Hip hop music: Difference between revisions
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how do peeps rap music is ace and was invented by a indian man called ramujgradpopapldhf dhdjfifhdfnjsdfh when he was 459 years old but now sadly he died when he was 19999 years old |
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{{Infobox Music genre <!-- See Wikipedia:WikiProject_Music_genres --> |
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| name = [[Hip hop music|Hip Hop Music]] |
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|bgcolor = darkblue |
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|color = white |
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| stylistic_origins = Jamaican [[Dancehall]] [[toasting]] alongside the rhythms of [[rhythm and blues|R&B]], [[disco]], and [[funk]] |
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| cultural_origins = late 1960s/early 1970s: [[Kingston, Jamaica]] - early 1970s South [[Bronx]], [[New York City]] |
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| instruments = [[Turntablism|Turntable]], [[rapping]], [[drum machine]], [[sampler (musical instrument)|sampler]], [[synthesizer]], [[beatboxing|human beatboxing]] |
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| popularity = Since late 1980s in the United States, worldwide beginning in early 1990s, among best-selling genres of music by early 2000s. |
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| derivatives = |
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| subgenrelist = |
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| subgenres = |
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| fusiongenres = |
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| regional_scenes = |
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| local_scenes = |
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| other_topics = |
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}} |
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'''Hip hop music''' is a genre of [[music]] typically consisting of a rhythmic style of speaking called [[rapping|rap]] over backing beats performed on a turntable by a [[Disc jockey|DJ]]. Hip hop music is part of [[hip hop culture]], which began in [[New York City]] in the 1970s, predominantly among [[African American]]s and [[Latinos]] (two other elements are [[breakdancing]] and [[graffiti art]]). <ref>[http://www.thenext.org.nz/the_resource/history_of_hiphop.php The Resource - THE NEXT<!-- Bot generated title -->]</ref> The term ''rap'' is sometimes used synonymously with ''hip hop music'', though it originally referred only to rapping itself. |
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Rapping, also referred to as [[Master of Ceremonies|MCing]] or emceeing, is a vocal style in which the performer speaks rhythmically and in rhyme, generally to a [[beat]]. Beats are traditionally [[sample (music)|sampled]] from portions of other songs by a DJ, though synthesizers, drum machines, and live bands are also used, especially in newer music. Rappers may perform poetry which they have written ahead of time, or [[Freestyle rap|improvise]] rhymes on the spot. Though rap is usually an integral component of hip hop music, DJs sometimes perform and record alone, and many instrumental acts are also defined as hip hop. |
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Hip hop arose in New York City when DJs began isolating the [[percussion break]] from [[funk]] or [[disco]] songs for audiences to dance to. The role of the MC was originally to introduce the DJ and the music, and to keep the audience excited. The MC would [[toasting|speak between songs, giving exhortations to dance, greetings to audience members, jokes and anecdotes]]. Eventually, this practice became more stylized, and came to be known as ''rapping''. By 1979, hip hop had become a commercially recorded music genre, and began to enter the American mainstream. It also began its spread across the world. In the 1990s, a form called [[gangsta rap]] became a major part of [[music of the United States|American music]], causing significant controversy over lyrics which were perceived by some as promoting violence, promiscuity, drug use and misogyny. Nevertheless, by the beginning of the 2000s, hip hop became a staple of popular music charts and is now performed in widely varying styles around the world. |
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{{Hip Hop}} |
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==Roots of Hip hop (1970s)== |
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{{main|Roots of hip hop}} |
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The roots of Hip hop are found in [[African-American]] and [[West Africa]]n music. The [[griot]]s of West Africa are a group of traveling singers and poets, whose musical style is reminiscent of hiphop. Within New York City, griot-like performances of poetry and music by artists such as [[The Last Poets]] and [[Jalal Mansur Nuriddin]] had a great impact on the post-civil rights era [[culture]] of the 1960s and 1970s. Hip hop arose during the 1970s when [[block party|block parties]] became common in [[New York City]], especially the [[Bronx]]. Block parties were usually accompanied by music, especially [[funk]] and [[soul music]]. The early DJs at block parties began isolating the [[percussion]] breaks to hit songs, realizing that these were the most dance-able and entertaining parts; this technique was then common in [[Jamaica]] and had spread via the substantial Jamaican immigrant community in New York City, especially the "godfather" of hip hop, [[DJ Kool Herc]]. |
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[[Dub music|Dub]] had arisen in Jamaica due to the influence of [[United States|American]] sailors and radio stations playing [[R&B]]. Large [[sound system (Jamaican)|sound system]]s were set up to accommodate poor Jamaicans, who couldn't afford to buy records, and dub developed at the ''sound systems'' (refers to both the system and the parties that evolved around them). Herc was one of the most popular DJs in early 70s New York, and he quickly switched from using [[reggae]] records to funk, rock and, later, disco, since the New York audience did not particularly like reggae. Because the percussive breaks were generally short, Herc and other DJs began extending them using an [[mixing console|audio mixer]] and two records. Mixing and scratching techniques eventually developed along with the breaks. (The same techniques contributed to the popularization of [[remix]]es.) Such looping, sampling and remixing of another's music, usually without the original artist's knowledge or consent, can be seen as an evolution of Jamaican [[Dub music]], and would become a hallmark of the hiphop style. |
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Later DJs such as [[DJ Grandmaster Flash|Grandmaster Flash]] refined and developed the use of breakbeats, including cutting.<ref>[http://www.rapindustry.com/kool_herc.htm Dj Kool Herc | Interview | Godfather Of Hip Hop | Rapindustry.Com<!-- Bot generated title -->]</ref> As in dub, performers began speaking while the music played; these were originally called ''MCs''; Herc focused primarily on DJing, and began working with two MCs, [[Coke La Rock]] and Clark Kent—this was the first MC crew, Kool Herc & the Herculoids. Originally, these early rappers focused on introducing themselves and others in the audience (the origin of the still common practice of "shouting out" on hip hop records). These early performers often MCed for hours at a time, with some improvisation and a simple four-count beat, along with a basic chorus to allow the performer to gather his thoughts (such as "one, two, three, y'all, to the beat, y'all"). |
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Later, the MCs grew more varied in their vocal and rhythmic approach, incorporating brief rhymes, often with a sexual or scatological theme, in an effort at differentiating themselves and entertaining the audience. These early raps incorporated similar rhyming lyrics from African American culture, such as [[the dozens]]. While Kool Herc & the Herculoids were the first hip hoppers to gain major fame in New York, more MC teams quickly sprouted up. Frequently, these were collaborations between former [[gang]] members, such as [[Afrikaa Bambaataa]]'s [[Universal Zulu Nation]] (now a large, international organization). [[Melle Mel]], a rapper/lyricist with The [[Furious Five]] is often credited with being the first rap lyricist to call himself an "MC."<ref>[http://www.allhiphop.com/features/?ID=1686 article about Mele Mel (Melle Mel) at AllHipHop.com]</ref> During the early 1970s, [[breakdancing]] arose during block parties, as [[b-boy]]s and b-girls got in front of the audience to dance in a distinctive, frenetic style. The style was documented for release to a world wide audience for the first time in ''[[Beat Street]]''. |
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Although there were many early MCs that recorded solo projects of note, such as [[DJ Hollywood]], [[Kurtis Blow]], and [[Spoonie Gee]], real notoriety didn't appear until later with the rise of soloists with big stage presence and drama, such as [[LL Cool J]]. Most early hip hop was dominated by groups where collaboration among the members was integral to the show.<ref>Toop:2000, 94</ref> |
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===Origin of term=== |
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Coinage of the term ''hip hop'' is often credited to Keith Cowboy, a [[Rapping|rapper]] with [[Grandmaster Flash]] & the Furious Five. Though [[Lovebug Starski]], Keith Cowboy, and [[DJ Hollywood]] used the term when the music was still known as ''[[disco]] rap'', it is believed that Cowboy created the term while teasing a friend who had just joined the U.S. Army, by [[scat singing]] the words "hip/hop/hip/hop" in a way that mimicked the [[rhythm]]ic cadence of marching soldiers.<ref name="furious5">[http://web.archive.org/web/20060317071002/http://www.furious5.net/cowboy.htm Keith Cowboy - The Real Mc Coy<!-- Bot generated title -->]</ref> Cowboy later worked the "hip hop" cadence into a part of his stage performance, which was quickly copied by other artists; for example the opening of the song "[[Rapper's Delight]]" by [[The Sugarhill Gang]].<ref name="furious5"/> Former [[Black Spades]] gang member [[Afrika Bambaataa]] is credited with first using the term to describe the [[subculture]] that hip hop music belongs to, although it is also suggested that the term was originally derisively used against the new type of music.<ref>[http://72.14.209.104/search?q=cache:nmWYaxJvswsJ:www.zulunation.com/hip_hop_history_2.htm+%22keith+cowboy%22+%22hip+hop%22+military&hl=en&gl=us&ct=clnk&cd=3 http://www.zulunation.com/hip_hop_history2.htm] (cached)</ref> |
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===Context=== |
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The reasons for the rise of hip hop are found in the changing urban culture within the United States during the 1970s. Perhaps most important was the low cost involved in getting started: the equipment was relatively inexpensive, and virtually anyone could MC along with the popular beats of the day. MCs could be creative, pairing nonsense rhymes and teasing friends and enemies alike in the style of Jamaican ''[[toasting]]'' at blues parties or playing [[the dozens]] in an exchange of wit. MCs would play at block parties, with no expectation of recording, in the way of [[folk music]]. The skills necessary to create hip hop music were passed informally from musician to musician, rather than being taught in expensive music lessons. |
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Another reason for hip hop's rise was the decline of [[disco]], [[funk]] and [[rock and roll|rock]] in the mid- to late 70s. Disco arose among black and [[gay]] male clubs in America, and quickly spread to Europe, where it grew increasingly sunny, bright and poppy. Once disco broke into the mainstream in the United States, and was thus appropriated, its original fans and many other listeners rejected it as pre-packaged and soulless. While many remember the white teens shouting "disco sucks" at every available opportunity, often in [[racism|racist]] and [[homophobia|homophobic]] contexts, inner-city blacks were similarly rejecting disco and disco-fied rock, soul and funk (which was virtually everything on the radio at the time). |
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If disco had anything redeemable for urban audiences, however, it was the strong, eminently danceable beats, and hip hop rose to take advantage of the beats while providing a musical outlet for the masses that hated disco. Disco-inflected music (though comparatively little actual disco) was one of the most popular sources of beats in the first ten or twelve years of hiphop's existence. In [[Washington DC]], [[go go]] also emerged as a reaction against disco, and eventually mixed with hip hop during the early 1980s, while [[electronic music]] did the same, developing as [[house music]] in [[Chicago]] and [[techno music]] in [[Detroit]]. |
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Along with the low expense and the demise of other forms of popular music, social and political events further accelerated the rise of hip hop. In 1959, the [[Cross-Bronx Expressway]] was built through the heart of the Bronx, displacing many of the middle-class white communities and causing widespread unemployment among the remaining blacks as stores and factories fled the area. By the 1970s, poverty was rampant. When a 15,000+ apartment [[Co-op City, Bronx, New York|Co-op City]] was built at the northern edge of the Bronx in 1968, the last of the middle-class fled the area and the area's black and Latino gangs began to grow in power. |
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===Stylistic diversification=== |
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In the mid-1970s, hip hop split into two factions. One sampled disco and focused on getting the crowd dancing and excited, with simple rhymes or none at all; these DJs included Pete DJ Jones, Eddie Cheeba, [[DJ Hollywood]] and [[Love Bug Starski]]. Another group focused on rapid-fire rhymes and more complex rhythmic schemes. [[Afrika Bambaataa]], Paul Winley, [[Grandmaster Flash]] and [[Bobby Robinson]] were members of this group. During the transition into the early 1980s, many felt that hip hop was a novelty fad that would soon die out. This was to become a constant accusation for at least the next fifteen years. Some of the earliest rappers were, in fact, novelty acts, using the theme to ''[[Gilligan's Island]]'' or using sugary [[doo wop]]-influenced [[harmony|harmonies]]. |
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The first hip hop recording was probably the [[New Jersey]]-based [[Sugar Hill Gang]]'s ''[[Rapper's Delight]]'' in 1979<ref name="Hip hop">[http://www.syracuseuniversitypress.syr.edu/encyclopedia/entries/hip-hop.html hip hop :: The Encyclopedia of New York State :: Syracuse University Press<!-- Bot generated title -->]</ref>. By the 1980s, all the major elements and techniques of the genre were in place. Though not yet mainstream, hip hop was by now well known among African Americans, even outside of New York City; it could be found in cities as diverse as [[Los Angeles]], [[Washington, DC]], [[Baltimore]], [[Dallas]], [[Kansas City, Missouri|Kansas City]], [[Miami]], [[Seattle]], [[St. Louis, Missouri|St. Louis]], [[New Orleans]], and [[Houston]]. |
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Despite the genre's spreading popularity, [[Philadelphia]] was, for many years, the only city whose contributions to hip hop were valued as greatly as [[New York City]]'s by fans and critics. Hip hop music was popular there at least as far back as the late 1970s (the first Philadelphia hip hop record was "Rhythm Talk", by Jocko Henderson in 1979), and the ''[[New York Times]]'' dubbed Philadelphia the "Graffiti Capital of the World" in 1971. A Philadelphia-area radio DJ, [[Lady B]], was the first female solo hip hop artist to record music ("To the Beat Y'All", 1980). Later [[Schoolly D]], another Philadelphia-based artist, helped invent what became known as [[gangsta rap]]. |
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==1980s== |
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{{main|Golden age hip hop}} |
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The 1980s saw intense diversification of hip hop, which developed into a more complex form. As technology evolved so did the practice of looping break into breakbeats; the emergence of samplers and sequencers allowed the beats to be manipulated with greater precision and granularity and recombined in more complex new ways than was possible with vinyl alone. In 1984, [[Marley Marl]] accidentally caught a drum machine snare hit in the sampler; this innovation was vital in the development of [[Electro (music)|electro]] and other later types of hip hop. In 1989, [[DJ Mark the 45 King| DJ Mark James]] under the moniker "45 King", released "The 900 Number", a breakbeat track created by synchronizing samplers and vinyl.<ref>Toop, 2000</ref> |
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The content evolved as well. The simple tales of 1970s MCs were replaced by highly metaphoric lyrics rapping over complex, multi-layered beats. Some rappers even became mainstream pop performers, including [[Kurtis Blow]], whose appearance in a [[Sprite (soft drink)|Sprite]] commercial made him the first hip hop musician to be considered mainstream enough to represent a major product, but also the first to be accused by the hip hop audience of [[selling out]]. Another popular performer among mainstream audiences was [[LL Cool J]], who was a success from the release of his first LP, ''[[Radio (LL Cool J album)|Radio]]''. |
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Hip hop was almost entirely unknown outside of the United States prior to the 1980s. During that decade, it began its spread to every inhabited continent and became a part of the music scene in dozens of countries. In the early part of the decade, [[breakdancing]] became the first aspect of hip hop culture to reach [[Germany]], [[Japan]] and [[South Africa]], where the crew [[Black Noise]] established the practice before beginning to rap later in the decade. Meanwhile, recorded hip hop was released in [[France]] ([[Dee Nasty]]'s 1984 ''Paname City Rappin''') and the [[Philippines]] (Dyords Javier's "Na Onseng Delight" and Vincent Dafalong's "Nunal"). In [[Puerto Rico]], [[Vico C]] became the first [[Spanish language|Spanish]] rapper, and his recorded work was the beginning of what became known as [[reggaeton]]. |
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===Politicization=== |
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{{main|Political hip hop}} |
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The first rap records ([[Fatback Band]]'s ''[[King Tim III]]'', [[Grandmaster Flash]]'s ''Super Rappin'' and [[The Sugarhill Gang]]'s ''[[Rapper's Delight]]'') were actually recorded by live musicians in the studio, with the rappers adding their vocals later. This changed with DJ records such as [[Grandmaster Flash]]'s ''Adventures on the Wheels of Steel'' (known for pioneering use of [[scratching]], which was invented by [[Grandwizard Theodore]] in 1977) as well as electronic recordings such as ''Planet Rock'' by [[Afrika Bambaataa]] and [[Run DMC]]'s very basic, all electronic ''Sucker MC's'' and ''Peter Piper'' which contains genuine cutting by Run DMC member [[Jam Master Jay]]. These early innovators were based out of New York City, which remained the capital of Hiphop during the 1980s. This style became known as [[East Coast rap|East Coast hip hop]]. |
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[[Grandmaster Flash & the Furious Five]] released a "message rap", called ''The Message'', in 1982; this was one of the earliest examples of recorded hip hop with a socially aware tone. |
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In 1987, [[Public Enemy (band)|Public Enemy]] brought out their debut album (''[[Yo! Bum Rush the Show]]'') on [[Def Jam]], and [[Boogie Down Productions]] followed up in 1988 with ''[[By All Means Necessary]]''; both records pioneered a wave of hard-edged politicized performers. The late 1980s saw a flourishing of like-minded rappers on both coasts, and Public Enemy's ''[[It Takes a Nation of Millions to Hold Us Back]]'' became surprisingly successful, despite its militant and confrontational tone, appearing on both the club and rap charts, and peaking at #17 and #11, respectively. Aside from the lyrical innovations, Public Enemy's [[Terminator X (DJ)|Terminator X]] (along with [[Eric B.]], of [[Eric B. & Rakim]]) pioneered new techniques in sampling that resulted in dense, multi-layered sonic collages. |
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===Popularization=== |
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The mid-1980s saw a flourishing of the first hip hop artists to achieve mainstream success, such as [[Kurtis Blow]] (''[[Kurtis Blow (album)|Kurtis Blow]]''), [[LL Cool J]] (''[[Radio (LL Cool J album)|Radio]]'') and especially [[Run-D.M.C.]] (''[[Raising Hell]]''), as well as influences in mainstream music, such as [[Blondie (band)|Blondie]]'s [[Debbie Harry]] rapping in the first non-black hit to feature rapping, "Rapture". LL Cool J's ''Radio'' spawned a number of singles that entered the dance charts, peaking with "I Can Give You More" (#21). 1986 saw two hip hop acts in the Billboard Top Ten; [[Run-D.M.C.]]'s "Walk This Way" collaboration with [[Aerosmith]], and the [[Beastie Boys]] "(You Gotta) Fight for Your Right (To Party!)". The pop success of both singles was unheard of for the time; "Walk This Way" has proved especially memorable for its early mixture of hip hop and rock (though it was not the first such mixture), and it peaked at an unheard of #4 on the pop charts. Also, the mid-1980s saw the rise of the first major black female group, [[Salt-N-Pepa]], who hit the charts with singles like "The Show Stoppa" in 1985. [[Ice-T]]'s seminal "6n' Da Mornin'" (1986) is one of the first nationally successful [[West Coast hip hop]] singles, and is often said to be the beginning of [[gangsta rap]] (along with [[Schoolly D]], [[LL Cool J]] and [[N.W.A.]]). |
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===Turntablism=== |
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{{main|Turntablism}} |
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While early hip hop arose through the decline of [[funk]] and [[disco]] while still employing their musicianship, there was the rise of artists who employed the use of the turntable as an instrument in itself. Hip Hop Turntablist [[DJs]] use turntable techniques such as beat mixing/matching, scratching, and beat juggling to create a base that can be rapped over. Turntablism is generally focused more on turntable technique and less on mixing. Each scratch of the turntable is considered unique due to the complex waveforms produced and employing digital sampling is considered an affront to a true Turntablist.<ref>Toop:2000, 96</ref> |
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====Rise of gangsta rap==== |
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{{main|Gangsta rap}} |
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The first gangsta rap album to become a mainstream pop hit, selling more than 2.5 million copies, was [[N.W.A.]]'s ''[[Straight Outta Compton]]'' (1988). N.W.A.'s controversial subject matter, including drugs, violence and sex, helped popularize what became known as [[gangsta rap]] (said to have begun with [[Ice-T]]'s "6N' Da Morning"). Specifically, the song "Fuck Tha Police" earned the foursome the enmity of [[law enforcement]], resulting in a strongly-worded letter of discontent from the [[Federal Bureau of Investigation|FBI]]. N.W.A.'s most lasting impact, however, was placing the West Coast on the hip hop map. |
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===Diversification=== |
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Though women, whites and Latinos had long been a part of the hip hop scene, it was not until the 1980s that groups other than young African American males began creating popular, innovative and distinctive styles of hip hop music. |
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The first rap recording by a solo female was [[Philadelphia]]-based [[Lady B.]]'s "To the Beat, Y'All" (1980), while [[The Sequence]] became the first female group to record. It was, not, however, until [[Salt-N-Pepa]] in the middle of the decade that female performers gained mainstream success. |
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The first groups to mix hip hop and [[heavy metal music|heavy metal]] included 1984's "Rock Box" ([[Run-D.M.C.]]) and "Rock Hard" ([[Beastie Boys]]). Later in the decade, [[Ice-T]] and [[Anthrax (band)|Anthrax]] were among the most innovative mixers of [[thrash metal]] and hiphop. These fusions helped move hip hop into new audiences, and introduced it to legions of new fans in the States and abroad. |
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In [[Puerto Rico]], [[Vico C]] became the first mainstream [[Spanish language]] rapper, and his recorded work was the beginning of what became known as [[reggaeton]]. Hip hop had always had a significant connection to the [[Latino]] community in [[New York City]] including the first Latin DJ [[DJ Disco Wiz]], and hip hop soon spread amongst Latinos. In the late 1980s and early 1990s, most Latin rap came from the West Coast of the United States. In 1989, Cuban-American [[Mellow Man Ace]] became the first Latino artist to have a major bilingual single. Mellow Man, referred to as the "Godfather of Latin rap", brought mainstream attention to Spanglish rhyming with his 1989 platinum single "Mentirosa". In 1990, fellow West Coast artist [[Frost (rapper)|Kid Frost]] further brought Latinos to the rap forefront with his single "La Raza." [[Cypress Hill]], of which Mellow Man Ace was a member before going solo, would become the first Latino rap group to reach platinum status in 1991. Ecuadorian born rapper [[Gerardo]] received heavy rotation on video and radio for his single "Rico, Suave." As a result of the success of these artists, countries throughout Latin America such as Cuba, the Dominican Republic and Mexico created their own hip hop scenes. |
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While Run DMC laid the groundwork for East Coast rap, "Planet Rock" (Afrika Bambaataa) was one of the first [[Electro (music)|electro]] tracks. Based on a sample from German rock group [[Kraftwerk]] (''[[Trans-Europe Express]]''), "Planet Rock" inspired countless groups, based in [[New Jersey]], [[New York City]] and [[Detroit]], among other places, to make electronic [[dance music]] (called ''electro'') that strongly influenced [[techno music|techno]] and [[house music]], and especially the burgeoning [[Electro (music)|electro music]] scene in [[northern England]], the [[Midlands]] and [[London]]. |
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"Planet Rock" influenced hip hop outside of New York as well, such as [[Latin hip hop]] (also ''Latin freestyle'' or ''freestyle'') such as [[Expose (band)|Expose]] and [[The Cover Girls]], as well as [[Los Angeles, California|Los Angeles]]-based [[electro hop]] performers like the [[World Class Wreckin' Cru]] and [[Egyptian Lover]]. |
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===Nationalization=== |
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By the end of the 1970s, hip hop was known in most every major city in the country{{Fact|date=January 2008}}, and had developed into numerous regional styles and variations. Outside of New York City, New Jersey and Philadelphia, where hip hop had long been well-established, the 1980s saw intense regional diversification. |
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The first Chicago hip hop record was the "Groovy Ghost Show" by Casper, released in 1980 and a distinctively Chicago sound began by 1982, with Caution and Plee Fresh. Chicago also saw the development of [[house music]] (a form of [[electronic music|electronic]] [[dance music]]) in the early 1980s and this soon mixed with hip hop and began featuring rappers; this is called [[hip house]], and gained some national popularity in the late 1980s and early 90s, though similar fusions from South Africa, Belgium and elsewhere became just as well-known into the 90s. |
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[[Los Angeles, California|Los Angeles]] hardcore rappers ([[Ice-T]]) and [[electro hop]] artists ([[Egyptian Lover]]) began recording by 1983, though the first recorded [[West Coast rap]] was Disco Daddy and [[Captain Rapp]]'s "Gigolo Rapp" in 1981. In [[Miami]], audiences listened to [[Miami bass]], a form of sultry and sexually explicit [[dance music]] with a heavy bass sound, which arose from Los Angeles [[Electro (music)|electro]]; it frequently included rapping. In [[Washington D.C.]] a hip hop-influenced form of [[dance music]] called [[go go]] emerged and incorporated rapping and DJing. |
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====Internationalization==== |
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Beginning in the early 1980s, hip hop culture began its spread across the world. By the end of the 1990s, popular hip hop was sold almost everywhere, and native performers were recording in most every country with a popular music industry{{Fact|date=January 2008}}. Elements of hip hop became fused with numerous styles of music, including [[ragga]], [[cumbia]] and [[samba (music)|samba]], for example. The Senegalese [[mbalax]] rhythm became a component of hip hop, while the [[United Kingdom]] and [[Belgium]] produced a variety of [[electronic music]] fusions of hip hop, most famously including British [[trip hop]]. |
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Hip hop also spread to countries like Greece, Spain and Cuba in the 1980s, led in Cuba by the self-exiled African American activist Nehanda Abiodun and aided by [[Fidel Castro]]'s government. In Japan, graffiti art and breakdancing had been popular since the early part of the decade, but many of those active in the scene felt that the [[Japanese language]] was unsuited for rapping; nevertheless, by the beginning of the 1990s, a wave of rappers emerged, including Ito Seiko, Chikado Haruo, Tinnie Punx and Takagi Kan. The [[New Zealand hip hop]] scene began in earnest in the late 1980s, when [[Maori]] performers like [[Upper Hutt Posse]] and [[Dalvanius Prime]] began recording, gaining notoriety for lyrics that espoused [[tino rangatiratanga]] (Maori sovereignty). |
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==1990s== |
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In the 1990s, gangsta rap became mainstream, beginning in about 1992, with the release of [[Dr. Dre]]'s ''[[The Chronic]]''. This album established a style called [[G Funk]], which soon came to dominate [[West Coast rap|West Coast hiphop]]. Later in the decade, record labels based out of Atlanta, St. Louis and New Orleans gained fame for their local scenes. By the end of the decade, especially with the success of [[Eminem]], hip hop was an integral part of popular music, and many American pop songs had a major hiphop component. |
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In the 90s and into the following decade, elements of hip hop continued to be assimilated into other genres of popular music; [[nu soul]], for example, combined hip hop and [[soul music]] and produced some major stars in the middle of the decade, while in the [[Dominican Republic]], a recording by Santi Y Sus Duendes and [[Lisa M]] became the first single of [[merenrap]], a fusion of hiphop and [[merengue]]. |
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New York City experienced a heavy Jamaican hip hop influence during the 90s. This influence was brought on by cultural shifts particularly due to the heightened immigration of Jamaicans to New York City, and the American-born Jamaican youth who were coming of age during the 90s. Hip hop artists such as [[De La Soul]] and [[Black Star]] have both produced albums influenced by Jamaican roots.[http://wayneandwax.com/?p=137] |
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In Europe, Africa and Asia, hip hop began to move from an underground phenomenon to reach mainstream audiences. In [[South Africa]], [[Germany]], [[France]], [[Italy]] and many other countries, hiphop stars rose to prominence and gradually began to incorporate influences from their own country, resulting in fusions like [[Tanzania]]n [[Bongo Flava]]. |
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===West Coast=== |
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{{main|West Coast hip hop}} |
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After N.W.A. broke up, [[Dr. Dre]] (a former member) released ''[[The Chronic]]'' (1992), which peaked at #1 on the R&B/hip hop chart and #3 on the pop chart and spawned a #2 pop single in "Nothin' But a 'G' Thang".. ''The Chronic'' took West Coast rap in a new direction, influenced strongly by [[P funk]] artists, melding the psychedelic funky beats with slowly drawled lyrics—this came to be known as [[G funk]], and dominated mainstream hip hop for several years through a roster of artists on [[Death Row Records]], including most popularly, [[Snoop Doggy Dogg]], whose ''[[Doggystyle]]'' included "What's My Name" and "Gin and Juice", both Top Ten pop hits. |
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Though West Coast artists eclipsed New York, some East Coast rappers achieved success. New York became dominated in terms of sales by [[Puff Daddy]] (''[[No Way Out]]''), [[Mase]] (''[[Harlem World]]'') and other [[Bad Boy Records]] artists, in spite of often scathing criticism for a perceived over-reliance on sampling and a general watered-down sound, aimed directly for pop markets. Other New York based artists continued with a harder edged sound, achieving only limited popular success. [[Nas]] (''[[Illmatic]]''), [[Busta Rhymes]] (''[[The Coming]]'') and [[The Wu-Tang Clan]] (''[[Enter the Wu-Tang (36 Chambers)]]''), for example, received excellent reviews but generally mediocre or sporadic sales. |
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The sales rivalry between the East Coast and the West Coast eventually turned into a personal rivalry, aided in part by the music media. Many reporters were not aware that MC battles were an integral part of hip hop since its inception, and that, generally, little was meant by open taunts on albums and in performances. Nevertheless, the [[East Coast-West Coast rivalry]] grew, eventually resulting in the still unsolved deaths of [[Tupac Shakur]] and [[Notorious B.I.G.]]. |
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===Diversification of styles=== |
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In the wake of declining sales following the deaths of both superstar artists, the sounds of hip hop were greatly diversified. Most important was the rise of [[Southern rap]], starting with [[OutKast]] (''[[ATLiens]]'') and [[Goodie Mob]] (''[[Soul Food (album)|Soul Food]]''), based out of [[Atlanta]]. Later, [[Master P]] (''[[Ghetto D]]'') built up an impressive roster of popular artists (the [[No Limit Records|No Limit]] posse) based out of [[New Orleans]] and incorporating [[G funk]] and [[Miami bass]] influences, and distinctive regional sounds from [[St. Louis]], [[Chicago]], [[Washington D.C.]], [[Detroit]] ([[ghettotech]]) and others began to gain some popularity. Also in the 1990s, [[rapcore]] (a fusion of hip hop and [[heavy metal music|heavy metal]]) became popular among mainstream audiences. [[Rage Against the Machine]], [[Linkin Park]] and [[Limp Bizkit]] were among the most popular rapcore bands. |
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Though Caucasian rappers like the [[Beastie Boys]] (''[[Paul's Boutique]]''), [[Vanilla Ice]] (''[[To the Extreme]]'') and [[3rd Bass]] (''[[The Cactus Album]]'') had had some popular success and/or critical acceptance from the hip hop community, [[Detroit]]-native [[Eminem]]'s success, beginning in 1999 with the triple platinum ''[[The Slim Shady LP]]'', came as a surprise to many. Like most successful hip hop artists of the time, Eminem came to be criticized for alleged glorification of violence, misogyny, and drug abuse, as well as homophobia and albums laced with constant profanity. |
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In South Africa, pioneering crew [[Black Noise]] began rapping in 1989, provoking a ban by the [[apartheid]]-era government, which lasted until 1993. Later, the country produced its own distinctive style in the [[house music|house]] fusion [[kwela]]. Elsewhere in Africa, Senegalese mbalax fusions continued to grow in popularity, while Tanzanian [[Bongo Flava]] crews like [[X-Plastaz]] combined hiphop with [[taarab]], [[filmi]] and other styles. |
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In Europe, hip hop was the domain of both ethnic nationals and immigrants. [[Germany]], for example, produced the well-known [[Die Fantastischen Vier]] as well as several [[Turkish people|Turkish]] performers like the controversial [[Cartel (rap group)|Cartel]], [[Kool Savas|Kool Savaş]], and [[Eko Fresh]]. Similarly, [[France]] has produced a number of native-born stars, such as [[IAM]] and the [[Brittany|Breton]] crew [[Manau]], though the most famous French rapper is probably the Senegalese-born [[MC Solaar]]. The [[Netherlands]]' most famous rappers are The [[Osdorp Posse]], an all-white crew from Amsterdam, and [[The Postmen]], from [[Cape Verde]] and [[Suriname]]. [[Italy]] found its own rappers, including [[Jovanotti]] and [[Articolo 31]], grow nationally renowned, while the Polish scene began in earnest early in the decade with the rise of [[PM Cool Lee]]. In [[Romania]], [[B.U.G. Mafia]] came out of [[Bucharest]]'s [[Pantelimon]] neighborhood, and their brand of gangsta rap underlines the parallels between life in Romania's Communist-era apartment blocks and in the housing projects of America's ghettos. [[Israel]]'s hip hop grew greatly in popularity at the end of the decade, with several stars emerging from both sides of the [[Palestinian]] ([[Tamer Nafer]]) and [[Jew]]ish ([[Subliminal (rapper)|Subliminal]]) divide; though some, like Mook E., preached peace and tolerance, others expressed [[nationalism|nationalist]] and violent sentiments. |
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In Asia, mainstream stars rose to prominence in the [[Philippines]], led by [[Michael V.]], Rap Asia, MC Lara and Lady Diane, and in Japan, where underground rappers had previously found a limited audience, and popular [[teen idol]]s brought a style called J-rap to the top of the charts in the middle of the 90s. |
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Latinos had played an integral role in the early development of hip hop, and the style had spread to parts of Latin America, such as Cuba, early in its history. In [[Mexico]], popular hip hop began with the success of [[Calo]] in the early '90s. Later in the decade, with Latin rap groups like [[Cypress Hill]] on the American charts, Mexican rap rock groups, such as [[Control Machete]], rose to prominence in their native land. An annual Cuban hip hop concert held at [[Alamar]] in [[Havana]] helped to popularize Cuban hip hop, beginning in 1995. Hip hop grew steadily more popular in Cuba, due to official governmental support for musicians. |
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====Alternative hiphop==== |
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{{main|Alternative hip hop}} |
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Though mainstream acceptance has become fairly limited to so-called commercial acts, some [[alternative rap]] artists, with a socially aware or positive or optimistic tone, have achieved moderate mainstream success. [[De La Soul]]'s ''[[Three Feet High and Rising]]'', [[Gang Starr]]'s ''[[No More Mr. Nice Guy (Gang Starr album)|No More Mr. Nice Guy]]'' and the [[Jungle Brothers]]' ''[[Straight Out the Jungle]]'' are usually considered the first albums in this genre, with [[jazz]]-based samples and lyrics (see [[jazz rap]]) strongly influenced by the [[Afrocentrism|Afrocentric]] messages of Bambaataa's [[Zulu Nation]] collective.{{Or|date=October 2007}} Later alternative artists like [[A Tribe Called Quest]], [[Mos Def]], and [[The Roots]], also achieved some mainstream success, though the influence of jazz had grown less pronounced (with some exceptions, such as [[Guru (rapper)|Guru]]'s ''[[Jazzmatazz]]'' project). |
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Jazz rap went on to influence the development of [[trip hop]] in the [[United Kingdom]], which fuses hip hop, jazz and electronic music; it is said{{Who|date=October 2007}} to have been started by [[Massive Attack]]'s ''[[Blue Lines]]'' (1991). [[Arrested Development (hip hop group)|Arrested Development]] also released their album ''[[3 Years, 5 Months & 2 Days in the Life Of...]]'' in 1992, which included the hit single, "[[Tennessee (song)|Tennessee]]." At the time, it was one of the best selling and most popular alternative rap albums. The success of [[Dr. Dre]]'s ''[[The Chronic]]'' later that year, however, showed [[gangsta rap]] to be a more commercially viable form of hip hop. |
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==2000s== |
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{{main|New school hip hop}} |
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In the year 2000, ''[[The Marshall Mathers LP]]'' by [[Eminem]] sold over nine million copies in the United States, and [[Nelly]]'s debut LP, ''[[Country Grammar]]'', sold over six million copies. The United States also saw the rise of alternative hip hop in the form of moderately popular performers like The Roots, [[Dilated Peoples]] and Mos Def, who achieved unheard-of success for their field. |
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As the decade progressed, hip hop has transformed from the more or less "old school" rhythmic rap to a more melodic hip hop that has the elements of jazz, classical, pop, reggae, and many other genres. Hip hop also gave birth to subgenres such as [[snap music]] and [[crunk]]. Hip hop influences also found their way into mainstream pop during this period as well. |
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Some countries, like [[Tanzania]], maintained popular acts of their own in the early 2000s, though many others produced few homegrown stars, instead following American trends. [[Scandinavia]]n, especially Danish and Swedish, performers became well known outside of their country, while hip hop continued its spread into new lands, including [[Russia]], [[Japan]], [[Philippines]], [[Canada]] and [[China]]. |
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Primarily in Germany, [[gangsta rap]] has become popular among youths who like the violent and aggressive lyrics.<ref>[http://www.nytimes.com/2005/08/09/arts/music/09rap.html?pagewanted=print NY Times: Germany's Rap Music Veers Toward the Violent]</ref> Some rappers openly or comically flirt with nazism, [[Bushido (rapper)|Bushido]] (born Anis Mohamed Youssef Ferchichi) raps "Salutiert, steht stramm, Ich bin der Leader wie A" (Salute, stand to attention, I am the leader like 'A') and [[Fler]] had a hit with the record ''Neue Deutsche Welle'' (New German Wave) complete with the title written in Third Reich style gothic print and advertised with an Adolf Hitler quote.<ref>[http://news.independent.co.uk/europe/article306413.ece The Independent: Rap music and the far right: Germany goes gangsta, 17 August 2005]</ref> |
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==Further reading== |
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*''The Vibe History of Hip Hop''. 1999. ''Vibe'' magazine. ISBN 0609805037 |
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*''Hip Hop America''. Nelson, George. Penguin Book. 2000. ISBN 0140280227 |
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*[[Toop, David|David Toop]] (1984/1991). ''Rap Attack II: African Rap To Global Hip Hop''. New York. New York: Serpent's Tail. ISBN 1852422432. |
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*''Hip-Hop Japan''. 2006. ''Duke University'' press. |
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*McLeod, Kembrew. Interview with [[Chuck D]] and [[Hank Shocklee]]. 2002. ''Stay Free Magazine''. |
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*''Yes Yes Y'All: Oral History of Hip Hop's First Decade''. Fricke, Jim and Charlie Ahearn (eds). [[Experience Music Project]]. Perseus Books Group. ISBN 0306811847 |
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*Corvino, Daniel and Shawn Livernoche. ''A Brief History of Rhyme and Bass: Growing Up With Hip Hop''. Lightning Source Inc. ISBN 1401028519 |
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{{Hip hop portal}} |
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* Chang, Jeff. "[[Can't Stop, Won't Stop]]". |
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* Rose, Tricia (1994). "Black Noise". Middletown, Connecticut: Wesleyan University Press. ISBN 0-8195-6275-0 |
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* Light, Alan (ed). (1999). ''The VIBE History of Hip-Hop''. New York: Three Rivers Press. ISBN 0-609-80503-7 |
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* George, Nelson (2000, rev. 2005). ''Hip-Hop America''. New York: Penguin Books. ISBN 0-14-028022-7 |
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* [[David Toop|Toop, David]] (1984, rev. 1991). ''Rap Attack II: African Rap To Global Hip Hop''. New York. New York: Serpent's Tail. ISBN 1-85242-243-2 . |
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* Fricke, Jim and Ahearn, Charlie (eds). (2002). ''Yes Yes Y'All: The [[Experience Music Project]] Oral History of Hip Hop's First Decade''. New York: Da Capo Press. ISBN 0-306-81184-7 |
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* Corvino, Daniel and Livernoche, Shawn (2000). ''A Brief History of Rhyme and Bass: Growing Up With Hip Hop''. Tinicum, PA: Xlibris Corporation/The Lightning Source, Inc. ISBN 1-4010-2851-9 |
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* Kitwana, Bakar (2004). The State of Hip-Hop Generation: how hip-hop's culture movement is evolving into political power. Retrieved [[December 4]], [[2006]]. From Ohio Link Database |
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* [[David Toop| Toop, David]] (2000). ''Modulations: A History of Electronic Music: Throbbing Words on Sound'' David Shapiro, ed. D.A.P./Caipirinha ISBN 978-1891024061 . |
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==External links== |
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* [http://city-journal.org/html/17_3_black_america.html "In the Heart of Freedom, In Chains": 2007 ''City Journal'' article on Hip Hop and Black America] |
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* {{cite journal|title=Phat Lines: Spelling Conventions in Rap Music|author=Olivo, W.|journal=Written Language & Literacy|volume=4|issue=1|date=March 2001|pages=67–85|url=http://www.ingentaconnect.com/content/jbp/wll/2001/00000004/00000001/art00004}} |
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* McLeod, Kembrew. Interview with [[Chuck D]] and [[Hank Shocklee]]. 2002. ''Stay Free Magazine'', issue 20. Retrieved from http://www.stayfreemagazine.org/archives/20/public_enemy.html on [[July 9]], [[2006]]. |
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==References== |
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Revision as of 11:20, 29 April 2008
how do peeps rap music is ace and was invented by a indian man called ramujgradpopapldhf dhdjfifhdfnjsdfh when he was 459 years old but now sadly he died when he was 19999 years old