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Golden Age of Hip Hop is a name given to a period in mainstream hip hop music, usually cited as the late 1980s to the early 1990s. It is said to be characterized by its diversity, quality, innovation and influence.〔(The '80s were golden age of hip-hop - Entertainment - Music - TODAY.com )〕〔Green, Tony, in Wang, Oliver (ed.) ''Classic Material'', Toronto: ECW Press, 2003. p. 132〕〔Jon Caramanica, ("Hip-Hop's Raiders of the Lost Archives" ), ''New York Times'', June 26, 2005. Cheo H. Coker, ("Slick Rick: Behind Bars" ), ''Rolling Stone'', March 9, 1995. Lonnae O'Neal Parker, ("U-Md. Senior Aaron McGruder's Edgy Hip-Hop Comic Gets Raves, but No Takers" ), ''Washington Post'', Aug 20 1997.〕〔Jake Coyle of Associated Press, ("Spin magazine picks Radiohead CD as best" ), published in ''USA Today'', June 19, 2005. Cheo H. Coker, ("Slick Rick: Behind Bars" ), ''Rolling Stone'', March 9, 1995. Andrew Drever, ("Jungle Brothers still untamed" ), ''The Age'' (), October 24, 2003.〕 There were various types of subject matter, while the music was experimental and the sampling eclectic.〔Roni Sariq, ("Crazy Wisdom Masters" ), ''City Pages'', April 16, 1997. Scott Thill, ("Whiteness Visible" ) AlterNet, May 6, 2005. Will Hodgkinson, ("Adventures on the wheels of steel" ), ''The Guardian'', September 19, 2003.〕 The artists most often associated with the phrase are Run–D.M.C., Public Enemy, Beastie Boys, KRS-One, Eric B. & Rakim, De La Soul, EPMD, A Tribe Called Quest, Slick Rick, Ultramagnetic MC's,〔Linhardt, Alex (June 10, 2004). (Album Reviews: Ultramagnetic MC's: Critical Beatdown ). Pitchfork Media. Retrieved on December 24, 2014.〕 MC Lyte, and the Jungle Brothers.〔Per Coker, Hodgkinson, Drever, Thill, O'Neal Parker and Sariq above. Additionally: Cheo H. Coker, ("KRS-One: Krs-One" ), ''Rolling Stone'', November 16, 1995. Andrew Pettie, ("'Where rap went wrong'" ), ''Daily Telegraph'', August 11, 2005. Mosi Reeves, ("Easy-Chair Rap" ), ''Village Voice'', January 29th 2002. Greg Kot, ("Hip-Hop Below the Mainstream" ), Los Angeles Times, September 19, 2001. Cheo Hodari Coker, ("'It's a Beautiful Feeling'" ), ''Los Angeles Times'', August 11, 1996. Scott Mervis, ("From Kool Herc to 50 Cent, the story of rap -- so far" ), ''Pittsburgh Post-Gazette'', February 15, 2004.〕 Releases by these acts co-existed in this period with, and were as commercially viable as, those of early gangsta rap artists such as Ice-T, Geto Boys and N.W.A, the sex raps of 2 Live Crew and Too Short, and party-oriented music by acts such as Kid 'n Play, The Fat Boys, DJ Jazzy Jeff & The Fresh Prince and MC Hammer.〔Bakari Kitwana,("The Cotton Club" ), ''Village Voice'', June 21, 2005.〕 == Style == The golden age is noted for its innovation – a time "when it seemed that every new single reinvented the genre,"〔 according to ''Rolling Stone''. Referring to "hip-hop in its golden age",〔Jake Coyle of Associated Press, ("Spin magazine picks Radiohead CD as best" ), published in ''USA Today'', June 19, 2005.〕 ''Spin'' and MTV's Sway Calloway added: "The thing that made that era so great is that nothing was contrived. Everything was still being discovered and everything was still innovative and new".〔Scott Mervis, ("From Kool Herc to 50 Cent, the story of rap – so far" ), ''Pittsburgh Post-Gazette'', February 15, 2004.〕 Writer William Jelani Cobb said, "what made the era they inaugurated worthy of the term golden was the sheer number of stylistic innovations that came into existence... in these golden years, a critical mass of mic prodigies were literally creating themselves and their art form at the same time".〔Cobb, Jelani William, 2007, ''To the Break of Dawn'', NYU Press, p. 47.〕 One of the definitive characteristics of the golden age of hip-hop is the proliferation of sample-heavy music. The ability to sample different beats from a wide variety of sources gave birth to a new breed of producers, DJs who did not necessarily need formal musical training or instruments, just an ear for sound collages.These samples were derived from a number of genres, ranging from jazz, funk and soul to rock & roll. For example, ''Paul's Boutique'', the Beastie Boys' second studio album, drew from over 105 individual samples, 24 of which were featured on the last track of the album. During this time, sound bites were not limited to just music. The RZA, the de facto leader of the Wu-Tang Clan, a hip hop collective from the 90s, sampled sound clips from his own collection of 70s kung-fu flicks to bolster and frame the group's gritty lyrical content. Many of the sample-laden albums released during this time would not be able to receive legal clearance today.〔McLeod, Kembrew & Kuenzli, Rudolf E. “Crashing the Spectacle: A Forgotten History of Digital Sampling, Infringement, Copyright Liberation and the End of Recorded Music.” Culture Machine.〕 The era also provided some of the greatest advances in rapping technique. Kool G Rap, referring to the golden age in the book ''How to Rap'' said, "that era bred rappers like a Big Daddy Kane, a KRS-One, a Rakim, a Chuck D. . . their rapping capability and ability — these dudes were phenomenal".〔Edwards, Paul, 2009, ''How to Rap: The Art & Science of the Hip-Hop MC'', Dave Shewring, Chicago Review Press, p. vii.〕〔(Rap Radar :: How To Rap: Kool G Rap (Foreword) )〕 Many of hip hop's biggest artists were also at their creative peak. Allmusic said the golden age "witnessed the best recordings from some of the biggest rappers in the genre's history... overwhelmingly based in New York City, golden age rap is characterized by skeletal beats, samples cribbed from hard rock or soul tracks, and tough dis raps... rhymers like PE's Chuck D, Big Daddy Kane, KRS-One, Rakim, and LL Cool J basically invented the complex wordplay and lyrical kung-fu of later hip-hop".〔(【引用サイトリンク】title=Golden Age | Significant Albums, Artists and Songs | AllMusic )〕 In addition to lyrical self-glorification, hip hop was also used as a form of social protest. Lyrical content from the era often drew attention to a variety of social issues including afrocentric living, drug use, crime and violence, religion, culture, the state of the American economy, and the modern man's struggle. Conscious and political hip hop tracks of the time were a response to the effects of American capitalism and former President Reagan's conservative political economy. According to Rose Tricia, " In rap, relationships between black cultural practice, social and economic conditions, technology, sexual and racial politics, and the institution policing of the popular terrain are complex and in constant motion. Even though hip hop was used as a mechanism for different social issues it was still very complex with issues within the movement itself.〔Rose,Tricia. Black Black Noise: Rap Music and Black Culture in Contemporary American. Hanover: Wesleyan U, 1994. Print. 〕 There was also often an emphasis on black nationalism. Hip hop scholar Michael Eric Dyson stated, "during the golden age of hip hop, from 1987 to 1993, Afrocentric and black nationalist rap were prominent",〔Dyson, Michael Eric, 2007, ''Know What I Mean?'', Westview Press, p. 64.〕 and critic Scott Thill described the time as "the golden age of hip hop, the late '80s and early '90s when the form most capably fused the militancy of its Black Panther and Watts Prophets forebears with the wide-open cultural experimentalism of De La Soul and others".〔Scott Thill, ("Whiteness Visible" ) AlterNet, May 6, 2005.〕 Stylistic variety was also prominent. MSNBC said that in the golden age, "rappers had an individual sound that was dictated by their region and their communities, not by a marketing strategist"〔 and the ''Village Voice'' referred to the golden age's "eclecticism".〔Mosi Reeves, ("Easy-Chair Rap" ), ''Village Voice'', January 29th 2002.〕 Along with focusing on black nationalism, hip hop artists often talked about urban poverty. This brought many listeners to the genre who were struggling with poverty and were coping with the scourges of alcohol, drugs, and gangs in their communities. Public Enemy's most influential song, "Fight the Power," came out at the time of urban poverty. The song speaks up to the government, proclaiming that people in the ghetto have freedom of speech and rights like every other American. One line in the song, "We got to pump the stuff to make us tough from the heart," grabbed listeners' attention and gave them motivation to speak out for themselves.〔Public Enemy, () Lyricsdepot, May 25, 2008.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Golden age hip hop」の詳細全文を読む スポンサード リンク
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