Hip Hop. for Youth Leaders. Hip-Hop. A Black thing? An urban thing? A commercial thing? A white thing? A Global thing?. Studying Hip-Hop: Documentaries. “Style Wars” 1980s “Straight out of the Streets” 1990s “Hip-Hop: Beyond the Beats” 2006
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for Youth Leaders
Broader than Rap; Rap is a part of Hip Hop
You will hear the term used in different ways depending on who is talking, where, andin regards to music, fashion, or cultural style
Hip Hop originally referred to three urban art forms:rap music (including dj-ing and scratching), break dancing, and graffiti.
… hip-hop culture, the youth-oriented lifestyle(of those born between 1965 and 1984)that birthed rap music. Certainly, the commercialization of rap music expanded the definition of hip-hop culture beyond the fourelements (graffiti, break dancing, dj-ing, rapmusic) to include verbal language, body language,attitude, style, and fashion….
… we are advocating that hip-hop is not,just a music, it is an attitude, it is an awareness,it is a way to view the world. So,rap music, is something we do, but HIP-HOP,is something we live. And we look at hip-hop,in its 9 elements; which is breaking, emceeing,graffiti art, deejaying, beatboxing, streetfashion, street language and knowledge, andstreet entrepreneurialism--trade and business… (from “HipHop Knowledge”)
What examples of rap, dancing, and graffitican you mention throughout human history?
What do you see as the general backgrounds of these art forms?
What specific factors might have produced hip hop in South Bronx of NYC and LA during the 1970s?
Afrika Bambaataa (Asim) and his Zulu Nation (a collection of DJs, breakers, graffiti artists, and homeboys--new pride and respect)Kool Herc (Clive Campbell, the pioneer)Grandmaster Flash (Joseph Sadler), Herc’s helper, and Grand Wizard Theodore developedmixing, the break and scratching, .
Rap was being developed in LA as well as NYC.
Old School Hip-Hop (1970-1986) DJ Kool Herc and others just mentioned
Golden Age of Hip-Hop (1986-1993) Run-DMC, Public Enemy Rap spreads globally (globality)
Modern Era of Gangsta Rap (1993-present) Wu-Tang Clan, Nas, Busta Rhymes, et al. Tupac Shakur, Notorious B.I.G. Tendencies of diversification, mixes
Public Enemy (1980s), the X-Clan, and Poor Righteous Teachers in the 1990sBoth the market and industry, along with society, realized this was going too far, dangerous
Movement toward sexual nastiness, Naughty by Nature, and extremes in personal wealth, “bling-bling” in Manny Fresh of the Big Tymers, a Cash Money act.
Gradual personalizing of anger and violence and emergence of gangsta rap of 90s and beyond
Angela McRobbie & Kobena Mercer (in Warren Kidd’sCulture & Identity (2002) “Rap, and especially scratching,represent a highly postmodern phenomenon and the ultimateexpression of postmodern values.”
Positive aspects: creative artistry, dynamism, showing real life & problems, expressing real hurts, adapted into many cultures…
Note Ironies of Rap and its postmodern qualities
Negative critiques • study its promotion of thug life • understand its glorification of bad, its idolatry of bling, sex, bodyparts • deal with its disrespect for women, others, and self • note its spiritual confusion (hunger?)
I think the new rappers have grown up writing the poetry, and they are more polished and witty. I believe that many of them are stuck in creativity when it comes to subject matter. The main thing about rap is that the dialogue is honest. I believe that honest rappers have all kinds of lifestyle, social and political issues, and I believe that that diversity is not as apparent in the body of work that's being promoted in hip hop. It's not as apparent as I'd like.
Deal with it… the Player, OPP, Disrespect…But do so, gradually, sensitively, positively first, let youthful fans do the discovery and develop their own negative critique.Slowly, firmly, keep pushing them, encouraging themStretch them into other kinds of music.
Consider the use of rap in youth ministry… in worship. (See Efrem Smith & Phil Jackson,The Hip-Hop Church)
Keep up on what’s happening
Christian rap, dancing and stepping,the whole Christian hip-hop scene
Efrem Smith, senior pastor The Sanctuary Covenant Church, Minneapolis, and Phil Jackson,assoc. pastor The House (Covenant Church)in Lawndale on Chicago’s West Side.The Hip-Hop Church: Connecting with the Movement Shaping Our Culture (2005)