hip hop
COORDINATED AND ARRANGED
BY
MAGIC DANCERS PARAVUR
*we just classify and organised paid class for you for free because we know dance is life*
These beginner hip hop dance moves on this page are easy to learn because they teach you one move at a time - as opposed to long, complicated routines.
This way you can use them individually or combine them with other steps however you feel. We recommend that you first pay attention to the footwork and timing of the step and then add your own styling to it only after. These hip hop dance videos are general hip hop steps that are good for adults and kids. They could be used with popular hip hop music in any situation
STEP NO :1
SEE THIS VIDEO BELOW (CLICK HERE TO SEE THE FULL VIDEO)
STEP NO : 2
*WE JUST PUT AN ADFLY PORTAL ON EACH LINKS THAT YOU CAN SKIP THE ADD WITH IN 5 SECONDS TO PREVENT SPAMMING*PLEASE SUPPORT*
It is recommended that you go through these beginner moves in order because we have arranged them from easiest to hardest.CLICK ON EACH LINK TO GO THERE
1. The Two Step
2. The Arm Wave
3. How to dougie
4. The Chest Pop
5. How to do the moonwalk
6. Gliding dance step
7. Happy Feet
8. The James Brown move
9. The Hip Pull
10. The dip and step
11. How to do the robot
12. Criss Cross
ABOUT HIP HOP
Hip hop or hip-hop is a subculture and art movement developed in South Bronx in New York City during the late 1970s.[1][2][3][4][5] While the term hip hop is often used to refer exclusively to hip hop music (also called rap),[6] hip hop is characterized by nine elements, of which hip hop music is only four elements (rapping, djaying, beatboxing and breaking).[citation needed] Afrika Bambaataa of the hip hop collective Zulu Nation outlined the pillars of hip hop culture, coining the terms: "rapping" (also called MCing or emceeing), a rhythmic vocal rhyming style (orality); DJing (and turntablism), which is making music with record players and DJ mixers (aural/sound and music creation); b-boying/b-girling/breakdancing (movement/dance); and graffiti art.[7][8][9][10][11] Other elements of hip hop subculture and arts movements beyond the main four are: hip hop culture and historical knowledge of the movement (intellectual/philosophical); beatboxing, a percussive vocal style; street entrepreneurship; hip hop language; and hip hop fashion and style, among others.[12][13][14]
The South Bronx hip hop scene emerged in the 1960s and 1970s from neighborhood block parties thrown by the Ghetto Brothers, a Puerto Rican group that has been described as being a gang, a club, and a music group. Members of the scene plugged in the amplifiers for their instruments and PA speakers into the lampposts on 163rd Street and Prospect Avenue and used their live music events to break down racial barriers between African-Americans, Puerto Ricans, Whites and other ethnic groups. Jamaican immigrant DJ Kool Herc also played a key role in developing hip hop music. At 1520 Sedgwick Avenue, Herc mixed samples of existing records and deejayed percussion "breaks", mixing this music with his own Jamaican-style "toasting" (a style of chanting and boastful talking over a microphone) to rev up the crowd and dancers. Kool Herc is credited as the "father" of hip hop for developing the key DJ techniques that, along with rapping, founded the hip hop music style by creating rhythmic beats by looping "breaks" (small portions of songs emphasizing a percussive pattern) on two turntables. This was later accompanied by "rapping" or "MCing" and beatboxing.[citation needed] An original form of dancing called breakdancing, which later became accompanied by popping, locking and other dance moves, which was done to the accompaniment of hip hop songs played on boom boxes and particular fashion styles also developed.
Art historian Robert Farris Thompson describes the youth from the South Bronx in the early 1970s as "English-speaking blacks from Barbados" like Grandmaster Flash, "black Jamaicans" like DJ Kool Herc who introduced the rhythms from Salsa (music), as well as Afro conga and bongo drums, as well as many who emulated the sounds of Tito Puente and Willie Colón. These youths mixed these influences with existing musical styles associated with African-Americans prior to the 1970s, from jazz to funk.[15] Hip hop music became popular outside of the African-American community in the late-1980s, with the mainstream commercial success of Beastie Boys, The Sugarhill Gang, Grandmaster Flash and then emerging hip hop movements such as the Native Tongues, Daisy Age and then later (in the early 1990s) gangsta rap. Critic Greg Tate described the Hip Hop movement as "the only avant-garde still around, still delivering [a] shock" of newness to the wealthy bourgeoisie.[16] Ronald Savage, known by the nickname Bee-Stinger, who was a former member of the Zulu Nation, coined the term "Six elements of the Hip Hop Movement". The "Six Elements of the Hip Hop Movement" are: Consciousness Awareness, Civil Rights Awareness, Activism Awareness, Justice, Political Awareness, and Community Awareness in music. Ronald Savage is known as the Son of The Hip Hop Movement. Hip Is The Culture and Hop is The Movement[17][18][19]
Hip hop culture has spread to both urban and suburban communities throughout the United States and subsequently the world.[20] These elements were adapted and developed considerably, particularly as the art forms spread to new continents and merged with local styles in the 1990s and subsequent decades. Even as the movement continues to expand globally and explore myriad styles and art forms, including hip hop theater and hip hop film, the four foundational elements provide coherence and a strong foundation for hip hop culture.[2] Hip hop is simultaneously a new and old phenomenon; the importance of sampling tracks, beats and basslines from old records 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. Sampling older culture and reusing it in a new context or a new format is called "flipping" in hip hop culture. Hip hop music follows in the footsteps of earlier African-American-rooted musical genres such as blues, jazz, rag-time, funk, and disco to become one of the most practiced genres worldwide. It is the language of urban environments and the youth around the world, many who do not know what Hip Hop (the consciousness which makes up the collective culture of Hip Hop) is or what it means to "Be Hip Hop" , have recently begun to attribute being Hip Hop with being black, however that is race , not culture and not consciousness. as KRS-One says "Hip Hop is the only place where you see Martin Luther King Jr.s; 'I have a dream speech' in real life" and "To be Hip Hop you have to have the courage to be you and be Hip Hop all the time not just when it's popular or convenient, and have repped it when it wasn't and you were the only one repping it." He also notes that Hip Hop is beyond something as simple minded as race or gender or nationality, it belongs to the world.[20]
In the 2000s, with the rise of new media platforms and Web 2.0, fans discovered and downloaded or streamed hip hop music through social networking sites (SNS) beginning with Myspace, as well as from websites like YouTube, Worldstarhiphop, SoundCloud, and Spotify.[21][22][23]
Contents
[hide]Etymology[edit]
Keith "Cowboy" Wiggins, a member of Grandmaster Flash and the Furious Five, has been credited with coining the term[24] in 1978 while teasing a friend who had just joined the US Army by scat singing the made-up words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of marching soldiers. Cowboy later worked the "hip hop" cadence into his stage performance.[25][26] 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 phrase "I said a hip, hop the hippie the hippie to the hip hip hop, and you don't stop".[27]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. Bill Alder, an independent consultant, once said, "There was hardly ever a moment when rap music was underground, one of the very first so-called rap records, was a monster hit ("Rapper's Delight" by the Sugar Hill Gang on Sugarhill Records).[6] 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. The words "hip hop" first appeared in print on September 21, 1981, in The Village Voice in a profile of Bambaataa written by Steven Hager, who also published the first comprehensive history of the culture with St. Martins' Press.[25][28]
History[edit]
1970s[edit]
In the 1970s, an underground urban movement known as "hip hop" began to develop in the South Bronx in New York City. It focused on emceeing (or MCing) over "breakbeats", house parties and neighbourhood block party events, held outdoors. Hip hop music has been a powerful medium for protesting the impact of legal institutions on minorities, particularly police and prisons.[29] Historically, hip hop arose out of the ruins of a post-industrial and ravaged South Bronx, as a form of expression of urban Black and Latino youth, whom the public and political discourse had written off as marginalized communities.[29] Jamaican-born DJ Clive "Kool Herc" Campbell[30] pioneered the use of DJing percussion "breaks" in hip hop music. Beginning at Herc's home in a high-rise apartment at 1520 Sedgwick Avenue, the movement later spread across the entire borough.[31] Herc created the blueprint for hip hop music and culture by building upon the Jamaican tradition of impromptu toasting, a spoken type of boastful poetry and speech over music.[32] On August 11, 1973 DJ Kool Herc was the DJ at his sister's back-to-school party. He extended the beat of a record by using two record players, isolating the percussion "breaks" by using a mixer to switch between the two records. Herc's experiments with making music with record players became what we now know as breaking or "scratching".[33]
A second key musical element in hip hop music is emceeing (also called MCing or rapping). Emceeing is the rhythmic spoken delivery of rhymes and wordplay, delivered at first without accompaniment and later done over a beat. This spoken style was influenced by the African American style of "capping", a performance where men tried to outdo each other in originality of their language and tried to gain the favor of the listeners.[34] The basic elements of hip hop—boasting raps, rival "posses" (groups), uptown "throw-downs", and political and social commentary—were all long present in African American music. MCing and rapping performers moved back and forth between the predominance of "toasting'" songs packed with a mix of boasting, 'slackness' and sexual innuendo and a more topical, political, socially conscious style. The role of the MC originally was as a Master of Ceremonies for a DJ dance event. The MC would introduce the DJ and try to pump up the audience. The MC spoke between the DJ's songs, urging everyone to get up and dance. MCs would also tell jokes and use their energetic language and enthusiasm to rev up the crowd. Eventually, this introducing role developed into longer sessions of spoken, rhythmic wordplay, and rhyming, which became rapping.
By 1979 hip hop music had become a mainstream genre. It spread across the world in the 1990s with controversial "gangsta" rap.[35] Herc also developed upon break-beatdeejaying,[36] where the breaks of funk songs—the part most suited to dance, usually percussion-based—were isolated and repeated for the purpose of all-night dance parties. This form of music playback, using hard funk and rock, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers would lead to the syncopated, rhymed spoken accompaniment now known as rapping. He dubbed his dancers "break-boys" and "break-girls", or simply b-boys and b-girls. According to Herc, "breaking" was also street slang for "getting excited" and "acting energetically".[37]
DJs such as Grand Wizzard Theodore, Grandmaster Flash, and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching.[38] The approach used by Herc was soon widely copied, and by the late 1970s, DJs were releasing 12-inch records where they would rap to the beat. Popular tunes included Kurtis Blow's "The Breaks" and The Sugarhill Gang's "Rapper's Delight".[39] 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.[40] The equipment consisted of numerous speakers, turntables, and one or more microphones.[41] 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".[42] KC The Prince of Soul, a rapper-lyricist with Pete DJ Jones, is often credited with being the first rap lyricist to call himself an "MC".[43]
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.[44] The New York City blackout of 1977 saw widespread looting, arson, and other citywide disorders especially in the Bronx[45] where a number of looters stole DJ equipment from electronics stores. As a result, the hip hop genre, barely known outside of the Bronx at the time, grew at an astounding rate from 1977 onward.[46]
.jpg)
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."[47] Tony Tone, a member of the Cold Crush Brothers, stated that "hip hop saved a lot of lives".[47] For inner-city youth, participating in hip hop culture became a way of dealing with the hardships of life as minorities within America, and an outlet to deal with the risk of violence and the rise of gang culture. MC Kid Lucky mentions that "people used to break-dance against each other instead of fighting".[48][full citation needed] 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, drugs and violence.[47]
The lyrical content of many early rap groups focused on social issues, most notably in the seminal track "The Message" by Grandmaster Flash and the Furious Five, which discussed the realities of life in the housing projects.[49] "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."[50] 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".[50] It also gave people a chance for financial gain by "reducing the rest of the world to consumers of its social concerns."[50]
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".[39] 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.
1980s[edit]
Hip hop as a culture was further defined in 1982, when Afrika Bambaataa and the Soulsonic Force released the electro-funk track "Planet Rock". Instead of simply rapping over disco beats, Bambaataa with producer Arthur Baker created an electronic sound, taking advantage of the rapidly improving drum machine Roland TR-808 synthesizer technology, as well as sampling from Kraftwerk.[51] Planet Rock is widely regarded as a turning point; fusing electro with hip hop, was "like a light being switched on," resulting in a new genre.[52] Other groundbreaking records released in 1982 were The Message by Grandmaster Flash and the Furious Five, Nunk by Warp 9, Man Parrish's "Hip Hop, Be Bop (Don't Stop)," Whodini's "Magic Wand," and Malcolm McLaren's "Buffalo Gals." In 1983, Hashim created the influential electro funk tune "Al-Naafiysh (The Soul)," while Warp 9's "Light Years Away"(1983), "a cornerstone of early 80s beat box afrofuturism," produced by Lotti Golden and Richard Scher, introduced socially conscious themes from a Sci-Fi perspective, paying homage to music pioneer Sun Ra.[53]
Encompassing graffiti art, MCing/rapping, DJing and b-boying, hip hop became the dominant cultural movement of the minority-populated urban communities in the 1980s.[54] The 1980s also saw many artists make social statements through hip hop. In 1982, Melle Mel and Duke Booteerecorded "The Message" (officially credited to Grandmaster Flash and The Furious Five),[55] 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".[56] 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,[57] 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.[58] 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 1984, 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.[citation needed] The four traditional dances of hip hop are rocking, b-boying/b-girling, locking and popping, all of which trace their origins to the late 1960s or early 1970s.[59]
Women artists have also been at the forefront of the hip hop movement since its inception in the Bronx. Nevertheless, as gangsta rapbecame the dominant force in hip hop music, there were many songs with misogynistic (anti-women) lyrics and many music videos depicted women in a sexualized fashion. The negation of female voice and perspective is an issue that has come to define mainstream hip hop music. The recording industry is less willing to back female artists than their male counterparts, and when it does back them, often it places emphasis on their sexuality over their musical substance and artistic abilities.[60] Since the turn of the century (the beginning of the 2000s decade), female hip hop artists have struggled to get mainstream attention, with only a few, such as older artists like the female duo Salt N' Pepa to more contemporary ones like Lil' Kim and Nicki Minaj, reaching platinum status.[60]
1990s[edit]
With the commercial success of gangsta rap in the early 1990s, the emphasis in lyrics shifted 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 N' the Mornin',[61] and N.W.A whose second album Niggaz4Life became the first gangsta rap album to enter the charts at number one.[62] Gangsta rap also played an important part in hip hop becoming a mainstream commodity. 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.[63] As a result, gangsta rap became a platform for artists who chose to use their music to spread political and social messages to parts of the country that were previously unaware of the conditions of ghettos.[61] 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.[64]
Global innovations[edit]
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.[65] National Geographicrecognizes 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."[66] Through its international travels, hip hop is now considered a "global musical epidemic".[67] According to The Village Voice, hip hop is "custom-made to combat the anomie that preys on adolescents wherever nobody knows their name."[68]
Hip hop sounds and styles differ from region to region, but there are also instances of fusion genres.[69] Hip Hop culture has grown from the avoided genre to a genre that is followed by 100 million fans worldwide. This was made possible by the adaptation of music in different locations, and the influence on style of behavior and dress.[70] 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".[71] This is somewhat the case in Jamaica, the homeland of the culture's father, DJ Kool Herc. However, despite hip hop music produced on the island lacking widespread local and international recognition, artists such as Five Steez have defied the odds by impressing online hip hop taste-makers and even reggae critics.[72]
Hartwig Vens argues that hip hop can also be viewed as a global learning experience.[73] Author Jeff Chang argues that "the essence of hip hop is the cipher, born in the Bronx, where competition and community feed each other."[74] He also adds: "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.".[75] While hip hop music has been criticized as a music that 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.[76] Hip hop's messages allow the under-privileged and the mistreated to be heard.[73] These cultural translations cross borders.[75] While the music may be from a foreign country, the message is something that many people can relate to- something not "foreign" at all.[77]
Even when hip hop is transplanted to other countries, it often retains its "vital progressive agenda that challenges the status quo."[75] 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 fueled the rebellion.[78]
Commercialization[edit]
 |
This article or section possibly contains previously unpublished synthesis of published material that conveys ideas not attributable to the original sources. (March 2009) (Learn how and when to remove this template message)
|
.jpg)
In the early- to-mid 1980s, there was no established hip hop music industry, as exists in the 2010s, with record labels, record producers, managers and Artists and Repertoire staff. Politicians and businesspeople maligned and ignored the hip hop movement. Most hip hop artists performed in their local communities and recorded in underground scenes. However, in the late 1980s, music industry executives realized that they could capitalize on the success of "gangsta rap." They made a formula that created "a titillating buffet of hypermasculinity and glorified violence." This type of rap was marketed to the new fanbase: white males. They ignored the depictions of a harsh reality to focus on the sex and violence involved.[79]
In an article for The 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".[50] Ironically, this commercialization coincides with a decline in rap sales and pressure from critics of the genre.[80] 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 states that hip hop is really a voice of people who are marginalized 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." The problem may not be that female rappers do not have the same opportunities and recognition as their male counterparts; it may be that the music industry that is so defined by gender biases. Industry executives seem to bet on the idea that men won’t want to listen to female rappers, so they are given fewer opportunities.[81]
As the hip hop genre has changed since the 1980s, the African-American cultural "tradition" that Diawara describes has little place in hip hop's mainstream artists music. The push toward materialism and market success by contemporary rappers such as Rick Ross, Lil Wayne and Jay Z has irked older hip hop fans and artists. They see the genre losing its community-based feel that focused more on black empowerment than wealth. The commercialization of the genre stripped it of its earlier political nature and the politics and marketing plans of major record labels have forced rappers to craft their music and images to appeal to white, affluent and suburban audiences.
After realizing her friends were making music but not getting television exposure other than what was seen on Video Music Box, Darlene Lewis (model/lyricist), along with Darryl Washington and Dean Carroll, brought hip hop music to the First Exposure cable show on Paragon cable, and then created the On Broadway television show. There, rappers had opportunities to be interviewed and have their music videos played. This pre-dated MTV or Video Soul on BET. The commercialization has made hip hop less edgy and authentic, but it also has enabled hip hop artists to become successful.[82]
As top rappers grow wealthier and start more outside business ventures, this can indicate a stronger sense of black aspiration. As rappers such as Jay-Z and Kanye West establish themselves as artists and entrepreneurs, more young black people have hopes of achieving their goals.[83] The lens through which one views the genre's commercialization can make it seem positive or negative.[84]
Culture[edit]
DJing and turntablism, MCing/rapping, breakdancing, graffiti art, and beatboxing are the creative outlets that collectively make up hip hop culture and its revolutionary aesthetic. Like the blues, these arts were developed by African American communities to enable people to make a statement, whether political or emotional and participate in community activities. These practices spread globally around the 1980s as fans could "make it their own" and express themselves in new and creative ways in music, dance and other arts.[85]
DJing[edit]
DJing and turntablism are the techniques of manipulating sounds and creating music and beats using two or more phonograph turntables (or other sound sources, such as tapes, CDs or digital audio files) and a DJ mixer that is plugged into a PA system.[86] One of the first few hip hop DJs was Kool DJ Herc, who created hip hop in the 1970s through the isolation and extending of "breaks" (the parts of albums that focused solely on the percussive beat). In addition to developing Herc's techniques, DJs Grandmaster Flowers, Grandmaster Flash, Grand Wizzard Theodore, and Grandmaster Caz made further innovations with the introduction of "scratching", which has become one of the key sounds associated with hip hop music.
Traditionally, a DJ will use two turntables simultaneously and mix between the two. These are connected to a DJ mixer, an amplifier, speakers, and various electronic music equipment such as a microphone and effects units. The DJ mixes the two albums currently in rotation and/or does "scratching" by moving one of the record platters while manipulating the crossfader on the mixer. The result of mixing two records 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 record producer of a music track.[87] The development of DJing was also influenced by new turntablism techniques, such as beatmatching, a process facilitated by the introduction of new turntable technologies such as the Technics SL-1200 MK 2, first sold in 1978, which had a precise variable pitch control and a direct drive motor. DJs were often avid record collectors, who would hunt through used record stores for obscure soul records and vintage funk recordings. DJs helped to introduce rare records and new artists to club audiences.
In the early years of hip hop, the DJs were the stars, as they created new music and beats with their record players. While DJing and turntablism continue to be used in hip hop music in the 2010s, the star role has increasingly been taken by MCs since the late 1970s, due to innovative, creative MCs such as Kurtis Blow and Melle Mel of Grandmaster Flash's crew, the Furious Five, who developed strong rapping skills. 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 & Screwedstyle of mixing music, Funkmaster Flex, Tony Touch, DJ Clue, Mix Master Mike, Touch-Chill-Out, DJ Red Alert, and DJ Q-Bert. The underground movement of turntablism has also emerged to focus on the skills of the DJ. In the 2010s, there are turntablism competitions, where turntablists demonstrate advanced beat juggling and scratching skills.
MCing[edit]
Rapping (also known as emceeing,[88] MCing,[88] spitting (bars),[89] or just rhyming[90]) refers to "spoken or chanted rhyming lyrics with a strong rhythmic accompaniment".[91] Rapping typically features complex wordplay, rapid delivery, and a range of "street slang", some of which is unique to the hip hop subculture. While rapping is often done over beats, either done by a DJ, a beatboxer, it can also be done without accompaniment. It can be broken down into different components, such as "content", "flow" (rhythm and rhyme), and "delivery".[92] Rapping is distinct from spoken word poetry in that it is performed in time to the beat of the music.[93][94][95] The use of the word "rap" to describe quick and slangy speech or witty repartee long predates the musical form.[96] 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.[97]
Graffiti[edit]
Graffiti is the most controversial of hip hop's elements, as a number of the most notable graffiti pioneers say that they do not consider graffiti to be an element of hip hop, including Lady Pink, Seen, Blade, Fargo, Cholly Rock, Fuzz One, and Coco 144.[98][99][100] Lady Pink says, "I don’t think graffiti is hip hop. Frankly I grew up with disco music. There's a long background of graffiti as an entity unto itself,"[101][102] and Fargo says, "There is no correlation between hip hop and graffiti, one has nothing to do with the other."[98][100][103] Hip hop pioneer Grandmaster Flash has also questioned the connection between hip hop and graffiti, saying, "You know what bugs me, they put hip hop with graffiti. How do they intertwine?"[103][104][105]
In America in the late 1960s, graffiti was used as a form of expression by political activists. Gangs such as the Savage Skulls, La Familia, and Savage Nomads used graffiti to mark territory. JULIO 204 was a Puerto Rican graffiti writer, one of the first graffiti writers in New York City. He was a member of the "Savage Skulls" gang, and started writing his nickname in his neighborhood as early as 1968. In 1971 the New York Times published an article ("'Taki 183' Spawns Pen Pals") about another graffiti writer with similar form, TAKI 183. According to the article Julio had been writing for a couple of years when Taki began tagging his own name all around the city. Taki also states in the article that Julio "was busted and stopped." Writers following in the wake of Taki and Tracy 168 would add their street number to their nickname, "bomb" (cover) a train with their work, and let the subway take it—and their fame, if it was impressive, or simply pervasive, enough—"all city". Julio 204 never rose to Taki's fame because Julio kept his tags localized to his own neighborhood.
One of the most common forms of graffiti is tagging, or the act of stylizing your unique name or logo.[106] Tagging began in Philadelphia and New York City and has expanded worldwide. Spray painting public property or the property of others without their consent can be considered vandalism, and the "tagger" may be subject to arrest and prosecution for the criminal act. Whether legal or not, the hip hop culture considers tagging buildings, trains, bridges and other structures as visual art, and consider the tags as part of a complex symbol system with its own social codes and subculture rules. Such art is in some cases now subject to federal protection in the US, making its erasure illegal.[107]
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.[108][109] The early trend-setters were joined in the 1970s by artists like Dondi, Futura 2000, Daze, Blade, Lee, Fab Five Freddy, Zephyr, Rammellzee, Crash, Kel, NOC 167 and Lady Pink.[108]
The relationship between graffiti and hip hop culture arises both from early graffiti artists engaging in other aspects of hip hop culture,[110] 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. The book Subway Art and the documentary Style Wars were also among the first ways the mainstream public were introduced to hip hop graffiti. Graffiti remains part of hip hop, while crossing into the mainstream art world with exhibits in galleries throughout the world.
Breakdancing[edit]
Breaking, also called B-boying/B-girling or breakdancing, is a dynamic, rhythmic style of dance which developed as 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,[111][112] Brazilian and Asian Martial arts, Russian folk dance,[113] and the dance moves of James Brown, Michael Jackson, and California funk. Breaking took form in the South Bronx in the 1970s alongside the other elements of hip hop. Breakdancing is typically done with the accompaniment of hip hop music playing on a boom box or PA system.
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 saved their best dance moves for the percussion break section of the song, getting in front of the audience to dance in a distinctive, frenetic style. The "B" in B-boy or B-girl also stands simply for break, as in break-boy or -girl. Before the 1990s, B-girls’ presence was limited by their gender minority status, navigating sexual politics of a masculine-dominated scene, and a lack of representation or encouragement for women to participate in the form. The few B-girls who participated despite facing gender discrimination carved out a space for women as leaders within the breaking community, and the number of B-girls participating has increased.[114] 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.[citation needed]
Legacy[edit]
Having its roots in reggae, disco, funk and soul music, hip hop has since expanded worldwide. Its expansion includes events like Afrika Bambaataa's 1982 releasing of Planet Rock, which tried to establish a more global harmony. In the 1980s, the British Slick Rick became the first international hit hip hop artist not native to America.[citation needed] From the 1980s onward, television made hip hop global. From Yo! MTV Raps to Public Enemy's world tour, hip hop spread to Latin America and became a mainstream culture. Hip hop has been cut, mixed and adapted as it the music spreads to new areas.[212][213][unreliable source?]
Early hip hop[by whom?] may have reduced inner-city gang violence by replacing physical violence with hip hop battles of breakdancing, turntablism, rapping and artwork. However, with the emergence of commercial and crime-related gangsta rap during the early 1990s, violence, drugs, weapons, and misogyny, were key themes. Socially and politically conscious hip hop has long been disregarded by mainstream America in favor of its media-baiting sibling, gangsta rap.[64] Alternative hip hop artists attempt to reflect the original elements of the culture. Artists/groups such as Lupe Fiasco, Immortal Technique, Lowkey, Brother Ali, Public Enemy, The Roots, Shing02, Jay Electronica, Nas, Common, Talib Kweli, Mos Def, Dilated Peoples, Dead Prez, Blackalicious, Jurassic 5, Jeru the Damaja, Kendrick Lamar, Gangstarr, KRS-One, Living Legends emphasize messages of verbal skill, internal/external conflicts, life lessons, unity, social issues, or activism.
Black female artists such as Queen Latifah, Missy Elliott, and MC Lyte have made great strides since the hip hop industry first began. By producing music and an image that did not cater to the hyper-sexualized stereotypes of black women in hip hop, these women pioneered a revitalized and empowering image of black women in hip hop.[214] Though many hip hop artists have embraced the ideals that effectively disenfranchise black female artists, many others choose to employ forms of resistance that counteract these negative portrayals of women in hip hop and offer a different narrative. These artists seek to expand ways of traditional thinking through different ways of cultural expression. In this effort they hope to elicit a response to female hip hop artists not with a misogynist lens but with one that validates women's struggle.[215]
For women, artists such as Missy Elliott, Lil' Kim, and others are providing mentorship for new female MCs. In addition, there is a vibrant scene outside the mainstream that provides an opportunity for women and their music to flourish.[60] Rap music has the power to influence how we view black women in our society. Queen Latifah used her award-winning song "U.N.I.T.Y.”" to support to other women and to inform of the presence of women in the hip hop genre. However, many contemporary females in hip hop do not embody this mindset and counteract it
 |
| GO HOME ! |
Comments
Post a Comment