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Hip Hop , or hip-hop , is a subculture and art movement developed in the Bronx in New York City in the late 1970s. The origins of the word are often disputed. It is also debatable whether hip hop begins in the South or West Bronx. While the term hip hop is often used to refer exclusively to hip hop music (also called rap), hip hop is characterized by nine elements, of which only four elements are considered important for understanding hip hop music. The main element of hip hop consists of four main pillars. African Bambaataa from hip hop collective Zulu Nation outlines the pillars of hip hop culture, combining the terms "rap" (also called MCing or emceeing), the rhythmic style of rhythmic vocals (orality); DJing (and turntablism), which makes music with DJ recording and mixing players (aural/sound and musical creations); b-boying/b-girling/breakdancing (movement/dance); and graffiti art. Other elements of hip hop subculture and art movements beyond the four main ones are: hip hop culture and historical knowledge of movement (intellectual/philosophical); beatboxing, percussion vocal style; street entrepreneurship; hip hop language; and fashion and hip hop styles, among others. The fifth element is generally regarded as street knowledge, hip hop mode, or beatboxing; However, this is often disputed.

The Bronx hip-hop scene appeared in the mid-1970s of an environmental block party thrown by Black Spades, an African American group that has been portrayed as a gang, club, and music group. The hip hop culture has spread to urban and suburban communities across the United States and then the world. These elements were adapted and developed significantly, especially as art forms spread to new continents and joined the local style in the 1990s and subsequent decades. Even as the movement continues to grow globally and explore different styles and forms of art, including hip hop theater and hip hop movies, the four basic elements provide a strong coherence and foundation for hip hop culture. Hip hop is both a new and old phenomenon; The importance of sampling tracks, beats, and basslines from old recordings to art forms means that many cultures have revolved around the idea of ​​updating classical recordings, attitudes, and experiences for a modern audience. Tasting an older culture and reusing it in a new context or a new format is called "flipping" in the hip hop culture. Hip-hop music follows the traces of earlier-rooted African-American music genres such as blues, jazz, rag-time, funk, and disco to become one of the most practiced genres around the world. This is the language of urban and youth environments around the world. According to KRS-One, "Hip hop is the only place where you see Martin Luther King Jr. 'I Have A Dream Speech' in real life." He also notes that hip hop is beyond something as race, gender, or nationality; it belongs to the world. In 1990, while working with rap group Snap !, Ronald "Bee-Stinger" Savage, a former member of the Zulu Nation, is credited for carving the term "Six elements of the Hip Hop Movement" by being inspired by the Public Enemy's recording.. "The Six Elements Of The Hip Hop Movement" are: Awareness of Awareness, Civil Rights Awareness, Awareness of Activism, Justice, Political Awareness, and Public Awareness in music. Ronald Savage is known as the Son of the Hip Hop Movement.

In the 2000s, with the emergence of new media platforms and Web 2.0, fans found and downloaded or streamed hip hop music through social networking sites starting with Myspace, as well as from websites like YouTube, Worldstarhiphop, SoundCloud, and Spotify.


Video Hip hop



Etimologi

Keith "Cowboy" Wiggins, a member of Grandmaster Flash and Furious Five, has been credited with coining in 1978 while teasing a friend who has just joined the US Army by spreading singing fake "hip/hop/hip/hop "in a way that mimics the rhythm of the marching army. The cowboy then worked the rhythm of "hip hop" onto the stage of the show. This group often performs with a disco artist that will refer to this new type of music by calling it "hip hopper". The name was originally intended as a sign of disrespect but soon came to identify this new music and culture.

The song "Rapper's Delight" by The Sugarhill Gang, released in 1979, begins with the phrase "I say hip, hop hippie the hippie to hip hip hop, and you do not stop". Lovebug Starski - a Bronx DJ who released a single called "The Positive Life" in 1981 - and DJ Hollywood then started using this term when referring to this new disco rap music. Bill Alder, an independent consultant, once said, "There's hardly a time when rap music is underground, one of the so-called rap notes, is a hit monster (" Rapper's Delight "by Sugar Hill Gang in Sugarhill Records) The hip hop pioneer and South Bronx community leader Bambaataa Africa also praised Lovebug Starski as the first person to use the term "hip hop" related to culture.Bambaataa, former leader of Black Spades, also did a lot to further popularize the words "hip hop" first appeared in print on September 21, 1982, at The Village Voice in Bambaataa's profile written by Steven Hager, who also published the first comprehensive history of the culture with St. Martins' Press.

Maps Hip hop



History

1970s

In the 1970s, an underground urban movement known as "hip hop" began to flourish in the Bronx, New York City. It focuses on emceeing (or MCing) over "breakbeats," house parties and neighborhood block party events, held outdoors. Hip-hop music has become a powerful medium to protest the impact of legal institutions on minorities, particularly the police and prisons. Historically, hip hop emerged from the ruins of a post-industrial Bronx and was destroyed, as a form of urban Black and Latino expression in urban areas, which by the public and political discourse have been abolished as marginalized communities. Jamaican-born DJ Clive "Kool Herc" Campbell pioneered the use of "break" percussion dJing in hip hop music. Starting at Herc's house in a high-rise apartment at 1520 Sedgwick Avenue, the movement then spread throughout the region. Herc creates a blueprint for hip hop music and culture by building up Jamaican traditions about impromptu roasting, the type of arrogant poetry, and the spoken music speech. On August 11, 1973 DJ Kool Herc was a DJ at a party back to his sister's school. He extends the note tap by using two recording players, isolating percussive "breaks" by using a mixer to switch between two recordings. Herc's experiment by making music with record players into what we now know as breaking or "scratching."

The second key musical element in hip hop music is emceeing (also called MCing or rapping). Emceeing is the delivery of rhymes and the rhythmic rhythmic play of words, delivered at first without accompaniment and then done more than one tap. The style spoken is influenced by the African-American "capping" style, a show in which men try to defeat each other in the authenticity of their language and try to get support from the listeners. The basic elements of hip hop - boasting raps, rival "posses" (group), uptown "throw-down," and political and social commentary - all present long in African American music. MC and rapping moves back and forth between the dominance of roasting songs packed with a mixture of boasting, slackness and sexual innuendo and a more topical, political, and socially conscious style. MC's role initially was as Master of Ceremony for dance DJ event. MC will introduce the DJ and try to pump the audience. The MC talks in between DJ songs, urging everyone to get up and dance. MC will also tell jokes and use their energetic language and enthusiasm to arouse the masses. Finally, this introduced role evolves into longer sessions of spoken, rhythmic, and rhyming vocabulary, which becomes rap.

In 1979 hip hop music has become a mainstream genre. It spread all over the world in the 1990s with the controversial "gangsta" rap. Herc also developed on break-beat deejaying, where pauses of funk songs - the most suitable parts for dancing, usually percussion-based - were isolated and repeated for the purpose of dance parties throughout the night. This form of music play, using hard funk and rock, forms the basis of hip hop music. Campbell's announcement and pressure for the dancers will lead to a randomized accompaniment and accompanied by a rhythm now known as rap. She dubbed her dancers "break-boys" and "break-girls," or just b-boys and b-girls. According to Herc, "breaking" is also a street slang for "excited" and "act passionately"

DJs such as Grand Wizzard Theodore, Grandmaster Flash, and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching. The approach used by Herc was soon copied widely, and by the late 1970s, the DJs released a 12-inch recording where they would knock taps. Influential songs include "King Tim III (Personality Jock)", "Sugarhill's" Rapper "," and "Rappin" Kurtis Blow, all released in 1979. Herc and other DJs will connect their equipment to the power lines and perform in places such as the public basketball court and at 1520 Sedgwick Avenue, Bronx, New York, now officially a historic building.The equipment consists of many speakers, a turntable, and one or more microphones.By using this technique, DJs can create various music, but according to David Toop's "The Attack of

Street alleys are prevalent in the poverty of the Southern Bronx, and much of the graffiti, rap, and b-boying at these parties are all artistic variations in competition and one-upmanship of street gangs. Sensing that the impulses of violent gang members can be transformed into something creative, Africa Bambaataa founded Zulu Nation, a loose confederation of street dance crews, graffiti artists and rap musicians. In the late 1970s, culture has gained media attention, with Billboard magazine printing an article titled "B Beats Bombarding Bronx", commenting on local phenomena and mentioning influential figures such as Kool Herc. The 1977 New York City blackout saw looting, arson and other disturbances throughout the city largely in the Bronx where looters stole DJ equipment from electronics stores. As a result, the hip-hop genre, almost unknown outside the Bronx at the time, grew at an astounding rate from 1977 onwards.

DJ Kool Herc's home party gained popularity and then moved to open spaces to accommodate more people. Held in parks, these outdoor parties serve as a means of expression and outlets for teenagers, where "instead of troubled on the streets, teenagers now have a place to expend their pent-up energy." Tony Tone, a member of Cold Crush Brothers, stated that "hip hop saved many lives". For urban youth, participating in hip-hop culture becomes a way to overcome the hardships of life as a minority in America, and outlets to deal with the risks of violence and the rise of gang culture. MC Kid Lucky mentions that "people are used to break-dance against each other rather than fight". Inspired by DJ Kool Herc, Africa Bambaataa created a street organization called Universal Zulu Nation, centered around hip hop, as a means to attract teens out of gang life, drugs and violence.

The lyrical content of many early rap groups focused on social issues, especially on the seminar track "The Message" (1982) by Grandmaster Flash and the Furious Five, which discussed the reality of life in residential projects. "Black blacks who came out of the civil rights movement have been using hip hop culture in the 1980s and 1990s to show the limitations of movement." Hip hop gave African Americans a voice to let their problems be heard; "Like rock-and-roll, hip hop is strongly opposed by conservatives because it romanticizes violence, lawlessness, and gangs." It also gives people the opportunity to gain financial benefits by "reducing the entire world to consumers from their social problems."

In late 1979, Debbie Harry of Blondie brought Nile Rodgers of Chic to such an event, as the main backing track used was the pause of Chic's "Good Times". New style influenced Harry, and Blondie then hit single from 1981 "Rapture" became the first major single to contain hip hop elements by white groups or artists to reach number one in the US Billboard Hot 100 - the song itself usually considered a new wave and fuse heavy pop music elements, but there is an extended rap by Harry nearing the end.

1980s

In 1980, Kurtis Blow released her self-titled debut album featuring the single "The Breaks", which became the first certified gold rap song.

In 1982, Africa Bambaataa and Soulsonic Force released an electro-funk track "Planet Rock". Instead of just tapping the disco beat, Bambaataa and producer Arthur Baker created electronic sounds using the Roland TR-808 drum machine and sampling from Kraftwerk. "Planet Rock" is widely regarded as a turning point; combining electro with hip hop, it's "like a lighted one," producing a new genre. The track also helped popularize the 808, which became the cornerstone of hip hop music; Wired and Slate both describe the machine as hip hop equivalent to the Fender Stratocaster, which has dramatically influenced the development of rock music. Other groundbreaking records released in 1982 include "Messages" by Grandmaster Flash and Furious Five, "Nunk" by Warp 9, "Hip Hop, Be Bop (Do not Stop)" by Man Parrish, "Magic Wand" by Whodini, and "Buffalo Gals" by Malcolm McLaren. In 1983, Hashim invented an influential electro funk song "Al-Naafiysh (The Soul)", while Warp 9's "Light Years Away" (1983), "the early 80's base beat box afrofuturism", introduced social conscious themes from a Sci -Fi perspective, paying homage to the music pioneer Sun Ra.

Including graffiti art, MCing/rapping, DJing and b-boying, hip hop became the dominant cultural movement of a minority urban community in the 1980s. The 1980s also saw many artists making social statements through hip hop. In 1982, Melle Mel and Duke Bootee recorded "The Message" (officially credited to Grandmaster Flash and The Furious Five), a song depicting the social conscious statement of Run-DMC "It's Like That" and Public Enemy "Black Steel in Hour of Chaos ". During the 1980s, hip hop also embraced the creations of rhythm using the human body, through the technique of beatboxing vocal percussion. Pioneers like Doug E. Fresh, Biz Markie and Buffy from Fat Boys make taps, rhythms, and sounds of music using mouth, lips, tongue, sounds, and other body parts. The artist "Human Beatbox" will also sing or imitate turntablism scratching or other instrument sounds.

The appearance of the music video changed the entertainment: they often glorify the urban environment. The music video for "Planet Rock" showcased the subcultures of hip hop musicians, graffiti artists, and b-boys/b-girls. Many hip-related movies were released between 1982 and 1985, among them Wild Style, Beat Street, Krush Groove, Breakin , and the War Style documentary. These movies extend the appeal of hip hop beyond the boundaries of New York. In 1984, young people around the world embraced the hip hop culture. Hip hop artwork and the "slang" of US urban communities are rapidly finding their way to Europe, because the global appeal of the culture is rooted. The four traditional hip hop dances are rocking, b-boying/b-girling, locking and popping, all of which trace their origins to the late 1960s or early 1970s.

The female artist has also been at the forefront of hip hop movements since her birth in the Bronx. However, since rap gangsta is a dominant force in hip hop music, there are many songs with misogynical (anti-female) lyrics and many music videos depicting women in a sexual way. Rejection of voice and women's perspective is a problem that has come to define mainstream hip hop music. The recording industry is less willing to support female artists than their male counterparts, and when it comes back, it often places an emphasis on their sexuality over their musical substance and artistic abilities. Since the turn of the century (early 2000s), female hip hop artists have struggled to get the main attention, with only a handful, like older artists like the more contemporary female duo of Salt N 'Pepa like Lil' Kim and Nicki Minaj, achieve platinum status.

1990s

With the commercial success of the rap gangsta in the early 1990s, the emphasis on lyrics shifted to drugs, violence, and hatred towards women. Early supporters of the rap gangsta include groups and artists such as Ice-T, who recorded what was considered the first rap rap, 6N 'the Mornin' , and the NWA whose second album was Niggaz4Life became the first gangsta rap album to enter the charts at number one. Gangsta rap also plays an important role in hip hop becoming the main commodity. Consider albums like NWA's Straight Outta Compton, Eazy-E's Eazy-Duz-It and Amerikkka's Most Wanted Ice Cube sold in such a high number means that black teenagers are no longer the only hip hop buyers. As a result, rap gangsta becomes a platform for artists who choose to use their music to spread political and social messages to parts of the country that were previously unaware of the ghetto conditions. While hip-hop music is now appealing to wider demographics, media critics argue that socially conscious and politically-conscious hip hop has been ignored by American mainstream.

Global Innovation

According to the US State Department, hip hop is "now a center of the great music and industry industry worldwide" that crosses social barriers and crosses racial lines. National geographic recognizes hip hop as "the favorite youth culture in the world" where "almost every country on the planet seems to have developed its own local rap scene." Through its international journey, hip hop is now considered a "global music epidemic". According to The Village Voice , hip hop is "custom-made to fight anomie that preys on teenagers where nobody knows their names."

Voice and hip-hop styles vary from region to region, but there are also examples of fusion genres. The hip hop culture has evolved from a genre that avoided being a genre that was followed by millions of fans around the world. This is made possible by the adaptation of music in different locations, and influences on behavioral styles and clothing. Not all countries embrace hip hop, where "as can be expected in countries with strong local culture, overlapping hip hop styles are not always welcome". This is rather the case in Jamaica, the homeland of the cultural father, DJ Kool Herc. However, although the hip hop music produced on the island lacks local and international recognition, artists like Five Steez have opposed the opportunity by making online hip hop flavor makers and even reggae critics.

Hartwig Vens argues that hip hop can also be seen as a global learning experience. Author Jeff Chang argues that "the essence of hip hop is the code, born in the Bronx, where competition and community feed each other." He also added, "Thousands of organizers from Cape Town to Paris use hip hop in their communities to address environmental justice, policing and prisons, media justice, and education." While hip-hop music has been criticized as a music that creates the distinction between music and western music from around the world, "cross-pollination" music has taken place, which strengthens the power of hip hop to influence different communities. Hip hop messages allow people who are not privileged and who are persecuted to be heard. This cultural translation crosses the border. Although the music may have come from a foreign country, the message is something that many people can associate with something that is not "alien" at all.

Even when hip hop is transplanted into another country, it often maintains its "vital progressive agenda that challenges the status quo." In Gothenburg, Sweden, non-governmental organizations (NGOs) include graffiti and dance to engage immigrant youth and disaffected working class. Hip hop has played a small but distinct role as the musical face of the revolution in the Arab Spring, one such example being the anonymous Libyan musician, Ibn Thabit, whose anti-government songs triggered a revolt.

Commercialization

In the early 1980s, there was no established hip-hop music industry, as it did in 2010, with record labels, record producers, artist and repertoire managers and staff. Politicians and businessmen slander and ignore hip hop movements. Most hip hop artists perform in their local communities and are recorded in underground scenes. However, in the late 1980s, music industry executives realized that they could capitalize on the success of "rap gangsta." They create a formula that creates a "vigorous buffet of hypermasculinity and venerable violence." This rap type is marketed to a new fanbase: white men. They ignore the portrayal of a bitter reality to focus on the sex and violence involved.

In an article for The Village Voice, Greg Tate argues that the commercialization of hip hop is a negative and pervasive phenomenon, writing that "what we call hiphop is now inseparable from what we call the hip hop industry, at where the rich new and rich rich employers get richer ". Ironically, this commercialization coincides with the decline in rap sales and pressure from genre critics. Even other musicians, such as Nas and KRS-ONE have claimed "hip hop is dead" because it has changed so much over the years to serve consumers who have lost the essence that was originally created.

However, in his book In Search Of Africa , Manthia Diawara states that hip hop is really the voice of marginalized people in modern society. He argues that "the worldwide spread of hip hop as a market revolution" is actually "a global expression of the poor's desire for a good life," and that this struggle is in line with "the nationalist struggle for citizenship and possession but also expresses the need to go beyond that struggle and celebrate the redemption of black individuals through tradition. "The problem may not be that female rapper has no equal chance and recognition with their male counterparts; may be the music industry determined by gender bias. Industry executives seem to be betting on the idea that men do not listen to female rapper, so they are given less chance.

As the hip-hop genre has changed since the 1980s, the African-American cultural "tradition" of Christianity describes having little place in mainstream music of hip hop artists. The drive toward materialism and market success by contemporary rappers like Rick Ross, Lil Wayne and Jay Z has annoyed fans and older hip hop artists. They see the genre lose their community-based feelings that focus more on empowering blacks than wealth. The commercialization of this genre overrides its previous political nature and the political and marketing plans of major record labels have forced rappers to make their music and pictures to attract white, affluent and suburban audiences.

After realizing that his friends were making music but not getting a television show other than what was seen on the Video Music Box, Darlene Lewis (model/lyricist), along with Darryl Washington and Dean Carroll, brought hip hop music to First Exposure cable show on the Paragon cable, and then make a television show on Broadway . There, rapper has the opportunity to be interviewed and play their music video. MTV or Soul Video that already existed before in BET. This commercialization has made hip hop less tedious and authentic, but it has also enabled hip hop artists to be successful.

When top-level rappers get richer and start more out of business, this can show a stronger sense of black aspiration. As rappers like Jay-Z and Kanye West establish themselves as artists and entrepreneurs, the younger blacks have hope for achieving their goals. Lenses in which a person perceives the commercialization of a genre can make it appear positive or negative.

Latin pop rapper and Latin Latin like Macklemore, Iggy Azalea, Machine Gun Kelly, Eminem, Miley Cyrus, G-Eazy, Pitbull, Lil Pump, and Post Malone are often criticized for commercializing hip hop and appropriation culture. Miley Cyrus and Katy Perry, though not rapper, have been accused of using culture and commercializing hip hop. Katy Perry, a white woman, was criticized for her hip hop song "Dark Horse". Taylor Swift is also accused of cultural overthrow.

A Political History of Hip-Hop: South Bronx to the Arab Spring ...
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Culture

DJing and turntablism, MCing/rapping, breakdance, graffiti art, and beatboxing are creative outlets that collectively shape their hip hop culture and revolutionary aesthetics. Like the blues, this art is developed by the African American community to enable people to make statements, whether political or emotional and participate in community activities. These practices spread globally around the 1980s as fans can "create their own" and express themselves in new and creative ways in music, dance and other arts.

DJing

DJing and turntablism are techniques for manipulating sounds and creating music and beats using two or more turntable phonographs (or other sound sources, such as cassettes, CDs or digital audio files) and DJ mixers plugged into the PA system. One of the first few DJ hip hop is Kool DJ Herc, who created hip hop in the 1970s through isolation and extended "breaks" (parts of albums that focused only on percussion beats). In addition to developing Herc techniques, DJ Grandmaster Flowers, Grandmaster Flash, Grand Wizzard Theodore, and Grandmaster Caz make further innovations with the introduction of "scratches", which has become one of the key sounds associated with hip hop music.

Traditionally, a DJ will use two turntables simultaneously and mix between the two. It connects to DJ mixers, amplifiers, speakers, and various electronic music equipment such as microphones and effects units. The DJ mixes the two albums that are playing and/or "scratch" by moving one of the recording plays while manipulating the crossfader on the mixer. The result of mixing two recordings is a unique sound created by the combined sound of two separate songs into one song. Although there is a lot of overlap between the two roles, a DJ is not the same as a record producer of a music track. The development of DJing is also influenced by new turntablism techniques, such as beatmatching, a process facilitated by the introduction of new turntable technologies such as Technics SL-1200 MK 2, first sold in 1978, which has variable pitch precice control and direct drive motors. DJs often become avid collector records, which will hunt down secondhand record stores for vague soul records and vintage funk recordings. The DJs helped introduce rare footage and new artists to the club's audience.

In the early years of hip hop, the DJs were the stars, as they created music and new beats with their recording players. While DJs and turntablism continue to be used in hip hop music in 2010, the role of stars has been increasingly being taken by MCs since the late 1970s, due to its innovative and creative MCs such as Kurtis Blow and Melle Mel from the crew of Grandmaster Flash, the Furious Five, which developing strong rap skills. However, a number of DJs have gained stars in recent years. Famous DJs include Flash Grandmaster, Africa Bambaataa, Mr. Magic, DJ Jazzy Jeff, DJ Scratch from EPMD, Premier DJ from Gang Starr, DJ Scott La Rock from Boogie Down Productions, DJ Pete Rock of Pete Rock & amp; CL Smooth, DJ Muggs from Cypress Hill, Jay's Master Jam from Run-DMC, Eric B., DJ Screw from Screwed Up Click and inventor of Chopped & amp; The musical mixing style is chaotic, Funkmaster Flex, Tony Touch, DJ Clue, Mike Mix Mix, Touch-Chill-Out, DJ Red Alert, and DJ Q-Bert. The underground movement of turntablism also appears to focus on DJ skills. In 2010, there was a turntablism competition, where turntablists demonstrated advanced beat and juggling skills.

MCing

Rapping (also known as emceeing, MCing, spitting (bars), or just rhyming) refers to "rhymed lyrics spoken or sung to powerful rhythmic accompaniment". Rap usually features complex wordplay, fast delivery, and various "street slang", some of which are unique to the hip hop subculture. While rap is often done over beat, whether done by DJ, beatboxer, it can also be done without accompaniment. These can be broken down into different components, such as "content", "stream" (rhythm and rhyme), and "sending". Rapping differs from word poems spoken in this case done in time with the beat of music. The use of the word "rap" to describe a quick speech and slang or a long intelligent answer precedes the form of music. MCing is a form of expression embedded in ancient African culture and oral tradition as the entire history of verbal acrobats or jousting involves a common rhyme in the Afro-American community.

Graffiti

Graffiti is the most controversial element of hip hop, as a number of leading graffiti pioneers say they do not consider graffiti as a hip hop element, including Lady Pink, Seen, Blade, Fargo, Cholly Rock, Fuzz One and Coco 144. Lady Pink says, I do not think graffiti is hip hop, but frankly I grew up with disco music.There is a long graffiti background as a separate entity, "and Fargo says," There is no correlation between hip hop and graffiti, someone has nothing to do with the others. " hip hop Grandmaster Flash has also been questioning the relationship between hip hop and graffiti, saying, "You know what's bothering me, they use hip hop with graffiti How are they intertwined?"

In America in the late 1960s, graffiti was used as a form of expression by political activists. Gangs like Savage Skull, La Familia, and Savage Nomads use graffiti to mark territory. JULIO 204 is a Puerto Rico graffiti writer, one of the first graffiti writers in New York City. He was a member of the gang "Savage Skulls", and started writing nicknames in his neighborhood since 1968. In 1971, The New York Times published an article ("Taki 183 'Spawns Pen Pals") about other graffiti writers of similar shape, TAKI 183. According to Julio's article has been writing for several years when Taki started marking his own name around the city. Taki also stated in the article that Julio "broke down and stopped." The writers who follow behind Taki and Tracy 168 will add their street number to their nickname, "bomb" (cover) the train with their work, and let the subway pick it up - and their fame, if it's impressive, or just pervasive, enough - "all cities". Julio 204 never rose to Taki's fame because Julio kept his label localized to his own neighborhood.

One of the most common forms of graffiti is tagging, or action to create a stylizing of your unique name or logo. Marking started in Philadelphia and New York City and has grown worldwide. Spraying public or other people's paintings without their consent may be considered vandalism, and "tagger" may be subject to arrest and prosecution of a crime. Whether legal or not, hip hop culture considers marking of buildings, trains, bridges and other structures as visual art, and considering tags as part of a complex symbol system with its own social code and subculture rules. Such art in some cases is now subject to federal protection in the US, making its abolition illegal.

Bubble letters originally swayed among Bronx writers, despite the elaborate Brooklyn style, Tracy 168 dubbed "wildstyle" would define art. The early trend makers joined in 1970 by artists such as Dondi, Futura 2000, Daze, Blade, Lee, Fab Five Freddy, Zephyr, Rammellzee, Crash, Kel, NOC 167 and Lady Pink.

The relationship between graffiti and hip hop culture arises both from early graffiti artists involved in other aspects of hip hop culture, Graffiti is understood as a visual expression of rap music, as breaking is seen as a physical expression. The 1983 film Wild Style is widely regarded as the first hip-hop movie, featuring prominent figures in the New York graffiti scene during that period. The Underground Arts and Documentary War Style are also among the first public mainstream ways to be introduced into hip hop graffiti. Graffiti remains a part of hip hop, while crossing into the world of mainstream art with exhibitions in galleries around the world.

Breakdancing

Breaking, also called B-boying/B-girling or breakdancing, is a dynamic dance, rhythmic style that evolves as one of the main elements of hip hop culture. Like many aspects of hip hop culture, breakdance borrows heavily from many cultures, including 1930s street dance, Brazilian and Asian martial arts, Russian folk dance, dance movements James Brown, Michael Jackson, and California funk. Breaking took shape in the South Bronx in the 1970s along with other hip-hop elements. Breakdance is usually done with hip hop music accompaniment playing in the boom box or PA system.

According to documentary 2002 The Freshest Kids: A History of the B-Boy, DJ Kool Herc describes "B" in B-boy as short for termination, which at that time is a slang to "go" also one of the original names for the dance. However, at the beginning of the dance it was known as "boing" (the sound of spring making). Dancers at DJ Kool Herc parties keep their best dance moves for the percussion break section, in front of the audience to dance in a distinctive and frenetic style. The "B" in the B-boy or B-girl also stands just for rest, as in boys or girls. Before the 1990s, the presence of B-girls was limited by their gendered minority status, navigating the sexual politics of masculine-dominated scenes, and the lack of representation or encouragement for women to participate in the form. Some B-girls who participated despite facing gender discrimination carved out spaces for women as leaders in breaking communities, and the number of participating B-girls has increased. Breaking is documented in Wars Style , and then given more focus in fictional movies like Wild Style and Beat Street . Early actions include Rock Steady Crew and New York City Breakers.

Beatboxing

Beatboxing is a vocal percussion technique, in which a singer imitates drums and other percussion instruments with his voice. It is mainly concerned with the art of creating a tap or rhythm using the human mouth. The term is derived from the mimicry of first-generation drum machines, later known as beatboxes. It was first popularized by Doug E. Fresh. Since this is a way to create hip hop music, it can be categorized under the elements of hip hop production, although it sometimes includes the kind of rap that intersects the human-created beat. Generally regarded as part of the same hip hop "Pillars" as DJing - in other words, provides background music or a foundation for MC to be raped.

Beatboxer can create their natures naturally, but many of the beatboxing effects are enhanced by using a microphone plugged into the PA system. It helps beatboxers to make their beatboxing loud enough to be heard with rapper, MC, turntablist, and other hip hop artists. Beatboxing was popular in the 1980s with renowned artists like Darren "Buffy, the Human Beat Box" Robinson of Fat Boys and Biz Markie displaying their expertise in the media. This declined in popularity along with b-boying in the late 1980s, but has experienced a resurgence since the late 1990s, marked by the release of "Make the Music 2000." by Rahzel from The Roots.

Beatmaking/producing

Although not described as one of the four core elements that make up hip hop, producing music is another important element. In music, record producers play a similar role in the sound recording filmmakers play in filmmaking. Record producers recruit and select artists (rappers, MCs, DJs, beatboxers, etc.), plan vision for recording sessions, train players in their songs, choose audio engineers, set budgets to recruit artists and technical experts, and oversee the entire project. The exact role of the producer depends on each individual, but some producers work with DJs and drum machine programmers to create taps, train DJs in sample selection of basslines, riffs and catch phrases, advise rapper, vocalist, MC and others. artists, advising players on how to improve their flow and develop a unique personal style. Some manufacturers work with audio engineers to provide ideas about mixing, effects units (eg, Autotuned vocal effects as popularized by T-pain), micing artists, and so on. Producers can independently develop "concepts" or visions for projects or albums, or develop a vision of working with artists and players.

In hip hop, since the beginning of the MC, there are manufacturers who work in the studio, behind the scenes, to create a tap for MC to do rap. Producers can find the beat they like on an old funk, soul or disco record, and then isolate the tap and turn it into a circle. Alternatively, manufacturers can make a tap with a drum machine or by hiring a percussion drumkit to play an acoustic drum. Producers can even mix and coat different methods, such as incorporating a sample disco drum with drum machine tracks and some live percussion parts, newly recorded or direct electric bass players. Knocks created by hip hop producers may include other sections besides drum beats, such as bassline examples of funk or disco songs, dialogue of spoken word recording or movie, or rhythmic "ripping" by turntabs or DJs.

Early Beatmaker was producer Kurtis Blow, who won the credit producer of the year in 1983, 1984, and 1985. Known for the manufacture of samples and sample loops, Blow is regarded as Quincy Jones from early hip hop, a reference to productive Africa American record producers, conductors, arranger , composers, musicians and band leaders. One of the most influential beat makers was J. Dilla, a Detroit producer who chopped samples with a specific beat and would combine them together to create his unique sound. Those who create the beat are well known as beat makers or producers, but manufacturers are known to have more input and direction on the whole of a song or project, while a beat maker only provides or creates a tap. As Dr. said. Dre before "Once you finish the rhythm, you have to produce a recording." The tap making process involves sampling, "cutting", repetition, sequencing, recording, mixing, and mastery.

Most of the beat in hip hop is taken from pre-existing recordings. This means that the producer will take some or "sample" a song and reuse it as an instrumental part, beat or part of their song. Some examples of this are "Footsteps in The Dark Pts. 1 and 2" The Isley Brothers sampled to make Ice Cube's "Today Was a Good Day". Another example is Otis Redding's "Try a Little Tenderness" sampled to make the song "Otis", released in 2011, by Kanye West and Jay-Z.

"Cut" is to dissect the song you are sampling so you "cut" the part or part of the song, whether it's a bass, a rhythm guitar part, a drum break, or any other music you want to use in a tap. Looping is known as a melodic or percussion sequence that repeats itself over a period of time, so basically the producer will create a uniform number of handlebar (eg, four bars or eight bars) repeating itself or "loop" from the full length of the song. This circle provides mentoring for MC to do rap.

The tools needed to make a tap in the late 1970s were funk, soul, and other genres, turntable records, DJ mixers, audio consoles, and Portastudio-style multitrack recording devices that were relatively inexpensive. In the 1980s and 1990s, beat makers and manufacturers used newly developed electronic and digital instruments, such as samplers, sequencers, drum machines, and synthesizers. From the 1970s to the 2010s, various beat makers and producers have used live instruments, such as drum kits or electric bass on some songs. To record a beat or a completed track, beat makers and producers use a variety of sound recording equipment, usually multitrack recorders. The Digital Audio Work Station, also known as DAW, became more common in 2010 for manufacturers. Some of the most commonly used DAWs are FL Studio, Ableton Live, and Pro Tools. DAW has allowed more people to be able to make a knock at their own home studio, without going to the recording studio. Beatmakers who own DAW do not have to buy all the hardware that a recording studio needs in the 1980s (a large 72 channel audio console, multitrack recorder, rakmount effect shelf unit), because DAW 2010 era has everything they need to make a tap on a laptop computer fast good quality.

Beats are an integral part of rap music that many manufacturers have been able to create mixtapes or instrumental albums. Although this instrumental does not have rap, listeners still enjoy inventive ways that the manufacturers have to mix different beats, samples, and instrumental melodies. Examples are 9th Wonder's "Tutenkhamen" and J Dilla's "Donuts". Some hip hop records come in two versions: rhythm with knocking, and instrumental with just a tap. Instrumental in this case is provided so that DJs and turntablists can isolate pauses, taps and other music to create new songs.

READ: Teen Review of the Hip Hop Nutcracker
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Social impact

Effects

Hip hop has made a considerable social impact since the early 1970s. "Hip hop also becomes relevant to the field of education because of its implications for understanding language, learning, identity, and curriculum." Orlando Patterson, a professor of sociology at Harvard University, helped illustrate the phenomenon of how hip-hop has spread rapidly throughout the world. Patterson argues that mass communication is controlled by wealthy people, governments, and big businesses in Third World countries and countries around the world. He also praised mass communication by creating a global cultural hip hop scene. As a result, teenagers are influenced by the American hip hop scene and start their own hip-hop form. Patterson believes that the revitalization of hip hop music will take place around the world as traditional values ​​are mixed with American hip hop music, and ultimately a global exchange process will flourish that brings youth around the world to listen to common forms of hip-hop music.

It has also been argued that rap music is shaped as "a cultural response to historic oppression and racism, a communication system among black communities across the United States." This is due to the fact that culture reflects the social, economic and political realities of the youth who are deprived of their rights. In 2010, hip hop lyrics began to reflect the original social conscious theme. The rapper began to question the strength of the government and its oppressive role in some societies. Rap music has become a tool for political, social, and cultural empowerment outside the US. Members of minority communities - such as Algeria in France, and Turkey in Germany - use rap as a platform to protest against racism, poverty, and social structure.

Language

The development of hip hop linguistics is very complex. Source material includes slave spirits arriving in a new world, Jamaican dub music, jazz and blues singing, cockney patterned slang and radio announcers hypnotizing their audience using rhymes. Hip hop has a distinctive slang language. It is also known by alternate names, such as "Black English", or "Ebonics". Scholars have argued that its development stems from the denial of the racial hierarchy of language, which embraces "English White" as a superior form of educated speech. Due to the commercial success of hip hop in the late 1990s and early 2000s, many of these words have been assimilated into the cultural discourse of several different dialects throughout America and the world and even non-hip hop fans. The word diss for example is very productive. There are also a number of words that precede hip hop, but are often associated with culture, with homie being a noteworthy example. Sometimes, terms like what dilly, yo are popularized by one song (in this case, "Put Your Hand Where My Eyes Can See" by Busta Rhymes) and are only used briefly. One particular example is the Snoop Dogg and E-40 rule-based slang, which adds -izzle or -izz to the end or middle of the word.

Hip hop lyricism has gained a measure of legitimacy in academic and literary circles. Hip Hop linguistics studies are now offered at institutions like the University of Toronto, where poet and writer George Eliot Clarke has taught the potential power of hip hop music to promote social change. Greg Thomas from the University of Miami offers courses at undergraduate and postgraduate levels studying the feminist and assertive nature of the lyrics of Lil 'Kim. Some academics, including Ernest Morrell and Jeffrey Duncan-Andrade, compared hip hop to the modern-day "canon of the West" poet's satyrus, using imagery and creating a mood to criticize society. As quoted in their work "Promoting Academic Awareness with Urban Youth through an Interesting Hip Hop Culture":

Hip Hop lyrics are also known for containing insulting words. In particular, the word "bitch" is seen in countless songs, from the NWA "A Bitch Iz a bitch" to Missy Elliot "She is a Bitch." This is often used in the negative connotation of a woman's banal "dirty money". Some female artists have tried to reclaim the word and use it as a term of empowerment. Regardless, the hip hop community was recently interested in discussing the use of the word "bitch" and whether it is necessary in rap. Not just certain words, but also the choice of which language is the topic of rap is widely debated in international hip hop. In Canada, the use of French non-standard variants, such as Franglais, a mixture of French and English, by groups such as Dead Obies) or Chiac (such as Radio Radio) has strong symbolic implications for Canadian language politics and the debate on Canadian Identity. In the United States, rapper chooses to do rap in English, Spanish, or Spanglish, depending on their own background and the intended audience.

Sensor

Hip-hop music has been censored on radio and TV because of the explicit lyrics of a particular genre. Many songs have been criticized for anti-establishment and sometimes violent messages. The use of obscene words and graphic depiction of violence and sex in music videos and hip hop songs makes it difficult to broadcast on television stations such as MTV, in the form of music videos, and on the radio. As a result, many hip hop recordings are broadcast in censored form, with offensive language "bleeped" or empty from the soundtrack, or replaced with "clean" lyrics. The result - which sometimes makes the lyrics that are left unintelligible or contrary to the original recordings - has become almost as wide as the genre as another aspect of music, and has been parodied in movies like Austin Powers in Goldmember >, where the character Mike Myers Dr Evil - performs in a parody of the hip hop music video ("Hard Knock Life" by Jay-Z) - performs all the blank verses. In 1995, Roger Ebert wrote:

In 1990, Luther Campbell and his group 2 Live Crew filed a lawsuit against Broward County Sheriff Nick Navarro, as Navarro wanted to prosecute stores selling As Nasty As They Wanna Be because of his obscenity and vulgar lyrics. In June 1990, a US district court judge called the album obscene and illegal for sale. However, in 1992, the US Court of Appeals for the Eleventh Circuit overturned obscene decisions from Judge Gonzalez, and the United States Supreme Court refused to hear the appeal of Broward County. Professor Louis Gates testified on behalf of The 2 Live Crew, arguing that the material the profane county alleges actually has important roots in African-American language, games, and literary traditions and must be protected.

Gangsta rap is a hip hop subgenre that reflects the culture of American black youth violence in the city center. This genre was pioneered in the mid-1980s by rappers such as Schoolly D and Ice-T, and was popularized in the latter part of the 1980s by groups such as N.W.A. Ice-T released "6 in the Mornin '", which is often regarded as the first gangsta rap song, in 1986. After the national attention that Ice-T and NWA created in the late 1980s and early 1990s, the rap gangsta became the most subgenres are commercially advantageous from hip hop.

N.W.A is the group most often associated with rap gangsta establishment. Their lyrics are louder, openly confrontational, and surprising than the lyrics of rap songs, displaying unrelenting profanity and, controversially, using the word "nigga". These lyrics are placed on a rough beat, guitar-driven guitar, contributing to the harsh music scene. The first rap gangsta blockbuster album was NWA's Straight Outta Compton , released in 1988. Straight Outta Compton will build West Coast hip hop as a vital genre, and establish Los Angeles as a legitimate rival for the old hip hop capital, New York City. Straight Outta Compton sparked the first major controversy over hip hop lyrics when their song "Fuck tha Police" received a letter from FBI Assistant Director Milt Ahlerich, who strongly expressed the anger of law enforcement over the song.

Controversy surrounded the Ice-T song "Cop Killer" from the album Body Count . The song is meant to speak from the point of view of a criminal who takes revenge on a racist, brutal policeman. Ice-T rock songs angered government officials, the National Rifle Association and various police advocacy groups. As a result, Time Warner Music refused to release the upcoming Ice-T album Home Invasion due to controversy surrounding "Cop Killer". Ice-T stated that the excitement over the song was exaggerated, telling reporters Chuck Philips "... they have made a movie about nurse killer and teacher killer and student killer. [Actor] Arnold Schwarzenegger flies dozens of police as Terminator But I do not hear any who complained about it. "Ice-T advised Philips that the misconception about" Cop Killer "and his censoring attempt had a racial tone:" The Supreme Court says it's okay for a white man to burn the cross in public. even wanted a black man to write a note about a police killer. "

The administration of the senior White House George Bush and Bill Clinton criticized the genre. "The reason why rap is attacked is because it reveals all the contradictions of American culture... What started out as an underground art form has been a vehicle for exposing many of the critical issues that are not usually discussed in American politics.The problem here is that the White House and the wish- as Bill Clinton represents a political system that never intends to deal with urban chaos in the city center, "Sister Souljah told The Times. Until termination on July 8, 2006, BET runs a late-night segment titled BET: Cut to broadcast almost uncensored videos. The show was epitomized by a music video like "Tip Drill" by Nelly, who was criticized for what many see as exploitative portrayals of women, especially the image of a man who swipes a credit card between the butt of a stripper.

Public Enemy "Gotta Give the Peeps What We Need" was censored on MTV, erasing the words "free Mumia". After the attack on the World Trade Center on September 11, 2001, the Oakland, California The Coup group was criticized for cover art on their album Party Music , featuring two group members holding a guitar tuner and two batons as Twin Towers exploded behind them despite the fact that it was made months before the actual show. The group, which has radically lyrical political content and Marxists, says the cover is meant to symbolize the destruction of capitalism. Their record labels pull albums until a new cover can be designed.

Product placement and endorsement

Critics such as Businessweek David Kiley argue that discussions about products in hip hop culture may actually be the result of undisclosed product placement transactions. Such critics allege that the placement of shilling or product takes place in commercial rap music, and that the lyrical reference to the product is actually paid support. In 2005, a plan proposed by McDonald's to pay for rappers to advertise McDonald's products in their music has been leaked to the press. After Russell Simmons made a deal with Courvoisier to promote the brand among hip hop fans, Busta Rhymes recorded the song "Pass the Courvoisier". Simmons insisted that no money changed hands in the deal.

Symbiotic relationships have also been stretched to include car manufacturers, clothing designers and shoemaking companies, and many other companies have used hip hop communities to make their names or give them credibility. One of the recipients was Jacob the Jeweler, a diamond dealer from New York. Jacob Arabo's clients include Sean Combs, Lil 'Kim and Nas. He created pieces of jewelry from precious metals filled with diamonds and gems. As his name is mentioned in the lyrics of his hip hop customer tracks, his profile is rapidly rising. Arabo expanded its brand to include a gem-studded watch that sold for hundreds of thousands of dollars, gaining so much attention that Cartier filed a trademark infringement suit against him for putting diamonds in the face of their watch and selling them unlicensed. The Arabo profile increased steadily until June 2006 was captured by the FBI on money laundering charges.

While some brands welcome support from the hip hop community, one brand that is not is champagne maker Cristal Louis Roederer. A 2006 article from The Economist magazine featured a statement from managing director Frederic Rouzaud about whether brand identification with rap stars could negatively affect their company. The answer is dismissive: "It's a good question, but what can we do? We can not forbid people to buy it I'm sure Dom PÃÆ' Â © rignon or Krug [champagne] would love to have their business." In retaliation, many hip hop icons like Jay-Z and Sean Combs, which previously included references to "Cris", stopped all mention and purchase of champagne. 50 Cent deal with Vitamin Water, Dr. Dre from Beats by Dr. Dre headphone line and Dr. Pepper, and Drake ads with Sprite are successful deals. Although the product placement deal was unpopular in the 1980s, MC Hammer was an early innovator in this type of strategy. With merchandise such as dolls, advertisements for soft drinks and various television shows, Hammer embarked on the trend of rap artists accepted as the main pitcher for the brand.

Media

The hip-hop culture has had wide coverage in the media, especially in relation to television; there are a number of television shows devoted to or about hip hop, including in Europe ("H.I.P.H.O.P." in 1984). For years, BET was the only television channel that tended to play hip hop, but in recent years VH1 and MTV channels have added a large number of hip hop to their game list. Run DMC into the first African American group to appear on MTV. With the advent of the Internet, a number of online sites are starting to offer hip hop related video content.

Magazines

Hip hop magazine describes hip hop culture, including information about rapper and MC, new hip hop music, concerts, events, fashions, and history. The first hip hop publication, The Hip Hop Hit List was published in the 1980s. It contains the first rap music record chart. It was issued by two brothers from Newark, New Jersey, Vincent and Charles Carroll (who are also in the hip hop group known as The Nastee Boyz). They know the art form very well and pay attention to the need for hip hop magazines. The DJs and the rapper have no way to learn about rap style and rap labels. The periodical starts as a rap chart and the first tip sheet for DJs and is distributed through national swimming records and record stores throughout the Tri-State area of ​​New York City. One of the founding publishers, Charles Carroll said, "At that time, all DJs came to New York City to buy their records but most of them did not know what was hot enough to spend money, so we mapped it out." Jae Burnett becomes Vincent Carroll's partner and plays an instrumental role in further developments.

New York tourists from abroad take the publication home with them to other countries to share it, creating world interest in new cultures and art forms. It has a print distribution of 50,000, a circulation rate of 200,000 with more than 25,000 customers. "Hip Hop Hit List" is also the first to define hip hop as a culture that introduces many aspects of art forms such as fashion, music, dance, art and most importantly language. For example, on the main cover includes the tag "All Produced Literature to Meet the Way of Understanding!" which prove their loyalty not only to the culture but also to the streets. Most interviews are written word for word that includes their innovative style of English writing. Some of the earliest charts were written in the style of graffiti format tags but made quite clear to the masses.

Carroll Brothers is also a consultant for many record companies who do not know how to market hip hop music. Vincent Carroll, magazine publishers, then became a great source to market and promote hip hop culture, starting Blow-Up Media, the first hip hop marketing company with offices in the Tribeca district of NYC. At age 21, Vincent employs 15 staff and helps launch some of the biggest and brightest cultural stars (Fugees, Nelly, Outzidaz, feat. Eminem and more). Then other publications of birth include: Hip Hop Connection , XXL , Scratch , The Source and Vibe Many individual cities also produce their own local hip hop bulletins, while hip hop magazines with national distributions are found in several other countries. The 21st century also ushered in the emergence of online media, and hip hop fan sites now offer comprehensive hip-hop coverage every day.

Mode

Clothing, hair, and other styles have been a big part of the social and cultural impact of hip-hop since the 1970s. Although styles have changed over the past few decades, distinctive urban outfits and appearances have become an important way for rappers, breakdancers and other members of the hip-hop community to express themselves. As the popularity of the hip hop music genre increases, so does the effect of fashion. Though there are early items that are identical to hip hop that cross into mainstream culture, such as Run-DMC affinity for Adidas or Wu-Tang Clan who fight for Clarks' Wallabees, not until the commercial peak of hip hop fashion becomes influential. Beginning in the mid to late 1990s, the hip hop culture embraced some

Source of the article : Wikipedia

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