Hip-hop spread, from the parties to the parks, through New York City’s boroughs and then the region, around the country and the world.
At the hands of the DJs playing the albums, that break moment became something more: a composition in itself, repeated in an endless loop, back and forth between the turntables. The MCs got in on it, speaking their own clever rhymes and wordplay over it. So did the dancers, the b-boys and b-girls who hit the floor to break-dance. It took on its own visual style, with graffiti artists bringing it to the streets and subways of New York City.
In hip-hop, “when someone does it, then that’s how it’s done. When someone does something different, then that’s a new way,” says Babatunde Akinboboye, a Nigerian-American opera singer and longtime hip-hop fan in Los Angeles, who creates content on social media using both musical styles.Those looking for a hip-hop starting point have landed on one, turning this year into a 50th-birthday celebration. Aug.
As The Sugarhill Gang, they put out “ Rapper’s Delight ” and introduced the country to a record that would reach as high as 36 on Billboard’s Top 100 chart list, and even make it to No. 1 in some European countries. And everywomen, too, of course. Female voices took their chances on the microphone and dance floors as well, like Roxanne Shante, a native of New York City’s Queens borough who was only 14 years old in 1984.
“There’s so many different pockets ... so many ways to exist,” she says. “It’s not about what other people have done. ... You can always recreate the blueprint.”The emphasis on self-expression has also meant that over the years, hip-hop has been used as a medium for just about everything. Other figures like Common and Kendrick Lamar have also turned to a conscious lyricism in their hip-hop, with perhaps none better known than Public Enemy, whose “Fight the Power” became an anthem when it was created for filmmaker Spike Lee's 1989 classic “Do the Right Thing," which chronicled racial tension in a Brooklyn neighborhood.
“I think it’s very special and cool when artists use it to reflect society because it makes it bigger than just them,” Sanchez says. “To me, it’s always political, really, no matter what you’re talking about, because hip-hop, in a way, is a form of resistance.”Yes, it's an American creation. And yes, it's still heavily influenced by what’s happening in America.
The impact hasn’t just been in one direction. Hip-hop hasn't just been changed; it has made change. It has gone into other spaces and made them different. It strutted through the fashion world as it brought its own sensibility to streetwear. It has revitalized companies; just ask Timberland what sales were like before its workboots became de rigueur hip-hop wear.
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