British hip hop

Infobox Music genre
name = Hip hop/Rap music
bgcolor = lightblue
color = white
stylistic_origins = Jamaican Dancehall toasting alongside the rhythms of R&B, disco, and funk
cultural_origins = late 1960s/early 1970s: Kingston, Jamaica - early 1970s South Bronx, New York City
instruments = Turntable, rapping, drum machine, sampler, synthesizer, human beatboxing
popularity = Since late 1980s in the United States, worldwide beginning in early 1990s, among best-selling genres of music by early 2000s.
derivatives =
subgenrelist =
subgenres =
fusiongenres =
regional_scenes =
local_scenes =
other_topics =

British hip hop is a genre of music, and a culture that covers a variety of styles of hip hop music made in the United Kingdom.cite news |work=The Times |title=Home grown - profile - British hip-hop - music" |first=Angus |last=Batey |date=2003-07-26] It is sometimes known as Brithop,cite web|url=http://news.bbc.co.uk/1/hi/entertainment/4455862.stm |title=BBC News website: Is UK on Verge of Brithop boom |first=Ian |last=Youngs |date=2005-11-21 |accessdate=2006-11-01] and is generally classified as one of a number of styles of urban music. [cite web|url=http://www.bbc.co.uk/music/urban/ |title=BBC Website - Music: Urban |accessdate=2006-11-01] British hip hop was originally influenced by the New York hip hop scene, with British rappers often adopting American accents in the early years.

In 2003, "The Times" described British hip hop's broad ranging approach:

"...'UK rap' is a broad sonic church, encompassing anything made in Britain by musicians informed or inspired by hip-hop's possibilities, whose music is a response to the same stimuli that gave birth to rap in New York in the mid-Seventies."

Origins of British hip hop

Following an initial flurry of interest from major record labels in the 1980s, by the early 1990s the scene had moved underground after record companies pulled back. In the mid-1990s hip hop in the UK started to experiment and diversify - often mutating into different genres entirely, such as trip hop, UK garage or Drum n Bass - and began making inroads into the US marketFact|date=February 2008. While many rappers such as Derek B could not help but begin by imitating the styles and accents of their U.S. heroes, there were many who realized that to merely transpose U.S. forms would rob U.K. hip-hop of the ability to speak for a disenfranchised British constituency in the way that U.S. hip-hop so successfully spoke to, and for, its audience. Attempts were made by U.K. rappers to develop styles more obviously rooted in British linguistic practices-Rodney P of the London Posse deliberately chose a London accent-although many succeeded only in adopting a slurred hybrid that located the rap somewhere in the middle of the Atlantic Ocean. [Hesmondhalgh, David and Caspar Melville. "Urban Breakbeat Culture: Repercussions of Hip-Hop in the United Kingdom." In Global Noise: Rap and Hip-Hop Outside the USA, 86-110. Middletown: Wesleyan University Press, 2001.]

UK & US

British hip hop was greatly influenced by United States’ hip hop. Hip hop music throughout the world is influenced by the United States hip hop but none are as similar as are the British and the US forms [Hesmondhalgh, David and Caspar Melville. "Urban Breakbeat Culture: Repercussions of Hip-Hop in the United Kingdom." Hip Hop in the U.S. has been said to have a negative effect on community's in in the UK. Hip hop has been said to have a negative effect on community's all over the world, but since hip hop has popularized (early 1980's) in the UK the rate of violence has raised. Hip Hop in the UK which is influenced by hip hop in the U.S. is then to blame for the major increase in violence. Hip hop from the U.S. is heavily influential in the UK. In Global Noise: Rap and Hip-Hop Outside the USA, 86-110. Middletown: Wesleyan University Press, 2001.] . The cultural diversity that exists in both these countries seems to be the relationship that makes them so comparable. The different cultures within these two countries are each creating their own form of hip hop individually [Sharma, Sanjay. "Noisy Asians or 'Asian Noise'?" In Disorienting Rhythms: The Politics of the New Asian Dance Music, ed. Sanjay Sharma, John Hutnyk, and Ashwani Sharma, 32-57. London: Zed Books, 1996.] . The effect of multi-cultural countries on music seems to be cross collaboration with the end result being a blending of all the different cultures. This merging of music puts the resultant hip hop from both the US and the UK on the top of the charts.

Media

The growth of British hip hop was given a boost when in 2002, the BBC launched a digital radio station 1Xtra devoted to "new black music" including hip hop, R&B, UK garage, dancehall, and drum and bass, [cite web |url=http://www.bbc.co.uk/1xtra/ |title=BBC Website: 1xtra |accessdate=2006-11-01] however 1Xtra does not play exclusively British hip hop.

The cable and satellite, Channel U TV also has the profile of British hip hop and grime.

Bhangra in the UK

According to Sanjay Sharma, Asians felt left out of the British hip-hop scene. None of the styles seemed to show a deep association with the South Asian population. [ Bhangra Sharma, Sanjay. "Noisy Asians or 'Asian Noise'?" In Disorienting Rhythms: The Politics of the New Asian Dance Music, ed. Sanjay Sharma, John Hutnyk, and Ashwani Sharma, 32-57. London: Zed Books, 1996. ] However, Members of the east Asian hip hop group Cobra summarized the feeling of the Asian populations of Britain: “Asians were lost, they weren’t accepted by whites, so they drifted into black culture, dressing like blacks, talking like them, and listening to Reggae. But Bhangra has given them their music and made them feel that they do have an identity. No matter if they are Gujuratis, Punjabis or whatever – Bhangra is Asian music for Asians.” (Baumann, 1994) [ Bhangra Sharma, Sanjay. "Noisy Asians or 'Asian Noise'?" In Disorienting Rhythms: The Politics of the New Asian Dance Music, ed. Sanjay Sharma, John Hutnyk, and Ashwani Sharma, 32-57. London: Zed Books, 1996. ] From this quote the reader understands that the South Asians lacked a critical musical base and were forced to associate with music that wasn’t authentically South Asian. HC Hustler confirms the Asian musical predicament in their song “Big Trouble in Little Asia.” HC Hustler sings: “Hey yo I see big trouble down in Little Asia, For an Asian growing up things get crazier and crazier, For my culture does not fit in with yours, Your corrupt culture makes my rich culture look poor.” [ Bhangra Sharma, Sanjay. "Noisy Asians or 'Asian Noise'?" In Disorienting Rhythms: The Politics of the New Asian Dance Music, ed. Sanjay Sharma, John Hutnyk, and Ashwani Sharma, 32-57. London: Zed Books, 1996. ] From these two independent takes on the Asian hip hop scene the reader is given understanding that Asians wish for a music genre that Asians can culturally associate with. Bhangra was the genre that unlocked the door for Asian British music. [ [http://www.bbc.co.uk/asiannetwork/homegrown05/history.shtml BBC Asian Network Homegrown ] ] Bhangra spread among the Asian population because the Asian population culturally associated with it. Bhangra was the answer to the “Big Trouble in Little Asia.”

History

Early years: 1980s

As in the US, British hip hop emerged as a scene from graffiti and breakdancing, and then through to DJing and rapping live at parties and club nights, with its supporters predominantly listening to and influenced by American hip hop. Unlike in the US, it should be noted that the British hip hop scene was cross-racial from the beginning. This is due to the fact that various ethnic groups in Britain tend to not live in segregated areas, even in areas with a high percentage of non-white individuals. These places allow youth to share a cultural interchange with one another including musical genres such as hip hop. [cite article |title="Urban Breakbeat Culture: Repercussions of Hip-Hop in the United Kingdom" Pp. 86-101 in Global Noise: Rap and Hip Hop Outside of the USA, edited by Tony Mitchell. Middletown, CT: Wesleyan University Press.|first=David|last=Hesmondhalgh|]

Cross pollination through migrating West Indians (who were influential in the growth of New York hip hop) helped develop a community interested in the music. There were, however, British tunes starting to appear - the first ever British hip hop tune released on record was "London Bridge" by Newtrament and released on Jive records in 1984,cite web |url=http://www.low-life.fsnet.co.uk/ukhiphop/story/early_doors.htm |title=Low Life/British hip hop, UK hip hop: the story |accessdate=2006-11-02] though prior to this British artists were rapping live or recording amateur tapes.

There were earlier pop records which dabbled with rap - such as Adam and the Ants' "Ant Rap" from the "Prince Charming" (CBS, 1981) LP, Wham's "Wham Rap (Enjoy What You Do)" (Inner Vision, 1982) or Malcolm McLaren's "Buffalo Gals" (Charisma, 1982) - but these are often considered pop appropriations of US rap.

Over the next few years, more UK hip hop and electro music was released: "Street Sounds Electro UK" (Street Sounds, 1984), which was produced by Greg Wilson and featured an early appearance from MC Kermit, who later went on to form the Wilson produced Ruthless Rap Assassins; The Rapologists' "Kids Rap/Party Rap" (Billy Boy, 1984); DJ Richie Rich's "Don't Be Flash" (Spin Offs, 1985). Releases were still few and far between, and the scene remained predominantly underground.

Although record labels began to take note of the underground scene throughout the 1980s and 1990s, radio play and publicity were still a difficulty in helping the fledgling scene to grow, and the scene only managed to survive through word of mouth and the patronage of pirate radio stations around the country. Mainstream radio did play British hip hop on occasion, and instrumental in giving the scene wider recognition were DJs such as Dave Pearce, Tim Westwood, and John Peel.

The first British hip hop labels

The first UK record label devoted to releasing UK hip hop acts was founded in 1986. Simon Harris' Music of Life label was home to rapper Derek B - the first UK rapper to achieve chart success.

Building on Derek B's success, Music of Life went on to sign groups such as Hijack, the Demon Boyz, Hardnoise (later Son of Noise) and MC Duke. Their Hard as Hell series mixed homegrown talent like Thrashpack and the She Rockers with US artists such as Professor Griff. Music of Life was swiftly followed by other labels such as Mango Records and Kold Sweat. Another successful British hip-hop artist that emerged from Music of life, was Usher D [http://en.wikipedia.org/wiki/Asher_D_%28Jamaican-British_rapper%29] , due to being originally from Jamaica, he would often mix hip-hop with reggae music.

Moving away from its US roots, British hip hop started to develop its own sounds: acts like Hijack, II Tone Committee, Hardnoise, and Silver Bullet developed a fast and hardcore style, while many other acts took influences from elsewhere.

Caveman and Outlaw Posse developed a jazz influenced style, whilst MC Mell'O' mixed jazz and hardcore. London Posse and Black Radical Mk II were more influenced by Reggae, whilst the Wee Papa Girl Rappers, Cookie Crew and Monie Love achieved chart success with more radio friendly hip hop.

Other acts and styles developed from the hip hop scene, resulting in new genres to describe them - for example Massive Attack [cite news| url=http://news.bbc.co.uk/1/hi/sci/tech/70844.stm |title=BBC News website, Massive Attack on the net |date=1998-03-29 |accessdate=2006-11-02] with trip hop, or Galliano with Acid Jazz.

False dawn: 1985

Despite the chart success of some British born hip hop artists - for example Slick Rick, Young MC and MF DOOM, who all moved to the US at an early age - the majority of the scene was still underground and small scale.

A mindset began to develop - typified by the Gunshot tune "No Sell Out",1991 or Son of Noise's tune "Poor But Hardcore", 1992 - that distrusted successful artists who did not utilise the hardcore style most associated with the scene. Silver Bullet's chart success was applauded due to an uncompromisingly rapid delivery, whereas Derek B and Rebel MC were scorned when their more pop influenced styles earned them success. Such artists were often branded "sell outs".

Hip Hop Connection - the first major British hip hop magazine - was founded in 1989 and by the early 1990s the British hip hop scene seemed to be thriving. Not only was there a firm base of rappers in London - such as Blade, Black Radical Mk II and Overlord X - but many distinct scenes developed nationally.

Bristol's scene (specifically, the St. Pauls area) produced The Wild Bunch (later better known as Massive Attack), and major crews like the Scratch Perverts and Smith & Mighty, and later became the home of trip hop.

Nottingham was the birthplace of the Stereo MCs, whilst Leeds spawned Braintax and Breaking the Illusion (who both founded Low Life Records) as well as Nightmares on Wax.

Greater Manchester gave birth to the Ruthless Rap Assassins, Krispy 3 (later Krispy), the Kaliphz, Jeep Beat Collective and MC Tunes.

As the scene grew, it became less common for British rappers to imitate American accents (those that did were often ridiculed) and British rap became more assured of its identity.

Caveman signed to a major label - Profile Records, the label home of Run DMC - and Kold Sweat came into their own, discovering groups like The SL Troopers, Dynametrix,Unanimous Decision and Katch 22, whose "Diary of a Blackman" was banned by Radio 1 for using a sound clip from the National Front.

In 1991, Hijack released "The Horns of Jericho" (Rhyme Syndicate Records, 1991) on Ice-T's recently formed Rhyme Syndicate label. The first single, "The Badman is Robbin'", was a top 40 hit and they went on sell more than 30,000 albums.

The predicted UK hip hop boom never achieved its predicted success. "The Horns of Jericho" (Rhyme Syndicate Records, 1991) was never released in the US, while record companies dropped artists, citing poor sales and lack of interest. Mango Records closed down, and the British public began to turn their affections to drum n bass (jungle), a fusion of hip hop and ragga.

British hip hop was also affected by the record industry clamping down on sampling, beginning to charge for the use of samples and prosecuting those who used them without permission. Larger US acts could afford to licence samples and still turn a profit for their labels, a luxury not available to many smaller UK artists.

The next generation

As the old rappers left the scene, a new generation, raised on hip hop and electronica, was coming of age: The Herbaliser released "Remedies" (Ninja Tune, 1995), Mr Scruff released the "Frolic EP Pt 1" (Pleasure Music, 1995), Mark B released "Any More Questions?" (Jazz Fudge, 1995) and DJ Skitz released "Where My Mind Is At/Blessed Be The Manor" (Ronin Records, 1996) featuring a young rapper called Roots Manuva on guest vocals who had previously released the single "Next Type of Motion" (Sound of Money, 1995).

Record labels that attempted to merge British hip hop style and sensibilities with modern dance music began to emerge, like Mark Rae's Grand Central (home to Aim, Rae & Christian, and Fingathing, among others) or DJ Vadim's Jazz Fudge. Increasingly, these artists managed to avoid the issues surrounding sampling by making music themselves (bands such as the Stereo MCs began playing instruments and sampling their own tunes) or searching out more obscure records where a most cost effective licensing deal could be arranged.

British hip hop began to go through a renaissance, [cite news|url=http://news.bbc.co.uk/1/hi/entertainment/reviews/1482738.stm |title=BBC News website: British hip hop renaissance |first=Barney |last=Rowntree |date=2001-08-10 |accessdate=2006-11-02] its style shifting from the hardcore template of its youth and moving into more melodic territory.

In 1998 Mark B and Blade released "Hitmen for Hire EP", which featured guest appearances from Lewis Parker and Mr Thing (of the Scratch Perverts). The EP was a success, and led to the successful 2001 album "The Unknown". The same year, Bristol's Hombré label released the "2012 EP" from Aspects, a benchmark release within the movement. Roots Manuva, Blak Twang, Mud Family, Task Force, Phi Life Cypher, Jeep Beat Collective and Ty all came to the public's attention, while veteran acts Rodney P, Mike J, and MC Mell'O' returned to the scene.

21st century

A new generation of artists emerged following the turn of the century, including Nicky Spesh, Whitecoat, Foreign Beggars The Fuhrerman and Jehst. At the same time a new style of electronic music emerging in the early 2000s, influenced heavily by hip hop and UK garage. The new genre was dubbed grime (sometimes called eskibeat or sublow). Notable grime acts include Dizzee Rascal, J-Dawg, Wiley, Sway DaSafo, Lady Sovereign, Ghetto, AC & Terra and Kano.

There is some controversy over whether grime is a subgenre of British hip hop or a genre in its own right. Early records such as "Pow (Forward Riddim)" by Lethal Bizzle made numerous references to guns and were subsequently banned from receiving air play. According to leadership, hip hop was believed to have glorified gun culture and violence and for that reason it was publicly spoken out against. [*Chang, Jeff. [http://www.villagevoice.com/music/0403,chang,50366,22.html "Future Shock"] , “Future Shock”, January, 2004. Accessed 14 March 2008. ] One popular grime artist who would speak back was Dizzee Rascal who made it known that his existence and the music he made was “a problem for Anthony Blair.” [ [http://blogs.guardian.co.uk/music/2007/05/from_radiohead_to_dizzee_rasca.html "From Radiohead to Dizzee Rascal, Blairs Greatest Hits"] , “The Guardian Blog”, May, 2007. Accessed 14 March 2008. ]

Further success followed as The Streets released his 2002 album "Original Pirate Material", and became one of the first of the new breed of British hip hop artists to gain respectable sales, though his verbal style resulted in him being shunned by many artists in the scene. Such success has caused a surge in media exposure of other British hip hop acts. Welsh rap group Goldie Lookin' Chain also achieved chart success with their tongue-in-cheek take on hip hop.

In November 2005, BBC News picked up on the growing success of what it terms Brithop, describing the growing number of urban, hip-hop and grime acts emerging in the 21st century. The BBC article followed the success of rapper Sway at the MOBO awards. Other subcultures have emerged in Britain due to the availability and accessibility of hip-hop, most notably that of clip-hop in southern England and youn in Scotland.

A new generation of hip-hop producers such as Shief (who's currently working with Nathan Alan (drummer for Amy Winehouse), along with Tia Jean who's song written for Beyonce) also contributed to the scene; more notable names are Joe Buddha, who has worked with hip-hop acts such as Estelle (a British female rapper & vocalist) & Klashnekoff. Other producers include Virtu-oso who has worked with Persona Bars and other producers like Harry Love who has worked with the likes of Jehst and Verb T. As well as collaborating with rappers, some producers also do their own projects, e.g. Joe Buddha has an album with Klasnekoff entitled Lionheart- Tussle With The Beast & Virtu-oso has an EP he released for free entitled, The Short Film EP. Some producers have garnered respect in the US, with producers like Lewis Parker collaborating with Ghostface Killah on his albums Fishscale and More Fish. Adam F has developed a successful production career spanning the Atlantic and the genres of hip-hop and drum and bass.

The internet has also become a prominent tool in the creation, promotion and distribution of British hip hop music.

Dizzee Rascal has been a huge success in the British hip-hop world. In a sense he’s a reflection of the gangster American rap in Britain in an interview Dizzee showed his stab wounds like 50 cent and 2pac “he represents the same old story told from Vallejo to Kansas City to Kingston to Cape Town, rap that talks locally and connects globally.” [ http://www.villagevoice.com/music/0403,chang,50366,22.html. Accessed March 13, 2008 ] In the article titled Britain’s Great Black Hip-Hop Hope Sanneh says that what makes Dizzee’s hip-hop style different from the American hip-hop is the British language that built around rhythms of speech. Dizzee managed to create his own style and beats that sound very distinctive from the American hip-hop music. The author of the article also says that “he may dress like an American rapper, but he loves American hip-hop too much to imitate it.” [http://query.nytimes.com/gst/fullpage.html?res=9403E3DA1F3DF937A25751C1A9659C8B63. Accessed March 13, 2008 ] During 2003 he also won the Mercury Prize.

Dizzee Rascal's embrace of the "gangster style of hip-hop," however, has brought about criticism from political figures like David Blunkett, who worries that Brit hip-hop may perpetuate violence. [Chang, Jeff. [http://www.villagevoice.com/music/0403,chang,50366,22.html "Future Shock"] , “Future Shock”, January, 2004. Accessed 14 March 2008. ] But, there are British artists that argue that British Hip-hop should not be lumped together/considered the same as American Hip-hop. British hip-hop, claims Roots Manuva, "is more healthy" than hip-hop, and is about making the music, not exploiting wealth or hitting it rich. [ “Hip-Hop gets back to its roots.” http://www.independent.co.uk/arts-entertainment/music/features/roots-manuva-hip-hop-gets-back-to-its-roots-662924.html. Accessed March 14, 2008 ] . This is what distinguishes British Hip-hop from American Hip-hop which is considered more commercial/international.

An example of the historical journey of British hip-hop can be heard in the 74 minute mix "An England Story" [http://www.theheatwave.co.uk/music/item/anenglandstorycompilation/] produced by the Heatwave [http://www.theheatwave.co.uk/] . The mix negotiates the relationship between the UK and the Caribbean through its rhythms, beat patterns, and various styles of vocal expression, tracing the transformation of music in the UK from 1983 onward, from reggae to grime and beyond. [ [Kate Hutchinson.| "To MC or not MC."| http://www.timeout.com/london135| February 27, 2008.] ]

Women

Women have contributed to hip hop’s evolution in Britain from the Beginning. [Chang, Jeff. "Future Shock", “Future Shock”, January, 2004. Accessed March 14, 2008.] At first they played upon their more masculine characteristics, like Monie Love and Queen Latifa. As the industry grew, women began to play on their sexuality. They slowly faded from the spotlight, until recently. The current British hip hop scene features strong women like Estelle and Ms Dynamite. These women more fairly represent British women. [ Verma, Rahul. “Girl Power: UK Women in Hip Hop.” New Routes, No. 05, 2005. http://www.britishcouncil.org/usa-arts-music-women-in-hip-hop-feature.htm. Accessed March 13, 2008. ]

In the past, women in the various genres that fall under the umbrella of hip hop have been largely portrayed as sex objects, sultry seductresses, temperamental divas, or some combination of these. [15] Recently, several female artists who defy these stereotypes have emerged on the UK scene. Grime artist Lady Sovereign has achieved huge success both in the UK and the US with her tomboy style. [16] Ms Dynamite (also known as Lady Dynamite), who released her first album in 2002, has become known for the straightforward political and social commentary in her music. [17] Singer, songwriter, and rapper Estelle said of the difficult position of female rappers “I think they get a tough ride because some of them don’t see themselves above and beyond the bull shit and no one’s really given them that break.” [18]

References

ee also

*Music of the United Kingdom
*Hip hop
*Grime
*UK garage
*Scottish hip-hop

External links

* [http://www.ukhh.com/ ukhh.com]
* [http://www.ukgraffiti.com/ UKGraffiti.com]
* [http://www.britishhiphop.co.uk/ britishhiphop.co.uk]
* [http://www.leedshiphop.co.uk/ leedshiphop.co.uk]
* [http://www.ukrunnings.co.uk/ ukrunnings.co.uk]
* [http://www.ragomagazine.com/ ragomagazine.com]