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Hip hop (also spelled hip-hop or hiphop) is both a cultural movement and a genre of music developed in New York City in the 1970s, predominantly by African Americans.[1] Since first emerging in the Bronx, the lifestyle of hip hop culture has today spread around the world. Hip hop music, a form of popular music which grew out of the culture, is also today performed and heard by audiences worldwide. Hip hop as a cultural movement encompasses a wide array of human activities, referred to as elements, including but not limited to DJing, emceeing, breakdance, and graffiti.
Contents[hide]
1 Elements
2 Etymology
3 History of hip hop
3.1 Connection to DJ'ing
3.2 Evolution of the MC
3.3 Use of technology
4 Legacy
5 Women
6 See also
7 References
8 External links
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[edit] Elements
Hip hop culture is usually considered to center on the following four activities, widely referred to amongst the hip hop community as "the four elements of hip hop": breakdancing; graffiti art; turntablism ("scratching") and beatboxing; and rapping.
Breakdance is a street dance style that evolved as part of the hip hop movement among African American and Puerto Rican youths in the South Bronx of New York City during the early 1970s. It is normally danced to funk or hip hop music, often remixed to prolong the breaks, and is arguably the best known of all hip hop dance styles.

A Thai breakdancer holding a one-handed handstand at MTV Street Festival, Thailand.

Examples of modern graffiti styles
Graffiti is the name for images or lettering scratched, scrawled, painted or marked on property. In the 1970s, graffiti artists often chose short nicknames or "tags" which they would spraypaint on subway car sides. Part of the graffiti subculture was races to see who could do the largest amount of graffiti, or the largest images. By the 1980s, some of the best graffiti artists, such as Jean-Michel Basquiat and Keith Haring were displaying their works in galleries. While many city authorities viewed graffiti as vandalism, designers such as Mark Ecko praised it as an art form.[2]
[edit] Etymology
The word hip was used as African American Vernacular English (AAVE) as early as 1904. The colloquial language meant "informed" or "current," and was likely derived from the earlier form hep.
Hip hop pioneer and South Bronx community leader Afrika Bambaataa credits the first use of the term "Hip Hop," as it relates to the instant culture to Lovebug Starski a DJ who put out a single called "The Positive Life" in 1981.[3] Coinage of the term hip hop as it relates to hip hop music and culture is also often credited to Keith Cowboy, a rapper with Grandmaster Flash & the Furious Five. Though Lovebug Starski, Keith Cowboy, and DJ Hollywood used the term when the music was known as disco rap, Cowboy claimed to have "created" the term while teasing a friend who had just joined the US Army, by scat singing the words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of marching soldiers.[4] Cowboy later worked the "hip hop" cadence into a part of his stage performance, which was quickly copied by other artists; for example the opening of the song "Rapper's Delight" by The Sugarhill Gang.[4] Bambaataa, a former Black Spades gang member is credited with first using the term to describe the subculture that hip hop music belongs to, although it is also suggested that the term was originally used derisively against the new type of music. [5]

[edit] History of hip hop
Main article: History of hip hop music

[edit] Connection to DJ'ing
In the early 1970s, Clive Campbell, a Jamaican born DJ who went by the name "Kool Herc," arrived in New York City. In Jamaica, Herc was known for his dancehall beats, a key component to the movement of music in NYC and the Bronx. This idea of dancehall had nothing to do with where the music was played, but more of a feeling of getting the people of Kingston, Jamaica to get on their feet and dance. This music, known as reggae, became a staple in the new music made in the Bronx. [6] Herc introduced the Jamaican tradition of toasting, or boasting impromptu poetry and sayings over Reggae, Disco and Funk records, during parties held in parks in the Bronx, New York. Herc and other DJs would tap into the power lines at public basketball courts to connect their equipment and perform. Their equipment was composed of huge stacks of speakers, turntables, and one or more microphones.[7] Herc was also the developer of break-beat deejaying, where the breaks of funk songs—the part most suited to dance, often featuring percussion—were isolated and repeated for the purpose of all-night dance parties.
Later Djs such as Grandmaster Flash refined and developed the use of breakbeats, including cutting.[8] The Bronx building "where hip hop was born" is 1520 Sedgwick Avenue, where Kool Herc starting spinning records.[9] Is now eligble to be listed on the national and state register of historic sites.[10]The approach used by Herc was soon widely copied, and by the late 70s myriad DJs were releasing 12" records where they would rap to the beat. Popular tunes included Kurtis Blow's "The Breaks", and The Sugar Hill Gang's "Rapper's Delight."

[edit] Evolution of the MC
Rapping then developed, as MCs would talk over the music to promote their Dj, promote other dance parties, or take light-hearted jabs at other lyricists. This soon developed into the rapping that appears on earlier basic hip-hop singles, with MCs talking about problems in their areas and issues facing the community as a whole. Melle Mel, a rapper/lyricist with The Furious Five is often credited with being the first rap lyricist to call himself an "MC".[11]
By the late 1970s myriad Djs were releasing 12" cuts where MCs would rap to crowd-moving beats. Popular tunes included Grandmaster Flash & The Furious Five's "Supperrappin'," Kurtis Blow's "The Breaks," and The Sugar Hill Gang's "Rapper's Delight". In 1982, Melle Mel and Duke Bootee recorded "The Message" (officially credited to Grandmaster Flash & The Furious Five), a song that foreshadowed socially conscious hip hop.[12]

[edit] Use of technology
Hip hop as a culture was further defined in 1983, when Afrika Bambaataa and the Soulsonic Force released a track called "Planet Rock." Instead of simply rapping over disco beats, Bambaataa created an innovative electronic sound, taking advantage of the rapidly improving drum machine and synthesizer technology. The accompanying music video for Planet Rock showcased a unique subculture of musicians, graffiti artists and breakdancers, at times performing seemingly impossible feats.[citation needed]
The appearance of music videos changed entertainment: they often glorified urban neighborhoods, commonly called ghettos.[13]. Many hip hop related films were released between 1983 and 1985, among them Wild Style, Beat Street, Krush Groove, Breakin, and the documentary Style Wars. These films expanded the appeal of hip hop beyond the boundaries of New York.
By 1985, youth worldwide were laying down scrap linoleum or cardboard, setting down portable stereos and spinning on their backs in tracksuits and sneakers to music by Run DMC, LL Cool J, the Fat Boys, Herbie Hancock, EPMD, Soulsonic Force, Jazzy Jay, Dr. Jeckyll and Mr. Hyde, and Stetsasonic, just to name a few. The hip hop artwork and "slang" of US urban communities quickly found its way to Europe and Asia, as the culture's global appeal took root.
This musical genre became further popularized when in the early 1990s, hip hop was finally able to break the language barrier, as Spanish language and Latin musical style developed as integral features of the rap jargon. Artists such as Kid Frost, Mellow Man Ace, Gerardo, and El General all became well known internationally, as they brought to hip hop music and to hip hop listeners the addition of Spanish inflections and merengue rhythms.[3] Although Puerto Rican youth from El Barrio and the South Bronx had been involved in hip hop culture since its beginnings in the 1970's, it was not until these first Latin rap superstars came onto the scene in the early 1990's that hip hop transformed as a cultural space in which alternative perspectives and divergent cultures could come together to form bilingual and bicultural music.[14]

[edit] Legacy

Breakdance, an early form of hip hop dance, often involve battles, showing off skills without any physical contact with the adversaries.
Early hip hop has often been credited with helping to reduce inner-city gang violence by replacing physical violence with hip hop battles of dance and artwork. However, with the emergence of commercial and crime-related rap during the early 1990s, an emphasis on violence was incorporated, with many rappers boasting about drugs, weapons, misogyny, and violence. While hip hop music now appeals to a broader demographic, media critics argue that socially and politically conscious hip hop has long been disregarded by mainstream America in favor of gangsta rap.[15]
Though created in the United States by African Americans, the reach of hip hop is global. Youth culture and opinion is meted out in both Israeli hip hop and Palestinian hip hop, while France, Germany, the U.K.,Brazil,Japan, Africa, and the Caribbean have long-established hip hop followings. According to the U.S. Department of State, 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.[16] National Geographic 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. Even though the main topic is drugs, sex, and violence." [17] Current Commercial Hip Hop music has certainly been critiqued for the references to material goods and conspicuous consumption. [18] Since most hip hop artists come from inner city environments where they do not have access to an abundance of material goods, some argue that they should not boast about a lifestyle that they know most people do not live. This debate shows that hip hop is a genre of music that has evolved- it started off in one locale and now it has spread across the world. At the same time, hip hop has benefited from the globalization of modern consumer culture by working from within the system rather than attempting to challenge it. The embrace of capitalism to an extreme in lyrics and imagery was necessary for hip hop to emerge on a global level. The commodification of hip hop has been a factor that has allowed it entry to and influence on cultures around the world.[19]

[edit] Women
The Recording Industry Association of America annual demographic survey of music purchasers in the United States asserts that from 1990 to 2007, hip-hop has been the most selling genre of music. However, while hip-hop has been a success from its early appearance in the 1970’s, it has always been a male-dominated music genre. Women were highly discriminated in hip-hop. Yet, they have more and more influence in today’s hip-hop. In many different ways, they have improved the status of women in hip-hop and in fact reduced the prominent inequality of gender. In the fist place, producers and MCs did not expect women to rap. Instead, they expected women to do salsa or something else. Thus, an unfair inequality emerged between male and female artists in hip-hop. Hip-hop depicts negative images of women and particularly black women. The lyrics often convey the idea that women are sexual possessions. Additionally, the videos portray everyday dozens of semi-naked women of all backgrounds, dancing provocatively and being depicted as sexual objects in an exploitative and violent way. The songs portray women as objects of lust and thus undermines the women’s standards, not only in hip-hop but also in reality. Thus, Blacks and Latinas artists try to work within the current male-dominated industry to fight for their images as women. [

eto malo o toj kulturi koja je jos u naletu i polako osvaja scenu a imati cete priliku i da poslusate te izvodjace za nekoliko dana

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