Hip-Hop是种文化,并不单一指某种事物。不是说穿着大大的POLO衫,带着APE的帽子,踩着DUNK鞋,脖子上在挂条大链子就是Hip-Hop了,而更重要的为精神。 Hip-Hop:Hip是屁股,Hop是跳跃的意思,Hip-Hop音乐在70年代专指黑人源于R&B(节奏蓝调),但与R&B截然不同,强调舞厅中技巧的纯舞曲,这种音乐在80年代由于加上Scratch(将唱片间歇式倒转地放,而发出与唱针摩擦音的特殊效果)及黑人特有的街头式韵角口白形成Rap音乐,因此可以说Hip-Hop是Rap的前身,但今天这两个名词往往可以混用,只是Rap偏重说唱,Hip-Hop则较倾向于指Beat(节拍)明显强烈的流行舞曲。Graffiti:涂鸦,在字典中解析就是drawing or writing on a public wall,如今涂鸦艺术的喷画及街头形式传统已对世界艺术家造成了一定的影响。作为一种销售的工具,早期的Hip-Hop舞会宣传总喜欢请涂鸦艺术家来设计传单及海报。但后来至80年代,Hip-Hop已被广泛介绍并为大众接受,有一段时间Hip-Hop并无关于贩卖文化,也并未将早期的涂鸦形式一并带进来。涂鸦里无论是特殊技巧和喷漆的手法,对艺术形式也产生影响,例如墨西哥革命的愤怒涂鸦。而今天,在黑帮泛滥的美国城市,黑道间彼此地盘的警告和暴力的威胁也都透过涂鸦来沟通。 Indie:Independent的缩写,指的是艺人所属的唱片公司是Independent Label(独立公司),并不像全球五大唱片公司有极为庞大的发行网,可以为歌手作造型、宣传活动等整体设计,由于Major(即五大唱片公司系统)可以为艺人提供最好的录音师、伴奏者等客观环境,定完整的行销计划,因此往往具有能将一个平凡人塑造成大明星的能力,更重要的是在以商业利益为考虑下,大唱片公司旗下的好艺人往往被迫牺牲一些理想与执着。这也就是死硬派摇滚爱好者唾弃Major的商业色彩浓厚,而拥护一些可以让艺人自己制作,依自己理想去出专辑而又不作很多商业宣传的Indie唱片公司的原因。介绍几个比较出名的Hip-Hop歌手:Eminem----不能不提,身为白人在这个以黑人为主的音乐里表现的非常出色。比较喜欢的几首歌曲Stan,Without me,Sing For The Moment(翻唱Aerosmith的老歌)。50 Cent----大红特红的人物,不用做再多的介绍。好听的歌曲比较多,21 questions最为欣赏。D12----说唱著名团体,D-12乐团首张专辑Devil's Night已经在三年前证明了这一点。Snoop Dogg----声音非常独特,感觉就是在平平淡淡的说。P. Diddy----与EMINEM为敌,也是非常出色的歌手。Usher----不用多说其实力,2004Billboard以大热姿态横扫十一个大奖。THE BLACK EYED PEAS----黑眼豆豆,跟Justin合作了一曲 整张专集都非常出色。Dr. Dre----顶尖制作人兼歌手,在很多Hip-Hop的MV中经常能看到身影,制作过许多非常有名的专集。JAY-Z----说唱非常干净,与众不同就是没有脏话。海王星----最早两个人,一个黑种人,一个黄种人。非常的出色,制作过Justin、小甜甜等一系列的专集。还有很多出名的乐手,有一些即兴的说唱也非常的好,还有一些非常好的法文说唱,但在早已被英文占据的市场中不是那么的体现出来。中文说唱目前也在发展阶段,目前华语最好的说唱专集公认的为《铁竹堂》,铁竹堂由制作人Micchael林迈可、Jason王威登、Scottie陈恒义、Vince张敖杰四人组成。很不幸,今日广告媒体的大量使用涂鸦风格已使得Hip-Hop失去了本来的直接性。地铁里那长长一列列美好的作品,今日看来有些过于直率不羁。然而其中的那份年少轻狂和幽默感提醒着我们,在泛滥厌腻的90年代,Hip-Hop的开始并不是一份商业事业,而是向世人宣称一群人存在的一种方式。叫做基督徒的那些人,习惯了循规蹈矩,习惯了说话得体,对于内心真我的感受,压抑、麻木。
Hip hop music (also referred to as rap or rap music) is a style of popular music. It is made up of two main components: rapping (MCing) and DJing (audio mixing and scratching). Along with breakdancing and graffiti (tagging) these are the four elements of hip hop, a cultural movement that was initiated by inner-city youth (mostly minorities such as African Americans and Latinos) in New York City in the early , hip hop music consists of one or more rappers who tell 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 accompanied by an instrumental track, usually referred to as a "beat", performed by a DJ, created by a 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 instrumental, as a showcase of the skills of the DJ or hop began in New York City when DJs began isolating the percussion break from funk and disco songs. The early role of the MC was to introduce the DJ and the music and to keep the audience excited. MCs began by speaking between songs, giving exhortations to dance, greetings to audience members, jokes and anecdotes. Eventually this practice became more stylized and became known as rapping. By 1979 hip hop had become a commercially popular music genre and began to enter the American mainstream. In the 1990s, a form of hip hop 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 usageThe 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. 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 commonly present in hip hop songs, the main vocal (if there are vocals) is always rapped.[edit]CharacteristicsHip hop is a cultural movement, of which music is a part (as are graffiti and breakdancing). The music is itself composed 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.[edit]Rhythmic structureBeats (though not necessarily raps) in hip hop are almost always in 4/4 time. 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 percussion. 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 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, sang, 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 & productionInstrumental 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 traditional hip hop & productionThe instrumentation of hip hop derives 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. Hip hop Kool DJ Herc, in contrast, originated the practice of isolating and extending only the break—a short percussion solo interlude—by mixing between two copies of the same record. This was, according 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 original hip hop 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. 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 introduction of the sampler changed the way hip hop was produced. A sampler can reproduce small sound clips from any input device, such as a turntable. Producers were able to sample familiar drum patterns. More importantly, they could sample a variety of instruments to play along with their drums. Hip hop had finally gathered its complete producers and listeners pride certain records for being hip hop lore and thus a good source of samples and breaks. To this day, producers use arcane equipment to replicate the same rough sound used in older records. This lends credibility to the records and serves as a historical reminder to the listeners of hip hop's origins.[edit]HistoryFor more details on this topic, see History of hip hop music. Hip hop music can be divided into three eras. The old school hip hop era, from 1970 to 1984, spanned from the beginning of hip hop until its emergence into the mainstream. The golden age of hip hop, from 1985 to 1993, consolidated the sounds of the East Coast and the West Coast and transitioned into the modern era with the rise of gangsta rap and G-funk. The Modern era of hip hop, from 1993 to the present day, saw hip hop music becoming one of the most popular and successful forms of American music.[edit]OriginsMain article: Roots of hip hop music The roots of hip hop music are in West African and African American music. Discussion of the roots of hip hop (and rap) must mention the contributions of griots The Last Poets and Jalal Mansur Nuriddin, whose jazzy and poetic "spiels" commented on 1960's culture. Hip hop arose during the 1970s when block parties became common in New York City, especially in the Bronx. Block parties were usually accompanied by music, especially funk and soul music. The early DJs at block parties began isolating the percussion breaks to hit songs, realizing that these were the most danceable and entertaining parts; this technique was then common in Jamaica (see dub music) and had spread via the substantial Jamaican immigrant community in New York City, especially the godfather of hip hop, DJ Kool Herc. Dub had arisen in Jamaica due to the influence of American sailors and radio stations playing R&B. Large sound systems were set up to accommodate poor Jamaicans, who couldn't afford to buy records, and dub developed at the sound systems (refers to both the system and the parties that evolved around them).[edit]Old school hip hop (1970–1986)Main article: Old school hip hop [edit]1970sHerc was one of the most popular DJs in early 1970s 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 common 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 organization). 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, frenetic style. The style was documented for release to a world wide audience for the first time in Beat , the first two commercially issued hip hop recordings are considered to be "King Tim III" by The Fatback Band and "Rapper's Delight" by The Sugarhill Gang, although there are popular older recordings by artists such as Sly Stone, Gil Scott-Heron, P-Funk and many others, which in retrospect sound very much like hip the Fatback Band nor the Sugarhill Gang had significant roots in the DJ culture; the Fatback Band was primarily a funk act, while the Sugarhill Gang was the studio creation of Sugar Hill co-founder Sylvia Robinson. Nevertheless, "Rapper's Delight" became a Top 40 hit on the . Billboard pop singles chart, and after the releases of follow ups by acts such as Kurtis Blow ("The Breaks"), The Sequence ("Funk You Up"), and Grandmaster Flash & the Furious Five ("Freedom"), hip hop was pegged as a successful, yet temporary, trend in 1980s saw intense diversification in hip hop, which developed into a more complex form. The simple tales of 1970s emcees were replaced by highly metaphoric lyrics rapping over complex, multi-layered beats. Some rappers even became mainstream pop performers, including Kurtis Blow, whose appearance in a Sprite commercial made him the first hip hop musician to be considered mainstream enough to represent a major product, but also the first to be accused 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. Blondie is generally considered to be the first mainstream pop act to borrow from hip hop, with the 1980 tune "Rapture," which was a massive hit single (subsequently sampled by Grandmaster Flash.)The techniques used in hip hop changed during the 1980s as well. Most important were 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 "Planet 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 accidentally 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.[edit]Golden age hip hop (1986–1993)Main article: Golden age hip hop A number of new hip hop styles and subgenres began appearing as the genre gained popularity. .'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 Stoppa" in 1985. Ice-T's seminal "6n' Da Mornin'" (1986) is one of the first nationally successful 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 .).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 successful, 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 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.[edit]Modern era of hip hop (1993–present)In the 1990s, 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 1990s, 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, Nas, AZ, Mobb Deep, 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, provoked in part by famous West Coast rapper Tupac Shakur's 1995 shooting, which he blamed on The Notorious . and his Bad Boy label. Artists from both labels traded disses (most notably Tupac's "Hit 'Em Up,") and the feud's escalation resulted in the still unsolved deaths of both mainstream and crossover acceptance has been generally limitted to gangsta rap and pop rap, isolated artists with a socially aware and positive or optimistic tone or a more avantgarde approach have achieved some success. They are usually referred to in mainstream musical circles as "conscious hip hop" due to their focus on political issues surrounding the black community, which differentiates them from gangsta rappers. Fans of such rappers tend to view this subgenre as more authentic hip hop, claiming that they harken back to hip hop's early days where several artists rapped about "socially conscious" issues and gangsta rap had not yet gained mainstream acceptance. In 1988 and 1989, albums from the Native Tongues collective like De La Soul's Three Feet High and Rising, A Tribe Called Quest's People's Instinctive Travels and the Paths of Rhythm and the Jungle Brothers' Straight Out the Jungle are usually considered the first conscious rap albums, with jazz-based samples and quirky, insightful lyrics covering a diverse range of topics (see jazz rap) and strongly influenced by the Afrocentric messages of Bambaataa's Zulu Nation. This period, between 1988 and 1992, when the Native Tongues (together with other crews such as Pete Rock and CL Smooth) were at their creative peak, is considered the golden age of hip in the 1990s, record labels based out of Atlanta, St. Louis and New Orleans gained fame for their local scenes. By the end of the decade, especially with the success of Eminem, hip hop was an integral part of popular music. In the 1990s and into the following decade, elements of hip hop continued to be assimilated into other genres of popular music; neo soul, for example, combined hip hop and soul music and produced some major stars in the middle of the decade, while in the Dominican Republic, a recording by Santi Y Sus Duendes and Lisa M became the first single of merenrap, a fusion of hip hop and merengue. In South Africa, pioneering crew Black Noise began rapping in 1989, provoking a ban by the apartheid-era government, which lasted until 1993. Later, the country produced its own distinctive style in the house fusion kwela. Elsewhere in Africa, Senegalese mbalax fusions continued to grow in popularity, while Tanzanian Bongo Flava crews like X-Plastaz combined hip hop with taarab, filmi and other Europe, hip hop was the domain of both ethnic nationals and immigrants. Germany, for example, produced the well-known Die Fantastischen Vier as well as several Turkish performers like the controversial Cartel. Similarly, France has produced a number of native-born stars, such as IAM and the Breton crew Manau, though the most famous French rapper is probably the Senegalese-born MC Solaar. Swedish hip hop emerged in the mid 1980s and by the early 1990s a lot of 'ethnic Swedish acts' like Looptroop, 'immigrant acts' like The Latin Kings and mixed acts like Infinite Mass switched from English to rapping in "Rinkeby Swedish", a pidgin language of sorts, when they were making records for the domestic market. The Netherlands' most famous rappers are The Osdorp Posse, an all-white crew from Amsterdam, and The Postmen, from Cape Verde and Suriname. Italy found its own rappers, including Jovanotti and Articolo 31, grow nationally renowned, while the Polish scene began in earnest early in the decade with the rise of PM Cool Lee. In Romania, . Mafia came out of Bucharest's Pantelimon neighborhood, and th
我来回答,关于Hit FM Hit FM是中国国际广播电台旗下的国际流行音乐频率,在北京地区播出频率为兆赫,在广州地区播出频率为兆赫。2003年4月16日,Hit FM开始在北京试播。与中国传统的综合性电台不同,它采用国际上最成熟、最专业的类型化音乐电台(Pure Format Radio)操作模式,全天24小时滚动播出当今国际流行乐坛最动感、时尚的热门金曲,让音乐成为高品质追求者随身享用的生活必需品。 Hit FM的品牌形象和定位 作为国内独一无二全天候播出的国际流行音乐频率,自2003年开播至今,已然成为都市时尚人群生活中不可或缺的音乐伴侣。 Hit FM始终坚持推广高品质、国际化的流行音乐文化。通过选拔听众赴海外参加Linkin Park演唱会,举办Radio Aid印度洋海啸赈灾广播义演,转播Live 8世界八城市援非演唱会,全力报道转播北京各大流行、摇滚音乐节,组织“Hit Bar”北京俱乐部夜店联盟等一系列活动,Hit FM动感、时尚、与国际接轨的品牌形象已经在广大都市年轻人中深入人心。 Hit FM的精品节目 Hit FM将每天24小时的音乐节目统一策划、统一编排,除了向潮流追随者全面提供世界各大排行榜上名列前茅的最新动感歌曲,也为执著于经典的爱乐者准备了大量耳熟能详的名歌金曲。迄今为止,Hit FM已经拥有了一系列备受听众青睐的精品音乐节目,周一至周五,开车现场秀(Big Drive Home)、工作随身听(@ Work Network)、慵懒下午茶(Lazy Afternoon)和精彩夜生活(The Late Show)等等都已经成为Hit FM的特色和代言。而周末的American Top 40, Hit FM Top 20,嘻哈公园以及The Rock Show,汇集了全球乐坛最炙手可热的嘻哈、摇滚、流行音乐节目,为国内的欧美乐迷创造最与国际潮流接轨的听觉空间。 音乐,娱乐,生活!Hit FM不仅意味着音乐,更代表着新的文化理念,新的生活方式。在每天24小时不间断的音乐节目当中,Hit FM针对时下流行的各种资讯元素,在白天的几个整点时段贯穿娱乐、时尚、旅游、消费等贴近生活,服务大众的全方位资讯信息。Hit FM已经成为天天陪伴白领族、学生族和外籍人士的娱乐指南和生活向导。 Hit FM大事记 在各种各样的宣传活动中,Hit FM动感、时尚、与国际接轨的品牌形象都在不断提升。除了音乐、娱乐、时尚外,Hit FM也一直不遗余力地为公益事业做贡献。 Hit FM与中华慈善总会联手隆重推出“RADIO AID”赈灾广播义演,中国摇滚乐大师崔健(崔健新闻,崔健音乐,崔健说吧)领衔叶蓓、花儿乐队(花儿乐队新闻,花儿乐队音乐,花儿乐队说吧)、龙宽九段、木马乐队、功夫乐队、VERSE乐队等众多中国原创音乐精英真唱赈灾。所筹捐款十二万余元人民币全部捐赠给印度洋海啸受灾国。 Hit FM成功获得“LIVE 8” 世界巨星扶贫义演音乐会的电台转播权,参与转播了这一慈善界和音乐界的盛事。Live 8在英国、法国、俄罗斯、意大利等8个国家的标志性地点同时举行,包括U2、MADONNA、PINKCLOYD 、PAUL McCARTNEY 、REM 、ELTON JOHN 、COLDPLAY、ANDREA BOCELLI、GREENDAY、LINKIN PARK、BON JOVI、MAROON 5、LAURA PAUSINI、NEK等欧、美、亚、非、拉近百名国际巨星为呼吁全世界关心地球上的贫困儿童振臂高歌。 Hit FM携手中国红十字基金会成立“七音爱心基金”向全社会呼吁对白血病儿童的关心和救助,为中国的白血病儿童捐款。 Hit FM极力为中国乐迷打造与国际流行音乐接轨的机会和空间。其中包括选送歌迷到汉城和香港观看Linkin Park演唱会,参与Simple Plan乐队北京专场演唱会,并且独家专访Gorillaz等国际当红乐队和艺人。 Hit FM独家转播或特别报道各大国际性的流行音乐节,包括北京国际流行音乐节、“跨越音乐”——2005法国现代音乐节和曼谷100 ROCK音乐节。 同步世界流行,网罗全球金曲,Hit FM营造出一个全天候、国际、动感时尚的音乐空间,让北京、广州成为名副其实的国际化大都市。 节目表 Morning Call 作为一个Hit fan,你的标准起床方式当然是——打开收音机,调到,让Hit music作你的闹钟。不再有清醒和迷离之间的挣扎,只有最酷的音乐和阳光的Grace,为睁开双眼的你上足一天的发条。 周一至周五:06:00-07:00 DJ:Grace 海洋的博大是胸怀,泉水的清冽是本性,而Grace的简单是追求。 天秤座的Grace眼中的世界很简单,随遇而安,有感而动。用舌头舔舔眼泪,笑了。快乐与忧郁都无需任何理由。有人说是喜怒无常,她说她很随性。 如风一般的性格,行之所至,想之即始。最大的愿望:只要还不老到寸步难行,在环游世界之后,一定要登上火星,然后告诉你她眼中的宇宙。 在音乐中找到了快乐,体会到了震撼,经历了神奇,品味了感动,于是就把心交给了音乐。直到这么一天,可以通过电波与你分享自己的音乐思绪——来吧,请坐,一杯音乐,任何时刻都是开始。 Music Breakfast 作为一天中最重要的一餐,早餐怎么可以不吃?除了牛奶加鸡蛋,早餐又怎么可以没有Hit FM的陪伴?酷酷的Mike D和可爱的Valen一起为你掌勺,精心炮制最有营养的音乐早餐。让吃得饱饱的你怀着最惬意的笑容,踏入车水马龙的早晨。 周一至周五:07:00-10:00 DJ:Mike D,Valen Mike D,北京孩子,八九岁时买了平生第一张唱片—— 《Thriller》 ,喜欢 Michael Jackson ,所以给自己取名 Mike 。到了毕业找工作的年纪,Mike D一脸懵懂的他来到 CRI 实习,机缘巧合,拥有了一份难以想象却非常适合的工作—— Radio DJ 。青涩的“Hit FM”,难忘的“X FM”,插曲的“MTV学英语”,然后是今天壮实的Hit FM “Big Drive Home”,让所有女孩子疯狂的Mike D 。 自言是外弱内壮型,那点壮实劲儿在音乐间一盏孤灯的陪伴下发挥到淋漓尽致,衬着自己天生的好嗓子,和与众不同的节奏感。自认也是个劳动人民 --- 播音的,和播种的农民区别不大,这种实在风格,点评歌手的时候也能听出来,很实在,像农民对着地里的庄稼。 这就是真实的Mike D,与你在电波中感受到的基本无二致。 Valen生长在一个多雨潮湿的南方城市,在江南秀丽的环境中,发芽于父母的树荫下,从来都是顺着大树的影子方向生长,是个骨子里有点倔强、不安于现状却又传统听话的矛盾结合体。 终于有一天小树的枝干渐渐长大,另辟蹊径。开始了“在路上”的日子。小时候梦想自己有天能成为充满使命感的前沿战地记者,过着刺激冒险的生活。长大后战地记者是没做成,却走上了同样需要东奔西走的交通记者之路,新的精彩旅程就这样在大城小市的采访,大街小巷的报道中走过。 因为陌生而好奇,带着对于欧洲古老文化的向往,踏上了去留学的航班,这段路走得有些辛苦却很享受。淡淡走完后让我对外面的精彩世界有了自己的新定义:在学习和了解不同文化的同时也骄傲于自己的东方色彩。 今天的Valen走进了Hit FM。希望能把最in、最hot的世界show带给你。 @Work Network Hit FM让音乐的律动陪伴你忙碌的工作时光。仔细聆听,你会发现其实敲打键盘的声音也可以充满节奏感。插上耳机,打开网页,温柔的晓东就在你的耳边告诉你哪些歌曲最动听。工作的时候在线收听Hit FM——这是我们共同的秘密。 周一至周五:10:00-12:00 DJ:晓东 晓东,还有一个亲切的昵称是东东,是一棵在北京生长的广东植物。晓东最早触“电”是初中二年级,在家乡广东的一家电台做少儿节目《阳光新少年》,“少年所学有如石刻”,他今天的样子再次验证了这一老话的正确性。该念的书都念完以后,做了一个人生道路上和地理概念上都非常重大的决定:从广东来到了北京,北京风沙真的很大! 最初是在CRI华语中心广东部做新闻,继而做华语音乐排行榜,再而做起了Hit FM的周末DJ ,为周末早晨睁眼赖床的人又多了一份睁眼赖床的理由。 节目外的晓东厨艺非常之不错,尤其擅长煲汤,用料从来稀疏寻常,但调出的味道是一流的;嘴馋,嘴巴也刁,一大喜好是发掘北京的特色餐厅;另一大喜好是逛街购物。和他聊时尚品牌和商场打折讯息的女孩子们心情难免复杂,自愧不如混杂着惊喜。 Lazy Afternoon 午后的时光属于阳光、咖啡、音乐,还有李茜那慵懒性感的嗓音。在闲适的音乐中,自在地调侃,轻松地抒怀。就让我们一起忙里偷闲,谈谈情,跳跳舞,然后打个呵欠,一起做做白日梦。 周一至周五:13:00-16:00 DJ:李茜 李茜的个人经历非常之简单,二十几岁前的人生两个字就可以概括:念书。唯一一段小插曲是小学二年级暑假,因为看过太多武侠片,跑去公园拜了一位老师傅练起了Kongfu ,花拳绣腿打得煞是好看。当然,那以后又开始继续念书,念了多少年书啊,就连民族舞这一点小天分小爱好,亦是大学闲暇开发出来的。毕业后进入CRI ,有DJ休假,被拉壮丁拉到了音乐间代班,一脸茫然外加好奇,坐在了麦克风前。 李茜做节目非常随性,碰到有意思的歌,有味道的歌手,喜欢分析点评,临了加一句“你觉得呢?”招来附和的短信让自己兴奋不已。 喜欢淀粉类食物,很不幸的食欲与气温成反比,命中注定每到春暖花开就会对着镜子发愁不已。喜欢KTV,私下特精致的学几首歌,跑到朋友面前臭美。喜欢《Friends》,最近又看上了《Everybody loves Raymond》。 音乐间里小有特色,音乐间外稀疏平常,李茜就是这个样子。 Big Drive Home 结束一天的忙碌,投入夜晚的旖旎。不管是回家陪父母共进晚餐,去新开的西餐馆约会上周留下电话号码的她,还是与分隔城市两端的老友同去老地方饕餮,Andy将陪伴着行驶在路上的你,用Hit FM的动感音乐护送你心情愉悦地到达,让每一个目的地都像是家。 周一至周五:16:00-19:00 DJ:Andy Andy,南方长大的北京小伙儿。既有北方人的豪迈直爽,又有南方男人特有的细心体贴,实为难得的新好男人。 曾经年少轻狂时,常常骑着当时最流行的山地车穿梭在大街小巷,吸引路人眼球,心中甚是得意。偶然一日,在电视上看到 Boy,立刻为之倾倒,心中感叹:这才是音乐。后来慢慢发觉原来世界如此之大,自己见过的却太少。于是脑子一热漂到了大洋彼岸,经过几年的摸爬滚打,怀着满腔热血回到祖国,来到了HIT FM,坐上了DJ台,找到了自己的人生目标。 听Andy主持的节目,会感觉他的声音很有磁性,风格中不失激情。其实闲暇时的Andy也有他调皮的一面,趁你不注意时,会跟你开些无伤大雅的小玩笑,让你哭笑不得。用他自己的话说就是:长得有创意,活得有勇气。 Battle of Hits 喜欢看PK但是看腻了尖酸刻薄的评委在台下叽叽歪歪?喜欢听歌但是害怕选手在台上一把鼻涕一把泪?想不想让Beyonce和Justin Timberlake同时为你站上PK台? 全新的“单曲大战”,每天两首歌曲,两个大牌歌手,孰去孰留?国鹏是主持,而你是评委。 周一至周五:19:00-20:00 DJ:国鹏 New Music Express Hit FM为你精选世界各地新鲜出炉的热门单曲,浓缩成一个小时的“新歌串串烧”。在你品尝的同时,国鹏还会守在一旁为你送上环球流行乐坛的最新资讯。面对这样份量十足的晚间餐点,就算你晚餐吃得再撑,也一定抵御不了它的诱惑。 周一至周五:20:00-21:00 DJ:国鹏 土生土长的北京人,大学念了四年热情洋溢,温柔浪漫的西班牙语,毕业后在未改版的做“拉丁风情”,频道正式更名为HIT 后,晋身为最早的三个DJ之一。 阳光能被解构成七色,或者说,七种颜色组成了阳光。听国鹏听得久了,你会困惑,会纳闷不解:这些纷乱矛盾的侧面是怎么被他统一到一个身体里面的?他喜欢吟诗作对,舞文弄墨,他熟知世界各地民间民族音乐,他沉迷历史博物馆,他知道时下最in的香水品牌,他总会把自己打扮得个性时髦。他是音乐间办公室以及任何地方嗓门最大的一个,他是月光下远离人群最安静的一个…… ★国鹏四大爱好范围 1、文化类: 与古典或世界各地有关的历史文化和文化艺术相关的各种门类:美术与建筑、世界历史与地理、文物与考古、哲学人生随笔 2、中国类:石窟艺术与飞天,寺观壁画,文人山水画,书法,汉画像石与画像砖,战国秦汉漆器,先秦青铜器,古建雕刻,古陶器,瓦当,古建雕刻,中国古典诗词,中国四类传统音乐 3、音乐类:疯狂搜集世界各地纯粹原生态民族音乐唱片。(印度、中东、游牧、拉丁和凯尔特,欧洲古代民族,中国古琴)。 4、时尚类:喜欢逛特色小店,进行文化深度旅游,香水,服装饰品,美食,家居,一个都不能少。 887 Party Animal 如果你的双眼一到夜晚就变得炯炯有神,如果你的神经一到晚上就兴奋起来。那么你一定是一头不折不扣的夜行动物。嘿,欢迎来我们的王国。这里No Cage,No Gun,No Hunt!加菲众和虽然不是什么白马王子,但是一样拥有倾倒众人的魅力。赶快踢开你所有的顾忌和伪装,加入我们的party! 周一至周五:21:00-24:00 DJ:加菲众, The Night Mix Hit FM用纯粹的音乐空间为你连接起子夜与黎明——6小时无人驾驶non-stop。熬夜加班、派对动物、飙车一族、夜不能眠……不睡觉的理由有成千上万种,但是在所有情况下,你的选择只有一种:Hit FM The Night Mix。 周一至周五:00:00-06:00 Hit FM Top 20 流行榜风云榜港台榜内地榜金榜银榜这榜那榜……为什么没有我们自己的排行榜? 作为国际流行音乐指标性的电台,Hit FM终于强档推出属于自己的国际音乐排行榜——“Hit FM Top 20”。结合电台推荐和听众投票,Mike D将为你细数每周20首最热单曲。PK、淘汰、下滑、上位……“Hit FM Top 20”点燃2007国际流行音乐战火! 周六:13:00-15:00 周日:16:00-18:00 Weekend 3-6 Hit FM全新强档互动直播周末节目“Weekend 3-6”重磅出炉!不仅会有全新的Hit FM车队巡游在北京的大街小巷,为收音机前的你发回最热辣的第一手新闻,更会有好玩好听的系列活动等你参加:与Hit DJ热情互动,赢取丰厚礼物,作为一个Hit fan,怎么能少得了你! 周六:15:00-18:00 Hit FM Live Concert Hit FM为你精选国内外重量级演出最强音,让你在家、在单位、在车里一样能体验火热的演唱会现场实况。让千里之外的你通过电波,和国际大牌一样热情四射,和世界粉丝军团一起振臂呐喊挥汗如雨。 周日:15:00-16:00 American Top 40 Hit FM隆重为国内乐迷推出美国广播节目“Ameican Top 40(AT40)”。 AT40由Ryan Seacrest担纲主持。这位美国当红小生把自己的手印留在了好莱坞星光大道上,被《人物》杂志评为“最美丽的50人”之一,主持多个电视和广播栏目,创办制作公司,更主持了美国著名歌手选秀节目“American Idol(美国偶像)”。 Casey Kasem在1970年创立了AT40节目,Seacrest从Kasem手中接过接力棒后,凭借其个人魅力和对音乐独到的鉴赏力,将AT40变成了最受欢迎的广播节目,由AT40发布的排行榜也成为美国流行音乐最权威的榜单之一。 Hit FM2007年特别引进AT40节目,让国内乐迷真正做到“同步世界流行”。 周六:08:00-12:00 周日:20:00-24:00 Hit FM Dance Floor 周末的晚上,正是热舞的时候。来Hit FM Dance Floor吧,享受每一根神经都随舞曲跳跃的快感。还不过瘾吗?好吧,化个酷妆,约上舞伴,亲临Banana Club热力舞池。欢快的舞曲中,你的心情在燃烧;璀璨的舞池中央,你是万人瞩目的焦点! 周六 20:00-22:00 Saturday Night Fever 2小时不间断最新最酷的跳舞音乐集锦,DISCO, HOUSE, TECHNO, LATIN, HIP HOP……我们的目的只有一个,就是把你电到飞起,热舞周末。 周六 22:00-24:00 Weekend Morning Show 缤纷周末,音乐嘉年华。汇聚全球流行上榜金曲,网络世界最新娱乐资讯,Hit FM令每一位听者享受轻松遐意的周末生活。 周日:08:00-12:00 嘻哈公园 成长于美国洛杉矶,有“中国嘻哈王子”之称的知名艺人孔令奇亲自打理的《孔令奇的嘻哈公园》,将以他独特的主持风格向听众介绍当今世界各地包括华人乐坛最酷、最火爆的Hip Hop音乐。《嘻哈公园》里不光有好听的Hip-Pop音乐,为了介绍纯正的Hip-Pop文化,为喜爱嘻哈音乐的朋友们建立一个交流的平台,孔令奇还特地邀请了2位好友作为《嘻哈公园》的嘉宾。一位是来自美国洛杉矶的Dr. J;一位是中国土生土长Easy E。孔令奇说:“我的梦想就是做一档电台节目,将所有的好听的音乐与朋友们一同分享!”《嘻哈公园》将给所有喜爱Hip-Pop文化的朋友带来一段奇幻之旅! 周六-周日 18:00-20:00 DJ:孔令奇 The Rock Show Helen,是《特洛伊木马》中那位倾国倾城并由此引发战争的美人。我们的Helen是地下摇滚乐队ZIYO(自游)的女主唱,是多年旅居海外的独立美女,是《The Rock Show》的新主播。轻声细语的Helen对摇滚乐有着最犀利的触觉和完美的表述能力,对她来说,每首歌都是一个故事。在《The Rock Show》中,你听着Helen以她独特的视角和精辟的言辞为你介绍着五彩斑斓的世界摇滚,有一种错觉仿佛时空扭转,硝烟再起。 周日 13:00-15:00 DJ:Helen(冯海宁) 27977希望对你有帮助!
【简介】街舞(英文名字Hip Hop)最早起源于美国纽约,是爵士舞发展到90年代的产物,它的动作是由各种走、跑、跳组合而成,极富变化。并通过头、颈、肩、上肢、躯干等关节的屈伸、转动、绕环、摆振、波浪形扭动等连贯组合而成的,各个动作都有其特定的健身效果,既注意了上肢与下肢、腹部与背部、头部与躯干动作的协调,又注意了组成各环节各部分独立运动。因此街舞不仅具有一般有氧运动改善心肺功能、减少脂肪、增强肌肉弹性、增强韧带柔韧性的功效,还具有协调人体各部位肌肉群,塑造优美体态,提高人体协调能力,陶冶美感的功能。街舞是美国黑人由一种发泄情绪的运动演绎成的街边文化,特色是爆发力强,在舞动时,肢体所做的动作亦较其他舞蹈夸张。最吸引人之处,是以全身的活力带来热情澎湃的感觉。跳街舞使人注意力集中,兴趣浓厚,动作优美、随意。同时,跳街舞还有瘦身功效,因为街舞是一种中低强度的有氧运动,在一个小时的运动中,消耗全身脂肪的作用是相当强的。此外,街舞是一种小肌肉运动,经常练习能增加你全身的协调性,让你的身材比例更趋标准。【分类】以动作为标准,街舞分两大类:Hip-Hop和Breaking。街舞一般可以分为两种,一种是个人的技巧街舞。个人技巧街舞是最早流行的一种街舞,因为它能体现年轻人精力旺盛的一面,他们的很多地面动作,譬如说翻滚、倒立、弹跳都是比较高技巧的个人街舞表演。另外一种就是集体街舞,是目前比较流行的街舞形式。它反映了大众的需要,跳起来比较简单,节奏感比较强,它既有舞蹈的感觉又有健身的作用。所以目前比较普遍的就是集体街舞。Breaking:技巧型街舞,要求舞者具有较高的力量、柔韧性和协调性,属于技巧性较高的体育舞蹈,所以最先为国内青少年所喜爱。跳这种类型舞蹈的青少年叫做B-Boy/B-Girl。20世纪80年代,被称为“Hip-Hop之父”的DJ Kool Herc创造了B-Boy的概念,也就是Breaking Boy。每年,全世界的许多国家都有一些为B-Boy们举办的比赛,较有名的是每年一度的BOTY(Battle of The Year)和在英国举办的B-BoyChampion,超过10个国家的百名参赛选手会参加这样的盛事。比赛的优胜者很快就会声名远播,成为青少年的明星。Hip-Hop:Hip-Hop这个词中文译作嘻哈,诞生于1974年美国纽约,发明者是著名的DJ和MC爱虫斯塔尔斯基(Love Bug Starski)。在20世纪60年代末70年代初,以纽约为首的美国东海岸城市,兴起了一系列黑人文化艺术形式,它们包括:涂鸦(Graffiti或Writing)、比波舞或霹雳舞(B-Boying)、打碟(DJing或Deejay,DJ是指Disk Jockey,意为唱片骑师,即驾驭唱片的人)、说唱(MCing或Emcee,MC是指Master of Ceremony,意为司仪)。Hip-Hop这个词最初是爱虫斯塔尔斯基在说唱中用来押韵的, Hip的意思是屁股,Hop的意思是跳动,连起来可以解释为跳动的屁股。20世纪80年代初,“嘻哈教父”阿弗里卡·班巴塔(Afrika Bambaataa)借用嘻哈这个词来统称以上述四种文化形式为代表的黑人城市文化运动,很快被广泛接纳,而上面四种文化就成为我们通常所说的嘻哈四大元素了。Hip-Hop翻译过来是嘻哈,RAP翻译过来是饶舌,这两个概念不同。Hip-Hop实际上不是音乐名词而是文化名词,包括说唱、涂鸦、街舞和DJ打碟四部分;RAP起源于60年代,而作为音乐理解的Hip-Hop则起源于70年代初,它的前身是RAP(有时候会加一点R(B)。Hip-Hop从字面上来看,Hip是臀部,Hop是单脚跳,加在一起就是轻扭摆臀,原先指的是雏形阶段的街舞(也就是我们以前说的霹雳舞),后来才逐渐发展成一种巨大的概念——我们现在说的Hip-Hop文化还包括了那些宽大的衣服、沉甸甸的纯金饰品、平时说起话来就“YoYo�what’s up?”的口语习惯——总之就是那种美国贫民街区里黑人的生活方式以及他们的“范儿”。舞蹈型街舞,有Poping、Locking、Electric、Turbo、House等多种风格。它们都不如Breaking那样需要较高的技巧,但更要求舞者的动作协调性和舞感,以及肢体灵活性和控制力。好的Hip-Hop舞者同样需要艰苦的练习。由于Hip-Hop Dance不如Breaking那样技巧性强,也缺乏竞赛性,以前没有受到街舞爱好者足够的重视,现在随着舞蹈观念的增强,这种情况得到了改变,甚至B-Boy也开始练习并出现了许多全能型的街舞好手。Hip-Hop是人们最常接触的一种舞蹈,它有着幅度大而简单的舞步,能够表现出复杂的舞感。因为容易学习,跳起来也相当好看,所以很受大众喜爱POPING:机械舞,运用身体各部位的肌肉和关节,随着音乐的节拍,加上自己丰富的想像力,创造出令人惊讶的舞步。属于难度较高的街舞类型FREESTYLE:这是一种出神入化的舞步,它将各种类型的舞蹈混合在一起,随心所欲地表现,没有舞蹈风格的限定,脱离一般舞蹈的规范,可以说是一种个性化的街舞HOUSE:随着house音乐,运用复杂而神奇的步伐表现的一种舞步,它可以加上拉丁舞的扭腰、武术的空翻、踢踏舞的基本步以及芭蕾的转圈,跳起来既可以十分优雅,也可以相当狂野。NEW JAZZ(女生专属):这是一种由JAZZ爵士发展而来的舞,专由女生跳的,很讲究柔美和瞬间爆发.以手臂的动作为主,腰的扭动和臀部的动作为辅.对身材要求很高,在欧美和韩国非常流行。配乐是节奏化过后的爵士乐。RAGREA(雷鬼,女生专属):这个舞据说起源于法国,也有人说起源于美国。是非常性感的一种舞蹈,演绎的舞者穿着也很暴露,以下半身的动作为主,主要用到臀部,腰部,腿部,还会有一些简单的倒立,同时在空中摇晃大腿的诱惑动作。在色情业发达的日本发展非常好。而正常的演绎亦非常性感。
你说的是不是HIP-HOP?下面是我找到的相关资料:九十年代以来,一种新的运动方式在中国大城市的青年中开始流行。青年人把街头、公园等公共空间当成运动场地,三五成群,或者切磋舞艺——类似于黑人舞蹈风格,或者练习玩滑板,时不时惊险地跳跃一下,这就是时下风靡中国青年人的Hip-Hop运动。 Hip-Hop文化是源于70年代美国黑人的一种街头说唱文化,中文翻译为嘻哈。"Hip-Hop"来源于洛夫巴格·斯塔斯凯(Lovebug Starsky)"To the hip,hop,hippedy hop"的歌词。从字面上来看,Hip是臂部,Hop是单脚跳,Hip-Hop则是轻扭摆臂的意思,从中可以看出Hip-Hop舞的特色。 Hip-Hop文化最先包括美国黑人说唱乐和街舞,后来与之有着共同叛逆精神的青年文化的其他形式如涂鸦、滑板及其他极限运动形式也被归入此列。在上个世纪九十年代,Hip-Hop文化登陆亚洲,劲爆日本、韩国、台湾等国家和地区,并伴随“韩流”的入侵,很快在中国十七八岁的年轻人之间流行起来。 一、Hip-Hop运动的文化表现 Hip-Hop的运动形式,我们主要介绍一下街舞和滑板。 要说到街舞,离不开美国黑人的说唱乐。二者是互为一体的,都根源于黑人民族擅长的传统娱乐方式。说唱乐的风格是即兴饶舌,它舍弃了音乐旋律,强调节奏感。直白的语言、单一的韵尾都要配合鼓点的力度与节奏,再加上自始至终一个男人技术性的道白,使它宣扬一种野性的诱惑和当仁不让的气势。但光有这一切的说服力是很不够的,旋律是表征人们内心情感变化起伏及细腻敏感度的,被抛弃之后,就使得情感的表达及情感本身变得简单粗糙。所以它很自然地就使用了黑人的另一种音乐文化——舞蹈,借助于变幻的身体语言弥补情感表达的不足,于是街舞随之产生。街舞的种类很多,Disco、霹雳舞、劲舞、摇滚、Poping、Locking等都是。它用身体的跳跃、扭动、旋转、摇摆,甚至一系列的空翻、倒立、陀螺转等高难度动作来诠释独立不羁的个性心志。它的爆发力很强,很有感染力,舞姿自由,节奏强劲。它并不是只能在街头跳,它是“起源于街头”。所以,随便车库、楼顶、舞台甚至是家里都可以进行。跳街舞的男孩女孩叫做B-boys(Breakingboy或Boogieboy)或B-girls。 我们再来看滑板。滑板是冲浪运动在陆地上的延伸,五十年代后期美国南加州海滩社区的居民们发明了世界上第一块滑板,他们希望在陆地上体验冲浪的感觉。由于滑板运动很富于挑战性、表现力,七十年代便在欧美广泛流行,并很快风靡全球,据说本世纪该项运动还将进入奥运家族。 在当今高科技时代,滑手的技术进步和先进科技的结合,使这项运动跨越了坚硬陆地地面的障碍,使之越来越具有了自由飞翔的乐趣。当今滑板的主流,是特意组合各种坡度和障碍,专业设计各种滑板公园,令滑手可以在峰口流尖“踏浪而行”。没有场地的地方,年轻人就利用街头障碍如带坡的路面、台阶等等来练习。今天滑板玩家已形成一个大群体,他们拥有自己的文化、语言、运动风格甚至音乐。 二、Hip-Hop运动的文化定性 嘻哈运动作为一种文化表现形式,其本身不同的文化定性,使其呈现出许多独特之点。 体育竞技文化。嘻哈运动是一种体育竞技文化,尤其是滑板,已成为青年挑战自我体能极限最热衷的运动。街舞和滑板都需要技术,只是强度和耐力的程度不同而已。两者都分级别,而且有很多规定动作。比如街舞有airplanes、airswipes、applejacks、backspin等,总共不下百个。滑板有ollie,kickfilp、heelfilp、kickfilp360等,不一而足。这些规定动作包括走、跑、跳及其变化,头、颈、肩、上肢、躯干等关节的屈伸、转动、绕环、摆振、波浪形扭动等连贯组合,既注意了上肢与下肢、腹部与背部、头部与躯干动作的协调,又注意了组成各个环节的各部分独立运动。不仅具有一般有氧运动改善心肺功能、减少脂肪、增强肌肉弹性、增强韧带柔韧性的功效,还具有协调人体各部位肌肉群,塑造优美体态,提高人体协调能力,陶冶美感的功能。因此,近来甚至很多中老年人也跳街舞,权当跳健美减肥操。作为体育竞技,近几年来,中国中东部大中城市纷纷举办街舞或极限运动大赛,大赛规则也已和国际接轨。例如今年九月在湖州举行了全国性极限运动大赛,采用国际赛和全国赛双计分、双排名,光滑板和滑板车就分BMX特技单车公园赛、极限滑板公园赛、平地花式特技单车、极限直排轮公园赛、极限直排轮U台赛、极限直排轮U台双人赛、BMX特技单车U台赛、极限滑板U台赛八种。并且它带动了相关的运动服饰、运动场地、运动器械制造等行业的本土化。 青年流行文化。嘻哈运动又是一种青年流行文化。青年往往是“流行”是始作俑者和最强有力的支持者。街舞和滑板从诞生到流行,尚只有短短三十年,所到之处,掀起一阵阵流行风暴,引得许多青年持续“发烧”。并由这种运动形式延伸出去,形成了青年文化的新风格。比如嘻哈族服饰、嘻哈运动用品、Rap饶舌音乐、DJ等等,当我们注目街头青年时,常会发现他们趋同的装扮风格。比如给鼻子安上鼻环,耳朵一溜戴好几个耳环,宽大的T恤、板裤、运动靴、棒球帽、或佩载粗粗的银质耳环项链、手环等饰物,戴墨镜、MD随身听、滑板车、双肩背包等,走起路来up and down(上下起伏),编发辫、烫爆炸头或者束发……总之,要表现出动感十足,这说明了青年对嘻哈文化的高认同性。街舞和滑板本身就具有流行的品质。街舞是模拟黑人舞步,追求韵味,滑板是通过在板上助滑后,身体离板腾空飞跃,闪转腾挪以及倒空翻、空中转体、陀螺转等等,都是追求舞姿或身形的优美舒展。二者都使玩家从中感到极大的乐趣。所以它迅速“流窜”到世界各地,在青年中掀起一股股热潮。 全球边缘文化。所谓边缘文化,是指社会中少数非正式群体创造并认同的,流行于其群体内的亚文化形式。青年文化是多元的社会文化分层中的一元,是以青年小众为唯一生息、传播和繁衍的客体人群的亚文化形式,因此,它是一种边缘文化。嘻哈运动之所以总是在青年中流行,主要就在于其表现出的叛逆性、非功利性、超前性、审美性和差异化,与青年的心理特征正好吻合。嘻哈运动中,不论街舞、滑板、花式单车或其他极限运动形式,都追求形式美,讲求精神放松。街舞是融运动于娱乐之中,而滑板是融娱乐于运动之中。青年精力旺盛,追求个性自由,娱乐和运动的二位一体是他们最喜爱的休闲方式。嘻哈运动本来就是年轻人自己创造的娱乐形式,所以能得到青年人这个亚群体的青睐。 小众休闲文化。嘻哈文化是青年小众的休闲文化。它是青年在工作、学习、睡眠和其他必要的活动时间之外进行的,用于发展完美自我、提升生活质量等而进行的一系列活动。虽然滑板已开始纳入正规职业培训,有了少部分职业选手,但大部分参加者还是将其视作业余爱好,而且就其运动本质和发明初衷来说,是一种休闲娱乐方式,被纳入职业运动范畴,是我们这个商业时代体育运动项目所面临的共同命运。作为休闲文化,嘻哈运动是青年人进行心理宣泄的重要途径。人们跳街舞时可以随心所欲地发挥,既可摇头晃脑卖力地跳,也可懒散地随着音乐晃悠,沉浸于毫无拘束的舞步中;而滑板运动由于它的高难度,使玩家在调剂身心之余,更锻炼人的意志和耐力,并从运动中获得对生活的深刻感悟。 三、Hip-Hop运动的文化归因 全球化的时代背景。嘻哈运动流行在一个全球化的时代,青年在国家、地区之间的隔离状态被打破,全方位的联系、沟通和相互影响越来越加强,人类交往的时空约束被弱化,使青年人成为享受全球化成果最活跃的人群。马克思早就指出这一天的必然到来,“各民族的精神产品成了公共的财产,民族的片面性和局限性日益成为不可能”。嘻哈运动及其他衍生文化形式都是借助于现代传媒的鼓励性暗示,和声情色并茂的传媒立体展示,才得以传播开来。其风靡之迅速,扫荡了一切有形的地理屏障的阻碍。如果不是科技进步所提供的交通与通讯手段的突破,使得超越时空的全球文化交流成为现实,这一切都是不可想象的。 网络化的生活空间。嘻哈运动文化的迅速传播,得益于无孔不入的因特网。网络时代具有开放性、平等性、选择性和个体性的时代特征。受其影响,年轻人按其意愿形成无权威、无硬性设置、无社会分层的团体,嘻哈运动群体恰好满足了这些要求。它全凭兴趣联接着成员,一起切磋技艺、举行比赛。同时他们充分利用因特网,建立起各种相关网站或网页。比如“滑板大联盟”、“自由灵魂”、"Kicker Club"、“中国极限运动网”等等。在网上同仁相互交流心得、进行网上教学、发布运动新闻、介绍国外进展等,凡是与嘻哈文化有关的信息都能找到。因此,嘻哈运动在中国的发展,不能不说是得益于网络化的传播。 青年文化的归属功能。嘻哈运动文化的流行还在于它作为青年文化,本身所具有的吸引和归属功能。它是一种典型的青年文化,热烈奔放,符合青年活泼天性;它的技巧性,能激起青年的探索欲和好奇心,并磨练意志和耐力。它具有差异化的评价尺度,更容易使参与者获得各种肯定性评价;嘻哈群体对外界刺激能作出的相应一致的群体性反应,又可以为其成员提供心理保护和心理慰籍;而群体内成员的大量平等交流,又能激发创造力,形成自尊自信和尊重他人的观念,并获取情感的满足,青年自然会认同Hip-Hop运动文化。 青春期的生命历程。青春期阶段的主体特征,也是嘻哈文化流行的重要原因。青春期,人的自我意识快速发展和形成,自我实现的需求和欲望不断增长。他们努力要求摆脱父母家庭的影响,获得人格上的独立,并以摆脱对大人的情感依附作为自己成人的标志。在这种情况下,同龄人群体就成了他们情感依附的对象。 同时,此期的青年具有强烈的反叛性。这是他们争取成年人的权利和获得成年人的世界承认的特定方式,是主体自我张扬的表现形式。嘻哈文化就是青年反叛的文化符号。可以说,它是在群体中的完全个人活动。它没有指挥、命令、被排斥、被替换的压力,它非常自由,每个人都既是演员又是观众。因此,每个人都是平等的,且都有机会展示自身魅力,也同样要尊重他人表演的权利,并予以欣赏。这意味着自主、独立、平等、自我支配性的权利和地位的获得,而这对青年非常重要。 体育竞技文化的吸引力。嘻哈运动带来了体育竞技文化的新元素,其特有的刺激性、放纵性、宣泄性、冒险性,能释放人的心理潜能,减轻心理压力。随着生活节奏的加快,人际交往的物质化和金钱化,紧张的都市人越来越感到生活的负累,越来越多的人选择运动方式来调剂。青年人本就是体育运动的爱好者,对新奇刺激的运动方式更是一拍即合。据研究,体育运动中,人的大脑皮层神经处于最适宜的兴奋状态。此时,人们观察敏锐、记忆清晰、思维活跃,能大大提高人的创造潜能的发挥。尤其是竞赛中,人们的自尊需要和自我实现的需要更为强烈,克服困难的意志和争取优胜的信念更为坚定。因此,培育青年对自己喜爱的运动方式如嘻哈运动的热爱,是锻炼身心的一种很好的途径。 四、Hip-Hop运动的文化功用 青年社会化方式的自我选择。参加嘻哈运动群体,是青年自我选择的良好的社会化方式。个人的社会化是通过人际交往而产生的,尤其是社会上和自己地位、条件、年龄等相类似的人,更是人际交往的首选对象,青年也是如此。嘻哈运动作为青年文化,其作用机制是提供青年群体的行为范本,对青年个体作出最具体、形象和颇有说服力的引导;潜移默化地指导年轻人,形成本文化及其所属的上位文化所容忍、赞同的社会行为和人格特征,并通过成员的社会互动,提供交流、磨合机会,最终达到青年塑性的结果。 齐美尔()认为,人们有两种需要。一是要顺应社会,满足“社会相符需要”,二是要与周围人有所不同,以满足“社会差别需要”。参与到嘻哈文化中,是青年追逐潮流的从众表现,这反映了青年对同龄人群体的心理依赖性和认同性。而在群体内竭力锻炼技术,以期臻于完善,又是其成就动机和“社会差别需要”使然。这正是青年社会化过程中的正常反应。它融生活情趣、相互合作、信任、支持以及自我实现的成就动机于娱乐、运动和竞技之中。在这个过程中,青年逐渐学会解决冲突、合作及其他社会生存技能,这是家庭和学校教育有所欠缺的。 青年生命价值观的表意性符号。嘻哈运动是一种流行文化符号。作为运动文化,它传递出青年的渴望、对生命意义的探索和实践;作为流行文化、它展现青年的丰富个性和独立不羁的叛逆精神。作为休闲文化,它是肯定和享受生命的表现。它能将对生命意义的体验融于娱乐之中,将价值准则融于健康趣味之中。参加滑板运动的人都有一个共同的心愿,那就是渴望不断获得高峰体验,因此他们让自己的生活中充满着挑战,这是他们的生命价值观所决定的。 嘻哈运动文化是青年创造的一种新的文化生存空间,它是在不断打破旧有的不适合人性发展的文化规范与生存格局的基础上形成的。作为青年新文化,它将促使人的生活及生存状态不断发生新的变异、融合、转型与发展,呈现出无限开放的趋势,这是当代人的生存和发展所特别需要的一种过程和方式。 客观上对社会消费的强力促动。现代消费具有社会、心理和象征的意味,成为个性、身份和社会分层的建构手段。青年消费也是如此。营销学认为“在文化商品的选择和使用上,青年越来越被认为具有实质性的且不可预测的决策权。……营销者不再把年轻人界定为有着某种物质利益(反映了他们在劳动、家庭及教育结构中的位置)并在消费趣味和习惯中表现出来的社会群体,而是将青年界定为一种市场范畴。”纵观青年对嘻哈文化的消费可见一斑。嘻哈运动流行之初,敏锐的商家就捕捉到了其将来火爆的必然性,并很快借鉴起国外将运动纳入商业化机制的做法,开始培养极限运动的职业选手。时至今日,广州、上海、北京、深圳、杭州、合肥、郑州、湖洲等很多城市举行了各种级别的嘻哈运动赛事;嘻哈音乐组合及说唱乐唱片都已出品。嘻哈运动的国际交流经常开展,专业制造滑板的公司也于1992年抢滩中国。北京、青岛、上海、南京、广州、深圳等地纷纷建立专门的极限运动场地。专业经销滑板的商店、嘻哈文化网站、街舞培训班、Hip-Hop晚会、组织表演的中介、嘻哈用品个人店、嘻哈服饰店等更是遍地开花。这一切都在客观上促进了青年消费的热潮,形成一种新的,以青年为消费主体,以嘻哈运动器械和服饰为主打产品,并带动相关行业,表现为强烈的个性化消费色彩的商业文化热潮。 有利于社会整合。嘻哈运动文化在中国青年中的流行,一方面表明社会认同发生了危机,因为社会认同来自于文化认同,传统主流文化所倡导的集体主义原则作为一种文化导向,不能取消各种丰富多彩的边缘文化取向的合理性。文化导向只是对社会生活原则的规定,它并不排斥在此原则指引之下,具体生活内容的多样性表现。另一方面,嘻哈文化恰恰又反映社会整合度的增强。因为这种本属于西方资产阶级文化系统的风潮在中国的风行,表明了社会和政治系统对青年建立适合本群体的异质文化的认可,是对青年创造新的文化空间和选择个性化生存方式的尊重,这在改革开放前的中国是不敢想象的。现在人们已经认识到这是个个体化的时代,在个人化的社会,各个亚文化群体联接形成了充满活力的微观基础,并通过特定群体的文化纽带维系成一个有机的社会宏观结构。社会结构早已不能只由集体主义一元文化来整合,作为其微观基础的个人越来越具有自主性、差异性、平等性和独立个性;一旦排斥,则会加剧对主流文化的离心力,最终导致社会结构的松散化和断裂脱节,所以人们对异质性亚文化越来越宽容。而通过各种亚文化对自己成员的塑造功能、凝聚功能和陶冶功能,产生认同和归属感来凝聚人心,最终会促成社会的良性运行和有效整合。
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