Hip hop music
Hip-hop or hip hop music, also known as rap, and formerly as disco rap,
Hip hop as both a musical genre and a culture was formed during the 1970s when
Hip hop music was not officially recorded to play on radio or television until 1979, largely due to poverty during the genre's birth and lack of acceptance outside ghetto neighborhoods.
The popularity of hip hop music continued through the late 1990s to early-2000s "bling era" with hip hop influences increasingly finding their way into other genres of popular music, such as
Amidst its evolution, hip hop has also been a vehicle for social commentary and political expression, reflecting the struggles and aspirations of marginalized communities. From its roots in the Bronx to its global reach today, hip hop has served as a voice for the disenfranchised, shedding light on issues such as racial inequality, poverty, and police brutality.[33] Artists like Public Enemy, Tupac Shakur, and Kendrick Lamar have used their platforms to address systemic injustices, fostering dialogue and inspiring activism. Hip hop's ability to confront societal issues while simultaneously providing a form of empowerment and self-expression has solidified its significance beyond mere entertainment, making it a cultural force to be reckoned with.[34]
Origin of the term
The words "hip" and "hop" in combination have a long history. In the 1950s, older folks referred to teen house parties as "hippity hops".[35] The creation of the term hip hop is often credited to Keef Cowboy, rapper with Grandmaster Flash and the Furious Five.[36] However, Lovebug Starski, Keef Cowboy, and DJ Hollywood used the term when the music was still known as disco rap.[37] 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 rhythmic cadence of soldiers marching.[36] Cowboy later worked the "hip hop" cadence into a part of his stage performance. For example, he would say something along the lines of "I said a hip-hop, a hibbit, hibby-dibby, hip-hip-hop and you don't stop",[35] which was quickly used by other artists such as The Sugarhill Gang in "Rapper's Delight".[36] Universal Zulu Nation founder Afrika Bambaataa, also known as "the Godfather", is credited with first using the term to describe the subculture in which the music belonged; although it is also suggested that it was a derogatory term to describe the type of music.[38] The term was first used in print to refer to the music by reporter Robert Flipping Jr. in a February 1979 article in the New Pittsburgh Courier,[39][40] and to refer to the culture in a January 1982 interview of Afrika Bambaataa by Michael Holman in the East Village Eye.[41] The term gained further currency in September of that year in another Bambaataa interview in The Village Voice,[42] by Steven Hager, later author of a 1984 history of hip hop.[43]
There are disagreements about whether or not the terms "hip hop" and "rap" can be used interchangeably, even amongst its most knowledgeable proponents.[8] The most common view is that hip-hop is a cultural movement that emerged in the South Bronx in New York City during the 1970s, with MCing (or rapping) being one of the primary four elements.[8] Hip hop's other three essential elements are graffiti art (or aerosol art), break dancing, and DJing. Rap music has become by far the most celebrated expression of hip hop culture, due to being the easiest to market to a mass audience.[8]
Precursors
Musical genres from which hip hop developed include funk, blues, jazz and rhythm and blues recordings from the 1960s, 1950s, and earlier, including several records by Bo Diddley[citation needed] and gospel group The Jubalaires, whose 1946 song "Noah" is often named as the first recorded instance of rap.[44][45]
1973–1979: early years
Origins
Hip hop as music and culture formed during the 1970s in New York City from the multicultural exchange between African Americans and children of immigrants from countries in the Caribbean, most notably Jamaica.[50] Hip hop music in its infancy has been described as an outlet and a voice for the disenfranchised youth of marginalized backgrounds and low-income areas, as the hip hop culture reflected the social, economic and political realities of their lives.[51][52] Many of the people who helped establish hip hop culture, including DJ Kool Herc, DJ Disco Wiz, Grandmaster Flash, and Afrika Bambaataa were of Latin American or Caribbean origin.
It is hard to pinpoint the exact musical influences that most affected the sound and culture of early hip hop because of the multicultural nature of New York—hip hop's early pioneers were influenced by a mix of cultures, due to the city's diversity.[53] The city experienced a heavy Jamaican hip hop influence during the 1990s. This influence was brought on by cultural shifts particularly because of the heightened immigration of Jamaicans to New York and the American-born Jamaican youth who were coming of age during the 1990s.
In the 1970s,
I was listening to American music in Jamaica and my favorite artist was James Brown. That's who inspired me. A lot of the records I played were by James Brown.[59]
Herc also says that he was not influenced by Jamaican sound system parties, as he was too young to experience them when he was in Jamaica.[60]
Later in a 2020 interview, Herc stated that he wanted Jamaica to reclaim Hip Hop “because we are the ones who bought the style and the technique to America, which [later] became hip-hop.”[61]
Because the percussive breaks in funk, soul and disco records were generally short, Herc and other DJs began using two turntables to extend the breaks. On August 11, 1973, DJ Kool Herc was the DJ at his sister's back-to-school party. He extended the beat of a record by using two record players, isolating the percussion "breaks" by using a mixer to switch between the two records. Herc's experiments with making music with record players became what we now know as breaking or "scratching".[62]
A second key musical element in hip hop music is emceeing (also called MCing or rapping). Emceeing is the rhythmic spoken delivery of
By 1979 hip hop music had become a mainstream genre. Herc also developed upon break-beat deejaying,[64] 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".[65]
DJs such as
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.[74] The New York City blackout of 1977 saw widespread looting, arson, and other citywide disorders especially in the Bronx[75] 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.[76]
DJ Kool Herc's house parties gained popularity and later moved to outdoor venues 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."
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.[80] "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 Hip Hop Movement."[81] 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".[81] It also gave people a chance for financial gain by "reducing the rest of the world to consumers of its social concerns."[81]
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".[69] The new style influenced Harry, and Blondie's later hit single from 1981 "Rapture" became the first single containing hip hop elements 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.
Boxer
Technology
Hip hop's early evolution occurred around the time that sampling technology and drum-machines became widely available to the general public at a cost that was affordable to the average consumer—not just professional studios. Drum-machines and samplers were combined in machines that came to be known as
Turntablist techniques – such as rhythmic "
Introduction of rapping
The roots of rapping are found in
Jamaican origins of outdoor sound systems
AM radio at many stations were limited by the 'broadcast Day' as special licenses were required to transmit at night. Those that had such licenses were heard far out to sea and in the Caribbean, where Jocko Henderson and Jockey Jack were American DJs who were listened to at night from broadcast transmitters located in Miami, Florida. Jocko came to have an outsized influence on Jamaican Emcees during the '50s as the R&B music played on the Miami stations was different from that played on JBC, which re-broadcast BBC and local music styles. In Jamaica, DJs would set up large roadside sound systems in towns and villages, playing music for informal gatherings, mostly folks who wandered down from country hills looking for excitement at the end of the week. There the DJs would allow 'Toasts' by an Emcee, which copied the style of the American DJs listened to on AM transistor radios. It was by this method that Jive talk, rapping and rhyming was transposed to the island and locally the style was transformed by 'Jamaican lyricism', or the local patois.
Hip hop as music and culture formed during the 1970s in New York City from the multicultural exchange between African American youth from the United States and young immigrants and children of immigrants from countries in the Caribbean.[50] Some were influenced by the vocal style of the earliest African American radio MCs (including Jocko Henderson's Rocket Ship Show of the 1950s, which rhymed and was influenced by scat singing), which could be heard over the radio in Jamaica.
The first records by Jamaican DJs, including Sir Lord Comic (The Great Wuga Wuga, 1967) came as part of the local dance hall culture, which featured 'specials,' unique mixes or 'versions' pressed on soft discs or acetate discs, and rappers (called DJs) such as King Stitt, Count Machuki, U-Roy, I-Roy, Big Youth and many others. Recordings of talk-over, which is a different style from the dancehall's DJ style, were also made by Jamaican artists such as Prince Buster and Lee "Scratch" Perry (Judge Dread) as early as 1967, somehow rooted in the 'talking blues' tradition. The first full-length Jamaican DJ record was a duet on a Rastafarian topic by Kingston ghetto dwellers U-Roy and Peter Tosh named Righteous Ruler (produced by Lee "Scratch" Perry in 1969). The first DJ hit record was Fire Corner by Coxsone's Downbeat sound system DJ, King Stitt that same year; 1970 saw a multitude of DJ hit records in the wake of U-Roy's early, massive hits, most famously Wake the Town and many others. As the tradition of remix (which also started in Jamaica where it was called 'version' and 'dub') developed, established young Jamaican DJ/rappers from that period, who had already been working for sound systems for years, were suddenly recorded and had many local hit records, widely contributing to the reggae craze triggered by Bob Marley's impact in the 1970s. The main Jamaican DJs of the early 1970s were King Stitt, Samuel the First, Count Machuki, Johnny Lover (who 'versioned' songs by Bob Marley and the Wailers as early as 1971), Dave Barker, Scotty, Lloyd Young, Charlie Ace and others, as well as soon-to-be reggae stars U-Roy, Dennis Alcapone, I-Roy, Prince Jazzbo, Prince Far I, Big Youth and Dillinger. Dillinger scored the first international rap hit record with Cocaine in my Brain in 1976 (based on the Do It Any Way You Wanna Do rhythm by the People's Choice as re-recorded by Sly and Robbie), where he even used a New York accent, consciously aiming at the new NYC rap market. The Jamaican DJ dance music was deeply rooted in the sound system tradition that made music available to poor people in a very poor country where live music was only played in clubs and hotels patronized by the middle and upper classes. By 1973 Jamaican sound system enthusiast DJ Kool Herc moved to the Bronx, taking with him Jamaica's sound system culture, and teamed up with another Jamaican, Coke La Rock, at the mike. Although other influences, most notably musical sequencer Grandmaster Flowers of Brooklyn and Grandwizard Theodore of the Bronx contributed to the birth of hip hop in New York, and although it was downplayed in most US books about hip hop, the main root of this sound system culture was Jamaican. The roots of rap in Jamaica are explained in detail in Bruno Blum's book, 'Le Rap'.[99]
DJ Kool Herc and
Often these were collaborations between former
Although there were some early MCs that recorded solo projects of note, such as
1979–1983: old-school hip hop
Transition to recording
The earliest hip hop music was performed live, at house parties and block party events, and it was not recorded. Prior to 1979, recorded hip hop music consisted mainly of
By the early 1980s, all the major elements and techniques of the hip hop genre were in place, and by 1982, the electronic (electro) sound had become the trend on the street and in dance clubs. New York City radio station WKTU featured Warp 9's "Nunk", in a commercial to promote the station's signature sound of emerging hip hop[108] Though not yet mainstream, hip hop had begun to permeate the music scene outside of New York City; it could be found in cities as diverse as Los Angeles, Atlanta, Chicago, Washington, D.C., Baltimore, Dallas, Kansas City, San Antonio, Miami, Seattle, St. Louis, New Orleans, Houston, and Toronto. Indeed, "Funk You Up" (1979), the first hip hop record released by a female group, and the second single released by Sugar Hill Records, was performed by the Sequence, a group from Columbia, South Carolina which featured Angie Stone.[109] Despite the genre's growing popularity, Philadelphia was, for many years, the only city whose contributions could be compared to New York City's. Hip hop music became popular in Philadelphia in the late 1970s. The first released record was titled "Rhythm Talk", by Jocko Henderson.
The New York Times had dubbed Philadelphia the "Graffiti Capital of the World" in 1971. Philadelphia native DJ Lady B recorded "To the Beat Y'All" in 1979, and became the first female solo hip hop artist to record music.[110] Schoolly D, starting in 1984 and also from Philadelphia, began creating a style that would later be known as gangsta rap.
Influence of disco
Hip hop music was influenced by disco music, as disco also emphasized the key role of the DJ in creating tracks and mixes for dancers, and old school hip hop often used disco tracks as beats. At the same time however, hip hop music was also a backlash against certain subgenres of late 1970s disco. While the early disco was African American and Italian-American-created underground music developed by DJs and producers for the dance club subculture, by the late 1970s, disco airwaves were dominated by mainstream, expensively recorded music industry-produced disco songs. According to Kurtis Blow, the early days of hip hop were characterized by divisions between fans and detractors of disco music. Hip hop had largely emerged as "a direct response to the watered down, Europeanised, disco music that permeated the airwaves".[111][112] The earliest hip hop was mainly based on hard funk loops sourced from vintage funk records. By 1979, disco instrumental loops/tracks had become the basis of much hip hop music. This genre was called "disco rap". Ironically, the rise of hip hop music also played a role in the eventual decline in disco's popularity.
The disco sound had a strong influence on early hip hop music. Most of the early rap/hip-hop songs were created by isolating existing disco bass-guitar
DJ Pete Jones, Eddie Cheeba,
Diversification of styles
The 1980s marked the diversification of hip hop as the genre developed more complex styles.
In 1980, the Roland Corporation launched the TR-808 Rhythm Composer. It was one of the earliest programmable drum machines, with which users could create their own rhythms rather than having to use preset patterns. Though it was a commercial failure, over the course of the decade the 808 attracted a cult following among underground musicians for its affordability on the used market,[116] ease of use,[117] and idiosyncratic sounds, particularly its deep, "booming" bass drum.[118] It became a cornerstone of the emerging electronic, dance, and hip hop genres, popularized by early hits such as Afrika Bambaataa and the Soulsonic Force's "Planet Rock".[119] The 808 was eventually used on more hit records than any other drum machine;[120] its popularity with hip hop in particular has made it one of the most influential inventions in popular music, comparable to the Fender Stratocaster's influence on rock.[121][122]
Over time
The lyrical content and other instrumental accompaniment of hip hop developed as well. The early lyrical styles in the 1970, which tended to be boasts and clichéd chants, were replaced with metaphorical lyrics exploring a wider range of subjects. As well, the lyrics were performed over more complex, multi-layered instrumental accompaniment. Artists such as Melle Mel, Rakim, Chuck D, KRS-One and Warp 9 revolutionized hip hop by transforming it into a more mature art form, with sophisticated arrangements, often featuring "gorgeous textures and multiple layers"[123] The influential single "The Message" (1982) by Grandmaster Flash and the Furious Five is widely considered to be the pioneering force for conscious rap.
Prior to the 1980s, hip hop music was largely confined within the context of the United States. However, during the 1980s, it began its spread and became a part of the music scene in dozens of countries.
In the early part of the decade, B-boying became the first aspect of hip hop culture to reach Japan, Australia and South Africa. In South Africa, the breakdance crew Black Noise established the practice before beginning to rap later in the decade. Musician and presenter Sidney became France's first black TV presenter with his show H.I.P. H.O.P.[127] which screened on TF1 during 1984, a first for the genre worldwide. Sidney is considered the father of French hip hop. Radio Nova helped launch other French hip hop stars including Dee Nasty, whose 1984 album Paname City Rappin' along with compilations Rapattitude 1 and 2 contributed to a general awareness of hip hop in France.
Hip hop has always kept a very close relationship with the Hispanic community in New York.
Japanese hip hop is said to have begun when Hiroshi Fujiwara returned to Japan and started playing hip hop records in the early 1980s.[128] Japanese hip hop generally tends to be most directly influenced by old school hip hop, taking the era's catchy beats, dance culture, and overall fun and carefree nature and incorporating it into their music. Hip hop became one of the most commercially viable mainstream music genres in Japan, and the line between it and pop music is frequently blurred.
1983–1986: new-school hip hop
The new school of hip hop was the second wave of hip hop music, originating in 1983–84 with the early records of
These elements contrasted sharply with much of the previous funk- and disco-influenced hip hop groups, whose music was often characterized by novelty hits, live bands, synthesizers, and "party rhymes" (not all artists prior to 1983–84 had these styles). New-school artists made shorter songs that could more easily gain radio play, and they produced more cohesive LP albums than their old-school counterparts. By 1986, their releases began to establish the hip-hop album as a fixture of mainstream music. Hip hop music became commercially successful, as exemplified by the Beastie Boys' 1986 album Licensed to Ill, which was the first rap album to hit No. 1 on the Billboard charts.[130]
1986–1997: Golden age hip hop
Hip hop's "golden age" (or "golden era") is a name given to a period in mainstream hip hop, produced between the mid-1980s and the mid-1990s,
The golden age is noted for its innovation – a time "when it seemed that every new single reinvented the genre"[138] according to Rolling Stone. Referring to "hip-hop in its golden age",[139] Spin's editor-in-chief Sia Michel says, "there were so many important, groundbreaking albums coming out right about that time",[139] and MTV's Sway Calloway adds: "The thing that made that era so great is that nothing was contrived. Everything was still being discovered and everything was still innovative and new".[140] Writer William Jelani Cobb says "what made the era they inaugurated worthy of the term golden was the sheer number of stylistic innovations that came into existence... in these golden years, a critical mass of mic prodigies were literally creating themselves and their art form at the same time".[141]
The golden age spans "from approximately 1986 to 1997", according to Carl Stoffers of
Gangsta rap and West Coast hip hop
Many black rappers—including Ice-T and Sister Souljah—contend that they are being unfairly singled out because their music reflects deep changes in society not being addressed anywhere else in the public forum. The white politicians, the artists complain, neither understand the music nor desire to hear what's going on in the devastated communities that gave birth to the art form.
— Chuck Philips, Los Angeles Times, 1992[143]
Gangsta rap is a
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.[146][147]
Controversy surrounded Ice-T's album
The subject matter inherent in gangsta rap more generally has caused controversy. The White House administrations of both George H. W. Bush and Bill Clinton criticized the genre.[143] "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.[143] Due to the influence of Ice-T and N.W.A, gangsta rap is often viewed as a primarily West Coast phenomenon, despite the contributions of East Coast acts like Schoolly D and Boogie Down Productions in shaping the genre.
Mainstream breakthrough
In 1990,
Rap is the rock 'n' roll of the day. Rock 'n' roll was about attitude, rebellion, a big beat, sex and, sometimes, social comment. If that's what you're looking for now, you're going to find it here.
— Bill Adler, Time, 1990[152]
Despite the lack of support from some black radio stations, hip hop became a best-selling music genre in the mid-1990s and the top selling music genre by 1999 with 81 million CDs sold.
Hip hop has been described as a "mainstream subculture". The main reasons why hip hop culture secured its subcultural authority despite becoming a part of the mass media and mainstream industries can be summarized as follows. First, hip hop artists promoted symbolic and conspicuous consumption in their music from a very early stage. Second, the continuing display of resistance in hip-hop has continuously attracted new generations of rebellious fans. Third, owing to the subcultural ideal of rising from the underground, the hip hop scene has remained committed to its urban roots. Fourth, the concept of battle rap has prevented hip-hop music from excessive cultural dilution. Finally, the solidarity within the African American community has shielded the subculture from erosion through mainstream commercialization.[165]
East vs. West rivalry
The East Coast–West Coast hip hop rivalry was a feud from 1991 to 1997 between artists and fans of the East Coast hip hop and West Coast hip hop scenes in the United States, especially from 1994 to 1997. Focal points of the feud were East Coast-based rapper the Notorious B.I.G. (and his New York-based label, Bad Boy Records) and West Coast-based rapper Tupac Shakur (and his Los Angeles-based label, Death Row Records). This rivalry started before the rappers themselves hit the scene. Because New York is the birthplace of hip-hop, artists from the West Coast felt as if they were not receiving the same media coverage and public attention as the East Coast.[166] As time went on both rappers began to grow in fame and as they both became more known the tensions continued to arise. Eventually both artists were fatally shot following drive-by shootings by unknown assailants in 1997 and 1996, respectively.
East Coast hip hop
In the early 1990s East Coast hip hop was dominated by the
The success of albums such as
The rivalry between the East Coast and the West Coast rappers eventually turned personal.
West Coast hip hop
After
Detached from this scene were other artists such as
Further diversification
In the 1990s, hip hop began to diversify with other regional styles emerging on the national scene. Southern rap became popular in the early 1990s.[175] The first Southern rappers to gain national attention were the Geto Boys out of Houston, Texas.[176] Southern rap's roots can be traced to the success of Geto Boy's Grip It! On That Other Level in 1989, the Rick Rubin produced The Geto Boys in 1990, and We Can't Be Stopped in 1991.[177] The Houston area also produced other artists that pioneered the early southern rap sound such as UGK and the solo career of Scarface.
What once was rap now is hip hop, an endlessly various mass phenomenon that continues to polarize older
rock and rollers, although it's finally convinced some gatekeeping generalists that it may be of enduring artistic value—a discovery to which they were beaten by millions of young consumers black and white.
— Christgau's Consumer Guide: Albums of the '90s (2000)[178]
During the golden age, elements of hip hop continued to be assimilated into other genres of popular music. The first waves of
1997–2006: bling era
Commercialization and new directions
During the late 1990s, in the wake of the deaths of
Many of the rappers who achieved mainstream success at this time, such as
Dr. Dre remained an important figure in this era, making his comeback in 1999 with the album
Rise of alternative hip hop
began to achieve significant recognition.Glitch hop and wonky music
Glitch hop and wonky music evolved following the rise of trip hop, dubstep and intelligent dance music (IDM). Both glitch hop and wonky music frequently reflect the experimental nature of IDM and the heavy bass featured in dubstep songs. While trip hop has been described as being a distinct British upper-middle class take on hip-hop, glitch-hop and wonky music have much more stylistic diversity. Both genres are melting pots of influence. Glitch hop contains echoes of 1980s pop music, Indian ragas, eclectic jazz and West Coast rap. Los Angeles, London, Glasgow and a number of other cities have become hot spots for these scenes, and underground scenes have developed across the world in smaller communities. Both genres often pay homage to older and more well established electronic music artists such as Radiohead, Aphex Twin and Boards of Canada as well as independent hip hop producers like J Dilla and Madlib.
Glitch hop is a fusion genre of hip hop and glitch music that originated in the early to mid-2000s in the United States and Europe. Musically, it is based on irregular, chaotic
Glitch hop and wonky are popular among a relatively smaller audience interested in alternative hip hop and
Crunk music
Crunk is a regional hip hop genre that originated in Tennessee in the southern United States in the 1990s, influenced by Miami bass.[198] One of the pioneers of crunk, Lil Jon, said that it was a fusion of hip hop, electro, and electronic dance music. The style was pioneered and commercialized by artists from Memphis, Tennessee and Atlanta, Georgia, gaining considerable popularity in the mid-2000s via Lil Jon and the Ying Yang Twins.[199] Looped, stripped-down drum machine rhythms are usually used. The Roland TR-808 and 909 are among the most popular. The drum machine loops are usually accompanied by simple, repeated synthesizer melodies and heavy bass "stabs". The tempo of the music is somewhat slower than hip-hop, around the speed of reggaeton. The focal point of crunk is more often the beats and instrumental music rather than the lyrics. Crunk rappers, however, often shout and scream their lyrics, creating an aggressive, almost heavy, style of hip-hop. While other subgenres of hip-hop address sociopolitical or personal concerns, crunk is almost exclusively "party music", favoring call and response hip-hop slogans in lieu of more substantive approaches.[200] Crunk helped southern hip hop gain mainstream prominence during this period, as the classic East and West Coast styles of the 1990s gradually lost dominance.[201]
2006–2014: blog era
Snap music and influence of the Internet
Snap rap (also known as ringtone rap) is a subgenre of crunk that emerged from
Decline in sales
Starting in 2005, sales of hip hop music in the United States began to severely wane, leading Time magazine to question if mainstream hip-hop was "dying." Billboard magazine found that, since 2000, rap sales dropped 44%, and declined to 10% of all music sales, which, while still a commanding figure when compared to other genres, is a significant drop from the 13% of all music sales where rap music regularly placed.[205][206] According to Courtland Milloy of The Washington Post, for the first time on five years, no rap albums were among the top 10 sellers in 2006.[207] NPR culture critic Elizabeth Blair noted that, "some industry experts say young people are fed up with the violence, degrading imagery and lyrics." However, the 2005 report Generation M: Media in the Lives of 8–18 Year-Olds found that hip hop music is by far the most popular music genre for children and teenagers with 65 percent of 8- to-18-year-olds listening to it on a daily basis.[208]
Other journalists say the music is just as popular as it ever was, but that fans have found other means to consume the music,[209] such as illegally downloading music through P2P networks, instead of purchasing albums and singles from legitimate stores. For example, Flo Rida is known for his low album sales regardless of his singles being mainstream and having digital success. His second album R.O.O.T.S. sold only 200,000+ total units in the U.S., which could not line up to the sales of the album's lead single "Right Round". This also happened to him in 2008.[210] Some put the blame on hip hop becoming less lyrical over time, such as Soulja Boy's 2007 debut album souljaboytellem.com which was met with negative reviews.[211] Lack of sampling, a key element of early hip hop, has also been noted for the decrease in quality of modern albums. For example, there are only four samples used in 2008's Paper Trail by T.I., while there are 35 samples in 1998's Moment of Truth by Gang Starr. The decrease in sampling is in part due to it being too expensive for producers.[212]
In
Innovation and revitalization
By the late 2000s, alternative hip hop had secured its place within the mainstream, due in part to the declining commercial viability of gangsta rap. Industry observers view the sales race between Kanye West's Graduation and 50 Cent's Curtis as a turning point for hip hop. West emerged the victor, selling nearly a million copies in the first week alone, proving that innovative rap music could be just as commercially viable as gangsta rap, if not more so.[220] Although he designed it as a melancholic pop album rather than a rap album, Kanye's following 808s & Heartbreak would have a significant effect on hip hop music. While his decision to sing about love, loneliness, and heartache for the entirety of the album was at first heavily criticized by music audiences and the album was predicted to be a flop, its subsequent critical acclaim and commercial success encouraged other mainstream rappers to take greater creative risks with their music.[221][222] During the release of The Blueprint 3, New York rap mogul Jay-Z revealed that next studio album would be an experimental effort, stating, "... it's not gonna be a #1 album. That's where I'm at right now. I wanna make the most experimental album I ever made."[223] Jay-Z elaborated that like Kanye, he was unsatisfied with contemporary hip hop, was being inspired by indie-rockers like Grizzly Bear, and asserted his belief that the indie rock movement would play an important role in the continued evolution of hip-hop.[224]
The alternative hip hop movement was not limited only to the United States, as rappers such as
Due in part to the increasing use of music distribution through social media and blogging, many alternative and non-alternative rappers found acceptance by far-reaching audiences, hence why this era of hip hop is sometimes termed the "blog era".
Also at this time, the
2014–present: trap and the rise of the SoundCloud rap scene
Trap music is a subgenre of Southern rap that originated in the early 1990s. It grew in the 2000s to become a mainstream sensation,
Major artists to arise from the genre in the 2010s include
Critics of the trap genre have used the term "mumble rap" to describe the heavily auto-tuned, and sometimes hard to understand- delivery of verses from a majority of the artists.[250] Artists longstanding within the genre have had their own comments regarding the rise of mumble rap, such as Rick Rubin stating that Eminem was confused by it,[251] and Snoop Dogg claiming that he can not differentiate between artists.[252] Black Thought, lead rapper from the Roots, stated that the "game has changed. It's different. The standards are different, the criteria that's taken into consideration in determining validity is different. We're at a point in history where lyricism almost comes last in very many regards."[253]
On July 17, 2017,
In the 2010s, Atlanta hip hop dominated the mainstream.[258]
In the late 2010s and early 2020s, Brooklyn drill became popular since Pop Smoke emerged before his death. The 2020s decade began with Roddy Ricch as the first rapper to have a Billboard Hot 100 number-one entry.[259][260]
Age of streaming
The rise of streaming platforms such as
The online audio distribution platform
In 2021, the most streamed rappers were Doja Cat and Lil Nas X.[276] Other rappers with high streams in 2021 were Drake, Eminem, Lil Baby, Polo G, Megan Thee Stallion, Cardi B, Moneybagg Yo, Masked Wolf, Pop Smoke, J. Cole, and Lil Durk.[277][278] The most streamed rap album of all time on Spotify is XXXTentacion's second album, ? (2018).[275]
World hip hop music
Hip-hop music has reached the cultural corridors of the globe and has been absorbed and reinvented around the world.[279] Hip hop music expanded beyond the US, often blending local styles with hip hop. Hip hop has globalized into many cultures worldwide, as evident through the emergence of numerous regional scenes. It has emerged globally as a movement based upon the main tenets of hip hop culture. The music and the art continue to embrace, even celebrate, its transnational dimensions while staying true to the local cultures to which it is rooted. Hip-hop's impact differs depending on each culture. Still, the one thing virtually all hip hop artists worldwide have in common is that they acknowledge their debt to those African American people in New York who launched the global movement.[280]
Hispanics and people from the Caribbean played an integral role in the early development of hip hop in New York, and the style spread to almost every country in that region. Hip hop first developed in the South Bronx, which had a high Hispanic, particularly Puerto Rican, population in the 1970s.[281] Some famous rappers from New York City of Puerto Rican origin are the late Big Pun, Fat Joe, and Angie Martinez. With Hispanic rap groups like Cypress Hill on the American charts, Mexican rap rock groups, such as Control Machete, rose to prominence in their native land.
In many Latin American countries, as in the U.S., hip hop has been a tool with which marginalized people can articulate their struggle. Hip hop grew steadily more popular in Cuba in the 1980s and 1990s through Cuba's Special Period that came with the fall of the Soviet Union.[282] During this period of economic crisis, which the country's poor and black populations especially hard, hip hop became a way for the country's Afro-descended population to embrace their blackness and articulate a demand for racial equality for black people in Cuba.[282] The idea of blackness and black liberation was not always compatible with the goals of the Cuban government, which was still operating under the idea that a raceless society was the correct realization of the Cuban Revolution. When hip-hop emerged, the Cuban government opposed the vulgar image that rappers portrayed, but later accepted that it might be better to have hip-hop under the influence of the Ministry of Culture as an authentic expression of Cuban Culture.[283] Rappers who explicitly speak about race or racism in Cuba are still under scrutiny by the government.[284] An annual Cuban hip hop concert, beginning in 1995, held at Alamar in Havana helped popularize Cuban hip hop. Famous Cuban rap groups include Krudas Cubensi and Supercrónica Obsesión.
Black and indigenous people in Latin America and Caribbean islands have been using hip hop for decades to discuss race and class issues in their respective countries.
Reggaeton, a Puerto Rican style of music, has a lot of similarities with U.S.-based hip hop. Both were influenced by Jamaican music, and both incorporate rapping and call and response.[285] Dancehall music and hip from the United States are both popular music in Puerto Rico, and reggaeton is the cumulation of different musical traditions founded by Afro-descended people in the Caribbean and the United States.[286] Some of reggaeton's most popular artists include Don Omar, Tego Calderón, and Daddy Yankee.
In Venezuela, social unrest at the end of the 1980s and beginning of the 1990s coincided with the rise of gangsta rap in the United States and led to the rise of that music in Venezuela as well. Venezuelan rappers in the 1990s generally modeled their music after gangsta rap, embracing and attempting to redefine negative stereotypes about poor and black youth as dangerous and materialistic and incorporating socially conscious critique of Venezuela's criminalization of young, poor, Afro-descended people into their music.[287]
In
In Europe, Africa, and Asia, hip hop began to move from the underground to mainstream audiences. In Europe, hip hop was the domain of both ethnic nationals and immigrants.
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.One of the countries outside the US where hip-hop is most popular is the United Kingdom.
In Germany and France,
In Asia, mainstream stars rose to prominence in the Philippines, led by Francis Magalona, Rap Asia, MC Lara and Lady Diane. In Japan, where underground rappers had previously found a limited audience, and popular teen idols brought a style called J-rap to the top of the charts in the middle of the 1990s. Of particular importance is the influence on East Asian nations, where hip hop music has become fused with local popular music to form different styles such as K-pop, C-pop and J-pop.
In South Africa, the hip hop scene overlaps with kwaito, a music genre that emphasizes African culture and social issues. Prominent South African rappers include Cassper Nyovest and Big Zulu.
Israel's hip hop grew greatly in popularity at the end of the decade, with several stars both
In Tanzania in the early 2000s, local hip hop artists became popular by infusing local styles of Afrobeat and arabesque melodies, dancehall and hip-hop beats with Swahili lyrics.
In the 2010s, hip hop became popular in Canada with Canadians rappers such as Drake, Nav, Belly and Tory Lanez. Drake was the most streamed artist of the decade.[297]
See also
- Hip hop and social injustice
- Homophobia in hip hop culture
- List of hip hop festivals
- List of hip hop genres
- List of murdered hip hop musicians
- Misogyny in rap music
- Music of the United States
- List of hip hop musicians
- Video vixen
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Pour raviver les souvenirs liés à Sefyu, il faut se reporter au début des années 2 000. Youssef Soukouna n'était à l'origine même pas dévoué au rap. Là ou il témoigne d'un talent précoce en rédigeant ses premières rimes assez tôt, c'est d'avantage sa maîtrise du ballon rond qui le caractérise. Toutefois membre d'un groupe local avec ses amis Baba et Kuamen(NCC: Nouveaux Clandés de la Cité, puis rebaptisé New City Connection) en parallèle, il délaissera finalement le sport afin de se consacrer pleinement à son activité artistique. A Londres, puisqu'il s'entrainait au centre de formation d'Arsenal, il se blesse grièvement au genoux et rentre à Paris. Quittant également NCC, il décide de s'immerger pleinement dans le rap. C'est l'occasion d'enchaîner plusieurs apparitions, notamment aux côtés de Rohff sur Code 187 (album "La Fierté des Nôtres").
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Further reading
- George, Nelson. Hip Hop America. Penguin, 2005.
- Katz, Mark. Groove Music. The Art and Culture of the Hip Hop DJ. OUP, 2012.
External links
- Can't Stop, Won't Stop: A History of the Hip-Hop Generation—by Jeff Chang
- "Back in the Days"—Vibe
- "Rap: Striking Tales of Black Frustration and Pride Shake the Pop Mainstream"—by Robert Hilburn
- When did Reggae become Rap? by D. George
- "National Geographic Hip Hop Overview". Archived from the original on October 14, 2008. Retrieved February 23, 2009.
- Olivo, W. (March 2001). "Phat Lines: Spelling Conventions in Rap Music". Written Language & Literacy. 4 (1): 67–85. .
- "The Uncivil War: The battle between the Establishment and supporters of rap music reopens old wounds of race and class"—by Chuck Philips
- The Historical Roots of Hip Hop
- WhoSampled – a user-generated database of interpolations and samples, covers and remixes, in all types of music, with an emphasis on hip-hop