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class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#1970s"> <div class="vector-toc-text"> 2.1 1970s </div> </a> <ul id="toc-1970s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-1980s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#1980s"> <div class="vector-toc-text"> 2.2 1980s </div> </a> <ul id="toc-1980s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-1990s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#1990s"> <div class="vector-toc-text"> 2.3 1990s </div> </a> <ul id="toc-1990s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-2000s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#2000s"> <div class="vector-toc-text"> 2.4 2000s </div> </a> <ul id="toc-2000s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Global_innovations" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Global_innovations"> <div class="vector-toc-text"> 2.5 Global innovations </div> </a> <ul id="toc-Global_innovations-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Commercialization" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Commercialization"> <div class="vector-toc-text"> 2.6 Commercialization </div> </a> <ul id="toc-Commercialization-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Culture" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Culture"> <div class="vector-toc-text"> 3 Culture </div> </a> <button aria-controls="toc-Culture-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Culture subsection </button> <ul id="toc-Culture-sublist" class="vector-toc-list"> <li id="toc-DJing" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#DJing"> <div class="vector-toc-text"> 3.1 DJing </div> </a> <ul id="toc-DJing-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-MCing" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#MCing"> <div class="vector-toc-text"> 3.2 MCing </div> </a> <ul id="toc-MCing-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Graffiti" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Graffiti"> <div class="vector-toc-text"> 3.3 Graffiti </div> </a> <ul id="toc-Graffiti-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Breakdancing" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Breakdancing"> <div class="vector-toc-text"> 3.4 Breakdancing </div> </a> <ul id="toc-Breakdancing-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Beatboxing" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Beatboxing"> <div class="vector-toc-text"> 3.5 Beatboxing </div> </a> <ul id="toc-Beatboxing-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Beatmaking/producing" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Beatmaking/producing"> <div class="vector-toc-text"> 3.6 Beatmaking/producing </div> </a> <ul id="toc-Beatmaking/producing-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Language" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Language"> <div class="vector-toc-text"> 3.7 Language </div> </a> <ul id="toc-Language-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Social_impact" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Social_impact"> <div class="vector-toc-text"> 4 Social impact </div> </a> <button aria-controls="toc-Social_impact-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Social impact subsection </button> <ul id="toc-Social_impact-sublist" class="vector-toc-list"> <li id="toc-Effects" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Effects"> <div class="vector-toc-text"> 4.1 Effects </div> </a> <ul id="toc-Effects-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Linguistics" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Linguistics"> <div class="vector-toc-text"> 4.2 Linguistics </div> </a> <ul id="toc-Linguistics-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Censorship" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Censorship"> <div class="vector-toc-text"> 4.3 Censorship </div> </a> <ul id="toc-Censorship-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Product_placement_and_endorsements" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Product_placement_and_endorsements"> <div class="vector-toc-text"> 4.4 Product placement and endorsements </div> </a> <ul id="toc-Product_placement_and_endorsements-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Media" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Media"> <div class="vector-toc-text"> 4.5 Media </div> </a> <ul id="toc-Media-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Magazines" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Magazines"> <div class="vector-toc-text"> 4.6 Magazines </div> </a> <ul id="toc-Magazines-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Fashion" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Fashion"> <div class="vector-toc-text"> 4.7 Fashion </div> </a> <ul id="toc-Fashion-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Diversification" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Diversification"> <div class="vector-toc-text"> 4.8 Diversification </div> </a> <ul id="toc-Diversification-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Education" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Education"> <div class="vector-toc-text"> 4.9 Education </div> </a> <ul id="toc-Education-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Values_and_philosophy" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Values_and_philosophy"> <div class="vector-toc-text"> 5 Values and philosophy </div> </a> <button aria-controls="toc-Values_and_philosophy-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Values and philosophy subsection </button> <ul id="toc-Values_and_philosophy-sublist" class="vector-toc-list"> <li id="toc-Essentialism" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Essentialism"> <div class="vector-toc-text"> 5.1 Essentialism </div> </a> <ul id="toc-Essentialism-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Authenticity" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Authenticity"> <div class="vector-toc-text"> 5.2 Authenticity </div> </a> <ul id="toc-Authenticity-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Traditional_vs._progressive_views" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Traditional_vs._progressive_views"> <div class="vector-toc-text"> 6 Traditional vs. progressive views </div> </a> <ul id="toc-Traditional_vs._progressive_views-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Reception" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Reception"> <div class="vector-toc-text"> 7 Reception </div> </a> <button aria-controls="toc-Reception-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Reception subsection </button> <ul id="toc-Reception-sublist" class="vector-toc-list"> <li id="toc-Commercialization_and_stereotyping" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Commercialization_and_stereotyping"> <div class="vector-toc-text"> 7.1 Commercialization and stereotyping </div> </a> <ul id="toc-Commercialization_and_stereotyping-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Marginalization_of_women" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Marginalization_of_women"> <div class="vector-toc-text"> 7.2 Marginalization of women </div> </a> <ul id="toc-Marginalization_of_women-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Glorification_of_drug_use" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Glorification_of_drug_use"> <div class="vector-toc-text"> 7.3 Glorification of drug use </div> </a> <ul id="toc-Glorification_of_drug_use-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Homophobia_and_transphobia" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Homophobia_and_transphobia"> <div class="vector-toc-text"> 7.4 Homophobia and transphobia </div> </a> <ul id="toc-Homophobia_and_transphobia-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Legacy" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Legacy"> <div class="vector-toc-text"> 8 Legacy </div> </a> <ul id="toc-Legacy-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> 9 See also </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Notes" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Notes"> <div class="vector-toc-text"> 10 Notes </div> </a> <ul id="toc-Notes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> 11 References </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Bibliography" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Bibliography"> <div class="vector-toc-text"> 12 Bibliography </div> </a> <ul id="toc-Bibliography-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> 13 Further reading </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> 14 External links </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" > Toggle the table of contents </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading">Hip hop (culture)</h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 47 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-47" aria-hidden="true" > 47 languages </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-af mw-list-item"><a href="https://af.wikipedia.org/wiki/Hip-hop_(kultuur)" title="Hip-hop (kultuur) – Afrikaans" lang="af" hreflang="af" data-title="Hip-hop (kultuur)" data-language-autonym="Afrikaans" data-language-local-name="Afrikaans" class="interlanguage-link-target">Afrikaans</a></li><li class="interlanguage-link interwiki-am mw-list-item"><a href="https://am.wikipedia.org/wiki/%E1%88%82%E1%8D%95_%E1%88%86%E1%8D%95" title="ሂፕ ሆፕ – Amharic" lang="am" hreflang="am" data-title="ሂፕ ሆፕ" data-language-autonym="አማርኛ" data-language-local-name="Amharic" class="interlanguage-link-target">አማርኛ</a></li><li class="interlanguage-link interwiki-ar badge-Q70894304 mw-list-item" title=""><a href="https://ar.wikipedia.org/wiki/%D9%87%D9%8A%D8%A8_%D9%87%D9%88%D8%A8_(%D8%AB%D9%82%D8%A7%D9%81%D8%A9)" title="هيب هوب (ثقافة) – Arabic" lang="ar" hreflang="ar" data-title="هيب هوب (ثقافة)" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target">العربية</a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/Hip-hop" title="Hip-hop – Azerbaijani" lang="az" hreflang="az" data-title="Hip-hop" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target">Azərbaycanca</a></li><li class="interlanguage-link interwiki-zh-min-nan mw-list-item"><a href="https://zh-min-nan.wikipedia.org/wiki/Hip_hop_b%C3%BBn-h%C3%B2a" title="Hip hop bûn-hòa – Minnan" lang="nan" hreflang="nan" data-title="Hip hop bûn-hòa" data-language-autonym="閩南語 / Bân-lâm-gú" data-language-local-name="Minnan" class="interlanguage-link-target">閩南語 / Bân-lâm-gú</a></li><li class="interlanguage-link interwiki-bi mw-list-item"><a href="https://bi.wikipedia.org/wiki/Hip-hop" title="Hip-hop – Bislama" lang="bi" hreflang="bi" data-title="Hip-hop" data-language-autonym="Bislama" data-language-local-name="Bislama" class="interlanguage-link-target">Bislama</a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%A5%D0%B8%D0%BF-%D1%85%D0%BE%D0%BF" title="Хип-хоп – Bulgarian" lang="bg" hreflang="bg" data-title="Хип-хоп" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target">Български</a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Hip-hop" title="Hip-hop – Catalan" lang="ca" hreflang="ca" data-title="Hip-hop" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Hiphop" title="Hiphop – Danish" lang="da" hreflang="da" data-title="Hiphop" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target">Dansk</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Hip-Hop_(Subkultur)" title="Hip-Hop (Subkultur) – German" lang="de" hreflang="de" data-title="Hip-Hop (Subkultur)" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%A7%CE%B9%CF%80_%CF%87%CE%BF%CF%80" title="Χιπ χοπ – Greek" lang="el" hreflang="el" data-title="Χιπ χοπ" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target">Ελληνικά</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Hip_hop_(cultura)" title="Hip hop (cultura) – Spanish" lang="es" hreflang="es" data-title="Hip hop (cultura)" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Hip_hop" title="Hip hop – Basque" lang="eu" hreflang="eu" data-title="Hip hop" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target">Euskara</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Culture_hip-hop" title="Culture hip-hop – French" lang="fr" hreflang="fr" data-title="Culture hip-hop" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Cultura_hip_hop" title="Cultura hip hop – Galician" lang="gl" hreflang="gl" data-title="Cultura hip hop" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target">Galego</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%ED%9E%99%ED%95%A9" title="힙합 – Korean" lang="ko" hreflang="ko" data-title="힙합" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Hip-hop" title="Hip-hop – Croatian" lang="hr" hreflang="hr" data-title="Hip-hop" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target">Hrvatski</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Hip_hop" title="Hip hop – Italian" lang="it" hreflang="it" data-title="Hip hop" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%AA%D7%A8%D7%91%D7%95%D7%AA_%D7%94%D7%94%D7%99%D7%A4_%D7%94%D7%95%D7%A4" title="תרבות ההיפ הופ – Hebrew" lang="he" hreflang="he" data-title="תרבות ההיפ הופ" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%B0%E1%83%98%E1%83%9E-%E1%83%B0%E1%83%9D%E1%83%9E%E1%83%98" title="ჰიპ-ჰოპი – Georgian" lang="ka" hreflang="ka" data-title="ჰიპ-ჰოპი" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target">ქართული</a></li><li class="interlanguage-link interwiki-kk mw-list-item"><a href="https://kk.wikipedia.org/wiki/%D0%A5%D0%B8%D0%BF-%D1%85%D0%BE%D0%BF" title="Хип-хоп – Kazakh" lang="kk" hreflang="kk" data-title="Хип-хоп" data-language-autonym="Қазақша" data-language-local-name="Kazakh" class="interlanguage-link-target">Қазақша</a></li><li class="interlanguage-link interwiki-sw mw-list-item"><a href="https://sw.wikipedia.org/wiki/Hip_hop" title="Hip hop – Swahili" lang="sw" hreflang="sw" data-title="Hip hop" data-language-autonym="Kiswahili" data-language-local-name="Swahili" class="interlanguage-link-target">Kiswahili</a></li><li class="interlanguage-link interwiki-ku mw-list-item"><a href="https://ku.wikipedia.org/wiki/Hip-hop_(bin%C3%A7ande)" title="Hip-hop (binçande) – Kurdish" lang="ku" hreflang="ku" data-title="Hip-hop (binçande)" data-language-autonym="Kurdî" data-language-local-name="Kurdish" class="interlanguage-link-target">Kurdî</a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Hiphop" title="Hiphop – Latin" lang="la" hreflang="la" data-title="Hiphop" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target">Latina</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%83%92%E3%83%83%E3%83%97%E3%83%9B%E3%83%83%E3%83%97" title="ヒップホップ – Japanese" lang="ja" hreflang="ja" data-title="ヒップホップ" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Hiphop" title="Hiphop – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Hiphop" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target">Norsk bokmål</a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Hiphop" title="Hiphop – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Hiphop" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target">Norsk nynorsk</a></li><li class="interlanguage-link interwiki-or mw-list-item"><a href="https://or.wikipedia.org/wiki/%E0%AC%B9%E0%AC%BF%E0%AC%AA_%E0%AC%B9%E0%AC%AA_%E0%AC%B8%E0%AC%82%E0%AC%B8%E0%AD%8D%E0%AC%95%E0%AD%83%E0%AC%A4%E0%AC%BF" title="ହିପ ହପ ସଂସ୍କୃତି – Odia" lang="or" hreflang="or" data-title="ହିପ ହପ ସଂସ୍କୃତି" data-language-autonym="ଓଡ଼ିଆ" data-language-local-name="Odia" class="interlanguage-link-target">ଓଡ଼ିଆ</a></li><li class="interlanguage-link interwiki-pwn mw-list-item"><a href="https://pwn.wikipedia.org/wiki/hip_hap" title="hip hap – Paiwan" lang="pwn" hreflang="pwn" data-title="hip hap" data-language-autonym="Pinayuanan" data-language-local-name="Paiwan" class="interlanguage-link-target">Pinayuanan</a></li><li class="interlanguage-link interwiki-nds mw-list-item"><a href="https://nds.wikipedia.org/wiki/Hip-Hop_(Kultur)" title="Hip-Hop (Kultur) – Low German" lang="nds" hreflang="nds" data-title="Hip-Hop (Kultur)" data-language-autonym="Plattdüütsch" data-language-local-name="Low German" class="interlanguage-link-target">Plattdüütsch</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Hip-hop_(kultura)" title="Hip-hop (kultura) – Polish" lang="pl" hreflang="pl" data-title="Hip-hop (kultura)" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-crh mw-list-item"><a href="https://crh.wikipedia.org/wiki/Hip-hop" title="Hip-hop – Crimean Tatar" lang="crh" hreflang="crh" data-title="Hip-hop" data-language-autonym="Qırımtatarca" data-language-local-name="Crimean Tatar" class="interlanguage-link-target">Qırımtatarca</a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Cultura_hip_hop" title="Cultura hip hop – Romanian" lang="ro" hreflang="ro" data-title="Cultura hip hop" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target">Română</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%A5%D0%B8%D0%BF-%D1%85%D0%BE%D0%BF-%D0%BA%D1%83%D0%BB%D1%8C%D1%82%D1%83%D1%80%D0%B0" title="Хип-хоп-культура – Russian" lang="ru" hreflang="ru" data-title="Хип-хоп-культура" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Hip-hop_(subkult%C3%BAra)" title="Hip-hop (subkultúra) – Slovak" lang="sk" hreflang="sk" data-title="Hip-hop (subkultúra)" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target">Slovenčina</a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%DA%BE%DB%8C%D9%BE_%DA%BE%DB%86%D9%BE_(%DA%86%D8%A7%D9%86%D8%AF)" title="ھیپ ھۆپ (چاند) – Central Kurdish" lang="ckb" hreflang="ckb" data-title="ھیپ ھۆپ (چاند)" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target">کوردی</a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/Hip-hop_(kultura)" title="Hip-hop (kultura) – Serbian" lang="sr" hreflang="sr" data-title="Hip-hop (kultura)" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target">Српски / srpski</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Hip_hop" title="Hip hop – Finnish" lang="fi" hreflang="fi" data-title="Hip hop" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Hiphop" title="Hiphop – Swedish" lang="sv" hreflang="sv" data-title="Hiphop" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-tl mw-list-item"><a href="https://tl.wikipedia.org/wiki/Hip_hop" title="Hip hop – Tagalog" lang="tl" hreflang="tl" data-title="Hip hop" data-language-autonym="Tagalog" data-language-local-name="Tagalog" class="interlanguage-link-target">Tagalog</a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Hip_hop_(k%C3%BClt%C3%BCr)" title="Hip hop (kültür) – Turkish" lang="tr" hreflang="tr" data-title="Hip hop (kültür)" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target">Türkçe</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%A5%D1%96%D0%BF-%D1%85%D0%BE%D0%BF_(%D1%81%D1%83%D0%B1%D0%BA%D1%83%D0%BB%D1%8C%D1%82%D1%83%D1%80%D0%B0)" title="Хіп-хоп (субкультура) – Ukrainian" lang="uk" hreflang="uk" data-title="Хіп-хоп (субкультура)" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target">Українська</a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/V%C4%83n_h%C3%B3a_hip_hop" title="Văn hóa hip hop – Vietnamese" lang="vi" hreflang="vi" data-title="Văn hóa hip hop" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target">Tiếng Việt</a></li><li class="interlanguage-link interwiki-war mw-list-item"><a href="https://war.wikipedia.org/wiki/Hip_hop" title="Hip hop – Waray" lang="war" hreflang="war" data-title="Hip hop" data-language-autonym="Winaray" data-language-local-name="Waray" class="interlanguage-link-target">Winaray</a></li><li class="interlanguage-link interwiki-wuu mw-list-item"><a href="https://wuu.wikipedia.org/wiki/%E5%98%BB%E5%93%88" title="嘻哈 – Wu" lang="wuu" hreflang="wuu" data-title="嘻哈" data-language-autonym="吴语" data-language-local-name="Wu" class="interlanguage-link-target">吴语</a></li><li class="interlanguage-link interwiki-zh-yue mw-list-item"><a href="https://zh-yue.wikipedia.org/wiki/Hip_hop%E6%96%87%E5%8C%96" title="Hip hop文化 – Cantonese" lang="yue" hreflang="yue" data-title="Hip hop文化" data-language-autonym="粵語" data-language-local-name="Cantonese" class="interlanguage-link-target">粵語</a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E5%98%BB%E5%93%88" title="嘻哈 – Chinese" lang="zh" hreflang="zh" data-title="嘻哈" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target">中文</a></li> </ul> <div class="after-portlet after-portlet-lang"><a 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data-file-width="512" data-file-height="512" /></a></div></div> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Subculture including music, dance and graffiti</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">This article is about the culture in general. For the music genre, see <a href="/wiki/Hip_hop_music" class="mw-redirect" title="Hip hop music">Hip hop music</a>. For other uses, see <a href="/wiki/Hip_hop_(disambiguation)" class="mw-disambig" title="Hip hop (disambiguation)">Hip hop (disambiguation)</a>.</div> <style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-Cleanup_rewrite plainlinks metadata ambox ambox-content" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><a href="/wiki/File:Crystal_Clear_app_kedit.svg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e8/Crystal_Clear_app_kedit.svg/40px-Crystal_Clear_app_kedit.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e8/Crystal_Clear_app_kedit.svg/60px-Crystal_Clear_app_kedit.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e8/Crystal_Clear_app_kedit.svg/80px-Crystal_Clear_app_kedit.svg.png 2x" data-file-width="128" data-file-height="128" /></a></div></td><td class="mbox-text"><div class="mbox-text-span">This article may need to be rewritten to comply with Wikipedia's <a href="/wiki/Wikipedia:Manual_of_Style" title="Wikipedia:Manual of Style">quality standards</a>. <a class="external text" href="https://en.wikipedia.org/w/index.php?title=Hip_hop_(culture)&action=edit">You can help</a>. The <a href="/wiki/Talk:Hip_hop_(culture)" title="Talk:Hip hop (culture)">talk page</a> may contain suggestions. (March 2024)</div></td></tr></tbody></table> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Dj_Grandmaster_Flash-01-mika.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/92/Dj_Grandmaster_Flash-01-mika.jpg/250px-Dj_Grandmaster_Flash-01-mika.jpg" decoding="async" width="250" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/92/Dj_Grandmaster_Flash-01-mika.jpg/375px-Dj_Grandmaster_Flash-01-mika.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/92/Dj_Grandmaster_Flash-01-mika.jpg/500px-Dj_Grandmaster_Flash-01-mika.jpg 2x" data-file-width="1350" data-file-height="889" /></a><figcaption><a href="/wiki/DJ_Grandmaster_Flash" class="mw-redirect" title="DJ Grandmaster Flash">DJ Grandmaster Flash</a> in 1999</figcaption></figure> Hip hop or hip-hop is a culture and <a href="/wiki/Art_movement" title="Art movement">art movement</a> that was created by <a href="/wiki/African_Americans" title="African Americans">African Americans</a>,<a href="#cite_note-1">[1]</a><a href="#cite_note-2">[2]</a> starting in <a href="/wiki/The_Bronx" title="The Bronx">the Bronx</a>, New York City.<a href="#cite_note-4">[a]</a> Pioneered from Black American street culture,<a href="#cite_note-5">[4]</a><a href="#cite_note-6">[5]</a> that had been around for years prior to its more mainstream discovery,<a href="#cite_note-7">[6]</a> it later reached other groups such as <a href="/wiki/Latino_Americans" class="mw-redirect" title="Latino Americans">Latino Americans</a> and <a href="/wiki/Caribbean_Americans" class="mw-redirect" title="Caribbean Americans">Caribbean Americans</a>. Hip-hop culture has historically been shaped and dominated by African American men,<a href="#cite_note-8">[7]</a> though female hip hop artists have contributed to the art form and culture as well.<a href="#cite_note-9">[8]</a> Hip hop culture is characterized by the key elements of <a href="/wiki/Rapping" title="Rapping">rapping</a>,<a href="#cite_note-10">[b]</a> <a href="/wiki/Disc_jockey" title="Disc jockey">DJing</a> and <a href="/wiki/Turntablism" title="Turntablism">turntablism</a>, and <a href="/wiki/Breakdancing" title="Breakdancing">breakdancing</a>;<a href="#cite_note-11">[9]</a><a href="#cite_note-12">[10]</a> other elements include <a href="/wiki/Graffiti" title="Graffiti">graffiti</a>, <a href="/wiki/Beatboxing" title="Beatboxing">beatboxing</a>, street <a href="/wiki/Entrepreneurship" title="Entrepreneurship">entrepreneurship</a>, hip hop language, and <a href="/wiki/Hip_hop_fashion" title="Hip hop fashion">hip hop fashion</a>.<a href="#cite_note-TheElements-13">[11]</a><a href="#cite_note-KRSOne-14">[12]</a> From hip hop culture emerged a new genre of popular music, <a href="/wiki/Hip_hop_music" class="mw-redirect" title="Hip hop music">hip hop music</a>. The Bronx hip hop scene emerged in August 1973 when brother–sister duo <a href="/wiki/DJ_Kool_Herc" title="DJ Kool Herc">DJ Kool Herc</a> and Cindy Campbell hosted the first hip hop party in the Bronx, sparking the rise of the genre.<a href="#cite_note-15">[13]</a> Hip hop culture has spread to both urban and suburban communities throughout the United States and subsequently the world.<a href="#cite_note-KRS-One's_40_Year's_of_Hip_Hop-16">[14]</a> These elements were adapted and developed considerably, particularly as the art forms spread to new continents and merged with local styles in the 1990s and subsequent decades. Even as the movement continues to expand globally and explore myriad styles and art forms, including <a href="/wiki/Hip_hop_theater" class="mw-redirect" title="Hip hop theater">hip hop theater</a> and hip hop film, the four foundational elements provide coherence and a strong foundation for hip hop culture.<a href="#cite_note-CantStopWontStop-17">[15]</a> Hip hop is simultaneously a new and old phenomenon; the importance of <a href="/wiki/Sampling_(music)" title="Sampling (music)">sampling</a> tracks, beats, and <a href="/wiki/Bassline" title="Bassline">basslines</a> from old records to the art form means that much of the culture has revolved around the idea of updating classic recordings, attitudes, and experiences for modern audiences. <a href="/wiki/Sampling_(music)" title="Sampling (music)">Sampling</a> older culture and reusing it in a new context or a new format is called "flipping" in hip hop culture.<a href="#cite_note-18">[16]</a> Hip hop music follows in the footsteps of earlier African-American-rooted and Latino musical genres such as <a href="/wiki/Blues" title="Blues">blues</a>, <a href="/wiki/Jazz" title="Jazz">jazz</a>, <a href="/wiki/Rag-time" class="mw-redirect" title="Rag-time">rag-time</a>, <a href="/wiki/Funk" title="Funk">funk</a>, <a href="/wiki/Salsa_music" title="Salsa music">salsa</a>, and <a href="/wiki/Disco" title="Disco">disco</a> to become one of the most practiced genres worldwide. In the 2000s, with the rise of new media platforms such as online music streaming services, fans discovered and downloaded or streamed hip hop music through social networking sites beginning with <a href="/wiki/Blackplanet" class="mw-redirect" title="Blackplanet">Blackplanet</a> & <a href="/wiki/Myspace" title="Myspace">Myspace</a>, as well as from websites like <a href="/wiki/YouTube" title="YouTube">YouTube</a>, <a href="/wiki/Worldstarhiphop" class="mw-redirect" title="Worldstarhiphop">Worldstarhiphop</a>, <a href="/wiki/SoundCloud" title="SoundCloud">SoundCloud</a>, and <a href="/wiki/Spotify" title="Spotify">Spotify</a>.<a href="#cite_note-independent-19">[17]</a><a href="#cite_note-20">[18]</a> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Etymology">Etymology</h2></div> <a href="/wiki/Keef_Cowboy" title="Keef Cowboy">Keith "Cowboy" Wiggins</a>, a member of <a href="/wiki/Grandmaster_Flash_and_the_Furious_Five" title="Grandmaster Flash and the Furious Five">Grandmaster Flash and the Furious Five</a>, has been credited with coining the term<a href="#cite_note-Jet-21">[19]</a> in 1978 while teasing a friend who had just joined the <a href="/wiki/United_States_Army" title="United States Army">US Army</a> by <a href="/wiki/Scat_singing" title="Scat singing">scat singing</a>, in alternation, the made-up words "hip" and "hop" in a way that mimicked the rhythmic cadence of marching soldiers. Cowboy later worked the "hip hop" cadence into his stage performance.<a href="#cite_note-furious5-22">[20]</a><a href="#cite_note-23">[21]</a> The group frequently performed with disco artists who would refer to this new type of music by calling them "hip hoppers". The name was originally meant as a sign of disrespect, but soon came to identify this new music and its broader culture.<a href="#cite_note-HipHopDX-24">[22]</a> Therefore, the words chosen are probably not related to contemporary definitions for either "<a href="/wiki/Cool_(aesthetic)" title="Cool (aesthetic)">hip</a>" or "<a href="/wiki/Jumping" title="Jumping">hop</a>", although that pair of words in conjunction had been swirling in the public lexicon since at least the 1950s, with older folks describing the parties of the youth as "hippity hops".<a href="#cite_note-Chang-25">[23]</a> As the name was getting established, the words were a signature part of some songs. The song "<a href="/wiki/Rapper%27s_Delight" title="Rapper's Delight">Rapper's Delight</a>" by <a href="/wiki/The_Sugarhill_Gang" title="The Sugarhill Gang">The Sugarhill Gang</a>, released in 1979, begins with the phrase "I said a hip, hop, the hippie the hippie to the hip hip hop, and you don't stop".<a href="#cite_note-26">[24]</a> The 1980 hit "<a href="/wiki/Rapture_(Blondie_song)" title="Rapture (Blondie song)">Rapture</a>" by <a href="/wiki/Blondie_(band)" title="Blondie (band)">Blondie</a> contains a rapping part with the line "And you hip-hop, and you don't stop, just blast off, sure shot." <a href="/wiki/Lovebug_Starski" title="Lovebug Starski">Lovebug Starski</a> — a Bronx DJ who put out the single "The Positive Life" in 1981 – and <a href="/wiki/DJ_Hollywood" title="DJ Hollywood">DJ Hollywood</a> then began using the term when referring to this new "disco rap" music. Bill Alder, an independent consultant, once said, "There was hardly ever a moment when rap music was <a href="/wiki/Underground_music" title="Underground music">underground</a>, one of the first so-called rap records, was a monster hit ('Rapper's Delight' by the Sugar Hill Gang on Sugarhill Records)."<a href="#cite_note-Hip-Hop-27">[25]</a> Hip hop pioneer and South Bronx community leader <a href="/wiki/Afrika_Bambaataa" title="Afrika Bambaataa">Afrika Bambaataa</a> also credits <a href="/wiki/Lovebug_Starski" title="Lovebug Starski">Lovebug Starski</a> as the first to use the term "hip hop" as it relates to the culture. Bambaataa, former leader of the <a href="/wiki/Black_Spades" title="Black Spades">Black Spades</a>, also did much to further popularize the term. The first use of the term in print, referring specifically to the culture and its elements, was in a January 1982 interview of <a href="/wiki/Afrika_Bambaataa" title="Afrika Bambaataa">Afrika Bambaataa</a> by <a href="/wiki/Michael_Holman_(filmmaker)" title="Michael Holman (filmmaker)">Michael Holman</a> in the <a href="/wiki/East_Village_Eye" title="East Village Eye">East Village Eye</a>.<a href="#cite_note-28">[26]</a> The term gained further currency in September of that year in <a href="/wiki/The_Village_Voice" title="The Village Voice">The Village Voice</a>, in a profile of Bambaataa written by <a href="/wiki/Steven_Hager" title="Steven Hager">Steven Hager</a>, who also published the first comprehensive history of the culture with <a href="/wiki/St._Martin%27s_Press" title="St. Martin's Press">St. Martins' Press</a>.<a href="#cite_note-furious5-22">[20]</a><a href="#cite_note-29">[27]</a> <div class="mw-heading mw-heading2"><h2 id="History">History</h2></div> <div class="mw-heading mw-heading3"><h3 id="1970s">1970s</h3></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:DJ_Jazzy_Jeff.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3e/DJ_Jazzy_Jeff.jpg/220px-DJ_Jazzy_Jeff.jpg" decoding="async" width="220" height="142" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3e/DJ_Jazzy_Jeff.jpg/330px-DJ_Jazzy_Jeff.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3e/DJ_Jazzy_Jeff.jpg/440px-DJ_Jazzy_Jeff.jpg 2x" data-file-width="1546" data-file-height="1001" /></a><figcaption><a href="/wiki/DJ_Jazzy_Jeff" title="DJ Jazzy Jeff">DJ Jazzy Jeff</a>, who is also a record producer, manipulating a <a href="/wiki/Phonograph" title="Phonograph">record turntable</a> in 2005.</figcaption></figure> In the 1970s, an underground urban movement known as "hip hop" began to form in the <a href="/wiki/The_Bronx" title="The Bronx">Bronx, New York City</a>. It focused on emceeing (or MCing) over house parties and neighborhood block party events, held outdoors. Hip hop music has been a powerful medium for protesting the impact of legal institutions on minorities, particularly police and prisons.<a href="#cite_note-papers.ssrn.com-30">[28]</a> Historically, hip hop arose out of the ruins of a post-industrial and ravaged South Bronx, as a form of expression of urban Black and Latino youth, whom the public and political discourse had written off as marginalized communities.<a href="#cite_note-papers.ssrn.com-30">[28]</a> Jamaican-born <a href="/wiki/DJ_Kool_Herc" title="DJ Kool Herc">DJ Clive "Kool Herc" Campbell</a><a href="#cite_note-BBC-31">[29]</a> pioneered the use of DJing percussion "breaks" in hip hop music. Beginning at Herc's home in a high-rise apartment at 1520 Sedgwick Avenue, the movement later spread across the entire borough.<a href="#cite_note-32">[30]</a> On August 11, 1973, graffiti artist and breakdancer Cindy Campbell organized a hip hop "back to school" party with her brother featured as the deejay. Kool Herc extended the beat of a record by using two record players, isolating the percussion "breaks" by using a <a href="/wiki/DJ_mixer" title="DJ mixer">mixer</a> to switch between the two records. Cindy produced and funded this party that became the "Birth of Hip Hop", thus she has been called the Mother of Hip Hop and the First Lady of Hip Hop.<a href="#cite_note-33">[31]</a><a href="#cite_note-34">[32]</a> Kool Herc's turntablist style became known as "<a href="/wiki/Breakbeat" title="Breakbeat">breakbeat</a>"<a href="#cite_note-ShapiroRG-35">[33]</a> – an essential element of modern hip hop.<a href="#cite_note-36">[34]</a> Music critic <a href="/wiki/Peter_Shapiro_(journalist)" title="Peter Shapiro (journalist)">Peter Shapiro</a> wrote that Herc's innovation "laid the foundations for hip hop", also noting that "it was another DJ, <a href="/wiki/Grandwizard_Theodore" class="mw-redirect" title="Grandwizard Theodore">Grandwizard Theodore</a>, who created its signature flourish in 1977 or 1978" – "<a href="/wiki/Scratching" title="Scratching">scratching</a>".<a href="#cite_note-ShapiroRG-35">[33]</a> A second key musical element in hip hop music is emceeing (also called MCing or rapping). Emceeing is the rhythmic spoken delivery of <a href="/wiki/Rhyme" title="Rhyme">rhymes</a> and wordplay, delivered at first without accompaniment and later done over a <a href="/wiki/Beats_(music)" class="mw-redirect" title="Beats (music)">beat</a>. This spoken style was influenced by the <a href="/wiki/African-American_music" title="African-American music">African American style</a> of "<a href="/wiki/Dozens_(game)" title="Dozens (game)">capping</a>", a performance where men tried to outdo each other in originality of their language and tried to gain the favor of the listeners.<a href="#cite_note-37">[35]</a> The basic elements of hip hop—boasting raps, rival "posses" (groups), uptown "throw-downs", and political and social commentary—were all long present in African American music. MCing and rapping performers moved back and forth between the predominance of toasting songs packed with a mix of boasting, 'slackness' and sexual innuendo and a more topical, political, socially conscious style. The role of the MC originally was as a <a href="/wiki/Master_of_Ceremonies" class="mw-redirect" title="Master of Ceremonies">Master of Ceremonies</a> for a DJ dance event. The MC would introduce the DJ and try to pump up the audience. The MC spoke between the DJ's songs, urging everyone to get up and dance. MCs would also tell jokes and use their energetic language and enthusiasm to rev up the crowd. Eventually, this introducing role developed into longer sessions of spoken, rhythmic wordplay, and rhyming, which became rapping. By 1979, hip hop music had become a mainstream genre. It spread across the world in the 1990s with controversial "gangsta" rap.<a href="#cite_note-38">[36]</a> Herc also developed upon <a href="/wiki/Break_(music)" title="Break (music)">break-beat</a> <a href="/wiki/Deejay_(Jamaican)" class="mw-redirect" title="Deejay (Jamaican)">deejaying</a>,<a href="#cite_note-The_guide-39">[37]</a> where the breaks of <a href="/wiki/Funk" title="Funk">funk</a> songs—the part most suited to dance, usually percussion-based—were isolated and repeated for the purpose of all-night dance parties. This form of music playback, using hard funk and rock, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers would lead to the syncopated, rhymed spoken accompaniment now known as rapping. He dubbed his dancers "break-boys" and "break-girls", or simply <a href="/wiki/Breakdance" class="mw-redirect" title="Breakdance">b-boys</a> and b-girls. According to Herc, "breaking" was also street slang for "getting excited" and "acting energetically"<a href="#cite_note-40">[38]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Kool_Herc.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/06/Kool_Herc.jpg/220px-Kool_Herc.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/06/Kool_Herc.jpg/330px-Kool_Herc.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/06/Kool_Herc.jpg/440px-Kool_Herc.jpg 2x" data-file-width="892" data-file-height="597" /></a><figcaption><a href="/wiki/DJ_Kool_Herc" title="DJ Kool Herc">DJ Kool Herc</a> is a pioneer in developing hip hop music.</figcaption></figure>DJs such as Grand Wizzard Theodore, <a href="/wiki/DJ_Grandmaster_Flash" class="mw-redirect" title="DJ Grandmaster Flash">Grandmaster Flash</a>, and <a href="/wiki/Jazzy_Jay" title="Jazzy Jay">Jazzy Jay</a> refined and developed the use of <a href="/wiki/Breakbeats" class="mw-redirect" title="Breakbeats">breakbeats</a>, including <a href="/wiki/Scratching" title="Scratching">cutting and scratching</a>.<a href="#cite_note-41">[39]</a> The approach used by Herc was soon widely copied, and by the late 1970s, DJs were releasing <a href="/wiki/12-inch_single" class="mw-redirect" title="12-inch single">12-inch</a> records where they would rap to the beat. Influential tunes included <a href="/wiki/Fatback_Band" title="Fatback Band">Fatback Band</a>'s "<a href="/wiki/King_Tim_III_(Personality_Jock)" title="King Tim III (Personality Jock)">King Tim III (Personality Jock)</a>", The <a href="/wiki/Sugarhill_Gang" class="mw-redirect" title="Sugarhill Gang">Sugarhill Gang</a>'s "<a href="/wiki/Rapper%27s_Delight" title="Rapper's Delight">Rapper's Delight</a>", and <a href="/wiki/Kurtis_Blow" title="Kurtis Blow">Kurtis Blow</a>'s "<a href="/wiki/Christmas_Rappin%27" class="mw-redirect" title="Christmas Rappin'">Christmas Rappin'</a>", all released in 1979.<a href="#cite_note-Nile-42">[40]</a>[<a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot">dead link</a>‍] Herc and other DJs would connect their equipment to power lines and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, now officially a historic building.<a href="#cite_note-43">[41]</a> The equipment consisted of numerous speakers, turntables, and one or more microphones.<a href="#cite_note-44">[42]</a> By using this technique, DJs could create a variety of music, but according to Rap Attack by David Toop "At its worst the technique could turn the night into one endless and inevitably boring song".<a href="#cite_note-45">[43]</a> <a href="/w/index.php?title=KC_The_Prince_of_Soul&action=edit&redlink=1" class="new" title="KC The Prince of Soul (page does not exist)">KC The Prince of Soul</a>, a rapper-lyricist with Pete DJ Jones, is often credited with being the first rap lyricist to call himself an "MC".<a href="#cite_note-46">[44]</a> Street gangs were prevalent in the poverty of the South <a href="/wiki/The_Bronx" title="The Bronx">Bronx</a>, and much of the graffiti, <a href="/wiki/Rapping" title="Rapping">rapping</a>, and <a href="/wiki/Breakdancing" title="Breakdancing">b-boying</a> at these parties were all artistic variations on the competition and one-upmanship of street gangs. Sensing that gang members' often violent urges could be turned into creative ones, Afrika Bambaataa founded the <a href="/wiki/Universal_Zulu_Nation" title="Universal Zulu Nation">Zulu Nation</a>, a loose confederation of street-dance crews, graffiti artists, and rap musicians. By the late 1970s, the culture had gained media attention, with Billboard magazine printing an article titled "B Beats Bombarding <a href="/wiki/The_Bronx" title="The Bronx">Bronx</a>", commenting on the local phenomenon and mentioning influential figures such as <a href="/wiki/DJ_Kool_Herc" title="DJ Kool Herc">Kool Herc</a>.<a href="#cite_note-That's_the_joint-47">[45]</a> The <a href="/wiki/New_York_City_blackout_of_1977" title="New York City blackout of 1977">New York City blackout of 1977</a> saw widespread looting, arson, and other citywide disorders especially in the <a href="/wiki/Bronx" class="mw-redirect" title="Bronx">Bronx</a><a href="#cite_note-'70s-48">[46]</a> where a number of looters stole DJ equipment from electronics stores. As a result, the hip hop genre, barely known outside of the <a href="/wiki/The_Bronx" title="The Bronx">Bronx</a> at the time, grew at an astounding rate from 1977 onward.<a href="#cite_note-nytimes.com-49">[47]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Afrika_Bambaataa_and_DJ_Yutaka_(2004).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Afrika_Bambaataa_and_DJ_Yutaka_%282004%29.jpg/220px-Afrika_Bambaataa_and_DJ_Yutaka_%282004%29.jpg" decoding="async" width="220" height="164" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Afrika_Bambaataa_and_DJ_Yutaka_%282004%29.jpg/330px-Afrika_Bambaataa_and_DJ_Yutaka_%282004%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Afrika_Bambaataa_and_DJ_Yutaka_%282004%29.jpg/440px-Afrika_Bambaataa_and_DJ_Yutaka_%282004%29.jpg 2x" data-file-width="739" data-file-height="551" /></a><figcaption><a href="/wiki/Afrika_Bambaataa" title="Afrika Bambaataa">Afrika Bambaataa</a> with DJ <a href="https://ja.wikipedia.org/wiki/DJ_YUTAKA" class="extiw" title="ja:DJ YUTAKA">Yutaka</a> of <a href="/wiki/Universal_Zulu_Nation" title="Universal Zulu Nation">Universal Zulu Nation</a> in 2004</figcaption></figure> <a href="/wiki/DJ_Kool_Herc" title="DJ Kool Herc">DJ Kool Herc</a>'s house parties gained popularity and later moved to outdoor venues to accommodate more people. Hosted in parks, these outdoor parties became a means of expression and an outlet for teenagers, where "instead of getting into trouble on the streets, teens now had a place to expend their pent-up energy."<a href="#cite_note-Chang_62-50">[48]</a> Tony Tone, a member of the <a href="/wiki/Cold_Crush_Brothers" class="mw-redirect" title="Cold Crush Brothers">Cold Crush Brothers</a>, stated that "hip hop saved a lot of lives".<a href="#cite_note-Chang_62-50">[48]</a> For inner-city youth, participating in hip hop culture became a way of dealing with the hardships of life as minorities within America, and an outlet to deal with the risk of violence and the rise of gang culture. MC Kid Lucky mentions that "people used to <a href="/wiki/Break-dance" class="mw-redirect" title="Break-dance">break-dance</a> against each other instead of fighting".<a href="#cite_note-51">[49]</a>[<a href="/wiki/Wikipedia:Citing_sources#What_information_to_include" title="Wikipedia:Citing sources">full citation needed</a>] Inspired by DJ Kool Herc, Afrika Bambaataa created a street organization called <a href="/wiki/Universal_Zulu_Nation" title="Universal Zulu Nation">Universal Zulu Nation</a>, centered around hip hop, as a means to draw teenagers out of gang life, drugs and violence.<a href="#cite_note-Chang_62-50">[48]</a> The lyrical content of many early rap groups focused on social issues, most notably in the seminal track "The Message" (1982) by <a href="/wiki/Grandmaster_Flash_and_the_Furious_Five" title="Grandmaster Flash and the Furious Five">Grandmaster Flash and the Furious Five</a>, which discussed the realities of life in the housing projects.<a href="#cite_note-Pareles-52">[50]</a> "Young black Americans coming out of the civil rights movement have used hip hop culture in the 1980s and 1990s to show the limitations of the movement."<a href="#cite_note-Diawara-53">[51]</a> Hip hop gave young African Americans a voice to let their issues be heard; "Like rock-and-roll, hip hop is vigorously opposed by conservatives because it romanticizes violence, law-breaking, and gangs".<a href="#cite_note-Diawara-53">[51]</a> It also gave people a chance for financial gain by "reducing the rest of the world to consumers of its social concerns."<a href="#cite_note-Diawara-53">[51]</a> In late 1979, <a href="/wiki/Debbie_Harry" title="Debbie Harry">Debbie Harry</a> of <a href="/wiki/Blondie_(band)" title="Blondie (band)">Blondie</a> took <a href="/wiki/Nile_Rodgers" title="Nile Rodgers">Nile Rodgers</a> of <a href="/wiki/Chic_(band)" title="Chic (band)">Chic</a> to such an event, as the main backing track used was the break from Chic's "<a href="/wiki/Good_Times_(Chic_song)" title="Good Times (Chic song)">Good Times</a>".<a href="#cite_note-Nile-42">[40]</a> The new style influenced Harry, and Blondie's later hit single from 1981 "<a href="/wiki/Rapture_(Blondie_song)" title="Rapture (Blondie song)">Rapture</a>" became the first major single containing hip hop elements by a white group or artist to hit number one on the U.S. <a href="/wiki/Billboard_Hot_100" title="Billboard Hot 100">Billboard Hot 100</a>—the song itself is usually considered <a href="/wiki/New_wave_music" title="New wave music">new wave</a> and fuses heavy pop music elements, but there is an extended rap by Harry near the end. <div class="mw-heading mw-heading3"><h3 id="1980s">1980s</h3></div> In 1980, <a href="/wiki/Kurtis_Blow" title="Kurtis Blow">Kurtis Blow</a> released his <a href="/wiki/Kurtis_Blow_(album)" title="Kurtis Blow (album)">self-titled debut album</a> featuring the single "<a href="/wiki/The_Breaks_(song)" title="The Breaks (song)">The Breaks</a>", which became the first certified gold rap song.<a href="#cite_note-54">[52]</a> In 1982, <a href="/wiki/Afrika_Bambaataa" title="Afrika Bambaataa">Afrika Bambaataa</a> and the <a href="/wiki/Soulsonic_Force" title="Soulsonic Force">Soulsonic Force</a> released the <a href="/wiki/Electro_music" class="mw-redirect" title="Electro music">electro-funk</a> track "<a href="/wiki/Planet_Rock_(song)" title="Planet Rock (song)">Planet Rock</a>". Instead of simply rapping over disco beats, Bambaataa and producer <a href="/wiki/Arthur_Baker_(musician)" class="mw-redirect" title="Arthur Baker (musician)">Arthur Baker</a> created an electronic sound using the <a href="/wiki/Roland_TR-808" title="Roland TR-808">Roland TR-808</a> drum machine and sampling from <a href="/wiki/Kraftwerk" title="Kraftwerk">Kraftwerk</a>.<a href="#cite_note-samplesdb-55">[53]</a> "Planet Rock" is widely regarded as a turning point; fusing electro with hip hop, it was "like a light being switched on", resulting in a new genre.<a href="#cite_note-Toop-2000-56">[54]</a> The track also helped popularize the 808, which became a cornerstone of hip hop music;<a href="#cite_note-:5-57">[55]</a> <a href="/wiki/Wired_(magazine)" title="Wired (magazine)">Wired</a> and Slate both described the machine as hip hop's equivalent to the <a href="/wiki/Fender_Stratocaster" title="Fender Stratocaster">Fender Stratocaster</a>, which had dramatically influenced the development of rock music.<a href="#cite_note-58">[56]</a><a href="#cite_note-59">[57]</a> Released in 1986, <a href="/wiki/Licensed_to_Ill" title="Licensed to Ill">Licensed to Ill</a> by the <a href="/wiki/Beastie_Boys" title="Beastie Boys">Beastie Boys</a> became the first rap LP to top the <a href="/wiki/Billboard_(magazine)" title="Billboard (magazine)">Billboard</a> album chart.<a href="#cite_note-60">[58]</a> Beastie Boys were also one of the first white hip hop artists and a highly influential band in the history of hip hop, ranked as No.12 most influential band by <a href="/wiki/Spin_(magazine)" title="Spin (magazine)">Spin Magazine</a>.<a href="#cite_note-61">[59]</a> Other groundbreaking records released in 1982 include "<a href="/wiki/The_Message_(Grandmaster_Flash_and_the_Furious_Five_album)" title="The Message (Grandmaster Flash and the Furious Five album)">The Message</a>" by <a href="/wiki/Grandmaster_Flash_and_the_Furious_Five" title="Grandmaster Flash and the Furious Five">Grandmaster Flash and the Furious Five</a>, "<a href="/wiki/Nunk_(song)" title="Nunk (song)">Nunk</a>" by <a href="/wiki/Warp_9" title="Warp 9">Warp 9</a>, "Hip Hop, Be Bop (Don't Stop)" by <a href="/wiki/Man_Parrish" title="Man Parrish">Man Parrish</a>, "Magic Wand" by <a href="/wiki/Whodini" title="Whodini">Whodini</a>, and "<a href="/wiki/Buffalo_Gals" title="Buffalo Gals">Buffalo Gals</a>" by <a href="/wiki/Malcolm_McLaren" title="Malcolm McLaren">Malcolm McLaren</a>. In 1983, <a href="/wiki/Hashim_Music" class="mw-redirect" title="Hashim Music">Hashim</a> created the influential electro funk tune "<a href="/wiki/Jerry_Calliste_Jr" class="mw-redirect" title="Jerry Calliste Jr">Al-Naafiysh (The Soul)</a>", while Warp 9's "<a href="/wiki/Light_Years_Away_(Warp_9_song)" title="Light Years Away (Warp 9 song)">Light Years Away</a>"(1983), "a cornerstone of early 80s beat box <a href="/wiki/Afrofuturism" title="Afrofuturism">afrofuturism</a>", introduced socially conscious themes from a Sci-Fi perspective, paying homage to music pioneer <a href="/wiki/Sun_Ra" title="Sun Ra">Sun Ra</a>.<a href="#cite_note-62">[60]</a> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Melle_Mel.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Melle_Mel.jpg/220px-Melle_Mel.jpg" decoding="async" width="220" height="144" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Melle_Mel.jpg/330px-Melle_Mel.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Melle_Mel.jpg/440px-Melle_Mel.jpg 2x" data-file-width="1758" data-file-height="1152" /></a><figcaption>Grandmaster <a href="/wiki/Melle_Mel" title="Melle Mel">Melle Mel</a></figcaption></figure> Encompassing graffiti art, MCing/rapping, DJing and b-boying, hip hop became the dominant cultural movement of the minority-populated urban communities in the 1980s.<a href="#cite_note-63">[61]</a> The 1980s also saw many artists make social statements through hip hop. In 1982, <a href="/wiki/Melle_Mel" title="Melle Mel">Melle Mel</a> and <a href="/wiki/Duke_Bootee" title="Duke Bootee">Duke Bootee</a> recorded "<a href="/wiki/The_Message_(Grandmaster_Flash_and_the_Furious_Five_song)" title="The Message (Grandmaster Flash and the Furious Five song)">The Message</a>" (officially credited to Grandmaster Flash and The Furious Five),<a href="#cite_note-64">[62]</a> a song that foreshadowed the socially conscious statements of <a href="/wiki/Run-DMC" title="Run-DMC">Run-DMC</a>'s "<a href="/wiki/It%27s_like_That_(Run-D.M.C._song)" class="mw-redirect" title="It's like That (Run-D.M.C. song)">It's like That</a>" and <a href="/wiki/Public_Enemy_(band)" class="mw-redirect" title="Public Enemy (band)">Public Enemy</a>'s "<a href="/wiki/Black_Steel_in_the_Hour_of_Chaos" title="Black Steel in the Hour of Chaos">Black Steel in the Hour of Chaos</a>".<a href="#cite_note-65">[63]</a> During the 1980s, hip hop also embraced the creation of rhythm by using the human body, via the <a href="/wiki/Vocal_percussion" title="Vocal percussion">vocal percussion</a> technique of <a href="/wiki/Beatboxing" title="Beatboxing">beatboxing</a>. Pioneers such as <a href="/wiki/Doug_E._Fresh" title="Doug E. Fresh">Doug E. Fresh</a>,<a href="#cite_note-66">[64]</a> <a href="/wiki/Biz_Markie" title="Biz Markie">Biz Markie</a> and Buffy from the <a href="/wiki/Fat_Boys" class="mw-redirect" title="Fat Boys">Fat Boys</a> made beats, rhythm, and musical sounds using their mouth, lips, tongue, voice, and other body parts. "Human Beatbox" artists would also sing or imitate turntablism scratching or other instrument sounds. The appearance of music videos changed entertainment: they often glorified urban neighborhoods.<a href="#cite_note-67">[65]</a> The music video for "Planet Rock" showcased the subculture of hip hop musicians, graffiti artists, and b-boys/b-girls. Many hip hop-related films were released between 1982 and 1985, among them <a href="/wiki/Wild_Style" title="Wild Style">Wild Style</a>, <a href="/wiki/Beat_Street" title="Beat Street">Beat Street</a>, <a href="/wiki/Krush_Groove" title="Krush Groove">Krush Groove</a>, <a href="/wiki/Breakin" class="mw-redirect" title="Breakin">Breakin</a>, and the documentary <a href="/wiki/Style_Wars" title="Style Wars">Style Wars</a>. These films expanded the appeal of hip hop beyond the boundaries of New York. By 1984, youth worldwide were embracing the hip hop culture. The hip hop artwork and "slang" of U.S. urban communities quickly found its way to Europe, as the culture's global appeal took root. This was especially notable in the United Kingdom, where <a href="/wiki/British_hip_hop" class="mw-redirect" title="British hip hop">British hip hop</a> grew its own voice and style from the 1980s, with rappers such as <a href="/wiki/She_Rockers" title="She Rockers">She Rockers</a>, <a href="/wiki/MC_Duke" title="MC Duke">MC Duke</a>, and <a href="/wiki/Derek_B" title="Derek B">Derek B</a>, followed by <a href="/wiki/Silver_Bullet_(rapper)" title="Silver Bullet (rapper)">Silver Bullet</a>, <a href="/wiki/Monie_Love" title="Monie Love">Monie Love</a>, <a href="/wiki/Caveman_(group)" title="Caveman (group)">Caveman</a>, and <a href="/wiki/London_Posse" title="London Posse">London Posse</a>. Women artists have also been at the forefront of the hip hop movement since its inception in the Bronx. Nevertheless, as <a href="/wiki/Gangsta_rap" title="Gangsta rap">gangsta rap</a> became the dominant force in hip hop music, there were many songs with <a href="/wiki/Misogyny" title="Misogyny">misogynistic</a> (anti-women) lyrics and many music videos depicted women in a sexualized fashion. The negation of female voice and perspective is an issue that has come to define mainstream hip hop music. The recording industry is less willing to back female artists than their male counterparts, and when it does back them, often it places emphasis on their sexuality over their musical substance and artistic abilities.<a href="#cite_note-Nielson-68">[66]</a> Since the turn of the century, female hip hop artists have struggled to get mainstream attention, with only a few, such as older artists like the female duo <a href="/wiki/Salt-N-Pepa" title="Salt-N-Pepa">Salt N' Pepa</a> to more contemporary ones like <a href="/wiki/Lil%27_Kim" title="Lil' Kim">Lil' Kim</a> and <a href="/wiki/Nicki_Minaj" title="Nicki Minaj">Nicki Minaj</a>, reaching platinum status.<a href="#cite_note-Nielson-68">[66]</a> <div class="mw-heading mw-heading3"><h3 id="1990s">1990s</h3></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Ice_T2.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Ice_T2.jpg/170px-Ice_T2.jpg" decoding="async" width="170" height="227" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/d/d3/Ice_T2.jpg 1.5x" data-file-width="247" data-file-height="330" /></a><figcaption>Rapper <a href="/wiki/Ice-T" title="Ice-T">Ice-T</a> </figcaption></figure> With the commercial success of <a href="/wiki/Gangsta_rap" title="Gangsta rap">gangsta rap</a> in the early 1990s, the emphasis in lyrics shifted to drugs, violence, and <a href="/wiki/Misogyny_in_hip_hop_culture" class="mw-redirect" title="Misogyny in hip hop culture">misogyny</a>. Early proponents of gangsta rap included groups and artists such as <a href="/wiki/Ice-T" title="Ice-T">Ice-T</a>, who recorded what some consider to be the first gangsta rap single, "<a href="/wiki/6_in_the_Mornin%27" title="6 in the Mornin'">6 in the Mornin'</a>",<a href="#cite_note-Strode,_Tim_2008-69">[67]</a> and <a href="/wiki/N.W.A" title="N.W.A">N.W.A</a> whose second album <a href="/wiki/Niggaz4Life" title="Niggaz4Life">Niggaz4Life</a> became the first gangsta rap album to enter the charts at number one.<a href="#cite_note-70">[68]</a> Gangsta rap also played an important part in hip hop becoming a mainstream commodity. Considering albums such as <a href="/wiki/N.W.A" title="N.W.A">N.W.A</a>'s <a href="/wiki/Straight_Outta_Compton" title="Straight Outta Compton">Straight Outta Compton</a>, <a href="/wiki/Eazy-E" title="Eazy-E">Eazy-E</a>'s <a href="/wiki/Eazy-Duz-It" title="Eazy-Duz-It">Eazy-Duz-It</a>, and <a href="/wiki/Ice_Cube" title="Ice Cube">Ice Cube</a>'s <a href="/wiki/AmeriKKKa%27s_Most_Wanted" title="AmeriKKKa's Most Wanted">AmeriKKKa's Most Wanted</a> were selling in such high numbers meant that black teens were no longer hip hop's sole buying audience.<a href="#cite_note-FOOTNOTEKitwana2005-71">[69]</a> As a result, gangsta rap became a platform for artists who chose to use their music to spread political and social messages to parts of the country that were previously unaware of the conditions of <a href="/wiki/Ghetto" title="Ghetto">ghettos</a>.<a href="#cite_note-Strode,_Tim_2008-69">[67]</a> While hip hop music now appeals to a broader demographic, media critics argue that socially and politically conscious hip hop has been largely disregarded by mainstream America.<a href="#cite_note-Media_coverage-72">[70]</a> <div class="mw-heading mw-heading3"><h3 id="2000s">2000s</h3></div> With Hip-Hop starting to grab traction, the early 2000s was a turning point for the genre that influenced the sound, lifestyle and the fashion of the decade.<a href="#cite_note-73">[71]</a> At the time, <a href="/wiki/The_Beatles" title="The Beatles">The Beatles</a> had the top selling album of the 2000s until <a href="/wiki/Eminem" title="Eminem">Eminem</a> surpassed them with 32.2 million in sales.<a href="#cite_note-74">[72]</a> While sampling has always been a central part of hip hop music, <a href="/wiki/Kanye_West" title="Kanye West">Kanye West</a>'s <a href="/wiki/The_College_Dropout" title="The College Dropout">The College Dropout</a> offered new innovations in the genre. The album, released in 2004, sold over 4 million copies worldwide,<a href="#cite_note-75">[73]</a> has been noted by critics for its manipulation of samples, many pulled from pop culture, where West would speed up or slow down the original beat, a trend that became popular as a result.<a href="#cite_note-Berry-76">[74]</a> For example, West's debut single "<a href="/wiki/Through_the_Wire" title="Through the Wire">Through the Wire</a>" used a sped-up sample from <a href="/wiki/Chaka_Khan" title="Chaka Khan">Chaka Khan</a>'s song "<a href="/wiki/Through_the_Fire_(song)" title="Through the Fire (song)">Through the Fire</a>". This tactic became known as the "chipmunk soul sound."<a href="#cite_note-Berry-76">[74]</a> <div class="mw-heading mw-heading3"><h3 id="Global_innovations">Global innovations</h3></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:KateTempestTreefort2017.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2e/KateTempestTreefort2017.jpg/220px-KateTempestTreefort2017.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2e/KateTempestTreefort2017.jpg/330px-KateTempestTreefort2017.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2e/KateTempestTreefort2017.jpg/440px-KateTempestTreefort2017.jpg 2x" data-file-width="4640" data-file-height="3480" /></a><figcaption>British hip hop artist and poet <a href="/wiki/Kae_Tempest" title="Kae Tempest">Kae Tempest</a> performs her signature piece "Let Them Eat Chaos" at the 2017 <a href="/wiki/Treefort_Music_Fest" title="Treefort Music Fest">Treefort Music Fest</a> in <a href="/wiki/Boise,_Idaho" title="Boise, Idaho">Boise, Idaho</a>.</figcaption></figure> According to the <a href="/wiki/United_States_Department_of_State" title="United States Department of State">U.S. Department of State</a>, hip hop is "now the center of a mega music and fashion industry around the world" that crosses social barriers and cuts across racial lines.<a href="#cite_note-Hip-Hop_Culture_Crosses_Social_Barriers-77">[75]</a> <a href="/wiki/National_Geographic_(magazine)" class="mw-redirect" title="National Geographic (magazine)">National Geographic</a> recognizes hip hop as "the world's favorite youth culture" in which "just about every country on the planet seems to have developed its own local rap scene."<a href="#cite_note-Hip_Hop_Overview-78">[76]</a> Through its international travels, hip hop is now considered a "global musical epidemic".<a href="#cite_note-79">[77]</a> According to The Village Voice, hip hop is "custom-made to combat the <a href="/wiki/Anomie" title="Anomie">anomie</a> that preys on adolescents wherever nobody knows their name."<a href="#cite_note-80">[78]</a> Hip hop sounds and styles differ from region to region, but there are also instances of fusion genres.<a href="#cite_note-81">[79]</a> Hip hop culture has grown from the avoided genre to a genre that is followed by millions of fans worldwide. This was made possible by the adaptation of music in different locations, and the influence on style of behavior and dress.<a href="#cite_note-82">[80]</a> Not all countries have embraced hip hop, where "as can be expected in countries with strong local culture, the interloping wildstyle of hip hop is not always welcomed".<a href="#cite_note-Schwartz-83">[81]</a> This is somewhat the case in Jamaica, the homeland of the culture's father, DJ Kool Herc. However, despite hip hop music produced on the island lacking widespread local and international recognition, artists such as <a href="/wiki/Five_Steez" title="Five Steez">Five Steez</a> have defied the odds by impressing online hip hop taste-makers and even reggae critics.<a href="#cite_note-Jamaica-84">[82]</a> Hartwig Vens argues that hip hop can also be viewed as a global learning experience.<a href="#cite_note-hartwig-85">[83]</a> Author <a href="/wiki/Jeff_Chang_(journalist)" title="Jeff Chang (journalist)">Jeff Chang</a> argues that "the essence of hip hop is the <a href="/wiki/Freestyle_rap" title="Freestyle rap">cipher</a>, born in the Bronx, where competition and community feed each other."<a href="#cite_note-86">[84]</a> He also adds, "Thousands of organizers from <a href="/wiki/Cape_Town" title="Cape Town">Cape Town</a> to Paris use hip hop in their communities to address environmental justice, policing and prisons, media justice, and education.".<a href="#cite_note-Chang_60-87">[85]</a> While hip hop music has been criticized as a music that creates a divide between western music and music from the rest of the world[<a href="/wiki/Wikipedia:Manual_of_Style/Words_to_watch#Unsupported_attributions" title="Wikipedia:Manual of Style/Words to watch">by whom?</a> – <a href="/wiki/Talk:Hip_hop_(culture)#Divide_between_western_music_and_music_from_the_rest_of_the_world" title="Talk:Hip hop (culture)">Discuss</a>], a musical "cross pollination" has taken place, which strengthens the power of hip hop to influence different communities.<a href="#cite_note-88">[86]</a> Hip hop's messages allow the under-privileged and the mistreated to be heard.<a href="#cite_note-hartwig-85">[83]</a> These <a href="/wiki/Cultural_translation" title="Cultural translation">cultural translations</a> cross borders.<a href="#cite_note-Chang_60-87">[85]</a> While the music may be from a foreign country, the message is something that many people can relate to- something not "foreign" at all.<a href="#cite_note-89">[87]</a> Even when hip hop is transplanted to other countries, it often retains its "vital progressive agenda that challenges the status quo."<a href="#cite_note-Chang_60-87">[85]</a> In <a href="/wiki/Gothenburg" title="Gothenburg">Gothenburg</a>, Sweden, nongovernmental organizations (NGOs) incorporate graffiti and dance to engage disaffected immigrant and working class youths. Hip hop has played a small but distinct role as the musical face of revolution in the <a href="/wiki/Arab_Spring" title="Arab Spring">Arab Spring</a>, one example being an anonymous Libyan musician, <a href="/wiki/Ibn_Thabit_(Libyan_musician)" class="mw-redirect" title="Ibn Thabit (Libyan musician)">Ibn Thabit</a>, whose anti-government songs fueled the rebellion.<a href="#cite_note-Lane_March_30,_2011-90">[88]</a> <div class="mw-heading mw-heading3"><h3 id="Commercialization">Commercialization</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1251242444"><table class="box-Synthesis plainlinks metadata ambox ambox-content" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Ambox_question.svg/40px-Ambox_question.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Ambox_question.svg/60px-Ambox_question.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Ambox_question.svg/80px-Ambox_question.svg.png 2x" data-file-width="40" data-file-height="40" /></div></td><td class="mbox-text"><div class="mbox-text-span">This article or section possibly contains <a href="/wiki/Wikipedia:No_original_research#Synthesis_of_published_material" title="Wikipedia:No original research">synthesis of material</a> that does not <a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability">verifiably mention</a> or <a href="/wiki/Wikipedia:Content_removal#Irrelevant_information" title="Wikipedia:Content removal">relate</a> to the main topic. Relevant discussion may be found on the <a href="/wiki/Talk:Hip_hop_(culture)##" title="Talk:Hip hop (culture)">talk page</a>. (March 2009) (<a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a>)</div></td></tr></tbody></table> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Jay-Z_concert_(cropped).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/6a/Jay-Z_concert_%28cropped%29.jpg/220px-Jay-Z_concert_%28cropped%29.jpg" decoding="async" width="220" height="234" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/6a/Jay-Z_concert_%28cropped%29.jpg/330px-Jay-Z_concert_%28cropped%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/6a/Jay-Z_concert_%28cropped%29.jpg/440px-Jay-Z_concert_%28cropped%29.jpg 2x" data-file-width="735" data-file-height="782" /></a><figcaption>Rapper, entrepreneur and executive <a href="/wiki/Jay-Z" title="Jay-Z">Jay-Z</a> emphasizes his wealth.</figcaption></figure> In the early-to-mid 1980s, there wasn't an established hip hop music industry, as exists in the 2020s, with record labels, record producers, managers and <a href="/wiki/Artists_and_Repertoire" class="mw-redirect" title="Artists and Repertoire">Artists and Repertoire</a> staff. Politicians and businesspeople maligned and ignored the hip hop movement. Most hip hop artists performed in their local communities and recorded in underground scenes.<a href="#cite_note-Johnson,_Gaye_Theresa_2012-91">[89]</a> However, in the late 1980s, music industry executives realized that they could capitalize on the success of "gangsta rap". They made a formula that created "a titillating buffet of <a href="/wiki/Hypermasculinity" title="Hypermasculinity">hypermasculinity</a> and glorified violence." This type of rap was marketed to the new fan base: white males. They ignored the depictions of a harsh reality to focus on the sex and violence involved.<a href="#cite_note-Johnson,_Gaye_Theresa_2012-91">[89]</a> In an article for <a href="/wiki/The_Village_Voice" title="The Village Voice">The Village Voice</a>, <a href="/wiki/Greg_Tate" title="Greg Tate">Greg Tate</a> argues that the commercialization of hip hop is a negative and pervasive phenomenon, writing that "what we call hiphop is now inseparable from what we call the hip hop industry, in which the <a href="/wiki/Nouveau_riche" title="Nouveau riche">nouveau riche</a> and the super-rich employers get richer".<a href="#cite_note-Diawara-53">[51]</a> Ironically, this commercialization coincides with a decline in rap sales and pressure from critics of the genre.<a href="#cite_note-92">[90]</a> Even other musicians, like Nas and KRS-ONE have claimed "<a href="/wiki/Hip_Hop_Is_Dead_(song)" title="Hip Hop Is Dead (song)">hip hop is dead</a>" in that it has changed so much over the years to cater to the consumer that it has lost the essence for which it was originally created. However, in his book In Search Of Africa,<a href="#cite_note-93">[91]</a> <a href="/wiki/Manthia_Diawara" title="Manthia Diawara">Manthia Diawara</a> states that hip hop is really a voice of people who are marginalized in modern society. He argues that the "worldwide spread of hip hop as a market revolution" is actually global "expression of poor people's desire for the good life", and that this struggle aligns with "the nationalist struggle for citizenship and belonging, but also reveals the need to go beyond such struggles and celebrate the redemption of the black individual through tradition." The problem may not be that female rappers do not have the same opportunities and recognition as their male counterparts; it may be that the music industry that is so defined by gender biases. Industry executives seem to bet on the idea that men won't want to listen to female rappers, so they are given fewer opportunities.<a href="#cite_note-94">[92]</a> As the hip hop genre has changed since the 1980s, the <a href="/wiki/African_Americans" title="African Americans">African-American</a> cultural "tradition" that <a href="/wiki/Manthia_Diawara" title="Manthia Diawara">Diawara</a> describes has little place in hip hop's mainstream artists music. The push toward materialism and market success by contemporary rappers such as <a href="/wiki/Rick_Ross" title="Rick Ross">Rick Ross</a>, <a href="/wiki/Lil_Wayne" title="Lil Wayne">Lil Wayne</a> and <a href="/wiki/Jay_Z" class="mw-redirect" title="Jay Z">Jay Z</a> has irked older hip hop fans and artists. They see the genre losing its community-based feel that focused more on black empowerment than wealth. The commercialization of the genre stripped it of its earlier political nature and the politics and marketing plans of major record labels have forced rappers to craft their music and images to appeal to white, affluent and suburban audiences. After realizing her friends were making music but not getting television exposure other than what was seen on Video Music Box, Darlene Lewis (model/lyricist), along with Darryl Washington and Dean Carroll, brought hip hop music to the First Exposure cable show on Paragon cable, and then created the On Broadway television show. There, rappers had opportunities to be interviewed and have their music videos played. This pre-dated MTV or <a href="/wiki/Video_Soul" title="Video Soul">Video Soul</a> on BET. The commercialization has made hip hop less edgy and authentic, but it also has enabled hip hop artists to become successful.<a href="#cite_note-95">[93]</a> As top rappers grow wealthier and start more outside business ventures, this can indicate a stronger sense of black aspiration. As rappers such as <a href="/wiki/Jay-Z" title="Jay-Z">Jay-Z</a> and <a href="/wiki/Kanye_West" title="Kanye West">Kanye West</a> establish themselves as artists and entrepreneurs, more young black people have hopes of achieving their goals.<a href="#cite_note-96">[94]</a> The lens through which one views the genre's commercialization can make it seem positive or negative.<a href="#cite_note-97">[95]</a> White and Latino pop rappers such as <a href="/wiki/Macklemore" title="Macklemore">Macklemore</a>, <a href="/wiki/Iggy_Azalea" title="Iggy Azalea">Iggy Azalea</a>, <a href="/wiki/Machine_Gun_Kelly_(rapper)" class="mw-redirect" title="Machine Gun Kelly (rapper)">Machine Gun Kelly</a>, <a href="/wiki/Eminem" title="Eminem">Eminem</a>, <a href="/wiki/Miley_Cyrus" title="Miley Cyrus">Miley Cyrus</a>, <a href="/wiki/G-Eazy" title="G-Eazy">G-Eazy</a>, <a href="/wiki/Pitbull_(rapper)" title="Pitbull (rapper)">Pitbull</a>, <a href="/wiki/Lil_Pump" title="Lil Pump">Lil Pump</a>, and <a href="/wiki/Post_Malone" title="Post Malone">Post Malone</a> have often been criticized for commercializing hip hop and cultural appropriation.<a href="#cite_note-98">[96]</a> <a href="/wiki/Miley_Cyrus" title="Miley Cyrus">Miley Cyrus</a> and <a href="/wiki/Katy_Perry" title="Katy Perry">Katy Perry</a>, although not rappers, have been accused of cultural appropriation and commercializing hip hop. Katy Perry, a white woman, was criticized for her hip hop song "<a href="/wiki/Dark_Horse_(Katy_Perry_song)" title="Dark Horse (Katy Perry song)">Dark Horse</a>".<a href="#cite_note-99">[97]</a> <a href="/wiki/Taylor_Swift" title="Taylor Swift">Taylor Swift</a> was also accused of cultural appropriation.<a href="#cite_note-100">[98]</a> <div class="mw-heading mw-heading2"><h2 id="Culture">Culture</h2></div> DJing and <a href="/wiki/Turntablism" title="Turntablism">turntablism</a>, MCing/<a href="/wiki/Rapping" title="Rapping">rapping</a>, <a href="/wiki/Breakdancing" title="Breakdancing">breakdancing</a>, <a href="/wiki/Graffiti_art" class="mw-redirect" title="Graffiti art">graffiti art</a> and <a href="/wiki/Beatboxing" title="Beatboxing">beatboxing</a> are the creative outlets that collectively make up hip hop culture and its revolutionary aesthetic. Like the <a href="/wiki/Blues" title="Blues">blues</a>, these arts were developed by urban communities to enable people to make a statement, whether political or emotional and participate in community activities. These practices spread globally around the 1980s as fans could "make it their own" and express themselves in new and creative ways in music, dance and other arts.<a href="#cite_note-101">[99]</a> <div class="mw-heading mw-heading3"><h3 id="DJing">DJing</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Turntablism" title="Turntablism">Turntablism</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:DJ_Q-bert_in_France_(cropped).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b6/DJ_Q-bert_in_France_%28cropped%29.jpg/220px-DJ_Q-bert_in_France_%28cropped%29.jpg" decoding="async" width="220" height="249" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b6/DJ_Q-bert_in_France_%28cropped%29.jpg/330px-DJ_Q-bert_in_France_%28cropped%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b6/DJ_Q-bert_in_France_%28cropped%29.jpg/440px-DJ_Q-bert_in_France_%28cropped%29.jpg 2x" data-file-width="961" data-file-height="1087" /></a><figcaption>DJ <a href="/wiki/DJ_Qbert" title="DJ Qbert">Qbert</a> manipulating a <a href="/wiki/Phonograph" title="Phonograph">record turntable</a> at a turntablism competition in France in 2006</figcaption></figure> DJing and turntablism are the techniques of manipulating sounds and creating music and beats using two or more <a href="/wiki/Phonograph" title="Phonograph">phonograph</a> turntables or other sound sources, such as tapes, CDs or <a href="/wiki/Digital_audio_file" class="mw-redirect" title="Digital audio file">digital audio files</a> and a <a href="/wiki/DJ_mixer" title="DJ mixer">DJ mixer</a> that is plugged into a <a href="/wiki/PA_system" class="mw-redirect" title="PA system">PA system</a>.<a href="#cite_note-102">[100]</a> One of the first few hip hop DJs was <a href="/wiki/Kool_DJ_Herc" class="mw-redirect" title="Kool DJ Herc">Kool DJ Herc</a>, who helped popularize<a href="#cite_note-103">[101]</a> hip hop in the 1970s through the isolation and extending of "breaks" – the parts of albums that focused solely on the percussive beat. In addition to developing Herc's techniques, DJs <a href="/wiki/Grandmaster_Flowers" title="Grandmaster Flowers">Grandmaster Flowers</a>, <a href="/wiki/Grandmaster_Flash" title="Grandmaster Flash">Grandmaster Flash</a>, <a href="/wiki/Grand_Wizzard_Theodore" title="Grand Wizzard Theodore">Grand Wizzard Theodore</a>, and <a href="/wiki/Grandmaster_Caz" title="Grandmaster Caz">Grandmaster Caz</a> made further innovations with the introduction of "<a href="/wiki/Scratching" title="Scratching">scratching</a>", which has become one of the key sounds associated with hip hop music. <a href="/wiki/Grandmaster_Flash" title="Grandmaster Flash">Grandmaster Flash</a> became known for “flashing” during the breaks, flashing being the section of two albums where only the drums are played.<a href="#cite_note-104">[102]</a> Traditionally, a DJ will use two turntables simultaneously and mix between the two. These are connected to a DJ mixer, an <a href="/wiki/Amplifier" title="Amplifier">amplifier</a>, <a href="/wiki/Loudspeaker" title="Loudspeaker">speakers</a>, and various electronic music equipment such as a microphone and <a href="/wiki/Effects_unit" title="Effects unit">effects units</a>. The DJ mixes the two albums currently in rotation and/or does "<a href="/wiki/Scratching" title="Scratching">scratching</a>" by moving one of the record platters while manipulating the <a href="/wiki/Crossfader" class="mw-redirect" title="Crossfader">crossfader</a> on the mixer. The result of mixing two records is a unique sound created by the seemingly combined sound of two separate songs into one song. Although there is considerable overlap between the two roles, a DJ is not the same as a record producer of a music track.<a href="#cite_note-105">[103]</a> The development of DJing was also influenced by new <a href="/wiki/Turntablism" title="Turntablism">turntablism</a> techniques, such as <a href="/wiki/Beatmatching" title="Beatmatching">beatmatching</a>, a process facilitated by the introduction of new turntable technologies such as the <a href="/wiki/Technics_SL-1200" title="Technics SL-1200">Technics SL-1200 MK 2</a>, first sold in 1978, which had a precise variable <a href="/wiki/Pitch_control" title="Pitch control">pitch control</a> and a <a href="/wiki/Direct_drive" class="mw-redirect" title="Direct drive">direct drive</a> motor. DJs were often avid record collectors, who would hunt through used record stores for obscure <a href="/wiki/Soul_music" title="Soul music">soul</a> records and vintage <a href="/wiki/Funk" title="Funk">funk</a> recordings. DJs helped to introduce rare records and new artists to club audiences. <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Pete_Rock_at_Launch_Party.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/59/Pete_Rock_at_Launch_Party.jpg/170px-Pete_Rock_at_Launch_Party.jpg" decoding="async" width="170" height="255" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/59/Pete_Rock_at_Launch_Party.jpg/255px-Pete_Rock_at_Launch_Party.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/59/Pete_Rock_at_Launch_Party.jpg/340px-Pete_Rock_at_Launch_Party.jpg 2x" data-file-width="3744" data-file-height="5616" /></a><figcaption>DJ <a href="/wiki/Pete_Rock" title="Pete Rock">Pete Rock</a> mixing with two turntables</figcaption></figure> In the early years of hip hop, the DJs were the stars, as they created new music and beats with their record players. While DJing and turntablism continue to be used in hip hop music in the 2010s, the star role has increasingly been taken by MCs since the late 1970s, due to innovative, creative MCs such as Kurtis Blow and <a href="/wiki/Melle_Mel" title="Melle Mel">Melle Mel</a> of <a href="/wiki/Grandmaster_Flash" title="Grandmaster Flash">Grandmaster Flash</a>'s crew, the <a href="/wiki/Furious_Five" class="mw-redirect" title="Furious Five">Furious Five</a>, who developed strong rapping skills. However, a number of DJs have gained stardom nonetheless in recent years. Famous DJs include Grandmaster Flash, Afrika Bambaataa, <a href="/wiki/Mr._Magic" title="Mr. Magic">Mr. Magic</a>, <a href="/wiki/DJ_Jazzy_Jeff" title="DJ Jazzy Jeff">DJ Jazzy Jeff</a>, <a href="/wiki/DJ_Charlie_Chase" title="DJ Charlie Chase">DJ Charlie Chase</a>, <a href="/wiki/DJ_Disco_Wiz" title="DJ Disco Wiz">DJ Disco Wiz</a>, <a href="/wiki/DJ_Scratch" title="DJ Scratch">DJ Scratch</a> from <a href="/wiki/EPMD" title="EPMD">EPMD</a>, <a href="/wiki/DJ_Premier" title="DJ Premier">DJ Premier</a> from <a href="/wiki/Gang_Starr" title="Gang Starr">Gang Starr</a>, DJ <a href="/wiki/Scott_La_Rock" title="Scott La Rock">Scott La Rock</a> from <a href="/wiki/Boogie_Down_Productions" title="Boogie Down Productions">Boogie Down Productions</a>, DJ <a href="/wiki/Pete_Rock" title="Pete Rock">Pete Rock</a> of <a href="/wiki/Pete_Rock_%26_CL_Smooth" title="Pete Rock & CL Smooth">Pete Rock & CL Smooth</a>, <a href="/wiki/DJ_Muggs" title="DJ Muggs">DJ Muggs</a> from <a href="/wiki/Cypress_Hill" title="Cypress Hill">Cypress Hill</a>, <a href="/wiki/Jam_Master_Jay" title="Jam Master Jay">Jam Master Jay</a> from <a href="/wiki/Run-DMC" title="Run-DMC">Run-DMC</a>, <a href="/wiki/Eric_B." title="Eric B.">Eric B.</a>, <a href="/wiki/DJ_Screw" title="DJ Screw">DJ Screw</a> from the <a href="/wiki/Screwed_Up_Click" title="Screwed Up Click">Screwed Up Click</a> and the inventor of the <a href="/wiki/Chopped_%26_Screwed" class="mw-redirect" title="Chopped & Screwed">Chopped & Screwed</a> style of mixing music, <a href="/wiki/Funkmaster_Flex" title="Funkmaster Flex">Funkmaster Flex</a>, <a href="/wiki/Tony_Touch" title="Tony Touch">Tony Touch</a>, <a href="/wiki/DJ_Clue" title="DJ Clue">DJ Clue</a>, <a href="/wiki/Mix_Master_Mike" title="Mix Master Mike">Mix Master Mike</a>, Touch-Chill-Out, DJ Red Alert, and <a href="/wiki/Q-bert_(DJ)" class="mw-redirect" title="Q-bert (DJ)">DJ Q-Bert</a>. The underground movement of turntablism has also emerged to focus on the skills of the DJ. In the 2010s, there are turntablism competitions, where turntablists demonstrate advanced beat juggling and scratching skills. <div class="mw-heading mw-heading3"><h3 id="MCing">MCing</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Rapping" title="Rapping">Rapping</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Busta_rhymes_breaks_it_down_for_the_mobile_geeks.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Busta_rhymes_breaks_it_down_for_the_mobile_geeks.jpg/220px-Busta_rhymes_breaks_it_down_for_the_mobile_geeks.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Busta_rhymes_breaks_it_down_for_the_mobile_geeks.jpg/330px-Busta_rhymes_breaks_it_down_for_the_mobile_geeks.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Busta_rhymes_breaks_it_down_for_the_mobile_geeks.jpg/440px-Busta_rhymes_breaks_it_down_for_the_mobile_geeks.jpg 2x" data-file-width="480" data-file-height="360" /></a><figcaption>Rapper <a href="/wiki/Busta_Rhymes" title="Busta Rhymes">Busta Rhymes</a> performs in Las Vegas for a <a href="/wiki/Black_Entertainment_Television" class="mw-redirect" title="Black Entertainment Television">BET</a> party</figcaption></figure> <a href="/wiki/Rapping" title="Rapping">Rapping</a> (also known as emceeing,<a href="#cite_note-Edwards,_Paul_2009,_p_MC-106">[104]</a> MCing,<a href="#cite_note-Edwards,_Paul_2009,_p_MC-106">[104]</a> spitting (bars),<a href="#cite_note-107">[105]</a> or just rhyming<a href="#cite_note-108">[106]</a>) refers to "spoken or chanted rhyming lyrics with a strong rhythmic accompaniment".<a href="#cite_note-109">[107]</a> Rapping typically features complex wordplay, rapid delivery, and a range of "street slang", some of which is unique to the hip hop subculture. While rapping is often done over beats, either done by a DJ, a <a href="/wiki/Beatboxer" class="mw-redirect" title="Beatboxer">beatboxer</a>, it can also be done without accompaniment. It can be broken down into different components, such as "content", "flow" (rhythm and <a href="/wiki/Rhyme" title="Rhyme">rhyme</a>), and "delivery".<a href="#cite_note-110">[108]</a> Rapping is distinct from <a href="/wiki/Spoken_word_poetry" class="mw-redirect" title="Spoken word poetry">spoken word poetry</a> in that it is performed in time to the beat of the music.<a href="#cite_note-111">[109]</a><a href="#cite_note-112">[110]</a><a href="#cite_note-113">[111]</a> The use of the word "rap" to describe quick and slangy speech or witty repartee long predates the musical form.<a href="#cite_note-114">[112]</a> MCing is a form of expression that is embedded within ancient African and Indigenous culture and oral tradition as throughout history verbal acrobatics or jousting involving rhymes were common within the Afro-American and Latino-American community.<a href="#cite_note-115">[113]</a> <div class="mw-heading mw-heading3"><h3 id="Graffiti">Graffiti</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Graffiti" title="Graffiti">Graffiti</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:KRESS.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5e/KRESS.jpg/220px-KRESS.jpg" decoding="async" width="220" height="163" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5e/KRESS.jpg/330px-KRESS.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5e/KRESS.jpg/440px-KRESS.jpg 2x" data-file-width="723" data-file-height="536" /></a><figcaption>An <a href="/wiki/Aerosol_paint" class="mw-redirect" title="Aerosol paint">aerosol paint</a> can, a common tool used in modern <a href="/wiki/Graffiti" title="Graffiti">graffiti</a></figcaption></figure> Graffiti is the most controversial of hip hop's elements, as a number of the most notable graffiti pioneers say that they do not consider graffiti to be an element of hip hop, including <a href="/wiki/Lady_Pink" title="Lady Pink">Lady Pink</a>, <a href="/wiki/Seen_(artist)" title="Seen (artist)">Seen</a>, Blade, Fargo, Cholly Rock, Fuzz One, and Coco 144.<a href="#cite_note-inflexwetrust.com-116">[114]</a><a href="#cite_note-117">[115]</a><a href="#cite_note-Gerard,_Peter_2004-118">[116]</a> <a href="/wiki/Lady_Pink" title="Lady Pink">Lady Pink</a> says, "I don't think graffiti is hip hop. Frankly I grew up with disco music. There's a long background of graffiti as an entity unto itself,"<a href="#cite_note-119">[117]</a><a href="#cite_note-120">[118]</a> and Fargo says, "There is no correlation between hip hop and graffiti, one has nothing to do with the other."<a href="#cite_note-inflexwetrust.com-116">[114]</a><a href="#cite_note-Gerard,_Peter_2004-118">[116]</a><a href="#cite_note-Edwards,_Paul_2015,_p._13-121">[119]</a> Hip hop pioneer <a href="/wiki/Grandmaster_Flash" title="Grandmaster Flash">Grandmaster Flash</a> has also questioned the connection between hip hop and graffiti, saying, "You know what bugs me, they put hip hop with graffiti. How do they intertwine?"<a href="#cite_note-Edwards,_Paul_2015,_p._13-121">[119]</a><a href="#cite_note-122">[120]</a><a href="#cite_note-123">[121]</a> In America in the late 1960s, before hip hop, <a href="/wiki/Graffiti" title="Graffiti">graffiti</a> was used as a form of expression by political activists. In addition, gangs such as the <a href="/wiki/Savage_Skulls" title="Savage Skulls">Savage Skulls</a>, <a href="/wiki/La_Familia_Michoacana" title="La Familia Michoacana">La Familia Michoacana</a>, and <a href="/wiki/Savage_Nomads" title="Savage Nomads">Savage Nomads</a> used graffiti to mark territory. <a href="/wiki/Julio_204" title="Julio 204">Julio 204</a> was a Puerto Rican graffiti writer, one of the first graffiti writers in New York City. He was a member of the "Savage Skulls" gang, and started writing his nickname in his neighborhood as early as 1968. In 1971, the New York Times published an article ("'Taki 183' Spawns Pen Pals") about another graffiti writer, <a href="/wiki/TAKI_183" title="TAKI 183">TAKI 183</a>. According to the article Julio had been writing for a couple of years when Taki began tagging his own name all around the city. Taki also states in the article that Julio "was busted and stopped." Writers following in the wake of Taki and <a href="/wiki/Tracy_168" title="Tracy 168">Tracy 168</a> would add their street number to their nickname, "bomb" (cover) a train with their work, and let the subway take it—and their fame, if it was impressive, or simply pervasive, enough—"all city". Julio 204 never rose to Taki's fame because Julio kept his tags localized to his own neighborhood. <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Graffiti_Phase_2-mika.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/24/Graffiti_Phase_2-mika.jpg/170px-Graffiti_Phase_2-mika.jpg" decoding="async" width="170" height="253" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/24/Graffiti_Phase_2-mika.jpg/255px-Graffiti_Phase_2-mika.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/24/Graffiti_Phase_2-mika.jpg/340px-Graffiti_Phase_2-mika.jpg 2x" data-file-width="890" data-file-height="1327" /></a><figcaption><a href="/wiki/PHASE_2" class="mw-redirect" title="PHASE 2">PHASE 2</a> is an influential graffiti artist who began painting in the 1970s.</figcaption></figure> One of the most common forms of graffiti is tagging, or the act of stylizing the unique name or logo of oneself.<a href="#cite_note-124">[122]</a> Tagging began in Philadelphia and New York City and has expanded worldwide. Spray painting public property or the property of others without their consent can be considered vandalism, and the "tagger" may be subject to arrest and prosecution for the criminal act. Whether legal or not, the hip hop culture considers tagging buildings, trains, bridges and other structures as visual art, and consider the tags as part of a complex symbol system with its own social codes and subculture rules. Such art is in some cases now subject to federal protection in the US, making its erasure illegal.<a href="#cite_note-125">[123]</a> Bubble lettering held sway initially among writers from <a href="/wiki/The_Bronx" title="The Bronx">the Bronx</a>, though the elaborate <a href="/wiki/Brooklyn" title="Brooklyn">Brooklyn</a> style Tracy 168 dubbed "wildstyle" would come to define the art.<a href="#cite_note-Shapiro-126">[124]</a><a href="#cite_note-127">[125]</a> The early trend-setters were joined in the 1970s by artists like <a href="/wiki/Dondi_(artist)" class="mw-redirect" title="Dondi (artist)">Dondi</a>, <a href="/wiki/Futura_2000" class="mw-redirect" title="Futura 2000">Futura 2000</a>, Daze, Blade, <a href="/wiki/Lee_Qui%C3%B1ones" title="Lee Quiñones">Lee Quiñones</a>, <a href="/wiki/Fab_Five_Freddy" title="Fab Five Freddy">Fab Five Freddy</a>, <a href="/wiki/Zephyr_(artist)" title="Zephyr (artist)">Zephyr</a>, <a href="/wiki/Rammellzee" title="Rammellzee">Rammellzee</a>, <a href="/wiki/John_Matos" title="John Matos">Crash</a>, Kel, NOC 167 and <a href="/wiki/Lady_Pink" title="Lady Pink">Lady Pink</a>.<a href="#cite_note-Shapiro-126">[124]</a> The relationship between graffiti and hip hop culture arises both from early graffiti artists engaging in other aspects of hip hop culture,<a href="#cite_note-128">[126]</a> Graffiti is understood as a visual expression of rap music, just as <a href="/wiki/Breakdance" class="mw-redirect" title="Breakdance">breaking</a> is viewed as a physical expression. The 1983 film <a href="/wiki/Wild_Style" title="Wild Style">Wild Style</a> is widely regarded as the first hip hop motion picture, which featured prominent figures within the New York graffiti scene during that period. The book <a href="/wiki/Subway_Art" title="Subway Art">Subway Art</a> and the documentary <a href="/wiki/Style_Wars" title="Style Wars">Style Wars</a> were also among the first ways the mainstream public were introduced to hip hop graffiti. Graffiti remains part of hip hop, while crossing into the mainstream art world with exhibits in galleries throughout the world. <div class="mw-heading mw-heading3"><h3 id="Breakdancing">Breakdancing</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Breakdancing" title="Breakdancing">Breakdancing</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:B_Boy_doing_a_freeze.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/ed/B_Boy_doing_a_freeze.jpg/220px-B_Boy_doing_a_freeze.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/ed/B_Boy_doing_a_freeze.jpg/330px-B_Boy_doing_a_freeze.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/ed/B_Boy_doing_a_freeze.jpg/440px-B_Boy_doing_a_freeze.jpg 2x" data-file-width="640" data-file-height="427" /></a><figcaption>B Boy executing a freeze</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Thai_Breakdancers.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Thai_Breakdancers.jpg/220px-Thai_Breakdancers.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Thai_Breakdancers.jpg/330px-Thai_Breakdancers.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Thai_Breakdancers.jpg/440px-Thai_Breakdancers.jpg 2x" data-file-width="2544" data-file-height="1696" /></a><figcaption><a href="/wiki/Breakdancing" title="Breakdancing">Breaking</a>, an early form of <a href="/wiki/Hip_hop_dance" title="Hip hop dance">hip hop dance</a>, often involves dance <a href="/wiki/Battle_(dance)" class="mw-redirect" title="Battle (dance)">battles</a>, showing off technical skills, trying to out-do a rival dancer, and displaying tongue-in-cheek bravado.</figcaption></figure> Breaking, also called B-boying/B-girling or breakdancing, is a dynamic, rhythmic style of dance which developed as one of the major elements of hip hop culture. Like many aspects of hip hop culture, breakdance borrows heavily from many cultures, including 1930s-era street dancing,<a href="#cite_note-129">[127]</a><a href="#cite_note-130">[128]</a> Brazilian and <a href="/wiki/Kung_fu" class="mw-redirect" title="Kung fu">Asian Martial arts</a>, <a href="/wiki/Barynya" title="Barynya">Russian folk dance</a>,<a href="#cite_note-131">[129]</a> and the dance moves of <a href="/wiki/James_Brown" title="James Brown">James Brown</a>, <a href="/wiki/Michael_Jackson" title="Michael Jackson">Michael Jackson</a>, and California <a href="/wiki/Funk" title="Funk">funk</a>. Breaking took form in the <a href="/wiki/South_Bronx" title="South Bronx">South Bronx</a> in the 1970s alongside the other elements of hip hop. Breakdancing is typically done with the accompaniment of <a href="/wiki/Hip_hop_music" class="mw-redirect" title="Hip hop music">hip hop music</a> playing on a <a href="/wiki/Boom_box" class="mw-redirect" title="Boom box">boom box</a> or <a href="/wiki/PA_system" class="mw-redirect" title="PA system">PA system</a>. Breakdancing includes four dance styles: rocking, <a href="/wiki/B-boying" class="mw-redirect" title="B-boying">b-boying</a>/b-girling, locking and popping, all of which trace their origins to the early 1970s.<a href="#cite_note-132">[130]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Break_Dancer.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Break_Dancer.png/220px-Break_Dancer.png" decoding="async" width="220" height="220" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Break_Dancer.png/330px-Break_Dancer.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Break_Dancer.png/440px-Break_Dancer.png 2x" data-file-width="2830" data-file-height="2830" /></a><figcaption>A silhouette shows a man break dancing. One of the 4 elements of hip hop.</figcaption></figure> According to the 2002 documentary film The Freshest Kids: A History of the B-Boy, DJ Kool Herc describes the "B" in B-boy as short for breaking, which at the time was slang for "going off", also one of the original names for the dance. However, early on the dance was known as the "boing" (the sound a spring makes). Dancers at DJ Kool Herc's parties saved their best dance moves for the percussion <a href="/wiki/Break_(music)" title="Break (music)">break</a> section of the song, getting in front of the audience to dance in a distinctive, frenetic style.<a href="#cite_note-:1-133">[131]</a> The "B" in B-boy or B-girl also stands simply for break, as in break-boy or -girl. Before the 1990s, B-girls' presence was limited by their gender minority status, navigating sexual politics of a masculine-dominated scene, and a lack of representation or encouragement for women to participate in the form. The few B-girls who participated despite facing gender discrimination carved out a space for women as leaders within the breaking community, and the number of B-girls participating has increased.<a href="#cite_note-:1-133">[131]</a> Breaking was documented in <a href="/wiki/Style_Wars" title="Style Wars">Style Wars</a>, and was later given more focus in fictional films such as <a href="/wiki/Wild_Style" title="Wild Style">Wild Style</a> and <a href="/wiki/Beat_Street" title="Beat Street">Beat Street</a>. Early acts made up of "mainly Latino Americans" include the <a href="/wiki/Rock_Steady_Crew" title="Rock Steady Crew">Rock Steady Crew</a><a href="#cite_note-134">[132]</a> and <a href="/wiki/New_York_City_Breakers" title="New York City Breakers">New York City Breakers</a>[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>]. <div class="mw-heading mw-heading3"><h3 id="Beatboxing">Beatboxing</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Beatboxing" title="Beatboxing">Beatboxing</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Biz_Markie_at_Amager_Bio_6_(Ausschnitt).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Biz_Markie_at_Amager_Bio_6_%28Ausschnitt%29.jpg/170px-Biz_Markie_at_Amager_Bio_6_%28Ausschnitt%29.jpg" decoding="async" width="170" height="170" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Biz_Markie_at_Amager_Bio_6_%28Ausschnitt%29.jpg/255px-Biz_Markie_at_Amager_Bio_6_%28Ausschnitt%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Biz_Markie_at_Amager_Bio_6_%28Ausschnitt%29.jpg/340px-Biz_Markie_at_Amager_Bio_6_%28Ausschnitt%29.jpg 2x" data-file-width="402" data-file-height="402" /></a><figcaption><a href="/wiki/Biz_Markie" title="Biz Markie">Biz Markie</a> is noted for his beatboxing skills. He is holding the mic close to his mouth, a technique beatboxers use to imitate deep basslines and bass drums, by exploiting the <a href="/wiki/Proximity_effect_(audio)" title="Proximity effect (audio)">proximity effect</a>.</figcaption></figure> <a href="/wiki/Beatboxing" title="Beatboxing">Beatboxing</a> is the technique of <a href="/wiki/Vocal_percussion" title="Vocal percussion">vocal percussion</a>, in which a singer imitates drums and other percussion instruments with her or his voice. It is primarily concerned with the art of creating beats or rhythms using the human mouth.<a href="#cite_note-135">[133]</a> The term beatboxing is derived from the mimicry of the first generation of <a href="/wiki/Drum_machines" class="mw-redirect" title="Drum machines">drum machines</a>, then known as beatboxes. It was first popularized by <a href="/wiki/Doug_E._Fresh" title="Doug E. Fresh">Doug E. Fresh</a>.<a href="#cite_note-136">[134]</a> As it is a way of creating hip hop music, it can be categorized under the production element of hip hop, though it does sometimes include a type of rapping intersected with the human-created beat. It is generally considered to be part of the same "Pillar" of hip hop as DJing—in other words, providing a musical backdrop or foundation for MC's to rap over. Beatboxers can create their beats just naturally, but many of the beatboxing effects are enhanced by using a microphone plugged into a <a href="/wiki/PA_system" class="mw-redirect" title="PA system">PA system</a>. This helps the beatboxer to make their beatboxing loud enough to be heard alongside a rapper, MC, turntablist, and other hip hop artists. Beatboxing was popular in the 1980s with prominent artists like the Darren "Buffy, the Human Beat Box" Robinson of the <a href="/wiki/Fat_Boys" class="mw-redirect" title="Fat Boys">Fat Boys</a> and <a href="/wiki/Biz_Markie" title="Biz Markie">Biz Markie</a> displaying their skills within the media. It declined in popularity along with b-boying in the late 1980s, but has undergone a resurgence since the late 1990s, marked by the release of "Make the Music 2000" by <a href="/wiki/Rahzel" title="Rahzel">Rahzel</a> of <a href="/wiki/The_Roots" title="The Roots">The Roots</a>. <div class="mw-heading mw-heading3"><h3 id="Beatmaking/producing">Beatmaking/producing</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Hip_hop_production" title="Hip hop production">Hip hop production</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Accompaniment_Rap.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5f/Accompaniment_Rap.png/220px-Accompaniment_Rap.png" decoding="async" width="220" height="54" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5f/Accompaniment_Rap.png/330px-Accompaniment_Rap.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5f/Accompaniment_Rap.png/440px-Accompaniment_Rap.png 2x" data-file-width="1150" data-file-height="280" /></a><figcaption>A typical rap drum beat, written in drum notation.</figcaption></figure> Although it is not described as one of the four core elements that make up hip hop, <a href="/wiki/Record_producer" title="Record producer">music producing</a> is another important element. In music, record producers play a similar role in <a href="/wiki/Sound_recording" class="mw-redirect" title="Sound recording">sound recording</a> that film directors play in making a movie. The record producer recruits and selects artists (rappers, MCs, DJs, beatboxers, and so on), plans the vision for the recording session, coaches the performers on their songs, chooses <a href="/wiki/Audio_engineer" title="Audio engineer">audio engineers</a>, sets out a budget for hiring the artists and technical experts, and oversees the entire project. The exact roles of a producer depend on each individual, but some producers work with DJs and drum machine programmers to create beats, coach the DJs in the selection of sampled <a href="/wiki/Bassline" title="Bassline">basslines</a>, <a href="/wiki/Riff_(music)" class="mw-redirect" title="Riff (music)">riffs</a> and <a href="/wiki/Catch_phrase" class="mw-redirect" title="Catch phrase">catch phrases</a>, give advice to rappers, vocalists, MCs and other artists, give suggestions to performers on how to improve their flow and develop a unique personal style. Some producers work closely with the audio engineer to provide ideas on mixing, <a href="/wiki/Effects_unit" title="Effects unit">effects units</a> (e.g., <a href="/wiki/Autotune" class="mw-redirect" title="Autotune">Autotuned</a> vocal effects such as those popularized by <a href="/wiki/T-pain" class="mw-redirect" title="T-pain">T-pain</a>), micing of artists, and so on. The producer may independently develop the "concept" or vision for a project or album, or develop the vision in collaboration with the artists and performers. <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Chilly_Chill_LENCH_MOB_Throwing_The_W%27s.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/36/Chilly_Chill_LENCH_MOB_Throwing_The_W%27s.jpg/220px-Chilly_Chill_LENCH_MOB_Throwing_The_W%27s.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/36/Chilly_Chill_LENCH_MOB_Throwing_The_W%27s.jpg/330px-Chilly_Chill_LENCH_MOB_Throwing_The_W%27s.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/36/Chilly_Chill_LENCH_MOB_Throwing_The_W%27s.jpg/440px-Chilly_Chill_LENCH_MOB_Throwing_The_W%27s.jpg 2x" data-file-width="600" data-file-height="450" /></a><figcaption>Hip hop producer <a href="/wiki/Chilly_Chill" title="Chilly Chill">Chilly Chill</a> behind a large <a href="/wiki/Audio_console" class="mw-redirect" title="Audio console">audio console</a> in a recording studio</figcaption></figure> In hip hop, since the beginning of MCing, there have been producers who work in the studio, behind the scenes, to create the beats for MCs to rap over. Producers may find a beat they like on an old funk, soul, or disco record. They then isolate the beat and turn it into a loop. Alternatively, producers may create a beat with a <a href="/wiki/Drum_machine" title="Drum machine">drum machine</a> or by hiring a drumkit percussionist to play acoustic drums. The producer could even mix and layer different methods, such as combining a sampled disco drum break with a drum machine track and some live, newly recorded percussion parts or a live electric bass player. A beat created by a hip hop producer may include other parts besides a drum beat, such as a sampled <a href="/wiki/Bassline" title="Bassline">bassline</a> from a funk or disco song, dialogue from a spoken word record or movie, or rhythmic "scratching" and "punches" done by a <a href="/wiki/Turntablist" class="mw-redirect" title="Turntablist">turntablist</a> or DJ. An early beat maker was producer <a href="/wiki/Kurtis_Blow" title="Kurtis Blow">Kurtis Blow</a>, who won producer of the year credits in 1983, 1984, and 1985. Known for the creation of sample and sample loops, Blow was considered the <a href="/wiki/Quincy_Jones" title="Quincy Jones">Quincy Jones</a> of early hip hop, a reference to the prolific African American record producer, conductor, arranger, composer, musician and bandleader. One of the most influential beat makers was J. Dilla, a producer from Detroit who chopped samples by specific beats and would combine them together to create his unique sound. Those who create these beats are known as either beat makers or producers, however producers are known to have more input and direction on the overall the creation of a song or project, while a beat maker just provides or creates the beat. As Dr. Dre has said before "Once you finish the beat, you have to produce the record."<a href="#cite_note-137">[135]</a> The process of making beats includes sampling, "chopping", looping, sequencing beats, recording, mixing, and mastering. Most beats in hip hop are <a href="/wiki/Sampling_(music)" title="Sampling (music)">sampled</a> from a pre-existing record. This means that a producer will take a portion or a "sample" of a song and reuse it as an instrumental section, beat or portion of their song. Some examples of this are <a href="/wiki/The_Isley_Brothers" title="The Isley Brothers">The Isley Brothers</a>' "Footsteps in the Dark Pts. 1 and 2" being sampled to make <a href="/wiki/Ice_Cube" title="Ice Cube">Ice Cube</a>'s "<a href="/wiki/Today_Was_a_Good_Day" title="Today Was a Good Day">Today Was a Good Day</a>".<a href="#cite_note-138">[136]</a> Another example is <a href="/wiki/Otis_Redding" title="Otis Redding">Otis Redding</a>'s "<a href="/wiki/Try_a_Little_Tenderness" title="Try a Little Tenderness">Try a Little Tenderness</a>" being sampled to create the song "<a href="/wiki/Otis_(song)" title="Otis (song)">Otis</a>", released in 2011, by <a href="/wiki/Kanye_West" title="Kanye West">Kanye West</a> and <a href="/wiki/Jay-Z" title="Jay-Z">Jay-Z</a>.<a href="#cite_note-139">[137]</a> "Chopping" is dissecting the song that you are sampling so that you "chop" out the part or parts of the song, be that the bassline, rhythm guitar part, drum break, or other music, you want to use in the beat.<a href="#cite_note-140">[138]</a> Looping is known as melodic or percussive sequence that repeats itself over a period of time, so basically a producer will make an even-number of bars of a beat (e.g., four bars or eight bars) repeat itself or "loop" of a full song length. This loop provides an <a href="/wiki/Accompaniment" title="Accompaniment">accompaniment</a> for an MC to rap over. <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Marcelo_D2,_Palco_S%C3%A3o_Jo%C3%A3o_(2474012990).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/25/Marcelo_D2%2C_Palco_S%C3%A3o_Jo%C3%A3o_%282474012990%29.jpg/220px-Marcelo_D2%2C_Palco_S%C3%A3o_Jo%C3%A3o_%282474012990%29.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/25/Marcelo_D2%2C_Palco_S%C3%A3o_Jo%C3%A3o_%282474012990%29.jpg/330px-Marcelo_D2%2C_Palco_S%C3%A3o_Jo%C3%A3o_%282474012990%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/25/Marcelo_D2%2C_Palco_S%C3%A3o_Jo%C3%A3o_%282474012990%29.jpg/440px-Marcelo_D2%2C_Palco_S%C3%A3o_Jo%C3%A3o_%282474012990%29.jpg 2x" data-file-width="1024" data-file-height="684" /></a><figcaption>While hip hop music makes a significant use of <a href="/wiki/Sampling_(music)" title="Sampling (music)">sampling</a> old records, using turntables and <a href="/wiki/Drum_machine" title="Drum machine">drum machines</a> to create beats, producers use electric and acoustic instruments on some songs. Pictured is an electric bass player at a hip hop show.</figcaption></figure> The tools needed to make beats in the late 1970s were funk, soul, and other music genre <a href="/wiki/Gramophone_record" class="mw-redirect" title="Gramophone record">records</a>, <a href="/wiki/Phonograph" title="Phonograph">record turntables</a>, <a href="/wiki/DJ_mixer" title="DJ mixer">DJ mixers</a>, <a href="/wiki/Audio_console" class="mw-redirect" title="Audio console">audio consoles</a>, and relatively inexpensive <a href="/wiki/Portastudio" title="Portastudio">Portastudio</a>-style <a href="/wiki/Multitrack_recording" title="Multitrack recording">multitrack recording</a> devices. In the 1980s and 1990s, beat makers and producers used the new electronic and digital instruments that were developed, such as samplers, sequencers, drum machines, and synthesizers. From the 1970s to the 2010s, various beat makers and producers have used live instruments, such as drum kit or electric bass on some tracks. To record the finished beats or beat tracks, beat makers and producers use a variety of <a href="/wiki/Sound_recording" class="mw-redirect" title="Sound recording">sound recording</a> equipment, typically <a href="/wiki/Multitrack_recorder" class="mw-redirect" title="Multitrack recorder">multitrack recorders</a>. <a href="/wiki/Digital_audio_workstation" title="Digital audio workstation">Digital audio workstations</a>, also known as DAWs, became more common in the 2010s for producers. Some of the most used DAWs are <a href="/wiki/FL_Studio" title="FL Studio">FL Studio</a>, <a href="/wiki/Ableton_Live" title="Ableton Live">Ableton Live</a>, and <a href="/wiki/Pro_Tools" title="Pro Tools">Pro Tools</a>. DAWs have made it possible for more people to be able to make beats in their own home studio, without going to a recording studio. Beat makers who own DAWs do not have to buy all the hardware that a recording studio needed in the 1980s (huge 72 channel audio consoles, multitrack recorders, racks of rackmount effects units), because 2010-era DAWs have everything they need to make beats on a good quality, fast laptop computer.<a href="#cite_note-141">[139]</a> Beats are such an integral part of rap music that many producers have been able to make instrumental mixtapes or albums. Even though these instrumentals have no rapping, listeners still enjoy the inventive ways the producer mixes different beats, samples and instrumental melodies. Examples of these are <a href="/wiki/9th_Wonder" title="9th Wonder">9th Wonder</a>'s "Tutenkhamen" and <a href="/wiki/J_Dilla" title="J Dilla">J Dilla</a>'s "Donuts". Some hip hop records come in two versions: a beat with rapping over it, and an instrumental with just the beat. The instrumental in this case is provided so that DJs and turntablists can isolate breaks, beats and other music to create new songs. <div class="mw-heading mw-heading3"><h3 id="Language">Language</h3></div> The development of hip hop linguistics, including own <a href="/wiki/Poetics" title="Poetics">poetics</a>,<a href="#cite_note-142">[140]</a> is complex. Source material include the spirituals of slaves arriving in the new world, Jamaican dub music, the laments of jazz and blues singers, patterned cockney slang and radio deejays hyping their audience using rhymes.<a href="#cite_note-Stylo,_Saada_Page_10-143">[141]</a> Hip hop has a distinctive associated slang.<a href="#cite_note-144">[142]</a> It is also known by alternate names, such as "Black English", or "<a href="/wiki/Ebonics_(word)" title="Ebonics (word)">Ebonics</a>". Academics suggest its development stems from a rejection of the racial hierarchy of language, which held "White English" as the superior form of educated speech.<a href="#cite_note-145">[143]</a> Due to hip hop's commercial success in the late 1990s and early 2000s, many of these words have been assimilated into the cultural discourse of several different dialects across America and the world and even to non-hip hop fans.<a href="#cite_note-146">[144]</a> The word <a href="https://en.wiktionary.org/wiki/diss#English" class="extiw" title="wikt:diss">diss</a> for example is particularly prolific. There are also a number of words which predate hip hop, but are often associated with the culture, with homie being a notable example. Sometimes, terms like what the dilly, yo are popularized by a single song (in this case, "<a href="/wiki/Put_Your_Hands_Where_My_Eyes_Could_See" title="Put Your Hands Where My Eyes Could See">Put Your Hands Where My Eyes Could See</a>" by <a href="/wiki/Busta_Rhymes" title="Busta Rhymes">Busta Rhymes</a>) and are only used briefly. One particular example is the rule-based slang of <a href="/wiki/Snoop_Dogg" title="Snoop Dogg">Snoop Dogg</a> and <a href="/wiki/E-40" title="E-40">E-40</a>, who add -izzle or -izz to the end or middle of words. Hip Hop lyrics have also been known for containing swear words. In particular, the word "bitch" is seen in countless songs, from NWA's "A Bitch Iz a bitch" to Missy Elliot's "She is a Bitch". It is often used in the negative connotation of a woman who is a shallow "money grubber". Some female artists have tried to reclaim the word and use it as a term of empowerment. Regardless, the hip hop community has recently taken an interest in discussing the use of the word "bitch" and whether it is necessary in rap.<a href="#cite_note-147">[145]</a> Not only the particular words, but also the choice of which language in which rap is widely debated topic in international hip hop. In Canada, the use of non-standard variants of French, such as <a href="/wiki/Franglais" title="Franglais">Franglais</a>, a mix of French and English, by groups such as <a href="/wiki/Dead_Obies" title="Dead Obies">Dead Obies</a><a href="#cite_note-148">[146]</a> or <a href="/wiki/Chiac" title="Chiac">Chiac</a> (such as <a href="/wiki/Radio_Radio_(band)" title="Radio Radio (band)">Radio Radio</a><a href="#cite_note-149">[147]</a>) has powerful symbolic implications for Canadian language politics and debates on <a href="/wiki/Canadian_identity" title="Canadian identity">Canadian identity</a>. In the United States rappers choose to rap in English, Spanish, or <a href="/wiki/Spanglish" title="Spanglish">Spanglish</a>, depending on their own backgrounds and their intended audience.<a href="#cite_note-150">[148]</a> <div class="mw-heading mw-heading2"><h2 id="Social_impact">Social impact</h2></div> <div class="mw-heading mw-heading3"><h3 id="Effects">Effects</h3></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Sf_hiphop.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/35/Sf_hiphop.jpg/220px-Sf_hiphop.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/35/Sf_hiphop.jpg/330px-Sf_hiphop.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/35/Sf_hiphop.jpg/440px-Sf_hiphop.jpg 2x" data-file-width="640" data-file-height="480" /></a><figcaption>A <a href="/wiki/Breakdancing" title="Breakdancing">b-boy</a> performing in San Francisco</figcaption></figure> Hip hop has made a considerable social impact since its inception in the 1970s. "Hip hop has also become relevant to the field of education because of its implications for understanding language, learning, identity, and curriculum."<a href="#cite_note-151">[149]</a> <a href="/wiki/Orlando_Patterson" title="Orlando Patterson">Orlando Patterson</a>, a sociology professor at <a href="/wiki/Harvard_University" title="Harvard University">Harvard University</a>, helps describe the phenomenon of how hip hop has spread rapidly around the world. Patterson argues that mass communication is controlled by the wealthy, the government, and major businesses in <a href="/wiki/Third_World" title="Third World">Third World</a> nations and countries around the world.<a href="#cite_note-lehblz-152">[150]</a> He also credits mass communication with creating a global cultural hip hop scene. As a result, the youth are influenced by the American hip hop scene and start their own forms of hip hop. Patterson believes that revitalization of hip hop music will occur around the world as traditional values are mixed with American hip hop music,<a href="#cite_note-lehblz-152">[150]</a> and ultimately a global exchange process will develop that brings youth around the world to listen to a common musical form of hip hop. <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Blockfest_2017.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/50/Blockfest_2017.jpg/220px-Blockfest_2017.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/50/Blockfest_2017.jpg/330px-Blockfest_2017.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/50/Blockfest_2017.jpg/440px-Blockfest_2017.jpg 2x" data-file-width="4032" data-file-height="3024" /></a><figcaption>The annual <a href="/wiki/Blockfest" title="Blockfest">Blockfest</a> in <a href="/wiki/Tampere" title="Tampere">Tampere</a>, <a href="/wiki/Finland" title="Finland">Finland</a> is the largest hip hop music event in the <a href="/wiki/Nordic_countries" title="Nordic countries">Nordic countries</a><a href="#cite_note-153">[151]</a> and also one of the best-selling festivals in advance.<a href="#cite_note-154">[152]</a> Picture of Blockfest in 2017.</figcaption></figure> It has also been argued that rap music formed as a "cultural response to historic oppression and racism, a system for communication among black communities throughout the United States".<a href="#cite_note-155">[153]</a> This is due to the fact that hip hop culture reflected the social, economic, and political realities of the disenfranchised youth. In the 2010s, hip hop lyrics are starting to reflect original <a href="/wiki/Social_conscience" title="Social conscience">socially conscious themes</a>. Rappers are starting to question the government's power and its oppressive role in some societies.<a href="#cite_note-Hip_Hop_in_History-156">[154]</a> Rap music has been a tool for political, social, and cultural empowerment outside the United States. Members of minority communities—such as <a href="/wiki/Algerians_in_France" title="Algerians in France">Algerians in France</a>, and <a href="/wiki/Turks_in_Germany" title="Turks in Germany">Turks in Germany</a>—use rap as a platform to protest racism, poverty, and social structures.<a href="#cite_note-157">[155]</a> <div class="mw-heading mw-heading3"><h3 id="Linguistics">Linguistics</h3></div> Hip hop lyricism has gained a measure of legitimacy in <a href="/wiki/Hip-Hop_in_academia" class="mw-redirect" title="Hip-Hop in academia">academic</a> and literary circles. Studies of hip hop linguistics are now offered at institutions such as the <a href="/wiki/University_of_Toronto" title="University of Toronto">University of Toronto</a>, where poet and author George Eliot Clarke has taught the potential power of hip hop music to promote social change.<a href="#cite_note-Stylo,_Saada_Page_10-143">[141]</a> Greg Thomas of the <a href="/wiki/University_of_Miami" title="University of Miami">University of Miami</a> offers courses at both the undergraduate and graduate level studying the feminist and assertive nature of <a href="/wiki/Lil%27_Kim" title="Lil' Kim">Lil' Kim</a>'s lyrics.<a href="#cite_note-158">[156]</a> Some academics, including Ernest Morrell and Jeffrey Duncan-Andrade, compare hip hop to the satirical works of great "<a href="/wiki/Western_canon" title="Western canon">Western canon</a>" poets of the modern era, who use imagery and create a mood to criticize society. As quoted in their work "Promoting Academic Literacy with Urban Youth Through Engaging Hip Hop Culture": <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote">Hip hop texts are rich in imagery and metaphors and can be used to teach irony, tone, diction, and point of view. Hip hop texts can be analyzed for theme, motif, plot, and character development. Both Grand Master Flash and T.S. Eliot gazed out into their rapidly deteriorating societies and saw a "wasteland." Both poets were essentially apocalyptic in nature as they witnessed death, disease, and decay.<a href="#cite_note-159">[157]</a></blockquote> <div class="mw-heading mw-heading3"><h3 id="Censorship">Censorship</h3></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Don%27t_Blame_Yourself...Blame_Hip-Hop.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Don%27t_Blame_Yourself...Blame_Hip-Hop.jpg/220px-Don%27t_Blame_Yourself...Blame_Hip-Hop.jpg" decoding="async" width="220" height="146" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Don%27t_Blame_Yourself...Blame_Hip-Hop.jpg/330px-Don%27t_Blame_Yourself...Blame_Hip-Hop.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Don%27t_Blame_Yourself...Blame_Hip-Hop.jpg/440px-Don%27t_Blame_Yourself...Blame_Hip-Hop.jpg 2x" data-file-width="3008" data-file-height="2000" /></a><figcaption>A <a href="/wiki/Graffiti" title="Graffiti">graffiti</a> artist uses his artwork to make a satirical social statement on censorship: "Don't blame yourself ... blame hip hop!"</figcaption></figure> Hip hop music has been censored on radio and TV due to the explicit lyrics of certain genres. Many songs have been criticized for <a href="/wiki/Anti-establishment" title="Anti-establishment">anti-establishment</a> and sometimes violent messages. The use of <a href="/wiki/Profanity" title="Profanity">profanity</a> as well as graphic depictions of violence and sex in hip hop music videos and songs makes it hard to broadcast on television stations such as MTV, in music video form, and on radio. As a result, many hip hop recordings are broadcast in censored form, with offending language "bleeped" or blanked out of the soundtrack, or replaced with "clean" lyrics. The result – which sometimes renders the remaining lyrics unintelligible or contradictory to the original recording – has become almost as widely identified with the genre as any other aspect of the music, and has been parodied in films such as <a href="/wiki/Austin_Powers_in_Goldmember" title="Austin Powers in Goldmember">Austin Powers in Goldmember</a>, in which <a href="/wiki/Mike_Myers_(actor)" class="mw-redirect" title="Mike Myers (actor)">Mike Myers</a>' character Dr. Evil – performing in a parody of a hip hop music video ("<a href="/wiki/Hard_Knock_Life_(Ghetto_Anthem)" title="Hard Knock Life (Ghetto Anthem)">Hard Knock Life (Ghetto Anthem)</a>" by <a href="/wiki/Jay-Z" title="Jay-Z">Jay-Z</a>) – performs an entire verse that is blanked out. In 1995, <a href="/wiki/Roger_Ebert" title="Roger Ebert">Roger Ebert</a> wrote:<a href="#cite_note-160">[158]</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote">Rap has a bad reputation in white circles, where many people believe it consists of obscene and violent anti-white and <a href="/wiki/Misogynist" class="mw-redirect" title="Misogynist">anti-female</a> guttural. Some of it does. Most does not. Most white listeners don't care; they hear black voices in a litany of discontent, and tune out. Yet rap plays the same role today as <a href="/wiki/Bob_Dylan" title="Bob Dylan">Bob Dylan</a> did in 1960, giving voice to the hopes and angers of a generation, and a lot of rap is powerful writing.</blockquote> In 1990, <a href="/wiki/Luther_Campbell" class="mw-redirect" title="Luther Campbell">Luther Campbell</a> and his group <a href="/wiki/2_Live_Crew" title="2 Live Crew">2 Live Crew</a> filed a lawsuit against Broward County Sheriff Nick Navarro, because Navarro wanted to prosecute stores that sold the group's album <a href="/wiki/As_Nasty_As_They_Wanna_Be" class="mw-redirect" title="As Nasty As They Wanna Be">As Nasty As They Wanna Be</a> because of its obscene and vulgar lyrics. In June 1990, a <a href="/wiki/U.S._district_court" class="mw-redirect" title="U.S. district court">U.S. district court</a> judge labeled the album obscene and illegal to sell. However, in 1992, the <a href="/wiki/United_States_Court_of_Appeals_for_the_Eleventh_Circuit" title="United States Court of Appeals for the Eleventh Circuit">United States Court of Appeals for the Eleventh Circuit</a> overturned the obscenity ruling from Judge Gonzalez, and the <a href="/wiki/Supreme_Court_of_the_United_States" title="Supreme Court of the United States">Supreme Court of the United States</a> refused to hear Broward County's appeal. Professor Louis Gates testified on behalf of The 2 Live Crew, arguing that the material that the county alleged was profane actually had important roots in African-American vernacular, games, and literary traditions and should be protected.<a href="#cite_note-161">[159]</a> <style data-mw-deduplicate="TemplateStyles:r1224211176">.mw-parser-output .quotebox{background-color:#F9F9F9;border:1px solid #aaa;box-sizing:border-box;padding:10px;font-size:88%;max-width:100%}.mw-parser-output .quotebox.floatleft{margin:.5em 1.4em .8em 0}.mw-parser-output .quotebox.floatright{margin:.5em 0 .8em 1.4em}.mw-parser-output .quotebox.centered{overflow:hidden;position:relative;margin:.5em auto .8em auto}.mw-parser-output .quotebox.floatleft span,.mw-parser-output .quotebox.floatright span{font-style:inherit}.mw-parser-output .quotebox>blockquote{margin:0;padding:0;border-left:0;font-family:inherit;font-size:inherit}.mw-parser-output .quotebox-title{text-align:center;font-size:110%;font-weight:bold}.mw-parser-output .quotebox-quote>:first-child{margin-top:0}.mw-parser-output .quotebox-quote:last-child>:last-child{margin-bottom:0}.mw-parser-output .quotebox-quote.quoted:before{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" “ ";vertical-align:-45%;line-height:0}.mw-parser-output .quotebox-quote.quoted:after{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" ” ";line-height:0}.mw-parser-output .quotebox .left-aligned{text-align:left}.mw-parser-output .quotebox .right-aligned{text-align:right}.mw-parser-output .quotebox .center-aligned{text-align:center}.mw-parser-output .quotebox .quote-title,.mw-parser-output .quotebox .quotebox-quote{display:block}.mw-parser-output .quotebox cite{display:block;font-style:normal}@media screen and (max-width:640px){.mw-parser-output .quotebox{width:100%!important;margin:0 0 .8em!important;float:none!important}}</style><div class="quotebox pullquote floatright" style="width:27%; border-width: 1px; font-size: 90%; color: #202122;background-color: #FFFFF0;"> <blockquote class="quotebox-quote left-aligned" style=""> 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. </blockquote> <div style="padding-bottom: 0; padding-top: 0.5em"><cite class="center-aligned" style="">—<a href="/wiki/Chuck_Philips" title="Chuck Philips">Chuck Philips</a>, <a href="/wiki/Los_Angeles_Times" title="Los Angeles Times">Los Angeles Times</a>, 1992<a href="#cite_note-rap,_race,_and_censorship-162">[160]</a></cite></div> </div> Gangsta rap is a <a href="/wiki/Subgenre" class="mw-redirect" title="Subgenre">subgenre</a> of hip hop that reflects the violent culture of inner-city American black youths.<a href="#cite_note-about-163">[161]</a> The genre was pioneered in the mid-1980s by rappers such as <a href="/wiki/Schoolly_D" title="Schoolly D">Schoolly D</a> and <a href="/wiki/Ice-T" title="Ice-T">Ice-T</a>, and was popularized in the later part of the 1980s by groups such as <a href="/wiki/N.W.A" title="N.W.A">N.W.A</a>. Ice-T released "<a href="/wiki/6_in_the_Mornin%27" title="6 in the Mornin'">6 in the Mornin'</a>", which is often regarded as the first gangsta rap song, in 1986. After the national attention that Ice-T and N.W.A created in the late 1980s and early 1990s, gangsta rap became the most commercially lucrative subgenre of hip hop. <a href="/wiki/N.W.A" title="N.W.A">N.W.A</a> is the group most frequently associated with the founding of gangsta rap. Their lyrics were more violent, openly confrontational, and shocking than those of established rap acts, featuring incessant profanity and, controversially, use of the word "<a href="/wiki/Nigga" title="Nigga">nigga</a>". These lyrics were placed over rough, rock guitar-driven beats, contributing to the music's hard-edged feel. The first blockbuster gangsta rap album was N.W.A's <a href="/wiki/Straight_Outta_Compton" title="Straight Outta Compton">Straight Outta Compton</a>, released in 1988.<a href="#cite_note-Ritchie-164">[162]</a><a href="#cite_note-deflem.blogspot.com-165">[163]</a> <a href="/wiki/Straight_Outta_Compton" title="Straight Outta Compton">Straight Outta Compton</a> established <a href="/wiki/West_Coast_hip_hop" title="West Coast hip hop">West Coast hip hop</a> as a vital genre, and established Los Angeles as a legitimate rival to hip hop's long-time capital, New York City. <a href="/wiki/Straight_Outta_Compton_(song)" title="Straight Outta Compton (song)">Straight Outta Compton</a> sparked the first major controversy regarding hip hop lyrics when their song "<a href="/wiki/Fuck_tha_Police" title="Fuck tha Police">Fuck tha Police</a>" earned a letter from <a href="/wiki/FBI" class="mw-redirect" title="FBI">FBI</a> Assistant Director Milt Ahlerich, strongly expressing <a href="/wiki/Police" title="Police">law enforcement</a>'s resentment of the song.<a href="#cite_note-Ritchie-164">[162]</a><a href="#cite_note-deflem.blogspot.com-165">[163]</a> Tupac's first album, "<a href="/wiki/2Pacalypse_Now" title="2Pacalypse Now">2Pacalypse Now</a>," was considered controversial particularly with the track "Soulja's Story." The song depicted a narrative of a young black man seeking revenge after being brutalized by police officers. This portrayal of <a href="/wiki/Police_brutality" title="Police brutality">police brutality</a> and retaliation sparked outrage among <a href="/wiki/Law_enforcement" title="Law enforcement">law enforcement</a> agencies and led to calls for censorship and boycotts of the album.<a href="#cite_note-166">[164]</a> Despite facing backlash, Tupac remained unapologetic about addressing <a href="/wiki/Social_issue" title="Social issue">social issues</a> in his music.<a href="#cite_note-167">[165]</a> Controversy surrounded Ice-T's song "<a href="/wiki/Cop_Killer_(song)" title="Cop Killer (song)">Cop Killer</a>" from the album <a href="/wiki/Body_Count_(album)" title="Body Count (album)">Body Count</a>. 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 <a href="/wiki/National_Rifle_Association_of_America" class="mw-redirect" title="National Rifle Association of America">National Rifle Association of America</a> and various police advocacy groups.<a href="#cite_note-Arnold_Schwarzenegger_blew_away_dozens_of_cops_as_the_Terminator._But_I_don't_hear_anybody_complaining-168">[166]</a> Consequently, <a href="/wiki/Time_Warner_Music" class="mw-redirect" title="Time Warner Music">Time Warner Music</a> refused to release Ice-T's upcoming album <a href="/wiki/Home_Invasion_(album)" title="Home Invasion (album)">Home Invasion</a> because of the controversy surrounding "Cop Killer".<a href="#cite_note-Arnold_Schwarzenegger_blew_away_dozens_of_cops_as_the_Terminator._But_I_don't_hear_anybody_complaining-168">[166]</a> 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] <a href="/wiki/Arnold_Schwarzenegger" title="Arnold Schwarzenegger">Arnold Schwarzenegger</a> blew away dozens of cops as <a href="/wiki/The_Terminator" title="The Terminator">the Terminator</a>. But I don't hear anybody complaining about that." <a href="/wiki/Ice-T" title="Ice-T">Ice-T</a> 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."<a href="#cite_note-Arnold_Schwarzenegger_blew_away_dozens_of_cops_as_the_Terminator._But_I_don't_hear_anybody_complaining-168">[166]</a> The White House administrations of both <a href="/wiki/George_H._W._Bush" title="George H. W. Bush">George Bush</a> senior and <a href="/wiki/Bill_Clinton" title="Bill Clinton">Bill Clinton</a> criticized the genre.<a href="#cite_note-rap,_race,_and_censorship-162">[160]</a> "The reason why rap 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-be's like Bill Clinton represent a political system that never intends to deal with inner city urban chaos," <a href="/wiki/Sister_Souljah" title="Sister Souljah">Sister Souljah</a> told The Times.<a href="#cite_note-rap,_race,_and_censorship-162">[160]</a> Until its discontinuation on July 8, 2006, <a href="/wiki/Black_Entertainment_Television" class="mw-redirect" title="Black Entertainment Television">BET</a> ran a late-night segment titled <a href="/wiki/BET:_Uncut" title="BET: Uncut">BET: Uncut</a> to air nearly-uncensored videos. The show was exemplified by music videos such as "<a href="/wiki/Tip_Drill_(song)" class="mw-redirect" title="Tip Drill (song)">Tip Drill</a>" by <a href="/wiki/Nelly" title="Nelly">Nelly</a>, which was criticized for what many viewed as an exploitative depiction of women, particularly images of a man swiping a credit card between a stripper's buttocks. <a href="/wiki/Public_Enemy_(band)" class="mw-redirect" title="Public Enemy (band)">Public Enemy</a>'s "Gotta Give the Peeps What They Need" was censored on <a href="/wiki/MTV" title="MTV">MTV</a>, removing the words "free <a href="/wiki/Mumia_Abu-Jamal" title="Mumia Abu-Jamal">Mumia</a>".<a href="#cite_note-169">[167]</a> After the attack on the <a href="/wiki/World_Trade_Center_(1973%E2%80%932001)" title="World Trade Center (1973–2001)">World Trade Center</a> on September 11, 2001, <a href="/wiki/Oakland,_California" title="Oakland, California">Oakland, California</a> group <a href="/wiki/The_Coup" title="The Coup">The Coup</a> was under fire for the cover art on their album <a href="/wiki/Party_Music" title="Party Music">Party Music</a>, which featured the group's two members holding a guitar tuner and two sticks<a href="#cite_note-170">[168]</a> as the Twin Towers exploded behind them despite the fact that it was created months before the actual event. The group, having politically radical and <a href="/wiki/Marxist" class="mw-redirect" title="Marxist">Marxist</a> lyrical content, said the cover meant to symbolize the destruction of capitalism. <a href="/wiki/75_Ark" title="75 Ark">Their record label</a> pulled the album until a new cover could be designed. <div class="mw-heading mw-heading3"><h3 id="Product_placement_and_endorsements">Product placement and endorsements</h3></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Bar-b-quin%27_with_my_HONEY.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/88/Bar-b-quin%27_with_my_HONEY.jpg/170px-Bar-b-quin%27_with_my_HONEY.jpg" decoding="async" width="170" height="227" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/88/Bar-b-quin%27_with_my_HONEY.jpg/255px-Bar-b-quin%27_with_my_HONEY.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/88/Bar-b-quin%27_with_my_HONEY.jpg/340px-Bar-b-quin%27_with_my_HONEY.jpg 2x" data-file-width="1920" data-file-height="2560" /></a><figcaption><a href="/wiki/Potato_chip" title="Potato chip">Potato chip</a> packages featuring hip hop-design images (showing <a href="/wiki/Lil_Romeo" class="mw-redirect" title="Lil Romeo">Lil Romeo</a> and based on the film <a href="/wiki/Honey_(2003_film)" title="Honey (2003 film)">Honey</a>)</figcaption></figure> Due to the success of the music genre, starting in the 2000s, more industries and brands began to cooperate with hip-hop artists, who until then had been considered too scandalous for mainstream marketing.<a href="#cite_note-171">[169]</a> Similar to <a href="/wiki/Greenwashing" title="Greenwashing">greenwashing</a>, the phenomenon of companies using hip-hop collaborations for commercial purposes without fully understanding and supporting the culture involved is referred to as "streetwashing".<a href="#cite_note-172">[170]</a> Critics such as <a href="/wiki/Businessweek" class="mw-redirect" title="Businessweek">Businessweek</a>'s David Kiley argue that the discussion of products within hip hop culture may actually be the result of undisclosed product placement deals.<a href="#cite_note-Mcdonalds-173">[171]</a> Such critics allege that <a href="/wiki/Shill" title="Shill">shilling</a> or <a href="/wiki/Product_placement" title="Product placement">product placement</a> takes place in commercial rap music, and that lyrical references to products are actually paid endorsements.<a href="#cite_note-Mcdonalds-173">[171]</a> In 2005, a proposed plan by <a href="/wiki/McDonald%27s" title="McDonald's">McDonald's</a> to pay rappers to advertise McDonald's products in their music was leaked to the press.<a href="#cite_note-Mcdonalds-173">[171]</a> After <a href="/wiki/Russell_Simmons" title="Russell Simmons">Russell Simmons</a> made a deal with <a href="/wiki/Courvoisier" title="Courvoisier">Courvoisier</a> to promote the brand among hip hop fans, <a href="/wiki/Busta_Rhymes" title="Busta Rhymes">Busta Rhymes</a> recorded the song "Pass the Courvoisier".<a href="#cite_note-Mcdonalds-173">[171]</a> Simmons insists that no money changed hands in the deal.<a href="#cite_note-Mcdonalds-173">[171]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:LL_Cool_J_with_arms_raised_at_2007_MyCoke_Fest_in_Atlanta.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/09/LL_Cool_J_with_arms_raised_at_2007_MyCoke_Fest_in_Atlanta.JPG/220px-LL_Cool_J_with_arms_raised_at_2007_MyCoke_Fest_in_Atlanta.JPG" decoding="async" width="220" height="169" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/09/LL_Cool_J_with_arms_raised_at_2007_MyCoke_Fest_in_Atlanta.JPG/330px-LL_Cool_J_with_arms_raised_at_2007_MyCoke_Fest_in_Atlanta.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/09/LL_Cool_J_with_arms_raised_at_2007_MyCoke_Fest_in_Atlanta.JPG/440px-LL_Cool_J_with_arms_raised_at_2007_MyCoke_Fest_in_Atlanta.JPG 2x" data-file-width="1540" data-file-height="1182" /></a><figcaption><a href="/wiki/LL_Cool_J" title="LL Cool J">LL Cool J</a> in front of a <a href="/wiki/Coca-Cola" title="Coca-Cola">Coca-Cola</a> billboard at a festival sponsored by the soda pop company</figcaption></figure> The symbiotic relationship has also stretched to include car manufacturers, clothing designers and sneaker companies,<a href="#cite_note-174">[172]</a> and many other companies have used the hip hop community to make their name or to give them credibility. One such beneficiary was <a href="/wiki/Jacob_the_Jeweler" class="mw-redirect" title="Jacob the Jeweler">Jacob the Jeweler</a>, a diamond merchant from New York. Jacob Arabo's clientele included <a href="/wiki/Sean_Combs" title="Sean Combs">Sean Combs</a>, <a href="/wiki/Lil%27_Kim" title="Lil' Kim">Lil' Kim</a> and <a href="/wiki/Nas" title="Nas">Nas</a>. He created jewelry pieces from precious metals that were heavily loaded with diamond and gemstones.<a href="#cite_note-Williams-175">[173]</a> As his name was mentioned in the song lyrics of his hip hop customers, his profile quickly rose. Arabo expanded his brand to include gem-encrusted watches that retail for hundreds of thousands of dollars, gaining so much attention that <a href="/wiki/Cartier_SA" class="mw-redirect" title="Cartier SA">Cartier</a> filed a trademark-infringement lawsuit against him for putting diamonds on the faces of their watches and reselling them without permission.<a href="#cite_note-Williams-175">[173]</a> Arabo's profile increased steadily until his June 2006 arrest by the <a href="/wiki/Federal_Bureau_of_Investigation" title="Federal Bureau of Investigation">FBI</a> on <a href="/wiki/Money_laundering" title="Money laundering">money laundering</a> charges.<a href="#cite_note-176">[174]</a> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Whitesolobeatsbydreheadphones.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/16/Whitesolobeatsbydreheadphones.jpg/220px-Whitesolobeatsbydreheadphones.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/16/Whitesolobeatsbydreheadphones.jpg/330px-Whitesolobeatsbydreheadphones.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/16/Whitesolobeatsbydreheadphones.jpg/440px-Whitesolobeatsbydreheadphones.jpg 2x" data-file-width="1024" data-file-height="683" /></a><figcaption>Rapper <a href="/wiki/Dr._Dre" title="Dr. Dre">Dr. Dre</a> has endorsed a line of headphones and other audio gear called "beats", which bear his name.</figcaption></figure> While some brands welcome the support of the hip hop community, one brand that did not was <a href="/wiki/Cristal_(champagne)" class="mw-redirect" title="Cristal (champagne)">Cristal</a> champagne maker <a href="/wiki/Louis_Roederer" title="Louis Roederer">Louis Roederer</a>. A 2006 article from <a href="/wiki/The_Economist" title="The Economist">The Economist</a> magazine featured remarks from managing director Frederic Rouzaud about whether the brand's identification with rap stars could affect their company negatively. His answer was dismissive: "That's a good question, but what can we do? We can't forbid people from buying it. I'm sure <a href="/wiki/Dom_P%C3%A9rignon" title="Dom Pérignon">Dom Pérignon</a> or <a href="/wiki/Champagne_Krug" title="Champagne Krug">Krug</a> [champagne] would be delighted to have their business."<a href="#cite_note-177">[175]</a> In retaliation, many hip hop icons such as <a href="/wiki/Jay-Z" title="Jay-Z">Jay-Z</a> and <a href="/wiki/Sean_Combs" title="Sean Combs">Sean Combs</a>, who previously included references to "Cris", ceased all mentions and purchases of the champagne. <a href="/wiki/50_Cent" title="50 Cent">50 Cent</a>'s deal with <a href="/wiki/Vitamin_Water" class="mw-redirect" title="Vitamin Water">Vitamin Water</a>, <a href="/wiki/Dr._Dre" title="Dr. Dre">Dr. Dre</a>'s promotion of his <a href="/wiki/Beats_by_Dr._Dre" class="mw-redirect" title="Beats by Dr. Dre">Beats by Dr. Dre</a> headphone line and <a href="/wiki/Dr._Pepper" class="mw-redirect" title="Dr. Pepper">Dr. Pepper</a>, and <a href="/wiki/Drake_(musician)" title="Drake (musician)">Drake</a>'s commercial with <a href="/wiki/Sprite_(soft_drink)" class="mw-redirect" title="Sprite (soft drink)">Sprite</a> are successful deals. Although product placement deals were not popular in the 1980s, <a href="/wiki/MC_Hammer" title="MC Hammer">MC Hammer</a> was an early innovator in this type of strategy. With merchandise such as dolls, commercials for soft drinks and numerous television show appearances, Hammer began the trend of rap artists being accepted as <a href="/wiki/MC_Hammer#Legacy_and_pop_culture_fame" title="MC Hammer">mainstream pitchpeople</a> for brands.<a href="#cite_note-178">[176]</a> <div class="mw-heading mw-heading3"><h3 id="Media">Media</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1251242444"><table class="box-Cleanup_rewrite plainlinks metadata ambox ambox-content" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><a href="/wiki/File:Crystal_Clear_app_kedit.svg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e8/Crystal_Clear_app_kedit.svg/40px-Crystal_Clear_app_kedit.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e8/Crystal_Clear_app_kedit.svg/60px-Crystal_Clear_app_kedit.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e8/Crystal_Clear_app_kedit.svg/80px-Crystal_Clear_app_kedit.svg.png 2x" data-file-width="128" data-file-height="128" /></a></div></td><td class="mbox-text"><div class="mbox-text-span">This section may need to be rewritten to comply with Wikipedia's <a href="/wiki/Wikipedia:Manual_of_Style" title="Wikipedia:Manual of Style">quality standards</a>. <a class="external text" href="https://en.wikipedia.org/w/index.php?title=Hip_hop_(culture)&action=edit">You can help</a>. The <a href="/wiki/Talk:Hip_hop_(culture)" title="Talk:Hip hop (culture)">talk page</a> may contain suggestions. (December 2011)</div></td></tr></tbody></table> Hip hop culture has had extensive coverage in the media, especially in relation to television; there have been a number of television shows devoted to or about hip hop, including in Europe ("<a href="/wiki/H.I.P._H.O.P." title="H.I.P. H.O.P.">H.I.P. H.O.P.</a>" in 1984). For many years, <a href="/wiki/Black_Entertainment_Television" class="mw-redirect" title="Black Entertainment Television">BET</a> was the only television channel likely to play hip hop, but in recent years[<a href="/wiki/Wikipedia:Manual_of_Style/Dates_and_numbers#Chronological_items" title="Wikipedia:Manual of Style/Dates and numbers">when?</a>] the channels <a href="/wiki/VH1" title="VH1">VH1</a> and MTV have added a significant amount of hip hop to their play list. Run DMC became the first African American group to appear on MTV.<a href="#cite_note-179">[177]</a><a href="#cite_note-180">[178]</a> With the emergence of the Internet, a number of online sites began to offer hip hop related video content. <div class="mw-heading mw-heading3"><h3 id="Magazines">Magazines</h3></div> Hip hop magazines describe hip hop's culture, including information about rappers and MCs, new hip hop music, concerts, events, fashion and history. The first hip hop publication, The Hip Hop Hit List was published in the 1980s. It contained the first rap music record chart. It was put out by two brothers from Newark, New Jersey, Vincent and Charles Carroll (who was also in a hip hop group known as <a href="/wiki/The_Nastee_Boyz" class="mw-redirect" title="The Nastee Boyz">The Nastee Boyz</a>). They knew the art form very well and noticed the need for a hip hop magazine. DJs and rappers did not have a way to learn about rap music styles and labels. The periodical began as the first Rap record chart and tip sheet for DJs and was distributed through national record pools and record stores throughout the New York City Tri-State area. One of the founding publishers, Charles Carroll noted, "Back then, all DJs came into New York City to buy their records but most of them did not know what was hot enough to spend money on, so we charted it." Jae Burnett became Vincent Carroll's partner and played an instrumental role in its later development. <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Juice-Cover_mit_Genetikk_(Juni_2013).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/Juice-Cover_mit_Genetikk_%28Juni_2013%29.jpg/170px-Juice-Cover_mit_Genetikk_%28Juni_2013%29.jpg" decoding="async" width="170" height="233" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/Juice-Cover_mit_Genetikk_%28Juni_2013%29.jpg/255px-Juice-Cover_mit_Genetikk_%28Juni_2013%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/02/Juice-Cover_mit_Genetikk_%28Juni_2013%29.jpg/340px-Juice-Cover_mit_Genetikk_%28Juni_2013%29.jpg 2x" data-file-width="600" data-file-height="821" /></a><figcaption>The German hip hop magazine <a href="/wiki/Juice_(magazine)" class="mw-redirect" title="Juice (magazine)">Juice</a></figcaption></figure> Another popular hip hop magazine that arose in the 1980s was <a href="/wiki/Word_Up!_(magazine)" title="Word Up! (magazine)">Word Up magazine</a>, an American magazine catering to the youth with an emphasis on hip hop. It featured articles on what is like to be a part of the hip hop community, promoted up-coming albums, bringing awareness to the projects that the artist was involved in, and also included posters of trending celebrities within the world of Hip Hop. The magazine was published monthly and mainly concerning rap, Hip Hop and R&B music. Word Up magazine was highly popular, it was even mentioned in the popular song by <a href="/wiki/The_Notorious_B.I.G" class="mw-redirect" title="The Notorious B.I.G">The Notorious B.I.G</a> – Juicy "it was all a dream, use to read WordUp magazine". Word Up magazine was a part of pop culture. New York tourists from abroad took the publication back home with them to other countries to share it, creating worldwide interest in the culture and new art form.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] It had a printed distribution of 50,000, a circulation rate of 200,000 with well over 25,000 subscribers. The "Hip Hop Hit List" was also the first to define hip hop as a culture introducing the many aspects of the art form such as fashion, music, dance, the arts and most importantly the language. For instance, on the cover the headliner included the tag "All Literature was Produced to Meet Street Comprehension!" which proved their loyalty not only to the culture but also to the streets. Most interviews were written verbatim which included their innovative broken English style of writing. Some of the early charts were written in the graffiti format tag style but was made legible enough for the masses.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] The Carroll Brothers were also consultants to the many record companies who had no idea how to market hip hop music. Vincent Carroll, the magazine's creator-publisher, went on to become a huge source for marketing and promoting the culture of hip hop, starting Blow-Up Media, the first hip hop marketing firm with offices in NYC's Tribeca district. At the age of 21, Vincent Carroll employed a staff of 15 and assisted in launching some of the culture's biggest and brightest stars (the Fugees, Nelly, the Outzidaz, feat. Eminem and many more).[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] Later other publications spawned up including: <a href="/wiki/Hip_Hop_Connection" title="Hip Hop Connection">Hip Hop Connection</a>, <a href="/wiki/XXL_(magazine)" title="XXL (magazine)">XXL</a>, <a href="/wiki/Scratch_(magazine)" title="Scratch (magazine)">Scratch</a>, <a href="/wiki/The_Source_(magazine)" class="mw-redirect" title="The Source (magazine)">The Source</a> and <a href="/wiki/Vibe_(magazine)" title="Vibe (magazine)">Vibe</a>.<a href="#cite_note-181">[179]</a> Many individual cities have also produced their own local hip hop newsletters, while hip hop magazines with national distribution are found in a few other countries. The 21st century also ushered in the rise of online media, and hip hop fan sites now offer comprehensive hip hop coverage on a daily basis. <div class="mw-heading mw-heading3"><h3 id="Fashion">Fashion</h3></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Snoop_Dogg_@_D%C3%B8gnvill_2009_07.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/3c/Snoop_Dogg_%40_D%C3%B8gnvill_2009_07.jpg/170px-Snoop_Dogg_%40_D%C3%B8gnvill_2009_07.jpg" decoding="async" width="170" height="255" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/3c/Snoop_Dogg_%40_D%C3%B8gnvill_2009_07.jpg/255px-Snoop_Dogg_%40_D%C3%B8gnvill_2009_07.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/3c/Snoop_Dogg_%40_D%C3%B8gnvill_2009_07.jpg/340px-Snoop_Dogg_%40_D%C3%B8gnvill_2009_07.jpg 2x" data-file-width="2726" data-file-height="4089" /></a><figcaption>Rapper <a href="/wiki/Snoop_Dogg" title="Snoop Dogg">Snoop Dogg</a> at a 2009 show</figcaption></figure> Clothing, hair and other styles have been a big part of hip hop's social and cultural impact since the 1970s. Although the styles have changed over the decades, distinctive urban apparel and looks have been an important way for rappers, breakdancers and other hip hop community members to express themselves. As the hip hop music genre's popularity increased, so did the effect of its fashion. While there were early items synonymous with hip hop that crossed over into the mainstream culture, like Run-DMC's affinity for <a href="/wiki/Adidas" title="Adidas">Adidas</a> or the Wu-Tang Clan's championing of <a href="/wiki/C._%26_J._Clark#Wallabee" class="mw-redirect" title="C. & J. Clark">Clarks' Wallabees</a>, it was not until its commercial peak that <a href="/wiki/Hip_hop_fashion" title="Hip hop fashion">hip hop fashion</a> became influential. Starting in the mid- to late 1990s, hip hop culture embraced some major designers and established a new connection with classic fashion. Brands such as <a href="/wiki/Ralph_Lauren" title="Ralph Lauren">Ralph Lauren</a>, <a href="/wiki/Calvin_Klein" title="Calvin Klein">Calvin Klein</a> and <a href="/wiki/Tommy_Hilfiger" title="Tommy Hilfiger">Tommy Hilfiger</a> all tapped into hip hop culture and gave very little in return. Moving into the new millennium, hip hop fashion consisted of baggy shirts, jeans, and jerseys. As names like Pharrell and Jay-Z started their own clothing lines and still others like Kanye West linked up with designers like <a href="/wiki/Louis_Vuitton" title="Louis Vuitton">Louis Vuitton</a>, the clothes got tighter, more classically fashionable, and expensive. Artists like West also began to stray away from wearing the jerseys and began wearing what was called "preppy" clothing.<a href="#cite_note-182">[180]</a> As hip hop has a seen a shift in the means by which its artists express their masculinity, from violence and intimidation to wealth-flaunting and entrepreneurship, it has also seen the emergence of rapper branding.<a href="#cite_note-183">[181]</a> The modern-day hip hop artist is no longer limited to music serving as their sole occupation or source of income. By the early 1990s, major apparel companies "[had] realized the economic potential of tapping into hip hop culture ... Tommy Hilfiger was one of the first major fashion designer[s] who actively courted rappers as a way of promoting his <a href="/wiki/Streetwear" title="Streetwear">street wear</a>".<a href="#cite_note-184">[182]</a> By joining forces, the artist and the corporation are able to jointly benefit from each other's resources. Hip Hop artists are trend-setters and taste-makers. Their fans range from minority groups who can relate to their professed struggles to majority groups who cannot truly relate but like to "consume the fantasy of living a more masculine life".<a href="#cite_note-185">[183]</a> The rappers provide the "cool, hip" factor while the corporations deliver the product, advertising, and financial assets. Tommy Hilfiger, one of the first mainstream designers to actively court rappers as a way of promoting his street wear, serves a prototypical example of the hip hip/fashion collaborations: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712"><blockquote class="templatequote">In exchange for giving artists free wardrobes, Hilfiger found its name mentioned in both rhyming verses of rap songs and their 'shout-out' lyrics, in which rap artists chant out thanks to friends and sponsors for their support. Hilfiger's success convinced other large mainstream American fashion design companies, like Ralph Lauren and Calvin Klein, to tailor lines to the lucrative market of hip hop artists and fans.<a href="#cite_note-Elam,_329-186">[184]</a></blockquote> Artists now use brands as a means of supplemental income to their music or are creating and expanding their own brands that become their primary source of income. As Harry Elam explains, there has been a movement "from the incorporation and redefinition of existing trends to actually designing and marketing products as hip hop fashion".<a href="#cite_note-Elam,_329-186">[184]</a> <div class="mw-heading mw-heading3"><h3 id="Diversification">Diversification</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/List_of_hip_hop_genres" title="List of hip hop genres">List of hip hop genres</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Hip_hop.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/83/Hip_hop.jpg/220px-Hip_hop.jpg" decoding="async" width="220" height="146" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/83/Hip_hop.jpg/330px-Hip_hop.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/83/Hip_hop.jpg/440px-Hip_hop.jpg 2x" data-file-width="1024" data-file-height="680" /></a><figcaption><a href="/wiki/Breakdancing" title="Breakdancing">Breaking</a> in <a href="/wiki/Ljubljana" title="Ljubljana">Ljubljana</a>, Slovenia</figcaption></figure> Hip hop music has spawned dozens of subgenres which incorporate hip hop music production approaches, such as <a href="/wiki/Sampling_(music)" title="Sampling (music)">sampling</a>, creating beats, or rapping. The diversification process stems from the appropriation of hip hop culture by other ethnic groups. There are many varying social influences that affect hip hop's message in different nations. It is frequently used as a musical response to perceived political and/or social injustices. In South Africa the largest form of hip hop is called <a href="/wiki/Kwaito" title="Kwaito">Kwaito</a>, which has had a growth similar to U.S. hip hop. Kwaito is a direct reflection of a <a href="/wiki/Post-apartheid" class="mw-redirect" title="Post-apartheid">post-apartheid</a> South Africa and is a voice for the voiceless; a term that U.S. hip hop is often referred to. Kwaito is even perceived as a lifestyle, encompassing many aspects of life, including language and fashion.<a href="#cite_note-187">[185]</a> Kwaito is a political and party-driven genre, as performers use the music to express their political views, and also to express their desire to have a good time. Kwaito is a music that came from a once hated and oppressed people, but it is now sweeping the nation. The main consumers of Kwaito are adolescents and half of the South African population is under 21. Some of the large Kwaito artists have sold more than 100,000 albums, and in an industry where 25,000 albums sold is considered a gold record, those are impressive numbers.<a href="#cite_note-188">[186]</a> Kwaito allows the participation and creative engagement of otherwise socially excluded peoples in the generation of popular media.<a href="#cite_note-189">[187]</a> South African hip hop has made an impact worldwide, with performers such as <a href="/wiki/Tumi_Molekane" title="Tumi Molekane">Tumi</a>, <a href="/wiki/Hip_Hop_Pantsula" title="Hip Hop Pantsula">HipHop Pantsula</a>, <a href="/wiki/Tuks_Senganga" title="Tuks Senganga">Tuks Senganga</a>.<a href="#cite_note-190">[188]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Emmanuel_Jal_by_David_Shankbone.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Emmanuel_Jal_by_David_Shankbone.jpg/220px-Emmanuel_Jal_by_David_Shankbone.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/Emmanuel_Jal_by_David_Shankbone.jpg/330px-Emmanuel_Jal_by_David_Shankbone.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/95/Emmanuel_Jal_by_David_Shankbone.jpg/440px-Emmanuel_Jal_by_David_Shankbone.jpg 2x" data-file-width="3264" data-file-height="2448" /></a><figcaption><a href="/wiki/South_Sudan" title="South Sudan">South Sudanese</a> musician <a href="/wiki/Emmanuel_Jal" title="Emmanuel Jal">Emmanuel Jal</a> uses hip hop to heal war-torn African youth. Jal pictured at the <a href="/wiki/Tribeca_Film_Festival" class="mw-redirect" title="Tribeca Film Festival">Tribeca Film Festival</a> in New York.</figcaption></figure> In <a href="/wiki/Jamaica" title="Jamaica">Jamaica</a>, the sounds of hip hop are derived from American and Jamaican influences. Jamaican hip hop is defined both through dancehall and reggae music. Jamaican <a href="/wiki/Kool_Herc" class="mw-redirect" title="Kool Herc">Kool Herc</a> brought the sound systems, technology, and techniques of <a href="/wiki/Reggae" title="Reggae">reggae</a> music to New York during the 1970s. Jamaican hip hop artists often rap in both Brooklyn and Jamaican accents. Jamaican hip hop subject matter is often influenced by outside and internal forces. Outside forces such as the bling-bling era of today's modern hip hop and internal influences coming from the use of anti-colonialism and marijuana or "ganja" references which <a href="/wiki/Rastafarians" class="mw-redirect" title="Rastafarians">Rastafarians</a> believe bring them closer to God.<a href="#cite_note-191">[189]</a><a href="#cite_note-Rap_Culture_History-192">[190]</a><a href="#cite_note-193">[191]</a> Author <a href="/wiki/Wayne_Marshall_(deejay)" class="mw-redirect" title="Wayne Marshall (deejay)">Wayne Marshall</a> argues that "Hip hop, as with any number of African-American cultural forms before it, offers a range of compelling and contradictory significations to Jamaican artist and audiences. From "modern blackness" to "foreign mind", transnational cosmopolitanism to militant <a href="/wiki/Pan-Africanism" title="Pan-Africanism">pan-Africanism</a>, radical remixology to outright mimicry, hip hop in Jamaica embodies the myriad ways that Jamaicans embrace, reject, and incorporate foreign yet familiar forms."<a href="#cite_note-194">[192]</a> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Klash_Loon.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/05/Klash_Loon.JPG/220px-Klash_Loon.JPG" decoding="async" width="220" height="146" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/05/Klash_Loon.JPG/330px-Klash_Loon.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/05/Klash_Loon.JPG/440px-Klash_Loon.JPG 2x" data-file-width="604" data-file-height="401" /></a><figcaption>Arabic hip hop artist Klash Loon</figcaption></figure> In the developing world, hip hop has made a considerable impact in the social context. Despite the lack of resources, hip hop has made considerable inroads.<a href="#cite_note-Schwartz-83">[81]</a> Due to limited funds, hip hop artists are forced to use very basic tools, and even graffiti, an important aspect of the hip hop culture, is constrained due to its unavailability to the average person. Hip hop has begun making inroads with more than black artists. There are number of other minority artists who are taking center stage as many first generation minority children come of age. One example is rapper Awkwafina, an Asian-American, who raps about being Asian as well as being female. She, like many others, use rap to express her experiences as a minority not necessarily to "unite" minorities together but to tell her story.<a href="#cite_note-195">[193]</a> Many hip hop artists from the developing world come to the United States to seek opportunities. <a href="/wiki/M.I.A._(artist)" class="mw-redirect" title="M.I.A. (artist)">Maya Arulpragasm (A.K.A. M.I.A.)</a>, a <a href="/wiki/Sri_Lanka" title="Sri Lanka">Sri Lanka</a>-born Tamil hip hop artist claims, "I'm just trying to build some sort of bridge, I'm trying to create a third place, somewhere in between the developed world and the developing world.".<a href="#cite_note-196">[194]</a> Another music artist using hip hop to provide a positive message to young Africans is <a href="/wiki/Emmanuel_Jal" title="Emmanuel Jal">Emmanuel Jal</a>, a former child soldier from <a href="/wiki/South_Sudan" title="South Sudan">South Sudan</a>. Jal is one of the few South Sudanese music artists to have broken through on an international level<a href="#cite_note-nationalgeographic-197">[195]</a> with his unique form of hip hop and a positive message in his lyrics.<a href="#cite_note-198">[196]</a> Jal has attracted the attention of mainstream media and academics with his story and use of hip hop as a healing medium for war-afflicted people in Africa and he has also been sought out on the international lecture fora such as <a href="/wiki/TED_(conference)" title="TED (conference)">TED</a>.<a href="#cite_note-199">[197]</a> Many <a href="/wiki/K-Pop" class="mw-redirect" title="K-Pop">K-Pop</a> artists in <a href="/wiki/South_Korea" title="South Korea">South Korea</a> have been influenced by hip hop and many South Korean artists perform hip hop music. In <a href="/wiki/Seoul" title="Seoul">Seoul</a>, South Korea, Koreans b-boy.<a href="#cite_note-200">[198]</a> <div class="mw-heading mw-heading3"><h3 id="Education">Education</h3></div> Scholars argue that hip hop can have an empowering effect on youth. While there is misogyny, violence, and drug use in rap music videos and lyrics, hip hop also displays many positive themes of self-reliance, resilience, and self-esteem. These messages can be inspiring for a youth living in poverty. A lot of rap songs contain references to strengthening the African American community promoting social causes. Social workers have used hip hop to build a relationship with at-risk youth and develop a deeper connection with the child.<a href="#cite_note-201">[199]</a> Hip hop has the potential to be taught as a way of helping people see the world more critically, be it through forms of writing, creating music, or social activism. The lyrics of hip hop have been used to learn about literary devices such as metaphor, imagery, irony, tone, theme, motif, plot, and point of view.<a href="#cite_note-202">[200]</a> Organizations and facilities are providing spaces and programs for communities to explore making and learning about hip hop. An example is the <a href="/wiki/IMP_Labs" title="IMP Labs">IMP Labs</a> in Regina, Saskatchewan, Canada. Many dance studios and colleges now offer lessons in hip hop alongside <a href="/wiki/Tap_dance" title="Tap dance">tap</a> and ballet, as well as <a href="/wiki/KRS-One" title="KRS-One">KRS-One</a> teaching hip hop lectures at Harvard University. Hip hop producer <a href="/wiki/9th_Wonder" title="9th Wonder">9th Wonder</a> and former rapper-actor <a href="/wiki/Christopher_%22Play%22_Martin" class="mw-redirect" title="Christopher "Play" Martin">Christopher "Play" Martin</a> from hip hop group <a href="/wiki/Kid-n-Play" class="mw-redirect" title="Kid-n-Play">Kid-n-Play</a> have taught hip hop history classes at <a href="/wiki/North_Carolina_Central_University" title="North Carolina Central University">North Carolina Central University</a><a href="#cite_note-203">[201]</a> and 9th Wonder has also taught a "Hip Hop Sampling Soul" class at <a href="/wiki/Duke_University" title="Duke University">Duke University</a>.<a href="#cite_note-204">[202]</a> In 2007, the <a href="/wiki/Cornell_University_Library" title="Cornell University Library">Cornell University Library</a> established a Hip Hop Collection to collect and make accessible the historical artifacts of hip hop culture and to ensure their preservation for future generations.<a href="#cite_note-205">[203]</a> The hip hop community has been a major factor in educating its listeners on HIV/AIDS, a disease that has affected the community very closely. One of the biggest artists of early hip hop, Eazy-E, a member of N.W.A, had died of AIDS in 1995.<a href="#cite_note-206">[204]</a> Since then many artists, producers, choreographers and many others from many different locations have tried to make an impact and raise awareness of HIV in the hip hop community. Many artists have made songs as sort of PSA's to raise awareness of HIV for hip hop listeners, some songs that raise awareness are Salt N Pepa – Let's Talk About AIDS, Coolio – Too Hot and more.<a href="#cite_note-207">[205]</a> Tanzanian artists such as Professor Jay and the group Afande Sele are notable for their contributions to this genre of hip hop music and the awareness they have spread for HIV.<a href="#cite_note-208">[206]</a> American writer, activist and hip hop artist Tim'm T. West who was diagnosed with AIDS in 1999, formed queer hip hop group Deep Dickollective who got together to rap about the HIV pandemic among queer black men and LGBTQ activism in hip hop.<a href="#cite_note-209">[207]</a><a href="#cite_note-210">[208]</a> A non-profit organization out of New York City called Hip Hop 4 Life, strives to educate the youth, especially the low income youth about social and political problems in their areas of interest, which includes hip hop.<a href="#cite_note-211">[209]</a> Hip Hop 4 Life has held many events around the New York City area to raise awareness for HIV and other problems surrounding these low income children and their communities. <div class="mw-heading mw-heading2"><h2 id="Values_and_philosophy">Values and philosophy</h2></div> <div class="mw-heading mw-heading3"><h3 id="Essentialism">Essentialism</h3></div> Since the age of slavery, music has long been the language of African American identity. Because reading and writing were forbidden under the auspices of slavery, music became the only accessible form of communication. Hundreds of years later, in inner-city neighborhoods plagued by high illiteracy and dropout rates, music remains the most dependable medium of expression. Hip Hop is thus to modern day as Negro Spirituals are to the plantations of the old South: the emergent music articulates the terrors of one's environment better than written, or spoken word, thereby forging an "unquestioned association of oppression with creativity [that] is endemic" to African American culture".<a href="#cite_note-Schloss,_J._G._2014-212">[210]</a> As a result, lyrics of rap songs have often been treated as "confessions" to a number of violent crimes in the United States.<a href="#cite_note-213">[211]</a> It is also considered to be the duty of rappers and other hip hop artists (DJs, dancers) to "represent" their city and neighborhood. This demands being proud of being from disadvantaged cities neighborhoods that have traditionally been a source of shame, and glorifying them in lyrics and graffiti. This has potentially been one of the ways that hip hop has become regarded as a "local" rather than "foreign" genre of music in so many countries around the world in just a few decades. Nevertheless, sampling and borrowing from a number of genres and places is also a part of the hip hop milieu, and an album like the surprise hit <a href="/wiki/Kala_(album)" title="Kala (album)">Kala</a> by Anglo-Tamil rapper <a href="/wiki/M.I.A._(rapper)" title="M.I.A. (rapper)">M.I.A.</a> was recorded in locations all across the world and features sounds from a different country on every track.<a href="#cite_note-214">[212]</a> According to scholar Joseph Schloss, the essentialist perspective of hip hop conspicuously obfuscates the role that individual style and pleasure plays in the development of the genre. Schloss notes that Hip Hop is forever fossilized as an inevitable cultural emergent, as if "none of hip-hop's innovators had been born, a different group of poor black youth from the Bronx would have developed hip-hop in exactly the same way".<a href="#cite_note-Schloss,_J._G._2014-212">[210]</a> However, while the pervasive oppressive conditions of the Bronx were likely to produce another group of disadvantaged youth, he questions whether they would be equally interested, nonetheless willing to put in as much time and energy into making music as Grandmaster Flash, DJ Kool Herc, and Afrika Bambaataa. He thus concludes that Hip Hop was a result of choice, not fate, and that when individual contributions and artistic preferences are ignored, the genre's origin becomes overly attributed to collective cultural oppression. <div class="mw-heading mw-heading3"><h3 id="Authenticity">Authenticity</h3></div> Hip hop music artists and advocates have stated that hip hop has been an <a href="/wiki/Authenticity_(philosophy)" title="Authenticity (philosophy)">authentic</a> (true and "real") African-American artistic and cultural form since its emergence in inner-city Bronx neighborhoods in the 1970s. Some music critics, scholars and political commentators[<a href="/wiki/Wikipedia:Manual_of_Style/Words_to_watch#Unsupported_attributions" title="Wikipedia:Manual of Style/Words to watch">who?</a>] have denied hip hop's authenticity. Advocates who claim hip hop is an authentic music genre state that it is an ongoing response to the violence and discrimination experienced by black people in the United States, from the <a href="/wiki/Slavery" title="Slavery">slavery</a> that existed into the 19th century, to the <a href="/wiki/Lynching" title="Lynching">lynchings</a> of the 20th century and the ongoing <a href="/wiki/Racial_discrimination" title="Racial discrimination">racial discrimination</a> faced by blacks.<a href="#cite_note-215">[213]</a><a href="#cite_note-216">[214]</a> <a href="/wiki/Paul_Gilroy" title="Paul Gilroy">Paul Gilroy</a> and <a href="/w/index.php?title=Alexander_Weheliye&action=edit&redlink=1" class="new" title="Alexander Weheliye (page does not exist)">Alexander Weheliye</a> state that unlike <a href="/wiki/Disco" title="Disco">disco</a>, <a href="/wiki/Jazz" title="Jazz">jazz</a>, <a href="/wiki/R%26B" class="mw-redirect" title="R&B">R&B</a>, <a href="/wiki/House_music" title="House music">house music</a>, and other genres that were developed in the African-American community and which were quickly adopted and then increasingly controlled by white music industry executives, hip hop has remained largely controlled by African American artists, producers and executives.<a href="#cite_note-217">[215]</a> In his book, Phonographies, Weheliye describes the political and cultural affiliations that hip hop music enables.<a href="#cite_note-218">[216]</a> In contrast, <a href="/wiki/Greg_Tate" title="Greg Tate">Greg Tate</a> states that the market-driven, commodity form of commercial hip hop has uprooted the genre from the celebration of African-American culture and the messages of protest that predominated in its early forms.<a href="#cite_note-219">[217]</a> Tate states that the commodification and commercialization of hip hop culture undermines the dynamism of the genre for African-American communities. These two dissenting understandings of hip hop's scope and influence frame debates that revolve around hip hop's possession of or lack of authenticity.<a href="#cite_note-220">[218]</a> Anticipating the market arguments of Tate and others, both Gilroy and Weheliye assert that hip hop has always had a different function than Western <a href="/wiki/Popular_music" title="Popular music">popular music</a> as a whole, a function that exceeds the constraints of market capitalism.<a href="#cite_note-Weheliye_2005_p._145-221">[219]</a> Weheliye notes, "Popular music, generally in the form of recordings, has and still continues to function as one of the main channels of communication between the different geographical and cultural points in the <a href="/wiki/African_diaspora" title="African diaspora">African diaspora</a>, allowing artists to articulate and perform their diasporic citizenship to international audiences and establish conversations with other diasporic communities."<a href="#cite_note-Weheliye_2005_p._145-221">[219]</a> For Paul Gilroy, hip hop proves an outlet of articulation and a sonic space in which African Americans can exert control and influence that they often lack in other sociopolitical and economic domains.<a href="#cite_note-Gilroy,_Paul_1993-222">[220]</a> In "Phonographies", Weheyliye explains how new sound technologies used in hip hop encourage "diasporic citizenship" and African-American cultural and political activities.<a href="#cite_note-223">[221]</a> Gilroy states that the "power of [hip hop] music [lies] in developing black struggles by communicating information, organizing consciousness, and testing out or deploying ... individual or collective" forms of African-American cultural and political actions.<a href="#cite_note-Gilroy,_Paul_1993-222">[220]</a> In the third chapter of The Black Atlantic, "Jewels Brought from Bondage: Black Music and the Politics of Authenticity", Gilroy asserts that these elements influence the production of and the interpretation of black cultural activities. What Gilroy calls the "Black Atlantic" music's rituals and traditions are a more expansive way of thinking about African-American "blackness", a way that moves beyond contemporary debates around <a href="/wiki/Essentialism" title="Essentialism">essentialist and anti-essentialist</a> arguments. As such, Gilroy states that music has been and remains a central staging ground for debates over the work, responsibility, and future role of black cultural and artistic production.<a href="#cite_note-224">[222]</a> <div class="mw-heading mw-heading2"><h2 id="Traditional_vs._progressive_views">Traditional vs. progressive views</h2></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Progressive_rap" title="Progressive rap">Progressive rap</a></div> <a href="/wiki/Old-school_hip_hop" title="Old-school hip hop">Old-school hip hop</a> performer <a href="/wiki/DJ_Kool_Herc" title="DJ Kool Herc">DJ Kool Herc</a>, along with traditional hip hop artists <a href="/wiki/Afrika_Bambaataa" title="Afrika Bambaataa">Afrika Bambaataa</a> and <a href="/wiki/Grandmaster_Caz" title="Grandmaster Caz">Grandmaster Caz</a>, originally held views against mainstream rap.<a href="#cite_note-225">[223]</a> However, recent interviews indicate they have changed their ways to a certain extent.<a href="#cite_note-226">[224]</a> [<a href="/wiki/Wikipedia:No_original_research" title="Wikipedia:No original research">original research?</a>] However, rappers like <a href="/wiki/KRS-One" title="KRS-One">KRS-One</a> still feel a strong disapproval of the rap industry, especially through mainstream media.<a href="#cite_note-227">[225]</a>[<a href="/wiki/Wikipedia:No_original_research" title="Wikipedia:No original research">original research?</a>] In <a href="/wiki/B-boying" class="mw-redirect" title="B-boying">b-boying</a>, most supporters have begun to slowly involve more industry sponsorship through events on the <a href="/wiki/World_BBoy_Series" title="World BBoy Series">World BBoy Series</a> and through the UDEF powered by Silverback Open.<a href="#cite_note-228">[226]</a> Other b-boys have begun to accept using the term breakdance, but only if the term b-boying is too difficult to communicate to the general public. Regardless of such, b-boys and b-girls still exist to showing lack of support to jams and events that they feel represent the culture as a sport, form of entertainment and as well through <a href="/wiki/Capitalism" title="Capitalism">capitalism</a>. <a href="/wiki/Battle_Rap" class="mw-redirect" title="Battle Rap">Battle Rap</a> as an industry has also been strongly supported by old-school/ golden-era legends such as Herc, <a href="/wiki/Kid_Capri" title="Kid Capri">Kid Capri</a> and <a href="/wiki/KRS-One" title="KRS-One">KRS-One</a>.<a href="#cite_note-229">[227]</a><a href="#cite_note-230">[228]</a> <div class="mw-heading mw-heading2"><h2 id="Reception">Reception</h2></div> <div class="mw-heading mw-heading3"><h3 id="Commercialization_and_stereotyping">Commercialization and stereotyping</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Further information: <a href="/wiki/Stereotypes_of_African_Americans" title="Stereotypes of African Americans">Stereotypes of African Americans</a></div> In 2012, hip hop and rap pioneer <a href="/wiki/Chuck_D" title="Chuck D">Chuck D</a>, from the group <a href="/wiki/Public_Enemy_(band)" class="mw-redirect" title="Public Enemy (band)">Public Enemy</a> criticized young hip hop artists from the 2010s, stating that they have taken a music genre with extensive roots in <a href="/wiki/Underground_music" title="Underground music">underground music</a> and turned it into commercialized pop music.<a href="#cite_note-231">[229]</a> In particular, seminal figures in the early underground, politically motivated music, such as <a href="/wiki/Ice-T" title="Ice-T">Ice-T</a>, have criticized current hip hop artists for being more concerned with image than substance.<a href="#cite_note-232">[230]</a> Critics have stated that 2010s hip hop artists are contributing to <a href="/wiki/Stereotypes_of_African_Americans" title="Stereotypes of African Americans">cultural stereotyping of African-American culture</a> and are <a href="/wiki/Poseur" title="Poseur">poseur</a> gangsters. Critics have also stated that hip hop music promotes drug use and violence.<a href="#cite_note-cbn-233">[231]</a><a href="#cite_note-cnn-234">[232]</a><a href="#cite_note-mtv-235">[233]</a> Hip hop has been criticized by rock-centric critics who state that hip hop is not a true art form and who state that rock and roll music is more <a href="/wiki/Authenticity_(philosophy)" title="Authenticity (philosophy)">authentic</a>. These critics are advocating a viewpoint called "<a href="/wiki/Rockism" class="mw-redirect" title="Rockism">rockism</a>" which favors music written and performed by the individual artist (as seen in some famous singer-songwriter-led rock bands) and is against 2000s (decade)-era hip hop, which these critics argue give too large a role to record producers and digital <a href="/wiki/Sound_recording" class="mw-redirect" title="Sound recording">sound recording</a>. Hip hop is seen as being too violent and explicit, in comparison with rock. Some contend that the criticisms have racial overtones, as these critics deny that hip hop is an art form and praising rock genres that prominently feature white males.<a href="#cite_note-236">[234]</a> <div class="mw-heading mw-heading3"><h3 id="Marginalization_of_women">Marginalization of women</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Misogyny_in_rap_music" title="Misogyny in rap music">Misogyny in rap music</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Lauryn_Hill_2012.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/49/Lauryn_Hill_2012.jpg/170px-Lauryn_Hill_2012.jpg" decoding="async" width="170" height="254" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/49/Lauryn_Hill_2012.jpg/255px-Lauryn_Hill_2012.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/49/Lauryn_Hill_2012.jpg/340px-Lauryn_Hill_2012.jpg 2x" data-file-width="514" data-file-height="768" /></a><figcaption>Hip hop artist <a href="/wiki/Lauryn_Hill" title="Lauryn Hill">Lauryn Hill</a> has been successful as a solo performer and as a member of the <a href="/wiki/Fugees" title="Fugees">Fugees</a>. This photo shows her performing at the <a href="/wiki/Ottawa_Bluesfest" title="Ottawa Bluesfest">Ottawa Bluesfest</a> in 2012.</figcaption></figure> The hip hop music genre and its subculture has been criticized for its <a href="/wiki/Gender_bias" class="mw-redirect" title="Gender bias">gender bias</a> and its negative impacts on women in African-American culture. <a href="/wiki/Gangsta_rap" title="Gangsta rap">Gangsta rap</a> artists such as <a href="/wiki/Eazy-E" title="Eazy-E">Eazy-E</a>, <a href="/wiki/Snoop_Dogg" title="Snoop Dogg">Snoop Dogg</a>, <a href="/wiki/Tupac_Shakur" title="Tupac Shakur">2Pac</a> and <a href="/wiki/Dr._Dre" title="Dr. Dre">Dr. Dre</a> have, primarily in the 1990s, rapped lyrics that <a href="/wiki/Objectification_of_women" class="mw-redirect" title="Objectification of women">portray women as sex toys</a> and <a href="/wiki/Male_supremacism" class="mw-redirect" title="Male supremacism">inferior to or otherwise dependent upon men</a>.<a href="#cite_note-237">[235]</a> Between 1987 and 1993, over 400 hip hop songs had lyrics that described <a href="/wiki/Violence_towards_women" class="mw-redirect" title="Violence towards women">violence towards women</a>, including rape, <a href="/wiki/Sexual_violence" title="Sexual violence">sexual violence</a>, assault, and murder.<a href="#cite_note-sagepub3-238">[236]</a> These anti-women lyrics have created negative stereotypes of young urban African-American women.<a href="#cite_note-239">[237]</a> Hip hop music frequently promotes <a href="/wiki/Heterosexism" title="Heterosexism">heterosexism</a> and <a href="/wiki/Hegemonic_masculinity" title="Hegemonic masculinity">hegemonic masculinity</a>, as it depicts women as individuals who must rely on men.<a href="#cite_note-sagepub3-238">[236]</a> The portrayal of women in hip hop lyrics and videos tends to be violent, degrading, and highly sexualized.<a href="#cite_note-Granovsky_2018-240">[238]</a> There is a high frequency of songs with lyrics that are demeaning towards women, and depict sexual violence or <a href="/wiki/Sexual_assault" title="Sexual assault">sexual assault</a> towards women.<a href="#cite_note-Granovsky_2018-240">[238]</a><a href="#cite_note-241">[239]</a> Videos often portray idealized female bodies and depict women as being the <a href="/wiki/Objectification_of_women" class="mw-redirect" title="Objectification of women">object of male pleasure</a>.<a href="#cite_note-242">[240]</a> The misrepresentation of women, primarily <a href="/wiki/Women_of_color" class="mw-redirect" title="Women of color">women of color</a>, as objects rather than other human beings and the presence of male dominance in hip hop extends back to the birth of the genre. However, many female hip hop artists have also emerged in shedding light on both their personal issues and the misrepresentations of women in hip hop music and culture. These artists include but are not limited to <a href="/wiki/Queen_Latifah" title="Queen Latifah">Queen Latifah</a>, the <a href="/wiki/TLC_(group)" title="TLC (group)">TLC</a>, and <a href="/wiki/MC_Lyte" title="MC Lyte">MC Lyte</a>. Despite the success of them and others, female rappers remain proportionally few in the mainstream industry.<a href="#cite_note-243">[241]</a><a href="#cite_note-244">[242]</a> Very few female artists have been recognized in hip hop, and the most popular, successful and influential artists, record producers, and music executives are males. Women who are in rap groups, such as <a href="/wiki/Lauryn_Hill" title="Lauryn Hill">Lauryn Hill</a> of the <a href="/wiki/Fugees" title="Fugees">Fugees</a>, tend to have less advantages and opportunities than male artists.<a href="#cite_note-245">[243]</a> Moreover, female artists have received significantly less recognition in hip hop. Only one female artist has won Best Rap Album of the Year at the <a href="/wiki/Grammy_Awards" title="Grammy Awards">Grammy Awards</a> since the category was added in 1995.<a href="#cite_note-grammy-246">[244]</a> In addition, African American female hip hop artists have been recognized even less in the industry.<a href="#cite_note-247">[245]</a> Salt-N-Pepa felt when they were establishing themselves as a successful group, they had to prove doubters wrong, stating that "being women in hip hop at a time when it wasn't that many women, we felt like we had more to prove."<a href="#cite_note-248">[246]</a> <div class="mw-heading mw-heading3"><h3 id="Glorification_of_drug_use">Glorification of drug use</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="/wiki/Drug_culture" title="Drug culture">Drug culture</a> and <a href="/wiki/Drug_use_in_music" title="Drug use in music">Drug use in music</a></div> The hip hop, <a href="/wiki/Hardcore_hip_hop" title="Hardcore hip hop">hardcore rap</a>, and <a href="/wiki/Trap_music" title="Trap music">trap</a> scenes, alongside their <a href="/wiki/List_of_hip_hop_genres" title="List of hip hop genres">derivative subgenres</a> and <a href="/wiki/Subculture" title="Subculture">subcultures</a>, are most notorious for having continuously celebrated and promoted drug trafficking, <a href="/wiki/Gangster" title="Gangster">gangster lifestyle</a>, and <a href="/wiki/Substance_abuse" title="Substance abuse">consumption of drugs</a> and <a href="/wiki/Consumption_of_alcohol" class="mw-redirect" title="Consumption of alcohol">alcohol</a> since their inception in the United States during the late 1980s–early 1990s.<a href="#cite_note-249">[247]</a><a href="#cite_note-250">[248]</a><a href="#cite_note-Granovsky_2018-240">[238]</a><a href="#cite_note-251">[249]</a> <div class="mw-heading mw-heading3"><h3 id="Homophobia_and_transphobia">Homophobia and transphobia</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Homophobia_in_hip_hop_culture" class="mw-redirect" title="Homophobia in hip hop culture">Homophobia in hip hop culture</a></div> As well, the hip hop music community has been criticized with accusations of <a href="/wiki/Homophobia" title="Homophobia">homophobia</a> and <a href="/wiki/Transphobia" title="Transphobia">transphobia</a>.<a href="#cite_note-:0-252">[250]</a> Hip hop song lyrics contain offensive, homophobic slurs (most popularly the pejorative term "<a href="/wiki/Faggot_(slang)" class="mw-redirect" title="Faggot (slang)">faggot</a>") and sometimes violent threats towards <a href="/wiki/Queer" title="Queer">queer</a> people, such as rapper <a href="/wiki/DMX_(rapper)" class="mw-redirect" title="DMX (rapper)">DMX</a>'s "<a href="/wiki/Where_the_Hood_At%3F" title="Where the Hood At?">Where the Hood At?</a>", rapper <a href="/wiki/Eazy-E" title="Eazy-E">Eazy-E</a>'s "Nobody Move", rap group <a href="/wiki/Brand_Nubian" title="Brand Nubian">Brand Nubian</a>'s "<a href="/wiki/Punks_Jump_Up_to_Get_Beat_Down" title="Punks Jump Up to Get Beat Down">Punks Jump Up to Get Beat Down</a>".<a href="#cite_note-253">[251]</a> Many rappers and hip hop artists have advocated homophobia and/or transphobia.<a href="#cite_note-254">[252]</a> These artists include <a href="/wiki/Ja_Rule" title="Ja Rule">Ja Rule</a>, who in an interview claimed, "We need to go step to <a href="/wiki/MTV" title="MTV">MTV</a> and <a href="/wiki/ViacomCBS" class="mw-redirect" title="ViacomCBS">Viacom</a>, and let's talk about all these fucking shows that they have on MTV that is promoting homosexuality, that my kids can't watch this shit,"<a href="#cite_note-Grant-255">[253]</a> and rap artist <a href="/wiki/Erick_Sermon" title="Erick Sermon">Erick Sermon</a>, who has said publicly, "[Hip hop] will never accept transgender rappers."<a href="#cite_note-Ziegler-256">[254]</a> Until the 2010s, hip hop music has excluded the <a href="/wiki/LGBT_community" class="mw-redirect" title="LGBT community">lesbian, gay, bisexual, and transgender (LGBT) community</a>. This has perpetuated a culture in hip hop that is prejudiced towards queer and trans people, making it a tough culture for queer artists to participate in.<a href="#cite_note-:0-252">[250]</a> Despite this prejudice, some queer/<a href="/wiki/Genderqueer" class="mw-redirect" title="Genderqueer">genderqueer</a> rappers and hip hop artists have become successful and popular in the 2010s. One of the more notable members of the LGBT community in hip hop is <a href="/wiki/Frank_Ocean" title="Frank Ocean">Frank Ocean</a>, who <a href="/wiki/Coming_out" title="Coming out">came out</a> in 2012 and has released critically acclaimed albums and won two <a href="/wiki/Grammy_Awards" title="Grammy Awards">Grammy Awards</a>.<a href="#cite_note-Biography.com_Editors-257">[255]</a> Other successful queer hip hop/rap artists include female bisexual rapper <a href="/wiki/Azealia_Banks" title="Azealia Banks">Azealia Banks</a>,<a href="#cite_note-258">[256]</a> <a href="/wiki/Pansexuality" title="Pansexuality">pansexual</a> <a href="/wiki/Androgyny" title="Androgyny">androgynous</a> rapper and singer <a href="/wiki/Angel_Haze" title="Angel Haze">Angel Haze</a>,<a href="#cite_note-259">[257]</a> lesbian rapper <a href="/wiki/Siya" title="Siya">Siya</a>,<a href="#cite_note-260">[258]</a> gay rapper/singer <a href="/wiki/Kevin_Abstract" title="Kevin Abstract">Kevin Abstract</a>,<a href="#cite_note-261">[259]</a> and <a href="/wiki/Genderqueer" class="mw-redirect" title="Genderqueer">genderqueer</a> rapper <a href="/wiki/Mykki_Blanco" title="Mykki Blanco">Mykki Blanco</a>.<a href="#cite_note-262">[260]</a> <div class="mw-heading mw-heading2"><h2 id="Legacy">Legacy</h2></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1251242444"><table class="box-Original_research plainlinks metadata ambox ambox-content ambox-Original_research" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/40px-Ambox_important.svg.png" decoding="async" width="40" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/60px-Ambox_important.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/80px-Ambox_important.svg.png 2x" data-file-width="40" data-file-height="40" /></div></td><td class="mbox-text"><div class="mbox-text-span">This section possibly contains <a href="/wiki/Wikipedia:No_original_research" title="Wikipedia:No original research">original research</a>. Please <a class="external text" href="https://en.wikipedia.org/w/index.php?title=Hip_hop_(culture)&action=edit">improve it</a> by <a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability">verifying</a> the claims made and adding <a href="/wiki/Wikipedia:Citing_sources#Inline_citations" title="Wikipedia:Citing sources">inline citations</a>. Statements consisting only of original research should be removed. (May 2015) (<a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a>)</div></td></tr></tbody></table> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Mary_j-02-mika.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/37/Mary_j-02-mika.jpg/220px-Mary_j-02-mika.jpg" decoding="async" width="220" height="146" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/37/Mary_j-02-mika.jpg/330px-Mary_j-02-mika.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/37/Mary_j-02-mika.jpg/440px-Mary_j-02-mika.jpg 2x" data-file-width="1355" data-file-height="902" /></a><figcaption><a href="/wiki/Mary_J._Blige" title="Mary J. Blige">Mary J. Blige</a> performing</figcaption></figure> Having its roots in <a href="/wiki/Disco" title="Disco">disco</a>, <a href="/wiki/Funk" title="Funk">funk</a>, <a href="/wiki/Jazz" title="Jazz">jazz</a>, <a href="/wiki/Rhythm_and_blues" title="Rhythm and blues">R&B</a> and <a href="/wiki/Soul_music" title="Soul music">soul music</a>,<a href="#cite_note-263">[261]</a><a href="#cite_note-264">[262]</a><a href="#cite_note-265">[263]</a> hip hop has since expanded worldwide. Its expansion includes events like Afrika Bambaataa's 1982 releasing of <a href="/wiki/Planet_Rock:_The_Album" title="Planet Rock: The Album">Planet Rock</a>, which tried to establish a more global harmony. In the 1980s, the British <a href="/wiki/Slick_Rick" title="Slick Rick">Slick Rick</a> became the first international hit hip hop artist not native to America.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] From the 1980s onward, television made hip hop global. From <a href="/wiki/Yo!_MTV_Raps" title="Yo! MTV Raps">Yo! MTV Raps</a> to Public Enemy's world tour, hip hop spread to Latin America and became a mainstream culture. Hip hop has been cut, mixed and adapted as it the music spreads to new areas.<a href="#cite_note-266">[264]</a><a href="#cite_note-267">[265]</a>[<a href="/wiki/Wikipedia:Reliable_sources" title="Wikipedia:Reliable sources">unreliable source?</a>] Early hip hop may have reduced inner-city gang violence by providing an alternative means of expression to physical violence.<a href="#cite_note-268">[266]</a> However, with the emergence of commercial and crime-related <a href="/wiki/Gangsta_rap" title="Gangsta rap">gangsta rap</a> during the early 1990s, violence, drugs, weapons, and <a href="/wiki/Misogyny_in_hip_hop_culture" class="mw-redirect" title="Misogyny in hip hop culture">misogyny</a>, were key themes. Socially and politically conscious hip hop has long been disregarded by mainstream America in favor of its media-baiting sibling, <a href="/wiki/Gangsta_rap" title="Gangsta rap">gangsta rap</a>.<a href="#cite_note-Media_coverage-72">[70]</a> Black female artists such as <a href="/wiki/Queen_Latifah" title="Queen Latifah">Queen Latifah</a>, <a href="/wiki/Missy_Elliott" title="Missy Elliott">Missy Elliott</a>, and <a href="/wiki/MC_Lyte" title="MC Lyte">MC Lyte</a> have made great strides since the hip hop industry first began. By producing music and an image that did not cater to the hyper-sexualized stereotypes of black women in hip hop, these women pioneered a revitalized and empowering image of black women in hip hop.<a href="#cite_note-269">[267]</a> Though many hip hop artists have embraced the ideals that effectively disenfranchise black female artists, many others choose to employ forms of resistance that counteract these negative portrayals of women in hip hop and offer a different narrative. These artists seek to expand ways of traditional thinking through different ways of cultural expression. In this effort they hope to elicit a response to female hip hop artists not with a misogynist <a href="/wiki/Lens_(optics)" class="mw-redirect" title="Lens (optics)">lens</a> but with one that validates women's struggle.<a href="#cite_note-270">[268]</a> For women, artists such as Missy Elliott, Lil' Kim, Young M.A. and others are providing mentorship for new female MCs. In addition, there is a vibrant scene outside the mainstream that provides an opportunity for women and their music to flourish.<a href="#cite_note-Nielson-68">[66]</a> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2></div> <style data-mw-deduplicate="TemplateStyles:r1259569809">.mw-parser-output .portalbox{padding:0;margin:0.5em 0;display:table;box-sizing:border-box;max-width:175px;list-style:none}.mw-parser-output .portalborder{border:1px solid var(--border-color-base,#a2a9b1);padding:0.1em;background:var(--background-color-neutral-subtle,#f8f9fa)}.mw-parser-output .portalbox-entry{display:table-row;font-size:85%;line-height:110%;height:1.9em;font-style:italic;font-weight:bold}.mw-parser-output .portalbox-image{display:table-cell;padding:0.2em;vertical-align:middle;text-align:center}.mw-parser-output .portalbox-link{display:table-cell;padding:0.2em 0.2em 0.2em 0.3em;vertical-align:middle}@media(min-width:720px){.mw-parser-output .portalleft{clear:left;float:left;margin:0.5em 1em 0.5em 0}.mw-parser-output .portalright{clear:right;float:right;margin:0.5em 0 0.5em 1em}}</style><ul role="navigation" aria-label="Portals" class="noprint portalbox portalborder portalright"> <li class="portalbox-entry"><img alt="flag" src="//upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/32px-Flag_of_the_United_States.svg.png" decoding="async" width="32" height="17" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/48px-Flag_of_the_United_States.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/64px-Flag_of_the_United_States.svg.png 2x" data-file-width="1235" data-file-height="650" /><a href="/wiki/Portal:United_States" title="Portal:United States">United States portal</a></li></ul> <ul><li><a href="/wiki/List_of_hip_hop_music_festivals" class="mw-redirect" title="List of hip hop music festivals">List of hip hop music festivals</a></li> <li><a href="/wiki/List_of_hip_hop_genres" title="List of hip hop genres">List of hip hop genres</a></li> <li><a href="/wiki/List_of_hip_hop_musicians" title="List of hip hop musicians">List of hip hop musicians</a></li> <li><a href="/wiki/Hip_hop_and_social_injustice" title="Hip hop and social injustice">Hip hop and social injustice</a></li> <li><a href="/wiki/Pop_culture" class="mw-redirect" title="Pop culture">Pop culture</a></li></ul> <div style="clear:both;" class=""></div> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-lower-alpha"> <div class="mw-references-wrap"><ol class="references"> <li id="cite_note-4"><a href="#cite_ref-4">^</a> It is argued as to whether hip hop started in the <a href="/wiki/South_Bronx" title="South Bronx">South</a> or <a href="/wiki/West_Bronx" title="West Bronx">West Bronx</a>.<a href="#cite_note-Dyson_2007,_p._6-3">[3]</a> </li> <li id="cite_note-10"><a href="#cite_ref-10">^</a> Also called <a href="/wiki/MCing" class="mw-redirect" title="MCing">MCing</a> or emceeing </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626"><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><a href="#cite_ref-1">^</a> <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.newspapers.com/image/273163075/">"Honolulu Star-Bulletin 01 Sep 1988, page 23"</a>. Newspapers.com. Retrieved May 7, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Newspapers.com&rft.atitle=Honolulu+Star-Bulletin+01+Sep+1988%2C+page+23&rft_id=https%3A%2F%2Fwww.newspapers.com%2Fimage%2F273163075%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"> </li> <li id="cite_note-2"><a href="#cite_ref-2">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.newspapers.com/image/474823180/">"The Press-Tribune 15 Sep 1988, page 15"</a>. Newspapers.com. 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Tinicum, Pennsylvania: <a href="/wiki/Xlibris_Corporation" class="mw-redirect" title="Xlibris Corporation">Xlibris Corporation</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4010-2851-0" title="Special:BookSources/978-1-4010-2851-0"><bdi>978-1-4010-2851-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+Brief+History+of+Rhyme+and+Bass%3A+Growing+Up+With+Hip+Hop&rft.place=Tinicum%2C+Pennsylvania&rft.pub=Xlibris+Corporation&rft.date=2000&rft.isbn=978-1-4010-2851-0&rft.aulast=Corvino&rft.aufirst=Daniel&rft.au=Livernoche%2C+Shawn&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988">[<a href="/wiki/Wikipedia:Verifiability#Self-published_sources" title="Wikipedia:Verifiability">self-published source</a>]</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDiawara1998" class="citation book cs1"><a href="/wiki/Manthia_Diawara" title="Manthia Diawara">Diawara, Manthia</a> (1998). <a rel="nofollow" class="external text" href="https://archive.org/details/insearchofafrica00diaw">In Search of Africa</a>. Cambridge, Massachusetts: <a href="/wiki/Harvard_University_Press" title="Harvard University Press">Harvard University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-674-44611-3" title="Special:BookSources/978-0-674-44611-3"><bdi>978-0-674-44611-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=In+Search+of+Africa&rft.place=Cambridge%2C+Massachusetts&rft.pub=Harvard+University+Press&rft.date=1998&rft.isbn=978-0-674-44611-3&rft.aulast=Diawara&rft.aufirst=Manthia&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Finsearchofafrica00diaw&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGordon2005" class="citation journal cs1"><a href="/wiki/Lewis_Gordon" title="Lewis Gordon">Gordon, Lewis R.</a> (October–December 2005). "The Problem of Maturity in Hip Hop". Review of Education, Pedagogy and Cultural Studies. 27 (4): 367–389. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F10714410500339020">10.1080/10714410500339020</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:145308974">145308974</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Review+of+Education%2C+Pedagogy+and+Cultural+Studies&rft.atitle=The+Problem+of+Maturity+in+Hip+Hop&rft.volume=27&rft.issue=4&rft.pages=367-389&rft.date=2005-10%2F2005-12&rft_id=info%3Adoi%2F10.1080%2F10714410500339020&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A145308974%23id-name%3DS2CID&rft.aulast=Gordon&rft.aufirst=Lewis+R.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHager1984" class="citation book cs1"><a href="/wiki/Steven_Hager" title="Steven Hager">Hager, Steven</a> (1984). <a rel="nofollow" class="external text" href="https://archive.org/details/hiphopillustrate00hage">Hip Hop: The Illustrated History of Breaking Dancing, Rap Music and Graffiti</a>. New York City: <a href="/wiki/St._Martin%27s_Press" title="St. Martin's Press">St. Martin's Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0312373177" title="Special:BookSources/978-0312373177"><bdi>978-0312373177</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hip+Hop%3A+The+Illustrated+History+of+Breaking+Dancing%2C+Rap+Music+and+Graffiti&rft.place=New+York+City&rft.pub=St.+Martin%27s+Press&rft.date=1984&rft.isbn=978-0312373177&rft.aulast=Hager&rft.aufirst=Steven&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fhiphopillustrate00hage&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKelly1994" class="citation book cs1"><a href="/wiki/Robin_Kelley" title="Robin Kelley">Kelly, Robin D. G.</a> (1994). <a href="/wiki/Race_Rebels:_Culture,_Politics,_and_the_Black_Working_Class" class="mw-redirect" title="Race Rebels: Culture, Politics, and the Black Working Class">Race Rebels: Culture, Politics, and the Black Working Class</a>. New York City: <a href="/wiki/Free_Press_(publisher)" title="Free Press (publisher)">Free Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-684-82639-4" title="Special:BookSources/978-0-684-82639-4"><bdi>978-0-684-82639-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Race+Rebels%3A+Culture%2C+Politics%2C+and+the+Black+Working+Class&rft.place=New+York+City&rft.pub=Free+Press&rft.date=1994&rft.isbn=978-0-684-82639-4&rft.aulast=Kelly&rft.aufirst=Robin+D.+G.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKitwana2002" class="citation book cs1">Kitwana, Bakari (2002). The Hip-Hop Generation: Young Blacks and the Crisis in African American Culture. New York City: <a href="/wiki/Perseus_Books_Group" title="Perseus Books Group">Perseus Books Group</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-465-02979-2" title="Special:BookSources/978-0-465-02979-2"><bdi>978-0-465-02979-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Hip-Hop+Generation%3A+Young+Blacks+and+the+Crisis+in+African+American+Culture&rft.place=New+York+City&rft.pub=Perseus+Books+Group&rft.date=2002&rft.isbn=978-0-465-02979-2&rft.aulast=Kitwana&rft.aufirst=Bakari&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKitwana2005" class="citation book cs1">Kitwana, Bakari (2005). <a rel="nofollow" class="external text" href="https://archive.org/details/whywhitekidslove00kitw_0">Why White Kids Love Hip Hop: Wankstas, Wiggers, Wannabes and the New Reality of Race in America</a>. New York City: Basic Civitas Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-465-03746-9" title="Special:BookSources/978-0-465-03746-9"><bdi>978-0-465-03746-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Why+White+Kids+Love+Hip+Hop%3A+Wankstas%2C+Wiggers%2C+Wannabes+and+the+New+Reality+of+Race+in+America&rft.place=New+York+City&rft.pub=Basic+Civitas+Books&rft.date=2005&rft.isbn=978-0-465-03746-9&rft.aulast=Kitwana&rft.aufirst=Bakari&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fwhywhitekidslove00kitw_0&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKolbowski1998" class="citation journal cs1">Kolbowski, Silvia (Winter 1998). "Homeboy Cosmopolitan". <a href="/wiki/October_(journal)" title="October (journal)">October</a> (83): 51.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=October&rft.atitle=Homeboy+Cosmopolitan&rft.ssn=winter&rft.issue=83&rft.pages=51&rft.date=1998&rft.aulast=Kolbowski&rft.aufirst=Silvia&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLight1999" class="citation book cs1"><a href="/wiki/Alan_Light_(journalist)" class="mw-redirect" title="Alan Light (journalist)">Light, Alan</a>, ed. (1999). <a rel="nofollow" class="external text" href="https://archive.org/details/vibehistoryofhip00ligh">The VIBE History of Hip-Hop</a> (1st ed.). New York City: <a href="/wiki/Three_Rivers_Press" title="Three Rivers Press">Three Rivers Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-609-80503-9" title="Special:BookSources/978-0-609-80503-9"><bdi>978-0-609-80503-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+VIBE+History+of+Hip-Hop&rft.place=New+York+City&rft.edition=1st&rft.pub=Three+Rivers+Press&rft.date=1999&rft.isbn=978-0-609-80503-9&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fvibehistoryofhip00ligh&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMcLeod1999" class="citation journal cs1"><a href="/wiki/Kembrew_McLeod" title="Kembrew McLeod">McLeod, Kembrew</a> (Autumn 1999). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090318162622/http://kembrew.com/documents/Publications-pdfs/McLeod-Authenticity.pdf">"Authenticity Within Hip-Hop and Other Cultures Threatened with Assimilation"</a> (PDF). Journal of Communication. 49 (4): 134–150. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1111%2Fj.1460-2466.1999.tb02821.x">10.1111/j.1460-2466.1999.tb02821.x</a>. Archived from <a rel="nofollow" class="external text" href="http://kembrew.com/documents/Publications-pdfs/McLeod-Authenticity.pdf">the original</a> (PDF 1448.9 <a href="/wiki/Kilobyte" title="Kilobyte">KB</a>) on March 18, 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+Communication&rft.atitle=Authenticity+Within+Hip-Hop+and+Other+Cultures+Threatened+with+Assimilation&rft.ssn=fall&rft.volume=49&rft.issue=4&rft.pages=134-150&rft.date=1999&rft_id=info%3Adoi%2F10.1111%2Fj.1460-2466.1999.tb02821.x&rft.aulast=McLeod&rft.aufirst=Kembrew&rft_id=http%3A%2F%2Fkembrew.com%2Fdocuments%2FPublications-pdfs%2FMcLeod-Authenticity.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFNelson2005" class="citation book cs1">Nelson, George (2005). <a rel="nofollow" class="external text" href="https://archive.org/details/hiphopamerica00geor_0">Hip-Hop America</a> (2nd ed.). St. Louis, Missouri: <a href="/wiki/Penguin_Books" title="Penguin Books">Penguin Books</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-14-028022-7" title="Special:BookSources/978-0-14-028022-7"><bdi>978-0-14-028022-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hip-Hop+America&rft.place=St.+Louis%2C+Missouri&rft.edition=2nd&rft.pub=Penguin+Books&rft.date=2005&rft.isbn=978-0-14-028022-7&rft.aulast=Nelson&rft.aufirst=George&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fhiphopamerica00geor_0&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFOgbar2007" class="citation book cs1">Ogbar, Jeffrey O. G. (2007). <a rel="nofollow" class="external text" href="https://archive.org/details/hiphoprevolution0000ogba">Hip-Hop Revolution: The Culture and Politics of Rap</a>. Lawrence, Kansas: <a href="/wiki/University_Press_of_Kansas" title="University Press of Kansas">University Press of Kansas</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7006-1547-6" title="Special:BookSources/978-0-7006-1547-6"><bdi>978-0-7006-1547-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hip-Hop+Revolution%3A+The+Culture+and+Politics+of+Rap&rft.place=Lawrence%2C+Kansas&rft.pub=University+Press+of+Kansas&rft.date=2007&rft.isbn=978-0-7006-1547-6&rft.aulast=Ogbar&rft.aufirst=Jeffrey+O.+G.&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fhiphoprevolution0000ogba&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPerkins1995" class="citation book cs1">Perkins, William E. (1995). <a rel="nofollow" class="external text" href="https://archive.org/details/droppinsciencecr0000unse">Droppin' Science: Critical Essays on Rap Music and Hip Hop Culture</a>. Philadelphia, Pennsylvania: <a href="/wiki/Temple_University_Press" title="Temple University Press">Temple University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56639-362-1" title="Special:BookSources/978-1-56639-362-1"><bdi>978-1-56639-362-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Droppin%27+Science%3A+Critical+Essays+on+Rap+Music+and+Hip+Hop+Culture&rft.place=Philadelphia%2C+Pennsylvania&rft.pub=Temple+University+Press&rft.date=1995&rft.isbn=978-1-56639-362-1&rft.aulast=Perkins&rft.aufirst=William+E.&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fdroppinsciencecr0000unse&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRo2001" class="citation book cs1">Ro, Ronin (2001). Bad Boy: The Influence of Sean "Puffy" Combs on the Music Industry. New York City: <a href="/wiki/Pocket_Books" title="Pocket Books">Pocket Books</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7434-2823-1" title="Special:BookSources/978-0-7434-2823-1"><bdi>978-0-7434-2823-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bad+Boy%3A+The+Influence+of+Sean+%22Puffy%22+Combs+on+the+Music+Industry&rft.place=New+York+City&rft.pub=Pocket+Books&rft.date=2001&rft.isbn=978-0-7434-2823-1&rft.aulast=Ro&rft.aufirst=Ronin&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRose1994" class="citation book cs1">Rose, Tricia (1994). <a rel="nofollow" class="external text" href="https://archive.org/details/blacknoiserapmus0000rose">Black Noise: Rap Music and Black Culture in Contemporary America</a>. Middletown, Connecticut: <a href="/wiki/Wesleyan_University_Press" title="Wesleyan University Press">Wesleyan University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8195-6275-3" title="Special:BookSources/978-0-8195-6275-3"><bdi>978-0-8195-6275-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Black+Noise%3A+Rap+Music+and+Black+Culture+in+Contemporary+America&rft.place=Middletown%2C+Connecticut&rft.pub=Wesleyan+University+Press&rft.date=1994&rft.isbn=978-0-8195-6275-3&rft.aulast=Rose&rft.aufirst=Tricia&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fblacknoiserapmus0000rose&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFShapiro2007" class="citation book cs1"><a href="/wiki/Peter_Shapiro_(journalist)" title="Peter Shapiro (journalist)">Shapiro, Peter</a> (2007). Rough Guide to Hip Hop (2nd ed.). London, UK: <a href="/wiki/Rough_Guides" title="Rough Guides">Rough Guides</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84353-263-7" title="Special:BookSources/978-1-84353-263-7"><bdi>978-1-84353-263-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Rough+Guide+to+Hip+Hop&rft.place=London%2C+UK&rft.edition=2nd&rft.pub=Rough+Guides&rft.date=2007&rft.isbn=978-1-84353-263-7&rft.aulast=Shapiro&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSteingo2005" class="citation journal cs1">Steingo, Gavin (July 2005). "South African Music after Apartheid: Kwaito, the "Party Politic," and the Appropriation of Gold as a Sign of Success". Popular Music and Society. 28 (3): 333–357. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F03007760500105172">10.1080/03007760500105172</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:143516850">143516850</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Popular+Music+and+Society&rft.atitle=South+African+Music+after+Apartheid%3A+Kwaito%2C+the+%22Party+Politic%2C%22+and+the+Appropriation+of+Gold+as+a+Sign+of+Success&rft.volume=28&rft.issue=3&rft.pages=333-357&rft.date=2005-07&rft_id=info%3Adoi%2F10.1080%2F03007760500105172&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A143516850%23id-name%3DS2CID&rft.aulast=Steingo&rft.aufirst=Gavin&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFToop1991" class="citation book cs1"><a href="/wiki/David_Toop" title="David Toop">Toop, David</a> (1991). Rap Attack 2: African Rap to Global Hip Hop (2nd ed.). New York City: <a href="/wiki/Serpent%27s_Tail" title="Serpent's Tail">Serpent's Tail</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-85242-243-1" title="Special:BookSources/978-1-85242-243-1"><bdi>978-1-85242-243-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Rap+Attack+2%3A+African+Rap+to+Global+Hip+Hop&rft.place=New+York+City&rft.edition=2nd&rft.pub=Serpent%27s+Tail&rft.date=1991&rft.isbn=978-1-85242-243-1&rft.aulast=Toop&rft.aufirst=David&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2></div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKugelberg2007" class="citation book cs1">Kugelberg, Johan (2007). Born in the Bronx: A Visual Record of the Early Days of Hip Hop. Rizzoli, New York. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7893-1540-3" title="Special:BookSources/978-0-7893-1540-3"><bdi>978-0-7893-1540-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Born+in+the+Bronx%3A+A+Visual+Record+of+the+Early+Days+of+Hip+Hop&rft.pub=Rizzoli%2C+New+York&rft.date=2007&rft.isbn=978-0-7893-1540-3&rft.aulast=Kugelberg&rft.aufirst=Johan&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFChang2008" class="citation book cs1">Chang, Jeff (2008). Total Chaos: The Art and Aesthetics of Hip-Hop. Basic Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-4650-0909-1" title="Special:BookSources/978-0-4650-0909-1"><bdi>978-0-4650-0909-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Total+Chaos%3A+The+Art+and+Aesthetics+of+Hip-Hop&rft.pub=Basic+Books&rft.date=2008&rft.isbn=978-0-4650-0909-1&rft.aulast=Chang&rft.aufirst=Jeff&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFitzgerald2008" class="citation book cs1">Fitzgerald, Tamsin (2008). Hip-Hop and Urban Dance. Heineman Library. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4329-1378-6" title="Special:BookSources/978-1-4329-1378-6"><bdi>978-1-4329-1378-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Hip-Hop+and+Urban+Dance&rft.pub=Heineman+Library&rft.date=2008&rft.isbn=978-1-4329-1378-6&rft.aulast=Fitzgerald&rft.aufirst=Tamsin&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHip+hop+%28culture%29" class="Z3988"></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><div class="side-box metadata side-box-right"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-abovebelow"> <a href="/wiki/Wikipedia:The_Wikipedia_Library" title="Wikipedia:The Wikipedia Library">Library resources</a> about Hip hop (culture) <hr /></div> <div class="side-box-flex"> <div class="side-box-text plainlist"><ul><li><a class="external text" href="https://ftl.toolforge.org/cgi-bin/ftl?st=wp&su=hip+hop">Resources in your library</a></li> <li><a class="external text" href="https://ftl.toolforge.org/cgi-bin/ftl?st=wp&su=hip+hop&library=0CHOOSE0">Resources in other libraries</a></li> </ul></div></div> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <a href="https://commons.wikimedia.org/wiki/Category:Hip_hop_culture" class="extiw" title="commons:Category:Hip hop culture">Hip hop culture</a>.</div></div> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1237033735"><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png" decoding="async" width="34" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/51px-Wikiquote-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/68px-Wikiquote-logo.svg.png 2x" data-file-width="300" data-file-height="355" /></div> <div class="side-box-text plainlist">Wikiquote has quotations related to <a href="https://en.wikiquote.org/wiki/Hip_hop" class="extiw" title="q:Hip hop">Hip hop</a>.</div></div> </div> <ul><li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=mcCK99wHrk0">Sugarhill Gang – Rapper's Delight (Official Video)</a></li> <li><a rel="nofollow" class="external text" href="https://www.newyorker.com/culture/cultural-comment/is-rap-finally-ready-to-embrace-its-women">Is Rap Finally Ready to Embrace It's Women?</a></li> <li><a rel="nofollow" class="external text" href="https://www.billboard.com/hip-hop-rap-r-and-b">Hip-Hop/R&B Music</a></li> <li><a rel="nofollow" class="external text" href="https://web.stanford.edu/class/e297c/poverty_prejudice/mediarace/socialsignificance.htm">The Social Significance of Rap and Hip-Hop Culture</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190321161217/http://web.stanford.edu/class/e297c/poverty_prejudice/mediarace/socialsignificance.htm">Archived</a> March 21, 2019, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist 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.navbox td.hlist dl,.mw-parser-output .navbox td.hlist ol,.mw-parser-output .navbox td.hlist ul{padding:0.125em 0}.mw-parser-output .navbox .navbar{display:block;font-size:100%}.mw-parser-output .navbox-title .navbar{float:left;text-align:left;margin-right:0.5em}body.skin--responsive .mw-parser-output .navbox-image img{max-width:none!important}@media print{body.ns-0 .mw-parser-output .navbox{display:none!important}}</style></div><div role="navigation" class="navbox" aria-labelledby="Hip-hop" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2" style="background: darkblue; color: white;"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1239400231">.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output 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.navbar{display:none!important}}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Hip_hop" title="Template:Hip hop"><abbr title="View this template" style="color: white">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Hip_hop" title="Template talk:Hip hop"><abbr title="Discuss this template" style="color: white">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Hip_hop" title="Special:EditPage/Template:Hip hop"><abbr title="Edit this template" style="color: white">e</abbr></a></li></ul></div><div id="Hip-hop" style="font-size:114%;margin:0 4em"><a href="/wiki/Hip-hop" title="Hip-hop">Hip-hop</a></div></th></tr><tr><td class="navbox-abovebelow" colspan="2" style="background: darkblue; color: white;"><div> <ul><li><a href="/wiki/Breakdancing" title="Breakdancing">Breaking</a></li> <li><a href="/wiki/Turntablism" title="Turntablism">DJing</a></li> <li><a href="/wiki/Graffiti" title="Graffiti">Graffiti</a></li> <li><a href="/wiki/Emceeing" class="mw-redirect" title="Emceeing">Emceeing</a></li> <li><a href="/wiki/Beatboxing" title="Beatboxing">Beatboxing</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: darkblue; color: white;;width:1%">Culture</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Battle_rap" title="Battle rap">Battle rap</a></li> <li><a href="/wiki/Hip-hop_dance" class="mw-redirect" title="Hip-hop dance">Dance</a></li> <li><a href="/wiki/Hip_hop_fashion" title="Hip hop fashion">Fashion</a></li> <li><a href="/wiki/Hip_hop_activism" title="Hip hop activism">Activism</a> <ul><li><a href="/wiki/Hip_hop_feminism" title="Hip hop feminism">Feminism</a></li> <li><a href="/wiki/Feminist_activism_in_hip_hop" title="Feminist activism in hip hop">Feminist activism</a></li></ul></li> <li><a href="/wiki/LGBT_hip_hop" class="mw-redirect" title="LGBT hip hop">LGBT</a></li> <li><a href="/wiki/List_of_hip_hop_festivals" title="List of hip hop festivals">Festivals</a></li> <li><a href="/wiki/Hip_hop_music" class="mw-redirect" title="Hip hop music">Music</a></li> <li><a href="/wiki/Hip_hop_production" title="Hip hop production">Production</a></li> <li><a href="/wiki/Hip-hop_theater" title="Hip-hop theater">Theater</a></li> <li><a href="/wiki/List_of_hip_hop_genres" title="List of hip hop genres">Genres</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: darkblue; color: white;;width:1%">History</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Five-Percent_Nation" title="Five-Percent Nation">Five-Percent Nation</a></li> <li><a href="/wiki/Universal_Zulu_Nation" title="Universal Zulu Nation">Universal Zulu Nation</a></li> <li><a href="/wiki/Old-school_hip_hop" title="Old-school hip hop">Old-school</a></li> <li><a href="/wiki/New-school_hip_hop" title="New-school hip hop">New school</a></li> <li><a href="/wiki/Golden_age_hip_hop" title="Golden age hip hop">Golden age</a></li> <li><a href="/wiki/Bristol_underground_scene" title="Bristol underground scene">Bristol underground scene</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: darkblue; color: white;;width:1%"><a href="/wiki/List_of_hip_hop_genres" title="List of hip hop genres">Subgenres</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/List_of_hip_hop_genres" title="List of hip hop genres">General</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Alternative_hip_hop" title="Alternative hip hop">Alternative</a> <ul><li><a href="/wiki/Hipster_hop" title="Hipster hop">Hipster hop</a></li></ul></li> <li><a href="/wiki/Boom_bap" title="Boom bap">Boom bap</a></li> <li><a href="/wiki/Bounce_music" title="Bounce music">Bounce</a></li> <li><a href="/wiki/UK_rap" title="UK rap">British</a> <ul><li><a href="/wiki/UK_rap#Road_rap" title="UK rap">Road rap</a></li></ul></li> <li><a href="/wiki/Chipmunk_soul" title="Chipmunk soul">Chipmunk soul</a></li> <li><a href="/wiki/Chopped_and_screwed" title="Chopped and screwed">Chopped and screwed</a></li> <li><a href="/wiki/Chopper_(rap)" title="Chopper (rap)">Chopper</a></li> <li><a href="/wiki/Cloud_rap" title="Cloud rap">Cloud rap</a></li> <li><a href="/wiki/Comedy_hip_hop" title="Comedy hip hop">Comedy</a></li> <li><a href="/wiki/Crunk" title="Crunk">Crunk</a> <ul><li><a href="/wiki/Crunkcore" title="Crunkcore">Crunkcore</a></li></ul></li> <li><a href="/wiki/East_Coast_hip_hop" title="East Coast hip hop">East Coast</a></li> <li><a href="/wiki/Freestyle_rap" title="Freestyle rap">Freestyle rap</a></li> <li><a href="/wiki/Hyphy" title="Hyphy">Hyphy</a> <ul><li><a href="/wiki/Jerkin%27" title="Jerkin'">Jerkin'</a></li></ul></li> <li><a href="/wiki/Instrumental_hip_hop" class="mw-redirect" title="Instrumental hip hop">Instrumental</a></li> <li><a href="/wiki/Latin_hip_hop" title="Latin hip hop">Latin</a> <ul><li><a href="/wiki/Chicano_rap" title="Chicano rap">Chicano rap</a></li></ul></li> <li><a href="/wiki/Lofi_hip_hop" title="Lofi hip hop">Lofi</a></li> <li><a href="/wiki/Miami_bass" title="Miami bass">Miami bass</a></li> <li><a href="/wiki/Mumble_rap" title="Mumble rap">Mumble rap</a></li> <li><a href="/wiki/Nerdcore" title="Nerdcore">Nerdcore</a> <ul><li><a href="/wiki/Chap_hop" title="Chap hop">Chap hop</a></li></ul></li> <li><a href="/wiki/Political_hip_hop" title="Political hip hop">Political</a> <ul><li><a href="/wiki/Political_hip_hop#Conscious_hip_hop" title="Political hip hop">Conscious</a></li></ul></li> <li><a href="/wiki/Progressive_rap" title="Progressive rap">Progressive rap</a></li> <li>Religious <ul><li><a href="/wiki/Christian_hip_hop" title="Christian hip hop">Christian</a></li> <li><a href="/wiki/Jewish_hip_hop" title="Jewish hip hop">Jewish</a></li></ul></li> <li><a href="/wiki/Snap_music" title="Snap music">Snap music</a></li> <li><a href="/wiki/Southern_hip_hop" title="Southern hip hop">Southern</a></li> <li><a href="/wiki/Turntablism" title="Turntablism">Turntablism</a></li> <li><a href="/wiki/Underground_hip_hop" title="Underground hip hop">Underground</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/Hardcore_hip_hop" title="Hardcore hip hop">Hardcore</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Dirty_rap" title="Dirty rap">Dirty rap</a></li> <li><a href="/wiki/Gangsta_rap" title="Gangsta rap">Gangsta rap</a> <ul><li><a href="/wiki/Gangsta_rap#Mafioso_rap" title="Gangsta rap">Mafioso rap</a></li></ul></li> <li><a href="/wiki/G-funk" title="G-funk">G-funk</a></li> <li><a href="/wiki/Horrorcore" title="Horrorcore">Horrorcore</a></li> <li><a href="/wiki/Memphis_rap" title="Memphis rap">Memphis rap</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/Trap_music" title="Trap music">Trap music</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afrobeats#Afro_trap" title="Afrobeats">Afro trap</a></li> <li><a href="/wiki/Drill_music" title="Drill music">Drill</a> <ul><li><a href="/wiki/Brooklyn_drill" title="Brooklyn drill">Brooklyn drill</a></li> <li><a href="/wiki/Jersey_club#Jersey_club_rap" title="Jersey club">Jersey drill</a></li> <li><a href="/wiki/Brooklyn_drill#Sample_drill" title="Brooklyn drill">Sample drill</a></li> <li><a href="/wiki/UK_drill" title="UK drill">UK drill</a></li></ul></li> <li><a href="/wiki/Latin_trap" title="Latin trap">Latin trap</a></li> <li><a href="/wiki/Phonk" title="Phonk">Phonk</a></li> <li><a href="/wiki/Plugg_music" title="Plugg music">Plugg</a></li> <li><a href="/wiki/Rage_(music_genre)" title="Rage (music genre)">Rage</a></li> <li><a href="/wiki/Working_on_Dying#Tread_style" title="Working on Dying">Tread</a></li> <li><a href="/wiki/UK_rap#Trap_scene" title="UK rap">UK trap</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="background: darkblue; color: white;;width:1%"><a href="/wiki/List_of_hip_hop_genres#Fusion_genres" title="List of hip hop genres">Fusion genres</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/List_of_hip_hop_genres#Fusion_genres" title="List of hip hop genres">General</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Country_rap" title="Country rap">Country rap</a></li> <li><a href="/wiki/Electro_(music)" title="Electro (music)">Electro</a></li> <li><a href="/wiki/Emo_rap" title="Emo rap">Emo rap</a></li> <li><a href="/wiki/Hip_hop_soul" title="Hip hop soul">Hip hop soul</a></li> <li><a href="/wiki/Hip_house" title="Hip house">Hip house</a></li> <li><a href="/wiki/Industrial_hip_hop" title="Industrial hip hop">Industrial</a></li> <li><a href="/wiki/Jazz_rap" title="Jazz rap">Jazz rap</a></li> <li><a href="/wiki/New_jack_swing" title="New jack swing">New jack swing</a></li> <li><a href="/wiki/Pop_rap" title="Pop rap">Pop rap</a></li> <li><a href="/wiki/Psychedelic_rap" title="Psychedelic rap">Psychedelic rap</a></li> <li><a href="/wiki/Punk_rap" title="Punk rap">Punk rap</a></li> <li><a href="/wiki/Ragga#Ragga_and_hip_hop_music" title="Ragga">Ragga</a></li> <li><a href="/wiki/Rap_opera" title="Rap opera">Rap opera</a></li> <li><a href="/wiki/Rap_rock" title="Rap rock">Rap rock</a></li> <li><a href="/wiki/Trip_hop" title="Trip hop">Trip hop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/Rap_metal" title="Rap metal">Rap metal</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Rap_metal#Trap_metal" title="Rap metal">Trap metal</a></li> <li><a href="/wiki/Nu_metal" title="Nu metal">Nu metal</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/List_of_hip_hop_genres#Ethnic_fusion_genres" title="List of hip hop genres">Regional</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afroswing" title="Afroswing">Afroswing</a></li> <li><a href="/wiki/Bongo_flava" class="mw-redirect" title="Bongo flava">Bongo flava</a></li> <li><a href="/wiki/Boomba_music" title="Boomba music">Boomba music</a></li> <li><a href="/wiki/Cumbia_rap" title="Cumbia rap">Cumbia rap</a></li> <li><a href="/wiki/Genge" title="Genge">Genge</a></li> <li><a href="/wiki/Hip_hop_galsen" title="Hip hop galsen">Hip hop galsen</a></li> <li><a href="/wiki/Hipco" title="Hipco">Hipco</a></li> <li><a href="/wiki/Hiplife" title="Hiplife">Hiplife</a></li> <li><a href="/wiki/Igbo_rap" title="Igbo rap">Igbo rap</a></li> <li><a href="/wiki/Kwaito" title="Kwaito">Kwaito</a></li> <li><a href="/wiki/Low_bap" title="Low bap">Low bap</a></li> <li><a href="/wiki/Motswako" title="Motswako">Motswako</a></li> <li><a href="/wiki/Na_mele_paleoleo" class="mw-redirect" title="Na mele paleoleo">Na mele paleoleo</a></li> <li><a href="/wiki/Nuyorican_rap" class="mw-redirect" title="Nuyorican rap">Nuyorican rap</a></li> <li><a href="/wiki/Romany_hip_hop" class="mw-redirect" title="Romany hip hop">Romany hip hop</a></li> <li><a href="/wiki/Songo-salsa" title="Songo-salsa">Songo-salsa</a></li> <li><a href="/wiki/Scam_rap" title="Scam rap">Scam rap</a></li> <li><a href="/wiki/Stronda" title="Stronda">Stronda</a></li> <li><a href="/wiki/Urban_Pasifika" title="Urban Pasifika">Urban Pasifika</a></li> <li><a href="/wiki/Vigilante_rap" title="Vigilante rap">Vigilante rap</a></li> <li><a href="/wiki/Zenji_flava" title="Zenji flava">Zenji flava</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="background: darkblue; color: white;;width:1%"><a href="/wiki/List_of_hip_hop_genres#Derived_genres" title="List of hip hop genres">Derivatives</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/List_of_electronic_music_genres" title="List of electronic music genres">Electronic</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Breakbeat" title="Breakbeat">Breakbeat</a> <ul><li><a href="/wiki/Baltimore_club" title="Baltimore club">Baltimore club</a></li> <li><a href="/wiki/Florida_breaks" title="Florida breaks">Florida breaks</a></li></ul></li> <li><a href="/wiki/Ghetto_house" title="Ghetto house">Ghetto house</a> <ul><li><a href="/wiki/Ghettotech" title="Ghettotech">Ghettotech</a></li></ul></li> <li><a href="/wiki/Glitch_hop" class="mw-redirect" title="Glitch hop">Glitch hop</a></li> <li><a href="/wiki/Grime_music" title="Grime music">Grime</a></li> <li><a href="/wiki/Illbient" title="Illbient">Illbient</a></li> <li><a href="/wiki/Freestyle_music" title="Freestyle music">Freestyle</a></li> <li><a href="/wiki/Wonky_(genre)" title="Wonky (genre)">Wonky</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;">Other</th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Funk_carioca" title="Funk carioca">Funk carioca</a></li> <li><a href="/wiki/Reggaeton" title="Reggaeton">Reggaeton</a> <ul><li><a href="/wiki/Alternative_reggaeton" title="Alternative reggaeton">Alternative reggaeton</a></li></ul></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="background: darkblue; color: white;;width:1%"><a href="/wiki/Category:Hip_hop_by_country" title="Category:Hip hop by country">Regional scenes</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/African_hip_hop" title="African hip hop">African</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Algerian_hip_hop" title="Algerian hip hop">Algerian</a></li> <li><a href="/wiki/Angolan_hip_hop" class="mw-redirect" title="Angolan hip hop">Angolan</a></li> <li><a href="/wiki/Beninese_hip_hop" title="Beninese hip hop">Beninese</a></li> <li><a href="/wiki/Botswana_hip_hop" class="mw-redirect" title="Botswana hip hop">Botswana</a></li> <li><a href="/wiki/Gambian_hip_hop" title="Gambian hip hop">Gambian</a></li> <li><a href="/wiki/Ghanaian_hip_hop" class="mw-redirect" title="Ghanaian hip hop">Ghanaian</a></li> <li><a href="/wiki/Ivorian_hip_hop" title="Ivorian hip hop">Ivorian</a></li> <li><a href="/wiki/Kenyan_hip_hop" title="Kenyan hip hop">Kenyan</a></li> <li><a href="/wiki/Malawian_hip_hop" title="Malawian hip hop">Malawian</a></li> <li><a href="/wiki/Mauritian_hip_hop" class="mw-redirect" title="Mauritian hip hop">Mauritian</a></li> <li><a href="/wiki/Moroccan_hip_hop" title="Moroccan hip hop">Moroccan</a></li> <li><a href="/wiki/Namibian_hip_hop" class="mw-redirect" title="Namibian hip hop">Namibian</a></li> <li><a href="/wiki/Nigerian_hip_hop" class="mw-redirect" title="Nigerian hip hop">Nigerian</a> <ul><li><a href="/wiki/Port_Harcourt_hip_hop" class="mw-redirect" title="Port Harcourt hip hop">Port Harcourt</a></li></ul></li> <li><a href="/wiki/Nigerien_hip_hop" title="Nigerien hip hop">Nigerien</a></li> <li><a href="/wiki/Senegalese_hip_hop" title="Senegalese hip hop">Senegalese</a></li> <li><a href="/wiki/South_African_hip_hop" class="mw-redirect" title="South African hip hop">South African</a></li> <li><a href="/wiki/Tanzanian_hip_hop" title="Tanzanian hip hop">Tanzanian</a></li> <li><a href="/wiki/Togolese_hip_hop" title="Togolese hip hop">Togolese</a></li> <li><a href="/wiki/Zambian_hip_hop" class="mw-redirect" title="Zambian hip hop">Zambian</a></li> <li><a href="/wiki/Zimbabwean_hip_hop" title="Zimbabwean hip hop">Zimbabwean</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/Asian_hip_hop" title="Asian hip hop">Asian</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Music_of_Armenia#Hip_hop" title="Music of Armenia">Armenian</a></li> <li><a href="/wiki/Azerbaijani_hip_hop" title="Azerbaijani hip hop">Azerbaijani</a></li> <li><a href="/wiki/Bangladeshi_hip_hop" title="Bangladeshi hip hop">Bangladeshi</a></li> <li><a href="/wiki/Burmese_hip_hop" title="Burmese hip hop">Burmese</a></li> <li><a href="/wiki/Chinese_hip_hop" title="Chinese hip hop">Chinese</a></li> <li><a href="/wiki/Indian_hip_hop" title="Indian hip hop">Indian</a> <ul><li><a href="/wiki/Desi_hip_hop" title="Desi hip hop">Desi</a></li></ul></li> <li><a href="/wiki/Indonesian_hip_hop" title="Indonesian hip hop">Indonesian</a></li> <li><a href="/wiki/Japanese_hip_hop" title="Japanese hip hop">Japanese</a></li> <li><a href="/wiki/Korean_hip_hop" title="Korean hip hop">Korean</a></li> <li><a href="/wiki/Malaysian_hip_hop" title="Malaysian hip hop">Malaysian</a></li> <li><a href="/wiki/Mongolian_hip_hop" title="Mongolian hip hop">Mongolian</a></li> <li><a href="/wiki/Nepalese_hip_hop" title="Nepalese hip hop">Nepalese</a></li> <li><a href="/wiki/Pakistani_hip_hop" class="mw-redirect" title="Pakistani hip hop">Pakistani</a></li> <li><a href="/wiki/Pinoy_hip_hop" title="Pinoy hip hop">Philippine</a></li> <li><a href="/wiki/Singapore_hip_hop" title="Singapore hip hop">Singapore</a></li> <li><a href="/wiki/Sri_Lankan_hip_hop" title="Sri Lankan hip hop">Sri Lankan</a></li> <li><a href="/wiki/Taiwanese_hip_hop" title="Taiwanese hip hop">Taiwanese</a></li> <li><a href="/wiki/Thai_hip_hop" title="Thai hip hop">Thai</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/European_hip_hop" title="European hip hop">European</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Albanian_hip_hop" title="Albanian hip hop">Albanian</a></li> <li><a href="/wiki/Austrian_hip_hop" title="Austrian hip hop">Austrian</a></li> <li><a href="/wiki/Belgian_hip_hop" title="Belgian hip hop">Belgian</a></li> <li><a href="/wiki/Bosnian_and_Herzegovinian_hip_hop" title="Bosnian and Herzegovinian hip hop">Bosnian and Herzegovinian</a></li> <li><a href="/wiki/UK_rap" title="UK rap">British</a> <ul><li><a href="/wiki/Celtic_hip_hop" class="mw-redirect" title="Celtic hip hop">Celtic</a></li> <li><a href="/wiki/Scottish_hip_hop" title="Scottish hip hop">Scottish</a></li></ul></li> <li><a href="/wiki/Bulgarian_hip_hop" title="Bulgarian hip hop">Bulgarian</a></li> <li><a href="/wiki/Croatian_hip_hop" title="Croatian hip hop">Croatian</a></li> <li><a href="/wiki/Czech_hip_hop" title="Czech hip hop">Czech</a></li> <li><a href="/wiki/Dutch_hip_hop" title="Dutch hip hop">Dutch</a></li> <li><a href="/wiki/Finnish_hip_hop" title="Finnish hip hop">Finnish</a></li> <li><a href="/wiki/French_hip_hop" title="French hip hop">French</a></li> <li><a href="/wiki/German_hip_hop" title="German hip hop">German</a></li> <li><a href="/wiki/Greek_hip_hop" title="Greek hip hop">Greek</a></li> <li><a href="/wiki/Hip_hop_tuga" title="Hip hop tuga">Portuguese</a></li> <li><a href="/wiki/Hungarian_hip_hop" title="Hungarian hip hop">Hungarian</a></li> <li><a href="/wiki/Icelandic_hip_hop" title="Icelandic hip hop">Icelandic</a></li> <li><a href="/wiki/Irish_hip_hop" title="Irish hip hop">Irish</a></li> <li><a href="/wiki/Italian_hip_hop" title="Italian hip hop">Italian</a></li> <li><a href="/wiki/Macedonian_hip_hop" title="Macedonian hip hop">Macedonian</a></li> <li><a href="/wiki/Montenegrin_hip_hop" class="mw-redirect" title="Montenegrin hip hop">Montenegrin</a></li> <li><a href="/wiki/Norwegian_hip_hop" class="mw-redirect" title="Norwegian hip hop">Norwegian</a></li> <li><a href="/wiki/Polish_hip_hop" title="Polish hip hop">Polish</a></li> <li><a href="/wiki/Romanian_hip_hop" title="Romanian hip hop">Romanian</a></li> <li><a href="/wiki/Romany_hip_hop" class="mw-redirect" title="Romany hip hop">Romany</a></li> <li><a href="/wiki/Russian_hip_hop" title="Russian hip hop">Russian</a></li> <li><a href="/wiki/Serbian_hip_hop" title="Serbian hip hop">Serbian</a></li> <li><a href="/wiki/Slovak_hip_hop" title="Slovak hip hop">Slovak</a></li> <li><a href="/wiki/Slovenian_hip_hop" title="Slovenian hip hop">Slovenian</a></li> <li><a href="/wiki/Spanish_hip_hop" class="mw-redirect" title="Spanish hip hop">Spanish</a></li> <li><a href="/wiki/Swedish_hip_hop" title="Swedish hip hop">Swedish</a></li> <li><a href="/wiki/Swiss_hip_hop" title="Swiss hip hop">Swiss</a></li> <li><a href="/wiki/Ukrainian_hip_hop" title="Ukrainian hip hop">Ukrainian</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/Middle_Eastern_hip_hop" title="Middle Eastern hip hop">Middle Eastern</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Arabic_hip_hop" title="Arabic hip hop">Arabic</a></li> <li><a href="/wiki/Egyptian_hip_hop" title="Egyptian hip hop">Egyptian</a></li> <li><a href="/wiki/Iranian_hip_hop" title="Iranian hip hop">Iranian</a></li> <li><a href="/wiki/Israeli_hip_hop" title="Israeli hip hop">Israeli</a></li> <li><a href="/wiki/Lebanese_hip_hop" title="Lebanese hip hop">Lebanese</a></li> <li><a href="/wiki/Palestinian_hip_hop" title="Palestinian hip hop">Palestinian</a></li> <li><a href="/wiki/Saudi_Arabian_hip_hop" class="mw-redirect" title="Saudi Arabian hip hop">Saudi Arabian</a></li> <li><a href="/wiki/Tunisian_hip_hop" class="mw-redirect" title="Tunisian hip hop">Tunisian</a></li> <li><a href="/wiki/Turkish_hip_hop" title="Turkish hip hop">Turkish</a></li> <li><a href="/wiki/Yemeni_hip_hop" title="Yemeni hip hop">Yemeni</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/Category:North_American_hip_hop" title="Category:North American hip hop">North American</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"><div class="hlist inline">United States: <ul><li><a href="/wiki/East_Coast_hip_hop" title="East Coast hip hop">East Coast</a> <ul><li><a href="/wiki/Baltimore_club" title="Baltimore club">Baltimore</a></li> <li><a href="/wiki/Music_of_New_Jersey#Hip-Hop" title="Music of New Jersey">New Jersey</a></li> <li><a href="/wiki/Music_of_New_York_City#Hip_hop" title="Music of New York City">New York City</a></li> <li><a href="/wiki/Music_of_Philadelphia#Hip_hop,_R&B,_and_Nu_Soul" title="Music of Philadelphia">Philadelphia</a></li> <li><a href="/wiki/Hip_hop_in_Washington,_D.C." title="Hip hop in Washington, D.C.">Washington, D.C.</a></li></ul></li> <li><a href="/wiki/Midwestern_United_States" title="Midwestern United States">Midwestern</a> <ul><li><a href="/wiki/Chicago_hip_hop" title="Chicago hip hop">Chicago</a></li> <li><a href="/wiki/Music_of_Detroit#Hip_hop" title="Music of Detroit">Detroit</a></li> <li><a href="/wiki/Twin_Cities_hip_hop" title="Twin Cities hip hop">Minneapolis/St. Paul</a></li> <li><a href="/wiki/Wisconsin_hip_hop" class="mw-redirect" title="Wisconsin hip hop">Wisconsin</a></li> <li><a href="/wiki/Music_of_Omaha#Hip_hop" title="Music of Omaha">Omaha</a></li></ul></li> <li><a href="/wiki/Southern_hip_hop" title="Southern hip hop">Southern</a> <ul><li><a href="/wiki/Atlanta_hip_hop" title="Atlanta hip hop">Atlanta</a></li> <li><a href="/wiki/Memphis_rap" title="Memphis rap">Memphis</a></li> <li><a href="/wiki/Miami_bass" title="Miami bass">Miami</a></li></ul></li> <li><a href="/wiki/West_Coast_hip_hop" title="West Coast hip hop">West Coast</a> <ul><li><a href="/wiki/Hip_hop_music_in_the_Pacific_Northwest" title="Hip hop music in the Pacific Northwest">Northwest</a></li> <li><a href="/wiki/Alaskan_Hip_Hop" class="mw-redirect" title="Alaskan Hip Hop">Alaska</a></li></ul></li> <li><a href="/wiki/Asian_American_hip_hop" title="Asian American hip hop">Asian American</a></li> <li><a href="/wiki/Latin_hip_hop" title="Latin hip hop">Latin</a></li> <li><a href="/wiki/Native_American_hip_hop" title="Native American hip hop">Native American</a></li></ul> </div> <div class="hlist inline" style="display:block">Outside the US: <ul><li><a href="/wiki/Canadian_hip_hop" title="Canadian hip hop">Canadian</a></li> <li><a href="/wiki/Cuban_hip_hop" title="Cuban hip hop">Cuban</a></li> <li><a href="/wiki/Music_of_the_Dominican_Republic#Hip_hop" title="Music of the Dominican Republic">Dominican</a></li> <li><a href="/wiki/Haitian_hip_hop" title="Haitian hip hop">Haitian</a></li> <li><a href="/wiki/Mexican_hip_hop" title="Mexican hip hop">Mexican</a></li> <li><a href="/wiki/Salvadoran_hip_hop" title="Salvadoran hip hop">Salvadoran</a></li></ul> </div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/Category:Oceanian_hip_hop" title="Category:Oceanian hip hop">Oceanian</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Australian_hip_hop" title="Australian hip hop">Australian</a></li> <li><a href="/wiki/New_Zealand_hip_hop" title="New Zealand hip hop">New Zealand</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:8em;;background: darkblue; color: white;"><a href="/wiki/Category:South_American_hip_hop" title="Category:South American hip hop">South American</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Brazilian_hip_hop" title="Brazilian hip hop">Brazilian</a> <ul><li><a href="/wiki/Bras%C3%ADlia_hip_hop" title="Brasília hip hop">Brasília</a></li></ul></li> <li><a href="/wiki/Music_of_Chile#Hip_hop_and_rap" title="Music of Chile">Chilean</a></li> <li><a href="/wiki/Music_of_Colombia#Colombian_urban_and_hip-hop_music" title="Music of Colombia">Colombian</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="background: darkblue; color: white;;width:1%">Other topics</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Auto-Tune" title="Auto-Tune">Auto-Tune</a></li> <li><a href="/wiki/Contemporary_R%26B" title="Contemporary R&B">Contemporary R&B</a></li> <li><a href="/wiki/Disc_jockey" title="Disc jockey">Disc jockey</a> <ul><li><a href="/wiki/DJ_mixer" title="DJ mixer">DJ mixer</a></li> <li><a href="/wiki/Phonograph" title="Phonograph">Record player</a></li> <li><a href="/wiki/Turntablism" title="Turntablism">Turntablism</a></li></ul></li> <li><a href="/wiki/Drum_machine" title="Drum machine">Drum machine</a></li> <li><a href="/wiki/Hip_hop_skit" title="Hip hop skit">Hip hop skit</a></li> <li><a href="/wiki/Music_sequencer" title="Music sequencer">Music sequencer</a></li> <li><a href="/wiki/Sampler_(musical_instrument)" title="Sampler (musical instrument)">Sampler</a></li> <li><a href="/wiki/Hip_hop_and_social_injustice" title="Hip hop and social injustice">Social injustice</a></li> <li><a href="/wiki/Synthesizer" title="Synthesizer">Synthesizer</a></li> <li><a href="/wiki/Video_vixen" title="Video vixen">Video vixen</a></li> <li><a href="/wiki/Partner_violence_in_hip_hop" title="Partner violence in hip hop">Partner violence in hip hop</a></li> <li><a href="/wiki/LGBT_representations_in_hip_hop_music" class="mw-redirect" title="LGBT representations in hip hop music">LGBT representations in hip hop music</a></li> <li><a href="/wiki/Feminist_activism_in_hip_hop" title="Feminist activism in hip hop">Feminist activism in hip hop</a></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="2" style="background: darkblue; color: white;"><div> <ul><li><img alt="" 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alt="Powered by MediaWiki" width="88" height="31" loading="lazy"></a></li> </ul> </footer> </div> </div> </div> <div class="vector-settings" id="p-dock-bottom"> <ul></ul> </div><script>(RLQ=window.RLQ||[]).push(function(){mw.config.set({"wgHostname":"mw-web.codfw.main-79d9bc49cc-cgn9p","wgBackendResponseTime":189,"wgPageParseReport":{"limitreport":{"cputime":"3.011","walltime":"3.300","ppvisitednodes":{"value":16399,"limit":1000000},"postexpandincludesize":{"value":507399,"limit":2097152},"templateargumentsize":{"value":14673,"limit":2097152},"expansiondepth":{"value":17,"limit":100},"expensivefunctioncount":{"value":38,"limit":500},"unstrip-depth":{"value":1,"limit":20},"unstrip-size":{"value":786924,"limit":5000000},"entityaccesscount":{"value":1,"limit":400},"timingprofile":["100.00% 2769.668 1 -total"," 51.76% 1433.575 2 Template:Reflist"," 30.29% 838.949 133 Template:Cite_web"," 6.12% 169.495 26 Template:Cite_book"," 6.06% 167.760 24 Template:Cite_journal"," 5.88% 162.886 1 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