By Emmett G. Price III
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Additional info for Hip Hop Culture
Hanover, CT: Wesleyan University Press. Thompson, Robert Farris. 1996. ” In Droppin’ Science: Critical Essays on Rap Music and Hip Hop Culture, ed. William Eric Perkins. Philadelphia: Temple University Press. Toop, David. 2000. Rap Attack 3: African Rap to Global Hip Hop, 3d ed. London: Serpent’s Tail. The Elements 2 H ip Hop Culture is most commonly defined as the combination of four foundational elements: DJing, graffiti, b-boying/b-girling, and MCing. Each element serves as a method of self-expression relying on individual creativity and highly personalized modes of performance.
The role of the MC also predates its incorporation into the Hip Hop Culture. Like the DJ and graffiti artist, the MC played a practical role in the urban community, although the title itself was adapted from elite high society. The Elements 35 Within the tradition of urban “griots,”a name most often associated with the West African poet/musician who carries and reveals the local history of a community through oral tradition, who used the microphone to taunt, tease, testify, and please, Gil S c o t t - H e ron, Pigmeat Markham, Rev.
These topics are presented as responses to some of the most “Frequently Asked Questions” in the study of Hip Hop Culture. Who Is Hip Hop? Questions of authenticity, membership, and ownership have plagued the Hip Hop community since Hip Hop’s transition from a local South Bronx, regional, and New York–based phenomenon to a national and subsequently international one. During the evolving days of the culture in the mid-1970s, questions of authenticity were irrelevant. Artists were simply motivated to articulate their despair and celebrate their self-determination through the foundational elements of DJing, graffiti tagging, b-boying/bgirling, MCing, and later beat-boxing and producing.
Hip Hop Culture by Emmett G. Price III