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ACG SONGS
(1)
secret base ～君がくれたもの～ (10 years after Ver.) 【《我们仍未知道那天所看见的花的名字》ED】
Blue Bird 【《食梦者》OP】
青い栞 【《我们仍未知道那天所看见的花的名字》ED】
宇宙エンジニア 【TVA《命运石之门》OP】
サムライハート(Some Like It Hot!!) 【《银魂》2ND OP】
Zzz 【《日常》ED】
ハミングガール 【《A Channel》ED】
10 YEARS AFTER 【《高达08MS小队》ED】
19岁 【《xxxHolic》ED】
1000%SPARKING 【《魔法老师!?》OP】

（2）
Again 【《钢之炼金术师FA》OP】
Alchemy 【《Angel Beats》IN】
Ana-智代篇ED 【《CLANNAD-智代篇》ED】
Being 【《灼眼的夏娜》OP2】
Blaze 【《灼眼的夏娜2》OP2】
BLOOD QUEEN 【《怪物王女》OP】
Blue water 【《不思议的海之娜迪亚》OP】
brave heart 【《数码宝贝》IN】
Broken Wings 【《圣魔之血》ED】
Butter-Fly 【《数码宝贝第一部》OP】

（3）
catch you catch me 【《魔卡少女樱》OP1】
Come on Come on ～りえふーの英会话讲座～ 【《放浪息子》CD】
DAN DAN 心魅かれてく 【《龙珠GT》OP】
days 【《交响诗篇》OP】
Dear My Friend -まだ见ぬ未来へ- 【《科学的超电磁炮》ED】
Destino 【《异世界的圣机师物语》ED】
ebullient future (Japanese) 【《ef – a tale of melodies》TM】
Fallen Angel 【《吊带袜天使》ED】
falling down 【《东之伊甸》OP】
FLY ME TO THE MOON 【《EVA》ED】

（4）
For You 【《放浪息子》ED】
For フルーツバスケット 【《水果篮子》TM】
Give a reason 【《秀逗魔导士NEXT》OP】
God Knows 【《凉宫春日的忧郁》IN】
God only knows 第三幕(O.A.version) 【《神所知道的世界》OP】
God only knows 【《神所知道的世界》OP的CD相关】
I miss you 【《赤色的约定》ED】
JOINT 【《灼眼的夏娜2》OP】
Kiss Me Good-Bye 【《FF12》IN】
KOHAKU 【《微笑的闪士》OP】

（5）
Last vision for last 【《百花缭乱》ED】
LEVEL5 -judgelight- 【《科学的超电磁炮》OP2】
Lion 【《Macross Frontier》OP】
Love Destiny 【《妹妹公主》OP】
Love Jump 【《红》OP】
mind as Judgment 【《CANAAN》OP】
motto☆大胆一点！ 【《神薙》OP】
My heaven 【《CANAAN》ED】
nowhere 【《MADLAX》OP】
only my railgun 【《科学的超电磁炮》OP1】

（6）
Paradise Lost 【《食灵零》OP】
PHANTOM MINDS 【《魔法少女奈叶》TM】
rage your dream 【《头文字D》ED】
rainbow 【《水星领航员》ED】
Ready Go ! 【《大神与七位伙伴》OP】
sevevth heaven 【《空之境界-杀人考察（后）》TM】
Special “ONE” 【《科学的超电磁炮OVA》ED】
STAR RISE 【《竹刀少女》ED】
STEP 【《魔神英雄传》OP1】
STRAIGHT JET 【《Infinite Stratos》OP】

（7）
Sunshine 【《滑头鬼之孙》OP2】
Time After Time 【《名侦探柯南-迷宫的十字路口》TM】
trust you 【《机动战士高达OO》ED】
tune the rainbow 【《翼神传说剧场版多元变奏曲》TM】
VIOCES（清唱版） 【《Macross Plus》IN】
You Get to Burning 【《机动战舰抚子号》OP】
you 【《寒蝉鸣泣之时-解-》ED】
あなたがいた森 【《Fate/Stay night》ED】
ガラスの华 【《白色相簿》IM】
しずかな蜜より赤い蜜 【《百花缭乱》ED】

（8）
スカイクラッドの観测者 【GAME《命运石之门》OP】
残酷的天使纲领 【《EVA》OP】
苍い春 【《妄想学生会》ED】
产巢日之时 【《神薙》ED】
创圣のアクエリオン 【《创圣的大天使》OP】
地球仪 【《圣斗士冥王篇》OP】
风之甬道 【《龙猫》TM】
光と影のロマンス 【《名侦探柯南》ED2】
光の旋律 【《空之音》OP】
红之静寂 【《灼眼的夏娜2》ED】

（9）
煌めく瞬间に捕われて 【《灌篮高手》ED3】
魂のルフラン-下川みくに 【《EVA剧场版》ED翻唱】
魂のルフラン-林原惠 【《EVA剧场版》ED】
记忆の海 【《School Days》ED4】
简单喜悦 【《CLANNAD》OP】
君の知らない物语 【《化物语》ED】
可曾记得爱 【《Macross 可曾记得爱》TM】
空色时光 【《天元突破 红莲之眼》OP】
蓝色以太 【《Macross Frontier》IN】
恋爱サーキュレーション 【《化物语》ED】

（10）
轮舞~レヴォリューション 【《少女革命》OP】
罗马情路 【《俗！再见绝望先生》OP】
旅の途中 【《狼与香辛料》OP】
梦想歌 【《传颂之物》OP】
铭刻时间的歌 【《CLANNAD AFTER STORY》OP】
木之芽风 【《旋风管家》ED】
南风 【《全金属狂潮TSR》OP】
鸟之诗 Piano 【《AIR》相关】
苹果好天气 【《狼与香辛料》ED】
奇迹之海 【《罗德岛战记-英雄骑士传》OP】

（11）
青鸟 【《火影忍者 疾风传》3RD OP】
想响诗 【《犬夜叉》BGM】
射手座☆午后九时Don_t Be Late 【《Macross Frontier》IN】
深爱 【《白色相簿》OP】
水の星へ爱をこめて 【《机动战士高达Z》OP2】
水之精灵 【《水星领航员》OP】
天空 【《中华小当家》OP1】
团子大家族 【《CLANNAD》ED】
武士之心 【《魔神坛斗士》OP】
舞い落ちる雪のように 【《白色相簿》ED】

（12）
檄！帝国华击团 【《樱大战》TM】
暁の车 【《高达SEED》IN】
心头小鹿乱撞 【《玛利亚狂热》ED】
兄弟 【《钢之炼金术师03版》IN】
嘘 【《钢之炼金术师FA》ED】
勇気100% 【《忍者乱太郎》OP】
与你的明天 【《Fate/stay night》最终话ED】
羽翼是Pleasure Line 【《圣枪修女》OP】
雨が降る 【《武装机甲》ED】
月光传说 【《美少女战士》OP】
钻石裂痕 Piano 【《Macross Frontier》相关】
钻石裂痕 【《Macross Frontier》ED】

（13）
Butterfly 【《无头骑士异闻录》ED2】
SOMEONE ELSE 【《迷糊餐厅》OP】
HIGHSCHOOL OF THE DEAD 【《学园默示录》OP】
Trust Me 【《无头骑士异闻录》ED1】
REALOVE_REALIFE 【《的大魔王》OP】
裏切りの夕焼け 【《无头骑士异闻录》OP1】
Uninstall 【《地球防卫少年》OP】
your gravitation 【《濑户的花嫁》IN】
残酷な愿いの中で 【《麻将少女》TM】
鸟の诗 【《AIR》OP】

（14）
该目录下均为TVA《学园默示录》的ED，新人歌手黑崎真音爆发力十足，加油！！个人相当喜欢的一张专辑。
君と太阳が死んだ日
color me dark
Return to Destiny
cold bullet blues
Memories of days gone by
Under The Honey Shine
fuss fuzz
The place of hope
宝石のスパイ
THE last pain
Hollow Men
The Eternal Song

（15）
Romantic Summer 【《濑户的花嫁》OP】
Shooting Star 【《拜托了，老师》OP】
Why,Or Why Not 【《寒蝉鸣泣之时》ED】
あたしの町。明日の町 【《图书馆战争》OP】
ふたりしかいなかった 【《食灵零》CD曲】
绯色之空 【《灼眼的夏娜》OP1】
晶莹 【《GTO》ED2】
恋爱的心情 【《最终兵器彼女》OP】
恋爱预演 【《龙X虎》OP】
奈落之花 【《寒蝉鸣泣之时》OP】

（16）
逆蝶 【《地狱少女》OP】
祈祷~You Raise Me Up 【《罗密欧与朱丽叶》OP】
去门的那一边 【《钢之炼金术师》ED2】
守侯夏日 【《水星领航员The NATURAL》ED】
通往地球的归途 【《不思议的海之娜迪亚》BGM】
同色异谱【《侵略！乌贼娘》ED】
我行我素 【《机动战舰抚子号》ED】
无法割舍的祈愿 【《魔法骑士》OP1】
无法呼吸 【《中华小当家》2ND OP】
无法弥补的罪恶 【《钢之炼金术师》ED1】

（17）
Northern lights 【《通灵王》2ND OP】
夏夕空 【《夏目友人帐》ED】
旋律 【《玉响OVA》ED】
盐味香草冰激凌 【《龙X虎》ED】
一阵风 【《真实之泪》BGM】
永不枯萎的花 【《全金属狂潮》ED】
缘 【《xxxHolic》BGM】
月光 【《黑之契约者》ED】
月光石 【《鸦-KARAS》ED】
只要有你在 【《中华小当家》OP1】

（18）
Beautiful World 【《EVA:序》TM】
Eternal Blaze 【《魔法少女奈叶A’s》OP】
Fly Me To The Moon-宇多田光 【《EVA》相关广告歌】
Future Stream 【《初恋限定》OP】
I SAY YES 【《零之使魔2》OP】
infinity 【《失落的宇宙》OP】
Jap 【《战国BASARA》OP】
LOVE☆热带风情 【《热带雨林的爆笑生活》OP】
My Friend 【《魔法少女奈叶StrikerS Sound Stage X》ED】
My Soul, Your Beats! 【《Angel Beats》OP】
One more time,One more chance 【《秒速五厘米》BGM】

（19）
BAMBOO BEAT 【《竹刀少女》OP】
CHA-LA HEAD-CHA-LA 【《龙珠Z》OP】
Change the World 【《犬夜叉》OP】
Dearest 【《机动战记抚子号黑暗王子》TM】
follow me 【《异世界的圣机师物语》OP】
Komm, süsser Tod- 甘き死よ、来たれ – 【《EVA 真心为你》IN】
Reincarnation 【《食灵零》IN】
おジャ魔女カーニバル!! 【《小魔女doremi》OP】
Secret of my heart 【《名侦探柯南》ED9】
世界が终わるまでは… 【《灌篮高手》OP2】
为你 【《传颂之物》ED】
我的男朋友是飞行员 【《Macross》IN】
小白龙 【《Macross》IN】
优しい忘却 【《凉宫春日的消失》ED】

补夏影-Lia版&茶太版 【《AIR》动画印象歌】

以上自己最近稍稍抽选出来的歌曲目录，不多…毕竟ACG的好歌相当多，要罗列的话精力不够。
已发送…请注意查收。

“我可以接受失败，但我绝不放弃！”——乔丹
“不是在沉默中爆发，就是在沉默中死去。”——姚明
“努力未必成功，但放弃一定失败。”——姚明
“不做下一个谁，只做第一个我”——詹姆斯
“如果我不投，那命中率就等于零”——海德

但最著名的NBA名言不是出自哪位球员。而是出自火箭队前主教练汤姆贾诺维奇，他在率领火箭队夺得总冠军后说了一句意味深长的话“永远不要忽略了冠军的心！”

我偶像科比 : 只要心够绝!.
我只说一句最经典的
I LOVE THIS GAME

英文摇滚好的多了去了~给你一些比较有代表性的吧！ Aerosmith《I don’t want to miss a thing》，《Amazing》，《Crazy》，《Dream on》，《Eat the rich》，《Angel》，《Walk this way》（Ft. RUN-D.M.C.）…史密斯飞船是一支比较经典的摇滚乐队，他们的歌曲有狂野有抒情，十分不错~ blur《Country house》，《Charmless man》，《Song 2》，《Parklife》，《Girls and boys》，《On your own》，《For tomorrow》，《To the end》，《This is a low》，《Tender》，《Ambulance》，《Crazy beat》…九十年代初的英伦代表乐队之一，曲风比较欢快~ Bon Jovi《Always》，《Bed of roses》，《Dry country》，《Livin’ on a prayer》，《Wanted dead or alive》，《Blaze of glory》，《Santa fe》，《Never say goodbye》，《These days》，《This ain’t a love song》，《Everyday》，《All about lovin’ you》，《Have a nice day》…很多人都喜欢老邦的《It’s my life》，但听听他们以上的曲目吧，也许会觉得更好噢~ Coldplay《Yellow》，《Shiver》，《In my place》，《God put a smile upon your face》，《Clocks》，《The Scientist》，《Amsterdam》，《A message》，《Fix you》，《Speed of sound》，《Viva La Vida》，《Death and all his friends》…当今英伦代表乐队，歌曲很受主流群体欢迎~ EVANESCENCE《Bring me to life》（Ft. Paul McCoy），《Breathe no more》，《My immortal》，《Going under》，《Everybody’s fool》，《My heart is broken》，《Sweet sacrifice》，《Thoughtless》（这首是翻唱KORN的同名曲目~），《Lithium》，《What you want》，《The change》，《Lost in paradise》，《Swimming home》…这支乐队我很喜欢，主唱Amy Lee很有魅力，歌曲也十分不错！ Guns N’ Roses《Wele to the jungle》，《Sweet child O’mine》，《Civil war》，《Nightrain》，《Rocket queen》，《Patience》，《Don’t cry （Original）》，《November rain》，《Live and let die》，《Ain’t it fun》，《Yesterdays》…枪花的大名只要听摇滚的人几乎都知道，八九十年代美国重金属最具代表性的乐队！ KORN《Word up！》，《Another brick in the wall （Part 1,2,3）》（翻唱Pink Floyd的同名曲目~），《Blind》，《Thoughtless》，《Freak on a leash》（Ft. Amy Lee from EVANESCENCE不插电演唱会版本好听！），《Creep》（翻唱Radiohead的同名曲目~），《Love song》（不插电演唱会版本超好听！），《Make me Bad / In Between days》（Ft. The Crue） …新金属代表乐队之一，翻唱平克弗洛伊德的那首歌被赞为比原唱还好~ Limpbizkit《Rollin’》，《Take a look around》，《Eat you alive》，《Gimme the mic》… 软饼干是一支同林肯公园类型差不多的新金属乐队，但比起林肯公园来，这支乐队更具有一种痞性！ Metallica《Hit the lights》，《The four horsemen》，《Motorbreath》，《Enter sandman》，《Fight fire with fire》，《Fade to black》，《Creeping death》，《Ain’t my bitch》，《Until it sleeps》，《Hero of the day》，《Master of puppets》，《The unfiven》，《Sad but true》，《Wele home （Sanitarium）》，《Mama said》，《Fuel》，《One》…金属制品乐队在重金属的历史上绝对是神级的乐队，充满战斗力，虽然后期的作品让一些死忠十分不满，但他们的成就是无法被抹灭的！ MUSE《Time is running out》，《Hysteria》，《Sing for absolution》，《Butterflies & Hurricanes》，《Bliss》，《New born》，《Sunburn》，《Muscle museum》，《Unintended》，《Hate this & I’ll love you》，《Thoughts of a dying atheist》，《Space dementia》，《Hyper music》，《Plug in baby》，《Darkshines》…近几年十分红火的一支英伦乐队，曲风还带点电子的感觉，很带劲！ Nightwish《Wish I had an angel》，《Stargazers》，《Nemo》，《Over the hills and far away》，《High hopes》，《She is my sin》，《The kinslayer》，《Elvenpath》，《Sleeping sun （2005 version）》，《Death to the world》，《Walking in the air》…这支女声金属乐队的知名度可是很高的！ NIRVANA《Smells like teen spirit》，《Blew》，《About a girl》，《In bloom》，《Come as you are》，《Lithium》，《Something in the way》，《Sliver》，《Polly》，《Hairspray queen》，《Server the servants》，《Scentless apprentice》，《Rape me》，《Dumb》，《All apologies》，《Pennyroyal tea》，《Plateau》，《Oh me》，《Lake on fire》，《Where did you sleep last night》…大名鼎鼎的涅槃乐队，现象级乐队，代表曲目不计其数! Oasis《Rock N’ Roll star》，《Live forever》，《Cigarettes & alcohol》，《Wonderwall》，《Talk tonight》，《Supersonic》，《Don’t look back in anger》，《D’You know what I mean?》，《Be here now》，《Let there be love》，《S crying your heart out》，《Don’t go away》，《Stand by me》，《Bag it up》，《The turning》，《I’m outta time》…九十年代英伦代表乐队，至今活跃，当年同blur的骂战也是一大话题！ Red Hot Chili Peppers《Around the world》，《Can’t s》，《By the way》，《Under the bridge》，《Give it away》，《Otherside》，《Easily》，《Universally speaking》，《Brandy》，《Don’t fet me》，《Leverage of space》，《Californication》，《Parallel universe》…呛红辣椒，这帮老头可是很疯狂的噢！ 我只是列举一些代表乐队的代表作，还有无数好的乐队或歌手有名的，默默无闻的，在为自由呐喊着！摇滚就是那么令人兴奋！希望喜欢我的推荐！

Hip Hop

Hip hop music is a style of popular music. It is posed of two main ponents: rapping (MC’ing) and DJing (audio mixing and scratching); along with breakdancing and graffiti (tagging), these are the four elements of hip hop, a cultural movement which began among African Americans and Puerto Ricans in New York City in the early 1970s. The terms rap and rap music are often used to describe hip hop music; the terms rap music and hip hop music are generally synonymous, although rap music is usually not used to describe hip hop songs without vocals. Many hip hop heads, as participants of the culture are called, arbitrarily separate the two terms by labeling the more mercial recordings as rap music, and the more underground-based recordings as hip hop music. Hip hop music is also erroneously used at times to describe related genres of music, such as contemporary R&B, which are primarily sung; while singing is monly present in hip-hop songs, the main vocal (assuming there are vocals) is almost always rapped.

Most typically, hip hop consists of one or more rappers who chant semi-autobiographic tales, often relating to a fictionalized counterpart, in an intensely rhythmic lyrical form, making abundant use of techniques like assonance, alliteration, and rhyme. The rapper is acpanied by an instrumental track, usually referred to as a “beat” because of the emphasis on rhythm, performed by a DJ, a record producer, or one or more instrumentalists. This beat is often created using a sample of the percussion break of another song, usually a funk, rock, or soul recording. In addition to the beat, other sounds are often sampled, synthesized, or performed. Sometimes, a track can be made up of just the beat by itself, as a showcase of the skills of the DJ or producer.

Hip hop arose in New York City when DJs began isolating the percussion break from funk or disco songs. The role of the emcee (MC) arose to introduce the DJ and the music, and to keep the audience excited. The MCs began by speaking between songs, giving exhortations to dance, greetings to audience members, jokes and anecdotes. Eventually, this practice came to be more stylized, and was known as rapping. By 1979, hip hop had bee a mercially recorded music genre, and began to enter the American mainstream. It also began its spread across the world. In the 1990s, a form called gangsta rap became a major part of American music, causing significant controversy over lyrics which were perceived as promoting violence, promiscuity, drug use and misogyny. Nevertheless, by the beginning of the 2000s, hip hop was a staple of popular music charts and was being performed in many styles across the world.

Characteristics
Hip hop is a cultural movement, of which music is a part (as are graffiti and breakdancing). The music is itself posed of two parts, rapping, the delivery of swift, highly rhythmic and lyrical vocals, and DJing, the production of instrumentation either through sampling, instrumentation, turntablism or beatboxing. Another important factor of Hip-Hop music is the fashion that originated along with the music. The fashion was a representation of the music.

Rhythmic structure
Beats (though not necessarily raps) in hip hop are almost always in 4/4 time signature. At its rhythmic core, hip hop swings: instead of a straight 4/4 count (pop music; rock ‘n’ roll; etc.), hip hop is based on an anticipated feel somewhat similar to the “swing” emphasis found in jazz beats. Like the triplet emphasis in swing, hip hop’s rhythm is subtle, rarely written as it sounds (4/4 basic; the drummer adds the hip hop interpretation) and is often played in an almost “late” or laid back way.

This style was innovated predominantly in soul and funk music, where beats and thematic music were repeated for the duration of tracks. In the 1960s and 1970s, James Brown (known as The Godfather of Soul) talked, sung, and screamed much as MCs do today. This musical style provides the perfect platform for MCs to rhyme. Hip hop music generally caters to the MC for this reason, amplifying the importance of lyrical and delivering prowess.

Instrumental hip hop is perhaps the lone exception to this rule. In this hip hop subgenre, DJs and producers are free to experiment with creating instrumental tracks. While they may mix in sampled rap vocals, they are not bound by the need to cater to an MC.

Instrumentation & production
The instrumentation of hip-hop is descended from disco, funk, and R&B, both in the sound systems and records sampled, and session musicians and their instrumentation, used. Disco and club DJs’ use of mixing originated from the need to have continuous music and thus smooth transitions between tracks, while in hip hop Kool DJ Herc originated the practice of isolating and extending only the break, basically short percussion solo interludes, by mixing between two copies of the same record, as this was, aording to Afrika Bambaataa the “certain part of the record that everybody waits for — they just let their inner self go and get wild.” (Toop, 1991) James Brown, Bob James, and Parliament — among many others — have long been popular sources for breaks. Over this one could and did add instrumental parts from other records, frequently as horn punches (ibid). Thus the instrumentation of early sampled or sound system-based hip hop is the same as funk, disco, or rock: vocals, guitar, keyboards, bass, drums and percussion.

Although hip hop’s original music consisted solely of the DJ’s breakbeats and other vinyl record pieces, the advent of the drum machine allowed hip hop musicians to develop partially original scores. Drum set sounds could be played either over the music from vinyl records or by themselves. The importance of quality drum sequences became the most important focus of hip hop musicians because these rhythms (beats) were the most danceable part. Consequently, drum machines were equipped to produce strong kick sounds with powerful (sine) bass behind them. This helped emulate the very well-engineered drum solos on old funk, soul and rock albums from the late 1960s and early to mid 1970s. Drum machines had a limited array of predetermined sounds, including hi-hats, snares, toms, and kick drums.

The introduction of the digital sampler changed the way hip hop was produced. A sampler can digitally record and save small sound clips from any output device, such as a turntable. Producers were able to sample their own drum sounds from the records they grew up listening to. Perhaps more importantly, they could sample horns, upright basses, guitars and pianos to play along with their drums. Hip hop had finally gathered its plete band.

What many fail to recognize is the distinct importance of the gritty, choppy sound of hip hop. The music seldom sounds like other anic forms. Even hip hop crews that have their own band often use samples and the gritty, choppy texture of machines to create their beats in the studio as featured on their album (when performing live, they usually recreate this sound with a full band). One popular misconception is that samples and drum machines exist in hip hop music as merely a lazy substitute for a real band; in fact, hip hop producers obsess over the timbre, texture and frequency of specific samples and drum machine sounds. A session drummer playing James Brown’s Funky Drummer break is no substitute for the sampled break from the original record. However, in recent years, there has been a tendency towards original instrumental positions in hip hop from the likes of artists and producers such as Timbaland, OutKast, The Roots and The Neptunes.

Roots of hip hop music

Hip hop culture, including rapping, scratching, graffiti, and breakdancing, emerged from 1970s block parties in New York City, specifically The Bronx (Toop, 1991). In the 1930s more than a fifth of Harlem residents were from the West Indies, and the block parties of the 80’s were closely similar to sound systems in Jamaica(Toop, 1991). These were large parties, originally outdoors, thrown by owners of loud and expensive stereo equipment, which they could share with the munity or use to pete among themselves, who began speaking lyrics or toasting.

Rap music emerged from block parties after ultra-petitive DJs isolated percussion breaks, those being the favorites among dancers, and MCs began speaking over the beats (Toop, 1991); in Jamaica, a similar musical style called dub developed from the same isolated and elongated percussion breaks. However, “most rappers will tell you that they either disliked reggae or were only vaguely aware of it in the early and middle ’70s.” (Toop, 1991)

Lastly, most existing hip hop acts were shocked when King Tim III’s throwback to radio DJs rhyming jive and the Sugarhill Gang’s appropriation of rap on their remake, not sample, of Chic’s “Good Times” were released, as most DJs and MCs knew each other and many had been attempting to record (Toop, 1991). Early rap records are a mix bag of quality material by party veterans and poorer material quickly produced for a profit.

Lil Rodney Cee, of Funky Four Plus One More and Double Trouble, cites Cowboy, of Grandmaster Flash and the Furious Five, as, “the first MC that I know of…He was the first MC to talk about the DJ.” (Toop, 1991)

The historical conditions contributing to the origin of hip hop
The reasons for the rise of hip hop are plex. Perhaps most important was the low cost involved in getting started: the equipment was relatively inexpensive, and virtually anyone could MC along with the popular beats of the day. MCs could be creative, pairing nonsense rhymes and teasing friends and enemies alike in the style of Jamaican toasting at blues parties or playing the dozens in an exchange of wit. MCs would play at block parties, with no expectation of recording, thus making hip hop a form of folk music (as long as electronic music is not excluded from being folk). The skills necessary to create hip hop music were passed informally from musician to musician, rather than being taught in expensive music lessons.

In Washington, D.C., go go also emerged as a reaction against disco, and eventually mixed with hip hop during the early 1980s, while electronic music did the same, developing as house music in Chicago and techno music in Detroit.

Urban Socioeconomics
Along with the low expense and the demise of other forms of popular music, social and political events further aelerated the rise of hip hop. In 1959, the Cross-Bronx Expressway was built through the heart of the Bronx, displacing many of the middle-class white munities and causing widespread unemployment among the remaining blacks as stores and factories fled the area. By the 1970s, poverty was rampant. When a 15,000+ apartment Co-op City was built at the northern edge of the Bronx in 1968, the last of the middle-class fled the area and the area’s black and Latino gangs began to grow in power.

Earlier styles that contributed to hip-hop music
West African griots, wandering poets and “praise-singers” [Citation needed]
spirituals and other forms of Christian music, as well as certain Protestant preachers’ sermons [Citation needed]
Voice instrumental, long-standing tradition in world music of many varieties and across peoples [Citation needed]
scat singing, using the voice to imitate a musical instrument. [Citation needed]
toasting, traditional African-American and Afro-Caribbean entertainment, long, rhymed tales of great heroes, Stagger Lee and Jack Johnson among others (see dub) [Citation needed]
Dirty Dozens, stylized exchange of insults. [Citation needed]
“Signifying Monkey”, long series of rhymed tales in which the weaker monkey triumphs through tricks over the more powerful beasts of the jungle, a ruder version of the Brer Rabbit stories. [Citation needed]
talking blues, popularized by Woody Guthrie, John Lee Hooker, and others, featuring rhyming talking with ironic asides to the audience. [Citation needed]
Late 1960s and early 70s at least proto-rap poets such as Gil Scott-Heron and the Last Poets [Citation needed]
jump rope and schoolyard rhymes[Citation needed], such as the following:
One bright day in the middle of the night,
Two dead boys got up to fight.
Back to back they faced each other,
drew their swords and shot each other.
Jazz vocalese and pop/R&B Doo wop, using voices to imitate an entire band (dating back at least to the Mills Brothers).

1970s
Herc was one of the most popular DJs in early 70s New York, and he quickly switched from using reggae records to funk, rock and, later, disco, since the New York audience did not particularly like reggae. Because the percussive breaks were generally short, Herc and other DJs began extending them using an audio mixer and two records. Mixing and scratching techniques eventually developed along with the breaks. (The same techniques contributed to the popularization of remixes.) As in dub, performers began speaking while the music played; these were originally called MCs; Herc focused primarily on DJing, and began working with two MCs, Coke La Rock and Clark Kent—this was the first emcee crew, Kool Herc & the Herculoids. Originally, these early rappers focused on introducing themselves and others in the audience (the origin of the still mon practice of “shouting out” on hip hop records). These early performers often emceed for hours at a time, with some improvisation and a simple four-count beat, along with a basic chorus to allow the performer to gather his thoughts (such as “one, two, three, y’all, to the beat, y’all”). Later, the MCs grew more varied in their vocal and rhythmic approach, incorporating brief rhymes, often with a sexual or scatological theme, in an effort at differentiating themselves and entertaining the audience. These early raps incorporated similar rhyming lyrics from African American culture (see roots of hip hop music), such as the dozens. While Kool Herc & the Herculoids were the first hip hoppers to gain major fame in New York, more emcee teams quickly sprouted up. Frequently, these were collaborations between former gang members, such as Afrika Bambaataa’s Universal Zulu Nation (now a large, international anization). During the early 1970s, breakdancing arose during block parties, as b-boys and b-girls got in front of the audience to dance in a distinctive, freic style. The style was documented for release to a world wide audience for the first time in Beat Street.

1980s
The 1980s saw intense diversification in hip hop, which developed into a more plex form. The simple tales of 1970s emcees were replaced by highly metaphoric lyrics rapping over plex, multi-layered beats. Some rappers even became mainstream pop performers, including Kurtis Blow, whose appearance in a Sprite mercial made him the first hip hop musician to be considered mainstream enough to represent a major product, but also the first to be aused by the hip-hop audience of selling out. Other popular performers among mainstream audiences included LL Cool J, Slick Rick, and DJ Jazzy Jeff and the Fresh Prince, who won hip hop’s first Grammy Award in 1988.

The techniques used in hip hop changed during the 1980s as well. Most important was the DJ records such as Grandmaster Flash’s “Adventures on the Wheels of Steel” (known for pioneering use of scratching, which was invented by Grandwizard Theodore in 1977) as well as electronic recordings such as “Pla Rock” by Afrika Bambaataa and Run DMC’s very basic, all electronic “Sucker MC’s” and “Peter Piper” which contains genuine cutting by Run DMC member Jam Master Jay. Grandmaster Flash & the Furious Five released a “message rap”, called “The Message”, in 1982; this was one of the earliest examples of recorded hip hop with a socially aware tone. In 1984, Marley Marl aidentally caught a drum machine snare hit in the sampler; this innovation was vital in the development of electro and other later types of hip hop.

A number of new hip hop styles and subgenres began appearing. Run-D.M.C.’s collaboration with hard rock band Aerosmith on “Walk This Way” was an early example of rock and hip hop fusions. Also, the mid-1980s saw the rise of the first major black female group, Salt-N-Pepa, who hit the charts with singles like “The Show Spa” in 1985. Ice-T’s seminal “6n’ Da Mornin'” (1986) is one of the first nationally suessful West Coast hip hop singles, and is often said to be the beginning of gangsta hip hop (along with Schoolly D, LL Cool J and N.W.A.).

In 1987, Public Enemy brought out their debut album (Yo! Bum Rush the Show) on Def Jam – one of hip hop’s oldest and most important labels, and Boogie Down Productions followed up in 1988 with By All Means Necessary; both records pioneered wave of hard-edged politicized performers. The late 1980s saw a flourishing of like-minded rappers on both coasts, and Public Enemy’s It Takes a Nation of Millions to Hold Us Back became surprisingly suessful, despite its militant and confrontational tone, appearing on both the club and rap charts, and peaking at #17 and #11, respectively. Aside from the lyrical innovations, Public Enemy’s Bomb Squad production team (along with Eric B. & Rakim and Prince Paul among others) pioneered new techniques in sampling that resulted in dense, multi-layered sonic collages.

Hip hop was almost entirely unknown outside of the United States prior to the 1980s. During that decade, it began its spread to every inhabited continent and became a part of the music scene in dozens of countries. In the early part of the decade, breakdancing became the first aspect of hip hop culture to reach Germany, Japan and South Africa, where the crew Black Noise established the practice before beginning to rap later in the decade. Meanwhile, recorded hip hop was released in France (Dee Nasty’s 1984 Paname City Rappin’) and the Philippines (Dyords Javier’s “Na Onseng Delight” and Vincent Dafalong’s “Nunal”). In Puerto Rico, Vico C became the first Spanish language rapper, and his recorded work was the beginning of what became known as reggaeton.

1990s and 2000s
In the 90s, gangsta rap became mainstream, beginning in about 1992, with the release of Dr. Dre’s The Chronic. This album established a style called G Funk, which soon came to dominate West Coast hip hop. Though G Funk was the most popular variety of hip hop in the early 90s, New York’s hip hop scene did not disappear, and remained an integral part of the industry, producing such well-regarded acts as The Wu-Tang Clan and Busta Rhymes. The reemergence of New York as a growing entity in mainstream hip-hop soon spawned an inevitable confrontation between the East Coast and West Coast and their respective major labels. This sales rivalry eventually turned into a personal rivalry, aided in part by the music media. Many reporters were not aware that MC battles were an integral part of hip hop since its inception, and that, generally, little was meant by open taunts on albums and in performances. Nevertheless, the East Coast-West Coast rivalry grew, unfortunately resulting in the still unsolved deaths of Tupac Shakur and Notorious B.I.G..

Though mainstream and crossover aeptance has been almost entirely limited to gangsta rap or pop rap, isolated artists with a socially aware and positive or optimistic tone or a more avantgarde approach have achieved some suess. They are usually referred to in mainstream musical circles as “alternative hip hop”, i.e. not gangsta or pop rap; however, this is a somewhat misleading term given that for the first decade of hip hop’s existence, before gangsta rap emerged and became the most mercially suessful strand of the genre, the vast majority of music produced was generally positive and optimistic. Indeed, many artists often labeled “alternative rappers”, su