Abstract
This qualitative study seeks to examine the hip-hop dance form ethnologically and from the anthropological view, through administration of a survey/questionnaire and a review of peer-reviewed literature. This study finds that hip-hop is interwoven throughout the very fabric of modern media, music and art and is an integral expression in societal interaction and expression. Hip-hop is modern and yet primitive and will be around for many years to come.

Table of Contents
Abstract
Objective
Introduction
Research Questions
Research Instruments
Data Collection
Data Analysis
Literature Review
Discussion
Conclusions
Bibliography

From the Paper
"The respondents to the data collection instrument (survey-questionnaire) were asked what was it that influenced them in listening to hip-hop music. The answers given were affirmations that imitation in society is alive and well in the present day. Because the hip-hop radio stations were readily available, the respondents state that this exposure was key in their music influences at an early age. When asked what influenced the respondents in their preference of the hip-hop dance form the answers given in unison stating that MTV was an influence and stating that imitation was the beginning of this dance form adoption by the respondents."

Tags:Dance, hip, hop, American, culture, music

Abstract
The paper is an in-depth study of the history of hip hop dance, from before and after the 1970s, and its effects on society. It explores how this type of dance is unlike other dance forms and the elements that make it up. There are no fixed forms to dance, but only styles. The rest is up to the dancer. It is a style of dance for all society giving the freedom to all to dance according to their desires. The paper also shows how hip hop is very much an American product. The hip hop trend enables the path for several dancers, and at the same time it also fosters and promotes more suggestive dance moves. The paper provides clear indications of the effects on culture; some hip hop is racist in theme, while others are sexist. Many hip hop musicians concentrate on such issues like social inequity and the dangers of heroin use. The conclusion is that hip hop is more than just music. It is becoming the soul of pop culture as never before, and steadily moving from the street corners and music videos towards usage in the fitness centers, dance studios as well as television shows.

From the Paper
"Hip hop may be viewed as a culture and is often used to refer to commercial rap music, but hip-hop is not only music. It is loved by the American ghetto youth who claim that it is their method of self-expression and use hip hop to rise over their physical situations. The culture of hip hop has its roots based on truth, self-determination, courage and pride. This is the reason why it has grown to have its impact on almost every part of the world. (Hip-hop History) Some hip hop is racist in their themes, while others are sexist. At the same time, there are also many hip hop musicians who concentrate on such issues like social inequity and the dangers of heroin use. From its early days in the US, the music is being played in projects and some underground clubs, but, now it has achieved a profile that has led to include it in the 1992 presidential debates over Sister Soljah. In the 20th Century Fox movie, Bulworth, there is Warren Beatty playing a Senator who berates his opponents using rap. Hip hop, it would seem, has become a part of our lives. (Classified Hip-Hop or I wanna blow up like Marilyn Monroe's skirt) At the same time, hip hop is not only music. This form of dancing has become very popular and this is clear from the opinions of some experts. "There's a definite surge in the white neighborhood that wouldn't necessarily be exposed to hip-hop in their everyday life," says Keith Pinto, who is an MC and hip-hop dance teacher at the Dance Attack in Los Gatos, California. "They watch MTV, see other kids doing it and want to be a part of it. You can pretty much go to any dance studio in the Bay area and they'll have a hip-hop class." (Hip-hop dance fever)"

Tags:break, dance, graffiti, rapping, afrika, bambaataa, grandmaster, flash, universal, zulu, nation, scratch, rapping, djing, don, campbellock, bboying, scooby-doos, popping, boogaloo, krump, popping

Abstract
The paper discusses the history, elements, culture, rhythm, dances and influences of hip hop and rap music.

From the Paper
"Hip hop music is characterized as a genre of music typically consisting of a rhythmic style of speaking called rap over backing beats. Generally, hip hop is the term given to the culture in which rap music, fostered in part by individual artists and driven early on and throughout its evolution by DJs who speak over music, has developed. It is said to have been developed in New York City in the ...s, predominantly among African-Americans, Jamaicans and..."

Tags:hip hop, rap, culture

Abstract
This paper describes how Hip Hop came to South Africa in the 1980s and was first performed as an imitation of the American version, but then grew into a vehicle for political opinion against apartheid that resounded for more than a decade. The writer explains how Hip Hop diverged into many different genres, depending on its geographical location in South Africa, and how it continued to focus on the political situation even after the 1994 elections. It has also evolved to a form of house music called kwaito, which is very popular dance music. The paper concludes that although used as a voice for all who find themselves oppressed, Hip Hop in South Africa has proved especially difficult for female groups in terms of respect and equality, which seems to show that South African Hip Hop has truly become a mirror of South Africa's unique cultural and political setting.

From the Paper
"During this time, the Hip Hop revolution in the United States provided fertile ground for the oppressed black youth of South Africa. According to Clark, this is one of the reasons why the genre in South Africa evolved to a much greater extent than in the rest of Africa. The country's political paradigm of the time created a sense of resonance for the youth when they heard the radical lyrics of the American form, particularly artists such as Public Enemy, who sang "Fight the Power" during this time. The themes of revolution and empowerment found a home in the hearts of the South African youth."

Tags:HIV racism gender sexism politics, break dancing, media

Abstract
This paper begins with an explanation of the cultural and sociological origins of Hip Hop and then describes how it has evolved over time to have two different faces. The paper describes one version of Hip Hop as more mainstream and accessible to society at large and one version as more underground, authentic, and still representative of the group that first created the Hip Hop culture.

From the Paper
"The reasons why hip hop music became popular and the reasons why it is popular today are interconnected but unfortunately no longer identical. In the beginning, hip hop was based on cultural interrelation, rebellion, expression and accessibility -- its popularity was an organic part of its relationship to the impoverished and disadvantaged black community, and an implicit rejection of the way in which former modes of black music had sold out to white corporate America. Today, leaving aside the few dedicated independent and underground bands, hip hop has largely become part of the corporate machine. Modern hip hop's popularity is based on commercializing shrink wrapped rebellion, promoting the get-rich-quick dreams of an underprivileged class, and a myth of cultural continuity. However, this is not to say that nothing of the original vision remains, and there is certainly a degree to which hip hop is not dead."

Tags:musical, genre, clothing, lifestyle, choices, rap, graffiti, break, dancing, dj, turntable, instrument, mc

Abstract
This paper explains that the post-civil rights and black power groups, who witnessed so many radical social changes, provided the attitude and style that gave birth to Hip-Hop. The author points out that MCs (emcees), DJs (deejays), break dancing and graffiti art are considered to be the roots of the movement that empowered urban youths to use music, dance and other forms of artistic expression to describe life as they saw it. The paper stresses that, when listening to today's Hip-Hop and R&B, it is important to remember that many artists from the 1990s, who are still around, do not consider today's Hip-Hip as "tru Hip-Hop".

Table of Contents:
What is Hip-Hop?
Roots of Hip-Hop Culture
Creativity
Bling-Bling?
Wrapping It Up

From the Paper
"Depending on who was the first to be commercialized, one thing that will always be argued is that once Hip-Hop was made into a commodity it needed to be mass-produced. From the top, Hip-Hop artists would sign onto independent labels only because the owners were willing to take a risk. No major record label wanted to sign an artist who could only reach a certain group or community and when signing an artist, companies want to make sure that the artist would be able to sell records to all of America and not just the inner city suburbs."

Tags:shakur, commercialize, urban, style, voice

Abstract
A review of the manner in which hip hop's influence is evident in almost every corner of American culture, music, film, art, television, dance, fashion and language. It discusses some of the music's primary artists, their styles and their contribution to hip hop's success.

From the Paper
"Many believe hip hop to be merely the voice of rap music, however, as Nelson George explains in his book "Hip Hop America," "hip hop also embraces deejaying, artistic graffiti, break dancing, and a certain street style and swagger" (Hip B4). Moreover, hip hop has become a part of the American landscape. This became evident in 1999, when Lauryn Hill was nominated for the most Grammy Awards ever as well as winning the most female artists awards and adorning the cover of Time magazine. When rap's popularity began to rise in the late 1970's with songs such as "Rapper's Delight" and "Apache" by the Sugarhill Gang and Grandmaster Flash's "The Message," most major record labels ignored the genre, believing it to be just a fad and trend and that it would soon pass. However, that is not what happened. Hip hop now permeates the fabric of Black culture and has had a tremendous impact on the entire country and has profoundly effected American society (Book 4E). At one point during the 1992 presidential campaign, Bill Clinton even involved Sistah Souljah in his campaign strategy (Book 4E). "

Tags:Sistah, Souljah, black, rap, house

Abstract
This paper explores issues of how hip-hop culture, which includes not just rap music but beat-boxing, turntablism, break-dancing, krumping, and other manifestations, has been the focus of a great deal of negative attention due to what is widely perceived as a negative and debasing image or stereotype of women that is put forth in the culture.

Outline
Introduction
Historical Perspective
Present Problems
Analysis
Conclusion

From the Paper
"From an historical perspective, hip-hop music has not been around for very long, compared to other forms of music that have sparked societal debate, such as rock and roll and disco. Hip-hop music arguably began in the late seventies with artists like Grandmaster Flash and Electro, and focused on talking or rapping rather than singing, over a strong beat, often break-beat, and sampled instrumentation from other songs. Hip hop was male-dominated in its early days, as it continues to be today, and the lyrics for many hip-hop songs focused on presenting an idea of masculinity that was centered on the reality of life on the streets. As hip-hop gained in popularity through the 80s and even mainstream rock groups like Blondie and the Talking Heads dabbled in rap, this ethos was extended, expanded, and reinforced by groups like Public Enemy, Boogie Down Productions, and the Ultramagnetic MC's, who featured male lead rappers who were often dismissive of females and also often sought to stereotype women as being gold-diggers, bitches, and soap opera addicts. "Rap music has been around a little over 25 years now with hip-hop culture being slightly older. We now have generations of heads who grew or are growing up listening to rap. We are just beginning to see the long term effects and benefits of the imagery gleaned from videos and lyrical content; at this point it's safe to say that the effects are deep and long reaching" (Oshun, 2001). The 80s also saw the rise of so-called gangsta rap, which took the ethos of masculinity and mixed it with the myth of the outlaw or crime figure as rapper, supported by groups like N.W.A., Ice-T, and Geto Boyz."

Tags:menace, society, biker, shorts, fly, males, dominant, message, valorized, crime, pimping

From the Paper
"The purpose of this research is to examine the Jamaican influences on the origins of hip hop music. The plan of the research will be to set forth the popular-culture origins of hip hop in the United States in the South Bronx of New York City, and then to discuss the influences and implications of Jamaican musical style on the development and dissemination of hip hop through American and non-American cultural venues.

The temporal origin of hip hop music, which is largely considered an American phenomenon although its influence has been felt in Europe and Asia, has been identified as the 1970s, and its origin of location as the South Bronx in New York. According to Dimitriadis, hip hop music was a key aspect of a more pervasive cultural innovation that exploited a species of performance art, flamboyant costume, and performer-induced .."

Abstract
This paper is original ethnographic research, which describes the music scene in Houston and relates it to sociological theories. The author points out that, by focusing on the similarities between people and their values and cultural expressions, a consensus theorist would find much to discuss when analyzing the urban dance club scene; however, interactionist theory applies even more readily to the club scene than consensus theory because of the more intense focus on small group populations and because the patrons of a club gather together for basically the same purpose. The paper relates that postmodernists are able to analyze club culture by studying the impact that diversity and globalization have had on the global spread of musical styles, the blurred distinction between media-informed images of youth behavior and the value system shared by club goers.

Table of Contents:
Introduction
Ethnography
The Music
The Artists
The Fans
Sociological Observations and Analysis
Conclusion
Methodology

From the Paper
"Hip-hop is itself subdivided into numerous genres, each with its own flavor, style, and mood. At dance clubs like Crome, hip-hop tunes retain the warm, fun vibe of rap music while pumping out more regular beat patterns than some of the more soulful or underground artists use. Moreover, modern hip-hop is often infused with world beat samples, derived from Middle Eastern or Eastern European scales that add a distinct sound. When a live MC is in the house, the hip-hop comes alive, hearkening back to the heyday of the genre as a coalescing of looped samples, turntable mixing, scratching, and MC-ing."

Tags:phenomenon, field, immersion, hip-hop, postmodern