Hip-hop — A Video Map Guide

"Hip-hop" has been in use since the 17th century to mean a succession of hops. In George Villiers' 1671 play The Rehearsal, Prince Volscius exits a scene awkwardly with one boot on and the other off. The director of the scene exclaims, "to go off hip hop, hip hop, upon this occasion, is a thousand times better than any conclusion in the world". A common variation on "hip hop" is "hippity hop", which was in wide usage by the 19th century. It appears in works like a poem from 1882 where four children sing, "Hippity hop to the candy Shop!" It was a common refrain in skipping games. Many dance steps include a hop. By the 18th century, "hop" began to be used interchangeably with "dance" as both a noun and a verb. Usage Keef Cowboy (top right) with Grandmaster Flash and the Furious Five in 1982 An early usage of "hip hop" in recorded popular music is found in The Dovells' 1963 dance song "You Can't Sit Down", "...you gotta slop, bop, flip flop, hip hop, never stop". A decade later, Disco disc jockeys would pepper their sets with exhortations to the crowd, which is why the emerging style was originally known as "disco rap". One of DJ Hollywood's chants was "hip hop de hippy hop the body rock".: 183f Lovebug Starsky recalls originating the phrase when he messed up the change between records, "I picked up the mic and just started saying 'a hip hop, hip hop, de hibbyhibbyhibbyhibby hop'", claiming credit for inventing the name by 1979. In another version of Starsky's tale, he coined "hip-hop" with Keef Cowboy from Grandmaster Flash and the Furious Five as they traded jibes at a friend who was going into the Army. Kidd Creole recalls the scene without Lovebug present, "Cowboy was on the mic playin around doing that Army cadence: Hip/Hop/Hip/Hop...Disco was king at the time, and the Disco crowd referred

Set of Technics 1200 turntables with a Vestax PMC-06 Pro A mixer Hip-hop's initial medium was the turntable. Vinyl records were the primary source for DJs who reworked songs into new material for dancing. The process echoed the appropriation of styles that created jazz decades earlier. The genres hip-hop initially assimilated were wide-ranging, but its primary sources were disco and funk records. Nowhere was this cross-pollination of musics better typified than in the Caribbean island of Jamaica, where AM radio signals from Miami, Florida, were audible. In the late 1950s, the U.S. stations played much more invigorating rhythm and blues music than the staid BBC which was syndicated by the island's only radio channel, Jamaica Broadcasting Corporation.: 99 American DJs like Jocko Henderson and Jockey Jack introduced R&B records and jive talking to the island. Local DJs soon began setting up sound systems for outdoor parties.: 39f, 119ff A vibrant music scene emerged. The jive of American DJs transmuted into toasts in Jamaican Patois. Jive talk popularized black-appeal stations in the post-war era. Its double entendres were a godsend to radio, re-invigorating ratings at flagging outlets. It emerged from traditions like call and response, signifyin', the dozens, capping, and jazz poetry. The transition from oral tradition to the commercial airwaves was exemplified by WDIA disc jockeys like Nat D. and Rufus Thomas. Their on-air jive was honed during their hosting duties at the Palace Theatre's Amateur Night on Beale Street in Memphis, Tennessee. D.J's like Chicago's Al Benson (WJJD), Austin's Doctor Hep Cat (KVET), and Atlanta's Jockey Jack (WERD) spoke the same rhyming, cadence-laden rap style. They might introduce a great musician like, "Here is a guy that will move you in from the outskirt

Breaking By the 1970s, The Bronx had been cut in half by the Cross Bronx Expressway.: 2ff The construction accelerated "white flight" from the neighborhood and concentrated lower income African American, Latin American, and Caribbean residents in the southern half of the borough.: 27f This massive, multi-ethnic, working class community is where hip-hop was born. The traditions of these ethnicities all informed the emerging genre.: 90 As all music does, hip-hop reflected the social, economic, and political realities of its creators, who were sometimes disenfranchised and marginalized. The dominant genre of the time was disco. Even black radio stations were playing hit disco records as they targeted larger suburban audiences. The way Europe stripped the blackness out of funk and disco and streamlined it became a target for parody in the black community. George Clinton mercilessly lampooned it as "The Placebo Syndrome" in his P-Funk mythology.: 155ff Even though disco birthed hip-hop, much of the genre's early spirit was a rebellion against its parent. Hip-hop first had to inherit the rich trove of studio and DJ techniques that disco innovated.: 139 DJ Kool Herc in 1999 It became trendy for dancers to use the instrumental break in a song to show off their best moves. Some would even forego dancing until the break in a record came on.: 225f The practice became known as "breakdancing", and it increased demand for breaks that DJs would soon supply. These dancers became known as "B-girls" and "B-boys". "B" could be short for "break", "beat", "battle", or "Bronx" depending on who was using it. One of the most popu

Old-school hip-hop First commercial recordings The period from 1973 to 1983 is referred to as "old-school hip-hop". Towards the end of this period, the genre began rising in popularity.: 127ff In March 1979, Fatback Band released "You're My Candy Sweet" as a single. The B-side was called "King Tim III (Personality Jock)", and it is generally considered the first commercially released rap song.: 81 The Sugarhill Gang, 2016 Three months later, Chic released "Good Times". It became a number one single on August 18. The track quickly became a favorite for rappers. As it climbed the pop charts on August 2, Sylvia Robinson, the singer and owner of Sugar Hill Records, hired a band to recreate "Good Times" in the studio. Looking to cash in on the hip-hop trend, Robinson assembled The Sugarhill Gang to rap over the instrumental.: 132 They recycled phrases from other rappers like The Cold Crush Brothers.: 81 It was a Top 40 single, and what had become passé in the Bronx exploded in popularity around the country. The arrival of mainstream hip-hop recordings has been described as "The First Death of Hip-Hop".: 127ff Another early rap record, from an artist in the disco scene, was Joe Bataan's 1979 track "Rap-O Clap-O." Bataan had already achieved popularity within the Latin community thanks to his unique blend of boogaloo, salsa, and soul, and the song became a hit in Europe. One of the composers of "Good Times", Nile Rodgers had been exposed to hip-hop in 1978 when Debbie Harry and Chris Stein from Blondie took him to a show. Rodgers and his co-writer Bernard Edwards sued Sugar Hill Records for copyright infringement and won songwriting credit on "Rapper's Delight".[10

New-school hip-hop Run-DMC, from left: Joseph "Run" Simmons, Jason "Jam Master Jay" Mizell, and Darryl "D.M.C." McDaniels The second wave of hip-hop began around 1983–4 and became known as new school. New York artists like Run-DMC and LL Cool J typified new school, with more aggressive boasting and taunting than that of the old-school. Drum machine minimalism was typical for the new school, in contrast to old school's funk and disco breaks.: 151 New-school artists also made shorter, radio-friendly songs and more cohesive LP albums that became fixtures of mainstream music. Run-DMC's third album, Raising Hell, was the first in the genre to be certified platinum on July 15, 1986. It also featured the massive hit collaboration with Aerosmith on "Walk This Way". The same year, rap notched its first No. 1 album with Beastie Boys' Licensed to Ill. Rap was getting so marketable that it was being used in national advertising. Sprite hired Kurtis Blow to appear in one of their commercials in 1986. Other soft drink companies would soon follow. Marley Marl New school rappers often established themselves by simultaneously honoring and battling their old school forbearers. LL Cool J relished sparring with Kool Moe Dee. The feud boosted sales for both artists. The cover of Kool Moe Dee's 1987 album, How Ya Like Me Now, featured LL Cool J's Kangol hat under the wheel of Moe Dee's Jeep Wrangler. LL's response was the vicious B-side "Jack the Ripper". Samplers like the AKAI S900 and E-mu SP-1200 empowered creativity through greater processing power. Breakbeats were no longer reliant on a DJ and two turntables. They could be made in seconds with a sampler.: 192 Marley Marl used samples in combination with drum machines to create more variegated grooves.[1

Golden age hip-hop Innovation and artistry KRS-One The period after hip-hop became mainstream in 1986 until the mid-1990s is considered its "golden age". The era is marked by increased diversity and innovation and the vast expansion of hip-hop's influence. Rolling Stone described the fecund era as one where "it seemed that every new single reinvented the genre". There were strong themes of Afrocentrism and political militancy in golden age hip-hop lyrics.: 162f The music was experimental and the sampling drew on eclectic sources. There was often a strong jazz influence in the music. Notable golden age artists include Public Enemy, KRS-One, Boogie Down Productions, Eric B. & Rakim, Brand Nubian, De La Soul, A Tribe Called Quest, Gang Starr, Big Daddy Kane, Digable Planets, and the Jungle Brothers. Albums became an important artistic marker during this period. 1987 alone produced landmark albums like Boogie Down Productions' Criminal Minded, Public Enemy's Yo! Bum Rush the Show, and Eric B. & Rakim's Paid in Full. The sustained artistic statement of an album became the genre's measuring stick. In 1989, 19-year-old Queen Latifah released her debut album All Hail the Queen, becoming one of the most notable female rappers. Rise of gangsta rap Gangsta rap Gangsta rap is a subgenre of hip-hop that reflects the violent environment of inner-city American black youths. Gangsta rap commingled stories of crime and street life with political and social commentary. In 1985, Schoolly D released "P.S.K. What Does It Mean?", which is often regarded as the first gangsta rap song. His lyrics reflected the street vernacular, including the word "nigga". Ice-T's "jaw dropped" when he first heard the song, and it inspi

Crossover success and new directions Sean Combs Now a mainstream genre and dominating the charts, hip-hop became commercially oriented in the late 1990s. The musical approach was typified by Sean "Puff Daddy" Combs, who ruled the 1997 charts by repurposing old hits into new ones. Diana Ross' "I'm Coming Out" became "Mo Money Mo Problems". Herb Alpert's "Rise" became "Hypnotize". The Police's number 1 hit "Every Breath You Take" became "I'll Be Missing You". The shiny suits he and his protege Mase wore became a signature for the period, dubbed the "shiny suit era". The same year, Will Smith's single "Gettin' Jiggy wit It" gave a catchier name for the era, the "jiggy era". In 1998, hardcore rapper DMX released his album It's Dark and Hell Is Hot, seen by some as bringing hip-hop "back to the streets". New producers such as Swizz Beatz, Timbaland, and the Neptunes emerged in this period, creating a futuristic sound for artists like Aaliyah and Missy Elliott. During the bling era, it became commonplace to pair an R&B singer with a rapper. Either the rapper would appear in a remix of the singer's hit, or the singer would perform the hook on a rapper's song. Pairings included Ashanti and Ja Rule, Beyonce and Jay-Z, and Mariah Carey alongside rappers like Mystikal, Cam'ron, and Busta Rhymes. Eminem Dr. Dre began 1999 by producing Eminem's debut The Slim Shady LP which went quadruple platinum. In November, he released his 6× platinum album 2001. Dre also produced Eminem's second album and 50 Cent's Get Rich or Die Tryin', which debuted in 2003 at number one on the U.S. Billboard 200 charts. Jay-Z became culturally dominant with his record label, clothing line, and various business interests. His albums consistently charted at number 1, and with the release of The Blueprint 3

Blog rap Decline in sales Flo Rida Social media led to the decline of fans purchasing physical media like CDs and vinyl. Starting in 2005, hip-hop sales plummeted, prompting concerns that the genre might be dying. While all music sales declined, hip-hop's losses were greater, totaling a 21% decrease from 2005 to 2006. 2006 was the first time in five years that the top ten albums did not include hip-hop. Peer-to-peer file sharing also wreaked havoc with record sales. Digital downloads returned singles to the forefront of music sales. Downloads of individual tracks from Flo Rida's 2009 album R.O.O.T.S. totaled in the millions, while the album itself did not even go gold. Despite the fall in record sales throughout the music industry, hip-hop artists still regularly topped the Billboard 200 charts. In 2009, Rick Ross, Black Eyed Peas, and Fabolous all had No. 1 albums. Eminem's album Relapse was one of the fastest selling albums of 2009. Revitalization and influence of the Internet Main articles: Alternative hip-hop and Internet rap Kid Cudi The dawn of social media in the mid-to-late 2000s began to influence the genre, as artists like Soulja Boy started uploading their music directly to sites like YouTube and MySpace. The Internet corroded music sales but democratized distribution. Audiences started to find artists directly through music blogs and social media, in what has been retroactively called the "blog era". Emerging artists like Kid Cudi, Wale, Odd Future (led by Tyler, the Creator), Mac Miller, Lil B, Kendrick Lamar, J. Cole, Lupe Fiasco, the Cool Kids, Jay Electronica, and B.o.B also possessed a sensitivity and vulnerability that had

Main articles: Trap music, Mumble rap, Emo rap, and Internet rap Lil Nas X Atlanta hip-hop dominated the charts during the 2010s, particularly trap music. Trap first became a mainstream sensation in the 2000s, and started topping the charts in the mid-to-late 2010s. It is typified by double or triple-time sub-divided hi-hats, heavy kick drums from the Roland TR-808 drum machine, layered synthesizers and an overall dark, ominous or bleak atmosphere. Major trap artists include Future, Chief Keef, Migos, Fetty Wap, Young Thug, Travis Scott, Cardi B, Megan Thee Stallion, DaBaby, and Lil Nas X. Major trap producers included Metro Boomin, Pi'erre Bourne, London on da Track, and Mike Will Made-It. Many of these artists relied on SoundCloud to freely distribute their music without a record label. Post Malone, Lil Uzi Vert, XXXTentacion, and others started their careers on SoundCloud. Some trap was dismissed as "mumble rap" because of its often garbled diction. Snoop Dogg noted that he could not tell artists apart, and Black Thought lamented trap's lack of lyricism. Doja Cat Streaming platforms like Spotify and Apple Music became the dominant music distributors in the 2010s. The 2017 Grammy Award for Best Rap Album went to a streaming album for the first time, Chance the Rapper's Coloring Book. Artists like Kanye West and Drake started to eschew physical releases as well. On July 17, 2017, Forbes reported that hip-hop/R&B had usurped rock as the most consumed musical genre, becoming the most popular genre in music for the first time in U.S. history. The most streamed rap album of all-time on Spotify is XXXTentacion's second album, ? (201

Black TheamaHip-hop spread from the Bronx to the world. It is constantly being reinvented in nearly every country on the planet. The one thing virtually all hip-hop artists worldwide have in common is that they acknowledge their debt to the Black and Latino people in New York who launched the global movement. In many Latin American countries, as in the U.S., hip-hop has been a tool with which marginalized people can articulate their struggle. Cuban hip-hop grew steadily during the Special Period that came with the fall of the Soviet Union. Brazilian hip-hop is heavily associated with racial and economic issues in the country, where a lot of Afro-Brazilians live in economically disadvantaged favelas. Bad Bunny, Puerto Rican Reggaeton artist Puerto Rican reggaeton evolved from several genres, particularly Jamaican Dancehall and hip-hop.: 94f Venezuelan rappers generally modeled their music after gangsta rap, 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. Blockfest Haitian hip-hop developed in the early 1980s. Master Dji and his songs "Vakans" and "Politik Pa m" popularized the style. What later became known as "Rap Kreyòl" grew in popularity in the late 1990s with King Posse and Original Rap Stuff. Due to cheaper recording technology and flows of equipment to Haiti, more Rap Kreyòl is growing.: 253 French hip-hop also developed in the 1980s. The annual Blockfest in Tampere, Finland is the largest hip-hop music event in the Nordic countries. YoungstaCPT Nigerian hip-hop gained popularity in the 1980s to 2000s through artists like The Remedies, JJC Skillz, M.I Abaga and Sou