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| {{Redirect|Rap|the genre|Hip hop music}} | |||
| {{Redirect|Rapper|the English folk dance|Rapper sword}} | |||
| '''Rapping''' (also known as '''emceeing''', '''MCing''', '''spitting''', or just '''rhyming''') is the ]ic spoken delivery of ]s and wordplay, one of the elements of ] and ]. Although the word ''rap'' has sometimes been claimed to be a ] of the phrase "Rhythmic African Poetry", "Rhythm and Poetry", "Rhythmically Applied Poetry", "Rapping About Poetry," "Racing Always Pacing," or "Rhythmically Associated Poetry", use of the word to describe quick speech or repartee long predates the musical form<ref>''Oxford English Dictionary''</ref>, and is abbreviated from the English word "rapid", which is from the ] ''rapidus''. The word had been used in ] since the 16th century, and specifically meaning "to say" since the 18th. It was part of the ] in the 1960s meaning "to converse", and very soon after that in its present usage as a term denoting the musical style.<ref>]. (1992). ON LANGUAGE; The rap on hip-hop. '']''.</ref> | |||
| Rapping can be delivered over a ] or without accompaniment. Stylistically, rap occupies a gray area among speech, prose, poetry, and song. Rap is derived from the ]s (folk poets) of ], and ]-style ]. It also has precedents in traditional ] music. Modern rap battles, for instance, bear a striking resemblance to the Limerick Game, a traditional Gaelic ] in which people compete for notoriety by making up insulting limericks about each other the the loser having to buy the next round of drinks. Likewise, ], a form of Scottish ] was incorporated into Appalachian music and is an early ancestor of modern mouth percussion, or ]. The influence of Scottish and Irish music on hip hop is not direct, since virtually all of the originators of hip hop culture were ], but were transfered indirectly by way of ].{{fact|date=January 2008}} Roots music was created out of the fusion of African and Celtic music in the American South and is typified by the combination of African rhythms, Gaelic melodies, and (occasionally) vocal improvisation. It forms the basis of virtually all American musical styles from bluegrass to the blues, jazz, rock, funk, and country. Hip hop grew out of this same tradition; stripping down the melody, emphasizing the rhythm, and incorporating mouth music, battling, and vocal improvisation. | |||
| Rapping developed both inside and outside of hip hop culture, and began with the street parties thrown in the Bronx neighborhood of New York in the 70s by Jamaican expatriate ] and others. The parties introduced ] and the practice of having a "Master of Ceremonies," or MC, get up on stage with the DJ and shout encouragements to the crowd in a practice known as 'toasting'. Over time, those shouts of encouragement became more longer and more complex and cross-pollinated with the spoken-word poetry scene to evolve into rap. From the beginning hip hop culture has been syncretic, incorporating sounds and elements from radically divergent sources. While ] breaks formed the backbone of early hip hop, ] and other early techno artists were widely sampled as well. | |||
| In the 1980s, the success of groups like ] led to a huge wave of commercialized rap music. By the end of the 1990s, hip hop became widely accepted in mainstream music. Underground hip hop rapping from the 2000s has complex rhythms, ], an intricate ], and inventive ]. Rap lyrics convey the street life from which hip hop originally emerged with references to popular culture and hip hop slang. Many types of rap also deal with issues such as ], ], and ]. | |||
| == History == | |||
| {{main|History of hip hop}} | |||
| {{seealso|African American music|Music of the United States|History of poetry|Jamaican music|Caribbean music}} | |||
| === Roots === | |||
| {{seealso|Roots of hip hop|Talking blues}} | |||
| {{sample box start|the roots of rapping}} | |||
| {{multi-listen start}} | |||
| {{multi-listen item|filename=DeepDowninMyHeart.ogg|title=Deep Down in My Heart|description=A ] performed by W. M. Givens in Darien, Georgia in 1926.|format=]}} | |||
| {{multi-listen item|filename=DollarMamie.ogg|title=Dollar Mamie|description=A Southern ] performed by Judge "Bootmouth" Tucker and Alexander "Neighborhood" Williams in 1939.|format=]}} | |||
| {{multi-listen item|filename=SmallTalkat125thandLennox.ogg|title=Small Talk at 125th and Lenox|description=]'s spoken word poetry has had a significant influence on hip hop through its political and socially conscious lyrics.|format=]}} | |||
| {{multi-listen end}} | |||
| {{sample box end}} | |||
| Rapping hip hop music can be traced back in many ways to its African roots. Centuries before the ] existed, the ]s of ] were delivering stories rhythmically, over ] and sparse instrumentation. Because of the time that has passed since the griots of old, the connections between rap and the African griots are widely established, but not clear–cut. However, such connections have been acknowledged by rappers, modern day "griots", ] artists, mainstream news sources, and academics.<ref>{{cite web| url = http://news.bbc.co.uk/2/hi/africa/3622406.stm| title = BBC NEWS: Africa| accessdate = December 21| accessyear = 2005}}</ref><ref>{{cite web| url = http://rap.about.com/mbiopage.htm| title = About.com: Rap| accessdate = December 21| accessyear = 2005}}</ref><ref>{{cite web| url = http://www.pbs.org/theblues/classroom/deftradition.html| title = PBS lesson plan on the blues| accessdate = December 21| accessyear = 2005}}</ref><ref>{{cite web| url = http://www.yale.edu/ynhti/curriculum/units/2001/3/01.03.08.x.html#b| title = Yale University Teachers Association| accessdate = December 21| accessyear = 2005}}</ref> | |||
| ], ] in the ] and ] of ] and influenced greatly by West African musical traditions, was first played by blacks (and some whites) in the ] region of the United States around the time of the ]. Grammy-winning blues musician/historian Elijah Wald and others have argued that the blues were being rapped as early as the 1920s.<ref name="r12">{{cite web| url = http://www.elijahwald.com/hipblues.html| title = Hip Hop and Blues| accessdate = December 21| accessyear = 2005}}</ref><ref>{{cite web| url = http://www.yazoorecords.com/2018.htm| title = The Roots of Rap| accessdate = December 21| accessyear = 2005}}</ref> Wald went so far as to call hip hop "the living blues."<ref name="r12" /> ], an early blues group, whose lyrical content and rhythmic singing predated rapping.]] ], developed from the blues and other African-American musical traditions, originated around the beginning of the 20th century. According to John Sobol, the jazz musician and poet who wrote ''Digitopia Blues'', rap "bears a striking resemblance to the evolution of jazz both stylistically and formally."<ref name="digitopia">Sobol, John. (2002). ''Digitopia Blues''. Banff Centre Press. ISBN 978-0920159897</ref> | |||
| During the mid-20th century, the musical culture of the Caribbean was constantly influenced by the concurrent changes in ]. From the 1950s through the 1970s, the descendants of Caribbean slaves in ] and ] were mixing their traditional folk music styles of ] and ] music with the jazz, ], ] and blues of America. In Jamaica, this influenced the creation of ] music (and later ]), while in Trinidad, this influenced the creation of ]. As early as 1956<ref>{{Howard Johnson & Jim Pines. (1982). Reggae - Deep Roots Music ''Proteus Books''.}}</ref>, ]s were ] (an African tradition of "rapped out" tales of heroism) over ] Jamaican beats. It was called "rap", expanding the word's earlier meaning in the African-American community—"to discuss or debate informally."<ref name="r0">The earlier meaning being "a usage well established among African-Americans by the 1960s.", according to the '']'', 4th Edition.</ref> | |||
| === 1970s === | |||
| The dubbed dancehall toasts of Jamaica, as well as the ]-rapping and jazz-based spoken word ] of the United States ,set the template for the rapping in hip hop music. ], a ] and bluesman who wrote and released such seminal songs as '']'', ''H2OGate Blues Part 2: We Beg Your Pardon America'' and ''Johannesberg'', has been cited as an influence on many rappers. One of the first rappers in hip hop was also hip hop's first ]; ]. Herc, a Jamaican immigrant, started delivering simple raps at his parties in the early 1970s. As Herc would explain in a 1989 interview, "he whole chemistry came from Jamaica. I was listening to American music in Jamaica, and my favorite artist was ]. When I came over here I just had to put it in the American style."<ref>{{cite web| url = http://www.daveyd.com/interviewkoolherc89.html| title = Davey D's Hip-Hop Corner| accessdate = December 20| accessyear = 2005}}</ref> Although rapping in hip hop began with the DJs, most rappers today don't DJ or ] on a regular basis; ] is cited by Kool Herc as the first example of such a rapper.<ref> - Interview with Kool DJ Herc. Retrieved on ], ].</ref> By the end of the 1970s, hip hop had spread throughout New York, and was getting some radio play. Rappers were increasingly writing songs that fit ] structures and featured continuous rhymes. ] (of ]) stands out as one of the earliest rap innovators. | |||
| === 1980s === | |||
| {{seealso|Old school hip hop|Golden age hip hop}} | |||
| From the 1970s to the early 1980s, Melle Mel set the way for future rappers through his sociopolitical content and creative wordplay. Hip hop lyricism saw its biggest change with the popularity of Run-D.M.C.'s '']'' in the mid-1980s, known especially for the ] collaboration with ] ] in the song "]". This album helped set the tone of toughness and lyrical prowess in hip hop; Run-D.M.C. were almost yelling their aggressive lyrics. | |||
| The 1980s saw a huge wave of commercialized rap music, that with it brought success and international popularity. Rap music transcended its original demographic and passed on to the suburbs. The first rap hit of the 80s was Blondie's "]", following on from "]" in 1979 from ]. Rap music in this time kept its original fan base in the "]" while attracting interest from mainstream consumers. This decade also saw the emergence of what we now know as ], artists such as Run-D.M.C., ], ], and the white group ]. This decade is also referred to as the ] by modern music historians. Rap in the early 1980s centered mostly around self promotion e.g., the amount of gold one wears or one's prowess with females. However, in 1987 Public Enemy introduced a more sociopolitical edge, with their debut album '']''. Other artists such as the ] looked to Africa for inspiration. In 1987 the rap group ] released their first album entitled '']'', and included rap stars ], ], ], and ]. This release marked the first shift from the golden age to the ensuing ages of ] and ]. | |||
| ===1990s=== | |||
| {{seealso|Golden age hip hop|Gangsta rap}} | |||
| Rap in the 1990s saw a substantial change in direction of the style of rapping. While the 1980s were characterized by verses mostly constrained to straightforward structures and rhyme schemes, rappers in the 1990s explored deviations from those basic forms, freeing up the lyrical flow and switching up the patterns to create a much more fluid and complex style. The style on the East Coast became more aggressive, pioneered by artists like the ] and ], while ] became more laid-back and smooth, as made popular by ] and ]. | |||
| In terms of subject matter, the 1990s saw a shift from personal promotion and glorification to narratives of street experience and darker social observation, although this shift was more pronounced on the East Coast than the West. | |||
| The 1990s were also marked by a tense ] between MCs of the East and West Coast, including a feud between Sean "Puffy" Combs' (Bad Boy Records) in the East, including the Notorious B.I.G., and Dr. Dre and Suge Knight's Death Row Records (including 2pac and ]). ] became a skill that demonstrates an MC's versatility and creativity, but also as a verbal duel or spar. The mid 1990s were marked by the violent deaths of Tupac Shakur, Notorious B.I.G., ], and ], among others. By the end of the 1990s, hip hop became widely accepted in mainstream music. | |||
| ===2000s === | |||
| {{main|New school hip hop}} | |||
| Hip hop in its modern iteration has been increasingly influenced by other musical forms. Notably, remixes of existing hits with current notable rappers has become an increasing trend. The influence of rap has increased internationally with independent styles, such as ], ], and ]. Southern, Northern, and Midwestern, and even Native American rap have also gained increasing popularity, and penetrated the coastal markets on a large scale for the first time. | |||
| Alongside the increasing commercialization of rap and hip hop culture, some artists such as ] have claimed that "hip hop is dead". Many of the prominent rappers of earlier decades have also dropped out of the rap world, resulting in former fans no longer listening to rap.{{Fact|date=December 2007}} | |||
| == Writing == | |||
| {{sample box start|rapping}} | |||
| {{multi-listen start}} | |||
| {{multi-listen item|filename=Planet_Rock.ogg|title=Planet Rock|description=Hip hop pioneer ] mixed ] with old school rapping and beats in what is sometimes called "]." Bambaataa, the DJ, is also the rapper in this song; after all, the first rapping in hip hop was done from behind the turntables.|format=]}} | |||
| {{multi-listen item|filename=NiggasBleed.ogg|title=Niggas Bleed|description=] tells vivid stories about his everyday life as a criminal in ]. Note the constant changing up of the lyrical flow and cadence characteristic of ].|format=]}} | |||
| {{multi-listen end}} | |||
| {{sample box end}} | |||
| === Rhyme styles === | |||
| {{seealso|Rhyme scheme}} | |||
| Aside from "flow" (the voice and tone of a particular MC), and rhythmic delivery, the only other central element of rapping is ]. In classical poetry, rhymes that span many syllables are often considered ], but in hip hop the ability to construct raps with large sets of rhyming syllables is valued. Rap can contain any and all forms of rhyme found in classical poetry such as ], ], ], or ]. Rappers are known for their style of rhyming. ] often avoids full rhymes in favor of assonance, consonance, half rhymes, and internal rhymes. ], on the other hand, often focuses on complex and lengthy ] schemes, while "flowas" like ] use metaphorical, emotional, rhyming, and story telling to communicate a message. | |||
| === Literary technique === | |||
| {{main|Literary technique}} | |||
| Rappers use ]s, ], and other forms of wordplay that are also found in classical poetry. ]s and ]s are used extensively in rap lyrics; rappers such as ] and ] have written entire songs in which every line contains similes, whereas MCs like Rakim, ], and ] are known for the metaphorical content of their raps. | |||
| Hip hop lyrics often make passing references to popular culture and other topics. An example is the song Wu-Tang Clan Ain't Nuthin' Ta Fuck Wit by the Wu-Tang Clan, in which ] rhymes, | |||
| <blockquote> | |||
| I be tossin', enforcin', my style is awesome<br> | |||
| I'm causin more Family Feuds than ]<br> | |||
| And the survey said - you're dead<br> | |||
| Fatal flying guillotine chops off your fuckin' head<br> | |||
| </blockquote> | |||
| Such ]s serve to illustrate or exaggerate a statement, or are simply used for humor. Some of these references are overtly political, while others simply acknowledge, credit, or show dismay about aspects of the rapper's culture and life. | |||
| === Diction and dialect === | |||
| Many hip hop listeners believe that a rapper's lyrics are enhanced by a complex vocabulary. ] claims that he appealed to older audiences by using a complex vocabulary in his raps.<ref name="r1">{{cite book | author = Kool Moe Dee | authorlink = Kool Moe Dee | coauthors = Chuck D. | year = 2003 | month = November | title = There's a God on the Mic | others = Ernie Paniccioli (Photographer) | pages = 224 | publisher = Thunder's Mouth Press | id = ISBN 1-56025-533-1}}</ref> Rap is famous, however, for having its own vocabulary—from international hip hop slang to regional slang. Some artists, like the Wu-Tang Clan, develop an entire lexicon among their clique. African American Vernacular English has always had a significant effect on hip hop slang and vice versa. Certain regions have introduced their unique regional slang to hip hop culture, such as the ] (], ]), ] (], ]), ] (], ], ]), and ] (]). ], a religious/spiritual group spun off from the ], has influenced mainstream hip hop slang with the introduction of phrases such as "word is bond" that have since lost much of their original spiritual meaning. ]]] Preference toward one or the other has much to do with the individual; GZA, for example, prides himself on being very visual and metaphorical but also succinct, whereas underground rapper ] is known for heaping similes upon similes. In still another variation, 2Pac was known for saying exactly what he meant, literally and clearly. | |||
| === Subject matter === | |||
| {{seealso|Concept rap}} | |||
| ] originated in ] in the 1970s, and continues to focus largely on metropolitan centers in the ] and ] coasts of America. One element that has always existed in rapped rhymes, dating back to hip hop's inception, is "the struggle". This struggle was originally financial or personal in nature, i.e., getting a girlfriend or paying the rent. With "]", a ] written by Melle Mel and performed by Grandmaster Flash and the Furious Five, the idea of "the struggle" was put in another context: the shared hardships of the ghetto. | |||
| The roots of these sociopolitical raps are in the ] of ] and Gil Scott-Heron. "The Message" pioneered the inclusion of political content in hip hop rhymes, expanding beyond basic personal issues and party raps. In the ], ] emerged, with a focus on political and social issues. Modern East Coast hip hop artists such as ], ], Jay-Z, Nas, and ] are known for their sociopolitical subject matter. Their West Coast counterparts include ], ], ], and ]. | |||
| Other rappers take a less critical approach to urbanity, sometimes even embracing such aspects as crime. ] was the first notable MC to rap about crime.<ref name="r10">{{cite web|last=Blow |first=Kurtis |authorlink=Kurtis Blow |coauthors=|date= |url=http://rhino.com/Features/liners/72851lin.html|title=Kurtis Blow Presents: The History of Rap, Vol. 1: The Genesis (liner notes)|work=Kurtis Blow Presents: The History Of Rap, Vol. 1: The Genesis|accessdate=May 14|accessyear=2006}}</ref> Several years later, he would go on to influence ], who had more overtly "gangsta" lyrics. ], made popular largely because of ]. Early on ] was accused of celebrating crime and a hedonistic lifestyle, but after the death of his DJ, ], KRS-One went on to speak out against violence in hip hop and has spent the majority of his career condemning violence and writing on issues of race and class. | |||
| Various politicians, journalists, and religious leaders have accused rappers of fostering a culture of violence and hedonism among hip hop listeners through their lyrics.<ref name="criticism1">{{cite web|url=http://www.timesonline.co.uk/article/0,,2088-2272091,00.html|title=The hoodie needs a daddy, not a hug|accessdate=July 22|accessyear= 2006|first=Jill|last=Kirby|date=]|publisher=The Times}}</ref><ref name="criticism2">{{cite web|url=http://www.foxnews.com/story/0,2933,61546,00.html|title="Challenging Pepsi"|accessdate=July 22|accessyear=2006|first=Bill|Last=O'Reilly|date=]|publisher=Fox News}}</ref><ref name="criticism3">{{cite web|url=http://arts.guardian.co.uk/filmandmusic/story/0,,1824848,00.html|title='We need heroes'|accessdate=July 22|accessyear= 2006|first=Dorian|last=Lynskey|date=]|publisher= The Guardian}}</ref> However, there are also rappers whose messages may not be in conflict with these views, for example ]. | |||
| In contrast to the more hedonistic approach of gangsta rappers, some rappers have a spiritual or religious focus. Christian rap is currently the most commercially successful form of religious rap. Aside from ], the ], a ] religious/spiritual group, has been represented more than any religious group in popular hip hop. Artists such as Rakim, the members of the Wu-Tang Clan, ], ], ], and Nas, have had success in spreading the ] of the Five Percenters. See the article on ] for a more in-depth discussion. | |||
| "Party rhymes", meant to pump up the crowd at a ], were nearly the exclusive focus of old school hip hop (with the exception of The Furious Five), and they remain a staple of hip hop music to this day. In addition to party raps, rappers also tend to make references to love and sex. Love raps were first popularized by ] of the ], and later, in the golden age of hip hop, ], ], and ] would continue this tradition. ], a ] group, were among the first hip hop act to be temporarily banned in the United States, for the overtly sexual and profane content of their raps. | |||
| == Performance == | |||
| === Flow === | |||
| Rap delivery, or "flow", is defined by ], ], and ]. Cadence deals with the dynamics and patterns of the rhythm. In addition to ''rubato'' (changes in tempo for the purpose of expression), cadence can also serve to reinforce song structure through ''ritardando'' (the gradual slowing down of tempo). Old school rappers generally maintained a simple cadence, without much deviation,<ref>{{cite web| url = http://www.allmusic.com/cg/amg.dll?p=amg&sql=73:1|title = allmusic| accessdate = December 22| accessyear = 2005}}</ref> while ] rappers such as Rakim experimented extensively with cadence.<ref name="r1" /> Present day popular rappers like ], Snoop Dogg, ], Busta Rhymes, ], and ] are considered to have a versatile cadence because of their ability to rap over disparate beats equally well. | |||
| A common way MCs judge how to flow in a verse is by writing a rhyme such that the most stressed words coincide with the beat in a way that makes the rhyming sound more musical (as opposed to spoken word) and that better combines the MC's voice with the musical backdrop. Rakim—whom many credit with changing the way most rappers flow on a song—experimented not only with following the beat, but also with complementing the song's melody with his own voice, making his flow sound like that of an instrument (a saxophone in particular).<ref> - YoungAmerica, from Friday, July 07, 2006</ref> | |||
| The ability to rap quickly and clearly is sometimes regarded as an important sign of skill. In certain ] such as ], slow-paced rapping is often considered optimal. The current record for fastest rapper is held by MC Ricky Brown, who rapped 723 syllables in 51.27 seconds (14.1 syllables per second) on his track "No Clue" at B&G Studios on ] ].<ref>{{cite web | url = http://www.guinnessworldrecords.com/content_pages/record.asp?recordid=50916 | title = Guinness World Records | accessdate = December 17 | accessyear = 2005 }}</ref> Kenyan rapper MC Delicate is also one of the African rappers capitalizing on speed rap, due to his ability to roll over several syllables in a couple of seconds. | |||
| To successfully deliver a nicely ''flowing'' rap, a rapper must also develop vocal presence, ], and ]. Vocal presence is the distinctiveness of a rapper's voice on record. Enunciation is essential to a flowing rap; some rappers choose also to exaggerate it for comic and artistic effect. Breath control, taking in air without interrupting one's delivery, is an important skill for a rapper to master, and a must for any MC. An MC with poor breath control cannot deliver difficult verses without making unintentional pauses. | |||
| Raps are sometimes delivered with melody. West Coast rapper ] was the first notable MC to deliver "sing-raps."<ref name="r10" /> Popular rappers such as ] and ] add a slight melody to their otherwise purely percussive raps whereas some rappers such as ] are able to ] their raps with the beat. The Midwestern group Bone Thugs-n-Harmony was one of the first groups to achieve nationwide recognition for using the fast-paced, melodic and harmonic raps that are also practiced by ], another Midwestern group. Another rapper to harmonize his rhymes is ], a rapper part of the group 213. | |||
| === Freestyle rapping === | |||
| {{seealso|Freestyle rap}} | |||
| There are two kinds of ]: one is scripted (recitation), but having no particular overriding subject matter, the second typically referred to as "freestyling" or "spitting", is the improvisation of rapped lyrics. When freestyling, some rappers inadvertently reuse old lines, or even "cheat" by preparing segments or entire verses in advance. Therefore, freestyles with proven spontaneity are valued above generic, always usable lines.<ref>Freestyle: The Art of Rhyme (2000)</ref> Rappers will often reference places or objects in their immediate setting, or specific (usually demeaning) characteristics of opponents, to prove their authenticity and originality. | |||
| === Battle rapping === | |||
| {{seealso|Battle rap|Diss track}} | |||
| ]ping, which can be freestyled, is the competition between two or more rappers in front of an audience. The tradition of insulting one's friends or acquaintances in rhyme goes back to ], and was portrayed famously by ] in his boxing matches. The winner of a battle is decided by the crowd and/or preselected judges. According to ], a successful battle rap focuses on an opponent's weaknesses, rather than one's own strengths. Television shows such as ]'s '']'' and ]'s ''DFX'' host weekly freestyle battles live on the air. Battle rapping gained widespread public recognition outside of the African-American community with rapper ]'s movie, ''].'' | |||
| The strongest battle rappers will generally perform their rap fully freestyled. This is the most effective form in a battle as the rapper can comment on the other person, whether it be what they look like, or how they talk, or what they wear. It also allows the rapper to reverse a line used to "diss" him or her if they are the second rapper to battle. | |||
| ==Social impact== | |||
| ===Race and class=== | |||
| {{seealso|Race in hip hop}} | |||
| By the ], three quarters of the United States' population is white, while one eighth is black. However, most mainstream rappers in the United States are black.<ref>{{cite journal|title=Rap, Black Rage, and Racial Difference|last=Best|first=Steven|coauthors=Kellner, Douglas|journal=Enculturation|volume=2|issue=2|year=1999|url=http://enculturation.gmu.edu/2_2/best-kellner.html|accessdate=2006-06-12}}</ref> Some believe this discrepancy is a good thing; popular rapper ] has said: "I hate music where white people are trying to sound black. The white music I like is white".<ref>{{cite web | date = 27 | year = 2005 | month = September | url = http://au.launch.yahoo.com/050926/10/a0h5.html | title = Kanye West: 'White People Should Make White Music' | publisher = Soundbuzz/Yahoo! Music | accessdate = May 12 | accessyear = 2006}}</ref> Other artists reject such distinctions and argue that it's absurd to racially segregate music four decades after the civil rights movement. Some prominent Caucasian MCs include ], ], ], and the UK's ]. | |||
| Very few white hip hop artists claim ] or ] ancestry; virtually all of them are members of other ethnic groups that have faced varying degrees of discrimination only to be later assimilated. For artists like ], the Beastie Boys, and Beltaine's Fire; hip hop culture provides a way to reject that ] and differentiate themselves from the dominant ] culture by asserting a separate ethnic identity. | |||
| Wealth and class have always been significant issues in hip hop, a culture which was developed mainly among the lower and lower-middle class blacks of inner-city New York. Any view of money that can be seen in real life can also be seen in the lyrics of rap—just as there are rappers who often brag about their extravagant wealth or more specifically their "rags to riches" stories, there are political militants who decry materialism. Although most of hip hop's famous and influential rappers have come from inner-city ghettos<ref> - by Efrem Smith (2007)</ref>, hip hop has always represented a variety of economic backgrounds. For example, Run-D.M.C., Beastie Boys, Rakim, ], and ]<ref name=Kanye">{{cite web| last = Tyrangiel | first = Josh | url = http://www.time.com/time/archive/preview/0,10987,1096499,00.html | title = Why You Can't Ignore Kanye | format = | work = ] | publisher = | accessdate = May 21|accessyear = 2006}}</ref> were middle-class when they began rapping. | |||
| Race issues often intersect with class issues. ], a white ]per, went so far as to lie about his place of origin, claiming that he came from the inner-city of ], when he was actually from ]an ]. According to Vanilla Ice, he was encouraged to lie by his record company to increase their profits.<ref name="Vanilla Ice">{{cite web| last = Austen | first = Jake | url = http://www.roctober.com/roctober/greatness/vanilla.html | title = Vanilla Ice: The Ice Is Right | format = | work = Rocktober Roctober #24, 1999| publisher = | accessdate = May 21 | accessyear = 2006}}</ref> In juxtaposition to Vanilla Ice stand the Beastie Boys, a rap group composed of white ] teenagers. The Beastie Boys didn't lie about their middle-class and suburban upbringing, and managed to sell millions of records while maintaining the respect of the hip hop community.<ref> - VH1.com</ref> | |||
| House of Pain, an ] crew with members from ] and ], were downright assertive about their ethnicity, including footage of a St. Patrick's Day parade in the music video for their first hit single ] and name-checking prominent Irish Americans in their lyrics. They also incorporated time signatures associated with traditional ] such as ]s and ]s into their songs—a major deviation from mainstream hip hop where virtually every song is done in 4/4 time. | |||
| The most recent mainstream exception to the skin color trend in mainstream rap is ], who is of mainly ] descent, and who grew up in the primarily black city of ].<ref>http://music.yahoo.com/ar-289114-bio--Eminem</ref> In his song "]", Eminem attributes his selling success to his being more easily digestible by a white audience, because he "looks like them." | |||
| Other prominent American rappers of primarily ] decent include ], ] (who is 1/4 ]), ], ] (who is half ]), ], ], and many others. Race, class, and ethnicity remain prominent themes in hip hop music in general, regardless of race. ] in particular is notable for addressing these issues from an explicitly anti-racist and anti-imperialist perspective in his music, while referencing his Scottish and Irish heritage as a point of pride. | |||
| Despite the fact that the majority of American rap artists in the mainstream are black, some statistics indicate that most hip hop record purchasers are white, reflecting demographics and economics. According to ] Arthur Kempton, "Today 70 percent of hip-hop is bought by white kids".<ref>{{cite news|title=HIP-HOP SETTING THE BEAT IN FIRST, BLACK ARTISTS HOLD BILLBOARD'S TOP 10|first=Joan|last=Anderman|publisher=]|date=]|url=http://hsan.org/content/main.aspx?pageid=21|accessdate=2006-06-12}}</ref> ] has criticized these figures, pointing out that they only count ] sales, which exclude the mom-and-pop record stores located in majority black and Latino neighborhoods that major music chains tend to avoid, and thus dramatically underrepresents the number of sales made in such communities. | |||
| According to political rapper Zion of ], socially conscious hip hop in particular has a majority white audience: "...so many black people don't want to hear it. They want that thug shit." In addition to Zion, several other underground rappers such as Boots Riley of The Coup, report nearly all white audiences.<ref name="Village">{{cite web|last= Kitwana |first= Bakari|date= ], ] |url= http://www.villagevoice.com/music/0526,kitwana,65332,22.html |title= The Cotton Club |publisher= The Village Voice |accessdate= February 2 |accessyear= 2006 }}</ref> | |||
| ====Chicano rap==== | |||
| {{main|Chicano rap}} | |||
| Chicano rap is a subgenre of hip hop music, ], and ] that embodies aspects of West Coast and Southwest Mexican American (Chicano) culture and is typically performed by American rap singers and musicians of Mexican descent. | |||
| The first widely recognized Chicano rap artist was ], whose 1990 debut album "Hispanic Causing Panic" driven by the hit single "La Raza" brought new attention to Chicano rappers in hip hop. | |||
| Cuban-American artist ] was the first Latino artist to have a major bilingual single, which was attached to his 1989 debut. Although Mellow Man often used Chicano slang as a result of his East Los Angeles upbringing, Kid Frost receives the credit as the first major Chicano rapper, given that Mellow Man was not of Mexican descent. Mellow Man, referred to as the "Godfather of Latin Rap", brought mainstream attention to Spanglish rhyming with his platinum single "Mentirosa". ], of which Mellow Man Ace was a member before going solo, is sometimes considered to produce Chicano rap due to their use of Spanish and popular Chicano slang, as well as the lead rapper's background of being part Mexican. They were the first Latino rap group to reach platinum status, with Big Pun credited as the first Latino solo artist to reach platinum sales for an LP. | |||
| During the 1990s, some Chicano rappers such as ] and Sinful of the Mexicanz began using influences from Mexican music in their beats and delivery, although this subgenre of music is sometimes referred to today as "Urban Regional" and is not always representative of Chicano rap. One of the most widely recognized Chicano rappers today is Lil Rob of San Diego, whose single "Summer Nights" was considered a major crossover and received heavy rotation on radio station and video programs not directly related to Chicano rap music. | |||
| Many Chicano rappers have been heavily influenced by Mexican history, including many themes relevant to the Mexican and Chicano people living in the United States and Mexico. Chicano rap is mainly enjoyed by hip hop listeners in the United States and has also established a cult fan base following in Japan, although its main audience consists of Hispanics or Latinos living on the West Coast, the Southwest, and the Midwest. Its ability to reach large audiences without mainstream airplay or media promotion is due in part to nationwide lowrider car tours and their accompanying concerts headlined by Chicano rappers. This environment allows ChicanorRap artists to earn significant incomes through independent label releases while promoting directly to a target audience. | |||
| === Gender and sexuality === | |||
| {{seealso|List of female rappers}} | |||
| Almost all popular rappers identify themselves as ]. A ] is prevalent in hip hop culture, as is the use of the word "]."{{Fact|date=October 2007}} Some heterosexual rappers like ] feel like that it is a problem and have spoken out against it.<ref name="BBCKanye">{{cite web | |||
| |url = http://news.bbc.co.uk/1/hi/entertainment/music/4165706.stm | |||
| |title = Star says rap is 'too homophobic' | |||
| |accessdate = 2007-12-14 | |||
| |author = | |||
| |last = | |||
| |first = | |||
| |authorlink = | |||
| |coauthors = | |||
| |date = 2005-08-19 | |||
| |work = BBC News, Entertainment | |||
| |publisher = BBC | |||
| |archiveurl = http://web.archive.org/web/20060614152334/http://news.bbc.co.uk/1/hi/entertainment/music/4165706.stm | |||
| |archivedate = 2006-06-14 | |||
| |quote = He said hip-hop was always about 'speaking your mind and about breaking down barriers, but everyone in hip-hop discriminates against gay people'. | |||
| }}</ref> | |||
| Though the majority of rappers are male, there have been a number of female rap stars, including ], ], ], ], ], ], ], ], and ] from ]. | |||
| === Derivatives and influence === | |||
| Throughout hip hop's history, new musical styles and genres have developed that contain rapping. Entire genres, such as ] (]/]/] with rapped vocals) and ] have resulted from the fusion of rap and other styles. Many popular music genres with a focus on percussion have contained rapping at some point; be it ] (]), ] (]), ] (]), ] (]), ] (]), ] (]), or even Japanese dance music, such as (]). ] music has begun to focus increasingly on rappers in a new subgenre called ], pioneered and popularized by the MC ]. Increased popularity with the music has shown more UK rappers going to America as well as tour there, such as ] possibly signing with ]'s label ]. Hyphy is the latest of these spin-offs. The style originated in ] ] and gained national attention in 2006, beginning with ]'s album ].{{Fact|date=January 2008}} It is typified by slowed-down atonal vocals with instrumentals that borrow heavily from the ] scene and lyrics centered on illegal street racing and car culture. Another Oakland, California group, Beltaine's Fire, has recently gained attention for their ] sound which blends hip hop beats with Celtic melodies. Unlike the majority of hip hop artists, all their music is performed live without samples, synths, or drum machines, drawing comparisons to ] and ]. | |||
| ], a widely popular style of music from ] has been mixed numerous times with reggae and hip hop music. The most popular song in this genre in the United States was "]" by ] and Jay-Z. Although "Mundian To Bach Ke" had been released previously, the mixing with Jay-Z popularized the genre further. | |||
| ===Regional variations=== | |||
| In the ], rap and hip hop are transcending cultural lines like never before. The ] phenomenon has made it relatively simple for any computer user around the world to find professionally produced rap in nearly any major spoken language, including ], ], ], ], ], ], ], ], and ] rap, which has recently been targeted for censure by the ]ian government<ref></ref>. | |||
| ====Belgium/Netherlands==== | |||
| {{Main|Dutch hip hop}} | |||
| Nederhop is hip hop with Dutch rapping. The first successful Nederhop record was "Rap Around the Clock" (7", 1986) by ], which was followed by rap duo ] with the 12" "Holiday Rap", a ] #1 hit that was distributed in 34 countries. The rap group Osdorp Posse from Amsterdam stood in the late 80s at the base of Dutch rap. When Rapper Def P, the frontman of ], began translating idiomatic ] lyrics with "]" themes literally into Dutch, the term ''Nederhop'' was coined. | |||
| Famous Nederhop rappers and groups include ], Osdorp Posse, ABN, Appa, Fata Morgana, Raymzter, Extince, ], Duvel, and ]. | |||
| ====France==== | |||
| {{Main|French hip hop}} | |||
| Outside of the United States the largest hip hop scene is in ], and artists such as ] and ] have even crossed over into the American market. As with early American hip hop, social and political issues figure strongly in much of French hip hop and the majority of performers come from the country's ethnic minorities, notably the Arab population. | |||
| ====Greece==== | |||
| {{Main|Greek hip hop}} | |||
| Greek hip hop refers to hip hop music originating in Greece, either in Greek or English. The earliest Greek hip hop groups date back to 1987, though native language albums did not appear until the mid-1990s. Some of the most important early hip-hop groups in Greece were ], Terror X Crew (members: Artemis, Efthimis, ]), FF.C (members: Ruthmodamastis, DJ Everlast, Skinothetis, plus many guests) and ]. This differentiation caused a lot of tension among the Greek hip hop fans. Between 1995 and 2000, there was a lot of conflict, relatively speaking. Things escalated from there when the battle rap era in Greece begun with the group ZN (Living Dead) started dissing ] and other hip hop groups. | |||
| As American hip hop lyrics became more widely violent, so did international hip hop lyrics, and Greece was no exception. Rapping about guns, drugs, violence and sex became the norm. Hardcore Greek rap had swept the genre, and commercial hip hop followed suit. Commercial hip hop in Greece has become hugely successful, with acts like ], Terror X Crew and Goin' Through blazing the trails. ] and Terror X Crew both were the first to have their records going gold. | |||
| ====Portugal==== | |||
| {{Main|Hip hop Tuga}} | |||
| Portuguese hip hop (hip hop português), mostly known as Hip hop Tuga, is the Portuguese variety of hip hop music, although different because it is mixed with African music from Lusophone Africa and reggae. Popular Portuguese rappers include Clã da Matarroa, ], ], ], ] (rapper and producer), Dealema, Mind Da Gap, Bonus, ] and DJ Bomberjack. | |||
| ====UK==== | |||
| {{Main|British hip hop}} | |||
| The UK scene has also gained international prominence, especially since their performance language, English, makes them more marketable to American audiences than their French counterparts. The UK sound incorporates extremely fast flows, strong electronica, ], and ] influences. The Bristol sound in particular was influential in the creation of ], which combines slowed down hip hop beats with sung vocals. UK artists are beginning to achieve crossover into the American market: notable MC ] was featured on the ] ] and ] game, the only UK rapper featured there. ] has signed with the American ] label. Standout UK rappers include ], ], ], ], ], ], ], ], Blak Twang, and Stig Of The Dump. Grime MCs ] and Skepta of Boy Better Know have worked with American producer ]. | |||
| ==References== | |||
| {{reflist|2}} | |||
| ==Further reading== | |||
| <div class="references-small"> | |||
| * {{cite book| author = Alan Light| coauthors = et al.| year = 1999| month = October| title = The Vibe History of Hip Hop| pages = 432| publisher = Three Rivers Press| id = ISBN 0-609-80503-7}} | |||
| * {{cite book| author = Jeff Chang| coauthors = D.J. Kool Herc | year = 2005 | month = December| title = Can't Stop Won't Stop: A History of the Hip-Hop Generation | pages = 560| publisher = Picador| id = ISBN 0-312-42579-1}} | |||
| * {{cite book | author = Sacha Jenkins | coauthors = et al. | year = 1999 | month = December | title = Ego Trip's Book of Rap Lists | pages = 352 | publisher = St. Martin's Griffin | id = ISBN 0-312-24298-0 }} | |||
| </div> | |||
| {{Hip hop portal}} | |||
| {{hiphop}} | |||
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