本文目录索引

• 1，敏感什么意思
• 2，敏感有什么含义？
• 3，(纽约我爱你)里有哪些故事?详细 ~
• 4，2000年左右好听的英文歌
• 5，hiphop的英文介绍（要在英文课上做个关于它的介绍）
• 6，求关于hip-hop的介绍.(英文版的.)
• 7，服饰与服装的区别是什么？

1，敏感什么意思

【解释】生理上或心理上对外界事物反应很快 【拼音】[ mǐn gǎn ] 【出处】民国 鲁迅《书信集·致徐懋庸》：“文学与社会之关系，先是它敏感的描写社会，倘有力，便又一转而影响社会，使有变革。” 【示例】现代作家 史铁生《秋天的怀念》：“对于‘跑’和‘踩’一类的字眼儿，她比我还敏感。” 扩展资料： 【近义词明锐、敏锐 【反义词】麻痹、麻木、迟钝、警惕 1、敏锐 【拼音】[ mǐn ruì ] 【解释】（感觉）灵敏；（眼光）尖锐：思想～。目光～。～的洞察力。 【出处】明 唐顺之《序》：“公为人敏锐阔达，艺於世务而圆於应机。” 【释义】你为人敏锐宽达，艺术在社会而圆在随机 2、麻痹 【拼音】[ má bì ] 【解释】机体某一部分的感觉或运动功能部分地或完全地丧失；疏忽大意，失去警惕性 【出处】明 虞抟《医学正传·麻木》：“夫所谓不仁者，或周身或四肢唧唧然麻木不知痛痒，如绳扎缚初解之状，古方名为麻痹者是也。” 【释义】那就是不仁的人，有全身或四肢唧唧地麻木不知道痛痒，如绳扎束初解的情况，古方中名为运动功能部分地或完全地丧失了。 参考资料来源：百度百科-敏感

2，敏感有什么含义？

意思：谓感觉敏锐，对外界事物反映很快。 读音：mǐn gǎn 引用： 1、鲁迅《书信集·致徐懋庸》：“文学与社会之关系，先是它敏感的描写社会，倘有力，便又一转而影响社会，使有变革。” 2、柳青《创业史》第一部第八章：“再没比恋爱的青年人敏感了，对方一丝一毫的变化，都能感受出来。” 例句：人世间给予她的丝恩发怨，无不在她那敏感的心里留下深深的印痕。 扩展资料近义词： 敏锐 [ mǐn ruì ] 敏感，锐敏。 引用：王力《中国语言学史》第三章：“ 王氏和罗氏都是封建时代的人物，但是王氏具有现代科学的头脑，他眼光比较敏锐，思虑比较周密，成就更为突出。” 例句：公安人员目光敏锐，很快就捕捉到了要寻找的目标。 反义词： 迟钝 [ chí dùn ] 谓思想、感官、行动等反应慢，不灵敏。 引用：丁玲《水》三：“望着大福的三爷，在一双迟钝的眼里又挤出两颗眼泪来。” 例句：我昨晚没睡好，头昏昏沉沉的，反应迟钝了许多。

3，(纽约我爱你)里有哪些故事?详细 ~

第一个故事导演是姜文。年轻男人在路上邂逅女主角，跟踪她来到一家酒吧。在洗手间捡到女主角的手机因此来进行搭讪，颇有意思的是他说他在这家酒吧第一次见他父亲，告诉他他是母亲给他的礼物。正当他毫无顾忌的哼着崔健《花房姑娘》的歌词的时候，女人的男友出现。男人告诉男友说他是一个小偷。但却发现自己的钱包与钥匙都被“男友”拿走了。男人有些像跳梁小丑，落荒而逃。故事结束在戏剧性停顿中。姜文的美国式手法最后却难以说服观众，或者说有些矫情。戛纳三分钟尽是戏剧性停顿第二个故事故事发生在一场珠宝交易买卖中。女主角（娜塔丽波特曼）因为结婚剃光了头发。她要一直带着别人的头发了。男人的犹太妻子在印度神庙。美国市场上有很多头发都来自那里。他说头发能给疲倦的人带来希望，男人把女人的光头依偎在怀中。随后女人举行了婚礼。这个故事有些背景，我其实还没来得及琢磨透。在纽约，以外来人的眼光去面对这个城市，婚礼习俗。或者那些对于爱的形式。她们对纽约其实还隐藏着无奈。但是她们依然生活在这个城市.第三个故事是个很简单的故事。大卫是一个电影配乐师。是个作曲家。导演希望他看完一本书再发挥，但那本书有800页。他缺乏睡眠。几近崩溃。他想到放弃。电话里的女人叫卡米尔。她一直在跟他联系中。最后当大卫想放弃的时候卡米尔给他讲了一个故事，她说托斯托夫斯基在写赌徒的时候，合同要求在26天写成。她在一个年轻速记员的帮助下完成了，后来他结婚了，找到了挚爱。然后卡米尔说她愿意帮他看书告诉他写了什么，然后大卫可以专心于他的音乐。卡米尔站在门外，说，“就这么定了”，大卫说“那意思是我们可以结婚了”，卡米尔说“不，我还有很多书要读”。确实是个很好莱坞范儿的故事。第四个故事女主角MAGGIE.Q。在夜晚的纽约街头，男人为她点烟。这种点烟时所谓的“亲密”被男人借题发挥，他用他的方式对她敞开心扉，渐近鲁莽，他幻想着俩人接下去该有的故事。男人一直激情高昂的说着。言语淫秽，挑逗。女人说，你是个演员么？男人说，其实我是个作家。女人说，其实我是个妓女。最后女人给他名片。希望可以接到他的电话。男人诧异，女人离开。他手里拿着女人的名片措手不及。我其实在想导演想表达的是什么。其实很简单，也很容易。但故事很明显的脆弱了.第五个故事只攻上二垒的17岁少年，在一家他常去的药店，老板说希望带她的漂亮女儿去舞会。男孩很欣喜。但女孩儿是个坐在轮椅上的残疾人。随后她们来到舞厅，却见到了自己的女友跟别的男人在一起。然后女孩坐在在轮椅上和男孩在舞池里跳舞。舞会结束后，男孩的车却被别人开走。于是她们来到中央公园。女孩说：“许个愿吧”。于是女孩神奇吊在树上和男孩做爱。其实觉得这段挺野性的。故事的最后，老板告诉她，女孩是个演员，用这样的方式感受角色。“中央公园有843亩，占曼哈顿的百分之六，纽约有127000个女演员，占人口百分之二，在我毕业舞会那天，这两件事撞到了一起，让我的愿望成真，God I love New York”.虽然故事够喷血，但最后一段是亮点。情感的升华。其实纽约也有诺丁山。哈哈~第六个故事一男一女各自在赴约的路上。说着一大堆废话。女人脸部有大段特写。有些颓废之感。镜头不时闪光两人做爱的画面。女人在做着思想挣扎，她觉得她今晚要做的事情。今晚她不想跟他上床。同样男人也在做着思想独白。男人想其实自己可以招一辆出租车回家。他犹豫的打开车门。他回头。女人站在眼前。之前的思想挣扎化为乌有。两人在车厢后座亲吻。消失在纽约的夜晚。其实觉得这个导演有点神经病。不过也恰巧反映着一些现实。只是觉得这样明朗的主题，为啥要发生在夜晚。第四个故事也是后面还有一个故事也是。我甚至在怀疑，你们到底是否在热爱这座城市。为什么表现出那么多忧伤。不得而知。故事继续吧第七个故事一个老人（很像贝多芬，是题外话哈哈~）送一个法国女歌手入住酒店。服务员是个肢残的男人。他是女人的头号仰慕者。于是他送她换了房间，女人觉得房间里需要花，男人为他找来了神秘的紫罗兰。一切都很奇妙。女人的台词简单而平静。纯白的窗帘与蒙太奇交相辉映。男人拿来红酒到她的房间，他看上去很悲伤。女人不再唱歌了。他很遗憾他想听她继续唱歌。他说他的父亲是他的头号仰慕者。女人说，谢谢，替我谢谢他。他说他去关窗门吧，这么冷她这么受得了。男人走出窗台跳下楼死了。于是镜头里那个老人从窗台外进来，他说他什么都没看见。他说她们酒店的经理是他的头号仰慕者，在巴黎听过她很多次歌。女人说，谢谢，替我谢谢他。说实话我不太懂这个故事。第八个故事黑人爸爸与女儿躺在公园草地上说话。女孩说她能让这些房子跳起来，整个城市都因她而感动。爸爸说你看到这些建筑物上的城市了吗？女儿说，像妈妈的牙齿。女孩天真的想象着。她们来到喷泉。路边的女人误解为他是女儿的男保姆。爸爸笑着对她们说谢谢。其实女儿的妈妈有了新的丈夫。他只是偶尔与女儿出行。说是男保姆有何区别呢。爸爸是个舞者，女儿在台下为他欢呼。其实这一切很单纯很奇妙。这个城市，在跳起来，爸爸的舞蹈在感动着这个城市。这是个充满爱的故事.第九个故事上面小转场中那个老年画家邂逅了女主角舒淇，他对她一见倾心，很想把她画下来了，舒淇拒绝了。男人留下了联系方式。回家后凭着想象画出了没有眼睛的舒淇，音乐想起，周璇的《天涯歌女》（好像不是原唱，稍微有些差别）很有感觉。舒淇在华人区的一家茶坊当营业员，有一天他去找那个画家，但是画家已经死了。她捡来了那张没有自己眼睛的画，回家后剪下自己照片的眼睛贴在上面。最后舒淇坐在一家餐厅，天涯歌女再次响起。镜头拉远...其实这个故事还是可以的。但也说不上喜欢。第十个故事又是点烟引起的故事。但这次调戏者变成了女人。其实也只是一种潜移默化，但也让人有些摸不着头脑，这样的故事看得费劲儿。又是个发生在晚上的故事，要命。但台词是这几个故事里最好的。女人说：“这就是我喜欢纽约的原因，在人行道上抽烟的短暂时刻，思考你的人生，让你更感激这个城市，你可以看着这些房子，感受这些空气，看周围的人。有时候能遇到你想说话的那个人，说一些你想跟陌生人说的话，没有过往就没有负罪感”第十一个故事这是整部作品最完美的故事。老牌的奥斯卡女配角。老人在结婚周年的纪念日一同出游。一路上夫妇俩一直拌着嘴，老太太絮絮叨叨的调侃着丈夫。这样大段幽默的对白，让人捧腹大笑。最后她们看到大海。老太太停住了絮叨，紧紧的偎在丈夫怀里。丈夫轻轻的一吻，此刻心中突然充满着无限的温暖。这种感觉让人觉得这就是我们一辈子所追求的爱情吧。突然滑轮少年打破了两人的宁静，她们破口大骂。

4，2000年左右好听的英文歌

甜美女声 Alizee，法国美女小天后，16岁时以一首Moi...Lolita成名，席卷法国、西班牙、意大利、德国、俄罗斯、以色列、荷兰及波兰等8大国排行冠军宝座。挟“Moi Lolita”的冠军气势，Alizee的首张专辑“Gourmandises”在全球创下400万张的销售量，Alizee也赢得了M6音乐大奖与NRJ音乐奖所颁发的“法国最有前途新人奖”以及“最佳音乐网站”跟世界音乐奖。 2003年最新大碟“Mes Courants Electriques”一推出立即掳获法国排行榜亚军。好多人估计是看了她翻唱麦当娜的LA ISLA BONITA的现场MV开始喜欢她的。人漂亮，歌好听，我空间有她的专题和MV。 Avril，一个庞克女子、一个爆发力十足的灵魂，一个狂野不羁的女孩. 美国“人物”杂志，2005年12月刊，评选出的世界十大怪才或鬼才音乐人之一。17岁背着一把吉他只身逃学到美国创作自己的音乐，成功打出自己的一片天空。好听的太多了，呵呵。I'm With You是我最喜欢的 Sarah connor，德国节奏蓝调歌后，最近喜欢上她的歌，确实很好听。基本上是听一首喜欢一首，呵呵。推荐几首非常喜欢的Love Is Color-Blind，一首经典的R&B歌曲，From Sarah with Love，Living To Love You，Just One Last Dance，skin on skin ,let's get back to bed boy...一首首好听的歌，细细去感受她的甜美、带劲的不俗唱功吧。 Thank You， White Flag， ----Dido,她的歌没有激越的旋律，但听着让人很舒服，感动。This Land Is Mine也不错 Craigie hill----Cara Dillon 这首歌的评价极高，你听听看就知道了 Queen of Rain I was so lucky ----Roxette，来自瑞典的一个乐队，很喜欢他们这种风格的歌.It Must Have Been Love”(出现在影片“风月俏佳人”中，很好听的民谣。可以作为你了解ROXETTE的首选单曲 God is a girl， Far_Away_From_Home， She --来自Groove Coverage，德国新晋乐队，以其混合多种元素的舞曲风格迅速走红，驰名全欧。 Moonlight shadow——Dana Winner，这首歌有好多版本，我最喜欢这个了 Should It Matter——Sissel Kyrkjebo， 来自北欧挪威，唯美的旋律，好听的声音 Love In December----Club 8 清新的女声加飘忽的旋律 down by the sally gardens----不知道 娓娓的旋律，背景音乐也很好听 Never had a dream come true--s club 7 英国偶像组合七小龙最催泪冠军金曲 I Could Be the One －Donna Lewis ，很清爽的女声 Born To Try——Delta Goodrem，很甜的声音 There You ll Be——Faith hill,乡村天后Faith hill向流行乐坛转型的成功之作 Beautiful Boy——Celine Dion， 歌手自不用介绍了，写给她baby的一首歌，很温暖 A Place Nearby Unforgivable Sinner， --Lene Marlin，挪威创作才女，林忆莲的‘我坐在这里’，张含韵的‘酸酸甜甜就是我’都是翻唱自她的歌 Whenever,Wherever—Sakira， 拉丁天后，一首一支奔放、野性十足的动感情歌，mv不错 I Saw You Walking In The Rain——Samira, 翻唱自以前的一首经典慢嗨音乐《The rain》， 加上了现代的电子音乐，感觉嗨极 Everytime——Britney Spears ， 基本没听过她的歌，这首还挺喜欢，轻柔舒缓,真的很甜 女声哥特： Memories ——Within Temptation ， 来自荷兰的女声哥特，女主音Sharon den Adel的声音在力量中融入一种温暖的鼓舞人的感觉。 一首好歌配上很有深度的MV（日志里有），不错。他们的Stand My Ground也不错.还有一首I'd give my heart很有气势 Nemo——Nightwish， 越听越有感觉。 Eversleeping----Xandria, 在别人空间听到的，越来越喜欢女生哥特了 男声： Love to be loved by you---Marc Terenzi 据说这首歌是Marc Terenzi在Sarah Conner和他的婚礼上演唱的,好深情 Raining_On_Sunday——Keith_Urban， 歌手不太了解，不过这歌很好听 Tell Me Why——Declan Galbraith， 11岁的爱尔兰小孩，歌声清彻迷人,高音清亮,极富感染力 My love， Soledad --Westlife的歌，喜欢他们的人应该不少，好听的也不少。与Mariah Caray合唱的一曲Against the odds Numb，In The End， ----Linkin Park，也被评为十大鬼才音乐人之一。实力自然不俗 Truly Madly Deeply， I Knew I Loved You， --Savage Garden，一个很成功的澳洲组合，推荐他们的2首抒情佳作。还有一首快节奏的to the moon and back很耐听 Opera2——Vitas， 高音飚的没法说 Anyone Of Us， Say It Isnt So， --Gareth Gates，他曾经是一个因为严重口吃而几乎念不出自己姓名的男孩，在他的成长过程中可以说是充满了挫折，然而当他唱歌时，他所释放出来的却是一个如此纯净清亮、充满情感，并且足以让人感动落泪的声音。 Because you live——Jesse McCartney, 公主日记2片尾曲 It s My Life——Bon Jovi,不喜欢特别吵的歌,这首例外 Flieg ich durch die Welt——CITY 一首德语歌，旋律很轻快 Stan—Enimem&Dido, dido的thank you大卖还得说有enimem很大的功劳 Because i love you——Shakin stevens ，永不过时的旋律,经典情歌 Only Love ——Trademark,很好听，别的就不知道了~~ 法语歌曲 Je m appelle Hélène——Hélène Rollès ， 法国连续25周的冠军单曲，Hélène Rollès低沉浪漫的嗓音配合法文的咬字嚼音，真的很好听 Encore une Fois——Helene Segara又一首好听的法语情歌 L amour est un soleil－Helene Segara很大气的一首法语歌 noel sans toi——不知道 一首忧伤深情的法语歌--没有你的圣诞节 Le Papillon——法国电影蝴蝶原声 法国优美的乡村风光和老少之间谐趣的对话，安静和纯朴的一部影片，推荐你看看这部影片 vois sur ton chemin---法国电影放牛班的春天原声 很感人的一部电影...全剧以一个问题音乐神童的成长为主线，音乐贯穿全剧，很好听 L amour est bleu——Claudine Longet 缠缠绵绵，轻轻柔柔的抒情歌--爱是蓝色的 Magic Boulevard——Francois Feldman 一样好听的法语男声 Dur Dur D’être bébé----Jordy 最新推荐★ 法国天才男童5岁时的作品,好可爱的声音

5，hiphop的英文介绍（要在英文课上做个关于它的介绍）

Hip hop is a cultural movement that began among African-American and Puerto Rican communities in the South Bronx in the late 1970s. Portions of the culture began spreading into the mainstream during the early 1980s; by the 1990s, hip hop culture had spread all over the world. The movement is said to have begun with the work of DJ Kool Herc, Grandmaster Flash & the Furious Five, and Afrika Bambaattaa.

The main aspects, or "elements," of hip hop culture are MCing (rapping), DJing, urban inspired art/tagging (graffiti), b-boying (or breakdancing, to most), and beatboxing. Most consider knowledge, or "droppin' science," as the sixth element. The most known "extended" elements are political activism, hip hop fashion, hip hop slang, double dutching (an urban form of rope skipping), or other elements as important facets of hip hop. In mainstream spheres, the term "hip hop" typically refers only to hip hop music (or rap music), the music produced by the MCing and DJing aspects of hip hop culture.

Originating from socially marginalized groups, the hip hop culture is spontaneously nonconformist in relation to the western system of values and aesthetics.

Hip hop music, also known as rap music, is a style of music which came into existence in the United States during the mid-1970s, and became a large part of modern pop culture during the 1980s. It consists of two main components: rapping (MCing) and DJing (production and scratching). Along with hip hop dance (notably breakdancing) and urban inspired art, or notably graffiti, these compose the four elements of hip hop, a cultural movement that was initiated by inner-city youth, mostly African Americans and Latinos[1][2]in New York City, in the early 1970s.

Typically, hip hop music consists of rhythmic lyrics making use of techniques like assonance, alliteration, and rhyme. The rapper is accompanied by an instrumental track, usually referred to as a "beat," performed by a DJ, created by a producer, or one or more instrumentalists. Historically, this beat has often been created using a sample of the percussion break of another song: usually funk and soul recordings have been utilized. However, in recent years, it has become more common for the beat to be built up from individual drum samples. In addition to the beat, other sounds are often sampled, synthesized, or performed. Sometimes a track can be instrumental, as a showcase of the skills of the DJ or producer.

Hip hop began in The Bronx, a borough in New York City, when DJs began isolating the percussion break from funk and disco songs. The early role of the MC was to introduce the DJ and the music and to keep the audience excited. MCs began by speaking between songs, giving exhortations to dance, greetings to audience members, jokes and anecdotes. Eventually this practice became more stylized and became known as rapping. By 1979, hip hop had become a commercially popular music genre and began to enter the American mainstream. In the 1990s, a form of hip hop called gangsta rap became a major part of American music, causing significant controversy over lyrics which were perceived as promoting violence, promiscuity, drug use and misogyny. Nevertheless, by the beginning of the 2000s, hip hop was a staple of popular music charts and was being performed in many styles across the world.

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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 explicit dance music which arose from Los Angeles electro; it frequently included rapping. In Washington D.C. a hip hop-influenced form of dance music called go go emerged and incorporated rapping and DJing.

International spread

Beginning in the early 1980s, hip hop culture began its spread across the world. By the end of the 1990s, popular hip hop was sold almost everywhere, and native performers were recording in most every country with a popular music industry. Elements of hip hop became fused with numerous styles of music, including ragga, cumbia and samba, for example. The Senegalese mbalax rhythm became a component of hip hop, while the United Kingdom and Belgium produced a variety of electronic music fusions of hip hop, most famously including British trip hop. Hip hop also spread to countries like Greece, Spain and Cuba in the 1980s, led in Cuba by the self-exiled African American activist Nehanda Abiodun and aided by Fidel Castro's government. In Japan, graffiti art and breakdancing had been popular since the early part of the decade, but many of those active in the scene felt that the Japanese language was unsuited for rapping; nevertheless, by the beginning of the 1990s, a wave of rappers emerged, including Ito Seiko, Chikado Haruo, Tinnie Punx and Takagi Kan. The New Zealand hip hop scene began in earnest in the late 1980s, when Maori performers like Upper Hutt Posse and Dalvanius Prime began recording, gaining notoriety for lyrics that espoused tino rangatiratanga (Maori sovereignty).

The 1990s

In the 90s, gangsta rap became mainstream, beginning in about 1992, with the release of Dr. Dre's The Chronic. This album established a style calle

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