African hip hop
Hip hop music has been popular in Africa since the early 1980s due to widespread American influence. In 1985 hip hop reached Senegal, a French-speaking country in West Africa, some of the first Senegalese rappers were M. C. Solaar, and Positive Black Soul, who mixed rap with Mbalax, an early South African group was Black Noise. They began as a graffiti and breakdance crew in Cape Town until they started emceeing in 1989, there have been groups in Tanzania and other countries that emceed before 1989, although it is not very well known. During the late 1980s–early 1990s rap started to escalate all over Africa, each region had a new type of style of hip hop. Rap elements are found in Kwaito, a new genre based on house music which developed in South Africa in the 1990s. Algerian hip hop music, as a genre, includes the hip hop music of both native Algerians and Algerians abroad, Algerians living abroad have contributed much to this genre, especially in France, where they are considered part of the French hip hop scene.
Some of these Algerians have become prominent, Algeria has a hip hop scene, while less well-known internationally, is among the most developed in Africa and the Arab world. Raï is a genre of music developed in Algeria during the 1920s as rural migrants incorporated their native musical styles into the culture of the growing urban centers of western Algeria. Angolan hip hop is characterized by the influence of American hip hop beats with a flavor of Portuguese flow mixed with African rhythm. SSP, Mutu MoxyPolitical Rap, Kool Kleva, Nelboy Dastha Burda are credited for being the pioneers of the hip hop in Angola from the late 1980s to the early 1990s. Botswana has never had a popular music industry, with most of its recorded music coming from South Africa or further abroad. However, since about 1999, Botswana hip hop performers have begun to gain mainstream acceptance, the release of hip hop albums is slow because of the small market and competition from other genres of mostly dance-oriented music.
Since 2000 hip hop has achieved prominence in Botswana, with rappers like Scar Kast. In 2006, Scar released his sophomore offering, Happy Hour, the same year Kast released Dazzit. S. C. A. R has since won a Channel O Spirit of Africa Award 2007 for best hip hop. Some Botswana hip hop artists include Zeus, Sasa Klaas, DA HoodstarZ, Ryan Blaze, Dj Fiction, A. T. I, Chub Heights, Ozi F Teddy, and upcoming hip hop group Native Rhymes. The hip hop scene of Cameroon includes pioneers like Manhitoo and Negrissim who broke new ground in the early 1990s, other hip hop artists from Cameroon are Les Nubians and Bams—female vocalists with a very personal approach to the genre who now reside in France
French hip hop
French hip hop is the hip hop music style which was developed in French-speaking countries. By 1982 and 1983, a number of hip hop radio shows had appeared on Paris radio, including Rapper Dapper Snapper, the first major star of French hip hop was MC Solaar, born Claude MBarali in Dakar, Senegal. He moved to France in 1970 and lived in Villeneuve-Saint-Georges and his 1991 album, Qui sème le vent récolte le tempo, was a major hit. He set many records, including being the first French hip hop recording artist to go platinum, some artists claim that the French language hip hop style was influenced by the music of French singer Renaud. The cases include the notorious Ministère AMERs Sacrifice de poulet, NTMs Police, French hip-hop, like hip-hop in other countries, is highly influenced by American hip-hop. Columnist David Brooks wrote that life, at least as portrayed in rap videos, now defines for the young, poor. Gangsta resistance is the most compelling model for how to rebel against that oppression and he argued that the gangster image of American hip hop appeals to mostly young & impoverished immigrant minorities in France, as a means to oppose the racism and oppression they experience.
Jody Rosen counters Brooks argument, criticizing Brooks makes use of only a few, Brooks fails to accurately assess French hip hops larger scope, and discounts its potential for rappers of amazing skill and wit. This makes up one quarter of the radios top 100, ten percent of music production and has sold hundreds of thousands of CDs. French hip hop, however, is criticized for imitating American hip hop style. French Rapper MC Solaar agrees sarcastically, French rap is pretty much a U. S. branch office and we dont even take a step back. Parts of American hip-hop culture has left a mark on the culture of French hip-hop as well in terms of fashion, music videos, jewelry and other things. Hip-hop culture was imported from America, especially with the influence of New York rappers, the group went their separate ways in 2000. As hiphop moved into a new millennium, French hip hop artists developed rapidly, seeing decent commercial success, one of the most influential French hiphop albums of all time, Cinquième As, was released by MC Solaar in 2001.
At the same time, new artists like Sinik and Diams began to see significant success, as well, bringing a new sound, themes in French hip hop include opposition to the social order and puns, as well as ethnic and cultural identity. Whereas early French hip hop was seen as mimicking American hip hop in terms of appeal, French rappers added their own cultural. The different social climates in the make the two subgenres distinct from one another. Lyrics from the south tend to be socially conscious, with content mainly focusing on the fight against discrimination
Hip hop music
It developed as part of hip hop culture, a subculture defined by four key stylistic elements, MCing/rapping, DJing/scratching with turntables, break dancing, and graffiti writing. Other elements include sampling beats or bass lines from records, while often used to refer solely to rapping, hip hop more properly denotes the practice of the entire subculture. Hip hops early evolution occurred as sampling technology and drum machines became available and affordable. Turntablist techniques such as scratching and beatmatching developed along with the breaks and Jamaican toasting, rapping developed as a vocal style in which the artist speaks or chants along rhythmically with an instrumental or synthesized beat. The Sugarhill Gangs 1979 song Rappers Delight is widely regarded to be the first hip hop record to gain popularity in the mainstream. The 1980s marked the diversification of hip hop as the genre developed more complex styles, prior to the 1980s, hip hop music was largely confined within the United States.
However, during the 1980s, it began to spread to scenes in dozens of countries. New school hip hop was the wave of hip hop music, originating in 1983–84 with the early records of Run-D. M. C. The Golden age hip hop period was a period between the mid-1980s and the early 1990s. Notable artists from this era include the Juice Crew, Public Enemy, & Rakim, Boogie Down Productions and KRS-One, EPMD, Slick Rick, Beastie Boys, Kool G Rap, Big Daddy Kane, Ultramagnetic MCs, De La Soul, and A Tribe Called Quest. Gangsta rap is a subgenre of hip hop that often focuses on the violent lifestyles, in the West Coast hip hop style, G-funk dominated mainstream hip hop for several years during the 1990s. I. G. In the 1990s, hip hop began to diversify with other regional styles emerging, such as Southern rap, at the same time, hip hop continued to be assimilated into other genres of popular music, examples being Neo soul and nu metal. Hip hop became a pop music genre in the mid-1990s. The popularity of hip hop music continued through the 2000s, with hip hop influences increasingly finding their way into mainstream pop, the United States saw the success of regional styles such as crunk, a Southern genre that emphasized the beats and music more than the lyrics.
Starting in 2005, sales of hip hop music in the United States began to severely wane, during the mid-2000s, alternative hip hop secured a place in the mainstream, due in part to the crossover success of artists such as OutKast and Kanye West. Creation of the hip hop is often credited to Keith Cowboy, rapper with Grandmaster Flash. However, Lovebug Starski, Keith Cowboy, and DJ Hollywood used the term when the music was known as disco rap. Cowboy worked the hip hop cadence into a part of his stage performance, the first use of the term in print was in The Village Voice, by Steven Hager, author of a 1984 history of hip hop
Gambian hip hop
The Gambian hip hop scene is a relatively new scene in African hip hop which mainly consists of young rappers primarily inspired by American hip hop and Senegalese hip hop. Hip hop in the Gambia started in the late 1990s after the Gambia opened its National Television and it started with groups such as Pencha B, Dancehall Masters, Masla B, Da Fugitives, Born Africans, Black Nature, Inspecta Chow Panachie and many others. These groups were among the most popular and most successful in field at the time and they were notable for mixing the hip-hop with reggae, salsa and other genres of music which made their songs distinctive. In August 1999 after releasing their first album, they were invited to the Pop Com Musical Festival in Germany and they subsequently won several music awards both nationally and internationally. From beginning of the millennium to date, Gambias hip-hop scene exploded with new rappers such as Freaky Joe, now known as Singhateh. In the early stages, the hip hop scene mainly comprised male rappers based in the Gambia, Gambian Beyonce, is one of the females who managed to make a breakthrough into the industry and is now well known in the Gambia.
Among other upcoming artists, Debbie Romeo, is trying to make her way to the top. Still working on a compilation of her own, she has recorded singles with G Baby and she works closely with Gambian-American upcoming singers especially Ooz and Amie Dibba. Romeo recorded Black Beauty with PSG and this song got into the hip hop song of the year. Jabel the logical Killer he is young talented Gambian musician, logo designer and he promoted Gambian music to the world on his showcase. Jabel got signed by Da Block Ent and Stoudio and he earned a place in a category at the Gambian Talent Awards in 2008. One of the first recording studios in the Gambia called Yellowgate Studios, among others, the latest, Block Entertainment Studio, was opened earlier this year by a member of one of the pioneer rap groups, Da Fugitives, called Mohammed Kah a. k. a. Being the CEO of this studio, Mo Hawk ventures to inspire young hip hop artists like himself, shy Boy Ent. is a studio that brought other talent to the forefront with artists such as Vypa, Badibunka, Prince Makaye and others.
It has released the most hits in rotation on television and radio, Hanssinthe producer is the CEO of the studio. Tha Basement is an exclusively local-music-oriented radio show airs on West Coast Radio 1 every Saturday. Having spanned a period of four and a half years and running, the hip-hop scene in the Gambia requires a lot of work to help promote all the artists endeavouring to make it. Award ceremonies were held occasionally to promote Gambian singers in the beginning, the first was the Rap Award 99 ceremony held at Kairaba Beach Hotel on 31 July 1999, organized by a Gambian music promoter, Harona Drammeh, who was a staff member of GRTS at the time. Now there are various award ceremonies held to promote Gambian artists in the music industry, the media, especially the Gambia Radio and Television Services, does its best to support artists in the hip-hop scene
Hip hop is a subculture and art movement developed by African-Americans and Latinos from the inner-city South Bronx neighbourhood in New York City in the late 1970s. Jamaican immigrant DJ Kool Herc played a key role in developing hip hop music, at 1520 Sedgwick Avenue, Herc mixed samples of existing records and DJed percussion breaks, mixing this music with his own Jamaican-style toasting to rev up the crowd and dancers. These youths mixed these influences with existing musical styles associated with African Americans prior to the 1970s, Hip hop music became popular outside of the African-American community in the late 1980s, with the mainstream commercial success of gangsta rap. Critic Greg Tate described the hip hop movement as the only avant-garde still around, Hip hop culture has spread to both urban and suburban communities throughout the United States and subsequently the world. These elements were adapted and developed considerably, particularly as the art spread to new continents and merged with local styles in the 1990s.
Sampling older culture and re-using it in a new context or a new format is called flipping in hip hop culture. Hip hop music follows in the footsteps of earlier African-American-rooted musical genres such as blues, rag-time, cowboy worked the hip hop cadence into his stage performance. The group frequently performed with artists who would refer to this new type of music by calling them hip hoppers. The name was meant as a sign of disrespect, but soon came to identify this new music. The song Rappers Delight, by The Sugarhill Gang, released in 1979, begins with the phrase I said a hip, hop the hippie the hippie to the hip hip hop, and you dont stop. Lovebug Starski, a Bronx DJ who put out a single called The Positive Life in 1981, and DJ Hollywood began using the term when referring to this new disco rap music. Bill Alder, an independent consultant, once said, There was hardly ever a moment when rap music was underground, one of the very first so-called rap records, was a monster hit. Hip hop pioneer and South Bronx community leader Afrika Bambaataa credits Lovebug Starski as the first to use the hip hop.
Bambaataa, former leader of the Black Spades gang, did much to popularize the term. In the 1970s, an urban movement known as Hip Hop began to develop in the South Bronx in New York City. It focused on emceeing over breakbeats, house parties and neighbourhood block party events, Hip hop music has been a powerful medium for protesting the impact of legal institutions on minorities, particularly police and prisons. Jamaican-born DJ Clive Kool Herc Cindy Campbell pioneered the use of DJing percussion breaks in hip hop music, beginning at Hercs home in a high-rise apartment at 1520 Sedgwick Avenue, the movement spread across the entire borough. Herc created the blueprint for hip hop music and culture by building upon the Jamaican tradition of impromptu toasting, on August 11,1973 DJ Kool Herc was the DJ at his sisters back-to-school party
Brazilian hip hop
Brazilian hip hop is a national music genre. From its earliest days in the African-Brazilian communities of São Paulo, rappers, DJs, break dancers and graffiti artists are active across the complete spectrum of society blending Brazils cultural heritage with American hip hop to form a contemporary musical fusion. Brazilian hip hop has its origins in the Bailes Black of the late 1970s where American funk, the Bailes Black were orientated towards playing American imports by artists such as James Brown and Parliament. The first Brazilian hip hop album Hip Hop, Cultura De Rua was released in September 1988 on the Paralelo label, new era in coming, new rappers, new styles. Checkup to groups and artistas, Tribo da periferia, Nego Lizu, Costa Gold, Hungria, Pregador Luo, ConeCrew, 100SEI, Qdc beats and more. GOG, Genival Oliveira Gonçalves, was the first hip hop artist from the Brasilia Hip Hop scene to make an impact with the release in 1992 of the four-track album Peso Pesado. In February 1993 the first Brazilian hip hop magazine Pode Crê.
was published by JP Publicidade, São Paulo. The Brasilia group Câmbio Negro, formed in 1990 by DJ Jamaika and X, released their debut album Sub Raça in July 1993, its mixture of rock and hip hop proved to be popular with audiences. Racionas MCs released their third album Sobrevivendo no Inferno on their own independent label Cosa Nostra in 1997, the album was certified Gold in January 1998. The São Paulo rap group RZO, formed in 1989 by Sandrão, Helião and DJ Cia, released their debut album in 1997 on M. A. Records. In 1997 DJ Alpiste, who is said to be the first evangelical rapper in São Paulo, alpiste’s music inspired gospel rapper Pregador Luo, founder of the gospel rap group Apocalipse 16. MV Bill, a resident of the favela Cidade de Deus, first became aware of hip hop music through the soundtrack of the 1988 US movie Colors, DJ Jamaika released the album Pá Doido Pirá in December 2000 on Warner Bros. In 2002 MV Bill released his second album Declaração de Guerra and has established himself as one of the most articulate.
In 2006, GOG released the album Aviso às Gerações which featured a collaboration with MC RAPadura on the song A quem possa interessar. MC RAPadura had established his reputation in repente and would achieve success with his distinctive rapping style. In 2008, the female rapper Flora Matos released the track Mundo Pequeno which was produced by DJ Cia, the track was featured on the compilation mixtape O Jogo é Hoje. Initially Brazilian hip hop was an assertion of African-Brazilian identity and a continuation of the ethos of the 1970s Bailes Black, as the genre gradually emerged, drawing new artists and audiences into its sphere, its themes widened to encompass a range of social and political issues. The mangue beat group Chico Science adhered to a style known as rap consciencia
British hip hop
British hip hop is a genre of music, and a culture that covers a variety of styles of hip hop music made in Scotland, England and Northern Ireland. It is generally classified as one of a number of styles of urban music, UK rap has been heavily influenced by US hip-hop. British hip hop, particularly that originating from London, was superseded by grime, after a post-millennium boom period. In 2003, The Times described British hip hops broad-ranging approach, following an initial flurry of interest from major record labels in the 1980s, by the early 1990s the scene had moved underground after record companies pulled back. In the mid-1990s hip hop in the UK started to experiment and diversify — often mutating into different genres entirely, such as trip hop, was Englands first documented rapper. Unlike in the US, the British hip hop scene was cross-racial from the beginning and this is due to the fact that various ethnic groups in Britain tend to not live in segregated areas, even in areas with a high percentage of non-white individuals.
These places allow youth to share an interchange with one another including musical genres such as hip hop. Cross pollination through migrating West Indians helped develop a community interested in the music, the integration of sound systems represent a distinct British Caribbean influence. Sound systems allowed for powerful syncopated bass runs and the ability to bring sound to different venues creating a club culture. Releases were still few and far between, and the scene remained predominantly underground, mainstream radio did play British hip hop on occasion, and instrumental in giving the scene wider recognition were DJs such as Dave Pearce, Tim Westwood, and John Peel. The most direct influence was, however, on Graffiti painted in London Underground trains, Kinetic Effect hit the scene in the early 1980s and was part of the rap outfit 2 the Top as D-Koy. In 1981, he teamed with Insane Macbeth to record Borderin Insanity, which was released in 1993, in 1995, Kinetic Effect recorded Man Bites Dog/The Effect of Fear Their song The Rhythm I Give ‘Em, made the UK Top 10 Hip Hop chart.
Other notable rappers of this era include London Rhyme Syndicate, Cash Crew, Shogun MC, Hijack, MC Untouchable, the first UK record label devoted to releasing UK hip hop acts was founded in 1986. Simon Harris Music of Life label was home to rapper Derek B — the first UK rapper to chart success. Building on Derek Bs success, Music of Life went on to sign such as Hijack. Their Hard as Hell series mixed homegrown talent like Thrashpack and the She Rockers with US artists such as Professor Griff, Music of Life was swiftly followed by other labels such as Mango Records and Kold Sweat. Another successful British hip-hop artist that emerged from Music of Life was Asher D, caveman and Outlaw Posse developed a jazz influenced style, whilst MC MellO mixed jazz and hardcore. Other acts and styles developed from the hip hop scene, resulting in new genres to describe them — for example Massive Attack with trip hop, or Galliano Us3 and Urban Species with acid jazz
Music of Greenland
The music of Greenland is a mixture of two primary strands and Danish, mixed with influences from the United States and United Kingdom. The biggest record label is ULO from the town of Sisimiut, it was created by Malik Hoegh, ULO releases both Greenlandic rock bands like Sume, pop singers like Rasmus Lyberth, and hip hop music crews like Nuuk Posse as well as Inuit folk music. Elements of modern Greenlandic music have used in the music of Kristian Blak. Greenlands musical character has described as definitely a rock country. The Danish Ministry of Foreign Affairs describes all Greenlandic music except the drum dances as influenced by external styles, the Inuit and the Danish peoples of Greenland have both maintained their distinct styles of folk music. Country-wide folk traditions included storytelling, which declined greatly after the introduction of the South Greenland Printing Press in 1857, traditional music which has best survived European contact can be found in the east and northeast of the island.
It includes sacred drum dances played on a drum made of a wooden frame with a bear-bladder on top. Drum dances are the truly indigenous music in Greenland, and are part of a roots revival in modern times. Shamans used drums as part of their religious affairs and sometimes organized singing duels between rivals in which the performer who got the most laughs from the audience won. Piseq are a form of song that comment on daily life. Greenlandic Inuit folk songs are performed to tell stories, play games, Greenlandic Inuit music is largely based around singing and drums, the latter being generally reserved for large celebrations and other gatherings. Though there is much folk vocal music, there is no Inuit purely instrumental tradition with no accompaniment by singing or dancing, Greenlandic drums are mostly frame drums made of animal skin stretched over a wooden frame and decorated with decorative and symbolic motifs by the drummer. Aside from drums, bull-roarers and buzzers are widespread, historical recordings of this music are done since 1905.
This traditional Greenlandic music is performed today, the mens drum dancing skills are evaluated by his endurance in his lengthy performance and the nature of his compositions. Drum dances are an important element of Greenlandic Inuit cultural cohesion, many drum dances are competitive in nature, featuring two song cousins who humorously sing and dance, while pointing out the flaws in the other. Many Inuit folk games revolve around song as well, including string games, hide-and-seek, the katajjaq tradition is well-known, it is a vocal contest between two women, standing facing each other. They sing songs, using throat-singing and imitating animal cries or other sounds, katajjaq is a game, but is often stopped because both women begin laughing. In addition to the dance and game songs, Greenlandic Inuit have a tradition of piseq songs
Arabic hip hop
Arabic hip hop is hip hop music and culture originating in the Arabic-speaking world. It is performed in Arabic, and local Arabic dialects, French, like most artists of the genre, the artists from the Arab world are highly influenced by American culture. Also considered part of Arabic hip hop are emcees of Arab origin in the Arab diaspora including Europe, North America, and Australia. Before Arabic hip-hop emerged as a genre, Arab-Americans were regularly involved in hip-hop in the United States, notably producer Fredwreck, based in L. A. American hip-hop music began to see popularity in the Arab World in the early-to-mid 1990s, northern African Arabs, mostly residing in France, the epi-center of European hip-hop, were the first to begin making the music that constitutes the Arabic hip-hop genre. For example, the Super Saian Crew and IAM had Arabic members, French hip-hop rose to popularity partly because of Francophone radio broadcasting requirements, begun in 1994, that established quotas for all stations of 40% of daily broadcasts to be in French.
Groups began to emerge in Palestine in the mid-90s, including popular group DAM, DJ Lethal Skillz was promoting new local groups such as Aks El Seir at around the same time. In Egypt, hip-hop was less popular, but a small buzz led to an emergent b-boy population. In 2006, Arabic hip-hop solidified its mainstream presence in the Arab World with Hip Hop Na, a reality TV show on MTV Arabia hosted by Fredwreck and Qusai, a Saudi Arabian Artist. Hip-hop, both Arabic and American, is followed and created to varying degrees in most of the countries of the Arab world, for example, Saudi Arabia is home to the group Dark2Men, who competed in the HipHopNa reality show mentioned above. In addition, break dancing has become a pastime in the kingdom. It is difficult to establish numbers for albums sold or listenership by demographic in the Arab world due to the lack of reliable statistics, viewership of satellite TV in the Arab world cannot be accurately quantified. However, we can discern popularity through marketing techniques utilized by satellite television providers.
S, female hip-hop artists are involved in a number of outreach activities in the Arab and International World. EmpresS *1 has done work in the UK, Brazil. Shadia Mansour Arabias First Lady of Hip-Hop pays regular visits to Palestine to help with aid throughout the war. Female Arab Rappers performed at Home and Exile in Queer Experience, a conference organized by Aswat, an organization for Arab lesbians with members in Israel, the West Bank, Arabic hip-hop artists, commensurate with those of the overall genre, engage in the process of sampling. According to Jannis Androutsopoulos, sampling is a process of cultural literacy, taken from various domains, such as traditional folk music, contemporary popular music, mass media samples, and even poetry. Arabic hip hop artists have used full Arabic orchestras in beat-making as well as inspired by traditional Arabic music styles
Australian hip hop
Australian hip hop traces its origins to the early 1980s and is largely inspired by hip hop and other predominantly African-American musical genres from the United States. Australian hip-hop is still released through independent record labels, which are often owned and operated by the artists themselves. Despite its genesis as an offshoot of American hip hop, Australian hip hop has developed a distinct personality that reflects its evolution as an Australian musical style. In 1982, the video for Malcolm McLarens track, Buffalo Gals, was shown on the Australian television music show Sound Unlimited. The music show was broadcast on Network Seven, the clip was staged in a Manhattan basketball court and featured images of graffiti and break dancers. The video left an impression on Australian teenagers, who began to copy the dancers moves, the first Australian hip hop record released was 16 Tons / Humber Mania Time by Mighty Big Crime via Virgin Records and Criteria Productions in 1987. The Melbourne-based duo soon disbanded, in 1991 both were members of flower power group, Freaked Out Flower Children.
Gerry Bloustein wrote in the book, Musical Visions, that Blaze claimed the first true hip hop release was, in 1988 the first compilation of Australian rap, Down Under by Law, was released. It included tracks by Westside Posse, Mighty Big Crime, Sharline, in the late 1980s, Sound Unlimited Posse joined Sony BMG, thereby becoming the first Australian hip hop group signed on to a major record label. In 1992, they released the first major-label Australian rap album titled, in 1991, a 16-year-old Sydney-based solo artist named KIC was signed to Sony/Columbia Records. His first single, Bring Me On, was popular in Australia, Singapore, in 1992, independent label company Random Records released Def Wish Casts album Knights of the Underground Table. Prior to this, MC Opi co-produced Women on the Rhyme, MC Opi contributed to Anus debut album Stylin Up, which attained platinum status in Australia and won the ARIA Award for Best Indigenous Album. They released an EP in 2001 called Infinite Styles with the independent label company Rubber Records,1200 Techniques released one of the first hip hop crossover hits, a track called Karma.
The song spawned the first ARIA Award for a hip hop act in Australia even before there was a hip hop category, additionally Karma won Michael Gracey an ARIA in the same year for Best Video. In 2003, the released the first Australian hip hop DVD titled One Time Live. Their second album, Consistency Theory, was released in 2004, by the early 2000s, the Australian Record Industry Association began to recognise the growing interest in hip-hop in Australia. In 2004, ARIA introduced a new category in their annual awards, the inaugural award was won by Koolism for their album, Random Thoughts. Koolism DJ Danielsan dedicated the award to the Australian hip-hop community and exclaimed, Be yourselves, keep it real, at the 2006 and 2007 ARIA Awards, the Urban award was won by Hilltop Hoods for their albums The Hard Road and The Hard Road, respectively
Finnish hip hop
Finnish hip hop or rap or is a variant of hip hop music from Finland. The rapping is mainly done in Finnish, many rappers use Helsinki slang words, general slang and Finnish dialects are used too by some artists. Many early rappers used the English language, the first recorded Finnish rap song was Im Young and Natural in the English language which was made by an artist called General Njassa in 1983. Rap music in Finnish language made its first breakthrough in 1990 when groups Raptori and Pääkköset, Raptori in particular became a nationwide phenomenon. These artists had a greatly different when compared to American rap music. Their music was influenced by the dance-pop of the 1980s. Later Finnish rappers tend to despise this wave of the early 1990s, Finnish rap was again seen on national record charts. This time Finnish rappers used a style which was closer to American hip hop music. Popular artists and groups of this era included Asa, Flegmaatikot, Kapasiteettiyksikkö, Paleface and these got their albums published by large record companies.
These days many Finnish rappers release their music as self-published albums or through small labels such as Monsp, 3rd Rail Music. Today Finnish rappers can be divided into underground and mainstream, underground rappers rap about suburbs, politics, problems with authorities and so on. Mainstream rappers rap about partying and cars, but in the beginning of Finnish rap rappers with real subjects in their songs could make it to the mainstream. com