RAP是什么意思？
Rap是一个黑人俚语中的词语，相当于“谈话”（talking），中文意思为说唱。即有节奏地说话的特殊唱歌形式。发源于纽约贫困黑人聚居区。它以在机械的节奏声的背景下，快速地诉说一连串押韵的诗句为特征。这种形式来源之一是过去电台节目主持人在介绍唱片时所用的一种快速的、押韵的行话性的语言。斥责或说唱音乐的节奏，布鲁斯音乐风格包括vocals 等巧妙地和音乐融合。陪同一般包括电子鼓敲打与样品（数字式地被隔绝的酣然的叮咬） 被结合从其它音乐录音。拓展资料:音乐起源:从最早期的词组的当中一个获得被使用在斥责，和可能被发现在今夜录音"交谈者的欢欣" （1979）由Sugarhill 帮会。除说唱音乐之外，配合敲打并以节律唱诵的音乐亚文化群并且包括其它形式表示，包括断裂跳舞和街道画艺术并且一个独特的俗话词汇量和流行观念。
superjuniorU的日文版中的英语rap的歌词?谢谢了，大神帮忙啊
U(日文版): [Si Won]kimiga hamimetesa 【始源】你是第一个 uso ja naisa warawanai deyo 我不是在骗你 所以请别取笑我 [Han Kyung]kudoku tame dakeni 【韩庚】为什么我会说谎 konna hetana usowa iwanai 只是为了引诱你吗 [Hee Chul]unmei no doa ga ima hirakareru mune wofuruwasu 【希澈】现在紧闭的门将会打开 我的心在颤抖 [Ryeo Wook]kanawanai negai nado nasai 【丽旭】你所有的心愿将会实现 [All]cause i can’t stop thinking bout u girl [Kang In]dare nimo makeyo shinai 【强仁】我将不会输给任何人 [All]no i can’t stop thinking bout u girl [Lee Tuek]noe agaru ai no konoo 【李特】我的爱闪耀成火花 [Hee Chul]hodotokeru kurokami shiroi hada akai kuchibiru 【希澈】你飘逸的秀发 白皙的皮肤 还有你那丰厚的嘴唇 [Kyu Hyun]nazeni monougena sono koe wa 【奎贤】你放松的声音 kokoro madowasu woo yeah~ 让我的心混乱不已woo yeah~ [Ye Sung]kimi ga shikaketa magic 【艺声】你把magic施在我身上 kanzen ni nukedasenaku naru 我无法解脱 [Dong Hae]kanaetai omoi ga arukara 【东海】让我的感情变得真实 [All]cause i can’t stop thinking bout u girl [Han Kyung]tomara nai itoshisa wo 【韩庚】我的爱止不住 [All]no i can’t stop thinking bout u girl [Dong Hae]doko mademo ochite yukou 【东海】让我们永远深藏在爱里面 [All]cause i can’t stop thinking bout u girl [Sung Min]dare nimo makeyo shinai 【晟敏】我将不会输给任何人 [All]no i can’t stop thinking bout u girl [Si Won]noe agaru ai no konoo 【始源】我的爱闪耀成火花 [Eun Hyuk]just your scent and takes me back to times we were together 【恩赫】你的香气把我带回从前我们在一起的时光 your tender eyes have stole my heart like no one other 你温柔的眼睛已经把我的心偷去了 baby i can't erase you from my mind baby 我无法把你从我心中抹去 you need to see I'll be right here and wait until you come 你将会看到我一直会好好的在这 等你回来 [Ki Bum]i used it all to get to you, even if I lose 【基范】我会用尽全力得到你 就算输了也罢 i'll find a way to get to you 我会找方法得到你 in the end I'll be the one, the one your gonna choose 最后我将会是那个人 那个你将会选择的人 the game has started girl so whatcha gonna do？ 游戏已经开始 女孩 你该怎么办？ [Ryeo Wook]kazaranai kotoba sasageyo 【丽旭】我会给你简单但真诚的话 [All]cause i can’t stop thinking bout u girl [Han Kyung]tomara nai itoshisa wo 【韩庚】我的爱止不住 [All]no i can’t stop thinking bout u girl [Dong Hae]doko mademo ochite yukou 【东海】让我们永远深藏在爱里面 [All]cause i can’t stop thinking bout u girl [Sung Min]dare nimo makeyo shinai 【晟敏】我将不会输给任何人 [All]no i can’t stop thinking bout u girl [Dong Hae]noe agaru ai no konoo 【东海】我的爱闪耀成火花 [All]cause I can't stop no I can't stop cause I can't stop
《火花》歌词
高耀太>
女
:米安哈大个
库人妈儿得儿咯
摸等个儿大一杂儿素
偶嫩个杂那
男:
(rap)耶.诶字呀袄非哦应来特日爱特黑而来次读诶特来可了拉特啊把木日爱特.
卡木昂
塞
哈
哈
卡木昂
塞
哈
哈
来次
饶可类四怕台当来次够
那无~
摸等给..
摘摸段个儿一接呀
难啊嚷拨了色
个动按
呢挖撒让也
增新偶西啊木个读
摸
拉
色
捏
亲古也一恩您你让嫩
呢挖撒让喊大嫩给
呢木那Him的热
呢热儿增一黑读
个起拨一几日啊..那
女:
个热几吗难呢挖横蹦
K
那别日够噶几吗~~
哦日按西赶满难跟啊
你几满
呢哈那面横蹦K
杂破几满捏摸等个
组饿够
呢与你黑写捏你色
个热几吗
一接挖色的那面
难饿等卡让吗要~~
男:
(RAP)叫
一
切
木
读一切三读那杂.
他
哭
给
素
木几路撒杂
#$#$%#$%$%^%$^%$^
那无
四瑞
土
完
来次特恩怕太跑类
要~~(rap)
一几吗
捏噶铁按撒让而
呢日与黑铁问等
噶吗K
他拨日年那日饿
饿等一哦肉多一则三按读爱
那
几个门呢日的那几满
个大日大拉
吗
哈
给
无日撒让哈古也嫩
捏个西个也
够可你给特肉袄给
女:
个热几吗难呢挖黑能蹦K
那拨日够噶几吗
哦日西赶满难跟啊你几满
呢哈那面和能蹦K
杂破几满捏摸等个组饿够
内与几黑
西你色
个热几吗
一接挖色的那面
难饿等
卡染吗要~
男
:
哈呢日
杂木西噶拉No啊读
无以及
按名一个拉够
女:
呢也爹喊捏撒让而
则爹别哈几嫩啊那~
个日个可增吗恩接等几读拉挖
捏几可增恩哈几吗~
应我你呢吗呢给大日大够
捏撒让恩
呢拉够~
捏撒让恩
呢拉够~~~~~~
《火花》韩文歌词
뛰어나가라
그런
말들로
모든거
다
잊을
수
없는거잖아
모든게
잘못된거
이제야
난
알아버렸어
그동안
너와
사랑해
정신없어
아무것도
몰랐어
내
친구의
연인이라는
너와
사랑한다는게
너무나
힘들어
너를
정리해도
끝이
보이질
않아
그러지만
난
너와
행복해
날
버리고
가지마
오랜
시간
만난건
아니지만
너
하나면
행복해
작지만
내
모든걸
주었고
널
위해
이
생에서
그러지마
이제와서
떠나면
난
어떻하란
말야
자
이제
모두
이곳에
일어나
더
크게
소리를
질러봐봐
걱정따윈
하지마
자
내
손을
잡아
시간이
다가와서
자
목소릴
높여봐
나
잊지마
내
곁에
온
사랑을
널
위해
태웠던
까맣게
타버린
나를
어떤
이유로도
잊어선
안돼
나
지금은
너
떠나지만
기다려
달라
말할게
우
이
사랑
하기엔
넌
내것이기에
꼭
네가
주러올께
그러지만
난
너와
행복해
날
버리고
가지마
오랜
시간
만난건
아니지만
너
하나면
행복해
작지만
내
모든걸
주었고
널
위해
이
생에서
그러지마
이제와서
떠나면
난
어떻하란말야
하늘이
잠시
갈라
놓아도
우리
운명일
거라고
널
향한
내
사랑은
절대
변하지는
않아
그래
걱정마
언제든지
돌아와
내
걱정은
하지마
영원히
너만을
기다린다고
내
사랑은
너라고
내
사랑은
너라고
爱似火
点亮黑夜让我记住你的脸
想一遍
梦一遍
过一天
爱难全
总在瞬间
灿烂心中一片天
情已灭
转眼成思念
多年不变留住一卷长发
代表我的心思从来不假
如今短发剪了心也放下
因为爱似火花
泪眼婆娑全是爱的代价
但我不会让它变成牵挂
小河拥抱心
却得到天涯
因为爱是火花
我想飞
爱似火
点亮黑夜
让我爱似火
点亮黑夜让我记住你的脸
想一遍
梦一遍
过一天
爱难全
总在瞬间
灿烂心中一片天
情已灭
转眼成思念
多年不变留住一卷长发
代表我的心思从来不假
如今短发剪了心也放下
因为爱似火花
泪眼婆娑全是爱的代价
但我不会让它变成牵挂
小河拥抱心
却得到天涯
因为爱是火花
我想飞
爱似火
点亮黑夜
让我记住你的
脸
火花的中文歌词
火花的中文歌词
所有的都不对
我现在才知道
那段时间陷进你的爱情
昏了头脑
什么也不知道
与你相爱太累
想调整但看不到尽头
我该怎么办
不要这样
我和你很幸福
为你做了牺牲,不要这样
现在离开我,我该怎么办
虽然短暂
我的所有都给了你
为你做了牺牲,不要这样
现在离开我,我该怎么办
now
3
2
1
let's
turn
the
party
ou
不要忘记我点燃的爱情
为你燃烧变黑的我
任何理由都不可以忘记
虽然现在离开你
我会说请你等我
因为我们相爱,
因为你是我的
我一定会回到你身边
不要这样,我和你很幸福
不要仍下我走
时间虽然不长
你一个就很幸福.
短暂的时间
我的所有都给了你
为你做了牺牲,不要这样
现在离开我,我该怎么办
天使我们暂时分开
是我们的命运
我对你的爱
绝对不会变
好的不要担心
无论何时都要回来
不要担心我我永远都等着你
我的爱是你
我的爱是你
Over...
最近有一首很流行的英文歌曲叫什么？到高潮的地方有一句歌词-di the wa,他叫什么啊？跪求
歌词是Don't U cry tonight。不要再哭泣。是《Don't cry》，美国硬摇滚乐队枪炮与玫瑰1991年发行的歌曲，由Axl Rose填词、Izzy Stradlin谱曲，歌曲发行有两个版本，分别收录于《Use Your Illusion I》和《Use Your Illusion II》。《Don't cry》Original版Talk to me softly轻轻地告诉我There's something in your eyes你眼里藏着千言万语Don't hang your head in sorrow不要因为悲伤而垂头丧气And please don't cry请不要哭泣I know how you feel inside我能理解你的内心I've been there before我也曾经历过Something's changing inside you (Something is strange looks i do)你的内心在慢慢改变And don't you know只是你从未发觉Don't you cry tonight今夜别哭泣了I still love you baby我依然爱着你 宝贝Don't you cry tonight不要哭泣Don't you cry tonight别哭了There's a heaven above you baby宝贝，天国就在你的上方And don't you cry tonight所以别哭了Give me a whisper在我耳边轻轻呢喃And give me a sigh再给我一个叹息Give me a kiss before you tell me goodbye在离开我之前，请最后给我个吻Don't you take it so hard now不要觉得这样很艰难And please don't take it so bad也不要认为这不可理喻I'll still be thinking of you我会一直想著你And the times we had...baby还有我们一起度过的曾经，宝贝And don't you cry tonight今夜不要哭泣Don't you cry tonight今夜不要哭泣Don't you cry tonight今夜别哭了There's a heaven above you baby宝贝，天国就在你的上方And don't you cry tonight所以今夜别再哭了And please remember that I never lied请记住，我从不骗你And please remember how I felt inside now honey也请试着理解我，宝贝You gotta make it your own way你选择了你自己的方式But you'll be alright now sugar但你一定会好起来的，甜心You'll feel better tomorrow你明天就会好起来的Come the morning light now baby天就要破晓了，宝贝And don't you cry tonight所以今夜别哭了And don't you cry tonight今夜不要哭泣And don't you cry tonight今夜不要哭泣There's heaven above you天国就在你的上方And don't you cry不要哭泣Don't you ever cry再也不要哭泣Don't you cry tonight今晚不要哭泣Baby maybe someday宝贝可能某一天Don't you cry你不会哭泣Don't you ever cry不会再哭泣Don't you cry tonight...今夜别哭泣...Alternate版If we could see tomorrow.如果明天来临，What of Ur plans ?你怎么打算？No one can live in sorrow.没有人能活在悲伤里。Ask all Ur friends.问问你的朋友吧.Times that U took in stride.你不屑一顾的流光岁月，They're back in demand.在需要时排山倒海地袭来。I was the one who's washing而我就是那个Blood off Ur hands.把鲜血从你手上洗去的人Don't U cry tonight !今夜不要哭泣！I still love U baby !宝贝我仍然爱你！Don't U cry tonight !今夜不要哭泣Don't U cry tonight !今夜不要哭泣There's a heaven above you baby在你的头上有天堂And don't U cry tonight今夜不要哭泣I know the things U wanted.我知道你追求的，They're not what U have.并不是你拥有的。With all the people talkin'.那些人的喋喋不休，It's drivin' U mad.让你丧失理智。If I was standin' by U.若我当时等待你。How would U feel ?你，将会觉得怎样？Knowin' U love's decided.我知道你心有所属，And all love is real.你的爱不掺一丝犹疑，Don't U cry tonight !今夜不要哭泣Don't U cry tonight !今夜不要哭泣Don't U cry tonight !今夜不要哭泣There's a heaven above you baby在你的头上有天堂And don't U cry tonight !今夜不要哭泣I thought I could live in Ur world.我竟以为我能活在你的世界。As years all went by.年复一年，年复一年，With all the voices I've heard.我听过的那些话语，Something has died.有些已听不见。And when U're in need of someone.当你需要什么人的时候，My heart won't deny U.我的心门永远向你打开。So many seem so lonely.受了太多太多的寂寞之苦，With no one left to cry to baby!你却无法向任何人哭诉，宝贝！And don't U cry tonight!不要哭泣！And don't U cry tonight!不要哭泣！And don't U cry tonight!不要哭泣！There's a heaven above you baby在你的头上有天堂And don't U cry不要哭泣！Don't U ever cry !不要再哭泣！Don't U cry tonight!不要再哭泣！Baby maybe someday.亲爱的总有那么一天。Don't U cry !请不要哭泣！Don't you ever cry!不要再哭泣！Don't you cry tonight !不要在今夜哭泣！扩展资料：创作背景：第一个版本“ORIGINAL”是枪炮与玫瑰乐队双专辑的第一张《USE YOUR ILLUSION I》 中的第4首曲目。第二个版本是双专辑的第二张《USE YOUR ILLUSION II》 中的第13首曲目。“ALT.LYRICS” 是 “alternative lyrics”的缩写，就是“改换的歌词”的意思，据说是Axl Rose自己填的词。歌词比起“ORIGINAL”的版本在主歌部分完全改变了，并且旋律也有所变化，但是高潮部分的旋律和歌词基本没有变化。ALT.LYRICS版歌词的含义好像更深刻一些，没有ORIGINAL版容易理解。但是ORIGINAL版更有名一些，ALT.LYRICS版流传的较少。ALT.LYRICS版相比之下显得更为忧伤以及感情表达更为真挚，尤其最高潮一句“With no one left to cry to”真的是相当震撼……两个版本这两个版本演唱都是主唱Axl Rose和伴唱Shannon Hoon。
Hip-Hop文化的简短英文介绍
Hip-Hop is the cultural noun, including the traditional entertainment involving talking and singing, the doodle, the street dance and DJ hits the small dish four parts; RAP stems from the 60s, but understood as music Hip-Hop stemmed from the early 70s, its predecessor will be RAP (will sometimes add R(B). Hip-Hop looked from the wording that Hip is the buttocks, Hop is Shan Jiatiao, puts together is the light torsional pendulum buttocks, what refers to originally was the embryonic form stage street dance (is also we before said break dancing), afterward only then gradually developed the Hip-Hop culture which one huge concept - - we said now also to include these spacious clothes, the heavy pure gold accessories, usually to speak on “YoYowhat's up?”The spoken language custom - - is in brief in that kind of American poor block black's life style as well as they “Fan”.
求关于hip-hop的介绍.(英文版的.)
The roots of hip hop are found in West African and African-American music. The griots of West Africa are a group of traveling singers and poets, whose musical style is reminiscent of hip hop. Within New York City, griot-like performances of poetry and music by artists such as The Last Poets and Jalal Mansur Nuriddin had a great impact on the post-civil rights era culture of the 1960s and 1970s. Hip hop arose during the 1970s when block parties became common in New York City, especially the Bronx. Block parties were usually accompanied by music, especially funk and soul music. The early DJs at block parties began isolating the percussion breaks to hit songs, realizing that these were the most dance-able and entertaining parts; this technique was then common in Jamaica (see dub music) and had spread via the substantial Jamaican immigrant community in New York City, especially the "godfather" of hip hop, DJ Kool Herc. Dub had arisen in Jamaica due to the influence of American sailors and radio stations playing R&B. Large sound systems were set up to accommodate poor Jamaicans, who couldn't afford to buy records, and dub developed at the sound systems (refers to both the system and the parties that evolved around them).
Herc was one of the most popular DJs in early 70s New York, and he quickly switched from using reggae records to funk, rock and, later, disco, since the New York audience did not particularly like reggae. Because the percussive breaks were generally short, Herc and other DJs began extending them using an audio mixer and two records. Mixing and scratching techniques eventually developed along with the breaks. (The same techniques contributed to the popularization of remixes.) Later DJs such as Grandmaster Flash refined and developed the use of breakbeats, including cutting.[citation needed] As in dub, performers began speaking while the music played; these were originally called MCs; Herc focused primarily on DJing, and began working with two MCs, Coke La Rock and Clark Kent—this was the first emcee crew, Kool Herc & the Herculoids. Originally, these early rappers focused on introducing themselves and others in the audience (the origin of the still common practice of "shouting out" on hip hop records). These early performers often emceed for hours at a time, with some improvisation and a simple four-count beat, along with a basic chorus to allow the performer to gather his thoughts (such as "one, two, three, y'all, to the beat, y'all"). Later, the MCs grew more varied in their vocal and rhythmic approach, incorporating brief rhymes, often with a sexual or scatological theme, in an effort at differentiating themselves and entertaining the audience. These early raps incorporated similar rhyming lyrics from African American culture (see roots of hip hop music), such as the dozens. While Kool Herc & the Herculoids were the first hip hoppers to gain major fame in New York, more emcee teams quickly sprouted up. Frequently, these were collaborations between former gang members, such as Afrikaa Bambaataa's Universal Zulu Nation (now a large, international organization). Melle Mel, a rapper/lyricist with The Furious Five is often credited with being the first rap lyricist to call himself an "MC."[2] During the early 1970s, breakdancing arose during block parties, as b-boys and b-girls got in front of the audience to dance in a distinctive, frenetic style. The style was documented for release to a world wide audience for the first time in Beat Street.
Origin of the term "Hip Hop"
Coinage of the term hip hop is 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 still known as disco rap, it is believed that Cowboy 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.[3] 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.[3] Former Black Spades gang member Afrika Bambaataa 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 derisively used against the new type of music.[4]
The historical conditions contributing to the origin of hip hop
The reasons for the rise of hip hop are found is the changing urban culture within the United States during the 1970s. Perhaps most important was the low cost involved in getting started: the equipment was relatively inexpensive, and virtually anyone could MC along with the popular beats of the day. MCs could be creative, pairing nonsense rhymes and teasing friends and enemies alike in the style of Jamaican toasting at blues parties or playing the dozens in an exchange of wit. MCs would play at block parties, with no expectation of recording, in the way of folk music. The skills necessary to create hip hop music were passed informally from musician to musician, rather than being taught in expensive music lessons.
Another reason for hip hop's rise was the decline of disco, funk and rock in the mid- to late 70s. Disco arose among black and gay male clubs in America, and quickly spread to Europe, where it grew increasingly sunny, bright and pop. Once disco broke into the mainstream in the United States, and was thus appropriated, its original fans and many other listeners rejected it as pre-packaged and soul-less. While many remember the white teens shouting "disco sucks" at every available opportunity, often in racist and homophobic contexts, inner-city blacks were similarly rejecting disco and disco-fied rock, soul and funk (which was virtually everything on the radio at the time). If disco had anything redeemable for urban audiences, however, it was the strong, eminently danceable beats, and hip hop rose to take advantage of the beats while providing a musical outlet for the masses that hated disco. Disco-inflected music (though comparatively little actual disco) was one of the most popular sources of beats in the first ten or twelve years of hip hop's existence. In Washington DC, go go also emerged as a reaction against disco, and eventually mixed with hip hop during the early 1980s, while electronic music did the same, developing as house music in Chicago and techno music in Detroit.
Along with the low expense and the demise of other forms of popular music, social and political events further accelerated the rise of hip hop. In 1959, the Cross-Bronx Expressway was built through the heart of the Bronx, displacing many of the middle-class white communities and causing widespread unemployment among the remaining blacks as stores and factories fled the area. By the 1970s, poverty was rampant. When a 15,000+ apartment Co-op City was built at the northern edge of the Bronx in 1968, the last of the middle-class fled the area and the area's black and Latino gangs began to grow in power.
Diversification of styles in the later part of the decade
In the mid-1970s, hip hop split into two factions. One sampled disco and focused on getting the crowd dancing and excited, with simple or no rhymes; these DJs included Pete DJ Jones, Eddie Cheeba, DJ Hollywood and Love Bug Starski. On the other hand, another group were focusing on rapid-fire rhymes and a more complex rhythmic scheme. These included Afrika Bambaataa, Paul Winley, Grandmaster Flash and Bobby Robinson.
As the 70s became the 1980s, many felt that hip hop was a novelty fad that would soon die out. This was to become a constant accusation for at least the next fifteen years. Some of the earliest rappers were novelty acts, using the themes to Gilligan's Island and using sweet doo wop-influenced harmonies.
With the advent of recorded hip hop in the late 1970s, all the major elements and techniques of the genre were in place. Though not yet mainstream, it was well-known among African Americans, even outside of New York City; hip hop could be found in cities as diverse as Los Angeles, Washington, DC, Baltimore, Dallas, Kansas City, Miami, Seattle, St. Louis, New Orleans, and Houston.
Philadelphia was, for many years, the only city whose contributions to hip hop were valued as greatly as New York City's by hip hop purists and critics. Hip hop was popular there at least as far back as 1976 (first record: "Rhythm Talk", by Jocko Henderson in 1979), and the New York Times dubbed Philly the "Graffiti Capital of the World" in 1971, due to the influence of such legendary graffiti artists as Cornbread. The first female solo artist to record hip hop was Lady B. ("To the Beat Y'All", 1980), a Philly-area radio DJ. Later Schoolly D helped invent what became known as gangsta rap.
The 1980s
The 1980s saw intense diversification in hip hop, which developed into a more complex form. The simple tales of 1970s emcees were replaced by highly metaphoric lyrics rapping over complex, multi-layered beats. Some rappers even became mainstream pop performers, including Kurtis Blow, whose appearance in a Sprite commercial made him the first hip hop musician to be considered mainstream enough to represent a major product, but also the first to be accused by the hip-hop audience of selling out. Another popular performer among mainstream audiences was LL Cool J, who was a success from the release of his first LP, Radio.
Hip hop was almost entirely unknown outside of the United States prior to the 1980s. During that decade, it began its spread to every inhabited continent and became a part of the music scene in dozens of countries. In the early part of the decade, breakdancing became the first aspect of hip hop culture to reach Germany, Japan and South Africa, where the crew Black Noise established the practice before beginning to rap later in the decade. Meanwhile, recorded hip hop was released in France (Dee Nasty's 1984 Paname City Rappin') and the Philippines (Dyords Javier's "Na Onseng Delight" and Vincent Dafalong's "Nunal"). In Puerto Rico, Vico C became the first Spanish language rapper, and his recorded work was the beginning of what became known as reggaeton.
Politicization
The first rap records (Fatback Band's King Tim III, Grandmaster Flash's "Super Rappin'" and The Sugarhill Gang's Rapper's Delight) were actually recorded by live musicians in the studio, with the rappers adding their vocals later. This changed with DJ records such as Grandmaster Flash's "Adventures on the Wheels of Steel" (known for pioneering use of scratching, which was invented by Grandwizard Theodore in 1977) as well as electronic recordings such as "Planet Rock" by Afrika Bambaataa and Run DMC's very basic, all electronic "Sucker MC's" and "Peter Piper" which contains genuine cutting by Run DMC member Jam Master Jay. These early innovators were based out of New York City, which remained the capital of hip hop during the 1980s. This style became known as East Coast hip hop.
Grandmaster Flash & the Furious Five released a "message rap", called "The Message", in 1982; this was one of the earliest examples of recorded hip hop with a socially aware tone. In 1984, Marley Marl accidentally caught a drum machine snare hit in the sampler; this innovation was vital in the development of electro and other later types of hip hop.
Popularization
The mid-1980s saw a flourishing of the first hip hop artists to achieve mainstream success, such as Kurtis Blow (Kurtis Blow), LL Cool J (Radio) and especially Run-D.M.C. (Raising Hell), as well as influences in mainstream music, such as Blondie's Debbie Harry rapping in the first non-black hit to feature rapping, "Rapture". LL Cool J's Radio spawned a number of singles that entered the dance charts, peaking with "I Can Give You More" (#21). 1986 saw two hip hop acts in the Billboard Top Ten; Run-D.M.C.'s "Walk This Way" collaboration with Aerosmith, and the Beastie Boys "(You Gotta) Fight for Your Right (To Party!)". The pop success of both singles was unheard of for the time; "Walk This Way" has proved especially memorable for its early mixture of hip hop and rock (though it was not the first such mixture), and it peaked at an unheard of #4 on the pop charts. Also, the mid-1980s saw the rise of the first major black female group, Salt-N-Pepa, who hit the charts with singles like "The Show Stoppa" in 1985. Ice-T's seminal "6n' Da Mornin'" (1986) is one of the first nationally successful West Coast hip hop singles, and is often said to be the beginning of gangsta hip hop (along with Schoolly D, LL Cool J and N.W.A.).
In 1987, Public Enemy brought out their debut album (Yo! Bum Rush the Show) on Def Jam - one of hip hop's oldest and most important labels, and Boogie Down Productions followed up in 1988 with By All Means Necessary; both records pioneered wave of hard-edged politicized performers. The late 1980s saw a flourishing of like-minded rappers on both coasts, and Public Enemy's It Takes a Nation of Millions to Hold Us Back became surprisingly successful, despite its militant and confrontational tone, appearing on both the club and rap charts, and peaking at #17 and #11, respectively. Aside from the lyrical innovations, Public Enemy's Terminator X (along with Eric B., of Eric B. & Rakim) pioneered new techniques in sampling that resulted in dense, multi-layered sonic collages.
The rise of gangsta rap
Main article: Gangsta rap
The first gangsta rap album to become a mainstream pop hit, selling more than 2.5 million copies, was N.W.A.'s Straight Outta Compton (1988). N.W.A.'s controversial subject matter, including drugs, violence and sex, helped popularize what became known as gangsta rap (said to have begun with Ice-T's "6N' Da Morning"). Specifically, the song "Fuck Tha Police" earned the foursome the enmity of law enforcement, resulting in a strongly-worded letter of discontent from the FBI. N.W.A.'s most lasting impact, however, was placing the West Coast on the hip hop map.
Diversification
Though women, whites and Latinos had long been a part of the hip hop scene, it was not until the 1980s that groups other than young African American males began creating popular, innovative and distinctive styles of hip hop music.
The first rap recording by a solo female was Philadelphia-based Lady B.'s "To the Beat, Y'All" (1980), while The Sequence became the first female group to record. It was, not, however, until Salt-N-Pepa in the middle of the decade that female performers gained mainstream success.
The first groups to mix hip hop and heavy metal included 1984's "Rock Box" (Run-D.M.C.) and "Rock Hard" (Beastie Boys). Later in the decade, Ice-T and Anthrax were among the most innovative mixers of thrash metal and hip hop. These fusions helped move hip hop into new audiences, and introduced it to legions of new fans in the States and abroad.
Latin hip hop
Main article: Latin Rap
In Puerto Rico, Vico C became the first mainstream Spanish language rapper, and his recorded work was the beginning of what became known as reggaeton. Hip hop had always had a significant connection to the Latino community in New York City including the first Latin DJ DJ Disco Wiz, and hip hop soon spread amongst Latinos. In the late 1980s and early 1990s, most Latin rap came from the West Coast of the United States. In 1989, Cuban-American Mellow Man Ace became the first Latino artist to have a major bilingual single. Mellow Man, referred to as the "Godfather of Latin rap", brought mainstream attention to Spanglish rhyming with his 1989 platinum single "Mentirosa". In 1990, fellow West Coast artist Kid Frost further brought Latinos to the rap forefront with his single "La Raza." Cypress Hill, of which Mellow Man Ace was a member before going solo, would become the first Latino rap group to reach platinum status in 1991. Ecuadorian born rapper Gerardo received heavy rotation on video and radio for his single "Rico, Suave." As a result of the success of these artists, countries throughout Latin America such as Cuba, the Dominican Republic and Mexico created their own Hip Hop scenes.
Electro
Main articles: Electro (music) and Electro (disambiguation)
While Run DMC laid the groundwork for East Coast rap, "Planet Rock" (Afrika Bambaataa) was one of the first electro tracks. Based on a sample from German rock group Kraftwerk (Trans-Europe Express), "Planet Rock" inspired countless groups, based in New Jersey, New York City and Detroit, among other places, to make electronic dance music (called electro) that strongly influenced techno and house music, and especially the burgeoning electro music scene in northern England, the Midlands and London.
"Planet Rock" influenced hip hop outside of New York as well, such as Latin hip hop (also Latin freestyle or freestyle) such as Expose and The Cover Girls, as well as Los Angeles-based electro hop performers like the World Class Wreckin' Cru and Egyptian Lover.
Further spread within the US
By the end of the 1970s, hip hop was known in most every major city in the country, and had developed into numerous regional styles and variations. Outside of New York City, New Jersey and Philadelphia, where hip hop had long been well-established, the 1980s saw intense regional diversification.
The first Chicago hip hop record was the "Groovy Ghost Show" by Casper, released in 1980 and a distinctively Chicago sound began by 1982, with Caution and Plee Fresh. Chicago also saw the development of house music (a form of electronic dance music) in the early 1980s and this soon mixed with hip hop and began featuring rappers; this is called hip house, and gained some national popularity in the late 1980s and early 90s, though similar fusions from South Africa, Belgium and elsewhere became just as well-known into the 90s.
Los Angeles hardcore rappers (Ice-T) and electro hop artists (Egyptian Lover) began recording by 1983, though the first recorded West Coast rap was Disco Daddy and Captain Rapp's "Gigolo Rapp" in 1981. In Miami, audiences listened to Miami bass, a form of sultry and sexually explici
