‘Microphone Check’ Documentary Set to Reveal Hip-Hop’s Hidden Heroes

The buzz around hip-hop’s origins has been loud in recent years, but there’s still a hunger to uncover the unsung heroes of the genre’s early days. Enter “Microphone Check: The Hidden History of Hip-Hop,” a new documentary by Tariq Nasheed, spotlighting pioneers like Coke La Rock, Trixie and Sasa, Sha Rock, Melle Mel, and Grandmaster Caz. These legends, often overshadowed, come together in Nasheed’s film to paint a vivid picture of hip-hop’s birth in the Bronx over 50 years ago.

Set to premiere this Saturday in New York City, “Microphone Check” promises a treasure trove of rare footage and fresh interviews, delving deep into hip-hop’s roots. The Aquarian’s Robert Frezza caught up with Nasheed to discuss the film and the broader landscape of rap, including current beefs, the role of women in hip-hop, and the Grammy Awards’ ongoing struggle to recognize the genre’s true essence.

Nasheed, a historian with a knack for uncovering untold stories, has previously explored global Black history in his “Hidden Colors” series and tackled topics like Haiti’s history and runaway slaves in films like “1804” and “American Maroon.” His love for hip-hop and a push from fans led him to explore the genre’s beginnings in “Microphone Check.” This documentary marks the first deep dive into hip-hop’s historical origins.

He challenges the narrative that hip-hop was founded solely by Cool Herc, Grandmaster Flash, and Afrika Bambaataa, a storyline popularized by The Source magazine in the early ’90s. Nasheed argues this version omits key figures like Disco King Mario, who played a crucial role in spreading hip-hop across the Bronx during a time of rampant gang violence. The documentary aims to give these overlooked heroes their due recognition.

Reflecting on his own start as a rapper, Nasheed sees hip-hop as a powerful cultural force that emerged from the deprivation and struggles of the Bronx in the ’60s and ’70s. Despite the lack of resources, young people created something transformative, turning their parents’ records into the foundation of a global phenomenon.

Nasheed acknowledges that hip-hop has changed significantly since the ’90s, evolving with new styles and sounds. While he appreciates innovation, he criticizes the corporatization of the genre, where labels push for repetitive, cookie-cutter sounds. He longs for the diversity of the golden era around 1988, when each artist strived to be unique, from Kid ‘n Play to N.W.A.

Addressing today’s major rap feud between Kendrick Lamar and Drake, Nasheed sees it as part of hip-hop’s tradition of competitive battles. He likens it to the early clashes like Busy B versus Kool Moe Dee, where lyrical jabs can propel careers. Kendrick, once the underdog, now has the number one song in the country, showing that hip-hop remains a dynamic and evolving art form.

Nasheed celebrates hip-hop’s 50-year legacy, noting that it has defied early predictions of being a passing trend. He highlights the genre’s multifaceted nature, including its influence on fashion, which keeps it fresh and evolving.

Discussing the role of women in hip-hop, Nasheed calls for balance. He acknowledges the impact of trailblazers like Lil’ Kim and Foxy Brown but argues that today’s scene lacks the diversity seen in the ’90s with artists like Queen Latifah and Lauryn Hill. The corporate influence, he believes, stifles innovation by pushing artists to mimic successful formulas.

On the Grammys, Nasheed points out the ongoing political struggles hip-hop faces within the music industry. Despite its global influence, the genre often battles for proper recognition and respect at major award shows. He recalls the late ’80s boycott by rappers demanding televised recognition for the Best Rap Album category as a pivotal moment of self-policing in hip-hop.

Finally, Nasheed shares his hopes for a Lauryn Hill comeback. He praises her groundbreaking album, “The Miseducation of Lauryn Hill,” but understands the pressure of following up such monumental success. He draws parallels with artists like Andre 3000, whose creative directions sometimes surprise fans. Yet, he remains optimistic, wishing for Hill to return and reclaim her place in the hip-hop pantheon.