{"id":29157,"date":"2023-11-15T12:55:08","date_gmt":"2023-11-15T17:55:08","guid":{"rendered":"https:\/\/alumni.cornell.edu\/cornellians\/?p=29157"},"modified":"2023-11-16T14:08:20","modified_gmt":"2023-11-16T19:08:20","slug":"hip-hop-collection","status":"publish","type":"post","link":"https:\/\/alumni.cornell.edu\/cornellians\/hip-hop-collection\/","title":{"rendered":"Hip Hop Collection Charts Early Days of a Cultural Phenomenon"},"content":{"rendered":"\n

Library archive is a repository and resource for artists, students, and fans alike<\/p>\n\n\n\n

By Joe Wilensky<\/strong><\/p>\n\n\n\n

As a cultural movement, hip hop began in the Bronx in the 1970s and grew into a global phenomenon\u2014and the largest single archive of its historical material is housed in the University Library.<\/p>\n\n\n\n

Browse through just a few items within the vast holdings of the Cornell Hip Hop Collection<\/a> and you\u2019ll find photos of rappers LL Cool J, Public Enemy, and Queen Latifah; a framed platinum record of De La Soul\u2019s \u201c3 Feet High and Rising\u201d; and original poster art for 1983\u2019s Wild Style<\/em>, considered the first film to showcase hip-hop culture. <\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Keith
Artist Keith Haring and DMC (of Run-DMC), circa 1988.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

The archive comprises more than 250,000 items documenting hip hop\u2019s origins and evolution into a multibillion-dollar industry, with a particular focus on the artists who were part of its pioneering generation in the \u201970s and \u201980s.<\/p>\n\n\n\n

It includes not only thousands of sound and video recordings but also artwork, photos, books, magazines, and related advertising, like the hand-drawn, mimeographed event flyers that were once hip hop\u2019s only PR method.<\/p>\n\n\n\n

\"Cassettes
Cassettes (remember those?) of live \u201970s and \u201980s show recordings.<\/figcaption><\/figure>
\n

It also houses the personal and professional archives of many of the genre\u2019s photographers, filmmakers, dancers, emcees, DJs, producers, publicists, independent labels, managers, and journalists.<\/p>\n\n\n\n

\u201cIt has definitely become one of the collections for which Cornell Library is best known\u2014important historically, and a unique resource offered nowhere else,\u201d says Katherine Reagan, the Ernest L. Stern Curator of Rare Books and Manuscripts.<\/p>\n\n\n\n

As collections specialist Ben Ortiz notes, hip hop is a broad movement, far more extensive than simply the rap music with which it is most identified. It comprises four distinct elements: rappers, DJs, breakdancers, and graffiti artists. <\/p>\n<\/div><\/div>\n\n\n\n

\u201cThey each have their own separate histories,\u201d Ortiz notes, \u201cand they all kind of came together to create hip hop.\u201d<\/p>\n\n\n\n

The genre\u2019s origin story even has a specific place and time. At a dance party in the Bronx on August 11, 1973, DJ Kool Herc first used a mixer and two turntables to seamlessly overlap the percussive sections of different songs\u2014\u201cbreakbeats\u201d\u2014 giving dancers an extended riff to showcase their moves.<\/p>\n\n\n\n

The library marked the half-century anniversary of that fateful party in summer 2023 with an exhibit<\/a>, \u201cIt\u2019s Just Begun: Celebrating 50 Years of the Hip Hop DJ.\u201d<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Hip
The exhibit is on display in the Michael T. Silverman \u201968 Rotunda of Rare and Manuscript Collections through February 2024.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

The display includes several gold and platinum records from the archive of the former head of PR for Def Jam Recordings; albums by DJ Jazzy Jeff & the Fresh Prince, Eric B. & Rakim, and De La Soul; and Polaroids from DJ Kool Herc\u2019s own collection.<\/p>\n\n\n\n

But as Ortiz stresses, the exhibit, focusing on DJs, offers a glimpse of just one of the pillars of hip-hop culture. The overall collection is a true research archive\u2014not a museum or a hip hop \u201cHall of Fame,\u201d as some curious visitors sometimes expect to see.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Ben
Ortiz shows the platinum record by De La Soul that is a collection highlight.<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

\u201cHip hop can speak to so many identities and situations and walks of life,\u201d Ortiz says. \u201cThe collection is diverse and multigenerational; there are so many aspects of humanity that you can study through this material.\u201d<\/p>\n\n\n\n

The archive traces its roots to author and collector Johan Kugelberg, who began seeking out hip-hop artifacts in the late 1990s.<\/p>\n\n\n\n

\n

There are so many aspects of humanity that you can study through this material.<\/p>\nBen Ortiz<\/strong>, collections specialist<\/cite><\/blockquote>\n\n\n\n

In the mid-2000s, he and noted hip-hop photographer Joe Conzo Jr. began assembling material for a book (Born in the Bronx: A Visual Record of the Early Days of Hip Hop<\/em><\/a>) and later looked for a museum or library to house the many things they\u2019d collected.<\/p>\n\n\n\n

Impressed by Cornell\u2019s track record of public access and top-notch archival facilities, Kugelberg ultimately donated about 7,000 items to the Library\u2019s Rare and Manuscript Collections in 2007.<\/p>\n\n\n\n

\n

\u201cOne of the reasons why we decided to bring the archive here is because it is so cross-disciplinary, and because of its relevance,\u201d Reagan says.<\/p>\n\n\n\n

\u201cIt\u2019s not just music history; it\u2019s the history of art and of dance. It\u2019s urban studies, it\u2019s Africana studies, it\u2019s government studies\u2014it\u2019s American studies.\u201d<\/p>\n\n\n\n

From its origins, the archive has sought to provide opportunities for hip hop\u2019s artists and community members to tell their own stories: noted DJs have visited campus to teach classes; celebrated dancers have taught workshops in the Department of Performing and Media Arts; and panel discussions have explored topics such as police and community relations through the lens of hip hop.<\/p>\n<\/div>

\"1979
Hand-drawn flyers\u2014like this one by Buddy Esquire\u2014were the main way to advertise hip-hop events in the \u201970s.<\/figcaption><\/figure><\/div>\n\n\n\n

Ortiz gives presentations on and off campus and hosts the myriad groups who visit\u2014from fourth-graders to law students (the latter exploring the debate around the need to compensate artists whose music is sampled).<\/p>\n\n\n\n

\u201cPeople use the collection to study the fashion of the 1980s,\u201d Reagan observes. \u201cSome come here because they\u2019re doing a documentary on roller rinks of the \u201970s. We even had an architecture class here to consider, \u2018Was there such a thing as hip-hop architecture?\u2019\u201d<\/p>\n\n\n\n

\n

It\u2019s the history of art and of dance. It\u2019s urban studies, it\u2019s Africana studies, it\u2019s government studies\u2014it\u2019s American studies.<\/p>\nKatherine Reagan<\/strong>, curator of rare books and manuscripts<\/cite><\/blockquote>\n\n\n\n

The collection is also used by faculty\u2014like Rich\u00e9 Richardson, who teaches the popular course Beyonc\u00e9 Nation<\/a>. Ortiz introduces students to the collection on the first day of class, and they later visit the archives.<\/p>\n\n\n\n

\u201cHe\u2019ll bring out artifacts related to artists the students admire\u2014gold albums, sometimes even their clothing or jewelry,\u201d Richardson says. \u201cHe\u2019ll bring out graffiti artists\u2019 books that students can look through. He really helps them to understand that hip hop is a multifaceted discourse.\u201d<\/p>\n\n\n\n

<\/div>\n\n\n\n
<\/div>
<\/div><\/div>
\"Collaged
Collaged pages from an edition of the International Graffiti Times<\/em>, circa 1987.<\/figcaption><\/figure>
\"Grandmaster
Grandmaster Caz and JDL of the Cold Crush Brothers, circa 1979.<\/figcaption><\/figure>
\"An
An unidentified b-boy performs at the Roseland Ballroom in NYC, 1981.<\/figcaption><\/figure>
\"Volume
Volume 18 of a series of compilation albums called \u201cUltimate Breaks and Beats,\u201d circa 1988.<\/figcaption><\/figure>
\"Detail
News clippings, reviews, and ephemera are part of the \u201cIt\u2019s Just Begun\u201d exhibit.<\/figcaption><\/figure><\/div>
<\/div><\/section>\n\n\n\n
<\/div>\n\n\n\n

Andrew Boryga \u201913 is a writer whose work has appeared in the New York Times<\/em>, the New Yorker<\/em>, and the Atlantic<\/em>. He grew up in the Bronx and had a strong interest in hip-hop culture; as an undergrad majoring in English in Arts & Sciences, he served as a student representative to an early advisory board for the collection and even helped Ortiz and Reagan categorize and organize some of the incoming material.<\/p>\n\n\n\n

\u201cHip hop was still seen as this kind of underground culture, and you would never think of it being in an institution like Cornell,\u201d Boryga recalls. \u201cIt was always cool to me that Cornell gathered these materials and invited hip-hop pioneers to campus, and really treated them like the scholars they are.\u201d<\/p>\n\n\n\n

All images provided by the Cornell Hip Hop Collection. Top image: Detail of a promotional illustration, artist unknown, for the 1983 classic hip-hop film <\/em>Wild Style, from the Charlie Ahearn Hip Hop Archive. Photo of Keith Haring and DMC by photographer Ernie Paniccioli; black-and-white photos of Grandmaster Caz and JDL and of the b-boy in the Rosalind Ballroom by Joe Conzo, Jr.; cassette tapes are from the collection of Grandmaster Caz; and the news clippings shown in the exhibition case are from the archive of Bill Adler.<\/em><\/p>\n\n\n\n

Published November 15, 2023<\/p>\n\n\n\n

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