The Melody Web what each genre heard, and what it passed on

heard passed on Click or tap a node to recenter. Use a connecting line, or Influence, for the story.

Heard

Afrobeat genre · 1968–

Hip-hop takes Afrobeat’s long interlocking vamp as sample material and beat grammar.

Influence
Dancehall genre · 1979–

1990s hip-hop takes dancehall’s digital ragga toast and cadence as a guest verse and club grain.

Influence
Disco genre · 1973–

Early recorded hip-hop uses disco bass and 12-inch form beside funk breaks.

Influence
Dub genre · 1971–

Hip-hop takes dub’s delay, mute, and version mix as studio production, not as a songbook.

Influence
Electro genre · 1982–

Mid-1980s hip-hop takes electro’s 808 kit and machine programming as studio drum language.

Influence
Funk genre · 1965–

Hip-hop’s first compositional act is to isolate and extend the funk break: the bars where drums, bass, and maybe a guitar lick carry the dance.

Influence
Go-go style · 1976–

Hip-hop takes go-go’s continuous percussion pocket and crowd-call as a D.

Influence
Gospel genre · 1920–

Hip-hop takes gospel’s choir hook, melisma, and testimony stance as a sampled or live refrain.

Influence
Jazz genre · 1910–

Late-1980s–90s hip-hop samples jazz as a harmonic and timbral well: piano voicings, bass, horn hooks, ride-cymbal grain, looped as ostinato under verse–hook form.

Influence
Reggae genre · 1968–

Jamaican sound-system culture — big mobile PA, selector as star, DJ toasting over riddims, version-as-composition — moves to New York with Caribbean migrants.

Influence
Rock genre · 1964–

1980s hip-hop takes rock’s electric-guitar riff and backbeat as a track layer.

Influence
Soul genre · 1958–

Hip-hop takes soul records as a hook and harmony well: sung refrains, organ or string beds, and vocal grain looped or interpolated over funk (or programmed) drums.

Influence
Soul jazz style · 1958–

Hip-hop’s jazz-rap wing samples soul jazz’s organ-combo and boogaloo sides as loops: Hammond, riff heads, and dry Blue Note drums.

Influence

Hip-hop

genre · 1973–

Also called rap, hip hop

Includes Chopped and screwed, Cloud rap, Crunk, Drill, Emo rap, New Orleans bounce, Snap, Trap

Music of the hip-hop complex that begins in 1970s Bronx parties: DJs looping breakbeats, MCs rhyming over them, plus later studio rap. “Rap” names the vocal practice; this node is the recorded and party music as a whole. Funk breaks and Jamaican sound-system technique are the two seed-level donor practices. Later crates add soul hooks, jazz harmony, disco bass, gospel choir, and rock guitar. 1990s ragga is dancehall hip hop, distinct from the 1970s reggae sound-system hop. Boom-bap and G-funk stay on this node. Named children: Electro, Miami bass, New Orleans bounce, Chopped and screwed, Crunk, Trap, Snap. The 808 kit also returns as electro hip hop. Dub mix (delay, version) is dub hip hop. Jazz rap stays the jazz hip hop hop. Cloud rap is a child of Chopped and screwed. Southern rap, conscious/alternative rap, French rap, UK rap, hip-house, new jack swing, spoken word, and mumble rap remain leftover bins. Salsa is not a parent. Go-go is a D.C. neighbor (go go hip hop). Latin trap is a child of Trap.

Listen

  1. Rapper's Delight The Sugarhill Gang (1979) YouTube · Spotify · Amazon
  2. The Message Grandmaster Flash and the Furious Five (1982) YouTube · Spotify · Amazon
  3. Sucker M.C.'s Run-D.M.C. (1983) YouTube · Spotify · Amazon
  4. I Can't Live Without My Radio LL Cool J (1985) YouTube · Spotify · Amazon
  5. Paid in Full Eric B. & Rakim (1987) YouTube · Spotify · Amazon
  6. Rebel Without a Pause Public Enemy (1987) YouTube · Spotify · Amazon
  7. Straight Outta Compton N.W.A (1988) YouTube · Spotify · Amazon
  8. Nuthin' but a 'G' Thang Dr. Dre (1992) YouTube · Spotify · Amazon
  9. N.Y. State of Mind Nas (1994) YouTube · Spotify · Amazon
  10. Juicy The Notorious B.I.G. (1994) YouTube · Spotify · Amazon

Passed on

Acid jazz genre · 1987–

Acid jazz borrows hip-hop’s DJ job: breaks, 12-inch mixing, and sample-era club pacing, then puts live jazz-funk bands on that floor.

Influence
Big beat genre · 1995–2000

Big beat takes hip-hop’s chopped-break sampling and crate ethic and runs them at festival volume.

Influence
Breakbeat hardcore style · 1990–1993

UK breakbeat hardcore takes hip-hop’s chopped funk break as the drum object and runs it at rave speed.

Influence
Chopped and screwed style · 1991–

Chopped and screwed is a Houston way of remaking hip-hop records: slower, lower, chopped.

Influence
Cloud rap style · 2010–

Cloud rap keeps hip-hop’s verse–hook and mixtape public and recodes them as a washed, pitched internet climate.

Influence
Crunk style · 1997–

Crunk is hip-hop’s Atlanta/Memphis shout-and-808 child: same MC and mixtape market, a chant-led club dialect.

Influence
Dance-pop style · 1983–

1990s dance-pop borrows hip-hop’s rap break, breakbeat, and sampler kit without becoming a rap genre.

Influence
Dancehall genre · 1979–

1990s dancehall takes hip-hop’s rap flow and programmed drum grain as a Kingston option.

Influence
Electro genre · 1982–

Electro is the machine 12-inch of early-1980s hip-hop: same party, breaking, and MC, a new grid.

Influence
Grime genre · 2002–

Grime keeps hip-hop’s MC cadence, battle stance, and verse craft on a faster, colder East London grid.

Influence
Jungle genre · 1991–1996

Jungle keeps hip-hop’s chopped funk break as the drum identity and runs it at rave speed.

Influence
K-pop genre · 1992–

K-pop’s 1992 hinge keeps hip-hop’s rap verse, breakbeat, and trio staging, then folds it into a Korean title track.

Influence
Miami bass style · 1985–

Miami bass is hip-hop’s Miami club child: same MC and 12-inch, a louder 808.

Influence
New Orleans bounce style · 1991–

Bounce keeps hip-hop’s MC, DJ, and party function and localizes the chant and the beat.

Influence
Nu metal style · 1994–2003

Nu metal takes hip-hop’s verse rhythm, bounce, and DJ/sample color and puts them on guitars.

Influence
Pop genre · 1958–

2000s–10s pop takes hip-hop’s rap verse, sung-rap hook, and programmed drums as chart-single language.

Influence
Reggaeton genre · 1994–

Reggaeton keeps hip-hop’s rap verse, mixtape market, and programmed drums in Spanish.

Influence
Snap style · 2005–2009

Snap is hip-hop’s Atlanta ringtone-and-dance child: same MC and club market, a thinned snap-on-two-and-four dialect.

Influence
Trap style · 2003–

Trap is hip-hop’s Atlanta 808 child: same MC craft and mixtape market, a new drum dialect.

Influence
Trip-hop genre · 1993–1999

Trip-hop takes hip-hop’s break tempo, sample collage, and DJ/MC room and recodes them as Bristol song.

Influence
UK garage genre · 1994–

UK garage takes hip-hop’s MC cadence onto a shuffled 2-step grid.

Influence

Afrobeat → Hip-hop

meter and grooveinstrumentationfunction and contextstrength: mediumscholarly consensus1988–2000recording

Mechanism

Hip-hop takes Afrobeat’s long interlocking vamp as sample material and beat grammar. Strength medium. funk hip hop remains the main groove parent; this hop is the named Fela-band donor. Worldbeat leftover as a different concert afterlife already given from Afrobeat.

Evidence

Late-1980s–90s sample practice on Fela/Africa 70 sides; Chang on crate sources beyond U.S. funk; Grove on Afrobeat’s recorded afterlife.

Debate

Whether this is only funk by another name. Afrobeat’s horn-and-talking-drum vamp is a named source distinct from James Brown breaks.

Mediators

artist: A Tribe Called Quest

Dancehall → Hip-hop

performance practicemeter and groovetimbre and productionstrength: mediumscholarly consensus1988–1994recordingradiomigration

Mechanism

1990s hip-hop takes dancehall’s digital ragga toast and cadence as a guest verse and club grain. Strength medium. reggae hip hop remains the 1970s sound-system origin hop; this one is the ragga-era recoding. Hip-hop’s funk break stays the party parent.

Evidence

Shabba Ranks, Super Cat, and allied ragga-rap sides (Chang, Grove).

Debate

Whether this is still reggae. Roots sound-system is the earlier hop; these sides are digital dancehall.

Mediators

artist: Shabba Ranks

Disco → Hip-hop

meter and groovephrase and licktimbre and productionstrength: mediumwell documented1977–1982recordingoraldance

Mechanism

Early recorded hip-hop uses disco bass and 12-inch form beside funk breaks. Strength medium. Funk remains the central break parent; this hop is the Chic / dance-floor share.

Shared material

Good Times bass linelickrepeating disco bass riff isolated as the hip-hop hook

Donor Good Times (Chic, 1979) · bass ostinato YouTube · Spotify

Receiver Rapper's Delight (The Sugarhill Gang, 1979) · the bass as the piece YouTube · Spotify

Same Chic bass; early recorded hip-hop plays the disco line as the hook. Funk remains the central break parent

Evidence

Rapper’s Delight on Good Times; disco breaks in Bronx crates; Chang on that overlap.

Debate

Whether disco is only a borrowed bass line. It is a real recorded parent, not the party’s only diet.

Mediators

artist: The Sugarhill Gang; artist: Chic

Dub → Hip-hop

timbre and productionform and structurestrength: mediumscholarly consensus1987–1996recording

Mechanism

Hip-hop takes dub’s delay, mute, and version mix as studio production, not as a songbook. Strength medium. reggae hip hop remains the sound-system origin hop; this file is the mixing-desk hop.

Evidence

Late-1980s–90s rap mixes against Tubby/Perry grammar (Chang, Hebdige).

Debate

Whether reggae already covers it. Reggae is the song and system parent of hip-hop; dub is the mix.

Mediators

artist: Mad Professor

Electro → Hip-hop

timbre and productionmeter and grooveinstrumentationstrength: mediumscholarly consensus1983–1988recordingoral

Mechanism

Mid-1980s hip-hop takes electro’s 808 kit and machine programming as studio drum language. Strength medium. hip hop electro is the earlier party-to-electro hop; this one is the machine returning into rap records. Funk breaks remain the sample parent.

Evidence

Mantronix and allied 808 rap sides against electro 12-inches (Chang, Grove).

Debate

Whether the 808 is already hip-hop’s. The broken electro grid is electro’s; the rap verse over it is hip-hop’s.

Mediators

artist: Mantronix

Funk → Hip-hop

meter and groovetimbre and productionphrase and lickfunction and contextstrength: highwell documented1973–1988recordingoraldance

Mechanism

Hip-hop’s first compositional act is to isolate and extend the funk break: the bars where drums, bass, and maybe a guitar lick carry the dance. Herc’s two-copy technique, then Flash’s cutting, make that fragment the piece. Later samplers freeze the same aesthetic. Funk’s “every instrument is a drum” ideal becomes the loop. Party function is inherited: the DJ serves dancers first.

Shared material

Apache breakrhythm celltwo-bar drum loop

Donor Apache (Incredible Bongo Band, 1973) · drum break YouTube · Spotify

Receiver Apache (Sugarhill Gang, 1981) · the loop as the piece YouTube · Spotify

Same break; hip-hop isolates and extends what the party already looped. Funk is the central break diet; this disc is the checkable named cell

Evidence

Named break records in DJ lore; Chang’s oral histories; early recorded hip-hop that still uses live or interpolated funk riffs (Rapper’s Delight on Chic — disco-adjacent but the same loop logic; later boom-bap’s James Brown catalog).

Debate

Disco, Latin, and rock breaks also matter. Funk is the central, not the only, break source. Strength remains high.

Mediators

artist: DJ Kool Herc; artist: Grandmaster Flash

Go-go → Hip-hop

meter and grooveperformance practicefunction and contextstrength: mediumscholarly consensus1982–1988recordingoraldance

Mechanism

Hip-hop takes go-go’s continuous percussion pocket and crowd-call as a D.C. break and regional rap dialect. Strength medium. Funk remains go-go’s parent; this hop is the neighbor rap hearing. Bounce-beat stays a wing on go-go, not a second node.

Evidence

Trouble Funk breaks in hip-hop crates; D.C. rap beside the live pocket (Chang, Grove).

Debate

Whether this makes hip-hop a go-go parent. Origin go-go is funk’s; the recorded-break and later DMV rap hearing is this hop.

Mediators

artist: Trouble Funk

Gospel → Hip-hop

melodyperformance practicefunction and contextstrength: mediumscholarly consensus1990–2004recordingradio

Mechanism

Hip-hop takes gospel’s choir hook, melisma, and testimony stance as a sampled or live refrain. Strength medium. Soul and funk remain the main sample parents; this hop is the church layer. Holy hip-hop stays a reception on hip-hop, not a leftover bin hung as a second node.

Evidence

Franklin crossovers and choir-hook hip-hop sides (Burnim/Maultsby, Chang).

Debate

Whether this is already soul. The church lyric and choir job are gospel’s; the rap verse is hip-hop’s.

Mediators

artist: Kirk Franklin

Jazz → Hip-hop

harmonytimbre and productionphrase and lickstrength: mediumwell documented1988–1996recording

Mechanism

Late-1980s–90s hip-hop samples jazz as a harmonic and timbral well: piano voicings, bass, horn hooks, ride-cymbal grain, looped as ostinato under verse–hook form. Strength medium. Funk remains the break parent; reggae remains the sound-system parent. This is not a claim that hip-hop becomes a style of jazz.

Evidence

A Tribe Called Quest’s Low End Theory; Gang Starr / Guru’s Jazzmatazz meetings; liner-note and crate lore that names specific jazz LPs as source discs (Chang).

Debate

Whether “jazz-rap” is a style or a sampling diet. The edge is the diet. Live jazz-rap bands are a later wing, not required for the hop.

Mediators

artist: A Tribe Called Quest; artist: Guru

Reggae → Hip-hop

performance practicefunction and contexttimbre and productionstrength: highwell documented1967–1980migrationoral

Mechanism

Jamaican sound-system culture — big mobile PA, selector as star, DJ toasting over riddims, version-as-composition — moves to New York with Caribbean migrants. Herc applies that social technology to funk and soul records rather than reggae riddims (at first). The MC’s speech-over-groove and the DJ’s authority are Caribbean performance practice even when the beat is Bronx funk. This is not primarily a transfer of the one-drop feel.

Evidence

Herc’s biography and the 1973 Sedgwick Avenue party; toasting/DJ lineage Hebdige maps; later explicit reggae–rap collaborations confirm an already existing family relation.

Debate

Whether to credit “reggae” or the broader Jamaican dancehall/sound-system complex. Reggae is the seed node that contains that culture in this corpus; a future sound system or Dancehall node could take the edge.

Mediators

artist: DJ Kool Herc; community: Jamaican and Caribbean New Yorkers

Rock → Hip-hop

instrumentationtimbre and productionperformance practicestrength: mediumscholarly consensus1984–1986recordingradio

Mechanism

1980s hip-hop takes rock’s electric-guitar riff and backbeat as a track layer. Strength medium. Funk and disco remain the break-and-party parents. Rap-rock stays a leftover bin; this hop is the guitar job inside hip-hop.

Evidence

Rock Box; Walk This Way (Chang, Starr).

Debate

Whether this is already rock. The rap vocal and DJ job are hip-hop’s; the riff is rock’s.

Mediators

artist: Run-D.M.C.

Soul → Hip-hop

harmonymelodytimbre and productionphrase and lickstrength: mediumwell documented1979–1996recording

Mechanism

Hip-hop takes soul records as a hook and harmony well: sung refrains, organ or string beds, and vocal grain looped or interpolated over funk (or programmed) drums. Strength medium. Funk supplies the break; soul supplies much of the song layer. Do not collapse this into rhythm and blues anything: the sampled catalog is the 1960s–70s soul disc.

Evidence

Early interpolations and later boom-bap crates built on Motown, Stax, and 1970s soul LPs; Chang on sampling as composition from existing African American records.

Debate

Disco and gospel discs also feed the same crates. Soul is the central sung-hook donor, not the only one.

Mediators

community: Bronx and later crate-digging producers

Soul jazz → Hip-hop

harmonyphrase and licktimbre and productionmeter and groovestrength: mediumwell documented1988–1994recording

Mechanism

Hip-hop’s jazz-rap wing samples soul jazz’s organ-combo and boogaloo sides as loops: Hammond, riff heads, and dry Blue Note drums. Strength medium. jazz hip hop remains the umbrella hop; this edge is the 1960s groove-jazz catalog producers actually lifted.

Evidence

Pete Rock and Native Tongues jazz-rap dates; Guru’s Jazzmatazz as a named live meeting; Chang on jazz sampling in that window.

Debate

Whether any jazz sample already sits on jazz hip hop. It does as grammar. The local donor is still the soul-jazz/Blue Note organ pool rather than swing-era 78s or fusion shred.

Mediators

artist: Pete Rock; artist: A Tribe Called Quest; artist: Guru

Hip-hop → Acid jazz

function and contexttimbre and productionperformance practicestrength: mediumscholarly consensus1987–1994recordingoraldance

Mechanism

Acid jazz borrows hip-hop’s DJ job: breaks, 12-inch mixing, and sample-era club pacing, then puts live jazz-funk bands on that floor. Strength medium. The Hammond catalog remains soul jazz acid jazz. Jazz-rap leftover as a parallel hip-hop child, not this club-band school.

Evidence

Pirate-radio and club DJs who also played rap breaks; Jazzmatazz as a named live meeting; Grove on acid jazz as a DJ-led revival.

Debate

Whether acid jazz is only rare-groove revival without hip-hop. The rooms and 12-inch economy are hip-hop-era club practice even when the band is live.

Mediators

artist: Gilles Peterson; artist: Guru

Hip-hop → Big beat

meter and grooveperformance practicetimbre and productionstrength: highscholarly consensus1995–1997recording

Mechanism

Big beat takes hip-hop’s chopped-break sampling and crate ethic and runs them at festival volume. Strength high. breakbeat hardcore big beat remains the rave-stab hop; this file is the hip-hop grammar.

Evidence

Chemical Brothers and Fatboy Slim crates against US hip-hop breaks (Grove, Chang).

Debate

Whether rave already covers the break. The rave drop is hardcore’s; the sample-break school is hip-hop’s.

Mediators

artist: The Chemical Brothers

Hip-hop → Breakbeat hardcore

meter and groovetimbre and productionperformance practicestrength: highwell documented1990–1992recordingradio

Mechanism

UK breakbeat hardcore takes hip-hop’s chopped funk break as the drum object and runs it at rave speed. Strength high. hip hop jungle is the later specialist hop; this file is the 1990–92 rave hearing. Funk is the donor recording, not the sampling school.

Evidence

Amen-family breaks on early hardcore 12-inches (Chang, Grove).

Debate

Whether house already covers rave. House is the piano/four; the sampled break is hip-hop’s.

Mediators

community: UK rave DJs

Hip-hop → Chopped and screwed

timbre and productionperformance practicefunction and contextstrength: highwell documented1991–2000recordingoral

Mechanism

Chopped and screwed is a Houston way of remaking hip-hop records: slower, lower, chopped. Strength high. It is a style of hip-hop, not a second system.

Evidence

Screw mixtapes; Starr and Grove on the named practice.

Debate

Whether it is only a mix technique. The Houston school and the name make a node.

Mediators

artist: DJ Screw

Hip-hop → Cloud rap

form and structureperformance practicefunction and contextstrength: mediumscholarly consensus2010–2013recordingradio

Mechanism

Cloud rap keeps hip-hop’s verse–hook and mixtape public and recodes them as a washed, pitched internet climate. Strength medium. chopped and screwed cloud rap is the slow-smear hop; this edge is the rap-school parent. Witch-house leftover as a neighboring blog texture.

Evidence

Lil B and early A$AP Rocky as hip-hop mixtape MCs in a new mix; Starr and Grove on 2010s style names inside hip-hop.

Debate

Whether cloud rap is only a mix tag. The washed blog-rap school is named; the MC job remains hip-hop’s.

Mediators

artist: Lil B; artist: A$AP Rocky

Hip-hop → Crunk

performance practicemeter and groovefunction and contextstrength: highscholarly consensus1997–2004recordingoralradio

Mechanism

Crunk is hip-hop’s Atlanta/Memphis shout-and-808 child: same MC and mixtape market, a chant-led club dialect. Strength high. Miami bass is the local beat parent. Southern rap stays a leftover bin.

Evidence

Lil Jon, Three 6 Mafia, and 2003–05 radio peak (Starr, Grove).

Debate

Whether crunk is only a party tag. The named Atlanta/Memphis school makes a node.

Mediators

artist: Lil Jon

Hip-hop → Dance-pop

performance practicemeter and grooveform and structurestrength: mediumscholarly consensus1990–2000recordingradio

Mechanism

1990s dance-pop borrows hip-hop’s rap break, breakbeat, and sampler kit without becoming a rap genre. Strength medium.

Evidence

Madonna and allied pop–rap dance singles; later 1990s radio hip-hop production (Chang, Starr).

Debate

Whether this is already hip-hop. The title-track job remains a sung chorus; the verse and beat kit are hip-hop’s.

Mediators

artist: Madonna

Hip-hop → Dancehall

performance practicetimbre and productionstrength: mediumscholarly consensus1992–2001recordingradio

Mechanism

1990s dancehall takes hip-hop’s rap flow and programmed drum grain as a Kingston option. Strength medium. The riddim-and-toaster job stays dancehall’s. dancehall hip hop is the reverse ragga-into-rap hop.

Evidence

Bounty Killer and allied 1990s sides against New York rap programming (Manuel, Grove).

Debate

Whether this is already hip-hop. The riddim reuse and sound-system clash are dancehall’s; the rap cadence is hip-hop’s.

Mediators

artist: Bounty Killer

Hip-hop → Electro

performance practicefunction and contextform and structurestrength: highwell documented1982–1986oralrecordingdance

Mechanism

Electro is the machine 12-inch of early-1980s hip-hop: same party, breaking, and MC, a new grid. Strength high. Funk is the other parent (funk electro).

Evidence

Planet Rock and the Soulsonic / Tommy Boy wave; Chang on Bambaataa.

Debate

Whether electro is a sibling rather than a child. It is a named 1980s hip-hop style with a funk parent beside this hop.

Mediators

artist: Afrika Bambaataa

Hip-hop → Grime

performance practicephrase and lickfunction and contextstrength: mediumscholarly consensus2001–2005recordingradio

Mechanism

Grime keeps hip-hop’s MC cadence, battle stance, and verse craft on a faster, colder East London grid. Strength medium. UK garage and Jungle remain the beat parents; this hop is the rap job. UK rap as a leftover scene name stays unfiled.

Evidence

Dizzee Rascal, Wiley, and pirate-radio MCs against US rap practice (Grove, Starr).

Debate

Whether grime is already UK hip-hop. The 8-bar pirate beat and garage lineage are grime’s; the MC craft is hip-hop’s.

Mediators

artist: Dizzee Rascal

Hip-hop → Jungle

meter and groovetimbre and productionperformance practicestrength: highwell documented1991–1994recordingradio

Mechanism

Jungle keeps hip-hop’s chopped funk break as the drum identity and runs it at rave speed. Strength high. Breakbeat hardcore is the nearer UK rave parent; this file is the break source, not a claim that jungle is rap.

Evidence

Amen-family breaks on 1991–94 jungle 12-inches; Chang on breakbeat DJ practice; Grove on jungle’s sampled-break identity.

Debate

Whether funk already covers the Amen. Funk is the donor recording; hip-hop is the sampling school that made the break a compositional object.

Mediators

community: London pirate-radio DJs

Hip-hop → K-pop

performance practicemeter and grooveform and structurestrength: highscholarly consensus1992–1996recordingradio

Mechanism

K-pop’s 1992 hinge keeps hip-hop’s rap verse, breakbeat, and trio staging, then folds it into a Korean title track. Strength high. A separate “Korean hip-hop” leftover stays unfiled; this hop is the chart recoding.

Evidence

Nan Arayo (1992) against US hip-hop group practice (Grove).

Debate

Whether Seo Taiji is hip-hop, not K-pop. The rap kit is hip-hop’s; the domestic youth-chart job becomes K-pop’s.

Mediators

artist: Seo Taiji and Boys

Hip-hop → Miami bass

performance practiceform and structurefunction and contextstrength: highwell documented1985–1990recordingoraldance

Mechanism

Miami bass is hip-hop’s Miami club child: same MC and 12-inch, a louder 808. Strength high. Electro is the machine parent.

Evidence

2 Live Crew and Maggotron against NY electro-rap; Grove on the named style.

Debate

Whether it is only electro. The MC job and the rap market make the hip-hop hop.

Mediators

artist: 2 Live Crew

Hip-hop → New Orleans bounce

performance practicefunction and contextmeter and groovestrength: highwell documented1991–1999oralrecordingdance

Mechanism

Bounce keeps hip-hop’s MC, DJ, and party function and localizes the chant and the beat. Strength high. Second-line hops wait on the bounce node.

Evidence

Early-1990s New Orleans tapes; Grove on bounce as a named hip-hop style.

Debate

Whether bounce is more parade than rap. It is a hip-hop child that also hears local dance.

Mediators

artist: MC T. Tucker; community: New Orleans clubs

Hip-hop → Nu metal

rhythmmelodyinstrumentationperformance practicestrength: highwell documented1993–2001recordingradio

Mechanism

Nu metal takes hip-hop’s verse rhythm, bounce, and DJ/sample color and puts them on guitars. It does not take Bronx party function or sample-based composition as the main job. Strength high on vocal and groove; the riff chassis is groove metal.

Evidence

Korn/Limp Bizkit/Linkin Park verses that scan as rap; turntables on stage; 1990s hip-hop as the shared youth language (Chang, Starr).

Debate

Whether this is “rap rock” already covered by earlier Run-DMC/Aerosmith meetings. Those are mediators, not this node. Nu metal is the mid-1990s style with seven-string bounce.

Mediators

artist: Korn; artist: Limp Bizkit

Hip-hop → Pop

performance practiceform and structuretimbre and productionstrength: highscholarly consensus2004–2016recordingradio

Mechanism

2000s–10s pop takes hip-hop’s rap verse, sung-rap hook, and programmed drums as chart-single language. Strength high. hip hop dance pop remains the earlier club-pop hop; hip hop k pop is the Korean industry landing. Trap-as-beat into pop waits on the Trap node. Rap-rock stays a leftover bin.

Evidence

Mid-2000s US singles through Drake-era radio (Starr, Grove).

Debate

Whether this is still hip-hop. The rap kit is hip-hop’s; the radio-single job is pop’s.

Mediators

artist: Drake

Hip-hop → Reggaeton

performance practiceform and structuremeter and groovestrength: highscholarly consensus1994–2004recordingradiomigration

Mechanism

Reggaeton keeps hip-hop’s rap verse, mixtape market, and programmed drums in Spanish. Strength high. Dancehall dembow is a parent hop for the Reggaeton sitting, not this one. Latin trap stays a leftover bin.

Evidence

San Juan underground through Gasolina (Grove).

Debate

Whether this is already hip-hop in Spanish. The dembow club job is reggaeton’s; the MC craft is hip-hop’s.

Mediators

artist: Daddy Yankee

Hip-hop → Snap

performance practiceform and structurefunction and contextstrength: highscholarly consensus2005–2007recordingradiooral

Mechanism

Snap is hip-hop’s Atlanta ringtone-and-dance child: same MC and club market, a thinned snap-on-two-and-four dialect. Strength high. Crunk is the local club parent; this hop is the umbrella rap grammar.

Evidence

D4L / Dem Franchize Boyz against the mid-2000s rap chart (Starr, Grove).

Debate

Whether snap is only a dance tag. The named Atlanta school and the backbeat snap make a node.

Mediators

artist: D4L

Hip-hop → Trap

performance practiceform and structurefunction and contextstrength: highscholarly consensus2003–2015recordingoralradio

Mechanism

Trap is hip-hop’s Atlanta 808 child: same MC craft and mixtape market, a new drum dialect. Strength high. Boom-bap stays on the hip-hop node.

Evidence

2000s Atlanta mixtapes and radio; Starr and Grove on trap as a named later style.

Debate

Whether trap is only a beat and not a style. The name and the Atlanta school make a node.

Mediators

community: Atlanta rap studios

Hip-hop → Trip-hop

meter and grooveperformance practiceform and structurestrength: highscholarly consensus1991–1995recordingoral

Mechanism

Trip-hop takes hip-hop’s break tempo, sample collage, and DJ/MC room and recodes them as Bristol song. Strength high. dub trip hop remains the mix-and-bass hop; this file is the hip-hop grammar. Reggae waits one step (dub).

Evidence

Wild Bunch / Massive Attack against US hip-hop breaks (Grove, Chang).

Debate

Whether this is already hip-hop. The break and sample ethic are hip-hop’s; the dub space and smoked song are trip-hop’s.

Mediators

community: The Wild Bunch

Hip-hop → UK garage

performance practicemeter and groovestrength: mediumscholarly consensus1997–2000recordingradiooral

Mechanism

UK garage takes hip-hop’s MC cadence onto a shuffled 2-step grid. Strength medium. Jungle remains the broken-bass parent; uk garage grime is the later MC child. This hop is the pirate-radio rap job inside garage.

Evidence

Luck & Neat and allied 2-step MC sides (Grove, Starr).

Debate

Whether this is already jungle. Jungle is the break-and-bass room; the shuffled house tempo with an MC is garage’s.

Mediators

artist: DJ Luck & MC Neat