Asian Hip Hop history, how it all began...., Hip hop kakis masuk.... 
Sep 10 2013, 03:47 PM, updated 13y ago
The first Chinese rap song was done by Harlem Yu of Taiwan in the early 80s which was parallel to the early New York 80s rap songs. In the Early 90s L.A. Boyz brought hip hop of the 90s from the US to Taiwan which then started the trend that spreads into Taiwan and the rest of the Chinese speaking world. The early Taiwan youth rap group like The Party and TTM were both participate underground and mainstream. In the late 90s Softhard and LMF in Hong Kong, has participate in Chinese hip hop/rap movement but since it was in Cantonese dialect it has not got that much publicity in both Taiwan and Mainland China(Mandarin speaking region). Whereas MC HotDog, Da Xi Men, of Taiwan have successfully started the hip hop trend that affect Mainland China. In mainland China the hip hop scene includes artists such as Yin Ts'ang (隐藏), Hei Bomb (黑棒), and Dragon Tongue (龙门阵) all of whom currently lead the genre and are gaining popularity with the youths. Other groups include LMF and Dai Bing. The Chinese term for rap is Rao-she (Traditional Chinese:饒舌
or shuōchàng (Simplified Chinese: 说唱; "narrative", actually the name of a traditional genre of narrative singing). Breakdancing (called "jiēwŭ" (Simplified Chinese: 街舞) in Chinese, literally "street dance") has gained a lot of popularity among young Chinese as well.Hong Kong
The Hong Kong hip hop scene debuted in 1991 from Softhard, then evolutionized in 1999 with the formation of LMF which was the first rap/rock group signed by a major record label, Warner Music. The group consisted of ten core members, many of which were also in the bands NT, Screw, and Anodize. Despite the popularity of the now disbanded LMF, which gained mild success in the mainstream, hip hop music continues to remain underground, led by independent artists. Nevertheless, the presence of hip hop music in Hong Kong in the shadows of Cantopop is strongly reflected by the collaborations between rappers such as MC Yan (from the now disbanded LMF) with pop artists such as Edison Chen. While some musicians try to introduce hip hop to the general audience, the life of the scene remains in the underground.
Japan
Hiroshi Fujiwara, a famous musician and designer, is argued[by whom?] to have first started the hip hop era in Japan. The early years of Japanese hip hop were relatively weak due to record executives not wanting to pay huge venues for a different "taste" of music. However, visual forms of hip hop, such as break dancing and graffiti, sparked the first true rise of Japanese hip hop in 1983. The film Wild Style incorporated various visual hip hop scenes in different areas of Japan. As years went on, 1994 and 1995 were the years in which hip hop became commercial.[1] However, it was not until 2000 and later that hip hop skyrocketed all over the Japan, with Japanese records spreading around the world.[2] Japanese hip hop (nip hop or j-hip hop) is said to have begun in 1983 when Charlie Angel's Wild Style was shown in Tokyo. The movie focused on graffiti artists but also featured some early old school MCs like Busy Bee and Double Trouble, DJs like Grandmaster Flash and breakdancers like the Rock Steady Crew. Following the showing, street musicians began to breakdance in Yoyogi Park. Crazy A soon emerged as a prominent b-boy, and he eventually founded the Rock Steady Crew Japan, while DJ Krush has become a world-renowned DJ[citation needed] after arising from the Yoyogi Park scene. More DJs followed, beginning in 1985. A year later, an all hip hop club opened in Shibuya. There was some hesitation at the time that the Japanese language, due to the lack of stress accents and highly variable verb endings, might prove unsuited for rapping. In the 1990s, teen-oriented J rap music appeared, and hip hop entered the Japanese mainstream. The first hit was Scha Dara Parr's "Kon'ya wa Boogie Back". The following year saw "Da.Yo.Ne." and "Maicca" by East End X Yuri go platinum. Economically, while the 90s were a time of boom, the new millennium saw a great economic recession for Japan. According to Social Science Japan Journal, unemployment "reached its highest recorded level of 5.4% in 2002. Unemployment increased particularly among youths; the unemployment rate of those aged 20–24 peaked at 12.8% in 2003. Japanese youth unemployment spiked since jobs for young people were slashed to protect the jobs of middle-aged and older workers in Japanese firms."[3] Young adults who came of age in with hip hop and entered the workforces in the early 2000s developed a very special relationship with hip hop because of tough economic times. In his book Hip Hop Japan, Ian Condry explains how groups like King Giddra and the underground group MSC developed lyrics that both spoke the truth of the youth of Japan and gave a venue for young people to unite, "transforming the slogans of politicians and economic reformers into a language and style appropriate to today's Japanese youth."[4] The very political nature of hip hop called youngsters to rally together for structural reform (kozo kaikaku) shows how Japanese hip hop, like early hip hop in the South Bronx, "functions as part of a public debate questioning mainstream political values. Lately[when?], hip-hop in Japan has split into two forms: normal, "hardcore" Japanese hip-hop, and the more R&B influenced J-Urban. The group most commonly cited as the originator of J-Urban music is the group m-flo (AKA "meteorite flo). Originally composed of a single Japanese DJ (DJ Taku) and a single Korean-Japanese emcee (Verbal), they combined with a singer named LISA who is of Peruvian-Japanese descent. Their debut album, Planet Shining, was released in 2000, and since then, many J-Urban acts such as Crystal Kay, AI, Heartsdales, and even collaborations with pop stars like Namie Amuro and Korean pop star BoA. Other popular J-Urban acts like RIP SLYME have worked with M-Flo. Hip hop in Japan is based to a large extent on the hip hop culture in America. To some degree there is debate as to whether or not there is an authenticity about Japanese hip hop.[citation needed] Many of the Japanese hip hop movement followers put in strong efforts to be more “blackface” through tanning and various styles of dress.[5] Despite this seeming mimicry of style, Japan has captivated hip hop and infused it with Japanese culture; this is evident in many Japanese hip hop music videos through elements of Eastern culture or through contrasts between Eastern and Western culture.
Malaysia
The Malaysian hip hop scene started in 1990s with groups such as 4U2C and KRU. Their so-called "Rap music" wasn't accepted by the mainstream community and they had to changed to a more pop-ish sound. The Malaysian music scene was dominated by them until 1995-1996, when Poetic Ammo came out with their classic album It's a Nice Day to Be Alive. Their 1st hit, "Everything Changes" revolutionized the local music industry. There are groups from the underground scene that have established themselves such as Naughtius Maximus, but it was Poetic Ammo that made it big. One of the powerhouses of hip hop in Malaysia is Too Phat, which consists of Malique and Joe Flizzow. They were signed to EMI International's Positive Tone division and produced their first hit album, Whutadilly and their 1st single was "Too Phat Baby" featuring Ruffedge. Their Plan B album was a hit, with songs such as "Anak Ayam" and "Just a Friend" featuring V.E receiving massive air play by local stations. With Too Phat's success other underground groups such as Muchachaz, M.O.B and the Teh Tarik Crew have followed in their footsteps, eventually forming The Phat Family.
Banggala
In 2005 Stoic Bliss releases their debut album 'Alok Borso durey . In The Mean time E.N.L. (enlightenment) crew was formed by MC Shaq, Skibkhan and Xplosive. A new member Mc Mugz, was recruited some months later. The Band changed its name to DESHI MCs to keep in with the flavor they uphold. The Band released their first album, "BANNED" in mid 2006. 1 Year later Stoic Bless drops their 2nd album 'Kolponar Baire'. Later 2008 Kata Taarer Bera (Bengali: কাঁটা তারের বেড়া a collaborated Hip hop album of the duo, DJ Raf and Jasper Al-rashid was released. Also colloquially shortened to simply "KTB", the album was originally an idea of DJ Raf. He later took the liberty to turn this into a duo act with Jasper Al-rashid. All of the tracks are either collaborated or individually performed by these two artists including a small number of tracks featuring appearances of a few guest artists. There were a very few exceptional solo tracks of the guest artists as well.The album's front cover featured a footer message placed right above the Parental Advisory message stating "Strong Language / Amazing Content". This was the origin of this which has later inspired other prominent local Hip hop artists to include similar contents in their albums. The album mostly played a very important role into shaping Bengali Hip hop towards the newer era of artists with vigorous changes and discovery of a stronger local movement. With all of its participants making their own spaces in the industry after it was released, the album eventually resulted into being one of the very few massively successful Hip hop albums in the early era of Bangladeshi Hip hop industry and thus considered an all-time Bengali Hip hop classic. Fuad Al Muqtadir, a very popular music composer/producer from Bangladesh featured Skibkhan of Deshi MCs in one of his mainstream works making it a huge commercial success and also exposing Bengali hip hop to the mass audience of Bangladesh. Later in 2009 another crew Uptown Lokolz released their debut album "Kahini Scene Paat". Deshi Hip-Hop Official Web Site hiphop.com.bd . Bangla Hip Hop differs from Bengali Hip Hop mainly from the language. Bengali is more "formal" than Bangla and use less slang than Bangla. Bangla is based mostly on Dhaka, Barisal, Sylhet, Chittagong, Comilla. Some of the famous crews are :
Quote
0.0179sec
1.77
5 queries
GZIP Disabled