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	By 1979 hip hop music had become a mainstream genre. It spread across the world in the 1990s with controversial "gangsta" rap.<ref>{{cite web\|url=http://www.acesandeighths.com/hip_hop.html\|title=The History of Hip Hop Music\|website=Acesandeighths.com\|access-date=October 12, 2016\|archive-url=https://web.archive.org/web/20170618001714/http://www.acesandeighths.com/hip_hop.html\|archive-date=June 18, 2017\|url-status=dead}}</ref> Herc also developed upon break-beat deejaying,<ref name="The guide">Browne, P. ''The guide to United States popular culture'' Popular Press, 2001. p. 386</ref> where the breaks of funk songs—the part most suited to dance, usually percussion-based—were isolated and repeated for the purpose of all-night dance parties. This form of music playback, using hard funk and rock, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers would lead to the syncopated, rhymed spoken accompaniment now known as rapping. He dubbed his dancers "break-boys" and "break-girls," or simply b-boys and b-girls. According to Herc, "breaking" was also street slang for "getting excited" and "acting energetically"<ref>Kool Herc, in Israel (director), ''The Freshest Kids: A History of the B-Boy'', QD3, 2002.</ref>		By 1979 hip hop music had become a mainstream genre. It spread across the world in the 1990s with controversial "gangsta" rap.<ref>{{cite web\|url=http://www.acesandeighths.com/hip_hop.html\|title=The History of Hip Hop Music\|website=Acesandeighths.com\|access-date=October 12, 2016\|archive-url=https://web.archive.org/web/20170618001714/http://www.acesandeighths.com/hip_hop.html\|archive-date=June 18, 2017\|url-status=dead}}</ref> Herc also developed upon break-beat deejaying,<ref name="The guide">Browne, P. ''The guide to United States popular culture'' Popular Press, 2001. p. 386</ref> where the breaks of funk songs—the part most suited to dance, usually percussion-based—were isolated and repeated for the purpose of all-night dance parties. This form of music playback, using hard funk and rock, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers would lead to the syncopated, rhymed spoken accompaniment now known as rapping. He dubbed his dancers "break-boys" and "break-girls," or simply b-boys and b-girls. According to Herc, "breaking" was also street slang for "getting excited" and "acting energetically"<ref>Kool Herc, in Israel (director), ''The Freshest Kids: A History of the B-Boy'', QD3, 2002.</ref>
	[[File:Kool Herc.jpg\|thumb\|DJ Kool Herc is a pioneer in developing hip hop music.]]DJs such as Grand Wizzard Theodore, Grandmaster Flash, and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching.<ref>{{cite web\|url=http://www.daveyd.com/raptitle.html\|title=The History Of Hip Hop\|website=Daveyd.com\|access-date=August 29, 2007\|archive-url=https://web.archive.org/web/20110611083726/http://www.daveyd.com/raptitle.html\|archive-date=June 11, 2011\|url-status=live}}</ref> The approach used by Herc was soon widely copied, and by the late 1970s, DJs were releasing 12-inch records where they would rap to the beat. Influential tunes included Fatback Band's "King Tim III (Personality Jock)," The Sugarhill Gang's "Rapper's Delight," and Kurtis Blow's "Christmas Rappin'," all released in 1979.<ref name="Nile"/>~~{{dead link\|date=April 2018}}~~ Herc and other DJs would connect their equipment to power lines and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, now officially a historic building.<ref>{{cite web\| last = Lee\| first = Jennifer 8.\| authorlink = Jennifer 8. Lee\| title = Tenants Might Buy Birthplace of Hip-Hop\| work = The New York Times\| date = January 15, 2008\| url = http://cityroom.blogs.nytimes.com/2008/01/15/tenants-might-buy-the-birthplace-of-hip-hop/\| format = weblog\| accessdate = March 10, 2009\| archive-url = https://web.archive.org/web/20110727185807/http://cityroom.blogs.nytimes.com/2008/01/15/tenants-might-buy-the-birthplace-of-hip-hop/\| archive-date = July 27, 2011\| url-status = live}}</ref> The equipment consisted of numerous speakers, turntables, and one or more microphones.<ref>Kenner, Rob. "Dancehall", in ''The Vibe History of Hip-hop'', ed. Alan Light, 350-7. New York: Three Rivers Press, 1999.</ref> By using this technique, DJs could create a variety of music, but according to ''Rap Attack'' by David Toop "At its worst the technique could turn the night into one endless and inevitably boring song".<ref>Toop, David. ''The Rap Attack: African Jive to New York Hip Hop''. Boston: South End Press, 1984.</ref> KC The Prince of Soul, a rapper-lyricist with Pete DJ Jones, is often credited with being the first rap lyricist to call himself an "MC."<ref>{{cite web\|url=http://www.allhiphop.com/features/?ID=1686\|url-status=dead\|archiveurl=https://web.archive.org/web/20070118142930/http://www.allhiphop.com/features/?ID=1686\|archivedate=January 18, 2007\|title=Grand Master Mele Mel: Gun Show Part One\|publisher=AllHipHop.com\|last=Brown\|first=Mike}}</ref>		[[File:Kool Herc.jpg\|thumb\|DJ Kool Herc is a pioneer in developing hip hop music.]]DJs such as Grand Wizzard Theodore, Grandmaster Flash, and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching.<ref>{{cite web\|url=http://www.daveyd.com/raptitle.html\|title=The History Of Hip Hop\|website=Daveyd.com\|access-date=August 29, 2007\|archive-url=https://web.archive.org/web/20110611083726/http://www.daveyd.com/raptitle.html\|archive-date=June 11, 2011\|url-status=live}}</ref> The approach used by Herc was soon widely copied, and by the late 1970s, DJs were releasing 12-inch records where they would rap to the beat. Influential tunes included Fatback Band's "King Tim III (Personality Jock)," The Sugarhill Gang's "Rapper's Delight," and Kurtis Blow's "Christmas Rappin'," all released in 1979.<ref name="Nile"/> Herc and other DJs would connect their equipment to power lines and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, now officially a historic building.<ref>{{cite web\| last = Lee\| first = Jennifer 8.\| authorlink = Jennifer 8. Lee\| title = Tenants Might Buy Birthplace of Hip-Hop\| work = The New York Times\| date = January 15, 2008\| url = http://cityroom.blogs.nytimes.com/2008/01/15/tenants-might-buy-the-birthplace-of-hip-hop/\| format = weblog\| accessdate = March 10, 2009\| archive-url = https://web.archive.org/web/20110727185807/http://cityroom.blogs.nytimes.com/2008/01/15/tenants-might-buy-the-birthplace-of-hip-hop/\| archive-date = July 27, 2011\| url-status = live}}</ref> The equipment consisted of numerous speakers, turntables, and one or more microphones.<ref>Kenner, Rob. "Dancehall", in ''The Vibe History of Hip-hop'', ed. Alan Light, 350-7. New York: Three Rivers Press, 1999.</ref> By using this technique, DJs could create a variety of music, but according to ''Rap Attack'' by David Toop "At its worst the technique could turn the night into one endless and inevitably boring song".<ref>Toop, David. ''The Rap Attack: African Jive to New York Hip Hop''. Boston: South End Press, 1984.</ref> KC The Prince of Soul, a rapper-lyricist with Pete DJ Jones, is often credited with being the first rap lyricist to call himself an "MC."<ref>{{cite web\|url=http://www.allhiphop.com/features/?ID=1686\|url-status=dead\|archiveurl=https://web.archive.org/web/20070118142930/http://www.allhiphop.com/features/?ID=1686\|archivedate=January 18, 2007\|title=Grand Master Mele Mel: Gun Show Part One\|publisher=AllHipHop.com\|last=Brown\|first=Mike}}</ref>

	Street gangs were prevalent in the poverty of the South Bronx, and much of the graffiti, rapping, and b-boying at these parties were all artistic variations on the competition and one-upmanship of street gangs. Sensing that gang members' often violent urges could be turned into creative ones, Afrika Bambaataa founded the Zulu Nation, a loose confederation of street-dance crews, graffiti artists, and rap musicians. By the late 1970s, the culture had gained media attention, with ''Billboard'' magazine printing an article titled "B Beats Bombarding Bronx", commenting on the local phenomenon and mentioning influential figures such as Kool Herc.<ref name="That's the joint">Forman M; M. Neal, ''That's the joint! The hip-hop studies reader'', Routledge, 2004. p. 2.</ref> The New York City blackout of 1977 saw widespread looting, arson, and other citywide disorders especially in the Bronx<ref name="'70s">{{cite book\| title= How We Got Here: The '70s\| last= Frum\| first= David\| authorlink= David Frum\| year= 2000\| publisher= Basic Books\| location= New York, New York\| isbn= 978-0-465-04195-4\| pages= [https://archive.org/details/howwegothere70sd00frum/page/14 14–15]\| url= https://archive.org/details/howwegothere70sd00frum/page/14}}</ref> where a number of looters stole DJ equipment from electronics stores. As a result, the hip hop genre, barely known outside of the Bronx at the time, grew at an astounding rate from 1977 onward.<ref name="nytimes.com">Jody Rosen, [https://www.nytimes.com/2006/02/12/arts/music/12rose.html?sq=hip%20hop%201977&st=cse&scp=3&pagewanted=all "A Rolling Shout-Out to Hip-Hop History"] {{Webarchive\|url=https://web.archive.org/web/20151114051234/http://www.nytimes.com/2006/02/12/arts/music/12rose.html?sq=hip%20hop%201977&st=cse&scp=3&pagewanted=all \|date=November 14, 2015 }}, ''The New York Times'', February 12, 2006</ref>		Street gangs were prevalent in the poverty of the South Bronx, and much of the graffiti, rapping, and b-boying at these parties were all artistic variations on the competition and one-upmanship of street gangs. Sensing that gang members' often violent urges could be turned into creative ones, Afrika Bambaataa founded the Zulu Nation, a loose confederation of street-dance crews, graffiti artists, and rap musicians. By the late 1970s, the culture had gained media attention, with ''Billboard'' magazine printing an article titled "B Beats Bombarding Bronx", commenting on the local phenomenon and mentioning influential figures such as Kool Herc.<ref name="That's the joint">Forman M; M. Neal, ''That's the joint! The hip-hop studies reader'', Routledge, 2004. p. 2.</ref> The New York City blackout of 1977 saw widespread looting, arson, and other citywide disorders especially in the Bronx<ref name="'70s">{{cite book\| title= How We Got Here: The '70s\| last= Frum\| first= David\| authorlink= David Frum\| year= 2000\| publisher= Basic Books\| location= New York, New York\| isbn= 978-0-465-04195-4\| pages= [https://archive.org/details/howwegothere70sd00frum/page/14 14–15]\| url= https://archive.org/details/howwegothere70sd00frum/page/14}}</ref> where a number of looters stole DJ equipment from electronics stores. As a result, the hip hop genre, barely known outside of the Bronx at the time, grew at an astounding rate from 1977 onward.<ref name="nytimes.com">Jody Rosen, [https://www.nytimes.com/2006/02/12/arts/music/12rose.html?sq=hip%20hop%201977&st=cse&scp=3&pagewanted=all "A Rolling Shout-Out to Hip-Hop History"] {{Webarchive\|url=https://web.archive.org/web/20151114051234/http://www.nytimes.com/2006/02/12/arts/music/12rose.html?sq=hip%20hop%201977&st=cse&scp=3&pagewanted=all \|date=November 14, 2015 }}, ''The New York Times'', February 12, 2006</ref>
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	Kwaito is a political and party-driven genre, as performers use the music to express their political views, and also to express their desire to have a good time. Kwaito is a music that came from a once hated and oppressed people, but it is now sweeping the nation. The main consumers of Kwaito are adolescents and half of the South African population is under 21. Some of the large Kwaito artists have sold more than 100,000 albums, and in an industry where 25,000 albums sold is considered a gold record, those are impressive numbers.<ref>{{cite web\|url=http://www.southafrica.info/what_happening/news/features/kwaitomental.htm \|title=Kwaito: much more than music – \|publisher=Southafrica.info \|date=January 7, 2003 \|accessdate=April 23, 2010 \|url-status=dead \|archiveurl=https://web.archive.org/web/20100317142457/http://www.southafrica.info/what_happening/news/features/kwaitomental.htm \|archivedate=March 17, 2010 \|df=mdy }}</ref> Kwaito allows the participation and creative engagement of otherwise socially excluded peoples in the generation of popular media.<ref>{{Harvnb\|Steingo\|2005}}.</ref> South African hip hop has made an impact worldwide, with performers such as Tumi, HipHop Pantsula, Tuks Senganga.<ref>{{cite web\|title=african hip hop\|url=http://www.africanhiphop.com/tag/south-africa/\|work=south african hiphop\|accessdate=July 11, 2011\|archive-url=https://web.archive.org/web/20110818045412/http://www.africanhiphop.com/tag/south-africa/\|archive-date=August 18, 2011\|url-status=live}}</ref>		Kwaito is a political and party-driven genre, as performers use the music to express their political views, and also to express their desire to have a good time. Kwaito is a music that came from a once hated and oppressed people, but it is now sweeping the nation. The main consumers of Kwaito are adolescents and half of the South African population is under 21. Some of the large Kwaito artists have sold more than 100,000 albums, and in an industry where 25,000 albums sold is considered a gold record, those are impressive numbers.<ref>{{cite web\|url=http://www.southafrica.info/what_happening/news/features/kwaitomental.htm \|title=Kwaito: much more than music – \|publisher=Southafrica.info \|date=January 7, 2003 \|accessdate=April 23, 2010 \|url-status=dead \|archiveurl=https://web.archive.org/web/20100317142457/http://www.southafrica.info/what_happening/news/features/kwaitomental.htm \|archivedate=March 17, 2010 \|df=mdy }}</ref> Kwaito allows the participation and creative engagement of otherwise socially excluded peoples in the generation of popular media.<ref>{{Harvnb\|Steingo\|2005}}.</ref> South African hip hop has made an impact worldwide, with performers such as Tumi, HipHop Pantsula, Tuks Senganga.<ref>{{cite web\|title=african hip hop\|url=http://www.africanhiphop.com/tag/south-africa/\|work=south african hiphop\|accessdate=July 11, 2011\|archive-url=https://web.archive.org/web/20110818045412/http://www.africanhiphop.com/tag/south-africa/\|archive-date=August 18, 2011\|url-status=live}}</ref>
	[[File:Emmanuel Jal by David Shankbone.jpg\|thumb\|left\|South Sudanese musician Emmanuel Jal uses hip hop to heal war-torn African youth. Jal pictured at the Tribeca Film Festival in New York]]		[[File:Emmanuel Jal by David Shankbone.jpg\|thumb\|left\|South Sudanese musician Emmanuel Jal uses hip hop to heal war-torn African youth. Jal pictured at the Tribeca Film Festival in New York]]
	In Jamaica, the sounds of hip hop<!-- local name?--> are derived from American and Jamaican influences. Jamaican hip hop is defined both through dancehall and reggae music. Jamaican Kool Herc brought the sound systems, technology, and techniques of reggae music to New York during the 1970s. Jamaican hip hop artists often rap in both Brooklyn and Jamaican accents. Jamaican hip hop subject matter is often influenced by outside and internal forces. Outside forces such as the bling-bling era of today's modern hip hop and internal influences coming from the use of anti-colonialism and marijuana or "ganja" references which Rastafarians believe bring them closer to God.<ref>Wayne Marshall, "Bling-bling for Rastafari: How Jamaicans deal with hip hop".</ref><ref>[https://moodle.brandeis.edu/file.php/3404/pdfs/marshall-bling-bling.pdf/]~~{{dead link\|date=November 2016\|bot=InternetArchiveBot\|fix-attempted=yes}}~~</ref><ref>{{cite web \|url=http://worldmusic.about.com/od/genres/p/Reggae.htm \|title=Reggae Music 101 – Learn More About Reggae Music – History of Reggae \|publisher=Worldmusic.about.com \|date=November 4, 2009 \|accessdate=April 23, 2010 \|archive-url=https://web.archive.org/web/20110511030421/http://worldmusic.about.com/od/genres/p/Reggae.htm \|archive-date=May 11, 2011 \|url-status=live }}</ref>		In Jamaica, the sounds of hip hop<!-- local name?--> are derived from American and Jamaican influences. Jamaican hip hop is defined both through dancehall and reggae music. Jamaican Kool Herc brought the sound systems, technology, and techniques of reggae music to New York during the 1970s. Jamaican hip hop artists often rap in both Brooklyn and Jamaican accents. Jamaican hip hop subject matter is often influenced by outside and internal forces. Outside forces such as the bling-bling era of today's modern hip hop and internal influences coming from the use of anti-colonialism and marijuana or "ganja" references which Rastafarians believe bring them closer to God.<ref>Wayne Marshall, "Bling-bling for Rastafari: How Jamaicans deal with hip hop".</ref><ref>[https://moodle.brandeis.edu/file.php/3404/pdfs/marshall-bling-bling.pdf/]</ref><ref>{{cite web \|url=http://worldmusic.about.com/od/genres/p/Reggae.htm \|title=Reggae Music 101 – Learn More About Reggae Music – History of Reggae \|publisher=Worldmusic.about.com \|date=November 4, 2009 \|accessdate=April 23, 2010 \|archive-url=https://web.archive.org/web/20110511030421/http://worldmusic.about.com/od/genres/p/Reggae.htm \|archive-date=May 11, 2011 \|url-status=live }}</ref>

	Author Wayne Marshall argues that "Hip hop, as with any number of African-American cultural forms before it, offers a range of compelling and contradictory significations to Jamaican artist and audiences. From "modern blackness" to "foreign mind", transnational cosmopolitanism to militant pan-Africanism, radical remixology to outright mimicry, hip hop in Jamaica embodies the myriad ways that Jamaicans embrace, reject, and incorporate foreign yet familiar forms."<ref>Marshall, Wayne, "Bling-Bling ForRastafari: How Jamaicans Deal With Hip-Hop", ''Social and Economic Studies.. 55:1&2 (2006):49–74.</ref>		Author Wayne Marshall argues that "Hip hop, as with any number of African-American cultural forms before it, offers a range of compelling and contradictory significations to Jamaican artist and audiences. From "modern blackness" to "foreign mind", transnational cosmopolitanism to militant pan-Africanism, radical remixology to outright mimicry, hip hop in Jamaica embodies the myriad ways that Jamaicans embrace, reject, and incorporate foreign yet familiar forms."<ref>Marshall, Wayne, "Bling-Bling ForRastafari: How Jamaicans Deal With Hip-Hop", ''Social and Economic Studies.. 55:1&2 (2006):49–74.</ref>

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← Older revision		Revision as of 20:24, 23 September 2020
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	By 1979 hip hop music had become a mainstream genre. It spread across the world in the 1990s with controversial "gangsta" rap.<ref>{{cite web\|url=http://www.acesandeighths.com/hip_hop.html\|title=The History of Hip Hop Music\|website=Acesandeighths.com\|access-date=October 12, 2016\|archive-url=https://web.archive.org/web/20170618001714/http://www.acesandeighths.com/hip_hop.html\|archive-date=June 18, 2017\|url-status=dead}}</ref> Herc also developed upon break-beat deejaying,<ref name="The guide">Browne, P. ''The guide to United States popular culture'' Popular Press, 2001. p. 386</ref> where the breaks of funk songs—the part most suited to dance, usually percussion-based—were isolated and repeated for the purpose of all-night dance parties. This form of music playback, using hard funk and rock, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers would lead to the syncopated, rhymed spoken accompaniment now known as rapping. He dubbed his dancers "break-boys" and "break-girls," or simply b-boys and b-girls. According to Herc, "breaking" was also street slang for "getting excited" and "acting energetically"<ref>Kool Herc, in Israel (director), ''The Freshest Kids: A History of the B-Boy'', QD3, 2002.</ref>		By 1979 hip hop music had become a mainstream genre. It spread across the world in the 1990s with controversial "gangsta" rap.<ref>{{cite web\|url=http://www.acesandeighths.com/hip_hop.html\|title=The History of Hip Hop Music\|website=Acesandeighths.com\|access-date=October 12, 2016\|archive-url=https://web.archive.org/web/20170618001714/http://www.acesandeighths.com/hip_hop.html\|archive-date=June 18, 2017\|url-status=dead}}</ref> Herc also developed upon break-beat deejaying,<ref name="The guide">Browne, P. ''The guide to United States popular culture'' Popular Press, 2001. p. 386</ref> where the breaks of funk songs—the part most suited to dance, usually percussion-based—were isolated and repeated for the purpose of all-night dance parties. This form of music playback, using hard funk and rock, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers would lead to the syncopated, rhymed spoken accompaniment now known as rapping. He dubbed his dancers "break-boys" and "break-girls," or simply b-boys and b-girls. According to Herc, "breaking" was also street slang for "getting excited" and "acting energetically"<ref>Kool Herc, in Israel (director), ''The Freshest Kids: A History of the B-Boy'', QD3, 2002.</ref>
	[[File:Kool Herc.jpg\|thumb\|DJ Kool Herc is a pioneer in developing hip hop music.]]DJs such as Grand Wizzard Theodore, Grandmaster Flash, and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching.<ref>{{cite web\|url=http://www.daveyd.com/raptitle.html\|title=The History Of Hip Hop\|website=Daveyd.com\|access-date=August 29, 2007\|archive-url=https://web.archive.org/web/20110611083726/http://www.daveyd.com/raptitle.html\|archive-date=June 11, 2011\|url-status=live}}</ref> The approach used by Herc was soon widely copied, and by the late 1970s, DJs were releasing 12-inch records where they would rap to the beat. Influential tunes included Fatback Band's "King Tim III (Personality Jock)," The Sugarhill Gang's "Rapper's Delight," and Kurtis Blow's "Christmas Rappin'," all released in 1979.<ref name="Nile"/>~~{{dead link\|date=April 2018}}~~ Herc and other DJs would connect their equipment to power lines and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, now officially a historic building.<ref>{{cite web\| last = Lee\| first = Jennifer 8.\| authorlink = Jennifer 8. Lee\| title = Tenants Might Buy Birthplace of Hip-Hop\| work = The New York Times\| date = January 15, 2008\| url = http://cityroom.blogs.nytimes.com/2008/01/15/tenants-might-buy-the-birthplace-of-hip-hop/\| format = weblog\| accessdate = March 10, 2009\| archive-url = https://web.archive.org/web/20110727185807/http://cityroom.blogs.nytimes.com/2008/01/15/tenants-might-buy-the-birthplace-of-hip-hop/\| archive-date = July 27, 2011\| url-status = live}}</ref> The equipment consisted of numerous speakers, turntables, and one or more microphones.<ref>Kenner, Rob. "Dancehall", in ''The Vibe History of Hip-hop'', ed. Alan Light, 350-7. New York: Three Rivers Press, 1999.</ref> By using this technique, DJs could create a variety of music, but according to ''Rap Attack'' by David Toop "At its worst the technique could turn the night into one endless and inevitably boring song".<ref>Toop, David. ''The Rap Attack: African Jive to New York Hip Hop''. Boston: South End Press, 1984.</ref> KC The Prince of Soul, a rapper-lyricist with Pete DJ Jones, is often credited with being the first rap lyricist to call himself an "MC."<ref>{{cite web\|url=http://www.allhiphop.com/features/?ID=1686\|url-status=dead\|archiveurl=https://web.archive.org/web/20070118142930/http://www.allhiphop.com/features/?ID=1686\|archivedate=January 18, 2007\|title=Grand Master Mele Mel: Gun Show Part One\|publisher=AllHipHop.com\|last=Brown\|first=Mike}}</ref>		[[File:Kool Herc.jpg\|thumb\|DJ Kool Herc is a pioneer in developing hip hop music.]]DJs such as Grand Wizzard Theodore, Grandmaster Flash, and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching.<ref>{{cite web\|url=http://www.daveyd.com/raptitle.html\|title=The History Of Hip Hop\|website=Daveyd.com\|access-date=August 29, 2007\|archive-url=https://web.archive.org/web/20110611083726/http://www.daveyd.com/raptitle.html\|archive-date=June 11, 2011\|url-status=live}}</ref> The approach used by Herc was soon widely copied, and by the late 1970s, DJs were releasing 12-inch records where they would rap to the beat. Influential tunes included Fatback Band's "King Tim III (Personality Jock)," The Sugarhill Gang's "Rapper's Delight," and Kurtis Blow's "Christmas Rappin'," all released in 1979.<ref name="Nile"/> Herc and other DJs would connect their equipment to power lines and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, now officially a historic building.<ref>{{cite web\| last = Lee\| first = Jennifer 8.\| authorlink = Jennifer 8. Lee\| title = Tenants Might Buy Birthplace of Hip-Hop\| work = The New York Times\| date = January 15, 2008\| url = http://cityroom.blogs.nytimes.com/2008/01/15/tenants-might-buy-the-birthplace-of-hip-hop/\| format = weblog\| accessdate = March 10, 2009\| archive-url = https://web.archive.org/web/20110727185807/http://cityroom.blogs.nytimes.com/2008/01/15/tenants-might-buy-the-birthplace-of-hip-hop/\| archive-date = July 27, 2011\| url-status = live}}</ref> The equipment consisted of numerous speakers, turntables, and one or more microphones.<ref>Kenner, Rob. "Dancehall", in ''The Vibe History of Hip-hop'', ed. Alan Light, 350-7. New York: Three Rivers Press, 1999.</ref> By using this technique, DJs could create a variety of music, but according to ''Rap Attack'' by David Toop "At its worst the technique could turn the night into one endless and inevitably boring song".<ref>Toop, David. ''The Rap Attack: African Jive to New York Hip Hop''. Boston: South End Press, 1984.</ref> KC The Prince of Soul, a rapper-lyricist with Pete DJ Jones, is often credited with being the first rap lyricist to call himself an "MC."<ref>{{cite web\|url=http://www.allhiphop.com/features/?ID=1686\|url-status=dead\|archiveurl=https://web.archive.org/web/20070118142930/http://www.allhiphop.com/features/?ID=1686\|archivedate=January 18, 2007\|title=Grand Master Mele Mel: Gun Show Part One\|publisher=AllHipHop.com\|last=Brown\|first=Mike}}</ref>

	Street gangs were prevalent in the poverty of the South Bronx, and much of the graffiti, rapping, and b-boying at these parties were all artistic variations on the competition and one-upmanship of street gangs. Sensing that gang members' often violent urges could be turned into creative ones, Afrika Bambaataa founded the Zulu Nation, a loose confederation of street-dance crews, graffiti artists, and rap musicians. By the late 1970s, the culture had gained media attention, with ''Billboard'' magazine printing an article titled "B Beats Bombarding Bronx", commenting on the local phenomenon and mentioning influential figures such as Kool Herc.<ref name="That's the joint">Forman M; M. Neal, ''That's the joint! The hip-hop studies reader'', Routledge, 2004. p. 2.</ref> The New York City blackout of 1977 saw widespread looting, arson, and other citywide disorders especially in the Bronx<ref name="'70s">{{cite book\| title= How We Got Here: The '70s\| last= Frum\| first= David\| authorlink= David Frum\| year= 2000\| publisher= Basic Books\| location= New York, New York\| isbn= 978-0-465-04195-4\| pages= [https://archive.org/details/howwegothere70sd00frum/page/14 14–15]\| url= https://archive.org/details/howwegothere70sd00frum/page/14}}</ref> where a number of looters stole DJ equipment from electronics stores. As a result, the hip hop genre, barely known outside of the Bronx at the time, grew at an astounding rate from 1977 onward.<ref name="nytimes.com">Jody Rosen, [https://www.nytimes.com/2006/02/12/arts/music/12rose.html?sq=hip%20hop%201977&st=cse&scp=3&pagewanted=all "A Rolling Shout-Out to Hip-Hop History"] {{Webarchive\|url=https://web.archive.org/web/20151114051234/http://www.nytimes.com/2006/02/12/arts/music/12rose.html?sq=hip%20hop%201977&st=cse&scp=3&pagewanted=all \|date=November 14, 2015 }}, ''The New York Times'', February 12, 2006</ref>		Street gangs were prevalent in the poverty of the South Bronx, and much of the graffiti, rapping, and b-boying at these parties were all artistic variations on the competition and one-upmanship of street gangs. Sensing that gang members' often violent urges could be turned into creative ones, Afrika Bambaataa founded the Zulu Nation, a loose confederation of street-dance crews, graffiti artists, and rap musicians. By the late 1970s, the culture had gained media attention, with ''Billboard'' magazine printing an article titled "B Beats Bombarding Bronx", commenting on the local phenomenon and mentioning influential figures such as Kool Herc.<ref name="That's the joint">Forman M; M. Neal, ''That's the joint! The hip-hop studies reader'', Routledge, 2004. p. 2.</ref> The New York City blackout of 1977 saw widespread looting, arson, and other citywide disorders especially in the Bronx<ref name="'70s">{{cite book\| title= How We Got Here: The '70s\| last= Frum\| first= David\| authorlink= David Frum\| year= 2000\| publisher= Basic Books\| location= New York, New York\| isbn= 978-0-465-04195-4\| pages= [https://archive.org/details/howwegothere70sd00frum/page/14 14–15]\| url= https://archive.org/details/howwegothere70sd00frum/page/14}}</ref> where a number of looters stole DJ equipment from electronics stores. As a result, the hip hop genre, barely known outside of the Bronx at the time, grew at an astounding rate from 1977 onward.<ref name="nytimes.com">Jody Rosen, [https://www.nytimes.com/2006/02/12/arts/music/12rose.html?sq=hip%20hop%201977&st=cse&scp=3&pagewanted=all "A Rolling Shout-Out to Hip-Hop History"] {{Webarchive\|url=https://web.archive.org/web/20151114051234/http://www.nytimes.com/2006/02/12/arts/music/12rose.html?sq=hip%20hop%201977&st=cse&scp=3&pagewanted=all \|date=November 14, 2015 }}, ''The New York Times'', February 12, 2006</ref>
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	Kwaito is a political and party-driven genre, as performers use the music to express their political views, and also to express their desire to have a good time. Kwaito is a music that came from a once hated and oppressed people, but it is now sweeping the nation. The main consumers of Kwaito are adolescents and half of the South African population is under 21. Some of the large Kwaito artists have sold more than 100,000 albums, and in an industry where 25,000 albums sold is considered a gold record, those are impressive numbers.<ref>{{cite web\|url=http://www.southafrica.info/what_happening/news/features/kwaitomental.htm \|title=Kwaito: much more than music – \|publisher=Southafrica.info \|date=January 7, 2003 \|accessdate=April 23, 2010 \|url-status=dead \|archiveurl=https://web.archive.org/web/20100317142457/http://www.southafrica.info/what_happening/news/features/kwaitomental.htm \|archivedate=March 17, 2010 \|df=mdy }}</ref> Kwaito allows the participation and creative engagement of otherwise socially excluded peoples in the generation of popular media.<ref>{{Harvnb\|Steingo\|2005}}.</ref> South African hip hop has made an impact worldwide, with performers such as Tumi, HipHop Pantsula, Tuks Senganga.<ref>{{cite web\|title=african hip hop\|url=http://www.africanhiphop.com/tag/south-africa/\|work=south african hiphop\|accessdate=July 11, 2011\|archive-url=https://web.archive.org/web/20110818045412/http://www.africanhiphop.com/tag/south-africa/\|archive-date=August 18, 2011\|url-status=live}}</ref>		Kwaito is a political and party-driven genre, as performers use the music to express their political views, and also to express their desire to have a good time. Kwaito is a music that came from a once hated and oppressed people, but it is now sweeping the nation. The main consumers of Kwaito are adolescents and half of the South African population is under 21. Some of the large Kwaito artists have sold more than 100,000 albums, and in an industry where 25,000 albums sold is considered a gold record, those are impressive numbers.<ref>{{cite web\|url=http://www.southafrica.info/what_happening/news/features/kwaitomental.htm \|title=Kwaito: much more than music – \|publisher=Southafrica.info \|date=January 7, 2003 \|accessdate=April 23, 2010 \|url-status=dead \|archiveurl=https://web.archive.org/web/20100317142457/http://www.southafrica.info/what_happening/news/features/kwaitomental.htm \|archivedate=March 17, 2010 \|df=mdy }}</ref> Kwaito allows the participation and creative engagement of otherwise socially excluded peoples in the generation of popular media.<ref>{{Harvnb\|Steingo\|2005}}.</ref> South African hip hop has made an impact worldwide, with performers such as Tumi, HipHop Pantsula, Tuks Senganga.<ref>{{cite web\|title=african hip hop\|url=http://www.africanhiphop.com/tag/south-africa/\|work=south african hiphop\|accessdate=July 11, 2011\|archive-url=https://web.archive.org/web/20110818045412/http://www.africanhiphop.com/tag/south-africa/\|archive-date=August 18, 2011\|url-status=live}}</ref>
	[[File:Emmanuel Jal by David Shankbone.jpg\|thumb\|left\|South Sudanese musician Emmanuel Jal uses hip hop to heal war-torn African youth. Jal pictured at the Tribeca Film Festival in New York]]		[[File:Emmanuel Jal by David Shankbone.jpg\|thumb\|left\|South Sudanese musician Emmanuel Jal uses hip hop to heal war-torn African youth. Jal pictured at the Tribeca Film Festival in New York]]
	In Jamaica, the sounds of hip hop<!-- local name?--> are derived from American and Jamaican influences. Jamaican hip hop is defined both through dancehall and reggae music. Jamaican Kool Herc brought the sound systems, technology, and techniques of reggae music to New York during the 1970s. Jamaican hip hop artists often rap in both Brooklyn and Jamaican accents. Jamaican hip hop subject matter is often influenced by outside and internal forces. Outside forces such as the bling-bling era of today's modern hip hop and internal influences coming from the use of anti-colonialism and marijuana or "ganja" references which Rastafarians believe bring them closer to God.<ref>Wayne Marshall, "Bling-bling for Rastafari: How Jamaicans deal with hip hop".</ref><ref>[https://moodle.brandeis.edu/file.php/3404/pdfs/marshall-bling-bling.pdf/]~~{{dead link\|date=November 2016\|bot=InternetArchiveBot\|fix-attempted=yes}}~~</ref><ref>{{cite web \|url=http://worldmusic.about.com/od/genres/p/Reggae.htm \|title=Reggae Music 101 – Learn More About Reggae Music – History of Reggae \|publisher=Worldmusic.about.com \|date=November 4, 2009 \|accessdate=April 23, 2010 \|archive-url=https://web.archive.org/web/20110511030421/http://worldmusic.about.com/od/genres/p/Reggae.htm \|archive-date=May 11, 2011 \|url-status=live }}</ref>		In Jamaica, the sounds of hip hop<!-- local name?--> are derived from American and Jamaican influences. Jamaican hip hop is defined both through dancehall and reggae music. Jamaican Kool Herc brought the sound systems, technology, and techniques of reggae music to New York during the 1970s. Jamaican hip hop artists often rap in both Brooklyn and Jamaican accents. Jamaican hip hop subject matter is often influenced by outside and internal forces. Outside forces such as the bling-bling era of today's modern hip hop and internal influences coming from the use of anti-colonialism and marijuana or "ganja" references which Rastafarians believe bring them closer to God.<ref>Wayne Marshall, "Bling-bling for Rastafari: How Jamaicans deal with hip hop".</ref><ref>[https://moodle.brandeis.edu/file.php/3404/pdfs/marshall-bling-bling.pdf/]</ref><ref>{{cite web \|url=http://worldmusic.about.com/od/genres/p/Reggae.htm \|title=Reggae Music 101 – Learn More About Reggae Music – History of Reggae \|publisher=Worldmusic.about.com \|date=November 4, 2009 \|accessdate=April 23, 2010 \|archive-url=https://web.archive.org/web/20110511030421/http://worldmusic.about.com/od/genres/p/Reggae.htm \|archive-date=May 11, 2011 \|url-status=live }}</ref>

	Author Wayne Marshall argues that "Hip hop, as with any number of African-American cultural forms before it, offers a range of compelling and contradictory significations to Jamaican artist and audiences. From "modern blackness" to "foreign mind", transnational cosmopolitanism to militant pan-Africanism, radical remixology to outright mimicry, hip hop in Jamaica embodies the myriad ways that Jamaicans embrace, reject, and incorporate foreign yet familiar forms."<ref>Marshall, Wayne, "Bling-Bling ForRastafari: How Jamaicans Deal With Hip-Hop", ''Social and Economic Studies.. 55:1&2 (2006):49–74.</ref>		Author Wayne Marshall argues that "Hip hop, as with any number of African-American cultural forms before it, offers a range of compelling and contradictory significations to Jamaican artist and audiences. From "modern blackness" to "foreign mind", transnational cosmopolitanism to militant pan-Africanism, radical remixology to outright mimicry, hip hop in Jamaica embodies the myriad ways that Jamaicans embrace, reject, and incorporate foreign yet familiar forms."<ref>Marshall, Wayne, "Bling-Bling ForRastafari: How Jamaicans Deal With Hip-Hop", ''Social and Economic Studies.. 55:1&2 (2006):49–74.</ref>

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