INSIGHTFUL...for my readers.

Hip-Hop. Latinos in Hip-hop. Latin Hip-Hop. Chicano Rap. Puerto Rican Rap. Mexican Rap.

At one time and another, the Latino influence in hip-hop has been categorized as one of the aforementioned names listed above. But what exactly do we call this music and the artists listed below.

For one, it’s just hip-hop. Hip-hop is so huge and diverse that many “sub-divisions” have been made to try and fit every aspect of hip-hop into it’s own category. Whether the MC’s rap in English, Spanish, or Nahualt, the music and message itself is still hip-hop. It’s like trying to categorize Xzibit’s music as black Hip-hop. It just doesn’t work. And when Artists like Puffy raps in Spanish it’s still considered hip-hop. Mellow Man Ace put it best when he said that it’s good for Latinos in hip-hop to be respected enough to have it’s own category but the music is still hip-hop.

Nobody knows exactly when hip-hop was created. Elements of hip-hop have always been around. But when the media first noticed hip-hop, it came from the streets of New York. It was widely and falsely publicized that hip-hop was a “new” black art form. What wasn’t mentioned was the majority of Puerto Ricans that were MCs’, break dancers(Rock Steady Crew), and Graffiti artists. Fidel Rodriquez of Seditious Beats thinks the reason for the corporate media putting one type of face on hip-hop makes it easier for the Major Labels to market and distribute to the masses. Others also believe that the corporate media does this as a separatist move, dividing the people of the Ghettos or Barrios. But what was falsely publicized to the masses didn’t make the cut in the streets. As the youth in the streets, coming from diverse cultures, shaped hip-hop to represent the voice of the people of the streets, and eventually helped hip-hop spread across Amerikkka.

Many of the old school legends like Prince Whipple Whip (Puerto Rican) didn’t enjoy the success of many Rappers that followed, but they helped form and shape the music. Just a few years later, in Southern California, a couple of Latino Radio DJs' were tearing up the underground hip-hop scene. The station was 1580 AM KDAY, and the show was "The Mix Master Show". Jacken of Psycho Realm thought KDAY was the best station of all time. The reason was Hip-Hop was being spun all day. The DJ's: Ralph M, Tony G, and Julio G. Respect throughout the hip-hop world spread for these three DJ’s, as the shows have become classics.

Ralph M, Julio G, and Tony G learned the art of producing as well. Tony G and Julio G would go on to work with the top Latino Artists. Ralph M would hook up with Son Doobie to create Funkdoobiest. Around the time that “The Mix Master Show” was blowing up, Latinos were getting ready to make their mark permanently on the hip-hop world. Corporate Media would no longer ignore the impact of Latinos in hip-hop.

Mellow Man Ace’s "Mentirosa" and Kid Frost's "La Raza" blew the scene up during the late 1980's and early 1990. Along with those two singles, Lighter Shade of Brown's "On a Sunday Afternoon", Proper Dos’ "Mexican Power", Delinquent Habits "Tres Delinquentes", ALT's "Tequila", Latin Alliance's "Lowrider", and N2DEEP's "Back to the Hotel" proved that this movement was not a fluke. These singles began breaking the Billboard Charts, and Major Labels suddenly started signing Latino Artists.

Then Cypress Hill dropped, and instantly the fact that they were Latino was no longer a matter. Even though Latinos were finally getting Radio AirPlay, the movement had already spread throughout the states. Funky Aztecs, JV, Funkdoobiest, Tony Touch, and the Beatnuts were all starting to gather respect in their regions.

During the 90’s, Latinos across Amerikkka started putting out hip-hop albums, and many did it through independent distribution. In Northern California, Sir Dyno, Duke and the Darkroom Familia started releasing albums in their region. Soon, success and countrywide recognition were to follow. In Texas, South Park Mexican and Capone did the independent route and were able to get success. In Denver, Deuce Mob hit. In San Diego California, Royal T, Lil’ Rob, Nightowl, Lil’ One, and Aztec Tribe all represented for their area. Now Chicago, Arizona, Florida, and New Mexico are some areas where MCs' are putting it down.

And of course, New York. The Terror Squad, Big Pun (rest-in-peace) and Fat Joe took the Puerto Rican side of hip-hop to the top. Big Pun and Fat Joe helped gain renewed interest to the Major Labels into the Latino Rap Scene.

Now the Latin hip-hop scene can be seen growing in Mexico, with groups like Molotov and Control Machete, as well as the rest of Latin America, Parts of Canada, and the rest of the world.

Since there are so many Artists and Groups that helped blow up the Latino Hip-Hop scene, proves Latinos will be around to the very end. And taking it to the next level should be the goal of every MC out there today. Rage against the Machine’s Zack De La Rocha, Tha Mexakinz/Malafia, The Psycho Realm, Chino XL, Brownside, Cuban Link, Brown Town Looters, Rhyme Poetic Mafia, Cisco the Frisco Mack, Mr. Shadow, Aztlan Underground, Conejo and Tattoo Ink, Los Tumbados, Mafiosos, 5th Battalion, OTW, Street Platoon, Lethal Assassins Clique, G-Fellas, Latino Velvet, El Nuevo Xol, Rhyme Asylum, Wicked Minds are among the artists putting it down today as well as many of the Artists listed above.

While Latinos, as a whole begin spreading across the States and the world, Latinos in hip-hop will continue to grow. Today, the underground scene is as big as it has ever been. Major Labels are once again interested in Latino Artists and Groups. As ALT put it “as long as we support each other we will never fall”. - Written by Richard Montes