HIP HOP IS

DEADNot

DEAD

Preface

ip hop is a subculture that originated from an African-American community

during the 1970s in New York City, specifically in Morris Heights, Bronx, then later spread its influence to Latin American communities. While the term is often used to refer to hip-hop music, in its broader sense hip-hop culture is characterized by the four elements of rapping, DJing, breaking and graffiti. The origin of the subculture stems from 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. Kool Herc is credited as the “father” of the art form. DJ Afrika Bambaataa of the hip-hop collective Zulu Nation outlined the pillars of hip-hop culture, including: MCing, DJing, B-boying and graffiti writing. Since its emergence in the South Bronx, hip-hop culture has spread to both urban and suburban communities throughout the world. 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.

An original form of dancing and particular styles of dress arose among fans of this new music. These elements experienced considerable adaptation 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 earlier 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 provided an escape from poverty while giving a voice to oppressed and “poverty-stricken” people 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 (American) culture that it emerged from: materialism, sexism, an internalized racism, violence, and antipathy towards intellectualism.

MATERIALISM, SEXISM,INTERNALIZED RACISM,VIOLENCE AND ANTIPATHY TOWARDS INTELLECTUALISM

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Content

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History

Culture

IntroductionBreakdanceStreet GangAmerican Society

MCDJGRAFFITIBREAKINGBEATBOX

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Social Impact

Hip Hop Dance

LanguageChild effect

IntroductionLocking/Breaking/Popping

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HE HAD A DISEASE, BUT THEY DIDN’T KNOW WHAT TO CALL IT. IF HE WAS BLACK, HE WOULD’VE SOLD HALF”

“

E M I N E M

KOOLHERC

R H Y T H M SR Y T H E M SR H Y T H M S

R Y T H E M S R Y T H E M SR Y T H E M S

THE RHYTHMICSPOKEN DELIVERY OF

AND WORDPLAY

“Hip-hop culture has been internationally recognized with the 70th. Its main components are rap (MC'ing), break-dance, graffiti and beatbox”

n the 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, the movement later spread across the entire borough. 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, 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.This became Emceeing — the rhythmic spoken delivery of rhymes and wordplay, delivered over a beat or without accompaniment–taking inspiration from the Rapping derived from the griots (folk poets) of West Africa, and Jamaican-style toasting. Melle Mel, a rapper/lyricist with The Furious Five, is often credited with being the first rap lyricist to call himself an “MC”.

The history of hip-hop originated in the late 60th of the 20th century and continues to evolve to the present day. That what began more than 30 years ago, boiled over into a particular movement and culture.Hip-hop culture originated in New York among black and Latino ghetto. Street culture existed for centuries in all countries.

I

History/Introduction

11

History/Breaking

“Breaking” was also Street Slang for

“Getting excited” and “Acting energetically”.

Herc also developed upon break-beat deejaying, where the breaks of funk songs—the part most suited to dance, usually percussion-based—were isolated and repeated for the purpose of all-night dance parties. This form of music playback, using hard funk, rock, formed the basis of hip hop music. Campbell’s announcements and exhortations to dancers would lead to the syncopated, rhymed spoken accompaniment now known as rapping. He dubbed his dancers break-boys and break-girls, or simply b-boys and b-girls. According to Herc, “breaking” was also street slang for “getting excited” and “acting energetically”.

The 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. 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. The equipment was composed of numerous speakers, turntables, and one or more microphones. By using this technique Nevertheless, the popularity of rap steadily increased.

13

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.

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”. 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.

Cars are stolen and homes are burglarized by the gang routinely. On average, someone in Los Angeles County is assaulted or robbed by 18th Streeters every day. The gang has left a bloody trail of more than 250 homicides in the city of Los Angeles in the last 10 years – a pace three times that of many of the city’s most active gangs. 18th Street is a well established gang that is involved in all areas of street-crime. Some members have even become involved in producing fraudulent Immigration and Customs Enforcement identification cards and food stamps. Several 18th Street gang members have reached a higher level of sophistication and organization in their illicit activities than other gangs.

While their main source of income is street-level distribution of cocaine and marijuana, they also have been linked to murders, murder-for-hire, assaults, arson, copyright infringement, drug trafficking, extortion, human trafficking, illegal immigration, kidnapping, vandalism, drug smuggling, people smuggling, prostitution, robbery, and weapons trafficking, as well as other crimes. 18th Street Gang has also been implicated in the high-profile kidnapping and murder of the 16-year-old brother of internationally renowned Honduran soccer player Wilson Palacios.

STREET GANGS

History/Street Gangs

15

Afrika Bambaataa with DJ Yutaka of Universal Zulu Nation in 2004 DJ Kool Herc’s house parties gained popularity and later moved to outdoor venues in order to accommodate more people. Hosted in parks, these outdoor parties became a means of expression and an outlet for teenagers, where “instead of getting into trouble on the streets, teens now had a place to expend their pent-up energy.” Tony Tone, a member of the Cold Crush Brothers, noted that

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

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

HIP

ALOT OF

HOPSAVED

AMERICAN SOCIETY

History/AMERICAN SOCIETY

LIVESWithout a doubt, Hip-Hop has been the fastest growing music genre in the U.S. In its early steps, it received the denial of American system beingmainly viewed as a fashion. Because of its harsh language, and immediate association to sex, alcohol, gambling, gang violence, drugs, prostitution, war and many more, Hip-Hop was heavily criticized in the 80s. However, by constantly challenging the system, Hip-Hop managed to move from the ghettos of Bronx, to the suburbs and eventually into the corporate boardrooms in the 90s. Spitting out hot words in the tempo of a machine-gun, while giving a meaning in the life of despaired young people, Hip-Hop transformed into a culture that could not be ignored. Corporate America capitalized heavily on the growing influence of Hip-Hop, making it a highly profitable industry.

While hip hop music has been criticized as a music which creates a divide between western music and music from the rest of the world, a musical “cross pollination” has taken place, which strengthens the power of hip hop to influence different communities. Hip hop’s messages allow the under-privileged and the mistreated to be heard. These cultural translations cross borders. While the music may be from a foreign country, the message is something that many people can relate to- something not

“foreign” at all.

Even when hip hop is transplanted to other countries, it often retains its

“vital progressive agenda that challenges the status quo.”

In Gothenburg, Sweden, nongovernmental organizations (NGOs) incorporate graffiti and dance to engage disaffected immigrant and working class youths.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.

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NEVER UNDERESTIMATE THE POWER OF THE FORCE, AFTER ALL STAR WARS AND THE CHRONIC INVENTED THE BLOCKBUSTER IN THEIR RESPECTIVE MEDIUM”

“

D R . D R E

Too many people are unclear as to what Hip Hop Culture really is and tend to use the term frivolously. Hip Hop Culture is

commonly recognized by its main elements: Graffiti, Djing, Breakdancing (B-boying), Mcing (Rapping), and Beatboxing. However, these elements are simply forms of art designed to express a deeper meaning. At its core, Hip Hop is so much more than mere art and entertainment. Hip Hop is the constantly evolving spirit and consciousness of urban youth that keeps recreating itself in a never-ending cycle, It is joy, sorrow, pleasure, pain, victory, defeat, anger, happiness, confusion, clarity, humor, intensity, dream, nightmare, life, death, and everything else in between. It is the spirit that connects the past to the present and lays a path towards the future.

The spirit of Hip Hop is the same as Jazz, Reggae, Blues, Doo-wop, Be-bop, and a multitude of other types of expressions, be it musical or otherwise, that African people throughout the Diaspora have given birth to and introduced to the world. That very spirit is what breathes life into a simple idea and transforms it into a living cultural movement. Hip Hop Culture cannot be assimilated, integrated, diluted, watered-down, sold for profit, or pimped. It will always exist, in this incarnation or another. What the mainstream promotes as Hip Hop is only a commercial product misleading you into believing that it represents Hip Hop in its totality.

CULTURE/INTRODUCTION

20

CULTURE

21

Rapping (also known as emceeing, MCing, spitting (bars), or just rhyming ) refers to “spoken or chanted rhyming lyrics with a strong rhythmic accompaniment”. It can be broken down into different components, such as

“content”, “flow” (rhythm and rhyme), and “delivery”. Rapping is distinct from spoken word poetry in that is it performed in time to the beat of the music. The use of the word “rap” to describe quick and slangy speech or repartee long predates the musical form. MCing is a form of expression that is embedded within ancient African culture and oral tradition as throughout history verbal acrobatics or jousting involving rhymes were common within the Afro-American community.

Rapping can be traced back to its African roots. Centuries before hip hop music existed, the griots of West Africa were delivering stories rhythmically, over drums and sparse instrumentation. Such connections have been acknowledged by many modern artists, modern day “griots”, spoken word artists, mainstream news sources, and academics.

Blues music, rooted in the work songs and spirituals of slavery and influenced greatly by West African musical traditions, was first played by blacks, and later by some whites, in the Mississippi Delta region of the United States around the time of the Emancipation Proclamation, Grammy-winning blues musician/historian Elijah Wald and others have argued that the blues were being rapped as early as the 1920s. Wald went so far as to call hip hop

“the living blues.”

Jazz, which developed from the blues and other African-American and European musical traditions and originated around the beginning of the 20th century, has also influenced hip hop and has been cited as a precursor of hip hop. Not just jazz music and lyrics but also Jazz poetry. According to John Sobol, the jazz musician and poet who wrote Digitopia Blues, rap

“bears a striking resemblance to the evolution of jazz both stylistically and formally. One of the main influences on Hip Hop artists was James Brown. James Brown is credited for inventing funk music in the middle ’60s.

The characteristic funk drum beat is the most common rhythm used for rap music. Two of the earliest recordings which have a funk beat and lyrics which are rhymed in rhythm over this type of beat were released by comedian Pigmeat Markham, ”

“Here Come the Judge” which was released in 1968 by the Chess label and in 1969 another song about running numbers called “Who Got The Number?”. “Here Comes the Judge” peaked at number 19 on the Billboard charts. While it was primarily a comical song about a Judge and his courtroom it is also notable for the political lyrics “I’m going to Paris to stop this war” and “I had a chat with Ho Chi Minh” both social commentary references about wanting to go to the Paris Peace Accord negotiations to stop the war in Vietnam.

MC

CULTURE/MC

“spoken or chanted rhyming lyrics with a strong rhythmic accompaniment”

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25

Turntablism is the technique of manipulating sounds and creating music using phonograph turntables and a DJ mixer. One of the few first hip hop DJ’s was Kool DJ Herc, who created hip hop through the isolation of “breaks” (the parts of albums that focused solely on the beat).

In addition to developing Herc’s techniques, DJs Grandmaster Flowers, Grandmaster Flash, Grand Wizard Theodore, and Grandmaster Caz made further innovations with the introduction of scratching.

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

In the early years of hip hop, the DJs were the stars, but 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.

DJ

CULTURE/DJ

In America around the late 1960s, graffiti was used as a form of expression by political activists, and also by gangs such as the Savage Skulls, La Familia, and Savage Nomads to mark territory. Towards the end of the 1960s, the signatures—tags—of Philadelphia graffiti writers Top Cat, Cool Earl and Cornbread started to appear. Around 1970–71, the center of graffiti innovation moved to New York City where writers following in the wake of TAKI 183 and Tracy 168 would add their street number to their nickname, “bomb” a train with their work, and let the subway take it—and their fame, if it was impressive, or simply pervasive, enough—“all city”.

Bubble lettering held sway initially among writers from the Bronx, though the elaborate Brooklyn style Tracy 168 dubbed “wildstyle” would come to define the art.

The relationship between graffiti and hip hop culture arises both from early graffiti artists engaging in other aspects of hip hop culture,Graffiti is understood as a visual expression of rap music, just as breaking is viewed as a physical expression. The 1983 film “Wild Style” is widely regarded as the first hip hop motion picture, which featured prominent figures within the New York graffiti scene during the said period.

CULTURE/Graffiti

G

G

NEVER UNDERESTIMATE THE POWER OF THE FORCE, AFTER ALL STAR WARS AND THE CHRONIC INVENTED THE BLOCKBUSTER IN THEIR RESPECTIVE MEDIUM”

G

GG

“B” in B-boy as short for breaking which at the time was slang for “Going off”

CULTURE

CULTURE/Breaking

“Dancing is the body talking. You can say anything you want.” - Salah

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 b-boying.

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, Afro-Brazilian and Asian Martial arts, Russian folk dance, 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 2002 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.

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People have imitated percussion sounds vocally throughout history. Two early examples are bol, which originated in India several thousand years ago, and the Chinese Kouji, a type of vocal performing art. These had little or no relation with rap, however, and have no direct connection to modern Eastern Hip Hop.Other vocal imitative styles may have had some influence on the development of hip-hop, although this idea is difficult to prove. Significant examples include scat singing, associated with jazz music, and puirt a beul, which originated in traditional Scottish music. Jazz, which developed from the blues and other African-American and European musical traditions and originated around the beginning of the 20th century, has also influenced hip hop and has been cited as a precursor of hip hop.

Michael Jackson was known to record himself beatboxing on a dictation tape recorder as a demo and scratch recording to compose several of his songs, including “Billie Jean,” “The Girl Is Mine,” and others. He also uses his body to create sounds by breathing, stomping and clapping in varying ways in many of his songs.Additional influences may perhaps include forms of African traditional music, in which performers utilize their bodies (e.g., by clapping or stomping) as percussion instruments and produce sounds with their mouths by breathing loudly in and out, a technique used in beatboxing today.

Beatboxing, popularized by Doug E. Fresh, is the technique of vocal percussion. It is primarily concerned with the art of creating beats or rhythms 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. 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.

Beatboxing was quite popular in the 1980s with prominent artists like the Darren “Buffy, the Human Beat Box” Robinson of the Fat Boys and Biz Markie displaying their skills within the media. It declined in popularity along with b-boying in the late 1980s, but has undergone a resurgence since the late 1990s, marked by the release of “Make the Music 2000.” by Rahzel of The Roots.

CULTURE/Beatboxing

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2 p a c

ON HIS BREAKOUT SINGLE, 50 CENT ADMITTED THAT HE WANTED THE PEOPLE TO LOVE HIM LIKE THEY LOVE “PAC”

L A N G

he development of hip hop linguistics is complex. Source material include the spirituals of slaves arriving in the new world,

Jamaican dub music, the laments of jazz and blues singers, patterned cockney slang and radio deejays hyping their audience in rhyme.Hip hop has a distinctive associated slang. It is also known by alternate names, such as “Black English”, or “Ebonics”. Academics suggest its development stems from a rejection of the racial hierarchy of language, which held “White English” as the superior form of educated speech. Due to hip hop’s commercial success in the late nineties and early 21st century, many of these words have been assimilated into the cultural discourse of several different dialects across America and the world and even to non-hip hop fans. The word dis for example is particularly prolific. There are also a number of words which predate hip hop, but are often associated with the culture, with homie being a notable example. Sometimes, terms like what the dilly, yo are popularized by a single song (in this case, “Put Your Hands Where My Eyes Could See” by Busta Rhymes) and are only used briefly. 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.

Greg Thomas of the University of Miami offers courses at both the undergraduate and graduate level studying the feminist and assertive nature of Lil’ Kim’s lyrics, 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”:

“Hip hop texts are rich in imagery and metaphor and can be used to teach irony, tone, diction, and point of view. Hip hop texts can be analyzed for theme, motif, plot, and character development. Both Grand Master Flash and T.S. Eliot gazed out into their rapidly deteriorating societies and saw a “wasteland.” Both poets were essentially apocalyptic in nature as they witnessed death, disease, and decay.”

T

U A G E

“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.”

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“Hip Hop played a significant role in providing a channel for the youth to express their ideas.”

Hip hop has made a considerable social impact since its inception in the 1970s. Orlando Patterson, a sociology professor at Harvard University helps describe the phenomenon of how hip hop spread rapidly around the world. Professor Patterson argues that mass communication is controlled by the wealthy, government, and businesses in Third World nations and countries around the world. He also credits mass communication with creating a global cultural hip hop scene. As a result, the youth absorb and are influenced by the American hip hop scene and start their own form of hip hop. Patterson believes that revitalization of hip hop music will occur around the world as traditional values are mixed with American hip hop musical forms, and ultimately a global exchange process will develop that brings youth around the world to listen to a common musical form known as hip hop.

It has also been argued that rap music formed as a “cultural response to historic oppression and racism, a system for communication among black communities throughout the United States”. This is due to the fact that the culture reflected the social, economic and political realities of the disenfranchised youth. In the Arab Spring hip hop played a significant role in providing a channel for the youth to express their ideas.

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 b-boying.

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, Afro-Brazilian and Asian Martial arts, Russian folk dance, 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 2002 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.

1

2 3Jay-z

50cent Diddy

Highest paid hip hop artist

49%24%

27%

2,607,321 The total amount of twitter activities in the hip hop scene.

of the world are positive towards hip hop of the world are negative towards hip hop

of the world are neutral towards hip hop

Today, people who are invovled in hip hop culture approximately 46% are female and 54% are male

Today, most people is introduced to hip hop through devices , 30% through web and 70% through mobile phone

46%

70%30%

54%MALEFemale

“

J A Y - Z

Hip-hop has always been controversial, and for good reason. When you watch a children's show and they've got a muppet rapping about the alphabet, it's cool, but it's not really hip-hop. The music is meant to be provocative”

0PRIMARY HIP

30 HOP STYLES

Hip-hop dance refers to street dance styles primarily performed to hip-hop music or that have evolved as part of hip-hop culture. It includes a wide range of styles primarily breaking, locking, and popping which were created in the 1970s and made popular by dance crews in the United States.

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Locking, originally called Campbellocking, was created in Los Angeles, California by Don “Campbellock” Campbell in 1969 and popularized by his crew The Lockers. Locking looks similar to popping, and the two are frequently confused by the casual observer. In locking, dancers hold their positions longer. The lock is the primary move used in locking. It is “similar to a freeze or a sudden pause.” A locker’s dancing is characterized by frequently locking in place and after a brief freeze moving again. It is incorrect to call locking “pop-locking”. Locking and popping are two distinct funk styles with their own histories, their own set of dance moves, their own pioneers, and their own competition categories. Locking is more playful and character-driven, whereas popping is more illusory. In popping, dancers push the boundaries of what they can do with their bodies. Locking has specific dance moves that distinguish it from popping and other funk styles.

LOCK-ING

Breaking was created in the South Bronx, New York City during the early 1970s. It is the first hip-hop dance style. Though African Americans created breaking, Puerto Ricans maintained its growth and development when it was considered a fad in the late 1970s. “In ’79 I was getting dissed. I would go into a dance and I would get dissed by a lot of brothas who would ask why y’all still doing that dance? That’s played out’.”

A cypher is a circular shaped dance space formed by spectators that breakers use to perform or battle in. Cyphers work well for one-on-one b-boy (break-boy) battles; In contrast to the circular shape of a cypher, competing crews can face each other in this line formation, challenge each other, and execute their burns (a move intended to humiliate the opponent, i.e. crotch grabbing).

Popping was created in Fresno, California in the 1970s and popularized by Samuel “Boogaloo Sam” Solomon and his crew the Electric Boogaloos. It is based on the technique of quickly contracting and relaxing muscles to cause a jerk in a dancer’s body, referred to as a pop or a hit. Each hit should be synchronized to the rhythm and beats of the music. Popping is also used as an umbrella term to refer to a wide range of closely related illusionary dance styles such as strobing, liquid, animation, twisto-flex, and waving. Dancers often integrate these styles with standard popping to create a more varied performance. In all of these subgenres it appears to the spectator that the body is popping. The difference between each subgenre is how exaggerated the popping is. In liquid, the body movements look like water. The popping is so smooth that the movements do not look like popping at all; they look fluid.

POP-PING

BREAK-ING

References

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J.M. (2013). Biography for jay-z. Retrieved from http://www.imdb.com/name/nm0419650/bio

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Publication by Lucas Seet