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Hip hop
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Hip Hop

Stylistic origins Funk, disco, soul , R&B, dub, toasting,

performance poetry, spoken word,
signifying, the dozens, scat singing, talking
blues

Cultural 1970s, New York City

origins

Typical Turntable, synthesizer, vocals, drum

instruments machine, sampler, beatboxing

Other topics

Breakdance – Graffiti – Fashion – Subgenres – Notable

albums – World hip hop

KRS-One in concert. KRS-One is a long-time activist, performer and promoter of hip hop
culture.
Hip hop is a cultural movement which developed in New York City in the early 1970s primarily
among African Americans and Latino Americans.[1][2] Hip hop's four main elements are MCing
(often called rapping), DJing, writing, and breaking. Other elements include beatboxing, hip hop
fashion, and slang. Since first emerging in the Bronx, the lifestyle of hip hop culture has spread
around the world.[3]
When hip hop music began to emerge, it was based around disc jockeys who created rhythmic
beats by looping breaks (small portions of songs emphasizing a percussive pattern) on two
turntables. This was later accompanied by "rapping" (a rhythmic style of chanting) and
beatboxing, a vocal technique mainly used to imitate percussive elements of the music and
various technical effects of hip hop DJs. An original form of dancing and particular styles of
dress arose among followers 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.

Contents
[hide]
• 1 Etymology
• 2 History
○ 2.1 American society
○ 2.2 Global innovations
○ 2.3 Commercialization
• 3 Cultural pillars
○ 3.1 DJing
○ 3.2 Rapping
○ 3.3 Graffiti
○ 3.4 Breakdancing
○ 3.5 Beatboxing
• 4 Social impact
○ 4.1 Effects
○ 4.2 Language
○ 4.3 Censorship
○ 4.4 Product placement
○ 4.5 Media
○ 4.6 Diversification
• 5 Legacy
• 6 See also
• 7 References
 • 8 Bibliography
• 9 External links

[edit] Etymology
The word "hip" was used as African American Vernacular English (AAVE) as early as 1898. The
colloquial language meant "informed" or "current," and was likely derived from the earlier form
hep.[4] The term "hip hop" also followed logically the previous African-American music culture
of "Bebop".[citation needed]
Keith "Cowboy" Wiggins, a rapper with 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.[5] Cowboy later worked the "hip hop" cadence into a part of his stage
performance.[6] The group frequently performed with disco artists who would refer to this new
type of MC/DJ-produced music by calling them "those hip-hoppers". The name was originally
meant as a sign of disrespect, but soon come to identify this new music and culture.
Other artists quickly copied the Furious Five and began using the term in their music. The
opening of the song "Rapper's Delight" by The Sugarhill Gang, 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, a former Black Spades
gang member also did much to further popularize the term.[6][7][8]
[edit] History
Main article: Roots of hip hop
Jamaican born DJ Clive "Kool Herc" Campbell is credited as being highly influential in the
pioneering stage of hip hop music,[9] 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 – or boasting impromptu poetry and sayings over music – which he
witnessed as a youth in Jamaica.[10]
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".[11] Their equipment was composed of numerous
speakers, turntables, and one or more microphones.[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.[13]
Kool DJ Herc is considered the founder of hip hop.
Herc, along with Grandmaster Flowers[14] 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 breakbeat DJing, 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".[15] 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.[citation needed]
Later DJs such as Grand Wizard Theodore, Grandmaster Flash and Jazzy Jay refined and
developed the use of breakbeats, including cutting and scratching.[16] 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 Sugar Hill Gang's
"Rapper's Delight".[13]
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.[citation needed] Melle Mel, a rapper/lyricist with The Furious
Five, is often credited with being the first rap lyricist to call himself an "MC".[17]
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.[18]
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, synthesizer technology as well as sampling from Kraftwerk[19].
The appearance of music videos changed entertainment: they often glorified urban
neighborhoods.[20] The music video for "Planet Rock" showcased the subculture of hip hop
musicians, graffiti artists and breakdancers. 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),[21] 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".[22]
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,[23], 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.
[edit] 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, Kool DJ 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.[24] 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."[25]

Afrika Bambaataa with DJ Yutaka of 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."[25] 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."[26][broken citation]
Inspired by Kool DJ Herc, once the leader of the gang the Black Spades, 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.[25]
The hip hop movement was not centered around violence, drugs, and weapons in its early days.
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.[27]
"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."[28] 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".[28] It also gave
young blacks a chance for financial gain by "reducing the rest of the world to consumers of its
social concerns."[28]
With the emergence of commercial and crime-related rap during the early 1990s, however, 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 gangsta rap.[29]
[edit] Global innovations
Though created in the United States by African Americans and Latinos, hip hop culture and
music is now global in scope. Youth culture and opinion is meted out in both Israeli hip hop and
Palestinian hip hop, while France, Germany, the U.K., Brazil, Japan, 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.[30] 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."[31] Through its international travels, hip hop is now
considered a “global musical epidemic,”[32] and has diverged from its ethnic roots by way of
globalization and localization.
Although some non-American rappers may still relate with young black 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.”[33] 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. In each separate
hip hop scene there is also constant struggle between "old school" hip hop and more localized,
newer sounds.[34] Regardless of where it is found, the music often targets local disaffected
youth.[35]
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."[35]
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."[35] 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".[36]
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.[37] 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."[38]
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."[39]
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.[40] 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.[37] These cultural translations
cross borders.[39] While the music may be from a foreign country, the message is something that
many people can relate to- something not "foreign" at all.[41]
Even when hip hop is transplanted to other countries, it often retains its "vital progressive agenda
that challenges the status quo."[39] 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,[42]
Chile, Indonesia, New Zealand, and Norway use hip hop to advance new forms of identity.[citation
needed]

[edit] Commercialization
This article or section may contain 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. Artist Nas said it himself in his 2006 album Hip
Hop is Dead. 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 black and
Latino 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…”[43] 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 hiphop industry, in which the nouveau riche and the super-rich employers get
richer".[28] Ironically, this commercialization coincides with a decline in rap sales and pressure
from critics of the genre.[44] 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."[45]
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.”[46]
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”[47], arguing it has joined the “mainstream that had once
excluded its originators.” [47] 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.
[edit] Cultural pillars
[edit] DJing

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. A DJ should not be confused with a producer of a music track (though there
is considerable overlap between the two roles).
In the early years of hip hop, the DJs were the stars, but their limelight 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 artist and getting exclusive
songs and putting them on one disc, djs such as DJ White Owl, DJ Skee, DJ Drama, and DJ
Whoo Kid
[edit] Rapping
Rapper Busta Rhymes performs in Las Vegas for a BET party.
Rapping, also known as Emceeing, MCing, Rhyme spitting, Spitting, or just Rhyming, is the
rhythmic delivery of rhymes, one of the central elements of hip hop music and culture. Although
the word rap has sometimes been claimed to be a backronym of the phrase "Rhythmic American
Poetry", "Rhythm and Poetry", "Rhythmically Applied Poetry", or "Rhythmically Associated
Poetry", use of the word to describe quick and slangy speech or repartee long predates the
musical form.[48] One early example includes the spoken word group The Last Poets.[49] Rapping
can be delivered over a beat or without accompaniment.
[edit] Graffiti

An aerosol paint can, common tool for 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,[50]
Cool Earl and Cornbread started to appear.[51] Around 1970-71, the centre 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.[50][52] The early trendsetters were
joined in the 70s by artists like Dondi, Futura 2000, Daze, Blade, Lee, Zephyr, Rammellzee,
Crash, Kel, NOC 167 and Lady Pink.[50]
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
breakdancing is viewed as a physical expression. 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
among the first ways the mainstream public were introduced to hip hop graffiti.
[edit] Breakdancing
Breaking, an early form of hip hop dance, often involves battles, showing off skills without any
physical contact with the adversaries.
Breakdancing, also breaking or B-boying, is a dynamic style of dance which developed as part
of the hip hop culture. Breaking began to take form in the South Bronx alongside the other
elements of hip hop. The "B" in B-boy stands for break, as in break-boy (or girl). The term "B-
boy" originated from the 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. 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
"boiong" (the sound a spring makes). Breaking was briefly documented for release to a world
wide audience for the first time in Style Wars, and was later given a little more focus in the
fictional film Beat Street. Early acts include the Rock Steady Crew and New York City Breakers.
B-boying is one of the major elements of hip hop culture, commonly associated with, but distinct
from, "popping", "locking", "hitting", "ticking", "boogaloo", and other funk styles that evolved
independently during the late 1960s in California. It was common during the 1980s to see a
group of people with a radio on a playground, basketball court, or sidewalk performing a B-boy
show for a large audience.[citation needed]
It is a common misconception that falling during a dance sequence is accidental and
unprofessional. However b-boys occasionally add falls to their dance routines to convey a sense
spontaneity. This is particularly true in the U.S.
[edit] Beatboxing
Beatboxing, 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 form enjoyed a strong presence in the '80s with artists like the Darren "Buffy, the Human
Beat Box" Robinson of the Fat Boys and Biz Markie showing their beatboxing skills. Beatboxing
declined in popularity along with break dancing in the late '80s, and almost slipped even deeper
than the underground. Beatboxing has been enjoying a resurgence since the late '90s, marked by
the release of "Make the Music 2000." by Rahzel of The Roots (known for even singing while
beatboxing).
As it grew and developed into a multi-billion dollar industry, the scope of hip hop culture grew
beyond the boundaries of its traditional four elements.[citation needed] KRS-ONE, a rapper from the
golden age of hip hop, names nine elements of hip hop culture: the traditional four and
beatboxing, plus hip hop fashion, hip hop slang, street knowledge, and street entrepreneurship.
He also suggests that hip hop is a cultural movement and that the word itself had to reflect
this.[citation needed] He spells it Hiphop (one word, capital "h") and this is reflected in his Temple of
Hiphop.
[edit] Social impact
[edit] Effects

Street breakdancing in San Francisco, California

Hip hop has made considerable social impacts 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 and diffusion of Global. Professor Patterson argues that
mass communication is controlled by the wealthy, government, and businesses in Third World
nations and countries around the world.[53] Professor Patterson believes that mass communication
created 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. Professor Patterson believes that
revitalization of hip hop music will occur around the world as traditional values are mixed with
American hip hop musical forms,[53] 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"[54]. This is
due to the fact that the culture reflected the social, economic and political realities of the
disenfranchised youth. [55].
[edit] Language
Hip hop has a distinctive slang[56]. Due to hip hop's commercial success in the late nineties and
early 21st century, many of these words have been assimilated into many different dialects across
America and the world and even to non-hip hop fans (the word dis for example is remarkably
prolific). There are also words like homie which predate hip hop but are often associated with it.
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 -izz to the middle of words.
This practice, with origins in Frankie Smith's nonsensical language from his 1980 single "Double
Dutch Bus", has spread to even non-hip hop fans, who may be unaware of its derivation. As a
genre of music popular all over the world, World hip hop, in which African-American English is
not the dialect used, is as prevalent as ever.
[edit] Censorship

A graffiti artist uses his artwork to make a satirical social statement on censorship: "Don't blame
yourself... blame hip-hop."
Hip hop has probably encountered more problems with censorship than any other form of
popular music in recent years, due to the frequency of expletives used in lyrics.[citation needed] It also
receives flak for being anti-establishment, and many 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 edited without their permission, removing the words "free Mumia".[57]
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 (though usually leaving the backing music
intact), or even 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:[58]

“ Rap has a bad reputation in white circles, where many people believe it consists of
obscene and violent anti-white and anti-female guttural. Some of it does. Most does
not. Most white listeners don't care; they hear black voices in a litany of discontent,
and tune out. Yet rap plays the same role today as Bob Dylan did in 1960, giving voice
to the hopes and angers of a generation, and a lot of rap is powerful writing. ”
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.
[edit] Product placement

Foodstuffs emblazoned with hip hop 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.[59]
Such critics allege that shilling or product placement takes place in commercial rap music, and
that lyrical references to products are actually paid endorsements.[59] In 2005, a proposed plan by
McDonalds, which would have paid rappers to advertise McDonalds food in their music, was
leaked to the press.[59] After Russell Simmons made a deal with Courvoisier to promote the brand
among hip hop fans, Busta Rhymes recorded the song "Pass The Courvoisier".[59] Simmons
insists that no money changed hands in the deal.[59]
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 clientèle 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.[60] Arabo's profile increased steadily until his June, 2006 arrest by the
FBI on money laundering charges.[61]
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 previous included references to "Cris", ceased all mentions
and purchases of the champagne.
[edit] Media
Hip-hop culture is intrinsically related 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. With the emergence of the Internet a number of
online sites have also begun 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 renassiance,
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, including Hip Hop Connection, XXL,
Scratch, The Source and Vibe.[62] Many individual cities have 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.
[edit] Diversification
This section may need to be rewritten entirely to comply with Wikipedia's quality
standards. You can help. The discussion page may contain suggestions. (March 2009)
Main articles: List of hip hop genres and World hip hop

Breakdance in Ljubljana, Slovenia.

Hip hop has spawned dozens of sub-genres which incorporate a domineering style of music
production or rapping, and it exhibits elements of trifunctionalism.[citation needed]
Hip-Hop has now expanded and gone on a global scale, millions of rap albums are sold in
foreign countries, some are not English speaking countries, yet people go out of their way and
purchase these albums even thought they don’t understand the message the song carries, and
manage to memorize the lyrics and sing along not knowing what they are saying. In foreign
countries Hip-Hop has influenced natives to pursue rap careers and do what is being done in the
United States such as 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.[citation
needed]
Here, it is important to note the varying social influences that affect hip-hop's message in
different nations. Frequently a musical response to political and/or social injustices, the face of
hip-hop varies greatly from nation to nation.
For example, 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 has become
much more than just music, it has evolved into a lifestyle, encompassing all aspects of life
including language and fashion.[63] The music of Kwaito is both politically and party driven. The
politically fuelled music gives a voice to oppressed people that have no other way to voice their
concerns and find music to be very accessible, not only to themselves but also to the audiences
they are trying to reach. On the other hand the club driven music can also be seen as political in
the sense that the artists couldn't care less about the post apartheid life they live and are more
concerned about having a good time and not how their access to this life came about. 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.[64] Kwaito allows
the participation and creative engagement of otherwise socially excluded peoples in the
generation of popular media.[65]
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.[66][67][68]
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."[69]
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.[36] Because funds are limited, hip
hop artists are forced to use very basic tools, and even graffiti, an important aspect of the hip hop
culture, is constrained because it is not available to the average person. Many hip hop artists that
make it out of the developing world come to places like the United States in search of an identity
and place that fits them specifically. 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."[70]
[edit] Legacy
Having its roots from reggae, disco, 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 MC Solaar became an international hit that was not from America, the first
of his kind. 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 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.[35][71][unreliable source?]
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.[72]
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, Talib Kweli, Mos Def, Dilated Peoples, Dead Prez, Blackalicious, Jurassic 5, Immortal
Technique and newly added Ghana Force may emphasize messages of verbal skill, unity, or
activism instead of messages of violence, material wealth, and misogyny.
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. 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.[73] 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.[74] 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.[not in citation given]
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.[75] 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 30th birthday and its
evolution has been 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. Expression and oppression will always be at the root of any Hip Hop
movement.
Though born in the United States, the reach of hip hop is global. Youth culture and opinion is
meted out in both Israeli hip hop and Palestinian hip hop, while France, Germany, the U.K.,
Africa 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.[30] 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."[31]
[edit] See also
Hip hop portal
• Rapping
• Hip hop dance
• List of hip hop albums
• List of hip hop genres

[edit] References
1. ^ Chang, Jeff; DJ Kool Herc (2005). Can't Stop Won't Stop: A History of the Hip-Hop
Generation. Macmillan. ISBN 031230143X.
2. ^ Castillo-Garstow, Melissa (2008-03-01). "Latinos in hip hop to reggaeton". Latin Beat
Magazine. http://findarticles.com/p/articles/mi_m0FXV/is_2_15/ai_n13557237. Retrieved on
2008-07-28.
3. ^ Rosen, Jody (2006-02-12). "A Rolling Shout-Out to Hip-Hop History". The New York Times:
p. 32. http://www.nytimes.com/2006/02/12/arts/music/12rose.html?pagewanted=3. Retrieved on
2009-03-10.
4. ^ http://www.etymonline.com/index.php?l=h&p=8
5. ^ '’JET, April 2007”, Johnson Publishing Company pp.36-37
6. ^ a b Keith Cowboy - The Real Mc Coy
7. ^ Zulu Nation: History of Hip-Hop
8. ^ http://www.zulunation.com/hip_hop_history2.htm (cached)
9. ^ http://www.stantondj.com/v2/cartridge/artists_herc.php
10.^ Campbell & Chang 2005, p. ??.
11.^ Lee, Jennifer 8. (2008-01-15). "Tenants Might Buy Birthplace of Hip-Hop" (weblog). The New
York Times. http://cityroom.blogs.nytimes.com/2008/01/15/tenants-might-buy-the-birthplace-of-
hip-hop/. Retrieved on 2009-03-10.
12.^ Kenner, Rob. "Dancehall," In The Vibe History of Hip-hop, ed. Alan Light, 350-7. New York:
Three Rivers Press, 1999.
13.^ a b "The Story of Rapper's Delight by Nile Rodgers". RapProject.tv.
http://www.youtube.com/watch?v=t-SCGNOieBI&feature=related. Retrieved on 2008-10-12.
14.^ Browne, P “The guide to United States popular culture” Popular Press, 2001. p.386
15.^ Kool Herc, in Israel (director), The Freshest Kids: A History of the B-Boy, QD3, 2002.
16.^ History of Hip Hop - Written by Davey D
17.^ Article about MelleMel (Melle Mel) at AllHipHop.com
18.^ Forman M; Neal M “That’s the joint! The hip-hop studies reader”, Routledge, 2004. p.2
19.^ SamplesDB - Afrika Bambaataa's Track
20.^ Rose 1994, p. 192.
21.^ http://www.prefixmag.com/features/grandmaster-flash/interview/26354/
22.^ Rose 1994, pp. 53-55.
23.^ http://www.jamaicans.com/news/announcements/IRAWMAdougefresh.shtml
24.^ Chang 2007, p. 61.
25.^ a b c Chang 2007, p. 62.
26.^ metro
27.^ Pareles, Jon (2007-03-13). "The Message From Last Night: Hip-Hop is Rock 'n' Roll, and the
Hall of Fame Likes It". The New York Times: p. 3.
http://www.nytimes.com/2007/03/13/arts/music/13hall.html. Retrieved on 2009-03-10.
28.^ a b c d Diawara 1998, pp. 237-76
29.^ Media coverage of the Hip-Hop Culture - By Brendan Butler, Ethics In Journalism, Miami
University Department of English
30.^ a b Hip-Hop Culture Crosses Social Barriers - US Department of State
31.^ a b Hip Hop: National Geographic World Music
32.^ CNN.com - WorldBeat - Hip-hop music goes global - January 15, 2001
33.^ village voice > music > Rock&Roll&: Planet Rock by Robert Christgau
34.^ Christgau, Robert. "The World's Most Local Pop Music Goes International", The Village Voice,
7 May 2002. Retrieved on 16 Apr 2008.
35.^ a b c d Bond, Ebenezer (2004). "Review: Global Hip Hop: Beats and Rhymes-The Nu World
Cult". Afropop Worldwide. World Music Productions.
http://www.afropop.org/explore/album_review/ID/2450/Global+Hip+Hop:+Beats+and+Rhymes-
The+Nu+World+Cult. Retrieved on 2008-04-18.
36.^ a b Schwartz, Mark. "Planet Rock: Hip Hop Supa National" in Light 1999, pp. 361-72.
37.^ a b Hartwig Vens. “Hip-hop speaks to the reality of Israel”. WorldPress. 20 November 2003. 24
March 2008.
38.^ Chang 2007, p. 65.
39.^ a b c Chang 2007, p. 60.
40.^ Michael Wanguhu. Hip-Hop Colony. [documentary film].
41.^ Wayne Marshall, "Nu Whirl Music, Blogged in Translation?"
42.^ Carroll, Rory; Schipani, Andres (2009-04-26). "Bolivia's 'little Indians' find voice". The
Observer: p. 30. http://www.guardian.co.uk/world/2009/apr/26/bolivia-indigenous-groups-music.
Retrieved on 2009-04-28.
43.^ The Commodification of Hip Hop, Brooke Daniel and Kellon Innocent,
http://www.youtube.com/watch?v=LiCo_uUD2SY
44.^ Rap Criticism Grows Within Own Community, Debate Rages Over It's (sic) Effect On Society
As It Struggles With Alarming Sales Decline - The ShowBuzz
45.^ Diawara 1998, p. 238.
46.^ The Commodification of Hip Hop, Brooke Daniel and Kellon Innocent,
http://www.youtube.com/watch?v=LiCo_uUD2SY
47.^ a b Tate, Greg. “Hip-hop Turns 30: Whatcha Celebratin’ For?” Village Voice. 4 January 2005.
48.^ Oxford English Dictionary
49.^ [1] Ankeny, Jason, Allmusic.com profile of Last Poets; URL accessed February 01, 2007
50.^ a b c Shapiro 2007.
51.^ "A History of Graffiti in Its Own Words". New York Magazine. unknown.
http://nymag.com/guides/summer/17406/.
52.^ David Toop, Rap Attack, 3rd ed., London: Serpent's Tail, 2000.
53.^ a b Patterson, Orlando. "Global Culture and the American Cosmos." The Andy Warhol
Foundation for the Visual Arts Paper Number 21994 01Feb2008
<http://www.warholfoundation.org/paperseries/article2.htm>.
54.^ http://www.america.gov/st/arts-english/2008/August/20080814205112eaifas0.7286246.html
55.^ Alridge D, Steward J. “Introduction: Hip Hop in History: Past, Present, and Future”, Journal of
African American History 2005. pp.190
56.^ http://www.csupomona.edu/~rrreese/HIPHOP.HTML
57.^ Evan Serpick (July 9, 2006). "MTV: Play It Again". Entertainment Weekly.
http://www.ew.com/ew/article/commentary/0,6115,386104_3%7C16756%7C%7C0_0_,00.html.
58.^ Roger Ebert (August 11, 1995). "Reviews: Dangerous Minds". Chicago Sun-Times.
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19950811/REVIEWS/508110301/102
3.
59.^ a b c d e Kiley, David. Hip Hop Two-Step Over Product Placement BusinessWeek Online, April 6,
2005, accessed January 5, 2007
60.^ Williams, Corey (2006-11-01). "'Jacob the Jeweler' pleads guilty". Associated Press.
http://news.yahoo.com/s/ap/20071101/ap_en_ot/people_jacob_jeweler. Retrieved on 2007-11-01.
61.^ Sales, Nancy Jo (2007-10-31). "Is Hip-Hop's Jeweler on the Rocks?". [[Vanity Fair
(magazine)|]]. http://www.vanityfair.com/fame/features/2006/11/jacob200611?currentPage=1.
Retrieved on 2008-04-14.
62.^ Kitwana 2005, pp. 28-29.
63.^ TIMEeurope Magazine | Viewpoint
64.^ Kwaito: much more than music - SouthAfrica.info
65.^ Steingo 2005.
66.^ Bling-bling for Rastafari: How Jamaicans deal with hip-hop by Wayne Marshall
67.^ http://https://moodle.brandeis.edu/file.php/3404/pdfs/marshall-bling-bling.pdf/
68.^ Reggae Music 101 - Learn More About Reggae Music - History of Reggae
69.^ Marshall, Wayne Bling-Bling ForRastafari: How Jamaicans Deal With Hip-HopSocial and
Economic Studies 55:1&2 (2006):49-74
 70.^ Sisario, Ben (2007-08-19). "An Itinerant Refugee in a Hip-Hop World". The New York Times:
p. 20. http://www.nytimes.com/2007/08/19/arts/music/19sisa.html. Retrieved on 2009-01-07.
71.^ Watkins, S. Craig. "Why Hip-Hop Is Like No Other" in Chang 2007, p. 63.
72.^ template
73.^ See for instance Rose 1994, pp. 39-40.
74.^ McLeod 1999.
75.^ Tate, Greg. "Hip-hop Turns 30: Whatcha Celebratin’ For?" Village Voice. 4 January 2005.

[edit] Bibliography
• Ahearn, Charlie; Fricke, Jim, eds (2002). Yes Yes Y'All: The Experience Music Project Oral
History of Hip Hop's First Decade. New York City, NY: Da Capo Press. ISBN 0306811847.
• Campbell, Clive; Chang, Jeff (2005). Can't Stop Won't Stop: A History of the Hip-Hop
Generation. New York City, NY: Picador. ISBN 0312425791.
• Chang, Jeff (November-December 2007), "It's a Hip-hop World", Foreign Policy (163): 58-
65, http://www.foreignpolicy.com/story/cms.php?story_id=3994
• Corvino, Daniel; Livernoche, Shawn (2000). A Brief History of Rhyme and Bass: Growing
Up With Hip Hop. Tinicum, PA: Xlibris Corporation. ISBN 1401028519.
• Diawara, Manthia (1998). In Search of Africa. Cambridge, MA: Harvard University Press.
ISBN 0674446119.
• Gordon, Lewis R. (October/December 2005), "The Problem of Maturity in Hip Hop", Review
of Education, Pedagogy and Cultural Studies 27 (4): 367-389,
doi:10.1080/10714410500339020
• Kelly, Robin D. G. (1994). Race Rebels: Culture, Politics, and the Black Working Class. New
York City, NY: Free Press. ISBN 0684826399.
• Kitwana, Bakari (2002). The Hip-Hop Generation: Young Blacks and the Crisis in African
American Culture. New York City, NY: Perseus Books Group. ISBN 0465029795.
• Kitwana, Bakari (2005). Why White Kids Love Hip Hop: Wankstas, Wiggers, Wannabes and
the New Reality of Race in America. New York City, NY: Basic Civitas Books. ISBN
0465037461.
• Kolbowski, Silvia (Winter 1998), "Homeboy Cosmopolitan", October (83): 51
• Light, Alan, ed (1999). The VIBE History of Hip-Hop (1st ed.). New York City, NY: Three
Rivers Press. ISBN 0609805037.
• McLeod, Kembrew (Autumn 1999), "Authenticity Within Hip-Hop and Other Cultures
Threatened with Assimilation" (PDF 1448.9 KB), Journal of Communication 49 (4): 134-
150, http://kembrew.com/documents/Publications-pdfs/McLeod-Authenticity.pdf
• Nelson, George (2005). Hip-Hop America (2nd ed.). St. Louis, MO: Penguin Books. ISBN
0140280227.
• Ogbar, Jeffrey O. G. (2007). Hip-Hop Revolution: The Culture and Politics of Rap.
Lawrence, KS: University Press of Kansas. ISBN 9780700615476.
• Perkins, William E. (1995). Droppin' Science: Critical Essays on Rap Music and Hip Hop
Culture. Philadelphia, PA: Temple University Press. ISBN 1566393620.
 • Ro, Ronin (2001). Bad Boy: The Influence of Sean "Puffy" Combs on the Music Industry.
New York City, NY: Pocket Books. ISBN 0743428234.
• Rose, Tricia (1994). Black Noise: Rap Music and Black Culture in Contemporary America.
Middletown, CT: Wesleyan University Press. ISBN 0819562750.
• Shapiro, Peter (2007). Rough Guide to Hip Hop (2nd ed.). London, UK: Rough Guides. ISBN
1843532638.
• Steingo, Gavin (July 2005). "South African Music after Apartheid: Kwaito, the "Party
Politic," and the Appropriation of Gold as a Sign of Success". Popular Music and Society 28
(3): 333-357. doi:10.1080/03007760500105172.
• Toop, David (1991). Rap Attack 2: African Rap to Global Hip Hop (2nd ed.). New York City,
NY: Serpent's Tail. ISBN 1852422432.

[edit] External links

• Hip hop at the Open Directory Project
• Can't Stop, Won't Stop: A History of the Hip-Hop Generation — By Jeff Chang
Wikimedia Commons has media related to: Hip hop music
Look up hip-hop in Wiktionary, the free dictionary.
Wikiquote has a collection of quotations related to: Hip hop music
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