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Speaker 1: Hey there, history fans. We're off this week so I

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Speaker 1: can catch up after the holidays. Please enjoy these flashback

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Speaker 1: episodes from the TDI HC Vault, and be sure to

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Speaker 1: meet me back here next Tuesday for a brand new episode.

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Speaker 2: Hi everyone, I'm Eves and welcome to This Day in

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Speaker 2: History Class, a podcast where we dust off a little

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Speaker 2: piece of history and placed it ever so gently on

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Speaker 2: your brain shelf every day. The day was January fifth,

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Speaker 2: eighteen ninety three. Blues and folk musician Elizabeth Cotton was

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Speaker 2: born near Chapel Hill, North Carolina. Sources differ on her

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Speaker 2: year of birth, with some saying eighteen ninety two and

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Speaker 2: others say eighteen ninety five. Cotton was born into a

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Speaker 2: family steeped in a musical tradition. As a child, she

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Speaker 2: often borrowed her brother's instruments, and she taught herself to

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Speaker 2: play the banjo and the guitar. She was left handed,

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Speaker 2: so it was easier for her to hold the banjo

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Speaker 2: upside down to play it. When her brother left, Cotton

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Speaker 2: had to quit school and take jobs as a domestic worker.

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Speaker 2: By the time she was eleven or twelve years old,

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Speaker 2: she had saved up enough money to buy a Stella

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Speaker 2: demonstrator guitar for three dollars and seventy five cents. She

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Speaker 2: played the guitar upside down too, and developed a unique

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Speaker 2: picking style. She fretted the strings with her right hand

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Speaker 2: and picked with her left. By the time she was

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Speaker 2: a teenager, she was able to play several different songs.

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Speaker 2: Cotton often stayed up late at night playing the guitar,

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Speaker 2: and her mother would scold her and tell her to

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Speaker 2: stop playing. As a teen, Elizabeth married Frank Cotton. They

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Speaker 2: had one child together not long after, named Lily. As

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Speaker 2: Elizabeth became busy with family life, she became more involved

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Speaker 2: in her church. Leaders at her church urged her to

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Speaker 2: stop playing worldly music. Committed to the church and busy

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Speaker 2: at home, she put down her guitar for years. The

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Speaker 2: Cottons lived in New York City for a while, but

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Speaker 2: when Lilly got married and had a child, Elizabeth left

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Speaker 2: Frank and moved to Washington, d c. To be close

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Speaker 2: to her daughter. She cleaned and sold dolls at a

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Speaker 2: department store for a living, but one day in the

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Speaker 2: department store she found a lost girl named Peggy Seeger

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Speaker 2: and returned her to her mother. Ruth Crawford Seger. Elizabeth

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Speaker 2: soon began to work in the household of the Segars,

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Speaker 2: who were also a musical family. Ruth was a composer

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Speaker 2: and music teacher, and her husband, Charles, was an ethno musicologist.

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Speaker 2: Cotton would play the guitar at the Seager home, but

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Speaker 2: the family didn't find out about her musical talent until

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Speaker 2: a few years after she began working for them. Then,

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Speaker 2: in her sixties, Elizabeth began recording her songs. Those recorded

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Speaker 2: songs became the nineteen fifty eight album Folk Songs and

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Speaker 2: Instrumentals with Guitar, released on Folkway's Records. The album featured

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Speaker 2: Freight Train, a song that Elizabeth composed when she was

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Speaker 2: a child. She had her performing debut at Swarthmore College

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Speaker 2: with Mike Seeger, Ruth and Charles Son, and she continued

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Speaker 2: to perform solo in concert and at folk festivals. She

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Speaker 2: was on the same ticket as performers like Skip James

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Speaker 2: and Muddy Waters, and her music became a staple of

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Speaker 2: the folk revival of the nineteen sixties. Cotton continued playing

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Speaker 2: and touring throughout the US and Europe into the nineteen eighties.

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Speaker 2: She played her last show in New York City in

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Speaker 2: nineteen eighty seven, months before her death. I'm Eve Stefcote

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Speaker 2: and hopefully you know a little more about history today

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Speaker 2: than you did yesterday. You can keep up with us

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Speaker 2: on social media on Twitter, Facebook, and Instagram at TDIHC

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Speaker 2: podcast email still works. Send us a note at this

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Speaker 2: Day at iHeartMedia dot com. I hope you enjoyed today's episode.

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Speaker 2: We'll be back tomorrow with another one.

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Speaker 1: Hello, and welcome to This Day in History Class, a

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Speaker 1: show that spits the greatest hits of history one day

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Speaker 1: at a time. I'm Gabe Luesier, and today we're talking

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Speaker 1: about the controversial origin of the first commercial rap recording

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Speaker 1: in music history, the iconic and lengthy rappers Delight. The

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Speaker 1: day was January fifth, nineteen eighty Rappers Delight by the

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Speaker 1: sugar Hill Gang became the first hip hop song ever

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Speaker 1: to break into the Billboard Top forty. The single landed

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Speaker 1: at number thirty seven for the week ending January fifth,

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Speaker 1: and it later creeped up a spot to number thirty six.

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Speaker 1: The song's appearance in the Top forty signaled the transition

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Speaker 1: of hip hop from a largely underground art form to

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Speaker 1: a mainstream commercial genre. It was a clear outlier among

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Speaker 1: other popular acts of the time like Kenny Rodgers, Abba

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Speaker 1: and Casey in the Sunshine Band, but many Americans were

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Speaker 1: itching to leave the disco era behind, and rappers Delight

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Speaker 1: provided the brand new sound they had been looking for.

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Speaker 1: It's unlikely that you've never heard the song before, but

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Speaker 1: just in case, it goes like this, I said it

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Speaker 1: hit Hit.

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Speaker 2: You don't stop the rocket to the band name, but

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Speaker 2: you say jump the bugger to the rhythm of.

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Speaker 1: The briga to beat. Now what you hear is not

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Speaker 1: a test. I'm rappit to the beat and me the

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Speaker 1: groove and a friends that gonna try to move your feet.

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Speaker 1: See I am one. In the nineteen seventies, hip hop

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Speaker 1: wasn't well known outside of the music scene and the

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Speaker 1: Bronx and Harlem, and even in those neighborhoods, you couldn't

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Speaker 1: walk into a record store and buy a hip hop album.

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Speaker 1: If you wanted to hear MC's rapping in DJ's scratching,

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Speaker 1: then you had to go to a club or a

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Speaker 1: house party and hear it live for yourself. At the time,

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Speaker 1: pioneering performers like DJ Grandmaster Flash, DJ Cool Heirk, and

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Speaker 1: Curtis Blow weren't recording their music. In fact, they worried

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Speaker 1: that if they did, people would lose interest in their

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Speaker 1: live shows and the little income they were earning from

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Speaker 1: their music would disappear. That may have been true if

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Speaker 1: the only audience for hip hop were the people who

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Speaker 1: lived in the neighborhoods where it was first being played,

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Speaker 1: But one New Jersey business woman believed the music could

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Speaker 1: actually have much wider appeal. Her name was Sylvia Robinson,

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Speaker 1: and in nineteen seventy nine, she experienced hip hop for

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Speaker 1: the first time, like most other people in those days,

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Speaker 1: live at a nightclub in New York City, she was

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Speaker 1: amazed by a DJ named love Ug Starsky, who was

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Speaker 1: spinning R and B records and leading the crowd through

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Speaker 1: spoken word rhymes set to the beat. She later recalled

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Speaker 1: the moment saying, quote, I saw him talking to the

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Speaker 1: kids and saw how they'd answer back. He would say

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Speaker 1: something every now and then, like throw your hands in

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Speaker 1: the air, and they'd do it. If he had said

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Speaker 1: jump in the river, they'd have done it. A spirit

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Speaker 1: said to me, put a concept like that on a record,

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Speaker 1: and it will be the biggest thing you ever had.

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Speaker 1: Sylvia had no ties to hip hop, but she did

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Speaker 1: know a lot about the music business. Throughout the nineteen seventies,

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Speaker 1: she found success as an R and B singer, both

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Speaker 1: in a group and as a solo act. By nineteen

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Speaker 1: seventy nine, she had made the switch to producing, and

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Speaker 1: the untapped potential of hip hop seemed like a promising

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Speaker 1: next move. Rather than approach an existing act, Sylvia decided

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Speaker 1: to put together a brand new group herself. She enlisted

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Speaker 1: her son Joey Robinson for help in finding a good MC,

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Speaker 1: and lucky for her, he knew just the guy. Joey

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Speaker 1: drove his mom to Crispy Crust Pizza in Inglewood, New

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Speaker 1: Jersey to pay a visit to one of the employees there,

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Speaker 1: a man named Henry Jackson aka Big Bank Hank. Jackson

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Speaker 1: graciously used his lunch break to audition for Sylvia, which

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Speaker 1: he did by climbing into the back seat of her

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Speaker 1: car and wrapping along to a backing track played on

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Speaker 1: a cassette deck. Joey had also scouted two other promising

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Speaker 1: local MC's, Guy O'Brien aka Master G and Mike Wright

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Speaker 1: aka Wonder Mike. They joined the impromptu audition and when

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Speaker 1: Sylvia liked what she heard. She dubbed the newly formed

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Speaker 1: trio the sugar Hill Gang after the sugar Hill area

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Speaker 1: of Harlem. All of that happened on a Friday afternoon,

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Speaker 1: and by the following Monday, the group was ready to

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Speaker 1: record their first track at a studio in Inglewood. That's

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Speaker 1: a quick turnaround for a whole new song, so the

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Speaker 1: group opted to put their own spin on an existing

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Speaker 1: rhythm track instead. Sylvia chose the hit disco song good

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Speaker 1: Times by the band Chic as the backbone of the recording. However,

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Speaker 1: since time was tight, no one reached out to the

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Speaker 1: band for permission to use the track. That decision eventually

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Speaker 1: led to a lengthy lawsuit, which was settled out of

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Speaker 1: court for an undisclosed sum. When it was time to record,

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Speaker 1: Sylvia threw on good Times and the three rappers huddled

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Speaker 1: around a mic in the cramped studio booth. Sylvia pointed

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Speaker 1: to each rapper when it was their turn at the mic,

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Speaker 1: and despite having barely rehearsed, they made it through the

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Speaker 1: epic fifteen minute track with hardly any mistakes. It was

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Speaker 1: a good thing too, because Big Bank Hank didn't have

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Speaker 1: much time to spare. He was due back at the

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Speaker 1: Crispy Crust within the hour. If you're wondering how the

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Speaker 1: fledgling group came up with fifteen minutes worth of lyrics

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Speaker 1: in less than seventy two hours, well they had some

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Speaker 1: help with that too, big Bank. Hank actually took most

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Speaker 1: of the lyrics from his friend and fellow MC grandmaster

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Speaker 1: Kaz of the Cold Crush Brothers. Kaz later described the

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Speaker 1: interaction saying, quote, Hank asked me if he could borrow

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Speaker 1: my rhyme book, So I just threw it on the table.

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Speaker 1: I was kind of nonchalant about it. I'm not thinking

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Speaker 1: anything is going to come from it, and if it

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Speaker 1: did by happenstance, then all right, well, hey he comes

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Speaker 1: from us, so if there's any trickle down, it'll trickle

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Speaker 1: down to us. And as far as trying to protect myself,

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Speaker 1: and we didn't know about lawyers and publishing and writers

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Speaker 1: and mechanical royalties or nothing like that, we weren't part

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Speaker 1: of the music industry. In the end, Rapper's Delight did

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Speaker 1: what no one, including Kaz, had expected. It became an

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Speaker 1: international hit. And even though Kaz didn't make money from

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Speaker 1: the song or even get a writing credit. He never

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Speaker 1: sued the group. Instead, he chose to keep moving forward,

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Speaker 1: eventually signing to Tough City Records and releasing his own albums.

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Speaker 1: For hip hop purists, it's bittersweet that Rappers Delight became

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Speaker 1: most listener's introduction to hip hop. From their perspective, there

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Speaker 1: were other rappers much more deserving of the honor, ones

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Speaker 1: who wrote their own lyrics and came up with their

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Speaker 1: own beats, or at least asked permission to use somebody else's.

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Speaker 1: But there's no one element that made Rappers Delight a

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Speaker 1: great song. Instead, it's everything working together. The bassline of

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Speaker 1: Sheikh's track, the clever, unexpected rhymes of Grandmaster Kaz, and

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Speaker 1: the raw vocal stylings of three MC's who had just

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Speaker 1: met three days earlier. The beats and lyrics may have

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Speaker 1: come from other artists, but Sylvia Robinson, Big Bank, Hank

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Speaker 1: Master G and Wonder Mike put their own spin on

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Speaker 1: all of it, improvising in the studio to make the

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Speaker 1: song their own. When Rappers Delight was released in December

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Speaker 1: nineteen seventy nine, it was a smash hit from the start.

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Speaker 1: It shot to number four on the US Hot Soul

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Speaker 1: Singles Chart and eventually peaked at number thirty six on

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Speaker 1: the Billboard Hot one hundred. Outside the US, the track

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Speaker 1: was even more successful. It topped the charts in the Netherlands, Canada,

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Speaker 1: and Spain, and made it into the top five and

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Speaker 1: nine other countries. All told, the twelve inch single sold

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Speaker 1: over two million copies, proving that there was plenty of

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Speaker 1: interest and money in hip hop recordings. Despite the unusual

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Speaker 1: origins of Rapper's Delight, the song was a game changer

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Speaker 1: for the budding hip hop genre. The Sugar Hill Gang

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Speaker 1: never had another hit, but every rapper and group that

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Speaker 1: followed Oh is at least a small debt of thanks

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Speaker 1: to the group that paved their way, even if they'd

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Speaker 1: rather not admit it. I'm Gabe Lucier and hopefully you

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Speaker 1: now know a little more about history today than you

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Speaker 1: did yesterday. If you'd like to keep up with the show,

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Speaker 1: you can follow us on Twitter, Facebook, and Instagram at

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Speaker 1: TDI HC Show, and if you have any comments or

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Speaker 1: suggestions you can send them my way at this day

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Speaker 1: at iHeartMedia dot com. Thanks to Chandler Mays for producing

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Speaker 1: the show, and thanks to you for listening I'll see

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Speaker 1: you back here again tomorrow for another day in history class.

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Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

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Speaker 1: or wherever you listen to your favorite shows.