Origin of Hip-Hop

Hip-Hop: Origin and Impact on World Music Culture

Hip-Hop is a social movement that rose to prominence in the 1980s and 1990s; additionally, the backing music for rap, a melodic style incorporating cadenced or potentially rhyming discourse, became the movement’s most enduring and powerful work of art.  It is a popular music genre that originated in the United States in the 1970s among inner-city African Americans and Caribbean Americans in the Bronx borough of New York City. The words “hip” and “hop” have a long history of being used interchangeably. More established people referred to high schooler local gatherings as “hippity hops” in the 1950s. Keith Cowboy, a rapper with Grandmaster Flash and the Furious Five, is widely credited with coining the term hip hop. Lovebug Starski, Keith Cowboy, and DJ Hollywood, on the other hand, used the term when the music was still known as disco rap.

Cowboy coined the term while prodding a friend who had recently joined the United States Armed Forces by scat singing the words “hip-hop” in a manner that imitated the musical rhythm of fighters walking. He later incorporated the “hip-hop” rhythm into a segment of his act.

Origin and impact of Hip-Hop music

Afrika Bambaataa with DJ Yutaka of Universal Zulu Nation in 2004, God Father of Hip-Hop
Afrika Bambaataa, Source: Sean-Jin at English Wikipedia

Zulu Nation organizer director Afrika Bambaataa, also known as “the Godfather,” is credited with coining the term to depict the subculture where the music should have been; however, it is also suggested that it was a slanderous term to depict the type of music. The term was coined by columnist Robert Flipping, Jr. in a February 1979 article in the New Pittsburgh Courier to refer to the music, and by Michael Holman in an East Village Eye article in January 1982 to refer to the way of life.

In September of that year, another Bambaataa interview in The Village Voice by Steven Hager, later creator of a 1984 history of hip bounce, gave the term new currency. There is some debate about whether the terms “hip bounce” and “rap” can be used interchangeably. This is true even among most of hip-hop’s knowledgeable authors, entertainers, and audience members. The most widely held belief is that hip-hop is a social development that emerged in the South Bronx of New York City during the 1970s, with MCing (or rapping) being one of the four essential components. The other three fundamental components of hip hop are spray painting, break dancing, and DJing.

Rap music has become by far the most praised expression of hip-hop culture, owing to its ease of marketing to a large audience.


Although it is commonly used to refer to rap music, the term Hip-Hop refers to a perplexing society comprised of four components: deejaying, or “turntabling”; rapping, also known as “MCing” or “rhyming”; spray painting, also known as “graf” or “composing”; and “B-boying,” which encompasses Hip-Hop dance, style, and body language, alongside the kind of vibrant nonverbal. Hip-Hop started in the overwhelmingly African American run-down South Bronx segment of New York City in the last part of the 1970s. As the Hip-Hop development started at society’s edges, its beginnings are covered in fantasy, riddle, and confusion.

Source: Sam Cornwell/Shutterstock.com

Spray painting and break dancing, the aspects of the way of life that initially drew public attention made the most lasting impression. According to legend, the spray painting trend began around 1972 by a Greek American teen who “labeled” Taki 183 (his name and street, 183rd Street) on dividers all through the New York City metro framework. Adolescents in the Bronx, Queens, and Brooklyn were taken to train yards in the dark to splash paint vivid painting size renderings of their names, symbolism from underground comics and TV, and even Andy Warhol-like Campbell’s soup jars onto the sides of metro vehicles by 1975.

Interest in Hip-Hop rises

Before long, compelling artists from the United States, Europe, and Japan were exhibiting spray painting in major exhibitions. The Metropolitan Transit Authority of New York City responded with canines, security barriers, paint-eliminating corrosive showers, and secret police crews. The beginnings of Hip-moving, Hop’s rapping, and deejaying elements were linked by the common environment in which these fine arts developed. DJ Kool Herc (Clive Campbell), an 18-year-old outsider who brought the incredible sound frameworks of his native Jamaica to ghetto parties, was the most significant Hip-Hop emcee. He created a nonstop progression of music by combining percussive parts from older records with well-known dance tunes on two turntables.

Kool Herc and other pioneering Hip-Hop emcees such as Grand Wizard Theodore, Afrika Bambaataa, and Grandmaster Flash disconnected and expanded the breakbeat (the section of a dance record where all sounds except the drums are nonconformist), energizing improvisational moving. The best artists created challenges in which they made break moving, a style with a collection of gymnastic and occasionally airborne moves, including gravity-resisting headspins and reverse-pivots.

New waves, new changes

Grandmaster Flash, Hip-Hop
Grandmaster Flash, Source: Wikipedia

Meanwhile, emcees developed new turntable control procedures. Grandmaster Flash used needle dropping to delay short drum breaks by playing two duplicates of the same record at the same time and making some kind of difference on one turntable back to the beginning of the break while the other played. The cadenced impact is known as “scratching” and was created by sliding the record this way and that under the needle.

For his expressed contributions to records, Kool Herc is widely regarded as the father of modern rapping; however, among the numerous stylistic points of reference referred to for MCing are the amazing narratives of West African griots, talking blues tunes, prison toasts, and the handfuls. The fashionable person jive reporting styles of 1950s beat and blues emcees like Jocko Henderson; the Black power verse of Amiri Baraka, Gil Scott-Heron, and the Last Poets; rapping areas in accounts by Isaac Hayes and George Clinton; and the Jamaican style of rhythmic discourse known as toasting are among the various influences mentioned.

Public popularity of Hip-Hop

Rap first gained popularity in the United States with the release of the Sugarhill Gang’s song “Rapper’s Delight” (1979) on the independent African American-owned label Sugar Hill. Not long after its release, it had become a graph-beating anomaly and given its name to another genre of popular music. Grandmaster Flash and the Furious Five, Kurtis Blow, and the Cold Crush Brothers, whose Grandmaster Caz is disputed by some as the genuine creator of probably the most grounded verses in “Rapper’s Delight,” were significant trailblazers of rapping. These early MCs and DJs were a part of rap’s demise.

The emergence of “the new school” of Hip-Hop

New school of Hip-Hop

The following flood of rappers, the new school, rose to prominence in the 1980s. Run-D.M.C. was at the front, a threesome of working-class African Americans who combined rap with hard rock, embodied a recent fad of hip dress and became staples as they carried rap to a mainstream audience. Run-D.M.C. recorded for Profile, one of a few new names that capitalized on the developing rap music business. Def Jam celebrated three significant trailblazers: LL Cool J, rap’s most memorable heartfelt genius; the Beastie Boys, a white triplet who expanded rap’s audience and promoted computerized testing; and Public Enemy, who contributed rap with extremist Black political philosophy, expanding on Grandmaster Flash and the Furious Five’s “The Message” (1982).

Rap’s traditional period (1979-93) also featured critical commitments from De La Soul — whose debut collection on Tommy Boy, 3 Feet High and Rising (1989), pointed in a new and more fun-loving bearing — and female rappers, such as Queen Latifah and Salt-n-Pepa, who provided an alternative to rap’s overwhelmingly male, frequently misanthropic perspective. Hip-hop artists from outside of New York City began to make an impact, including DJ Jazzy Jeff and the Fresh Prince (Will Smith) from Philadelphia, the provocative 2 Live Crew from Miami, and M.C. Hammer from Oakland, California, who achieved fleeting but massive crossover success with a pop audience.

Regional styles in Hip-Hop

Eminem, Source: GoodFon.com

However, the main response to New York Hip-Hop came from Los Angeles, beginning in 1989 with N.W.A’s dynamic collection Straight Outta Compton. N.W.A. (Niggaz With Attitude) and previous members of that group — Ice Cube, Eazy E, and Dr. Dre — paved the way for unmistakable West Coast rap in the mid-1990s. Their realistic, frequently vicious stories of genuine in an economically depressed area, as well as those of Los Angeles rappers like Ice-T (known for his 1992 single “Cop Killer”) and Snoop Dogg, and East Coast collaborators like Schoolly D, gave rise to the genre known as gangsta rap.

As the Los Angeles-based label Death Row Records built a brand around Dr. Dre, Snoop Dogg, and the magnetic, muddled rapper-entertainer Tupac Shakur, it competed with New York City’s Bad Boy Records. This sparked a media-fueled feud between East Coast and West Coast rappers, culminating in the still-unfathomable homicides of Shakur and the astonishingly gifted MC known as The Notorious B.I.G.

Rise of the Wu-Tang Clan

Wu Tang Clan
Wu-Tang Clan, Source: Grailed

By the late 1990s, the Wu-Tang Clan, from New York City’s Staten Island, had masterfully overwhelmed Hip-Hop, with their blend of road believability, neo-Islamic magic, and kung fu legend-making them one of the most perplexing gatherings in the history of rap; Diddy, entertainer, maker, and leader of Bad Boy Records, who was responsible for a series of inventive music recordings; and the Fugees, who blended popular music snares with governmental issues and sent off the performance professions of Wyclef Jean and Lauryn Hill.

Although long thought to be popular primarily among urban African American men, Hip-Hop became the most popular type of music in the United States in the late 1990s (to some degree halfway by taking care of the hunger of a few white residents for vicarious rushes). It had a global impact, attracting large crowds and artist pools in cities such as Paris, Tokyo, Sydney, Cape Town, London, and Bristol, England (where the side project trip-jump started). It also produced a large number of items in the design, alcohol, gadgets, and auto industries that Hip-Hop craftsmen promoted on satellite TV channels like MTV and The Box and in Hip-Hop focused magazines like The Source and Vibe.

Hip-hop in the 21st century

Big Boi Andre
Source: Britannica

As the century progressed, the music industry experienced a crisis, which was exacerbated by the advent of computerized downloading. Hip-hop suffered as much as, if not more than, other genres, with sales, consistently falling. At the same time, it established itself as the dominant influence on global youth culture. Indeed, even the most well-known “teeny-bopper” groups, such as the Backstreet Boys and *NSYNC, drew heavily on Hip-Hop sounds and styles, and mood, blues, and even gospel had adjusted so completely to the newer methodology that stars such as Mary J. Blige, R. Kelly, and Kirk Franklin rode.

Dr. Dre’s heritage, on the other hand, was visible in the extent to which Hip-Hop had become a makers’ medium. Music in the twenty-first century, brought into the world by the sonic manifestations of the disc jockey, saw its most notable advancements in the hands of studio wizards such as Timbaland, Swizz Beatz, and The Neptunes. The emphasis on makers as both an innovative and a business force coincided with a pervasive sense that Hip-verbal Hop’s expertise and verse were fading.

The class had truly become popular music, with all of the ensuing openness, tensions, and the complexity and incendiary nature of previous MCs had generally been pushed to the “elective”/”underground” scene led by rappers like Mos Def (later known as Yasiin Bey) and Doom (MF Doom). The disappointment with the state of standard Hip-Hop was so common that Nas released a collection titled Hip Hop Is Dead in 2006.

New Hip-Hop stars are born

In any case, significant stars continued to emerge. Many of the greatest figures continued to rise from the South, including Atlanta’s T.I. and New Orleans‘ Lil Wayne. Hip-hop stardom is now frequently associated with media success. For example, Ludacris’ successful film career. The class continued to be assimilated into the nonmusical culture, with some of the class’ initial stars — LL Cool J, Ice Cube, Queen Latifah, and Ice-T — appearing as recognizable faces in films and television. Sneak Dogg featured Bruce Springsteen-style rock celebrations. Perhaps no one addressed the social triumph of hip-hop better than Jay-Z.

As his career progressed, he advanced from performer to name president, designer of a clothing line, club owner, and market specialist, breaking Elvis Presley’s Billboard magazine record for the number one collection by an independent artist. During the 2008 official mission, rival Barack Obama made references to Jay-Z, and on the rapper’s 2009 collection The Blueprint 3, he claimed to be a “little piece of the explanation” for Obama’s victory.

New gems on the rise

Kanye West (Ye) rose to prominence as one of Hip-Hop’s most captivating and divisive figures following the release of his 2004 presentation collection The College Dropout. Ye’s profoundly private verses addressed a large number of hip-hop’s prominent potential outcomes while remaining artistically exploratory and in vogue. Regardless, his interminable self-promotion and frequently pompous emanation revealed a portion of the components that were currently attempting the persistence of a large number.

M.I.A., New gem of Hip-Hop
M.I.A., Source: Fortune

Regardless of Hip-Hop’s subtle conflicts, the music genre’s global impact has continued to grow. M.I.A. may have better-represented hip-hop in the twenty-first century than any other artist. Born in London, raised in her family’s native Sri Lanka, and trained as a visual artist, M.I.A. composed politically extreme verses set to melodic tracks drawn from ridiculously diverse sources all over the world. Not only was her album Kala named the best album of 2007 by Rolling Stone, but M.I.A. was also named one of Time magazine’s “100 Most Influential People” — representing the scope and power of music conceived many years earlier on litter-thrown jungle gyms.


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