However, the definition of all rap music of the eighties as old school rap seems to be more common nowadays, although musically it is not particularly useful. In the mid-sass, hip hop split Into two camps. One sampled disco and focused on getting the crowd dancing and excited, with simple or no rhymes ; these Ads Included Pete DC Jones, Eddie Achebe, DC Hollywood? AAA and Love Bug Stark. On the other hand, another group were focusing on rapid-fire rhymes and a more complex rhythmic scheme. These included Africa Bumboat(Yell, Paul Winkle, Grandmaster Flash and Bobby Robinson.

As the ass became the sass, many felt that hip hop was a novelty ad 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 Sailing’s Island and using sweet do hop-influenced harmonies. With the advent of recorded hip hop in the late sass, 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 Angels, Washington, Baltimore, Dallas, Kansas City, Miami, Seattle, SST.

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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 (flirts record : “Rhythm Talk”, by Jock’s Henderson in 19791 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 flirts female solo artist to record hip hop was Lady B. (“To the Beat HAWAII”, 1980), a Philly-area radio D].

Later School D helped invent what became known as gangster rap@The sass saw intense diversification in IP hop, which developed into a more complex form. The simple tales of sass emcees were replaced by highly metaphoric lyrics rapping over complex, multi- layered beats. Some rappers even became mainstream pop performers, Including Curtis Blown3, 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 ALL Cool J, who was a success from the release of his first LAP, Radio. Hip hop was almost entirely unknown outside of the united States prior to the 1 sass. 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, breakfasting 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 Nanny’s 1984 Panama City Rapping’) and the Philippines (Doors Saver’s “An Nosing Delight” and Vincent Defangs “Annual”). In Puerco Roll, Vice C became the first Spanish language rapper, and his recorded work was the beginning of what became known as regeneration the ass, gangster rap became mainstream, beginning In about 1992, with the release of DRP. Dress The Chronic. This album established a style called G Funk, which soon came to dominate and New Orleans gained fame for their local scenes.

By the end of the decade, especially with the success of Mine, hip hop was an integral part of popular music, and nearly all American pop songs had a major hip hop component. In the ass and into the following decade, elements of hip hop continued to be assimilated into other unrest of popular music ; neo soul, for example, combined hip hop and soul music and produced some major stars in the middle of the decade, while in the Dominican Republic, a recording by Santa Y Us Denudes and Lisa M became the first single of mercenary, a fusion of hip hop and meringue.