Hip Hop 1 Hip Hop

Hip hop 1 Hip hop For other uses, see Hip hop (disambiguation). See also: Hip hop music Hip hop is a broad conglomerate of artistic forms that originated within a marginalized subculture in the South Bronx and Harlem in New York City among black and Latino youth during the 1970s.[1][2][3] It is characterized by four distinct elements, all of which represent the different manifestations of the culture: rap music (oral), turntablism or "DJing" (aural), breaking (physical) and graffiti art (visual). Even while it continues in contemporary history to develop globally in a flourishing myriad of diverse styles, these foundational elements provide stability and coherence to the culture. The term is frequently used mistakenly to refer in a confining fashion to the mere practice of rap music.Wikipedia:Citation needed The origin of the subculture stems from the block parties of the Nas is an American rapper who is regarded as one of Ghetto Brothers when they plugged the amps for their instruments the greatest MCs of all time. and speakers into the lampposts on 163rd Street and Prospect Avenue, 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: MCing or "Emceein", DJing or "Deejayin", B-boying and graffiti writing or "Aerosol Writin".[4] 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 or 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 experienced considerable adaptation and development over the course of 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, and rock and roll in having become one of the most practiced genres of music in existence worldwide, and also takes additional inspiration regularly from soul music, funk, and rhythm and blues. Hip hop 2 Etymology "Hip hop" is the combination of two separate slang terms: hip, used in African American English as early as 1898, meaning "aware" or "in the know", and hop, for the hopping movement.Wikipedia:Citation needed Keith "Cowboy" Wiggins, a member of Grandmaster Flash and the Furious Five, has been credited with coining the term[5] 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 scat 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. 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.[6] History In the 1970s, an underground urban movement known as "Hip Hop" began to develop in the South Bronx area of New York City focusing on emceeing (or MCing), breakbeats, and house parties. Jamaican-born DJ Clive "Kool Herc" Campbell is credited as being highly influential in the pioneering stage of hip hop music. Starting at Kool Herc's home in a high-rise apartment at 1520 Sedgwick Avenue, the movement later spread across the entire borough. Rap developed both inside and outside of Hip Hop culture, and began in America in earnest with the street parties thrown in the Bronx by Herc and others. 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. 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 the griots (folk poets) of West Africa, and Jamaican-style toasting. The basic elements of hip hop—boasting raps, rival posses, uptown throw-downs, and political commentary—were all present in Trinidadan music as long ago as the 1800s, though they did not reach the form of commercial recordings until the 1920s and 1930s.[7] Calypso music—like other forms of music—continued to evolve through the 1950s and '60s. When rock steady and reggae bands looked to make their music a form of national and even international Black resistance, they took Calypso's example. Calypso itself, like Jamaican 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. Melle Mel, a rapper-lyricist with The Furious Five, is often credited with being the first rap lyricist to call himself an "MC".[8] Hip hop 3 Herc also developed upon break-beat deejaying,[9] 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 DJ Kool Herc is credited as being highly influential in the pioneering stage of hip hop "getting excited" and "acting energetically".[10] music. DJs such as Grand Wizard Theodore, Grandmaster Flash, and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching.[11] 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.[12] 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”.[13] Nevertheless, the popularity of rap steadily increased. 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.[14] 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 created an electronic sound, taking advantage of the rapidly improving drum machine Roland TB-303 synthesizer technology, as well as sampling from Kraftwerk.[15] 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.

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