When most people mention the term "hip hop" in conversation, they frame it as synonymous with rap music and the corresponding, street influenced fashion and language. In such discourse the prevalent sentiment regarding hip hop typically happens to correspond with that particular audience's viewpoints about the street based (sometimes criminally affiliated and almost invariably low income and disenfranchised), predominantly Black and Latino urban condition that originally spawned it as a sub-culture, as well as the popular culture that has developed a symbiotic relationship with it. The duality of this type of recognition is magnified by hip hop's impact in corporate America, where artistic credibility and financial viability often drive one another, but also often conflict. The visibilty afforded hip hop as a result of it's movement via corporate driven apparatus has also served to politicize hip hop's artistic assertions and conversely infused hip hop's language and stylization into social and political discourse. This begs the suggestion that hip hop has graduated, and earned a legitimate place as more than just a set of cultural (or sub-cultural) assertions or expressions, but a bona fide, self-defining culture and movement.

In order to establish the claim for hip hop as a legitimate cultural movement (on par with great cultural movements before it), one must truly understand what hip hop is and look at it's basic, defining elements to see how they connect with historical cultural expressions. Hip hop is essentially based on 4 elements: MC'ing, DJ'ing, graffiti art and breakdancing.

• MC'ing is commonly known as "rapping." This is a heavily expressive and improvisational form of wordplay, which is commonly intended in hip hop circles to weave words in a way which is wittier than someone else's or even your own previous emanations. Rapping can be heavily boastful, combative or playful, depending on the person rapping (MC/rapper/Master of Ceremonies/Mic Controller), venue or circumstance. Rapping can also convey much deeper, weightier and personal themes, such as political leanings, social injustices or individual tragedy (True to this theme, many MC's borrowed from artists like Gil Scott-Heron and The Last Poets, with their heavy usage of tribal rythyms alongside spoken word and modern, urban folktales). One can see upon comparison elements of Jamaican "toasting", and African-American "playing the dozens" (now "snapping") in rapping (À la many old school comedy icons like: Pigmeat Markham, Moms Mabley and Rudy Ray Moore a.k.a. Dolemite). Each has the same spirit of one-upmanship and witticism. Rapping originally resembled toasting, with DJ's in parties talking to the crowd in between records, announcing the next song and playing to the crowd, sometimes rhyming and mentioning people at the party. DJ Kool Herc was one such DJ in the South Bronx, who was of Jamaican descent. He is considered the prototype for the modern hip hop DJ and the MC, as he often toasted when spinning and is credited with being a founding father of hip hop music. Analagous to the skill of the MC is his/her ability to rhyme "freestyle". The criteria over time has changed somewhat as to what actually represents freestyle rhyming. Many "old school" MC's would utilize pre-written rhymes when they battled, but the key was the ability to form the various individual rhymes thematically and slightly alter them most cleverly according to the scenario and subject matter. The current definition of freestyle is complete improvisation, with no evidence of having pre-written or rehearsed the rhymes used ("off the top of the head"). No matter which definition best describes an MC's rhymes, this is the standard weapon of choice in MC battles.
• DJ'ing is the manipulation of multiple record turntables to produce original sounds from pieces of existing musical material. This includes using breakbeats (repetitive drum patterns) and scratching (moving records forward and back and varying speeds and rythyms to produce percussive sounds that resemble a sound like one is scratching a record) used for creative effect. Typically a DJ would be the accompanying musical compliment to an MC. DJ'ing started as a way that people who hadn't formal musical training could produce music that was uniquely theirs or add their own unique touch to existing music. The mixtape phenomenon in hip hop is the direct by-product of evolving techniques in DJ'ing (DJ Red Alert, Ron G, Kid Capri, Funkmaster Flex and Tony Touch are some who helped to popularize the mixtape in the culture).
• Graffiti art refers to a controversial, stylized type of visual media that evolved from seemingly random writings and drawings on walls of public places to elaborate and colorful expressions typically done in spray paint. As it has always been an illegal activity, graffiti art enjoyed both postive and negative associations: a) Traditional perceptions of it as no more than simple vandalism and; b) associations with contemporary "avant garde" movements and sub-culture (by way of artists like Fab Five Freddy, Jean-Michel Basquiat and Lee Quiñones and their affiliations with the Downtown Manhattan creative scene in the mid to late 1970's). During the 1970's and 1980's it became common for people to see New York City subway cars covered with graffiti of all types both inside and out. Graffiti artists (or "writers") would go on missions to railyards and into subway tunnels to "bomb" or paint subway cars, walls, etc. In film representations of hip hop culture one sees graffiti art providing the visual backdrop. The films, "Wild Style" and "Style Wars" refer directly to the writer's individual "style" or way of representing letters in exaggerated, elaborate forms and chronicled the lifestyle of the graffiti writer.
• Breakdancing is a heavily improvisational form of streetdance which had it's origins in simulating actual gang fighting, the movements of which can be traced back to street and jailhouse fighting styles. This influence is clearly visible in the streetdance form known as "uprocking," which started in the late 1960's in Brooklyn, NY, and later was integrated into breakdancing forms. Gang affiliated youth were able to try to outdo one another by dancing as aggressively and athletically as they would fight, as opposed to fighting or killing one another. Various crews could then "battle" for bragging rites. The Universal Zulu Nation was established from such transformative movements among New York City gang youth with founder and former gang leader Afrika Bambaataa (Black Spades). Many breakdance groups or "crews" came to widespread prominence in the early to mid 1980's (when hip hop culture started to enjoy wider exposure) such as Rock Steady Crew and NYC Breakers.

While these are the four basic elements of hip hop, they are not nesessarily stand alone elements, in that they operate in concert with the overall culture and compliment the aforementioned basic elements. Prominent amongst these is beatboxing (vocal percussion without aid of anything outside of natural human vocal and oral capabilities), which is slightly more obscure and esoteric, but has enjoyed a revered position within the culture. One finds excellent examples of beatboxing in artists like Biz Markie, the late Buffy from The Fat Boys (R.I.P.), Doug E. Fresh, Rahzel, and Kenny Muhammad.

Hip hop culture includes other peripheral aspects of expression that are more personal and are embraced by those who are inclined toward hip hop to express each person's individual style, such as hip hop fashion and hip hop language and colloquialisms or "slang". As language and fashion are universal elements of any widespread culture's identity, these aspects often are inserted into other, ostensibly non-artistic aspects of the individual's life. This fusion often reflects statements from prominent people within the culture who take bold or controversal stances on issues that affect all people.

A perfect example of this is the height of the popularity and controversy surrounding the group Public Enemy in the late 1980's to mid 1990's. When the rap group from Long Island, NY called Public Enemy (or "PE" as most call them) released their first album ("Yo! Bum Rush The Show") in 1987, they were the seeming antithesis to what the hip hop audience had been accustomed to. With frontman Chuck D on point, "hype man," Flava Flav at his side, Professor Griff and the S1W's or "Security for the First World" (who performed martial arts katas and synchronized military drill while wearing camouflage and brandishing replicas of automatic weapons onstage) and Terminator X providing noise distorting beats, they were loud, bold and matched unabashed bravado ("Miuzi Wieghs A Ton") with militant truth ("Rightstarter: Message To a Black Man"). With their two subsequent releases ("It Takes a Nation of Millions to Hold Us Back" and "Fear of A Black Planet"), PE had established their identity as hip hop's very vocal, political conscience. They also scared quite a few people.

Along with groups like Boogie Down Productions (with legendary MC, KRS ONE), PE took on subjects that had long been unaddressed in the music and overall culture of hip hop. PE was critical of embedded racism in local and world politics, media and historical representations of non-europeans and as well, embraced Black Nationalist principles alongside all historical Black and African movements against oppression. Many have criticized PE for their open endorsement of Nation of Islam leader, Louis Farrakhan for what many consider anti-semitic commentary and opinions he has expressed. This criticism was magnified by the membership of Professor Griff in PE, as Griff is a member of the Nation of Islam. Griff as well was also criticized for what many deemed anti-semitic comments he made in a 1989 interview.

This controversial milestone in the culture from the East Coast of the U.S. also coincided with the emergence of another, darker and perhaps even more controversial element from West Coast street culture popularly termed, "Gangsta Rap". While Los Angeles based MC, Ice-T (who borrowed heavily from the pimp/player lifestyle in the writings of Iceberg Slim) is generally credited with bringing this more violent and hedonistic form of hip hop music to the forefront, Philadelphia MC Schooly D was actually the artist who inspired Ice T's gangster anthem "6 in the Mornin" with his "P.S.K. What Does It Mean?" (said to be an ode to the North Philadelphia gang, Park Side Killers). Ice T wasn't alone in making noise out west. N.W.A. (Niggaz With Attitude) would become one of the most infamous hip hop groups in history with their uber-violent and misogynistic lyrics. Both N.W.A. and Ice-T (as well as Miami rappers 2 Live Crew) were subjects of massive debates, and social and political movements to attempt to ban rap music lyrics and imagery.

For better or worse, Public Enemy's status as the most vocal and politically charged group in hip hop forced the hip hop community in the most extreme way up to that point to deal with it's socio-political self in very stark terms. The juxtaposition of Public Enemy and BDP alongside artists like Ice-T and NWA caused a curious world to look very seriously at what was happening in the communities they were reflecting. The value in this phase of hip hop was the development of a collective, credible voice in hip hop that urged the world at large to examine what conditions would inspire what many saw to be righteous indignation in the form of explicit lyrics and imagery which many others found offensive in the extreme. In response to urban economic decline (largely attributable to Reaganomics), the crack epidemic and other ills in communities from wence hip hop sprang, artists demonstrated their anger on tracks with titles like "Prophets of Rage" (PE), "Criminal Minded" (BDP), "Squeeze The Trigger" (Ice-T) and "Fuck Tha Police" (NWA). America was face to face with it's own nightmare.

This controversy (pivotal as it was) passed, as others have and became a victory for the culture overall. Far more than a bunch of disaffected youth simply thumbing it's nose at authority in some "anti-establishmantarian" reflex, these artists and many more came to recognize their impact as voices for a segment of society who had long felt (and often still does) that they are not fully represented by societal norms as media often depicts them.

Hip hop in it's current, multi-faceted incarnation has seen artists and styles come and go, recede and re-emerge. It has seen itself appropriated by corporate forces whom have handpicked and infused bits and pieces of the culture into every aspect of pop culture to satisfy their own bottom line. This is evidenced by many signs:

• Hip hop fashion, once thought to be beneath the respectable consumer as "thug-like" is now a viable, mainstream fashion influence. Designers on runways everywhere now utilize the hip hop aesthetic (hooded shirts or "hoodies", oversized garments, military surplus clothing, oversized jewelry, work, industrial and outdoor-style footwear) for it's "edginess." The same thing was done with British punk rock aesthetics in the 1980's. One well known example of such crossover was the prominence of the Tommy Hilfiger brand in hip hop circles. It is said that Tommy Hilfiger met reknowned MC, Grand Puba (Brand Nubian) and struck up a relationship with him because Tommy's younger brother recognized Puba and was a fan. Tommy gave Puba and his crew a lot of free clothing, which Puba not only wore, but rhymed about on tracks (like on Mary J. Blige's "What's The 411?"). This got Hilfiger so much street credibility that it became one of the most in demand labels for hip hop youth. So, mainstream fashion was appropriated by hip hop, which in turn eventually influenced the industry.
• Hip hop slang, once considered dreadful language and even ranking at times amongst profanity, has now pervaded the American lexicon. One can hear grandmothers these days exclaiming for their grandchildren to "chill out." This is a definite sign.
• Rapping, which was not even considered musical or even a legitimate expression of talent, has now become a staple of popular music. In fact, the average musical artist attains an elevated level of cool when they incorporate rapping into their tracks. There was a time when artists who were not known for their rap skills would do their own rapping, but this took a backseat to artists and labels offering well known rap artists to make appearances on their tracks. This has become quite the thing to do. This has also been seen in rap music's cross pollenation with other genres, such as various types of rock music. This marriage seemed to be destined because of the similarities in attitude between artists of each genre. Many recall Run DMC with Aerosmith (remake of Aerosmith's "Walk This Way"), Public Enemy with Anthrax (remix of "Bring The Noise") and The Beastie Boys (who were unique in that they started out as an actual punk band and transitioned into rap, as well as being one of only a few artists who were white) who all did so with great success.

In summation: For all of it's seemingly cartoonish affectations, hedonistic impulses and frequent obsession with the proverbial "bird in the hand" in favor of the "two in the bush," hip hop has come quite a long way. This is attributable partially to it's mainstream appeal and commercial viability. This is at the same time also attributable to it's thriving sub-culture or "underground" which keeps it fresh, edgy and innovative. Throughout it's multi-tiered and colorful history, hip hop has garnered a place in the world sphere as a space where people of all walks of life can share in the enjoyment of raw expression. Hip hop has developed and earned it's own collective, yet diverse voice with which to weigh in on the most crucial and impactful issues of the day. We have all seen this in effect during the last Presidential Campaign.

Hip hop has graduated from sub-culture into culture from all indications.