How the Fall of the Iron Curtain In Eastern Europe Impacted Hip-Hop
BY TAMAL OF @CARRYINGTHECULTURE
How the Fall of the Iron Curtain In Eastern Europe Impacted Hip-Hop
Most adults born around 1980 or before remember the significance the Iron Curtain played in our global political landscape. The term was used to describe the Soviet Union and its satellite countries' deliberate segregation from Western Europe, the U.S., and its allies and values. Nations such as the former East Germany, Czechoslovakia, Poland, Hungary, and others were all under the thumb of the Soviet Union and any access to “Western propaganda” was seriously restricted. In essence, the region was cut off from the rest of the West.
When the Iron Curtain finally fell in 1991, hip-hop culture had already made a substantial impact on America and the rest of the world. The culture was mainstream and albums like “Radio” from L.L. Cool J and “Raising Hell” by RUN DMC were already considered classics. Graffiti was still a major element even though subway bombing was dead. And although breaking was actually losing popularity in the U.S., it was still popular in Western Europe and Asia. The DMC World DJ Championship was also becoming wildly popular, featuring some of the best turntablists from around the globe.
Unfortunately, Eastern Europe and the former Soviet Union were a little late to the party. But they finally arrived and the Iron Curtain's fall was followed by newfound freedoms for millions of people. Thus, the seed of hip-hop culture really began to take hold. Poland's hip-hop scene took off in 1991 with Kazik's “Spalan sie”, considered to be the country's first hip-hop album. In Germany, movies like Wild Style and Beat Street had become popular years after their release and provided critical insight to a culture that was previously inaccessible. There are similar accounts of hip-hop increasing in popularity in other former Eastern Bloc countries during this time. Unfortunately, Eastern Europe was still about 18 years behind the United States and the West.
In the U.S. in the late 90's, big corporations saw the money that could be generated, hip-hop music became watered down and we ushered in the “jiggy era”. More artists started to make music for commercial appeal rather than for the art itself, causing the underground movement to flourish. This was a stark contrast to the mid 80's when the commercial hip-hop music was still in-line with core values of the culture. The late 90's decline in quality led us to the early 2000's—a truly forgettable time for mainstream rap music. Meanwhile, the other elements were also suffering. The DJ was becoming an afterthought at shows and was being pushed to the background. The breaking scene saw a renaissance, but it was mainly through organized battles somewhat independent of the culture. Graff writers continued to write, but their link to hip-hop culture wasn't as strong overall either.
The late 90's and early 2000's in the former Iron Curtain countries looked a little different. In Germany, little known DJ duo named Snowgoons was starting to make some noise. Poland's hip-hop scene was also growing rapidly, and in Russia, breaking was booming just a few years after being labeled a crime. Some of the best breakers in the world are now from the former Soviet Union. Graffiti also blew up, particularly in Germany where it's now not uncommon to see whole car burners on a regular basis. This actually sparked a resurgence in subway bombing in the U.S. This time period would also see an influx of American rappers make their way to Eastern Europe.
It's highly unlikely that anyone thought that the fall of the Iron Curtain would give a lifeline to a lot of golden era rap artists. 90's boom bap hip-hop began to thrive in countries like Germany (East Germany), Poland, Serbia and the like. Jeru the Damaja actually moved to Germany. “I live in Berlin, Germany now because of hip-hop. It’s everything.” El da Sensei of the legendary Artifacts said, “It's like the 90's over in Europe. The fans really support.” This relentless support has helped extend the careers of veteran artists while also creating a lane for underground independents who have been overlooked in the U.S. due to rise in popularity of trap music and mumble rap. Indie artists such as M-Dot and Jahan Nostra regularly tour eastern Europe and have developed a big following in some of these countries. There are many other independent artists that have seen similar success.
The Iron Curtain isolated Eastern Europe from the U.S. and its Western allies for many decades, creating a major gap on the global hip-hop timeline. While it seemed unimportant at the time, Eastern Europe “gaining ground” on the U.S. played a major role in keeping true hip-hop culture alive. The various countries developed their own local scenes and were critical (and still are) in helping U.S. born rappers develop new fan bases and further their careers. The elements of hip-hop took off in popularity and now have become ingrained in their respective communities. While all of this certainly was an unintended bi-product of the Iron Curtain falling, it's an often overlooked but important aspect of hip-hop history that is worthy of discussion.