Canals are man-made channels for water. There are two types of canal:

#Waterways: navigable transportation canals used for carrying ships and boats shipping goods and conveying people, further subdivided into two kinds: ##Those connected to existing lakes, rivers, or oceans. Included are inter-basin canals, such as the Suez Canal, Erie Canal, and the Panama Canal. ##Those connected in a city network: such as the ''Canal Grande'' and others of Venice Italy; the ''gracht'' of Amsterdam, and the waterways of Bangkok. #Aqueducts: water supply canals that are used for the conveyance and delivery of potable water for human consumption, municipal uses, and agriculture irrigation. Rills and acequias are small versions.

Types of artificial waterways

Canals are created in one of three ways, or a combination of the three, depending on available water and available path:

A canal can be created where no stream presently exists. Either the body of the canal is dug or the sides of the canal are created by piling dirt, stone, concrete, or other building materials. The water for the canal must be provided from an external source like other streams or reservoirs. Examples include canals that connect valleys over a higher body of land, like Canal du Midi and Canal de Briare.

A stream can be ''canalized'' to make its navigable path more predictable and easier to maneuver. Canalization modifies the stream to more safely carry traffic by controlling the flow of the stream with dredging, damming, and modifying its path. Examples include Basse Saône, Canal de Mines de Fer de la Moselle, and Aisne River. Riparian zone restoration may be required.

When a stream is too difficult to modify with ''canalization'', a second stream can be created next to the existing stream. This is called a ''lateral canal''. The existing stream usually acts as the water source and its banks provide a path for the new body. Examples include the Chesapeake and Ohio Canal, Canal latéral à la Loire, Garonne Lateral Canal, and Canal latéral à l'Aisne.

Smaller transportation canals can carry barges or narrowboats, while ship canals allow seagoing ships to travel to an inland port (e.g., Manchester Ship Canal), or from one sea or ocean to another (e.g., Caledonian Canal, Panama Canal).

Features

At their simplest, canals consist of a trench filled with water. Depending on the stratum the canal passes through, it may be necessary to line the cut with some form of watertight material such as clay or concrete. When this is done with clay it is known as puddling.

Canals need to be level, and, while small irregularities in the lie of the land can be dealt with through cuttings and embankments, for larger deviations, other approaches have been adopted. The most common is the pound lock, which consists of a chamber within which the water level can be raised or lowered connecting either two pieces of canal at a different level or the canal with a river or the sea. When there is a hill to be climbed, flights of many locks in short succession may be used.

Prior to the development of the pound lock in 984AD in China by Chhaio Wei-Yo and later in Europe in the 15th century, either flash locks consisting of a single gate were used or ramps, sometimes equipped with rollers, were used to change level. Flash locks were only practical where there was plenty of water available.

Locks use a lot of water, so builders have adopted other approaches. These include boat lifts, such as the Falkirk wheel, which use a caisson of water in which boats float while being moved between two levels; and inclined planes where a caisson is hauled up a steep railway.

To cross a stream or road, the solution is usually to bridge with an aqueduct. To cross a wide valley (where the journey delay caused by a flight of locks at either side would be unacceptable) the centre of the valley can be spanned by an aqueduct - a famous example in Wales is the Pontcysyllte aqueduct across the valley of the River Dee.

Another option for dealing with hills is to tunnel through them. An example of this approach is the Harecastle Tunnel on the Trent and Mersey Canal. Tunnels are only practical for smaller canals.

Some canals attempted to keep changes in level down to a minimum. These canals known as contour canals would take longer winding routes, along which the land was a uniform altitude. Other generally later canals took more direct routes requiring the use of various methods to deal with the change in level.

Canals have various features to tackle the problem of water supply. In some cases such as the Suez Canal the canal is simply open to the sea. Where the canal is not at sea level a number of approaches have been adopted. Taking water from existing rivers or springs was an option in some cases, sometimes supplemented by other methods to deal with seasonal variations in flow. Where such sources were unavailable, reservoirs - either separate from the canal or built into its course - and back pumping were used to provide the required water. In other cases, water pumped from mines was used to feed the canal. In certain cases, extensive "feeder canals" were built to bring water from sources located far from the canal.

Where large amounts of goods are loaded or unloaded such as at the end of a canal a canal basin may be built. This would normally be a section of water wider than the general canal. In some cases, the canal basins contain wharfs and cranes to assist with movement of goods.

When a section of the canal needs to be sealed off so it can be drained for maintenance stop planks are frequently used. These consist of planks of wood placed across the canal to form a dam. They are generally placed in pre existing grooves in the canal bank. On more modern canals, "guard locks" or gates were sometimes placed to allow a section of canal to be quickly closed off, either for maintenance, or to prevent a major loss of water due to a canal breach.

History

Ancient canals

The oldest known canals were irrigation canals, built in Mesopotamia circa 4000 BC, in what is now modern day Iraq and Syria. The Indus Valley Civilization, in Pakistan and North India, (circa 2600 BC) had sophisticated irrigation and storage systems developed, including the reservoirs built at Girnar in 3000 BC. In Egypt, canals date back at least to the time of Pepi I Meryre (reigned 2332–2283 BC), who ordered a canal built to bypass the cataract on the Nile near Aswan.

In ancient China, large canals for river transport were established as far back as the Warring States (481–221 BC), the longest one of that period being the Hong Gou (Canal of the Wild Geese), which according to the ancient historian Sima Qian connected the old states of Song, Zhang, Chen, Cai, Cao, and Wei. By far the longest canal was the Grand Canal of China, still the longest canal in the world today. It is long and was built to carry the Emperor Yang Guang between Beijing and Hangzhou. The project began in 605 and was completed in 609, although much of the work combined older canals, the oldest section of the canal existing since at least 486 BC. Even in its narrowest urban sections it is rarely less than wide.

Greek engineers were the first to use canal locks, by which they regulated the water flow in the Ancient Suez Canal as early as the 3rd century BC.

Canals in the Middle Ages

In the Middle Ages, water transport was cheaper and faster than transport overland. This was because roads were unpaved and in poor condition and greater amounts could be transported by ship. The first artificial canal in Christian Europe was the Fossa Carolina built at the end of the 8th Century under personal supervision of Charlemagne. More lasting and of more economic impact were canals like the Naviglio Grande built between 1127 and 1257, the most important of the lombard “navigli”, Later, canals were built in the Netherlands and Flanders to drain the polders and assist the transportation of goods.

Canal building was revived in this age because of commercial expansion from the 12th century AD. River navigations were improved progressively by the use of single, or flash locks. Taking boats through these used large amounts of water leading to conflicts with watermill owners and to correct this, the pound or chamber lock first appeared, in 10th century AD in China and in Europe in 1373 in Vreeswijk, Netherlands. Another important development was the mitre gate, which was, it is presumed, introduced in Italy by Bertola da Novate in the 16th century. This allowed wider gates and also removed the height restriction of guillotine locks.

To break out of the limitations caused by river valleys, the first summit level canals were developed with the Grand Canal of China in 581–617 AD whilst in Europe the first, also using single locks, was the Stecknitz Canal in Germany in 1398. The first to use pound locks was the Briare Canal connecting the Loire and Seine (1642), followed by the more ambitious Canal du Midi (1683) connecting the Atlantic to the Mediterranean. This included a staircase of 8 locks at Béziers, a tunnel and three major aqueducts.

Canal building progressed steadily in Germany in the 17th and 18th centuries with three great rivers, the Elbe, Oder and Weser being linked by canals. In post-Roman Britain, the first canal built appears to have been the Exeter Canal, which opened in 1563. The oldest canal built for industrial purposes in North America is Mother Brook in Dedham, MA. It was constructed in 1639 to provide water power for mills. In Russia, the Volga-Baltic Waterway, a nationwide canal system connecting the Baltic and Caspian seas via the Neva and Volga rivers, was opened in 1718.

Industrial revolution

: Canals were important for industrial development. The greatest stimulus to canal system building came from the Industrial Revolution with its need for cheap transport of unprecedented quantities of raw materials and manufactured items.

In Europe, particularly Britain and Ireland, and then in the young United States and the Canadian colonies, inland canals preceded the development of railroads during the earliest phase of the Industrial Revolution. The opening of the Sankey Canal in 1757, followed by the Bridgewater Canal in 1761, which halved the price of coal in Liverpool and Manchester, respectively, triggered a period of "canal mania" in Britain so that between 1760 and 1820 over one hundred canals were built.

As well as industrial uses, the Royal Military Canal on the Romney Marsh was built so as create a barrier against invading troops, and hiding places for British troops during the Napoleonic Wars.

The Blackstone Canal in Massachusetts and Rhode Island fulfilled a similar role in the early industrial revolution between 1828–48. The Blackstone Valley was a major contributor of the American Industrial Revolution where Samuel Slater built his first mill.

In addition to their transportation purposes, parts of the United States, particularly in the Northeast, had enough fast-flowing rivers that water power was the primary means of powering factories (usually textile mills) until after the American Civil War. For example, Lowell, Massachusetts, considered to be "The Cradle of the American Industrial Revolution," has of canals, built from around 1790 to 1850, that provided water power and a means of transportation for the city. The output of the system is estimated at 10,000 horsepower. Other cities with extensive power canal systems include Lawrence, Massachusetts, Holyoke, Massachusetts, Manchester, New Hampshire, and Augusta, Georgia.

The 19th century

Competition from the railway network from the 1830s, and in the 20th century the roads, made the smaller canals obsolete for most commercial transportation, and many of the British canals fell into decay. Only the Manchester Ship Canal and the Aire and Calder Canal bucked this trend. Yet in other countries canals grew in size as construction techniques improved. During the 19th century in the US, the length of canals grew from to over 4,000, with a complex network making the Great Lakes navigable, in conjunction with Canada, although some canals were later drained and used as railroad rights-of-way.

In the United States, navigable canals reached into isolated areas and brought them in touch with the world beyond. By 1825 the Erie Canal, long with 82 locks, opened up a connection from the populated Northeast to the Great Lakes. Settlers flooded into regions serviced by such canals, since access to markets was available. The Erie Canal (as well as other canals) was instrumental in lowering the differences in commodity prices between these various markets across America. The canals caused price convergence between different regions because of their reduction in transportation costs, which allowed Americans to ship and buy goods from farther distances for much lower prices compared to before. Ohio built many miles of canal, Indiana had working canals for a few decades, and the Illinois and Michigan Canal connected the Great Lakes to the Mississippi River system until replaced by a channelized river waterway.

Three major canals with very different purposes were built in what is now Canada. The first Welland Canal, which opened in 1829 between Lake Ontario and Lake Erie, bypassing Niagara Falls and the Lachine Canal (1825), which allowed ships to skirt the nearly impassable rapids on the St. Lawrence River at Montreal were built for commerce. The Rideau Canal, completed in 1832, connects Ottawa, on the Ottawa River to Kingston, Ontario on Lake Ontario. The Rideau Canal was built as a result of the War of 1812 to provide military transportation between the British colonies of Upper Canada and Lower Canada as an alternative to part of the St. Lawrence River, which was susceptible to blockade by the United States.

In France, a steady linking of all the river systems—Rhine, Rhône, Saône, and Seine—and the North Sea was boosted in 1879 by the establishment of the Freycinet gauge, which specified the minimum size of locks so that canal traffic doubled in the first decades of the 20th century.

Many notable sea canals were completed in this period, starting with the Suez Canal (1869), and the Kiel Canal (1897), which carries tonnage many times that of most other canals, though the Panama Canal was not opened until 1914.

In the 19th century, a number of canals were built in Japan including the Biwako canal and the Tone canal. These canals were partially built with the help of engineers from the Netherlands and other countries.

Modern uses

Large-scale ship canals such as the Panama Canal and Suez Canal continue to operate for cargo transportation, as do European barge canals. Due to globalization, they are becoming increasingly important, resulting in expansion projects such as the Panama Canal expansion project.

The narrow early industrial canals, however, have ceased to carry significant amounts of trade and many have been abandoned to navigation, but may still be used as a system for transportation of untreated water. In some cases railways have been built along the canal route, an example being the Croydon Canal.

A movement that began in Britain and France to use the early industrial canals for pleasure boats, such as hotel barges, has spurred rehabilitation of stretches of historic canals. In some cases, abandoned canals such as the Kennet and Avon Canal have been restored and are now used by pleasure boaters. In Britain, canalside housing has also proven popular in recent years.

The Seine-Nord Europe Canal is being developed into a major transportation waterway, linking France with Belgium, Germany, and the Netherlands.

Canals have found another use in the 21st century, as easements for the installation of fibre optic telecommunications network cabling, avoiding having them buried in roadways while facilitating access and reducing the hazard of being damaged from digging equipment.

Canals are still used to provide water for agriculture. An extensive canal system exists within the Imperial Valley in the Southern California desert to provide irrigation to agriculture within the area.

Cities on water

Canals are so deeply identified with Venice that many canal cities have been nicknamed "the Venice of…". The city is built on marshy islands, with wooden piles supporting the buildings, so that the land is man-made rather than the waterways. The islands have a long history of settlement; by the 12th century, Venice was a powerful city state.

Amsterdam was built in a similar way, with buildings on wooden piles. It became a city around 1300.

Other cities with extensive canal networks include: Alkmaar, Amersfoort, Bolsward, Brielle, Delft, Den Bosch, Dokkum, Dordrecht, Enkhuizen, Franeker, Gouda, Haarlem, Harlingen, Leeuwarden, Leiden, Sneek and Utrecht in the Netherlands, Brugge and Gent in Flanders, Belgium, Birmingham in England — which has 35 miles of canals, to Venice's 26 miles —, Saint Petersburg in Russia, Hamburg in Germany, Berlin in Germany, Fort Lauderdale, Florida, and Cape Coral, Florida in the United States.

Liverpool Maritime Mercantile City is a UNESCO World Heritage Site near the centre of Liverpool, England, where a system of intertwining waterways and docks is now being developed for mainly residential and leisure use.

Canal Estates (commonly known as bayous) are a form of subdivision popular in cities like Miami, Florida, Texas City, Texas and the Gold Coast, Queensland; the Gold Coast has over 700 km of residential canals. Wetlands are difficult areas upon which to build housing estates, so dredging part of the wetland down to a navigable channel provides fill to build up another part of the wetland above the flood level for houses. Land is built up in a finger pattern that provides a suburban street layout of waterfront housing blocks.

Boats

Inland canals have often had boats specifically built for them. An example of this is the British narrowboat, which is up to long and wide and was primarily built for British Midland canals. In this case the limiting factor was the size of the locks. This is also the limiting factor on the Panama canal where Panamax ships are limited to a length of and a width of . For the lockless Suez Canal the limiting factor for Suezmax ships is generally draft, which is limited to . At the other end of the scale, tub-boat canals such as the Bude Canal were limited to boats of under 10 tons for much of their length due to the capacity of their inclined planes or boat lifts. Most canals have a limit on height imposed either by bridges or by tunnels.

Lists of canals

Europe

*Canals of France

*Canals of Amsterdam

*Canals of Germany

*Canals of Ireland

*Canals of Russia

*Canals of the United Kingdom

North America

*Canals of Canada

*Canals of the United States

See also

Barges of all types

British Waterways

Canal tunnel

Channel

Ditch

Environment Agency

History of the British canal system

Horse-drawn boat

Infrastructure

Irrigation district

Lists of canals

List of navigation authorities in the United Kingdom

List of waterways

List of waterway societies in the United Kingdom

Lock

Navigable aqueduct

Navigation authority

Narrowboat

Roman canals - (''Torksey'')

Volumetric flow rate

Water bridge

Waterscape

Water transportation

Waterway

Waterway restoration

Waterways in the United Kingdom

Weigh lock

References

Notes

Bibliography

External links

British Waterways' leisure website - Britain's official guide to canals, rivers and lakes

Leeds Liverpool Canal Photographic Guide

Triumphs of Canal Building

Information and Boater's Guide to the New York State Canal System

"Canals and Navigable Rivers" by James S. Aber, Emporia State University

National Canal Museum (USA)

London Canal Museum (UK)

Canals in Amsterdam

Canal du Midi

Canal des Deux Mers

Canal flow measurement using a sensor.

Category:Coastal construction Category:Water transport infrastructure

ar:قناة an:Canal de navegación az:Arx bn:খাল bjn:Handil zh-min-nan:Ūn-hô ba:Һыу каналы be:Канал, гідраграфія be-x-old:Канал bi:Kanal bs:Kanal (građevina) br:Kanol (dour) bg:Канал ca:Canal navegable cs:Vodní kanál cy:Camlas da:Kanal pdc:Kanaal de:Kanal (Wasserbau) et:Kanal el:Διώρυγα es:Canal de navegación eo:Kanalo (akvovojo) eu:Ubide fa:کانال hif:Canal fr:Canal (voie d'eau) fy:Kanaal (wetterwei) gl:Canle (enxeñería) gan:運河 ko:운하 hi:नहर hr:Kanal (građevina) io:Kanalo is:Skurður it:Canale artificiale he:תעלה ka:არხი (ჰიდროგრაფია) kk:Канал sw:Mfereji ku:Cok la:Fossa lv:Kanāls lb:Kanal (Waasserbau) lt:Kanalas hu:Csatorna (vízépítés) mk:Канал mr:कालवा arz:قناه ms:Terusan nl:Kanaal (waterweg) nds-nl:Knoal (woaterweg) ja:運河 no:Kanal (farvann) nn:Kanal oc:Canal (via navegabla) pnb:نیر pl:Kanał wodny pt:Canal ro:Canal (geografie) ru:Канал (гидрография) si:ඇල simple:Canal sk:Prieplav sl:Prekop sr:Канал (вештачки) sh:Kanal fi:Kanava sv:Kanal ta:கால்வாய் te:కాలువ th:คลอง tr:Ark uk:Канал (гідротехніка) ur:نہر vec:Canal artifexal vi:Kênh đào war:Kalí wuu:运河 zh-yue:運河 bat-smg:Kanals zh:运河

Hip hop is a form of musical expression and artistic culture that originated in African-American and Latino communities during the 1970s in New York City, specifically the Bronx. DJ Afrika Bambaataa outlined the four pillars of hip hop culture: MCing, DJing, breaking and graffiti writing. Other elements include beatboxing.

Since its emergence in the South Bronx, hip hop culture has spread around the world. Hip hop music first emerged with disc jockeys creating rhythmic beats by looping breaks (small portions of songs emphasizing a percussive pattern) on two turntables, more commonly referred to as sampling. This was later accompanied by "rap", a rhythmic style of chanting or poetry presented in 16 bar measures or time frames, and beatboxing, a vocal technique mainly used to imitate percussive elements of the music and various technical effects of hip hop DJ's. An original form of dancing and particular styles of dress arose among fans of this new music. These elements experienced considerable refinement and development over the course of the history of the culture.

The relationship between graffiti and hip hop culture arises from the appearance of new and increasingly elaborate and pervasive forms of the practice in areas where other elements of hip hop were evolving as art forms, with a heavy overlap between those who wrote graffiti and those who practiced other elements of the culture. Today, graffiti remains part of hip hop, while crossing into the mainstream art world with renowned exhibits in galleries throughout the world.

Etymology

The phrase ''hip hop'' is a combination of two separate slang terms—"hip", used in African American Vernacular English (AAVE) as early as 1898, meaning ''current'' or ''in the know'', and "hop", for the hopping movement.

Keith "Cowboy" Wiggins, a member of Grandmaster Flash and the Furious Five, has been credited with coining the term ''hip hop'' in 1978 while teasing a friend who had just joined the US Army, by scat singing the words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of marching soldiers. Cowboy later worked the "hip hop" cadence into a part of his stage performance. The group frequently performed with disco artists who would refer to this new type of MC/DJ-produced music by calling them "hip hoppers". The name was originally meant as a sign of disrespect, but soon came to identify this new music and culture.

The opening of the song "Rapper's Delight" by The Sugarhill Gang, a 15-minute long song in addition to the verse on Grandmaster Flash and the Furious Five's own "Superrappin'", were both released in 1979. Lovebug Starski, a Bronx DJ who put out a single called "The Positive Life" in 1981, and DJ Hollywood then began using the term when referring to this new ''disco rap'' music. Hip hop pioneer and South Bronx community leader Afrika Bambaataa also credits Lovebug Starski as the first to use the term "Hip Hop", as it relates to the culture. Bambaataa, former leader of the Black Spades gang, also did much to further popularize the term.

History

Jamaican born DJ Clive "Kool Herc" Campbell is credited as being highly influential in the pioneering stage of hip hop music, in the Bronx, after moving to New York at the age of thirteen. Herc created the blueprint for hip hop music and culture by building upon the Jamaican tradition of toasting—impromptu, boastful poetry and speech over music—which he witnessed as a youth in Jamaica.

Herc and other DJs would tap into the power lines to connect their equipment and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, a historic building "where hip hop was born". Their equipment was composed of numerous speakers, turntables, and one or more microphones. By using this technique DJs could create a variety of music. According to Rap Attack by David Toop “At its worst the technique could turn the night into one endless and inevitably boring song” (12). 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".

Herc was also the developer of break-beat deejaying, 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, rock, and records with Latin percussion, 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". Herc's terms b-boy, b-girl and breaking became part of the lexicon of hip hop culture, before that culture itself had developed a name.

Later DJs such as Grand Wizard Theodore, Grandmaster Flash and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching. The approach used by Herc was soon widely copied, and by the late 1970s DJs were releasing 12" records where they would rap to the beat. Popular tunes included Kurtis Blow's "The Breaks" and The Sugarhill Gang's "Rapper's Delight".

Emceeing is the rhythmic spoken delivery of rhymes and wordplay, delivered over a beat or without accompaniment. Rapping is derived from the griots (folk poets) of West Africa, and Jamaican-style toasting. Rap developed both inside and outside of hip hop culture, and began with the street parties thrown in the Bronx neighborhood of New York in the 1970s by Kool Herc and others. It originated as MCs would talk over the music to promote their DJ, promote other dance parties, take light-hearted jabs at other lyricists, or talk about problems in their areas and issues facing the community as a whole. Melle Mel, a rapper/lyricist with The Furious Five, is often credited with being the first rap lyricist to call himself an "MC".

In the late 1970s an underground urban movement known as "hip hop" began to develop in the South Bronx area of New York City. Encompassing graffiti art, bboying, rap music, and fashion, hip hop became the dominant cultural movement of the minority populated urban communities in the 1980s. Graffiti, rapping, and bboying 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.

Hip hop as a culture was further defined in 1982, when Afrika Bambaataa and the Soulsonic Force released the seminal electro-funk track "Planet Rock". Instead of simply rapping over disco beats, Bambaataa created an electronic sound, taking advantage of the rapidly improving drum machine Roland TB-303 synthesizer technology, as well as sampling from Kraftwerk.

The appearance of music videos changed entertainment: they often glorified urban neighborhoods. The music video for "Planet Rock" showcased the subculture of hip hop musicians, graffiti artists, and b-boys/b-girls. Many hip hop-related films were released between 1982 and 1985, among them ''Wild Style'', ''Beat Street'', ''Krush Groove'', ''Breakin'', and the documentary ''Style Wars''. These films expanded the appeal of hip hop beyond the boundaries of New York. By 1985, youth worldwide were embracing the hip hop culture. The hip hop artwork and "slang" of US urban communities quickly found its way to Europe and Asia, as the culture's global appeal took root.

The 1980s also saw many artists make social statements through hip hop. In 1982, Melle Mel and Duke Bootee recorded "The Message" (officially credited to Grandmaster Flash and The Furious Five), a song that foreshadowed the socially conscious statements of Run-DMC's "It's like That" and Public Enemy's "Black Steel in the Hour of Chaos".

During the 1980s, hip hop also embraced the creation of rhythm by using the human body, via the vocal percussion technique of beatboxing. Pioneers such as Doug E. Fresh, Biz Markie and Buffy from the Fat Boys made beats, rhythm, and musical sounds using their mouth, lips, tongue, voice, and other body parts. "Human Beatbox" artists would also sing or imitate turntablism scratching or other instrument sounds.

American society

Early hip hop has often been credited with helping to reduce inner-city gang violence by replacing physical violence with dance and artwork battles. In the early 1970s, DJ Kool Herc began organizing dance parties in his home in the Bronx. The parties became so popular they were moved to outdoor venues to accommodate more people. City teenagers, after years of gang violence, were looking for new ways to express themselves. These outdoor parties, hosted in parks, 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."

Tony Tone, a member of the pioneering rap group the Cold Crush Brothers, noted that "hip hop saved a lot of lives". Hip hop culture became a way of dealing with the hardships of life as minorities within America, and an outlet to deal with violence and gang culture. MC Kid Lucky mentions that "people used to break-dance against each other instead of fighting". 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 and violence.

The lyrical content of many early rap groups concentrated on social issues, most notably in the seminal track "The Message", which discussed the realities of life in the housing projects. "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 movement." 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". It also gave young blacks a chance for financial gain by "reducing the rest of the world to consumers of its social concerns."

With the commercial success of gangsta rap in the early 1990s, however, emphasis shifted from social issues to drugs, violence, and misogyny. While hip hop music now appeals to a broader demographic, media critics argue that socially and politically conscious hip hop has been largely disregarded by mainstream America.

Global innovations

Though created in the United States by African-Americans (some with Jamaican heritage), hip hop culture and music is now global in scope. Asia, The Middle East, Africa, Canada, France, Germany, the U.K., Australia, the Netherlands, and the Caribbean have long-established hip hop followings. According to the U.S. Department of State, hip hop is "now the center of a mega music and fashion industry around the world," that crosses social barriers and cuts across racial lines. ''National Geographic'' recognizes hip hop as "the world's favorite youth culture" in which "just about every country on the planet seems to have developed its own local rap scene." Through its international travels, hip hop is now considered a “global musical epidemic,” and has diverged from its ethnic roots by way of globalization and localization.

Although some non-American rappers may still relate with young urban Americans, hip hop now transcends its original culture, and is appealing because it is “custom-made to combat the anomie that preys on adolescents wherever nobody knows their name.” Hip hop is attractive in its ability to give a voice to disenfranchised youth in any country, and as music with a message, it is a form available to all societies worldwide.

From its early spread to Europe and Japan to an almost worldwide acceptance through Asia and South American countries such as Brazil, the musical influence has been global. Hip hop sounds and styles differ from region to region, but there is also a lot of crossbreeding. Unlike the old genres, which popularized throughout the nation via radio, hip hop tends to hold on to its regional identity. Regardless of where it is found, the music often targets local disaffected youth.

Hip hop has given people a voice to express themselves, from the "Bronx to Beirut, Kazakhstan to Cali, Hokkaido to Harare, Hip Hop is the new sound of a disaffected global youth culture." Though on the global scale there is a heavy influence from US culture, different cultures worldwide have transformed hip hop with their own traditions and beliefs. "Global Hip Hop succeeds best when it showcases ... cultures that reside outside the main arteries of the African Diaspora." Not all countries have embraced hip hop, where "as can be expected in countries with strong local culture, the interloping wildstyle of hip hop is not always welcomed".

As hip hop becomes globally available, it is not a one-sided process that eradicates local cultures. Instead, global hip hop styles are often synthesized with local styles. Hartwig Vens argues that hip hop can also be viewed as a global learning experience. Hip hop from countries outside the United States is often labeled "world music" for the American consumer. Author Jeff Chang argues that "the essence of hip hop is the cipher, born in the Bronx, where competition and community feed each other."

Hip hop has impacted many different countries culturally and socially in positive ways. "Thousands of organizers from Cape Town to Paris use hip hop in their communities to address environmental justice, policing and prisons, media justice, and education."

While hip hop music has been criticized as a music which creates a divide between western music and music from the rest of the world, a musical "cross pollination" has taken place, which strengthens the power of hip hop to influence different communities. Hip hop's impact as a "world music" is also due to its translatability among different cultures in the world. Hip hop's messages allow the under-privileged and the mistreated to be heard. These cultural translations cross borders. While the music may be from a foreign country, the message is something that many people can relate to- something not "foreign" at all.

Even when hip hop is transplanted to other countries, it often retains its "vital progressive agenda that challenges the status quo." Global hip hop is the meeting ground for progressive local activism, as many organizers use hip hop in their communities to address environmental injustice, policing and prisons, media justice, and education. In Gothenburg, Sweden, nongovernmental organizations (NGOs) incorporate graffiti and dance to engage disaffected immigrant and working class youths. Indigenous youths in countries as disparate as Bolivia, Chile, Indonesia, New Zealand, and Norway use hip hop to advance new forms of identity.

Hip hop has played a small but distinct role as the musical face of revolution in the Arab Spring, one example being an anonymous Libyan musician, Ibn Thabit whose anti-government songs fuels the rebellion.

Commercialization

Even in the face of growing global popularity, or perhaps because of it, hip hop has come under fire for being too commercial, too commodified. While this of course stirs up controversy, a documentary called ''The Commodification of Hip Hop'' directed by Brooke Daniel interviews students at Satellite Academy in New York City. One girl talks about the epidemic of crime that she sees in urban minority communities, relating it directly to the hip hop industry saying “When they can’t afford these kind of things, these things that celebrities have like jewelry and clothes and all that, they’ll go and sell drugs, some people will steal it...” Many students see this as a negative side effect of the hip hop industry, and indeed, hip hop has been widely criticized for inciting notions of crime, violence, and American ideals of consumerism although much of the hip hop dancing community still chooses to refer back to more "oldschool" types of hip hop music that does not preach violence and drugs.

In an article for ''Village Voice'', Greg Tate argues that the commercialization of hip hop is a negative and pervasive phenomenon, writing that "what we call hiphop is now inseparable from what we call the hip hop industry, in which the ''nouveau riche'' and the super-rich employers get richer". Ironically, this commercialization coincides with a decline in rap sales and pressure from critics of the genre. Even other musicians, like Nas and KRS-ONE have claimed "hip hop is dead" in that it has changed so much over the years to cater to the consumer that it has lost the essence for which it was originally created. However, in his book ''In Search Of Africa'', Manthia Diawara explains that hip hop is really a voice of people who are down and out in modern society. He argues that the "worldwide spread of hip hop as a market revolution" is actually global "expression of poor people’s desire for the good life," and that this struggle aligns with "the nationalist struggle for citizenship and belonging, but also reveals the need to go beyond such struggles and celebrate the redemption of the black individual through tradition."

This connection to "tradition" however, is something that may be lacking according to one Satellite Academy staff member who says that in all of the focus on materialism, the hip hop community is “not leaving anything for the next generation, we’re not building.”

As the hip hop genre turns 30, a deeper analysis of the music’s impact is taking place. It has been viewed as a cultural sensation which changed the music industry around the world, but some believe commercialization and mass production have given it a darker side. Tate has described its recent manifestations as a marriage of “New World African ingenuity and that trick of the devil known as global-hypercapitalism”, arguing it has joined the “mainstream that had once excluded its originators.” While hip hop's values may have changed over time, the music continues to offer its followers and originators a shared identity which is instantly recognizable and much imitated around the world.

Cultural pillars

DJing

Turntablism refers to the extended boundaries and techniques of normal DJing innovated by hip hop. One of the few first hip hop DJ's was Kool DJ Herc, who created hip hop through the isolation of "breaks" (the parts of albums that focused solely on the beat). In addition to developing Herc's techniques, DJs Grandmaster Flowers, Grandmaster Flash, Grand Wizard Theodore, and Grandmaster Caz made further innovations with the introduction of scratching.

Traditionally, a DJ will use two turntables simultaneously. These are connected to a DJ mixer, an amplifier, speakers, and various other pieces of electronic music equipment. The DJ will then perform various tricks between the two albums currently in rotation using the above listed methods. The result is a unique sound created by the seemingly combined sound of two separate songs into one song. Although there is considerable overlap between the two roles, a DJ is not the same as a producer of a music track.

In the early years of hip hop, the DJs were the stars, but their limelight[citation needed] has been taken by MCs since 1978, thanks largely to Melle Mel of Grandmaster Flash's crew, the Furious Five. However, a number of DJs have gained stardom nonetheless in recent years. Famous DJs include Grandmaster Flash, Afrika Bambaataa, Mr. Magic, DJ Jazzy Jeff, DJ Scratch from EPMD, DJ Premier from Gang Starr, DJ Scott La Rock from Boogie Down Productions, DJ Pete Rock of Pete Rock & CL Smooth, DJ Muggs from Cypress Hill, Jam Master Jay from Run-DMC, Eric B., DJ Screw from the Screwed Up Click and the inventor of the Chopped & Screwed style of mixing music, Funkmaster Flex, Tony Touch, DJ Clue, and DJ Q-Bert. The underground movement of turntablism has also emerged to focus on the skills of the DJ.

Mixtape DJs have also emerged creating mixtapes with different artists and getting exclusive songs and putting them on one disc, such as DJ White Owl, DJ Skee, DJ Drama and DJ Whoo Kid, DJ Scholar.

MCing

Rapping (also known as emceeing, MCing, or just rhyming) refers to "spoken or chanted rhyming lyrics with a strong rhythmic accompaniment". It can be broken down into different components, such as “content”, “flow” (rhythm and rhyme), and “delivery”. Rapping is distinct from spoken word poetry in that is it performed in time to the beat of the music. The use of the word "rap" to describe quick and slangy speech or repartee long predates the musical form.

Graffiti

In America around the late 1960s, graffiti was used as a form of expression by political activists, and also by gangs such as the Savage Skulls, La Familia, and Savage Nomads to mark territory. Towards the end of the 1960s, the signatures—''tags''—of Philadelphia graffiti writers Top Cat, Cool Earl and Cornbread started to appear. Around 1970–71, the center of graffiti innovation moved to New York City where writers following in the wake of TAKI 183 and Tracy 168 would add their street number to their nickname, "bomb" a train with their work, and let the subway take it—and their fame, if it was impressive, or simply pervasive, enough—"all city". Bubble lettering held sway initially among writers from the Bronx, though the elaborate Brooklyn style Tracy 168 dubbed "wildstyle" would come to define the art. The early trendsetters were joined in the 70s by artists like Dondi, Futura 2000, Daze, Blade, Lee, Fab Five Freddy, Zephyr, Rammellzee, Crash, Kel, NOC 167 and Lady Pink.

The relationship between graffiti and hip hop culture arises both from early graffiti artists practicing other aspects of hip hop, and its being practiced in areas where other elements of hip hop were evolving as art forms. Graffiti is recognized as a visual expression of rap music, just as breaking is viewed as a physical expression. The movie "Wild Style" is widely regarded as the first hip hop motion picture, featured prominent figures from lates 70's and early 1980's hip hop culture engaging in activities such as graffiti, MCing, turntablism and bboying; the four pillars of hip hop culture. The book ''Subway Art'' (New York: Henry Holt & Co, 1984) and the TV program ''Style Wars'' (first shown on the PBS channel in 1984) were also among the first ways the mainstream public were introduced to hip hop graffiti.

Breaking

Breaking, also called B-boying or breakdancing, is a dynamic style of dance which developed as part of the hip hop culture. Breaking is one of the major elements of hip hop culture. Like many aspects of Hip hop culture, breakdance borrows heavily from many cultures, including 1930's-era street dancing, Afro-Brazilian and Asian Martial arts, Russian folk dance, and the dance moves of James Brown, Micheal Jackson, and California Funk styles. Breaking took form in the South Bronx alongside the other elements of hip hop. According to the documentary film The Freshest Kids: A History of the B-Boy, DJ Kool Herc describes the "B" in B-boy as short for breaking which at the time was slang for "going off", also one of the original names for the dance. However, early on the dance was known as the "boing" (the sound a spring makes). Dancers at DJ Kool Herc's parties, who saved their best dance moves for the break section of the song, getting in front of the audience to dance in a distinctive, frenetic style. The "B" in B-boy also stands simply for break, as in break-boy (or girl). Breaking was documented in Style Wars, and was later given more focus in fictional films such as Wild Style and Beat Street. Early acts include the Rock Steady Crew and New York City Breakers.

Beatbox

Beatbox, popularized by Doug E. Fresh, is the vocal percussion of hip hop culture. It is primarily concerned with the art of creating beats, rhythms, and melodies using the human mouth. The term ''beatboxing'' is derived from the mimicry of the first generation of drum machines, then known as beatboxes. As it is a way of creating hip hop music, it can be categorized under the production element of hip hop, though it does sometimes include a type of rapping intersected with the human-created beat.

The art was quite popular in the 1980s with artists like the Darren "Buffy, the Human Beat Box" Robinson of the Fat Boys and Biz Markie displaying their skills in beatboxing. It declined in popularity along with bboying in the late '80s, but has undergone a resurgence since the late '90s, marked by the release of "Make the Music 2000." by Rahzel of The Roots.

Social impact

Effects

Hip hop has made a considerable social impact since its inception in the 1970s. Orlando Patterson, a sociology professor at Harvard University helps describe the phenomenon of how Hip Hop spread rapidly around the world. Professor Patterson argues that mass communication is controlled by the wealthy, government, and businesses in Third World nations and countries around the world. He also credits mass communication with creating a global cultural hip hop scene. As a result, the youth absorb and are influenced by the American hip hop scene and start their own form of hip hop. Patterson believes that revitalization of hip hop music will occur around the world as traditional values are mixed with American hip hop musical forms, and ultimately a global exchange process will develop that brings youth around the world to listen to a common musical form known as hip hop. It has also been argued that rap music formed as a "cultural response to historic oppression and racism, a system for communication among black communities throughout the United States". This is due to the fact that the culture reflected the social, economic and political realities of the disenfranchised youth.. In the current Arab Spring hip hop is playing a significant role in providing a channel for the youth to express their ideas .

Language

The development of Hip Hop linguistics is complex. Source material include the spirituals of slaves arriving in the new world, Jamaican dub music, the laments of jazz and blues singers, patterned cockney slang and radio deejays hyping their audience in rhyme.

Hip Hop has a distinctive associated slang. It is also known by alternate names, such as "Black English", or "Ebonics". Academics suggest its development stems from a rejection of the racial hierarchy of language, which held "White English" as the superior form of educated speech. Due to hip hop's commercial success in the late nineties and early 21st century, many of these words have been assimilated into the cultural discourse of several different dialects across America and the world and even to non-hip hop fans. The word ''dis'' for example is particularly prolific. There are also a number of words which predate hip hop but are often associated with the culture, with ''homie'' being a notable example.

Sometimes, terms like ''what the dilly, yo'' are popularized by a single song (in this case, "Put Your Hands Where My Eyes Could See" by Busta Rhymes) and are only used briefly. One particular example is the rule-based slang of Snoop Dogg and E-40, who -izzle add ''-izz'' to the middle of words.

Hip Hop lyricism has gained a measure of legitimacy in academic and literary circles. Studies of Hip Hop linguistics are now offered at institutions such as the University of Toronto, where poet and author George Eliot Clarke has (in the past) taught the potential power of hip hop music to promote social change.

Some academics, including Ernest Morrell and Jeffery Duncan Andrade compare hip hop to the satirical works of great “canon” poets of the modern era, who use imagery and mood to directly criticize society. As quoted in their seminal work; "Promoting Academic Literacy with Urban Youth Through Engaging Hip Hop Culture":

Censorship

Hip hop has been met with significant problems in regards to censorship due to the explicit nature of certain genres. It has also been criticized for anti-establishment sentiment, as some of its songs depict wars and coup d'états that in the end overthrow the government. For example, Public Enemy's "Gotta Give the Peeps What They Need" was censored on MTV, removing the words "free Mumia".

After the attack on the World Trade Center on September 11, 2001, Oakland, California group The Coup was under fire for the cover art on their ''Party Music'', which featured the group's two members holding a detonator as the Twin Towers exploded behind them. Ironically, this art was created months before the actual event. The group, having politically radical and Marxist lyrical content, said the cover meant to symbolize the destruction of capitalism. Their record label pulled the album until a new cover could be designed.

The use of profanity as well as graphic depictions of violence and sex creates challenges in the broadcast of such material both on television stations such as MTV, in music video form, and on radio. As a result, many hip hop recordings are broadcast in censored form, with offending language "bleeped" or blanked out of the soundtrack, or replaced with "clean" lyrics. The result – which sometimes renders the remaining lyrics unintelligible or contradictory to the original recording – has become almost as widely identified with the genre as any other aspect of the music, and has been parodied in films such as ''Austin Powers in Goldmember'', in which Mike Myers' character Dr. Evil – performing in a parody of a hip hop music video ("Hard Knock Life" by Jay-Z) – performs an entire verse that is blanked out. In 1995 Roger Ebert wrote:

In 1990, Luther Campbell (rapper) and his group 2 Live Crew filed a lawsuit against Nick Navarro, Broward County Sheriff because Navarro wanted to prosecute stores that sold the groups album "As Nasty As They Wanna Be" because of its obscene and vulgar lyrics. In June 1990, U.S. district court judge labeled the album obscene and illegal to sell. However, in 1992, the United States Court of Appeals for the Eleventh Circuit overturned the obscenity ruling.

In a way to circumvent broadcasting regulations BET has created a late-night segment called "Uncut" to air uncensored videos. Not only has this translated into greater sales for mainstream artists, it has also provided an outlet for undiscovered artists to grab the spotlight with graphic but low production quality videos, often made cheaply by non-professionals. Perhaps the most notorious video aired, which for many came to exemplify BET's program Uncut, was "Tip Drill" by Nelly. While no more explicit than other videos, its exploitative depiction of women, particularly of a man swiping a credit card between a stripper's buttocks, was seized upon by many social activists for condemnation. The segment was discontinued in mid 2006.

Also in the 1990s, gangsta-rap was popular but also heavily censored due to the explicit nature of the lyrics. Radio stations across the country stopped playing gangsta-rap all together. Many social and political people denounced rap like Delores Tucker, especially towards acclaimed rapper Tupac Shakur. The controversial hip hop group N.W.A. was sent a letter of warning from the F.B.I.. Despite this, the letter helped the group gain a wider audience and a more "gangster" appeal. Also, rap icon Ice-T made the controversial song Cop Killers.

Product placement

Critics such as Businessweek's David Kiley argue that the discussion of many products within hip hop music and culture may actually be the result of undisclosed product placement deals. Such critics allege that shilling or product placement takes place in commercial rap music, and that lyrical references to products are actually paid endorsements. In 2005, a proposed plan by McDonalds, which would have paid rappers to advertise McDonalds food in their music, was leaked to the press. After Russell Simmons made a deal with Courvoisier to promote the brand among hip hop fans, Busta Rhymes recorded the song "Pass The Courvoisier". Simmons insists that no money changed hands in the deal.

The symbiotic relationship has also stretched to include car manufacturers, clothing designers and sneaker companies, and many other companies have used the hip hop community to make their name or to give the credibility. One such beneficiary was Jacob the Jeweler, a diamond merchant from New York, Jacob Arabo's clientele included Sean Combs, Lil Kim and Nas. He created jewelry pieces from precious metals that were heavily loaded with diamond and gemstones. As his name was mentioned in the song lyrics of his hip hop customers, his profile quickly rose. Arabo expanded his brand to include gem-encrusted watches that retail for hundreds of thousands of dollars, gaining so much attention that Cartier filed a trademark-infringement lawsuit against him for putting diamonds on the faces of their watches and reselling them without permission. Arabo's profile increased steadily until his June, 2006 arrest by the FBI on money laundering charges.

While some brands welcome the support of the hip hop community, one brand that did not was Cristal champagne maker Louis Roederer. A 2006 article from The Economist magazine featured remarks from managing director Frederic Rouzaud about whether the brand's identification with rap stars could affect their company negatively. His answer was dismissive in tone: "That's a good question, but what can we do? We can't forbid people from buying it. I'm sure Dom Pérignon or Krug would be delighted to have their business." In retaliation, many hip hop icons such as Jay-Z and Sean Combs, who previously included references to "Cris", ceased all mentions and purchases of the champagne.

Media

Hip hop culture has had extensive coverage in the media, especially in relation to television; there have been a number of television shows devoted to or about hip hop. For a long time, BET was the only television channel likely to play much hip hop, but in recent years the mainstream channels VH1 and MTV have added a significant amount of hip hop to their play list. Run DMC became the first trio of African Americans to turn the hip hop world upside down by being the first African-American group to appear on MTV. With the emergence of the Internet a number of online sites began to offer Hip Hop related video content.

Hip hop films have been related since hip hop's conception and have become even more related in the 21st century. During the early 1990s, African-Americans experienced a film renaissance, sparked by the popularity of hood films, in-depth looks at urban life, focusing on violence, family, friends and hip hop. There have also been a number of hip hop films, movies which focused on hip hop as a subject.

Hip Hop magazines have a large place in hip hop lifestyle and history, including the first ever published Hip Hop publication ''The Hip Hop Hit List'', which also contained the very first rap music record chart ever. It was the first form of media to introduce hip hop as a culture. Published in the early 80s by two brothers out of Newark, New Jersey Vincent and Charles Carroll. They introduced it as a DJ record chart and tip sheet that was distributed through record stores throughout the New York City Tri-State area. ["Back then, all DJ's came into New York City to buy their records but most of them did not know what was hot enough to spend money on so we charted it." - Charles Carroll."] This magazine's role in Hip Hop History was very significant and was also instrumental in the early commercial success of rap music. It was known for spreading the news about music and the culture internationally and was loaded with ads from all the early record companies. Later other publications spawned up including; ''Hip Hop Connection'', ''XXL'', ''Scratch'', ''The Source'' and ''Vibe''. Many individual cities have also produced their own local hip hop newsletters, while hip hop magazines with national distribution are found in a few other countries. The 21st century also ushered in the rise of online media, and hip hop fan sites now offer comprehensive hip hop coverage on a daily basis.

Diversification

Hip hop has spawned dozens of sub-genres which incorporate a domineering style of music production or rapping, and it exhibits elements of trifunctionalism.After the Black Americans started Hip hop, other ethnic groups began to contribute to the development of the cultural movement.

Hip hop has now expanded and gone on a global scale, with millions of rap albums sold in foreign countries, some of which are not English-speaking. Hip hop has influenced natives of foreign countries to pursue rap careers and do what is being done in the United States, including following the trends, in their country. This is a product of globalization and it explains how popular culture can be interwoven with the everyday life of individuals that follow it, and how it can affect them in many ways.

Like jazz, hip hop is one of the few musical genres that scholars see as entirely American. There are many varying social influences that affect hip hop's message in different nations. It is frequently used as a musical response to perceived political and/or social injustices. In South Africa the largest form of hip hop is called Kwaito, which has had a growth similar to American hip hop. Kwaito is a direct reflection of a post apartheid South Africa and is a voice for the voiceless; a term that U.S. hip hop is often referred to. Kwaito is even perceived as a lifestyle, encompassing many aspects of life, including language and fashion. Kwaito is a political and party-driven genre, as performers use the music to express their political views, and also to express their desire to have a good time. Kwaito is a music that came from a once hated and oppressed people, but it is now sweeping the nation. The main consumers of Kwaito are adolescents and half of the South African population is under 21. Some of the large Kwaito artists have sold over 100,000 albums, and in an industry where 25,000 albums sold is considered a gold record, those are impressive numbers. Kwaito allows the participation and creative engagement of otherwise socially excluded peoples in the generation of popular media. South African Hip Hop is more diverse lately and there are Hip Hop acts in South Africa that have made an impact and continue making impact worldwide. These include Tumi, Ben Sharpa, HipHop Pantsula, Tuks Senganga.

In Jamaica, the sounds of hip hop are derived from American and Jamaican influences. Jamaican hip hop is defined both through dancehall and Reggae music. Jamaican Kool Herc brought the sound systems, technology, and techniques of Reggae music to New York during the 1970s. Jamaican hip hop artists often rap in both Brooklyn and Jamaican accents. Jamaican hip hop subject matter is often influenced by outside and internal forces. Outside forces such as the bling-bling era of today's modern hip hop and internal influences coming from the use of anti colonialism and marijuana or "Ganja" references which Rastafarians believe bring them closer to God.

Author Wayne Marshall argues that "Hip hop, as with any number of African-American cultural forms before it, offers a range of compelling and contradictory significations to Jamaican artist and audiences. From "modern blackness" to foreign mind", transnational cosmopolitanism to militant pan-Africanism, radical remixology to outright mimicry, hip hop in Jamaica embodies the myriad ways that Jamaicans embrace, reject, and incorporate foreign yet familiar forms."

In the developing world hip hop has made a considerable impact in the social context. Despite the lack of resources, hip hop has made considerable inroads. Due to limited funds, hip hop artists are forced to use very basic tools, and even graffiti, an important aspect of the hip hop culture, is constrained due to its unavailability to the average person. Many hip hop artists that make it out of the developing world come to places like the United States in hopes of improving their situations. Maya Arulpragasm is a Sri Lankan born hip hop artist in this situation. She claims, "I'm just trying to build some sort of bridge, I'm trying to create a third place, somewhere in between the developed world and the developing world."

In Sabah North Borneo, AtamaKatama (rapper & beatmaker) fused Sumazau a tribal music of the Dusun people with hiphop beats & rhymes. This new sound later became known as SumazauHipHop. This music contains samples of gong beats, sompoton, togunggu, bungkau & 'rinaits' - chants of Bobohizan priestess.

Education

Many organizations and facilities are providing spaces and programs for communities to explore making and learning about hip hop. A noteworthy example is the IMP Labs in Regina, Saskatchewan, Canada. Many dance studios and colleges now offer lessons in Hip Hop alongside Tap and Ballet. As well as KRS-ONE teaching hip hop lectures at Harvard University.

Hip Hop producer 9th Wonder and former rapper/actor Christopher "Play" Martin from the Hip Hop group Kid-n-Play have both taught Hip Hop history classes at North Carolina Central University and 9th Wonder has also taught a "Hip Hop Sampling Soul" class at Duke University.

Legacy

Having its roots in reggae, disco and funk, hip hop has since exponentially expanded into a widely accepted form of representation world wide. It expansion includes events like Afrika Bambaataa releasing "Planet Rock" in 1982, which tried to establish a more global harmony in hip hop. In the 1990s, the French MC Solaar became the first international hit Hip Hop artist not native to America. From the 80s onward, television became the major source of widespread outsourcing of hip hop to the global world. From ''Yo! MTV Raps'' (a television show that was shown in many countries) to Public Enemy's world tour, hip hop spread further to Latin America and became highly mainstream. Ranging from countries like France, Spain, England, the US and many other countries world wide, voices want to be heard, and hip hop allows them to do so. As such, hip hop has been cut mixed and changed to the areas that adapt to it.

Early hip hop has often been credited with helping to reduce inner-city gang violence by replacing physical violence with hip hop battles of dance and artwork. However, with the emergence of commercial and crime-related rap during the early 1990s, an emphasis on violence was incorporated, with many rappers boasting about drugs, weapons, misogyny, and violence. While hip hop music now appeals to a broader demographic, media critics argue that socially and politically conscious hip hop has long been disregarded by mainstream America in favor of its media-baiting sibling, gangsta rap.

Many artists are now considered to be alternative/underground hip hop when they attempt to reflect what they believe to be the original elements of the culture. Artists/groups such as Lupe Fiasco, J. Cole, The Roots, Shing02, Jay Electronica, Nas, Common, Talib Kweli, Mos Def, Dilated Peoples, Dead Prez, Blackalicious, Joe Budden, Jurassic 5, and KRS-One emphasize messages of verbal skill, internal/external conflicts, life lessons, unity, social issues, or activism instead of messages of violence, material wealth, and misogyny.

Authenticity

Authenticity is often a serious debate within hip hop culture. Dating back to its origins in the 1970s in the Bronx, hip hop revolved around a culture of protest and freedom of expression in the wake of oppression suffered by African-Americans . As hip hop has become less of an underground culture, it is subject to debate whether or not the spirit of hip hop is embodied in protest, or whether it can evolve to exist in a marketable integrated version. In "Authenticity Within Hip Hop and Other Cultures Threatened with Assimilation," Commentator Kembrew McLeod argues that hip hop culture is actually threatened with assimilation by a larger, mainstream culture. In support of this position, editors of magazines such as the ''Village Voice'' have said that hip hop is slowly losing its edge due to the genre's involvement in the mainstream, hyper-capitalist world. Believing that hip hop should be utilized as a voice for social justice, Tate points out that in the marketable version of hip hop, there isn't a role for this evolved genre in context of the original theme hip hop originated from (freedom from oppression). The problem with Black progressive political organizing isn't that hip hop, but that the No. 1 issue on the table needs to be poverty, and nobody knows how to make poverty sexy. Tate discusses how the dynamic of progressive Black politics cannot apply to the genre of hip hop in the current state today due to the genre's heavy involvement in the market. In his article he discusses hip hop's 30^th birthday and how its evolution has become more of a devolution due to its capitalistic endeavors. Both Tate and McLeod argue that hip hop has lost its authenticity due to its losing sight of the revolutionary theme and humble "folksy" beginnings the music originated from. "This is the first time artists from around the world will be performing in an international context. The ones that are coming are considered to be the key members of the contemporary underground hip hop movement." This is how the music landscape has broadened around the world over the last ten years. The maturation of hip hop has gotten older with the genres age, but the initial reasoning of why hip hop has started will always be intact. ll

See also

List of hip hop albums

List of hip hop musicians

Museum of African American Music

References

Notes

Huntington, Carla Stalling. ''Hip Hop Dance; Meanings and Messages''. Jefferson, NC: McFarland & Company Publishers, Inc.

Bibliography

External links

Category:African-American culture Category:African American history

bg:Хип-хоп et:Hip-hop fa:هیپ هاپ fo:Hip hop hr:Hip hop he:תרבות ההיפ הופ id:Hip hop la:Hiphop nds:Hip-Hop (Kultur) pl:Hip-hop pt:Hip-hop ro:Hip hop sq:Hip Hop ta:ஹிப் ஹொப் war:Hip hop zh:嘻哈

alt	El Chojín
Name	El Chojin
Born	April 28, 1977Torrejón de Ardoz, Madrid, Spain
Background	solo_singer
Birth name	Domingo Edjang Moreno
Occupation	Rapper, writer
Genre	Rap
Years active	1992–present
Label	BoaCor/Boa Music, Revelde, PIAS Spain
Associated acts	995, Frank T, Duo Kie, Nach
Website	www.elchojin.net }}

Domingo Edjang Moreno (born on 28 April 1977), better known by his stage name El Chojin (prounouced as in Japanese , not with a Spanish ''J''), is a Spanish rapper. He is the current Guinness World Record holder for most syllables rapped in one minute.

Early life

Chojin was born in Torrejón de Ardoz, Madrid, to a father from Equatorial Guinea and an Extremaduran mother.

Career

El Chojin takes his name from the Overfiend in the anime ''Urotsukidōji''. During the first part of his rap career, he was a member of the WFN crew ("Wild for da Night"), so called after a Rampage/Busta Rhymes song of the same name. He was later part of the group 995 and with them released four albums.

As a solo artist he has put out eight LPs as of 2009, including ''Cuando Hay Obstáculos...'' and ''...Jamás Intentes Negarlo'' (the initials of those two titles spelling out C.H.O.J.I.N.). After his first five full-length solo records, in 2004 Chojin returned with a demo, ''Rap por placer'', available as a free download.

In early 2005, his eighth LP ''8jin'' was released. The disc tackles such issues as professionalism in rap and violence against women. The album cover was chosen from among almost 400 submissions, from a contest organized by the rapper through his webpage.

In 2007 he released ''Striptease'', an album in which he "bares" his soul. It is a collaboration with various producers, both veteran and new, and includes instrumentation such as guitars, harmonicas, pianos, and a gospel chorus. The following year he released ''Aún rap por placer'', a follow-up to his previous demo, consisting of six solo tracks and one featuring Duo Kie. Like its predecessor, it could also be legally downloaded for free.

In March 2009, he released ''Cosas que pasan, que no pasan y que deberían pasar'' (''Things that Happen, Don't Happen, and Should Happen''), a 30-track album with a diverse array of contributors, including Locus from Duo Kie, Maika Sitté from blues band Red House, comedian El Gran Wyoming, and singer-songwriter Luis Eduardo Aute, as well as others.

Chojin is known for the social commentary of his lyrics, his solo disc ''Mi turno'' being perhaps his most "radical" work. He avoids coarse language in his music, and his raps also frequently espouse non-violence, anti-racism, and warn of the dangers of drugs and alcohol. One of the main themes covered on most albums is the discrimination against and general mistreatment of immigrants. Although, being born and raised in Spain, he is not an immigrant himself, he is well aware of the problems they face. As is reflected in his songs "Yo no soy de esos", "Mami, el negro está rabioso", and "Cara sucia", he has suffered such discrimination due to the colour of his skin. He also is known for his track "Lola", promoting condom use, which came to be used in a Barcelona contraceptive awareness campaign. Amnesty International used one of his songs (featuring Meko and Kraze Negroze) for their "Ponte en mi piel" ("Put Yourself in My Skin") campaign, another attempt to raise awareness, this time regarding immigration, and, with the release of ''8jin'', Amnesty selected "El final del cuento de hadas" ("The End of the Fairy Tale") for a campaign against gender-based violence.

In addition to lyrics, Chojin has also written poetry and various articles. In 2007, he wrote and starred in ''El alma de Alexander Oboe'' (''The Soul of Alexander Oboe''), a play produced by Casa de los Pueblos, which debuted at the Festival Madrid Sur and went on to tour various theatres in Spain. While finishing and preparing for the launch of his first book, ''98 rimas y 7 leyendas'' (''98 Rhymes and 7 Legends''), he has collaborated on movie soundtracks such as ''Tánger'' and created what he calls "the first rap opera in Spanish", entitled ''Rimas para todos los públicos'' (''Rhymes for All Audiences'').

Since 28 January 2010, El Chojin has appeared every Wednesday on Noticias 2, performing a rap summarizing the week's news.

World record

On 23 December 2008, Chojin appeared on Telecinco in an attempt to break Rebel XD's record of 852 syllables rapped in a minute. He succeeded on his second try, performing the 921 syllables of his song "Vo-ca-li-za" in under 60 seconds.

Discography

With 995

''995'' (2001)

''Ⅱ'' (2002)

''Ⅲ: Kompetición'' (2003)

''K2 - Kompetición Ⅱ'' (2004)

Solo releases

''100% = 10.000 (Mi estilo)'' (maxi) (Revelde Discos, 1997) - ''100% =10.000 (My style)''

''Mi turno'' (LP) (Revelde Discos, 1999) - ''My turn''

''El nivel sube'' (LP) (Revelde Discos, 2000) - ''The level gets up''

''Lola'' (maxi) (Boa Music, 2001)

''Sólo para adultos'' (LP) (Boa Music, 2001) - ''Only for adults''

''Cuando Hay Obstáculos...'' (LP) (Boa Music, 2002) - ''When there are obstacles...''

''...Jamás Intentes Negarlo'' (LP) (Boa Music, 2003) - ''...Never try to deny it''

''Rap por placer'' (demo) (independent, 2004)

''8jin'' (LP) (Bombo Records, 2005)

''Rap positivo'' (maxi) (PIAS Spain, 2007) - ''Positive rap''

''Striptease'' (LP) (PIAS Spain, 2007)

''Aún rap por placer'' (demo) (2008) - ''For pleasure, yet''

''Cosas que pasan, que no pasan y que deberían pasar'' (LP) (Boa Music, 2009) - ''Things that happen, things that don't happen and things that should happen''

''El ataque de los que observaban'' (LP) (Sony Music Entertainment España, S.L., 2011) - ''The attack of those who were observing''

Collaborations

El Meswy "Tesis doctoral" (1997)

Frank T "Los pájaros no pueden vivir en el agua porque no son peces" (1998)

Frank T "La gran obra maestra" (1998)

Black Bee "La Homilía" (1998)

Zeta "Hacia el infinito" (1999)

Zeta "Guateque" (1999)

Zenit "Sólo para adultos" (2001)

DJ Paco aka DJ Jam "69 Studio el plan perfecto" (2001)

Makamersim "Original Dancehall" (2002)

La Konexión "Destilando stylo" (2003)

Meko y Kraze "AK-47" (2003)

Jefe de la M "Entra el dragón" (2003)

Bombo Records "Kompetición" (2003)

Duo Kie "El rap es esto" (2004)

Meko "Zona de guerra" (2004)

Bombo Records "K2: Kompetición II" (2004)

Destroyer "Amor por esto" (2005)

Lydia "El final del cuento de hadas" (2005)

Panzers "Resurrección" (2005)

Sindicato Argentino del Hip Hop "Sangre, sudor y furia" (2005)

Various artists "Tiempo de kambio" (2006)

Black Bee "Génesis" (2006)

Dlux "Encadenadas"(2007)

Estado Mental "Ahórrate el psicologo"(2007)

Duo Kie "21 centímetros"(2008)

Nach "Hemos creado un monstruo"

Morodo, Meko, Ose & Black Bee "Estoy cansao"

Frost and MC Say "2 legendarios" (2009)

Videography

"Si mi chica se llamara Shakira"

"Superhéroe"

"Quisiera ser"

"No más"

"Lola"

"Rap contra el racismo"

See also

Spanish hip hop

NoClue

Outsider

Rebel XD

References

External links

Official webpage

Online store

Category:Spanish singers Category:Spanish rappers Category:1977 births Category:Living people Category:Spanish people of Equatoguinean descent

ca:El Chojin es:El Chojin

name	Wiz Khalifa
alt	Wiz Khalifa holding a microphone
background	solo_singer
birth name	Cameron Jibril Thomaz
alias
born	September 08, 1987Minot, North Dakota, United States
origin	Pittsburgh, Pennsylvania, United States
genre	Hip hop
occupation	Rapper, Singer
years active	2005–present
label	Rostrum, Warner Bros., Atlantic
associated acts	Tinie Tempah, Snoop Dogg,Rick Ross, Curren$y, Big Sean, Fashawn, Mac Miller
website	wizkhalifa.com
notable instruments	}}

Cameron Jibril Thomaz (born September 8, 1987), better known by the stage name Wiz Khalifa, is an American rapper. He released his debut album, ''Show and Prove'', in 2006, and signed to Warner Bros. Records in 2007. His eurodance-influenced single, "Say Yeah", received urban radio airplay, charting on the Rhythmic Top 40 and Hot Rap Tracks charts in 2008. Khalifa parted with Warner Bros. and released his second album, ''Deal or No Deal'', in November 2009. He released the mixtape ''Kush and Orange Juice'' as a free download in April 2010; he then signed with Atlantic Records. He is also well-known for his debut single for Atlantic, "Black and Yellow", which peaked at number 1 on the Billboard Hot 100. His debut album for the label, ''Rolling Papers'', was released on March 29, 2011.

Early life

Khalifa was born on September 8, 1987 in Minot, North Dakota, to a mother and a father serving in the military. His parents divorced when Khalifa was about three years old. His parents' military service caused him to move on a regular basis. Khalifa lived in Germany, England, and Japan before settling in Pittsburgh where he attended Taylor Allderdice High School.

His stage name is derived from khalifa, an Arabic word meaning "successor", and wisdom, which was shortened to Wiz when Khalifa was fifteen. Khalifa stated to spinner.com that the name also came from being called "young Wiz 'cause I was good at everything I did, and my granddad is Muslim, so he gave me that name; he felt like that's what I was doing with my music." He got his stage name tattooed on his 17th birthday. He includes Camp Lo, The Notorious B.I.G. and Bone Thugs-n-Harmony among his influences.

Career

2005-08: Early mixtapes and ''Show and Prove''

Khalifa released his first mixtape, ''Prince of the City: Welcome to Pistolvania'', in 2005. The mixtape led to his first full length album entitled ''Show and Prove'' in 2006. Khalifa was declared an "artist to watch" that year in ''Rolling Stone'' magazine.

In 2007, Khalifa signed to Warner Bros. Records and released two mixtapes through Rostrum Records: ''Grow Season'', hosted by DJ Green Lantern and released on July 4, 2007, and ''Prince of the City 2'', released on November 20, 2007. His debut Warner Bros. single "Say Yeah" reached number 25 on the ''Billboard'' Rhythmic Top 40 music chart and number 20 on ''Billboard's'' Hot Rap Tracks. The song samples "Better Off Alone" by Alice Deejay. Khalifa's vocals from "Say Yeah" appear near the end of Pittsburgh mash up producer Girl Talk's 2008 album, ''Feed the Animals'', over music from Underworld's "Born Slippy", Usher's "Love in This Club", and the Cure's "In Between Days". Khalifa appeared with The Game, David Banner and Play-n-Skillz at U92's Summer Jam at the USANA Amphitheatre in West Valley City, Utah on August 2, 2008. Khalifa released the mixtapes ''Star Power'' in September 2008, and ''Flight School'' in April 2009 on Rostrum Records.

Khalifa parted ways with Warner Bros. Records in July 2009 after numerous delays in releasing his planned debut album for the label, ''First Flight''. Khalifa stated to the ''Pittsburgh Post-Gazette'' that, "I learned a lot during my time there and matured as an artist during the process. I'm happy to be moving on with all of my material and having the chance to be in control of my next moves". Khalifa appeared with Girl Talk, Modey Lemon, Donora, Grand Buffet, and Don Caballero at the Amphitheatre at Station Square in Pittsburgh on July 31, 2009, where he announced that his relationship with Warner Bros. was over.

2009-10: ''Deal or No Deal''

Continuing his association with Rostrum Records, Khalifa released the single "Teach U to Fly", and the mixtape ''How Fly'', a collaboration with New Orleans rapper Curren$y, on August 9, 2009. Khalifa introduced a more melodic style on the mixtape, alternating between singing and rapping. He opened for Wu-Tang Clan member U-God at the 2009 CMJ Music Marathon in New York City. Khalifa released the mixtape ''Burn After Rolling'' on November 2, 2009, where he raps over familiar beats from other artists, including the songs "If I Were A Boy" and "Diva" by Beyoncé, "Walking on a Dream" by Empire of the Sun, "Luchini AKA This Is It" by Camp Lo, and "Best I Ever Had" by Drake. Khalifa released his second album, ''Deal or No Deal'', on November 24, 2009.

Khalifa performed at Emo's in Austin, Texas in March 2010 as part of the 2010 South by Southwest Music Festival. He appeared on the cover of ''XXL'' magazine that same month, for the magazine's annual list of Top 10 Freshman, which included Donnis, J. Cole, Pill, Freddie Gibbs, and Fashawn. Wiz Khalifa was named 2010 "Rookie Of The Year" by "The Source", with alongside Rick Ross, "The Man Of The Year". He toured with rapper Yelawolf on a 20-date tour, the Deal Or No Deal Tour. Khalifa released the free mixtape ''Kush and Orange Juice'' for download on April 14, 2010. Due to Khalifa's devoted grassroots fan base, the mixtape became the No. 1 trending topic on Twitter with the hash tag #kushandorangejuice, and "Kush and Orange Juice download” ranked No. 1 on Google’s hot search trends.

2010: Signing with Atlantic Records

Citing music industry insiders, ''New York'' magazine wrote that Khalifa signed with Atlantic Records in April 2010, although the rapper did not confirm it. He stated to AllHipHop in June 2010 that he was working on a new album, but was weighing his options and had not yet decided on a label to distribute it. Khalifa confirmed to MTV on July 30 that he was signing an Atlantic Records deal.

Khalifa was featured in a remix and video for the 2010 Rick Ross single "Super High", alongside Curren$y. He guested on the mixtape ''Grey Goose, Head Phones, and Thirsty Women '' by St. Louis rapper M.C, and was featured on the track "The Breeze (Cool)" on rapper Wale's August 2010 mixtape ''More About Nothing''. Khalifa was named MTV's Hottest Breakthrough MC of 2010, winning with nearly 70,000 votes, and beating out finalists Nicki Minaj, J. Cole, Travis Porter, and Diggy Simmons.

Khalifa appeared at the Soundset 2010 festival in May 2010 in Minneapolis, Minnesota, alongside Method Man & Redman, Del the Funky Homosapien and Hieroglyphics, Atmosphere, Murs, Cage, and others. He also performed at the 2010 Rock the Bells festival, along with hip hop veterans Wu-Tang Clan, Snoop Dogg, Lauryn Hill, A Tribe Called Quest, Rakim, KRS-One, Jedi Mind Tricks and Slick Rick. Khalifa declined an invitation to tour with rapper Drake and launched his own "Waken Baken" tour, a 50-city national tour with rapper Yelawolf. The tour, scheduled to last from September to November 2010, has, as of October, sold out every venue. On November 2010, during his "Waken Baken" tour at East Carolina University, Wiz Khalifa was arrested for possession and trafficking of marijuana. He was then released the next morning after a $300K bail, and resumed his tour. Khalifa performed in a cypher during the 2010 BET Hip-Hop Awards. He recited his verse from the song, "The Check Point", from his mixtape with Curren$y, ''How Fly''.

2010-11: Mainstream success and ''Rolling Papers''

Khalifa released "Black and Yellow", his first single for Rostrum/Atlantic, produced by Stargate, which has received radio airplay. The single was peaked at number 1 on the Billboard Hot 100; the title of the song refers to the colours of the Pittsburgh Steelers. Khalifa will release his debut album with Atlantic Records in 2011. He appeared with Curren$y on the track "Scaling the Building" on producer Ski Beatz' 2010 album, ''24 Hour Karate School''. Khalifa's fanbase is known as the Taylor Gang, named after his love of Chuck Taylor All-Stars shoes.

On March 29, 2011, Khalifa released his first studio album, ''Rolling Papers''. The album debuted at number two on the US ''Billboard'' 200 chart, with first-week sales of 197,000 copies in the United States.

On June 26, 2011, Khalifa was nominated and won Best New Artist at the BET Awards of 2011.

Khalifa collaborated with the prolific British rapper Tinie Tempah whom Tinie announced in an interview with Rolling Stone that his next single is to be called "Till I'm Gone" and would feature Wiz Khalifa and is to be produced by Stargate. The single and the video song were released at the end of June 2011.

Personal life

Thomaz is dating Amber Rose, the former girlfriend of Thomaz's fellow hip-hop star Kanye West. He is also personal friends with rapper Yelawolf, and fellow Pittsburgh rapper, Mac Miller.

Discography

;Studio albums

''Show and Prove'' (2006)

''Deal or No Deal'' (2009)

''Rolling Papers'' (2011)

References

External links

Wiz Khalifa at MTV

Category:1987 births Category:Military brats Category:African American rappers Category:Atlantic Records artists Category:Living people Category:Musicians from Pittsburgh, Pennsylvania Category:People from Minot, North Dakota Category:Rappers from Pennsylvania

bs:Wiz Khalifa ca:Wiz khalifa cs:Wiz Khalifa da:Wiz Khalifa de:Wiz Khalifa es:Wiz Khalifa fa:ویز خلیفا fr:Wiz Khalifa hr:Wiz Khalifa it:Wiz Khalifa he:ויז קאליפה nl:Wiz Khalifa ja:ウィズ・カリファ no:Wiz Khalifa pl:Wiz Khalifa pt:Wiz Khalifa ro:Wiz Khalifa ru:Wiz Khalifa simple:Wiz Khalifa sh:Wiz Khalifa fi:Wiz Khalifa sv:Wiz Khalifa vi:Wiz Khalifa zh:维兹·卡利法

Demetri Martin (born May 25, 1973) is an American comedian, actor, artist, musician, writer and humorist. Martin is best known for his work as a stand-up comedian, contributor on ''The Daily Show'' and for his Comedy Central show ''Important Things with Demetri Martin''.

Early life

Demetri Martin was born to a Greek American family in New York City, New York, and grew up in Toms River, New Jersey. He is the son of Lillian, a nutritionist, and Dean C. Martin, a Greek Orthodox priest. Martin graduated from Yale University in 1995. Although he was accepted into Harvard Law School, he went to New York University School of Law after he received a full scholarship. In 1996 Martin interned for the Domestic Policy Council at the Clinton White House, then after completing his second year of law school he dropped out.

Career

In 2001, Martin caught his first big break in stand-up comedy when he appeared on Comedy Central's stand-up showcase ''Premium Blend''. At the 2003 Edinburgh Festival Fringe he won the Perrier award with his show ''If I...''. The show was turned into a British television special in 2004. From 2003 to 2004, Martin wrote for ''Late Night with Conan O'Brien''. In 2004, Martin had his own ''Comedy Central Presents'' stand-up special. His special was divided into three parts. In the first, he performed in traditional stand-up comedy fashion. In the second segment, he used humorous drawings as visual aids, which would serve either as the punchline or a background. During the third segment, he played a guitar and put on a pseudo-play where he would strum his guitar while talking; some of his comedian friends dressed as fairies and dragons acted according to the story he was telling, detailing the magical land where his jokes came from. Martin's mother and grandmother also appeared.

Since late 2005, he has been credited as a contributor on ''The Daily Show'', on which he has appeared as the named "Senior Youth Correspondent" and on which he hosts a segment called "Trendspotting". He has used this segment to talk about so-called hip trends among youth such as hookahs, wine, guerilla marketing and Xbox 360. A piece about social networking featured his profile on MySpace. On March 22, 2007, Demetri made another appearance on ''The Daily Show'', talking about the Viacom lawsuit against Google and YouTube.

He has recorded a comedy CD/DVD titled ''These Are Jokes'', which was released on September 26, 2006. This album also features ''Saturday Night Live'' member Will Forte and stand-up comedian Leo Allen.

Martin returned to ''The Daily Show'' on March 22, 2006, as the new Youth Correspondent, calling his segment "Professional Important News with Demetri Martin". In 2007, he starred in a Fountains of Wayne music video for "Someone to Love" as Seth Shapiro, a character in the song. He also starred in the video for the new Travis single "Selfish Jean", in which he wears multiple t-shirts with lyrics written on them.

On September 2, 2007, Martin appeared on the season finale of the HBO series ''Flight of the Conchords''. He appeared as a keytar player named Demetri.

He also had a part in the movie ''The Rocker'' (2008) starring Rainn Wilson. Martin played the part of the videographer when the band in the movie was making their first music video.

In 2009, he hosted and starred in his own television show called ''Important Things With Demetri Martin'' on Comedy Central. Later in June, it was announced his show had been renewed for a second season. The second season premiered, again on Comedy Central, on February 4, 2010. Martin has stated that ''Important Things'' will not return for a third season.

Prior to completing work on his second season, Martin starred in the comedy-drama film ''Taking Woodstock'' (2009), directed by Ang Lee, which premiered at the 2009 Cannes Film Festival. In the film Martin plays Elliot Tiber, a closeted gay artist who has given up his ambitions in the city to move upstate and help his old-world Jewish family run their Catskill Mountains motel. The film is based on the book written by Tiber.

On April 25, 2011, Martin released his first book, titled ''This Is a Book''.

Future plans

Martin sold his movie concept ''Will'' to DreamWorks; he is expected to play a key supporting role. He will play the lead in the film ''Moon People'', a pitch that he sold to Columbia Pictures.

Martin also signed a blind script deal with CBS in October 2010 to produce, write, and star in his own television series.

After CBS was shown the pilot for the series, they decided not to air it.

On August 11, 2011, Fox ordered a presentation of a new animated show they might air.

''If I''

''If I'' is a Perrier Comedy Award-winning comedy one-man show written and performed by Demetri Martin at the 2003 Edinburgh Festival Fringe. It was also aired on British television as a special. The show is an autobiographical examination of Martin's life, as seen through various definitions of the word "if."

The title of the special comes from a lengthy palindromic poem that Martin wrote; the words "if I" are at the center of the poem.

Comedic style

Martin is known for being an unconventional stand-up comic. He uses extensive wordplay (particularly paraprosdokians), one-liners, and drawings on a "large pad", as well as accompanying his jokes with music on either guitar, harmonica, piano, keyboard, glockenspiel, toy bells, ukulele, or tambourine, sometimes all at once. He has cited comedian Steven Wright as an important influence (both use deadpan one-liners in their acts) and he is also a fan of Bill Cosby.

Personal life

According to a July 2011 interview on the WTF with Marc Maron podcast , Demetri had a short-lived marriage to a girl he knew from high school. They began dating after high school and got married when he was in NYU Law School and she was attending NYU Medical School. He was aged 25 and in the end of his marriage/going through divorce when his stand-up career began .

Martin moved to Santa Monica, California in 2009.

Discography

''Invite Them Up'' (2005)

''These Are Jokes'' (2006)

''Demetri Martin. Person.'' (2007)

Filmography and television work

''If I'' ''12:21'' ''Late Night with Conan O'Brien'' "''Someone to Love (Fountains of Wayne song) ''Flight of the Conchords (TV series) ''The Rocker (film) ''Paper Heart'' ''Post Grad'' ''Moon People'' ''Taking Woodstock'' ''Important Things with Demetri Martin'' ''Take Me Home Tonight (film) ''Contagion (film) ''Conan''

Year	! Title	! Role	Notes
2002	''Analyze That''	Personal Assistant
2003	|	Himself	British television special, also writer
2004	|	Himself	short film, also writer
2004	|	Himself	1 episode, series writer
2007	Someone to Love''" ||	Seth Shapiro	''Fountains of Wayne'' music video
2007	Flight of the Conchords'' ||	Demetri	Season 1, Episode 12
2008	The Rocker'' ||	Kip (a music video producer)
2009	|	Himself
2009	|	Ad Exec
2009	|		lead role and writer
2009	|	Elliot Tiber	lead role
2009–2010	|	Himself / Various	lead role, writer, series creator, executive producer, and composer
2011	Take Me Home Tonight'' ||	Goldman Sachs Employee	supporting role
2011	Contagion'' ||
2011	|	Himself	guest

Written works

''This Is a Book'', April 2011, .

Awards and nominations

AwardPerrier Comedy AwardEmmy Awards Shared with Mike Sweeney (writer)Writers Guild of America Award Shared with Mike Sweeney (writer)Barry Award (for comedy)

Year	|	For	Category	Result	Other notes
2003	|	''If I''		Won	At the Edinburgh Festival Fringe
2004	|	''Late Night with Conan O'Brien''	Outstanding Writing for a Variety, Music, or Comedy Program	Nominated	Mike Sweeney (head writer), Chris Albers, Jose Arroyo, Andy Blitz, Kevin Dorff, Daniel J. Goor, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg
2005	|	''Late Night with Conan O'Brien''	Comedy/Variety (Including Talk) - Series	Won	Mike Sweeney (head writer), Chris Albers, Jose Arroyo, Andy Blitz, Kevin Dorff, Daniel J. Goor, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg
2006	Barry Award ||	''Dr. Earnest Parrot Presents Demetri Martin''		Won	Award for best show at the Melbourne International Comedy Festival

References

External links

Interview from November, 2006, in Onion AV Club

Interview from October 2006, in The DePaulia

Article, in ''The Scotsman''

Article, in ''Gelf Magazine''

Interview by Brian M. Palmer

MP3 Audio Interview on ''The Sound of Young America'' public radio show and podcast

Interview Believer Mag

New Jersey Monthly Magazine

Fresh Air, NPR.org

Category:1973 births Category:Actors from New Jersey Category:Actors from New York City Category:American comedians Category:American comedy musicians Category:American comedy writers Category:American film actors Category:American humorists Category:American people of Greek descent Category:American stand-up comedians Category:American television actors Category:American television writers Category:Living people Category:New York University alumni Category:Writers from New Jersey Category:Writers from New York City Category:Writers Guild of America Award winners Category:Yale University alumni

cs:Demetri Martin da:Demetri Martin de:Demetri Martin fr:Demetri Martin gl:Demetri Martin it:Demetri Martin simple:Demitri Martin fi:Demetri Martin sv:Demetri Martin