Hip Hop Music
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Title of the Text: Hip Hop Music
Author/s: Greg Tate and Allan Light
Title of the journal/publication: Hip-hop in the 21st century
Main idea:
What are the elements of Hip hop?
The term Hip-hop refers to a complex
culture comprising four elements: deejaying, or “turntabling”; rapping, also
known as “MCing” or “rhyming”; graffiti painting, also known as “graf” or
“writing”; and “B-boying,” which encompasses hip-hop dance, style, and
attitude, along with the sort of virile body language that philosopher Cornel
West described as “postural semantics.”
Hip hop considered as a synonyms of
rap music
Evidence/s that support/s the main
idea:
"The beginnings of the dancing,
rapping, and deejaying components of hip-hop were bound together by the
shared environment in
which these art forms evolved. The first major hip-hop deejay was DJ Kool Herc (Clive
Campbell), an 18-year-old immigrant who introduced the huge sound systems of
his native Jamaica to
inner-city parties. Using two turntables, he melded percussive fragments from
older records with popular dance songs to create a continuous flow of music.
Kool Herc and other pioneering hip-hop deejays such as Grand Wizard Theodore,
Afrika Bambaataa, and Grandmaster Flash isolated
and extended the break beat (the part of a dance record where all sounds but
the drums drop out), stimulating improvisational dancing. Contests developed in
which the best dancers created break dancing, a style with a repertoir of
acrobatic and occasionally airborne moves, including gravity-defying head spins
and back spins."
"Graffiti and break dancing,
the aspects of the culture that first caught public attention, had the least
lasting effect. Reputedly, the graffiti movement was started about 1972 by a
Greek American teenager who signed, or “tagged,” Taki 183 (his name and street,
183rd Street) on walls throughout the New York City subway system. By 1975
youths in the Bronx, Queens,
and Brooklyn were
stealing into train yards under cover of darkness to spray-paint colorful
mural-size renderings of their names, imagery from underground comics and
television, and even Andy Warhol-like
Campbell’s soup cans onto the sides of subway cars. Soon, influential art
dealers in the United States, Europe, and Japan were displaying graffiti in
major galleries. New York City’s Metropolitan Transit Authority responded with
dogs, barbed-wire fences, paint-removing acid baths, and undercover police squads."
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