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Hip hop

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Hip hop (also spelled hip-hop or hiphop) is both a cultural movement and a genre of music developed in New York City in the 1970s, predominantly by African Americans and Latinos.[1] Since first emerging in the Bronx, the lifestyle of hip hop culture has today spread around the world.

Hip hop culture includes breakdancing, a street dance style done over funk or hip hop music rhythm breaks; urban graffiti, which are colorful images or nicknames spraypainted on walls or subway cars; and hip-hop fashion, a distinctive style of dress.

When hip hop music developed in the 1970s, it was originally based around DJs who would create rhythmic beats by ("scratching") with record players, and a rhythmic style of chanting and singing called emceeing or "rapping".

Contents

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[edit] Elements of cultural movement

Breakdance is a street dance style that evolved as part of the hip hop movement among African American and Puerto Rican youths in the South Bronx of New York City during the early 1970s. It is normally danced to funk or hip hop music, often remixed to prolong the breaks, and is a well-known hip hop dance style.

Examples of modern graffiti styles
Examples of modern graffiti styles

Graffiti is the name for images or lettering scratched, scrawled, painted or marked on property. In the 1970s, graffiti artists often chose short nicknames or "tags" which they would spraypaint on subway car sides. Part of the graffiti subculture was races to see who could do the largest amount of graffiti, or the largest images. By the 1980s, some of the best graffiti artists, such as Jean-Michel Basquiat and Keith Haring were displaying their works in galleries. While many city authorities viewed graffiti as vandalism, designers such as Mark Ecko praised it as an art form.[2]

Hip-hop fashion is a distinctive style of dress originating with the African-American youth and later influenced by the hip-hop scenes of Los Angeles, Chicago, Philadelphia, East Bay (San Francisco Bay Area), and The Dirty South among others. In the early 1980s sportswear brands, such as Kangol, Adidas and Nike Inc attached themselves to the emerging hip hop scene.

Heavy gold jewelry was also popular in the 1980s. Black nationalism was increasingly influential in rap during the late 1980s, and fashions and hairstyles reflected traditional African influences. Gangsta rap became one of the most prevalent styles of hip hop, and by the mid-1990s, hip hop fashion had taken on significant influence from the dress styles of street thugs and prison inmates. In the mid- to late 1990s, platinum replaced gold as the metal of choice in hip hop fashion. Brands such as FUBU, Ecko, Mecca, and Enyce, arose to capitalize on the market for urban streetwear.

[edit] History of hip hop music

Main article: History of hip hop music

[edit] Terminology

[edit] Pre Culture Term Use

The word "hip" meaning "informed" was a black slang term originating in 1904[3]The first known combination of the term Hip and Hop together to form the term "Hip Hop" is found in the lyrics to a song called "You Can't Sit Down [4] by the pop group" The Dovells . The song charted on Billboard in 1963. One of the lyrics to the song was

"you gotta, slop bop, flip flop, hip hop, all around" [5]

The phrase used in the above lyric from 1963 was used to describe dancing. In 1968 a full page advertisement for Air-India airlines had the headline "The Hip Hop". The ad was promoting an 8:30 flight to London. One of the places that the ad appeared on was the back cover of a tour book for Ravi Shankar for his 1968 Festival From India tour. Both of these earlier usages of the term "Hip Hop" were previous to the current context and usage of this term now used to describe Rap music, Breakdancing, Turntablism and Graffiti.

[edit] The New Context

The Universal Zulu Nation an "international hip hop awareness" group formed and headed by hip hop godfather and South Bronx community leader Afrika Bambaataa credits the first use of the term "Hip Hop" as it relates to it's current meaning [6] to Lovebug Starski a DJ who later put out a single called "The Positive Life" in 1981. Others, including DJ Hollywood and Keith Cowboy were also using the term when the music was known as Disco Rap. It is said that Keith Cowboy was the first to use it as a regular part of his stage performance. He had first used the words "Hip Hop" to tease a friend who had joined the Army. He was scat singing the words "hip/hop/hip/hop" to imitate the sound of marching soldiers.[3] After he began using it in performances the term was quickly copied by other artists as is heard in the opening of the song "Rapper's Delight" by The Sugarhill Gang and in "Superrappin'" by his own group Grandmaster Flash & The Furious Five, both released in 1979.[3] Pure Disco fans had begun to mock these MCs calling them "Hip Hoppers". Afrika Bambaataa was the first to begin using the term in a positive light to describe all of the elements of

[edit] The Hip Hop Movement

Beginning in the 1970s, DJs such as Kool DJ Herc, Afrika Bambaataa and Grandmaster Flash created rhythmic sounds and music by touching and moving records on phonograph turntables while using a DJ mixer. Rhythms were also created just by using the human body, using the vocal percussion technique of beatboxing. Early 1980s 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. As well, they would sing or imitate turntablism scratching or other instrument sounds.

Emceeing is the rhythmic spoken delivery of rhymes and wordplay, delivered over a beat or without accompaniment. Rapping occupies a gray area among speech, prose, poetry, and song. Rap is derived from the griots (folk poets) of West Africa, and Caribbean-style toasting. Rapping developed both inside and outside of hip hop culture, and began with the street parties thrown in the Bronx neighborhood of New York in the 1970s by Kool Herc and others.

[edit] 1970s

[edit] DJs: rhythmic grooves from the turntable

In the early 1970s, Clive Campbell, a Jamaican born DJ who went by the name "Kool Herc," arrived in New York City. In Jamaica, Herc was known for his dancehall beats, a key component to the movement of music in NYC and the Bronx. This idea of dancehall had nothing to do with where the music was played, but more of a feeling of getting the people of Kingston, Jamaica to get on their feet and dance. This music, known as reggae, became a staple in the new music made in the Bronx. [4] Herc introduced the Jamaican tradition of toasting, or boasting impromptu poetry and sayings over Reggae, Disco and Funk records, during parties held in parks in the Bronx, New York.

Herc and other DJs would tap into the power lines at public basketball courts to connect their equipment and perform. Their equipment was composed of huge stacks of speakers, turntables, and one or more microphones.[5] Herc was also the developer of break-beat deejaying, where the breaks of funk songs—the part most suited to dance, often featuring percussion—were isolated and repeated for the purpose of all-night dance parties.

Later Djs such as Grandmaster Flash refined and developed the use of breakbeats, including cutting.[6] The Bronx building "where hip hop was born" is 1520 Sedgwick Avenue, where Kool Herc starting spinning records.[7] Is now eligble to be listed on the national and state register of historic sites.[8]The approach used by Herc was soon widely copied, and by the late 1970s DJs were releasing 12" records where they would rap to the beat. Popular tunes included Kurtis Blow's "The Breaks", and The Sugar Hill Gang's "Rapper's Delight."

[edit] Rapping and emceeing

In the 1970s, rapping developed, as MCs would talk over the music to promote their DJ, promote other dance parties, or take light-hearted jabs at other lyricists. This soon developed into the rapping that appears on earlier basic hip-hop singles, with MCs talking about problems in their areas and issues facing the community as a whole. Melle Mel, a rapper/lyricist with The Furious Five is often credited with being the first rap lyricist to call himself an "MC".[9]

By the late 1970s, myriad DJs were releasing 12" cuts where MCs would rap to crowd-moving beats. Popular tunes included Grandmaster Flash & The Furious Five's "Supperrappin'," Kurtis Blow's "The Breaks," and The Sugar Hill Gang's "Rapper's Delight". In 1982, Melle Mel and Duke Bootee recorded "The Message" (officially credited to Grandmaster Flash & The Furious Five), a song that foreshadowed socially conscious hip hop.[10]

[edit] 1980s

Hip hop as a culture was further defined in 1983, when Afrika Bambaataa and the Soulsonic Force released a track called "Planet Rock." Instead of simply rapping over disco beats, Bambaataa created an innovative electronic sound, taking advantage of the rapidly improving drum machine and synthesizer technology. The appearance of music videos changed entertainment: they often glorified urban neighborhoods, commonly called ghettos.[11]. The music video for Planet Rock showcased the subculture of hip hop musicians, graffiti artists and breakdancers. Many hip hop-related films were released between 1983 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 1985, youth worldwide were laying down scrap linoleum or cardboard, setting down portable "boombox" stereos and spinning on their backs in Adidas tracksuits and sneakers to music by Run DMC, LL Cool J, the Fat Boys, Herbie Hancock, EPMD, Soulsonic Force, Jazzy Jay, Dr. Jeckyll and Mr. Hyde, and Stetsasonic, just to name a few. The hip hop artwork and "slang" of US urban communities quickly found its way to Europe and Asia, as the culture's global appeal took root.

This musical genre became further popularized when in the early 1990s, hip hop was finally able to break the language barrier, as Spanish language and Latin musical style developed as integral features of the rap jargon. Artists such as Kid Frost, Mellow Man Ace, Gerardo, and El General all became well known internationally, as they brought to hip hop music and to hip hop listeners the addition of Spanish inflections and merengue rhythms.[7] Although Puerto Rican youth from El Barrio and the South Bronx had been involved in hip hop culture since its beginnings in the 1970's, it was not until these first Latin rap superstars came onto the scene in the early 1990's that hip hop transformed as a cultural space in which alternative perspectives and divergent cultures could come together to form bilingual and bicultural music.[12]

[edit] Etymology

The word hip was used as African American Vernacular English (AAVE) as early as 1904. The colloquial language meant "informed" or "current," and was likely derived from the earlier form hep. Hip hop pioneer and South Bronx community leader Afrika Bambaataa credits the first use of the term "Hip Hop," as it relates to the instant culture to Lovebug Starski a DJ who put out a single called "The Positive Life" in 1981.[13]

Keith Cowboy, a rapper with Grandmaster Flash & the Furious Five has been credited with the coining of the term hip hop in a musical sense. Though Lovebug Starski, Keith Cowboy, and DJ Hollywood used the term when the music was still known as disco rap, Cowboy claimed to have "created" the term 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.[3] 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.[3]

Bambaataa, a former Black Spades gang member 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 used derisively against the new type of music. [14]

[edit] Legacy

Breakdance, an early form of hip hop dance, often involve battles, showing off skills without any physical contact with the adversaries.
Breakdance, an early form of hip hop dance, often involve battles, showing off skills without any physical contact with the adversaries.

Early hip hop has often been credited 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 now 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 gangsta rap.[15]

Though created in the United States by African Americans, the reach of hip hop is global. Youth culture and opinion is meted out in both Israeli hip hop and Palestinian hip hop, while France, Germany, the U.K.,Brazil,Japan, Africa, and the Caribbean have long-established hip hop followings. 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.[16] 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." [17]

Current Commercial Hip Hop music has certainly been critiqued for the references to material goods and conspicuous consumption. [18] Since most hip hop artists come from inner city environments where they do not have access to an abundance of material goods, some argue that they should not boast about a lifestyle that they know most people do not live. This debate shows that hip hop is a genre of music that has evolved- it started off in one locale and now it has spread across the world.

At the same time, hip hop has benefited from the globalization of modern consumer culture by working from within the system rather than attempting to challenge it. The embrace of capitalism to an extreme in lyrics and imagery was necessary for hip hop to emerge on a global level. The commodification of hip hop has been a factor that has allowed it entry to and influence on cultures around the world.[19]

[edit] Role of women

The Recording Industry Association of America annual demographic survey of music purchasers in the United States asserts that from 1990 to 2007, hip-hop has been the most selling genre of music. However, while hip-hop has been a success from its early appearance in the 1970’s, it has always been a male-dominated music genre. Women were highly discriminated in hip-hop. Yet, they have more and more influence in today’s hip-hop. In many different ways, they have improved the status of women in hip-hop and in fact reduced the prominent inequality of gender.

In the first place, producers and MCs did not expect women to rap. Thus, an unfair inequality emerged between male and female artists in hip-hop. Hip-hop depicts negative images of women and particularly black women. The lyrics often convey the idea that women as sexually available or as sexual possessions. Additionally, the videos portray semi-naked women of all backgrounds, dancing provocatively and being depicted as sexual objects.

The songs portray women as objects of lust and thus undermines the women’s standards, not only in hip-hop but also in reality. Thus, Black and Latina artists try to work within the current male-dominated industry to fight for their images as women. [20]

[edit] Adaptation of Hip Hop: Cuban Style

Hip-hop prides itself on being the music of movement: not only physical movement but also mental movement. Its artists speak out about the reality of life, whether it is the good, the bad, or the cruel. Even as hip-hop’s message continues to grow globally, the realities of [[America[[ are different from those of Cuba. The Cuban youth were banned from listening to American Hip-hop. They would try and get the music from Miami radio stations by creating handmade antennas[21]. They love the sound and the beats but they could not relate with the American lifestyle. Soon, they wanted their own sound. They did not change the core aspect of Hip-hop, but they put their words and their style of dance to it. They took something that they liked and admired from somewhere else and made it their own. Germany, as Cuba did before it, is taking that American Hip-hop culture and turning it in to German Hip-hop culture, putting it in terms that connect with them[22]. This globalization of Hip-hop is gaining huge support continues to spread beyond the borders of America.

[edit] See also

 Hip hop Portal

[edit] References

  1. ^ The Resource - THE NEXT
  2. ^ Marc Ecko Hosts "Getting Up" Block Party For NYC Graffiti, But Mayor Is A Hater. SOHH.com (2005-08-17). Retrieved on 2006-10-11.
  3. ^ a b c d http://web.archive.org/web/20060317071002/http://www.furious5.net/cowboy.htm
  4. ^ Kenner, Rob. "Dancehall," In The Vibe History of Hip-hop, ed. Alan Light, 350-7. New York: Three Rivers Press, 1999.
  5. ^ Kenner, Rob. "Dancehall," In The Vibe History of Hip-hop, ed. Alan Light, 350-7. New York: Three Rivers Press, 1999.
  6. ^ History of Hip Hop - Written by Davey D
  7. ^ Tenants Might Buy the Birthplace of Hip-Hop, Jennifer 8. Lee, New York Times, January 15, 2008.
  8. ^ [[1].
  9. ^ article about Melle Mel (Melle Mel) at AllHipHop.com
  10. ^ Rose, Tricia. "Black Noise: Rap Music and Black Culture in Contemporary America", pages 53-55. Wesleyan Press, 1994.
  11. ^ Rose, Tricia."Black Noise: Rap Music and Black Culture in Contemporary America" page 192. Wesleyan Press, 1994
  12. ^ Flores, Juan. “Puerto Rocks: Rap, Roots, and Amnesia,” In That’s the Joint! The Hip-Hop Studies Reader, ed. Murray Forman and Mark Anthony Neal, 69-72. Taylor & Francis Books, Inc. 2004.
  13. ^ [2]
  14. ^ http://www.zulunation.com/hip_hop_history2.htm (cached)
  15. ^ template
  16. ^ Hip-Hop Culture Crosses Social Barriers - US Department of State
  17. ^ Hip Hop: National Geographic World Music
  18. ^ Kelley, Robin D.G. "Foreward" In the Vinyl Ain't Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu et. al. Pluto Press, 2006
  19. ^ Santos, Mayra. "Puerto Rican Underground." Centro: Journal of the Center for Puerto Rican Studies, Vol. 8, 1 & 2: 219-231, 1996
  20. ^ CNN.com - Hip-hop portrayal of women protested - Mar 3, 2005
  21. ^ Wunderlich, Annelise. “Cuban Hip-hop: Making Space for New Voices of Dissent.” In The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, 167-79. London; Ann Arbor, MI: Pluto Press, 2006.
  22. ^ http://www.press.umich.edu/pdf/0472113844-ch6.pdf

[[Wunderlich, Annelise. “Cuban Hip-hop: Making Space for New Voices of

Dissent.” In The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, 167-79. London; Ann Arbor, MI: Pluto Press, 2006.]] [[8]]

[edit] External links

Retrieved from "http://en.wikipedia.org/wiki/Hip_hop"
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