HIP HOP HISTORY
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WHAT WE GONNA DO RIGHT HERE...
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IS GO BACK...
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WAAYYY BACK...
BACK INTO TIME...
@BeddoArt
. . . AS MUSIC AND A CULTURE FORMED DURING THE 1970S IN NEW YORK CITY FROM THE MULTICULTURAL EXCHANGE BETWEEN AFRICAN-AMERICAN YOUTH FROM THE UNITED STATES AND YOUNG PUERTO RICAN AND CHILDREN OF IMMIGRANTS FROM COUNTRIES IN THE CARIBBEAN.
" Hip hop music in its infancy has been described as an outlet and a "voice" for the disenfranchised youth of low-income and marginalized economic areas, as the hip hop culture reflected the social, economic and political realities of their lives. "
MANY OF THE PEOPLE WHO HELPED ESTABLISH HIP HOP CULTURE, INCLUDING DJ KOOL HERC, DJ DISCO WIZ,
GRANDMASTER FLASH, AND AFRIKA BAMBAATAA WERE OF LATIN AMERICAN OR CARIBBEAN ORIGIN. IT IS HARD TO PINPOINT THE EXACT
MUSICAL INFLUENCES THAT MOST AFFECTED THE
SOUND AND CULTURE OF EARLY HIP HOP BECAUSE OF THE
MULTICULTURAL NATURE OF NEW YORK CITY.
HIP HOP'S EARLY PIONEERS WERE INFLUENCED
BY A MIX OF MUSIC FROM THEIR CULTURES AND THE CULTURES THEY
WERE EXPOSED TO AS A RESULT OF THE DIVERSITY OF U.S. CITIES.
NEW YORK CITY EXPERIENCED A HEAVY JAMAICAN HIP HOP
INFLUENCE DURING THE 1990'S. THIS INFLUENCE WAS BROUGHT ON BY CULTURAL SHIFTS PARTICULARLY BECAUSE OF THE HEIGHTENED
IMMIGRATION OF JAMAICANS TO NEW YORK CITY AND THE AMERICAN-BORN
JAMAICAN YOUTH WHO WERE COMING OF AGE DURING THE 1990'S.
A LONG STORY SHORT
CARIBBEAN
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the origins of hip hop
began hundreds of years ago spanning from the caribbean to Africa. Jazz, funk and blues
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AFRICAN
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DJ KOOL HERC
Grandmaster Flash
AFRIKA BAMBAATAA
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THE deep dive
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1970
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CONCEPTION
IN THE 1970S, BLOCK PARTIES WERE INCREASINGLY POPULAR IN NEW YORK CITY, PARTICULARLY AMONG AFRICAN-AMERICAN, CARIBBEAN AND LATINO YOUTH RESIDING IN THE BRONX.
BLOCK PARTIES INCORPORATED DJS, WHO PLAYED POPULAR GENRES OF MUSIC, ESPECIALLY FUNK AND SOUL MUSIC. DUE TO THE POSITIVE RECEPTION, DJS BEGAN ISOLATING THE PERCUSSIVE BREAKS OF POPULAR SONGS. THIS TECHNIQUE WAS COMMON IN JAMAICAN DUB MUSIC, AND WAS LARGELY INTRODUCED INTO NEW YORK BY IMMIGRANTS FROM THE CARIBBEAN, INCLUDING DJ KOOL HERC, ONE OF THE MOST WELL KNOWN PIONEERS OF HIP HOP. |
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THE BASIC ELEMENTS OF
HIP HOP music
HIP HOP music
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BREAKING/CUTTING/SCRATCHING
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MCING & RAPPING
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BECAUSE THE PERCUSSIVE BREAKS IN FUNK, SOUL AND DISCO RECORDS WERE GENERALLY SHORT, HERC & OTHER DJS BEGAN USING TWO TURNTABLES TO EXTEND THE BREAKS.
AUGUST 11, 1973
DJ KOOL HERC WAS THE DJ AT HIS SISTER'S BACK-TO-SCHOOL PARTY when HE EXTENDED THE BEAT OF A RECORD BY USING TWO RECORD PLAYERS, ISOLATING THE PERCUSSION ("BREAKS") and USING A MIXER TO SWITCH BETWEEN THE TWO RECORDS. HERC'S EXPERIMENTS MAKING MUSIC WITH RECORD PLAYERS BECAME WHAT WE NOW KNOW AS BREAKING OR "SCRATCHING". DJS SUCH AS GRAND WIZZARD THEODORE, GRANDMASTER FLASH, AND JAZZY JAY REFINED AND DEVELOPED THE USE OF BREAKBEATS, INCLUDING CUTTING AND SCRATCHING. |
HERC AND OTHER DJS WOULD CONNECT THEIR EQUIPMENT TO POWER LINES AND PERFORM AT PUBLIC BASKETBALL COURTS AND VENUES SUCH AS 1520 SEDGWICK AVENUE, BRONX, NEW YORK, (which is NOW OFFICIALLY A HISTORIC BUILDING because of it). THE EQUIPMENT CONSISTED OF NUMEROUS SPEAKERS, TURNTABLES, AND ONE OR MORE MICROPHONES. BY USING THIS TECHNIQUE, DJS COULD CREATE A VARIETY OF MUSIC, BUT ACCORDING TO RAP ATTACK BY DAVID TOOP "AT ITS WORST THE TECHNIQUE COULD TURN THE NIGHT INTO ONE ENDLESS AND INEVITABLY BORING SONG".
AS TURNTABLE MANIPULATION CONTINUED TO EVOLVE A NEW TECHNIQUE THAT CAME FROM IT WAS NEEDLE DROPPING, CREATED BY GRANDMASTER FLASH. IT IS PROLONGED SHORT DRUM BREAKS BY PLAYING TWO COPIES OF A RECORD SIMULTANEOUSLY AND MOVING THE NEEDLE ON ONE TURNTABLE BACK TO THE START OF THE BREAK WHILE THE OTHER PLAYED. THE APPROACH USED BY HERC WAS SOON
WIDELY COPIED, AND BY THE LATE 1970S, DJS WERE RELEASING 12-INCH RECORDS WHERE THEY WOULD RAP TO THE BEAT. |
Another KEY MUSICAL ELEMENT IN HIP HOP MUSIC IS EMCEEING (ALSO CALLED MCING OR RAPPING). EMCEEING IS THE RHYTHMIC SPOKEN DELIVERY OF RHYMES AND WORDPLAY, DELIVERED AT FIRST WITHOUT ACCOMPANIMENT AND LATER DONE OVER A BEAT.
MASTER OF CEREMONIES
AT A DJ DANCE EVENT THE MC WOULD INTRODUCE THE DJ AND TRY TO PUMP UP THE AUDIENCE. THE MC SPOKE BETWEEN THE DJ'S SONGS, URGING EVERYONE TO GET UP AND DANCE. MCS WOULD ALSO TELL JOKES AND USE THEIR ENERGETIC LANGUAGE AND ENTHUSIASM TO REV UP THE CROWD. EVENTUALLY, THIS INTRODUCING ROLE DEVELOPED INTO LONGER SESSIONS OF SPOKEN, RHYTHMIC WORDPLAY, AND RHYMING, WHICH BECAME RAPPING. IN PART, HERC ALSO CREATED THE BLUEPRINT FOR HIP HOP MUSIC AND CULTURE BY BUILDING UPON THE JAMAICAN TRADITION OF IMPROMPTU TOASTING, A SPOKEN TYPE OF BOASTFUL POETRY AND SPEECH OVER MUSIC.
BOASTING RAPS, RIVAL "POSSES" (GROUPS), UPTOWN "THROW-DOWNS", AND POLITICAL AND SOCIAL COMMENTARY- WERE ALL LONG PRESENT IN AFRICAN AMERICAN MUSIC.
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KC THE PRINCE OF SOUL
A RAPPER-LYRICIST WITH PETE DJ JONES, IS OFTEN CREDITED WITH BEING THE FIRST RAP LYRICIST TO CALL HIMSELF AN "MC". THIS SPOKEN STYLE WAS INFLUENCED BY THE
AFRICAN AMERICAN STYLE OF "CAPPING", A PERFORMANCE WHERE MEN TRIED TO OUTDO EACH OTHER IN ORIGINALITY OF THEIR LANGUAGE AND TRIED TO GAIN THE FAVOR OF THE LISTENERS. PERFORMERS MOVED BACK AND FORTH BETWEEN THE PREDOMINANCE OF
"TOASTING" SONGS PACKED WITH A MIX OF BOASTING, 'SLACKNESS' AND SEXUAL INNUENDO WITH A MORE TOPICAL, POLITICAL, SOCIALLY CONSCIOUS STYLE. |
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1971
1972
1973
the birth of hip hop 1974
1975
1976
1977
1978
1979
THE OLD SCHOOL ERA 1980
1981
1982
1983
"NEW SCHOOL" ERA 1984
1985
1986
THE GOLDEN AGE 1987
1988
GANGSTA RAP SUB GENERE 1989
1990
1991
1992
1993
1994
1995
1996
1997
the * bling * era 1998
1999
2000
2001
2002
2003
2004
2005
2006
the bloG ERa 2007
2008
2009
2010
2011
2012
2013
2014
trap & the rise of sound cloud 2015
2016
2017
2018
2019
2020
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DJ Jazzy Jay
STREET GANGS WERE PREVALENT IN THE POVERTY OF THE SOUTH BRONX, AND MUCH OF THE GRAFFITI, RAPPING, AND B-BOYING AT THESE PARTIES WERE ALL ARTISTIC VARIATIONS ON THE
COMPETITION AND ONE-UPMANSHIP OF STREET GANGS. SENSING THAT GANG MEMBERS' OFTEN VIOLENT URGES COULD BE TURNED INTO CREATIVE ONES, AFRIKA BAMBAATAA FOUNDED THE ZULU NATION, A LOOSE CONFEDERATION OF STREET-DANCE CREWS, GRAFFITI ARTISTS, AND RAP MUSICIANS.
In the late 1970s, Bambaataa formed what became known as the Universal Zulu Nation, a group of socially and politically aware rappers, B-boys, graffiti artists and other people involved in hip hop culture. By 1977, inspired by DJ Kool Herc and DJ Dee, and after Disco King Mario loaned him his first equipment, Bambaataa began organizing block parties all around The South Bronx. He even faced his long-time friend, Disco King Mario in a DJ battle. He then began performing at Adlai E. Stevenson High School and formed the Bronx River Organization, then later simply "The Organization".
Bambaataa had deejayed with his own sound system at The Bronx River Houses' Community Center, with Mr. Biggs, Queen Kenya, and Cowboy, who accompanied him in performances in the community. Because of his prior status in the Black Spades, he already had an established Army party crowd drawn from former members of the gang. Hip hop culture was spreading through the streets via house parties, block parties, gym dances and mix tapes.
DJ KOOL HERC'S HOUSE PARTIES GAINED POPULARITY AND LATER MOVED TO OUTDOOR VENUES TO ACCOMMODATE MORE PEOPLE. HOSTED IN PARKS, THESE OUTDOOR PARTIES BECAME A MEANS OF EXPRESSION AND AN OUTLET FOR TEENAGERS, WHERE "INSTEAD OF GETTING INTO TROUBLE ON THE STREETS, TEENS NOW HAD A PLACE TO EXPEND THEIR PENT-UP ENERGY." TONY TONE, A MEMBER OF THE COLD CRUSH BROTHERS, STATED
"HIP HOP SAVED A LOT OF LIVES". FOR INNER-CITY YOUTH, PARTICIPATING IN HIP HOP CULTURE BECAME A WAY OF DEALING WITH THE HARDSHIPS OF LIFE AS MINORITIES WITHIN AMERICA, AND AN OUTLET TO DEAL WITH THE RISK OF VIOLENCE AND THE RISE OF GANG CULTURE. MC KID LUCKY MENTIONS THAT "PEOPLE USED TO BREAK-DANCE AGAINST EACH OTHER INSTEAD OF FIGHTING". INSPIRED BY DJ KOOL HERC, AFRIKA BAMBAATAA CREATED A STREET ORGANIZATION CALLED UNIVERSAL ZULU NATION, CENTERED AROUND HIP HOP, AS A MEANS TO DRAW TEENAGERS OUT OF GANG LIFE, DRUGS AND VIOLENCE.
HIP HOP MUSIC WAS NOT OFFICIALLY RECORDED FOR PLAY ON RADIO OR TELEVISION UNTIL 1979, LARGELY DUE TO POVERTY DURING THE GENRE'S BIRTH AND LACK OF ACCEPTANCE OUTSIDE GHETTO NEIGHBORHOODS. OLD SCHOOL HIP HOP WAS THE FIRST MAINSTREAM WAVE OF THE GENRE, MARKED BY ITS DISCO INFLUENCE AND PARTY-ORIENTED LYRICS.
BY 1979 HIP HOP MUSIC HAD BECOME A MAINSTREAM GENRE. IT SPREAD ACROSS THE WORLD IN THE 1990S WITH CONTROVERSIAL "GANGSTA" RAP. HERC ALSO DEVELOPED UPON BREAK-BEAT DEEJAYING, WHERE THE BREAKS OF FUNK SONGS—THE PART MOST SUITED TO DANCE, USUALLY PERCUSSION-BASED—WERE ISOLATED AND REPEATED FOR THE PURPOSE OF ALL-NIGHT DANCE PARTIES. THIS FORM OF MUSIC PLAYBACK, USING HARD FUNK AND ROCK, FORMED THE BASIS OF HIP HOP MUSIC. CAMPBELL'S ANNOUNCEMENTS AND EXHORTATIONS TO DANCERS WOULD LEAD TO THE SYNCOPATED, RHYMED SPOKEN ACCOMPANIMENT NOW KNOWN AS RAPPING.' HE DUBBED HIS DANCERS "BREAK-BOYS" AND "BREAK-GIRLS", OR SIMPLY B-BOYS AND B-GIRLS. ACCORDING TO HERC, "BREAKING" WAS ALSO STREET SLANG FOR "GETTING EXCITED" AND "ACTING ENERGETICALLY".
THE LYRICAL CONTENT OF MANY EARLY RAP GROUPS FOCUSED ON SOCIAL ISSUES, MOST NOTABLY IN THE SEMINAL TRACK
"THE MESSAGE" BY GRANDMASTER FLASH AND THE FURIOUS FIVE, WHICH DISCUSSED THE REALITIES OF LIFE IN THE HOUSING PROJECTS. YOUNG BLACK AMERICANS COMING OUT OF THE CIVIL RIGHTS MOVEMENT HAVE USED HIP HOP CULTURE IN THE 80S AND 90S TO SHOW THE LIMITATIONS OF THE HIP HOP MOVEMENT. HIP HOP GAVE YOUNG AFRICAN AMERICANS A VOICE TO LET THEIR ISSUES BE HEARD; LIKE ROCK-AND-ROLL, HIP HOP IS VIGOROUSLY OPPOSED BY CONSERVATIVES BECAUSE IT ROMANTICIZES VIOLENCE, LAW-BREAKING, AND GANGS. IT ALSO GAVE PEOPLE A CHANCE FOR FINANCIAL GAIN BY "REDUCING THE REST OF THE WORLD TO CONSUMERS OF ITS SOCIAL CONCERNS." BOXER MUHAMMAD ALI
ALI USED A "FUNKY DELIVERY" FOR HIS COMMENTS, WHICH INCLUDED "BOASTS, COMICAL TRASH TALK, [AND] THE ENDLESS QUOTABLE" LINES. ACCORDING TO ROLLING STONE, HIS "FREESTYLE SKILLS" (A REFERENCE TO A TYPE OF VOCAL IMPROVISATION IN WHICH LYRICS ARE RECITED WITH NO PARTICULAR SUBJECT OR STRUCTURE) AND HIS "RHYMES, FLOW, AND BRAGGADOCIO " WOULD " ONE DAY BECOME
TYPICAL OF OLD SCHOOL MCS LIKE RUN–D.M.C. AND LL COOL J, THE LATTER CITING ALI AS AN INFLUENCE. THE 80S MARKED THE DIVERSIFICATION OF HIP HOP AS THE GENRE DEVELOPED MORE COMPLEX STYLES AND SPREAD AROUND THE WORLD.
NEW SCHOOL HIP HOP WAS THE GENRE'S SECOND WAVE, MARKED BY ITS ELECTRO SOUND, AND LED INTO GOLDEN AGE HIP HOP, AN INNOVATIVE PERIOD BETWEEN THE MID-1980S AND MID-'90S THAT ALSO DEVELOPED HIP HOP'S OWN ALBUM ERA.
(also commonly known as indie hip-hop or underground rap) is an umbrella term for hip hop music that is outside the general commercial canon. It is typically associated with independent artists, signed to independent labels or no label at all. Underground hip hop is often characterized by socially conscious, positive, or anti-commercial lyrics.
However, there is no unifying or universal theme – AllMusic suggests that it "has no sonic signifiers". "The Underground" also refers to the community of musicians, fans and others that support non-commercial, or independent music. Music scenes with strong ties to underground hip hop include alternative hip hop and conscious hip hop. Many artists who are considered "underground" today were not always so, and may have previously broken the Billboard charts. UNDERGROUND HIP-HOP ENCOMPASSES SEVERAL DIFFERENT STYLES OF MUSIC...
SOME GANGSTA RAPPERS WERE KNOWN FOR MIXING THE POLITICAL AND SOCIAL COMMENTARY OF POLITICAL RAP
WITH THE CRIMINAL ELEMENTS AND CRIME STORIES FOUND IN GANGSTA RAP. N.W.A IS THE GROUP MOST FREQUENTLY ASSOCIATED WITH THE FOUNDING OF GANGSTA RAP. THEIR LYRICS WERE MORE VIOLENT, OPENLY CONFRONTATIONAL, AND SHOCKING THAN THOSE OF ESTABLISHED RAP ACTS, FEATURING INCESSANT PROFANITY AND, CONTROVERSIALLY, USE OF THE WORD "NIGGA". THESE LYRICS WERE PLACED OVER ROUGH, ROCK GUITAR-DRIVEN BEATS, CONTRIBUTING TO THE MUSIC'S HARD-EDGED FEEL. 
THE FIRST BLOCKBUSTER GANGSTA RAP ALBUM WAS
N.W.A'S STRAIGHT OUTTA COMPTON, rELEASED IN 1988. STRAIGHT OUTTA COMPTON WOULD ESTABLISH WEST COAST HIP HOP AS A VITAL GENRE, AND ESTABLISH LOS ANGELES AS A LEGITIMATE RIVAL TO HIP HOP'S LONG-TIME CAPITAL, NEW YORK CITY. STRAIGHT OUTTA COMPTON SPARKED THE FIRST MAJOR CONTROVERSY REGARDING HIP HOP LYRICS WHEN THEIR SONG "FUCK THA POLICE" EARNED A LETTER FROM FBI ASSISTANT DIRECTOR, MILT AHLERICH, STRONGLY EXPRESSING LAW ENFORCEMENT'S RESENTMENT OF THE SONG. CONTROVERSY SURROUNDED
ICE-T'S ALBUM BODY COUNT, IN PARTICULAR OVER ITS SONG "COP KILLER". THE SONG WAS INTENDED TO SPEAK FROM THE VIEWPOINT OF A CRIMINAL GETTING REVENGE ON RACIST, BRUTAL COPS. ICE-T'S ROCK SONG INFURIATED GOVERNMENT OFFICIALS, THE NATIONAL RIFLE ASSOCIATION OF AMERICA AND VARIOUS POLICE ADVOCACY GROUPS. CONSEQUENTLY, TIME WARNER MUSIC REFUSED TO RELEASE ICE-T'S UPCOMING ALBUM HOME INVASION BECAUSE OF THE CONTROVERSY SURROUNDING "COP KILLER". ICE-T SUGGESTED THAT THE FUROR OVER THE SONG WAS AN OVERREACTION, TELLING JOURNALIST CHUCK PHILIPS "...THEY'VE DONE MOVIES ABOUT NURSE KILLERS AND TEACHER KILLERS AND STUDENT KILLERS. [ACTOR] ARNOLD SCHWARZENEGGER BLEW AWAY DOZENS OF COPS AS THE TERMINATOR. BUT I DON'T HEAR ANYBODY COMPLAINING ABOUT THAT." IN THE SAME INTERVIEW, ICE-T SUGGESTED TO PHILIPS THAT THE MISUNDERSTANDING OF COP KILLER AND THE ATTEMPTS TO CENSOR IT HAD RACIAL OVERTONES: "THE SUPREME COURT SAYS IT'S OK FOR A WHITE MAN TO BURN A CROSS IN PUBLIC. BUT NOBODY WANTS A BLACK MAN TO WRITE A RECORD ABOUT A COP KILLER." 
"THE REASON WHY RAP IS UNDER ATTACK IS BECAUSE IT EXPOSES ALL THE CONTRADICTIONS OF AMERICAN CULTURE ...WHAT STARTED OUT AS AN UNDERGROUND ART FORM HAS BECOME A VEHICLE TO EXPOSE A LOT OF CRITICAL ISSUES THAT ARE NOT USUALLY DISCUSSED IN AMERICAN POLITICS. THE PROBLEM HERE IS THAT THE WHITE HOUSE AND WANNA-BES LIKE BILL CLINTON REPRESENT A POLITICAL SYSTEM THAT NEVER INTENDS TO DEAL WITH INNER CITY URBAN CHAOS"
SISTER SOULJAH TOLD THE TIMES.  SCHOOLLY D
ALTHOUGH THE GANGSTA RAP SUBGENRE FOCUSED ON THE VIOLENT LIFESTYLES AND IMPOVERISHED CONDITIONS OF INNER-CITY AFRICAN AMERICAN YOUTH, GANGSTA RAP STILL GAINED MUCH POPULARITY AT THIS TIME. DUE TO THE INFLUENCE OF ICE-T AND N.W.A, GANGSTA RAP IS OFTEN VIEWED AS A PRIMARILY WEST COAST PHENOMENON, DESPITE THE CONTRIBUTIONS OF EAST COAST ACTS LIKE SCHOOLLY D AND BOOGIE DOWN PRODUCTIONS IN SHAPING THE GENRE. WEST COAST HIP HOP WAS DOMINATED BY G-FUNK IN THE EARLY-MID 1990S,
WHILE EAST COAST HIP HOP WAS DOMINATED BY JAZZ RAP, ALTERNATIVE HIP HOP, AND HARDCORE RAP. HIP HOP CONTINUED TO DIVERSIFY AT THIS TIME WITH OTHER REGIONAL STYLES EMERGING, SUCH AS SOUTHERN RAP AND ATLANTA HIP HOP. The East Coast–West Coast hip hop rivalry
was a feud from 1991 to 1997 between artists and fans of the East Coast hip hop and West Coast hip hop scenes in the United States, especially '94 - '97.
THIS RIVALRY STARTED BEFORE THE RAPPERS THEMSELVES
HIT THE SCENE. BECAUSE NEW YORK IS THE BIRTHPLACE OF HIP-HOP, ARTISTS FROM THE WEST COAST FELT AS IF THEY WERE NOT RECEIVING THE SAME MEDIA COVERAGE AND PUBLIC ATTENTION AS THE EAST COAST. AS TIME WENT ON BOTH RAPPERS BEGAN TO GROW IN FAME AND AS THEY BOTH BECAME MORE KNOWN THE TENSIONS CONTINUED TO ARISE. EVENTUALLY BOTH ARTISTS WERE FATALLY SHOT FOLLOWING DRIVE-BY SHOOTINGS BY UNKNOWN ASSAILANTS.
IN 1996 AND 1997, RESPECTIVELY.
HIP HOP
BECAME A BEST-SELLING GENRE IN THE MID-90S & THE TOP-SELLING MUSIC GENRE BY 1999. DR. DRE REMAINED AN IMPORTANT FIGURE IN THIS ERA, MAKING HIS COMEBACK IN 1999 WITH THE ALBUM 2001. IN 2000, HE PRODUCED THE MARSHALL MATHERS LP BY EMINEM, AND ALSO PRODUCED 50 CENT'S 2003 ALBUM GET RICH OR DIE TRYIN', WHICH DEBUTED AT NUMBER ONE ON THE U.S. BILLBOARD 200 CHARTS. JAY-Z REPRESENTED THE CULTURAL TRIUMPH OF HIP HOP IN THIS ERA. AS HIS CAREER PROGRESSED, HE WENT FROM PERFORMING ARTIST TO ENTREPRENEUR, LABEL PRESIDENT, HEAD OF A CLOTHING LINE, CLUB OWNER, AND MARKET CONSULTANT—ALONG THE WAY BREAKING ELVIS PRESLEY'S RECORD FOR MOST NUMBER ONE ALBUMS ON THE BILLBOARD MAGAZINE CHARTS BY A SOLO ARTIST.
GLITCH HOP AND WONKY MUSIC
CRUNK MUSIC
STARTING IN 2005, SALES OF HIP HOP MUSIC IN
THE UNITED STATES BEGAN TO SEVERELY WANE, LEADING TIME MAGAZINE TO QUESTION IF MAINSTREAM HIP-HOP WAS "DYING." STARTING IN 2005, SALES OF HIP HOP MUSIC IN
THE UNITED STATES BEGAN TO SEVERELY WANE, LEADING TIME MAGAZINE TO QUESTION IF MAINSTREAM HIP-HOP WAS "DYING." BILLBOARD MAGAZINE FOUND THAT, SINCE 2000, RAP SALES DROPPED 44%, AND DECLINED TO 10% OF ALL MUSIC SALES, WHICH, WHILE STILL A COMMANDING FIGURE WHEN COMPARED TO OTHER GENRES, IS A SIGNIFICANT DROP FROM THE 13% OF ALL MUSIC SALES WHERE RAP MUSIC REGULARLY PLACED. ACCORDING TO COURTLAND MILLOY OF THE WASHINGTON POST, FOR THE FIRST TIME IN FIVE YEARS, NO RAP ALBUMS WERE AMONG THE TOP 10 SELLERS IN 2006. NPR CULTURE CRITIC ELIZABETH BLAIR NOTED THAT, "SOME INDUSTRY EXPERTS SAY YOUNG PEOPLE ARE FED UP WITH THE VIOLENCE, DEGRADING IMAGERY AND LYRICS." HOWEVER, THE 2005 REPORT GENERATION M: MEDIA IN THE LIVES OF 8–18 YEAR-OLDS FOUND THAT HIP HOP MUSIC IS BY FAR THE MOST POPULAR MUSIC GENRE FOR CHILDREN AND TEENAGERS WITH 65 PERCENT OF 8- TO-18-YEAR-OLDS LISTENING TO IT ON A DAILY BASIS.
THE ALTERNATIVE HIP HOP MOVEMENT WAS NOT LIMITED
ONLY TO THE UNITED STATES, AS RAPPERS SUCH AS SOMALI-CANADIAN POET K'NAAN, JAPANESE RAPPER SHING02, AND SRI LANKAN BRITISH ARTIST M.I.A. ACHIEVED CONSIDERABLE WORLDWIDE RECOGNITION. IN 2009, TIME MAGAZINE PLACED M.I.A IN THE TIME 100 LIST OF "WORLD'S MOST INFLUENTIAL PEOPLE" FOR HAVING "GLOBAL INFLUENCE ACROSS MANY GENRES." GLOBAL-THEMED MOVEMENTS HAVE ALSO SPRUNG OUT OF THE INTERNATIONAL HIP-HOP SCENE WITH MICROGENRES LIKE "ISLAMIC ECO-RAP" ADDRESSING ISSUES OF WORLDWIDE IMPORTANCE THROUGH TRADITIONALLY DISENFRANCHISED VOICES. DUE IN PART TO THE INCREASING USE OF MUSIC DISTRIBUTION THROUGH SOCIAL MEDIA AND BLOGGING, MANY ALTERNATIVE AND NON-ALTERNATIVE RAPPERS FOUND ACCEPTANCE BY FAR-REACHING AUDIENCES, HENCE WHY THIS ERA OF HIP HOP IS SOMETIMES TERMED THE "BLOG ERA".
ALSO AT THIS TIME, THE AUTO-TUNE VOCAL EFFECT WAS BOLSTERED IN POPULARITY BY RAPPER T-PAIN, WHO ELABORATED ON THE EFFECT AND MADE ACTIVE USE OF AUTO-TUNE IN HIS SONGS. HE CITES NEW JACK SWING PRODUCER TEDDY RILEY AND FUNK ARTIST ROGER TROUTMAN'S USE OF THE TALK BOX AS INSPIRATIONS FOR HIS OWN USE OF AUTO-TUNE. T-PAIN BECAME SO ASSOCIATED WITH AUTO-TUNE THAT HE HAD AN IPHONE APP NAMED AFTER HIM THAT SIMULATED THE EFFECT,
CALLED "I AM T-PAIN". EVENTUALLY DUBBED THE "T-PAIN EFFECT", THE USE OF AUTO-TUNE BECAME A POPULAR FIXTURE OF LATE 2000S AND EARLY 2010S HIP HOP, EXAMPLES BEING SNOOP DOGG'S "SEXUAL ERUPTION", LIL WAYNE'S "LOLLIPOP", KANYE WEST'S ALBUM 808S & HEARTBREAK, AND THE BLACK EYED PEAS' NUMBER-ONE HIT "BOOM BOOM POW". During the late 2000s and early 2010s "blog era" rappers were
able to build up a following through online methods of music distribution, such as social media and blogs, and mainstream hip hop took on a more melodic, sensitive direction following the commercial decline of gangsta rap. Trap music is a subgenre of Southern rap that originated in the early 1990s. It grew in the 2000s to become a mainstream sensation, eventually reaching ubiquity in the mid-late 2010s and frequently having songs top the Billboard hip hop charts.
It is typified by double or triple-time sub-divided hi-hats, heavy kick drums from the Roland TR-808 drum machine, layered synthesizers and an overall dark, ominous or bleak atmosphere. The strong influence of the sound led to other artists within the genre to move towards the trap sound, with a notable example being Jay-Z and Kanye West on their joint song, "H•A•M". Other artists not within the hip hop genre have also experimented with trap, such as "7/11" by Beyoncé and "Dark Horse" by Katy Perry featuring Juicy J. Lil Nas X was one of the rappers to emerge in the 2010s. He garnered mainstream success in 2019. He is also the first successful openly gay rapper.Major artists to arise from the genre in the 2010s include Lil Nas X, Waka Flocka Flame, Future, Chief Keef, Migos, Young Thug, Travis Scott, Kodak Black, 21 Savage, Yung Lean, Lil Uzi Vert, XXXTentacion, Ski Mask the Slump God, Juice Wrld, Trippie Redd, Lil Pump, Smokepurpp, Rae Sremmurd, Tekashi 6ix9ine, NBA YoungBoy, Lil Baby, Fetty Wap, among others. Female rappers Nicki Minaj, Cardi B, Saweetie, Doja Cat, Iggy Azalea, City Girls and Megan Thee Stallion also entered the mainstream. Trap artists that originated in the 2000s were able to recapture mainstream success in the 2010s with the rise of trap, including 2 Chainz, Gucci Mane and Juicy J, becoming more successful in the latter part of their career than when they debuted. Trap producers to reach mainstream success include Metro Boomin, Pi'erre Bourne, London on da Track, and Mike Will Made-It. Critics of the trap genre have used the term "mumble rap" to describe the heavily auto-tuned, and sometimes hard to understand- delivery of verses from a majority of the artists.
Artists LONG-STANDING within the genre have had their own comments regarding the rise of mumble rap, such as Rick Rubin stating that Eminem was confused by it, and Snoop Dogg claiming that he can't differentiate between artists. Black Thought, lead rapper from the Roots, stated that the "game has changed. It's different. The standards are different, the criteria that's taken into consideration in determining validity is different. We're at a point in history where lyricism almost comes last in very many regards." ON JULY 17, 2017, FORBES REPORTED THAT HIP HOP/R&B
(WHICH NIELSEN SOUNDSCAN CLASSIFIES AS BEING THE SAME GENRE) HAD USURPED ROCK AS THE MOST CONSUMED MUSICAL GENRE, BECOMING THE MOST POPULAR GENRE IN MUSIC FOR THE FIRST TIME IN U.S. HISTORY. IN THE 2010S, ATLANTA HIP HOP DOMINATED THE MAINSTREAM. IN THE LATE 2010S AND EARLY 2020S, BROOKLYN DRILL BECAME POPULAR SINCE POP SMOKE EMERGED BEFORE HIS DEATH. THE 2020S DECADE BEGAN WITH RODDY RICCH AS THE FIRST RAPPER TO HAVE A BILLBOARD HOT 100 NUMBER-ONE ENTRY. THE TRAP AND MUMBLE RAP SUBGENRES HAD BECOME THE MOST POPULAR FORM OF HIP HOP DURING THE MID-LATE 2010S AND EARLY 2020S.
IN 2017, ROCK MUSIC WAS USURPED BY HIP HOP AS THE MOST POPULAR GENRE IN THE UNITED STATES.
World hip hop music
Hip hop music expanded beyond the US, often blending local styles with hip hop. Hip hop has globalized into many cultures worldwide, as evident through the emergence of numerous regional scenes. It has emerged globally as a movement based upon the main tenets of hip hop culture. The music and the art continue to embrace, even celebrate, its transnational dimensions while staying true to the local cultures to which it is rooted. Hip-hop's impact differs depending on each culture. Still, the one thing virtually all hip hop artists worldwide have in common is that they acknowledge their debt to those African American people in New York who launched the global movement. LATINOS AND PEOPLE FROM THE CARIBBEAN
PLAYED AN INTEGRAL ROLE IN THE EARLY DEVELOPMENT OF HIP HOP IN NEW YORK, AND THE STYLE SPREAD TO ALMOST EVERY COUNTRY IN THAT REGION. HIP HOP FIRST DEVELOPED IN THE SOUTH BRONX, WHICH HAD A HIGH LATINO, PARTICULARLY PUERTO RICAN, POPULATION IN THE 1970S. SOME FAMOUS RAPPERS FROM NEW YORK CITY OF PUERTO RICAN ORIGIN ARE THE LATE BIG PUN, FAT JOE, AND ANGIE MARTINEZ. WITH LATINO RAP GROUPS LIKE CYPRESS HILL ON THE AMERICAN CHARTS, MEXICAN RAP ROCK GROUPS, SUCH AS CONTROL MACHETE, ROSE TO PROMINENCE IN THEIR NATIVE LAND.
Reggaeton, a Puerto Rican style of music, has a lot of similarities with U.S.-based hip hop. Both were influenced by Jamaican music, and both incorporate rapping and call and response. Dancehall music and hip HOP 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. Some of REGGAETÓN'S most popular artists include Don Omar, Tego Calderón, and Daddy Yankee
In Europe, Africa, and Asia, hip hop began to move from the underground to mainstream audiences. In Europe, hip hop was the domain of both ethnic nationals and immigrants.
British hip hop, for example, became a genre of its own and spawned artists such as Wiley, Dizzee Rascal, the Streets and many more. Germany produced the well-known Die Fantastischen Vier as well as several Turkish performers like the controversial Cartel, Kool Savaş, and Azad. Similarly, France has produced a number of native-born stars, such as IAM and Suprême NTM, MC Solaar, Rohff, Rim'K or Booba. In the Netherlands, important nineties rappers include the Osdorp Posse, a crew from Amsterdam, Extince, from Oosterhout, and Postmen. Italy found its own rappers, including Jovanotti and Articolo 31, grow nationally renowned, while the Polish scene began in earnest early in the decade with the rise of PM Cool Lee. In Romania, B.U.G. Mafia came out of Bucharest's Pantelimon neighborhood, and their brand of gangsta rap underlines the parallels between life in Romania's Communist-era apartment blocks and in the housing projects of America's ghettos. One of the countries outside the US where hip-hop is most popular is the United Kingdom. Grime, a genre of music derived from UK Garage and drum and bass and influenced by hip hop, emerged in the early 2000s with artists such as Dizzee Rascal becoming successful. Although it is immensely popular, many British politicians criticize the music for what they see as promoting theft and murder, similar to gangsta rap in America. These criticisms have been deemed racist by the mostly 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!
Israel's hip hop grew greatly in popularity at the end of the decade, with several stars both Palestinian (Tamer Nafar) and Israeli (Subliminal). In Portugal hip hop has his own kind of rapping, which is more political and underground scene, they are known for Valete, Dealema and Halloween. Russian hip hop emerged during last years of Soviet Union and cemented later, with groups like Malchishnik and Bad Balance enjoying mainstream popularity in the 1990s, while Ligalize and Kasta were popular in the 2000s. In former Yugoslavia hip hop first appeared during the 1980s mostly with Serbian hip hop with performers such as B-boy, the Master Scratch Band, Badvajzer, and others. During the late 1990s hip hop had a boom, with Rambo Amadeus and later Beogradski sindikat becoming a major performer. Bosnian and Herzegovinian hip hop is nowadays dominated by Edo Maajka. In the region hip hop is often used as a political and social message in song themes such as war, profiteering, corruption, etc. Frenkie, another Bosnian rapper, is associated with Edo Maajka, and has collaborated beyond Bosnian borders.
HIP-HOP HAS REACHED
THE CULTURAL CORRIDORS OF THE GLOBE AND HAS BEEN ABSORBED AND REINVENTED AROUND THE WORLD. " IF YOU DON'T KNOW, NOW YOU KNOW " |
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