The introduction Hip hop like ding an sich is characterized 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 resulting from that phenomenon. However, hip hop has become a pervasive element of popular culture, as evidenced by this bibliography. There are hip hop exercise videos, children's books, as well as books, journals, journal articles, and theses about it. 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 parody Renaissance masses). According to one source, the roots of this phenomenon date back to 1940s Jamaica. In the 1960s, it was common to find "sounds", that is, a truck equipped with sound equipment parked on a street corner, playing American rhythm & blues records for people in the neighborhood. Some of these DJs included Coxson Dodd, Prince Buster and Duke Reid. In the 1970s this phenomenon spread to the United States, particularly to the Farragut Projects in Brooklyn, New York. Some of these early DJs were Maboya, Plummer and Kool DJ D, who mainly played disco music. Another of these early characters, Kool Herc, emigrated to the United States from Jamaica and settled in the Bronx with his own sound system which he called "the Herculords". Unlike some other figures, Kool Herc concentrated on rhythm & blues and funk records. Another of Kool Herc's innovations was to play only the "break", or the 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 was called "break-beat deejaying". People began performing "strange, acrobatic dance routines" for these incidents which came to be called "break dancing."2 Kool Herc eventually hired someone to "MC" these parties. This person spoke to the crowd between songs to keep the party going. This was the beginning of "rapping". DJ Hollywood, one of the first MCs at Kool Herc parties, used rhyming lines in his rap...... middle of paper......, ed. Drum Voices. University of Illinois, Edwardsville, Illinois, 2004. Contains "The 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 dance in the African-American community of Philadelphia. Philadelphia, Pennsylvania: Odunde, 1995. Sansevere, John R. Post-bop Hip-Hop: A Tribe Called Quest. [Racine, Wisconsin]: Western Pub. Co., 1993. Sexton, Adam., ed. Rap about rap: straight talk about hip-hop culture. New York: Delta, 1995.Shabazz, Julian LD The United States of America against hip-hop. Hampton, VA: United Bros. Pub. Co., 1992. Shaw, Arnold. Black popular music in America: From spirituals, minstrelsy, 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. Nation conscious rap. African Americanization of Knowledge Series; 3. New York: PC International Press, 1991.