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Hip-Hop: Beyond Beats and Rhymes is a 2006 documentary film written, produced, and directed by Byron Hurt. The documentary explores the issues of masculinity, violence, homophobia, and sexism in hip hop music and culture, through interviews with artists, academics, and fans. Hurt's activism in gender issues and his love of hip-hop caused him to ...
This page indexes the individual year in hip hop music pages. 1970s. 1979 in hip hop music; 1980s. 1980 in hip hop music; 1981 in hip hop music; 1982 in hip hop music; 1983 in hip hop music; 1984 in hip hop music; 1985 in hip hop music; 1986 in hip hop music; 1987 in hip hop music; 1988 in hip hop music; 1989 in hip hop music; 1990s. 1990 in ...
Hip hop or hip-hop is a culture and art movement that was created by African Americans, [1] [2] starting in the Bronx, New York City. [a] Pioneered from Black American street culture, [4] [5] that had been around for years prior to its more mainstream discovery, [6] it later reached other groups such as Latino Americans and Caribbean Americans.
Hardcore hip hop (also hardcore rap) is a subgenre of hip hop music that developed through the East Coast hip hop scene in the 1980s. Pioneered by such artists as Run-DMC , Schoolly D , Boogie Down Productions and Public Enemy , it is generally characterized by anger , aggression and confrontation .
The documentary concerned the history of rap music and hip-hop culture in the United States, from its origins in the Bronx to mainstream stardom at the turn of the 20th century, to the present day. The documentary focuses a lens on the political aspects and ramifications of Hip-hop music in a reactionary culture. [3]
A California teen had an up close and personal moment with a black bear with video to prove it. Kimberly Mendoza, 17, was walking in the woods near Lake George in Mammoth, with an unnamed friend ...
Ahh, it's a bear! Ohh, it's just a bear. One woman online wasn't even phased by the bear that showed up on her deck recently. She even had the guts to try and get the bear to go away.
The production of the song features a "warped, wobbly" bassline. Lyrically, Dead Prez criticizes the capitalist functions of the music industry and its exploitation of black people ("These record labels slang our tapes like dope / You can be next in line and signed and still be writing rhymes and broke"), [2] and encourages the idea of using hip hop music as a means to promote social change. [3]