance was simple: touch your toes, hop, kick out your leg. Then some guy went down, spun around on all fours. Everybody said wow and went home to try to come up with something better.'

Response Mystery Case Files. In the early 1980s, the media began to call this style ',' which in 1991 the New York Times wrote was 'an art as demanding and inventive as mainstream dance forms like ballet and jazz.' Since this emerging culture was still without a name, participants often identified as 'b-boys,' a usage that included and went beyond the specific connection to dance, a usage that would persist in hip hop culture. Move to the streets [ ] With the mystique of his graffiti name, his physical stature, and the reputation of his small parties, Herc became a folk hero in the Bronx. He began to play at nearby clubs including the Twilight Zone Hevalo, Executive Playhouse, the on 183rd Street, as well as at high schools such as Dodge and. Rapping duties were delegated to and. Herc's collective, known as The Herculoids, was augmented by Clark Kent and dancers The Nigga Twins.

Herc took his soundsystem (the herculords) —still legendary for its sheer volume —to the streets and parks of the Bronx. Recalls a schoolyard party: 'The sun hadn't gone down yet, and kids were just hanging out, waiting for something to happen. Van pulls up, a bunch of guys come out with a table, crates of records. They unscrew the base of the light pole, take their equipment, attach it to that, get the electricity – Boom! We got a concert right here in the schoolyard and it's this guy Kool Herc.

And he's just standing with the turntable, and the guys were studying his hands. There are people dancing, but there's as many people standing, just watching what he's doing.

That was my first introduction to in-the-street, hip hop DJing.' Influence on artists [ ] In 1975, the young, to whom Kool Herc was, in his words, 'a hero', began DJing in Herc's style. By 1976, Flash and his played to a packed in. Venue owners were often nervous of unruly young crowds, however, and soon sent hip hop back to the clubs, community centres and high school gymnasiums of the Bronx.

First heard Kool Herc in 1973. Bambaataa, at that time a general in the notorious Black Spades gang of the Bronx, obtained his own soundsystem in 1975 and began to DJ in Herc's style, converting his followers to the non-violent in the process. Kool Herc began using 's ' as a break in 1975. It became a firm b-boy favourite—'the Bronx national anthem' —and is still in use in hip hop today. Wrote of this period: 'For over five years the Bronx had lived in constant terror of street gangs. Suddenly, in 1975, they disappeared almost as quickly as they had arrived.

This happened because something better came along to replace the gangs. That something was eventually called hip-hop.' In 1979, the record company executive assembled a group she called and recorded '. The hit song ushered in the era of commercially released hip hop. By that year's end, was recording for. In 1980, Afrika Bambaataa began recording for. By this time, DJ Kool Herc's star had faded.

Grandmaster Flash suggests that Herc may not have kept pace with developments in techniques of cueing (lining up a record to play at a certain place on it). Developments changed techniques of cutting (switching from one record to another) and scratching (moving the record by hand to and fro under the stylus for percussive effect) in the late 1970s. Herc said he retreated from the scene after being stabbed at the Executive Playhouse while trying to intercede in a fight, and the burning down of one of his venues. In 1980, Herc had stopped DJing and was working in a record shop in South Bronx. Later years [ ].

Herc spins records in the section of the Bronx at a 28 February 2009 event addressing the 'West Indian Roots of Hip-Hop.' Kool Herc appeared in Hollywood's motion picture take on hip hop, (, 1984), as himself.

In the mid-1980s, his father died, and he became addicted to. 'I couldn't cope, so I started medicating', he says of this period. In 1994, Herc performed on & the Godfathers of Threatt's album, Super Bad. In 2005, he wrote the foreword to 's book on hip hop,.

In 2005 he appeared in the music video of 'Top 5 (Dead or Alive)' by from the album. In 2006, he became involved in getting Hip Hop commemorated at the museums. He participated in the 2007. Since 2007, Herc has worked in a campaign to prevent 1520 Sedgwick Avenue from being sold to developers and withdrawn from its status as a affordable housing property. In the summer of 2007, New York state officials declared 1520 Sedgwick Avenue the 'birthplace of hip-hop', and nominated it to national and state historic registers. The city's Department of Housing Preservation and Development ruled against the proposed sale in February 2008, on the grounds that 'the proposed purchase price is inconsistent with the use of property as a Mitchell-Lama affordable housing development'. Installer Linux Sous Windows. It is the first time they have so ruled in such a case.

Serious illness [ ] According to a fan blog, 's website and other sites, DJ Kool Herc fell gravely ill in early 2011 and was said to lack health insurance. He had surgery for, with a placed to relieve the pressure. He needed follow-up surgery but in the, the site that performed the previous surgery, has requested that he make a deposit toward the next surgery, because he has missed several follow-up visits. The hospital said it would not turn away uninsured patients in the emergency room. DJ Kool Herc and his family set up an official website on which he describes his medical issue and the larger goal of establishing the DJ Kool Herc Fund to pioneer long-term health care solutions.

In April 2013, Campbell recovered from surgery and moved into post-medical care. Discography [ ] Guest appearances [ ] • – 'Herc's Message' from (1994) • – 'Elektrobank' from (1997) • – 'Sacrifice' from Sacrifice (2008) Notes [ ]. • • • • Chang, pp. 68–72 • ^ Shapiro, pp. 212–213 • Ogg, p.

13 • ^ Roug, Louise., Los Angeles Times, 24 February 2008. Link retrieved 9 September 2008. 65 • Chang, p. 79 • falkmanbeatz -break bboy / bgirl channel- (2014-01-08),, retrieved 2017-04-26 • ^ Hermes, Will., New York Times, 29 October 2006. Retrieved on 9 September 2008. • ^ Hager, in Cepeda, p.

Cepeda writes that this article was the first appearance of the term hip hop in print, and credits Bambaataa with its coinage (p. 69 • Karon, Tony (22 September 2000)... Retrieved 1 January 2009. • Farley, Christopher John (18 October 1999)... Retrieved 1 January 2009.

11 June 2006. Retrieved 1 January 2009. • Farley, Christopher John (9 July 2001)... Retrieved 1 January 2009. 11 June 2003. Retrieved 1 January 2009.

• ^ Tukufu Zuberi ('detective'), BIRTHPLACE OF HIP HOP,, Season 6, Episode 11, New York City, found. Accessed 24 February 2009.

• Ivory, Stephen (2000). The Funk Box (CD box set booklet).. 314 541 789-2.

• Kool Herc, in Israel (director), The Freshest Kids, QD3, 2002. • Dunning, Jennifer. 'Nurturing Onstage the Moves Born on the Ghettos' Streets', New York Times, 26 November 1991. • See for example Suggah B in Cross, p. 303: 'I'm a B-girl till I die, when they bury me they're gonna bury me with some on my feet and some gold around my neck because that is how I feel.' Retrieved 2017-08-23.

External link in title= () •. Retrieved 2017-08-23. 17 • Toop, pp. • Gonzales, Michael A.,, 6 October 2008. • Sisario, Ben (1 March 2006).... Retrieved 1 January 2009.

• Gonzalez, David (21 May 2007).... Retrieved 1 January 2009. • Lee, Jennifer 8., The New York Times, 4 March 2008. Retrieved 30 January 2010.

Archived from on 3 February 2011. Retrieved 30 January 2010. •, Democracy Now, 1 February 2011. Retrieved 1 February 2011. • Gonzales, David (31 January 2011)...

Retrieved 16 April 2011. 2 February 2011. Retrieved 2 February 2011. • Marshall, Wayne (2007). In Hess, Mickey.

Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture. Greenwood Publishing Group. • Wade, Ian (2011).. Retrieved 16 July 2015. • Cooper, Roman (30 January 2008)..

Retrieved 16 July 2015. References [ ] • Chang, Jeff. Can't Stop Won't Stop: A History of the Hip-Hop Generation. Martin's Press, New York: 2005. • Cross, Brian.

It's Not About A Salary.Rap, Race and Resistance in Los Angeles. New York: Verso, 1993. • Hager, Steven, 'Afrika Bambaataa's Hip-Hop', Village Voice, 21 September 1982.

Reprinted in And It Don't Stop! The Best American Hip-Hop Journalism of the Last 25 Years. Cepeda, Raquel (ed.). New York: Faber and Faber, Inc., 2004.

• Ogg, Alex, with Upshall, David. The Hip Hop Years, London: Macmillan, 1999 • Shapiro, Peter. Rough Guide to Hip-Hop, 2nd. Ed., London: Rough Guides, 2005 • Toop, David. Rap Attack, 3rd. Ed., London: Serpent's Tail, 2000 External links [ ].

George McFly walks into Lou's diner, pumped up to ask Lorraine to the dance. Says, 'Lou, give me a milk. Takes a swig.

Then slams the glass down on the counter. However, Crispin Glover slams the glass so hard that chocolate milk shoots out. It splashes onto the counter, someone's books, the napkin holder, sugar, salt & pepper shakers and maybe even other people's drink glasses. But most unexpectedly, it splashes up onto Lou.

It's most noticeable on the collar of his shirt. Although this was unexpected, George is trying his best to be bold and messing up in the process could conceivably be in character. The error is in Lou's reaction. We've already seen that he has no problem speaking his mind and gets aggressive over very small things.

He would not have just calmly and quickly looked at the mess and started talking to a customer. At minimum he would have got a rag to start cleaning but most likely would have yelled at George. Obviously the actor playing Lou, Norman Alden, didn't want to ruin the take and just ignored it as best he could. In 1955, when Marty decides to set his return time for 1985 to 10 minutes earlier, in order to warn Doc about the Libyans, he punches the new time on the keypad. The shot clearly shows the final four buttons he presses are 5708 which do not represent 01:24 (the new time displayed), nor correspond to any part of OCT 26 1985 01:24 AM. Also, Marty arrived in 1955 at 1:39 AM (as seen when 1955 Doc sets the return time at the clock tower to 'the exact time that you left'), so 10 minutes earlier should have been 1:29 AM, not 1:24 AM. When Marty is getting ready to play guitar through the huge amplifier in Doc Brown's house, he switches on the amplifier, turns all of the gains and overdrive up, plugs the cable into the amplifier, then proceeds to plug the other end of the cable into the guitar.

The moment the cable touches the guitar's output jack should have been the moment the amp blew up. Most guitarists will plug the cable into the guitar and amp, THEN turn the amp on.

Doing so will avoid making all of the noise that results from the cable and guitar jack making contact. When Marty arrives in 1955, road signs in the town square suggest that Hill Valley is located near the intersection of U.S. Highway 8 and U.S. In reality, those two highways do not intersect and are approximately two thousand miles apart.

Also, Hwy 8 is shown as having a north/south orientation while Hwy 395 is shown as having an east/west orientation, both of which are incorrect. It's conceivable that these errors could be intentional to avoid giving Hill Valley a specific location and to suggest a kind of 'everytown' quality to the place. When Marty takes the 1955 Doc to find the Time Machine, he said that the starter isn't working right. Though, it is true that the early model DeLoreans are notorious for having faulty ignition systems. But Marty is supposed to be under the notion that the Time Machine ran on Plutonium and not gasoline (as he asked a question regarding to how the Time machine worked to the 1985 Doc earlier in the movie) and he looked back to find that the Plutonium chamber was empty, so he should believe that the DeLorean had no power due to no Plutonium. He wouldn't be made aware that the DeLorean also ran on Gasoline until Part 3. Doc's house number in 1985 is 1646 (no street name indicated), numbers are visible on the fence.

When Marty arrives in 1955 and looks for Doc's house, he pinpoints 1640 Riverside in the telephone book. However, in the opening sequence, the camera focuses on a news print claiming 'Brown Mansion Destroyed'.

In 1955, Doc clearly lives in a large mansion, not the one story, half garage he lives in during 1985. It is conceivable that the mansion burned down between 1955 and 1985.

Besides that, if Doc lived in the same place in 1955, Marty would not have to look him up, would have have no problem finding his home, and would not be surprised by the size of it as he is shown in the film. After the car returns from its one minute trip, Doc remembers to put some new Plutonium in the receptor.

So he places a larger container which contains water and inside is a smaller container containing the Plutonium. The smaller container gets sucked inside the mechanism. But the container from the previous time travel effort would still be in there. Technically he would have had to remove the empty container first and the insert the new one.Since we didn't see Marty and Doc put the Radiation suits on, it is possible that we also weren't shown them removing the spent radiation rod.

During the opening scene, if you watch the clocks carefully, you can tell that not only are some of them not synchronized properly, but some are not even running. However, in becomes obvious that Doc performed some sort of Time Travel experiment on the clocks because of his statement to Marty on the phone that 'It worked' and the fact that the clocks were expected to be wrong. His experiment may have affected analog clocks differently, and since Doc hasn't been home for a while, some may have lost the energy by not being wound. The guitar cord Marty plugs into the amplifier in 1985 is a 'stereo' TRS (tip, ring, sleeve) plug-equipped cable; it has 2 dark insulator bands going around the plug.

The plug which Marty plugs into his guitar is a 'mono' (1 band around the plug) right-angle-plug instrument cable. It is commonly thought that if Marty had been using a TRS cable he would have had another single-banded-plug cable hanging from his guitar (y-cable) but this is not necessarily the case, as a TRS plug can be wired with the ring and sleeve shorted together making the ring and sleeve assembly appear to the jack-socket as being connected electrically and mechanically, and so the plug's two separate contacts will now act as the same electrical contact, just like the right-angled prong that Marty plugs into his guitar. Initially, the car becomes covered in ice after traveling through time, but then stops showing that effect. This is explained in the audio commentary of later DVD versions. The activation of the Flux Capacitor by 'Mr.

Fusion' supposedly results in a different chemical reaction than the one caused by plutonium. In addition to allowing for sequels where the search for plutonium would not have to be central to the plot, the filmmakers explain how they came up with their idea for this later invention so they wouldn't have to have to keep adding ice to the car every time. This effect had proved to be extremely time consuming and expensive. Doc needs 1.21 GW to power the time circuits, and he needs plutonium to generate such an amount of power. While it is possible, it isn't necessary to use a nuclear power source.

1.21 GW is power, not energy, meaning that it's the rate at which the time machine uses energy. Presumably Doc needs the time circuits to be pulling such power for a fraction of a second (as the time jumps in the film are almost instant). So Doc could have built it with either a huge capacitor or a battery, which he would've charged to however much energy the time machine needed (by the DeLorean or through a plug), and then the time machine would use that energy to make a time jump, still pulling 1.21 GW of power. This is analogous to a camera flash, which pulls a lot more power than camera batteries can handle, yet only needs to work for a short amount of time. Doc could have used the same idea for the time circuits. Near the end, when Doc makes the jump to the future, he drives up the road from Marty's house, turns around, and accelerates to 88 mph. All this takes exactly 10 seconds from the moment the car starts moving (in the wrong direction) to the moment the flash indicates the temporal jump, which is highly unrealistic even for a race car driven by a professional trying to set a record, let alone a DeLorean driven by a scientist, who wasn't in any hurry.

Also, during the jump from 1955 to 1985 it took Marty about two minutes to accelerate to 88 mph (he was already above 60 mph when the clock's handle moved to 10:03), making the 10 second period even less plausible. Doc is touching the wire when the lightning strikes the clock tower, but he doesn't seem to be electrocuted. However, most of the lightning's energy was absorbed by the flux capacitor (otherwise the time machine wouldn't have worked), and most of the remaining energy went into the ground. Electrical current prefers to move through the most conductive material in its path, which, in this case, would be a thick metal cable and not a human body (this is how the birds can sit on the power lines).

Plus, Doc was wearing gloves, which made him even less electrically conductive. Still, even after all these reductions, the current which passed through his body was powerful enough to knock Doc off his feet (which it has).

Doc Brown had to determine exactly which moment the lightning would strike the clock tower. 10:04 pm isn't accurate enough to set up the alarm clock in such a way as to make the DeLorean intersect with the cable the exact moment the lightning strikes. However, according to Doc, the flier says that the lightning strikes at 'precisely' 10:04, presumably up to the second, which is what really happened. How the 'historical preservation society' determined the precise moment of the strike is never explained, but they could have conceivably determined that by studying the clock's mechanism.