DJ Kool Herc soaked the labels off his records so rival DJs couldn't identify his secret weapons, a trick that didn't originate in the Bronx. It came from Kingston, Jamaica, where DJs had been guarding their records the same way for two decades already.

This episode traces the Jamaican sound system culture Herc grew up around before his family migrated to New York in 1967: the sound clashes between rival systems like Duke Reid's Trojan and Coxsone's Downbeat, the deejays, Count Machuki, King Stitt, U-Roy, who turned selecting records into a rhythmic vocal art form more than a decade before Coke La Rock picked up a Bronx microphone, and the dub pioneers, King Tubby and Lee "Scratch" Perry, who discovered that a song's instrumental skeleton could be its own attraction. It's also an honest look at a more complicated question than most origin stories bother asking: how much of this Herc actually carried with him, and how much he spent years trying to leave behind.

Sources include historical accounts of Kingston's sound system economy, biographical interviews with Count Machuki, King Stitt, and U-Roy, King Tubby's studio history, and DJ Kool Herc's own, occasionally contradictory, interviews about his Jamaican childhood.

Next episode: the producer duo who spent the late 1990s throwing out every rule about what a rap beat, and a rap video, were supposed to sound and look like.

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Most genres of music don't have a birth certificate. Hip-hop does: a hand-drawn party flyer, a specific Bronx address, and a date, August 11, 1973, that the culture itself points to as where it all began.

This episode traces DJ Kool Herc's path from Kingston, Jamaica's sound-system culture to a rec room at 1520 Sedgwick Avenue, where he invented the Merry-Go-Round technique, isolating and looping a record's instrumental break to keep a crowd dancing indefinitely. That single technique became the breakbeat, the foundation underneath almost every form of hip-hop that followed, and set off a chain, MCing, b-boying, entire crews, that runs in a straight line to hip-hop as it exists today. It's also a story about how long recognition can take: Herc lived through real financial hardship for decades before the Rock and Roll Hall of Fame and the Grammys finally caught up, fifty years later.

Sources include 50th-anniversary retrospective interviews with Herc and his sister Cindy Campbell, Rock and Roll Hall of Fame induction coverage, and contemporaneous accounts of the Bronx party scene.

Next episode: the Jamaican sound-system culture that shaped Herc years before he ever touched a turntable in the Bronx.

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Before Sylvia Robinson ever heard a rap record, she'd already had two number-one hits in two different decades. This episode tells the story of the record executive who put hip-hop on the radio for the first time, and the record most tangled up in disputes over who actually deserved credit for making it.

It covers Robinson's own career as a singer and producer going back to the 1950s, the struggling label she built Sugar Hill Records out of, the pizza-shop discovery that became the Sugarhill Gang, and the legal fight with Chic over an unlicensed bassline that ended with almost everyone who actually wrote and performed "Rapper's Delight" left off the official songwriting credits. It's a story about who gets remembered as a founder, and who doesn't, themes this show returns to often.

Sources include contemporaneous music press, Sugar Hill Records' business history, and interviews with the Sugarhill Gang's surviving members and Sylvia Robinson's family.

Next episode: the back-to-school party that started it all, six years before this record existed.

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