German hip hop
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German hip hop (locally known as Deutschrap, Deutsch meaning German) refers to
History
1980–1990
Early underground artists included Cora E. and Advanced Chemistry. It was not until the early 1990s that German hip hop entered the mainstream as groups like Die Fantastischen Vier and the Rödelheim Hartreim Projekt gained popularity. German hip hop was heavily influenced by films, leading to a strong emphasis on visual and cultural elements such as graffiti and breakdancing beyond the music itself.[1]
In addition to films, such as Wild Style and Beat Street, American expats and soldiers stationed in Germany facilitated the introduction of hip hop music and culture into German pop culture.
GLS United released the first German language hip hop song, Rapper's Deutsch, in 1980.
These hip hop movies -Wild Style and Beat Street- led the younger audiences in Germany to realize that hip hop was much more than just rap music, but was very much a cultural movement in and of itself. Though at the time of the release of the movie, it did not have a great overall impact, once German reunification began in 1990, the hip hop scene began to flourish.[6] As one German remembers on a visit to the US in 1986, things were much different. MTV did not exist in Europe at the time, and the scene was still very much underground. Moreover, there was a lack of European hip hop clubs.[7]
After this initial wave of popularity, hip hop fans were few and far between.
Many German hip hop artists are of
When not rapping in English, many German rappers employ a dialect of German developed in these communities and which is therefore associated with immigrants and the German "ghetto". Using this language in their music, some academics have argued, enables them to levy criticism and protest aspects of society and politics that they perceive as having disadvantaged them and their communities.[14]
The Group Advanced Chemistry originated from
After the reunification of Germany in 1990, many Germans saw a growing wave of racism. Because many hip hop artists were children of immigrants,[18] this became a major theme of German hip hop.
During the 1980s Germany first saw a wave of second generation immigrants coming into the country. Immigration became a big issue in hip hop albums at this point. The German synonym for an immigrant is Gastarbeiter, which means guest worker, and these guest workers were rapped about often. Immigrant teenagers commonly use rap and hip hop as a way to defend themselves in their new countries. "Since honour cannot be gained, but only lost, a permanent readiness to fight is required. Thus social approval is acquired by actually defending one's honour or by exhibiting abilities such as the willingness to face physical encounter, talkativeness and humour... According to the rules of the game, the first one to whom nothing clever comes to the mind is the loser. This concept is quite similar to 'dissing' in rap."[19]
1990–1995
In 1991, the German music label Bombastic released the record
In the early 1990s, hip hop established itself in the
Although
During 1992–93 many acts of protest occurred in the wake of rising
During the inception of hip hop into Germany, most popular hip hop artists have come from
In the mid-1990s German hip hop was growing.
1995–2000
This was also a time that a lot of immigrants were moving to Germany[29] and they all came with their own culture which contrasted with or added to that of Germany.
Karakan also emerged in the German hip hop scene. In 1991, Alper Aga & Kabus Kerim formed the group in
The multilingual and multinational group TCA- The Microphone Mafia is an example of 'Oriental Hip Hop in the German Diaspora'. They combine Spanish, Italian, Turkish and German raps with live music and samples of traditional music from all the previously named countries.[6]
2000 to present
In October 2006, what is thought to be the first US-released commercial compilation of German hip hop (and reggae), "Big Up Berlin," was released in the US. It received 4.5 of 5 stars in All Music Guide (now known as All Music) and featured artists such as Bushido, Fler, Kool Savas, Azad and others.[31]
Today, the German hip hop scene is a reflection of the many dimensions that Germany has come to represent in a unified image of Europe. Everything from "migrant hip hop," which is known as hip hop from the large Turkish immigrant population,[6] to the more humour-based groups paint a portrait of a vibrant and diverse hip hop community in Germany.
Despite common notions of the Old School German hip hop's emulation of US hip hop styles and the New School's attempt to rap about crime and violence, some "Old Schoolers[32]" feel that the New School has, in fact, forgotten about its roots. Old School supporters and Scholars disagree on the nature of the recent transformation in German hip hop. Scholars have argued that the Old School German hip hop "scene was musically and vocally oriented to American role models. Rhymes were written in English; funk and soul samples dominated musical structures".[33] However, Old Schoolers themselves contend that it is the New School German rap artists who have been "Americanized,"[32] and therefore lack the authenticity of the struggle of the ghetto in West Germany. The German old school acknowledged that there were many differences between the situation in the United States and the situation in Germany, and aimed at expressing the concept of "realness," meaning to "be true to oneself".[32] Different from the US hip hop's equating "realness" with a tougher "street credibility,"[32] many raps that came out of the old school German hip hop "address this issue and reject unreflected imitation of US hip hop as clichés and as the betrayal of the concept of realness".[32] Furthermore, the Old School of German hip hop may have been seen as representing "a critique of White America"[32] because of its modeling after US hip hop; however, Old schoolers dispute that hip hop in Germany was about the oppression of people in Germany. One Old School artist, DJ Cutfaster lamented that, "Most people have forgotten that hip hop functions as a mouthpiece against violence and oppression and ultimately against the ghetto, which has become the metaphor for the deplorable state of our world".[32] Contrary to the New School hip hop's attempts to crossover into the mainstream popular culture, the Old School "envisioned and propagated hip hop as an underground community that needed to keep its distance from and to create resistance to mainstream culture in order to avoid co-optation".[32]
Artists
German rappers with most No. 1 on German album charts
10 Albums
9 albums
6 albums
- Fler
- Kontra K
- Kool Savas
5 albums
German rappers who reached No. 1 on German single charts
22 Singles
12 Singles
9 Singles
8 Singles
- Bonez MC
6 Singles
5 Singles
- Other artists
- Azad
- Marteria
- Sido
- Kay One
- Kollegah
- Farid Bang
- Bausa
- Olexesh
- Ufo361
- Bushido
- RAF Camora
- Gzuz
- Eno
- Luciano
- Trettmann
- Gringo
- Shindy
- KC Rebell
- Summer Cem
- Kalazh44
- Nimo
- Zuna
- AK Ausserkontrolle
- Jamule
- Kasimir1441
- Namika
- Juju
- Hava
- Céline
- Elif
- Katja Krasavice
- Badmómzjay
- Kitty Kat
Other influential and successful artists
- Kurdo
- Xatar
- Haftbefehl
- Capo
- Eko Fresh
- Veysel
- Alpa Gun
- Mert
- Hasan K.
- Metrickz
- KMN Gang (rappers: Azet, Nash, Zuna, Miami Yacine)
- SXTN (rappers: Juju, Nura)
- Celo & Abdi
- Dú Maroc
- MC Rene
- Hanybal
- Said
- MoTrip
- Baba Saad
- Moe Phoenix
- Tony D
- Mudi
- Massiv
- Ali Bumaye
- PA Sports
- Kianush
- Fard
- SSIO
- SadiQ
- Casper
- Alligatoah
- Dendemann
- Prinz Pi
- Ferris MC
- Curse
- Favorite
- Hollywood Hank
- 187 Strassenbande (rappers: Bonez MC, Gzuz, Maxwell, LX, Sa4)
- Beginner (rappers: Jan Delay, Denyo)
- Fünf Sterne deluxe (rappers: Das Bo, Tobi Tobsen)
- K.I.Z. (rappers: Tarek, Nico, Maxim)
- Advanced Chemistry (rappers: Torch, Toni L, Linguist)
- Manuellsen
- Nate57
- Samy Deluxe
- Afrob
- B-Tight
- J-Luv
- Moses Pelham
- Taktloss
- Dardan
- RIN
- Sun Diego
- Genetikk
- Vega
- Bass Sultan Hengst
- Schwesta Ewa
- Money Boy
- Chakuza
- Nazar
- Denots Crew
See also
- List of German hip hop musicians
References
- ^ Brown, Timothy S. "‘Keeping it Real’ in a Different ‘Hood: (African-) Americanization and Hip-hop in Germany.” In The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, 139 London;
- ^ "Thomas Gottschalk war der erste deutsche Rapper—Auch wenn es weh tut". Noisey (in German). 16 August 2016. Retrieved 19 January 2018.
- ^ Step into German – Die Toten Hosen (Music Podcast 2014/8 Transcript). Article on the website of Goethe-Institute San Francisco, Retrieved 3 April 2020.
- ^ Kratochwill, Kerstin (10 March 2020). "Die zehn besten Songs von Nina Hagen – Die Top Ten der "Godmother Of Punk"". Artistdirect. Retrieved 3 April 2020. (in German)
- ^ Billboard – Music Charts, News, Photos & Video | Billboard: Chart History – Nina Hagen
- ^ a b c d e f Elflein, Dietmar. "From Krauts with Attitudes to Turks with Attitudes: Some Aspects of Hip-Hop History in Germany." Popular Music, Vol. 17, No. 3. (Oct. 1998), pp. 255–265.
- ^ a b c Hip Hop In Germany
- ^ Elflein, Dietmar (October 1998). "From Krauts with Attitudes to Turks with Attitudes: Some Aspects of Hip-Hop History in Germany". Popular Music. 17 (3): 257.
- ^ a b c d e Brown, Timothy S. "‘Keeping it Real’ in a Different ‘Hood: (African-) Americanization and Hip-hop in Germany." In The Vinyl Ain't Final: Hip Hop and the Globalization of Black Popular Culture, ed. by Dipannita Basu and Sidney J. Lemelle, 137-50. London; A
- ^ Heimberger, Boris. "Hip Hop in Germany." In The bomb Hip Hop Magazine. April 1996
- ]
- ^ a b Brown, Timothy S.'Keeping it Real' in a Different 'Hood': (African)Americanization and Hip Hop in Germany. The Vinyl Ain't Final 137-50. London; Athlone, 1997
- ^ Rollefson, J. Griffith. Flip the Script: European Hip Hop and the Politics of Postcoloniality. Chicago: University of Chicago Press, Chicago Studies in Ethnomusicology Series, 2017. https://europeanhiphop.org/
- Shofar: An Interdisciplinary Journal of Jewish Studies. 25.1 (2006) 33–62
- ^ Brown, Timothy S. "’Keeping it Real’ in a Different ‘Hood: (African-)Americanization and Hip Hop in Germany.” The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture, 137–150, 1997
- ^ German Rap Keeps it Real | Culture & Lifestyle | Deutsche Welle | 26.02.2006
- ^ Adelt, Ulrich "Ich bin der Rock'n'Roll-Ubermensch": globalization and localization in German music television Popular Music and Society, July 2005, http://findarticles.com/p/articles/mi_m2822/is_3_28/ai_n14793364/pg_11[permanent dead link]
- S2CID 143592704.
- ^ Elflein, Dietmar. From Krauts with Attitude to Turks with Attitude. Oct. 1998.
- ^ Compost Records: Michael Reinboth Archived 5 July 2008 at the Wayback Machine
- ^ Pennay, Mark. "Rap in Germany: The Birth of a Genre." In Global Noise: Rap and Hip-Hop Outside the USA, 121. Middletown: Wesleyan University Press, 2001.
- ^ German Hip-Hop 1: Advanced Chemistry « Leave Your Nine At Home
- ^ Die Goldenen Zitronen & Easy Business & IQ – 80.000.000 Hooligans at Discogs
- ^ Stefan Johannesberg: Das Album zum Buch mit Klassikern aus der Anfangsphase des deutschen Hip Hop. laut.de-Kritik, laut.de, 22 February 2002 (German)
- ^ Elflein
- ^ https://moodle.brandeis.edu/file.php/3404/pdfs/elflein-krauts-turks-attitude.pdf[permanent dead link]
- hdl:10419/40672.
- ^ https://moodle.brandeis.edu/file.php/3404/pdfs/brown-hip-hop-germany.pdf[permanent dead link]
- S2CID 143592704.
- ^ Karakan, myspace.com
- ^ "Big Up Berlin: Best of German Hip Hop and Reggae – Various Artists". 1 November 2006. Retrieved 4 August 2020.
- ^ a b c d e f g h Von Dirke, S. (2000). "Hip Hop Made in Germany: From Old School to the Kanaksta Movement.” German Pop Culture.
- ^ Elflein, D. (1998). "From Krauts with Attitudes to Turks with Attitudes: Some Aspects of Hip-Hop History in Germany." Popular Music, Vol. 17(3); 257
Further reading
- Sascha Verlan, Arbeitstexte für den Unterricht. Stuttgart: Reclam, 2000 (Extended Edition 2003)
- Sascha Verlan, Hannes Loh: 20 Jahre HipHop in Deutschland.
Hannibal Verlag, 2000
- Hannes Loh, Murat Güngör, Fear of a Kanak Planet, Hannibal Verlag, 2002
- David Toop, Rap Attack, Hannibal Verlag, 2000