Brazilian Hiphop

Brazilian hip hop is one of the world's major hip hop scenes, with active rap, break dance, and graffiti scenes, especially in São Paulo, where groups tend to have a more international style, influenced by old school hip hop and gangsta rap.

History[link]

Brazilian hip hop was born in Sao Paulo.

São Paulo's hip hop scene is largely influenced by social inequality and racial factors. Rappers like Racionais MC's focus on criticizing the city's unequal wealth distribution, the lack of opportunity given to children growing up in the slums, and São Paulo state's corrupt government, and avidly promote an anti drug-use agenda. Brazilian slums known as favelas are frequently referenced in songs, as more radical types of Brazilian funk and hip hop have been used as a forum to speak out against local, regional, and national issues. Groups such as Cambio Negro and Chico Science adhere to a musical style known as rap consciencia, or socially conscious rap.[1] In the mid-1990s, Brazilian hip hop and funk were advertised to the public as being connected to the drug scene in Rio de Janeiro. Reports in the press around this time classified both styles of Brazilian music as being rooted and funded by the main drug lords in Rio. Part of the speculation of the connection expressed in the reports came from a famous rap that came onto the scene in the early 1990s, entitled "Rap do Borel." Borel, a slum in the neighborhood of Tijuca where drug lorders are notoriously known to operate, was recorded by Brazilian musicians William Santos de Souza and Duda. It has been speculated that subsidized funk parties organized by the Brazilian crime group "Comando Vermelho" (Red Commandoes) were actually parties in which Brazilian youth could be recruited for drug dealing.^[1] Brazilian rap, at least as it has developed in poor neighborhoods here in the country's largest city, tends to be highly politicized and scornful of lyrics that boast about wealth or sexual conquests. In contrast, the funk movement in Brazil, also imported from the United States but centered in Rio de Janeiro, is unabashedly about celebrating sex, bling and violence. Since established commercial radio stations and publishing houses have shown minimal interest in the music and poetry that new hip-hop artists are producing, or want to impose contract terms that are too stringent, rappers have developed their own channels to distribute their work. These range from selling their discs and books themselves on the streets and at shows to having the works played on a network of low-power but linked community radio stations.^[2] [2]

Brazilian rap has served as a reflection of political, social, and racial issues plaguing the disenfranchised youth in the suburbs of São Paulo and Rio. The lyrical content, band names, and song names used by Brazilian hip hop artists often connote the socio-political issues surrounding their communities. For instance, Racionais MCs were "unanimously regarded as the voice of the suburbs," with songs such as Pânico na Zona Sul (Panic on the South Side) and Tempos Difíceis (Hard Times). Rapper Gabriel o Pensador titled one of his songs "Tô Feliz, Matei o Presidente" (I'm Glad, I've Killed the President), which addresses former president Fernando Collor's corruption-related impeachment.^[3]

Additionally, police brutality against poor black youth in Rio and São Paulo is also a salient issue incorporated into Brazilian rap. According to George Yudice, "in 1991 in São Paulo alone, the military police killed 876 street youth."^[4] With violence rates of such a devastating proportion, it is no wonder that impoverished Brazilian youth use hip hop as a voice to speak out. Markedly, Pavilhão 9, a live hip hop group, got their name from the exact location where about 100 convicts were murdered by the police inside the Carandiru jail.^[3]

In other major cities like Rio de Janeiro and Recife, hip hop also appears in fusion styles. Rio de Janeiro represents the largest urban area of national politics, and in popular culture (in general) in Brazil. Rio de Janeiro is portrayed as the headquarters for major corporations of the country's popular music industry. Rio is the most important place for new music composers to gain knowledge of the business, In Recife, manguebeat, a style which was born in the early '90s, mixes regional folk styles as maracatu and coco with hardcore punk rock and hip hop. In Rio de Janeiro in the late 1990s, MV Bill opened the way to hip hop. Brazilian funk was considered somewhat naive until its sudden "rediscovery" in 2000s, following the international fad towards the "exotic" style.

A new movement has started to make use of the Brazilian hip hop and creative music scene to keep favela residents out of trouble with the ever dangerous and ever evasive Brazilian drug lords versus the Brazilian police force drug war. A brave new documentary has been made about this subject entitled Favela Rising. The film is a documentary about the group Afro Reggae. Formed in 1993 by Brazilian José Junior, Afro Reggae is a non-profit organization that aims to take young favela residents off the streets and away from drugs through means of music.[3] As a hybrid of traditional Brazilian dance music fused with hip-hop and reggae, Afro Reggae's ultimate goal is to offer young favela residents something to do other than join the increasing ranks of drug dealers. In the face of adversity, the Afro Reggae movement offers hope and leadership to young Brazilians, and has moved from the favelas to actual stage performances, as they recently signed a contract with Universal Records. Their Afro Reggae movement's music features styles also interesting to avid listeners of Brazilian hip hop, as well as other genres too.

There are also artists of Brazilian heritage active in other countries, such as the UK grime MC Aggro, who burst onto the scene in 2006 with his hit song, Free Yard. The Australian hip hop scene also harbors a group called Terrafirma ( Raph A.L. and Simplex the Brazilian born mcs/producer ) who have been active in the underground scene and later on the charts since its establishment in 1995. they are also members of the Adelaide super crew, Certified Wise.

The aforementioned new movement has resulted in hip-hop stylings finding their way into the sub-culture of youth's throughout Brazil. In the TV series Cidade dos Homens we follow the lives of two best friends who struggle everyday to survive life in the favela and still manage to keep a smile on their faces. One of the mediums used to alleviate stress is hip-hop, although, since most of the episodes occur in Rio De Janeiro their music might be more attributed to Funk Carioca. Nonetheless, it is the Hip-hop mind set and the idea of a "cypha" (a circle of MC's that spit together and maintain a particular tempo without stopping) that is ever incarnate in the youth of Brazil. This is particularly apparent in the episode Sábado. While the young men are re-telling the crazy and, consequently, exaggerated stories of their crazy night, they form a cypha and begin to rhyme. When one of the supporting characters by the name of Alex, breaks the cypha because he gets offbeat, he is rewarded by a barrage of boos.Cidade dos Homens further accentuates the universality of Hip-hop in the character of Larinjhia, who is the other protagonist of the show. When he finds himself feeling trapped by society and by his social status he turns to hip-hop as an escape. Much like the real life documentary of Favela Rising, we see Laranjinha using hip-hop as a way out of gang violence and into positivity and activism. The show also features many actual Brazilian Hip-hop Stars such as Xis and Thaide. The songs written by Laranjhia and Hip-Hop stars shown in the series are often based on the rough lives they faced in the Favela, just like many MC's in the United States base most of their material retelling stories of the places where they grew up. Another episode from the series of Cidade dos Homens that deals with the influence of Hip-Hop in Brazil, specifically in the city of São Paulo, is called "Hip Samba Hop," where the main characters are exposed to the magnitude of molding that Hip-Hop has caused in that community.

In addition to the above, "periferia" and "marginalidade" are some of the most prominent cores of Brazilian hip hop. In reference to Derek Pardue's article^[5] it is arguable that that most hip hop promoters from the all major hip hop groups around Brazil, several years after the birth of hip hop in Brazilian society, were not very successful in co-modifying their understanding of slum reality within the domestic music economy hip hop promoters in Brazil understand it to have a high sense of reality or one being real/truthful. Thus in terms of place prominent places are some of those which in general, are viewed as the "periphery" periferia, which also include residential areas of the metropolitan areas of São Paulo, Campinas, Rio de Janeiro, Curitiba and so on. This is further supported by Sansone Livio in his article^[6] as he talks about the influence of the youth culture in Brazilian Hip hop and funk. One of the reasons why the periferia is a core of Brazilian hip hop is because, the periphery/periferia turned into a mid-20th century boom of industrialization and place for migration. Additionally, it is also understood to have neighborhoods that vary significantly with regard to safety, architecture, community organization, and services rendered.

During the period 1985–1995, many Brazilian black pop musicians were quite active in the local adaptation of African-American musical trends such as funk and rap. While rock music in Brazil has been associated predominantly with the white middle class, funk and rap are heavily supported in big cities by people (and especially teenagers) of the lower socioeconomic class, primarily blacks. Funk musicians have frequently commented in their songs about the race relations in Brazil and have expressed black pride openly. Radical types of funk and rap meanwhile have been used mostly for sociopolitical messages about local, regional, or national issues.^[7] Brazilian rap, at least as it has developed in poor neighborhoods, tends to be highly politicized and scornful of lyrics that boast about wealth or sexual conquests. The funk movement in Brazil is unabashedly about celebrating sex, bling and violence. The rap scene in Brazil is a way for artists to express their political oppression, while funk music relates more to the part of American hip-hop scene of drugs, sex, and violence.^[8]

The Hip Hop Scene in Brasília[link]

Hip Hop has been present in the “brasiliense” social and musical scene since the late 1980s. It is arguably the second biggest Hip Hop scene in Brazil. The first generation of rappers included GOG ^[9] and DJ Jamaika.^[10] The second generation initiated with MC RAPadura in the 1990s. Currently, the most successful female rapper from Brasília is Flora Matos. Furthermore, the current generation, from the year 2000 on, has many groups and MCs who are releasing their work and making new events to expand the scene in the capital of Brazil.

First Generation[link]

This section talks about two of the pioneers of the first generation of rappers in Brasília. DJ Jamaika is one the main pioneers responsible for elevating and spreading the Hip Hop scene in the Distrito Federal (DF) area since 1993. He has participated in various radio and TV programs, such as “Transamérica.” He is a rapper from Ceilândia, satellite city around Brasília. He had a Hip Hop group called Alibi in 1999. He also initiated the group Câmbio Negro^[11] in 1990. One of his best known CDs is “Pá Doido Pirá” which is also used as an important reference in Brazilian Hip Hop. In 2002, DJ Jamaika became a Christian and started working in only Gospel Rap CDs. In 2007, he won the “Prêmio Hutúz” national Brazilian award for best beat maker. GOG is another pioneer of the Hip Hop culture in Brasília. He was born in Sobradinho, satellite city around Brasília, and moved to Guará, satellite city around Brasília, in 1973, where he resided until 1991. He is a rapper and began his career as a poet. His first CD was recorded in 1992 with the title “Peso Pesado” (Heavy Weight). In 2007, he won the Prêmio Hútuz^[12] award for best artist. His most recent work is “DVD Cartão Postal Bomba!”, released in 2009.^[13]

Second Generation[link]

MC RAPadura Xique-Chico ^{[14][15] [16]} was born in Fortaleza and came to Brasília in 1997. He demonstrated interest in Hip Hop music when he participated in GOG’s song “A quem possa interessar” in the “Aviso às gerações” album. MC RAPadura has participated in several repente ^[17] contests (these are contestants in which people improvise with music from Brazil’s northeast region), on account of his original and innovative style, which is utilizing Brazilian “forró” music and mixing it with his self produced Hip Hop beats. In 2010, RAPadura performed in a TV Cultura ^[18] episode of Manos e Minas ^[19] with MV Bill and is well known for performing with a farmer straw hat which was created in Fortaleza.

Female Rappers[link]

There are also many promising female artists from Brasília, who are successful in Brazil. One of them is Flora Matos,^[20][21] who was raised by a musicians’ family. She performed on stage for the first time with the band “Acarajazz” when she was only 4 years old, because her father was the band’s songwriter. In 2003, Flora performed in her first solo project, “Noções Unidas”, with the producer Chicco Aquino. Her influences are Racionais MC's,^[22] Dina Di,^[23] Sabotage,^[24] Kamau,^[25] MC Marechal,^[26] etc. In 2006, she started to sing with DJ Brother, which earned her the award for the best singer of the year in Brasília. In 2007, she recorded a remix of the song “Véu da Noite”, from the singer Céu, produced by KL Jay (Racionais MCs’ DJ and beatmaker). She became popular after working with famous DJs of the Brazilian RAP such as KL Jay, DJ Cia, etc. In 2008, she was invited by KL Jay ^[27] and Ice Blue ^[28] to participate in the mixtape “O Jogo é Hoje”, supported by Nike and directed by Blue and Mano Brown,^[29] where she recorded the song “Mundo Pequeno.” In October 2008, she toured Europe (Paris, Angers, etc.). When she returned, she released her first single called “Jogo da Velha.” One year later, she performed with Emicida ^[30] and in the end of the year she released her first mixtape called Flora Matos vs Stereodubs

Current Generation[link]

Various events were created in Brasília to enhance the Hip Hop culture, from the DaBomb parties to the 2010 battles called “Calango Pensante”. Calango Pensante ^[31] was created by MC Ahoto ^[32] (Jorge Pinho) to motivate the various MCs to battle in Conic ^[33] (a mall located in the center of Brasília). There are prizes for the runner up and winner of the battle, such as the sum of the money given by each competing MC in the beginning of the event or concert tickets to a Brazilian Hip Hop show. MC Ahoto also created other events such as "I love Rap DF",^[34] which is an event where the hip hop groups can perform and promote their work. His first hit was the song “Fogo na Bomba” which was produced by Emtee (of Movimento Plano Crew – MPC). The song is basically about Graffiti art and tagging in general, bombing, since MC Ahoto is also an active graffiti artist. In fact, MC Ahoto started out as a graffiti artist. He has a tagging crew called “Kaligrafia Mardita” and was nominated in the Graffiti best prize category in 2011 (Prêmio Hip Hop Zumbi – Edição Dandara). Currently, he is one of the main representatives of Samambaia (neighborhood from Brasília) and has had several collaborations with other MCs, three of the most famous are: “Flowgados” (inactive), the group “Movimento Plano Crew”, and “Coletivação.” MC Ahoto won the 2010 “Microfonia” event, an MC Battle which happened in Brasília and which gave MC Ahoto the opportunity to travel to Rio de Janeiro and participate in the national Brazilian Battle: “Liga dos MCs.” He also won the award for best Brasiliense MC of 2011. Prêmio Hip Hop Zumbi ^[35][36] was an event created in 2010 by ArtSam to make the Hip Hop culture in Brasília even more powerful. This event recognizes and values the many local talents of the DF state, which just happens to be the second biggest Hip Hop scene in Brazil. It also makes the scene more professional, with political and popular participation, thus making social activism known. The name chosen illustrates well this main objective, refreshing the memory of the Brazilian people to the slave who was the leader of the biggest “quilombo” ^[37] (a clan of refugee slaves) from Brazil, Zumbi.^[38]

There were awards for the Distrito Federal (DF) Hip Hop projects released between July 2009 and October 2010.

Artists[link]

• 509-e
• A Família
• Ao Cubo
• Black Alien & Speed
• Criolo (formerly known as Criolo Doido)
• Dina Di
• Jay Nano
• Rashid
• Projota
• Emicida
• Emtee
• Facção Central
• Flora Matos
• Gabriel, O Pensador
• Lords Of the South
• Marcelo D2
• Mc Ahoto
• Movimento Plano Crew
• KMILLION
• MV Bill
• Nitro Di
• Planet Hemp
• KL Jay
• Projeto Ladislau
• Racionais MC's
• RAPadura
• RZO – Rapaziada da Zona Oeste (Guys from West Zone)
• GOG
• Rhossi (Pavilhao 9)
• Clã Nordestino
• Reação
• Parteum
• Z'Africa Brasil
• Black Alien
• Thaide and Dj Hum
• Faccão Central
• Dj Jamaica

Notable songs[link]

Graffiti of "hip hop" in Eugene, Oregon

Hip hop is a form of musical expression and artistic subculture that originated in African-American and Hispanic-American communities during the 1970s in New York City, specifically within the Bronx.^[1][2][3] The term often refers to hip hop music, which consists of poetry that is spoken - rather than sung - over either original or sampled instrumental recordings mixed with new original sounds from drum machines, and/or other instruments. However, the culture has expanded far beyond its original roots, and now is considered a worldwide subculture comprising rapping, DJing, hip hop dance, and graffiti art - known collectively as "Four Pillars of Hip Hop".

The block parties of DJ Kool Herc at 1520 Sedgwick Avenue, where Herc would mix samples of existing records with his own shouts to the crowd and dancers, are generally considered the birthplace of hip hop. Kool Herc is credited as the 'father' of the art form. DJ Afrika Bambaataa of the hip-hop collective Zulu Nation outlined the four pillars of hip hop culture: MCing, DJing, B-boying and graffiti writing.^{[4][5][6][7][8]} Since its emergence in the South Bronx, hip hop culture has spread to both urban and suburban communities throughout the world.^[9] Hip hop music first emerged with Kool Herc and contemporary disc jockeys and imitators 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.

Hip hop is simultaneously a new and old phenomenon; the importance of sampling to the art form means that much of the culture has revolved around the idea of updating classic recordings, attitudes, and experiences for modern audiences - called "flipping" within the culture. It follows in the footsteps of previous American musical genres blues, jazz, and rock and roll in having become one of the most practiced genres of music in existence worldwide, and also takes additional inspiration regularly from soul music, funk, and rhythm and blues. At its best, hip hop has given a voice to the voiceless and poverty-stricken worldwide, particularly in inner cities and neighborhoods suffering from urban blight, and showcased their artistic ingenuity and talent on a global scale. At its worst hip hop has mirrored the worst aspects of the mainstream culture that it once challenged: materialism, sexism, homophobia, an internalized racism and an apathy towards intellectualism (the most crucial element in the culture according to the pioneering Afrika Bambataa^{[citation needed]}).

Etymology[link]

Hip hop is the combination of two separate slang terms—"hip", used in African American Vernacular English (AAVE) as early as 1898, meaning current or in the now, 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 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.^[10] Cowboy later worked the "hip hop" cadence into his stage performance.^[11] The group frequently performed with disco artists who would refer to this new type of 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 song "Rapper's Delight" by The Sugarhill Gang, released in 1979, begins with the scat phrase, "I said a hip, hop the hippie the hippie to the hip hip hop, a you don't stop." 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.^[11][12][13]

History[link]

In the late 1970s an underground urban movement known as "hip hop" began to develop in the South Bronx area of New York City focusing on emceeing (or MCing), breakbeats, and house parties - starting at the home of DJ Kool Herc at the high-rise apartments at 1520 Sedgwick Avenue and later spreading across the entire borough. Emceeing is the rhythmic spoken delivery of rhymes and wordplay, delivered over a beat or without accompaniment - taking inspiration from the the Rapping 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 in America in earnest with the street parties thrown in the Bronx neighborhood of New York in the 1970s by Kool Herc and others - Jamaican born DJ Clive "Kool Herc" Campbell is credited as being highly influential in the pioneering stage of hip hop music,^[14] Herc created the blueprint for hip hop music and culture by building upon the Jamaican tradition of impromptu toasting, boastful poetry and speech over music.^[15] Melle Mel, a rapper/lyricist with The Furious Five, is often credited with being the first rap lyricist to call himself an "MC".^[16]

DJ Kool Herc is credited as being highly influential in the pioneering stage of hip hop music.

Herc also developed upon break-beat deejaying,^[17] 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, 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".^[18]

DJs such as Grand Wizard Theodore, Grandmaster Flash and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching. ^[19] 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".^[20]. Herc and other DJs would connect their equipment to power lines and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, now officially a historic building^[21]. The equipment was composed of numerous speakers, turntables, and one or more microphones.^[22] By using this technique DJs could create a variety of music, but according to Rap Attack by David Toop “At its worst the technique could turn the night into one endless and inevitably boring song” .^[23] Nevertheless, the popularity of rap steadily increased.

Street gangs were prevalent in the poverty of the South Bronx, and much of the graffiti, rapping, and b-boying at these parties were all artistic variations on the competition and one-upmanship of street gangs. Sensing that gang members' often violent urges could be turned into creative ones, Afrika Bambaataa founded the Zulu Nation, a loose confederation of street-dance crews, graffiti artists, and rap musicians. By the late 1970s, the culture had gained media attention, with Billboard magazine printing an article titled "B Beats Bombarding Bronx", commenting on the local phenomenon and mentioning influential figures such as Kool Herc.^[24]

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".^[20]. The new style influenced Harry, and Blondie's later hit single from 1981 "Rapture" became the first major single containing hip hop elements by a white group or artist to hit number one on the U.S. Billboard Hot 100 - the song itself is usually considered new wave and fuses heavy pop music elements, but there is an extended rap by Harry near the end.

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.^[25]

Encompassing graffiti art, mc'ing/rapping, dj'ing and b-boying, hip hop became the dominant cultural movement of the minority populated urban communities in the 1980s.^[26] 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),^[27] 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".^[28] 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,^[29] 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.

The appearance of music videos changed entertainment: they often glorified urban neighborhoods.^[30] 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, as the culture's global appeal took root.

American society[link]

DJ Kool Herc's dance parties in his home in the Bronx, which started hip hop, became so popular that 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.^[31] 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."^[32]

Afrika Bambaataa with DJ Yutaka of Universal Zulu Nation Japan, 2004.

Tony Tone, a member of the pioneering rap group the Cold Crush Brothers, noted that "hip hop saved a lot of lives".^[32] 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".^{[33][broken citation]} 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.^[32]

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.^[34] "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."^[35] 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".^[35] It also gave young blacks a chance for financial gain by "reducing the rest of the world to consumers of its social concerns."^[35]

With the commercial success of gangsta rap in the early 1990s, however, emphasis shifted from social issues to drugs, violence, and misogyny. Early proponents of gangsta rap included groups and artists such as Ice-T, who recorded what some consider to be the first gangster rap record, 6 in the Mornin’,^[36] and N.W.A. whose second album Efil4zaggin became the first gangsta rap album to enter the charts at number one.^[37] Gangsta rap also played an important part in hip hop becoming a mainstream commodity. The fact that albums such as N.W.A.’s Straight Outta Compton, Eazy-E’s Eazy-Duz-It, and Ice Cube’s Amerikkka's Most Wanted were selling in such high numbers meant that black teens were no longer hip hop’s sole buying audience.^[38] As a result, gangsta rap became a platform for artists who chose to use their music to spread politic and social messages to parts of the country that were previously unaware of what went on in the ghettos of place like Los Angeles and New York.^[36] 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.^[39]

Global innovations[link]

Though created in the United States, hip hop culture and music is now global in scope. Asia, The Middle East, Africa, Australia, 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.^[40] 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."^[41] Through its international travels, hip hop is now considered a “global musical epidemic,”^[42] 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.”^[43] 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 available to all societies worldwide.

From its early spread to Europe 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.^[44] Regardless of where it is found, the music often targets local disaffected youth.^[45]

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."^[45] 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."^[45] 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".^[46]

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.^[47] 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."^[48]

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."^[49]

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.^[50] 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.^[47] These cultural translations cross borders.^[49] While the music may be from a foreign country, the message is something that many people can relate to- something not "foreign" at all.^[51]

Even when hip hop is transplanted to other countries, it often retains its "vital progressive agenda that challenges the status quo."^[49] 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 such as Bolivia use hip hop and rap to advance new forms of identity.^[52]

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.^[53]

Commercialization[link]

This article or section may contain previously unpublished synthesis of published material that conveys ideas not attributable to the original sources. See the talk page for details. (March 2009)

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...”^[54] 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".^[35] Ironically, this commercialization coincides with a decline in rap sales and pressure from critics of the genre.^[55] 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”,^[56] arguing it has joined the “mainstream that had once excluded its originators.”^[56] 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[link]

DJing[link]

DJ Hypnotize and Baby Cee, two Disc jockeys

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.^[57]

In the early years of hip hop, the DJs were the stars, but that 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, DJ Ill Will and DJ Whoo Kid, DJ Scholar.

MCing[link]

Rapper Busta Rhymes performs in Las Vegas for a BET party.

Rapping (also known as emceeing,^[58] MCing,^[58] spitting (bars),^[59] or just rhyming^[60]) refers to "spoken or chanted rhyming lyrics with a strong rhythmic accompaniment".^[61] It can be broken down into different components, such as “content”, “flow” (rhythm and rhyme), and “delivery”.^[62] Rapping is distinct from spoken word poetry in that is it performed in time to the beat of the music.^[63][64][65] The use of the word "rap" to describe quick and slangy speech or repartee long predates the musical form.^[66] MCing a form of expression that is embedded within ancient African culture and oral tradition. Throughout history there has always been some form of verbal acrobatics or jousting involving rhymes within the Afro-American community.^[67]

Graffiti[link]

An aerosol paint can, a common tool used in modern 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,^[68] Cool Earl and Cornbread started to appear.^[69] 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.^[68][70] 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.^[68]

The relationship between graffiti and hip hop culture arises both from early graffiti artists practicing other aspects of hip hop,^[71] 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 1980s 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.

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.

Breaking[link]

Breaking, an early form of hip hop dance, often involves battles, showing off technical skills as well as displaying tongue-in-cheek bravado

In 1925, Earl Tucker (aka Snake Hips), a performer at the Cotton Club created a dance style which would later inspire an element of hip hop culture known as bboying.^[72] 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 1930s-era street dancing,^[73][74] Afro-Brazilian and Asian Martial arts, Russian folk dance,^[75] and the dance moves of James Brown, Michael 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[link]

Beatbox, popularized by Doug E. Fresh,^[76] 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.^[77] 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. It is generally considered to be part of the same "Pillar" of hip hop as DJ'ing - in other words, providing a musical backdrop or foundation for MC's to rhyme over.

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 b-boying 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[link]

Effects[link]

A b-boy performing in San Francisco, California

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.^[78] 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,^[78] 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".^[79] This is due to the fact that the culture reflected the social, economic and political realities of the disenfranchised youth.^[80] In the current Arab Spring hip hop is playing a significant role in providing a channel for the youth to express their ideas.^[81]

Language[link]

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.^[82]

Hip hop has a distinctive associated slang.^[83] 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.^[84] 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 add -izzle or -izz to the end or 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.^[82] Greg Thomas of the University of Miami offers courses at both the undergraduate and graduate level studying the feminist and assertive nature of Li'l Kim's lyrics.^[85]

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[link]

A graffiti artist uses his artwork to make a satirical social statement on censorship: "Don't blame yourself... blame hip hop."

Hip hop has been met with significant problems in regards to censorship due to the explicit nature of certain genres, and some songs have been criticized for allegedly anti-establishment sentiment. For example, Public Enemy's "Gotta Give the Peeps What They Need" was censored on MTV, removing the words "free Mumia".^[87]

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:^[88]

In 1990, Luther Campbell and his group 2 Live Crew filed a lawsuit against Broward County Sheriff Nick Navarro, because Navarro wanted to prosecute stores that sold the group's 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.

Until its discontinuation on July 8, 2006, BET ran a late-night segment titled BET: Uncut to air nearly-uncensored videos. The show was exemplified by music videos such as "Tip Drill" by Nelly which was criticized for what many viewed as an exploitative depiction of women, particularly images of a man swiping a credit card between a stripper's buttocks.

Product placement[link]

Potato chip packages featuring hip hop-design images

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.^[89] Such critics allege that shilling or product placement takes place in commercial rap music, and that lyrical references to products are actually paid endorsements.^[89] In 2005, a proposed plan by McDonalds, which would have paid rappers to advertise McDonalds food in their music, was leaked to the press.^[89] After Russell Simmons made a deal with Courvoisier to promote the brand among hip hop fans, Busta Rhymes recorded the song "Pass the Courvoisier".^[89] Simmons insists that no money changed hands in the deal.^[89]

The symbiotic relationship has also stretched to include car manufacturers, clothing designers and sneaker companies,^[90] and many other companies have used the hip hop community to make their name or to give them 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.^[91] Arabo's profile increased steadily until his June, 2006 arrest by the FBI on money laundering charges.^[92]

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. 50 Cent's merge with Vitamin Water, Dr. Dre's promotion of his Beats by Dr. Dre headphone line and Dr. Pepper, and Drake's commercial with Sprite all act to effectively illustrate successful mergers.

Media[link]

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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 many years, BET was the only television channel likely to play 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 African-American group to appear on MTV.^[93][94] With the emergence of the Internet a number of online sites began to offer hip hop related video content.

There have also been a number of hip hop films, movies which focused on hip hop as a subject. Some of these films include: Boyz n the Hood, Juice, Menace II Society, Notorious, and Get Rich Or Die Tryin'.