The introductionHip hop as ding an sich is marked by a certain confusion. Consider the name; is it “hip hop”, “hip-hop” or “hiphop”? You will see all three used in the titles of this bibliography. Hip hop is both a cultural phenomenon that developed in the late 1970s in the Brooklyn and Bronx projects, and a musical style that emerged from this phenomenon. Nevertheless, hip hop has become a ubiquitous element in popular culture, as evidenced by this bibliography. There are hip hop exercise videos, children's books as well as books, magazines, magazine articles and theses on the subject. Before getting to the bibliography, a brief history of hip hop is in order. Hip hop began in the mid-to-late 1970s, but its roots are much older (indeed, hip hop's use of music from other genres is reflected in Renaissance parody masses). According to one source, the roots of this phenomenon lie in Jamaica in the 1940s. In the 1960s, it was common to find "sounds", or a truck equipped with sound equipment parked on the corner of a street. street, playing American rhythm and blues records for the people in the neighborhood. Some of these DJs included Coxson Dodd, Prince Buster and Duke Reid. In the 1970s, this phenomenon was present in the United States, notably in the Farragut projects in Brooklyn, New York. Some of these early DJs were Maboya, Plummer and Kool DJ D, who primarily played disco music. Another early character, Kool Herc, emigrated to the United States from Jamaica and settled in the Bronx with his sound system he called "the Herculords." Unlike some other figures, Kool Herc focused on rhythm & blues and funk records. Another Kool Herc innovation was to play only the "break", or musical material between verses of a song, repeating that break over and over again. He did this using two turntables mounted with the same record. This is what we call “break-beat deejaying”. People began performing "strange, acrobatic dance routines" during these episodes which were later called "break dances."2 Kool Herc eventually hired someone to "host" these parties. This person was talking to the crowd between songs to keep the party going. It was the beginning of “rap”. DJ Hollywood, one of the first MC's at Kool Herc's parties, used rhyming verses in his rap...... middle of paper......, editor's note. Drum vocals. University of Illinois, Edwardsville, Illinois, 2004. Contains "Hip-Hop Nation as a Site of African American Cultural and Historical Memory" by James Spady. Roberts, John W. From hucklebuck to hip-hop: social dancing in the African-American community of Philadelphia. Philadelphia, PA: Odunde, 1995. Sansevere, John R. Post-bop Hip-Hop: A Tribe Called Quest. [Racine, Wisconsin]: Western Pub. Co., 1993. Sexton, Adam., ed. Rap on rap: direct discussion of hip-hop culture. New York: Delta, 1995. Shabazz, Julian LD The United States of America vs. Hip-Hop. Hampton, Virginia: United Bros. Pub. Co., 1992. Shaw, Arnold. Black Popular Music in America: From Spirituals, Minstrels, and Ragtime to Soul, Disco, and Hip-Hop. New York: London: Schirmer Books; Collier Macmillan, 1986. Shomari, Hashim A. From the underground: hip hop culture as an agent of social change. Fanwood, NJ: X-Factor Publications, 1995. Smash, Nick. Hip Hop 86-89. Woodford Green, Essex, England: International Music Publications, 1990. Illustrated. Spady, James G. and Joseph D. Eure. Rap that cares about the nation. Afro-Americanization of Knowledge Series; 3. New York: PC International Press, 1991.