Hip hop is a subcultural art movement that was formed during the early 1970s primarily by African-American youths  residing in the South Bronx in New York City. Art historian Robert Farris Thompson describes the demographics of the youth that characterize the South Bronx in the early 1970s as "English-speaking blacks from Barbados" like Grandmaster Flash, "black Jamaicans" like Kool DJ Herc, "thousands of Nuyoricans," that introduced the rhythms from Salsa (music) as well as Afro conga and bonga drums, and many who emulated the sounds of Tito Puente and Willie Colón with existing styles of musical styles from jazz to funk associated with African Americans prior to the 1970s. Hip-hop music became popular outside of the African-American community in the late 1980s. After the rise of new media platforms and Web 2.0 technology of the Internet, fans would primarily consume the musical genre through social networking sites (SNS) beginning with MySpace evolving to notable mobile apps like YouTube, Worldstarhiphop, SoundCloud, and Spotify.
The musical genre is characterized by four or more distinct elements as different manifestations of the norms, culture: MCing (oral), turntablism or DJing (aural), b-boying (physical), graffiti art (visual) and knowledge. The writer Greg Tate described the hip hop movement as "the only avant-garde still around, still delivering the shock of the new, and its got a shockable bourgeoisie, to boot." Even as the genre continues to develop globally in myriad styles, the five foundational elements provide coherence to hip hop culture. The term is often used in a restrictive fashion as synonymous only with the oral practice of rap music.
The early roots of South Bronx hip hop scene stems from block parties thrown by the Ghetto Brothers, when they plugged in the amplifiers for their instruments and speakers into the lampposts on 163rd Street and Prospect Avenue and used music to break down racial barriers, and from DJ Kool Herc at 1520 Sedgwick Avenue, where Herc mixed samples of existing records with his own shouts to the crowd and dancers. Kool Herc is credited as the "father" of hip hop. DJ Afrika Bambaataa of the hip hop collective Zulu Nation outlined the pillars of hip hop culture, to which he coined the terms: "Rap", "DJing", B-boying and graffiti writing or "Aerosol Writin".
Since its evolution throughout the South Bronx, hip hop culture has spread to both urban and suburban communities throughout the world. Hip hop music first emerged with Kool Herc and contemporary disc jockeys and imitators creating rhythmic beats by looping breaks (small portions of songs emphasizing a percussive pattern) on two turntables. This was later accompanied by "rap", a rhythmic style of chanting of poetry often presented in 16-bar measures or time frames, and beatboxing, a vocal technique mainly used to provide percussive elements of music and various technical effects of hip hop DJs.An original form of dancing and particular styles of dress arose among fans of this new music. These elements were adapted and developed considerably over the history of the culture.
Hip hop is simultaneously a new and old phenomenon; the importance of sampling to the art form means that much of the culture has revolved around the idea of updating classic recordings, attitudes, and experiences for modern audiences—called "flipping" within the culture. It follows in the footsteps of earlier American musical genres such as blues, salsa, jazz, rag-time, funk, disco, and rock and roll in having become one of the most practiced genres of music worldwide.
- 1 Etymology
- 2 History
- 3 Culture
- 4 Mores
- 5 Social impact
- 6 Legacy
- 7 Authenticity
- 8 See also
- 9 References
- 10 Bibliography
Keith "Cowboy" Wiggins, a member of Grandmaster Flash and the Furious Five, has been credited with coining the term in 1978 while teasing a friend who had just joined the US Army by scat singing the words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of marching soldiers. Cowboy later worked the "hip hop" cadence into his stage performance. The group frequently performed with disco artists who would refer to this new type of music by calling them "hip hoppers". The name was originally meant as a sign of disrespect, but soon came to identify this new music and culture.
The song "Rapper's Delight", by The Sugarhill Gang, released in 1979, begins with the phrase "I said a hip, hop the hippie the hippie to the hip hip hop, a you don't stop". Lovebug Starski, a Bronx DJ who put out a single called "The Positive Life" in 1981, and DJ Hollywood then began using the term when referring to this new disco rap music. Bill Alder, an independent consultant, once said, "There was hardly ever a moment when rap music was underground, one of the very first so-called rap records, was a monster hit ("Rapper's Delight" by the Sugar Hill Gang on Sugarhill Records). Hip hop pioneer and South Bronx community leader Afrika Bambaataa also credits Lovebug Starski as the first to use the term "hip hop", as it relates to the culture. Bambaataa, former leader of the Black Spades gang, also did much to further popularize the term. The words "hip hop" first appeared in print on September 21, 1981, in The Village Voice in a profile of Bambaataa written by Steven Hager, who also published the first comprehensive history of the culture with St. Martins' Press.
In the 1970s, an underground urban movement known as "Hip Hop" began to develop in the South Bronx in New York City. It focused on emceeing (or MCing), breakbeats, and house parties. Hip hop music has been a powerful medium for protesting the law, particularly police and prisons. Historically, hip hop arose out of the ruins of a post-industrial and ravaged South Bronx, as a form of expression of urban Black and Latino youth, whom the public and political discourse had written off. Jamaican-born DJ Clive "Kool Herc" Campbell was highly influential in the pioneering stage of hip hop music. Beginning at Herc's home in a high-rise apartment at 1520 Sedgwick Avenue, the movement later spread across the entire borough. Herc created the blueprint for hip hop music and culture by building upon the Jamaican tradition of impromptu toasting, boastful poetry and speech over music. On August 11, 1973 DJ Kool Herc was the DJ at his sister's back to school party. He extended the beat of what we now know as breaking or scratching so that they could dance longer.
This became emceeing—the rhythmic spoken delivery of rhymes and wordplay, delivered over a beat or without accompaniment—taking inspiration from the rapping derived from African American-style "capping", a performance where men tried to outdo each other in originality and tried to gain the favor of the public. The basic elements of hip hop—boasting raps, rival posses, uptown throw-downs, and political commentary—were all present in African American music, moved back and forth between the predominance of boasting and toasting songs packed with 'slackness' and sexual innuendo and a more topical, political, 'conscious' style. The role of the MC originally was just to introduce the DJ and pump up the audience. They were to speak between songs, get everyone to dance, tell jokes and just to accompany the crowd. Eventually of course it became rapping. By 1979 hip hop had become a mainstream genre. It spread across the world in the 1990's with controversial "gangsta" rap.
Herc also developed upon break-beat deejaying, where the breaks of funk songs—the part most suited to dance, usually percussion-based—were isolated and repeated for the purpose of all-night dance parties. This form of music playback, using hard funk and rock, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers would lead to the syncopated, rhymed spoken accompaniment now known as rapping. He dubbed his dancers break-boys and break-girls, or simply b-boys and b-girls. According to Herc, "breaking" was also street slang for "getting excited" and "acting energetically".
DJs such as Grand Wizzard Theodore, Grandmaster Flash, and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching. The approach used by Herc was soon widely copied, and by the late 1970s, DJs were releasing 12-inch records where they would rap to the beat. Popular tunes included Kurtis Blow's "The Breaks" and The Sugarhill Gang's "Rapper's Delight". Herc and other DJs would connect their equipment to power lines and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, now officially a historic building. The equipment consisted of numerous speakers, turntables, and one or more microphones. By using this technique, DJs could create a variety of music, but according to Rap Attack by David Toop "At its worst the technique could turn the night into one endless and inevitably boring song".
Street gangs were prevalent in the poverty of the South Bronx, and much of the graffiti, rapping, and b-boying at these parties were all artistic variations on the competition and one-upmanship of street gangs. Sensing that gang members' often violent urges could be turned into creative ones, Afrika Bambaataa founded the Zulu Nation, a loose confederation of street-dance crews, graffiti artists, and rap musicians. By the late 1970s, the culture had gained media attention, with Billboard magazine printing an article titled "B Beats Bombarding Bronx", commenting on the local phenomenon and mentioning influential figures such as Kool Herc.
The New York City blackout of 1977 saw widespread looting, arson, and other citywide disorders especially in the Bronx where a number of looters stole DJ equipment from electronics stores. As a result, the hip hop genre, barely known outside of the Bronx at the time, grew at an astounding rate from 1977 onward.
In late 1979, Debbie Harry of Blondie took Nile Rodgers of Chic to such an event, as the main backing track used was the break from Chic's "Good Times". The new style influenced Harry, and Blondie's later hit single from 1981 "Rapture" became the first major single containing hip hop elements by a white group or artist to hit number one on the U.S. Billboard Hot 100—the song itself is usually considered new wave and fuses heavy pop music elements, but there is an extended rap by Harry near the end.
Hip hop as a culture was further defined in 1982, when Afrika Bambaataa and the Soulsonic Force released the electro-funk track "Planet Rock". Instead of simply rapping over disco beats, Bambaataa with producer Arthur Baker created an electronic sound, taking advantage of the rapidly improving drum machine Roland TR-808 synthesizer technology, as well as sampling from Kraftwerk. Planet Rock is widely regarded as a turning point; fusing electro with hip hop, was "like a light being switched on," resulting in a new genre. Other groundbreaking records released in 1982 were The Message by Grandmaster Flash and the Furious Five, Nunk by Warp 9, Man Parrish's "Hip Hop, Be Bop (Don't Stop)," Whodini's "Magic Wand," and Malcolm McLaren's "Buffalo Gals." In 1983, Hashim created the influential electro funk tune "Al-Naafiysh (The Soul)," while Warp 9's "Light Years Away"(1983), "a cornerstone of early 80s beat box afrofuturism," produced by Lotti Golden and Richard Scher, introduced socially conscious themes from a Sci-Fi perspective, paying homage to music pioneer Sun Ra.
Encompassing graffiti art, MCing/rapping, DJing and b-boying, hip hop became the dominant cultural movement of the minority-populated urban communities in the 1980s. The 1980s also saw many artists make social statements through hip hop. In 1982, Melle Mel and Duke Bootee recorded "The Message" (officially credited to Grandmaster Flash and The Furious Five), a song that foreshadowed the socially conscious statements of Run-DMC's "It's like That" and Public Enemy's "Black Steel in the Hour of Chaos". During the 1980s, hip hop also embraced the creation of rhythm by using the human body, via the vocal percussion technique of beatboxing. Pioneers such as Doug E. Fresh, Biz Markie and Buffy from the Fat Boys made beats, rhythm, and musical sounds using their mouth, lips, tongue, voice, and other body parts. "Human Beatbox" artists would also sing or imitate turntablism scratching or other instrument sounds.
The appearance of music videos changed entertainment: they often glorified urban neighborhoods. The music video for "Planet Rock" showcased the subculture of hip hop musicians, graffiti artists, and b-boys/b-girls. Many hip hop-related films were released between 1982 and 1985, among them Wild Style, Beat Street, Krush Groove, Breakin, and the documentary Style Wars. These films expanded the appeal of hip hop beyond the boundaries of New York. By 1984, youth worldwide were embracing the hip hop culture. The hip hop artwork and "slang" of US urban communities quickly found its way to Europe, as the culture's global appeal took root. The four traditional dances of hip-hop are rocking, b-boying/b-girling, locking and popping, all of which trace their origins to the late 1960s or early 1970s. Women artists have also been at the forefront of the hip-hop movement since its inception in the Bronx. Negation of female voice and perspective is a theme that defines mainstream hip hop; the recording industry is less willing to back female artists than their male counterparts, and when it does back them, it often emphasizes their sexuality over their musical substance. Since the turn of the century, female hip-hop artists have struggled to get mainstream attention, with only a few, such as Lil' Kim and Nicki Minaj, reaching platinum status.
DJ Kool Herc's house parties gained popularity and later moved to outdoor venues in order to accommodate more people. Hosted in parks, these outdoor parties became a means of expression and an outlet for teenagers, where "instead of getting into trouble on the streets, teens now had a place to expend their pent-up energy."
Tony Tone, a member of the Cold Crush Brothers, noted that "hip hop saved a lot of lives". Hip hop culture became a way of dealing with the hardships of life as minorities within America, and an outlet to deal with violence and gang culture. MC Kid Lucky mentions that "people used to break-dance against each other instead of fighting".[full citation needed] Inspired by DJ Kool Herc, Afrika Bambaataa created a street organization called Universal Zulu Nation, centered around Hip Hop, as a means to draw teenagers out of gang life and violence.
The lyrical content of many early rap groups focused on social issues, most notably in the seminal track "The Message" by Grandmaster Flash and the Furious Five, which discussed the realities of life in the housing projects. "Young black Americans coming out of the civil rights movement have used hip hop culture in the 1980s and 1990s to show the limitations of the movement." Hip hop gave young African Americans a voice to let their issues be heard; "Like rock-and-roll, hip hop is vigorously opposed by conservatives because it romanticises violence, law-breaking, and gangs". It also gave people a chance for financial gain by "reducing the rest of the world to consumers of its social concerns."
However, with the commercial success of gangsta rap in the early 1990s, the emphasis shifted to drugs, violence, and misogyny. Early proponents of gangsta rap included groups and artists such as Ice-T, who recorded what some consider to be the first gangster rap record, 6 N' the Mornin', and N.W.A whose second album Niggaz4Life became the first gangsta rap album to enter the charts at number one. Gangsta rap also played an important part in hip hop becoming a mainstream commodity. That albums such as N.W.A's Straight Outta Compton, Eazy-E's Eazy-Duz-It, and Ice Cube's Amerikkka's Most Wanted were selling in such high numbers meant that black teens were no longer hip hop's sole buying audience.
As a result, gangsta rap became a platform for artists who chose to use their music to spread political and social messages to parts of the country that were previously unaware of the conditions of ghettos. While hip hop music now appeals to a broader demographic, media critics argue that socially and politically conscious hip hop has been largely disregarded by mainstream America.
According to the U.S. Department of State, hip hop is "now the center of a mega music and fashion industry around the world" that crosses social barriers and cuts across racial lines. National Geographic recognizes hip hop as "the world's favorite youth culture" in which "just about every country on the planet seems to have developed its own local rap scene." Through its international travels, hip hop is now considered a "global musical epidemic". According to The Village Voice, hip hop is "custom-made to combat the anomie that preys on adolescents wherever nobody knows their name."
Hip hop sounds and styles differ from region to region, but there are also instances of fusion genres. Hip-Hop culture has grown from the avoided genre to a genre that is followed by 100 million fans worldwide. This was made possible by the adaptation of music in different locations, and the influence on style of behavior and dress. Not all countries have embraced hip hop, where "as can be expected in countries with strong local culture, the interloping wildstyle of hip hop is not always welcomed". This is somewhat the case in Jamaica, the homeland of the culture's father, DJ Kool Herc. However, despite hip hop music produced on the island lacking widespread local and international recognition, artistes such as Five Steez have defied the odds by impressing online hip hop taste-makers and even reggae critics.
Hartwig Vens argues that hip hop can also be viewed as a global learning experience. Author Jeff Chang argues that "the essence of hip hop is the cipher, born in the Bronx, where competition and community feed each other." He also adds: "Thousands of organizers from Cape Town to Paris use hip hop in their communities to address environmental justice, policing and prisons, media justice, and education.". While hip hop music has been criticized as a music that creates a divide between western music and music from the rest of the world, a musical "cross pollination" has taken place, which strengthens the power of hip hop to influence different communities. Hip hop's messages allow the under-privileged and the mistreated to be heard. These cultural translations cross borders. While the music may be from a foreign country, the message is something that many people can relate to- something not "foreign" at all.
Even when hip hop is transplanted to other countries, it often retains its "vital progressive agenda that challenges the status quo." In Gothenburg, Sweden, nongovernmental organizations (NGOs) incorporate graffiti and dance to engage disaffected immigrant and working class youths. Hip hop has played a small but distinct role as the musical face of revolution in the Arab Spring, one example being an anonymous Libyan musician, Ibn Thabit, whose anti-government songs fueled the rebellion.
|This article or section possibly contains previously unpublished synthesis of published material that conveys ideas not attributable to the original sources. (March 2009) (Learn how and when to remove this template message)|
In the early-mid 1980s, there was no hip hop industry as it was today. Politicians and businessman maligned and ignored the hip hop movement. However, in the late 1980s, music industry executives realized that they could capitalize on the success of "gangsta rap." They made a formula that created "a titillating buffet of hypermasculinity and glorified violence." This type of rap was marketed to the new fanbase: white males. They ignored the depictions of a harsh reality to focus on the sex and violence involved.
In an article for The Village Voice, Greg Tate argues that the commercialization of hip hop is a negative and pervasive phenomenon, writing that "what we call hiphop is now inseparable from what we call the hip hop industry, in which the nouveau riche and the super-rich employers get richer". Ironically, this commercialization coincides with a decline in rap sales and pressure from critics of the genre. Even other musicians, like Nas and KRS-ONE have claimed "hip hop is dead" in that it has changed so much over the years to cater to the consumer that it has lost the essence for which it was originally created. However, in his book In Search Of Africa, Manthia Diawara explains that hip hop is really a voice of people who are down and out in modern society. He argues that the "worldwide spread of hip hop as a market revolution" is actually global "expression of poor people's desire for the good life," and that this struggle aligns with "the nationalist struggle for citizenship and belonging, but also reveals the need to go beyond such struggles and celebrate the redemption of the black individual through tradition." The problem may not be that female rappers can’t keep up with their male counterparts; it is more of a matter of who is willing to listen in an industry that is so defined by gender biases. Industry executives seem to bet on the idea that men won’t want to listen to female rappers, so they are given fewer opportunities.
As the genre has evolved over the past 40 or so years, the "tradition" that Diawara describes has lost its strength in hip hop's mainstream artists and their messages. The push toward materialism by contemporary rappers such as Rick Ross, Lil Wayne and Jay Z has irked older hip-hop fans and artists, as they see the genre losing its community-based feel that focused more on black empowerment than wealth. The commercialization of the genre has in turn stripped it of its earlier political nature and the politics of major record labels have forced rappers to craft their music and images to appeal to white, affluent and suburban audiences. After acknowledging her friends were making music but not having television exposure other than what was seen on Video Music Box, Darlene Lewis (model/lyricist), along with Darryl Washington and Dean Carroll brought hip-hop music to the First Exposure cable show on Paragon cable, then created the On Broadway television show. There, rappers had opportunities to show their intellect while being interviewed and having their music videos played. This pre-dated MTV or Video Soul on BET. This hyper-commercialization has made hip-hop less edgy and authentic than it originally was, but it also has made some artists reach unprecedented heights of success. The increase in rappers growing wealthier and engaging themselves in far more outside business ventures shows that this seemingly shallow trend can also indicate a stronger sense of black aspirationalism. As rappers such as Jay-Z and Kanye West establish themselves as elite artists and businessmen, more young black people have stronger physical embodiments of success to look up to in the hopes that one day they can achieve goals of the same magnitude. The lens through which one views the genre's commercialization ultimately makes the greatest impact on whether they view the popularization of hip hop as positive or negative.
DJing, MCing, Breaking, Graffiti Art, and Beatbox are the creative outlets that collectively made up hip hop culture and its revolutionary aesthetic. Like punk and the blues, these arts allowed people to make a statement, whether political or emotional. These practices spread globally around the 1980s as fans could "make it their own" and express themselves in new and creative ways.
Turntablism is the technique of manipulating sounds and creating music using phonograph turntables and a DJ mixer. One of the first few hip hop DJs was Kool DJ Herc, who created hip hop through the isolation of "breaks" (the parts of albums that focused solely on the beat). In addition to developing Herc's techniques, DJs Grandmaster Flowers, Grandmaster Flash, Grand Wizzard Theodore, and Grandmaster Caz made further innovations with the introduction of scratching.
Traditionally, a DJ will use two turntables simultaneously. These are connected to a DJ mixer, an amplifier, speakers, and various other pieces of electronic music equipment. The DJ will then perform various tricks between the two albums currently in rotation using the above listed methods. The result is a unique sound created by the seemingly combined sound of two separate songs into one song. Although there is considerable overlap between the two roles, a DJ is not the same as a producer of a music track.
In the early years of hip hop, the DJs were the stars, but that has been taken by MCs since 1978, thanks largely to Kurtis Blow and Melle Mel of Grandmaster Flash's crew, the Furious Five. However, a number of DJs have gained stardom nonetheless in recent years. Famous DJs include Grandmaster Flash, Afrika Bambaataa, Mr. Magic, DJ Jazzy Jeff, DJ Scratch from EPMD, DJ Premier from Gang Starr, DJ Scott La Rock from Boogie Down Productions, DJ Pete Rock of Pete Rock & CL Smooth, DJ Muggs from Cypress Hill, Jam Master Jay from Run-DMC, Eric B., DJ Screw from the Screwed Up Click and the inventor of the Chopped & Screwed style of mixing music, Funkmaster Flex, Tony Touch, DJ Clue, Mix Master Mike, Touch-Chill-Out, DJ Red Alert, and DJ Q-Bert. The underground movement of turntablism has also emerged to focus on the skills of the DJ.
Rapping (also known as emceeing, MCing, spitting (bars), or just rhyming) refers to "spoken or chanted rhyming lyrics with a strong rhythmic accompaniment". It can be broken down into different components, such as "content", "flow" (rhythm and rhyme), and "delivery". Rapping is distinct from spoken word poetry in that it is performed in time to the beat of the music. The use of the word "rap" to describe quick and slangy speech or repartee long predates the musical form. MCing is a form of expression that is embedded within ancient African culture and oral tradition as throughout history verbal acrobatics or jousting involving rhymes were common within the Afro-American community.
Graffiti is the most controversial of hip-hop's elements, as a number of the most notable graffiti pioneers say that they do not consider graffiti to be an element of hip-hop, including Lady Pink, Seen, Blade, Fargo, Cholly Rock, Fuzz One, and Coco 144. Lady Pink says, "I don’t think graffiti is hip-hop. Frankly I grew up with disco music. There's a long background of graffiti as an entity unto itself," and Fargo says, "There is no correlation between hip-hop and graffiti, one has nothing to do with the other."
Hip hop pioneer Grandmaster Flash has also questioned the connection between hip-hop and graffiti, saying, "You know what bugs me, they put hip-hop with graffiti. How do they intertwine?"
JULIO 204 was a Puerto Rican graffiti writer, one of the first graffiti writers in New York City. He was a member of the "Savage Skulls" gang, and started writing his nickname in his neighborhood as early as 1968. In 1971 the New York Times published an article ("'Taki 183' Spawns Pen Pals") about another graffiti writer with similar form, TAKI 183. According to the article Julio had been writing for a couple of years when Taki began tagging his own name all around the city. Taki also states in the article that Julio "was busted and stopped."
One of the most common forms of graffiti is tagging, or the act of stylizing your unique name or logo. Tagging is used to distinguish artists from one another. Hip Hop graffiti in New York is linked to Taki 183. The modern act of tagging began approximately thirty-five years ago in Philadelphia, New York and has since then expanded worldwide. Tagging is a new and separate form of graffiti which holds its own social codes and rules. Although, tagging is considered an act of vandalism, it is a small part of a larger evolving symbol system.
Julio 204 never rose to the height of fame as Taki because he kept his tags localized to his own neighborhood. Taki 183 was the first to go "All City". Where writers following in the wake of Taki and Tracy 168 would add their street number to their nickname, "bomb" a train with their work, and let the subway take it—and their fame, if it was impressive, or simply pervasive, enough—"all city". Bubble lettering held sway initially among writers from the Bronx, though the elaborate Brooklyn style Tracy 168 dubbed "wildstyle" would come to define the art. The early trend-setters were joined in the 1970s by artists like Dondi, Futura 2000, Daze, Blade, Lee, Fab Five Freddy, Zephyr, Rammellzee, Crash, Kel, NOC 167 and Lady Pink.
The relationship between graffiti and hip hop culture arises both from early graffiti artists engaging in other aspects of hip hop culture, Graffiti is understood as a visual expression of rap music, just as breaking is viewed as a physical expression. The 1983 film Wild Style is widely regarded as the first hip hop motion picture, which featured prominent figures within the New York graffiti scene during the said period. The book Subway Art and the documentary Style Wars were also among the first ways the mainstream public were introduced to hip hop graffiti. Graffiti remains part of hip hop, while crossing into the mainstream art world with renowned exhibits in galleries throughout the world.
Breaking, also called B-boying/B-girling or breakdancing, is a dynamic style of dance which developed as part of the hip hop culture. Breaking is one of the major elements of hip hop culture. Like many aspects of hip hop culture, breakdance borrows heavily from many cultures, including 1930s-era street dancing, Afro-Brazilian and Asian Martial arts, Russian folk dance, and the dance moves of James Brown, Michael Jackson, and California Funk styles. Breaking took form in the South Bronx in the 1970s alongside the other elements of hip hop.
According to the 2002 documentary film The Freshest Kids: A History of the B-Boy, DJ Kool Herc describes the "B" in B-boy as short for breaking, which at the time was slang for "going off", also one of the original names for the dance. However, early on the dance was known as the "boing" (the sound a spring makes). Dancers at DJ Kool Herc's parties saved their best dance moves for the break section of the song, getting in front of the audience to dance in a distinctive, frenetic style. The "B" in B-boy or B-girl also stands simply for break, as in break-boy or -girl. Before the 1990s, B-girls’ presence was limited by their gender minority status, navigating sexual politics, and a lack of representation or encouragement for women to participate in the form. The few B-girls who participated despite facing gender discrimination carved out a space for women as leaders within the breaking community, and the number of B-girls participating has increased.
Breaking was documented in Style Wars, and was later given more focus in fictional films such as Wild Style and Beat Street. Early acts include the Rock Steady Crew and New York City Breakers.
Beatboxing, popularized by Doug E. Fresh, is the technique of vocal percussion. It is primarily concerned with the art of creating beats or rhythms using the human mouth. The term beatboxing is derived from the mimicry of the first generation of drum machines, then known as beatboxes. As it is a way of creating hip hop music, it can be categorized under the production element of hip hop, though it does sometimes include a type of rapping intersected with the human-created beat. It is generally considered to be part of the same "Pillar" of hip hop as DJing—in other words, providing a musical backdrop or foundation for MC's to rap over.
Beatboxing was quite popular in the 1980s with prominent artists like the Darren "Buffy, the Human Beat Box" Robinson of the Fat Boys and Biz Markie displaying their skills within the media. It declined in popularity along with b-boying in the late 1980s, but has undergone a resurgence since the late 1990s, marked by the release of "Make the Music 2000." by Rahzel of The Roots.
Although it is not described as one of the elements that make up hip hop, many can argue that it should be. Since the beginning of MCing, there have been producers that create the beats for MCs to rap over. Starting with Kurtis Blow who won producer of the year credits in 1983, 4, and 5. Known for the creation of the sample and sample loop, Kurtis Blow was considered the Quincy Jones of early hip hop. Those who create these beats are known as either beatmakers or producers, however producers are known to have more input in the creation of a song or project, while a beatmaker just provides the beat. As Dr. Dre has said before "Once you finish the beat, you have to produce the record." The process of making beats includes sampling, chopping, looping, sequencing, recording, mixing, and mastering.
Most beats in hip-hop are sampled based, this means that a producer will take a portion or a "sample" of a song and reuse it as an instrument or portion of their song. Some examples of this are The Isley Brother's "Footsteps in the Dark Pts. 1 and 2" being sampled to make Ice Cube's "Today Was a Good Day". Another example is Otis Redding's "Try a Little Tenderness" being sampled to create Kanye West and Jay-Z's "Otis". Chopping is dissecting the song that you are sampling so that you "chop" out the part or parts of the song you want to use in the beat. Looping is known as melodic or percussive sequence that repeats itself over a period of time, so basically a producer will make part of a beat repeat itself or "loop" to produce a melody.
The tools needed to make beat are samplers, sequencers, drum machines, synthesizers, turntables, and live instrumentation or Digital Audio Workstations, also known as DAWs. DAWs have become more common now a days for producers to use. Some of the most used DAWs are Fruity Loops Studio, Ableton Live, and Pro Tools. DAWs have made it possible for more people to be able to make beats, because instead of having to buy all the hardware they can instead buy one of the DAWs and have everything they need to make beats on their computer.
Beats are such an integral part of rap music that many producers have been able to make instrumental mixtapes or albums and have fairly great success. Examples of these are 9th Wonder's "Tutenkhamen" and J Dilla's "Donuts".
In hip-hop culture, it is considered essential to "keep it real" or to be authentic to the lived experiences of people from disadvantaged neighborhoods ("the Ghetto"). Despite the fact that hip hop artists typically use imagined scenarios and fictionalized stories in their raps, the culture demands that they act as if all their lyrics are true or potentially true. Because of this, lyrics of rap songs have often been treated as "confessions" to a number of violent crimes in the United States.
It is also considered to be the duty of rappers and other hip-hop artists (DJs, dancers) to "represent" their city and neighborhood. This demands being proud of being from disadvantaged cities neighborhoods that have traditionally been a source of shame, and glorifying them in lyrics and graffiti. This has potentially been one of the ways that hip hop has become regarded as a "local" rather than "foreign" genre of music in so many countries around the world in just a few decades. Nevertheless sampling and borrowing from a number of genres and places is also a part of the hip hop milieu, and an album like the surprise hit Kala by Anglo-Tamil rapper M.I.A. was recorded in locations all across the world and features sounds from a different country on every track.
Hip Hop has made a considerable social impact since its inception in the 1970s. Orlando Patterson, a sociology professor at Harvard University, helps describe the phenomenon of how Hip Hop has spread rapidly around the world. Professor Patterson argues that mass communication is controlled by the wealthy, the government, and businesses in Third World nations and countries around the world. He also credits mass communication with creating a global cultural Hip Hop scene. As a result, the youth are influenced by the American Hip-Hop scene and start their own form of Hip Hop. Patterson believes that revitalization of Hip Hop music will occur around the world as traditional values are mixed with American Hip Hop musical forms, and ultimately a global exchange process will develop that brings youth around the world to listen to a common musical form known as Hip Hop. It has also been argued that rap music formed as a "cultural response to historic oppression and racism, a system for communication among black communities throughout the United States". This is due to the fact that the culture reflected the social, economic and political realities of the disenfranchised youth. Current Hip Hop lyrics are starting to reflect original Hip Hop lyrics in that the content is becoming more socially conscious, and rappers are starting to question the governmental powers and its role inside society. This influence leads to the youth questioning and considering governmental roles as well. Of particular interest to MCs and MC crews outside of the United States, has been the use of rap music as a tool for political, social, and cultural empowerment. Members of minority communities—such as Algerians in France, and Turks in Germany—use rap as a platform to protest racism, poverty, and social structures.
The development of hip-hop linguistics is complex. Source material include the spirituals of slaves arriving in the new world, Jamaican dub music, the laments of jazz and blues singers, patterned cockney slang and radio deejays hyping their audience in rhyme. Hip hop has a distinctive associated slang. It is also known by alternate names, such as "Black English", or "Ebonics". Academics suggest its development stems from a rejection of the racial hierarchy of language, which held "White English" as the superior form of educated speech. Due to hip hop's commercial success in the late nineties and early 21st century, many of these words have been assimilated into the cultural discourse of several different dialects across America and the world and even to non-hip hop fans. The word dis for example is particularly prolific. There are also a number of words which predate hip hop, but are often associated with the culture, with homie being a notable example. Sometimes, terms like what the dilly, yo are popularized by a single song (in this case, "Put Your Hands Where My Eyes Could See" by Busta Rhymes) and are only used briefly. One particular example is the rule-based slang of Snoop Dogg and E-40, who add -izzle or -izz to the end or middle of words.
Hip hop lyricism has gained a measure of legitimacy in academic and literary circles. Studies of hip-hop linguistics are now offered at institutions such as the University of Toronto, where poet and author George Eliot Clarke has (in the past) taught the potential power of hip hop music to promote social change. Greg Thomas of the University of Miami offers courses at both the undergraduate and graduate level studying the feminist and assertive nature of Lil' Kim's lyrics. Some academics, including Ernest Morrell and Jeffrey Duncan-Andrade, compare hip hop to the satirical works of great "canon" poets of the modern era, who use imagery and mood to directly criticize society. As quoted in their work "Promoting Academic Literacy with Urban Youth Through Engaging Hip Hop Culture":
|“||Hip hop texts are rich in imagery and metaphor and can be used to teach irony, tone, diction, and point of view. Hip hop texts can be analyzed for theme, motif, plot, and character development. Both Grand Master Flash and T.S. Eliot gazed out into their rapidly deteriorating societies and saw a "wasteland." Both poets were essentially apocalyptic in nature as they witnessed death, disease, and decay.||”|
Hip Hop lyrics have also been known for containing swear words. In particular, the word "bitch" is seen in countless songs, from NWA's "A Bitch Iz a bitch" to Missy Elliot's "She is a Bitch." It is often used in the negative connotation of a woman who is a shallow money grubber. Some female artists have tried to reclaim the word and use it as a term of empowerment. Regardless, the hip hop community has recently taken an interest in discussing the use of the word "bitch" and whether it is necessary in rap. Not only the particular words, but also the choice of which language in which rap is widely debated topic in international hip hop. In Canada, the use of non-standard variants of French, such as Franglais (by groups such as Dead Obies) or Chiac (such as Radio Radio) has powerful symbolic implications for Canadian language politics and debates on Canadian identity. In the United States rappers choose to rap in English, Spanish, or Spanglish, depending on their own backgrounds and their intended audience.
Hip hop has met with significant problems vis-à-vis censorship due to the explicit nature of certain genres. Many songs have been criticized for anti-establishment and sometimes violent overtones. For example, Public Enemy's "Gotta Give the Peeps What They Need" was censored on MTV, removing the words "free Mumia".
After did the attack on the World Trade Center on September 11, 2001, Oakland, California group The Coup was under fire for the cover art on their Party Music, which featured the group's two members holding a detonator as the Twin Towers exploded behind them despite the fact that it was created months before the actual event. The group, having politically radical and Marxist lyrical content, said the cover meant to symbolize the destruction of capitalism. Their record label pulled the album until a new cover could be designed.
The use of profanity as well as graphic depictions of violence and sex creates challenges in the broadcast of such material both on television stations such as MTV, in music video form, and on radio. As a result, many hip hop recordings are broadcast in censored form, with offending language "bleeped" or blanked out of the soundtrack, or replaced with "clean" lyrics. The result – which sometimes renders the remaining lyrics unintelligible or contradictory to the original recording – has become almost as widely identified with the genre as any other aspect of the music, and has been parodied in films such as Austin Powers in Goldmember, in which Mike Myers' character Dr. Evil – performing in a parody of a hip hop music video ("Hard Knock Life" by Jay-Z) – performs an entire verse that is blanked out. In 1995, Roger Ebert wrote:
|“||Rap has a bad reputation in white circles, where many people believe it consists of obscene and violent anti-white and anti-female guttural. Some of it does. Most does not. Most white listeners don't care; they hear black voices in a litany of discontent, and tune out. Yet rap plays the same role today as Bob Dylan did in 1960, giving voice to the hopes and angers of a generation, and a lot of rap is powerful writing.||”|
In 1990, Luther Campbell and his group 2 Live Crew filed a lawsuit against Broward County Sheriff Nick Navarro, because Navarro wanted to prosecute stores that sold the group's album As Nasty As They Wanna Be because of its obscene and vulgar lyrics. In June 1990, a U.S. district court judge labeled the album obscene and illegal to sell. However, in 1992, the United States Court of Appeals for the Eleventh Circuit overturned the obscenity ruling from Judge Gonzalez, and the Supreme Court of the United States refused to hear Broward County's appeal. Professor Louis Gates testified on behalf of The 2 Live Crew, arguing that the material that the county alleged was profane actually had important roots in African-American vernacular, games, and literary traditions and should be protected.
Gangsta rap is a subgenre of hip hop that reflects the violent lifestyles of inner-city American black youths. The genre was pioneered in the mid-1980s by rappers such as Schoolly D and Ice-T, and was popularized in the later part of the 1980s by groups such as N.W.A. Ice-T released "6 in the Mornin'", which is often regarded as the first gangsta rap song, in 1986. After the national attention that Ice-T and N.W.A created in the late 1980s and early 1990s, gangsta rap became the most commercially lucrative subgenre of hip hop.
N.W.A is the group most frequently associated with the founding of gangsta rap. Their lyrics were more violent, openly confrontational, and shocking than those of established rap acts, featuring incessant profanity and, controversially, use of the word "nigga". These lyrics were placed over rough, rock guitar-driven beats, contributing to the music's hard-edged feel. The first blockbuster gangsta rap album was N.W.A's Straight Outta Compton, released in 1988. Straight Outta Compton would establish West Coast hip hop as a vital genre, and establish Los Angeles as a legitimate rival to hip hop's long-time capital, New York City. Straight Outta Compton sparked the first major controversy regarding hip hop lyrics when their song "Fuck tha Police" earned a letter from FBI Assistant Director Milt Ahlerich, strongly expressing law enforcement's resentment of the song.
Controversy surrounded Ice-T's song "Cop Killer" from the album Body Count. The song was intended to speak from the viewpoint of a criminal getting revenge on racist, brutal cops. Ice-T's rock song infuriated government officials, the National Rifle Association and various police advocacy groups. Consequently, Time Warner Music refused to release Ice-T's upcoming album Home Invasion because of the controversy surrounding "Cop Killer". Ice-T suggested that the furor over the song was an overreaction, telling journalist Chuck Philips "...they've done movies about nurse killers and teacher killers and student killers. Arnold Schwarzenegger blew away dozens of cops as the Terminator. But I don't hear anybody complaining about that." Ice-T suggested to Philips that the misunderstanding of "Cop Killer" and the attempts to censor it had racial overtones: "The Supreme Court says it's OK for a white man to burn a cross in public. But nobody wants a black man to write a record about a cop killer."
The White House administrations of both George Bush senior and Bill Clinton criticized the genre. "The reason why rap is under attack is because it exposes all the contradictions of American culture ...What started out as an underground art form has become a vehicle to expose a lot of critical issues that are not usually discussed in American politics. The problem here is that the White House and wanna-bes like Bill Clinton represent a political system that never intends to deal with inner city urban chaos," Sister Souljah told The Times.
Until its discontinuation on July 8, 2006, BET ran a late-night segment titled BET: Uncut to air nearly-uncensored videos. The show was exemplified by music videos such as "Tip Drill" by Nelly, which was criticized for what many viewed as an exploitative depiction of women, particularly images of a man swiping a credit card between a stripper's buttocks.
Critics such as Businessweek's David Kiley argue that the discussion of products within hip-hop culture may actually be the result of undisclosed product placement deals. Such critics allege that shilling or product placement takes place in commercial rap music, and that lyrical references to products are actually paid endorsements. In 2005, a proposed plan by McDonalds to pay rappers to advertise McDonalds products in their music was leaked to the press. After Russell Simmons made a deal with Courvoisier to promote the brand among hip-hop fans, Busta Rhymes recorded the song "Pass the Courvoisier". Simmons insists that no money changed hands in the deal.
The symbiotic relationship has also stretched to include car manufacturers, clothing designers and sneaker companies, and many other companies have used the hip hop community to make their name or to give them credibility. One such beneficiary was Jacob the Jeweler, a diamond merchant from New York. Jacob Arabo's clientele included Sean Combs, Lil' Kim and Nas. He created jewelery pieces from precious metals that were heavily loaded with diamond and gemstones. As his name was mentioned in the song lyrics of his hip hop customers, his profile quickly rose. Arabo expanded his brand to include gem-encrusted watches that retail for hundreds of thousands of dollars, gaining so much attention that Cartier filed a trademark-infringement lawsuit against him for putting diamonds on the faces of their watches and reselling them without permission. Arabo's profile increased steadily until his June 2006 arrest by the FBI on money laundering charges.
While some brands welcome the support of the hip hop community, one brand that did not was Cristal champagne maker Louis Roederer. A 2006 article from The Economist magazine featured remarks from managing director Frederic Rouzaud about whether the brand's identification with rap stars could affect their company negatively. His answer was dismissive in tone: "That's a good question, but what can we do? We can't forbid people from buying it. I'm sure Dom Pérignon or Krug would be delighted to have their business." In retaliation, many hip-hop icons such as Jay-Z and Sean Combs, who previously included references to "Cris", ceased all mentions and purchases of the champagne. 50 Cent's merge with Vitamin Water, Dr. Dre's promotion of his Beats by Dr. Dre headphone line and Dr. Pepper, and Drake's commercial with Sprite all act to illustrate successful mergers.
Although not popular at the time, MC Hammer was an early predecessor of product placement. With merchandise such as dolls, commercials and numerous television show appearances, Hammer began the trend of rap artists being accepted as mainstream pitchmen.
|This section may need to be rewritten entirely to comply with Wikipedia's quality standards. (December 2011)|
Hip hop culture has had extensive coverage in the media, especially in relation to television; there have been a number of television shows devoted to or about hip hop, including in Europe ("H.I.P. H.O.P." in 1984). For many years, BET was the only television channel likely to play hip hop, but in recent years[when?] the channels VH1 and MTV have added a significant amount of hip hop to their play list. Run DMC became the first African American group to appear on MTV. With the emergence of the Internet, a number of online sites began to offer hip-hop related video content.
Hip-hop magazines have long detailed hip-hop lifestyle and history, including the first known hip-hop publication The Hip Hop Hit List, which also contained the very first rap music record chart. Published in the early 1980s by two brothers from Newark, New Jersey, Vincent and Charles Carroll, who was also a hip-hop group known as The Nastee Boyz who knew the art form very well and noticed the void and the fact that DJs then did not recognize that there was a standard and should not just be playing anything just because it was rap. The periodical began as the first Rap record chart and tip sheet for DJs and was distributed through national record pools and record stores throughout the New York City Tri-State area. One of the founding publishers Charles Carroll noted, "Back then, all DJs came into New York City to buy their records but most of them did not know what was hot enough to spend money on, so we charted it." Jae Burnett became Vincent Carroll's partner and played a very instrumental role in its later development.
Many New York tourists took the publication back home with them to other countries to share it, creating worldwide interest in the culture and new art form. It had a printed distribution of 50,000, a circulation rate of 200,000 with well over 25,000 subscribers. The "Hip Hop Hit List" was also the first to define hip hop as a culture introducing the many aspects of the art form such as fashion, music, dance, the arts and most importantly the language. For instance, on the cover the headliner included the tag "All Literature was Produced to Meet Street Comprehension!" which proved their loyalty not only to the culture but also to the streets. Most interviews were written verbatim which included their innovative broken English style of writing. Some of the early charts were written in the graffiti format tag style but was made legible enough for the masses.
The Carroll Brothers were also consultants to the many record companies who had no idea how to market the music. Vincent Carroll, the magazine's creator-publisher, went on to become a huge source for marketing and promoting the culture of hip hop, starting Blow-Up Media, the first hip-hop marketing firm with offices in NYC's Tribeca district. At the age of 21, Vincent employed a staff of 15 and assisted in launching some of the culture's biggest and brightest stars (the Fugees, Nelly, the Outzidaz, feat. Eminem and many more). Later other publications spawned up including: Hip Hop Connection, XXL, Scratch, The Source and Vibe. Many individual cities have also produced their own local hip-hop newsletters, while hip-hop magazines with national distribution are found in a few other countries. The 21st century also ushered in the rise of online media, and hip-hop fan sites now offer comprehensive hip-hop coverage on a daily basis.
Clothing has always been a big part of hip hop's social and cultural impact and as the genre's popularity increased, so did the effect of its fashion. While there were early items synonymous with hip hop that crossed over into the mainstream culture, like Run-DMC's affinity for Adidas or the Wu-Tang Clan's championing of Clarks’ Wallabees, it wasn’t until its commercial peak that hip-hop fashion became influential. Starting in the mid- to late 1990s, hip-hop culture embraced some major designers and established a new connection with classic fashion. Brands such as Ralph Lauren, Calvin Klein and Tommy Hilfiger all tapped into hip-hop culture and gave very little in return. Moving into the new millennium, hip-hop fashion consisted of baggy shirts, jeans, and jerseys. As names like Pharrell and Jay-Z started their own clothing lines and still others like Kanye West linked up with designers like Louis Vuitton, the clothes got tighter, more classically fashionable, and expensive.
As hip hop has a seen a shift in the means by which its artists express their masculinity, from violence and intimidation to wealth-flaunting and entrepreneurship, it has also seen the emergence of rapper branding. The modern-day hip-hop artist is no longer limited to music serving as their sole occupation or source of income. By the early 1990s, major apparel companies "[had] realized the economic potential of tapping into hip-hop culture...Tommy Hilfiger was one of the first major fashion designer[s] who actively courted rappers as a way of promoting his street wear". By joining forces, the artist and the corporation are able to jointly benefit from each other's resources. Hip-Hop artists are trend-setters and taste-makers. Their fans range from minority groups who can relate to their professed struggles to majority groups who cannot truly relate but like to "consume the fantasy of living a more masculine life". The rappers provide the "cool, hip" factor while the corporations deliver the product, advertising, and financial assets. Tommy Hilfiger, one of the first mainstream designers to actively court rappers as a way of promoting his street wear, serves a prototypical example of the hip hip/fashion collaborations:
|“||In exchange for giving artists free wardrobes, Hilfiger found its name mentioned in both rhyming verses of rap songs and their ‘shout-out’ lyrics, in which rap artists chant out thanks to friends and sponsors for their support. Hilfiger's success convinced other large mainstream American fashion design companies, like Ralph Lauren and Calvin Klein, to tailor lines to the lucrative market of hip-hop artists and fans.||”|
Artists now use brands as a means of supplemental income to their music or are creating and expanding their own brands that become their primary source of income. As Harry Elam explains, there has been a movement "from the incorporation and redefinition of existing trends to actually designing and marketing products as hip-hop fashion".
|This section may need to be rewritten entirely to comply with Wikipedia's quality standards. (March 2009)|
Hip-hop music has spawned dozens of subgenres which incorporate a domineering style of music production or rapping. The diversification process stems from the appropriation of hip-hop culture by other ethnic groups.
There are many varying social influences that affect hip-hop's message in different nations. It is frequently used as a musical response to perceived political and/or social injustices. In South Africa the largest form of hip hop is called Kwaito, which has had a growth similar to American hip hop. Kwaito is a direct reflection of a post apartheid South Africa and is a voice for the voiceless; a term that U.S. hip hop is often referred to. Kwaito is even perceived as a lifestyle, encompassing many aspects of life, including language and fashion.
Kwaito is a political and party-driven genre, as performers use the music to express their political views, and also to express their desire to have a good time. Kwaito is a music that came from a once hated and oppressed people, but it is now sweeping the nation. The main consumers of Kwaito are adolescents and half of the South African population is under 21. Some of the large Kwaito artists have sold more than 100,000 albums, and in an industry where 25,000 albums sold is considered a gold record, those are impressive numbers. Kwaito allows the participation and creative engagement of otherwise socially excluded peoples in the generation of popular media. South African hip hop is more diverse lately and there are hip-hop acts in South Africa that have made an impact and continue making impact worldwide. These include Tumi, Ben Sharpa, HipHop Pantsula, Tuks Senganga.
In Jamaica, the sounds of hip hop are derived from American and Jamaican influences. Jamaican hip hop is defined both through dancehall and reggae music. Jamaican Kool Herc brought the sound systems, technology, and techniques of reggae music to New York during the 1970s. Jamaican hip-hop artists often rap in both Brooklyn and Jamaican accents. Jamaican hip-hop subject matter is often influenced by outside and internal forces. Outside forces such as the bling-bling era of today's modern hip hop and internal influences coming from the use of anti-colonialism and marijuana or "ganja" references which Rastafarians believe bring them closer to God.
Author Wayne Marshall argues that "Hip hop, as with any number of African-American cultural forms before it, offers a range of compelling and contradictory significations to Jamaican artist and audiences. From "modern blackness" to "foreign mind", transnational cosmopolitanism to militant pan-Africanism, radical remixology to outright mimicry, hip hop in Jamaica embodies the myriad ways that Jamaicans embrace, reject, and incorporate foreign yet familiar forms."
In the developing world, hip hop has made a considerable impact in the social context. Despite the lack of resources, hip hop has made considerable inroads. Due to limited funds, hip hop artists are forced to use very basic tools, and even graffiti, an important aspect of the hip hop culture, is constrained due to its unavailability to the average person. Hip Hop has begun making inroads with more than black artists. There are number of other minority artists who are taking center stage as many first generation minority children come of age. One example is rapper Awkwafina, an Asian-American, who raps about being Asian as well as being female. She, like many others, use rap to express her experiences as a minority not necessarily to "unite" minorities together but to tell her story. Many hip-hop artists that make it out of the developing world come to places like the United States in hopes of improving their situations. Maya Arulpragasm (AKA M.I.A.) is a Sri Lanka-born Tamil hip-hop artist in this situation. She claims, "I'm just trying to build some sort of bridge, I'm trying to create a third place, somewhere in between the developed world and the developing world.". Another music artist using hip hop to provide a positive message to young Africans is Emmanuel Jal, who is a former child soldier from South Sudan. Jal is one of the few South Sudanese music artists to have broken through on an international level with his unique form of hip hop and a positive message in his lyrics. Jal has attracted the attention of mainstream media and academics with his story and use of hip hop as a healing medium for war-afflicted people in Africa and has also been sought out for the international lecture circuit with major talks at popular talkfests like TED.
Hip hop can have an empowering effect in youths. While there is exposure to misogyny, violence, and drug use as seen in rap music videos or heard in the lyrics, hip hop also displays many positive themes for kids. The greater themes of self reliance, resilience, and self esteem that are contained in many rap lyrics that can have a positive effect on youth. There are references of pulling one's self out of poverty, which can be inspiring for a youth living in poverty. A lot of rap songs contain references to strengthening the African American community and pushing for more social causes. Social workers have been known to use hip hop to build a relationship with at-risk youth which seems to be effective.
Hip hop has the potential to be taught as a way of helping people see the world more critically, be it through forms of writing, creating music, or social activism. The lyrics of hip-hop can also be used to learn about literary devices such as metaphor, imagery, irony, tone, theme, motif, plot, and point of view.
Many organizations and facilities are providing spaces and programs for communities to explore making and learning about hip hop. An example is the IMP Labs in Regina, Saskatchewan, Canada. Many dance studios and colleges now offer lessons in hip hop alongside tap and ballet, as well as KRS-ONE teaching hip-hop lectures at Harvard University.
Hip-hop producer 9th Wonder and former rapper-actor Christopher "Play" Martin from the hip-hop group Kid-n-Play have both taught hip-hop history classes at North Carolina Central University and 9th Wonder has also taught a "Hip Hop Sampling Soul" class at Duke University. In 2007, the Cornell University Library established the Hip Hop Collection to collect and make accessible the historical artifacts of hip-hop culture and to ensure their preservation for future generations.
||This section possibly contains original research. (May 2015) (Learn how and when to remove this template message)|
Having its roots in reggae, disco and funk, hip hop has since expanded into a widely accepted form of representation world wide. Its expansion includes events like Afrika Bambaataa's 1982 releasing of Planet Rock, which tried to establish a more global harmony in hip hop. In the 1980s, the British Slick Rick became the first international hit hip hop artist not native to America. From the 1980s onward, television became the major source of widespread outsourcing of hip hop to the global world. From Yo! MTV Raps to Public Enemy's world tour, hip hop spread further to Latin America and became a mainstream culture within the given context. As follows, hip hop has been cut, mixed and changed to the areas that adapt to it.[unreliable source?]
Early hip hop has often been credited[by whom?] with helping to reduce inner-city gang violence by replacing physical violence with hip hop battles of dance and artwork. However, with the emergence of commercial and crime-related rap during the early 1990s, an emphasis on violence was incorporated, with many rappers boasting about drugs, weapons, misogyny, and violence. While hip hop music appeals to a broader demographic, media critics argue that socially and politically conscious hip hop has long been disregarded by mainstream America in favor of its media-baiting sibling, gangsta rap.
Many artists are now considered[by whom?] to be alternative hip hop when they attempt to reflect what they believe to be the original elements of the culture. Artists/groups such as Lupe Fiasco, Immortal Technique, Lowkey, Brother Ali, The Roots, Shing02, Jay Electronica, Nas, Common, Talib Kweli, Mos Def, Dilated Peoples, Dead Prez, Blackalicious, Jurassic 5, Jeru the Damaja, Kendrick Lamar, Gangstarr, KRS-One, Living Legends and hundreds more emphasize messages of verbal skill, internal/external conflicts, life lessons, unity, social issues, or activism.
Black female artists such as Queen Latifah, Missy Elliott, and MC Lyte have made great strides since the Hip-Hop industry first began. By producing music and an image that did not cater to the hyper-sexualized stereotypes of black women in Hip-Hop, these women pioneered a revitalized and empowering image of black women in Hip-Hop. Though many hip-hop artists have embraced the ideals that effectively disenfranchise black female artists, many others choose to employ forms of resistance that counteract these negative portrayals of women in hip hop and offer up a different narrative. In an effort to counteract the impact hip hop has had, these artists seek to expand ways of traditional thinking through different ways of cultural expression. In this effort they hope to elicit a response to female hip hop artists not with a misogynist lens but with one that validates women's struggle. While women have been marginalized in the music industry,[according to whom?] established artists like Missy Elliott, Lil' Kim, and others are providing mentorship for new female MCs. In addition, there is a vibrant scene outside the mainstream that provides an opportunity for women and their music to flourish. Rap music has the power to influence how we view black women in our society. Queen Latifah used her award winning song "U.N.I.T.Y." to support to other women and to inform of the presence of women in the hip hop genre. However, many contemporary females in hip hop do not embody this mindset and counteract it.
|This article may need to be rewritten entirely to comply with Wikipedia's quality standards. (March 2014)|
Authenticity is a significant and enduring trope within hip hop. The music industry itself, as well as the political discourses surrounding it, has been making claims for and denials of hip hop's authenticity—both as artistic object and expressive, cultural form—since its emergence in New York's Bronx neighborhoods in the 1970s. For many, hip hop endures as an ongoing response to the violence suffered by black people since the emergence of the colonial slave trade. Important to these debates around authenticity, the work of writers such as Paul Gilroy and Alexander Weheliye, contends that unlike disco, jazz, R&B, house, and other black created genres that have seen quick, if not immediate, adoption by whites, hip hop has been largely controlled by African Americans for decades. In his book, Phonographies, Weheliye describes the political and cultural affiliations enabled through hip hop. In contrast, Greg Tate (among many others) argues that market-driven, commodity forms have uprooted hip hop from the celebration and protest from which it originated. Tate articulates how the commodification of hip-hop culture undermines the dynamism the genre once represented.
These two dissenting understandings of hip-hop's scope and influence frame discourses that revolve around hip hop's (lost) authenticity. Anticipating the market-logic arguments of Tate and others, both Gilroy and Weheliye assert that hip hop has always had a different function that Western popular music writ large, a function that exceeds the constraints of market capitalism. Weheliye notes, "Popular music, generally in the form of recordings, has and still continues to function as one of the main channels of communication between the different geographical and cultural points in the African diaspora, allowing artists to articulate and perform their diasporic citizenship to international audiences and establish conversations with other diasporic communities."
For Paul Gilroy, hip hop proves an outlet of articulation and sonic space in which African Americans can exert the control and influence often lacking in other sociopolitical and economic domains. In "Phonographies" Weheyliye explains the confluence between emergent sonic technologies and the articulation of imagined forms of "diasporic citizenship." Specifically, it focuses on the culturopolitical practices initiated and made possible by sonic technologies. Gilroy writes that the "power of music [lies] in developing black struggles by communicating information, organizing consciousness, and testing out or deploying the forms of subjectivity which are required by political agency, whether individual or collective," Specifically, in the third chapter of "The Black Atlantic"—Jewels Brought from Bondage: Black Music and the Politics of Authenticity—Gilroy confronts the issues that have arisen in debates about what precisely constitutes authenticity. Gilroy asserts that these discourses get infused into both the production of and the interpretation of black cultural production. Music of the black Atlantic, with its rituals and traditions, usefully triangulates a more expansive way of thinking about blackness, a way that moves beyond contemporary debates around essentialist and anti-essentialist positions. As such, music has been and remains a central staging ground for debates over the work, responsibility, and futurity of black cultural production.
Given its extensive roots in underground music, many hip-hop and rap pioneers decry the modern messages portrayed in hip hop. In particular, seminal figures in the early shift to the mainstream label modern hip-hop artists as more concerned with image over substance. This has led some critics to ridicule hip hop for the cultural stereotyping and faux gangster stylings portrayed by its current leading artists.
Some of the strongest criticisms of this come for the "Civil Rights" generation. Most controversial is the criticism by Bill Cosby, the famous black comedian, who states that hip hop "brings young (black) people down", though it is to be noted that he focuses mainly on gangsta rap and ignores the other rap genres that are about empowering black youth.
Hip hop, along with many other music genres, receive criticism from rock-centric critics that hip hop is not a true art form and that rock and roll music is more authentic. This "rockism" favors the individual artist and is against the digital, producer-heavy aspects of hip hop. Hip hop is seen as being too violent & explicit, in comparison. Some contend that the criticisms have racial undertones, going against the art form of hip hop and praising the genre of rock that prominently features white males.
The hip-hop genre has also received criticism for its racial gender bias and its impact on culture. Many Gangsta rap artists such as Eazy-E, Dr. Dre, Snoop Dogg, and 2pac have degraded women by portraying them in song lyrics as sex toys, inferior, and dependent on men. Between 1987 and 1993, over 400 hip-hop song lyrics portrayed violence toward women including rape, assault, and murder. The impact of this portrayal of hip-hop lyrics has created physical threats toward women and has also created stereotypical images of adolescent urban women. Additionally, the impact of hip-hop has created masculine hegemony and the depiction that women must rely on men.
The hip hop genre has also received criticism for degrading women and promoting drug use and violence. The portrayal of women in lyrics and videos tends to be violent, degrading, and highly sexualized. There is a high frequency of lyrics that are demeaning, or reference sexual violence or sexual assault towards women. Videos often portrayed idealized female bodies being the object of male pleasure.
Hip-hop has acted as an economic opportunity for many—largely by exploiting female sexuality—but there are far less women benefiting from this economy when compared to men. Female artists are not as recognized and are not as popular as males in hip-hop. Women who are in rap groups, such as Lauryn Hill of the Fugees, tend to have an advantage as male artists surround them.
Compared to their male counterparts, female recognition in hip-hop has been fairly nonexistent. Only one female has won Best Rap album of the year at the Grammy's since the category was added in 1995. In addition, female African American hip-hop artists have been recognized even less in the industry. Besides icons like Lauryn Hill, white rapper Iggy Azalea is the first female to achieve her own No. 1 single on the American pop charts.
Along with misogyny, the hip hop community has been criticized for its blatant, notorious homophobia and transphobia. This has been demonstrated in lyrics that contain offensive, homophobic slurs (most popularly, the word "faggot") and sometimes violent threats towards queer people, such as the lyrics in rapper DMX's "Where the Hood At," rapper Eazy-E's "Nobody Move," rap group Brand Nubian's "Punks Jump Up to Get Beat Down" and many others. Until recently, hip hop has quite often excluded the LGBT community and its members, and even so, many rappers and hip hop artists have been very straight forward and public about their homophobia and/or transphobia concerning the genre. These artists include Ja Rule, who in an interview claimed,"We need to go step to MTV and Viacom, and let's talk about all these fucking shows that they have on MTV that is promoting homosexuality, that my kids can’t watch this shit," and rap artist Erick Sermon, who has said publicly,"[Hip hop] will never accept transgender rappers."
This has perpetuated a culture that has promoted the message of being prejudiced towards queer people, making it a tough culture for queer artists to participate in. Despite this, many queer/genderqueer rappers and hip hop artists have become very successful and popular within recent years. One of the more notable members of the LGBT community to arise in the genre of hip hop is Frank Ocean, who came out in 2012 and has released critically acclaimed albums and won 2 Grammys. Other successful queer hip hop/rap artists include female bisexual rapper, Azealia Banks, pansexual androgynous rapper and singer Angel Haze, lesbian rapper Siya, and genderqueer rapper Mykki Blanco.
- List of hip hop music festivals
- List of hip hop genres
- List of hip hop albums considered to be influential
- List of hip hop musicians
- List of deceased hip hop artists
- List of films with associated hip hop songs
- CORE Music Foundation
- Thompson, Robert (1996-01-01). "Hip Hop 101". In Perkins, William Eric. Droppin' Science: Critical Essays on Rap Music and Hip Hop Culture. Philadelphia: Temple University Press. p. 213. ISBN 9781566393621. Retrieved 2016-10-02.
- Dyson, Michael Eric, 2007, Know What I Mean? : Reflections on Hip-Hop, Basic Civitas Books, p. 6.
- Chang, Jeff; DJ Kool Herc (2005). Can't Stop Won't Stop: A History of the Hip-Hop Generation. Macmillan. ISBN 0-312-30143-X.
- Grant, Japhy (February 27, 2009). "Hip Hop's Homophobic Haters". Queerty. Queerty Inc. Retrieved December 9, 2015.
- Ziegler, Lauren (April 30, 2015). "Hip Hop Will Never Accept Transgender Rappers". Howls & Echoes. Howls & Echoes. Retrieved December 9, 2015.
- Biography.com Editors. "Frank Ocean Biography". Biography.com. A&E Networks Television. Retrieved December 9, 2015.
- "Hip Hop Music - Topic". YouTube. Retrieved 2016-10-02.
- "Hip-hop is the most listened to genre in the world, according to Spotify analysis of 20 billion tracks | News | Culture | The Independent". independent.co.uk. Retrieved March 29, 2016.
- "The Best Hip Hop Songs (On Spotify) Of June 2016". Retrieved 2016-10-02.
- Chang, Jeff (2005). Can't Stop, Won't Stop: A History of the Hip-Hop Generation. New York: St. Martin's Press. p. 410 – via Print.
the only avant-garde around, still delivering the shock of the new (over recycled James Brown compost modernism like a bitch), and it's got a shockable bourgeoise, to boot.
- Kenon, Marci (March 6, 2000). "Hip-Hop". Billboard. 112 (23): 20.
- Kugelberg, Johan (2007). Born in the Bronx. New York: Oxford University Press. p. 17. ISBN 978-0-7893-1540-3.
- Brown, Lauren (February 18, 2009). "Hip to the Game – Dance World vs. Music Industry, The Battle for Hip Hop's Legacy". Movmnt Magazine. Retrieved July 30, 2009.
- Chang, Jeff (2005). Can't Stop Won't Stop: A History of the Hip Hop Generation. New York: St. Martin's Press. p. 90. ISBN 0-312-30143-X.
- Walker, Jason (January 31, 2005). "Crazy Legs – The Revolutionary". SixShot.com. Web Media Entertainment Gmbh. Archived from the original on February 15, 2010. Retrieved August 27, 2009.
- THE HISTORY OF HIP HOP Retrieved on August 27, 2011
- Rosen, Jody (February 12, 2006). "A Rolling Shout-Out to Hip-Hop History". The New York Times. p. 32. Retrieved March 10, 2009.
- "Grandmaster Flash and the Furious Five Inducted into the Rock and Roll Hall of Fame". JET (April 2, 2007), pp. 36–37.
- "Keith Cowboy – The Real Mc Coy". Web.archive.org. March 17, 2006. Archived from the original on March 17, 2006. Retrieved May 14, 2012.
- "Afrika Bambaataa talks about the roots of Hip Hop".
- Larkin, Colin. "Rap". Encyclopedia of Popular Music (4th edition). Retrieved February 22, 2015.
- "Zulu Nation: History of Hip-Hop". webcache.googleusercontent.com. Archived from the original on January 6, 2010. Retrieved April 23, 2010.
- http://www.zulunation.com/hip_hop_history2.htm Archived August 27, 2014, at the Wayback Machine. (cached)
- SpearIt, Muslim Hip Hop in the age of Mass Incarceration http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2767194
- SpearIt, Muslim Hip Hop in the age of Mass Incarceration http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2767194
- Hermes, Will (October 29, 2006). "All Rise for the National Anthem of Hip-Hop". New York Times. Retrieved March 29, 2012.
- Campbell & Chang 2005, p. ??.
- Neumann, Fredreich (2000). "Hip hop: Origins, Characteristics and Creative Processes". The World of Music. 42: 51–63. JSTOR 41699313.
- Brown, Mike. "Grand Master Mele Mel: Gun Show Part One". AllHipHop.com. Archived from the original on January 18, 2007.
- Browne, P The guide to United States popular culture Popular Press, 2001. p. 386
- Kool Herc, in Israel (director), The Freshest Kids: A History of the B-Boy, QD3, 2002.
- History of Hip Hop—Written by Davey D
- "The Story of Rapper's Delight by Nile Rodgers". RapProject.tv. Retrieved October 12, 2008.
- Lee, Jennifer 8. (January 15, 2008). "Tenants Might Buy Birthplace of Hip-Hop" (weblog). The New York Times. Retrieved March 10, 2009.
- Kenner, Rob. "Dancehall", in The Vibe History of Hip-hop, ed. Alan Light, 350-7. New York: Three Rivers Press, 1999.
- Toop, David. The Rap Attack: African Jive to New York Hip Hop. Boston: South End Press, 1984.
- Forman M; M. Neal, That's the joint! The hip-hop studies reader, Routledge, 2004. p. 2.
- Frum, David (2000). How We Got Here: The '70s. New York, New York: Basic Books. pp. 14–15. ISBN 0-465-04195-7.
- Jody Rosen, "A Rolling Shout-Out to Hip-Hop History", The New York Times, February 12, 2006
- "SamplesDB – Afrika Bambaataa's Track". samplesdb.com. Retrieved March 29, 2016.
- Toop, p.146
- Fitzpatrick, Rob, "The 101 strangest records on Spotify: Warp 9 - It's A Beat Wave," May 14, 2014 
- Reese, Renford. "From the fringe: The Hip hop culture and ethnic relations". popular culture review. Retrieved April 26, 2012.
- Grandmaster Flash. "Grandmaster Flash: Interview". Prefixmag.com. Retrieved April 23, 2010.
- Rose 1994, pp. 53–55.
- "Hip Hop Pioneer Doug E. Fresh & Soca Sensation Machel Montano To Host 26th Int'l Reggae & World Music Awards (IRAWMA)". Jamaicans.com. April 9, 2007. Archived from the original on May 12, 2011. Retrieved April 23, 2010.
- Rose 1994, p. 192.
- Schloss, Joseph. "Hip Hop Dance". Oxford Music Online. Oxford University Press. Retrieved October 2, 2014.
- Nielson, Erik. "Where Did All The Female Rappers Go?". National Public Radio. NPR. Retrieved June 5, 2014.
- Chang 2007, p. 62.
- Zimmer, Amy (February 20, 2006). "Bringing that beat back — on the E train". Metro.us. Archived from the original on August 5, 2008.
- Pareles, Jon (March 13, 2007). "The Message From Last Night: Hip-Hop is Rock 'n' Roll, and the Hall of Fame Likes It". The New York Times. p. 3. Retrieved March 10, 2009.
- Diawara 1998, pp. 237–76
- Strode, Tim, and Tim Wood. "The Hip Hop Reader". New York: Pearson Education Inc., 2008. Print
- Hess, Mickey, ed. "Hip Hop In America: A Regional Guide". Santa Barbara, California: Greenwood Press, 2010. Print
- Kitwana, Bakari. Why White Kids Love Hip Hop: Wankstas, Wiggers, Wannabes, and the New Reality of Race in America. New York: Basic Civitas Books, 2005. Print
- Butler, Brendan. "Media coverage of the Hip-Hop Culture By Brendan Butler, Ethics In Journalism, Miami University Department of English". Archived from the original on January 6, 2009.
- Walker, Carol (May 13, 2006). "Hip-Hop Culture Crosses Social Barriers". America.gov. Archived from the original on February 28, 2010.
- "Hip Hop: National Geographic World Music". Worldmusic.nationalgeographic.com. October 17, 2002. Archived from the original on April 16, 2009. Retrieved April 23, 2010.
- "CNN.com – WorldBeat – Hip-hop music goes global – January 15, 2001". CNN. January 15, 2001. Archived from the original on March 26, 2010. Retrieved April 23, 2010.
- Comments (0) By Robert Christgau Tuesday, May 7, 2002 (May 7, 2002). "Planet Rock by Robert Christgau". village voice. Retrieved April 23, 2010.
- Christgau, Robert. "The World's Most Local Pop Music Goes International", The Village Voice, May 7, 2002. Retrieved April 16, 2008.
- Motley, Carol; Henderson, Geraldine (2008). "The Global Hip-Hop Diaspora: Understanding The Culture". Business Research. 61 (3): 243–244. doi:10.1016/j.jbusres.2007.06.020. Retrieved June 4, 2014.
- Schwartz, Mark. "Planet Rock: Hip Hop Supa National" in Light 1999, pp. 361–72.
- "Five Steez releases 'War for Peace' Album". The Jamaica Star. August 23, 2012. Archived from the original on August 27, 2012. Retrieved December 28, 2012.
- Hartwig Vens. "Hip-hop speaks to the reality of Israel". WorldPress. November 20, 2003. March 24, 2008.
- Chang 2007, p. 65.
- Chang 2007, p. 60.
- Michael Wanguhu. Hip-Hop Colony (documentary film).
- Wayne Marshall, "Nu Whirl Music, Blogged in Translation?"
- Lane, Nadia (March 30, 2011). "Libyan Rap Fuels Rebellion". CNN iReport. Cable News Network. Retrieved August 16, 2011.
- Johnson, Gaye Theresa. "On Blackness, Humanity, and The Art of Rap." The Huffington Post. TheHuffingtonPost.com, 12 June 2012. Web. 02 June 2014.
- "Rap Criticism Grows Within Own Community, Debate Rages Over It's (sic) Effect On Society As It Struggles With Alarming Sales Decline – The ShowBuzz". Showbuzz.cbsnews.com. February 17, 2010. Retrieved April 23, 2010.
- Shepherd, Julianne Escobedo. "Previewing the BET Awards: Where Are the Lady Rappers?". Thirteen.org. Retrieved June 4, 2014.
- Imani Perry, "Bling Bling and Going Pop Consumerism and Co-Optation in Hip-Hop", 2003. Retrieved December 11, 2013.
- Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness, 1993. Retrieved December 11, 2013.
- http://www.buzzfeed.com/joysj/man-and-the-music-mania-ji6w. Retrieved February 28, 2014. Missing or empty
- Brooks, S., and T. Conroy. "Hip-Hop Culture in a Global Context: Interdisciplinary and Cross-Categorical Investigation." American Behavioral Scientist 55.1 (2010): 3-8. UW WorldCat. Retrieved June 2, 2014.
- New York Times Archived May 20, 2013, at the Wayback Machine.
- "Music and Human Evolution". Mca.org.au. Retrieved September 19, 2011.
- Edwards, Paul, 2009, How to Rap: The Art & Science of the Hip-Hop MC, Chicago Review Press, p. xii.
- Edwards (2009), How to Rap, p. 3.
- Edwards (2009), How to Rap, p. 81.
- "Rapping – definition". The American Heritage Dictionary of the English Language, Fourth Edition. 2009.
- Edwards (2009), How to Rap, p. x.
- "The Origin | Hip Hop Cultural Center". Originhiphop.com. Retrieved September 19, 2011.
- Attridge, Derek, 2002, Poetic Rhythm: An Introduction, Cambridge University Press, p. 90.
- Edwards (2009), How to Rap, p. 63.
- Oxford English Dictionary
- "Hip-Hop, The history". Independence.co.uk. Retrieved April 30, 2012.
- "Grandmaster Flash Says Graffiti Is Not A Part Of Hip-Hop – And Graffiti Pioneers Agree – InFlexWeTrust". inflexwetrust.com. April 29, 2015. Retrieved May 1, 2015.
- Edwards, Paul, The Concise Guide to Hip-Hop Music: A Fresh Look at the Art of Hip-Hop, from Old-School Beats to Freestyle Rap. New York: St. Martin's Griffin, 2015, p. 13-17.
- Gerard, Peter, Just to Get a Rep. Edinburgh: Accidental Media, 2004. Documentary film.
- Chang, Jeff, Can't Stop Won't Stop: A History of the Hip Hop Generation. New York: St. Martin's Press, 2005. p. 111.
- Edwards, Paul, The Concise Guide to Hip-Hop Music: A Fresh Look at the Art of Hip-Hop, from Old-School Beats to Freestyle Rap. New York: St. Martin's Griffin, 2015, p. 15.
- Edwards, Paul, The Concise Guide to Hip-Hop Music: A Fresh Look at the Art of Hip-Hop, from Old-School Beats to Freestyle Rap. New York: St. Martin's Griffin, 2015, p. 13.
- "Grandmaster Flash Commits Hip-Hop Heresy, Claims Graffiti Is Not Part Of The Culture – Complex". uk.complex.com. April 29, 2015. Retrieved May 1, 2015.
- "Grandmaster Flash Says Graffiti Art Isn't Hip-Hop – The Urban Daily". theurbandaily.com. April 29, 2015. Retrieved May 1, 2015.
- Gross, Daniel D.; Walkosz, Barbara. "Language Boundaries and Discourse Stability: "Tagging" as a Form of Graffiti Spanning International Borders". ETC: A Review of General Semantics. 54 (3): 274 [p. 285].
- Shapiro 2007.
- David Toop, Rap Attack, 3rd ed., London: Serpent's Tail, 2000.
- "history of Graffiti". Scribd.com. December 19, 2009. Retrieved September 19, 2011.
- "Earl ‘Snakehips’ Tucker". Drop Me off in Harlem. Kennedy Center. 2003. Retrieved January 31, 2010.
- "Drop Me Off in Harlem". Artsedge.kennedy-center.org. Archived from the original on July 18, 2010. Retrieved April 23, 2010.
- O'Connor, Ryan (December 2010). "Breaking Down Limits Through Hip Hop". nthWORD Magazine. nthWORD LLC (8): 3–6.
- Johnson, Imani Kai (2014). "From blues women to b-girls: performing badass femininity". Women & Performance: a journal of feminist theory: 17–18.
- Hess, M. (2007). Icons of hip hop: an encyclopedia of the movement, music, and culture, Volume 1, Greenwood Publishing Group.
- Perry, I. (2004). Prophets of the Hood: Politics and Poetics in Hip Hop, Duke University Press.
- https://www.youtube.com/watch?v=sselUE6zQYM, retrieved December 1, 2015 Missing or empty
- "Ice Cube's It Was a Good Day - Discover the Sample Source". WhoSampled. Retrieved December 1, 2015.
- "Jay Z and Kanye West feat. Otis Redding's Otis - Discover the Sample Source". WhoSampled. Retrieved December 1, 2015.
- "What does "chopping" mean? - Future Producers forums". Future Producers. Retrieved December 1, 2015.
- "Introduction to DAWs (Digital Audio Workstations) « EarSketch". earsketch.gatech.edu. Retrieved December 1, 2015.
- "Why are rap lyrics being used as evidence in court?" Q, CBC Radio, January 15, 2014.
- Judy Rosen, "How M.I.A. Made 'Kala'", Rolling Stone, March 19, 2013.
- Asante, M. K. It's Bigger Than Hip Hop: the Rise of the Post-hip-hop Generation. Hip hop has also become relevant to the field of education because of its implications for understanding language, learning, identity, and curriculum."Emery Petchauer: Review of Educational Research, Vol. 79, No. 2 (June 2009), pp. 946-978". New York: St. Martin's Press, 2008, pp. 21–23.
- Patterson, Orlando. "Global Culture and the American Cosmos". The Andy Warhol Foundation for the Visual Arts. Paper Number 21994 01Feb2008. Archived from the original on January 4, 2009.
- "Hip-Hop: The "Rapper's Delight"". America.gov. Archived from the original on April 22, 2010. Retrieved April 23, 2010.
- Alridge, D.; Steward, J. "Introduction: Hip Hop in History: Past, Present, and Future". Journal of African American History. 2005: 190.
- "Is hip hop driving the Arab Spring?". BBC News. July 24, 2011.
- Motion live entertainment. Stylo, Saada. "The Northside research Project: Profiling Hip Hop artistry in Canada", p. 10, 2006.
- "Dr. Renford R. Reese's Homepage". Csupomona.edu. Retrieved April 23, 2010.
- Alim, Samy. "Roc the Mic Right: The Language of Hip Hop Culture. Taylor & Francis, 2006. September 27, 2010".
- Asante, Molefi K. It's Bigger Than Hip Hop: the Rise of the Post-hip-hop Generation. New York: St. Martin's Press, 2008, pp. 106–108.
- Thomas, G. "Hip-Hop Revolution In The Flesh. xi. Palgrave Macmillan, 2009. September 27, 2010".
- Morrell, Ernest. Duncan-Andrade, Jeffrey. "Promoting Academic Literacy with Urban Youth Through Engaging Hip Hop Culture". p. 10, 2003.
- Elan, Priya. "It's Time to Drop the 'bitch' from Hip-hop." Theguardian.com, September 19, 2012. Retrieved June 2, 2014.
- "'Franglais' controversy just paranoia, says Dead Obies MC", Q, CBC Radio, August 1, 2014.
- MJ Deschamps, "Chiac: A pride or a threat to French?" Beyond Words, October 11, 2012.
- John Anthony. "Latinos in Hip Hop & Reggaeton". Upliftt. Retrieved October 25, 2015.
- Evan Serpick (July 9, 2006). "MTV: Play It Again". Entertainment Weekly. Archived from the original on November 24, 2006.
- Roger Ebert (August 11, 1995). "Reviews: Dangerous Minds". Chicago Sun-Times.
- Philips, Chuck (May 8, 1992). "Appeals Court Voids Obscenity Ruling on 2 Live Crew Album". LA Times. Retrieved November 5, 2013.
- Philips, Chuck (July 19, 1992). "COVER STORY: The Uncivil War: The battle between the Establishment and supporters of rap music reopens old wounds of race and class". LA Times. Retrieved January 2, 2014.
- "Gangsta Rap – What Is Gangsta Rap". Rap.about.com. October 31, 2009. Retrieved April 23, 2010.
- Ritchie, Ryan (February 28, 2007). "Eazy to be hard". Press Telegram. Los Angeles Newspaper group. Archived from the original on March 4, 2007. Retrieved January 26, 2008.
- Deflem, Mathieu (1993). Rap, Rock, and Censorship: Popular Culture and the Technologies of Justice. Retrieved July 21, 2012.
- Philips, Chuck (July 19, 1992). "COVER STORY: 'Arnold Schwarzenegger blew away dozens of cops as the Terminator. But I don't hear anybody complaining.': A Q & A with Ice-T about rock, race and the 'Cop Killer' furor". LA Times. Retrieved January 2, 2014.
- Kiley, David. "Hip Hop Two-Step Over Product Placement" Archived January 13, 2009, at the Wayback Machine., BusinessWeek Online, April 6, 2005. Retrieved January 5, 2007.
- Ben Johnson. "Cover Story: Frock Band". SILive.com. Retrieved September 19, 2011.
- Williams, Corey (November 1, 2006). "'Jacob the Jeweler' pleads guilty". Associated Press. Archived from the original on November 3, 2007. Retrieved November 1, 2007.
- Sales, Nancy Jo (October 31, 2007). "Is Hip-Hop's Jeweler on the Rocks?". Vanity Fair (magazine). Archived from the original on November 30, 2009. Retrieved April 14, 2008.
- "Bubbles and bling". The Economist.
- Bois, Jon (June 25, 2010). "MC Hammer To Perform At Reds Game, Will Hopefully Refrain From Hurting Them". SBNation.com. Retrieved November 7, 2012.
- "Hip-hop", Encyclopædia Britannica. 2010. Retrieved January 31, 2010.
- Encyclopædia Britannica. "hip-hop (cultural movement) – Britannica Online Encyclopedia". Britannica.com. Retrieved April 23, 2010.
- Kitwana 2005, pp. 28–29.
- Miller, Janice. Fashion and Music. Oxford: Berg, 2011, p. 13.
- Elam, Harry Justin, Jr., and Kennell A. Jackson. Black Cultural Traffic: Crossroads in Global Performance and Popular Culture. Ann Arbor: University of Michigan, 2005, p. 329.
- Arthur, Damien (2006), "Hip Hop Consumption and Masculinity", Gender and Consumer Behavior, Volume 8, Association for Consumer Research, 113.
- Elam, 329.
- Robinson, Simon (April 11, 2004). "TIMEeurope Magazine | Viewpoint". Time. Archived from the original on May 16, 2010. Retrieved April 23, 2010.
- "Kwaito: much more than music –". Southafrica.info. January 7, 2003. Archived from the original on March 17, 2010. Retrieved April 23, 2010.
- Steingo 2005.
- "african hip hop". south african hip hop. Retrieved July 11, 2011.
- Wayne Marshall, "Bling-bling for Rastafari: How Jamaicans deal with hip hop".
- https://moodle.brandeis.edu/file.php/3404/pdfs/marshall-bling-bling.pdf/[permanent dead link]
- "Reggae Music 101 – Learn More About Reggae Music – History of Reggae". Worldmusic.about.com. November 4, 2009. Retrieved April 23, 2010.
- Marshall, Wayne, "Bling-Bling ForRastafari: How Jamaicans Deal With Hip-Hop", Social and Economic Studies.. 55:1&2 (2006):49–74.
- Trinh, Jean. "Meet Awkwafina." The Daily Beast. Newsweek/Daily Beast, 14 March 2013. Retrieved June 2, 2014.
- Sisario, Ben (August 19, 2007). "An Itinerant Refugee in a Hip-Hop World". The New York Times. p. 20. Retrieved January 7, 2009.
- "National Geographic: Images of Animals, Nature, and Cultures | Story on Emmanuel Jal in National Geographic.". worldmusic.nationalgeographic.com. Archived from the original on October 27, 2009. Retrieved March 29, 2016.
- Jane Stevenson, "Emmanuel Jal uses music as therapy", Toronto Sun, August 8, 2012.
- TALK: Emmanuel Jal: The music of a war child on Video Link on TED, July 2009.
- Travis, Raphael; Deepak, Anne (2011). "Empowerment in Context: Lessons from Hip-Hop Culture for Social Work Practice". Journal of Ethnic And Cultural Diversity in Social Work. 20 (3): 203–22. doi:10.1080/15313204.2011.594993.
- Morrell, Ernest; Duncan-Andrade, Jeffrey M. R. "Promoting Academic Literacy with Urban Youth through Engaging Hip-Hop Culture" (PDF). National Council of Teachers of English. Retrieved February 12, 2015.
- North Carolina Central University. Christopher Martin biography. Accessed September 30, 2010.
- Duke University. "Patrick Douthit aka 9th Wonder, Cover to Cover". Accessed September 30, 2010.
- Kenney, Anne R. "Cornell University Library Annual Report, 2007–2008" (PDF). Retrieved June 10, 2013.
- Motley, Carol (2007). The global hip-hop Diaspora: Understanding the culture. Elsevier Inc. p. 244. Retrieved June 3, 2014.
- Watkins, S. Craig. "Why Hip-Hop Is Like No Other" in Chang 2007, p. 63.
- Clay, Andreana (2003). "Keepin' it Real: Black Youth, Hip-Hop Culture, and Black Identity" (PDF). American Behavioral Scientist. 46 (10): 1354. doi:10.1177/0002764203046010005. Retrieved June 3, 2014.
- Trapp, Erin (2005). "The Push and Pull of Hip-Hop: A Social Movement Analysis" (PDF). American Behavioral Scientist. 48 (11): 1493. doi:10.1177/0002764205277427. Retrieved June 4, 2014.
- Muhammad, Ebony S. "The Psychology of Exploitation: Black Women In Entertainment". FinalCall.com. FCN Punblishing. Retrieved June 4, 2014.
- Weheliye, Alexander. "Hip-Hop Pts. 1-3." Kresge Hall, Evanston. 17 October 2013. Lecture.
- Weheliye, Alexander G.. Phonographies: Grooves in Sonic Afro-modernity. Durham: Duke University Press, 2005.
- Tate, Greg. "Hip-hop Turns 30: Whatcha Celebratin’ For?" Village Voice, January 4, 2005.
- See for instance Rose 1994, pp. 39–40.
- Weheliye (2005), Phonographies, p. 145.
- Gilroy, Paul. The Black Atlantic: Modernity and Double Consciousness. Cambridge, MA: Harvard UP, 1993.
- Weheliye (205), Phonographies, p. 147.
- Gilroy (1993), The Black Atlantic, p. 109.
- "AOL Radio Stations | Free Internet Radio | AOL Radio". Spinner.com. Archived from the original on June 28, 2013. Retrieved October 25, 2015.
- "Ice-T Slams Modern Hip-Hop Music", StarPulse.com, September 19, 2011.
- Low, B. E. "The Tale of the Talent Night Rap: Hip-Hop Culture in Schools and the Challenge of Interpretation." Urban Education 45.2 (2010): 194-220. UW WorldCat. Retrieved May 31, 2014.
- Kelefa Sanneh, "The Rap Against Rockism." 2004.
- "The Negative Influence of Gangster Rap And What Can Be Done About It". web.stanford.edu. Retrieved October 11, 2015.
- Weitzer, Ronald; Kubrin, Charis E. (October 1, 2009). "Misogyny in Rap Music A Content Analysis of Prevalence and Meanings". Men and Masculinities. 12 (1): 3–29. doi:10.1177/1097184X08327696. ISSN 1097-184X.
- "Sign In". Retrieved October 11, 2015.
- "Taking Back the Music | CBN.com (beta)". www1.cbn.com. Retrieved March 29, 2016.
- Rose Arce CNN (March 4, 2005). "CNN.com - Hip-hop portrayal of women protested". cnn.com. Retrieved March 29, 2016.
- "Study Says Hip-Hop Listeners More Prone To Drug Use, Aggression - MTV". mtv.com. Retrieved March 29, 2016.
- Cundiff, Gretchen. "The Influence of Rap and Hip-Hop Music: An Analysis on Audience Perceptions of Misogynistic Lyrics".
- ""WHERE MY GIRLS AT?" Negotiating Black Womanhood in Music Videos by Rana A. Emerson" (PDF). gas.sagepub.com. Retrieved October 11, 2015.
- Muhammad, Kareem (2010). "Cash rules everything around me: the high price of sustaining hip-hop community in Chicago" (PDF). PhD dissertation, University of Illinois at Urbana-Champaign.
- "Past Winners Search | GRAMMY.com". grammy.com. Retrieved March 29, 2016.
- "Documenting the Black Experience: Essays on African American History ...". October 24, 2014. Retrieved October 25, 2015.
- Woodrow, John (December 14, 2012). "White echoes: Rap, race and Iggy Azalea". The Washington Post. Retrieved October 25, 2015.
- Hall, Marcella Runell (2008). Conscious Women Rock the Page: Using Hip-hop Fiction to Incite Social Change. New York: Sister Outsider EntertainmentNew York: Sister Outsider Entertainment. pp. 147–148.
- Heigl, Alex (November 17, 2015). "Howls & Echoes". Advocate.com. Advocate. Retrieved December 9, 2015.
- Turner, Mitchell (July 15, 2015). "Hip Hop and Homophobia: An Ingrained Ignorance". Howls & Echoes. Howls & Echoes. Retrieved December 9, 2015.
- Ahearn, Charlie; Fricke, Jim, eds. (2002). Yes Yes Y'All: The Experience Music Project Oral History of Hip Hop's First Decade. New York City, New York: Da Capo Press. ISBN 0-306-81184-7.
- Campbell, Clive; Chang, Jeff (2005). Can't Stop Won't Stop: A History of the Hip-Hop Generation. New York City, New York: Picador. ISBN 0-312-42579-1.
- Chang, Jeff (November–December 2007). "It's a Hip-hop World". Foreign Policy (163): 58–65.
- Corvino, Daniel; Livernoche, Shawn (2000). A Brief History of Rhyme and Bass: Growing Up With Hip Hop. Tinicum, Pennsylvania: Xlibris Corporation. ISBN 1-4010-2851-9.
- Diawara, Manthia (1998). In Search of Africa. Cambridge, Massachusetts: Harvard University Press. ISBN 0-674-44611-9.
- Gordon, Lewis R. (October–December 2005). "The Problem of Maturity in Hip Hop". Review of Education, Pedagogy and Cultural Studies. 27 (4): 367–389. doi:10.1080/10714410500339020.
- Hager, Steven (1984). Hip Hop: The Illustrated History of Breaking Dancing, Rap Music and Graffiti. New York City, New York: St. Martin's Press. ISBN 0312373171.
- Kelly, Robin D. G. (1994). Race Rebels: Culture, Politics, and the Black Working Class. New York City, New York: Free Press. ISBN 0-684-82639-9.
- Kitwana, Bakari (2002). The Hip-Hop Generation: Young Blacks and the Crisis in African American Culture. New York City, New York: Perseus Books Group. ISBN 0-465-02979-5.
- Kitwana, Bakari (2005). Why White Kids Love Hip Hop: Wankstas, Wiggers, Wannabes and the New Reality of Race in America. New York City, New York: Basic Civitas Books. ISBN 0-465-03746-1.
- Kolbowski, Silvia (Winter 1998). "Homeboy Cosmopolitan". October (83): 51.
- Light, Alan, ed. (1999). The VIBE History of Hip-Hop (1st ed.). New York City, New York: Three Rivers Press. ISBN 0-609-80503-7.
- McLeod, Kembrew (Autumn 1999). "Authenticity Within Hip-Hop and Other Cultures Threatened with Assimilation" (PDF). Journal of Communication. 49 (4): 134–150. doi:10.1111/j.1460-2466.1999.tb02821.x. Archived from the original (PDF 1448.9 KB) on March 18, 2009.
- Nelson, George (2005). Hip-Hop America (2nd ed.). St. Louis, Missouri: Penguin Books. ISBN 0-14-028022-7.
- Ogbar, Jeffrey O. G. (2007). Hip-Hop Revolution: The Culture and Politics of Rap. Lawrence, Kansas: University Press of Kansas. ISBN 978-0-7006-1547-6.
- Perkins, William E. (1995). Droppin' Science: Critical Essays on Rap Music and Hip Hop Culture. Philadelphia, Pennsylvania: Temple University Press. ISBN 1-56639-362-0.
- Ro, Ronin (2001). Bad Boy: The Influence of Sean "Puffy" Combs on the Music Industry. New York City, New York: Pocket Books. ISBN 0-7434-2823-4.
- Rose, Tricia (1994). Black Noise: Rap Music and Black Culture in Contemporary America. Middletown, Connecticut: Wesleyan University Press. ISBN 0-8195-6275-0.
- Shapiro, Peter (2007). Rough Guide to Hip Hop (2nd ed.). London, UK: Rough Guides. ISBN 1-84353-263-8.
- Steingo, Gavin (July 2005). "South African Music after Apartheid: Kwaito, the "Party Politic," and the Appropriation of Gold as a Sign of Success". Popular Music and Society. 28 (3): 333–357. doi:10.1080/03007760500105172.
- Toop, David (1991). Rap Attack 2: African Rap to Global Hip Hop (2nd ed.). New York City, New York: Serpent's Tail. ISBN 1-85242-243-2.
|Library resources about
|Wikimedia Commons has media related to Hip hop music.|
|Wikiquote has quotations related to: Hip hop music|
- iDjBlast (hip hop news) - http://iDjBlast.com