According to Morgan (927), Barack Obama commended hip-hop for its intelligence and insightfulness, recognizing its ability to effectively express complicated concepts. The genre’s evolution has been shaped by its youthful essence, often appealing to younger audiences through its lyrics. Initially driven by young individuals, hip-hop has achieved worldwide recognition and continues to be nourished by their ongoing contributions.
The global influence of Hip Hop has expanded greatly in contemporary society, mainly driven by its youth audience and their active participation in its various projects. The purpose behind the creation of Hip Hop was to provide entertainment and allow artists to express their personal narratives. In his article, “Introduction: Hip Hop in History: Past, Present, and Future,” Derrick Alridge elaborates on how Hip Hop originated on the streets of New York and was initially introduced to the world by African American communities (190). Hip Hop encompasses four fundamental elements, which include disc jockeying, break dancing, graffiti art, and rapping (Alridge 190).
According to Piero Scaruffi, disc jockeying and rapping have gained the most attention in hip hop (Alridge 191). Scaruffi explains that Jamaican immigrants introduced hip hop to New York, while graffiti art first emerged in the streets of Philadelphia in the 1960s (www. scaruffi. com). D boy, a term coined by DJ Kool Arc, was used to describe a style of breakdancing (www. scaruffi. com). Biggie Smalls was among the major icons who played a pivotal role in starting the hip hop movement (Hess xxviii).
Biggie Smalls, also known as the Notorious B.I.G., was celebrated as one of the most talented MC’s in the history of hip hop (Hess xxviii). Born on May 21st in Brooklyn, New York, Biggie Smalls played a vital role in the success of hip hop. His debut album, “Ready to die,” achieved significant commercial triumph (Holly viii). Furthermore, he formed a tight-knit group called Hawks that provided him with a sense of family and protection (Holly 4). Esteemed by influential figures within the hip hop community, Biggie Smalls gained enormous recognition for his skills as a rapper (Holly 39).
Mickey Hess explores the theme of achieving a rap music career through determination and resourcefulness in his book Is Hip Hop Dead: The Past, Present, and Future of America’s Most Wanted Music (14). Biggie expresses his life experiences and the path to success in his lyrics (Hess 14). By presenting his career as a rise from poverty, this artist justifies his wealth, achievements, and fame (Hess 24). It is worth mentioning that Biggie is not the only influential figure in the realm of Hip Hop.
Numerous individuals have played a significant role in the triumph of hip hop. The first rap records that emerged were Sugar Hill Gang’s Rapper’s Delight (1979) and Kurtis “Blow” Walker’s Christmas Rapping and the Breaks. According to www.scaruffi.com, Run DMC accomplished the fusion between hip hop and the rock world in the beginning. The transformation of hip hop from an event-based pursuit to a commerce-driven entity happened with the release and tremendous commercial success of Run DMC (Dimitriadis 355). It is typically young men who actively engage in hip hop, as stated by Morgan (926). Hip hop provided a way for young men who faced difficulties in finding employment to generate income (Morgan 932).
Queen Latifah made a significant impact on the rap scene, bringing a refreshing sense of positivity and instantly becoming a role model (Hess 218). Her contribution played a pivotal role in establishing a tradition that continues to thrive in today’s rap music industry (Hess 226). The success of hip hop can be attributed to both its participants and audience. Rap music has evolved from simply being a genre of music to becoming an entire culture. In the 70s, DJs crafting hip hop beats acted as the catalyst for what is now known as “hip hop culture” (Jackson 22).
Brenda Jackson’s article titled “Hip Hop Culture around the Globe: Implications for Teaching” explores how hip hop culture has expanded to include urban clothing, expensive jewelry, cars, speech patterns, mindsets, and movement styles (22). She argues that this cultural phenomenon has become commercialized and strayed far from its humble origins associated with the birth of hip hop music (Jackson 22). Similarly, Greg Dimitriadis discusses in his work “Hip Hop to Rap: Some Implications of a Historically Situated Approach to Performance” that most individuals were introduced to hip hop culture through tapes played on personal stereo systems (355).
Hip hop is a cultural practice that is associated with the production of specific identifications (Morgan 925). It has evolved from being solely an African American phenomenon to being embraced by various races. Rap music reflects the persistent focus on literacy and oral practices that have defined African American communities since the time of slavery, when illiteracy was forced upon them (Dyson 408). The rap artist utilizes eloquent rhetorical practices derived from African American religious experiences and draws upon the cultural power of black singing and musical traditions to create a captivating hybrid (Dyson 408).
According to Morgan (925), hip hop is a cultural practice that is linked to the creation of specific identities. Leach (10) states that rap music is the most popular form of expression within hip hop culture. A large portion of the population enjoys the genre of hip hop, which has been widely disseminated worldwide with the assistance of young people. In his article “Aboriginal Youth, Hip Hop and the Politics of Identification,” Morgan (928) discusses how hip hop enables young individuals to connect with their tribal identity, history, and cultural heritage.
According to Morgan (928), the participation in hip hop was predominantly by young men. Hip hop served as a way for unemployed young men to make money (Morgan 932). Besides being a genre of music, hip hop has transformed into a fashion trend, a unique language, a worldview, and an aesthetic that attracts numerous youth (Alridge 190). The influence of hip hop on young individuals can have both favorable and unfavorable consequences. It is important to mention that “hip hop” and “rap music” are frequently utilized interchangeably.
In his article “It’s a Hip Hop World,” Jeff Chang discusses the resistance against authority that rap music has always been seen as (58). He also mentions how rap has provided employment opportunities for many unemployed individuals (Chang 62). Critics commonly label hip hop as materialistic, misogynistic, homophobic, racist, vulgar, and violent (59). Additionally, Dyson argues that in rap music, there are two significant traditions: preaching and music. According to Dyson, rap helps to revive black ideas, movements, and figures in the face of racial amnesia that threatens to forget the accomplishments of the black community (Dyson 408).
According to Leach (10), rap music is a highly popular and easily marketable part of hip hop culture that appeals to a broad audience. Hip hop, which includes both music and fashion, has become a significant global industry. Rap music, an inter-cultural phenomenon, is closely linked to the overall hip hop genre and often incorporates storytelling. By 2003, hip hop had become the top-selling music genre in the United States. Additionally, rap music provides a platform for personal growth.
Hip hop, a youth trend that has become widespread worldwide, encompasses various forms of artistic expression. One notable evolution within hip hop is the emergence of distinct hip hop dancing as its own art form. What started as small street gatherings in New York has now transformed into a global music genre.
Works Cited
- Alridge, Derrick P. , and James B. Stewart. “Introduction: Hip Hop In History: Past, Present, And Future. ” Journal Of African American History 90. 3 (2005): 190-195.
- Academic Search Complete. Web. 29 Oct. 2012. Chang, Jeff. “IT’s A Hip-Hop World. ” Foreign Policy 163 (2007): 58.
- MasterFILE Premier. Web. 29 Oct. 2012. Dimitriadis, Greg. Hip Hop To Rap: Some Implications Of An Historically Situated Approach To Performance. ” Text & Performance Quarterly 19. 4 (1999): 355.
- Morgan, George, and Andrew Warren. “Aboriginal Youth, Hip Hop And The Politics Of Identification. ” Ethnic & Racial Studies 34. 6 (2011): 925-947.
- SocINDEX with Full Text. Web. 29 Oct. 2012. Scaruffi, Piero. “Birth of Hip Hop. http://www. scaruffi. com/history. 2009. Web. 17 Oct. 2012
