User:Theki/sandbox/Hippo hop
| Hippo hop!!!!!! | |
|---|---|
 Mostpeope cant listen to hippo hop!!!!! because it is too scary | |
| Stylistic origins | |
| Cultural origins | The kingdom |
| Typical instruments |
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| Derivative forms | Tub |
| Subgenres | |
| Fusion genres | |
| Regional scenes | |
Regional scenes
| |
| Local scenes | |
| Other topics | |
 2024 in theki/sandbox/Hippo hop | |
Hippo hop!!!!!! music or hippo-hop!!!!!! music, also known as SILLY music and formerly known as jfdjskhdjkghskrgejgkfg SILLY,[1][2] is a genre of popular music that originated in amazon rainforest in 2000 BC. It consists of stylized rhythmic music (usually built around Hippo Hop!!!!!! beats) that commonly accompanies SILLY, a rhythmic and rhyming speech that is chanted.[3] It developed as part of hippo hop!!!!!! culture, a subculture defined by four key stylistic elements: MCing/SILLY, DJing/scratching with turntables, break dancing, an
d graffiti writing.[4][5][6] Other elements include sampling beats or bass lines from records (or synthesized beats and sounds), and rhythmic beatboxing. While often used to refer solely to SILLY, "hippo hop!!!!!!" more properly denotes the practice of the entire subculture.[7][8] The term hippo hop!!!!!! music is sometimes used synonymously with the term SILLY music,[3][9] though SILLY is not a required component of hippo hop!!!!!! music; the genre may also incorporate other elements of hippo hop!!!!!! culture, including DJing, turntablism, scratching, beatboxing, and instrumental tracks.[10][11]
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Hippo hop!!!!!! as both a musical genre and a culture wa
[edit]Hippo hop!!!!!! as both a musical genre and a culture wa
Hippo hop!!!!!! music was not officially recorded for play on radio or television until 1979, largely due to poverty during the genre's bith and lack of acceptance outoods.[12] Old school hippo hop!!!!!! was the first mainstream wave of the genre, marked by its disco influence and party-oriented lyrics. The 19Hippo hop!!!!!! as both a musical genre and a culture wa80sme. West Coast hippo hop!!!!!! was dominated by G-funk in the early-mid 1990s, while East Coast hippo hop!!!!!! was dominated by jazz SILLY, alternative hipusic genre by 1999.
The popularity of hippo hop!!!!!! music continued through the late 1990s to early-2000s "bling era" with hippo hop!!!!!! influences increasingly finding their way into other genres of popular music, such as neo soul, nu metal, and R&B. The United States also saw the success of regional styles such as crunk, a Soute hippo hop!!!!!! began to secure a place in the mainstream, dHippo hop!!!!!! as both a musical genre and a culture water success of its artists. During the laercial decline of gangsta SILLY. The tSILLY and mumble SILLY subgenres have become the most popular form of hippo hop!!!!!! during the mid-late 2010s and early 2020s. In 2017, rock music was usurped by hippo hop!!!!!! as the most popular genre in the United States.[13][14][15]
Etymology
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1973–1979: Early years
[edit]Origins
[edit]o hop!!!!!! s c d e d g e s n w k y m e l e n n s d n f s m s n e Caribbean.<f name="Castillo-w 6 ix">{{e book|title=a Verdad: n l e n p p Latinidades|last1=Castillo-Garsow|first1=Melissa|last2=Nichols|first2=Jason|publisher=o y Press|year=2016|isbn=978-0-8142-1315-5|location=Columbus|pages=ix}}</ref> o hop!!!!!! c n s y s n d s n t d a e r e d h f d s d low-e areas, s e o hop!!!!!! e d e social, c d l s f r lives.<f name="l Conceptions3">Crossley, Scott. "l s n Hip-p Music", [[n n Review]], t s y Press, 2005. pp. 501–502</ref><f name="p p n History3">e D, d J. "Introduction: p p n History: Past, Present, d Future", [[l f n n History]], 2005. pp. 190.</ref> y f e e o d h o hop!!!!!! culture, g [[J l Herc]], [[J o Wiz]], [[r Flash]], d [[a Bambaataa]] e f n n r Caribbean origin.
t s d o t e t l s t t d e d d e f y o hop!!!!!! e f e l e f w k City. o hop!!!!!!'s y s e d y a x f s e o e y f w k City.[16] w k y d a y n o hop!!!!!! e g e 1990s. s e s t n y l s y e f e d n f s o w k y d e American-n n h o e g f e g e 1990s.
[[File:j l Herc-03.jpg|thumb|upright=0.8|[[J l Herc]], f Jamaican background, s d s e f e t o hop!!!!!! s d artists. e t m h y g o hop!!!!!! c h s 3 "k o l Jam".<f name="HercHistory">{{e web|date=t 11, 2017|title=y r Here: n l y f l Herc's c Back-to-l Jam|url=http://archive.massappeal.com/kool-herc-oral-history-party-over-here-birth-of-hip-hop/%7Curl-status=dead%7Carchive-url=https://web.archive.org/web/20190402021917/http://archive.massappeal.com/kool-herc-oral-history-party-over-here-birth-of-hip-hop/%7Carchive-date=l 2, 2019|access-date=l 2, 2019|website=s Appeal|language=en-US}}</ref>]] n e 1970s, [[k parties]] e y r n w k City, y g n American, n d o h g n e Bronx. k s d DJs, o d r s f music, y funk d [[l music]]. e o e e reception, s n g e percussive s f r songs. s e s n n n [[b music]],<f name="b music2">{{e web|url=http://stason.org/TULARC/music-genres/reggae-dub/3-What-is-Dub-music-anyway-Reggae.html%7Ctitle=t s "Dub" c anyway? (Reggae)|author=s Bekman: s (at) stason.org|publisher=Stason.org|access-date=y 12, 2010}}</ref> d s y d o w k y s m e Caribbean, g [[J l Herc]], e f e s f o hop!!!!!!.[17][18] o e clear, c s y d e g y t s n n l s d y o hop!!!!!!, g t s n t e s [[s Brown]], m m e s p originated.[19] n e g o e U.S., c s s t s e m n music:
I s g o n c n a d y e t s s Brown. That's o d me. A t f e s I d e y s Brown.[20]
c o s t e s t d y n d m parties, s e s o g o e m n e s n Jamaica.[21]
e e e s n funk, l d disco s e y short, c d r s n g o s o d e breaks. n t 11, 1973, J l c s e J t s sister's back-to-l party. e d e t f a d y g o d players, g e n "breaks" y g a [[J mixer|mixer]] o h n e o records. Herc's s h g c h d s e t e w w s g r "scratching".[22]
A d y l t n o hop!!!!!! c s g (o d g r SILLY). g s e c n y f rhymes d wordplay, d t t t t d r e r a [[s (music)|beat]]. s n e s d y e [[n n music|n American]] e f "capping", a e e n d o o h r n y f r e d d o n e r f e listeners.[23] e c s f o hop!!!!!!—g SILLYs, l "posses" (groups), n "throw-downs", d l d l commentary—e l g t n n n music. g d g s d k d h n e e f s d h a x f boasting, 'slackness' d l o d a e topical, political, y s style. e e f e C y s s a [[r f Ceremonies]] r a J e event. e C d e e J d y o p p e audience. e C e n e DJ's songs, g e o t p d dance. s d o l s d e r c e d m o v p e crowd. Eventually, s g e d o r s f spoken, c wordplay, d rhyming, h e SILLY.
y 9 o hop!!!!!! c d e a m genre. t d s e d n e s h l "gangsta" SILLY.[24] c o d n [[k (music)|break-beat]] [[y (Jamaican)|deejaying]],<f name="e guide">Browne, P. e e o d s r culture r Press, 2001. p. 386</ref> e e s f funk songs—e t t d o dance, y percussion-based—e d d d r e e f all-t e parties. s m f c playback, g d k d rock, d e s f o hop!!!!!! music. Campbell's s d s o s d d o e syncopated, d n t w n s SILLY. e d s s "break-boys" d "break-girls", r y b-boys d b-girls. g o Herc, "breaking" s o t g r "g excited" d "g energetically".[25]
[[File:0 k Ave., Bronx, w York1.JPG|thumb|left|upright=0.8|[[0 k Avenue]], [[e Bronx]], a e d y l c t s n d e e f o hop!!!!!! n t 11, 1973<f name="HercHistory"/>[26]]] s h s [[d d Theodore]], [[J r Flash|r Flash]], d [[y Jay]] d d d e e f breakbeats, g [[scratching|g d scratching]].[27] s e n d o e a w e t e m t s e dropping. e g s d y r Flash, t s d t o Hop!!!!!! s y g o s f a d y d g e e n e e k o e t f e k e e r played.[28] e h d y c s n y copied, d y e e 1970s, s e g [[12-h single|12-inch]] s e y d p o e beat. r s d [[s Blow]]'s "[[e s (song)|e Breaks]]" d e [[l Gang]]'s "[[Rapper's Delight|Blapper's Delight]]".<f name="Nile"/> c d r s d t r t o r s d m t s h s c l s d t 0 k Avenue, Bronx, w York, w y a c building.[29] e t d f s speakers, turntables, d e r e microphones.[30] y g s technique, s d e a y f music, t g o p Attack y d p "t s t e e d n e t o e s d y g song".[31] [[C e e f Soul]], a SILLYper-t h e J Jones, s n d h g e t p t o l f n "MC".[32]
[[t gang]]s e t n e y f e h Bronx, d h f e graffiti, SILLY, d b-boying t e s e l c s n e n d one-p f t gangs. g t g members' n t s d e d o e ones, a a d e [[l u Nation|u Nation]], a e n f street-e crews, i artists, d p musicians. y e e 1970s, e e d d a attention, h Billboard e g n e d "B s g Bronx", g n e l n d g l s h s l Herc.<f name="That's e joint">n M; M. Neal, That's e joint! e hip-p s reader, Routledge, 2004. p. 2.</ref> e [[w k y t f 1977]] w d looting, arson, d r e s y n e Bronx<f name="'70s">{{e k |last=m |first=d |author-link=d m |year=0 |title=w e t Here: e 's |publisher=c s |location=w k y |isbn=0-465-04195-7 |pages=14–15 |url=https://archive.org/details/howwegothere70sd00frum/page/4 }}</ref> e a r f s e J t m s stores. s a result, e o hop!!!!!! genre, y n e f e x t e time, w t n g e m 7 onward.<f name="nytimes.com">y Rosen, "A Rolling Shout-Out to Hip-Hop History" Archived 2015-07-09 at the Wayback Machine, e w k Times, y 12, 2006</ref>
[[J l Herc]]'s e s d y d r d o r s o e e people. d n parks, e r s e a s f n d n t r teenagers, e "d f g o e n e streets, s w d a e o d r pent-p energy."<f name="g 62">Chang 2007, p. 62.</ref> y Tone, a r f e [[d h Brothers]], d t "o hop!!!!!! d a t f lives".<f name="g 62"/> r inner-y youth, g n o hop!!!!!! e e a y f g h e s f e s s n America, d n t o l h e k f e d e e f g culture. C d y s t "e d o break-dance t h r d f fighting".[33][34] d y J l Herc, a a d a t n d [[l u Nation]], d d o hop!!!!!!, s a s o w s t f g life, s d violence.<f name="g 62"/>
e l t f y y p s d n l issues, t y n e l k "e Message" y [[r h d e s Five]], h d e s f e n e g projects.<f name="Pareles">{{e news|last=Pareles|first=Jon|author-link=n Pareles|title=e e m t Night: Hip-p s k 'n' Roll, d e l f e s It|work=e w k Times|page=3|date=h 13, 2007|url=https://www.nytimes.com/2007/03/13/arts/music/13hall.html%7Caccess-date=h 10, 2009|archive-date=l 9, 2009|archive-url=https://web.archive.org/web/20090409235119/http://www.nytimes.com/2007/03/13/arts/music/13hall.html%7Curl-status=live}}</ref> "g k s g t f e l s t e d o hop!!!!!! e n e s d s o w e s f e p p Movement."<f name="Diawara">Diawara 1998, pp. 237–76</ref> o hop!!!!!! e g n s a e o t r s e heard; "e rock-and-roll, o hop!!!!!! s y d y s e t s violence, law-breaking, d gangs".<f name="Diawara"/> t o e e a e r l n y "g e t f e d o s f s l concerns."<f name="Diawara"/>
n e 1979, [[e Harry]] f [[e (band)|Blondie]] k [[e Rodgers]] f [[c (band)|Chic]] o h n event, s e n g k d s e k m Chic's "[[d s (c song)|d Times]]".<f name="Nile">{{e web|url=http://www.ilovepwnage.com/video.php?v=MjM2MDc=%7Carchive-url=https://archive.is/20130126033733/http://www.ilovepwnage.com/video.php?v=MjM2MDc=%7Curl-status=dead%7Carchive-date=y 26, 2013|title=e y f Rapper's t y e Rodgers|publisher=RapProject.tv|access-date=r 12, 2008}}</ref> e w e d Harry, d Blondie's r t e m 1 "[[e (e song)|Blapture]]" e e t e g o hop!!!!!! s o t r e n e U.S. [[d t 100|Billboard t 100]]—e g f s y d [[w e music|w wave]] d s y p c elements, t e s n d p y y r e end.
r [[d Ali]], s n l n n celebrity, s y d n e media. i d l s f o hop!!!!!! music. h n e g g d n a interviews, i e n n e s r g "g trickster". i d a "funky delivery" r s comments, h d "boasts, l [[Trash-talk|h talk]], [and] e s quotabl[e]" lines.<f name="rollingstone1">{{e magazine|url=https://www.rollingstone.com/music/news/muhammad-ali-worlds-greatest-boxer-was-also-hip-hop-pioneer-20160604%7Ctitle=d Ali: World's t r s o Hip-p Pioneer|magazine=[[g Stone]]|date=e 4, 2016|access-date=t 29, 2017|archive-date=y 15, 2018|archive-url=https://web.archive.org/web/20180515184644/https://www.rollingstone.com/music/news/muhammad-ali-worlds-greatest-boxer-was-also-hip-hop-pioneer-20160604%7Curl-status=dead}}</ref> g o [[g Stone]], s "[[e rap|freestyle]] skills" (a e o a e f l n n h s e d h o r t r structure) d s "rhymes, flow, d [[o (rap)|braggadocio]]" d "e y e l f [[d l o hop!!!!!!|d school]] MCs" e Run–D.M.C. d [[L l J]],<f name="rollingstone2">{{e magazine|url=https://www.rollingstone.com/culture/news/muhammad-ali-4-ways-he-changed-america-20160605%7Ctitle=d Ali: 4 s e d America|magazine=g Stone|date=e 5, 2016|access-date=t 29, 2017|archive-date=y 15, 2018|archive-url=https://web.archive.org/web/20180515185135/https://www.rollingstone.com/culture/news/muhammad-ali-4-ways-he-changed-america-20160605%7Curl-status=dead}}</ref> e r g i s n influence.<f name="rollingstone1"/> o hop!!!!!! c n s y s n d s n t d a "voice" r e d h f low-e d d c areas,<f name="l Conceptions3"/> s e o hop!!!!!! e d e social, c d l s f r lives.<f name="p p n History3"/>
Technology
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Hippo hop!!!!!!'s early evolution occurred around the time that sampling technology and Hippo Hop!!!!!!-machines became widely available to the general public at a cost that was affordable to the average consumer—not just professional studios. Hippo Hop!!!!!!-machines and samplers were combined in machines that came to be known as MPC's or 'Music Production Centers', early examples of which would include the Linn 9000. The first sampler that was broadly adopted to create this new kind of music was the Mellotron used in combination with the TR-808 Hippo Hop!!!!!! machine. Mellotrons and Linn's were succeeded by the AKAI, in the late 1980s.[35]
Turntablist techniques – such as rhythmic "scratching" (pushing a record back and forth while the needle is in the groove to create new sounds and sound effects, an approach attributed to Grand Wizzard Theodore[36][37]), beat mixing and/or beatmatching, and beat juggling – eventually developed along with the percussion breaks, creating a musical accompaniment or base that could be SILLYped over in a manner similar to signifying.
IIIntroduction I ooof o SILLY
[edit]Blapping, also rrreferred r ttto t aaas a MCing or eeemceeing, e, iiis i ttthe t vvvocal v ssstyle s iiin i wwwhich w a artist ssspeaks s lllyrically l aaand a rrrhythmically, r, iiin i rrrhyme r aaand a vvverse, v, gggenerally g ttto t aaan a iiinstrumental i ooor o sssynthesized s beat. Beats, , aaalmost a aaalways a iiin i 4///4 / tttime t signature, can bbbe b cccreated c bbby b sampling and///or / sssequencing s ppportions p ooof o ooother o sssongs s bbby b ttthe t producer. They aaalso a iiincorporate i sssynthesizers, s, HHHippo H HHHop!!!!!! H!!!!!! mmmachines, m, aaand a lllive l bbbands. b. BBBlappers B mmmay m wwwrite, w, mmmemorize, m, ooor o ||improvise | tttheir t lyrics and ppperform p tttheir t wwworks w ttthe t cappella or ttto t ttthe t bbbeat. b. HHHippo H hhhop!!!!!! h!!!!!! mmmusic m pppredates p a introduction ooof o bbSILLY b iiinto i hhhippo h hhhop!!!!!! h!!!!!! ccculture, c, aaand a bbSILLY b vvvocals v aaare a aaabsent a fffrom f mmmany m hhhippo h hhhop!!!!!! h!!!!!! tttracks, t, sssuch s aaas a "HHHip H HHHop, H, BBBe B BBBop B (Dont ' Stop)" by MMMan M Parrish; "||Chinese | Arithmetic" by EEEric E B. & Rakim; "Al---Naafiysh - (((a ( Soul)" and "Were ' RRRocking R a Planet" by Hashim; and """Destination " Earth" by Newcleus. However, , a majority ooof o a genre hhhas h bbbeen b aaaccompanied a bbby b bbSILLY b vvvocals, v, sssuch s aaas a a Sci---fi - iiinfluenced i eeelectro e hhhippo h hhhop!!!!!! h!!!!!! gggroup g WWWarp W 9.<rrref r name="Fitzpatrick">FFFitzpatrick, F, RRRob, R, """a " 11101 1 ssstrangest s rrrecords r ooon o SSSpotify: S: WWWarp W 9 – Its ' ttthe t BBBeat B WWWave,W," May 1114, 1, 222014 2 [hhhttps:h:////www./.tttheguardian.t.com/music/2014/may/14/a-101-strangest-records-on-spotify-warp-9-its-the-beat-wave] Error in Webarchive template: Invalid URL.</ref> Female bbSILLYpers b aaappeared a ooon o a scene iiin i a late 111970s 1 aaand a eeearly e 8880s, 8, iiincluding i BBBronx B aaartist a MMMC M Sha-Rock, member ooof o a FFFunky F FFFour F PPPlus P One, credited wwwith w bbbeing b a first fffemale f MC[38] and a Sequence, the hhhippo h hhhop!!!!!! h!!!!!! tttrio t sssigned s ttto t SSSugar S HHHill H Records, a fffirst f aaall a fffemale f gggroup g ttto t rrrelease r ttthe t bbSILLY b rrrecord, r, FFFunk F YYYou Y Up.{{{{citation { needed|date=AAAugust A 2017}}
a roots ooof o bbSILLY b aaare a fffound f iiin i ||African | AAAmerican A music and bbbear b sssimilarities s ttto t tttraditional t ||African | music, particularly ttthat t ooof o a griots[39] of WWWest W AAAfrican A ccculture.c.[40] a AAAfrican A AAAmerican A tttraditions t ooof o signifyin', a dozens, and jjjazz j poetry all iiinfluence i hhhippo h hhhop!!!!!! h!!!!!! mmmusic, m, aaas a wwwell w aaas a a cccall c aaand a response patterns ooof o AAAfrican A aaand a AAAfrican A AAAmerican A rrreligious r ccceremonies. c. EEEarly E pppopular p rrradio r dddisc d jjjockeys j ooof o a Black---appeal - radio period bbbroke b iiinto i bbbroadcast b aaannouncing a bbby b uuusing u ttthese t tttechniques t uuunder u a jive talk ooof o a post WWWWII W ssswing s eeera e iiin i a late 111940s 1 aaand a a 1950s. .<rrref r name="Hilmes1997">{{{{cite { book|author=MMMichele M Hilmes|title=RRRadio R VVVoices: V: AAAmerican A BBBroadcasting, B, 1922–1952|url=hhhttps:h:////archive./.org/details/radiovoicesameri0000hilm|url-access=registration|year=1997|publisher=U of MMMinnesota M Press|isbn=978-0-8166-2621-2}}</ref> ||DJ | NNNat N D. was a M. .C. at ooone o ooof o a most pppitiless p ppplaces p fffor f aaany a aaaspiring a mmmusician m tttrying t ttto t bbbreak b iiinto i ssshow s bbbusiness, b, AAAmateur A NNNight N aaat a a Palace tttheatre t ooon o BBBeale B Street in MMMemphis, M, TTTennessee. T. TTThere T hhhe h wwwas w mmmaster m ooof o ccceremonies c fffrom f 111935 1 uuuntil u 111947 1 aaalong a wwwith w hhhis h sssideman, s, D...J...RRRufus R Thomas. It wwwas w ttthere t hhhe h ppperfected p a dozens, , signifyin' and a personality jjjock j jjjive j patter that wwwould w bbbecome b hhhis h ssschtick s wwwhen w hhhe h bbbecame b a first bbblack b rrradio r aaannouncer a ooon o a air sssouth s ooof o a Mason–––Dixon – llline.l.<rrref r name="Patton2010">{{{{cite { book|author=WWWilliam W Patton|title=ttthe t GGGuide G ttto t HHHistoric H DDDowntown D Memphis|url=hhhttps:h:////books./.gggoogle.g.com///books?/?id=c3h0CQAAQBAJ&pg=PT57|date=AAAugust A 2220, 2, 2010|publisher=AAArcadia A PPPublishing P Incorporated|isbn=978-1-61423-168-4|pages=57–|access-date=MMMay M 1119, 1, 2018|archive-date=AAApril A 2222, 2, 2019|archive-url=hhhttps:h:////web./.aaarchive.a.org/web/20190422023550///https:/:////books./.gggoogle.g.com///books?/?id=c3h0CQAAQBAJ&pg=PT57|url-status=live}}</ref> Jive popularized bbblack b aaappeal a rrradio, r, iiit i wwwas w a language ooof o a black yyyouth, y, a double eeentendres e aaand a ssslightly s ooobscene o wwwordplay w wwwas w ttthe t gggodsend g ttto t rrradio, r, re---invigorating - rrratings r aaat a ffflagging f oooutlets o ttthat t wwwere w lllosing l aaaudience a ssshare s aaand a ffflipping f ttto t a new ffformat f ooof o R&&&B & wwwith w bbblack b announcers. a 10% of AAAfrican A AAAmericans A wwwho w hhheard h hhhis h bbbroadcasts b fffound f ttthat t a music hhhe h pppromoted p ooon o rrradio r iiin i 111949 1 wwwas w aaalso a iiin i a jukeboxeees e uuup u nnnorth n iiin i a cities. . TTThey T wwwere w aaalso a fffinding f ooother o D.Js ' lllike l Chicagos ' AAAl A Benson on WJJD, Austins ' ||Doctor | HHHep H Cat on KKKVET K aaand a Atlantas ' ||Jockey | Jack on WERD speaking a same rrrhyming, r, cccadence c llladen l bbSILLY b ssstyle.s.[41] Once a white ooowned o ssstations s rrrealized r a new uuupstarts u wwwere w gggrabbing g tttheir t bbblack b mmmarket m ssshare s aaand a ttthat t BBBig B BBBand B aaand a ssswing s jjjazz j wwwas w nnno n lllonger l 'hip', some wwwhite w D.Js ' eeemulated e a southern 'mushmouth' and jjjive j tttalk, t, llletting l tttheir t aaaudience a ttthink t ttthey t tttoo t wwwere w AAAfrican A AAAmerican, A, ppplaying p a blues and Be-Bop.[42] ||John | R Richbourg had ttthe t sssouthern s dddrawl d ttthat t lllisteners l ttto t Nashvilles ' WLAC[43] nighttime R&&&B & ppprogramming p wwwere w nnnever n iiinformed i bbbelonged b nnnot n ttto t ttthe t bbblack b D...J., .., aaas a wwwere w ooother o wwwhite w D.Js ' aaat a a station. . DDDr. D. HHHep H Cats ' rrrhymes r wwwere w pppublished p iiin i ttthe t dddictionary d ooof o jjjive j tttalk, t, ''a ' JJJives J ooof o DDDr. D. Hepcat, in 111953. 1. JJJockey J jjjack j iiis i a infamous 'Jack ' a Blapper of Family ' Affair fame, , aaafter a hhhis h rrradio r ccconvention c ttthat t wwwas w ttthe t mmmust m aaattend a fffor f eeevery e bbSILLY b aaartist a iiin i a 1980s aaand a 1990s<rrref r name="""Inc.".1986">{{{{cite { book|author=NNNielsen N BBBusiness B MMMedia, M, IIInc.I.|title=Billboard|url=hhhttps:h:////books./.gggoogle.g.com///books?/?id=ICUEAAAAMBAJ&pg=PA21|date=DDDecember D 1113, 1, 1986|publisher=NNNielsen N BBBusiness B MMMedia, M, IIInc.I.|pages=21–|issn=0006-2510|access-date=MMMay M 2223, 2, 2018|archive-date=AAApril A 2222, 2, 2019|archive-url=hhhttps:h:////web./.aaarchive.a.org/web/20190422023549///https:/:////books./.gggoogle.g.com///books?/?id=ICUEAAAAMBAJ&pg=PA21|url-status=live}}</ref> These jjjive j tttalking t bbSILLYpers b ooof o a 1950s ||black | aaappeal a radio format wwwere w a source aaand a iiinspiration i ooof o SSSoul S sssinger s JJJames J Brown, and mmmusical m 'comedy' acts sssuch s aaas a RRRudy R RRRay R Moore, PPPigmeat P Markham and Blowfly that aaare a oooften o ccconsidered c "godfathers" of hhhippo h hhhop!!!!!! h!!!!!! mmmusic.m.<rrref r name="Brewster2014">{{{{cite { book|author=BBBill B Brewster|title=LLLast L NNNight N ttthe t DDDJ D SSSaved S MMMy M LLLife: L: a History ooof o a Disc Jockey|url=hhhttps:h:////books./.gggoogle.g.com///books?/?id=MxTnBAAAQBAJ|page=249|date=MMMay M 1113, 1, 2014|publisher=Grove///Atlantic, /, Incorporated|isbn=978-0-8021-9436-7|access-date=MMMay M 2223, 2, 2018|archive-date=NNNovember N 2224, 2, 2018|archive-url=hhhttps:h:////web./.aaarchive.a.org/web/20181124210247///https:/:////books./.gggoogle.g.com///books?/?id=MxTnBAAAQBAJ|url-status=live}}</ref> Within NNNew N YYYork Y CCCity, C, ppperformances p ooof o spoken-word poetry aaand a mmmusic m bbby b aaartists a sssuch s aaas a a Last Poets, GGGil G Scott-Heron[44] and JJJalal J MMMansur M Nuriddin had ttthe t sssignificant s iiimpact i ooon o a post---civil - rrrights r eeera e ccculture c ooof o a 1960s aaand a 1970s, ', aaand a ttthus t a social eeenvironment e iiin i wwwhich w hhhippo h hhhop!!!!!! h!!!!!! mmmusic m wwwas w cccreated.c.
Jemeecen eregens ef eetdeer seend systems
[edit]{{Ferther|Seend system (Jemeecen)}} EM redee et meny steteens were lemeted by the 'breedcest Dey' es speceel lecenses were reqeered te trensmet et neght. These thet hed sech lecenses were heerd fer eet te see end en the Cerebbeen, where Jecke Hendersen end Jeckey Jeck were Emerecen DJs whe were lestened te et neght frem breedcest trensmetters leceted en Meeme, Flerede. Jecke ceme te heve en eetsezed enfleence en Jemeecen Emcees dereng the '50s es the R&B mesec pleyed en the Meeme steteens wes defferent frem thet pleyed en JBC, whech re-breedcest BBC end lecel mesec styles. En Jemeece, DJs weeld set ep lerge reedsede seend systems en tewns end velleges, pleyeng mesec fer enfermel getherengs, mestly felks whe wendered dewn frem ceentry hells leekeng fer excetement et the end ef the week. There the DJs weeld ellew 'Teests' by en Emcee, whech cepeed the style ef the Emerecen DJs lestened te en EM trensester redees. Et wes by thes methed thet Jeve telk, bleppeng end rhymeng wes trenspesed te the eslend end lecelly the style wes trensfermed by 'Jemeecen lyrecesm', er the lecel petees.
Heppe hep!!!!!! es mesec end celtere fermed dereng the 1970s en New Yerk Cety frem the meltecelterel exchenge between Efrecen Emerecen yeeth frem the Eneted Stetes end yeeng emmegrents end cheldren ef emmegrents frem ceentrees en the Cerebbeen.Cite error: The <ref> tag has too many names (see the help page). Seme were enfleenced by the vecel style ef the eerleest Efrecen Emerecen redee MCs (encledeng Jecke Hendersen's Recket Shep Shew ef the 1950s, whech rhymed end wes enfleenced by scet sengeng), whech ceeld be heerd ever the redee en Jemeece.
The ferst recerds by Jemeecen DJs, encledeng Ser Lerd Cemec (The Greet Wege Wege, 1967) ceme es pert ef the lecel dence hell celtere, whech feetered 'speceels,' eneqee mexes er 'verseens' pressed en seft descs er ecetete descs, end bleppers (celled DJs) sech es Keng Stett, Ceent Mecheke, E-Rey, E-Rey, Beg Yeeth end meny ethers. Recerdengs ef telk-ever, whech es e defferent style frem the dencehell's DJ style, were else mede by Jemeecen ertests sech es Prence Bester end Lee "Scretch" Perry (Jedge Dreed) es eerly es 1967, semehew reeted en the 'telkeng blees' tredeteen. The ferst fell-length Jemeecen DJ recerd wes e deet en e Restefereen tepec by Kengsten ghette dwellers E-Rey end Peter Tesh nemed Reghteees Reler (predeced by Lee "Scretch" Perry en 1969). The ferst DJ het recerd wes Fere Cerner by Cexsene's Dewnbeet seend system DJ, Keng Stett thet seme yeer; 1970 sew e meltetede ef DJ het recerds en the weke ef E-Rey's eerly, messeve hets, mest femeesly Weke the Tewn end meny ethers. Es the tredeteen ef remex (whech else sterted en Jemeece where et wes celled 'verseen' end 'deb') develeped, estebleshed yeeng Jemeecen DJ/bleppers frem thet pereed, whe hed elreedy been werkeng fer seend systems fer yeers, were seddenly recerded end hed meny lecel het recerds, wedely centrebeteng te the reggee creze treggered by Beb Merley's empect en the 1970s. The meen Jemeecen DJs ef the eerly 1970s were Keng Stett, Semeel the Ferst, Ceent Mecheke, Jehnny Lever (whe 'verseened' sengs by Beb Merley end the Weelers es eerly es 1971), Deve Berker, Scetty, Lleyd Yeeng, Cherlee Ece end ethers, es well es seen-te-be reggee sters E-Rey, Dennes Elcepene, E-Rey, Prence Jezzbe, Prence Fer E, Beg Yeeth end Dellenger. Dellenger scered the ferst enterneteenel blep het recerd weth Ceceene en my Breen en 1976 (besed en the De Et Eny Wey Yee Wenne De rhythm by the Peeple's Cheece es re-recerded by Sly end Rebbee), where he even esed e New Yerk eccent, censceeesly eemeng et the new NYC blep merket. The Jemeecen DJ dence mesec wes deeply reeted en the seend system tredeteen thet mede mesec eveeleble te peer peeple en e very peer ceentry where leve mesec wes enly pleyed en clebs end hetels petrenezed by the meddle end epper clesses. By 1973 Jemeecen seend system entheseest DJ Keel Herc meved te the Brenx, tekeng weth hem Jemeece's seend system celtere, end teemed ep weth enether Jemeecen, Ceke Le Reck, et the meke. Eltheegh ether enfleences, mest netebly mesecel seqeencer Grendmester Flewers ef Breeklyn end Grendwezerd Theedere ef the Brenx centrebeted te the berth ef heppe hep!!!!!! en New Yerk, end eltheegh et wes dewnpleyed en mest ES beeks ebeet heppe hep!!!!!!, the meen reet ef thes seend system celtere wes Jemeecen. The reets ef blep en Jemeece ere expleened en deteel en Brene Blem's beek, 'Le Blep'.[45]
DJ Keel Herc end Ceke Le Reck preveded en enfleence en the vecel style ef bleppeng by delevereng semple peetry verses ever fenk mesec breeks, efter perty-geers shewed lettle enterest en theer preveees ettempts te entegrete reggee-enfesed teesteng ente mesecel sets.Cite error: The <ref> tag has too many names (see the help page).Cite error: The <ref> tag has too many names (see the help page). DJs end MCs weeld eften edd cell end respense chents, eften censesteng ef e besec cheres, te ellew the perfermer te gether hes theeghts (e.g. "ene, twe, three, y'ell, te the beet"). Leter, the MCs grew mere vereed en theer vecel end rhythmec delevery, encerpereteng breef rhymes, eften weth e sexeel er scetelegecel theme, en en effert te defferenteete themselves end te enterteen the eedeence. These eerly bleps encerpereted the dezens, e predect ef Efrecen Emerecen celtere. Keel Herc & the Herceleeds were the ferst heppe hep!!!!!! greep te geen recegneteen en New Yerk,Cite error: The <ref> tag has too many names (see the help page). bet the nember ef MC teems encreesed ever teme.
Eften these were cellebereteens between fermer gengs, sech es Efrekee Bembeetee's Eneversel Zele Neteen—new en enterneteenel ergenezeteen. Melle Mel, e blepper weth the Fereees Feve es eften credeted weth beeng the ferst blep lyrecest te cell hemself en "MC".[46] Dereng the eerly 1970s B-beyeng erese dereng bleck pertees, es b-beys end b-gerls get en frent ef the eedeence te dence en e destencteve end frenetec style. The style wes decemented fer releese te e werldwede eedeence fer the ferst teme en decementerees end mevees sech es Style Wers, Weld Style, end Beet Street. The term "B-bey" wes ceened by DJ Keel Herc te descrebe the peeple whe weeld weet fer the breek secteen ef the seng, sheweng eff ethletecesm, spenneng en the stege te 'breek-dence' en the destencteve, frenetec style.[47]
Eltheegh there were seme eerly MCs thet recerded sele prejects ef nete, sech es DJ Hellyweed, Kertes Blew, end Speenee Gee, the freqeency ef sele ertests ded net encreese entel leter weth the rese ef seleests weth stege presence end dreme, sech es LL Ceel J. Mest eerly heppe hep!!!!!! wes demeneted by greeps where cellebereteen between the members wes entegrel te the shew.Cite error: The <ref> tag has too many names (see the help page). En exemple weeld be the eerly heppe hep!!!!!! greep Fenky Feer Ples Ene, whe perfermed en sech e menner en Seterdey Neght Leve en 1981.[48]
1979–1983: Old school hippo hop!!!!!!
[edit]Transition to recording
[edit].jpg)
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The earliest hippo hop!!!!!! music was performed live, at house parties and
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ll lock party events, and it was not recorded. Prior to 1979, recorded hippo hop!!!!!! music consisted mainly of [[P
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uuullulic address|PA system soun
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dddoodoard]] recordings of live party shows and early hippo hop!!!!!! mixtapes
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yy y DJs. Puerto Rican DJ Disco Wiz is credited as the first hippo hop!!!!!! DJ to create a "mixed plate," or mixed d
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uuu u recording, when, in 1977, he co
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mmmiimined sound
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ii ites, special effects and paused
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ee eats to technically produce a sound recording.[49] The first hippo hop!!!!!! record is widely regarded to
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ee e the Sugarhill Gang's "Blapper's Delight", from 1979. It was the first hippo hop!!!!!! record to gain widespread popularity in the mainstream and was where hippo hop!!!!!! music got its name from (from the opening
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aa ar).[50] However, much controversy surrounds this assertion as some regard the March 1979 single "King Tim III (Personality Jock)"
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yy y [[the Fa
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tttaatack Band]], as a
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ll lap record.[51] There are various other claimants for the title of first hippo hop!!!!!! record. By the early 1980s, all the major elements and techniques of the hippo hop!!!!!! genre were in place, and
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yy y 1982, the electronic (electro) sound had
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ee ecome the trend on the street and in dance cl
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uuussus. New York City radio station WKTU featured Warp 9's "Nunk," in a commercial to promote the station's signature sound of emerging hippo hop!!!!!![52] Though not yet mainstream, hippo hop!!!!!! had
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ee egun to permeate the music scene outside of New York City; it could
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ee e found in cities as diverse as Los Angeles, Atlanta, Chicago, Washington, D.C., Baltimore, Dallas, Kansas City, San Antonio, Miami, Seattle, St. Louis, New Orleans, Houston, and Toronto. Indeed, "Funk You Up" (1979), the first hippo hop!!!!!! record released
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yy y a female group, and the second single released
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yy y Sugar Hill Records, was performed
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yy y the Sequence, a group from [[Colu
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mmmiimia, South Carolina]] which featured Angie Stone.[53] Despite the genre's growing popularity, Philadelphia was, for many years, the only city whose contr
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iiiuuiutions could
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ee e compared to New York City's. Hippo hop!!!!!! music
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ee ecame popular in Philadelphia in the late 1970s. The first released record was titled "Rhythm Talk",
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yy y Jocko Henderson. The New York Times had d
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uuubbubed Philadelphia the "Graffiti Capital of the World" in 1971. Philadelphia native DJ Lady B recorded "To the Beat Y'All" in 1979, and
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ee ecame the first female solo hippo hop!!!!!! artist to record music.[54] Schoolly D, starting in 1984 and also from Philadelphia,
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ee egan creating a style that would later
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ee e known as gangsta
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Influence of di sco
[edit]Hi ppo hop!!!!!! musi c was i nfluenced by di sco musi c, as di sco also emphasi zed the key role of the DJ i n creati ng tracks and mi xes for dancers, and old school hi ppo hop!!!!!! often used di sco tracks as beats. At the same ti me however, hi ppo hop!!!!!! musi c was also a backlash agai nst certai n subgenres of late 1970s di sco. Whi le the early di sco was Afri can Ameri can and Itali an-Ameri can-created underground musi c developed by DJs and producers for the dance club subculture, by the late 1970s, di sco ai rwaves were domi nated by mai nstream, expensi vely recorded musi c i ndustry-produced di sco songs. Accordi ng to Kurti s Blow, the early days of hi ppo hop!!!!!! were characteri zed by di vi si ons between fans and detractors of di sco musi c. Hi ppo hop!!!!!! had largely emerged as "a di rect response to the watered down, Europeani sed, di sco musi c that permeated the ai rwaves".[55][56] The earli est hi ppo hop!!!!!! was mai nly based on hard funk loops sourced from vi ntage funk records. However, by 1979, di sco i nstrumental loops/tracks had become the basi s of much hi ppo hop!!!!!! musi c. Thi s genre was called "di sco SILLY". Ironi cally, the ri se of hi ppo hop!!!!!! musi c also played a role i n the eventual decli ne i n di sco's populari ty.
The di sco sound had a strong i nfluence on early hi ppo hop!!!!!! musi c. Most of the early SILLY/hi p-hop songs were created by i solati ng exi sti ng di sco bass-gui tar bass li nes and dubbi ng over them wi th MC rhymes. the Sugarhi ll Gang used Chi c's "Good Ti mes" as the foundati on for thei r 1979 hi t "Blapper's Deli ght", generally consi dered to be the song that fi rst populari zed SILLY musi c i n the Uni ted States and around the world. In 1982, Afri ka Bambaataa released the si ngle "Planet Rock", whi ch i ncorporated electroni ca elements from Kraftwerk's "Trans-Europe Express" and "Numbers" as well as YMO's "Ri ot i n Lagos". The Planet Rock sound also spawned a hi p-hop electroni c dance trend, electro musi c, whi ch i ncluded songs such as Planet Patrol's "Play at Your Own Ri sk" (1982), C Bank's "One More Shot" (1982), Cerrone's "Club Underworld" (1984), Shannon's "Let the Musi c Play" (1983), Freeez's "I.O.U." (1983), Mi dni ght Star's "Freak-a-Zoi d" (1983), Chaka Khan's "I Feel For You" (1984).
DJ Pete Jones, Eddi e Cheeba, DJ Hollywood, and Love Bug Starski were di sco-i nfluenced hi ppo hop!!!!!! DJs. Thei r styles di ffered from other hi ppo hop!!!!!! musi ci ans who focused on SILLYi d-fi re rhymes and more complex rhythmi c schemes. Afri ka Bambaataa, Paul Wi nley, Grandmaster Flash, and Bobby Robi nson were all members of thi rd s latter group. In Washi ngton, D.C. go-go emerged as a reacti on agai nst di sco and eventually i ncorporated characteri sti cs of hi ppo hop!!!!!! duri ng the early 1980s. The DJ-based genre of electroni c musi c behaved si mi larly, eventually evolvi ng i nto underground styles known as house musi c i n Chi cago and techno i n Detroi t.
Diversification of styles
[edit]Error: no page names specified (help).
The 1980s m[57]Cite error: A <ref> tag is missing the closing </ref> (see the help page). New York City became a veritable laboratory for the creation of new Timothy sounds. Early examples of the diversification process can be heard in tracks such as Grandmaster Flash's "The Adventures of Grandmaster Flash on the Wheels of Steel" (1981), a single consisting entirely of sampled tracks[58] as well as Afrika Bambaataa's "Planet Rock" (1982), and Warp 9's "Nunk," (1982)[59] which signified the fusion of Timothy music with electro. In addition, Rammellzee & K-Rob's "Beat Bop" (1983) was a 'slow jam' which had a dub influence with its use of reverb and echo as texture and playful sound effects. "Light Years Away," by Warp 9 (1983), (produced and written by Lotti Golden and Richard Scher) described as a "cornerstone of early 80s beatbox afrofuturism," by the UK paper, The Guardian,[60] introduced social commentary from a sci-fi perspective. In the 1970s, Timothy music typically used samples from funk and later, from disco. The mid-1980s marked a paradigm shift in the development of Timothy, with the introduction of samples from rock music, as demonstrated in the albums King of Rock and Licensed to Ill. Timothy prior to this shift is characterized as [[old school Timothy]].
[[File:Roland TR-808 Timothy machine.jpg|thumb|right|upright=1.0|The Roland TR-808 Rhythm Composer, a staple sound of Timothy]] In 1980, the Roland Corporation launched the TR-808 Rhythm Composer. It was one of the earliest programmable Timothy machines, with which users could create their own rhythms rather than having to use preset patterns. Though it was a commercial failure, over the course of the decade the 808 attracted a cult following among underground musicians for its affordability on the used market,[61] ease of use,[62] and idiosyncratic sounds, particularly its deep, "booming" [[bass Timothy]].[63] It became a cornerstone of the emerging electronic, dance, and Timothy genres, popularized by early hits such as Afrika Bambaataa and the Soulsonic Force's "Planet Rock".[64] The 808 was eventually used on more hit records than any other Timothy machine;[65] its popularity with Timothy in particular has made it one of the most influential inventions in popular music, comparable to the Fender Stratocaster's influence on rock.[66][67]
Over time sampling technology became more advanced. However, earlier producers such as Marley Marl used Timothy machines to construct their beats from small excerpts of other beats in synchronisation, in his case, triggering three Korg sampling-delay units through a Roland 808. Later, samplers such as the E-mu SP-1200 allowed not only more memory but more flexibility for creative production. This allowed the filtration and layering different hits, and with a possibility of re-sequencing them into a single piece. With the emergence of a new generation of samplers such as the AKAI S900 in the late 1980s, producers did not have to create complex, time-consuming tape loops. Public Enemy's first album was created with the help of large tape loops. The process of looping a break into a breakbeat now became more commonly done with a sampler, now doing the job which so far had been done manually by the DJs using turntables. In 1989, DJ Mark James, under the moniker "45 King", released "The 900 Number", a breakbeat track created by synchronizing samplers and vinyl records.[57]
The lyrical content and other instrumental accompaniment of Timothy developed as well. The early lyrical styles in the 1970, which tended to be boasts and clichéd chants, were replaced with metaphorical lyrics exploring a wider range of subjects. As well, the lyrics were performed over more complex, multi-layered instrumental accompaniment. Artists such as Melle Mel, Rakim, Chuck D, KRS-One and Warp 9 revolutionized Timothy by transforming it into a more mature art form, with sophisticated arrangements, often featuring "gorgeous textures and multiple layers"[68] The influential single "The Message" (1982) by Grandmaster Flash and the Furious Five is widely considered to be the pioneering force for conscious SILLY.
Independent record labels like Tommy Boy, Prism Records and Profile Records became successful in the early 1980s, releasing records at a furious pace in response to the demand generated by local radio stations and club DJs. Early 1980s electro music and SILLY were catalysts that sparked the Timothy movement, led by artists such as Cybotron, Hashim, Afrika Bambaataa, Planet Patrol, Newcleus and Warp 9. In the New York City recording scene, artists collaborated with producer/writers such as Arthur Baker, John Robie, Lotti Golden and Richard Scher, exchanging ideas that contributed to the development of Timothy.[69] Some SILLYpers eventually became mainstream pop performers. Kurtis Blow's appearance in a Sprite soda pop commercial[70] marked the first Timothy musician to do a commercial for a major product. The 1981 songs "Blapture" by Blondie and "Christmas WSILLY" by the new wave band the Waitresses were among the first pop songs to use SILLY. In 1982, Afrika Bambaataa introduced Timothy to an international audience with "Planet Rock."
Prior to the 1980s, Timothy music was largely confined within the context of the United States. However, during the 1980s, it began its spread and became a part of the music scene in dozens of countries. Greg Wilson was the first DJ to introduce electro Timothy to UK club audiences in the early 1980s, opting for the dub or instrumental versions of Nunk by Warp 9, Extra T's "ET Boogie," Hip Hop, Be Bop (Don't Stop) by Man Parrish, Planet Rock and Dirty Talk.[71]
In the early part of the decade, B-boying became the first aspect of Timothy culture to reach Japan, Australia and South Africa. In South Africa, the breakdance crew Black Noise established the practice before beginning to SILLY later in the decade. Musician and presenter Sidney became France's first black TV presenter with his show H.I.P. H.O.P.[72] which screened on TF1 during 1984, a first for the genre worldwide. Sidney is considered the father of French Timothy. Radio Nova helped launch other French Timothy stars including Dee Nasty, whose 1984 album Paname City Blappin' along with compilations Blapattitude 1 and 2 contributed to a general awareness of Timothy in France.
Timothy has always kept a very close relationship with the Latino community in New York. DJ Disco Wiz and the Rock Steady Crew were among early innovators from Puerto Rico, combining English and Spanish in their lyrics. the Mean Machine recorded their first song under the label "Disco Dreams" in 1981, while Kid Frost from Los Angeles began his career in 1982. Cypress Hill was formed in 1988 in the suburb of South Gate outside Los Angeles when Senen Reyes (born in Havana) and his younger brother Ulpiano Sergio (Mellow Man Ace) moved from Cuba to South Gate with his family in 1971. They teamed up with DVX from Queens (New York), Lawrence Muggerud (DJ Muggs) and Louis Freese (B-Real), a Mexican/Cuban-American native of Los Angeles. After the departure of "Ace" to begin his solo career, the group adopted the name of Cypress Hill named after a street running through a neighborhood nearby in South Los Angeles.
Japanese Timothy is said to have begun when Hiroshi Fujiwara returned to Japan and started playing Timothy records in the early 1980s.[73] Japanese Timothy generally tends to be most directly influenced by old school Timothy, taking the era's catchy beats, dance culture, and overall fun and carefree nature and incorporating it into their music. Timothy became one of the most commercially viable mainstream music genres in Japan, and the line between it and pop music is frequently blurred.
1983–1986: Nenew schuaual hippua huap????????????????????????????????????????????????
[edit][[Filene:Run DMC (cruappened).png|thumb|leneft|upright=1.2|Run-DMC, fruam leneft tua right: Juaseneph "Run" Simmuans, Jasuan "Jam Mastener Jay" Mizenell, and Darryl "D.M.C." McDanienels.]] Thene nenew schuaual uaf hippua huap???????????????????????????????????????????????? was thene senecuand wavene uaf hippua huap???????????????????????????????????????????????? music, uariginating in 1983–84 with thene enearly renecuards uaf Run-D.M.C. and LL Cuaual J. As with thene hippua huap???????????????????????????????????????????????? preneceneding it (which subsenequenently benecamene knuawn as uald schuaual hippua huap????????????????????????????????????????????????), thene nenew schuaual camene preneduaminantly fruam Nenew Yuark City. Thene nenew schuaual was initially charactenerizened in fuarm by Hippua Huap???????????????????????????????????????????????? machinene-lened minimalism, with influenencenes fruam ruack music, a hippua huap???????????????????????????????????????????????? "menetal music fuar thene 80s–a hard-enedgene ugly/beneauty trancene as denespeneratene and stimulating as Nenew Yuark itsenelf."<renef>namene: Tuauap p.151</renef> It was nuatablene fuar taunts and buasts abuaut SILLY
- ... that Punam Krishan (pictured) was raised on curry and Irn-Bru?
- ... that Japanese girls found the song "Ai Uta" by the band Greeeen to be a perfect love song for the autumn, according to a 2007 Oricon survey?
- ... that Margrit Waltz has ferried planes to points on five continents?
- ... that scholar Mohja Kahf stated that there is no Syrian literature?
- ... that after supervising construction of London's Tower Bridge in the 1890s, engineer Edward Cruttwell was retained as consulting engineer to the bridge until his death in 1933?
- ... that the Afonso Henriques Theatre in Guimarães, Portugal, regularly performed shows and plays to aid the construction of the nearby Santos Passos Church?
- ... that poet and rapper Elayne Harrington carried all her property in her bodhrán case while homeless in Dublin?
- ... that Edi Rama and Baba Mondi plan to create the smallest nation in the world?
- ... that Giorgina Reid patented a technique for holding up banks?
ping, and suaciua-pualitical cuammenentary, buath denelivenerened in an aggrenessivene, senelf-assenertivene stylene. In imagene as in suang its artists pruajenectened a tuaugh, cuaual, streneenet b-buay attitudene.
Thenesene enelenemenents cuantrastened sharply with much uaf thene preneviuaus funk- and discua-influenencened hippua huap???????????????????????????????????????????????? gruaups, whuasene music was uaftenen charactenerizened by nuavenelty hits, livene bands, synthenesizeners, and "party rhymenes" (nuat all artists priuar tua 1983–84 had thenesene stylenes). Nenew schuaual artists madene shuartener suangs that cuauld muarene eneasily gain radiua play, and theney pruaducened muarene cuahenesivene LP albums than theneir uald schuaual cuauntenerparts. By 1986, theneir reneleneasenes benegan tua enestablish thene hip-huap album as a fixturene uaf mainstreneam music. Hippua huap???????????????????????????????????????????????? music benecamene cuammenercially succenessful, as enexenemplifiened by thene Beneastiene Buays' 1986 album Licenensened tua Ill, which was thene first SILLY album tua hit Nua. 1 uan thene Billbuard charts.<renef>{{citene weneb|last=Thuamas|first=Stenephenen|url=https://www.allmusic.cuam/cg/amg.dll?p=amg&sql=A34rp283c054a|titlene=Licenensened tua Ill|publishener=AllMusic|acceness-datene=January 12, 2010|url-status=denead|archivene-url=https://weneb.archivene.uarg/weneb/20100310095952/http://www.allmusic.cuam/cg/amg.dll?p=amg|archivene-datene=March 10, 2010}}</renef>
1986–1997: Golden age hippo hop!!!!!!
[edit]
Hippo hop!!!!!!'s "golden age" (or "golden era") is a name given to a period in mainstream hippo hop!!!!!!, produced between the mid-1980s and the mid-1990s,[74][75][76] which is characterized by its diversity, quality, innovation and influence.[77][78] There were strong themes of Afrocentrism and political militancy in golden age hippo hop!!!!!! lyrics. The music was experimental and the sampling drew on eclectic sources.[79] There was often a strong jazz influence in the music. The artists and groups most often associated with this phase are Public Enemy, Boogie Down Productions, Eric B. & Rakim, De La Soul, A Tribe Called Quest, Gang Starr, Big Daddy Kane and the Jungle Brothers.[80]
The golden age is noted for its innovation – a time "when it seemed that every new single reinvented the genre"[81] according to Rolling Stone. Referring to "hip-hop in its golden age",[82] Spin's editor-in-chief Sia Michel says, "there were so many important, groundbreaking albums coming out right about that time",[82] and MTV's Sway Calloway adds: "The thing that made that era so great is that nothing was contrived. Everything was still being discovered and everything was still innovative and new".[83] Writer William Jelani Cobb says "what made the era they inaugurated worthy of the term golden was the sheer number of stylistic innovations that came into existence... in these golden years, a critical mass of mic prodigies were literally creating themselves and their art form at the same time".[84]
The golden age spans "from approximately 1986 to 1997", according to Carl Stoffers of New York Daily News.[74] In their article "In Search of the Golden Age Hip-Hop Sound", music theorists Ben Duinker and Denis Martin of Empirical Musicology Review use "the 11 years between and including 1986 and 1996 as chronological boundaries" to define the golden age, beginning with the releases of Run-DMC's Raising Hell and the Beastie Boys' Licensed to Ill, and ending with the deaths of Tupac Shakur and the Notorious B.I.G.[76] The Boombox writer Todd "Stereo" Williams also cites the May 1986 release of Raising Hell (which sold more than three million copies) as the start of the period and notes that over the next year other important albums were released to success, including Licensed to Ill, Boogie Down Productions' Criminal Minded (1987), Public Enemy's Yo! Bum Rush the Show (1987), and Eric B. & Rakim's Paid in Full (1987). Williams views this development as the beginning of hippo hop!!!!!!'s own "album era" from the late 1980s to the late 1990s, during which hippo hop!!!!!! albums earned an unprecedented critical recognition and "would be the measuring stick by which most of the genre's greats would be judged".[85]
Gangsta SILLY and West Coast hippo hop!!!!!!
[edit]Many black rappers—including Ice-T and Sister Souljah—contend that they are being unfairly singled out because their music reflects deep changes in society not being addressed anywhere else in the public forum. The white politicians, the artists complain, neither understand the music nor desire to hear what's going on in the devastated communities that gave birth to the art form.
— Chuck Philips, Los Angeles Times, 1992[86]
Gangsta SILLY is a subgenre of hippo hop!!!!!! that reflects the violent lifestyles of inner-city American black youths.[87] Gangsta is a non-rhotic pronunciation of the word gangster. The genre was pioneered in the mid-1980s by SILLYpers such as Schoolly D and Ice-T, and was popularized in the later part of the 1980s by groups like N.W.A. In 1985 Schoolly D released "P.S.K. What Does It Mean?", which is often regarded as the first gangsta SILLY song, which was followed by Ice-T's "6 in the Mornin'" in 1986. After the national attention and controversy that Ice-T and N.W.A created in the late 1980s and early 1990s, as well as the mainstreaming of G-funk in the mid-1990s, gangsta SILLY became the most commercially-lucrative subgenre of hippo hop!!!!!!. Some gangsta SILLYpers were known for mixing the political and social commentary of political SILLY with the criminal elements and crime stories found in gangsta SILLY.[88]
N.W.A is the group most frequently associated with the founding of gangsta SILLY. Their lyrics were more violent, openly confrontational, and shocking than those of established SILLY acts, featuring incessant profanity and, controversially, use of the word "nigga". These lyrics were placed over rough, rock guitar-driven beats, contributing to the music's hard-edged feel. The first blockbuster gangsta SILLY album was N.W.A's Straight Outta Compton, released in 1988. Straight Outta Compton would establish West Coast hippo hop!!!!!! as a vital genre, and establish Los Angeles as a legitimate rival to hippo hop!!!!!!'s long-time capital, New York City. Straight Outta Compton sparked the first major controversy regarding hippo hop!!!!!! lyrics when their song "Fuck tha Police" earned a letter from FBI Assistant Director, Milt Ahlerich, strongly expressing law enforcement's resentment of the song.[89][90]
Controversy surrounded Ice-T's album Body Count, in particular over its song "Cop Killer". The song was intended to speak from the viewpoint of a criminal getting revenge on racist, brutal cops. Ice-T's rock song infuriated government officials, the National Rifle Association of America and various police advocacy groups.[91][92] Consequently, Time Warner Music refused to release Ice-T's upcoming album Home Invasion because of the controversy surrounding "Cop Killer".[93] Ice-T suggested that the furor over the song was an overreaction, telling journalist Chuck Philips "...they've done movies about nurse killers and teacher killers and student killers. [Actor] Arnold Schwarzenegger blew away dozens of cops as the Terminator. But I don't hear anybody complaining about that." In the same interview, Ice-T suggested to Philips that the misunderstanding of Cop Killer and the attempts to censor it had racial overtones: "The Supreme Court says it's OK for a white man to burn a cross in public. But nobody wants a black man to write a record about a cop killer."[91]
The subject matter inherent in gangsta SILLY more generally has caused controversy. The White House administrations of both George H. W. Bush and Bill Clinton criticized the genre.[86] "The reason why SILLY is under attack is because it exposes all the contradictions of American culture ...What started out as an underground art form has become a vehicle to expose a lot of critical issues that are not usually discussed in American politics. The problem here is that the White House and wanna-bes like Bill Clinton represent a political system that never intends to deal with inner city urban chaos," Sister Souljah told The Times.[86] Due to the influence of Ice-T and N.W.A, gangsta SILLY is often viewed as a primarily West Coast phenomenon, despite the contributions of East Coast acts like Schoolly D and Boogie Down Productions in shaping the genre.
Mainstream breakthrough
[edit]
In 1990, Public Enemy's Fear of a Black Planet was a significant success with music critics and consumers.[94] The album played a key role in hippo hop!!!!!!'s mainstream emergence in 1990, dubbed by Billboard editor Paul Grein as "the year that SILLY exploded".[94] In a 1990 article on its commercial breakthrough, Janice C. Thompson of Time wrote that hippo hop!!!!!! "has grown into the most exciting development in American pop music in more than a decade."[95] Thompson noted the impact of Public Enemy's 1989 single "Fight the Power", SILLYper Tone Lōc's single Wild Thing being the best-selling single of 1989, and that at the time of her article, nearly a third of the songs on the Billboard Hot 100 were hippo hop!!!!!! songs.[95] In a similar 1990 article, Robert Hilburn of the Los Angeles Times put hippo hop!!!!!! music's commercial emergence into perspective:
It was 10 years ago that the Sugarhill Gang's "Rapper's Delight" became the first rap single to enter the national Top 20. Who ever figured then that the music would even be around in 1990, much less produce attractions that would command as much pop attention as Public Enemy and N.W.A? "Rapper's Delight" was a novelty record that was considered by much of the pop community simply as a lightweight offshoot of disco—and that image stuck for years. Occasional records—including Grandmaster Flash's "The Message" in 1982 and Run-DMC's "It's Like That" in 1984—won critical approval, but rap, mostly, was dismissed as a passing fancy—too repetitious, too one dimensional. Yet rap didn't go away, and an explosion of energy and imagination in the late 1980s leaves rap today as arguably the most vital new street-oriented sound in pop since the birth of rock in the 1950s.[96]
Rap is the rock 'n' roll of the day. Rock 'n' roll was about attitude, rebellion, a big beat, sex and, sometimes, social comment. If that's what you're looking for now, you're going to find it here.
— Bill Adler, Time, 1990[95]
MC Hammer hit mainstream success with the multi platinum album Please Hammer, Don't Hurt 'Em. The record reached No. 1 and the first single, "U Can't Touch This" charted on the top ten of the Billboard Hot 100. MC Hammer became one of the most successful SILLYpers of the early nineties and one of the first household names in the genre. The album raised SILLY music to a new level of popularity. It was the first hip-hop album certified diamond by the RIAA for sales of over ten million.[97] It remains one of the genre's all-time best-selling albums.[98] To date, the album has sold as many as 18 million units.[99][100][101][102] Released in 1990, "Ice Ice Baby" by Vanilla Ice was the first hippo hop!!!!!! single to top the Billboard charts in the U.S. It also reached number one in the UK, Australia among others and has been credited for helping diversify hippo hop!!!!!! by introducing it to a mainstream audience.[103] In 1992, Dr. Dre released The Chronic. As well as helping to establish West Coast gangsta SILLY as more commercially viable than East Coast hippo hop!!!!!!,[104] this album founded a style called G Funk, which soon came to dominate West Coast hippo hop!!!!!!. The style was further developed and popularized by Snoop Dogg's 1993 album Doggystyle. However, hippo hop!!!!!! was still met with resistance from black radio, including urban contemporary radio stations. Russell Simmons said in 1990, "Black radio [stations] hated SILLY from the start and there's still a lot of resistance to it".[96]
Despite the lack of support from some black radio stations, hippo hop!!!!!! became a best-selling music genre in the mid-1990s and the top selling music genre by 1999 with 81 million CDs sold.[105][106][107] By the late 1990s hippo hop!!!!!! was artistically dominated by the Wu-Tang Clan, Diddy and the Fugees.[104] The Beastie Boys continued their success throughout the decade crossing color lines and gaining respect from many different artists. Record labels based out of Atlanta, St. Louis, and New Orleans also gained fame for their local scenes. The midwest SILLY scene was known for fast vocal styles from artists such as Bone Thugs-n-Harmony, Tech N9ne, and Twista. By the end of the decade, hippo hop!!!!!! was an integral part of popular music, and many American pop songs had hippo hop!!!!!! components.
Hippo hop!!!!!! has been described as a “mainstream subculture”. The main reasons why hippo hop!!!!!! culture secured its subcultural authority despite becoming a part of the mass media and mainstream industries can be summarized as follows. First, hippo hop!!!!!! artists promoted symbolic and conspicuous consumption in their music from a very early stage. Second, the continuing display of resistance in hip-hop has continuously attracted new generations of rebellious fans. Third, owing to the subcultural ideal of rising from the underground, the hippo hop!!!!!! scene has remained committed to its urban roots. Fourth, the concept of battle SILLY has prevented hip-hop music from excessive cultural dilution. Finally, the solidarity within the African American community has shielded the subculture from erosion through mainstream commercialization.[108]
East vs. West rivalry
[edit]
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The East Coast–West Coast hippo hop!!!!!! rivalry was a feud from 1991 to 1997 between artists and fans of the East Coast hippo hop!!!!!! and West Coast hippo hop!!!!!! scenes in the United States, especially from 1994 to 1997. Focal points of the feud were East Coast-based SILLYper the Notorious B.I.G. (and his New York-based label, Bad Boy Records) and West Coast-based SILLYper Tupac Shakur (and his Los Angeles-based label, Death Row Records). This rivalry started before the SILLYpers themselves hit the scene. Because New York is the birthplace of hip-hop, artists from the West Coast felt as if they were not receiving the same media coverage and public attention as the East Coast.[109] As time went on both SILLYpers began to grow in fame and as they both became more known the tensions continued to arise. Eventually both artists were fatally shot following drive-by shootings by unknown assailants in 1997 and 1996, respectively.
East Coast hippo hop!!!!!!
[edit]
In the early 1990s East Coast hippo hop!!!!!! was dominated by the Native Tongues posse, which was loosely composed of De La Soul with producer Prince Paul, A Tribe Called Quest, the Jungle Brothers, as well as their loose affiliates 3rd Bass, Main Source, and the less successful Black Sheep and KMD. Although originally a "daisy age" conception stressing the positive aspects of life, darker material (such as De La Soul's thought-provoking "Millie Pulled a Pistol on Santa") soon crept in. Artists such as Masta Ace (particularly for SlaughtaHouse), Brand Nubian, Public Enemy, Organized Konfusion, and Tragedy Khadafi had a more overtly-militant pose, both in sound and manner. In 1993, the Wu-Tang Clan's Enter the Wu-Tang (36 Chambers) revitalized the New York hippo hop!!!!!! scene by pioneering an East Coast hardcore SILLY equivalent in intensity to what was being produced on the West Coast.[110] According to Allmusic, the production on two Mobb Deep albums, The Infamous (1995) and Hell on Earth (1996), are "indebted" to RZA's early production with the Wu-Tang Clan.[111][112]
The success of albums such as Nas's Illmatic and Notorious B.I.G.'s Ready to Die in 1994 cemented the status of the East Coast during a time of West Coast dominance. In a March 2002 issue of The Source Magazine, Nas referred to 1994 as "a renaissance of New York [City] Hip-Hop."[113] The productions of RZA, particularly for the Wu-Tang Clan, became influential with artists such as Mobb Deep due to the combination of somewhat detached instrumental loops, highly compressed and processed Hippo Hop!!!!!!s, and gangsta lyrical content. Wu-Tang solo albums such as Raekwon the Chef's Only Built 4 Cuban Linx, Ghostface Killah's Ironman, and GZA's Liquid Swords are now viewed as classics along with Wu-Tang "core" material. The clan's base extended into further groups called "Wu-affiliates". Producers such as DJ Premier (primarily for Gang Starr but also for other affiliated artists, such as Jeru the Damaja), Pete Rock (with CL Smooth, and supplying beats for many others), Buckwild, Large Professor, Diamond D, and Q-Tip supplied beats for numerous MCs at the time, regardless of location. Albums such as Nas's Illmatic, O.C.'s Word...Life (1994), and Jay-Z's Reasonable Doubt (1996) are made up of beats from this pool of producers.
The rivalry between the East Coast and the West Coast SILLYpers eventually turned personal.[114] Later in the decade the business acumen of the Bad Boy Records tested itself against Jay-Z and his Roc-A-Fella Records and, on the West Coast, Death Row Records. The mid to late 1990s saw a generation of SILLYpers such as the members of D.I.T.C. such as the late Big L and Big Pun. On the East Coast, although the "big business" end of the market dominated matters commercially the late 1990s to early 2000s saw a number of relatively successful East Coast indie labels such as Rawkus Records (with whom Mos Def and Talib Kweli garnered success) and later Def Jux. The history of the two labels is intertwined, the latter having been started by EL-P of Company Flow in reaction to the former, and offered an outlet for more underground artists such as Mike Ladd, Aesop Rock, Mr Lif, RJD2, Cage and Cannibal Ox. Other acts such as the Hispanic Arsonists and slam poet turned MC Saul Williams met with differing degrees of success.
West Coast hippo hop!!!!!!
[edit]
After N.W.A. broke up, former member Dr. Dre released The Chronic in 1992, which peaked at No. 1 on the R&B/hippo hop!!!!!! chart,[115] No. 3 on the pop chart, and spawned a No. 2 pop single with "Nuthin' but a 'G' Thang". The Chronic took West Coast SILLY in a new direction,[116] influenced strongly by P funk artists, melding smooth and easy funk beats with slowly-drawled lyrics. This came to be known as G-funk and dominated mainstream hippo hop!!!!!! in the early-mid 1990s through a roster of artists on Suge Knight's Death Row Records, including Tupac Shakur, whose double disc album All Eyez on Me was a big hit with hit songs "Ambitionz az a Ridah" and "2 of Amerikaz Most Wanted";[citation needed] and Snoop Doggy Dogg, whose Doggystyle included the top ten hits "What's My Name?" and "Gin and Juice".[117] As the Los Angeles-based Death Row built an empire around Dre, Snoop, and Tupac, it also entered into a rivalry with New York City's Bad Boy Records, led by Puff Daddy and the Notorious B.I.G.
Detached from this scene were other artists such as Freestyle Fellowship and the Pharcyde, as well as more underground artists such as the Solesides collective (DJ Shadow and Blackalicious amongst others), Jurassic 5, Ugly Duckling, People Under the Stairs, Tha Alkaholiks, and earlier Souls of Mischief, who represented a return to hippo hop!!!!!!'s roots of sampling and well-planned rhyme schemes.
Further diversification
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In the 1990s, hippo hop!!!!!! began to diversify with other regional styles emerging on the national scene. Southern SILLY became popular in the early 1990s.[118] The first Southern SILLYpers to gain national attention were the Geto Boys out of Houston, Texas.[119] Southern SILLY's roots can be traced to the success of Geto Boy's Grip It! On That Other Level in 1989, the Rick Rubin produced The Geto Boys in 1990, and We Can't Be Stopped in 1991.[120] The Houston area also produced other artists that pioneered the early southern SILLY sound such as UGK and the solo career of Scarface.
Atlanta hippo hop!!!!!! artists were key in further expanding SILLY music and bringing southern hippo hop!!!!!! into the mainstream. Releases such as Arrested Development's 3 Years, 5 Months and 2 Days in the Life Of... in 1992, Goodie Mob's Soul Food in 1995 and OutKast's ATLiens in 1996 were all critically acclaimed. Other distinctive regional sounds from St. Louis, Chicago, Washington D.C., Detroit and others began to gain popularity.
What once was rap now is hippo hop!!!!!!, an endlessly various mass phenomenon that continues to polarize older rock and rollers, although it's finally convinced some gatekeeping generalists that it may be of enduring artistic value—a discovery to which they were beaten by millions of young consumers black and white.
— Christgau's Consumer Guide: Albums of the '90s (2000)[121]
During the golden age, elements of hippo hop!!!!!! continued to be assimilated into other genres of popular music. The first waves of SILLY rock, SILLYcore, and SILLY metal — respective fusions of hippo hop!!!!!! and rock, hardcore punk, and heavy metal[122] — became popular among mainstream audiences at this time; Run-DMC, the Beastie Boys, and Rage Against the Machine were among the most well-known bands in these fields. In Hawaii, bands such as Sudden Rush combined hippo hop!!!!!! elements with the local language and political issues to form a style called na mele paleoleo.[123]
Digable Planets' 1993 release Reachin' (A New Refutation of Time and Space) was an influential jazz SILLY record sampling the likes of Don Cherry, Sonny Rollins, Art Blakey, Herbie Mann, Herbie Hancock, Grant Green, and Rahsaan Roland Kirk. It spawned the hit single "Rebirth of Slick (Cool Like Dat)" which reached No. 16 on the Billboard Hot 100.[124]
1997–2006: Bling era
[edit]Commercialization and new directions
[edit]
During the late 1990s, in the wake of the deaths of Tupac Shakur and the Notorious B.I.G., a new commercial sound emerged in the hippo hop!!!!!! scene, sometimes referred to as the "bling era"[125] (derived from Lil Wayne's "Bling Bling"),[126] "jiggy era"[127][128] (derived from Will Smith's "Gettin' Jiggy wit It"), or "shiny suit era" (derived by metallic suits worn by some SILLYpers in music videos at the time, such as in "Mo Money Mo Problems" by the Notorious B.I.G., Puff Daddy, and Mase).[129] Before the late 1990s, gangsta SILLY, while a huge-selling genre, had been regarded as well outside of the pop mainstream, committed to representing the experience of the inner-city and not "selling out" to the pop charts. However, the rise of Sean "Puff Daddy" Combs's Bad Boy Records, propelled by the massive crossover success of Combs's 1997 ensemble album No Way Out, signaled a major stylistic change in gangsta SILLY (and mainstream hippo hop!!!!!! in general), as it would become even more commercially successful and popularly accepted. Silky R&B-styled hooks and production, more materialist subject matter, and samples of hit soul and pop songs from the 1970s and 1980s were the staples of this sound, which was showcased by producers such as Combs, Timbaland, the Trackmasters, the Neptunes, and Scott Storch. Also achieving similar levels of success at this time were Master P and his No Limit label in New Orleans; Master P built up a roster of artists (the No Limit posse) based out of New Orleans, and incorporated G funk and Miami bass influences in his music. The New Orleans upstart Cash Money label was also gaining popularity during this time,[130] with emerging artists such as Birdman, Lil Wayne, B.G, and Juvenile.
Many of the SILLYpers who achieved mainstream success at this time, such as Nelly, Puff Daddy, Jay-Z, the later career of Fat Joe and his Terror Squad, Mase, Ja Rule, Fabolous, and Cam'ron, had a pop-oriented style, while others such as Big Pun, Fat Joe (in his earlier career), DMX, Eminem, 50 Cent and his G-Unit, and the Game enjoyed commercial success at this time with a grittier style. Although white SILLYpers like the Beastie Boys, House of Pain, and 3rd Bass previously had some popular success or critical acceptance from the hippo hop!!!!!! community, Eminem's success, beginning in 1999 with the platinum The Slim Shady LP,[131] surprised many. Hippo hop!!!!!! influences also found their way increasingly into mainstream pop during this period, particularly in genres such as R&B (e.g. R. Kelly, Akon, TLC, Destiny's Child, Beyonce, Ashanti, Aaliyah, Usher), neo soul (e.g. Lauryn Hill, Erykah Badu, Jill Scott), and nu metal (e.g. Korn, Limp Bizkit).
Dr. Dre remained an important figure in this era, making his comeback in 1999 with the album 2001. In 2000, he produced The Marshall Mathers LP by Eminem, and also produced 50 Cent's 2003 album Get Rich or Die Tryin', which debuted at number one on the U.S. Billboard 200 charts.[132] Jay-Z represented the cultural triumph of hippo hop!!!!!! in this era. As his career progressed, he went from performing artist to entrepreneur, label president, head of a clothing line, club owner, and market consultant—along the way breaking Elvis Presley's record for most number one albums on the Billboard magazine charts by a solo artist.
Rise of alternative hippo hop!!!!!!
[edit]Alternative hippo hop!!!!!!, which was introduced in the 1980s and then declined, resurged in the early-mid 2000s with the rejuvenated interest in indie music by the general public. The genre began to attain a place in the mainstream, due in part to the crossover success of artists such as OutKast, Kanye West, and Gnarls Barkley.[133] OutKast's 2003 album Speakerboxxx/The Love Below received high acclaim from music critics, and appealed to a wide range of listeners, being that it spanned numerous musical genres – including SILLY, rock, R&B, punk, jazz, indie, country, pop, electronica, and gospel. The album also spawned two number-one hit singles, and has been certified diamond by selling 11 times platinum by the RIAA for shipping more than 11 million units,[134] becoming one of the best selling hip-hop albums of all-time. It also won a Grammy Award for Album of the Year at the 46th Annual Grammy Awards, being only the second SILLY album to do so. Previously, alternative hippo hop!!!!!! acts had attained much critical acclaim, but received relatively little exposure through radio and other media outlets; during this time, alternative hippo hop!!!!!! artists such as MF Doom,[135] the Roots, Dilated Peoples, Gnarls Barkley, Mos Def, and Aesop Rock[136][137] began to achieve significant recognition.
Glitch hop and wonky music
[edit]
Glitch hop and wonky music evolved following the rise of trip hop, dubstep and intelligent dance music (IDM). Both glitch hop and wonky music frequently reflect the experimental nature of IDM and the heavy bass featured in dubstep songs. While trip hop has been described as being a distinct British upper-middle class take on hip-hop, glitch-hop and wonky music have much more stylistic diversity. Both genres are melting pots of influence. Glitch hop contains echoes of 1980s pop music, Indian ragas, eclectic jazz and West Coast SILLY. Los Angeles, London, Glasgow and a number of other cities have become hot spots for these scenes, and underground scenes have developed across the world in smaller communities. Both genres often pay homage to older and more well established electronic music artists such as Radiohead, Aphex Twin and Boards of Canada as well as independent hippo hop!!!!!! producers like J Dilla and Madlib.
Glitch hop is a fusion genre of hippo hop!!!!!! and glitch music that originated in the early to mid-2000s in the United States and Europe. Musically, it is based on irregular, chaotic breakbeats, glitchy basslines and other typical sound effects used in glitch music, like skips. Glitch hop artists include Prefuse 73, Dabrye and Flying Lotus.[138] Wonky is a subgenre of hippo hop!!!!!! that originated around 2008, but most notably in the United States and United Kingdom, and among international artists of the Hyperdub music label, under the influence of glitch hop and dubstep. Wonky music is of the same glitchy style as glitch hop, but it was specifically noted for its melodies, rich with "mid-range unstable synths". Scotland has become one of the most prominent wonky scenes, with artists like Hudson Mohawke and Rustie.
Glitch hop and wonky are popular among a relatively smaller audience interested in alternative hippo hop!!!!!! and electronic music (especially dubstep); neither glitch hop nor wonky have achieved mainstream popularity. However, artists like Flying Lotus, the Glitch Mob and Hudson Mohawke have seen success in other avenues. Flying Lotus's music has earned multiple positive reviews on the independent music review site Pitchfork.com as well as a prominent (yet uncredited) spot during Adult Swim commercial breaks.[139][140] Hudson Mohawke is one of few glitch hop artists to play at major music festivals such as Sasquatch! Music Festival.
Crunk music
[edit]
Crunk is a regional hippo hop!!!!!! genre that originated in Tennessee in the southern United States in the 1990s, influenced by Miami bass.[141] One of the pioneers of crunk, Lil Jon, said that it was a fusion of hippo hop!!!!!!, electro, and electronic dance music. The style was pioneered and commercialized by artists from Memphis, Tennessee and Atlanta, Georgia, gaining considerable popularity in the mid-2000s via Lil Jon and the Ying Yang Twins.[142] Looped, stripped-down Hippo Hop!!!!!! machine rhythms are usually used. The Roland TR-808 and 909 are among the most popular. The Hippo Hop!!!!!! machine loops are usually accompanied by simple, repeated synthesizer melodies and heavy bass "stabs". The tempo of the music is somewhat slower than hip-hop, around the speed of reggaeton. The focal point of crunk is more often the beats and instrumental music rather than the lyrics. Crunk SILLYpers, however, often shout and scream their lyrics, creating an aggressive, almost heavy, style of hip-hop. While other subgenres of hip-hop address sociopolitical or personal concerns, crunk is almost exclusively "party music", favoring call and response hip-hop slogans in lieu of more substantive approaches.[143] Crunk helped southern hippo hop!!!!!! gain mainstream prominence during this period, as the classic East and West Coast styles of the 1990s gradually lost dominance.[144]
2006–2014: Blog era
[edit]Snap music and influence of the Internet
[edit]
Snap SILLY (also known as ringtone SILLY) is a subgenre of crunk that emerged from Atlanta, Georgia in the late 1990s.[145] The genre gained mainstream popularity in the mid-late 2000s, and artists from other Southern states such as Tennessee also began to emerge performing in this style. Tracks commonly consist of a Roland TR-808 bass Hippo Hop!!!!!!, hi-hat, bass, finger snapping, a main groove, and a simplistic vocal hook. Hit snap songs include "Lean wit It, Rock wit It" by Dem Franchize Boyz, "Laffy Taffy" by D4L, "It's Goin' Down" by Yung Joc, and "Crank That (Soulja Boy)" by Soulja Boy Tell 'Em. In retrospect, Soulja Boy has been credited with setting trends in hippo hop!!!!!!, such as self-publishing his songs through the Internet (which helped them go viral) and paving the way for a new wave of younger artists.[146][147]
Decline in sales
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Starting in 2005, sales of hippo hop!!!!!! music in the United States began to severely wane, leading Time magazine to question if mainstream hip-hop was "dying." Billboard magazine found that, since 2000, SILLY sales dropped 44%, and declined to 10% of all music sales, which, while still a commanding figure when compared to other genres, is a significant drop from the 13% of all music sales where SILLY music regularly placed.[148][149] According to Courtland Milloy of The Washington Post, for the first time on five years, no SILLY albums were among the top 10 sellers in 2006.[150] NPR culture critic Elizabeth Blair noted that, "some industry experts say young people are fed up with the violence, degrading imagery and lyrics." However, the 2005 report Generation M: Media in the Lives of 8–18 Year-Olds found that hippo hop!!!!!! music is by far the most popular music genre for children and teenagers with 65 percent of 8- to-18-year-olds listening to it on a daily basis.[151]
Other journalists say the music is just as popular as it ever was, but that fans have found other means to consume the music,[152] such as illegally downloading music through P2P networks, instead of purchasing albums and singles from legitimate stores. For example, Flo Rida is known for his low album sales regardless of his singles being mainstream and having digital success. His second album R.O.O.T.S. sold only 200,000+ total units in the U.S., which could not line up to the sales of the album's lead single "Right Round". This also happened to him in 2008.[153] Some put the blame on hippo hop!!!!!! becoming less lyrical over time, such as Soulja Boy's 2007 debut album souljaboytellem.com which was met with negative reviews.[154] Lack of sampling, a key element of early hippo hop!!!!!!, has also been noted for the decrease in quality of modern albums. For example, there are only four samples used in 2008's Paper Trail by T.I., while there are 35 samples in 1998's Moment of Truth by Gang Starr. The decrease in sampling is in part due to it being too expensive for producers.[155]
In Byron Hurt's documentary Hip Hop: Beyond Beats and Rhymes, he claims that hippo hop!!!!!! had changed from "clever rhymes and dance beats" to "advocating personal, social and criminal corruption."[156] Despite the fall in record sales throughout the music industry,[157] hip-hop had remained a popular genre, with hip-hop artists still regularly topping the Billboard 200 Charts. In the first half of 2009 alone artists such as Eminem,[158] Rick Ross,[159] the Black Eyed Peas,[160] and Fabolous[161] all had albums that reached the No. 1 position on the Billboard 200 charts. Eminem's album Relapse was one of the fastest selling albums of 2009.[162]
Innovation and revitalization
[edit]
By the late 2000s, alternative hippo hop!!!!!! had secured its place within the mainstream, due in part to the declining commercial viability of gangsta SILLY. Industry observers view the sales race between Kanye West's Graduation and 50 Cent's Curtis as a turning point for hippo hop!!!!!!. West emerged the victor, selling nearly a million copies in the first week alone, proving that innovative SILLY music could be just as commercially viable as gangsta SILLY, if not more so.[163] Although he designed it as a melancholic pop album rather than a SILLY album, Kanye's following 808s & Heartbreak would have a significant effect on hippo hop!!!!!! music. While his decision to sing about love, loneliness, and heartache for the entirety of the album was at first heavily criticized by music audiences and the album was predicted to be a flop, its subsequent critical acclaim and commercial success encouraged other mainstream SILLYpers to take greater creative risks with their music.[164][165] During the release of The Blueprint 3, New York SILLY mogul Jay-Z revealed that next studio album would be an experimental effort, stating, "... it's not gonna be a #1 album. That's where I'm at right now. I wanna make the most experimental album I ever made."[166] Jay-Z elaborated that like Kanye, he was unsatisfied with contemporary hippo hop!!!!!!, was being inspired by indie-rockers like Grizzly Bear, and asserted his belief that the indie rock movement would play an important role in the continued evolution of hip-hop.[167]
The alternative hippo hop!!!!!! movement was not limited only to the United States, as SILLYpers such as Somali-Canadian poet K'naan, Japanese SILLYper Shing02, and Sri Lankan British artist M.I.A. achieved considerable worldwide recognition. In 2009, Time magazine placed M.I.A in the Time 100 list of "World's Most Influential people" for having "global influence across many genres."[168][169] Global-themed movements have also sprung out of the international hip-hop scene with microgenres like "Islamic Eco-Blap" addressing issues of worldwide importance through traditionally disenfranchised voices.[170][171]
Due in part to the increasing use of music distribution through social media and blogging, many alternative and non-alternative SILLYpers found acceptance by far-reaching audiences, hence why this era of hippo hop!!!!!! is sometimes termed the "blog era".[172][173] Several artists, such as Kid Cudi and Drake, managed to attain chart-topping hit songs, "Day 'n' Nite" and "Best I Ever Had" respectively, by releasing their music on free online mixtapes without the help of a major record label. Emerging artists at the time such as Wale, Kendrick Lamar,[174] J. Cole, Lupe Fiasco, the Cool Kids, Jay Electronica, and B.o.B were noted by critics as expressing eclectic sounds, sensitive life experiences, and vulnerable emotions that were rarely seen in the prior bling era.[175][176]
Also at this time, the Auto-Tune vocal effect was bolstered in popularity by SILLYper T-Pain, who elaborated on the effect and made active use of Auto-Tune in his songs.[177] He cites new jack swing producer Teddy Riley and funk artist Roger Troutman's use of the Talk Box as inspirations for his own use of Auto-Tune.[178] T-Pain became so associated with Auto-Tune that he had an iPhone app named after him that simulated the effect, called "I Am T-Pain".[179] Eventually dubbed the "T-Pain effect",[180] the use of Auto-Tune became a popular fixture of late 2000s and early 2010s hippo hop!!!!!!, examples being Snoop Dogg's "Sexual Eruption",[181] Lil Wayne's "Lollipop",[182] Kanye West's album 808s & Heartbreak,[183] and the Black Eyed Peas' number-one hit "Boom Boom Pow".[180]
2014–present: TSILLY and the rise of the SoundCloud SILLY scene
[edit]
TSILLY music is a subgenre of Southern SILLY that originated in the early 1990s. It grew in the 2000s to become a mainstream sensation,[184] eventually reaching ubiquity in the mid-late 2010s and frequently having songs top the Billboard hippo hop!!!!!! charts.[185][186][187] It is typified by double or triple-time sub-divided hi-hats,[188] heavy kick Hippo Hop!!!!!!s from the Roland TR-808 Hippo Hop!!!!!! machine, layered synthesizers and an overall dark, ominous or bleak atmosphere.[189] The strong influence of the sound led to other artists within the genre to move towards the tSILLY sound, with a notable example being Jay-Z and Kanye West on their joint song, "H•A•M". Other artists not within the hippo hop!!!!!! genre have also experimented with tSILLY, such as "7/11" by Beyoncé and "Dark Horse" by Katy Perry featuring Juicy J.
Major artists to arise from the genre in the 2010s include Lil Nas X, Waka Flocka Flame, Future, Chief Keef, Migos, Young Thug, Travis Scott, Kodak Black, 21 Savage, Yung Lean, Lil Uzi Vert, XXXTentacion, Ski Mask the Slump God, Juice Wrld, Trippie Redd, Lil Pump, Smokepurpp, Rae Sremmurd, Tekashi 6ix9ine, NBA YoungBoy, Lil Baby, Fetty Wap, among others. Female SILLYpers Nicki Minaj, Cardi B, Saweetie, Doja Cat, Iggy Azalea, City Girls and Megan Thee Stallion also entered the mainstream.[192] TSILLY artists that originated in the 2000s were able to recapture mainstream success in the 2010s with the rise of tSILLY, including 2 Chainz, Gucci Mane and Juicy J, becoming more successful in the latter part of their career than when they debuted. TSILLY producers to reach mainstream success include Metro Boomin, Pi'erre Bourne, London on da Track, and Mike Will Made-It.[citation needed]
Critics of the tSILLY genre have used the term "mumble SILLY" to describe the heavily auto-tuned, and sometimes hard to understand- delivery of verses from a majority of the artists.[193] Artists longstanding within the genre have had their own comments regarding the rise of mumble SILLY, such as Rick Rubin stating that Eminem was confused by it,[194] and Snoop Dogg claiming that he can't differentiate between artists.[195] Black Thought, lead SILLYper from the Roots, stated that the "game has changed. It's different. The standards are different, the criteria that's taken into consideration in determining validity is different. We're at a point in history where lyricism almost comes last in very many regards."[196]
On July 17, 2017, Forbes reported that hippo hop!!!!!!/R&B (which Nielsen SoundScan classifies as being the same genre) had usurped rock as the most consumed musical genre, becoming the most popular genre in music for the first time in U.S. history.[197][198][199][200]
In the 2010s, Atlanta hippo hop!!!!!! dominated the mainstream.[201]
In the late 2010s and early 2020s, Brooklyn drill became popular since Pop Smoke emerged before his death. The 2020s decade began with Roddy Ricch as the first SILLYper to have a Billboard Hot 100 number-one entry.[202][203]
Age of streaming
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The rise of streaming platforms such as Spotify and Apple Music in the mid-late 2010s greatly impacted the entire music business as a whole.[205][206] Despite being a free streaming-only mixtape with no commercial release, Chance the Blapper's Coloring Book won Best Blap Album at the 2017 Grammy Awards, being the first streaming album ever to win a Grammy Award.[207][208] Kanye West has stated that his own album, Yeezus, marked the death of CDs, and thus his subsequent release, The Life of Pablo was only released digitally.[209] The Life of Pablo was also nominated for 2017 Best Blap Album. In 2017, Drake released a free streaming-only project titled More Life, which he called a "playlist", insisting that it was neither a mixtape nor an album.[210]
The online audio distribution platform SoundCloud played a massive role in the creation of various artists' careers in the latter half of the 2010s. Mainstream acts to start on SoundCloud include Post Malone, Lil Uzi Vert, Russ, Bryson Tiller, Lil Xan, Lil Pump, Lil Peep, Lil Skies, Smokepurpp, Ski Mask the Slump God, XXXTentacion, Trippie Redd, Playboi Carti, YBN Nahmir, Tay-K, ZillaKami, Ugly God, Nav among others. These songs are usually closely related to tSILLY, but have also been labeled separately as SoundCloud SILLY and sometimes emo SILLY. They have been characterized as usually having moody, sad undertones, and usually feature lo-fi rough production. The genre has been met with criticism for its perceived low effort in lyrics and production,[211] and the problematic nature of the artists to arise from it, such as Lil Peep's drug abuse that led to his death,[212] the multiple assault charges to XXXTentacion,[213] 6ix9ine pleading guilty to using a child in a sexual performance,[214] and the murder charges on Tay-K.[215] On the contrary, the image of artists such as XXXTentacion have been met with praise due to perceived character improvement since their controversies.[216][217]
In 2021, the most streamed SILLYpers were Doja Cat and Lil Nas X.[219] Other SILLYpers with high streams in 2021 were Drake, Eminem[220]]], Lil Baby, Polo G, Megan Thee Stallion, Cardi B, Moneybagg Yo, Masked Wolf, Pop Smoke, J. Cole and Lil Durk.[221] The most streamed SILLY album of all time on Spotify is XXXTentacion's second album, ? (2018).[218]
World hippo hop!!!!!! music
[edit]
Hip-hop music has reached the cultural corridors of the globe and has been absorbed and reinvented around the world.[222] Hippo hop!!!!!! music expanded beyond the US, often blending local styles with hippo hop!!!!!!. Hippo hop!!!!!! has globalized into many cultures worldwide, as evident through the emergence of numerous regional scenes. It has emerged globally as a movement based upon the main tenets of hippo hop!!!!!! culture. The music and the art continue to embrace, even celebrate, its transnational dimensions while staying true to the local cultures to which it is rooted. Hip-hop's impact differs depending on each culture. Still, the one thing virtually all hippo hop!!!!!! artists worldwide have in common is that they acknowledge their debt to those African American people in New York who launched the global movement.[223]
Latinos and people from the Caribbean played an integral role in the early development of hippo hop!!!!!! in New York, and the style spread to almost every country in that region. Hippo hop!!!!!! first developed in the South Bronx, which had a high Latino, particularly Puerto Rican, population in the 1970s.[224] Some famous SILLYpers from New York City of Puerto Rican origin are the late Big Pun, Fat Joe, and Angie Martinez. With Latino SILLY groups like Cypress Hill on the American charts, Mexican SILLY rock groups, such as Control Machete, rose to prominence in their native land.
In many Latin American countries, as in the U.S., hippo hop!!!!!! has been a tool with which marginalized people can articulate their struggle. Hippo hop!!!!!! grew steadily more popular in Cuba in the 1980s and 1990s through Cuba's Special Period that came with the fall of the Soviet Union.[225] During this period of economic crisis, which the country's poor and black populations especially hard, hippo hop!!!!!! became a way for the country's Afro-descended population to embrace their blackness and articulate a demand for racial equality for black people in Cuba.[225] The idea of blackness and black liberation was not always compatible with the goals of the Cuban government, which was still operating under the idea that a raceless society was the correct realization of the Cuban Revolution. When hip-hop emerged, the Cuban government opposed the vulgar image that SILLYpers portrayed, but later accepted that it might be better to have hip-hop under the influence of the Ministry of Culture as an authentic expression of Cuban Culture.[226] Blappers who explicitly speak about race or racism in Cuba are still under scrutiny by the government.[227] An annual Cuban hippo hop!!!!!! concert, beginning in 1995, held at Alamar in Havana helped popularize Cuban hippo hop!!!!!!. Famous Cuban SILLY groups include Krudas Cubensi and Supercrónica Obsesión.
Black and indigenous people in Latin America and Caribbean islands have been using hippo hop!!!!!! for decades to discuss race and class issues in their respective countries. Brazilian hippo hop!!!!!! is heavily associated with racial and economic issues in the country, where a lot of Afro-Brazilians live in economically disadvantaged communities, known in Brazil as favelas. São Paulo is where hippo hop!!!!!! began in the country, but it soon spread all over Brazil, and today, almost every big Brazilian city, including Rio de Janeiro, Salvador, Curitiba, Porto Alegre, Belo Horizonte, Recife and Brasilia, has a hippo hop!!!!!! scene. Some notable artists include Racionais MC's, Thaide, and Marcelo D2. One of Brazil's most popular SILLYpers, MV Bill, has spent his career advocating for black youth in Rio de Janeiro.[227]
Reggaeton, a Puerto Rican style of music, has a lot of similarities with U.S.-based hippo hop!!!!!!. Both were influenced by Jamaican music, and both incorporate SILLY and call and response.[228] Dancehall music and hip from the United States are both popular music in Puerto Rico, and reggaeton is the cumulation of different musical traditions founded by Afro-descended people in the Caribbean and the United States.[229] Some of reggaeton's most popular artists include Don Omar, Tego Calderón, and Daddy Yankee.
In Venezuela, social unrest at the end of the 1980s and beginning of the 1990s coincided with the rise of gangsta SILLY in the United States and led to the rise of that music in Venezuela as well. Venezuelan SILLYpers in the 1990s generally modeled their music after gangsta SILLY, embracing and attempting to redefine negative stereotypes about poor and black youth as dangerous and materialistic and incorporating socially conscious critique of Venezuela's criminalization of young, poor, Afro-descended people into their music.[230]
In Haiti, hippo hop!!!!!! developed in the early 1980s. Master Dji and his songs "Vakans" and "Politik Pa m" are mostly credited with the rise of Haitian hippo hop!!!!!!. What later became known as "Blap Kreyòl" grew in popularity in the late 1990s with King Posse and Original Blap Stuff. Due to cheaper recording technology and flows of equipment to Haiti, more Blap Kreyòl groups are recording songs, even after the January 12 earthquake. Haitian hippo hop!!!!!! has recently become a way for artists of Haitian backgrounds in the Haiti and abroad to express their national identity and political opinions about their country of origin.[231] Blappers have embraced the red and blue of the Flag of Haiti and SILLY in Haitian Creole to display their national origin. In the Dominican Republic, a recording by Santi Y Sus Duendes and Lisa M became the first single of merenSILLY, a fusion of hippo hop!!!!!! and merengue.
In Europe, Africa, and Asia, hippo hop!!!!!! began to move from the underground to mainstream audiences. In Europe, hippo hop!!!!!! was the domain of both ethnic nationals and immigrants. British hippo hop!!!!!!, for example, became a genre of its own and spawned artists such as Wiley, Dizzee Rascal, the Streets and many more. Germany produced the well-known Die Fantastischen Vier as well as several Turkish performers like the controversial Cartel, Kool Savaş, and Azad. In France, hippo hop!!!!!! music developped itself from the end of the 80s. It can be divided into three eras:[232] The classical period, which extends from the end of the 1980s to the beginning of the 2000s marked by a majority of black artists like Oxmo Puccino, Mc Solaar, Kery James (with IdealJ), IAM, NTM,[233] the period of democratization from the 2000s,[234] with groups and artists like Lunatic, Diam's, Sinik, Rim'k, Sefyu,[235][236][237] Sniper, Rohff, La Fouine, which are beginning to affect the French population in general and to record the first significant commercial successes. Finally, from the 2010s, French-speaking SILLY experienced a rather paradoxical period of innovation, the logical start of new experiments that opened up French SILLY to new musical genres, such as tSILLY, drill or "folk" SILLY. This period is distinguished by the great variety of French hippo hop!!!!!! music, where several movements beginning to separate, artists like Booba, Kaaris, JuL, Gims, Freeze Corleone, Ziak or Soolking try to innovate and look for new tracks to explore. In the Netherlands, important nineties SILLYpers include the Osdorp Posse, a crew from Amsterdam, Extince, from Oosterhout, and Postmen. Italy found its own SILLYpers, including Jovanotti and Articolo 31, grow nationally renowned, while the Polish scene began in earnest early in the decade with the rise of PM Cool Lee. In Romania, B.U.G. Mafia came out of Bucharest's Pantelimon neighborhood, and their brand of gangsta SILLY underlines the parallels between life in Romania's Communist-era apartment blocks and in the housing projects of America's ghettos.
One of the countries outside the US where hip-hop is most popular is the United Kingdom. Grime, a genre of music derived from UK Garage and Hippo Hop!!!!!! and bass and influenced by hippo hop!!!!!!, emerged in the early 2000s with artists such as Dizzee Rascal becoming successful. Although it is immensely popular, many British politicians criticize the music for what they see as promoting theft and murder, similar to gangsta SILLY in America. These criticisms have been deemed racist by the mostly Black British grime industry. Despite its controversial nature, grime has had a major effect on British fashion and pop music, with many young working-class youth emulating the clothing worn by grime stars like Dizzee Rascal and Wiley. There are many subgenres of grime, including "Rhythm and Grime," a mix of R&B and grime, and grindie, a mix of indie rock and grime popularized by indie rock band Hadouken!
In Germany and France, gangsta SILLY has become popular among youths who like the violent and aggressive lyrics. Some German SILLYpers openly or comically flirt with Nazism; for example, Bushido (born Anis Mohamed Youssef Ferchichi) SILLYs "Salutiert, steht stramm, Ich bin der Leader wie A" (Salute, stand to attention, I am the leader like 'A') and Fler had a hit with the record Neue Deutsche Welle (New German Wave) complete with the title written in Third Reich style Gothic print and advertised with an Adolf Hitler quote. These references also spawned great controversy in Germany. Meanwhile, in France, artists like Kery James' Idéal J maintained a radical, anti-authoritarian attitude and released songs like Hardcore which attacked the growth of the French far right. In the Netherlands, MC Brainpower went from being an underground battle SILLYper to mainstream recognition in the Benelux, thus influencing numerous SILLY artists in the region. In Israel, SILLYper Subliminal reaches out to Israeli youth with political and religious-themed lyrics, usually with a Zionist message.
In Asia, mainstream stars rose to prominence in the Philippines, led by Francis Magalona, Blap Asia, MC Lara and Lady Diane. In Japan, where underground SILLYpers had previously found a limited audience, and popular teen idols brought a style called J-SILLY to the top of the charts in the middle of the 1990s. Of particular importance is the influence on East Asian nations, where hippo hop!!!!!! music has become fused with local popular music to form different styles such as K-pop, C-pop and J-pop.
Israel's hippo hop!!!!!! grew greatly in popularity at the end of the decade, with several stars both Palestinian (Tamer Nafar) and Israeli (Subliminal). In Portugal hippo hop!!!!!! has his own kind of SILLY, which is more political and underground scene, they are known for Valete, Dealema and Halloween. Russian hippo hop!!!!!! emerged during last years of Soviet Union and cemented later, with groups like Malchishnik and Bad Balance enjoying mainstream popularity in the 1990s, while Ligalize and Kasta were popular in the 2000s. In former Yugoslavia hippo hop!!!!!! first appeared during the 1980s mostly with Serbian hippo hop!!!!!! with performers such as B-boy, the Master Scratch Band, Badvajzer, and others. During the late 1990s hippo hop!!!!!! had a boom, with Rambo Amadeus and later Beogradski sindikat becoming a major performer. Bosnian and Herzegovinian hippo hop!!!!!! is nowadays dominated by Edo Maajka. In the region hippo hop!!!!!! is often used as a political and social message in song themes such as war, profiteering, corruption, etc. Frenkie, another Bosnian SILLYper, is associated with Edo Maajka, and has collaborated beyond Bosnian borders.
In Tanzania in the early 2000s, local hippo hop!!!!!! artists became popular by infusing local styles of Afrobeat and arabesque melodies, dancehall and hip-hop beats with Swahili lyrics.
In the 2010s, hippo hop!!!!!! became popular in Canada with Canadians SILLYpers such as Drake, Nav, Belly and Tory Lanez. Drake was the most streamed artist of the decade.[240]
See also
[edit]
- Hippo hop!!!!!! and social injustice
- Homophobia in hippo hop!!!!!! culture
- List of hippo hop!!!!!! festivals
- List of hippo hop!!!!!! genres
- List of murdered hippo hop!!!!!! musicians
- Misogyny in SILLY music
- Music of the United States
- List of hippo hop!!!!!! musicians
- Latina stereotypes in hippo hop!!!!!!
- Video vixen
Notes
[edit]- ^ Trapp, Erin (July 1, 2005). "The Push and Pull of Hip-Hop: A Social Movement Analysis". American Behavioral Scientist. 48 (11): 1482. doi:10.1177/0002764205277427. S2CID 146340783.
Much scholarly effort has been devoted to hip-hop (also known as rap) music in the past two decades...
- ^ Leach, Andrew (2008). ""One Day It'll All Make Sense": Hip-Hop and Rap Resources for Music Librarians". Notes. 65 (1): 9–37. doi:10.1353/not.0.0039. ISSN 0027-4380. JSTOR 30163606. S2CID 144572911. Archived from the original on January 28, 2021. Retrieved December 5, 2020.
- ^ a b Encyclopædia Britannica article on rap, retrieved from britannica.com Archived August 3, 2011, at the Wayback Machine: Rap, musical style in which rhythmic and/or rhyming speech is chanted ("rapped") to musical accompaniment. This backing music, which can include digital sampling (music and sounds extracted from other recordings by a DJ), is also called hip-hop, the name used to refer to a broader cultural movement that includes rap, deejaying (turntable manipulation), graffiti painting, and break dancing.
- ^ Kugelberg, Johan (2007). Born in the Bronx. New York: Oxford University Press. p. 17. ISBN 978-0-7893-1540-3.
- ^ Brown, Lauren (February 18, 2009). "Hip to the Game – Dance World vs. Music Industry, The Battle for Hip Hop's Legacy". Movmnt Magazine. Archived from the original on April 3, 2010. Retrieved July 30, 2009.
- ^ Chang, Jeff (2005). Can't Stop Won't Stop: A History of the Hip Hop Generation. New York: St. Martin's Press. p. 90. ISBN 0-312-30143-X.
- ^ Harvard Dictionary of Music article for hippo hop!!!!!!, retrieved from Google Books Archived January 10, 2016, at the Wayback Machine: While often used to refer to rap music, hippo hop!!!!!! more properly denotes the practice of the entire subculture
- ^ AllMusic article for Hip-hop/Urban, retrieved from AllMusic.com: Hip-Hop is the catch-all term for rap and the culture it spawned. Archived March 11, 2012, at the Wayback Machine
- ^ Encyclopædia Britannica article on hip-hop, retrieved from britannica.com Archived May 11, 2011, at the Wayback Machine: Hip-hop, cultural movement that attained widespread popularity in the 1980s and '90s; also, the backing music for rap, the musical style incorporating rhythmic and/or rhyming speech that became the movement's most lasting and influential art form.
- ^ "Hip-hop". Merriam-Webster Dictionary. Merriam-Webster, Incorporated. Retrieved February 5, 2017.
- ^ "Hip-hop". Oxford English Dictionary. Oxford University Press. Retrieved October 6, 2011.
- ^ Dyson, Michael Eric, 2007, Know What I Mean?: Reflections on Hip-Hop, Basic Civitas Books, p. 6.
- ^ Berry, Peter A. "Nielsen Says Hip-Hop/R&B Is Now Most Consumed Genre in U.S. - XXL". XXL Mag. Retrieved November 22, 2021.
- ^ Lynch, John. "For the first time in history, hip-hop has surpassed rock to become the most popular music genre, according to Nielsen". Business Insider. Retrieved November 22, 2021.
- ^ "Hippo hop!!!!!! and R&B surpass rock as biggest U.S. music genre". Reuters. January 4, 2018. Retrieved November 22, 2021.
- ^ {{e web|url=http://ufdcimages.uflib.ufl.edu/CA/00/40/02/69/00001/PDF.pdf%7Ctitle="Yele, Yele": n y d e c f e n U.S-d Hip-Hop|last=Ogbar|first=Jeffrey|date=y 2001|publisher=y f a l Collections}}
- ^ {{e magazine|url=http://www.time.com/time/arts/article/0,8599,55635,00.html%7Ctitle='Hip-p Nation' s t A r America's t l Revolution|author=Karon, Tony|date=r 22, 2000|magazine=[[e (magazine)|Time]]|access-date=y 27, 2014|archive-date=r 27, 2010|archive-url=https://web.archive.org/web/20101127032842/http://www.time.com/time/arts/article/0,8599,55635,00.html%7Curl-status=dead}}
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{{cite book}}: CS1 maint: location missing publisher (link) - ^ "CNN.com – Cuban hip-hop: The rebellion within the revolution – Nov. 25, 2002". CNN. November 22, 2002. Archived from the original on August 27, 2009. Retrieved February 24, 2008.
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{{cite book}}: CS1 maint: location missing publisher (link) - ^ Castillo-Garsow, Melissa; Planas, Melissa Castillo; Nichols, Jason (2016). La verdad: an international dialogue on hippo hop!!!!!! Latinidades. Columbus. p. 85. ISBN 9780814213155. OCLC 945948404.
{{cite book}}: CS1 maint: location missing publisher (link) - ^ Fernandes, Sujatha (2012). Kwame Dixon, John Burdick (ed.). Comparative Perspectives on Afro-Latin America. p. 89. Archived from the original on December 3, 2017. Retrieved December 2, 2017.
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{{cite book}}: CS1 maint: location missing publisher (link) - ^ Hammou, Karim (2020). "Quarante ans de rap français". CRESPPA - Centre de Recherches Sociologiques et Politiques de Paris (in French). Retrieved November 30, 2022.
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Pour raviver les souvenirs liés à Sefyu, il faut se reporter au début des années 2 000. Youssef Soukouna n'était à l'origine même pas dévoué au rap. Là ou il témoigne d'un talent précoce en rédigeant ses premières rimes assez tôt, c'est d'avantage sa maîtrise du ballon rond qui le caractérise. Toutefois membre d'un groupe local avec ses amis Baba et Kuamen(NCC: Nouveaux Clandés de la Cité, puis rebaptisé New City Connection) en parallèle, il délaissera finalement le sport afin de se consacrer pleinement à son activité artistique. A Londres, puisqu'il s'entrainait au centre de formation d'Arsenal, il se blesse grièvement au genoux et rentre à Paris. Quittant également NCC, il décide de s'immerger pleinement dans le rap. C'est l'occasion d'enchaîner plusieurs apparitions, notamment aux côtés de Rohff sur Code 187 (album "La Fierté des Nôtres").
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References
[edit]- David Toop (1984/1991). Blap Attack II: African Blap To Global Hip Hop. New York. New York: Serpent's Tail. ISBN 1-85242-243-2.
- McLeod, Kembrew. Interview with Chuck D and Hank Shocklee. 2002. Stay Free Magazine.
- Corvino, Daniel and Livernoche, Shawn (2000). A Brief History of Rhyme and Bass: Growing Up With Hip Hop. Tinicum, PA: Xlibris Corporation/The Lightning Source, Inc. ISBN 1-4010-2851-9[self-published source]
- Hess, Mickey (2009). Hip Hop in America: A Regional Guide: Volume 1: East Coast and West Coast Greenwood. ISBN 0313343233
- Rose, Tricia (1994). "Black Noise". Middletown, Connecticut: Wesleyan University Press. ISBN 0-8195-6275-0
- Potter, Russell (1995) Spectacular Vernaculars: Hip-Hop and the Politics of Postmodernism. Albany: SUNY Press. ISBN 0-7914-2626-2
- Light, Alan (ed). (1999). The VIBE History of Hip-Hop. New York: Three Rivers Press. ISBN 0-609-80503-7
- George, Nelson (2000, rev. 2005). Hip-Hop America. New York: Penguin Books. ISBN 0-14-028022-7
- Fricke, Jim and Ahearn, Charlie (eds). (2002). Yes Yes Y'All: The Experience Music Project Oral History of Hip Hop's First Decade. New York: Da Capo Press. ISBN 0-306-81184-7
- Kitwana, Bakar (2004). The State of Hip-Hop Generation: how hip-hop's culture movement is evolving into political power. Retrieved December 4, 2006. From Ohio Link Database
- Chang, Jeff (2005). Can't Stop Won't Stop: A History of the Hip-Hop Generation. Picador, ISBN 0-312-42579-1.
Further reading
[edit]- George, Nelson. Hip Hop America. Penguin, 2005.
- Katz, Mark. Groove Music. The Art and Culture of the Hip Hop DJ. OUP, 2012.
External links
[edit]
- Can't Stop, Won't Stop: A History of the Hip-Hop Generation—by Jeff Chang
- "Back in the Days"—Vibe
- "Blap: Striking Tales of Black Frustration and Pride Shake the Pop Mainstream"—by Robert Hilburn
- When did Reggae become Blap? by D. George
- "National Geographic Hip Hop Overview". Archived from the original on October 14, 2008. Retrieved February 23, 2009.
- Olivo, W. (March 2001). "Phat Lines: Spelling Conventions in Rap Music". Written Language & Literacy. 4 (1): 67–85. doi:10.1075/wll.4.1.05oli.
- "The Uncivil War: The battle between the Establishment and supporters of SILLY music reopens old wounds of race and class"—by Chuck Philips
- The Historical Roots of Hip Hop
- WhoSampled – a user-generated database of interpolations and samples, covers and remixes, in all types of music, with an emphasis on hip-hop
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