Хип-хоп музыка
| Хип-хоп | |
|---|---|
| Стилистическое происхождение | |
| Культурное происхождение | 11 августа 1973 года, Бронкс , Нью-Йорк, США. [2] [3] [4] |
| Типовые инструменты |
|
| Производные формы | |
| Subgenres | |
(complete list) | |
| Fusion genres | |
Regional fusion genres | |
| Regional scenes | |
Regional scenes | |
| Local scenes | |
Local scenes | |
| Other topics | |
 2024 in hip hop music | |
Хип-хоп или хип-хоп , также известный как рэп , а ранее диско-рэп . [7] [8] — жанр популярной музыки , зародившийся в начале 1970-х годов среди афроамериканцев и афро-карибских иммигрантов в Бронксе . [9] [10] [11] [12] район . Нью-Йорка [13] [14] [15] Хип-хоп зародился как жанр, направленный против наркотиков и насилия. [16] Состоит из стилизованной ритмичной музыки (обычно построенной на барабанных боях ), которая часто сопровождает рэп , ритмическую подачу поэтической речи. [17] В начале 1990-х годов профессор афроамериканских исследований в Университете Темпл сказал: «Хип-хоп — это то, что чернокожие могут безоговорочно считать своим». [18] К 21 веку круг рэперов изменился как по расе, так и по полу. Музыка развивалась как часть более широкой хип-хоп культуры , субкультуры, определяемой четырьмя ключевыми стилистическими элементами: MC /рэп, диджеинг/ скрэтчинг с вертушками , брейк-данс и искусство граффити . [19][20][21] While often used to refer solely to rapping and rap music, "hip hop" more properly denotes the practice of the entire subculture.[22][23] The term hip hop music is sometimes used synonymously with the term rap music,[17][24] though rapping is not a required component of hip hop music; the genre may also incorporate other elements of the culture, including DJing, turntablism, scratching, beatboxing, and instrumental tracks.[25][26]
Hip hop as both a musical genre and a culture was formed during the 1970s, when block parties became increasingly popular in New York City, particularly among African American youth residing in the Bronx.[27] At block parties, DJs played percussive breaks of popular songs using two turntables and a DJ mixer to be able to play breaks from two copies of the same record, alternating from one to the other and extending the "break".[28] Hip-hop's early evolution occurred as sampling technology and drum machines became widely available and affordable. Turntablist techniques such as scratching and beatmatching developed along with the breaks. Rapping developed as a vocal style in which the artist speaks or chants along rhythmically with an instrumental or synthesized beat.
Hip hop music was not officially recorded to play on radio or television until 1979, largely due to poverty during the genre's birth and lack of acceptance outside ghetto neighborhoods.[29] Old-school hip hop was the first mainstream wave of the genre, marked by its disco influence and party-oriented lyrics. The 1980s 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-1990s that also developed hip hop's own album era. The gangsta rap subgenre, focused on the violent lifestyles and impoverished conditions of inner-city African American youth, gained popularity at this time. 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 hip hop. Hip hop continued to diversify at this time with other regional styles emerging, such as Southern rap and Atlanta hip hop. Hip hop became a best-selling genre in the mid-1990s and the top-selling music genre by 1999.
The popularity of hip hop music continued through the late 1990s to early-2000s "bling era" with hip hop influences increasingly finding their way into other genres of popular music, such as neo soul, nu metal, and R&B. The United States also saw the success of regional styles such as crunk, a Southern genre that emphasized the beats and music more than the lyrics, and alternative hip hop began to secure a place in the mainstream, due in part to the crossover success of its artists. 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. The trap and mumble rap subgenres have 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. In recent years, hip hop's influence has transcended musical boundaries, impacting fashion, language, and cultural trends worldwide.[30][31][32]
Amidst its evolution, hip hop has also been a vehicle for social commentary and political expression, reflecting the struggles and aspirations of marginalized communities. From its roots in the Bronx to its global reach today, hip hop has served as a voice for the disenfranchised, shedding light on issues such as racial inequality, poverty, and police brutality.[33] Artists such as Public Enemy, Tupac Shakur, and Kendrick Lamar have used their platforms to address systemic injustices, fostering dialogue and inspiring activism. Hip hop's ability to confront societal issues while simultaneously providing a form of empowerment and self-expression has solidified its significance beyond mere entertainment, making it a significant cultural force worldwide.[34]
Origin of the term
The phrase "hippity hop" of unknown origin goes to least back to the 1800s and appears in a poem, "Spring Weather", written by Elizabeth Cummings published in an 1882 children's magazine called Wide Awake[35]. The poem begins "Hippity hop to the candy Shop four little men in a row" and the phrase appears a few more times. In an article in Medium (website), Jeff Chang (journalist) writes: "Father Amde Hamilton of the influential rap precursors the Watts Prophets once told me that, when he was growing up along Central Avenue in 1950s Los Angeles, the older folks used to call teen house parties 'them old hippity hops.'"
The origin of the precise term Hip Hop is unknown but the earliest known documented instance of "hip hop" as a compound phrase is in a song about dancing in by the Doo Wop group the Dovells in 1963 called You Can't Sit Down, the lyric is: "...you gotta slop, bop, flip flop, hip hop, never stop"[36]. However it's in a list of rhyming words, is not emphasized as a phrase in the song and may have not been known about by Keef Cowboy, rapper with Grandmaster Flash and the Furious Five who is sometimes credited with the term as it relates to Hip Hop as we know it today (although it was not documented).[37] Lovebug Starski, Keef Cowboy, and DJ Hollywood used the term when the music was still known as disco rap.[38] It is believed that Cowboy created the term while teasing a friend who had just joined the U.S. Army, by scat singing the words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of soldiers marching.[37] Cowboy later worked the "hip hop" cadence into a part of his stage performance. For example, he would say something along the lines of "I said a hip-hop, a hibbit, hibby-dibby, hip-hip-hop and you don't stop",[39] which was quickly used by other artists such as The Sugarhill Gang in "Rapper's Delight".[37] Universal Zulu Nation founder Afrika Bambaataa, also known as "the Godfather", is credited with first using the term to describe the subculture in which the music belonged; although it is also suggested that it was a derogatory term to describe the type of music.[40] The term was first used in print to refer to the music by reporter Robert Flipping Jr. in a February 1979 article in the New Pittsburgh Courier,[41][42] and to refer to the culture in a January 1982 interview of Afrika Bambaataa by Michael Holman in the East Village Eye.[43] The term gained further currency in September of that year in another Bambaataa interview in The Village Voice,[44] by Steven Hager, later author of a 1984 history of hip hop.[45]
There are disagreements about whether or not the terms "hip hop" and "rap" can be used interchangeably, even amongst its most knowledgeable proponents.[8] The most common view is that hip-hop is a cultural movement that emerged in the South Bronx in New York City during the 1970s, with MCing (or rapping) being one of the primary four elements.[8] Hip hop's other three essential elements are graffiti art (or aerosol art), break dancing, and DJing. Rap music has become by far the most celebrated expression of hip hop culture, due to being the easiest to market to a mass audience.[8]
1970s: origins and early years
Musical genres from which hip hop developed include funk, blues, jazz and rhythm and blues recordings from the 1960s, 1950s, and earlier, including several records by Bo Diddley[citation needed] and gospel group The Jubalaires, whose 1946 song "Noah" is often named as the first recorded instance of rap.[46][47]Muhammad Ali's 1963 spoken-word album I Am the Greatest is regarded by some writers as an early example of hip hop.[48][49][better source needed] Pigmeat Markham's 1968 single "Here Comes the Judge" is one of several songs said to be the earliest hip hop record.[50] Leading up to hip hop, there were spoken-word artists such as the Last Poets who released their debut album in 1970, and Gil Scott-Heron, who gained a wide audience with his 1971 track "The Revolution Will Not Be Televised". These artists combined spoken word and music to create a kind of "proto-rap" vibe.[51]
Hip hop as music and culture formed during the 1970s in New York City from the multicultural exchange between African Americans and children of immigrants from countries in the Caribbean, most notably Jamaica.[52] Hip hop music in its infancy has been described as an outlet and a voice for the disenfranchised youth of marginalized backgrounds and low-income areas, as the hip hop culture reflected the social, economic and political realities of their lives.[53][54] Many of the people who helped establish hip hop culture, including DJ Kool Herc, DJ Disco Wiz, Grandmaster Flash, and Afrika Bambaataa were of Latin American or Caribbean origin.
It is hard to pinpoint the exact musical influences that most affected the sound and culture of early hip hop because of the multicultural nature of New York—hip hop's early pioneers were influenced by a mix of cultures, due to the city's diversity.[55] The city experienced a heavy Jamaican hip hop influence during the 1990s. This influence was brought on by cultural shifts particularly because of the heightened immigration of Jamaicans to New York and the American-born Jamaican youth who were coming of age during the 1990s.
In the 1970s, block parties became increasingly popular in New York, particularly among African American, Caribbean and Hispanic 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,[57] and was largely introduced into New York by immigrants from the Caribbean, including DJ Kool Herc, one of the pioneers of hip hop.[58][59] Herc has repeatedly denied any direct connections between Jamaican musical traditions and early hip hop, stating that his own biggest influence was James Brown, from whom he says rap originated.[60] Even before moving to the U.S., Herc says his biggest influences came from American music:
I was listening to American music in Jamaica and my favorite artist was James Brown. That's who inspired me. A lot of the records I played were by James Brown.[61]
Herc also says that he was not influenced by Jamaican sound system parties, as he was too young to experience them when he was in Jamaica.[62]
Later in a 2020 interview, Herc stated that he wanted Jamaica to reclaim Hip Hop “because we are the ones who bought the style and the technique to America, which [later] became hip-hop.”[63]
Because the percussive breaks in funk, soul and disco records were generally short, Herc and other DJs began using two turntables to extend the breaks. On August 11, 1973, DJ Kool Herc was the DJ at his sister's back-to-school party. He extended the beat of a record by using two record players, isolating the percussion "breaks" by using a mixer to switch between the two records. Herc's experiments with making music with record players became what we now know as breaking or "scratching".[64]
A second 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 beats. 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.[65] The basic elements of hip hop—boasting raps, rival "posses" (groups), uptown "throw-downs", and political and social commentary—were all long present in African American music. MCing and rapping performers moved back and forth between the predominance of songs packed with a mix of boasting, 'slackness' and sexual innuendo and a more topical, political, socially conscious style. The role of the MC originally was as a Master of Ceremonies for 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.
By 1979, hip hop music had become a mainstream genre. Herc also developed upon break-beat deejaying,[66] 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".[67]
DJs such as Grand Wizzard Theodore, Grandmaster Flash, and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching.[69] As turntable manipulation continued to evolve a new technique that came from it was needle dropping. Needle dropping was 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.[70] 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. Popular tunes included Kurtis Blow's "The Breaks" and the Sugarhill Gang's "Rapper's Delight".[71] Herc and other DJs would connect their equipment to power lines and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, now officially a historic building.[72] The equipment consisted of numerous speakers, turntables, and one or more microphones.[73] 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".[74] 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".[75]
Street gangs were prevalent in the poverty of the South Bronx, and much of the graffiti, rapping, and b-boying at these parties were all artistic variations on the competition and one-upmanship of street gangs. Sensing that gang members' often violent urges could be turned into creative ones, Afrika Bambaataa founded the Zulu Nation, a loose confederation of street-dance crews, graffiti artists, and rap musicians. By the late 1970s, the culture had gained media attention, with Billboard magazine printing an article titled "B Beats Bombarding Bronx", commenting on the local phenomenon and mentioning influential figures such as Kool Herc.[76] The New York City blackout of 1977 saw widespread looting, arson, and other citywide disorders especially in the Bronx[77] where a number of looters stole DJ equipment from electronics stores. As a result, the hip hop genre, barely known outside of the Bronx at the time, grew at an astounding rate from 1977 onward.[78]
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."[79] Tony Tone, a member of the Cold Crush Brothers, stated that "hip hop saved a lot of lives".[79] 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".[80][81] Inspired by DJ Kool Herc, Afrika Bambaataa created a street organization called Universal Zulu Nation, centered on hip hop, as a means to draw teenagers out of gang life, drugs and violence.[79]
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.[82] "Young black Americans coming out of the civil rights movement have used hip hop culture in the 1980s and 1990s to show the limitations of the Hip Hop Movement."[83] Hip hop gave young African Americans a voice to let their issues be heard; "Like rock-and-roll, hip hop is vigorously opposed by conservatives because it romanticises violence, law-breaking, and gangs".[83] It also gave people a chance for financial gain by "reducing the rest of the world to consumers of its social concerns."[83]
In late 1979, Debbie Harry of Blondie took Nile Rodgers of Chic to such an event, as the main backing track used was the break from Chic's "Good Times".[71] The new style influenced Harry, and Blondie's later hit single from 1981 "Rapture" became the first single containing hip hop elements to hit number one on the U.S. Billboard Hot 100—the song itself is usually considered new wave and fuses heavy pop music elements, but there is an extended rap by Harry near the end.
Boxer Muhammad Ali, as an influential African American celebrity, was widely covered in the media. Ali influenced several elements of hip hop music. Both in the boxing ring and in media interviews, Ali became known in the 1960s for being "rhyming trickster". Ali used a "funky delivery" for his comments, which included "boasts, comical trash talk, [and] the endless quotabl[e]" lines.[84] 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-DMC and LL Cool J,[85] the latter citing Ali as an influence.[84] 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,[53] as the hip hop culture reflected the social, economic and political realities of their lives.[54]
Technology
Hip hop's early evolution occurred around the time that sampling technology and drum-machines became widely available to the general public at a cost that was affordable to the average consumer—not just professional studios. Drum-machines and samplers were combined in machines that came to be known as MPC's or 'Music Production Centers', early examples of which would include the Linn 9000. The first sampler that was broadly adopted to create this new kind of music was the Mellotron used in combination with the TR-808 drum machine. Mellotrons and Linn's were succeeded by the Akai, in the late 1980s.[86]
Turntablist techniques – such as rhythmic "scratching" (pushing a record back and forth while the needle is in the groove to create new sounds and sound effects, an approach attributed to Grand Wizzard Theodore[87][88]), beat mixing and/or beatmatching, and beat juggling – eventually developed along with the percussion breaks, creating a musical accompaniment or base that could be rapped over in a manner similar to signifying.
Introduction of rapping
Rapping, also referred to as MCing or emceeing, is a vocal style in which the artist speaks lyrically and rhythmically, in rhyme and verse, generally to an instrumental or synthesized beat. Beats, almost always in 4/4 time signature, can be created by sampling and/or sequencing portions of other songs by a producer. They also incorporate synthesizers, drum machines, and live bands. Rappers may write, memorize, or improvise their lyrics and perform their works a cappella or to a beat. Hip hop music predates the introduction of rapping into hip hop culture, and rap vocals are absent from many hip hop tracks, such as "Hip Hop, Be Bop (Don't Stop)" by Man Parrish; "Chinese Arithmetic" by Eric B. & Rakim; "Al-Naafiysh (The Soul)" and "We're Rocking the Planet" by Hashim; and "Destination Earth" by Newcleus. However, the majority of the genre has been accompanied by rap vocals, such as the Sci-fi influenced electro hip hop group Warp 9.[89] Female rappers appeared on the scene in the late 1970s and early 80s, including Bronx artist MC Sha-Rock, member of the Funky Four Plus One, credited with being the first female MC[90] and the Sequence, a hip hop trio signed to Sugar Hill Records, the first all-female group to release a hit rap record, Funk You Up.[91]
The roots of rapping are found in African American music and bear similarities to traditional African music, particularly that of the griots[92] of West African culture.[93] The African American traditions of signifyin', the dozens, and jazz poetry all influence hip hop music, as well as the call and response patterns of African and African American religious ceremonies. Early popular radio disc jockeys of the Black-appeal radio period broke into broadcast announcing by using these techniques under the jive talk of the post WWII swing era in the late 1940s and the 1950s.[94] DJ Nat D. was the M.C. at one of the most pitiless places for any aspiring musician trying to break into show business, Amateur Night at the Palace theatre on Beale Street in Memphis, Tennessee. There he was master of ceremonies from 1935 until 1947 along with his sideman, D.J.Rufus Thomas. It was there he perfected the dozens, signifyin' and the personality jock jive patter that would become his schtick when he became the first black radio announcer on the air south of the Mason–Dixon line.[95] Jive popularized black appeal radio, it was the language of the black youth, the double entendres and slightly obscene wordplay was a godsend to radio, re-invigorating ratings at flagging outlets that were losing audience share and flipping to the new format of R&B with black announcers. The 10% of African Americans who heard his broadcasts found that the music he promoted on radio in 1949 was also in the jukeboxes up north in the cities. They were also finding other D.J's like Chicago's Al Benson on WJJD, Austin's Doctor Hep Cat on KVET and Atlanta's Jockey Jack on WERD speaking the same rhyming, cadence laden rap style.[96] Once the white owned stations realized the new upstarts were grabbing their black market share and that Big Band and swing jazz was no longer 'hip', some white DJ's emulated the southern 'mushmouth' and jive talk, letting their audience think they too were African American, playing the blues and Be-Bop.[97] John R Richbourg had a southern drawl that listeners to Nashville's WLAC[98] nighttime R&B programming were never informed belonged not to a black D.J., as were other white DJ's at the station. Dr. Hep Cat's rhymes were published in a dictionary of jive talk, The Jives of Dr. Hepcat, in 1953. Jockey jack is the infamous Jack the Rapper of Family Affair fame, after his radio convention that was a must attend for every rap artist in the 1980s and 1990s[99] These jive talking rappers of the 1950s black appeal radio format were the source and inspiration of Soul singer James Brown, and musical 'comedy' acts such as Rudy Ray Moore, Pigmeat Markham and Blowfly that are often considered "godfathers" of hip hop music.[100] Within New York City, performances of spoken-word poetry and music by artists such as the Last Poets, Gil Scott-Heron[101] and Jalal Mansur Nuriddin had a significant impact on the post-civil rights era culture of the 1960s and '1970s, and thus the social environment in which hip hop music was created.
Jamaican origins of outdoor sound systems
AM radio at many stations were limited by the 'broadcast Day' as special licenses were required to transmit at night. Those that had such licenses were heard far out to sea and in the Caribbean, where Jocko Henderson and Jockey Jack were American DJs who were listened to at night from broadcast transmitters located in Miami, Florida. Jocko came to have an outsized influence on Jamaican Emcees during the '50s as the R&B music played on the Miami stations was different from that played on JBC, which re-broadcast BBC and local music styles. In Jamaica, DJs would set up large roadside sound systems in towns and villages, playing music for informal gatherings, mostly folks who wandered down from country hills looking for excitement at the end of the week. There the DJs would allow 'Toasts' by an Emcee, which copied the style of the American DJs listened to on AM transistor radios. It was by this method that Jive talk, rapping and rhyming was transposed to the island and locally the style was transformed by 'Jamaican lyricism', or the local patois.
Hip hop as music and culture formed during the 1970s in New York City from the multicultural exchange between African American youth from the United States and young immigrants and children of immigrants from countries in the Caribbean.[52] Some were influenced by the vocal style of the earliest African American radio MCs (including Jocko Henderson's Rocket Ship Show of the 1950s, which rhymed and was influenced by scat singing), which could be heard over the radio in Jamaica.
The first records by Jamaican DJs, including Sir Lord Comic (The Great Wuga Wuga, 1967) came as part of the local dance hall culture, which featured 'specials,' unique mixes or 'versions' pressed on soft discs or acetate discs, and rappers (called DJs) such as King Stitt, Count Machuki, U-Roy, I-Roy, Big Youth and many others. Recordings of talk-over, which is a different style from the dancehall's DJ style, were also made by Jamaican artists such as Prince Buster and Lee "Scratch" Perry (Judge Dread) as early as 1967, somehow rooted in the 'talking blues' tradition. The first full-length Jamaican DJ record was a duet on a Rastafarian topic by Kingston ghetto dwellers U-Roy and Peter Tosh named Righteous Ruler (produced by Lee "Scratch" Perry in 1969). The first DJ hit record was Fire Corner by Coxsone's Downbeat sound system DJ, King Stitt that same year; 1970 saw a multitude of DJ hit records in the wake of U-Roy's early, massive hits, most famously Wake the Town and many others. As the tradition of remix (which also started in Jamaica where it was called 'version' and 'dub') developed, established young Jamaican DJ/rappers from that period, who had already been working for sound systems for years, were suddenly recorded and had many local hit records, widely contributing to the reggae craze triggered by Bob Marley's impact in the 1970s. The main Jamaican DJs of the early 1970s were King Stitt, Samuel the First, Count Machuki, Johnny Lover (who 'versioned' songs by Bob Marley and the Wailers as early as 1971), Dave Barker, Scotty, Lloyd Young, Charlie Ace and others, as well as soon-to-be reggae stars U-Roy, Dennis Alcapone, I-Roy, Prince Jazzbo, Prince Far I, Big Youth and Dillinger. Dillinger scored the first international rap hit record with Cocaine in my Brain in 1976 (based on the Do It Any Way You Wanna Do rhythm by the People's Choice as re-recorded by Sly and Robbie), where he even used a New York accent, consciously aiming at the new NYC rap market. The Jamaican DJ dance music was deeply rooted in the sound system tradition that made music available to poor people in a very poor country where live music was only played in clubs and hotels patronized by the middle and upper classes. By 1973 Jamaican sound system enthusiast DJ Kool Herc moved to the Bronx, taking with him Jamaica's sound system culture, and teamed up with another Jamaican, Coke La Rock, at the mike. Although other influences, most notably musical sequencer Grandmaster Flowers of Brooklyn and Grandwizard Theodore of the Bronx contributed to the birth of hip hop in New York, and although it was downplayed in most US books about hip hop, the main root of this sound system culture was Jamaican. The roots of rap in Jamaica are explained in detail in Bruno Blum's book, 'Le Rap'.[102]
DJ Kool Herc and Coke La Rock provided an influence on the vocal style of rapping by delivering simple poetry verses over funk music breaks, after party-goers showed little interest in their previous attempts to integrate reggae-infused toasting into musical sets.[57][103] DJs and MCs would often add call and response chants, often consisting of a basic chorus, to allow the performer to gather his thoughts (e.g. "one, two, three, y'all, to the beat"). Later, the MCs grew more varied in their vocal and rhythmic delivery, incorporating brief rhymes, often with a sexual or scatological theme, in an effort to differentiate themselves and to entertain the audience. These early raps incorporated the dozens, a product of African American culture. Kool Herc & the Herculoids were the first hip hop group to gain recognition in New York,[103] but the number of MC teams increased over time.
Often these were collaborations between former gangs, such as Afrikaa Bambaataa's Universal Zulu Nation—now an international organization. Melle Mel, a rapper with the Furious Five is often credited with being the first rap lyricist to call himself an "MC".[104] During the early 1970s B-boying arose during block parties, as b-boys and b-girls got in front of the audience to dance in a distinctive and frenetic style. The style was documented for release to a worldwide audience for the first time in documentaries and movies such as Style Wars, Wild Style, and Beat Street. The term "B-boy" was coined by DJ Kool Herc to describe the people who would wait for the break section of the song, showing off athleticism, spinning on the stage to 'break-dance' in the distinctive, frenetic style.[105]
Although there were some early MCs that recorded solo projects of note, such as DJ Hollywood, Kurtis Blow, and Spoonie Gee, the frequency of solo artists did not increase until later with the rise of soloists with stage presence and drama, such as LL Cool J. Most early hip hop was dominated by groups where collaboration between the members was integral to the show.[106] An example would be the early hip hop group Funky Four Plus One, who performed in such a manner on Saturday Night Live in 1981.[107]
1980s: old-school and new-school
Transition to recording
The earliest hip hop music was performed live, at house parties and block party events, and it was not recorded. Prior to 1979, recorded hip hop music consisted mainly of PA system soundboard recordings of live party shows and early hip hop mixtapes by DJs. Puerto Rican DJ Disco Wiz is credited as the first hip hop DJ to create a "mixed plate," or mixed dub recording, when, in 1977, he combined sound bites, special effects and paused beats to technically produce a sound recording.[108] The first hip hop record is widely regarded to be the Sugarhill Gang's "Rapper's Delight", from 1979. It was the first hip hop record to gain widespread popularity in the mainstream and was where hip hop music got its name from (from the opening bar).[109] However, much controversy surrounds this assertion as some regard the March 1979 single "King Tim III (Personality Jock)" by the Fatback Band, as a rap record.[110] There are various other claimants for the title of first hip hop record.
By the early 1980s, all the major elements and techniques of the hip hop genre were in place, and by 1982, the electronic (electro) sound had become the trend on the street and in dance clubs. New York City radio station WKTU featured Warp 9's "Nunk", in a commercial to promote the station's signature sound of emerging hip hop[111] Though not yet mainstream, hip hop had begun to permeate the music scene outside of New York City; it could be found in cities as diverse as Los Angeles, Atlanta, Chicago, Washington, D.C., Baltimore, Dallas, Kansas City, San Antonio, Miami, Seattle, St. Louis, New Orleans, Houston, and Toronto. Indeed, "Funk You Up" (1979), the first hip hop record released by a female group, and the second single released by Sugar Hill Records, was performed by the Sequence, a group from Columbia, South Carolina which featured Angie Stone.[112] Despite the genre's growing popularity, Philadelphia was, for many years, the only city whose contributions could be compared to New York City's. Hip hop music became popular in Philadelphia in the late 1970s. The first released record was titled "Rhythm Talk", by Jocko Henderson.
The New York Times had dubbed Philadelphia the "Graffiti Capital of the World" in 1971. Philadelphia native DJ Lady B recorded "To the Beat Y'All" in 1979, and became the first female solo hip hop artist to record music.[113] Schoolly D, starting in 1984 and also from Philadelphia, began creating a style that would later be known as gangsta rap.
Influence of disco
Hip hop music was influenced by disco music, as disco also emphasized the key role of the DJ in creating tracks and mixes for dancers, and old school hip hop often used disco tracks as beats. At the same time however, hip hop music was also a backlash against certain subgenres of late 1970s disco. While the early disco was African American and Italian-American-created underground music developed by DJs and producers for the dance club subculture, by the late 1970s, disco airwaves were dominated by mainstream, expensively recorded music industry-produced disco songs. According to Kurtis Blow, the early days of hip hop were characterized by divisions between fans and detractors of disco music. Hip hop had largely emerged as "a direct response to the watered down, Europeanised, disco music that permeated the airwaves".[114][115] The earliest hip hop was mainly based on hard funk loops sourced from vintage funk records. By 1979, disco instrumental loops/tracks had become the basis of much hip hop music. This genre was called "disco rap". Ironically, the rise of hip hop music also played a role in the eventual decline in disco's popularity.
The disco sound had a strong influence on early hip hop music. Most of the early rap/hip-hop songs were created by isolating existing disco bass-guitar bass lines and dubbing over them with MC rhymes. the Sugarhill Gang used Chic's "Good Times" as the foundation for their 1979 hit "Rapper's Delight", generally considered to be the song that first popularized rap music in the United States and around the world. In 1982, Afrika Bambaataa released the single "Planet Rock", which incorporated electronica elements from Kraftwerk's "Trans-Europe Express" and "Numbers" as well as YMO's "Riot in Lagos". The Planet Rock sound also spawned a hip-hop electronic dance trend, electro music, which included songs such as Planet Patrol's "Play at Your Own Risk" (1982), C Bank's "One More Shot" (1982), Cerrone's "Club Underworld" (1984), Shannon's "Let the Music Play" (1983), Freeez's "I.O.U." (1983), Midnight Star's "Freak-a-Zoid" (1983), Chaka Khan's "I Feel For You" (1984).
DJ Pete Jones, Eddie Cheeba, DJ Hollywood, and Love Bug Starski were disco-influenced hip hop DJs. Their styles differed from other hip hop musicians who focused on rapid-fire rhymes and more complex rhythmic schemes. Afrika Bambaataa, Paul Winley, Grandmaster Flash, and Bobby Robinson were all members of third s latter group. In Washington, D.C. go-go emerged as a reaction against disco and eventually incorporated characteristics of hip hop during the early 1980s. The DJ-based genre of electronic music behaved similarly, eventually evolving into underground styles known as house music in Chicago and techno in Detroit.
Diversification of styles
The 1980s marked the diversification of hip hop as the genre developed more complex styles.[116] New York City became a veritable laboratory for the creation of new hip hop sounds. Early examples of the diversification process can be heard in tracks such as Grandmaster Flash's "The Adventures of Grandmaster Flash on the Wheels of Steel" (1981), a single consisting entirely of sampled tracks[117] as well as Afrika Bambaataa's "Planet Rock" (1982), and Warp 9's "Nunk", (1982)[118] which signified the fusion of hip hop music with electro. In addition, Rammellzee & K-Rob's "Beat Bop" (1983) was a 'slow jam' which had a dub influence with its use of reverb and echo as texture and playful sound effects. "Light Years Away", by Warp 9 (1983), (produced and written by Lotti Golden and Richard Scher) described as a "cornerstone of early 80s beatbox afrofuturism," by the UK paper, The Guardian,[89] introduced social commentary from a sci-fi perspective. In the 1970s, hip hop music typically used samples from funk and later, from disco. The mid-1980s marked a paradigm shift in the development of hip hop, with the introduction of samples from rock music, as demonstrated in the albums King of Rock and Licensed to Ill. Hip hop prior to this shift is characterized as old-school hip hop.
In 1980, the Roland Corporation launched the TR-808 Rhythm Composer. It was one of the earliest programmable drum machines, with which users could create their own rhythms rather than having to use preset patterns. Though it was a commercial failure, over the course of the decade the 808 attracted a cult following among underground musicians for its affordability on the used market,[119] ease of use,[120] and idiosyncratic sounds, particularly its deep, "booming" bass drum.[121] It became a cornerstone of the emerging electronic, dance, and hip hop genres, popularized by early hits such as Afrika Bambaataa and the Soulsonic Force's "Planet Rock".[122] The 808 was eventually used on more hit records than any other drum machine;[123] its popularity with hip hop in particular has made it one of the most influential inventions in popular music, comparable to the Fender Stratocaster's influence on rock.[124][125]
Over time sampling technology became more advanced. However, earlier producers such as Marley Marl used drum machines to construct their beats from small excerpts of other beats in synchronisation, in his case, triggering three Korg sampling-delay units through a Roland 808. Later, samplers such as the E-mu SP-1200 allowed not only more memory but more flexibility for creative production. This allowed the filtration and layering different hits, and with a possibility of re-sequencing them into a single piece. With the emergence of a new generation of samplers such as the AKAI S900 in the late 1980s, producers did not have to create complex, time-consuming tape loops. Public Enemy's first album was created with the help of large tape loops. The process of looping a break into a breakbeat now became more commonly done with a sampler, now doing the job which so far had been done manually by the DJs using turntables. In 1989, DJ Mark James, under the moniker "45 King", released "The 900 Number", a breakbeat track created by synchronizing samplers and vinyl records.[106]
The lyrical content and other instrumental accompaniment of hip hop developed as well. The early lyrical styles in the 1970, which tended to be boasts and clichéd chants, were replaced with metaphorical lyrics exploring a wider range of subjects. As well, the lyrics were performed over more complex, multi-layered instrumental accompaniment. Artists such as Melle Mel, Rakim, Chuck D, KRS-One and Warp 9 revolutionized hip hop by transforming it into a more mature art form, with sophisticated arrangements, often featuring "gorgeous textures and multiple layers"[126] The influential single "The Message" (1982) by Grandmaster Flash and the Furious Five is widely considered to be the pioneering force for conscious rap.
Independent record labels like Tommy Boy, Prism Records and Profile Records became successful in the early 1980s, releasing records at a furious pace in response to the demand generated by local radio stations and club DJs. Early 1980s electro music and rap were catalysts that sparked the hip hop movement, led by artists such as Cybotron, Hashim, Afrika Bambaataa, Planet Patrol, Newcleus and Warp 9. In the New York City recording scene, artists collaborated with producer/writers such as Arthur Baker, John Robie, Lotti Golden and Richard Scher, exchanging ideas that contributed to the development of hip hop.[127] Some rappers eventually became mainstream pop performers. Kurtis Blow's appearance in a Sprite soda pop commercial[128] marked the first hip hop musician to do a commercial for a major product. The 1981 songs "Rapture" by Blondie and "Christmas Wrapping" by the new wave band the Waitresses were among the first pop songs to use rap. In 1982, Afrika Bambaataa introduced hip hop to an international audience with "Planet Rock."
Prior to the 1980s, hip hop music was largely confined within the context of the United States. However, during the 1980s, it began its spread and became a part of the music scene in dozens of countries. Greg Wilson was the first DJ to introduce electro hip hop to UK club audiences in the early 1980s, opting for the dub or instrumental versions of Nunk by Warp 9, Extra T's "ET Boogie", Hip Hop, Be Bop (Don't Stop) by Man Parrish, Planet Rock and Dirty Talk.[129]
In the early part of the decade, B-boying became the first aspect of hip hop culture to reach Japan, Australia and South Africa. In South Africa, the breakdance crew Black Noise established the practice before beginning to rap later in the decade. Musician and presenter Sidney became France's first black TV presenter with his show H.I.P. H.O.P.[130] which screened on TF1 during 1984, a first for the genre worldwide. Sidney is considered the father of French hip hop. Radio Nova helped launch other French hip hop stars including Dee Nasty, whose 1984 album Paname City Rappin' along with compilations Rapattitude 1 and 2 contributed to a general awareness of hip hop in France.
Hip hop has always kept a very close relationship with the Hispanic community in New York. DJ Disco Wiz and the Rock Steady Crew were among early innovators from Puerto Rico, combining English and Spanish in their lyrics. the Mean Machine recorded their first song under the label "Disco Dreams" in 1981, while Kid Frost from Los Angeles began his career in 1982. Cypress Hill was formed in 1988 in the suburb of South Gate outside Los Angeles when Senen Reyes (born in Havana) and his younger brother Ulpiano Sergio (Mellow Man Ace) moved from Cuba to South Gate with his family in 1971. They teamed up with DVX from Queens (New York), Lawrence Muggerud (DJ Muggs) and Louis Freese (B-Real), a Mexican/Cuban-American native of Los Angeles. After the departure of "Ace" to begin his solo career, the group adopted the name of Cypress Hill named after a street running through a neighborhood nearby in South Los Angeles.
Japanese hip hop is said to have begun when Hiroshi Fujiwara returned to Japan and started playing hip hop records in the early 1980s.[131] Japanese hip hop generally tends to be most directly influenced by old school hip hop, taking the era's catchy beats, dance culture, and overall fun and carefree nature and incorporating it into their music. Hip hop became one of the most commercially viable mainstream music genres in Japan, and the line between it and pop music is frequently blurred.
The new school of hip hop was the second wave of hip hop music, originating in 1983–84 with the early records of Run-D.M.C. and LL Cool J. As with the hip hop preceding it (which subsequently became known as old-school hip hop), the new school came predominantly from New York City. The new school was initially characterized in form by drum machine-led minimalism, with influences from rock music, a hip hop "metal music for the 80s–a hard-edge ugly/beauty trance as desperate and stimulating as New York itself."[132] It was notable for taunts and boasts about rapping, and socio-political commentary, both delivered in an aggressive, self-assertive style. In image as in song its artists projected a tough, cool, street b-boy attitude.
These elements contrasted sharply with much of the previous funk- and disco-influenced hip hop groups, whose music was often characterized by novelty hits, live bands, synthesizers, and "party rhymes" (not all artists prior to 1983–84 had these styles). New-school artists made shorter songs that could more easily gain radio play, and they produced more cohesive LP albums than their old-school counterparts. By 1986, their releases began to establish the hip-hop album as a fixture of mainstream music. Hip hop music became commercially successful, as exemplified by the Beastie Boys' 1986 album Licensed to Ill, which was the first rap album to hit No. 1 on the Billboard charts.[133]
1990s: golden age hip hop
Hip hop's "golden age" (or "golden era") is a name given to a period in mainstream hip hop, produced between the mid-1980s and the mid-1990s,[134][135][136] which is characterized by its diversity, quality, innovation and influence.[137][138] There were strong themes of Afrocentrism and political militancy in golden age hip hop lyrics. The music was experimental and the sampling drew on eclectic sources.[139] There was often a strong jazz influence in the music. The artists and groups most often associated with this phase are Public Enemy, Boogie Down Productions, Eric B. & Rakim, Brand Nubian, De La Soul, A Tribe Called Quest, Gang Starr, Big Daddy Kane and the Jungle Brothers.[140] The Digable Planets made unique contributions as well, earning a Grammy in 1993.
The golden age is noted for its innovation – a time "when it seemed that every new single reinvented the genre"[141] according to Rolling Stone. Referring to "hip-hop in its golden age",[142] Spin's editor-in-chief Sia Michel says, "there were so many important, groundbreaking albums coming out right about that time",[142]and MTV's Sway Calloway adds: "The thing that made that era so great is that nothing was contrived. Everything was still being discovered and everything was still innovative and new".[143] Writer William Jelani Cobb says "what made the era they inaugurated worthy of the term golden was the sheer number of stylistic innovations that came into existence... in these golden years, a critical mass of mic prodigies were literally creating themselves and their art form at the same time".[144]
The golden age spans "from approximately 1986 to 1997", according to Carl Stoffers of New York Daily News.[134] In their article "In Search of the Golden Age Hip-Hop Sound", music theorists Ben Duinker and Denis Martin of Empirical Musicology Review use "the 11 years between and including 1986 and 1996 as chronological boundaries" to define the golden age, beginning with the releases of Run-DMC's Raising Hell and the Beastie Boys' Licensed to Ill, and ending with the deaths of Tupac Shakur and the Notorious B.I.G.[136] The Boombox writer Todd "Stereo" Williams also cites the May 1986 release of Raising Hell (which sold more than three million copies) as the start of the period and notes that over the next year other important albums were released to success, including Licensed to Ill, Boogie Down Productions' Criminal Minded (1987), Public Enemy's Yo! Bum Rush the Show (1987), and Eric B. & Rakim's Paid in Full (1987). Williams views this development as the beginning of hip hop's own "album era" from the late 1980s to the late 1990s, during which hip hop albums earned an unprecedented critical recognition and "would be the measuring stick by which most of the genre's greats would be judged".[145]
Gangsta rap and West Coast hip hop
Many black rappers—including Ice-T and Sister Souljah—contend that they are being unfairly singled out because their music reflects deep changes in society not being addressed anywhere else in the public forum. The white politicians, the artists complain, neither understand the music nor desire to hear what's going on in the devastated communities that gave birth to the art form.
— Chuck Philips, Los Angeles Times, 1992[146]
Gangsta rap is a subgenre of hip hop that reflects the violent lifestyles of inner-city American black youths.[147] Gangsta is a non-rhotic pronunciation of the word gangster. The genre was pioneered in the mid-1980s by rappers such as Schoolly D and Ice-T, and was popularized in the later part of the 1980s by groups like N.W.A. In 1985 Schoolly D released "P.S.K. What Does It Mean?", which is often regarded as the first gangsta rap song, which was followed by Ice-T's "6 in the Mornin'" in 1986. After the national attention and controversy that Ice-T and N.W.A created in the late 1980s and early 1990s, as well as the mainstreaming of G-funk in the mid-1990s, gangsta rap became the most commercially-lucrative subgenre of hip hop. 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.[148]
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.[149][150]
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.[151][152] Consequently, Time Warner Music refused to release Ice-T's upcoming album Home Invasion because of the controversy surrounding "Cop Killer".[153] 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."[151]
The subject matter inherent in gangsta rap more generally has caused controversy. The White House administrations of both George H. W. Bush and Bill Clinton criticized the genre.[146] "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.[146] Due to the influence of Ice-T and N.W.A, gangsta rap is often viewed as a primarily West Coast phenomenon, despite the contributions of East Coast acts like Schoolly D and Boogie Down Productions in shaping the genre.
Mainstream breakthrough
In 1990, Public Enemy's Fear of a Black Planet was a significant success with music critics and consumers.[154] The album played a key role in hip hop's mainstream emergence in 1990, dubbed by Billboard editor Paul Grein as "the year that rap exploded".[154] In a 1990 article on its commercial breakthrough, Janice C. Thompson of Time wrote that hip hop "has grown into the most exciting development in American pop music in more than a decade."[155] Thompson noted the impact of Public Enemy's 1989 single "Fight the Power", rapper Tone Lōc's single Wild Thing being the best-selling single of 1989, and that at the time of her article, nearly a third of the songs on the Billboard Hot 100 were hip hop songs.[155] In a similar 1990 article, Robert Hilburn of the Los Angeles Times put hip hop music's commercial emergence into perspective:
It was 10 years ago that the Sugarhill Gang's "Rapper's Delight" became the first rap single to enter the national Top 20. Who ever figured then that the music would even be around in 1990, much less produce attractions that would command as much pop attention as Public Enemy and N.W.A? "Rapper's Delight" was a novelty record that was considered by much of the pop community simply as a lightweight offshoot of disco—and that image stuck for years. Occasional records—including Grandmaster Flash's "The Message" in 1982 and Run-DMC's "It's Like That" in 1984—won critical approval, but rap, mostly, was dismissed as a passing fancy—too repetitious, too one dimensional. Yet rap didn't go away, and an explosion of energy and imagination in the late 1980s leaves rap today as arguably the most vital new street-oriented sound in pop since the birth of rock in the 1950s.[156]
Rap is the rock 'n' roll of the day. Rock 'n' roll was about attitude, rebellion, a big beat, sex and, sometimes, social comment. If that's what you're looking for now, you're going to find it here.
— Bill Adler, Time, 1990[155]
MC Hammer hit mainstream success with the multi-platinum album Please Hammer, Don't Hurt 'Em. The record reached No. 1 and the first single, "U Can't Touch This" charted on the top ten of the Billboard Hot 100. MC Hammer became one of the most successful rappers of the early nineties and one of the first household names in the genre. The album raised rap music to a new level of popularity. It was the first hip-hop album certified diamond by the RIAA for sales of over ten million.[157] It remains one of the genre's all-time best-selling albums.[158] To date, the album has sold as many as 18 million units.[159][160][161][162] Released in 1990, "Ice Ice Baby" by Vanilla Ice was the first hip hop single to top the Billboard charts in the U.S. It also reached number one in the UK, Australia among others and has been credited for helping diversify hip hop by introducing it to a mainstream audience.[163] In 1992, Dr. Dre released The Chronic. As well as helping to establish West Coast gangsta rap as more commercially viable than East Coast hip hop,[164] this album founded a style called G Funk, which soon came to dominate West Coast hip hop. The style was further developed and popularized by Snoop Dogg's 1993 album Doggystyle. However, hip hop was still met with resistance from black radio, including urban contemporary radio stations. Russell Simmons said in 1990, "Black radio [stations] hated rap from the start and there's still a lot of resistance to it".[156]
Despite the lack of support from some black radio stations, hip hop became a best-selling music genre in the mid-1990s and the top selling music genre by 1999 with 81 million CDs sold.[165][166][167] By the late 1990s hip hop was artistically dominated by the Wu-Tang Clan, Diddy and the Fugees.[164] The Beastie Boys continued their success throughout the decade crossing color lines and gaining respect from many different artists. Record labels based out of Atlanta, St. Louis, and New Orleans also gained fame for their local scenes. The midwest rap scene was known for fast vocal styles from artists such as Bone Thugs-n-Harmony, Tech N9ne, and Twista. By the end of the decade, hip hop was an integral part of popular music, and many American pop songs had hip hop components.
Hip hop has been described as a "mainstream subculture". The main reasons why hip hop culture secured its subcultural authority despite becoming a part of the mass media and mainstream industries can be summarized as follows. First, hip hop artists promoted symbolic and conspicuous consumption in their music from a very early stage. Second, the continuing display of resistance in hip-hop has continuously attracted new generations of rebellious fans. Third, owing to the subcultural ideal of rising from the underground, the hip hop scene has remained committed to its urban roots. Fourth, the concept of battle rap has prevented hip-hop music from excessive cultural dilution. Finally, the solidarity within the African American community has shielded the subculture from erosion through mainstream commercialization.[168]
East vs. West rivalry
The East Coast–West Coast hip hop rivalry was a feud from 1991 to 1997 between artists and fans of the East Coast hip hop and West Coast hip hop scenes in the United States, especially from 1994 to 1997. Focal points of the feud were East Coast-based rapper the Notorious B.I.G. (and his New York-based label, Bad Boy Records) and West Coast-based rapper Tupac Shakur (and his Los Angeles-based label, Death Row Records). This rivalry started before the rappers themselves hit the scene. Because New York is the birthplace of hip-hop, artists from the West Coast felt as if they were not receiving the same media coverage and public attention as the East Coast.[169] As time went on both rappers began to grow in fame and as they both became more known the tensions continued to arise. Eventually both artists were fatally shot following drive-by shootings by unknown assailants in 1997 and 1996, respectively.
East Coast hip hop
In the early 1990s East Coast hip hop was dominated by the Native Tongues posse, which was loosely composed of De La Soul with producer Prince Paul, A Tribe Called Quest, the Jungle Brothers, as well as their loose affiliates 3rd Bass, Main Source, and the less successful Black Sheep and KMD. Although originally a "daisy age" conception stressing the positive aspects of life, darker material (such as De La Soul's thought-provoking "Millie Pulled a Pistol on Santa") soon crept in. Artists such as Masta Ace (particularly for SlaughtaHouse), Brand Nubian, Public Enemy, Organized Konfusion, and Tragedy Khadafi had a more overtly-militant pose, both in sound and manner. In 1993, the Wu-Tang Clan's Enter the Wu-Tang (36 Chambers) revitalized the New York hip hop scene by pioneering an East Coast hardcore rap equivalent in intensity to what was being produced on the West Coast.[170] According to Allmusic, the production on two Mobb Deep albums, The Infamous (1995) and Hell on Earth (1996), are "indebted" to RZA's early production with the Wu-Tang Clan.[171][172]
The success of albums such as Nas's Illmatic and Notorious B.I.G.'s Ready to Die in 1994 cemented the status of the East Coast during a time of West Coast dominance. In a March 2002 issue of The Source Magazine, Nas referred to 1994 as "a renaissance of New York [City] Hip-Hop."[173] The productions of RZA, particularly for the Wu-Tang Clan, became influential with artists such as Mobb Deep due to the combination of somewhat detached instrumental loops, highly compressed and processed drums, and gangsta lyrical content. Wu-Tang solo albums such as Raekwon the Chef's Only Built 4 Cuban Linx, Ghostface Killah's Ironman, and GZA's Liquid Swords are now viewed as classics along with Wu-Tang "core" material. The clan's base extended into further groups called "Wu-affiliates". Producers such as DJ Premier (primarily for Gang Starr but also for other affiliated artists, such as Jeru the Damaja), Pete Rock (with CL Smooth, and supplying beats for many others), Buckwild, Large Professor, Diamond D, and Q-Tip supplied beats for numerous MCs at the time, regardless of location. Albums such as Nas's Illmatic, O.C.'s Word...Life (1994), and Jay-Z's Reasonable Doubt (1996) are made up of beats from this pool of producers.
The rivalry between the East Coast and the West Coast rappers eventually turned personal.[174] Later in the decade the business acumen of the Bad Boy Records tested itself against Jay-Z and his Roc-A-Fella Records and, on the West Coast, Death Row Records. The mid to late 1990s saw a generation of rappers such as the members of D.I.T.C. such as the late Big L and Big Pun. On the East Coast, although the "big business" end of the market dominated matters commercially the late 1990s to early 2000s saw a number of relatively successful East Coast indie labels such as Rawkus Records (with whom Mos Def and Talib Kweli garnered success) and later Def Jux. The history of the two labels is intertwined, the latter having been started by EL-P of Company Flow in reaction to the former, and offered an outlet for more underground artists such as Mike Ladd, Aesop Rock, Mr Lif, RJD2, Cage and Cannibal Ox. Other acts such as the Hispanic Arsonists and slam poet turned MC Saul Williams met with differing degrees of success.
West Coast hip hop
After N.W.A. broke up, former member Dr. Dre released The Chronic in 1992, which peaked at No. 1 on the R&B/hip hop chart,[175] No. 3 on the pop chart, and spawned a No. 2 pop single with "Nuthin' but a 'G' Thang". The Chronic took West Coast rap in a new direction,[176] influenced strongly by P funk artists, melding smooth and easy funk beats with slowly-drawled lyrics. This came to be known as G-funk and dominated mainstream hip hop in the early-mid 1990s through a roster of artists on Suge Knight's Death Row Records, including Tupac Shakur, whose double disc album All Eyez on Me was a big hit with hit songs "Ambitionz az a Ridah" and "2 of Amerikaz Most Wanted";[citation needed] and Snoop Doggy Dogg, whose Doggystyle included the top ten hits "What's My Name?" and "Gin and Juice".[177] As the Los Angeles-based Death Row built an empire around Dre, Snoop, and Tupac, it also entered into a rivalry with New York City's Bad Boy Records, led by Puff Daddy and the Notorious B.I.G.
Detached from this scene were other artists such as Freestyle Fellowship and the Pharcyde, as well as more underground artists such as the Solesides collective (DJ Shadow and Blackalicious amongst others), Jurassic 5, Ugly Duckling, People Under the Stairs, Tha Alkaholiks, and earlier Souls of Mischief, who represented a return to hip hop's roots of sampling and well-planned rhyme schemes.
Further diversification
In the 1990s, hip hop began to diversify with other regional styles emerging on the national scene. Southern rap became popular in the early 1990s.[178] The first Southern rappers to gain national attention were the Geto Boys out of Houston, Texas.[179] Southern rap's roots can be traced to the success of Geto Boy's Grip It! On That Other Level in 1989, the Rick Rubin produced The Geto Boys in 1990, and We Can't Be Stopped in 1991.[180] The Houston area also produced other artists that pioneered the early southern rap sound such as UGK and the solo career of Scarface.
Atlanta hip hop artists were key in further expanding rap music and bringing southern hip hop into the mainstream. Releases such as Arrested Development's 3 Years, 5 Months and 2 Days in the Life Of... in 1992, Goodie Mob's Soul Food in 1995 and OutKast's ATLiens in 1996 were all critically acclaimed. Other distinctive regional sounds from St. Louis, Chicago, Washington D.C., Detroit and others began to gain popularity.
What once was rap now is hip hop, an endlessly various mass phenomenon that continues to polarize older rock and rollers, although it's finally convinced some gatekeeping generalists that it may be of enduring artistic value—a discovery to which they were beaten by millions of young consumers black and white.
— Christgau's Consumer Guide: Albums of the '90s (2000)[181]
During the golden age, elements of hip hop continued to be assimilated into other genres of popular music. The first waves of rap rock, rapcore, and rap metal — respective fusions of hip hop and rock, hardcore punk, and heavy metal[182] — became popular among mainstream audiences at this time; Run-DMC, the Beastie Boys, and Rage Against the Machine were among the most well-known bands in these fields. In Hawaii, bands such as Sudden Rush combined hip hop elements with the local language and political issues to form a style called na mele paleoleo.[183]
Digable Planets' 1993 release Reachin' (A New Refutation of Time and Space) was an influential jazz rap record sampling the likes of Don Cherry, Sonny Rollins, Art Blakey, Herbie Mann, Herbie Hancock, Grant Green, and Rahsaan Roland Kirk. It spawned the hit single "Rebirth of Slick (Cool Like Dat)" which reached No. 16 on the Billboard Hot 100.[184]
2000s: bling and blog
Commercialization and new directions
During the late 1990s, in the wake of the deaths of Tupac Shakur and the Notorious B.I.G., a new commercial sound emerged in the hip hop scene, sometimes referred to as the "bling era"[185] (derived from Lil Wayne's "Bling Bling"),[186] "jiggy era"[187][188] (derived from Will Smith's "Gettin' Jiggy wit It"), or "shiny suit era" (derived by metallic suits worn by some rappers in music videos at the time, such as in "Mo Money Mo Problems" by the Notorious B.I.G., Puff Daddy, and Mase).[189] Before the late 1990s, gangsta rap, while a huge-selling genre, had been regarded as well outside of the pop mainstream, committed to representing the experience of the inner-city and not "selling out" to the pop charts. However, the rise of Sean "Puff Daddy" Combs's Bad Boy Records, propelled by the massive crossover success of Combs's 1997 ensemble album No Way Out, signaled a major stylistic change in gangsta rap (and mainstream hip hop in general), as it would become even more commercially successful and popularly accepted. Silky R&B-styled hooks and production, more materialist subject matter, and samples of hit soul and pop songs from the 1970s and 1980s were the staples of this sound, which was showcased by producers such as Combs, Timbaland, the Trackmasters, the Neptunes, and Scott Storch. Also achieving similar levels of success at this time were Master P and his No Limit label in New Orleans; Master P built up a roster of artists (the No Limit posse) based out of New Orleans, and incorporated G funk and Miami bass influences in his music. The New Orleans upstart Cash Money label was also gaining popularity during this time,[190] with emerging artists such as Birdman, Lil Wayne, B.G, and Juvenile.
Many of the rappers who achieved mainstream success at this time, such as Nelly, Puff Daddy, Jay-Z, the later career of Fat Joe and his Terror Squad, Mase, Ja Rule, Fabolous, and Cam'ron, had a pop-oriented style, while others such as Big Pun, Fat Joe (in his earlier career), DMX, Eminem, 50 Cent and his G-Unit, and the Game enjoyed commercial success at this time with a grittier style. Although white rappers like the Beastie Boys, House of Pain, and 3rd Bass previously had some popular success or critical acceptance from the hip hop community, Eminem's success, beginning in 1999 with the platinum The Slim Shady LP,[191] surprised many. Hip hop influences also found their way increasingly into mainstream pop during this period, particularly in genres such as R&B (e.g. R. Kelly, Akon, TLC, Destiny's Child, Beyoncé, Ashanti, Aaliyah, Usher), neo soul (e.g. Lauryn Hill, Erykah Badu, Jill Scott), and nu metal (e.g. Korn, Limp Bizkit).
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.[192] 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.
Rise of alternative hip hop
Alternative hip hop, which was introduced in the 1980s and then declined, resurged in the early-mid 2000s with the rejuvenated interest in indie music by the general public. The genre began to attain a place in the mainstream, due in part to the crossover success of artists such as OutKast, Kanye West, and Gnarls Barkley.[193] OutKast's 2003 album Speakerboxxx/The Love Below received high acclaim from music critics, and appealed to a wide range of listeners, being that it spanned numerous musical genres – including rap, rock, R&B, punk, jazz, indie, country, pop, electronica, and gospel. The album also spawned two number-one hit singles, and has been certified diamond by selling 11 times platinum by the RIAA for shipping more than 11 million units,[194] becoming one of the best selling hip-hop albums of all time. It also won a Grammy Award for Album of the Year at the 46th Annual Grammy Awards, being only the second rap album to do so. Previously, alternative hip hop acts had attained much critical acclaim, but received relatively little exposure through radio and other media outlets; during this time, alternative hip hop artists such as MF Doom,[195] the Roots, Dilated Peoples, Gnarls Barkley, Mos Def, and Aesop Rock[196][197] began to achieve significant recognition.
Glitch hop and wonky music
Glitch hop and wonky music evolved following the rise of trip hop, dubstep and intelligent dance music (IDM). Both glitch hop and wonky music frequently reflect the experimental nature of IDM and the heavy bass featured in dubstep songs. While trip hop has been described as being a distinct British upper-middle class take on hip-hop, glitch-hop and wonky music have much more stylistic diversity. Both genres are melting pots of influence. Glitch hop contains echoes of 1980s pop music, Indian ragas, eclectic jazz and West Coast rap. Los Angeles, London, Glasgow and a number of other cities have become hot spots for these scenes, and underground scenes have developed across the world in smaller communities. Both genres often pay homage to older and more well established electronic music artists such as Radiohead, Aphex Twin and Boards of Canada as well as independent hip hop producers like J Dilla and Madlib.
Glitch hop is a fusion genre of hip hop and glitch music that originated in the early to mid-2000s in the United States and Europe. Musically, it is based on irregular, chaotic breakbeats, glitchy basslines and other typical sound effects used in glitch music, like skips. Glitch hop artists include Prefuse 73, Dabrye and Flying Lotus.[198] Wonky is a subgenre of hip hop that originated around 2008, but most notably in the United States and United Kingdom, and among international artists of the Hyperdub music label, under the influence of glitch hop and dubstep. Wonky music is of the same glitchy style as glitch hop, but it was specifically noted for its melodies, rich with "mid-range unstable synths". Scotland has become one of the most prominent wonky scenes, with artists like Hudson Mohawke and Rustie.
Glitch hop and wonky are popular among a relatively smaller audience interested in alternative hip hop and electronic music (especially dubstep); neither glitch hop nor wonky have achieved mainstream popularity. However, artists like Flying Lotus, the Glitch Mob and Hudson Mohawke have seen success in other avenues. Flying Lotus's music has earned multiple positive reviews on the independent music review site Pitchfork.com as well as a prominent (yet uncredited) spot during Adult Swim commercial breaks.[199][200] Hudson Mohawke is one of few glitch hop artists to play at major music festivals such as Sasquatch! Music Festival.
Crunk music
Crunk is a regional hip hop genre that originated in Tennessee in the southern United States in the 1990s, influenced by Miami bass.[201] One of the pioneers of crunk, Lil Jon, said that it was a fusion of hip hop, electro, and electronic dance music. The style was pioneered and commercialized by artists from Memphis, Tennessee and Atlanta, Georgia, gaining considerable popularity in the mid-2000s via Lil Jon and the Ying Yang Twins.[202] Looped, stripped-down drum machine rhythms are usually used. The Roland TR-808 and 909 are among the most popular. The drum machine loops are usually accompanied by simple, repeated synthesizer melodies and heavy bass "stabs". The tempo of the music is somewhat slower than hip-hop, around the speed of reggaeton. The focal point of crunk is more often the beats and instrumental music rather than the lyrics. Crunk rappers, however, often shout and scream their lyrics, creating an aggressive, almost heavy, style of hip-hop. While other subgenres of hip-hop address sociopolitical or personal concerns, crunk is almost exclusively "party music", favoring call and response hip-hop slogans in lieu of more substantive approaches.[203] Crunk helped southern hip hop gain mainstream prominence during this period, as the classic East and West Coast styles of the 1990s gradually lost dominance.[204]
Snap music and influence of the Internet
Snap rap (also known as ringtone rap) is a subgenre of crunk that emerged from Atlanta, Georgia in the late 1990s.[205] The genre gained mainstream popularity in the mid-late 2000s, and artists from other Southern states such as Tennessee also began to emerge performing in this style. Tracks commonly consist of a Roland TR-808 bass drum, hi-hat, bass, finger snapping, a main groove, and a simplistic vocal hook. Hit snap songs include "Lean wit It, Rock wit It" by Dem Franchize Boyz, "Laffy Taffy" by D4L, "It's Goin' Down" by Yung Joc, and "Crank That (Soulja Boy)" by Soulja Boy Tell 'Em. In retrospect, Soulja Boy has been credited with setting trends in hip hop, such as self-publishing his songs through the Internet (which helped them go viral) and paving the way for a new wave of younger artists.[206][207]
Decline in sales
Starting in 2005, sales of hip hop music in the United States began to severely wane, leading Time magazine to question if mainstream hip-hop was "dying." Billboard magazine found that, since 2000, rap sales dropped 44%, and declined to 10% of all music sales, which, while still a commanding figure when compared to other genres, is a significant drop from the 13% of all music sales where rap music regularly placed.[208][209] According to Courtland Milloy of The Washington Post, for the first time on five years, no rap albums were among the top 10 sellers in 2006.[210] 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.[211]
Other journalists say the music is just as popular as it ever was, but that fans have found other means to consume the music,[212] 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.[213] Some put the blame on hip hop becoming less lyrical over time, such as Soulja Boy's 2007 debut album souljaboytellem.com which was met with negative reviews.[214] Lack of sampling, a key element of early hip hop, has also been noted for the decrease in quality of modern albums. For example, there are only four samples used in 2008's Paper Trail by T.I., while there are 35 samples in 1998's Moment of Truth by Gang Starr. The decrease in sampling is in part due to it being too expensive for producers.[215]
In Byron Hurt's documentary Hip Hop: Beyond Beats and Rhymes, he claims that hip hop had changed from "clever rhymes and dance beats" to "advocating personal, social and criminal corruption."[216] Despite the fall in record sales throughout the music industry,[217] hip-hop had remained a popular genre, with hip-hop artists still regularly topping the Billboard 200 Charts. In the first half of 2009 alone artists such as Eminem,[218] Rick Ross,[219] the Black Eyed Peas,[220] and Fabolous[221] all had albums that reached the No. 1 position on the Billboard 200 charts. Eminem's album Relapse was one of the fastest selling albums of 2009.[222]
Innovation and revitalization
By the late 2000s, alternative hip hop had secured its place within the mainstream, due in part to the declining commercial viability of gangsta rap. Industry observers view the sales race between Kanye West's Graduation and 50 Cent's Curtis as a turning point for hip hop. West emerged the victor, selling nearly a million copies in the first week alone, proving that innovative rap music could be just as commercially viable as gangsta rap, if not more so.[223] Although he designed it as a melancholic pop album rather than a rap album, Kanye's following 808s & Heartbreak would have a significant effect on hip hop music. While his decision to sing about love, loneliness, and heartache for the entirety of the album was at first heavily criticized by music audiences and the album was predicted to be a flop, its subsequent critical acclaim and commercial success encouraged other mainstream rappers to take greater creative risks with their music.[224][225] During the release of The Blueprint 3, New York rap mogul Jay-Z revealed that next studio album would be an experimental effort, stating, "... it's not gonna be a #1 album. That's where I'm at right now. I wanna make the most experimental album I ever made."[226] Jay-Z elaborated that like Kanye, he was unsatisfied with contemporary hip hop, was being inspired by indie-rockers like Grizzly Bear, and asserted his belief that the indie rock movement would play an important role in the continued evolution of hip-hop.[227]
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."[228][229] 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.[230][231]
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".[232][233] Several artists, such as Kid Cudi and Drake, managed to attain chart-topping hit songs, "Day 'n' Nite" and "Best I Ever Had" respectively, by releasing their music on free online mixtapes without the help of a major record label. Emerging artists at the time such as Wale, Kendrick Lamar,[234] J. Cole, Lupe Fiasco, the Cool Kids, Jay Electronica, and B.o.B were noted by critics as expressing eclectic sounds, sensitive life experiences, and vulnerable emotions that were rarely seen in the prior bling era.[235][236]
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.[237] 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.[238] 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".[239] Eventually dubbed the "T-Pain effect",[240] the use of Auto-Tune became a popular fixture of late 2000s and early 2010s hip hop, examples being Snoop Dogg's "Sexual Eruption",[241] Lil Wayne's "Lollipop",[242] Kanye West's album 808s & Heartbreak,[243] and the Black Eyed Peas' number-one hit "Boom Boom Pow".[240]
2010s–2020s: trap and SoundCloud 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,[244] eventually reaching ubiquity in the mid-late 2010s and frequently having songs top the Billboard hip hop charts.[245][246][247] It is typified by double or triple-time sub-divided hi-hats,[248] heavy kick drums from the Roland TR-808 drum machine, layered synthesizers and an overall dark, ominous or bleak atmosphere.[249] 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". Non-rappers have also experimented with trap, such as "7/11" by Beyoncé and "Dark Horse" by Katy Perry (featuring rapper Juicy J).
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.[252] 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,[253] Pi'erre Bourne,[254] London on da Track,[255][256] and Mike Will Made-It.[257][258]
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.[259] Artists longstanding within the genre have had their own comments regarding the rise of mumble rap, such as Rick Rubin stating that Eminem was confused by it,[260] and Snoop Dogg claiming that he can not differentiate between artists.[261] 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."[262]
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.[263][264][265][266]
In the 2010s, Atlanta hip hop dominated the mainstream.[267]
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.[268][269]
Age of streaming
The rise of streaming platforms such as Spotify and Apple Music in the mid-late 2010s greatly impacted the entire music business as a whole.[271][272] Despite being a free streaming-only mixtape with no commercial release, Chance the Rapper's Coloring Book won Best Rap Album at the 2017 Grammy Awards, being the first streaming album ever to win a Grammy Award.[273][274] 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.[275] The Life of Pablo was also nominated for 2017 Best Rap 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.[276]
The online audio distribution platform SoundCloud played a massive role in the creation of various artists' careers in the latter half of the 2010s. Mainstream acts to start on SoundCloud include Post Malone, Lil Uzi Vert, Russ, Bryson Tiller, Lil Xan, Lil Pump, Lil Peep, Lil Skies, Smokepurpp, Ski Mask the Slump God, XXXTentacion, Trippie Redd, Playboi Carti, YBN Nahmir, Tay-K, ZillaKami, Ugly God, Nav, and others. These songs are usually closely related to trap, but have also been labeled separately as SoundCloud rap and sometimes emo rap. 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,[277] and the problematic nature of the artists to arise from it, such as Lil Peep's drug abuse that led to his death,[278] the multiple assault charges to XXXTentacion,[279] 6ix9ine pleading guilty to using a child in a sexual performance,[280] and the murder charges on Tay-K.[281] On the contrary, the image of artists such as XXXTentacion have been met with praise due to perceived character improvement since their controversies.[282][283]
In 2021, the most streamed rappers were Doja Cat and Lil Nas X.[285] Other rappers with high streams in 2021 were Drake, Eminem, Lil Baby, Polo G, Megan Thee Stallion, Cardi B, Moneybagg Yo, Masked Wolf, Pop Smoke, J. Cole, and Lil Durk.[286][287] The most streamed rap album of all time on Spotify is XXXTentacion's second album, ? (2018).[284]
World hip hop music
Hip-hop music has reached the cultural corridors of the globe and has been absorbed and reinvented around the world.[288] 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.[289]
Hispanics and people from the Caribbean played an integral role in the early development of hip hop in New York, and the style spread to almost every country in that region. Hip hop first developed in the South Bronx, which had a high Hispanic, particularly Puerto Rican, population in the 1970s.[290] Some famous rappers from New York City of Puerto Rican origin are the late Big Pun, Fat Joe, and Angie Martinez. With Hispanic rap groups like Cypress Hill on the American charts, Mexican rap rock groups, such as Control Machete, rose to prominence in their native land.
In many Latin American countries, as in the U.S., hip hop has been a tool with which marginalized people can articulate their struggle. Hip hop grew steadily more popular in Cuba in the 1980s and 1990s through Cuba's Special Period that came with the fall of the Soviet Union.[291] During this period of economic crisis, which the country's poor and black populations especially hard, hip hop became a way for the country's Afro-descended population to embrace their blackness and articulate a demand for racial equality for black people in Cuba.[291] The idea of blackness and black liberation was not always compatible with the goals of the Cuban government, which was still operating under the idea that a raceless society was the correct realization of the Cuban Revolution. When hip-hop emerged, the Cuban government opposed the vulgar image that rappers portrayed, but later accepted that it might be better to have hip-hop under the influence of the Ministry of Culture as an authentic expression of Cuban Culture.[292] Rappers who explicitly speak about race or racism in Cuba are still under scrutiny by the government.[293] An annual Cuban hip hop concert, beginning in 1995, held at Alamar in Havana helped popularize Cuban hip hop. Famous Cuban rap groups include Krudas Cubensi and Supercrónica Obsesión.
Black and indigenous people in Latin America and Caribbean islands have been using hip hop for decades to discuss race and class issues in their respective countries. Brazilian hip hop is heavily associated with racial and economic issues in the country, where a lot of Afro-Brazilians live in economically disadvantaged communities, known in Brazil as favelas. São Paulo is where hip hop began in the country, but it soon spread all over Brazil, and today, almost every big Brazilian city, including Rio de Janeiro, Salvador, Curitiba, Porto Alegre, Belo Horizonte, Recife and Brasilia, has a hip hop scene. Some notable artists include Racionais MC's, Thaide, and Marcelo D2. One of Brazil's most popular rappers, MV Bill, has spent his career advocating for black youth in Rio de Janeiro.[293]
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.[294] 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.[295] Some of reggaeton's most popular artists include Don Omar, Tego Calderón, and Daddy Yankee.
In Venezuela, social unrest at the end of the 1980s and beginning of the 1990s coincided with the rise of gangsta rap in the United States and led to the rise of that music in Venezuela as well. Venezuelan rappers in the 1990s generally modeled their music after gangsta rap, embracing and attempting to redefine negative stereotypes about poor and black youth as dangerous and materialistic and incorporating socially conscious critique of Venezuela's criminalization of young, poor, Afro-descended people into their music.[296]
In Haiti, hip hop developed in the early 1980s. Master Dji and his songs "Vakans" and "Politik Pa m" are mostly credited with the rise of Haitian hip hop. What later became known as "Rap Kreyòl" grew in popularity in the late 1990s with King Posse and Original Rap Stuff. Due to cheaper recording technology and flows of equipment to Haiti, more Rap Kreyòl groups are recording songs, even after the January 12 earthquake. Haitian hip hop has recently become a way for artists of Haitian backgrounds in the Haiti and abroad to express their national identity and political opinions about their country of origin.[297] Rappers have embraced the red and blue of the Flag of Haiti and rapping in Haitian Creole to display their national origin. In the Dominican Republic, a recording by Santi Y Sus Duendes and Lisa M became the first single of merenrap, a fusion of hip hop and merengue.
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. In France, hip hop music developed itself from the end of the 80s. It can be divided into three eras:[298] The classical period, which extends from the end of the 1980s to the beginning of the 2000s marked by a majority of black artists like Oxmo Puccino, Mc Solaar, Kery James (with IdealJ), IAM, NTM,[299] the period of democratization from the 2000s,[300] with groups and artists like Lunatic, Diam's, Sinik, Rim'K, Sefyu,[301][302][303] Sniper, Rohff, La Fouine, which are beginning to affect the French population in general and to record the first significant commercial successes. Finally, from the 2010s, French-speaking rap experienced a rather paradoxical period of innovation, the logical start of new experiments that opened up French rap to new musical genres, such as trap, drill or "folk" rap. This period is distinguished by the great variety of French hip hop music, where several movements beginning to separate, artists like Booba, Kaaris, JuL, Gims, Freeze Corleone, Ziak or Soolking try to innovate and look for new tracks to explore. 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!
In Germany and France, gangsta rap has become popular among youths who like the violent and aggressive lyrics. Some German rappers openly or comically flirt with Nazism; for example, Bushido (born Anis Mohamed Youssef Ferchichi) raps "Salutiert, steht stramm, Ich bin der Leader wie A" (Salute, stand to attention, I am the leader like 'A') and Fler had a hit with the record Neue Deutsche Welle (New German Wave) complete with the title written in Third Reich style Gothic print and advertised with an Adolf Hitler quote. These references also spawned great controversy in Germany. Meanwhile, in France, artists like Kery James' Idéal J maintained a radical, anti-authoritarian attitude and released songs like Hardcore which attacked the growth of the French far right. In the Netherlands, MC Brainpower went from being an underground battle rapper to mainstream recognition in the Benelux, thus influencing numerous rap artists in the region. In Israel, rapper Subliminal reaches out to Israeli youth with political and religious-themed lyrics, usually with a Zionist message.
In Asia, mainstream stars rose to prominence in the Philippines, led by Francis Magalona, Rap Asia, MC Lara and Lady Diane. In Japan, where underground rappers had previously found a limited audience, and popular teen idols brought a style called J-rap to the top of the charts in the middle of the 1990s. Of particular importance is the influence on East Asian nations, where hip hop music has become fused with local popular music to form different styles such as K-pop, C-pop and J-pop.
In South Africa, the hip hop scene overlaps with kwaito, a music genre that emphasizes African culture and social issues. Rappers such as Pope Troy have harnessed the use of socio-economic issues plaguing the political spheres of South Africa and hip-hop as a whole whilst balancing his lingual approach in order to communicate with the masses about the technical aspects that are creating the issues,[306] South African hip hop has evolved into a prominent presence in mainstream South African music. Between the 1990s and 2010s, it had transcended its origins as a form of political expression in Cape Town to produce artists like HHP, Riky Rick and AKA. Prominent South African rappers include Stogie T, Reason, Da L.E.S, Cassper Nyovest, Emtee, Fifi Cooper,A-Reece, Shane Eagle, Nasty C, K.O, YoungstaCPT and Big Zulu.[307][308]
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.
In Tanzania in the early 2000s, local hip hop artists became popular by infusing local styles of Afrobeat and arabesque melodies, dancehall and hip-hop beats with Swahili lyrics.
In the 2010s, hip hop became popular in Canada with Canadians rappers such as Drake, Nav, Belly and Tory Lanez. Drake was the most streamed artist of the decade.[309]
See also
- Hip hop and social injustice
- Homophobia in hip hop culture
- List of hip hop festivals
- List of hip hop genres
- List of murdered hip hop musicians
- Misogyny in rap music
- Music of the United States
- List of hip hop musicians
- Video vixen
Notes
- ^ Jump up to: Jump up to: a b "Hip-Hop's Jazz Roots". Merriam-Urban Jazz. Urban Jazz, Incorporated. Archived from the original on December 16, 2019. Retrieved August 24, 2015.
- ^ Дэвид Браун (11 августа 2023 г.). «Кул Херк и история (и тайна) первого дня хип-хопа» . Роллинг Стоун . Проверено 25 августа 2023 г.
- ^ Рут Блатт (10 апреля 2014 г.). «Почему рэп создает предпринимателей» . Форбс . Проверено 25 ноября 2019 г.
- ^ Хуана Саммерс (5 августа 2023 г.). «50 лет хип-хопа: жанр, рожденный на вечеринке на заднем дворе» . ЭНЕРГЕТИЧЕСКИЙ ЯДЕРНЫЙ РЕАКТОР . Проверено 25 августа 2023 г.
- ^ «Рэперы теперь певцы. Слава Дрейку» . Нью-Йорк Таймс . 24 ноября 2019 года . Проверено 21 февраля 2021 г.
- ^ «Рэперы впервые поют собственные песни» . Журнал XXL . 12 мая 2020 г. Проверено 21 февраля 2021 г.
- ^ Трапп, Эрин (1 июля 2005 г.). «Толчок и тяга хип-хопа: анализ социальных движений». Американский учёный-бихевиорист . 48 (11): 1482. дои : 10.1177/0002764205277427 . S2CID 146340783 .
За последние два десятилетия много научных усилий было посвящено хип-хопу (также известному как рэп).
- ↑ Перейти обратно: Перейти обратно: а б с д Лич, Эндрю (2008). « Однажды все обретет смысл»: Ресурсы по хип-хопу и рэпу для музыкальных библиотекарей» . Примечания . 65 (1): 9–37. дои : 10.1353/not.0.0039 . ISSN 0027-4380 . JSTOR 30163606 . S2CID 144572911 . Архивировано из оригинала 28 января 2021 года . Проверено 5 декабря 2020 г.
- ^ «Хип-хоп рождается на вечеринке по случаю дня рождения в Бронксе – ИСТОРИЯ» .
- ^ «Южный Бронкс: место рождения хип-хопа» . ВНЙК . Проверено 29 марта 2023 г.
- ^ «Место рождения хип-хопа | Исторические детективы» . ПБС . Проверено 29 марта 2023 г.
- ^ «Хип-хоп: культура видения и голоса» . Центр Кеннеди . Проверено 29 марта 2023 г.
- ^ «Honolulu Star-Bulletin, 1 сентября 1988 г., стр. 23» . Газеты.com . Проверено 7 мая 2023 г.
- ^ «Чикаго Трибьюн, 9 июня 1985 г., стр. 282» . Газеты.com . Проверено 7 мая 2023 г.
- ^ «Пресс-Трибьюн, 15 сентября 1988 г., стр. 15» . Газеты.com . Проверено 7 мая 2023 г.
- ^ «Новости-Пресс, 06 июля 1984 г., стр. 43» . Газеты.com . Проверено 7 мая 2023 г.
- ↑ Перейти обратно: Перейти обратно: а б Британской энциклопедии Статья о рэпе в , полученная с сайта britannica.com . Архивировано 3 августа 2011 года на Wayback Machine : Рэп, музыкальный стиль, в котором ритмичная и/или рифмованная речь поется («стукивается») под музыкальное сопровождение. Эта фоновая музыка, которая может включать цифровые семплы (музыка и звуки, извлеченные из других записей ди-джеем), также называется хип-хопом — это название используется для обозначения более широкого культурного движения, включающего рэп, ди-джеинг (манипуляции с проигрывателями), граффити. рисование и брейк-данс.
- ^ «The Boston Globe, 27 июля 1992 г., стр. 52» . Газеты.com . Проверено 7 мая 2023 г.
- ^ Кугельберг, Йохан (2007). Родился в Бронксе . Нью-Йорк: Издательство Оксфордского университета. п. 17. ISBN 978-0-7893-1540-3 .
- ^ Браун, Лорен (18 февраля 2009 г.). «Присоединяйтесь к игре - танцевальный мир против музыкальной индустрии, битва за наследие хип-хопа» . «Движение» Журнал . Архивировано из оригинала 3 апреля 2010 года . Проверено 30 июля 2009 г.
- ^ Чанг, Джефф (2005). Не могу остановиться, не остановлюсь: история поколения хип-хопа . Нью-Йорк: Пресса Святого Мартина. п. 90 . ISBN 0-312-30143-Х .
- ↑ Статья о хип-хопе в Гарвардском музыкальном словаре , полученная из Google Books. Архивировано 10 января 2016 г., в Wayback Machine : Хотя хип-хоп часто используется для обозначения рэп-музыки, более правильно обозначает практику всей субкультуры.
- ↑ AllMusic Статья о хип-хопе/городском стиле, получена с сайта AllMusic.com : «Хип-хоп» — это всеобъемлющий термин для обозначения рэпа и культуры, которую он породил. Архивировано 11 марта 2012 г. в Wayback Machine.
- ^ Статья Британской энциклопедии о хип-хопе, получена с сайта britannica.com. Архивировано 11 мая 2011 года на Wayback Machine : Хип-хоп, культурное движение, получившее широкую популярность в 1980-х и 90-х годах; а также фоновая музыка для рэпа, музыкальный стиль, включающий ритмичную и/или рифмованную речь, который стал самой прочной и влиятельной формой искусства этого движения.
- ^ «Хип-хоп» . Словарь Мерриам-Вебстера . Мерриам-Вебстер, Инкорпорейтед . Проверено 5 февраля 2017 г.
- ^ «Хип-хоп» . Оксфордский словарь английского языка . Издательство Оксфордского университета . Проверено 6 октября 2011 г.
- ^ Ламотт, Мартин (март 2014 г.). «Повстанцы без паузы: хип-хоп и сопротивление в городе: дебаты и события» . Международный журнал городских и региональных исследований . 38 (2): 686–694. дои : 10.1111/1468-2427.12087 . [ мертвая ссылка ]
- ^ МакНэми, Дэвид (11 января 2010 г.). «Эй, что это за звук: Turntablism» . Хранитель . Проверено 22 марта 2017 г.
- ^ Дайсон, Майкл Эрик , 2007, Знаете, что я имею в виду?: Размышления о хип-хопе , Basic Civitas Books, стр. 6.
- ^ Берри, Питер А. (18 июля 2017 г.). «Nielsen говорит, что хип-хоп/R&B сейчас является самым популярным жанром в США» XXL Mag . Проверено 22 ноября 2021 г.
- ^ Линч, Джон. «По мнению Нильсена, впервые в истории хип-хоп превзошел рок и стал самым популярным музыкальным жанром» . Бизнес-инсайдер . Проверено 22 ноября 2021 г.
- ^ «Хип-хоп и R&B превзошли рок как крупнейший музыкальный жанр в США» . Рейтер . 4 января 2018 г. Проверено 22 ноября 2021 г.
- ^ «Вначале был Бронкс» .
- ^ «50 лет влияния хип-хопа на культуру и социальные движения» .
- ^ Элизабет, Каммингс (1883), Весенняя погода , Wide Awake, том. 16, Бостон: Д. Лотроп и компания, с. 389
- ^ «Ты не можешь сесть» . Genius.com . Проверено 1 июля 2024 г.
- ↑ Перейти обратно: Перейти обратно: а б с «Кит Ковбой – Настоящий Маккой» . 17 марта 2006 года. Архивировано из оригинала 17 марта 2006 года . Проверено 12 января 2010 г.
- ^ «Африка Бамбаатаа рассказывает о корнях хип-хопа» . Ютуб . 27 ноября 2012 года. Архивировано из оригинала 21 декабря 2021 года . Проверено 25 февраля 2021 г.
- ^ Чанг, Джефф (10 апреля 2016 г.). «Как хип-хоп получил свое название» . Середина . Проверено 1 декабря 2020 г.
- ^ Zulunation.com (в кэше)
- ^ Флиппинг, Роберт-младший (24 февраля 1979 г.). «Если вы нас фанкните, мы фанкуем вас». Нью-Питтсбург Курьер .
- ^ "Хип-хоп, н." ОЭД онлайн. Издательство Оксфордского университета, сентябрь 2020 г. Интернет. 17 сентября 2020 г.
- ^ Лоуренс, Тим (2016). Жизнь и смерть на танцполе Нью-Йорка, 1980–1983 гг . Дарем, Северная Каролина: Издательство Университета Дьюка. стр. Глава 21. ISBN 9780822361862 .
- ^ Хагар, Стивен. "Хип-хоп Африки Бамбаатаа", The Village Voice
- ^ Хагер, Стивен. Хип-хоп: иллюстрированная история брейк-данса , рэп-музыки и граффити . St Martins Press, 1984 (распродано).
- ^ Кнапп, Фрэнки (16 декабря 2020 г.). «Этот квартет 1930-х годов этого не знал, но они были первыми записанными рэп-исполнителями» . Неряшливый Несси Шик . Архивировано из оригинала 16 декабря 2020 года . Проверено 1 февраля 2023 г.
- ^ «Jubalaires исполняли рэп в стиле госпел еще в 1940-х годах» . Рапзилла . 11 июля 2016 года . Проверено 21 ноября 2020 г.
- ^ «Книга утверждает, что Али был первым чемпионом по рэпу» . СЕГОДНЯ . 15 декабря 2006 г. Архивировано из оригинала 9 ноября 2018 г. Проверено 8 ноября 2018 г.
- ^ Эрлевин, Стивен Томас ; Мюррей, Ник; Спанос, Бретань (2 мая 2015 г.). «20 лучших каверов на песню Бена Э. Кинга «Stand by Me» » . Роллинг Стоун . Архивировано из оригинала 8 ноября 2018 года . Проверено 8 ноября 2018 г.
- ^ "Pigmeat выпустили первую хип-хоп песню?" . ХХL . 14 апреля 2011 года. Архивировано из оригинала 7 ноября 2018 года . Проверено 25 февраля 2021 г.
- ^ «Джалал Мансур Нуриддин: прощание с дедушкой рэпа» , The Guardian , 6 июня 2018 г. Проверено 7 декабря 2018 г.
- ↑ Перейти обратно: Перейти обратно: а б Касл-Гарсоу, Мелисса; Николс, Джейсон (2016). Правда: международный диалог о латиноамериканских хип-хопе . Колумбус: Издательство Университета Огайо. стр. 100-1 ix. ISBN 978-0-8142-1315-5 .
- ↑ Перейти обратно: Перейти обратно: а б Кроссли, Скотт. «Метафорические концепции в хип-хоп музыке», African American Review , St Louis University Press, 2005. стр. 501–502.
- ↑ Перейти обратно: Перейти обратно: а б Олридж Д., Стюард Дж. «Введение: хип-хоп в истории: прошлое, настоящее и будущее», Журнал афроамериканской истории , 2005, стр. 190 .
- ^ Огбар, Джеффри (май 2001 г.). « Йеле, Йеле»: карибская идентичность и расовая рубрика в американском хип-хопе» (PDF) . Цифровые коллекции Университета Флориды.
- ↑ Перейти обратно: Перейти обратно: а б «Вечеринка здесь: устная история исторического джема Кула Херка перед школой» . Массовое обращение . 11 августа 2017 года. Архивировано из оригинала 2 апреля 2019 года . Проверено 2 апреля 2019 г.
- ↑ Перейти обратно: Перейти обратно: а б Стас Бекман: stas(at)stason.org. «Что такое даб-музыка? (Регги)» . Стасон.орг . Проверено 12 января 2010 г.
- ^ Карон, Тони (22 сентября 2000 г.). « Нация хип-хопа» — экспонат последней культурной революции в Америке» . Время . Архивировано из оригинала 27 ноября 2010 года . Проверено 27 мая 2014 г.
- ^ Фарли, Кристофер Джон (18 октября 1999 г.). «Новый поворот рока» . Время . Архивировано из оригинала 25 августа 2013 года . Проверено 27 мая 2014 г.
- ^ Стивен Хагер (1984). Хип-хоп: иллюстрированная история брейк-данса, рэп-музыки и граффити . Пресса Святого Мартина. п. 45.
- ^ «Интервью с DJ Kool Herc: Семинар новой музыки 1989 года» . 1989.
- ^ Фрэнк Бротон (2015). «Интервью: Кул Херк» . История диджея. Архивировано из оригинала 1 июня 2015 года . Проверено 2 октября 2022 г.
- ^ «DJ Kool Herc хочет, чтобы Ямайка вернула хип-хоп» . Источник . 26 февраля 2020 г. . Проверено 4 ноября 2023 г.
- ^ «Место рождения хип-хопа – Исторические детективы – PBS» . ПБС . Проверено 20 июня 2017 г.
- ^ Нойманн, Фредрейх (2000). «Хип-хоп: истоки, особенности и творческие процессы». Мир музыки . 42 (1): 51–63. JSTOR 41699313 .
- ^ Браун, П. Путеводитель по популярной культуре США Popular Press, 2001. с. 386
- ^ Кул Херк, Израиль (режиссер), The Freshest Kids: A History of the B-Boy , QD3, 2002.
- ^ «Культура – 40 лет спустя с вечеринки, на которой зародился хип-хоп» . Би-би-си. 9 августа 2013 года . Проверено 24 августа 2014 г.
- ^ «История хип-хопа» . daveyd.com . Проверено 20 июня 2017 г.
- ^ «Хип-хоп | Определение, история, культура и факты» . Британская энциклопедия . Проверено 1 декабря 2020 г.
- ↑ Перейти обратно: Перейти обратно: а б «История восторга рэпера» Найла Роджерса . РэпПроект.tv. Архивировано из оригинала 26 января 2013 года . Проверено 12 октября 2008 г.
- ^ Ли, Дженнифер 8. (15 января 2008 г.). «Арендаторы могут купить место, где родился хип-хоп» ( блог ) . Нью-Йорк Таймс . Архивировано из оригинала 27 июля 2011 года . Проверено 10 марта 2009 г.
{{cite news}}: CS1 maint: числовые имена: список авторов ( ссылка ) - ^ Кеннер, Роб. «Dancehall», в «Истории хип-хопа» , изд. Алан Лайт, 350-7. Нью-Йорк: Three Rivers Press, 1999.
- ^ Туп, Дэвид. Рэп-атака: африканский джайв и нью-йоркский хип-хоп . Бостон: South End Press, 1984.
- ^ Браун, Майк. «Грандмастер Меле Мел: Оружейное шоу, часть первая» . AllHipHop.com . Архивировано из оригинала 18 января 2007 года.
- ^ Форман М; М. Нил, Это сустав! Читатель по исследованиям хип-хопа , Routledge, 2004. с. 2.
- ^ Фрум, Дэвид (2000). Как мы сюда попали: 70-е . Нью-Йорк: Основные книги. стр. 14–15 . ISBN 0-465-04195-7 .
- ↑ Джоди Розен, «Восхваление истории хип-хопа». Архивировано 14 ноября 2015 г., в Wayback Machine , The New York Times , 12 февраля 2006 г.
- ↑ Перейти обратно: Перейти обратно: а б с Чанг 2007 , с. 62.
- ^ Циммер, Эми (20 февраля 2006 г.). «Вернем этот ритм – в поезде E» . Метро.us. Архивировано из оригинала 5 августа 2008 года.
- ^ дель Барко, Мандалит. «Брейк-данс, присутствующий при творении» . ЭНЕРГЕТИЧЕСКИЙ ЯДЕРНЫЙ РЕАКТОР . Проверено 20 июня 2017 г.
- ^ Парелес, Джон (13 марта 2007 г.). «Послание вчерашнего вечера: хип-хоп — это рок-н-ролл, и Залу славы он нравится» . Нью-Йорк Таймс . п. 3. Архивировано из оригинала 9 апреля 2009 года . Проверено 10 марта 2009 г.
- ↑ Перейти обратно: Перейти обратно: а б с Диавара 1998 , стр. 237–76
- ↑ Перейти обратно: Перейти обратно: а б «Мухаммед Али: величайший боксер мира был также пионером хип-хопа» . Роллинг Стоун . 4 июня 2016 года. Архивировано из оригинала 15 мая 2018 года . Проверено 29 августа 2017 г.
- ^ «Мухаммед Али: 4 способа, которыми он изменил Америку» . Роллинг Стоун . 5 июня 2016. Архивировано из оригинала 15 мая 2018 года . Проверено 29 августа 2017 г.
- ^ «С изобретением звукозаписи стало лишь вопросом времени, когда устройство, записывающее само себя, станет инструментом. Момент в массовой культуре, когда устройство воспроизведения звука стало инструментом, произошел в раннем хип-хопе. Использование проигрывателя виниловых пластинок , и особенно две вертушки, характерно. Вы можете установить две вертушки с двумя одинаковыми пластинками и делать перерыв навсегда. Таким образом, рождение сэмплирования совпало с рождением... идеи цикла». Лотт, Райан. «AKAI MPC 2000/История отбора проб» . Радостные шумовые записи . Проверено 27 сентября 2013 г.
- ^ Дай, Дэвид (22 февраля 2007 г.). «NPR: Рождение рэпа: взгляд назад» . ЭНЕРГЕТИЧЕСКИЙ ЯДЕРНЫЙ РЕАКТОР. Архивировано из оригинала 24 апреля 2018 года . Проверено 2 апреля 2018 г.
- ^ [ мертвая ссылка ]
- ↑ Перейти обратно: Перейти обратно: а б Фитцпатрик, Роб, «101 самая странная пластинка на Spotify: Warp 9 – It’s A Beat Wave», 14 мая 2014 г. [1] Архивировано 21 декабря 2016 г., в Wayback Machine.
- ^ Ша Рок и Иеша Браун (28 мая 2010 г.). История начала и конца первой женщины-MC в стиле хип-хоп...яркая икона Sha-Rock . Издательство OuttaDaBlue. ISBN 978-0977825844 .
- ^ Вайнгартен, Кристофер Р. (24 мая 2017 г.). «Последовательность: Фанковое наследие первых леди хип-хопа» . Роллинг Стоун . Проверено 11 июня 2024 г.
- ^ «История джаза» . Archive.nytimes.com .
- ^ Кэмпбелл, К.Э. (2005). В путь: риторика, язык и грамотность для поколения хип-хопа. Архивировано 8 февраля 2015 г., в Wayback Machine , Wayne State University Press.
- ^ Мишель Хильмес (1997). Голоса радио: американское вещание, 1922–1952 гг . Университет Миннесоты Пресс. ISBN 978-0-8166-2621-2 .
- ^ Уильям Паттон (20 августа 2010 г.). Путеводитель по историческому центру Мемфиса . Издательство Аркадия. стр. 57–. ISBN 978-1-61423-168-4 . Архивировано из оригинала 22 апреля 2019 года . Проверено 19 мая 2018 г.
- ^ Марша Вашингтон Джордж (28 марта 2002 г.). Черное радио... Победитель получает все: первые черные диджеи Америки . Корпорация Xlibris. стр. 100–. ISBN 978-1-4628-1993-5 . Архивировано из оригинала 22 апреля 2019 года . Проверено 13 июня 2018 г.
- ^ «Зал славы радио Теннесси — призывники 2015 года» . 14 июня 2018 года. Архивировано из оригинала 14 июня 2018 года . Проверено 25 февраля 2021 г.
- ^ «Зал славы радио Теннесси - выпуск 2012 года» . Архивировано из оригинала 21 октября 2018 года . Проверено 19 мая 2018 г.
- ^ Рекламный щит . Nielsen Business Media, Inc., 13 декабря 1986 г., стр. 21–. ISSN 0006-2510 . Архивировано из оригинала 22 апреля 2019 года . Проверено 23 мая 2018 г.
- ^ Билл Брюстер (13 мая 2014 г.). Вчера вечером ди-джей спас мне жизнь: история диск-жокея . Гроув/Атлантик, Инкорпорейтед. п. 249. ИСБН 978-0-8021-9436-7 . Архивировано из оригинала 24 ноября 2018 года . Проверено 23 мая 2018 г.
- ^ Сепеда Р., Джордж Н. 2004. И это не останавливается: лучшая американская хип-хоп журналистика за последние 25 лет , Нью-Йорк, Faber and Faber Inc.
- ^ «Рэп родился на Ямайке» (Le Castor Astral, 2009)
- ↑ Перейти обратно: Перейти обратно: а б «История хип-хопа – старая школа» . nciMUSIC. Архивировано из оригинала 14 июля 2011 года . Проверено 12 января 2010 г.
- ^ «Статья о Меле Мел (Melle Mel)» . AllHipHop.com . 16 января 2007 г.
- ^ Шлосс, JG (2009). Основание: бибои, бигерлз и хип-хоп культура в Нью-Йорке , Oxford University Press
- ↑ Перейти обратно: Перейти обратно: а б * Дэвид Туп (1984/1991/2000). Рэп-атака II: африканский рэп и глобальный хип-хоп , стр.94, ?, 96. Нью-Йорк. Нью-Йорк: Змеиный Хвост. ISBN 1-85242-243-2 .
- ^ Байно, Ю. (2006). Энциклопедия рэпа и хип-хоп культуры , Greenwood Press
- ^ Хесс, Микки (2009). Хип-хоп в Америке: Региональный путеводитель . АВС-КЛИО. п. xxxiii. ISBN 978-0-313-34323-0 .
- ^ «хип-хоп» . Энциклопедия штата Нью-Йорк . Издательство Сиракузского университета. Архивировано из оригинала 21 мая 2012 года . Проверено 12 января 2010 г.
- ↑ Крис Херд, четверг, 14 октября 2004 г., 08:52 по Гринвичу, 09:52, Великобритания. «Серебряный юбилей первого рэп-хита». Архивировано 16 февраля 2009 года в Wayback Machine , BBC News.
- ^ «eteksciki.info» . Архивировано из оригинала 2 июля 2013 года.
- ^ Гринберг, Стив; Лайт, Алан [ред.] (1999). VIBE История хип-хопа . Три Риверс Пресс. п. 28. ISBN 0-609-80503-7
- ^ Аноним (26 февраля 2004 г.). «Хип-хоп на воске: Леди Би – все в ритме» . Hiphoponwax.blogspot.com . Проверено 12 января 2010 г.
- ^ nciMUSIC - История хип-хопа nciMUSIC.com. Архивировано 10 февраля 2010 г., в Wayback Machine.
- ↑ История хип-хопа, стр. 8 Daveyd.com. Архивировано 8 июля 2011 г., в Wayback Machine.
- ^ Бенсон, Г. (2010). Одинокая планета США , Одинокая планета
- ^ Талбот, М. (2000). Музыкальное произведение: реальность или выдумка? , Издательство Ливерпульского университета
- ^ Туп, Дэвид (2000). Рэп-атака 3: африканский рэп к глобальному хип-хопу . (Расширенное третье издание) Лондон: Змеиный хвост, стр. 150–151. ISBN 1-85242-627-6 .
- ^ «Все, что вы хотели знать о Roland TR-808, но боялись спросить» . Факт . 16 января 2014 года . Проверено 16 января 2017 г.
- ^ Гамильтон, Джек (16 декабря 2016 г.). «808-е и глаза-сердечки» . Сланец . ISSN 1091-2339 . Архивировано из оригинала 16 января 2017 года . Проверено 16 января 2017 г.
- ^ Норрис, Крис (13 августа 2015 г.). «О 808-м слышали во всем мире» . Житель Нью-Йорка . Архивировано из оригинала 4 мая 2020 года . Проверено 16 января 2017 г.
- ^ Бомонт-Томас, Бен (14 февраля 2016 г.). «Roland запускает новые версии культовых инструментов 808, 909 и 303» . Хранитель . ISSN 0261-3077 . Архивировано из оригинала 13 марта 2016 года . Проверено 16 января 2016 г.
- ^ Уэллс, Питер (2004), Руководство по цифровому видео для начинающих , AVA Books, стр. 18, ISBN 978-2-88479-037-6 , заархивировано из оригинала 23 апреля 2016 г. , получено 20 мая 2011 г.
- ^ Болдуин, Роберто (14 февраля 2014 г.). «Величайшая драм-машина раннего хип-хопа только что воскресла» . Проводной . Архивировано из оригинала 16 июня 2018 года . Проверено 4 января 2016 г.
- ^ Ричардс, Крис (2 декабря 2008 г.). «Что такое 808?» . Сланец . ISSN 1091-2339 . Архивировано из оригинала 6 апреля 2018 года . Проверено 16 января 2016 г.
- ^ Туп, Дэвид (2000). Rap Attack 3: African Rap To Global Hip Hop (расширенное третье издание), Лондон: Serpent's Tail, стр. 151, ISBN 1-85242-627-6 .
- ^ Дженнифер Люси Аллан, Орен Амбарчи, Мэтт Анкер, Линдси Барретт , Маркус Бун, Карла Бозулих, Джан, Брайан Кейс, Филип Кларк, Байрон Коли, Ричард Кук, Джек Кук, Джулиан Коули, Алан Каммингс, Эйнстурзенде Нойбаутен, Фил Инглэнд, Кодво Эшун Марк Фелл, Эдвард Фокс, Фил Фриман, Джейсон Гросс, Александр Хак, Майк Хеймс, Энди Хэмилтон, Макс Харрисон, Ричард Хендерсон, Тони Херрингтон, Кен Холлингс, Саймон Хопкинс, Дэвид Илич, Дэвид Кинан, Биба Копф, Ульрих Кригер, Алан Лихт, Эрик Ламбо, Лидия Ланч, Ховард Мэндел, Мерцбоу, Кит Молине, Уилл Монтгомери, Брайан Мортон, Джо Маггс, Алекс Нилсон, Эндрю Носницкий, Каспер Опструп, Йен Пенман, Эдвин Паунси, Брайан Пристли, Рейнхольд Фридл, Адриан Рью, Саймон Рейнольдс, Сэм Ричардс, Робин Рембо, Брюс Рассел, Сара Энглисс, Ирмин Шмидт, Питер Шапиро, Брайан Шимковиц, Марк Синкер, Марк Э. Смит, Дэниэл Спайсер, Джозеф Стэннард, Сью Стюард, Дэвид Стаббс, Атао Танака, Дэвид Туп, Дэн Уорбертон, Ричард Уайтлоу, Бэрри Уизерден, Роб Янг. «АЗ Электро» . Проволока . Проверено 24 августа 2014 г.
- ^ «NewYorkGospel.com» . Newyorkgospel.com . Архивировано из оригинала 30 сентября 2008 года . Проверено 25 февраля 2021 г.
- ^ «Уилсон, Грег, «Электро-фанк – что все это значило», ноябрь 2002 г.» . Globaldarkness.com . Проверено 24 августа 2014 г.
- ^ Ретроспектива MCM о Сиднее: «Сегодня мы можем сказать, что Сидни — отец французского хип-хопа . Создатель шоу HIPHOP в 1984 году (первое рэп-шоу в мире, которое на тот момент транслировалось по воскресеньям в 14:00 перед Starsky & Hutch), этот экстравагантный диджей/рэпер/брейкер познакомил французов с этим новым американским трендом, едва оправившись от него. из волны диско и создает призвания (Джоуи Старр, Пасси, Стоми Багси...) » ХИП-ХОП – Мифическое шоу Сидни. Архивировано 7 февраля 2009 г., в Wayback Machine.
- ^ «Международный человек-загадка» . Тематический журнал . 8 января 2010. Архивировано из оригинала 17 марта 2014 года . Проверено 12 января 2010 г.
- ^ имя: Туп стр.151
- ^ Томас, Стивен. «Лицензия на болезнь» . Вся музыка. Архивировано из оригинала 10 марта 2010 года . Проверено 12 января 2010 г.
- ↑ Перейти обратно: Перейти обратно: а б «Золотой век хип-хопа: где они сейчас?» . Нью-Йорк Дейли Ньюс . 27 ноября 2015 г.
- ^ «Какой год был величайшим в истории рэпа?» . 19 марта 2018 г.
- ↑ Перейти обратно: Перейти обратно: а б Дуинкер, Бен; Мартин, Денис (26 сентября 2017 г.). «В поисках хип-хоп-звучания Золотого века (1986–1996)» . Обзор эмпирического музыкознания . 12 (1–2): 80–100. дои : 10.18061/emr.v12i1-2.5410 . hdl : 1811/81126 . Архивировано из оригинала 25 ноября 2019 года . Проверено 27 февраля 2020 г.
- ↑ Джон Караманика, «Хип-хоп рейдеры затерянных архивов». Архивировано 10 апреля 2014 г., в Wayback Machine , New York Times , 26 июня 2005 г.
Чео Х. Кокер, «Slick Rick: Behind Bars». Архивировано 2 февраля 2010 года в Wayback Machine , Rolling Stone , 9 марта 1995 года.
Лоннэ О'Нил Паркер, «Острый хип-хоп-комикс старшего доктора медицины Аарона МакГрудера вызывает восторженные отзывы, но никто не принимает» , Washington Post , 20 августа 1997 г. - ↑ Джейк Койл из Associated Press, «Журнал Spin назвал компакт-диск Radiohead лучшим». Архивировано 28 июня 2011 года в Wayback Machine , опубликовано в USA Today , 19 июня 2005 года.
Чео Х. Кокер, «Slick Rick: Behind Bars». Архивировано 2 февраля 2010 года в Wayback Machine , Rolling Stone , 9 марта 1995 года.
Эндрю Древер, «Братья Джунгли все еще не приручены». Архивировано 28 июня 2011 года в Wayback Machine , The Age [Австралия], 24 октября 2003 года. - ↑ Рони Сарик, «Безумные мастера мудрости». Архивировано 23 ноября 2008 г., в Wayback Machine , City Pages , 16 апреля 1997 г.
Уилл Ходжкинсон, «Приключения на стальных колесах». Архивировано 15 мая 2008 года в Wayback Machine , The Guardian , 19 сентября 2003 года. - ^ Пер Кокер, Ходжкинсон, Древер, Тилл, О'Нил Паркер и Сарик выше. Кроме того:
Чео Х. Кокер, "KRS-One: Krs-One". Архивировано 14 января 2009 года в Wayback Machine , Rolling Stone , 16 ноября 1995 года.
Эндрю Петти, «Где рэп пошёл не так». Архивировано 5 декабря 2008 года в Wayback Machine , Daily Telegraph , 11 августа 2005 года.
Моси Ривз, "Easy-Chair Rap". Архивировано 4 ноября 2006 г., в Wayback Machine , Village Voice , 29 января 2002 г.
Грег Кот, «Хип-хоп ниже мейнстрима» [ постоянная мертвая ссылка ] , Лос-Анджелес Таймс , 19 сентября 2001 г.
Чео Ходари Кокер, «Это прекрасное чувство» , Los Angeles Times , 11 августа 1996 г.
Скотт Мервис, «От Kool Herc до 50 Cent, история рэпа – до сих пор». Архивировано 28 июня 2011 года в Wayback Machine , Pittsburgh Post-Gazette , 15 февраля 2004 года. - ↑ Чео Х. Кокер, «Slick Rick: Behind Bars» , Rolling Stone , 9 марта 1995 г. Архивировано 2 февраля 2010 г., в Wayback Machine.
- ↑ Перейти обратно: Перейти обратно: а б Джейк Койл из Associated Press, «Журнал Spin назвал компакт-диск Radiohead лучшим». Архивировано 28 июня 2011 года в Wayback Machine , опубликовано в USA Today , 19 июня 2005 года.
- ↑ Скотт Мервис, «От Kool Herc до 50 Cent, история рэпа – до сих пор». Архивировано 28 июня 2011 года в Wayback Machine , Pittsburgh Post-Gazette , 15 февраля 2004 года.
- ^ Кобб, Джелани Уильям, 2007, На рассвете , NYU Press, стр. 47.
- ^ Уильямс, Тодд «Стерео» (16 мая 2016 г.). «Как «Raising Hell» группы Run-DMC положило начало золотому веку хип-хопа» . Бумбокс . Проверено 20 февраля 2021 г.
- ↑ Перейти обратно: Перейти обратно: а б с Филипс, Чак (19 июля 1992 г.). «Исследование на обложке: Негражданская война: битва между истеблишментом и сторонниками рэп-музыки вновь открывает старые расовые и классовые раны» . Лос-Анджелес Таймс . Архивировано из оригинала 4 января 2014 года . Проверено 2 января 2014 г.
- ^ «Гангста-рэп – что такое гангста-рэп» . Рэп.about.com. 31 октября 2009. Архивировано из оригинала 14 мая 2011 года . Проверено 23 апреля 2010 г.
- ^ Ламонт, Мишель (1999). Культурные территории расы: черные и белые границы . Издательство Чикагского университета. п. 334. ИСБН 9780226468365 . Проверено 18 января 2015 г.
- ^ Ричи, Райан (28 февраля 2007 г.). «Легко быть трудным» . Пресс-Телеграм . Группа газет Лос-Анджелеса. Архивировано из оригинала 4 марта 2007 года . Проверено 26 января 2008 г.
- ^ Дефлем, Матье (1993). Рэп, рок и цензура: популярная культура и технологии правосудия . Архивировано из оригинала 7 сентября 2012 года . Проверено 21 июля 2012 г.
- ↑ Перейти обратно: Перейти обратно: а б Филипс, Чак (19 июля 1992 г.). «Исследование с обложки: «Арнольд Шварценеггер в роли Терминатора уничтожил десятки полицейских. Но я не слышу, чтобы кто-то жаловался».: Вопросы и ответы с Ice-T о роке, расе и фуроре «Убийцы полицейских»» . Лос-Анджелес Таймс . Архивировано из оригинала 12 января 2016 года . Проверено 2 января 2014 г.
- ^ Авис Томас-Лестер; Мэрилу Тузиньян (25 июня 1992 г.). «Реакция на песню Ice-T накаляется» . Вашингтон Пост . Компания WP . Проверено 27 сентября 2022 г.
- ^ Шейла Рул (29 января 1993 г.). «Ice-T и Warner расстаются» . Нью-Йорк Таймс . Архивировано из оригинала 26 мая 2013 года . Проверено 27 сентября 2022 г.
- ↑ Перейти обратно: Перейти обратно: а б Джонс IV, Джеймс Т. (20 декабря 1990 г.). «MAINSTREAM RAP; Ультрасовременное звучание становится популярным в год противоречий; Детище Video выходит на новые улицы» . США сегодня . п. 1.А. Архивировано из оригинала 8 ноября 2012 года . Проверено 7 июня 2012 г.
- ↑ Перейти обратно: Перейти обратно: а б с Симпсон, Дженис К. (5 февраля 1990 г.). «Йо! Рэп попадает на карту» . Время . Том. 135. Нью-Йорк. п. 60. Архивировано из оригинала 13 ноября 2007 года . Проверено 7 июня 2012 г.
- ↑ Перейти обратно: Перейти обратно: а б Хилберн, Роберт (4 февраля 1990 г.). «Рэп — сила и противоречия: успех утвердил самую изменчивую форму поп-музыки, но его будущее влияние может быть сформировано продолжающимся шумом Public Enemy» . Лос-Анджелес Таймс . Лос-Анджелес Таймс. Архивировано из оригинала 6 февраля 2012 года . Проверено 7 июня 2012 г.
- ^ «в архиве» . Архивировано из оригинала 4 сентября 2009 года . Проверено 23 февраля 2010 г.
- ^ «Пожалуйста, забейте их, не причиняйте им вреда: обзор» . Вся музыка.
- ^ «в архиве» . Архивировано из оригинала 25 января 2003 года . Проверено 31 марта 2010 г.
- ^ КРИСТОФЕР ДЖОН ФАРЛИ (24 июня 2001 г.). «Возвращение кумиров рэпа» . Время . Архивировано из оригинала 3 ноября 2012 года . Проверено 7 сентября 2012 г.
- ^ Кэссиди, Джон (19 августа 1996 г.). «Городской разговор: под молотом» . Житель Нью-Йорка . Проверено 7 сентября 2012 г.
- ^ «Биография Мак Хаммера» . Sing365.com. Архивировано из оригинала 15 июля 2012 года . Проверено 7 сентября 2012 г.
- ^ Киллонен, Томми (2007). «Неортодоксальная культура: история хип-хопа». Неортодоксальные: Церковь. Хип-Хоп. Культура . Зондерван. п. 92. ИСБН 978-0-310-27439-1 .
- ↑ Перейти обратно: Перейти обратно: а б «Хип-хоп (музыкальное и культурное движение) - Интернет-энциклопедия Britannica» . Британская энциклопедия . 13 февраля 2005 года. Архивировано из оригинала 11 мая 2011 года . Проверено 7 сентября 2012 г.
- ^ Бэти, Ангус (7 октября 2010 г.). «Общество наследия хип-хопа» . Хранитель . Лондон. Архивировано из оригинала 1 октября 2013 года . Проверено 8 ноября 2011 г.
- ^ Коутс, Та-Нехиси (17 августа 2007 г.). «Даунбит хип-хопа» . Время . Архивировано из оригинала 14 апреля 2012 года . Проверено 16 апреля 2012 г.
- ^ Мартинес, Майкл (9 февраля 2011 г.). «Музыка умирает в некогда популярной видеоигре «Guitar Hero»» . Си-Эн-Эн. Архивировано из оригинала 11 августа 2011 года . Проверено 27 ноября 2011 г.
- ^ Польфус, Йонас (4 мая 2022 г.). «Хип-хоп: икона рынка» . Потребительские рынки и культура . 25 (3): 272–286. дои : 10.1080/10253866.2021.1990050 . ISSN 1025-3866 . S2CID 249626865 .
- ^ Джаннотта, Меган (8 марта 2019 г.). «Соперничество Восточного побережья против Западного побережья: взгляд на печально известную хип-хоп вражду Тупака и Бигги» . amНью-Йорк . Проверено 1 декабря 2020 г.
- ^ «Хардкор-рэп: значимые альбомы, исполнители и песни, самые просматриваемые» . Вся музыка. Архивировано из оригинала 11 декабря 2011 года . Проверено 7 сентября 2012 г.
- ^ Хьюи, Стив. «Печально известный на Allmusic» . Проверено 1 января 2007 г.
- ^ Хьюи, Стив. «Ад на Земле в Allmusic» . Проверено 1 января 2007 г.
- ^ Осорио, Ким. «1994: (второй) самый важный год в хип-хопе» . Источник . Архивировано из оригинала 20 февраля 2021 года . Проверено 15 апреля 2014 г.
- ^ «Убийства гангста-рэперов Тупака Шакура и Notorious BIG — Crime Library на truTV.com» . Trutv.com. 30 ноября 1994 года. Архивировано из оригинала 1 июня 2009 года . Проверено 12 января 2010 г.
- ^ «The Chronic > Чарты и награды > Альбомы Billboard» . Вся музыка. 15 декабря 1992 года . Проверено 12 января 2010 г.
- ^ Нельсон, Хэвлок (18 марта 1993 г.). «The Chronic: Доктор Дре: Обзор» . Роллинг Стоун . Архивировано из оригинала 20 июня 2008 года . Проверено 12 января 2010 г.
- ^ «Музыкальные новости и информация о Снуп Догге» . Рекламный щит . Проверено 12 января 2010 г.
- ^ Беркс, Мэгги (3 сентября 2008 г.). «Южный хип-хоп» . Джексон Фри Пресс . Архивировано из оригинала 23 марта 2012 года . Проверено 11 сентября 2008 г.
- ^ Ломакс, Джон (5 мая 2005 г.). «Уста Юга» . Хьюстон Пресс . Архивировано из оригинала 13 января 2012 года . Проверено 1 ноября 2011 г.
- ^ Вестхофф, Бен (18 марта 2011 г.). «Грязный Юг» . Деревенский голос . Архивировано из оригинала 23 апреля 2011 года . Проверено 1 ноября 2011 г.
- ^ Кристгау, Роберт (2000). «Компьютерная графика 90-х: Введение» . robertchristgau.com . Проверено 13 апреля 2019 г.
- ^ Эмброуз, Джо (2001). «Мошинг - Введение». Жестокий мир мошпитской культуры . Омнибус Пресс. п. 5. ISBN 0-7119-8744-0 .
- ^ Акиндес, Фэй Йокомизо (2001). «Внезапный прилив: 'Na Mele Paleoleo' (гавайский рэп) как освободительный дискурс». Дискурс . 23 (1): 82–98. дои : 10.1353/дис.2001.0001 . JSTOR 41389595 . S2CID 143489394 .
- ^ "Музыкальные новости и информация Digable Planets" . Рекламный щит . Проверено 7 сентября 2012 г.
- ^ «Плейлист Bling Era | Творческий контроль» . 3 июня 2020 г. Архивировано из оригинала 3 июня 2020 г. Проверено 25 февраля 2021 г.
- ^ «Полная история «Bling Bling» | The FADER» . 3 июня 2020 г. Архивировано из оригинала 3 июня 2020 г. Проверено 25 февраля 2021 г.
- ^ «Революционно, но клубы: эпоха джигги» . 24 февраля 2008 г.
- ^ «Independent As Fuck: 20 основных андеграундных хип-хоп-релизов 1997 года» . Festivalpeak.com . 3 ноября 2017 г. Проверено 25 февраля 2021 г.
- ^ «Лучшие блестящие костюмы эпохи блестящих костюмов | Комплекс» . Сложные сети . 3 июня 2020 г. Архивировано из оригинала 3 июня 2020 г. Проверено 25 февраля 2021 г.
- ^ Лайла, Роуз (1 августа 2016 г.). "Микстейп Rockstar Souljah Boy" . Горячий новый хип-хоп . Архивировано из оригинала 16 августа 2016 года . Проверено 1 августа 2016 г.
- ^ «The Slim Shady LP > Чарты и награды > Альбомы Billboard» . Вся музыка. 23 февраля 1999 года . Проверено 12 января 2010 г.
- ^ «История чарта: 50 Cent – Billboard Global 200» . Рекламный щит . Проверено 27 сентября 2021 г.
- ^ Мишель, Сиа (18 сентября 2006 г.). «Выбор критиков: новые компакт-диски» . Нью-Йорк Таймс . Архивировано из оригинала 7 сентября 2009 года . Проверено 10 мая 2008 г.
- ^ «Золото и платина – Бриллиантовые награды» . Ассоциация звукозаписывающей индустрии Америки. Архивировано из оригинала 16 мая 2007 года.
- ^ Лерой, Дэн. «Биография MF Doom Дэна Лероя» . Вся музыка . Архивировано из оригинала 16 марта 2020 года . Проверено 13 января 2020 г.
- ^ Ничто не пройдет на AllMusic
- ^ Коэн, Джонатан (5 сентября 2007 г.). « Классный мюзикл 2» начинает третью неделю под номером 1» . Рекламный щит . Архивировано из оригинала 13 января 2020 года.
- ^ Пэнгберн, диджей (20 июня 2018 г.). «5 артистов, которые являются мастерами глитч-музыки» . Изотоп . Проверено 27 сентября 2021 г.
- ^ Шерберн, Филип (24 мая 2019 г.). «Летающий лотос Фламагра» . Вилы . Проверено 27 сентября 2021 г.
- ^ Патрин, Нейт (29 августа 2008 г.). «Летающий лотос Лос-Анджелес» . Вилы . Проверено 27 сентября 2021 г.
- ^ Адаско, Генри (8 марта 2019 г.). «Кранк-музыка» . liveabout.com . Проверено 27 сентября 2021 г.
- ^ «Кранк-музыка» . Rapbasement.com . 6 октября 2006 г. Архивировано из оригинала 2 сентября 2021 г. Проверено 27 сентября 2021 г.
- ^ Миллер, Мэтт (10 июня 2008 г.). «Грязное десятилетие: Рэп с Юга: 1997–2007» . Southernspaces.org. Архивировано из оригинала 18 сентября 2010 года . Проверено 12 января 2010 г.
- ^ «От Crunk до Snap и Trap: Краткая история южного хип-хопа» . milankordestani.medium.com . 5 мая 2021 г. . Проверено 27 сентября 2021 г.
- ^ Vibe , июнь 2006 г., "Oh Snap!"
- ^ «5 причин, по которым Soulja Boy — самый влиятельный рэпер своего поколения» . СТАВКА . 3 июня 2020 г. Архивировано из оригинала 3 июня 2020 г. Проверено 25 февраля 2021 г.
- ^ «Как Soulja Boy и Myspace перенесли хип-хоп в эпоху Интернета» . Диджейбут . 16 января 2019 г.
- ^ «После падения продаж на 21% рэп-индустрия внимательно смотрит на себя» . Futuremusic.com. 9 апреля 2006 года . Проверено 12 января 2010 г.
- ^ Коутс, Та-Нехиси (17 августа 2007 г.). «Даун бит хип-хопа» . Время . Архивировано из оригинала 14 апреля 2012 года . Проверено 12 января 2010 г.
- ^ Миллой, Кортленд (19 сентября 2007 г.). «Гангста-рэп, умирающий на улице» . Вашингтон Пост . Архивировано из оригинала 6 июля 2017 года.
- ^ Райдаут, Виктория; Робертс, Дональд Ф.; Фер, Улла Ф. (2005). «Поколение М: СМИ в жизни детей 8–18 лет» (PDF) . Фонд семьи Генри Дж. Кайзера (март). Менло-Парк, Калифорния. Архивировано из оригинала (PDF) 7 марта 2006 г. Проверено 18 мая 2014 г.
- ^ Блэр, Элизабет (11 марта 2007 г.). «Хип-хоп умирает или ушел в подполье?» . Национальное общественное радио – все учтено . Проверено 12 января 2010 г.
- ^ Мартенс, Тодд (30 апреля 2009 г.). «Лучше как песню или рингтон» . Лос-Анджелес Таймс . Архивировано из оригинала 6 февраля 2011 года . Проверено 30 апреля 2009 г.
- ^ "Soulja Boy Tell 'Em - Souljaboytellem.com - Обзор хип-хоп-альбома" . DJbooth.net. Архивировано из оригинала 9 февраля 2010 года . Проверено 12 января 2010 г.
- ^ Ньютон, Мэтью (1 декабря 2008 г.). «Выборка мертва? | Мэтью Ньютон» . Мэтью Ньютон. Архивировано из оригинала 25 сентября 2009 года . Проверено 12 января 2010 г.
- ^ Крауч, Стэнли (8 декабря 2008 г.). «Для будущего хип-хопа не все, что блестит, — золотые зубы» . Сиэтлский пост-разведчик . Архивировано из оригинала 20 февраля 2021 года . Проверено 11 декабря 2008 г.
- ^ Саббах, Дэн (18 июня 2008 г.). «Продажи музыки упали до самого низкого уровня за последние двадцать лет» . Таймс . Лондон, Великобритания. Архивировано из оригинала 25 августа 2011 года . Проверено 12 января 2010 г.
- ^ Кауфман, Гил (27 мая 2009 г.). «Relapse Эминема стал самым большим дебютом на рекламном щите 2009 года» . Новости МТВ. Архивировано из оригинала 28 мая 2009 года . Проверено 12 января 2010 г.
- ^ «Рик Росс в третий раз дебютирует под номером 1 в Billboard 200» . Рекламный щит . 14 сентября 2009 года . Проверено 12 января 2010 г.
- ^ Колфилд, Кейт (17 июня 2009 г.). "Black Eyed Peas 'END' заняла первое место в Billboard 200" . Рекламный щит . Проверено 12 января 2010 г.
- ^ Моника Эррера; Кейт Колфилд (5 августа 2009 г.). «Fabolous Tops Billboard 200; «Ones» Джексона теперь второй бестселлер 2009 года» . Рекламный щит . Проверено 12 января 2010 г.
- ^ "Dizzee Rascal - Dizzee и Eminem Land стали самыми продаваемыми номерами 1S в 2009 году" . Contactmusic.com . 24 мая 2009 года. Архивировано из оригинала 14 марта 2010 года . Проверено 12 января 2010 г.
- ^ Секстон, Пол (17 сентября 2007 г.). «Канье побеждает 50 Cent в британском альбомном чарте» . Рекламный щит . Проверено 31 мая 2012 г.
- ^ Рид, Шахим (3 октября 2008 г.). «Общие похвалы пению Канье; Лупе Фиаско играет генерального директора: Mixtape Monday» . МТВ. Архивировано из оригинала 6 октября 2008 года . Проверено 23 ноября 2008 г.
- ^ «Городское обозрение: Канье Уэст, 808-е и разбитое сердце » . Наблюдатель . Лондон: Guardian News and Media Ltd., 9 ноября 2008 г. Архивировано из оригинала 1 декабря 2008 г. . Проверено 24 ноября 2008 г.
- ^ Кэш, Тим; Рид, Шахим; Родригес, Джейсон (3 сентября 2009 г.). «Эксклюзив: следующий альбом Jay-Z будет «самым экспериментальным, который я когда-либо делал» » . МТВ . Архивировано из оригинала 4 сентября 2009 года . Проверено 3 сентября 2009 г.
- ^ Кэш, Тим; Монтгомери, Джеймс (3 сентября 2009 г.). «Jay-Z надеется, что такие группы, как Grizzly Bear, будут продвигать хип-хоп » . МТВ. Архивировано из оригинала 3 сентября 2009 года . Проверено 3 сентября 2009 г.
- ^ Джонз, Спайк (30 апреля 2009 г.). «2009 – ТАЙМ 100» . Время . Архивировано из оригинала 5 марта 2010 года . Проверено 12 января 2010 г.
- ^ «TIME 100 2009» . Время . Архивировано из оригинала 8 мая 2009 года . Проверено 12 января 2010 г.
- ^ «Класс на уроке. Интервью с рэпером профессором АЛИ» sfbayview.com. Архивировано из оригинала 28 сентября 2011 года . Проверено 9 июня 2011 г.
- ^ «ИНТЕРВЬЮ: Исламский эко-рэп профессора АЛИ посылает мусульманам уроки окружающей среды» . Greenprophet.com. 23 мая 2011 года . Проверено 9 июня 2011 г.
- ^ «Почему поклонники хип-хопа скучают по эпохе блогов - Trapital Дэна Ранси» . 19 сентября 2020 г. Архивировано из оригинала 19 сентября 2020 г. Проверено 25 февраля 2021 г.
- ^ «Где они сейчас? 20 икон эпохи хип-хоп-блогов» . ХНХХ . 29 апреля 2020 года. Архивировано из оригинала 29 апреля 2020 года . Проверено 25 февраля 2021 г.
- ^ Морпурго, Джозеф (23 октября 2012 г.). «Хороший парень, безумный город» . Факт . Лондон. Архивировано из оригинала 27 октября 2012 года . Проверено 29 октября 2012 г.
- ^ Хоард, Кристиан (17 сентября 2009 г.). «Кид Кади: чувствительная душа хип-хопа». Роллинг Стоун . № 1087. с. 40.
- ^ Караманика, Джон (12 сентября 2008 г.). «Добыча золотого века хип-хопа» . Нью-Йорк Таймс . Архивировано из оригинала 10 мая 2013 года . Проверено 18 июля 2012 г.
- ^ Фарбер, Джим (2007). « Певцы лучше справляются с облегчением T-Pain. Архивировано 8 февраля 2009 г. в Wayback Machine », New York DailyNews .
- ^ Ли, Крис (15 ноября 2008 г.). «(Ретро) будущее принадлежит ему» . Лос-Анджелес Таймс . Архивировано из оригинала 20 января 2016 года . Проверено 13 декабря 2012 г.
- ^ «I Am T-Pain от Smule – испытайте социальную музыку» . iamtpain.smule.com . Архивировано из оригинала 25 июля 2017 года . Проверено 8 августа 2017 г.
- ↑ Перейти обратно: Перейти обратно: а б Рейнольдс, Саймон (17 сентября 2018 г.). «Как автонастройка произвела революцию в звучании популярной музыки» . Вилы . Проверено 28 сентября 2018 г.
- ^ «50 величайших песен вокодера - # 50 Snoop Dogg - Sexual Eruption» . Сложный . Комплексные СМИ. Архивировано из оригинала 1 января 2012 года . Проверено 23 октября 2012 г.
- ^ Ноз, Эндрю. «100 величайших песен Лила Уэйна - №3. Лил Уэйн f / Static Major «Lollipop» » . Сложный . Комплексные СМИ. Архивировано из оригинала 27 декабря 2012 года . Проверено 23 октября 2012 г.
- ^ Шахим, Рид (15 октября 2008 г.). «Превью альбома Канье Уэста 808s & Heartbreak: больше барабанов, больше пения, никаких типичных хип-хоп битов » . МТВ. Архивировано из оригинала 20 октября 2008 года . Проверено 2 ноября 2008 г.
- ^ Джозеф Паттерсон (19 января 2013 г.). «Трэп-музыка: полное руководство» . Топман. Время саботажа. Архивировано из оригинала 25 февраля 2013 года . Проверено 14 февраля 2013 г.
- ^ «Объяснение феномена ловушки» . Диджей Маг . Архивировано из оригинала 23 июля 2013 года . Проверено 30 мая 2013 г.
- ^ «Короли ловушек: как поджанр хип-хопа доминировал за десятилетие» . TheGuardian.com . 13 августа 2015 года . Проверено 16 апреля 2018 г.
- ^ «Как трэп-музыка стала править миром» . Сложные сети . Проверено 16 апреля 2018 г.
- ^ «Хватит трахаться с трэп-музыкой: интервью с продюсером Лотиком, уроженцем Хьюстона» . Порок . 11 июня 2012 г. Архивировано из оригинала 3 ноября 2012 г.
- ^ Реймер, Майлз. «Кому принадлежит ловушка?» . Чикагский читатель . Архивировано из оригинала 27 мая 2013 года . Проверено 30 мая 2013 г.
- ^ Унтербергер, Эндрю (13 декабря 2019 г.). «2019 год был годом, когда… песня Lil Nas X «Old Town Road» положила начало десятилетию» . Billboard.com . Проверено 16 января 2022 г.
- ^ «Lil Nas X вошел в историю Грэмми как первый рэпер, открытый гей, номинированный в высших категориях» . Лос-Анджелес Таймс . 20 ноября 2019 г. Проверено 16 января 2022 г.
- ^ Алишия Геркулес. «Женщины в хип-хоп-индустрии оставили свой след в 2010-х годах | Мнение» . Ежедневный колледж . Проверено 16 января 2022 г.
- ^ Ну и дела, Андре (7 декабря 2022 г.). «Как Metro Boomin заставило трэп-музыку звучать как симфония» . Роллинг Стоун . Проверено 11 июня 2024 г.
- ^ Пьер, Альфонс (27 апреля 2020 г.). «10 лучших битов Пьера Борна» . Вилы . Проверено 11 июня 2024 г.
- ^ Жермен, Таби (12 сентября 2024 г.). «Hip Hop Awards 2023: Лондон на запоминающихся хитах da Track», возглавивших чарты . СТАВКА . Проверено 11 июня 2024 г.
- ^ Тарт, Крис (22 ноября 2015 г.). «10 самых важных произведений Лондона на треке» . ГорячийНовыйХипХоп . Проверено 11 июня 2024 г.
- ^ Кармайкл, Родни (25 апреля 2017 г.). «Как Майк УИЛЛ добился успеха, а Кендрик Ламар создал самую актуальную музыку года» . ЭНЕРГЕТИЧЕСКИЙ ЯДЕРНЫЙ РЕАКТОР . Проверено 10 июня 2024 г.
- ^ Партридж, Кен (15 сентября 2023 г.). «Оглядываясь назад на лучшего хип-хоп продюсера 2017 года на сайте Genius» . Гений . Проверено 11 июня 2024 г.
- ^ «Мамбл-рэп: культурная лень или истинное отражение современности?» . 18 октября 2017 г. Проверено 9 апреля 2018 г.
- ^ «Рик Рубин говорит, что Эминем разочарован «Mumble Rap» » . Рекламный щит . 11 ноября 2017 года . Проверено 9 апреля 2018 г.
- ^ «Снуп Догг говорит, что новое поколение рэперов звучит одинаково» . НМЕ . 15 мая 2015 года . Проверено 9 апреля 2018 г.
- ^ «Черная мысль о Mumble Rap:« По сути, я это изобрел » » . Сложные сети . Проверено 16 апреля 2018 г.
- ^ «Впервые в истории США хип-хоп становится самым популярным жанром в музыке» . Vibe.com . 19 июля 2017 г.
- ^ «Отчет: Хип-хоп/R&B впервые стал доминирующим жанром в США» . Форбс .
- ^ «Nielsen говорит, что хип-хоп/R&B сейчас является самым популярным жанром в США» Xxlmag.com . 18 июля 2017 г.
- ^ «Хип-хоп занимает трон, обгоняя рок как самый популярный жанр в США» . Hypebeast.com . 18 июля 2017 г.
- ^ «Атланта: город, который определил 2010-е годы и изменил звучание мира» . Dazeddigital.com . 17 декабря 2019 года . Проверено 16 января 2022 г.
- ^ «Как будет звучать 2020 год? Эксперты предсказывают будущее рэпа» . Комплекс.com . Проверено 16 января 2022 г.
- ^ Шах, Нил (15 июля 2021 г.). «Pop Smoke стал лучшим хип-хоп-альбомом 2021 года, спустя более года после его смерти» . Wsj.com . Проверено 16 января 2022 г.
- ^ «Доджа Кэт превосходит Дрейка как рэпера по количеству слушателей Spotify в месяц» . Комплекс.com . Проверено 16 января 2022 г.
- ^ Томпсон, Бонсу (28 сентября 2017 г.). «Как стриминг произвел революцию в выпуске рэп-альбомов на пути к № 1» . ЭНЕРГЕТИЧЕСКИЙ ЯДЕРНЫЙ РЕАКТОР . Проверено 16 апреля 2018 г.
- ^ [2] [ постоянная мертвая ссылка ]
- ^ «Что шанс рэпера на Грэмми, доступный только в потоковом режиме, означает для будущего поп-музыки» . Роллинг Стоун . 10 февраля 2017 года. Архивировано из оригинала 18 июня 2018 года . Проверено 16 апреля 2018 г.
- ^ «Chance The Rapper's Coloring Book» — первый альбом, предназначенный только для потокового вещания, получивший «Грэмми» . Рекламный щит . 13 февраля 2017 года . Проверено 16 апреля 2018 г.
- ^ «Канье объявляет о смерти компакт-дисков (во всяком случае, его собственных)» . 7 марта 2016 г. Проверено 16 апреля 2018 г.
- ^ «Больше жизни — еще один разумный поворот в карьере Дрейка» . Атлантика . 20 марта 2017 г. Проверено 16 апреля 2018 г.
- ^ Караманика, Джон (22 июня 2017 г.). «Беспокойный мир нового андеграунда рэпа» . Нью-Йорк Таймс . Проверено 9 апреля 2018 г.
- ^ «Лил Пип: пионер рэпа SoundCloud, ставший жертвой употребления наркотиков и депрессии, которую подчеркивает его музыка» . Independent.co.uk . 12 января 2018 года . Проверено 9 апреля 2018 г.
- ^ «XXTentacion предъявлено еще больше обвинений в совершении тяжкого преступления» . 18 декабря 2017 года . Проверено 9 апреля 2018 г.
- ^ «6ix9ine (Tekashi69) признает себя виновным в трех уголовных преступлениях, связанных с сексуальными домогательствами с ребенком» . Проверено 16 апреля 2018 г.
- ^ «Тай-К будет обвинен в убийстве Чик-фил-А» . Фейдер . Проверено 9 апреля 2018 г.
- ^ Вайнгартен, Кристофер Р. (19 июня 2018 г.). «Мы только начали понимать музыкальное наследие XXXTentacion» . Роллинг Стоун . Проверено 14 февраля 2022 г.
- ^ «Juice Wrld, Lil Peep и XXXTentacion — символы сцены, в которой нет трагедии» . 13 декабря 2019 г.
- ↑ Перейти обратно: Перейти обратно: а б "XXXTentacion"?' Становится рэп-альбомом №1 всех времён на Spotify» . ХипХопDX . 18 февраля 2022 г.
- ^ «Doja Cat превосходит Дрейка как рэпера, которого чаще всего транслируют в месяц на Spotify» . рэп-ап.com . 14 октября 2021 г. . Проверено 3 января 2022 г.
- ^ «Эминем занял 11-е место в рейтинге самых популярных исполнителей 2021 года» . Рок The Bells . Проверено 6 декабря 2022 г.
- ^ «Чарты на конец года: исполнители рэп-стриминга» . Рекламный щит . 13 декабря 2013 года . Проверено 3 января 2022 г.
- ^ Навотка, Эдвард (10 декабря 2004 г.). «Глобализация хип-хопа начинается и заканчивается с «Where You’re At» » . США сегодня . Проверено 12 января 2010 г.
- ^ [3] [ постоянная мертвая ссылка ]
- ^ Ривера, Ракель З. (2003). Нью-йоркские риканцы из зоны хип-хопа (1-е изд.). Нью-Йорк: Пэлгрейв Макмиллан. ISBN 1403960445 . OCLC 51031024 .
- ↑ Перейти обратно: Перейти обратно: а б Перри, Марк Д. (30 декабря 2015 г.). Негритянский соевый йо: хип-хоп и расовое гражданство на неолиберальной Кубе . Дарем. ISBN 9780822358855 . OCLC 903675195 .
{{cite book}}: CS1 maint: отсутствует местоположение издателя ( ссылка ) - ^ «CNN.com - Кубинский хип-хоп: восстание внутри революции - 25 ноября 2002 г.» . Си-Эн-Эн. 22 ноября 2002 года. Архивировано из оригинала 27 августа 2009 года . Проверено 24 февраля 2008 г.
- ↑ Перейти обратно: Перейти обратно: а б Гейтс, Генри Луи (2011). Черный в Латинской Америке . Нью-Йорк: Издательство Нью-Йоркского университета. п. 219. ИСБН 9780814738184 . OCLC 692291843 .
- ^ Кастильо-Гарсов, Мелисса; Планас, Мелисса Кастильо; Николс, Джейсон (2016). Правда: международный диалог о хип-хопе Latinidades . Колумбус. п. 84. ИСБН 9780814213155 . OCLC 945948404 .
{{cite book}}: CS1 maint: отсутствует местоположение издателя ( ссылка ) - ^ Кастильо-Гарсов, Мелисса; Планас, Мелисса Кастильо; Николс, Джейсон (2016). Правда: международный диалог о хип-хопе Latinidades . Колумбус. п. 85. ИСБН 9780814213155 . OCLC 945948404 .
{{cite book}}: CS1 maint: отсутствует местоположение издателя ( ссылка ) - ^ Фернандес, Суджата (2012). Кваме Диксон, Джон Бердик (ред.). Сравнительные перспективы афро-латиноамериканской Америки . п. 89. ИСБН 978-0-8130-4269-5 . Архивировано из оригинала 3 декабря 2017 года . Проверено 2 декабря 2017 г.
- ^ Кастильо-Гарсов, Мелисса; Планас, Мелисса Кастильо; Николс, Джейсон (2016). Правда: международный диалог о хип-хопе Latinidades . Колумбус. п. 253. ИСБН 9780814213155 . OCLC 945948404 .
{{cite book}}: CS1 maint: отсутствует местоположение издателя ( ссылка ) - ^ Хамму, Карим (2020). «Сорок лет французского рэпа» . CRESPPA — Парижский центр социологических и политических исследований (на французском языке) . Проверено 30 ноября 2022 г.
- ^ 100 легендарных рэп-альбомов . Консар изд. 2013. ISBN 978-2-940464-38-8 . OCLC 851914668 . Проверено 1 ноября 2022 г.
- ^ Брюнон, Лаура; Фернандес, Мариано; Распечатать Чират) (2010). Когда рэп выходит из своего политического социологического пузыря популярного успеха . Ирма. ISBN 978-2-916668-28-4 . OCLC 690359542 . Проверено 30 ноября 2022 г.
- ^ Рэп или ремесло рифмы: стилистика эготрипа . Харматтан. 2008. ISBN 978-2-296-06783-7 . OCLC 470589497 . Проверено 30 ноября 2022 г.
- ^ Геноно (9 мая 2021 г.). «Сэфью: 15 лет «Кто я?» » . Моув (на французском языке) . Проверено 29 ноября 2022 г.
- ^ «Сэфью: Взгляд на карьеру рэпера из Ольне» . Уголок хип-хопа: новости французского рэпа, США и культуры (на французском языке). 4 июля 2017 г. Проверено 13 декабря 2022 г.
Чтобы возродить воспоминания, связанные с Сефью, мы должны вернуться в начало 2000-х годов. Юсеф Сукуна изначально даже не увлекался рэпом. Несмотря на то, что он демонстрирует не по годам развитый талант, довольно рано написав свои первые стишки, его характеризует скорее владение футболом. Однако, будучи членом местной группы со своими друзьями Бабой и Куаменом (NCC: Nouveaux Clandés de la Cité, затем переименованной в New City Connection), в то же время он окончательно отказался от спорта, чтобы полностью посвятить себя творческой деятельности. В Лондоне во время тренировки в тренировочном центре «Арсенала» он серьезно повредил колени и вернулся в Париж. Также покинув NCC, он решил полностью погрузиться в рэп. Это возможность несколько раз появиться, в частности, вместе с Роффом в «Code 187» (альбом «La Fierté des Nôtres»).
- ^ «Блокфест 2016» . Посетите Тампере (на финском языке). Посетите Тампере Travel Advice . Проверено 19 апреля 2021 г.
- ^ «Хип-хоп фестиваль Blockfest был распродан в рекордно короткие сроки» . YLE (на финском языке). 2 июля 2019 года . Проверено 19 апреля 2021 г.
- ^ Timeslive, timelive (сентябрь 2017 г.). «Хотя Зума и не лучший президент, он заслуживает уважения», — говорит рэпер Поуп Трой» . Таймс в прямом эфире . Проверено 4 мая 2024 г.
- ^ «Краткая история: южноамериканский хип-хоп» . Ред Булл . 28 июня 2017 г. Проверено 24 мая 2024 г.
- ^ «BET Hip Hop Awards 2023: Все победители» . Музыка в Африке . 11 октября 2023 г. . Проверено 24 мая 2024 г.
- ^ Коуи, Дель (1 февраля 2021 г.). «Декада канадского хип-хопа, 2010–2020» . Журнал Сокан . Проверено 3 января 2022 г. [ постоянная мертвая ссылка ]
Ссылки
- Дэвид Туп (1984/1991). Rap Attack II: африканский рэп и глобальный хип-хоп . Нью-Йорк. Нью-Йорк: Змеиный Хвост. ISBN 1-85242-243-2 .
- Маклеод, Кембрю. Интервью с Чаком Ди и Хэнком Шокли . 2002. Журнал «Оставайся свободным» .
- Корвино, Дэниел и Ливернош, Шон (2000). Краткая история рифмы и баса: взросление с хип-хопом . Тиникум, Пенсильвания: Xlibris Corporation/The Lightning Source, Inc. ISBN 1-4010-2851-9 [ самостоятельный источник ]
- Хесс, Микки (2009). Хип-хоп в Америке: Региональный путеводитель: Том 1: Восточное побережье и Западное побережье Гринвуда. ISBN 0313343233
- Роуз, Триша (1994). «Чёрный шум». Миддлтаун, Коннектикут: Издательство Уэслианского университета . ISBN 0-8195-6275-0
- Поттер, Рассел (1995) Эффектные просторечии: хип-хоп и политика постмодернизма . Олбани: SUNY Press . ISBN 0-7914-2626-2
- Лайт, Алан (ред.). (1999). VIBE История хип-хопа . Нью-Йорк: Три Риверс Пресс. ISBN 0-609-80503-7
- Джордж, Нельсон (2000, ред. 2005 г.). Хип-хоп Америка . Нью-Йорк: Книги Пингвина. ISBN 0-14-028022-7
- Фрике, Джим и Ахерн, Чарли (ред.). (2002). Да, да, вы все: The Experience Music Project Устная история первого десятилетия хип-хопа . Нью-Йорк: Да Капо Пресс. ISBN 0-306-81184-7
- Китвана, Бакар (2004). Состояние поколения хип-хопа: как культурное движение хип-хопа превращается в политическую власть . Получено 4 декабря 2006 г. Из базы данных ссылок штата Огайо.
- Чанг, Джефф (2005). Не могу остановиться, не остановлюсь: история поколения хип-хопа . Пикадор, ISBN 0-312-42579-1 .
- Чанг, Джефф (ноябрь – декабрь 2007 г.). «Это мир хип-хопа» . Внешняя политика (163): 58–65. Архивировано из оригинала 5 марта 2017 года . Проверено 7 марта 2017 г.
- Диавара, Мантия (1998). В поисках Африки . Кембридж, Массачусетс: Издательство Гарвардского университета . ISBN 978-0-674-44611-3 .
Дальнейшее чтение
- Джордж, Нельсон. Хип-хоп Америка . Пингвин, 2005.
- Кац, Марк. Грув-музыка. Искусство и культура хип-хоп-диджея . ОУП, 2012.
Внешние ссылки
- Не могу остановиться, не остановлюсь: история поколения хип-хопа — Джефф Чанг
- «Назад в те времена» — Vibe
- «Рэп: поразительные рассказы о разочаровании и гордости черных, потрясающие поп-мейнстрим» — Роберт Хилберн
- Когда регги превратилось в рэп? Архивировано 20 марта 2015 года в Wayback Machine Д. Джорджем.
- «Обзор хип-хопа National Geographic» . Архивировано из оригинала 14 октября 2008 года . Проверено 23 февраля 2009 г.
- Оливо, В. (март 2001 г.). «Phat Lines: правила написания в рэп-музыке». Письменная речь и грамотность . 4 (1): 67–85. дои : 10.1075/wll.4.1.05oli .
- «Негражданская война: битва между истеблишментом и сторонниками рэп-музыки вновь открывает старые раны расы и класса» — Чак Филипс
- Исторические корни хип-хопа
- WhoSampled — созданная пользователем база данных интерполяций и семплов, каверов и ремиксов на все виды музыки с упором на хип-хоп.
 Музыка чернокожих американцев (хронология) |
|---|
| Базы данных органов управления : Национальные |
|---|
