The roots of hip-hop actually go end as at a great distance as the West African culture of the 1700′s which was brought in from another place to the United States by the slaves who were gained by personal exertion from West Africa and sent to exert oneself in the cotton plantations of the South. When their descendants made their way to New York City in an effort to better their lot by escape the hidebound racism of the South, they brought the tradition of the West African griot, or public poet and storyteller, with them.
But the griots of New York City were not those of Africa or even the South, especially as the migrants of the 50′s became the leaders of the civil rights movement of the 60′s. The griots of the 60′s recited street poetry of a civic nature – of disobedience, and bravado, and animosity – yet of hope for an exceptional future of imbalance and freedom from discrimination.
And those street poems were in the course of time set to a balanced beat that conjured both Africa and the Caribbean from which new immigrants of African beginnings were arriving in the urban ghettos of New York. Soon the ghettos would come alive with the sound of music featured at block parties, where styles and tribes diversified together to conceive an additional world of urban songal fusion.
These parties often highlighted DJ’s who would use unusual techniques avoided by mainstream DJ’s as they without doubt caused damage to the fragile vinyl of the times. But fans of block party guests scooped up the effects of the modernized DJ’s, knowing that these were their own DJ’s with their own style.
Hip-hop was many things the disco of the 1970′s was not – metropolitan, bold, non-conformist and all-powerful. It was only a matter of a few years before it would be displayed from Harlem and Brooklyn ghettos in New York to other inner city neighborhoods around the United States – and from there to the borders of accepted song.
The 1980′s indeed signaled that development, from New York to other inner cities – and from there to the mainstream harmony scene in the United States and above. It also defined the beginnings of the argumentative “gangsta” manner, with noisy rhythms and boldy lude lyrics of rebellion and unrest against government and all restrictions.
By the 1990′s, hip hop had gone mainstream, yet even mainstreamed hip hop performers like MC Hammer and the then small prospect Lil Wayne never lost sight from where they came. They did not quiet down their harmony for their additional audiences, and even the little teenage Lil Wayne rapped in a defined gangsta style, outrageous and alternately delighting their new and traditional audiences alike.
Now, in the inception of the 21st century, hip hop is a part of the common amusement scene all over the world. Lil Wayne, now in his late 20′s, sells many of copies of his records, and hip-hop is displayed in film and at halftime shows during football games.
Hip-hop, desired by several and disdained by others for its restless acrimony, nevertheless stand for the control of the fresh, multicultural America and its effect on current culture all through the world. Lil Wayne is on the cutting brink of hip hop and rap harmony if you are a fan as I am you can get an excellent lil wayne poster and beautify your walls with his songgenius.