The origin of hip-hop can be traced back as far as the ancient tribes in Africa. Rap has been compared with the chants, drumbeats and foot-stomping African tribes performed before wars, the births of babies, and the deaths of kings and elders. Historians have reached further back than the accepted origins of hip-hop. It was born as we know it today in the Bronx, cradled and nurtured by the youth in the low-income areas of New York City.

Fast-forward from the tribes of Africa to the ghettos of Kingston, Jamaica in the late sixties. The impoverished of Kingston gathered together in groups to form DJ conglomerates. They spun roots and culture records and communicated with the audience over the music. At the time, the DJs comments werent as important as the quality of the sound system and its ability to get the crowd moving. Kool Herc grew up in this community before he moved to the Bronx.

During the late sixties, reggae wasnt popular with New Yorkers. As a DJ, Kool Herc spun rhythm and blues records to please his party crowd. But, he had to add his personal touch. During the breaks, Herc began to speak to his audience as he had learned to do in Jamaica. He called out, the audience responded, and then he pumped the volume back up on the record. This call and response technique was nothing new to this community whod been reared in Baptist and Methodist churches where call and response was a technique used by the speakers to get the congregation involved. Historians compare it to the call and response performed by Jazz musicians and was very much a part of the culture of Jazz music during the renaissance in Harlem.

Hercs DJ style caught on. His partys grew in popularity. He began to buy multiple copies of the same albums. When he performed his duties as a DJ, he extended the breaks by using multiple copies of the same records. He chatted, as it is called in dance hall, with his audience for longer and longer periods.

Others copied Hercs style. Soon a friendly battle ensued between New York DJs. They all learned the technique of using break beats. Herc stepped up the game by giving shout-outs to people who were in attendance at the parties and coming up with his signature call and response. Other DJs responded by rhyming with their words when they spoke to the audience. More and more DJs used two and four line rhymes and anecdotes to get their audiences involved and hyped at these parties.

One day, Herc passed the microphone over to two of his friends. He took care of the turn table and allowed his buddies to keep the crowd hyped with chants, rhymes and anecdotes while he extended the breaks of different songs indefinitely. This was the birth of rap as we know it.

Hip-hop has evolved from the days of the basement showdowns to big business in the music industry. In the seventies and eighties, the pioneers and innovators of the rap record was the DJ. He was the guy who used his turntable to create fresh sounds with old records. Then, he became the guy who mixed these familiar breaks with synthesizers to produce completely new beats. Not much has changed in that aspect of hip-hop. The guy who creates the beat is still the heart of the track. Now, we call him the producer. Even though some DJs work as producers as well as DJs (quite a few start out as DJs before they become producers), todays title DJ doesnt carry the same connotative meaning it did in the eighties. Todays hip-hop producer performs the same tasks as the eightys DJ.

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There are many ways to increase the quality of your drumming and they can all be summarized into these 3 vital steps…

1. Develop Confidence

Many wanna-be musicians will choose the drums because they are shy and want to remain in the background (that’s where I was when I started drumming back in 1976).

The truth is your body may be in the background, but your musical presence will definitely be noticed!

If you are going to be the drummer in a band, then you will be the anchor of the band. The other musicians will be relying on you to provide strong beats that will keep everything together. Everything you do behind your drum set will not only be heard, but felt, simply because you will be the all-important time keeper.

This notion of wanting to be a drummer so you can hide behind a drum set is ridiculous. You’re gonna hide from no one! That’s why it is imperitive to develop confidence in your drumming, and the first way to do that is to forget about the notion that you are hidden. Your mind set should be to establish your place in the band. Know who you are and why you’re there. The rest will then fall into place.

2. Love Your Instrument

If any musician really wants to master their instrument they must absolutely love it. What do I mean love it? The best way to understand this is to relate loving your drums to loving a person.

Many people think love is a feeling, but it’s not a feeling. For example; I love my wife, but I don’t always like her (I suppose she can probably say the same thing about me).

Love is an action word. It means to adore, care for, learn about, edify, be loyal to, be devoted to, be committed to, support, protect, and promote. When you do these things the feeling of love automatically comes.

So, how can you tell if you really love your drums? You can tell if you love your drums by the priority you put on them. They must have some priority in your life , otherwise your drums are just a little hobby that you will only be mediocre at.

3. Remain Humble

If a drummer really wants to increase his or her level of playing it is critical to remain open minded.

The mind is like a parachute, it only functions when it is open. That’s why it is so important to remain humble. Arrogant drummers never grow beyond their current level of drumming because they don’t think there is any more they can learn. How foolish! There is always more to learn… and any advanced drummer can learn from an intermediate, or even a beginner!

As you continue to learn you will then be able to teach. When you begin teaching, you will be amazed at the additional things you will learn (if you are currently teaching you will understand).

It’s critical to continue to learn and grow if you want to increase your level of drumming, and remaining humble is the only avenue through which you can do this. As with anything else, you must absolutely be confident in what you’re doing and knowledge can make you confident.

Please don’t mistake confidence with arrogance. Confidence is what makes a good drummer a great drummer. Arrogance is what makes a good drummer a lonely drummer! I don’t know about you, but I certainly don’t want to play music with some cocky jerk who thinks he or she is better than everyone else.

Conclusion

When you develop confidence in your purpose as a drummer, learn to love your drums by giving them some priority in your life, altogether with remaining humble, your level of drumming will increase considerably.

Dan Brown has been drumming since 1976. Get his FREE report Mind Your Drumming: 10 Attitudes That Will Make You a Star when you subscribe to his FREE Weekly Drum Smart Newsletter… http://www.dbdrumtips.com/freenewsletter.html

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The origin of hip-hop can be traced back as far as the ancient tribes in Africa. Rap has been compared with the chants, drumbeats and foot-stomping African tribes performed before wars, the births of babies, and the deaths of kings and elders. Historians have reached further back than the accepted origins of hip-hop. It was born as we know it today in the Bronx, cradled and nurtured by the youth in the low-income areas of New York City.

Fast-forward from the tribes of Africa to the ghettos of Kingston, Jamaica in the late sixties. The impoverished of Kingston gathered together in groups to form DJ conglomerates. They spun roots and culture records and communicated with the audience over the music. At the time, the DJs comments werent as important as the quality of the sound system and its ability to get the crowd moving. Kool Herc grew up in this community before he moved to the Bronx.

During the late sixties, reggae wasnt popular with New Yorkers. As a DJ, Kool Herc spun rhythm and blues records to please his party crowd. But, he had to add his personal touch. During the breaks, Herc began to speak to his audience as he had learned to do in Jamaica. He called out, the audience responded, and then he pumped the volume back up on the record. This call and response technique was nothing new to this community whod been reared in Baptist and Methodist churches where call and response was a technique used by the speakers to get the congregation involved. Historians compare it to the call and response performed by Jazz musicians and was very much a part of the culture of Jazz music during the renaissance in Harlem.

Hercs DJ style caught on. His partys grew in popularity. He began to buy multiple copies of the same albums. When he performed his duties as a DJ, he extended the breaks by using multiple copies of the same records. He chatted, as it is called in dance hall, with his audience for longer and longer periods.

Others copied Hercs style. Soon a friendly battle ensued between New York DJs. They all learned the technique of using break beats. Herc stepped up the game by giving shout-outs to people who were in attendance at the parties and coming up with his signature call and response. Other DJs responded by rhyming with their words when they spoke to the audience. More and more DJs used two and four line rhymes and anecdotes to get their audiences involved and hyped at these parties.

One day, Herc passed the microphone over to two of his friends. He took care of the turn table and allowed his buddies to keep the crowd hyped with chants, rhymes and anecdotes while he extended the breaks of different songs indefinitely. This was the birth of rap as we know it.

Hip-hop has evolved from the days of the basement showdowns to big business in the music industry. In the seventies and eighties, the pioneers and innovators of the rap record was the DJ. He was the guy who used his turntable to create fresh sounds with old records. Then, he became the guy who mixed these familiar breaks with synthesizers to produce completely new beats. Not much has changed in that aspect of hip-hop. The guy who creates the beat is still the heart of the track. Now, we call him the producer. Even though some DJs work as producers as well as DJs (quite a few start out as DJs before they become producers), todays title DJ doesnt carry the same connotative meaning it did in the eighties. Todays hip-hop producer performs the same tasks as the eightys DJ.

More articles at articles database

The origin of hip-hop can be traced back as far as the ancient tribes in Africa. Rap has been compared with the chants, drumbeats and foot-stomping African tribes performed before wars, the births of babies, and the deaths of kings and elders. Historians have reached further back than the accepted origins of hip-hop. It was born as we know it today in the Bronx, cradled and nurtured by the youth in the low-income areas of New York City.

Fast-forward from the tribes of Africa to the ghettos of Kingston, Jamaica in the late sixties. The impoverished of Kingston gathered together in groups to form DJ conglomerates. They spun roots and culture records and communicated with the audience over the music. At the time, the DJs comments werent as important as the quality of the sound system and its ability to get the crowd moving. Kool Herc grew up in this community before he moved to the Bronx.

During the late sixties, reggae wasnt popular with New Yorkers. As a DJ, Kool Herc spun rhythm and blues records to please his party crowd. But, he had to add his personal touch. During the breaks, Herc began to speak to his audience as he had learned to do in Jamaica. He called out, the audience responded, and then he pumped the volume back up on the record. This call and response technique was nothing new to this community whod been reared in Baptist and Methodist churches where call and response was a technique used by the speakers to get the congregation involved. Historians compare it to the call and response performed by Jazz musicians and was very much a part of the culture of Jazz music during the renaissance in Harlem.

Hercs DJ style caught on. His partys grew in popularity. He began to buy multiple copies of the same albums. When he performed his duties as a DJ, he extended the breaks by using multiple copies of the same records. He chatted, as it is called in dance hall, with his audience for longer and longer periods.

Others copied Hercs style. Soon a friendly battle ensued between New York DJs. They all learned the technique of using break beats. Herc stepped up the game by giving shout-outs to people who were in attendance at the parties and coming up with his signature call and response. Other DJs responded by rhyming with their words when they spoke to the audience. More and more DJs used two and four line rhymes and anecdotes to get their audiences involved and hyped at these parties.

One day, Herc passed the microphone over to two of his friends. He took care of the turn table and allowed his buddies to keep the crowd hyped with chants, rhymes and anecdotes while he extended the breaks of different songs indefinitely. This was the birth of rap as we know it.

Hip-hop has evolved from the days of the basement showdowns to big business in the music industry. In the seventies and eighties, the pioneers and innovators of the rap record was the DJ. He was the guy who used his turntable to create fresh sounds with old records. Then, he became the guy who mixed these familiar breaks with synthesizers to produce completely new beats. Not much has changed in that aspect of hip-hop. The guy who creates the beat is still the heart of the track. Now, we call him the producer. Even though some DJs work as producers as well as DJs (quite a few start out as DJs before they become producers), todays title DJ doesnt carry the same connotative meaning it did in the eighties. Todays hip-hop producer performs the same tasks as the eightys DJ.

More articles at article database

The origin of hip-hop can be traced back as far as the ancient tribes in Africa. Rap has been compared with the chants, drumbeats and foot-stomping African tribes performed before wars, the births of babies, and the deaths of kings and elders. Historians have reached further back than the accepted origins of hip-hop. It was born as we know it today in the Bronx, cradled and nurtured by the youth in the low-income areas of New York City.

Fast-forward from the tribes of Africa to the ghettos of Kingston, Jamaica in the late sixties. The impoverished of Kingston gathered together in groups to form DJ conglomerates. They spun roots and culture records and communicated with the audience over the music. At the time, the DJs comments werent as important as the quality of the sound system and its ability to get the crowd moving. Kool Herc grew up in this community before he moved to the Bronx.

During the late sixties, reggae wasnt popular with New Yorkers. As a DJ, Kool Herc spun rhythm and blues records to please his party crowd. But, he had to add his personal touch. During the breaks, Herc began to speak to his audience as he had learned to do in Jamaica. He called out, the audience responded, and then he pumped the volume back up on the record. This call and response technique was nothing new to this community whod been reared in Baptist and Methodist churches where call and response was a technique used by the speakers to get the congregation involved. Historians compare it to the call and response performed by Jazz musicians and was very much a part of the culture of Jazz music during the renaissance in Harlem.

Hercs DJ style caught on. His partys grew in popularity. He began to buy multiple copies of the same albums. When he performed his duties as a DJ, he extended the breaks by using multiple copies of the same records. He chatted, as it is called in dance hall, with his audience for longer and longer periods.

Others copied Hercs style. Soon a friendly battle ensued between New York DJs. They all learned the technique of using break beats. Herc stepped up the game by giving shout-outs to people who were in attendance at the parties and coming up with his signature call and response. Other DJs responded by rhyming with their words when they spoke to the audience. More and more DJs used two and four line rhymes and anecdotes to get their audiences involved and hyped at these parties.

One day, Herc passed the microphone over to two of his friends. He took care of the turn table and allowed his buddies to keep the crowd hyped with chants, rhymes and anecdotes while he extended the breaks of different songs indefinitely. This was the birth of rap as we know it.

Hip-hop has evolved from the days of the basement showdowns to big business in the music industry. In the seventies and eighties, the pioneers and innovators of the rap record was the DJ. He was the guy who used his turntable to create fresh sounds with old records. Then, he became the guy who mixed these familiar breaks with synthesizers to produce completely new beats. Not much has changed in that aspect of hip-hop. The guy who creates the beat is still the heart of the track. Now, we call him the producer. Even though some DJs work as producers as well as DJs (quite a few start out as DJs before they become producers), todays title DJ doesnt carry the same connotative meaning it did in the eighties. Todays hip-hop producer performs the same tasks as the eightys DJ.

More articles at article database

The origin of hip-hop can be traced back as far as the ancient tribes in Africa. Rap has been compared with the chants, drumbeats and foot-stomping African tribes performed before wars, the births of babies, and the deaths of kings and elders. Historians have reached further back than the accepted origins of hip-hop. It was born as we know it today in the Bronx, cradled and nurtured by the youth in the low-income areas of New York City.

Fast-forward from the tribes of Africa to the ghettos of Kingston, Jamaica in the late sixties. The impoverished of Kingston gathered together in groups to form DJ conglomerates. They spun roots and culture records and communicated with the audience over the music. At the time, the DJs comments werent as important as the quality of the sound system and its ability to get the crowd moving. Kool Herc grew up in this community before he moved to the Bronx.

During the late sixties, reggae wasnt popular with New Yorkers. As a DJ, Kool Herc spun rhythm and blues records to please his party crowd. But, he had to add his personal touch. During the breaks, Herc began to speak to his audience as he had learned to do in Jamaica. He called out, the audience responded, and then he pumped the volume back up on the record. This call and response technique was nothing new to this community whod been reared in Baptist and Methodist churches where call and response was a technique used by the speakers to get the congregation involved. Historians compare it to the call and response performed by Jazz musicians and was very much a part of the culture of Jazz music during the renaissance in Harlem.

Hercs DJ style caught on. His partys grew in popularity. He began to buy multiple copies of the same albums. When he performed his duties as a DJ, he extended the breaks by using multiple copies of the same records. He chatted, as it is called in dance hall, with his audience for longer and longer periods.

Others copied Hercs style. Soon a friendly battle ensued between New York DJs. They all learned the technique of using break beats. Herc stepped up the game by giving shout-outs to people who were in attendance at the parties and coming up with his signature call and response. Other DJs responded by rhyming with their words when they spoke to the audience. More and more DJs used two and four line rhymes and anecdotes to get their audiences involved and hyped at these parties.

One day, Herc passed the microphone over to two of his friends. He took care of the turn table and allowed his buddies to keep the crowd hyped with chants, rhymes and anecdotes while he extended the breaks of different songs indefinitely. This was the birth of rap as we know it.

Hip-hop has evolved from the days of the basement showdowns to big business in the music industry. In the seventies and eighties, the pioneers and innovators of the rap record was the DJ. He was the guy who used his turntable to create fresh sounds with old records. Then, he became the guy who mixed these familiar breaks with synthesizers to produce completely new beats. Not much has changed in that aspect of hip-hop. The guy who creates the beat is still the heart of the track. Now, we call him the producer. Even though some DJs work as producers as well as DJs (quite a few start out as DJs before they become producers), todays title DJ doesnt carry the same connotative meaning it did in the eighties. Todays hip-hop producer performs the same tasks as the eightys DJ.

More articles at article database

Purchasing a classical guitar can be a difficult task particularly if you are not yet an accomplished player. Here are some tips and hints on finding a good quality classical guitar whether it is in the hundred dollar range or the thousand dollar range.

If you are have ever gone into a well stocked guitar shop you have no doubt been confused by the selection of guitars. There are literally hundreds of shapes, sizes brands and types of guitars. And the price can range from a hundred dollars to several thousand. .If you are a beginner, judging the sound quality can be difficult to do because your ear is not yet highly trained. Here are some tips to help you make a good choice.

When in a guitar shop and looking at the guitars you should always ask a sales person to help you. This way you can take guitars down and play them. If you cannot play very well you should ask the sales clerk to play for you so you can get a feel for the sound of the different guitars. If the sales clerk doesnt play you should ask if there is someone working in the shop that does play. As a last resort you should even ask other customers in the store. Not listening to the different guitars is like shopping for a car but never test driving any of them. Guitars have very different feels and tones and you should listen to a lot of them to get a sense of what you like. Dont be bashful in this respect. Guitarists are usually a very gregarious bunch and a guitarist will almost always jump at the chance to play for someone else. If you dont yet play well and you cant find somebody to play for you I recommend you not purchase a guitar. You should come back another time when someone is available to play or you can bring a friend who knows how to play.

Check the size and shape of the guitar

Classical Guitars, of course, come in different sizes and shapes and you should sit with a wide variety of them to get a feeling for what is comfortable to you. Your body shape has an effect on this. If you are over six feet tall the smaller guitars might not be comfortable for you and the fret board may be uncomfortable for your hands. So even if you cant play music you should always hold and sit with the guitars to get a sense of how the different ones feel.

Check the mechanics and playability of the guitar

Here are several things you should do when considering the purchase of a classical guitar.

1. Play every note on every string all the way up and down. Listen for frets that dont play properly. They will give a rattling sound and if this occurs on any fret at all you should put the guitar aside and try another one. This is a sign of inferior quality. Every string should play cleanly on every single fret.

2. Check the action of the strings against the frets in terms of how much pressure is needed to play notes and chords. You should play bar chords all the way down the frets to insure good pressure. If it is too hard to press the strings in order to make a clear chord this could be a sign of an inferior guitar.

3. Play harmonics on the strings. This is an excellent test of the quality of the guitar. Playing harmonics is the technique of plucking the note with your right hand and only lightly touching the string with your left hand. Test the harmonics of all the strings on the 5th, 7th, 12th and 19th frets. If you do not know how to play harmonic notes ask the sales clerk to help you.

4. Examine and test the tuning pegs. Do they look clean and sharp? Wind and unwind them while watching and feeling for smooth turning motion.

5. Visually examine the whole guitar. Look it over very carefully from front to back and top to bottom. Are there any small cracks? Are the frets firmly installed into the fret board? Are there any cracks or glue exposed around the bridge?

6. Tap on the front of the guitar (The sound board) in a variety of different spots. Does it have a rich echoing sound or are there spots where it sounds dead and limp? The internal structure of the classical guitar is very important for the sound and important for the longevity of it. Dull thud sounds could be an indicator of an inferior instrument.

7. Examine the details. Look at the purfling around the edge. This is the decorated pattern that goes around the full body where the soundboard or face meets the sides of the guitar. Is it accurately laid in? If this has variations and inconsistencies it is a good sign that the guitar is of inferior quality.

8. Dont hesitate to take a good look inside the guitar sound hole. You will see wooden braces in there. Do they look straight, accurate and well placed? If you see sloppy globs of dried glue around these braces it could be an indicator of inferior craftsmanship.

9. Remember that there are three distinct areas you must consider when purchasing a classical guitar: The Look, The Feel, and the Sound. If you keep all three of these things in mind and carefully examine the guitar in relation to these you will be able to choose an instrument that will bring you a lifetime of trouble free playing enjoyment.

A Classical Guitar is a purchase that can give you a lifetime of enjoyment and you should consider the purchase carefully. Even if you dont plan on playing every day you should buy an instrument that is of good quality so it will maintain its sound quality for a lifetime. And to do this you dont need to spend thousands of dollars you just need to know how to identify a well made guitar.

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Hip Hop music is popular with today’s youth. The Hip Hop audience ranges in age from the very young to the seasoned at heart. The messages in the music are clear and often depict life in the real world. Most artist use their own life experiences to tell stories that reflect what their world is like. Hip Hop music is a venue that gives the artist an opportunity to tell it like it is. Many of today’s youth find that through the sounds and messages of Hip Hop they are able to see reflections of themselves and the world around them.

Although some of the messages conveyed by Hip Hop are viewed as negative, it must be understood that the lyrics in these songs are someone’s reality. Hip Hop artist sing about what they have seen and many of their personal experiences. Unfortunately, many of their experiences are not so pretty. Other Hip Hop songs carry a positive message and force the listener to think and dream beyond their current situation. Hip Hop music has taken America by a storm and it will continue to influence our youth. We must all these free expression and the growth of Hip Hop music because what we hear is relative to what’s going on in the world today.

GMP Records, Inc. http://www.godmadeitpossible4me.com also check out http://www.cdbaby.com/cd/deepcover

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Purchasing a classical guitar can be a difficult task particularly if you are not yet an accomplished player. Here are some tips and hints on finding a good quality classical guitar whether it is in the hundred dollar range or the thousand dollar range.

If you are have ever gone into a well stocked guitar shop you have no doubt been confused by the selection of guitars. There are literally hundreds of shapes, sizes brands and types of guitars. And the price can range from a hundred dollars to several thousand. .If you are a beginner, judging the sound quality can be difficult to do because your ear is not yet highly trained. Here are some tips to help you make a good choice.

When in a guitar shop and looking at the guitars you should always ask a sales person to help you. This way you can take guitars down and play them. If you cannot play very well you should ask the sales clerk to play for you so you can get a feel for the sound of the different guitars. If the sales clerk doesnt play you should ask if there is someone working in the shop that does play. As a last resort you should even ask other customers in the store. Not listening to the different guitars is like shopping for a car but never test driving any of them. Guitars have very different feels and tones and you should listen to a lot of them to get a sense of what you like. Dont be bashful in this respect. Guitarists are usually a very gregarious bunch and a guitarist will almost always jump at the chance to play for someone else. If you dont yet play well and you cant find somebody to play for you I recommend you not purchase a guitar. You should come back another time when someone is available to play or you can bring a friend who knows how to play.

Check the size and shape of the guitar

Classical Guitars, of course, come in different sizes and shapes and you should sit with a wide variety of them to get a feeling for what is comfortable to you. Your body shape has an effect on this. If you are over six feet tall the smaller guitars might not be comfortable for you and the fret board may be uncomfortable for your hands. So even if you cant play music you should always hold and sit with the guitars to get a sense of how the different ones feel.

Check the mechanics and playability of the guitar

Here are several things you should do when considering the purchase of a classical guitar.

1. Play every note on every string all the way up and down. Listen for frets that dont play properly. They will give a rattling sound and if this occurs on any fret at all you should put the guitar aside and try another one. This is a sign of inferior quality. Every string should play cleanly on every single fret.

2. Check the action of the strings against the frets in terms of how much pressure is needed to play notes and chords. You should play bar chords all the way down the frets to insure good pressure. If it is too hard to press the strings in order to make a clear chord this could be a sign of an inferior guitar.

3. Play harmonics on the strings. This is an excellent test of the quality of the guitar. Playing harmonics is the technique of plucking the note with your right hand and only lightly touching the string with your left hand. Test the harmonics of all the strings on the 5th, 7th, 12th and 19th frets. If you do not know how to play harmonic notes ask the sales clerk to help you.

4. Examine and test the tuning pegs. Do they look clean and sharp? Wind and unwind them while watching and feeling for smooth turning motion.

5. Visually examine the whole guitar. Look it over very carefully from front to back and top to bottom. Are there any small cracks? Are the frets firmly installed into the fret board? Are there any cracks or glue exposed around the bridge?

6. Tap on the front of the guitar (The sound board) in a variety of different spots. Does it have a rich echoing sound or are there spots where it sounds dead and limp? The internal structure of the classical guitar is very important for the sound and important for the longevity of it. Dull thud sounds could be an indicator of an inferior instrument.

7. Examine the details. Look at the purfling around the edge. This is the decorated pattern that goes around the full body where the soundboard or face meets the sides of the guitar. Is it accurately laid in? If this has variations and inconsistencies it is a good sign that the guitar is of inferior quality.

8. Dont hesitate to take a good look inside the guitar sound hole. You will see wooden braces in there. Do they look straight, accurate and well placed? If you see sloppy globs of dried glue around these braces it could be an indicator of inferior craftsmanship.

9. Remember that there are three distinct areas you must consider when purchasing a classical guitar: The Look, The Feel, and the Sound. If you keep all three of these things in mind and carefully examine the guitar in relation to these you will be able to choose an instrument that will bring you a lifetime of trouble free playing enjoyment.

A Classical Guitar is a purchase that can give you a lifetime of enjoyment and you should consider the purchase carefully. Even if you dont plan on playing every day you should buy an instrument that is of good quality so it will maintain its sound quality for a lifetime. And to do this you dont need to spend thousands of dollars you just need to know how to identify a well made guitar.

More articles at articles database

The origin of hip-hop can be traced back as far as the ancient tribes in Africa. Rap has been compared with the chants, drumbeats and foot-stomping African tribes performed before wars, the births of babies, and the deaths of kings and elders. Historians have reached further back than the accepted origins of hip-hop. It was born as we know it today in the Bronx, cradled and nurtured by the youth in the low-income areas of New York City.

Fast-forward from the tribes of Africa to the ghettos of Kingston, Jamaica in the late sixties. The impoverished of Kingston gathered together in groups to form DJ conglomerates. They spun roots and culture records and communicated with the audience over the music. At the time, the DJs comments werent as important as the quality of the sound system and its ability to get the crowd moving. Kool Herc grew up in this community before he moved to the Bronx.

During the late sixties, reggae wasnt popular with New Yorkers. As a DJ, Kool Herc spun rhythm and blues records to please his party crowd. But, he had to add his personal touch. During the breaks, Herc began to speak to his audience as he had learned to do in Jamaica. He called out, the audience responded, and then he pumped the volume back up on the record. This call and response technique was nothing new to this community whod been reared in Baptist and Methodist churches where call and response was a technique used by the speakers to get the congregation involved. Historians compare it to the call and response performed by Jazz musicians and was very much a part of the culture of Jazz music during the renaissance in Harlem.

Hercs DJ style caught on. His partys grew in popularity. He began to buy multiple copies of the same albums. When he performed his duties as a DJ, he extended the breaks by using multiple copies of the same records. He chatted, as it is called in dance hall, with his audience for longer and longer periods.

Others copied Hercs style. Soon a friendly battle ensued between New York DJs. They all learned the technique of using break beats. Herc stepped up the game by giving shout-outs to people who were in attendance at the parties and coming up with his signature call and response. Other DJs responded by rhyming with their words when they spoke to the audience. More and more DJs used two and four line rhymes and anecdotes to get their audiences involved and hyped at these parties.

One day, Herc passed the microphone over to two of his friends. He took care of the turn table and allowed his buddies to keep the crowd hyped with chants, rhymes and anecdotes while he extended the breaks of different songs indefinitely. This was the birth of rap as we know it.

Hip-hop has evolved from the days of the basement showdowns to big business in the music industry. In the seventies and eighties, the pioneers and innovators of the rap record was the DJ. He was the guy who used his turntable to create fresh sounds with old records. Then, he became the guy who mixed these familiar breaks with synthesizers to produce completely new beats. Not much has changed in that aspect of hip-hop. The guy who creates the beat is still the heart of the track. Now, we call him the producer. Even though some DJs work as producers as well as DJs (quite a few start out as DJs before they become producers), todays title DJ doesnt carry the same connotative meaning it did in the eighties. Todays hip-hop producer performs the same tasks as the eightys DJ.

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