Pop rap (also known as pop hip-hop, pop hop, hip pop, melodic hip-hop or melodic rap) is a genre of music fusing the rhythm-based lyricism of hip hop with pop's preference for melodic vocals, catchyhooks, and positive lyrics on pop-like productions and structure. This genre gained mainstream popularity during the 1990s, though the influences and roots of pop rap can trace back to late-1980s hip-hop artists such as Run-DMC, LL Cool J, and Beastie Boys.
AllMusic describes pop rap as "a marriage of hip hop beats and raps with strong melodic hooks, which are usually featured as part of the chorus section in a standard pop-song structure."[2] Pop rap also tends to have less aggressive lyrics than street-level rap music.[2][3] However, some 1990s artists fused pop rap with a more aggressive attitude to defuse backlash on their own accessibility.[2] Music journalist Wilson McBee has strongly criticized pop rap, "A pop rapper is assumed to be a sellout – someone who has compromised artistic principles in order to fit commercial expectations. Or worse, it's someone who never had any artistic principles to begin with, who's guilty of bastardizing rap's social and political traditions just to make money." McBee also then went on saying "In labeling the likes of Flo Rida, Lupae Filius and other pop rappers, we blur the distinction between a 'pop rapper' and a rapper who is just really popular. Not every rapper who has a hit is automatically a sellout or deserving of the pop rap tag."[4] While some rappers from the 1990s with catchy hooks have been compared to pop music, McBee also said:
In 1994, both Coolio's "Fantastic Voyage" and Notorious B.I.G.'s "Big Poppa" were big hits. Both featured plush, synthesizer-heavy production, catchy hooks and lyrics about partying. But the songs are not even close to being siblings. Coolio's awkward verses are nearly void of internal rhyming, interesting metaphors or lyrical variation whatsoever. The imagery is tired, vague and familiar: “We’re going to a place where everybody kick it/ Kick it, kick it . . . yeah that’s the ticket.” Compare that with these vivid lines from Biggie: “So we can steam on the way to the telly, go fill my belly / A T-bone steak, cheese eggs and Welch’s grape.” "Big Poppa" may have a poppy melody and beat, but it is still the work of a masterful lyricist and storyteller.[4]
Pop rap songs often have lyrical content similar to that in pop with themes such as love and relationships.[4]
History
MC Hammer performing with Vanilla Ice in July 2009, who were both described as early pop rap artists for blending rap music with catchy hooks.
In the 1980s, rap artists including Run DMC and LL Cool J set up the blueprints and origins of pop rap as they suddenly broke into the mainstream.[2][3] LL Cool J has been described as the first "pop rapper" in history, when he rose to prominence on his 1985 debut album Radio. Paramount-owned music video channel MTV has described LL Cool J's 1987 single "I Need Love" as "one of the first pop rap crossoverhits".[5] Later, rap artists such as Tone Loc, Young MC, and Fresh Prince then made party tunes and used their storytelling abilities as they became popular. During the 1990s, pop rap began to expand even more as hip hop music also began to connect strongly with dance music and R&B.[2][3]
In the early 1990s, MC Hammer and Vanilla Ice broke into the mainstream with songs such as "U Can't Touch This" and "Ice Ice Baby", respectively, but the two sampled from both songs of the 1980s.[6] They caused pop rap to be "derided (and, occasionally, taken to court) for its willingness to borrow" from best-known hit singles.[2] Another important moment was the remix of Mariah Carey's 1995 song "Fantasy" with Ol' Dirty Bastard.[7]
By the end of the 1990s and early 2000s, rappers such as Ja Rule fused gangsta rap themes with 1980s pop and soul elements; pop rap was dominated by many artists.[2] It then went back into the mainstream with the success of the Black Eyed Peas who had smash singles such as "Where Is the Love?" (2003) from their breakthrough album Elephunk.[1]
Most people who listen to pop rap do not call it pop rap, and simply consider it rap.[9] When Spotify introduced the pop rap category in 2019, Twitter users were confused as to what this "new" genre suggested. Some users were even bewildered when Spotify classified the genre for its users and suggested that they listen to pop rap.[10] Popular hip-hop rapper LL Cool J did not embrace the idea of labeling him as the "forefather of pop rap" and tweeted about it in April 2021.[11][12]
Stylistic differences
Street pop
Street pop, also known as street hop is an experimental rap-vocal musical style which emerged in Lagos, evolving from a blend of Nigerian hip hop, popular music, afrobeats, and Nigerian street music. Influenced by artists such as Danfo Drivers, Baba Fryo and Daddy Showkey well as the shaku shaku dance style, originally inspired by gqom and later evolving into its own music genre. Street pop is characterized by its lively tempos and incorporates elements from gqom, highlife, pop, hip hop, and EDM. While typically fast-paced, slower variations of street pop are also prevalent. It features a fusion of melodious arrangements, urban colloquial language, Pidgin, singing, indigenous and Western rap. Variants of street pop include neo-fuji, shaku shaku and zanku. Key figures in the street pop genre include Olamide, Slimcase, Mr Real, Idowest, Naira Marley, Zinoleesky, Mohbad, Balloranking, Reminisce, Rexxie, Zlatan Ibile, Sarz, 9ice, Lil Kesh, T.I Blaze, Asake, Portable, Bella Shmurda, Seyi Vibez and DJ Kaywise.[13][14][15][16][17][18][19]
James Todd Smith, known professionally as LL Cool J, is an American rapper and actor. He is one of the earliest rappers to achieve commercial success, alongside fellow new school hip hop acts Beastie Boys and Run-DMC.
East Coast hip-hop is a regional subgenre of hip-hop music that originated in New York City during the 1970s. Hip-hop is recognized to have originated and evolved first in The Bronx, New York City.
Hip hop music has been popular in Africa since the early 1980s due to widespread African American influence. In 1985, hip hop reached Senegal, a French-speaking country in West Africa. Some of the first Senegalese rappers were Munyaradzi Nhidza Lida, M.C. Solaar, and Positive Black Soul.
Miami bass is a subgenre of hip hop music that became popular in the 1980s and 1990s. The use of drums from the Roland TR-808, sustained kick drum, heavy bass, raised dance tempos, and frequently sexually explicit lyrical content differentiate it from other hip hop subgenres. Music author Richie Unterberger has characterized Miami bass as using rhythms with a "stop-start flavor" and "hissy" cymbals with lyrics that "reflected the language of the streets, particularly Miami's historically black neighborhoods such as Liberty City, Goulds, and Overtown".
The music of South Africa exhibits a culturally varied musical heritage in conjunction with the multi-ethnic populace. Genres with the greatest international recognition being mbube, isicathamiya, mbaqanga, afrofusion, kwaito, South African pop music, afro house, South African hip hop, Shangaan electro, bacardi house, bolo house, gqom and amapiano.
Downtempo is a broad label for electronic music that features an atmospheric sound and slower beats than would typically be found in dance music. Closely related to ambient music but with greater emphasis on rhythm, the style may be played in relaxation clubs or as "warm-up or cool-down" music during a DJ set. Examples of downtempo subgenres include trip hop, ambient house, chillwave, psybient and lofi hip hop.
Kwaito is a music genre that emerged in Soweto, Johannesburg, South Africa, between the late 1980s and 1990s. It is a variant of house music that features the use of African sounds and samples. Kwaito songs occur at a slower tempo range than other styles of house music and often contain catchy melodic and percussive loop samples, deep bass lines and vocals. They are also very similar tempos to early 1990s NYC house tracks.
African-American music is a broad term covering a diverse range of musical genres largely developed by African Americans and their culture. Its origins are in musical forms that developed as a result of the enslavement of African Americans prior to the American Civil War. It has been said that "every genre that is born from America has black roots."
Fújì is a genre of Yoruba popular music that emerged in Nigeria in the 1960s. It evolved from the improvisational wéré music also known as ajísari (meaning "waking up for sari", performed to awaken Muslims before dawn during the fasting season of Ramadan. Fuji music was named after the Japanese stratovolcano-mountain, Mount Fuji by Alhaji Sikiru Ayinde Barrister. It features energetic beats, diverse Yoruba rhythms, and call-and-response vocals. Fuji's influence extends into contemporary music, with its hooks and rhythms frequently appearing in Nigerian hip hop.
Todd Smith is the eleventh studio album by American rapper LL Cool J. It was released on April 11, 2006 by Def Jam Recordings. It includes collaborations with Jennifer Lopez, Pharrell, Juelz Santana, Teairra Mari, Jamie Foxx, Ginuwine, Mary J. Blige, 112, Mary Mary, Ryan Toby and Freeway. Producers on the project include Pharrell, Scott Storch, Bink!, Shea Taylor, Drumma Boy, Keezo Kane and Trackmasters.
"Doin It" is a song by American rapper LL Cool J, released by Def Jam Recordings on February 20, 1995, as the second single from his sixth album, Mr. Smith. Based on a sample of Grace Jones' "My Jamaican Guy", it contains a guest appearance from LeShaun, while production was handled by Rashad "Ringo" Smith and LL Cool J. Its B-side was the album's previous single, "Hey Lover".
Hip-hop or hip hop, formerly known as disco rap, is a genre of popular music, that emerged in the late 1960s and early 1970s primarily from African American, Afro-Latin, and Afro-Caribbean musical aesthetics practiced by youth in the South Bronx. Hip-hop music originated as an anti-drug and anti-violence social movement led by the Afrika Bambaataa and the Universal Zulu Nation. The genre is characterized by stylized rhythmic sounds—often built around disco grooves, electronic drum beats, and rapping, a percussive vocal delivery of rhymed poetic speech as consciousness-raising expression. The music developed as part of the broader hip-hop culture, a subculture defined by four key stylistic elements: MCing/rapping, DJing/scratching with turntables, breakdancing, and graffiti art or writing. Knowledge is sometimes described as a fifth element, underscoring its role in shaping the values and promoting empowerment and consciousness-raising through music. In 1999, emcee KRS-One, often referred to as "The Teacher," elaborated on this framework in a Harvard lecture, identifying additional elements that extend beyond the basic four. These include self-expression, street fashion, street language, street knowledge, and street entrepreneurialism, which remain integral to hip-hop's musical expression, entertainment business, and sound production. Girls’ double-dutch was also recognized as a key stylistic component of breakdancing, according to KRS. While often used to refer solely to rapping and rap music, "hip-hop" more properly denotes the practice(s) of the entire subculture. The term hip-hop music is sometimes used synonymously with the term rap music, though rapping may not be the focus of hip-hop music. The genre also centers DJing, turntablism, scratching, beatboxing, and instrumental tracks.
Hip hop music in Washington, D.C., has been an important part of the culture of the area.
Tunnel Vision is the second studio album by West Coast underground hip hop collective Tunnel Rats, released on October 25, 2001, through Uprok Records. Featuring a brash, aggressive sound, the album drew admiration from critics and proved highly influential for the Christian hip hop movement.
Gqom, gqom tech, sgubhu, 3-step or G.Q.O.M) is an African electronic dance music genre and subgenre of house music, that emerged in the early 2010s from Durban, South Africa, pioneered and innovated by music producers Naked Boyz, Rudeboyz, Sbucardo, Griffit Vigo, Nasty Boyz, DJ Lag, Menzi Shabane, Distruction Boyz and Citizen Boy.
Afroswing, also known as Afrobashment, or less commonly Afrobbean, or Afrowave is a genre of music that developed in the UK during the mid-2010s, derivative of dancehall and afrobeats, with influences from trap, British hip hop, R&B, and grime. Commercially, the genre has been very successful, with many afroswing artists making it into the British charts.
Afrobeats, not to be confused with Afrobeat or Afroswing, is an umbrella term to describe popular music from West Africa and the diaspora that initially developed in Nigeria, Ghana, and the UK in the 2000s and 2010s. Afrobeats is less of a style per se, and more of a descriptor for the fusion of sounds flowing out of Nigeria and Ghana. Genres such as hiplife, jùjú music, highlife, azonto music, and naija beats, among others, were amalgamated under the "Afrobeats" umbrella.
Hyperpop is a loosely defined electronic music movement and microgenre that predominantly originated in the United Kingdom during the early 2010s. It is characterised by an exaggerated or maximalist take on popular music, and typically integrates pop and avant-garde sensibilities while drawing on elements commonly found in electronic, hip hop, and dance music.
Pop music is a genre of popular music that originated in its modern form during the mid-1950s in the United States and the United Kingdom. The terms popular music and pop music are often used interchangeably, although the former describes all music that is popular and includes many disparate styles. During the 1950s and 1960s, pop music encompassed rock and roll and the youth-oriented styles it influenced. Rock and pop music remained roughly synonymous until the late 1960s, after which pop became associated with music that was more commercial, ephemeral, and accessible.
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