Hip hop production is the creation of hip hop music. Though the term encompasses all aspects of hip hop music, it's most commonly used to refer to the instrumental, non-lyrical aspects of hip hop. This means that hip hop producers are the instrumentalists involved in a work. Modern hip hop production uses samplers, sequencers, drum machines, synthesizers, turntables, and live instrumentation. A hip hop instrumental is casually referred to as a beat, and a hip hop producer is casually referred to as a beatmaker. However, in the studio, a hip hop producer also functions as a traditional record producer, being the person who is ultimately responsible for the final sound of a recording.

History

The 1980s

Kurtis Blow became the first hip hop artist to use a digital sampler, the Fairlight, in a song. The Roland TR-808 was introduced in 1980. The 808 was heavily used by Afrika Bambaataa, who released Planet Rock in 1982, which gave rise to the fledgling Electro genre. An especially notable artist is the genre's own pioneer Juan Atkins who released what is generally accepted as the first American techno record, "Clear" in 1984 (later sampled by Missy Elliot). These early electro records laid down the foundations that later Detroit techno artists such as Derrick May built upon. In 1983, Run-DMC recorded "It's Like That" and "Sucker MC's," two songs which relied completely on synthetic sounds, ignoring samples entirely; much like early songs by Bambaataa and the Furious Five. The E-mu SP-12 came out in 1985, capable of 2.5 seconds of recording time. The SP-1200 promptly followed with expanded recording time. One of the earliest songs to contain a drum loop or break was "Rhymin and Stealin" by the Beastie Boys, produced by Rick Rubin. Marley Marl also popularized a minimal style of using one or two sampled loops in the late 80s. The Akai MPC60 came out in 1988, capable of 12 seconds of sampling time. Dr. Dre with World Class Wreckin' Cru recorded 'Juice' and 'Before You Turn The Lights Out.' The Beastie Boys released Paul's Boutique in 1989, an entire album created completely from an eclectic mix of samples, produced by the Dust Brothers. De La Soul also released ''3 Feet High and Rising'' that year. Their producer at the time, Prince Paul, mixed sounds from funk, rock, disco and even children's records.

The 1990s-Present

Public Enemy's Bomb Squad revolutionized the sound of hip-hop with incredibly dense production styles, combining tens of samples per song, often combining breaks with a drum machine. Their beats were much more structured than the early more minimal and repetitive beats. The MPC3000 was released in 1994, the AKAI MPC2000 in 1997, followed by the MPC2000XL in 2000 and the MPC2500 in 2006. These machines combined a sampling drum machine with an onboard sequencer and became the centerpiece of many hip hop producers' studios. The Wu Tang Clan's superproducer RZA is often credited for snatching the eye of hip hop from Dr. Dre's more polished sound in 1993, with his more gritty sound with low rumbling bass, sharp snares and unique sampling style. With the 1994 release of The Notorious B.I.G.'s Ready to Die, Sean Combs and his assisting producers ushered in a new style where entire sections of records were sampled, instead of short snippets. Records like "Warning" (Isaac Hayes's "Walk On By"), and "One More Chance (Remix)" (Debarge's "Stay With Me") epitomized this aesthetic. In the early 2000s, Roc-a-Fella in-house producer Kanye West made popular the "chipmunk" technique, which had been first used by 80's electro hip-hop group Newcleus with such songs as "Jam on It". This technique involves speeding up a vocal sample, and its corresponding instrumental loop, to the point where the vocal sounds high-pitched. The result is a vocal sample that sounds similar to the singing of the popular cartoon singing animals "Alvin and the Chipmunks". West adopted this style from J Dilla and the Wu-Tang Clan's RZA, who in turn was influenced by Prince Paul, the pioneer of the style of speeding up and looping vocal samples to achieve the "chipmunk" sound.

Basic Elements

===Drum Beat=== The drum beat is a core element of hip hop production. While some beats are sampled, others are created by drum machines such as the Roland TR-808 and the Alesis SR-16. Others yet are a hybrid of the two techniques, sampled parts of drum beats that are arranged in original patterns altogether. Another mainstay in hip-hop is the use of the Ensoniq ASR-10 sampler to provide beats, particularly by The Neptunes and the MPC 2000.

Some producers have drum kits all their own, such as Dr. Dre, Timbaland, DJ Paul & Juicy J, Swizz Beatz and Neptunes. Some drum sounds, such as the TR-808 cowbell, remain as historical elements of hip hop lore used in modern hip hop to lend a more credible and mature sound to the recording.

Sampling

Sampling has been integral to hip hop production since its inception. In hip-hop, the term describes a technique of splicing out or copying sections of other songs and rearranging or reworking these sections into a cohesive musical pattern, or "loops." This technique was first fully explored in 1982 by Afrika Bambaata, on the Soulsonic Force tape ''Planet Rock'', which sampled parts of dance act Kraftwerk and experienced vast public acclaim. This was followed up on in 1986: then-Def Jam producer Rick Rubin used Black Sabbath and Led Zeppelin loops in creating the Beastie Boys' debut ''Licensed to Ill'', and the following year rap duo Eric B. & Rakim popularized James Brown samples with their album ''Paid in Full''.

The technique took a bi-coastal turn when discovered by a young Dr. Dre, whose first gig was the DJ of Afrika Bambaata-esque electrofunk group, the World Class Wreckin' Cru. In 1988, Dre began his use of sampling in hip-hop when he produced the N.W.A. album ''Straight Outta Compton'', a landmark in the genre of gangsta rap. In 1989, Jazz-sampling pioneers Gang Starr followed in 1991 by Pete Rock & CL Smooth and A Tribe Called Quest both appeared on the scene, popularizing their brand, and sampling took on a full role in hip-hop, spreading to prominence in high-profile projects like the Wu-Tang Clan's ''Enter the Wu-Tang: 36 Chambers'', Dr. Dre's ''The Chronic'', Nas' ''Illmatic'' and Notorious B.I.G.'s ''Ready to Die''.

In the 2000s, sampling began to reach an all-time high; Jay-Z's album ''The Blueprint'' helped put producers Kanye West and Just Blaze on the map for their sampling of soul records. ''Gale: Black History Month''., scoring early hits with "Through the Wire" and "Jesus Walks." His 2004 album, ''The College Dropout'', included two sampled hits featuring Twista which led to the Chicago rapper's ''Kamikaze'' selling platinum. On September 7, 2004, however, a U.S. Court of Appeals in Nashville changed the nature of musical copyright infringement by ruling that a license is needed in every case of sampling, where previously a small portion of the song could be copied without repercussion. The law immediately began rarefying samples in hip-hop; in a 2005 interview with Scratch magazine, Dr. Dre announced he was moving more toward instrumentation, and in 2006 The Notorious B.I.G.'s 1994 debut album ''Ready to Die'' was temporarily pulled from shelves for a retroactive sample clearance issue. As a result, more major producers and artists have moved further away from sampling and toward live instrumentation, such as Wu-Tang's RZA and Mos Def.

Studio parts

A producer's studio is the environment where they produce music. It can be as varied as a four-track sequencer and a collection of tapes or a multi-million dollar studio loaded with advanced sound processing hardware.

Synthesizers

Synthesizers are used quite often in hip hop production. They are used for melody, basslines, as percussive stabs, and for sound synthesis. The use of synthesizers has been popularized largely by Dr. Dre during the G-Funk era. Modern use of synthesizers is rampant by producers such as Jim Jonsin, Cool and Dre, Lil Jon, Scott Storch, and Neptunes. Often in low-budget studio environments or environments constrained by space limitations, producers employ virtual Instruments in place of hardware synthesizers. Virtual Instruments are also now becoming more common in high-budget studio environments.

Recording

In hip hop, a multi-track recorder is standard for recording. Digital ADAT tape recorders became standard during the 1990s, but have been largely replaced by Digital Audio Workstations or DAWs such as Apple's Logic, Avid's Pro Tools and Stienbergs Nuendo and Cubase. DAW's allow for more intricate editing and unlimited track counts, as well as built-in effects. This allows producers to create music without the expense of a large commercial studio.

Vocal recording

Generally, professional producers opt for a condenser microphone for studio recording, mostly due to their wide-range response and high quality. A primary alternative to the expensive condenser microphone is the dynamic microphone, used more often in live performances due to its durability. The major disadvantages of condenser microphones are their expense and fragility. Also, most condenser microphones require phantom power, unlike dynamic microphones. Conversely, the disadvantages of dynamic microphones are they don't generally possess the wide spectrum of condenser microphones and their frequency response is not as uniform. Many hip-hop producers typically used the Neumann U-87 for recording vocals which imparts a glassy "sheen" especially on female vocals. But today, many producers in this musical genre use the Sony C-800 tube microphone, vintage microphones, and high-end ribbon microphones tuned for flattering, "big" vocal expression. It should also be noted that many classic hip-hop songs were recorded with the most basic of equipment. In many cases this contributes to its raw sound quality, and charm.

Digital audio workstations

DAWs and software sequencers are used in modern hip hop production as software production products are cheaper, easier to expand, and require less room to run than their hardware counterparts. Some producers oppose complete reliance on DAWs and software, citing lower overall quality, lack of effort, and lack of identity in computer-generated beats. Sequencing software often comes under criticism from purist listeners and traditional producers as producing sounds that are flat, overly clean, and overly compressed.

Popular DAWs include:

Ableton Live

Adobe Audition

Apple's Logic Pro

Digidesign's Pro Tools

Cakewalk SONAR

Steinberg Cubase

Propellerhead Software Reason

Sony ACID Pro

Apple's GarageBand

Motu Inc. Digital Performer

Cockos REAPER

Live instrumentation

Live instrumentation is not as widespread in hip hop, but is used by a number of acts and is prominent in hip hop-based fusion genres such as rapcore. Before samplers and synthesizers became prominent parts of hip hop production, early hip hop hits such as "Rapper's Delight" (The Sugarhill Gang) and "The Breaks" (Kurtis Blow) were recorded with live studio bands. During the 1980s, Stetsasonic was a pioneering example of a live hip hop band. Hip hop with live instrumentation regained prominence during the late-1990s and early 2000s with the work of The Goats, The Coup, The Roots, Mello-D and the Rados, Common, DJ Quik, and OutKast, among others. In recent years, The Robert Glasper Experiment has explored live instrumentation with an emphasis on the instrumental and improvisational aspect of hip hop with rappers such as Mos Def, Talib Kweli, Q-Tip, and Common as well as neo-soul singer Bilal Oliver.

Instrumental hip hop

Instrumental hip hop is hip hop music without vocals. Hip hop as a general rule consists of two elements: an instrumental track (the "beat") and a vocal track (the "rap"). The artist who crafts the beat is the producer, and the one who crafts the rap is the MC. In this format, the rap is almost always the primary focus of the song, providing most of the complexity and variation over a more or less repetitive beat.

Instrumental hip hop is therefore hip hop music without emcee accompaniment. This format affords the producer the flexibility to create more complex, richly detailed and varied instrumentals, with less emphasis on vocals. Songs of this genre may wander off in different musical directions without the vocal constraints of the MC.

Although producers have made and released hip hop beats without MCs since hip hop's inception, those records rarely became well-known. Jazz keyboard legend Herbie Hancock and bassist/producer Bill Laswell's electro-inspired collaborations are notable exceptions. 1983's ''Future Shock'' album and hit single "Rockit" featured turntablist Grand Mixer D.ST, the first instance of turntables in jazz fusion and gave the instrument widespread exposure.

The release of DJ Shadow's debut album ''Endtroducing.....'' in 1996 saw the beginnings of a movement in instrumental hip hop. Relying mainly on a combination of sampled funk, hip hop and film score, DJ Shadow's innovative sample arrangements influenced countless producers and musicians. In recent years, artists such as RJD2, J Dilla, Pete Rock, MF Doom, Danny!, Nujabes, Madlib, Wax Tailor, DJ Babu and Blockhead have garnered critical acclaim with a number of instrumental hip hop albums.

Instrumental hip hop has yet to be fully recognized as a genre unto itself, and is often clumped in with trip hop, breakbeat hardcore, drum n bass, oldschool jungle, downtempo, electronica, or industrial music. This may in part be because it is so hard to classify, as when a hip hop beat is separated from rapping and varied enough to hold a listener's attention by itself, it can go off in many musical directions.

Due to the current state of copyright laws most of instrumental hip hop releases are being published on small or very small labels. Since Instrumental hip hop is usually made entirely out of samples, the sample clearances are causing major trouble for even relatively unknown labels such as Stones Throw.

See also

List of hip hop DJs and producers

Turntablism

References

* Category:Music production

it:Instrumental hip hop ru:Инструментальный хип-хоп

Hip hop is a form of musical expression and artistic culture that originated in African-American and Latino communities during the 1970s in New York City, specifically the Bronx. DJ Afrika Bambaataa outlined the four pillars of hip hop culture: MCing, DJing, breaking and graffiti writing. Other elements include beatboxing.

Since its emergence in the South Bronx, hip hop culture has spread around the world. Hip hop music first emerged with disc jockeys creating rhythmic beats by looping breaks (small portions of songs emphasizing a percussive pattern) on two turntables, more commonly referred to as sampling. This was later accompanied by "rap", a rhythmic style of chanting or poetry presented in 16 bar measures or time frames, and beatboxing, a vocal technique mainly used to imitate percussive elements of the music and various technical effects of hip hop DJ's. An original form of dancing and particular styles of dress arose among fans of this new music. These elements experienced considerable refinement and development over the course of the history of the culture.

The relationship between graffiti and hip hop culture arises from the appearance of new and increasingly elaborate and pervasive forms of the practice in areas where other elements of hip hop were evolving as art forms, with a heavy overlap between those who wrote graffiti and those who practiced other elements of the culture. Today, graffiti remains part of hip hop, while crossing into the mainstream art world with renowned exhibits in galleries throughout the world.

Etymology

The phrase ''hip hop'' is a combination of two separate slang terms—"hip", used in African American Vernacular English (AAVE) as early as 1898, meaning ''current'' or ''in the know'', and "hop", for the hopping movement.

Keith "Cowboy" Wiggins, a member of Grandmaster Flash and the Furious Five, has been credited with coining the term ''hip hop'' in 1978 while teasing a friend who had just joined the US Army, by scat singing the words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of marching soldiers. Cowboy later worked the "hip hop" cadence into a part of his stage performance. The group frequently performed with disco artists who would refer to this new type of MC/DJ-produced music by calling them "hip hoppers". The name was originally meant as a sign of disrespect, but soon came to identify this new music and culture.

The opening of the song "Rapper's Delight" by The Sugarhill Gang, a 15-minute long song in addition to the verse on Grandmaster Flash and the Furious Five's own "Superrappin'", were both released in 1979. Lovebug Starski, a Bronx DJ who put out a single called "The Positive Life" in 1981, and DJ Hollywood then began using the term when referring to this new ''disco rap'' music. Hip hop pioneer and South Bronx community leader Afrika Bambaataa also credits Lovebug Starski as the first to use the term "Hip Hop", as it relates to the culture. Bambaataa, former leader of the Black Spades gang, also did much to further popularize the term.

History

Jamaican born DJ Clive "Kool Herc" Campbell is credited as being highly influential in the pioneering stage of hip hop music, in the Bronx, after moving to New York at the age of thirteen. Herc created the blueprint for hip hop music and culture by building upon the Jamaican tradition of toasting—impromptu, boastful poetry and speech over music—which he witnessed as a youth in Jamaica.

Herc and other DJs would tap into the power lines to connect their equipment and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, a historic building "where hip hop was born". Their equipment was composed of numerous speakers, turntables, and one or more microphones. By using this technique DJs could create a variety of music. According to Rap Attack by David Toop “At its worst the technique could turn the night into one endless and inevitably boring song” (12). 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".

Herc was also the developer of break-beat deejaying, where the breaks of funk songs—the part most suited to dance, usually percussion-based—were isolated and repeated for the purpose of all-night dance parties. This form of music playback, using hard funk, rock, and records with Latin percussion, 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". Herc's terms b-boy, b-girl and breaking became part of the lexicon of hip hop culture, before that culture itself had developed a name.

Later DJs such as Grand Wizard Theodore, Grandmaster Flash and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching. The approach used by Herc was soon widely copied, and by the late 1970s DJs were releasing 12" records where they would rap to the beat. Popular tunes included Kurtis Blow's "The Breaks" and The Sugarhill Gang's "Rapper's Delight".

Emceeing is the rhythmic spoken delivery of rhymes and wordplay, delivered over a beat or without accompaniment. Rapping is derived from the griots (folk poets) of West Africa, and Jamaican-style toasting. Rap developed both inside and outside of hip hop culture, and began with the street parties thrown in the Bronx neighborhood of New York in the 1970s by Kool Herc and others. It originated as MCs would talk over the music to promote their DJ, promote other dance parties, take light-hearted jabs at other lyricists, or talk about problems in their areas and issues facing the community as a whole. Melle Mel, a rapper/lyricist with The Furious Five, is often credited with being the first rap lyricist to call himself an "MC".

In the late 1970s an underground urban movement known as "hip hop" began to develop in the South Bronx area of New York City. Encompassing graffiti art, bboying, rap music, and fashion, hip hop became the dominant cultural movement of the minority populated urban communities in the 1980s. Graffiti, rapping, and bboying 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.

Hip hop as a culture was further defined in 1982, when Afrika Bambaataa and the Soulsonic Force released the seminal electro-funk track "Planet Rock". Instead of simply rapping over disco beats, Bambaataa created an electronic sound, taking advantage of the rapidly improving drum machine Roland TB-303 synthesizer technology, as well as sampling from Kraftwerk.

The appearance of music videos changed entertainment: they often glorified urban neighborhoods. The music video for "Planet Rock" showcased the subculture of hip hop musicians, graffiti artists, and b-boys/b-girls. Many hip hop-related films were released between 1982 and 1985, among them ''Wild Style'', ''Beat Street'', ''Krush Groove'', ''Breakin'', and the documentary ''Style Wars''. These films expanded the appeal of hip hop beyond the boundaries of New York. By 1985, youth worldwide were embracing the hip hop culture. The hip hop artwork and "slang" of US urban communities quickly found its way to Europe and Asia, as the culture's global appeal took root.

The 1980s also saw many artists make social statements through hip hop. In 1982, Melle Mel and Duke Bootee recorded "The Message" (officially credited to Grandmaster Flash and The Furious Five), a song that foreshadowed the socially conscious statements of Run-DMC's "It's like That" and Public Enemy's "Black Steel in the Hour of Chaos".

During the 1980s, hip hop also embraced the creation of rhythm by using the human body, via the vocal percussion technique of beatboxing. Pioneers such as Doug E. Fresh, Biz Markie and Buffy from the Fat Boys made beats, rhythm, and musical sounds using their mouth, lips, tongue, voice, and other body parts. "Human Beatbox" artists would also sing or imitate turntablism scratching or other instrument sounds.

American society

Early hip hop has often been credited with helping to reduce inner-city gang violence by replacing physical violence with dance and artwork battles. In the early 1970s, DJ Kool Herc began organizing dance parties in his home in the Bronx. The parties became so popular they were moved to outdoor venues to accommodate more people. City teenagers, after years of gang violence, were looking for new ways to express themselves. These outdoor parties, hosted in parks, became a means of expression and an outlet for teenagers, where "instead of getting into trouble on the streets, teens now had a place to expend their pent-up energy."

Tony Tone, a member of the pioneering rap group the Cold Crush Brothers, noted that "hip hop saved a lot of lives". Hip hop culture became a way of dealing with the hardships of life as minorities within America, and an outlet to deal with violence and gang culture. MC Kid Lucky mentions that "people used to break-dance against each other instead of fighting". Inspired by DJ Kool Herc, Afrika Bambaataa created a street organization called Universal Zulu Nation, centered around hip hop, as a means to draw teenagers out of gang life and violence.

The lyrical content of many early rap groups concentrated on social issues, most notably in the seminal track "The Message", which discussed the realities of life in the housing projects. "Young black Americans coming out of the civil rights movement have used hip hop culture in the 1980s and 1990s to show the limitations of the movement." Hip hop gave young African Americans a voice to let their issues be heard; "Like rock-and-roll, hip hop is vigorously opposed by conservatives because it romanticises violence, law-breaking, and gangs". It also gave young blacks a chance for financial gain by "reducing the rest of the world to consumers of its social concerns."

With the commercial success of gangsta rap in the early 1990s, however, emphasis shifted from social issues to drugs, violence, and misogyny. While hip hop music now appeals to a broader demographic, media critics argue that socially and politically conscious hip hop has been largely disregarded by mainstream America.

Global innovations

Though created in the United States by African-Americans (some with Jamaican heritage), hip hop culture and music is now global in scope. Asia, The Middle East, Africa, Canada, France, Germany, the U.K., Australia, the Netherlands, and the Caribbean have long-established hip hop followings. According to the U.S. Department of State, hip hop is "now the center of a mega music and fashion industry around the world," that crosses social barriers and cuts across racial lines. ''National Geographic'' recognizes hip hop as "the world's favorite youth culture" in which "just about every country on the planet seems to have developed its own local rap scene." Through its international travels, hip hop is now considered a “global musical epidemic,” and has diverged from its ethnic roots by way of globalization and localization.

Although some non-American rappers may still relate with young urban Americans, hip hop now transcends its original culture, and is appealing because it is “custom-made to combat the anomie that preys on adolescents wherever nobody knows their name.” Hip hop is attractive in its ability to give a voice to disenfranchised youth in any country, and as music with a message, it is a form available to all societies worldwide.

From its early spread to Europe and Japan to an almost worldwide acceptance through Asia and South American countries such as Brazil, the musical influence has been global. Hip hop sounds and styles differ from region to region, but there is also a lot of crossbreeding. Unlike the old genres, which popularized throughout the nation via radio, hip hop tends to hold on to its regional identity. Regardless of where it is found, the music often targets local disaffected youth.

Hip hop has given people a voice to express themselves, from the "Bronx to Beirut, Kazakhstan to Cali, Hokkaido to Harare, Hip Hop is the new sound of a disaffected global youth culture." Though on the global scale there is a heavy influence from US culture, different cultures worldwide have transformed hip hop with their own traditions and beliefs. "Global Hip Hop succeeds best when it showcases ... cultures that reside outside the main arteries of the African Diaspora." Not all countries have embraced hip hop, where "as can be expected in countries with strong local culture, the interloping wildstyle of hip hop is not always welcomed".

As hip hop becomes globally available, it is not a one-sided process that eradicates local cultures. Instead, global hip hop styles are often synthesized with local styles. Hartwig Vens argues that hip hop can also be viewed as a global learning experience. Hip hop from countries outside the United States is often labeled "world music" for the American consumer. Author Jeff Chang argues that "the essence of hip hop is the cipher, born in the Bronx, where competition and community feed each other."

Hip hop has impacted many different countries culturally and socially in positive ways. "Thousands of organizers from Cape Town to Paris use hip hop in their communities to address environmental justice, policing and prisons, media justice, and education."

While hip hop music has been criticized as a music which creates a divide between western music and music from the rest of the world, a musical "cross pollination" has taken place, which strengthens the power of hip hop to influence different communities. Hip hop's impact as a "world music" is also due to its translatability among different cultures in the world. Hip hop's messages allow the under-privileged and the mistreated to be heard. These cultural translations cross borders. While the music may be from a foreign country, the message is something that many people can relate to- something not "foreign" at all.

Even when hip hop is transplanted to other countries, it often retains its "vital progressive agenda that challenges the status quo." Global hip hop is the meeting ground for progressive local activism, as many organizers use hip hop in their communities to address environmental injustice, policing and prisons, media justice, and education. In Gothenburg, Sweden, nongovernmental organizations (NGOs) incorporate graffiti and dance to engage disaffected immigrant and working class youths. Indigenous youths in countries as disparate as Bolivia, Chile, Indonesia, New Zealand, and Norway use hip hop to advance new forms of identity.

Hip hop has played a small but distinct role as the musical face of revolution in the Arab Spring, one example being an anonymous Libyan musician, Ibn Thabit whose anti-government songs fuels the rebellion.

Commercialization

Even in the face of growing global popularity, or perhaps because of it, hip hop has come under fire for being too commercial, too commodified. While this of course stirs up controversy, a documentary called ''The Commodification of Hip Hop'' directed by Brooke Daniel interviews students at Satellite Academy in New York City. One girl talks about the epidemic of crime that she sees in urban minority communities, relating it directly to the hip hop industry saying “When they can’t afford these kind of things, these things that celebrities have like jewelry and clothes and all that, they’ll go and sell drugs, some people will steal it...” Many students see this as a negative side effect of the hip hop industry, and indeed, hip hop has been widely criticized for inciting notions of crime, violence, and American ideals of consumerism although much of the hip hop dancing community still chooses to refer back to more "oldschool" types of hip hop music that does not preach violence and drugs.

In an article for ''Village Voice'', Greg Tate argues that the commercialization of hip hop is a negative and pervasive phenomenon, writing that "what we call hiphop is now inseparable from what we call the hip hop industry, in which the ''nouveau riche'' and the super-rich employers get richer". Ironically, this commercialization coincides with a decline in rap sales and pressure from critics of the genre. Even other musicians, like Nas and KRS-ONE have claimed "hip hop is dead" in that it has changed so much over the years to cater to the consumer that it has lost the essence for which it was originally created. However, in his book ''In Search Of Africa'', Manthia Diawara explains that hip hop is really a voice of people who are down and out in modern society. He argues that the "worldwide spread of hip hop as a market revolution" is actually global "expression of poor people’s desire for the good life," and that this struggle aligns with "the nationalist struggle for citizenship and belonging, but also reveals the need to go beyond such struggles and celebrate the redemption of the black individual through tradition."

This connection to "tradition" however, is something that may be lacking according to one Satellite Academy staff member who says that in all of the focus on materialism, the hip hop community is “not leaving anything for the next generation, we’re not building.”

As the hip hop genre turns 30, a deeper analysis of the music’s impact is taking place. It has been viewed as a cultural sensation which changed the music industry around the world, but some believe commercialization and mass production have given it a darker side. Tate has described its recent manifestations as a marriage of “New World African ingenuity and that trick of the devil known as global-hypercapitalism”, arguing it has joined the “mainstream that had once excluded its originators.” While hip hop's values may have changed over time, the music continues to offer its followers and originators a shared identity which is instantly recognizable and much imitated around the world.

Cultural pillars

DJing

Turntablism refers to the extended boundaries and techniques of normal DJing innovated by hip hop. One of the few first hip hop DJ's was Kool DJ Herc, who created hip hop through the isolation of "breaks" (the parts of albums that focused solely on the beat). In addition to developing Herc's techniques, DJs Grandmaster Flowers, Grandmaster Flash, Grand Wizard Theodore, and Grandmaster Caz made further innovations with the introduction of scratching.

Traditionally, a DJ will use two turntables simultaneously. These are connected to a DJ mixer, an amplifier, speakers, and various other pieces of electronic music equipment. The DJ will then perform various tricks between the two albums currently in rotation using the above listed methods. The result is a unique sound created by the seemingly combined sound of two separate songs into one song. Although there is considerable overlap between the two roles, a DJ is not the same as a producer of a music track.

In the early years of hip hop, the DJs were the stars, but their limelight[citation needed] has been taken by MCs since 1978, thanks largely to Melle Mel of Grandmaster Flash's crew, the Furious Five. However, a number of DJs have gained stardom nonetheless in recent years. Famous DJs include Grandmaster Flash, Afrika Bambaataa, Mr. Magic, DJ Jazzy Jeff, DJ Scratch from EPMD, DJ Premier from Gang Starr, DJ Scott La Rock from Boogie Down Productions, DJ Pete Rock of Pete Rock & CL Smooth, DJ Muggs from Cypress Hill, Jam Master Jay from Run-DMC, Eric B., DJ Screw from the Screwed Up Click and the inventor of the Chopped & Screwed style of mixing music, Funkmaster Flex, Tony Touch, DJ Clue, and DJ Q-Bert. The underground movement of turntablism has also emerged to focus on the skills of the DJ.

Mixtape DJs have also emerged creating mixtapes with different artists and getting exclusive songs and putting them on one disc, such as DJ White Owl, DJ Skee, DJ Drama and DJ Whoo Kid, DJ Scholar.

MCing

Rapping (also known as emceeing, MCing, or just rhyming) refers to "spoken or chanted rhyming lyrics with a strong rhythmic accompaniment". It can be broken down into different components, such as “content”, “flow” (rhythm and rhyme), and “delivery”. Rapping is distinct from spoken word poetry in that is it performed in time to the beat of the music. The use of the word "rap" to describe quick and slangy speech or repartee long predates the musical form.

Graffiti

In America around the late 1960s, graffiti was used as a form of expression by political activists, and also by gangs such as the Savage Skulls, La Familia, and Savage Nomads to mark territory. Towards the end of the 1960s, the signatures—''tags''—of Philadelphia graffiti writers Top Cat, Cool Earl and Cornbread started to appear. Around 1970–71, the center of graffiti innovation moved to New York City where writers following in the wake of TAKI 183 and Tracy 168 would add their street number to their nickname, "bomb" a train with their work, and let the subway take it—and their fame, if it was impressive, or simply pervasive, enough—"all city". Bubble lettering held sway initially among writers from the Bronx, though the elaborate Brooklyn style Tracy 168 dubbed "wildstyle" would come to define the art. The early trendsetters were joined in the 70s by artists like Dondi, Futura 2000, Daze, Blade, Lee, Fab Five Freddy, Zephyr, Rammellzee, Crash, Kel, NOC 167 and Lady Pink.

The relationship between graffiti and hip hop culture arises both from early graffiti artists practicing other aspects of hip hop, and its being practiced in areas where other elements of hip hop were evolving as art forms. Graffiti is recognized as a visual expression of rap music, just as breaking is viewed as a physical expression. The movie "Wild Style" is widely regarded as the first hip hop motion picture, featured prominent figures from lates 70's and early 1980's hip hop culture engaging in activities such as graffiti, MCing, turntablism and bboying; the four pillars of hip hop culture. The book ''Subway Art'' (New York: Henry Holt & Co, 1984) and the TV program ''Style Wars'' (first shown on the PBS channel in 1984) were also among the first ways the mainstream public were introduced to hip hop graffiti.

Breaking

Breaking, also called B-boying or breakdancing, is a dynamic style of dance which developed as part of the hip hop culture. Breaking is one of the major elements of hip hop culture. Like many aspects of Hip hop culture, breakdance borrows heavily from many cultures, including 1930's-era street dancing, Afro-Brazilian and Asian Martial arts, Russian folk dance, and the dance moves of James Brown, Micheal Jackson, and California Funk styles. Breaking took form in the South Bronx alongside the other elements of hip hop. According to the documentary film The Freshest Kids: A History of the B-Boy, DJ Kool Herc describes the "B" in B-boy as short for breaking which at the time was slang for "going off", also one of the original names for the dance. However, early on the dance was known as the "boing" (the sound a spring makes). Dancers at DJ Kool Herc's parties, who saved their best dance moves for the break section of the song, getting in front of the audience to dance in a distinctive, frenetic style. The "B" in B-boy also stands simply for break, as in break-boy (or girl). Breaking was documented in Style Wars, and was later given more focus in fictional films such as Wild Style and Beat Street. Early acts include the Rock Steady Crew and New York City Breakers.

Beatbox

Beatbox, popularized by Doug E. Fresh, is the vocal percussion of hip hop culture. It is primarily concerned with the art of creating beats, rhythms, and melodies using the human mouth. The term ''beatboxing'' is derived from the mimicry of the first generation of drum machines, then known as beatboxes. As it is a way of creating hip hop music, it can be categorized under the production element of hip hop, though it does sometimes include a type of rapping intersected with the human-created beat.

The art was quite popular in the 1980s with artists like the Darren "Buffy, the Human Beat Box" Robinson of the Fat Boys and Biz Markie displaying their skills in beatboxing. It declined in popularity along with bboying in the late '80s, but has undergone a resurgence since the late '90s, marked by the release of "Make the Music 2000." by Rahzel of The Roots.

Social impact

Effects

Hip hop has made a considerable social impact since its inception in the 1970s. Orlando Patterson, a sociology professor at Harvard University helps describe the phenomenon of how Hip Hop spread rapidly around the world. Professor Patterson argues that mass communication is controlled by the wealthy, government, and businesses in Third World nations and countries around the world. He also credits mass communication with creating a global cultural hip hop scene. As a result, the youth absorb and are influenced by the American hip hop scene and start their own form of hip hop. Patterson believes that revitalization of hip hop music will occur around the world as traditional values are mixed with American hip hop musical forms, and ultimately a global exchange process will develop that brings youth around the world to listen to a common musical form known as hip hop. It has also been argued that rap music formed as a "cultural response to historic oppression and racism, a system for communication among black communities throughout the United States". This is due to the fact that the culture reflected the social, economic and political realities of the disenfranchised youth.. In the current Arab Spring hip hop is playing a significant role in providing a channel for the youth to express their ideas .

Language

The development of Hip Hop linguistics is complex. Source material include the spirituals of slaves arriving in the new world, Jamaican dub music, the laments of jazz and blues singers, patterned cockney slang and radio deejays hyping their audience in rhyme.

Hip Hop has a distinctive associated slang. It is also known by alternate names, such as "Black English", or "Ebonics". Academics suggest its development stems from a rejection of the racial hierarchy of language, which held "White English" as the superior form of educated speech. Due to hip hop's commercial success in the late nineties and early 21st century, many of these words have been assimilated into the cultural discourse of several different dialects across America and the world and even to non-hip hop fans. The word ''dis'' for example is particularly prolific. There are also a number of words which predate hip hop but are often associated with the culture, with ''homie'' being a notable example.

Sometimes, terms like ''what the dilly, yo'' are popularized by a single song (in this case, "Put Your Hands Where My Eyes Could See" by Busta Rhymes) and are only used briefly. One particular example is the rule-based slang of Snoop Dogg and E-40, who -izzle add ''-izz'' to the middle of words.

Hip Hop lyricism has gained a measure of legitimacy in academic and literary circles. Studies of Hip Hop linguistics are now offered at institutions such as the University of Toronto, where poet and author George Eliot Clarke has (in the past) taught the potential power of hip hop music to promote social change.

Some academics, including Ernest Morrell and Jeffery Duncan Andrade compare hip hop to the satirical works of great “canon” poets of the modern era, who use imagery and mood to directly criticize society. As quoted in their seminal work; "Promoting Academic Literacy with Urban Youth Through Engaging Hip Hop Culture":

Censorship

Hip hop has been met with significant problems in regards to censorship due to the explicit nature of certain genres. It has also been criticized for anti-establishment sentiment, as some of its songs depict wars and coup d'états that in the end overthrow the government. For example, Public Enemy's "Gotta Give the Peeps What They Need" was censored on MTV, removing the words "free Mumia".

After the attack on the World Trade Center on September 11, 2001, Oakland, California group The Coup was under fire for the cover art on their ''Party Music'', which featured the group's two members holding a detonator as the Twin Towers exploded behind them. Ironically, this art was created months before the actual event. The group, having politically radical and Marxist lyrical content, said the cover meant to symbolize the destruction of capitalism. Their record label pulled the album until a new cover could be designed.

The use of profanity as well as graphic depictions of violence and sex creates challenges in the broadcast of such material both on television stations such as MTV, in music video form, and on radio. As a result, many hip hop recordings are broadcast in censored form, with offending language "bleeped" or blanked out of the soundtrack, or replaced with "clean" lyrics. The result – which sometimes renders the remaining lyrics unintelligible or contradictory to the original recording – has become almost as widely identified with the genre as any other aspect of the music, and has been parodied in films such as ''Austin Powers in Goldmember'', in which Mike Myers' character Dr. Evil – performing in a parody of a hip hop music video ("Hard Knock Life" by Jay-Z) – performs an entire verse that is blanked out. In 1995 Roger Ebert wrote:

In 1990, Luther Campbell (rapper) and his group 2 Live Crew filed a lawsuit against Nick Navarro, Broward County Sheriff because Navarro wanted to prosecute stores that sold the groups album "As Nasty As They Wanna Be" because of its obscene and vulgar lyrics. In June 1990, U.S. district court judge labeled the album obscene and illegal to sell. However, in 1992, the United States Court of Appeals for the Eleventh Circuit overturned the obscenity ruling.

In a way to circumvent broadcasting regulations BET has created a late-night segment called "Uncut" to air uncensored videos. Not only has this translated into greater sales for mainstream artists, it has also provided an outlet for undiscovered artists to grab the spotlight with graphic but low production quality videos, often made cheaply by non-professionals. Perhaps the most notorious video aired, which for many came to exemplify BET's program Uncut, was "Tip Drill" by Nelly. While no more explicit than other videos, its exploitative depiction of women, particularly of a man swiping a credit card between a stripper's buttocks, was seized upon by many social activists for condemnation. The segment was discontinued in mid 2006.

Also in the 1990s, gangsta-rap was popular but also heavily censored due to the explicit nature of the lyrics. Radio stations across the country stopped playing gangsta-rap all together. Many social and political people denounced rap like Delores Tucker, especially towards acclaimed rapper Tupac Shakur. The controversial hip hop group N.W.A. was sent a letter of warning from the F.B.I.. Despite this, the letter helped the group gain a wider audience and a more "gangster" appeal. Also, rap icon Ice-T made the controversial song Cop Killers.

Product placement

Critics such as Businessweek's David Kiley argue that the discussion of many products within hip hop music and culture may actually be the result of undisclosed product placement deals. Such critics allege that shilling or product placement takes place in commercial rap music, and that lyrical references to products are actually paid endorsements. In 2005, a proposed plan by McDonalds, which would have paid rappers to advertise McDonalds food in their music, was leaked to the press. After Russell Simmons made a deal with Courvoisier to promote the brand among hip hop fans, Busta Rhymes recorded the song "Pass The Courvoisier". Simmons insists that no money changed hands in the deal.

The symbiotic relationship has also stretched to include car manufacturers, clothing designers and sneaker companies, and many other companies have used the hip hop community to make their name or to give the credibility. One such beneficiary was Jacob the Jeweler, a diamond merchant from New York, Jacob Arabo's clientele included Sean Combs, Lil Kim and Nas. He created jewelry pieces from precious metals that were heavily loaded with diamond and gemstones. As his name was mentioned in the song lyrics of his hip hop customers, his profile quickly rose. Arabo expanded his brand to include gem-encrusted watches that retail for hundreds of thousands of dollars, gaining so much attention that Cartier filed a trademark-infringement lawsuit against him for putting diamonds on the faces of their watches and reselling them without permission. Arabo's profile increased steadily until his June, 2006 arrest by the FBI on money laundering charges.

While some brands welcome the support of the hip hop community, one brand that did not was Cristal champagne maker Louis Roederer. A 2006 article from The Economist magazine featured remarks from managing director Frederic Rouzaud about whether the brand's identification with rap stars could affect their company negatively. His answer was dismissive in tone: "That's a good question, but what can we do? We can't forbid people from buying it. I'm sure Dom Pérignon or Krug would be delighted to have their business." In retaliation, many hip hop icons such as Jay-Z and Sean Combs, who previously included references to "Cris", ceased all mentions and purchases of the champagne.

Media

Hip hop culture has had extensive coverage in the media, especially in relation to television; there have been a number of television shows devoted to or about hip hop. For a long time, BET was the only television channel likely to play much hip hop, but in recent years the mainstream channels VH1 and MTV have added a significant amount of hip hop to their play list. Run DMC became the first trio of African Americans to turn the hip hop world upside down by being the first African-American group to appear on MTV. With the emergence of the Internet a number of online sites began to offer Hip Hop related video content.

Hip hop films have been related since hip hop's conception and have become even more related in the 21st century. During the early 1990s, African-Americans experienced a film renaissance, sparked by the popularity of hood films, in-depth looks at urban life, focusing on violence, family, friends and hip hop. There have also been a number of hip hop films, movies which focused on hip hop as a subject.

Hip Hop magazines have a large place in hip hop lifestyle and history, including the first ever published Hip Hop publication ''The Hip Hop Hit List'', which also contained the very first rap music record chart ever. It was the first form of media to introduce hip hop as a culture. Published in the early 80s by two brothers out of Newark, New Jersey Vincent and Charles Carroll. They introduced it as a DJ record chart and tip sheet that was distributed through record stores throughout the New York City Tri-State area. ["Back then, all DJ's came into New York City to buy their records but most of them did not know what was hot enough to spend money on so we charted it." - Charles Carroll."] This magazine's role in Hip Hop History was very significant and was also instrumental in the early commercial success of rap music. It was known for spreading the news about music and the culture internationally and was loaded with ads from all the early record companies. Later other publications spawned up including; ''Hip Hop Connection'', ''XXL'', ''Scratch'', ''The Source'' and ''Vibe''. Many individual cities have also produced their own local hip hop newsletters, while hip hop magazines with national distribution are found in a few other countries. The 21st century also ushered in the rise of online media, and hip hop fan sites now offer comprehensive hip hop coverage on a daily basis.

Diversification

Hip hop has spawned dozens of sub-genres which incorporate a domineering style of music production or rapping, and it exhibits elements of trifunctionalism.After the Black Americans started Hip hop, other ethnic groups began to contribute to the development of the cultural movement.

Hip hop has now expanded and gone on a global scale, with millions of rap albums sold in foreign countries, some of which are not English-speaking. Hip hop has influenced natives of foreign countries to pursue rap careers and do what is being done in the United States, including following the trends, in their country. This is a product of globalization and it explains how popular culture can be interwoven with the everyday life of individuals that follow it, and how it can affect them in many ways.

Like jazz, hip hop is one of the few musical genres that scholars see as entirely American. There are many varying social influences that affect hip hop's message in different nations. It is frequently used as a musical response to perceived political and/or social injustices. In South Africa the largest form of hip hop is called Kwaito, which has had a growth similar to American hip hop. Kwaito is a direct reflection of a post apartheid South Africa and is a voice for the voiceless; a term that U.S. hip hop is often referred to. Kwaito is even perceived as a lifestyle, encompassing many aspects of life, including language and fashion. Kwaito is a political and party-driven genre, as performers use the music to express their political views, and also to express their desire to have a good time. Kwaito is a music that came from a once hated and oppressed people, but it is now sweeping the nation. The main consumers of Kwaito are adolescents and half of the South African population is under 21. Some of the large Kwaito artists have sold over 100,000 albums, and in an industry where 25,000 albums sold is considered a gold record, those are impressive numbers. Kwaito allows the participation and creative engagement of otherwise socially excluded peoples in the generation of popular media. South African Hip Hop is more diverse lately and there are Hip Hop acts in South Africa that have made an impact and continue making impact worldwide. These include Tumi, Ben Sharpa, HipHop Pantsula, Tuks Senganga.

In Jamaica, the sounds of hip hop are derived from American and Jamaican influences. Jamaican hip hop is defined both through dancehall and Reggae music. Jamaican Kool Herc brought the sound systems, technology, and techniques of Reggae music to New York during the 1970s. Jamaican hip hop artists often rap in both Brooklyn and Jamaican accents. Jamaican hip hop subject matter is often influenced by outside and internal forces. Outside forces such as the bling-bling era of today's modern hip hop and internal influences coming from the use of anti colonialism and marijuana or "Ganja" references which Rastafarians believe bring them closer to God.

Author Wayne Marshall argues that "Hip hop, as with any number of African-American cultural forms before it, offers a range of compelling and contradictory significations to Jamaican artist and audiences. From "modern blackness" to foreign mind", transnational cosmopolitanism to militant pan-Africanism, radical remixology to outright mimicry, hip hop in Jamaica embodies the myriad ways that Jamaicans embrace, reject, and incorporate foreign yet familiar forms."

In the developing world hip hop has made a considerable impact in the social context. Despite the lack of resources, hip hop has made considerable inroads. Due to limited funds, hip hop artists are forced to use very basic tools, and even graffiti, an important aspect of the hip hop culture, is constrained due to its unavailability to the average person. Many hip hop artists that make it out of the developing world come to places like the United States in hopes of improving their situations. Maya Arulpragasm is a Sri Lankan born hip hop artist in this situation. She claims, "I'm just trying to build some sort of bridge, I'm trying to create a third place, somewhere in between the developed world and the developing world."

In Sabah North Borneo, AtamaKatama (rapper & beatmaker) fused Sumazau a tribal music of the Dusun people with hiphop beats & rhymes. This new sound later became known as SumazauHipHop. This music contains samples of gong beats, sompoton, togunggu, bungkau & 'rinaits' - chants of Bobohizan priestess.

Education

Many organizations and facilities are providing spaces and programs for communities to explore making and learning about hip hop. A noteworthy example is the IMP Labs in Regina, Saskatchewan, Canada. Many dance studios and colleges now offer lessons in Hip Hop alongside Tap and Ballet. As well as KRS-ONE teaching hip hop lectures at Harvard University.

Hip Hop producer 9th Wonder and former rapper/actor Christopher "Play" Martin from the Hip Hop group Kid-n-Play have both taught Hip Hop history classes at North Carolina Central University and 9th Wonder has also taught a "Hip Hop Sampling Soul" class at Duke University.

Legacy

Having its roots in reggae, disco and funk, hip hop has since exponentially expanded into a widely accepted form of representation world wide. It expansion includes events like Afrika Bambaataa releasing "Planet Rock" in 1982, which tried to establish a more global harmony in hip hop. In the 1990s, the French MC Solaar became the first international hit Hip Hop artist not native to America. From the 80s onward, television became the major source of widespread outsourcing of hip hop to the global world. From ''Yo! MTV Raps'' (a television show that was shown in many countries) to Public Enemy's world tour, hip hop spread further to Latin America and became highly mainstream. Ranging from countries like France, Spain, England, the US and many other countries world wide, voices want to be heard, and hip hop allows them to do so. As such, hip hop has been cut mixed and changed to the areas that adapt to it.

Early hip hop has often been credited with helping to reduce inner-city gang violence by replacing physical violence with hip hop battles of dance and artwork. However, with the emergence of commercial and crime-related rap during the early 1990s, an emphasis on violence was incorporated, with many rappers boasting about drugs, weapons, misogyny, and violence. While hip hop music now appeals to a broader demographic, media critics argue that socially and politically conscious hip hop has long been disregarded by mainstream America in favor of its media-baiting sibling, gangsta rap.

Many artists are now considered to be alternative/underground hip hop when they attempt to reflect what they believe to be the original elements of the culture. Artists/groups such as Lupe Fiasco, J. Cole, The Roots, Shing02, Jay Electronica, Nas, Common, Talib Kweli, Mos Def, Dilated Peoples, Dead Prez, Blackalicious, Joe Budden, Jurassic 5, and KRS-One emphasize messages of verbal skill, internal/external conflicts, life lessons, unity, social issues, or activism instead of messages of violence, material wealth, and misogyny.

Authenticity

Authenticity is often a serious debate within hip hop culture. Dating back to its origins in the 1970s in the Bronx, hip hop revolved around a culture of protest and freedom of expression in the wake of oppression suffered by African-Americans . As hip hop has become less of an underground culture, it is subject to debate whether or not the spirit of hip hop is embodied in protest, or whether it can evolve to exist in a marketable integrated version. In "Authenticity Within Hip Hop and Other Cultures Threatened with Assimilation," Commentator Kembrew McLeod argues that hip hop culture is actually threatened with assimilation by a larger, mainstream culture. In support of this position, editors of magazines such as the ''Village Voice'' have said that hip hop is slowly losing its edge due to the genre's involvement in the mainstream, hyper-capitalist world. Believing that hip hop should be utilized as a voice for social justice, Tate points out that in the marketable version of hip hop, there isn't a role for this evolved genre in context of the original theme hip hop originated from (freedom from oppression). The problem with Black progressive political organizing isn't that hip hop, but that the No. 1 issue on the table needs to be poverty, and nobody knows how to make poverty sexy. Tate discusses how the dynamic of progressive Black politics cannot apply to the genre of hip hop in the current state today due to the genre's heavy involvement in the market. In his article he discusses hip hop's 30^th birthday and how its evolution has become more of a devolution due to its capitalistic endeavors. Both Tate and McLeod argue that hip hop has lost its authenticity due to its losing sight of the revolutionary theme and humble "folksy" beginnings the music originated from. "This is the first time artists from around the world will be performing in an international context. The ones that are coming are considered to be the key members of the contemporary underground hip hop movement." This is how the music landscape has broadened around the world over the last ten years. The maturation of hip hop has gotten older with the genres age, but the initial reasoning of why hip hop has started will always be intact. ll

See also

List of hip hop albums

List of hip hop musicians

Museum of African American Music

References

Notes

Huntington, Carla Stalling. ''Hip Hop Dance; Meanings and Messages''. Jefferson, NC: McFarland & Company Publishers, Inc.

Bibliography

External links

Category:African-American culture Category:African American history

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Asian people or Asiatic people is a demonym for people from Asia. However, the use of the term varies by country and person, often referring to people from a particular region or subregion of Asia. Though usage may be based on residence, it is usually considered an ethnicity or race.

In Asia, only people who originated from in East, South, and Southeast Asia are considered "Asians" while people from West Asia are considered as "Arabs." In North America (mostly the United States of America), the term refers most commonly to people of predominantly East Asian and Southeast Asian ancestry; however, in the United Kingdom, the term refers most commonly to South Asians. In other countries (like countries of Continental Europe), the term is applied in a wider sense to all people from Asia or from a number of its regions. In the United States, however, West Asian and Central Asian people are usually not considered "Asian."

Definitions by country

East, South, and Southeast Asia

Asians living in East, South, and Southeast Asia often consider themselves as the only true "Asians." This is evident through the presence of Asia-wide reality television shows that cater only to people from those regions such as ''The Amazing Race Asia'', ''The Biggest Loser Asia'', and ''Asian Idol''. International television channels in Asia, like ESPN, Channel News Asia, STAR World, Channel V, STAR Movies, AXN, AXN Beyond, Animax, Nickelodeon, Sony Entertainment Television, MTV, Diva Universal, Cartoon Network, Syfy Universal, and the National Geographic Channel often cater only to people from those three regions.

Pan-Asian regional organizations such as the Asia Cooperation Dialogue, the East Asia Summit, and the Asia-Pacific Economic Cooperation are centered in these three regions. Cultural topics such as the Eastern world only include countries from the regions above.

Central Asia

:''for historical background see Mawarannahr'' Native ethnic groups of Kazakhstan, Kyrgyzstan, Uzbekistan, Tajikistan and Turkmenistan self-identify themselves as Asian. They are also recognized as Asian by Russians and Chinese.

This self-identification is based phenotypically, and on cultural differences from Russians, as these countries used to be parts of the Russian Empire and the Soviet Union, and therefore have significant Russian populations. Another reason for such self-identification is patriotic: "''the native people of the Center of Asia - are undoubtedly Asians''".

West Asia

Arabs in West Asia do not identify to a "Asian world" but to an "Arab World," evident on the reality television programs ''Big Brother: The Boss'', ''Arab Idol'', and ''Super Star'' and on the television channels Nickelodeon and MTV.

Anglophone Africa and Caribbean

In parts of anglophone Africa, especially East Africa and South Africa, and in parts of the Anglophone Caribbean, the term "Asian", though it can refer to the continent of Asia as a whole, is more commonly associated with people of South Asian origin, particularly Indians, Pakistanis, Bangladeshis and Sri Lankans.

Australia

Notably, the Australian Census includes Central Asia, a region that is often considered to be part of the Greater Middle East. The Australian Census includes four regions of Asia in its official definition. Defined by the 2006–2011 Australian Census, three ''broad groups'' have the word Asian included in their name: ''Central'' ''and Southern Asian'', ''South-East Asian'' and ''North-East Asian''. Russians are classified as ''Southern and Eastern Europeans'' while Middle Easterners are classified as ''North African and Middle Easterners''.

Canada

The Canadian Census' list of Visible Minorities includes "''West Asian''", "''South Asian''" and "''Southeast Asian''".

New Zealand

New Zealand's census undertaken by Statistics New Zealand defines the Asian to include people of Chinese, Indian, Korean, Filipino, Japanese, Vietnamese, Sri Lankan, Cambodian and Thai ancestries. In less formal contexts, the term ''Asian'' often does not include South Asian people.

Norway

Statistics Norway considers people of Asian background to be people from all Asian countries.

United Kingdom

In the United Kingdom, the term "Asian", though it can refer to the continent of Asia as a whole, is more commonly associated with people of South Asian origin, particularly Indians, Pakistanis, Bangladeshis and Sri Lankans. The UK usage of the term "Asian" is reflected in the "ethnic group" section of UK census forms, which treat "Asian" and "Chinese" as separate (see British Asian). Most respondents to the UK 2001 Census of non-Chinese East Asian and Southeast Asian descent chose to write-in their ethnicity in the "Other Ethnic Group" category rather than the "Other Asian" category, reflecting the association of the word Asian in the UK with South Asian. Despite there being a strong presence of East Asians in the United Kingdom there are considerably more South Asians, for example the 2001 Census recorded 1.05 million people of Indian origin and 247,000 of Chinese origin in the UK.

The United Kingdom, Anglophone Africa and Anglophone Caribbean are places in the Western world where the word "Asian" is used primarily to identify people from the Indian subcontinent. Due to the term's contested definition in British English, the use of the term "South Asian" is used for clarity in discussions in the United Kingdom on colonialism, discrimination, and migration or when the content of its parameters may become mistakenly conflated with those of East Asian descent.

United States

Earlier Census forms from 1980 and prior listed particular Asian ancestries as separate groups along with ''White'' and ''Black or Negro''. Previously, Asian Americans were classified as "other". But the 1980 Census marked the first general analyses of Asians as a group, combining several individual ancestry groups into "Asian or Pacific Islander." By the 1990 Census, ''Asian or Pacific Islander (API)'' was included as an explicit category, although respondents had to select one particular ancestry.

The U.S. Census Bureau definition includes those who originate from the original peoples of Southeast Asia and the Indian subcontinent. In 1930 and 1940, ''Indian Americans'' were identified as a separate race, ''Hindu'', and in 1950 and 1960 they were racially classified as ''Other Race'', and then in 1970 they were classified as ''White''. Since 1980, Indians and all other South Asians have been classified as part of the Asian race. Sociologist Madhulika Khandelwal described how "''....as a result of activism, South Asians came to be included as 'Asians' in the census only in the 80's. Prior to that many South Asians had been checking 'Caucasian' or 'Other'.''"

Respondents can also report their specific ancestry, e.g.: Okinawan, etc. Someone reporting these ancestries but no race would be classified as "Asian". Unlike South Asians, Middle Eastern Americans and Central Asian Americans have not lobbied to be included as Asians by the U.S. Census Board.

According to Sharon M. Lee in her 1998 publication, for many non-Asian Americans in the United States (in 1998), "Asian American means Oriental, Chinese American or Japanese American. This is due to the Chinese and Japanese immigrants being the first Asian immigrants into the United States. Today, with the increasing demographic of South Asian Americans and Southeast Asian Americans the definition among United States citizens of who is Asian American is expanding."

Definition by non-government sources

Keith Lowe

Dr. Keith Lowe, race-relations expert for the Canadian government, claims that Asian people refer to Central, South, Southeast and East Asians.

Masatoshi Nei

In 1993, , Professor of Biology at Pennsylvania State University, said, based on genetic evidence, that "Mongoloids" a term in which he included the "Evens", "Buryat", "Hui", "Mongolian", "Tibetan", "Japanese", "Ainu", "Northern Chinese", "Korean", "Dong", "Zhuang", "Southern Chinese", "Taiwanese aborigines", "Thai", "Indonesian" and "Filipino" peoples were contained within a larger genetic grouping he called the "Greater Asians" in which he also included "Pacific Islanders" and "Australopapuans". In the "Australopapuan" grouping, Nei included "Dravidians", "Andamanese", "Australian", "Papuan" and "Philippine Negritos".

Luigi Luca Cavalli-Sforza

In 1994, geneticist Luigi Luca Cavalli-Sforza of Stanford University divided a "principal coordinant" map of "42 Asian populations" into three groupings: "Asian Caucasoids", "Northeast and East Asian" and "Southeast Asian". The ethnic groups Cavalli-Sforza said were in the "Asian Caucasoids" cluster were the "Armenian", "Arabian", "Assyrian", "Lebanese", "Bedouin", "Jordanian", "E. Iranian", "W. Iranian", "Uzbek", "N. Turkic", "Turkish Caucasoid", "Turkmen", "Brahman", "Central Indian", "E. Indian", "S. Indian", "N. Dravidian", "Central Dravidian", "S. Dravidian" and "Sri Lankan". The ethnic groups Cavalli-Sforza said were in the "Northeast and East Asian" cluster were the "Koryak", "Chukchi", "Reindeer Chukchi", "Nganasan" "Samoyed", "N. Tungus", "Nentsy" "N. Chinese", "Tibetan", "Bhutanese", "Ainu", "Mongol", "Japanese" and "Korean". The ethnic groups Cavalli-Sforza said were in the "Southeast Asian" cluster were "Indonesian", "Malaysian", "Taiwan aborigines", "Viet Muong", "Thai", "Philippine", "S. Chinese", "Balinese" and "Gurkha".

Moreover, Cavalli-Sforza said there is an "approximate boundary" between "Caucasoids" and "Mongoloids" from the "Urals" to "the eastern part of India". Along this boundary there has been "hybridization", causing a "Caucasoid-Mongoloid gradient". Likewise, Cavalli-Sforza said there is a "separation between northern and southern Mongoloids" "starting from Southeast Asia".

Orientals and the Orient

The term 'Oriental' (from the Latin word for "Eastern") was originally used during the Middle Ages in Europe in reference to the Near East. It was later extended to the rest of Asia, but came to refer to East Asians and in some cases, Southeast Asians in the 19th and 20th century United States, where most Asians were originally Chinese, with later additions of Korean, Japanese, and other groups from Asia.

By the late 20th century, the term had gathered associations in North America with older attitudes now seen as outmoded, and was replaced with the term "Asian" as part of the updating of language concerning social identities. However, in Europe, use of the term ''Oriental'' for an east Asian has no negative connotations attached and is commonly used. Note particularly that, in the U.K. at least, Indian people (for example) are considered Asian but not Oriental, giving credence to the point that the term 'Oriental' now means 'East Asian' rather than any meaning related to the Greenwich Meridian and its colonial links.

Marginal Inclusion

West Asians

Clovis Maksoud, Director for the Organization of Global South, argues that the term "Middle East" is a Eurocentric term denoting the region between Europe and East Asia, because it denies the Middle East's connection with Muslim North Africa. In English parlance, Western Asians like Jews, Iranians and Arabs, and the Central Asians of the former Soviet Republics are not referred to as "Asian" by United States government agencies. The Canadian government uses "West Asian" in its statistics; however people from the Arab countries are counted in a separate "Arab" category.

Pacific Islanders

In normal American usage Asian does not refer to the people from the Pacific Islands who are usually called Pacific Islanders. The term "Asians and Pacific Islanders" or "Asia/Pacific" was used on the 1990 US Census. However, in the 2000 US Census, the Asian or Pacific Islander category was separated into two categories, "Asian" and "Native Hawaiian or Other Pacific Islander".

See also

Vietnamese

Ethnic groups in Asia

Afro-Asian (African-Asian mixed ancestry)

Amerasian — especially the offspring of a U.S. serviceman and an Asian

Asia — includes boundaries of the continent.

Desi

Eurasian (European-Asian mixed ancestry)

Hapa — Hawaiian term commonly referring to Eurasians

Oriental

Race and genetics

References

cy:Asiaid es:Asiático he:אסייתים ja:アジア系民族 pl:Azjaci ru:Азиаты simple:Asian sk:Ázijčania sv:Asiater uk:Азіати vi:Người Châu Á bat-smg:Azėjėitē

Coordinates	12°2′36″N77°1′42″N
name	Kanye West
background	solo_singer
birth name	Kanye Omari West
birth date	June 08, 1977
birth place	Atlanta, Georgia, United States
origin	Chicago, Illinois, United States
genre	Hip hop
instrument	Vocals, keyboards, sampler, percussion, synthesizer
occupation	Producer, rapper, musician, singer
years active	1996–present
label	GOOD Music, Roc-A-Fella, Def Jam
associated acts	Go Getters, Child Rebel Soldier, Jay-Z, The Throne, Common, John Legend, Kid Cudi, Rihanna, Jeff Bhasker, Pusha T, Mos Def, Mr Hudson, Talib Kweli, Big Sean, A-Trak, Pharrell, Lupe Fiasco, RZA
website	}}

Kanye Omari West (; born June 8, 1977) is an American rapper, singer, and record producer. West first rose to fame as a producer for Roc-A-Fella Records, where he eventually achieved recognition for his work on Jay-Z's album ''The Blueprint'', as well as hit singles for musical artists including Alicia Keys, Ludacris, and Janet Jackson. His style of production originally used pitched-up vocal samples from soul songs incorporated with his own drums and instruments. However, subsequent productions saw him broadening his musical palette and expressing influences encompassing '70s R&B;, baroque pop, trip hop, arena rock, folk, alternative, electronica, synth-pop, and classical music.

West released his debut album ''The College Dropout'' in 2004, his second album ''Late Registration'' in 2005, his third album ''Graduation'' in 2007, his fourth album ''808s & Heartbreak'' in 2008, and his fifth album ''My Beautiful Dark Twisted Fantasy'' in 2010. West released a collaborative album, ''Watch the Throne'', with Jay-Z on August 8, 2011, which is the duo's first collaborative album. His five solo albums, all of which have gone platinum, have received numerous awards and critical acclaim. As of 2011, West has won a total of fourteen Grammy Awards. All albums have been very commercially successful, with ''My Beautiful Dark Twisted Fantasy'' becoming his fourth consecutive No.1 album in the U.S. upon release. West has had 5 songs exceed 3 million in digital sales as of July 2011, with "Gold Digger" selling 3,086,000, "Stronger" selling 4,402,000, "Heartless" selling 3,742,000, "E.T." selling over 4,000,000 and "Love Lockdown" selling over 3,000,000 placing him third in overall digital sales of the past decade. He has sold over 25 million digital songs in the United States placing him second for solo male artists on the list and sixth overall for best selling digital artists.

West also runs his own record label GOOD Music, home to artists such as John Legend, Common and Kid Cudi. West's mascot and trademark is "Dropout Bear," a teddy bear which has appeared on the covers of three of his five albums as well as various single covers and music videos. About.com ranked Kanye West No.8 on their "Top 50 Hip-Hop Producers" list. On May 16, 2008, Kanye West was crowned by MTV as the year's No.1 "Hottest MC in the Game." On December 17, 2010, Kanye West was voted as the MTV Man of the Year by MTV. Billboard ranked Kanye West No. 3 on their list of Top 10 Producers of the decade. West has also been included in the Time 100 list of the most influential people in the world as well as being listed in a number of ''Forbes''' annual lists.

Early life

Kanye West was born in Atlanta, Georgia, where he lived with his parents. When he was three years old, his parents divorced, and he and his mother moved to Chicago, Illinois. His father was Ray West, a former Black Panther who was one of the first black photojournalists at ''The Atlanta Journal-Constitution,'' and is now a Christian counselor. West's mother, Dr. Donda West, was a Professor of English at Clark Atlanta University, and the Chair of the English Department at Chicago State University before retiring to serve as West's manager. He was raised in a middle-class background, attending Polaris High School in suburban Oak Lawn, Illinois after living in Chicago. When asked about his grades in high school, West replied, "I got A's and B's. And I'm not even frontin'".

West attended art classes at the American Academy of Art in Chicago, and also enrolled at Chicago State University, but dropped out to focus on his music career. While attending school, West produced for local artists. He later gained fame by producing hit singles for major hip hop/R&B; artists, including Jay-Z, Talib Kweli, Cam'ron, Paul Wall, Common, Mobb Deep, Jermaine Dupri, Scarface, The Game, Alicia Keys, Janet Jackson, John Legend among others. He also "ghost-produced" for his mentor Deric Angelettie, according to his song "Last Call" and the credits of Nas' "Poppa Was a Playa".

Music career

1996–2003: Career beginnings

Kanye West's first career productions came on Chicago rapper Grav's 1996 debut album ''Down to Earth''. West produced eight tracks on the album. While the album did not attract much attention and would be the only album released by Grav, West would soon be producing for higher profile artists. In 1998–1999 he produced for well-known artists such as Jermaine Dupri, Foxy Brown, Goodie Mob, and the group Harlem World.

West got his big break in the year 2000, when he began to produce for artists on Roc-a-Fella Records. He produced the well-received Jay-Z song "This Can't Be Life" off of the album ''The Dynasty: Roc La Familia''. West would later state that to create the beat for "This Can't Be Life", he sped up the drum beat from Dr. Dre's song "Xxplosive".

After producing for Jay-Z earlier, West’s sound was featured heavily on Jay-Z's critically acclaimed album ''The Blueprint,'' released September 11, 2001. His work was featured on the lead single "Izzo (H.O.V.A.)," "Heart of the City (Ain't No Love)" and a diss track against Nas and Mobb Deep named "Takeover"; West has worked with Mobb Deep and Nas since the track's release.

After meeting great commercial success and critical acclaim for his productions on ''The Blueprint'', West became a sought after producer in the hip-hop industry, even before he became known as a rapper and solo artist. In the years 2002–2003 he would produce for artists such as Nas, Scarface, Talib Kweli, Mos Def, T.I., Ludacris, DMX, and Monica. He also continued producing for Roc-a-Fella Records artists and contribued four tracks to Jay-Z's follow up album to ''The Blueprint'', ''The Blueprint²: The Gift & the Curse''.

After great successes as a producer, West now looked to pursue a career as a rapper and solo artist, but struggled to get a record deal. Chris Anokute, then A&R; at Def Jam, said that when West regularly dropped by the office to pick up his producer checks he would play demos of solo material to Anokute in his cubicle and bemoan the fact that no one was taking him seriously as a rapper. Jay-Z admitted that Roc-A-Fella was initially reluctant to support West as a rapper, claiming that he saw him as a producer first and foremost. Multiple record companies felt he was not as marketable as rappers who portray the "street image" prominent in hip hop culture. Beginning his career as a rapper, Kanye West recorded the third verse on the song "The Bounce" off of Jay-Z's ''The Blueprint²: The Gift & the Curse'', an album he produced for, from the same label he was signed to as a rapper.

2004–05: ''The College Dropout'' and ''Late Registration''

On October 23, 2002, West was involved in a near fatal car crash while driving home from the recording studio. The crash provided inspiration for West's first single, "Through the Wire". West's faith is apparent in many of his songs, such as "Jesus Walks", which became a staple at his benefit performances, such as the Live 8 concert. These songs were featured on West's debut album, ''The College Dropout'', which was released on Roc-A-Fella Records in February 2004, and went on to receive critical acclaim. The album also defined the style for which West would become known, including wordplay and sampling. The album was eventually certified triple platinum. Guest appearances included Jay-Z, Ludacris, GLC, Consequence, Talib Kweli, Mos Def, Common, and Syleena Johnson. The album also featured the singles, "All Falls Down" and "The New Workout Plan", as well as Twista's number one single, "Slow Jamz". During 2003 West also co-produced songs for British singer Javine Hylton, even appearing in the music video to Real Things playing the love interest of Javine.

West was involved in a financial dispute over Royce Da 5'9"'s song "Heartbeat", produced by West and released on ''Build & Destroy: The Lost Sessions''. West maintains that Royce never paid for the beat, but recorded to it and released it; hearing him on the beat, the original customers decided not to buy it from West. After the disagreement, West vowed to never work with Royce again. Other Kanye West-produced hit singles during the period ''The College Dropout'' was released included "I Changed My Mind" by Keyshia Cole, "Overnight Celebrity" by Twista and "Talk About Our Love" by Brandy.

Taking a more eclectic route, West collaborated with American film score composer Jon Brion to construct his second album, ''Late Registration'', which was released on August 30, 2005. Like its predecessor, the sophomore effort garnered universal acclaim from music critics. ''Late Registration'' topped countless critic polls and was revered as the best album of the year by numerous publications, including ''USA Today'', ''Spin'', and ''Time''. ''Rolling Stone'' awarded the album the highest position on their end of the year record list and hailed it as a "sweepingly generous, absurdly virtuosic hip-hop classic." The record earned the number one spot on the ''Village Voice'''s Pazz & Jop critics' poll of 2005 for the second consecutive year. ''Late Registration'' was also a commercial success, selling over 860,000 copies in its first week alone and topping the ''Billboard 200''. Grossing over 2.3 million units sold in the United States alone by year's end, ''Late Registration'' was considered by industry observers as the sole majorly successful album release of the fall of 2005, a season that was plagued by steadily declining CD sales. The second album earned eight Grammy Award nominations including ''Album of the Year'' and ''Record of the Year'' for the song "Gold Digger". The album is certified triple platinum.

On August 22, 2005, the MTV special ''All Eyes On Kanye West'' aired, in which West spoke out against homophobia in hip-hop. He claimed that hip-hop has always been about "speaking your mind and about breaking down barriers, but everyone in hip-hop discriminates against gay people." He then reflected on a personal experience. He said that he had a "turning point" when he realized one of his cousins was gay. He said regarding this experience: "This is my cousin. I love him and I've been discriminating against gays." He drew comparison between African Americans' struggle for civil rights and today's gay rights movement. The following year, in an interview with ''Entertainment Weekly'', West further expounded his experiences with and views on the relationship between the black and gay communities.

In September 2005, West announced that he would release his Pastelle Clothing line in spring 2006: "Now that I have a Grammy under my belt and ''Late Registration'' is finished, I am ready to launch my clothing line next spring." In that year, West produced the hit singles "Go" by Common and "Dreams" by The Game.

2007–09: ''Graduation'' and ''808s & Heartbreak''

In 2007, it was announced that West would be starring in a series directed by Larry Charles. He has been working on the pilot episode for the past two years with Larry Charles and Rick Rubin. He also had this to say on January 14: "I wouldn't do something as cliché as a reality show. At least give me the credit for being more creative than that. It's a situational half-hour comedy. It's fictional, and loosely based on my life. " West also collaborated with Japanese hip-hop group Teriyaki Boyz to produce the single "I Still Love H.E.R.," a reference to Common's 1994 single "I Used to Love H.E.R.". Further to this, during a radio appearance in early 2007, West, like many of his peers, recorded an impromptu freestyle to the popular song "Throw Some D's." The song that to all other rappers was about automobile rims, was used by West to comically refer to D-cup breasts. Because of the unexpected success of the song, West went on to make a video for the freestyle, in which he is seen playing his 'Old Ass Cousin'.

West was also featured in a new song called "Classic (Better Than I've Ever Been)". It was believed to be a single for, ''Graduation'', because he is featured on the track, but Nike quickly explained that it was for the Nike Air Force 1's anniversary. It was meant only to be an exclusive track for the company.

On March 25, 2007, he and his father Ray West supported World Water Day by having a "Walk for Water" rally. After a two-year break, West has returned to being a fashion columnist in lifestyle magazine ''Complex''. On July 7, 2007, West performed with The Police and John Mayer at the American leg of Live Earth. West hosted the August 17 edition of British comedy- variety show The Friday Night Project.

In July 2007, West changed the release date of ''Graduation'', his third album, from September 18, 2007, to the same release date as 50 Cent's album ''Curtis'', September 11, 2007. 50 Cent later claimed that if ''Graduation'' were to sell more records than ''Curtis,'' he would stop releasing solo albums. However, 50 Cent would later dispel his comments. The album has been certified double platinum. Guest appearances included T-Pain, Mos Def, and Lil Wayne.

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On August 26, 2007, West appeared as himself on the HBO television show ''Entourage'' which he used as a platform to premier his new single "Good Life" during the end credits. On September 9, 2007, West performed at the 2007 MTV Video Music Awards, losing in every category he was nominated for; he gave an angry speech immediately afterward. (see "Controversies" section)

Following the MTV stint, West was nominated in eight Grammy Award categories for the 50th annual Grammy Awards. He won four of them, including Best Rap Album for ''Graduation'' and Best Rap Solo Performance for "Stronger" from ''Graduation''. During the four-hour televised Grammy Awards ceremony, West also performed two songs: "Stronger" (with Daft Punk) and "Hey Mama" (in honor of his recently deceased mother).

West kicked off the Glow in the Dark Tour in Seattle at the Key Arena on April 16. The tour was originally scheduled to end in June in Cincinnati but was extended into August. Over the course of the tour West was joined by a varying group of opening acts, including Lupe Fiasco, Rihanna, N.E.R.D., DJ Craze, and Gnarls Barkley. On June 15, West was scheduled to perform a late night set at the Bonnaroo Music Festival. His performance started almost two hours late and ran for half of its alloted time, angering many fans in the audience. West later wrote an outraged entry on his blog, blaming the festival organizers as well as Pearl Jam's preceding set, which ran longer than expected.

On September 7, West debuted a new song "Love Lockdown" at the 2008 MTV Video Music Awards. "Love Lockdown" features no rapping and only singing using an auto-tune device. This song appears on West's fourth studio album, ''808s & Heartbreak''. The new album was expected to be released on December 16, but West announced on his blog on September 24, 2008, that he had finished the album and would be releasing it sometime in November, earlier than previously scheduled. In early October, West made a surprise appearance at a T.I. concert in Los Angeles, where he stated that ''808s & Heartbreak'' was scheduled to be released on November 25, though it was actually released on the 24th, and that the second single is "Heartless". The album was another number one album for West, even though the first week numbers fell well short of ''Graduation'' with 450,145 sold.

West performed at the American Music Awards ceremony on November 23. That same night he won two AMA awards, including Favorite Rap/Hip-Hop Album for ''Graduation'' and Favorite Rap/Hip-Hop Male Artist. West performed at the Democratic National Convention in Denver in August 2008, along with Wyclef Jean and N.E.R.D. in support of Barack Obama. On January 20, 2009, Kanye West performed at the Youth Inaugural Ball hosted by MTV for Obama's inauguration.

On February 17, 2009, West was named one of Top 10 Most Stylish Men in America by ''GQ''. The next day, February 18, 2009, West won International Male Solo Artist at The Brit Awards 2009. West was not in attendance but accepted his award with a video speech, saying "Barack is the 'Best Interracial Male' but I'm proud to be the Best International Male in the world.

In April 2009, Kanye West recorded a song called "Hurricane" with 30 Seconds to Mars to appear on their album ''This Is War'', but was not released due to legal issues with both record companies. The song was eventually released on the deluxe version of ''This Is War'', titled "Hurricane 2.0".

2010–present: ''My Beautiful Dark Twisted Fantasy'' and ''Watch the Throne''

In May 2010, West made an animated television guest appearance on Fox's animated television series ''The Cleveland Show'' (a spin-off of ''Family Guy'') as the voice behind "Kenny West", a rival of Cleveland Brown's son. In his first episode he performed in a rap battle with Cleveland's son. The producers stated working with West was a very good experience and a reason they chose him was because they knew he was a fan of ''Family Guy''. Kenny West re-appeared in the season 2 premiere of ''The Cleveland Show''.

West spent the first half of 2010 in Honolulu, Hawaii, working on his new album with the working title ''"Good Ass Job"'', later named ''My Beautiful Dark Twisted Fantasy'', released on November 22, 2010. West has cited Maya Angelou, Gil Scott-Heron and Nina Simone as his musical inspirations for this album. Outside production is said to come from RZA, Q-Tip, Pete Rock, and DJ Premier. West also had Justin Vernon flown into his studio on Oahu after seemingly expressing interest in sampling one of Bon Iver's songs; Vernon proceeded to feature on a number of new tracks, including "Lost In The World," which features Vernon's vocal line from Woods.

On May 28, the Dwele-assisted first single from the album, entitled "Power", leaked to the Internet. On June 30, the track was officially released via iTunes. The upcoming music video was quoted as being "apocalyptic, in a very personal way" by the director Marco Brambilla.

On September 12, 2010, West performed a new song, "Runaway" featuring Pusha T, at the 2010 MTV Video Music Awards. Shortly after the performance, Kanye revealed he was working on a 35 minute short film based around the song. The movie is said to be influenced by film noir and concerns a fallen phoenix whom Kanye falls in love with. On October 15, 2010, Kanye West was ranked 3rd in BET's "Top Ten Rappers of the 21st Century" list.

''Watch the Throne'', a collaborative studio album by West and Jay-Z, was released by Def Jam Recordings on August 8, 2011. It has been under production since August 2010 as part of West's GOOD Friday initiative of releasing new songs every Friday between August 20 and Christmas 2010. West said through a recent interview with MTV that the album is "going to be very dark and sexy, like couture hip hop." He appeared at the Macy's Thanksgiving Day Parade, performing the track "Lost in the World" from ''My Beautiful Dark Twisted Fantasy''. On January 6, 2011, Kanye announced via Twitter that the first official single from ''Watch the Throne'' would be a song called "H•A•M" produced by Lex Luger. The song was released on January 11, 2011. On January 23, 2011, Kanye revealed via his Twitter account that he will be releasing a new album in summer 2011. On April 17, 2011, West closed the Coachella Festival with a headlining set that received glowing praise from fans and critics alike. On July 13, the official tracklisting for ''Watch The Throne'' was revealed. On July 20, a track titled "Otis" from the album was released in the iTunes Store. It samples "Try a Little Tenderness" by Otis Redding.

On October 19, 2011, West announced on his Twitter plans for a Spring 2012 GOOD Music album release.

Other ventures

Business ventures

In August 2008, West revealed plans to open 10 Fatburger restaurants in the Chicago area; the first was set to open in September 2008 in Orland Park. The second followed in January 2009, while a third location is yet to be revealed, although the process is being finalized. His company, KW Foods LLC, bought the rights to the chain in Chicago. Additionally, West planned to launch his fashion career, and applied for internships with major European fashion houses. He was due to release his own clothing line called Past Tell in 2009. He also collaborated with Nike to release his own shoe, Air Yeezys.

On January 22, 2009, during Paris Fashion Week, West introduced his first shoe line designed for Louis Vuitton. The line was released in summer 2009.

On October 01, 2011, Kanye West premiered his women's fashion label, DW Kanye West at Paris Fashion Week. He received support from DSquared2 duo Dean and Dan Caten, Olivier Theyskens, Jeremy Scott, Azzedine Alaïa, and the Olsen twins, who were also in attendance during his show. His debut fashion show received mixed-to-negative reviews, ranging from reserved observations by Style.com to excoriating commentary by The Wall Street Journal, the New York Times, the International Herald Tribune, Elleuk.com, The Daily Telegraph, Harper's Bazaar and many others.

Philanthropy

West started the "Kanye West Foundation" in Chicago in 2003. On August 24, 2007, West hosted the inaugural benefit concert to launch the foundation's partnership with Strong American Schools. It is focused on helping Latino and African American children stay in school and to get a proper education through grade school, high school, and college. The foundation also helps children to stay in high school by finding a path through music. West has contributed over $500,000 to his foundation. The foundation has also been called the "Donda West Foundation".

Kanye West has appeared and participated in many fundraisers, benefit concerts, and has done community work for Hurricane Katrina relief, the Kanye West Foundation, the Millions More Movement, 100 Black Men of America, a Live Earth concert benefit, World Water Day rally and march, Nike runs, and a MTV special helping young Iraq War veterans who struggle through debt and PTSD a second chance after returning home.

Musical style and influences

At the start of his career, Kanye West's production style often used pitched-up vocal samples, usually from soul songs, with his own drums and instruments. His first major release featuring his trademark vocal sampling style was "This Can't Be Life", a track from Jay-Z’s ''The Dynasty: Roc La Familia''. West said he sped up the drum beat of Dr. Dre's "Xxplosive" to use as a replacement for his drums on "This Can't Be Life".

West has said that Wu-Tang Clan producer RZA influenced him in his style, and has said on numerous occasions that Wu-Tang rappers Ghostface Killah and Ol' Dirty Bastard were some of his all-time favorites, "Wu-Tang? Me and my friends talk about this all the time... We think Wu-Tang had one of the biggest impacts as far as a movement. From slang to style of dress, skits, the samples. Similar to the [production] style I use, RZA has been doing that." RZA himself has spoken quite positively of the comparisons, stating in an interview for ''Rolling Stone'', "All good. I got super respect for Kanye. He came up to me about a year or two ago. He gave me mad praising and blessings... For people to say Wu-Tang inspire Kanye, Kanye is one of the biggest artists in the world. That goes back to what we say: 'Wu-Tang is forever.' Kanye is going to inspire people to be like him." After hearing his work on ''The Blueprint'', RZA claimed that a torch-passing had occurred between him and West, saying, "The shoes gotta be filled. If you ain't gonna do it, somebody else is gonna do it. That's how I feel about rap today."

While his use of sampling has lessened over time, West's production continues to feature distinctive and intricate string arrangements. This characteristic arose from him listening to the English trip hop group Portishead, whose 1998 live album ''Roseland NYC Live'', with the New York Philharmonic Orchestra inspired him to incorporate string sections into his hip hop production. Though he was unable to afford live instruments beyond violin riffs provided by Israeli violinist Miri Ben-Ari around the time of his debut album, its subsequent commercial success allowed him to hire his very own eleven-piece string orchestra. For a time, West stood as the sole current pop star to tour with a string section.

West has stated on several occasions that outside of work, he favors listening to rock music over hip-hop. He cites Franz Ferdinand, Red Hot Chili Peppers, and The Killers as some of his favorite musical groups. Additionally, on ''Graduation'', West drew inspiration from arena rock bands such as U2, The Rolling Stones and Led Zeppelin for melody and chord progression. Both a fan and supporter of indie culture, West uses his official website to promote obscure indie rock bands, posting up music videos and mp3s on a daily basis. This musical affinity is mutual, as West has collaborated with indie artists such as Santigold, Peter Bjorn and John and Lykke Li while his songs have gone on to be covered countless times by myriad rock bands.

Personal life

Relationships

Kanye West and designer Alexis Phifer ended their 18-month engagement in 2008. The couple had been dating on and off since 2002, with West eventually proposing in August 2006. According to a friend, the couple's relationship had become increasingly strained, burdened by the sheer amount of time and attention West was dedicating to his current concert tour. "It's always sad when things like this end, and we remain friends," Phifer told ''People''.

West was also in a high profile on/off relationship with Amber Rose from 2008 until the summer of 2010.

Mother's death

On November 10, 2007, West's mother, Donda West, died of complications from cosmetic surgery involving abdominoplasty and breast augmentation. TMZ reported that Beverly Hills plastic surgeon Andre Aboolian refused to do the surgery because Donda West had a health condition that placed her at risk for a heart attack. Aboolian referred her to an internist to investigate her cardiac issue. Donda never met with the doctor recommended by Aboolian and had the procedures performed by a third doctor, Jan Adams. She was 58 years old (1949–2007).

Adams sent condolences to Donda West's family but declined to publicly discuss the procedure because of confidentiality. He had previously been under scrutiny by the medical board. Adams appeared on ''Larry King Live'' on November 20, 2007 but left before speaking. Two days later, he appeared again, with his attorney, stating he was there to "defend himself." He said that the recently released autopsy results "spoke for themselves". The final coroner's report January 10, 2008 concluded that Donda West died of "coronary artery disease and multiple post-operative factors due to or as a consequence of liposuction and mammoplasty."

The funeral and burial for Donda West was held in Oklahoma City on November 20, 2007. West held his first concert following the funeral at The O2 in London on November 22. He dedicated a performance of "Hey Mama", as well as a cover of Journey's "Don't Stop Believin'", to his mother, and did so on all other dates of his Glow in the Dark tour.

At a December 2008 press conference in New Zealand, West spoke about his mother's death for the first time. "It was like losing an arm and a leg and trying to walk through that," he told reporters.

California governor Arnold Schwarzenegger passed the "Donda West Law," a legislation which makes it mandatory for patients to provide medical clearance for elective cosmetic surgery.

Legal issues

In December 2006, Robert "Evel" Knievel sued West for trademark infringement in West's video for "Touch the Sky." Knievel took issue with a "sexually-charged video" in which West takes on the persona of "Evel Kanyevel" and attempts flying a rocket over a canyon. The suit filed in federal court claims infringement on his trademarked name and likeness. Knievel also claims the "vulgar and offensive" images depicted in the video damage his reputation. The suit seeks damages and to stop distribution of the video. West's attorneys argued that the music video amounted to satire and therefore was covered under the First Amendment. Just days before his death in November 2007, Knievel amicably settled the suit after being paid a visit from West, saying, "I thought he was a wonderful guy and quite a gentleman."

On September 11, 2008, West and his road manager/bodyguard Don "Don C." Crowley were arrested at Los Angeles International Airport and booked on charges of felony vandalism after an altercation with the paparazzi in which West and Crowley broke the photographers' cameras. West was later released from the Los Angeles Police Department's Pacific Division station in Culver City on $20,000 bail bond. On September 26, 2008 the Los Angeles County District Attorney's Office said it would not file felony counts against West over the incident. Instead the case file was forwarded to the city attorney's office, which charged West with one count of misdemeanor vandalism, one count of grand theft and one count of battery and his manager with three counts of each on March 18, 2009. West's and Crowley's arraignment was delayed from an original date of April 14, 2009.

West was arrested again on November 14, 2008 at the Hilton hotel near Gateshead after another scuffle involving a photographer outside the famous Tup Tup Palace nightclub in Newcastle Upon Tyne. He was later released "with no further action", according to a police spokesperson.

Controversies

General media

West has had several controversies throughout his career. On September 2, 2005, during a benefit concert for Hurricane Katrina relief on NBC, A Concert for Hurricane Relief, West was a featured speaker. When West was presenting alongside actor Mike Myers, he deviated from the prepared script. Myers spoke next and continued to read the script. Once it was West's turn to speak again, he said "George Bush doesn't care about black people." At this point, telethon producer Rick Kaplan cut off the microphone and then cut away to Chris Tucker, who was unaware of the cut for a few seconds. Still, West's comment reached much of the United States. Bush stated in an interview that the comment was "one of the most disgusting moments” of his presidency.

In January 2006, West again sparked controversy when he appeared on the cover of ''Rolling Stone'' in the image of Jesus wearing a crown of thorns.

In November, 2010, Kanye West, in a taped interview with Matt Lauer for the Today Show, West expressed regret for his criticism of Bush. "I would tell George Bush in my moment of frustration, I didn't have the grounds to call him a racist," he told Lauer. "I believe that in a situation of high emotion like that we as human beings don't always choose the right words." The following day, Bush reacted to the apology in a live interview with Lauer saying he appreciated the rapper's remorse. "I'm not a hater," Bush said. "I don't hate Kanye West. I was talking about an environment in which people were willing to say things that hurt. Nobody wants to be called a racist if in your heart you believe in equality of races."

Reactions were mixed, but some felt that West had no need to apologize. "It was not the particulars of your words that mattered, it was the essence of a feeling of the insensitivity towards our communities that many of us have felt for far too long," noted Def Jam co-founder Russell Simmons. Dr. Boyce Watkins said that West was, "now part of the establishment, where waffling on your principles is fully expected. Bush deserved no apology, for you don’t apologize to a criminal after repudiating him for an egregious crime. " Bush himself was acceptive towards the apology, saying, "I appreciate that. It wasn't just Kanye West who was talking like that during Katrina, I cited him as an example, I cited others as an example as well. You know, I appreciate that."

Award shows

In 2004, West had his first of a number of incidents involving music award events. At the American Music Awards of 2004, West stormed out of the auditorium after losing Best New Artist to country singer Gretchen Wilson. He later commented, "I felt like I was definitely robbed [...] I was the best new artist this year." After the 2006 Grammy nominations were released, West said he would "really have a problem" if he did not win the Album of the Year, saying, "I don't care what I do, I don't care how much I stunt – you can never take away from the amount of work I put into it. I don't want to hear all of that politically correct stuff." On November 2, 2006, when his "Touch the Sky" failed to win Best Video at the MTV Europe Music Awards, West went onto the stage as the award was being presented to Justice and Simian for "We Are Your Friends" and argued that he should have won the award instead. Hundreds of news outlets worldwide criticized the outburst. On November 7, 2006, West apologized for this outburst publicly during his performance as support act for U2 for their Vertigo concert in Brisbane. He later spoofed the incident in the season premiere of ''Saturday Night Live''.

On September 9, 2007, West suggested that his race had to do with his being overlooked for opening the 2007 MTV Video Music Awards (VMAs) in favor of Britney Spears; he claimed, "Maybe my skin’s not right." West was performing at the event; that night, he lost all 5 awards that he was nominated for, including Best Male Artist and Video of the Year. After the show, he was visibly upset that he had lost at the VMAs two years in a row, stating that he would not come back to MTV ever again. He also appeared on several radio stations saying that when he made the song "Stronger" that it was his dream to open the VMAs with it. He has also stated that Spears has not had a hit in a long period of time and that MTV exploited her for ratings.

On September 13, 2009, during the 2009 MTV Video Music Awards while Taylor Swift was accepting her award for Best Female Video for "You Belong with Me", West went on stage and grabbed the microphone to proclaim that Beyoncé's video for "Single Ladies (Put a Ring on It)", nominated for the same award, was "one of the best videos of all time". He was subsequently removed from the remainder of the show for his actions. When Beyoncé later won the award for Best Video of the Year for "Single Ladies (Put a Ring on It)", she called Swift up on stage so that she could finish her acceptance speech. West was criticized by various celebrities for the outburst, and by President Barack Obama, who called West a "jackass" in an off-the-record comment. In addition, West's VMA disruption sparked a large influx of Internet photo memes with blogs, forums and "tweets" with the "Let you finish" photo-jokes. Subsequently, West posted two apologies for the outburst on his personal blog; one on the night of the incident and the other the same day he appeared on ''The Jay Leno Show'', on September 14, 2009, where he apologized again. After Swift appeared on ''The View'' two days after the outburst, partly to discuss the matter, West called her to apologize personally. Swift said she accepted his apology. In September 2010, West wrote a series of apologetic tweets addressed to Swift including "Beyonce didn't need that. MTV didn't need that and Taylor and her family friends and fans definitely didn't want or need that" and concluding with "I'm sorry Taylor." West also revealed he had written a song for Swift and if she did not accept the song, he would perform it himself. However, on November 8, 2010, in an interview with a Minnesota radio station, West seemed to recant a bit of his past apologies by attempting to describe the act at the 2009 awards show as "selfless" and downgrade the perception of disrespect it created.

Discography

Solo Albums

''The College Dropout'' (2004)

''Late Registration'' (2005)

''Graduation'' (2007)

''808s & Heartbreak'' (2008)

''My Beautiful Dark Twisted Fantasy'' (2010)

Collaborations

''Watch the Throne'' (2011) – with Jay-Z

''G.O.O.D. Music'' (2012) – with GOOD Music artists

Filmography

''We Were Once a Fairytale'' (2009)

''Runaway'' (2010)

Awards and nominations

References

External links

Kanye West at Beatbuggy

Category:1977 births Category:African American rappers Category:African American record producers Category:African American male singers Category:American bloggers Category:American Christians Category:American hip hop record producers Category:American music industry executives Category:American music video directors Category:American pop musicians Category:Songwriters from Georgia (U.S. state) Category:Brit Award winners Category:Chicago State University alumni Category:Electro-hop musicians Category:Grammy Award winners Category:Hip hop musicians Category:Hip hop singers Category:Living people Category:Mercury Records artists Category:People from Atlanta, Georgia Category:Rappers from Chicago, Illinois Category:Roc-A-Fella Records artists Category:World Music Awards winners

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