document_title: Hip hop music

question_text: who are the founding fathers of hip hop

question_tokens: who are the founding fathers of hip hop

text: Hip hop music

text: Origin of the term

text: The creation of the term hip hop is often credited to Keith Cowboy, rapper with Grandmaster Flash and the Furious Five.[21] However, Lovebug Starski, Keith Cowboy, and DJ Hollywood used the term when the music was still known as disco rap.[22] It is believed that Cowboy created the term while teasing a friend who had just joined the U.S. Army, by scat singing the words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of soldiers marching.[21] Cowboy later worked the "hip hop" cadence into a part of his stage performance, which was quickly used by other artists such as The Sugarhill Gang in "Rapper's Delight".[21] Universal Zulu Nation founder Afrika Bambaataa is credited with first using the term to describe the subculture in which the music belonged; although it is also suggested that it was a derogatory term to describe the type of music.[23] The first use of the term in print was in The Village Voice,[24] by Steven Hager, later author of a 1984 history of hip hop.[25]

text: Origins

text: Hip hop as music and culture formed during the 1970s in New York City from the multicultural exchange between African-American youth from the United States and young immigrants and children of immigrants from countries in the Caribbean.[26] Hip hop music in its infancy has been described as an outlet and a voice for the disenfranchised youth of marginalized backgrounds and low-income areas, as the hip hop culture reflected the social, economic and political realities of their lives.[27][28] Many of the people who helped establish hip hop culture, including DJ Kool Herc, DJ Disco Wiz, Grandmaster Flash, and Afrika Bambaataa were of Latin American or Caribbean origin. It is hard to pinpoint the exact musical influences that most affected the sound and culture of early hip hop because of the multicultural nature of New York City. Hip hop's early pioneers were influenced by a mix of music from their cultures and the cultures they were exposed to as a result of the diversity of U.S. cities.[29] New York City experienced a heavy Jamaican hip hop influence during the 1990s. This influence was brought on by cultural shifts particularly because of the heightened immigration of Jamaicans to New York City and the American-born Jamaican youth who were coming of age during the 1990s.

text: In the 1970s, block parties were increasingly popular in New York City, particularly among African-American, Caribbean and Latino youth residing in the Bronx. Block parties incorporated DJs, who played popular genres of music, especially funk and soul music. Due to the positive reception, DJs began isolating the percussive breaks of popular songs. This technique was common in Jamaican dub music,[30] and was largely introduced into New York by immigrants from the Caribbean, including DJ Kool Herc, one of the pioneers of hip hop.[31][32]

text: Because the percussive breaks in funk, soul and disco records were generally short, Herc and other DJs began using two turntables to extend the breaks. Herc created the blueprint for hip hop music and culture by building upon the Jamaican tradition of impromptu toasting, a spoken type of boastful poetry and speech over music.[33] On August 11, 1973, DJ Kool Herc was the DJ at his sister's back-to-school party. He extended the beat of a record by using two record players, isolating the percussion "breaks" by using a mixer to switch between the two records. Herc's experiments with making music with record players became what we now know as breaking or "scratching".[34]

text: A second key musical element in hip hop music is emceeing (also called MCing or rapping). Emceeing is the rhythmic spoken delivery of rhymes and wordplay, delivered at first without accompaniment and later done over a beat. This spoken style was influenced by the African American style of "capping", a performance where men tried to outdo each other in originality of their language and tried to gain the favor of the listeners.[35] The basic elements of hip hop—boasting raps, rival "posses" (groups), uptown "throw-downs", and political and social commentary—were all long present in African American music. MCing and rapping performers moved back and forth between the predominance of "toasting" songs packed with a mix of boasting, 'slackness' and sexual innuendo and a more topical, political, socially conscious style. The role of the MC originally was as a Master of Ceremonies for a DJ dance event. The MC would introduce the DJ and try to pump up the audience. The MC spoke between the DJ's songs, urging everyone to get up and dance. MCs would also tell jokes and use their energetic language and enthusiasm to rev up the crowd. Eventually, this introducing role developed into longer sessions of spoken, rhythmic wordplay, and rhyming, which became rapping.

text: By 1979 hip hop music had become a mainstream genre. It spread across the world in the 1990s with controversial "gangsta" rap.[36] Herc also developed upon break-beat deejaying,[37] 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".[38]

text: DJs such as Grand Wizzard Theodore, Grandmaster Flash, and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching.[39] 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. Popular tunes included Kurtis Blow's "The Breaks" and The Sugarhill Gang's "Rapper's Delight".[40] 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.[41] The equipment consisted of numerous speakers, turntables, and one or more microphones.[42] 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".[43] 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".[44]

text: 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.[45] The New York City blackout of 1977 saw widespread looting, arson, and other citywide disorders especially in the Bronx[46] 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.[47]

text: DJ Kool Herc's house parties gained popularity and later moved to outdoor venues in order to accommodate more people. Hosted in parks, these outdoor parties became a means of expression and an outlet for teenagers, where "instead of getting into trouble on the streets, teens now had a place to expend their pent-up energy."[48] Tony Tone, a member of the Cold Crush Brothers, stated that "hip hop saved a lot of lives".[48] For inner-city youth, participating in hip hop culture became a way of dealing with the hardships of life as minorities within America, and an outlet to deal with the risk of violence and the rise of gang culture. MC Kid Lucky mentions that "people used to break-dance against each other instead of fighting".[49][50] Inspired by DJ Kool Herc, Afrika Bambaataa created a street organization called Universal Zulu Nation, centered around hip hop, as a means to draw teenagers out of gang life, drugs and violence.[48]

text: The lyrical content of many early rap groups focused on social issues, most notably in the seminal track "The Message" by Grandmaster Flash and the Furious Five, which discussed the realities of life in the housing projects.[51] "Young black Americans coming out of the civil rights movement have used hip hop culture in the 1980s and 1990s to show the limitations of the hip hop movement."[52] Hip hop gave young African Americans a voice to let their issues be heard; "Like rock-and-roll, hip hop is vigorously opposed by conservatives because it romanticises violence, law-breaking, and gangs".[52] It also gave people a chance for financial gain by "reducing the rest of the world to consumers of its social concerns."[52]

text: In late 1979, Debbie Harry of Blondie took Nile Rodgers of Chic to such an event, as the main backing track used was the break from Chic's "Good Times".[40] The new style influenced Harry, and Blondie's later hit single from 1981 "Rapture" became the first major single containing hip hop elements by a white group or artist to hit number one on the U.S. Billboard Hot 100—the song itself is usually considered new wave and fuses heavy pop music elements, but there is an extended rap by Harry near the end.

text: Hip hop's early evolution into a form distinct from R&B also, not coincidentally, occurred around the time that sampling technology and drum-machines became widely available to the general public at a cost that was affordable to the average consumer—not just professional studios. Drum-machines and samplers were combined in machines that came to be known as MPC's or 'Music Production Centers', early examples of which would include the Linn 9000. The first sampler that was broadly adopted to create this new kind of music was the Mellotron used in combination with the TR-808 drum machine. Mellotrons and Linn's were succeeded by the AKAI, in the late 1980s.[54]

text: Turntablist techniques – such as rhythmic "scratching" (pushing a record back and forth while the needle is in the groove to create new sounds and sound effects, an approach attributed to Grand Wizzard Theodore[55][56]), beat mixing and/or beatmatching, and beat juggling – eventually developed along with the percussion breaks, creating a musical accompaniment or base that could be rapped over in a manner similar to signifying. As well, the art of Jamaican toasting, a style of talking or chanting into a microphone, often in a boastful style, while beats play over a sound system, was an important influence on the development of hip hop music. Toasting is another influence found in Jamaican dub music.[30][57]

text: Boxer Muhammad Ali, as an influential African-American celebrity, was widely covered in the media. Ali influenced several elements of hip hop music. Both in the boxing ring and in media interviews, Ali became known in the 1960s for being "rhyming trickster" in the 1960s. Ali used a "funky delivery" for his comments, which included "boasts, comical trash talk, [and] the endless quotabl[e]" lines.[58] According to Rolling Stone, his "freestyle skills" (a reference to a type of vocal improvisation in which lyrics are recited with no particular subject or structure) and his "rhymes, flow, and braggadocio" would "one day become typical of old school MCs" like Run–D.M.C. and LL Cool J,[59] the latter citing Ali as an influence.[58] Hip hop music in its infancy has been described as an outlet and a "voice" for the disenfranchised youth of low-income and marginalized economic areas,[27] as the hip hop culture reflected the social, economic and political realities of their lives.[28]

text: Introduction of rapping

text: Rapping, also referred to as MCing or emceeing, is a vocal style in which the artist speaks lyrically and rhythmically, in rhyme and verse, generally to an instrumental or synthesized beat. Beats, almost always in 4/4 time signature, can be created by sampling and/or sequencing portions of other songs by a producer.[60] They also incorporate synthesizers, drum machines, and live bands. Rappers may write, memorize, or improvise their lyrics and perform their works a cappella or to a beat. Hip hop music predates the introduction of rapping into hip hop culture, and rap vocals are absent from many hip hop tracks, such as "Hip Hop, Be Bop (Don't Stop)" by Man Parrish; "Chinese Arithmetic" by Eric B. & Rakim; "Al-Naafiysh (The Soul)" and "We're Rocking the Planet" by Hashim; and "Destination Earth" by Newcleus. However, the majority of the genre has been accompanied by rap vocals, such as the Sci-fi influenced electro hip hop group Warp 9.[61] Female rappers appeared on the scene in the late 1970s and early 80s, including Bronx artist MC Sha Rock, member of the Funky Four Plus One, credited with being the first female MC [62] and The Sequence, a hip hop trio signed to Sugar Hill Records, the first all female group to release a rap record, Funk You Up.[citation needed]

text: The roots of rapping are found in African-American music and ultimately African music, particularly that of the griots of West African culture.[63] The African-American traditions of signifyin', the dozens, and jazz poetry all influence hip hop music, as well as the call and response patterns of African and African-American religious ceremonies. Soul singer James Brown, and musical 'comedy' acts such as Rudy Ray Moore, Pigmeat Markham and Blowfly are often considered "godfathers" of hip hop music.[citation needed] Within New York City, performances of spoken-word poetry and music by artists such as The Last Poets, Gil Scott-Heron[64] and Jalal Mansur Nuriddin had a significant impact on the post-civil rights era culture of the 1960s and 1970s, and thus the social environment in which hip hop music was created.

text: DJ Kool Herc and Coke La Rock provided an influence on the vocal style of rapping by delivering simple poetry verses over funk music breaks, after party-goers showed little interest in their previous attempts to integrate reggae-infused toasting into musical sets.[30][65] DJs and MCs would often add call and response chants, often consisting of a basic chorus, to allow the performer to gather his thoughts (e.g. "one, two, three, y'all, to the beat"). Later, the MCs grew more varied in their vocal and rhythmic delivery, incorporating brief rhymes, often with a sexual or scatological theme, in an effort to differentiate themselves and to entertain the audience. These early raps incorporated the dozens, a product of African-American culture. Kool Herc & the Herculoids were the first hip hop group to gain recognition in New York,[65] but the number of MC teams increased over time.

text: Often these were collaborations between former gangs, such as Afrikaa Bambaataa's Universal Zulu Nation—now an international organization. Melle Mel, a rapper with The Furious Five is often credited with being the first rap lyricist to call himself an "MC".[66] During the early 1970s B-boying arose during block parties, as b-boys and b-girls got in front of the audience to dance in a distinctive and frenetic style. The style was documented for release to a worldwide audience for the first time in documentaries and movies such as Style Wars, Wild Style, and Beat Street. The term "B-boy" was coined by DJ Kool Herc to describe the people who would wait for the break section of the song, getting in front of the audience to dance in a distinctive, frenetic style.[67]

text: Although there were many early MCs that recorded solo projects of note, such as DJ Hollywood, Kurtis Blow and Spoonie Gee, the frequency of solo artists did not increase until later with the rise of soloists with stage presence and drama, such as LL Cool J. Most early hip hop was dominated by groups where collaboration between the members was integral to the show.[68] An example would be the early hip hop group Funky Four Plus One, who performed in such a manner on Saturday Night Live in 1981.[69]

text: Influence of disco

text: Hip hop music was both influenced by disco music, as disco also emphasized the key role of the DJ in creating tracks and mixes for dancers. As well, hip hop from the late 1970s used disco tracks as beats. At the same time, hip hop music was also a backlash against certain subgenres of late 1970s disco. While the early disco was African-American and Italian-American-created underground music developed by DJs and producers for the dance club subculture, by the late 1970s, disco airwaves were dominated by mainstream, expensively recorded music industry-produced disco songs. According to Kurtis Blow, the early days of hip hop were characterized by divisions between fans and detractors of disco music. Hip hop had largely emerged as "a direct response to the watered down, Europeanised, disco music that permeated the airwaves".[70][71] The earliest hip hop was mainly based on hard funk loops sourced from vintage funk records. However, by 1979, disco instrumental loops/tracks had become the basis of much hip hop music. This genre was called "disco rap". Ironically, the rise of hip hop music also played a role in the eventual decline in disco's popularity.

text: The disco sound had a strong influence on early hip hop music. Most of the early rap/hip-hop songs were created by isolating existing disco bass-guitar bass lines and dubbing over them with MC rhymes. The Sugarhill Gang used Chic's "Good Times" as the foundation for their 1979 hit "Rapper's Delight", generally considered to be the song that first popularized rap music in the United States and around the world. In 1982, Afrika Bambaataa released the single "Planet Rock", which incorporated electronica elements from Kraftwerk's "Trans-Europe Express" and "Numbers" as well as YMO's "Riot in Lagos". The Planet Rock sound also spawned a hip-hop electronic dance trend, electro music, which included songs such as Planet Patrol's "Play at Your Own Risk" (1982), C Bank's "One More Shot" (1982), Cerrone's "Club Underworld" (1984), Shannon's "Let the Music Play" (1983), Freeez's "I.O.U." (1983), Midnight Star's "Freak-a-Zoid" (1983), Chaka Khan's "I Feel For You" (1984).

text: DJ Pete Jones, Eddie Cheeba, DJ Hollywood, and Love Bug Starski were disco-influenced hip hop DJs. Their styles differed from other hip hop musicians who focused on rapid-fire rhymes and more complex rhythmic schemes. Afrika Bambaataa, Paul Winley, Grandmaster Flash, and Bobby Robinson were all members of third s latter group. In Washington, D.C. go-go emerged as a reaction against disco and eventually incorporated characteristics of hip hop during the early 1980s. The DJ-based genre of electronic music behaved similarly, eventually evolving into underground styles known as house music in Chicago and techno in Detroit.

text: Transition to recording

text: The earliest hip hop music was performed live, at house parties and block party events, and it was not recorded. Prior to 1979, recorded hip hop music consisted mainly of PA system soundboard recordings of live party shows and early hip hop mixtapes by DJs. Puerto Rican DJ Disco Wiz is credited as the first hip hop DJ to create a "mixed plate," or mixed dub recording, when, in 1977, he combined sound bites, special effects and paused beats to technically produce a sound recording.[72] The first hip hop record is widely regarded to be The Sugarhill Gang's "Rapper's Delight", from 1979.[17] However, much controversy surrounds this assertion as some regard "King Tim III (Personality Jock)" by The Fatback Band, which was released a few weeks before "Rapper's Delight", as a rap record.[73] There are various other claimants for the title of first hip hop record.

text: By the early 1980s, all the major elements and techniques of the hip hop genre were in place, and by 1982, the electronic (electro) sound had become the trend on the street and in dance clubs. New York City radio station WKTU featured Warp 9's "Nunk," in a commercial to promote the station's signature sound of emerging hip hop [74] Though not yet mainstream, hip hop had begun to permeate the music scene outside of New York City; it could be found in cities as diverse as Atlanta, Los Angeles, Chicago, Washington, D.C., Baltimore, Dallas, Kansas City, San Antonio, Miami, Seattle, St. Louis, New Orleans, Houston, and Toronto. Indeed, "Funk You Up" (1979), the first hip hop record released by a female group, and the second single released by Sugar Hill Records, was performed by The Sequence, a group from Columbia, South Carolina which featured Angie Stone.[75] Despite the genre's growing popularity, Philadelphia was, for many years, the only city whose contributions could be compared to New York City's. Hip hop music became popular in Philadelphia in the late 1970s. The first released record was titled "Rhythm Talk", by Jocko Henderson.

text: The New York Times had dubbed Philadelphia the "Graffiti Capital of the World" in 1971. Philadelphia native DJ Lady B recorded "To the Beat Y'All" in 1979, and became the first female solo hip hop artist to record music.[76] Schoolly D, starting in 1984 and also from Philadelphia, began creating a style that would later be known as gangsta rap.

text: The 1980s marked the diversification of hip hop as the genre developed more complex styles.[18] New York City became a veritable laboratory for the creation of new hip hop sounds. Early examples of the diversification process can be heard in tracks such as Grandmaster Flash's "The Adventures of Grandmaster Flash on the Wheels of Steel" (1981), a single consisting entirely of sampled tracks[77] as well as Afrika Bambaataa's "Planet Rock" (1982), and Warp 9's "Nunk," (1982)[78] which signified the fusion of hip hop music with electro. In addition, Rammellzee & K-Rob's "Beat Bop" (1983) was a 'slow jam' which had a dub influence with its use of reverb and echo as texture and playful sound effects. "Light Years Away," by Warp 9 (1983), (produced and written by Lotti Golden and Richard Scher) described as a "cornerstone of early 80's beatbox afrofuturism," by the UK paper, The Guardian,[61] introduced social commentary from a sci-fi perspective. In the 1970s, hip hop music typically used samples from funk and later, from disco. The mid-1980s marked a paradigm shift in the development of hip hop, with the introduction of samples from rock music, as demonstrated in the albums King of Rock and Licensed to Ill. Hip hop prior to this shift is characterized as old-school hip hop.

text: The proliferation of electro hip hop and hip hop records in the early 1980s can be attributed to the new beat-making abilities that the newly-available Roland TR-808 drum machine provided to beatmakers and producers. Hitting the market in 1980, it became the drum machine of choice because of its affordability and the unique character of its analog, synthesized drum sounds, especially its bass drum sound, which had a deep, solid sound in club PA systems.[79] The new generation of drum machines such as the 808 and Oberheim DMX were a defining characteristic of many 1980s songs, allowing record companies to quickly produce new electro and electro hip hop records to meet the high demand on the street. Even in the 2010s, the 808 kick drum sound is used by hip hop producers.

text: Over time sampling technology became more advanced. However, earlier producers such as Marley Marl used drum machines to construct their beats from small excerpts of other beats in synchronisation, in his case, triggering three Korg sampling-delay units through a Roland 808. Later, samplers such as the E-mu SP-1200 allowed not only more memory but more flexibility for creative production. This allowed the filtration and layering different hits, and with a possibility of re-sequencing them into a single piece. With the emergence of a new generation of samplers such as the AKAI S900 in the late 1980s, producers did not have to create complex, time-consuming tape loops. Public Enemy's first album was created with the help of large tape loops. The process of looping a break into a breakbeat now became more commonly done with a sampler, now doing the job which so far had been done manually by the DJs using turntables. In 1989, DJ Mark James, under the moniker "45 King", released "The 900 Number", a breakbeat track created by synchronizing samplers and vinyl records.[68]

text: The lyrical content and other instrumental accompaniment of hip hop developed as well. The early lyrical styles in the 1970, which tended to be boasts and clichéd chants, were replaced with metaphorical lyrics exploring a wider range of subjects. As well, the lyrics were performed over more complex, multi-layered instrumental accompaniment. Artists such as Melle Mel, Rakim, Chuck D, KRS-One and Warp 9 revolutionized hip hop by transforming it into a more mature art form, with sophisticated arrangements, often featuring "gorgeous textures and multiple layers"[80] The influential single "The Message" (1982) by Grandmaster Flash and the Furious Five is widely considered to be the pioneering force for conscious rap.

text: Independent record labels like Tommy Boy, Prism Records and Profile Records became successful in the early 1980s, releasing records at a furious pace in response to the demand generated by local radio stations and club DJs. Early 1980s electro music and rap were catalysts that sparked the hip hop movement, led by artists such as Cybotron, Hashim, Afrika Bambaataa, Planet Patrol, Newcleus and Warp 9. In the New York City recording scene, artists collaborated with producer/writers such as Arthur Baker, John Robie, Lotti Golden and Richard Scher, exchanging ideas that contributed to the development of hip hop.[81] Some rappers eventually became mainstream pop performers. Kurtis Blow's appearance in a Sprite soda pop commercial[82] marked the first hip hop musician to do a commercial for a major product. The 1981 songs "Rapture" by Blondie and "Christmas Wrapping" by the new wave band The Waitresses were among the first pop songs to utilize rap. In 1982, Afrika Bambaataa introduced hip hop to an international audience with "Planet Rock."

text: Prior to the 1980s, hip hop music was largely confined within the context of the United States. However, during the 1980s, it began its spread and became a part of the music scene in dozens of countries. Greg Wilson was the first DJ to introduce electro hip hop to UK club audiences in the early 1980s, opting for the dub or instrumental versions of Nunk by Warp 9, Extra T's "ET Boogie," Hip Hop, Be Bop (Don't Stop) by Man Parrish, Planet Rock and Dirty Talk (Klein + M.B.O. song).[83]

text: In the early part of the decade, B-boying became the first aspect of hip hop culture to reach Japan, Australia and South Africa. In South Africa, the breakdance crew Black Noise established the practice before beginning to rap later in the decade. Musician and presenter Sidney became France's first black TV presenter with his show H.I.P. H.O.P.[84] which screened on TF1 during 1984, a first for the genre worldwide. Sidney is considered the father of French hip hop. Radio Nova helped launch other French hip hop stars including Dee Nasty, whose 1984 album Paname City Rappin' along with compilations Rapattitude 1 and 2 contributed to a general awareness of hip hop in France.

text: Hip hop has always kept a very close relationship with the Latino community in New York. DJ Disco Wiz and the Rock Steady Crew were among early innovators from Puerto Rico, combining English and Spanish in their lyrics. The Mean Machine recorded their first song under the label "Disco Dreams" in 1981, while Kid Frost from Los Angeles began his career in 1982. Cypress Hill was formed in 1988 in the suburb of South Gate outside Los Angeles when Senen Reyes (born in Havana) and his younger brother Ulpiano Sergio (Mellow Man Ace) moved from Cuba to South Gate with his family in 1971. They teamed up with DVX from Queens (New York), Lawrence Muggerud (DJ Muggs) and Louis Freese (B-Real), a Mexican/Cuban-American native of Los Angeles. After the departure of "Ace" to begin his solo career, the group adopted the name of Cypress Hill named after a street running through a neighborhood nearby in South Los Angeles.

text: Japanese hip hop is said to have begun when Hiroshi Fujiwara returned to Japan and started playing hip hop records in the early 1980s.[85] Japanese hip hop generally tends to be most directly influenced by old school hip hop, taking the era's catchy beats, dance culture, and overall fun and carefree nature and incorporating it into their music. Hip hop became one of the most commercially viable mainstream music genres in Japan, and the line between it and pop music is frequently blurred.

text: New school hip hop

text: The new school of hip hop was the second wave of hip hop music, originating in 1983–84 with the early records of Run-D.M.C. and LL Cool J. As with the hip hop preceding it (which subsequently became known as old school hip hop), the new school came predominately from New York City. The new school was initially characterized in form by drum machine-led minimalism, with influences from rock music, a hip hop "metal music for the 80's-a hard-edge ugly/beauty trance as desperate and stimulating as New York itself."[86] It was notable for taunts and boasts about rapping, and socio-political commentary, both delivered in an aggressive, self-assertive style. In image as in song its artists projected a tough, cool, street b-boy attitude. These elements contrasted sharply with the funk and disco-influenced hip hop groups, whose pre-1984 music was characterized by novelty hits, live bands, synthesizers and "party rhymes" (not all artists prior to 1984 had these styles). New school artists made shorter songs that could more easily gain radio play, and they produced more cohesive LP albums than their old school counterparts. By 1986, their releases began to establish the hip-hop album as a fixture of mainstream music. Hip hop music became commercially successful, as exemplified by the Beastie Boys' 1986 album Licensed to Ill, which was the first rap album to hit No. 1 on the Billboard charts.[87]

text: Golden age hip hop

text: Hip hop's "golden age" (or "golden era") is a name given to a period in mainstream hip hop, produced between the mid-1980s and the early 1990s, which is characterized by its diversity, quality, innovation and influence.[88][89] There were strong themes of Afrocentrism and political militancy in golden age hip hop lyrics. The music was experimental and the sampling drew on eclectic sources.[90] There was often a strong jazz influence in the music. The artists and teams most often associated with this phrase are Public Enemy, Boogie Down Productions, Eric B. & Rakim, De La Soul, A Tribe Called Quest, Gang Starr, Big Daddy Kane and the Jungle Brothers.[91]

text: The golden age is noted for its innovation – a time "when it seemed that every new single reinvented the genre"[92] according to Rolling Stone. Referring to "hip-hop in its golden age",[93] Spin's editor-in-chief Sia Michel says, "there were so many important, groundbreaking albums coming out right about that time",[93] and MTV's Sway Calloway adds: "The thing that made that era so great is that nothing was contrived. Everything was still being discovered and everything was still innovative and new".[94] Writer William Jelani Cobb says "what made the era they inaugurated worthy of the term golden was the sheer number of stylistic innovations that came into existence... in these golden years, a critical mass of mic prodigies were literally creating themselves and their art form at the same time".[95] The specific time period that the golden age covers varies. MSNBC states, "the 'Golden Age' of hip-hop music: The '80s".[96]

text: Gangsta rap and West Coast hip hop

text:
Many black rappers—including Ice-T and Sister Souljah—contend that they are being unfairly singled out because their music reflects deep changes in society not being addressed anywhere else in the public forum. The white politicians, the artists complain, neither understand the music nor desire to hear what's going on in the devastated communities that gave birth to the art form.
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— Chuck Philips, Los Angeles Times, 1992 [97]

tag: div

text: Gangsta rap is a subgenre of hip hop that reflects the violent lifestyles of inner-city American black youths.[98] Gangsta is a non-rhotic pronunciation of the word gangster. The genre was pioneered in the mid-1980s by rappers such as Schoolly D and Ice-T, and was popularized in the later part of the 1980s by groups like N.W.A. Ice-T released "6 in the Mornin'", which is often regarded as the first gangsta rap song, in 1986. After the national attention and controversy that Ice-T and N.W.A created in the late 1980s and early 1990s, gangsta rap became the most commercially lucrative subgenre of hip hop.

text: N.W.A is the group most frequently associated with the founding of gangsta rap. Their lyrics were more violent, openly confrontational, and shocking than those of established rap acts, featuring incessant profanity and, controversially, use of the word "nigga". These lyrics were placed over rough, rock guitar-driven beats, contributing to the music's hard-edged feel. The first blockbuster gangsta rap album was N.W.A's Straight Outta Compton, released in 1988. Straight Outta Compton would establish West Coast hip hop as a vital genre, and establish Los Angeles as a legitimate rival to hip hop's long-time capital, New York City. Straight Outta Compton sparked the first major controversy regarding hip hop lyrics when their song "Fuck tha Police" earned a letter from FBI Assistant Director, Milt Ahlerich, strongly expressing law enforcement's resentment of the song.[99][100]

text: Controversy surrounded Ice-T's album Body Count, in particular over its song "Cop Killer". The song was intended to speak from the viewpoint of a criminal getting revenge on racist, brutal cops. Ice-T's rock song infuriated government officials, the National Rifle Association and various police advocacy groups.[101] Consequently, Time Warner Music refused to release Ice-T's upcoming album Home Invasion because of the controversy surrounding "Cop Killer". Ice-T suggested that the furor over the song was an overreaction, telling journalist Chuck Philips "...they've done movies about nurse killers and teacher killers and student killers. [Actor] Arnold Schwarzenegger blew away dozens of cops as the Terminator. But I don't hear anybody complaining about that." In the same interview, Ice-T suggested to Philips that the misunderstanding of Cop Killer and the attempts to censor it had racial overtones: "The Supreme Court says it's OK for a white man to burn a cross in public. But nobody wants a black man to write a record about a cop killer."[101]

text: The subject matter inherent in gangsta rap more generally has caused controversy. The White House administrations of both George Bush senior and Bill Clinton criticized the genre.[97] "The reason why rap is under attack is because it exposes all the contradictions of American culture ...What started out as an underground art form has become a vehicle to expose a lot of critical issues that are not usually discussed in American politics. The problem here is that the White House and wanna-bes like Bill Clinton represent a political system that never intends to deal with inner city urban chaos," Sister Souljah told The Times.[97] Due to the influence of Ice T and N.W.A, gangsta rap is often viewed as an originally West Coast phenomenon, despite the contributions of East Coast acts like Boogie Down Productions in shaping the genre.

text: Mainstream breakthrough

text: In 1990, Public Enemy's Fear of a Black Planet was a significant success with music critics and consumers.[102] The album played a key role in hip hop's mainstream emergence in 1990, dubbed by Billboard editor Paul Grein as "the year that rap exploded".[102] In a 1990 article on its commercial breakthrough, Janice C. Thompson of Time wrote that hip hop "has grown into the most exciting development in American pop music in more than a decade."[103] Thompson noted the impact of Public Enemy's 1989 single "Fight the Power", rapper Tone Lōc's single Wild Thing being the best-selling single of 1989, and that at the time of her article, nearly a third of the songs on the Billboard Hot 100 were hip hop songs.[103] In a similar 1990 article, Robert Hilburn of the Los Angeles Times put hip hop music's commercial emergence into perspective: In 1990, also while working with the rap group Snap!, Ronald "Bee-Stinger" Savage a former member of the Zulu Nation is credited for carving the term "Six elements of the Hip Hop Movement" by being inspired by Public Enemy's recordings. The "Six Elements Of The Hip Hop Movement" are: Consciousness Awareness, Civil Rights Awareness, Activism Awareness, Justice, Political Awareness, Community Awareness in music. Ronald Savage is known as the Son of The Hip Hop Movement.[104][105][106]

text: It was 10 years ago that the Sugarhill Gang's "Rapper's Delight" became the first rap single to enter the national Top 20. Who ever figured then that the music would even be around in 1990, much less produce attractions that would command as much pop attention as Public Enemy and N.W.A? "Rapper's Delight" was a novelty record that was considered by much of the pop community simply as a lightweight offshoot of disco—and that image stuck for years. Occasional records—including Grandmaster Flash's "The Message" in 1982 and Run-DMC's "It's Like That" in 1984—won critical approval, but rap, mostly, was dismissed as a passing fancy—too repetitious, too one dimensional. Yet rap didn't go away, and an explosion of energy and imagination in the late 1980s leaves rap today as arguably the most vital new street-oriented sound in pop since the birth of rock in the 1950s.[107]

text:
Rap is the rock 'n' roll of the day. Rock 'n' roll was about attitude, rebellion, a big beat, sex and, sometimes, social comment. If that's what you're looking for now, you're going to find it here.
“
”

— Bill Adler, Time, 1990[103]

text: MC Hammer hit mainstream success with the multi platinum album Please Hammer, Don't Hurt 'Em. The record reached #1 and the first single, "U Can't Touch This" charted on the top ten of the Billboard Hot 100. MC Hammer became one of the most successful rappers of the early nineties and one of the first household names in the genre. The album raised rap music to a new level of popularity. It was the first hip-hop album certified diamond by the RIAA for sales of over ten million.[108] It remains one of the genre's all-time best-selling albums.[109] To date, the album has sold as many as 18 million units.[110][111][112][113] Released in 1990, "Ice Ice Baby" by Vanilla Ice was the first hip hop single to top the Billboard charts in the U.S. It also reached number one in the UK, Australia among others and has been credited for helping diversify hip hop by introducing it to a mainstream audience.[114] In 1992, Dr. Dre released The Chronic. As well as helping to establish West Coast gangsta rap as more commercially viable than East Coast hip hop,[115] this album founded a style called G Funk, which soon came to dominate West Coast hip hop. The style was further developed and popularized by Snoop Dogg's 1993 album Doggystyle. However, hip hop was still met with resistance from black radio, including urban contemporary radio stations. Russell Simmons said in 1990, "Black radio [stations] hated rap from the start and there's still a lot of resistance to it".[107]

text: Despite the lack of support from some black radio stations, hip hop became a best-selling music genre in the mid-1990s and the top selling music genre by 1999 with 81 million CDs sold.[116][117][118] By the late 1990s hip hop was artistically dominated by the Wu-Tang Clan, Diddy and the Fugees.[115] The Beastie Boys continued their success throughout the decade crossing color lines and gaining respect from many different artists. Record labels based out of Atlanta, St. Louis, and New Orleans also gained fame for their local scenes. The midwest rap scene was also notable, with the fast vocal styles from artists such as Bone Thugs-n-Harmony, Tech N9ne, and Twista. By the end of the decade, hip hop was an integral part of popular music, and many American pop songs had hip hop components.

text: East vs. West rivalry

text: The East Coast–West Coast hip hop rivalry was a feud from 1991 to 1997 between artists and fans of the East Coast hip hop and West Coast hip hop scenes in the United States, especially from 1994 to 1997. Focal points of the feud were East Coast-based rapper The Notorious B.I.G. (and his New York-based label, Bad Boy Records) and West Coast-based rapper Tupac Shakur (and his Los Angeles-based label, Death Row Records), who were both fatally shot following drive-by shootings by unknown assailants in 1997 and 1996, respectively.

text: East Coast hip hop

text: In the early 1990s East Coast hip hop was dominated by the Native Tongues posse which was loosely composed of De La Soul with producer Prince Paul, A Tribe Called Quest, the Jungle Brothers, as well as their loose affiliates 3rd Bass, Main Source, and the less successful Black Sheep & KMD. Although originally a "daisy age" conception stressing the positive aspects of life, darker material (such as De La Soul's thought-provoking "Millie Pulled a Pistol on Santa") soon crept in. Artists such as Masta Ace (particularly for SlaughtaHouse) & Brand Nubian, Public Enemy, Organized Konfusion, Ignacio Bernal, had a more overtly militant pose, both in sound and manner. In the early 1990s, the Wu-Tang Clan revitalized the New York hip hop scene by pioneering an East coast hardcore rap equivalent in intensity to what was being produced on the West Coast.[119] According to Allmusic, the production on two Mobb Deep albums, The Infamous and Hell on Earth (1996), are "indebted" to RZA's early production with Wu-Tang Clan.[120][121]

text: The success of artists such as Nas and Notorious B.I.G. during 1994–95 cemented the status of the East Coast during a time of West Coast dominance. In a March 2002 issue of The Source Magazine, Nas referred to 1994 as "a renaissance of New York [City] Hip-Hop."[122] The productions of RZA, particularly for Wu-Tang Clan, became influential with artists such as Mobb Deep due to the combination of somewhat detached instrumental loops, highly compressed and processed drums and gangsta lyrical content. Wu-Tang solo albums such as Raekwon the Chef's Only Built 4 Cuban Linx, Ghostface Killah's Ironman, and GZA's Liquid Swords are now viewed as classics along with Wu-Tang "core" material. The clan's base extended into further groups called "Wu-affiliates". Producers such as DJ Premier (primarily for Gang Starr but also for other affiliated artists, such as Jeru the Damaja), Pete Rock (with CL Smooth and supplying beats for many others), Buckwild, Large Professor, Diamond D and Q-Tip supplied beats for numerous MCs at the time, regardless of location. Albums such as Nas's Illmatic, Jay-Z's Reasonable Doubt and O.C.'s Word...Life are made up of beats from this pool of producers.

text: The rivalry between the East Coast and the West Coast rappers eventually turned personal.[123] Later in the decade the business acumen of the Bad Boy Records tested itself against Jay-Z and his Roc-A-Fella Records and, on the West Coast, Death Row Records. The mid to late 1990s saw a generation of rappers such as the members of D.I.T.C. such as the late Big L and Big Pun. On the East Coast, although the "big business" end of the market dominated matters commercially the late 1990s to early 2000s saw a number of relatively successful East Coast indie labels such as Rawkus Records (with whom Mos Def and Talib Kweli garnered success) and later Def Jux. The history of the two labels is intertwined, the latter having been started by EL-P of Company Flow in reaction to the former, and offered an outlet for more underground artists such as Mike Ladd, Aesop Rock, Mr Lif, RJD2, Cage and Cannibal Ox. Other acts such as the Hispanic Arsonists and slam poet turned MC Saul Williams met with differing degrees of success.

text: West Coast hip hop

text: After N.W.A. broke up, Dr. Dre (a former member) released The Chronic in 1992, which peaked at #1 on the R&B/hip hop chart,[124] #3 on the pop chart and spawned a #2 pop single with "Nuthin' but a 'G' Thang." The Chronic took West Coast rap in a new direction,[125] influenced strongly by P funk artists, melding smooth and easy funk beats with slowly drawled lyrics. This came to be known as G-funk and dominated mainstream hip hop for several years through a roster of artists on Death Row Records, including Tupac Shakur, whose double disc album All Eyez on Me was a big hit with hit songs "Ambitionz az a Ridah" and "2 of Amerikaz Most Wanted",[citation needed] and Snoop Dogg, whose Doggystyle included the songs "What's My Name?" and "Gin and Juice", both top ten hits.[126] As the Los Angeles-based label Death Row Records built an empire around Dr. Dre, Snoop Dogg, and the rapper-actor Tupac Shakur. It also entered into a rivalry with New York City's Bad Boy Records. (See the article on the East Coast-West Coast hip hop rivalry.)

text: Detached from this scene were other artists such as Freestyle Fellowship, The Pharcyde as well as more underground artists such as the Solesides collective (DJ Shadow and Blackalicious amongst others) Jurassic 5, Ugly Duckling, People Under The Stairs, Tha Alkaholiks, and earlier Souls of Mischief represented a return to hip hop roots of sampling and well planned rhyme schemes.

text: Diversification of styles

text: In the 1990s, hip hop began to diversify with other regional styles emerging on the national scene. Southern rap became popular in the early 1990s.[127] The first Southern rappers to gain national attention were the Geto Boys out of Houston, Texas.[128] Southern rap's roots can be traced to the success of Geto Boy's Grip It! On That Other Level in 1989, the Rick Rubin produced The Geto Boys in 1990, and We Can't Be Stopped in 1991.[129] The Houston area also produced other artists that pioneered the early southern rap sound such as UGK and the solo career of Scarface.

text: Atlanta hip hop artists were key in further expanding rap music and bringing southern hip hop into the mainstream. Releases such as Arrested Development's 3 Years, 5 Months and 2 Days in the Life Of... in 1992, Goodie Mob's Soul Food in 1995 and OutKast's ATLiens in 1996 were all critically acclaimed. Later, Master P (Ghetto D) built up a roster of artists (the No Limit posse) based out of New Orleans. Master P incorporated G funk and Miami bass influences; and distinctive regional sounds from St. Louis, Chicago, Washington D.C., Detroit and others began to gain popularity.

text: In the 1990s, elements of hip hop continued to be assimilated into other genres of popular music. Neo soul, for example, combined hip hop and soul music. In the 1980s and 1990s, rap rock, rapcore and rap metal, fusions of hip hop and rock, hardcore punk and heavy metal[130] became popular among mainstream audiences. Rage Against the Machine and nu metal band Limp Bizkit were among the most well-known bands in these fields.

text: Digable Planets' 1993 release Reachin' (A New Refutation of Time and Space) was an influential jazz rap record sampling the likes of Don Cherry, Sonny Rollins, Art Blakey, Herbie Mann, Herbie Hancock, Grant Green, and Rahsaan Roland Kirk. It spawned the hit single "Rebirth of Slick (Cool Like Dat)" which reached #16 on the Billboard Hot 100[131] Although white rappers like the Beastie Boys, House of Pain and 3rd Bass had had some popular success or critical acceptance from the hip hop community, Eminem's success, beginning in 1999 with the platinum The Slim Shady LP,[132] surprised many.

text: The popularity of hip hop music continued through the 2000s. Dr. Dre remained an important figure, and in the year 2000, he produced The Marshall Mathers LP by Eminem. Dre also produced 50 Cent's 2003 album Get Rich or Die Tryin', which debuted at number one on the U.S. Billboard 200 charts.[133] Hip hop influences also found their way increasingly into mainstream pop during this period, mainly during the mid-2000s, as the Los Angeles style of the 1990s lost power. Nelly's debut LP, Country Grammar, sold over nine million copies. In the 2000s, crunk music, a derivative of Southern hip hop, gained considerable popularity via Lil Jon and the Ying Yang Twins. Jay-Z represented the cultural triumph of hip hop. As his career progressed, he went from performing artist to entrepreneur, label president, head of a clothing line, club owner, and market consultant—along the way breaking Elvis Presley's record for most number one albums on the Billboard magazine charts by a solo artist.

text: Alternative hip hop, which was introduced in the 1980s and then declined, resurged in the early 2000s with the rejuvenated interest in indie music by the general public. In the 2000s alternative hip hop reattained its place within the mainstream, due in part to the declining commercial viability of gangsta rap as well as the crossover success of artists such as OutKast and Kanye West. The alternative hip hop movement expanded beyond the US to include the Somali-Canadian poet K'naan, Japanese rapper Shing02, and British artist MIA. Alternative hip hop acts have attained much critical acclaim, but receive relatively little exposure through radio and other media outlets. In the mid-to late-2000s (decade), alternative hip hop artists such as The Roots, Dilated Peoples, Gnarls Barkley and Mos Def achieved significant recognition. Gnarls Barkley's album St. Elsewhere, which contained a fusion of funk, neo soul and hip hop, debuted at number 20 on the Billboard 200 charts. In addition, Aesop Rock's 2007 album None Shall Pass was well received,[134] and reached #50 on the Billboard charts.[135]

text: Crunk and snap music

text: Crunk is a regional hip hop genre that originated in Tennessee in the southern United States in the 1990s, influenced by Miami bass. One of the pioneers of crunk, Lil Jon, said that it was a fusion of hip hop, electro, and electronic dance music. The style was pioneered and commercialized by artists from Memphis, Tennessee and Atlanta, Georgia. Looped, stripped-down drum machine rhythms are usually used. The Roland TR-808 and 909 are among the most popular. The drum machine loops are usually accompanied by simple, repeated synthesizer melodies and heavy bass "stabs". The tempo of the music is somewhat slower than hip-hop, around the speed of reggaeton. The focal point of crunk is more often the beats and instrumental music rather than the lyrics. Crunk rappers, however, often shout and scream their lyrics, creating an aggressive, almost heavy, style of hip-hop. While other subgenres of hip-hop address sociopolitical or personal concerns, crunk is almost exclusively "party music", favoring call and response hip-hop slogans in lieu of more substantive approaches.[136]

text: Snap music is a subgenre of crunk that emerged from Atlanta, Georgia in the late 1990s.[137] The genre gained mainstream popularity and in mid-2005, artists from other southern states such as Tennessee began to emerge performing in this style. Tracks commonly consist of an Roland TR-808 bass drum, hi-hat, bass, finger snapping, a main groove and a vocal track. Hit snap songs include "Lean wit It, Rock wit It" by "Dem Franchize Boyz", "Laffy Taffy" by D4L, "It's Goin' Down" by Yung Joc and "Crank That (Soulja Boy)" by Soulja Boy Tell 'Em.

text: Glitch hop and wonky music

text: Glitch hop and wonky music evolved following the rise of trip hop, dubstep and intelligent dance music (IDM). Both glitch hop and wonky music frequently reflect the experimental nature of IDM and the heavy bass featured in dubstep songs. While trip hop has been described as being a distinct British upper-middle class take on hip-hop, glitch-hop and wonky music have much more stylistic diversity. Both genres are melting pots of influence. Glitch hop contains echoes of 1980s pop music, Indian ragas, eclectic jazz and West Coast rap. Los Angeles, London, Glasgow and a number of other cities have become hot spots for these scenes, and underground scenes have developed across the world in smaller communities. Both genres often pay homage to older and more well established electronic music artists such as Radiohead, Aphex Twin and Boards of Canada as well as independent hip hop producers like J Dilla and Madlib.

text: Glitch hop is a fusion genre of hip hop and glitch music that originated in the early to mid-2000s in the United States and Europe. Musically, it is based on irregular, chaotic breakbeats, glitchy basslines and other typical sound effects used in glitch music, like skips. Glitch hop artists include Prefuse 73, Dabrye and Flying Lotus. Wonky is a subgenre of hip hop that originated around 2008, but most notably in the United States and United Kingdom, and among international artists of the Hyperdub music label, under the influence of glitch hop and dubstep. Wonky music is of the same glitchy style as glitch hop, but it was specifically noted for its melodies, rich with "mid-range unstable synths". Scotland has become one of the most prominent wonky scenes, with artists like Hudson Mohawke and Rustie.

text: Glitch hop and wonky are popular among a relatively smaller audience interested in alternative hip hop and electronic music (especially dubstep); neither glitch hop nor wonky have achieved mainstream popularity. However, artists like Flying Lotus, The Glitch Mob and Hudson Mohawke have seen success in other avenues. Flying Lotus's music has earned multiple positive reviews on the independent music review site Pitchfork.com as well as a prominent (yet uncredited) spot during Adult Swim commercial breaks. Hudson Mohawke is one of few glitch hop artists to play at major music festivals such as Sasquatch! Music Festival.

text: Decline in sales

text: Starting in 2005, sales of hip hop music in the United States began to severely wane, leading Time magazine to question if mainstream hip-hop was "dying." Billboard Magazine found that, since 2000, rap sales dropped 44%, and declined to 10% of all music sales, which, while still a commanding figure when compared to other genres, is a significant drop from the 13% of all music sales where rap music regularly placed.[138][139] According to Courtland Milloy of The Washington Post, for the first time on five years, no rap albums were among the top 10 sellers in 2006.[140] NPR culture critic Elizabeth Blair noted that, "some industry experts say young people are fed up with the violence, degrading imagery and lyrics." However, the 2005 report Generation M: Media in the Lives of 8–18 Year-Olds found that hip hop music is by far the most popular music genre for children and teenagers with 65 percent of 8- to-18-year-olds listening to it on a daily basis.[141]

text: Other journalists say the music is just as popular as it ever was, but that fans have found other means to consume the music,[142] such as illegally downloading music through P2P networks, instead of purchasing albums and singles from legitimate stores. For example, Flo Rida is known for his low album sales regardless of his singles being mainstream and having digital success. His second album R.O.O.T.S. sold only 200,000+ total units in the U.S., which could not line up to the sales of the album's lead single "Right Round". This also happened to him in 2008.[143] Some put the blame on the lack of strong lyrical content that hip hop once had. Another example is Soulja Boy Tell 'Em's 2007 debut album souljaboytellem.com was met with negative reviews.[144] Lack of sampling, a key element of early hip hop, has also been noted for the decrease in quality of modern albums. For example, there are only four samples used in 2008's Paper Trail by T.I., while there are 35 samples in 1998's Moment of Truth by Gang Starr. The decrease in sampling is in part due to it being too expensive for producers.[145]

text: In Byron Hurt's documentary Hip Hop: Beyond Beats and Rhymes, he claims that hip hop had changed from "clever rhymes and dance beats" to "advocating personal, social and criminal corruption."[146] Despite the fall in record sales throughout the music industry,[147] hip-hop has remained a popular genre, with hip-hop artists still regularly topping the Billboard 200 Charts. In the first half of 2009 alone artists such as Eminem,[148] Rick Ross,[149] The Black Eyed Peas,[150] and Fabolous[151] all had albums that reached the #1 position on the Billboard 200 charts. Eminem's album Relapse was one of the fastest selling albums of 2009.[152]

text: Musical theatre

text: Hip hop music has influenced musical theater. Rap-style verses were used in musical theater as early as 1956 in the production My Fair Lady.[153] Rap is used popular musicals such as Rent and Dreamgirls[154] While more notable for funk than hip hop, the Broadway musical Bring in 'da Noise, Bring in 'da Funk fuses tap dance and hip hop dance styles, and includes rap.[155] Hip hop music was used in Off Broadway shows in the 1990s and early 2000s, with the musicals So! What Happens Now? and Jam on the Groove.[156] In the Heights used hip hop music, rapping and hip hop dancing. With music and lyrics by Lin Manuel Miranda and book by Quiara Alegría Hudes, it was performed off Broadway in 2007. The 2008 Broadway production fused salsa and hip hop styles, and included rap.[157] Miranda brought hip hop to Richard Rogers Theater a second time in 2015 with his production Hamilton.[158] The show had box office success. Hamilton and In the Heights included rap and the cast recording of Hamilton made a number one album on the Billboard rap charts. The success of Hamilton shows that hip hop can have a key role in musical theater.[159]

text: Innovation and revitalization

text: During the mid-2000s, alternative hip hop secured a place in the mainstream, due in part to the crossover success of artists such as OutKast, Kanye West, and Gnarls Barkley.[20] Not only did OutKast's Speakerboxxx/The Love Below receive high acclaim from music critics, manage to appeal to listeners of all ages, and span numerous musical genres – including rap, rock, R&B, punk, jazz, indie, country, pop, electronica and gospel – but it also spawned two number-one hit singles and has been certified diamond by selling 11 times platinum by the RIAA for shipping more than 11 million units,[160] becoming one of the best selling hip-hop albums of all time as well as winning a Grammy Award for Album of the Year at the 46th Annual Grammy Awards being only the second rap album to do so. Industry observers view the sales race between Kanye West's Graduation and 50 Cent's Curtis as a turning point for hip hop.

text: West emerged the victor, selling nearly a million copies in the first week alone, proving that innovative rap music could be just as commercially viable as gangsta rap, if not more so.[161] Although he designed it as a melancholic pop rather than rap, Kanye's following 808s & Heartbreak would have a significant effect on hip hop music. While his decision to sing about love, loneliness, and heartache for the entirety of the album was at first heavily criticized by music audiences and the album predicted to be a flop, its subsequent critical acclaim and commercial success encouraged other mainstream rappers to take greater creative risks with their music.[162][163] During the release of The Blueprint 3, New York rap mogul Jay-Z revealed that next studio album would be an experimental effort, stating, "... it's not gonna be a #1 album. That's where I'm at right now. I wanna make the most experimental album I ever made."[164] Jay-Z elaborated that like Kanye, he was unsatisfied with contemporary hip hop, was being inspired by indie-rockers like Grizzly Bear and asserted his belief that the indie rock movement would play an important role in the continued evolution of hip-hop.[165]

text: The alternative hip hop movement is not limited only to the United States, as rappers such as Somali-Canadian poet K'naan, Japanese rapper Shing02, and Sri Lankan British artist M.I.A. have achieved considerable worldwide recognition. In 2009, TIME magazine placed M.I.A in the Time 100 list of "World's Most Influential people" for having "global influence across many genres."[166][167] Global themed movements have also sprung out of the international hip-hop scene with microgenres like "Islamic Eco-Rap" addressing issues of worldwide importance through traditionally disenfranchised voices.[168][169] Today, due in part to the increasing use of music distribution through the internet, many alternative rap artists find acceptance by far-reaching audiences. Several artists, such as Kid Cudi and Drake, have managed to attain chart-topping hit songs, "Day 'n' Nite" and "Best I Ever Had" respectively, by releasing their music on free online mixtapes without the help of a major record label. New artists such as Wale, J. Cole, Lupe Fiasco, The Cool Kids, Jay Electronica, and B.o.B, some of whom mention being directly influenced by their nineties alt-rap predecessors, in addition to the southern rap sound, while their music has been noted by critics as expressing eclectic sounds, life experiences, and emotions rarely seen in mainstream hip hop.[170][171]

text: On July 17, 2017, Forbes reported that hip-hop/R&B (which Nielsen SoundScan classifies as being the same genre) has recently usurped rock as the most consumed musical genre, becoming the most popular genre in music for the first time in U.S. history.[172][173][174][175]

text: World hip hop music

text: Hip-hop music has reached the cultural corridors of the globe and has been absorbed and reinvented around the world.[176] Hip hop music expanded beyond the US, often blending local styles with hip hop. Hip hop has globalized into many cultures worldwide, as evident through the emergence of numerous regional scenes. It has emerged globally as a movement based upon the main tenets of hip hop culture. The music and the art continue to embrace, even celebrate, its transnational dimensions while staying true to the local cultures to which it is rooted. Hip-hop's impact differs depending on each culture. Still, the one thing virtually all hip hop artists worldwide have in common is that they acknowledge their debt to those African-American people in New York who launched the global movement.[177]

text: Latinos and people from the Caribbean played an integral role in the early development of hip hop in New York, and the style spread to almost every country in that region. Hip hop first developed in the South Bronx, which had a high Latino, particularly Puerto Rican, population in the 1970s.[178] Some famous rappers from New York City of Puerto Rican origin are the late Big Pun, Fat Joe, and Angie Martinez. With Latino rap groups like Cypress Hill on the American charts, Mexican rap rock groups, such as Control Machete, rose to prominence in their native land.

text: In many Latin American countries, as in the U.S., hip hop has been a tool with which marginalized people can articulate their struggle. Hip hop grew steadily more popular in Cuba in the 1980s and 1990s through Cuba's Special Period that came with the fall of the Soviet Union.[179] During this period of economic crisis, which the country's poor and black populations especially hard, hip hop became a way for the country's Afro-descended population to embrace their blackness and articulate a demand for racial equality for black people in Cuba.[180] The idea of blackness and black liberation was not always compatible with the goals of the Cuban government, which was still operating under the idea that a raceless society was the correct realization of the Cuban Revolution. When hip-hop emerged, the Cuban government opposed the vulgar image that rappers portrayed, but later accepted that it might be better to have hip-hop under the influence of the Ministry of Culture as an authentic expression of Cuban Culture.[181] Rappers who explicitly speak about race or racism in Cuba are still under scrutiny by the government.[182] An annual Cuban hip hop concert, beginning in 1995, held at Alamar in Havana helped popularize Cuban hip hop. Famous Cuban rap groups include Krudas Cubensi and Supercrónica Obsesión.

text: Black and indigenous people in Latin America and Caribbean islands have been using hip hop for decades to discuss race and class issues in their respective countries. Brazilian hip hop is heavily associated with racial and economic issues in the country, where a lot of Afro-Brazilians live in economically disadvantaged communities, known in Brazil as favelas. São Paulo is where hip hop began in the country, but it soon spread all over Brazil, and today, almost every big Brazilian city, including Rio de Janeiro, Salvador, Curitiba, Porto Alegre, Belo Horizonte, Recife and Brasilia, has a hip hop scene. Some notable artists include Racionais MC's, Thaide, and Marcelo D2. One of Brazil's most popular rappers, MV Bill, has spent his career advocating for black youth in Rio de Janeiro.[182]

text: Reggaeton, a Puerto Rican style of music, has a lot of similarities with U.S. based hip hop. Both were influenced by Jamaican music, and both incorporate rapping and call and response.[183] Dancehall music and hip from the United States are both popular music in Puerto Rico, and reggaeton is the cumulation of different musical traditions founded by Afro-descended people in the Caribbean and the United States.[184] Some of reggaeton's most popular artists include Don Omar, Tego Calderón, and Daddy Yankee.

text: In Venezuela, social unrest at the end of the 1980s and beginning of the 1990s coincided with the rise of gangsta rap in the United States and led to the rise of that music in Venezuela as well. Venezuelan rappers in the 1990s generally modeled their music after gangsta rap, embracing and attempting to redefine negative stereotypes about poor and black youth as dangerous and materialistic and incorporating socially conscious critique of Venezuela's criminalization of young, poor, Afro-descended people into their music.[185]

text: In Haiti, hip hop developed in the early 1980s. Master Dji and his songs "Vakans" and "Politik Pa m" are mostly credited with the rise of Haitian hip hop. What later became known as "Rap Kreyòl" grew in popularity in the late 1990s with King Posse and Original Rap Stuff. Due to cheaper recording technology and flows of equipment to Haiti, more Rap Kreyòl groups are recording songs, even after the January 12 earthquake. Haitian hip hop has recently become a way for artists of Haitian backgrounds in the Haiti and abroad to express their national identity and political opinions about their country of origin.[186] Rappers have embraced the red and blue of the Flag of Haiti and rapping in Haitian Creole to display their national origin. In the Dominican Republic, a recording by Santi Y Sus Duendes and Lisa M became the first single of merenrap, a fusion of hip hop and merengue.

text: In Europe, Africa, and Asia, hip hop began to move from the underground to mainstream audiences. In Europe, hip hop was the domain of both ethnic nationals and immigrants. British hip hop, for example, became a genre of its own and spawned artists such as Wiley, Dizzee Rascal, The Streets and many more. Germany produced the well-known Die Fantastischen Vier as well as several Turkish performers like the controversial Cartel, Kool Savaş, and Azad. Similarly, France has produced a number of native-born stars, such as IAM and Suprême NTM, MC Solaar, Rohff, Rim'K or Booba. In the Netherlands, important nineties rappers include The Osdorp Posse, a crew from Amsterdam, Extince, from Oosterhout, and Postmen. Italy found its own rappers, including Jovanotti and Articolo 31, grow nationally renowned, while the Polish scene began in earnest early in the decade with the rise of PM Cool Lee. In Romania, B.U.G. Mafia came out of Bucharest's Pantelimon neighborhood, and their brand of gangsta rap underlines the parallels between life in Romania's Communist-era apartment blocks and in the housing projects of America's ghettos.

text: One of the countries outside the US where hip-hop is most popular is the United Kingdom. In the 2000s a derivative genre from Hip-Hop (as well as UK Garage and Drum and Bass) known as Grime became popular with artists such as Dizzee Rascal becoming successful. Although it is immensely popular, many British politicians criticize the music for what they see as promoting theft and murder, similar to gangsta rap in America. These criticisms have been deemed racist by the mostly Black British grime industry. Despite its controversial nature, grime has had a major effect on British fashion and pop music, with many young working-class youth emulating the clothing worn by grime stars like Dizzee Rascal and Wiley. There are many subgenres of grime, including "Rhythm and Grime," a mix of R&B and grime, and grindie, a mix of indie rock and grime popularized by indie rock band Hadouken!

text: In Germany and France, gangsta rap has become popular among youths who like the violent and aggressive lyrics. Some German rappers openly or comically flirt with Nazism; for example, Bushido (born Anis Mohamed Youssef Ferchichi) raps "Salutiert, steht stramm, Ich bin der Leader wie A" (Salute, stand to attention, I am the leader like 'A') and Fler had a hit with the record Neue Deutsche Welle (New German Wave) complete with the title written in Third Reich style Gothic print and advertised with an Adolf Hitler quote. These references also spawned great controversy in Germany. Meanwhile, in France, artists like Kery James' Idéal J maintained a radical, anti-authoritarian attitude and released songs like Hardcore which attacked the growth of the French far right. In the Netherlands, MC Brainpower went from being an underground battle rapper to mainstream recognition in the Benelux, thus influencing numerous rap artists in the region. In Israel, rapper Subliminal reaches out to Israeli youth with political and religious-themed lyrics, usually with a Zionist message.

text: In Asia, mainstream stars rose to prominence in the Philippines, led by Francis Magalona, Rap Asia, MC Lara and Lady Diane. In Japan, where underground rappers had previously found a limited audience, and popular teen idols brought a style called J-rap to the top of the charts in the middle of the 1990s. Of particular importance is the influence on East Asian nations, where hip hop music has become fused with local popular music to form different styles such as K-pop, C-pop and J-pop.

text: Israel's hip hop grew greatly in popularity at the end of the decade, with several stars both Palestinian (Tamer Nafar) and Israeli (Subliminal). In Portugal hip hop has his own kind of rapping, which is more political and underground scene, they are known for Valete, Dealema and Halloween. Russian hip hopemerged during last years of Soviet Union and cemented later, with groups like Malchishnik and Bad Balance enjoying mainstream popularity in the 1990s, while Ligalize and Kasta were popular in the 2000s. In former Yugoslavia hip hop first appeared during the 1980s mostly with Serbian hip hop with performers such as B-boy, The Master Scratch Band, Badvajzer, and others. During the late 1990s hip hop had a boom, with Rambo Amadeus and later Beogradski sindikat becoming a major performer. Bosnian and Herzegovinian hip hop is nowadays dominated by Edo Maajka. In the region hip hop is often used as a political and social message in song themes such as war, profiteering, corruption, etc. Frenkie, another Bosnian rapper, is associated with Edo Maajka, and has collaborated beyond Bosnian borders.

text: In Tanzania in the early 2000s, local hip hop artists became popular by infusing local styles of Afrobeat and arabesque melodies, dancehall and hip-hop beats with Swahili lyrics.

text: Rap linguistics

text: In September 2014 a course in rap linguistics was offered at the University of Calgary in Calgary, Alberta,[187] "examining rap from cultures as diverse as German, French, Navajo and even the Sami people of Northern Europe." The course has difficult content as rap is studied using methodologies applied in linguistics, such as grammar analysis and measurement of vowel sounds using software.[188] According to associate professor Darin Flynn, who is teaching this course, rap heroes, such as Eminem or Jay-Z, are "true poet laureate[s] of the working class"[188] and their songs "crisscross sound, emotion, grammar and multiple metaphors".[188]

text: Return of the Golden-Era

text: During the late 2010s, many golden age hip hop artists announced their return to performing, including Eric B. & Rakim,[189] Pete Rock & CL Smooth[190] and A Tribe Called Quest with their latest album titled We Got It from Here... Thank You 4 Your Service.


document_title: Mad Max

question_text: where was the first mad max movie filmed

root

text: Mad Max

text: Plot[edit]

text: "A few years from now", when society is teetering upon the brink of collapse, berserk motorbike gang member Crawford "Nightrider" Montazano (Vincent Gil) steals a Pursuit Special, which he uses to escape from police custody after killing a rookie officer of an Australian highway patrol called the Main Force Patrol (MFP). Even though he manages to elude other MFP officers, the MFP's top pursuit man Max Rockatansky (Mel Gibson) then engages the less-skilled Nightrider in a high-speed chase. Crawford breaks off first, but then is unable to recover his concentration before he and his girlfriend are killed in a fiery crash.

tag: p

text: At the MFP garage, Max is shown what one of the MFP mechanics has been working on: a supercharged black Pursuit Special, the last of the V8 Interceptors.

text: Meanwhile, Nightrider's motorbike gang, led by Toecutter (Hugh Keays-Byrne) and Bubba Zanetti (Geoff Parry), run roughshod over a town, vandalising property, stealing fuel, and terrorising the population. They trap a young couple in a car, destroy the car, and it is implied that they rape the couple. Max and fellow officer Jim Goose (Steve Bisley) arrest Toecutter's young protégé Johnny the Boy (Tim Burns) at the scene. When neither the rape victims nor any of the townspeople show for Johnny's trial, the federal courts close the case, Johnny's attorneys releasing him into Bubba's custody over Goose's furious objections.

text: While Goose visits a nightclub in the city the next day, Johnny sabotages his police motorbike in the parking lot. After being thrown into a field at high speed uninjured during a ride, Goose borrows a ute to haul his damaged bike back to the MFP. However, Johnny ambushes Goose off the road by throwing a brake drum through his windshield, and, at Toecutter's insistence, throws a match into the wreck of the ute, igniting the gasoline and burning Goose alive. After seeing Goose's charred body in a hospital intensive-care unit, Max becomes disillusioned with the MFP, and informs his superior Fifi Macaffee (Roger Ward) that he will resign. Fifi convinces Max to take a vacation first before he submits his final letter of resignation.

text: Max takes his wife Jessie (Joanne Samuel) and their infant son Sprog (Brendan Heath) on vacation in a panel van. When they stop to fix the spare tyre, Jessie takes Sprog to buy ice cream. They encounter Toecutter and his gang, who attempt to molest Jessie, but Jessie kicks Toecutter in the crotch, picks up Sprog and escapes with him in the car. They flee to a remote farm owned by an elderly friend named May Swaisey (Sheila Florance). Toecutter's gang follows them there and ambushes Jessie in the woods. With May's help, Jessie and Sprog escape, but when they try to drive away, the van overheats and they are run over by the gang while trying to escape on foot. Sprog is killed and Jessie is badly injured. Max arrives too late to do anything.

text: Jessie is near death in a hospital ICU, and the loss of his family ultimately drives Max insane. He dons his police uniform and takes the black Pursuit Special from the MFP garage to pursue and eliminate the gang. He rams several gang members off a bridge at high speed, kills Bubba during an ambush, and forces Toecutter into the path of a speeding semi-trailer truck. Finally, Max locates Johnny at a car wreck stealing the boots of its dead driver. Max handcuffs Johnny's ankle to the wrecked vehicle, and sets a crude time-delay fuse involving a slow petrol leak and Johnny's lighter. Max throws Johnny a hacksaw, leaving him the choice of sawing through either the handcuffs or his ankle in order to escape within the given time limit. As Max drives away from the bridge, the vehicle explodes. Now a shell of his former self, Max drives on to points unknown.

text: Cast[edit]

text:
Mel Gibson as Max Rockatansky
Joanne Samuel as Jessie Rockatansky
Hugh Keays-Byrne as Toecutter
Steve Bisley as Jim "Goose" Rains
Tim Burns as Johnny the Boy
Roger Ward as Fred "Fifi" Macaffee
Geoff Parry as Bubba Zanetti
Jonathan Hardy as Police Commissioner Labatouche
Brendan Heath as Sprog Rockatansky
Sheila Florence as May Swaisey
Vincent Gil as Crawford "The Nightrider" Montazano

tag: ul

text: Production[edit]

text: Development[edit]

text: George Miller was a medical doctor in Sydney, working in a hospital emergency room where he saw many injuries and deaths of the types depicted in the film. He also witnessed many car accidents growing up in rural Queensland and lost at least three friends to accidents as a teenager.[3]

text: While in residency at a Sydney hospital, Miller met amateur filmmaker Byron Kennedy at a summer film school in 1971. The duo produced a short film, Violence in the Cinema, Part 1, which was screened at a number of film festivals and won several awards. Eight years later, the duo produced Mad Max, working with first-time screenwriter James McCausland (who appears in the film as the bearded man in an apron in front of the diner).

text: According to Miller, his interest while writing Mad Max was "a silent movie with sound", employing highly kinetic images reminiscent of Buster Keaton and Harold Lloyd while the narrative itself was basic and simple. Miller believed that audiences would find his violent story more believable if set in a bleak dystopian future.[4] Screenwriter McCausland drew heavily from his observations of the 1973 oil crisis' effects on Australian motorists:

text: Yet there were further signs of the desperate measures individuals would take to ensure mobility. A couple of oil strikes that hit many pumps revealed the ferocity with which Australians would defend their right to fill a tank. Long queues formed at the stations with petrol—and anyone who tried to sneak ahead in the queue met raw violence. ... George and I wrote the [Mad Max] script based on the thesis that people would do almost anything to keep vehicles moving and the assumption that nations would not consider the huge costs of providing infrastructure for alternative energy until it was too late.

text: Kennedy and Miller first took the film to Graham Burke of Roadshow, who was enthusiastic. The producers felt they would be unable to raise money from the government bodies "because Australian producers were making art films, and the corporations and commissions seemed to endorse them whole-heartedly", according to Kennedy.[6]

text: They designed a 40-page presentation, circulated it widely, and eventually raised the money. Kennedy and Miller also contributed funds themselves by doing three months of emergency medical calls, with Kennedy driving the car while Miller did the doctoring.[6] Miller claimed the final budget was between $350,000 and $400,000.[7] His brother Bill Miller was an associate producer on the film.[8]

text: Casting[edit]

text: George Miller had considered an American actor to "get the film seen as widely as possible" and even travelled to Los Angeles, but eventually opted to not do so as "the whole budget would be taken up by a so-called American name."[4] So instead the cast would deliberately feature lesser known actors so they did not carry past associations with them.[3] Miller's first choice for the role of Max was the Irish-born James Healey, who at the time worked at a Melbourne abattoir and was seeking a new acting job. Upon reading the script Healey declined, finding the meager, terse dialogue too unappealing.[9]

text: Casting director Mitch Mathews invited for Mad Max a class of recent National Institute of Dramatic Art graduates, specifically asking a NIDA teacher for "spunky young guys". Among these actors was Mel Gibson, whose audition impressed Miller and Matthews and earned him the role of Max. An apocryphal tale stated that Gibson went to auditions in poor shape following a fight, but this has been denied by both Matthews and Miller. Gibson's friend and classmate Steve Bisley, who worked with him in his only screen role, 1976's Summer City, became Max's partner Jim Goose. A classmate of both, Judy Davis, was said to have auditioned and passed over,[9] but Miller has declared she was only in Matthews' studio to accompany Gibson and Bisley.[4]

text: Most of the biker gang extras were members of actual Australian outlaw motorcycle clubs and rode their own motorcycles in the film. They were even forced to ride the motorcycles from their residence in Sydney to the shooting locations in Melbourne because the budget did not allow for aerial transport.[4] Three of the main cast members (Hugh Keays-Byrne, Roger Ward and Vincent Gil) had previously appeared in Stone, a 1974 film about biker gangs that is said to have inspired Miller.[10]

text: Vehicles[edit]

text: Some of this section's listed sources may not be reliable. Please help this article by looking for better, more reliable sources. Unreliable citations may be challenged or deleted. (February 2016) (Learn how and when to remove this template message)

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text: Max's yellow Interceptor was a 1974 Ford Falcon XB sedan (previously a Victoria police car) with a 351 c.i.d. Cleveland V8 engine.[11]

text: The Big Bopper, driven by Roop and Charlie, was also a 1974 Ford Falcon XB sedan and a former Victoria police car, but was powered by a 302 c.i.d. V8.[12] The March Hare, driven by Sarse and Scuttle, was an in-line-six-powered 1972 Ford Falcon XA sedan (this car was formerly a Melbourne taxi cab).[13]

text: The most memorable car, Max's black Pursuit Special was a 1973 Ford XB Falcon GT351, a limited edition hardtop (sold in Australia from December 1973 to August 1976), which was primarily modified by Murray Smith, Peter Arcadipane, and Ray Beckerley. The main modifications are the Concorde front end and the supercharger protruding through the bonnet (for looks only; it was not functional). The Concorde front was a fairly new accessory at the time, designed by Peter Arcadipane at Ford Australia as a showpiece, and later became available to the general public because of its popularity.[14] After filming of the first movie was completed, the car went up for sale, but no buyers were found; eventually it was given to Smith.

text: When production of Mad Max 2 began, Miller brought the car back for use in the sequel. Once filming was over the car was left at a wrecking yard in Adelaide since it again found no buyers, and was bought and restored by Bob Forsenko. Eventually it was sold again and was put on display in the Cars of the Stars Motor Museum in Cumbria, England. When the museum closed, the car went to a collection in the Dezer Museum in Miami, Florida.[15]

text: The Nightrider's vehicle, another Pursuit Special, was a 1972 Holden HQ Monaro LS coupe, also tuned but deliberately damaged to look like it had been involved in crashes.[16]

text: The car driven by the young couple that is vandalised and then finally destroyed by the bikers is a 1959 Chevrolet Bel Air Sedan, also modified to look like a hot-rod car with fake fuel injection stacks, fat tires, and a flame red paint job.

text: Of the motorcycles that appear in the film, 14 were Kawasaki Kz1000 donated by a local Kawasaki dealer. All were modified in appearance by Melbourne business La Parisienne — one as the MFP bike ridden by 'The Goose' and the balance for members of the Toecutter's gang, played in the film by members of a local Victorian motorcycle club, the Vigilantes.[17]

text: By the end of filming, fourteen vehicles had been destroyed in the chase and crash scenes, including the director's personal Mazda Bongo (the small, blue van that spins uncontrollably after being struck by the Big Bopper in the film's opening chase).[18]

text: Filming[edit]

text: Originally, filming was scheduled to take ten weeks—six weeks of first unit, and four weeks on stunt and chase sequences. However, four days into shooting, Rosie Bailey, who was originally cast as Max's wife, was injured in a bike accident. Production was halted, and Bailey was replaced by Joanne Samuel, causing a two-week delay.

text: In the end, the shoot took six weeks over November and December 1977, with a further six-week second unit. The unit reconvened two months later, in May 1978, and spent another two weeks doing second unit shots and re-staging some stunts.[6] Miller described the whole experience as "guerrilla filmmaking", where the crew would close roads without filming permits, not use walkie-talkies because their frequency coincided with the police radio, and after filming was done Miller and Kennedy would even sweep down the roads. Still, as filming progressed the Victoria Police became interested in the production, helping the crew by closing down roads and escorting the vehicles.[4] Because of the film's low budget, all but one of the police uniforms in the film were made of vinyl leather, with only one genuine leather uniform made for stunt sequences involving Bisley and Gibson.

text: Shooting took place in and around Melbourne. Many of the car chase scenes for Mad Max were filmed near the town of Little River, northeast of Geelong. The early town scenes with the Toe Cutter Gang were filmed in the main street of Clunes, north of Ballarat. Much of the streetscape remains unchanged. Some scenes were filmed at Tin City at Stockton Beach.[19][20] The "execution of the mannequin" scene was filmed at Seaford Beach in Seaford, Victoria.

text: Mad Max was one of the first Australian films to be shot with a widescreen anamorphic lens,[7] although Peter Weir's The Cars That Ate Paris (1974) was shot in anamorphic four years earlier.[21] Miller's desire to shoot in anamorphic made him seek a set of Todd-AO wide angle lenses used by Sam Peckinpah to film The Getaway (1972), which were damaged enough in that shoot to get discarded in Australia. The only one which worked properly was a 35mm lens which was employed in the whole of Mad Max.[4]

text: Post-production[edit]

text: The film's post-production was done at a friend's apartment in North Melbourne, with Wilson and Kennedy editing the film in the small lounge room on a home-built editing machine that Kennedy's father, an engineer, had designed for them. Wilson and Kennedy also performed sound editing there.

text: Tony Patterson edited the film for four months, then had to leave because he was contracted to make Dimboola (1979). George Miller took over editing with Cliff Hayes, and they worked on it for three months. Kennedy and Miller did the final cut,[6] in a process Miller described as "he would cut sound in the lounge room and I’d cut picture in the kitchen." Professional sound engineer Roger Savage would perform the sound mixing in the studio he worked after finishing his work with Little River Band, and employed timecoding techniques that were unseen in Australian cinema.[4]

text: Music[edit]

text: The musical score for Mad Max was composed and conducted by Australian composer Brian May (not to be confused with the guitarist of the English rock band Queen). Miller wanted a Gothic, Bernard Herrmann–type score and hired May after hearing his work for Patrick (1978).[3] "With the little budget that we had we went ahead and did it, and spent a lot of time on it," said May. "George was marvelous to work with; he had a lot of ideas about what he wanted although he wasn’t a musician."[22] A soundtrack album was released in 1980 by Varèse Sarabande.[23]

text: Release[edit]

text: Mad Max was first released in Australia through Roadshow Film Distributors (now Village Roadshow Pictures) in 1979.[24] The movie was sold overseas for $1.8 million, with American International Pictures releasing in the United States and Warner Bros. handling the rest of the world.[7] The film was banned in New Zealand and Sweden, in the former because of the scene where Goose is burned alive inside his vehicle: it unintentionally mirrored an incident with a real gang shortly before the film's release. It was later shown in New Zealand in 1983 after the success of the sequel, with an 18 certificate.[25] The ban in Sweden was removed in 2005, and it has since been shown on television and sold on home media there.[26]

text: When shown in the United States during 1980, the original Australian dialogue was redubbed by an American crew.[27] American International Pictures distributed this dub after it underwent a management re-organisation.[28] Much of the Australian slang and terminology was also replaced with American usages (examples: "Oi!" became "Hey!", "See looks!" became "See what I see?", "windscreen" became "windshield", "very toey" became "super hot", and "proby"—probationary officer—became "rookie"). AIP also altered the operator's duty call on Jim Goose's bike in the beginning of the film (it ended with "Come on, Goose, where are you?"). The only dubbing exceptions were the voice of the singer in the Sugartown Cabaret (played by Robina Chaffey), the voice of Charlie (played by John Ley) through the mechanical voice box, and Officer Jim Goose (Steve Bisley), singing as he drives a truck before being ambushed. Since Mel Gibson was not well known to American audiences at the time, trailers and television spots in the United States emphasised the film's action content. The original Australian dialogue track was finally released in North America in 2000 in a limited theatrical reissue by MGM, the film's current rights holders. It has since been released in the US on DVD with the US and Australian soundtracks on separate tracks.[29][30]

text: Reception[edit]

text: Upon its release, the film polarized critics. In a 1979 review, the Australian social commentator and film producer Phillip Adams condemned Mad Max, saying that it had "all the emotional uplift of Mein Kampf" and would be "a special favourite of rapists, sadists, child murderers and incipient [Charles] Mansons".[31] After its United States release, Tom Buckley of The New York Times called the film "ugly and incoherent".[32] Stephen King, writing in Danse Macabre, called the film a "turkey." However, Variety magazine praised the directorial debut by Miller.[33]

text: Mad Max grossed A$5,355,490 at the box office in Australia and over US$100 million worldwide.[34][2] It was the most profitable film ever made at the time, holding the Guinness World Record for the highest box office to budget ratio of any motion picture.[35] The film was awarded three Australian Film Institute Awards in 1979 (for editing, sound, and musical score). It was also nominated for Best Film, Best Director, Best Original Screenplay, and Best Supporting Actor (Hugh Keays-Byrne) by the Australian Film Institute. The film also won the Special Jury Award at the Avoriaz Fantastic Film Festival.[36]

text: Mad Max holds a 90% "Fresh" rating on review aggregator site Rotten Tomatoes, based on 54 positive critic reviews, with consensus being "Staging the improbable car stunts and crashes to perfection, director George Miller succeeds completely in bringing the violent, post-apocalyptic world of Mad Max to visceral life."[37] The film has been included in "best films of all time" lists by The New York Times[38] and The Guardian.[39]

text: Accolades[edit]

text:
List of awards and nominations

Award
Category
Winner/Nominee
Result

AACTA Award
(1979 AFI Awards)
Best Film
Byron Kennedy
Nominated

Best Direction
George Miller
Nominated

Best Original Screenplay
Nominated

James McCausland
Nominated

Best Supporting Actor
Hugh Keays-Byrne
Nominated

Best Editing
Cliff Hayes
Won

Tony Paterson
Won

Best Original Music Score
Brian May
Won

Best Sound
Ned Dawson
Won

Byron Kennedy
Won

Roger Savage
Won

Gary Wilkins
Won

Avoriaz Fantastic Film Festival
Special Jury Award
George Miller
Won

text: Legacy[edit]