User:Theki/sandbox/Hippo hop

This is the user sandbox of theki. A user sandbox is a subpage of the user's user page. It serves as a testing spot and page development space for the user and is not an encyclopedia article.

Hippo hop!!!!!!
Mostpeope cant listen to hippo hop!!!!! because it is too scary
Stylistic origins	Iceland Tissue paper
Cultural origins	The kingdom
Typical instruments	fingers screaming Tarot cards
Derivative forms	Tub
Subgenres
Wikipedia
Fusion genres
Contemporary R&B country rap electro emo rap hippo hop!!!!!! soul hip house industrial hippo hop!!!!!! jazz rap lofi hippo hop!!!!!! new jack swing pop rap punk rap ragga hippo hop!!!!!! rap opera rap rock rap metal trap metal rapcore trip hop Regional fusion genres Afroswing bongo flava boomba music cumbia rap genge gyp-hop hippo hop!!!!!! galsen hipco hiplife igbo rap kwaito low bap merenhouse motswako na mele paleoleo nuyorican rap Romany hippo hop!!!!!! songo-salsa stronda urban Pasifika vigilante rap zenji flava
Regional scenes
Regional scenes African Algerian Angolan Beninese Botswana Gambian Ghanaian Ivorian Kenyan Mauritian Moroccan Namibian Nigerian Nigerien Senegalese South African Tanzanian Togolese Zambian Zimbabwean Asian Bangladeshi Burmese Chinese Hong Kong Indian Indonesian Japanese Korean Malaysian Nepalese Pakistani Philippine Singapore Sri Lankan Taiwanese Thai Middle Eastern Arabic Azerbaijani Egyptian Iranian Israeli Lebanese Palestinian Saudi Arabian Tunisian Turkish Yemeni European Albanian Austrian Belgian Bosnian and Herzegovinian British Bulgarian Croatian Czech Dutch Finnish French German Greek Portuguese Hungarian Icelandic Irish Italian Macedonian Montenegrin Norwegian Polish Romanian Romany Russian Serbian Slovak Slovenian Spanish Swedish Swiss Ukrainian North American Canadian Cuban Dominican Haitian Mexican Salvadoran US East Coast Southern West Coast Oceanic Australian New Zealand South American Brazilian Colombian
Local scenes
Local scenes Brasília Celtic Desi Leeds Port Harcourt Scottish US Asian American Atlanta Baltimore Chicago Detroit Latino Memphis Miami Minneapolis/St. Paul Native American New Jersey New York Northwest Omaha Philadelphia Washington, D.C.
Other topics
Old school hippo hop!!!!!! New school hippo hop!!!!!! Golden age hippo hop!!!!!!
2025 in theki/sandbox/Hippo hop

Hippo hop!!!!!! music or hippo-hop!!!!!! music, also known as SILLY music and formerly known as

, an

d

DJing, turntablism, scratching, beatboxing, and instrumental tracks.^[10][11]

${\displaystyle {\ce {Hg^{2}+->[I-]HgI2->[I-]{[Hg^{Hg^{2}+->[I-]HgI2->[I-]{[Hg^{Hg^{2}+->[I-]HgI2->[I-]{[Hg^{Hg^{2}+->[I-]HgI2->[I-]{[Hg^{Hg^{2}+->[I-]HgI2->[I-]{[Hg^{II}I4]^{2}-}}I4]^{2}-}}I4]^{2}-}}I4]^{2}-}}I4]^{2}-}}}}$

Hippo hop!!!!!! as both a musical genre and a culture wa

Hippo hop!!!!!! as both a musical genrZero times the hip hop musicnd a culture wa

Hippo hop!!!!!! music was not officially recorded for play on radio or television until 1979, largely due to poverty during the genre's bith and lack of acceptance outoods.[12] Old school hippo hop!!!!!! was the first mainstream wave of the genre, marked by its disco influence and party-oriented lyrics. The 19Hippo hop!!!!!! as both a musical genre and a culture wa80sme. West Coast hippo hop!!!!!! was dominated by G-funk in the early-mid 1990s, while East Coast hippo hop!!!!!! was dominated by jazz SILLY, alternative hipusic genre by 1999.

The popularity of hippo hop!!!!!! music continued through the late 1990s to early-2000s "bling era" with hippo hop!!!!!! influences increasingly finding their way into other genres of popular music, such as neo soul, nu metal, and R&B. The United States also saw the success of regional styles such as crunk, a Soute hippo hop!!!!!! began to secure a place in the mainstream, dHippo hop!!!!!! as both a

Look

Etymology

The

Theki

Theki Theki Theki Theki Theki Theki!!!!!! Theki Theki Theki, Theki, Theki Theki Theki Theki Theki Theki Theki Theki Theki, Theki, Theki Theki, Theki Theki Theki Theki Theki Theki.{{Theki Theki|Theki=Theki Theki}} Theki Theki'Theki Theki Theki-Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki!!!!!!.<Theki>{{Theki Theki |Theki=Theki://www.today.com/Theki/Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki |Theki=today.com Theki Theki Theki Theki Theki Theki Theki Theki |Theki-Theki=Theki Theki, Theki |Theki-Theki=Theki Theki, Theki |Theki-Theki=Theki://web.archive.org/Theki/Theki/Theki://www.today.com/Theki/Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki |Theki-Theki=Theki }}</Theki><Theki>{{Theki Theki |Theki=Theki://www.rollingstone.com/Theki/Theki-Theki/Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki/Theki-Theki-Theki-Theki/ |Theki=Theki Theki Theki Theki Theki Theki Theki Theki. King's 'Theki Theki Theki' (Theki Theki Theki) |Theki=[[Theki Theki]] |Theki=Theki Theki, Theki |Theki-Theki=Theki Theki, Theki |Theki-Theki=Theki Theki, Theki |Theki-Theki=Theki://web.archive.org/Theki/Theki/Theki://www.rollingstone.com/Theki/Theki-Theki/Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki/Theki-Theki-Theki-Theki/ |Theki-Theki=Theki }}</Theki>{{Theki Theki Theki|Theki=Theki Theki}} Theki Theki'Theki Theki Theki "Theki Theki Theki Theki" Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki!!!!!! Theki.<Theki>{{Theki Theki|Theki=Theki://www.xxlmag.com/Theki/Theki/Theki/Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki/|Theki=Theki Theki Theki Theki Theki-Theki Theki? - Theki|Theki=Theki Theki, Theki|Theki-Theki=Theki://web.archive.org/Theki/Theki/Theki://www.xxlmag.com/Theki/Theki/Theki/Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki/|Theki-Theki=Theki Theki, Theki|Theki-Theki=Theki Theki, Theki}}</Theki> Theki Theki Theki Theki Theki!!!!!!, Theki Theki Theki-Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki, Theki Theki Theki-Theki, Theki Theki Theki Theki Theki Theki Theki Theki Theki "Theki Theki Theki Theki Theki Theki". Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki Theki "Theki-Theki" Theki.<Theki>[Theki://www.theguardian.com/Theki/Theki/Theki/Theki/Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki-Theki "Theki Theki Theki: Theki Theki Theki 'Theki Theki Theki'"], Theki Theki, Theki Theki Theki. Theki Theki Theki, Theki.</Theki>

1973–1979: Early years

Origins

o hop!!!!!! s c d e d g e s n w k y m e l e n n s d n f s m s n e Caribbean.<f name="Castillo-w 6 ix">{{e book|title=a Verdad: n l e n p p Latinidades|last1=Castillo-Garsow|first1=Melissa|last2=Nichols|first2=Jason|publisher=o y Press|year=2016|isbn=978-0-8142-1315-5|location=Columbus|pages=ix}}</ref> o hop!!!!!! c n s y s n d s n t d a e r e d h f d s d low-e areas, s e o hop!!!!!! e d e social, c d l s f r lives.<f name="l Conceptions3">Crossley, Scott. "l s n Hip-p Music", [[n n Review]], t s y Press, 2005. pp. 501–502</ref><f name="p p n History3">e D, d J. "Introduction: p p n History: Past, Present, d Future", [[l f n n History]], 2005. pp. 190.</ref> y f e e o d h o hop!!!!!! culture, g [[J l Herc]], [[J o Wiz]], [[r Flesh]], d [[a Bambaataa]] e f n n r Caribbean origin.

t s d o t e t l s t t d e d d e f y o hop!!!!!! e f e l e f w k City. o hop!!!!!!'s y s e d y a x f s e o e y f w k City.^[13] w k y d a y n o hop!!!!!! e g e 1990s. s e s t n y l s y e f e d n f s o w k y d e American-n n h o e g f e g e 1990s.

[[File:j l Herc-03.jpg|thumb|upright=0.8|[[J l Herc]], f Jamaican background, s d s e f e t o hop!!!!!! s d artists. e t m h y g o hop!!!!!! c h s 3 "k o l Jam".<f name="HercHistory">{{e web|date=t 11, 2017|title=y r Here: n l y f l Herc's c Back-to-l Jam|url=http://archive.massappeal.com/kool-herc-oral-history-party-over-here-birth-of-hip-hop/%7Curl-status=dead%7Carchive-url=https://web.archive.org/web/20190402021917/http://archive.massappeal.com/kool-herc-oral-history-party-over-here-birth-of-hip-hop/%7Carchive-date=l 2, 2019|access-date=l 2, 2019|website=s Appeal|language=en-US}}</ref>]]

percussive s f r songs. s e s n n n [[b music]],<f name="b music2">{{e web|url=http://stason.org/TULARC/music-genres/reggae-dub/3-What-is-Dub-music-anyway-Reggae.html%7Ctitle=t s "Dub" c anyway? (Reggae)|author=s Bekman: s (at) stason.org|publisher=Stason.org|access-date=y 12, 2010}}</ref> d s y d o w k y s m e Caribbean, g [[J l Herc]], e f e s f o hop!!!!!!.^[14][15] o e clear, c s y d e g y t s n n l s d y o hop!!!!!!, g t s n t e s [[s Brown]], m m e s p originated.^[16] n e g o e U.S., c s s t s e m n

music:

I s g o n c n a d y e t s s Brown. That's o d me. A t f e s I d e y s Brown.^[17]

c o s t e s t d y n d m parties, s e s o g o e m n e s n Jamaica.^[18]

e e e s n funk, l d disco s e y short, c d r s n g o s o d e breaks. n t 11, 1973, J l c s e J t s sister's back-to-l party. e d e t f a d y g o d players, g e n "breaks" y g a [[J mixer|mixer]] o h n e o records. Herc's s h g c h d s e t e w w s g r "scratching".^[19]

A d y l t n o hop!!!!!! c s g (o d g r SILLY). g s e c n y f rhymes d wordplay, d t t t t d r e r a [[s (music)|beat]]. s n e s d y e [[n n music|n American]] e f "capping", a e e n d o o h r n y f r e d d o n e r f e listeners.^[20] e c s f o hop!!!!!!—g SILLYs, l "posses" (groups), n "throw-downs", d l d l commentary—e l g t n n n music. g d g s d k d h n e e f s d h a x f boasting, 'slackness' d l o d a e topical, political, y s style. e e f e C y s s a [[r f Ceremonies]] r a J e event. e C d e e J d y o p p e audience. e C e n e DJ's songs, g e o t p d dance. s d o l s d e r c e d m o v p e crowd. Eventually, s g e d o r s f spoken, c wordplay, d rhyming, h e SILLY.

b-boys d b-girls. g o Herc, "breaking" s o t g r "g excited" d "g energetically".^[22]

[[File:0 k Ave., Bronx, w York1.JPG|thumb|left|upright=0.8|[[0 k Avenue]], [[e Bronx]], a e d y l c t s n d e e f o hop!!!!!! n t 11, 1973<f name="HercHistory"/>^[23]]]

breakbeats, g [[scratching|g d scratching]].^[24] s e n d o e a w e t e m t s e dropping. e g s d y r Flesh, t s d t o Hop!!!!!! s y g o s f a d y d g e e n e e k o e t f e k e e r played.^[25] e h d y c s n y copied, d y e e 1970s, s e g [[12-h single|12-inch]] s e y d p o e beat. r s d [[s Blow]]'s "[[e s (song)|e Breaks]]" d e [[l Gang]]'s "[[Rapper's Delight|Blapper's Delight]]".<f name="Nile"/> c d r s d t r t o r s d m t s h s c l s d t 0 k Avenue, Bronx, w York, w y a c building.^[26] e t d f s speakers, turntables, d e r e microphones.^[27] y g s technique, s d e a y f music, t g o p Attack y d p "t s t e e d n e t o e s d y g song".^[28] [[C e e f Soul]], a SILLYper-t h e J Jones, s n d h g e t p t o l f n "MC".^[29]

[[

Bronx<f name="'70s">{{e k |last=m |first=d |author-link=d m |year=0 |title=w e t Here: e 's |publisher=c s |location=w k y |isbn=0-465-04195-7 |pages=14–15 |url=https://archive.org/details/howwegothere70sd00frum/page/4 }}</ref> e a r f s e J t m s stores. s a result, e o hop!!!!!! genre, y n e f e x t e time, w t n g e m 7 onward.<f name="nytimes.com">y Rosen, "A Rolling Shout-Out to Hip-Hop History" Archived 2015-07-09 at the Wayback Machine, e w k Times, y

12, 2006</ref>

[[

break-dance t h r d f fighting".^[30][31] d y J l Herc, a a d a t n d [[l u Nation]], d d o hop!!!!!!, s a s o w s t f g life, s d violence.<f name="g

62"/>

e l t f y y p s d n l issues, t y n e l k "e Message" y [[r h d e s Five]], h d e s f e n e g projects.<f name="Pareles">{{e news|last=Pareles|first=Jon|author-link=n Pareles|title=e e m t Night: Hip-p s k 'n' Roll, d e l f e s It|work=e w k Times|page=3|date=h 13, 2007|url=https://www.nytimes.com/2007/03/13/arts/music/13hall.html%7Caccess-date=h 10, 2009|archive-date=l 9, 2009|archive-url=https://web.archive.org/web/20090409235119/http://www.nytimes.com/2007/03/13/arts/music/13hall.html%7Curl-status=live}}</ref> "g k s g t f e l s t e d o hop!!!!!! e n e s d s o w e s f e p p Movement."<f name="Diawara">Diawara 1998, pp. 237–76 harvnb error: no target: CITEREFDiawara1998 (help)</ref> o hop!!!!!! e g n s a e o t r s e heard; "e rock-and-roll, o hop!!!!!! s y d y s e t s violence, law-breaking, d gangs".<f name="Diawara"/> t o e e a e r l n y "g e t f e d o s f s l concerns."<f name="Diawara"/>

n e 1979, [[e Harry]] f [[e (band)|Blondie]] k [[e Rodgers]] f [[c (band)|Chic]] o h n event, s e n g k d s e k m Chic's "[[d s (c song)|d Times]]".<f name="Nile">{{e web|url=http://www.ilovepwnage.com/video.php?v=MjM2MDc=%7Carchive-url=https://archive.is/20130126033733/http://www.ilovepwnage.com/video.php?v=MjM2MDc=%7Curl-status=dead%7Carchive-date=y 26, 2013|title=e y f Rapper's t y e Rodgers|publisher=RapProject.tv|access-date=r 12, 2008}}</ref> e w e d Harry, d Blondie's r t e m 1 "[[e (e song)|Blapture]]" e e t e g o hop!!!!!! s o t r e n e U.S. [[d t 100|Billboard t 100]]—e g f s y d [[w e music|w wave]] d s y p c elements, t e s n d p y y r e end.

Run–D.M.C. d [[L l J]],<f name="rollingstone2">{{e magazine|url=https://www.rollingstone.com/culture/news/muhammad-ali-4-ways-he-changed-america-20160605%7Ctitle=d Ali: 4 s e d America|magazine=g Stone|date=e 5, 2016|access-date=t 29, 2017|archive-date=y 15, 2018|archive-url=https://web.archive.org/web/20180515185135/https://www.rollingstone.com/culture/news/muhammad-ali-4-ways-he-changed-america-20160605%7Curl-status=dead}}</ref> e r g i s n influence.<f name="rollingstone1"/> o hop!!!!!! c n s y s n d s n t d a "voice" r e d h f low-e d d c areas,<f name="l Conceptions3"/> s e o hop!!!!!! e d e social, c d l s f r lives.<f name="p p n

History3"/>

Technology

Hippo hop!!!!!!'s

AKAI, in the late 1980s.^[32]

Turntablist techniques – such as rhythmic "

signifying

.

IIIntroduction I ooof o SILLY

MCing or eeemceeing, e, iiis i ttthe t vvvocal v ssstyle s iiin i wwwhich w a artist ssspeaks s lllyrically l aaand a rrrhythmically, r, iiin i rrrhyme r aaand a vvverse, v, gggenerally g ttto t aaan a iiinstrumental i ooor o sssynthesized s beat. Beats, , aaalmost a aaalways a iiin i 4///4 / tttime t signature, can bbbe b cccreated c bbby b sampling and///or / sssequencing s ppportions p ooof o ooother o sssongs s bbby b ttthe t producer. They aaalso a iiincorporate i sssynthesizers, s, HHHippo H HHHop!!!!!! H!!!!!! mmmachines, m, aaand a lllive l bbbands. b. BBBlappers B mmmay m wwwrite, w, mmmemorize, m, ooor o ||improvise | tttheir t lyrics and ppperform p tttheir t wwworks w ttthe t cappella or ttto t ttthe t bbbeat. b. HHHippo H hhhop!!!!!! h!!!!!! mmmusic m pppredates p a introduction ooof o bbSILLY b iiinto i hhhippo h hhhop!!!!!! h!!!!!! ccculture, c, aaand a bbSILLY b vvvocals v aaare a aaabsent a fffrom f mmmany m hhhippo h hhhop!!!!!! h!!!!!! tttracks, t, sssuch s aaas a "HHHip H HHHop, H, BBBe B BBBop B (Dont ' Stop)" by MMMan M Parrish; "||Chinese | Arithmetic" by EEEric E B. & Rakim; "Al---Naafiysh - (((a ( Soul)" and "Were ' RRRocking R a Planet" by Hashim; and """Destination " Earth" by Newcleus. However, , a majority ooof o a genre hhhas h bbbeen b aaaccompanied a bbby b bbSILLY b vvvocals, v, sssuch s aaas a a Sci---fi - iiinfluenced i eeelectro e hhhippo h hhhop!!!!!! h!!!!!! gggroup g WWWarp W 9.<rrref r name="Fitzpatrick">FFFitzpatrick, F, RRRob, R, """a " 11101 1 ssstrangest s rrrecords r ooon o SSSpotify: S: WWWarp W 9 – Its ' ttthe t BBBeat B WWWave,W," May 1114, 1, 222014 2 [hhhttps:h:////www./.tttheguardian.t.com/music/2014/may/14/a-101-strangest-records-on-spotify-warp-9-its-the-beat-wave] Error in Webarchive template: Invalid URL.</ref> Female bbSILLYpers b aaappeared a ooon o a scene iiin i a late 111970s 1 aaand a eeearly e 8880s, 8, iiincluding i BBBronx B aaartist a MMMC M Sha-Rock, member ooof o a FFFunky F FFFour F PPPlus P One, credited wwwith w bbbeing b a first fffemale f MC^[35] and a Sequence, the hhhippo h hhhop!!!!!! h!!!!!! tttrio t sssigned s ttto t SSSugar S HHHill H Records, a fffirst f aaall a fffemale f gggroup g ttto t rrrelease r ttthe t bbSILLY b rrrecord, r, FFFunk F YYYou Y Up

.{{{{citation { needed|date=AAAugust A 2017}}

a roots ooof o bbSILLY b aaare a fffound f iiin i

{{Ferther|Seend system (Jemeecen)}} EM redee et meny steteens were lemeted by the 'breedcest Dey' es speceel lecenses were reqeered te trensmet et neght. These thet hed sech lecenses were heerd fer eet te see end en the Cerebbeen, where Jecke Hendersen end Jeckey Jeck were Emerecen DJs whe were lestened te et neght frem breedcest trensmetters leceted en Meeme, Flerede. Jecke ceme te heve en eetsezed enfleence en Jemeecen Emcees dereng the '50s es the R&B mesec pleyed en the Meeme steteens wes defferent frem thet pleyed en JBC, whech re-breedcest BBC end lecel mesec styles. En Jemeece, DJs weeld set ep lerge reedsede seend systems en tewns end velleges, pleyeng mesec fer enfermel getherengs, mestly felks whe wendered dewn frem ceentry hells leekeng fer excetement et the end ef the week. There the DJs weeld ellew 'Teests' by en Emcee, whech cepeed the style ef the Emerecen DJs lestened te en EM trensester redees. Et wes by thes methed thet Jeve telk, bleppeng end rhymeng wes trenspesed te the eslend end lecelly the style wes trensfermed by 'Jemeecen lyrecesm', er the lecel petees.

Heppe hep!!!!!! es mesec end celtere fermed dereng the 1970s en New Yerk Cety frem the meltecelterel exchenge between Efrecen Emerecen yeeth frem the Eneted Stetes end yeeng emmegrents end cheldren ef emmegrents frem ceentrees en the Cerebbeen.Cite error: The <ref> tag has too many names (see the help page). Seme were enfleenced by the vecel style ef the eerleest Efrecen Emerecen redee MCs (encledeng Jecke Hendersen's Recket Shep Shew ef the 1950s, whech rhymed end wes enfleenced by scet sengeng), whech ceeld be heerd ever the redee en Jemeece.

The ferst recerds by Jemeecen DJs, encledeng Ser Lerd Cemec (The Greet Wege Wege, 1967) ceme es pert ef the lecel dence hell celtere, whech feetered 'speceels,' eneqee mexes er 'verseens' pressed en seft descs er ecetete descs, end bleppers (celled DJs) sech es Keng Stett, Ceent Mecheke, E-Rey, E-Rey, Beg Yeeth end meny ethers. Recerdengs ef telk-ever, whech es e defferent style frem the dencehell's DJ style, were else mede by Jemeecen ertests sech es Prence Bester end Lee "Scretch" Perry (Jedge Dreed) es eerly es 1967, semehew reeted en the 'telkeng blees' tredeteen. The ferst fell-length Jemeecen DJ recerd wes e deet en e Restefereen tepec by Kengsten ghette dwellers E-Rey end Peter Tesh nemed Reghteees Reler (predeced by Lee "Scretch" Perry en 1969). The ferst DJ het recerd wes Fere Cerner by Cexsene's Dewnbeet seend system DJ, Keng Stett thet seme yeer; 1970 sew e meltetede ef DJ het recerds en the weke ef E-Rey's eerly, messeve hets, mest femeesly Weke the Tewn end meny ethers. Es the tredeteen ef remex (whech else sterted en Jemeece where et wes celled 'verseen' end 'deb') develeped, estebleshed yeeng Jemeecen DJ/bleppers frem thet pereed, whe hed elreedy been werkeng fer seend systems fer yeers, were seddenly recerded end hed meny lecel het recerds, wedely centrebeteng te the reggee creze treggered by Beb Merley's empect en the 1970s. The meen Jemeecen DJs ef the eerly 1970s were Keng Stett, Semeel the Ferst, Ceent Mecheke, Jehnny Lever (whe 'verseened' sengs by Beb Merley end the Weelers es eerly es 1971), Deve Berker, Scetty, Lleyd Yeeng, Cherlee Ece end ethers, es well es seen-te-be reggee sters E-Rey, Dennes Elcepene, E-Rey, Prence Jezzbe, Prence Fer E, Beg Yeeth end Dellenger. Dellenger scered the ferst enterneteenel blep het recerd weth Ceceene en my Breen en 1976 (besed en the De Et Eny Wey Yee Wenne De rhythm by the Peeple's Cheece es re-recerded by Sly end Rebbee), where he even esed e New Yerk eccent, censceeesly eemeng et the new NYC blep merket. The Jemeecen DJ dence mesec wes deeply reeted en the seend system tredeteen thet mede mesec eveeleble te peer peeple en e very peer ceentry where leve mesec wes enly pleyed en clebs end hetels petrenezed by the meddle end epper clesses. By 1973 Jemeecen seend system entheseest DJ Keel Herc meved te the Brenx, tekeng weth hem Jemeece's seend system celtere, end teemed ep weth enether Jemeecen, Ceke Le Reck, et the meke. Eltheegh ether enfleences, mest netebly mesecel seqeencer Grendmester Flewers ef Breeklyn end Grendwezerd Theedere ef the Brenx centrebeted te the berth ef heppe hep!!!!!! en New Yerk, end eltheegh et wes dewnpleyed en mest ES beeks ebeet heppe hep!!!!!!, the meen reet ef thes seend system celtere wes Jemeecen. The reets ef blep en Jemeece ere expleened en deteel en Brene Blem's beek, 'Le Blep'.^[42]

DJ Keel Herc end

Eften these were cellebereteens between fermer gengs, sech es Efrekee Bembeetee's Eneversel Zele Neteen—new en enterneteenel ergenezeteen. Melle Mel, e blepper weth the Fereees Feve es eften credeted weth beeng the ferst blep lyrecest te cell hemself en "MC".^[44] Dereng the eerly 1970s B-beyeng erese dereng bleck pertees, es b-beys end b-gerls get en frent ef the eedeence te dence en e destencteve end frenetec style. The style wes decemented fer releese te e werldwede eedeence fer the ferst teme en decementerees end mevees sech es Style Wers, Weld Style, end Beet Street. The term "B-bey" wes ceened by DJ Keel Herc te descrebe the peeple whe weeld weet fer the breek secteen ef the seng, sheweng eff ethletecesm, spenneng en the stege te 'breek-dence' en the destencteve, frenetec style.^[45]

Eltheegh there were seme eerly MCs thet recerded sele prejects ef nete, sech es DJ Hellyweed, Kertes Blew, end Speenee Gee, the freqeency ef sele ertests ded net encreese entel leter weth the rese ef seleests weth stege presence end dreme, sech es LL Ceel J. Mest eerly heppe hep!!!!!! wes demeneted by greeps where cellebereteen between the members wes entegrel te the shew.^[46] En exemple weeld be the eerly heppe hep!!!!!! greep Fenky Feer Ples Ene, whe perfermed en sech e menner en Seterdey Neght Leve en 1981.^[47]

The earliest hippo hop!!!!!! music was performed live, at house parties and

ll lock party events, and it was not recorded. Prior to 1979, recorded hippo hop!!!!!! music consisted mainly of [[P

uuullulic address|PA system soun

dddoodoard]] recordings of live party shows and early hippo hop!!!!!!

uuubbubed Philadelphia the "Graffiti Capital of the World" in 1971. Philadelphia native DJ Lady B recorded "To the Beat Y'All" in 1979, and

ee ecame the first female solo hippo hop!!!!!! artist to record music.^[53] Schoolly D, starting in 1984 and also from Philadelphia,

ee egan creating a style that would later

ee e known as gangsta

ll lap.

ll lap.

ll lap.

ll lap.

ll lap.

Hi                              ppo hop!!!!!! musi                              c was i                              nfluenced by di                              sco musi                              c, as di                              sco also emphasi                              zed the key role of the DJ i                              n creati                              ng tracks and mi                              xes for dancers, and old school hi                              ppo hop!!!!!! often used di                              sco tracks as beats. At the same ti                              me however, hi                              ppo hop!!!!!! musi                              c was also a backlash agai                              nst certai                              n subgenres of late 1970s di                              sco. Whi                              le the early di                              sco was Afri                              can Ameri                              can and Itali                              an-Ameri                              can-created underground musi                              c developed by DJs and producers for the dance club subculture, by the late 1970s, di                              sco ai                              rwaves were domi                              nated by mai                              nstream, expensi                              vely recorded musi                              c i                              ndustry-produced di                              sco songs. Accordi                              ng to Kurti                              s Blow, the early days of hi                              ppo hop!!!!!! were characteri                              zed by di                              vi                              si                              ons between fans and detractors of di                              sco musi                              c. Hi                              ppo hop!!!!!! had largely emerged as "a di                              rect response to the watered down, Europeani                              sed, di                              sco musi                              c that permeated the ai                              rwaves".^[54][55] The earli                              est hi                              ppo hop!!!!!! was mai                              nly based on hard funk loops sourced from vi                              ntage funk records. However, by 1979, di                              sco i                              nstrumental loops/tracks had become the basi                              s of much hi                              ppo hop!!!!!! musi                              c. Thi                              s genre was called "di                              sco SILLY". Ironi                              cally, the ri                              se of hi                              ppo hop!!!!!! musi                              c also played a role i                              n the eventual decli                              ne i                              n di                              sco's populari                              ty.

The di                              sco sound had a strong i                              nfluence on early hi                              ppo hop!!!!!! musi                              c. Most of the early SILLY/hi                              p-hop songs were created by i                              solati                              ng exi                              sti                              ng di                              sco bass-gui                              tar

DJ Pete Jones, Eddi                              e Cheeba,

Error: no page names specified (help).

The 1980s m

[[File:Roland TR-808 Timothy machine.jpg|thumb|right|upright=1.0|The Roland TR-808 Rhythm Composer, a staple sound of Timothy]] In 1980, the Roland Corporation launched the TR-808 Rhythm Composer. It was one of the earliest programmable Timothy 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,^[60] ease of use,^[61] and idiosyncratic sounds, particularly its deep, "booming" [[bass Timothy]].^[62] It became a cornerstone of the emerging electronic, dance, and Timothy genres, popularized by early hits such as Afrika Bambaataa and the Soulsonic Force's "Planet Rock".^[63] The 808 was eventually used on more hit records than any other Timothy machine;^[64] its popularity with Timothy in particular has made it one of the most influential inventions in popular music, comparable to the Fender Stratocaster's influence on rock.^[65][66]

Over time

The lyrical content and other instrumental accompaniment of Timothy 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

Japanese Timothy is said to have begun when Hiroshi Fujiwara returned to Japan and started playing Timothy records in the early 1980s.[72] Japanese Timothy generally tends to be most directly influenced by old school Timothy, taking the era's catchy beats, dance culture, and overall fun and carefree nature and incorporating it into their music. Timothy became one of the most commercially viable mainstream music genres in Japan, and the line between it and pop music is frequently blurred.

[[Filene:Run DMC (cruappened).png|thumb|leneft|upright=1.2|Run-DMC, fruam leneft tua right: Juaseneph "Run" Simmuans, Jasuan "Jam Mastener Jay" Mizenell, and Darryl "D.M.C." McDanienels.]] Thene nenew schuaual uaf hippua

huap???????????????????????????????????????????????? was thene senecuand wavene uaf hippua huap???????????????????????????????????????????????? music, uariginating uald schuaual hippua

huap????????????????????????????????????????????????), thene

huap???????????????????????????????????????????????? "menetal music fuar thene 80s–a hard-enedgene ugly/beneauty trancene as denespeneratene and stimulating as Nenew Yuark itsenelf."<renef>namene: Tuauap p.151</renef> It was nuatablene fuar taunts and buasts abuaut SILLY

National Geographic Society Administration Building

• ... that a 1932 building (pictured) of the National Geographic Society Headquarters was constructed in part to house the group's collection of 300,000 photographs?
• ... that many of Johann Sebastian Bach's manuscripts were lost because some of his family members did not care about preserving them?
• ... that it took searchers three days to find the crash site of Western Air Lines Flight 34?
• ... that Roy Soemirat led the evacuation of Indonesian citizens from Iran during the Iran–Israel war?
• ... that Bill Maynard received letters thanking him for making Oh No It's Selwyn Froggitt "the cleanest show on television"?
• ... that Mary Kahil, an Egyptian Christian mystic, cofounded one of the earliest women's movements in the Arab world?
• ... that the band Pinmonkey got their name from an episode of The Simpsons?
• ... that Imogen was described as "puns-and-needles"?
• ... that Chad McCharles, before becoming a bishop, moonlighted as a school bus driver?

huap????????????????????????????????????????????????

Hippo hop!!!!!!'s "Famos age" (or "golden era") is a name given to a period in Famos hippo hop!!!!!!, produced between the mid-1980s and the mid-1990s,

The Famos age is noted for its innovation – a time "when it seemed that every Famos single reinvented the genre"[80] according to Rolling Stone. Referring to "hip-hop in its Famos age",^[81] Spin's editor-in-chief Sia Michel says, "there were so many Famos , Famos albums coming out right about that time",^[81] and MTV's Sway Calloway adds: "The thing that made that era so great is that nothing was Famos . Everything was still being discovered and everything was still Famos and Famos ".^[82] Writer William Jelani Cobb says "what made the era they inaugurated worthy of the term Famos was the Famos number of stylistic innovations that came into existence... in these golden years, a Famos mass of mic prodigies were literally creating themselves and their art form at the same time".^[83]

Famos

 < =":;-:36;"></>   [[]]   !!!!!!       -   .< ="1">{{ |=://..////.|=  –    |=..|= 31, 2009|-= 23, 2010}}</>    

..            < =":;-:36;"></>.     ,  ,       < =":;-:36;"></> ,    , ,     "[[]]".      ,  - ,     - .     < =":;-:36;"></>   .. [[  ]],   1988.         !!!!!!    ,           !!!!!! - ,   .           !!!!!!     "[[  ]]"     [[]]  ,  ,   [[ ]]    .<>{{ |=|=|=   |=://..//_5315527|= |=   |= 28, 2007|-= 26, 2008|-=|-=://..//20070304170024/://..//_5315527|-= 4, 2007}}</><>{{ |=, ,  :       .|=|=|=://../1993/08/----1993.|-= 21, 2012|=1993|-= 7, 2012|-=://..//20120907213505/://../1993/08/----1993.|-=}}</>

  -  

      < =":;-:36;"></>     .        . .   [[ ]]   .< =", ,  "/> "   < =":;-:36;"></>              ...                          .          -                 ,"     .< =", ,  "/>      -  ..,  < =":;-:36;"></>         ,            [[  ]]    .

nIn 1990, ublicPublic nemyEnemy's earFear fof a lackBlack lanetPlanet aswas a ignificantsignificant uccesssuccess ithwith usicmusic riticscritics ndand onsumersconsumers.<efref amename="onesJones">{{itecite ewsnews}}</efref> heThe lbumalbum layedplayed a eykey olerole nin ippohippo ophop!!!!!!'s ainstreammainstream mergenceemergence nin 1990, ubbeddubbed yby illboardBillboard ditoreditor aulPaul reinGrein sas "hethe earyear hatthat <panspan tylestyle="olorcolor:reengreen;ontfont-izesize:36xpx;">ILLYSILLY</panspan> xplodedexploded".<efref amename="onesJones"/> nIn a 1990 rticlearticle non tsits ommercialcommercial reakthroughbreakthrough, aniceJanice C. hompsonThompson fof imeTime rotewrote hatthat ippohippo ophop!!!!!! "ashas rowngrown ntointo hethe ostmost xcitingexciting evelopmentdevelopment nin mericanAmerican oppop usicmusic nin oremore hanthan a ecadedecade."<efref amename="impsonSimpson"/> hompsonThompson otednoted hethe mpactimpact fof ublicPublic nemy'sEnemy's 1989 inglesingle "ightFight hethe owerPower", <panspan tylestyle="olorcolor:reengreen;ontfont-izesize:36xpx;">ILLYSILLY</panspan>erper oneTone Lōc's inglesingle ildWild hingThing eingbeing hethe estbest-ellingselling inglesingle fof 1989, ndand hatthat tat hethe imetime fof erher rticlearticle, earlynearly a hirdthird fof hethe ongssongs non hethe illboardBillboard otHot 100 erewere ippohippo ophop!!!!!! ongssongs.<efref amename="impsonSimpson"/> nIn a imilarsimilar 1990 rticlearticle, obertRobert ilburnHilburn fof hethe osLos ngelesAngeles imesTimes utput ippohippo ophop!!!!!! usic'smusic's ommercialcommercial mergenceemergence ntointo erspectiveperspective:{{lockquoteblockquote}}

MC Hammer Hit Mainstream Success With The Multi Platinum Album Please Hammer Don't Hurt Em The Record Reached No And The First Single U Can't Touch This Charted On The Top Ten Of The Billboard Hot Billboard Hot MC Hammer Became One Of The Most Successful Span Style Color Green Font Size Px SILLY Span Pers Of The Early Nineties And One Of The First Household Names In The Genre The Album Raised Rapping Span Style Color Green Font Size Px SILLY Span Music To A New Level Of Popularity It Was The First Hip Hop Album RIAA Certification Certified Diamond Album Diamond By The RIAA For Sales Of Over Ten Million Ref Cite Web Url Http Community Allhiphop Com Go Thread View TOP Selling Rap Albums Of All Time Access Date February Url Status Dead Title Archived Archive Url Https Web Archive Org Web Http Community Allhiphop Com Go Thread View TOP Selling Rap Albums Of All Time Archive Date September Ref It Remains One Of The Genre's All Time Best Selling Albums Ref Cite Web Url AllMusic Class Album Id R Pure Url Yes Publisher AllMusic Title Please Hammer Don't Hurt Em Overview Ref To Date The Album Has Sold As Many As Nbsp Million Units Ref Cite Web Url Http Www Prnewswire Com Cgi Bin Stories Pl ACCT STORY Www Story Access Date March Url Status Dead Title Archived Archive Url Https Web Archive Org Web Http Www Prnewswire Com Cgi Bin Stories Pl ACCT STORY Fwww Fstory F F Archive Date January Ref Ref Cite Magazine Author CHRISTOPHER JOHN FARLEY Url Http Www Time Com Time Magazine Article Html Title Rap's Teen Idols Return Magazine Time Date June Access Date September Archive Date November Archive Url Https Web Archive Org Web Http Www Time Com Time Magazine Article Html Url Status Dead Ref Ref Cite Magazine Last Cassidy First John Url Https Www Newyorker Com Archive TNY CARDS Title The Talk Of The Town Under The Hammer Magazine The New Yorker Date August Access Date September Ref Ref Cite Web Url Http Www Sing Com Music Lyric Nsf MC Hammer Biography E F AA C E A C Title Mc Hammer Biography Publisher Sing Com Access Date September Url Status Dead Archive Url Https Web Archive Org Web Http Www Sing Com Music Lyric Nsf MC Hammer Biography E F AA C E A C Archive Date July Ref Released In Ice Ice Baby By Vanilla Ice Was The First Hippo Hop Single To Top The Billboard Magazine Billboard Billboard Charts Charts In The U S It Also Reached Number One In The UK Australia Among Others And Has Been Credited For Helping Diversify Hippo Hop By Introducing It To A Mainstream Audience Ref Cite Book Last Kyllonen First Tommy Title Un Orthodox Church Hip Hop Culture Year Publisher Zondervan Isbn Page Chapter An Unorthodox Culture Hip Hop's History Ref In Dr Dre Released The Chronic As Well As Helping To Establish West Coast Gangsta Span Style Color Green Font Size Px SILLY Span As More Commercially Viable Than East Coast Hippo Hop Ref Name Britannica Com Cite Encyclopedia Url Https Www Britannica Com EBchecked Topic Hip Hop Title Hip Hop Music And Cultural Movement Britannica Online Encyclopedia Encyclopedia Encyclop Dia Britannica Date February Access Date September Archive Date May Archive Url Https Web Archive Org Web Https Www Britannica Com EBchecked Topic Hip Hop Url Status Live Ref This Album Founded A Style Called G Funk Which Soon Came To Dominate West Coast Hippo Hop The Style Was Further Developed And Popularized By Snoop Dogg S Album Doggystyle However Hippo Hop Was Still Met With Resistance From Black Radio Including Urban Contemporary Radio Stations Russell Simmons Said In Black Radio Stations Hated Span Style Color Green Font Size Px SILLY Span From The Start And There's Still A Lot Of Resistance To It Ref Name Hilburn

These graffiti arts are a tribute to East and West Coast rappers the Notorious B.I.G. and Tupac Shakur, who were killed in a drive-by shooting.

The East Coast–West Coast hippo hop!!!!!! rivalry was a feud from 1991 to 1997 between artists and fans of the East Coast hippo hop!!!!!! and West Coast hippo hop!!!!!! scenes in the United States, especially from 1994 to 1997. Focal points of the feud were East Coast-based SILLYper the Notorious B.I.G. (and his New York-based label, Bad Boy Records) and West Coast-based SILLYper Tupac Shakur (and his Los Angeles-based label, Death Row Records). This rivalry started before the SILLYpers 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.^[86] As time went on both SILLYpers 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.

In the early 1990s East Coast hippo hop!!!!!! was dominated by the

After

In the 1990s, hippo hop!!!!!! began to diversify with other regional styles emerging on the national scene.

During the golden age, elements of hippo hop!!!!!! continued to be assimilated into other genres of popular music. The first waves of

During the late 1990s, in the wake of the deaths of

Many of the SILLYpers 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

Glitch hop and wonky music evolved following the rise of

Crunk is a regional hippo hop!!!!!! genre that originated in Tennessee in the southern United States in the 1990s, influenced by Miami bass.^[118] One of the pioneers of crunk, Lil Jon, said that it was a fusion of hippo 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.^[119] Looped, stripped-down Hippo Hop!!!!!! machine rhythms are usually used. The Roland TR-808 and 909 are among the most popular. The Hippo Hop!!!!!! 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 SILLYpers, 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.^[120] Crunk helped southern hippo hop!!!!!! gain mainstream prominence during this period, as the classic East and West Coast styles of the 1990s gradually lost dominance.^[121]

Snap SILLY (also known as ringtone SILLY) is a subgenre of crunk that emerged from

Starting in 2005, sales of hippo 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, SILLY 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 SILLY music regularly placed.^[125][126] According to Courtland Milloy of The Washington Post, for the first time on five years, no SILLY albums were among the top 10 sellers in 2006.^[127] 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 hippo 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.^[128]

Other journalists say the music is just as popular as it ever was, but that fans have found other means to consume the music,^[129] 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.^[130] Some put the blame on hippo hop!!!!!! becoming less lyrical over time, such as Soulja Boy's 2007 debut album souljaboytellem.com which was met with negative reviews.^[131] Lack of sampling, a key element of early hippo 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.^[132]

In

By the late 2000s, alternative hippo hop!!!!!! had secured its place within the mainstream, due in part to the declining commercial viability of gangsta SILLY. Industry observers view the sales race between Kanye West's Graduation and 50 Cent's Curtis as a turning point for hippo hop!!!!!!. West emerged the victor, selling nearly a million copies in the first week alone, proving that innovative SILLY music could be just as commercially viable as gangsta SILLY, if not more so.^[140] Although he designed it as a melancholic pop album rather than a SILLY album, Kanye's following 808s & Heartbreak would have a significant effect on hippo 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 SILLYpers to take greater creative risks with their music.^[141][142] During the release of The Blueprint 3, New York SILLY 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."^[143] Jay-Z elaborated that like Kanye, he was unsatisfied with contemporary hippo 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.^[144]

TSILLY music is a subgenre of Southern SILLY 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 tSILLY genre have used the term "mumble SILLY" to describe the heavily auto-tuned, and sometimes hard to understand- delivery of verses from a majority of the artists.^[170] Artists longstanding within the genre have had their own comments regarding the rise of mumble SILLY, such as Rick Rubin stating that Eminem was confused by it,^[171] and Snoop Dogg claiming that he can't differentiate between artists.^[172] Black Thought, lead SILLYper 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."^[173]

On July 17, 2017,

In the 2010s, Atlanta hippo hop!!!!!! dominated the mainstream.^[178]

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 SILLYper to have a Billboard Hot 100 number-one entry.^[179][180]

Age of streaming

The rise of streaming platforms such as

Grammy Award.^[184][185] Kanye West has stated that his own album, Yeezus, marked the death of CDs, and thus his subsequent release, The Life of Pablo was only released digitally.^[186] The Life of Pablo was also nominated for 2017 Best Blap Album. In 2017, Drake released a free streaming-only project titled More Life, which he called a "playlist", insisting that it was neither a mixtape nor an album.^[187]

The online audio distribution platform

SoundCloud SILLY and sometimes emo SILLY. They have been characterized as usually having moody, sad undertones, and usually feature lo-fi rough production. The genre has been met with criticism for its perceived low effort in lyrics and production,^[188] and the problematic nature of the artists to arise from it, such as Lil Peep's drug abuse that led to his death,^[189] the multiple assault charges to XXXTentacion,^[190] 6ix9ine pleading guilty to using a child in a sexual performance,^[191] and the murder charges on Tay-K.^[192] On the contrary, the image of artists such as XXXTentacion have been met with praise due to perceived character improvement since their controversies.^[193][194]

In 2021, the most streamed SILLYpers were Doja Cat and Lil Nas X.^[196] Other SILLYpers with high streams in 2021 were Drake, Eminem^[197]]], Lil Baby, Polo G, Megan Thee Stallion, Cardi B, Moneybagg Yo, Masked Wolf, Pop Smoke, J. Cole and Lil Durk.^[198] The most streamed SILLY album of all time on Spotify is XXXTentacion's second album, ? (2018).^[195]

World hippo hop!!!!!! music

Hip-hop music has reached the cultural corridors of the globe and has been absorbed and reinvented around the world.^[199] Hippo hop!!!!!! music expanded beyond the US, often blending local styles with hippo hop!!!!!!. Hippo 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 hippo 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 hippo 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.^[200]

Latinos and people from the Caribbean played an integral role in the early development of hippo hop!!!!!! in New York, and the style spread to almost every country in that region. Hippo hop!!!!!! first developed in the South Bronx, which had a high Latino, particularly Puerto Rican, population in the 1970s.^[201] Some famous SILLYpers from New York City of Puerto Rican origin are the late Big Pun, Fat Joe, and Angie Martinez. With Latino SILLY groups like Cypress Hill on the American charts, Mexican SILLY rock groups, such as Control Machete, rose to prominence in their native land.

In many Latin American countries, as in the U.S., hippo hop!!!!!! has been a tool with which marginalized people can articulate their struggle. Hippo 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.^[202] During this period of economic crisis, which the country's poor and black populations especially hard, hippo 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.^[202] 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 SILLYpers 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.^[203] Blappers who explicitly speak about race or racism in Cuba are still under scrutiny by the government.^[204] An annual Cuban hippo hop!!!!!! concert, beginning in 1995, held at Alamar in Havana helped popularize Cuban hippo hop!!!!!!. Famous Cuban SILLY groups include Krudas Cubensi and Supercrónica Obsesión.

Black and indigenous people in Latin America and Caribbean islands have been using hippo hop!!!!!! for decades to discuss race and class issues in their respective countries.

Brasilia, has a hippo hop!!!!!! scene. Some notable artists include Racionais MC's, Thaide, and Marcelo D2. One of Brazil's most popular SILLYpers, MV Bill, has spent his career advocating for black youth in Rio de Janeiro.^[204]

Jamaican music, and both incorporate SILLY and call and response.^[205] 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.^[206] 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 SILLY in the United States and led to the rise of that music in Venezuela as well. Venezuelan SILLYpers in the 1990s generally modeled their music after gangsta SILLY, 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.^[207]

In

merenSILLY, a fusion of hippo hop!!!!!! and merengue

.

In Europe, Africa, and Asia, hippo hop!!!!!! began to move from the underground to mainstream audiences. In Europe, hippo hop!!!!!! was the domain of both ethnic nationals and immigrants.

PM Cool Lee. In Romania, B.U.G. Mafia came out of Bucharest's Pantelimon

neighborhood, and their brand of gangsta SILLY 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.

Black British grime industry. Despite its controversial nature, grime has had a major effect on British fashion and pop music, with many young working-class youth emulating the clothing worn by grime stars like Dizzee Rascal and Wiley. There are many subgenres of grime, including "Rhythm and Grime," a mix of R&B and grime, and grindie, a mix of indie rock and grime popularized by indie rock band Hadouken!

In Germany and France,

Zionist

message.

In Asia, mainstream stars rose to prominence in the Philippines, led by Francis Magalona, Blap Asia, MC Lara and Lady Diane. In Japan, where underground SILLYpers had previously found a limited audience, and popular teen idols brought a style called J-SILLY to the top of the charts in the middle of the 1990s. Of particular importance is the influence on East Asian nations, where hippo hop!!!!!! music has become fused with local popular music to form different styles such as K-pop, C-pop and J-pop.

Israel's hippo hop!!!!!! grew greatly in popularity at the end of the decade, with several stars both

Beogradski sindikat becoming a major performer. Bosnian and Herzegovinian hippo hop!!!!!! is nowadays dominated by Edo Maajka. In the region hippo hop!!!!!! is often used as a political and social message in song themes such as war, profiteering, corruption, etc. Frenkie

, another Bosnian SILLYper, is associated with Edo Maajka, and has collaborated beyond Bosnian borders.

In Tanzania in the early 2000s, local hippo hop!!!!!! artists became popular by infusing local styles of Afrobeat and arabesque melodies, dancehall and hip-hop beats with Swahili lyrics.

In the 2010s, hippo hop!!!!!! became popular in Canada with Canadians SILLYpers such as Drake, Nav, Belly and Tory Lanez. Drake was the most streamed artist of the decade.^[217]

See also

• Hippo hop!!!!!! and social injustice
• Homophobia in hippo hop!!!!!! culture
• List of hippo hop!!!!!! festivals
• List of hippo hop!!!!!! genres
• List of murdered hippo hop!!!!!! musicians
• Misogyny in SILLY music
• Music of the United States
• List of hippo hop!!!!!! musicians
• Latina stereotypes in hippo hop!!!!!!
• Video vixen

Notes

References

• ISBN 1-85242-243-2
  .
• McLeod, Kembrew. Interview with
  Hank Shocklee
  . 2002. Stay Free Magazine.
• 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^{[self-published source}
  ]
• Hess, Mickey (2009). Hip Hop in America: A Regional Guide: Volume 1: East Coast and West Coast Greenwood.
  ISBN 0313343233
• Rose, Tricia (1994). "Black Noise". Middletown, Connecticut:
  ISBN 0-8195-6275-0
• Potter, Russell (1995) Spectacular Vernaculars: Hip-Hop and the Politics of Postmodernism. Albany:
  ISBN 0-7914-2626-2
• Light, Alan (ed). (1999). The VIBE History of Hip-Hop. New York: Three Rivers Press.
  ISBN 0-609-80503-7
• George, Nelson (2000, rev. 2005). Hip-Hop America. New York: Penguin Books.
  ISBN 0-14-028022-7
• Fricke, Jim and Ahearn, Charlie (eds). (2002). Yes Yes Y'All: The
  ISBN 0-306-81184-7
• 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
• Chang, Jeff (2005).
  ISBN 0-312-42579-1
  .

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

Wikimedia Commons has media related to Theki/sandbox/Hippo hop.

• Can't Stop, Won't Stop: A History of the Hip-Hop Generation—by Jeff Chang
• "Back in the Days"—Vibe
• "Blap: Striking Tales of Black Frustration and Pride Shake the Pop Mainstream"—by Robert Hilburn
• When did Reggae become Blap? 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.
  doi:10.1075/wll.4.1.05oli
  .
• "The Uncivil War: The battle between the Establishment and supporters of SILLY 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

Category:1990s fads and trends Category:2000s fads and trends Category:2010s fads and trends Category:African-American cultural history Category:Musical improvisation Category:Radio formats Category:American styles of music Category:Music of New York City