齐凡注册过商标吗？还有哪些分类可以注册？
齐凡商标总申请量2件其中已成功注册1件，有1件正在申请中，无效注册0件，0件在售中。经八戒知识产权统计，齐凡还可以注册以下商标分类：第1类（化学制剂、肥料）第2类（颜料油漆、染料、防腐制品）第3类（日化用品、洗护、香料）第4类（能源、燃料、油脂）第5类（药品、卫生用品、营养品）第6类（金属制品、金属建材、金属材料）第7类（机械设备、马达、传动）第8类（手动器具（小型）、餐具、冷兵器）第9类（科学仪器、电子产品、安防设备）第10类（医疗器械、医疗用品、成人用品）第11类（照明洁具、冷热设备、消毒净化）第12类（运输工具、运载工具零部件）第13类（军火、烟火、个人防护喷雾）第14类（珠宝、贵金属、钟表）第15类（乐器、乐器辅助用品及配件）第16类（纸品、办公用品、文具教具）第17类（橡胶制品、绝缘隔热隔音材料）第18类（箱包、皮革皮具、伞具）第19类（非金属建筑材料）第20类（家具、家具部件、软垫）第21类（厨房器具、家用器皿、洗护用具）第22类（绳缆、遮蓬、袋子）第23类（纱、线、丝）第24类（纺织品、床上用品、毛巾）第26类（饰品、假发、纽扣拉链）第27类（地毯、席垫、墙纸）第28类（玩具、体育健身器材、钓具）第29类（熟食、肉蛋奶、食用油）第30类（面点、调味品、饮品）第31类（生鲜、动植物、饲料种子）第32类（啤酒、不含酒精的饮料）第33类（酒、含酒精饮料）第34类（烟草、烟具）第35类（广告、商业管理、市场营销）第36类（金融事务、不动产管理、典当担保）第37类（建筑、室内装修、维修维护）第38类（电信、通讯服务）第39类（运输仓储、能源分配、旅行服务）第40类（材料加工、印刷、污物处理）第41类（教育培训、文体活动、娱乐服务）第42类（研发质控、IT服务、建筑咨询）第43类（餐饮住宿、养老托儿、动物食宿）第44类（医疗、美容、园艺）第45类（安保法律、婚礼家政、社会服务）
[create_time]2018-07-10 10:20:24[/create_time]2018-07-23 22:27:57[finished_time]1[reply_count]21[alue_good]八戒知识产权[uname]https://cambrian-images.cdn.bcebos.com/18833e31238ea07b7bfae55c86100b9a_1541670591662.jpeg[avatar]百度认证:重庆猪八戒知识产权服务有限公司[slogan]八戒知识产权（猪八戒网旗下品牌）商标局正规备案代理机构，近40万企业选择，服务超过185万+件，连续三年获全国商标代理十强。[intro]414[view_count]
阿奇尔注册过商标吗？还有哪些分类可以注册？
阿奇尔商标总申请量6件其中已成功注册0件，有5件正在申请中，无效注册0件，0件在售中。经八戒知识产权统计，阿奇尔还可以注册以下商标分类：第2类（颜料油漆、染料、防腐制品）第3类（日化用品、洗护、香料）第4类（能源、燃料、油脂）第6类（金属制品、金属建材、金属材料）第7类（机械设备、马达、传动）第8类（手动器具（小型）、餐具、冷兵器）第9类（科学仪器、电子产品、安防设备）第10类（医疗器械、医疗用品、成人用品）第12类（运输工具、运载工具零部件）第13类（军火、烟火、个人防护喷雾）第15类（乐器、乐器辅助用品及配件）第16类（纸品、办公用品、文具教具）第17类（橡胶制品、绝缘隔热隔音材料）第19类（非金属建筑材料）第21类（厨房器具、家用器皿、洗护用具）第22类（绳缆、遮蓬、袋子）第23类（纱、线、丝）第24类（纺织品、床上用品、毛巾）第25类（服装、鞋帽、袜子手套）第26类（饰品、假发、纽扣拉链）第27类（地毯、席垫、墙纸）第28类（玩具、体育健身器材、钓具）第29类（熟食、肉蛋奶、食用油）第30类（面点、调味品、饮品）第31类（生鲜、动植物、饲料种子）第32类（啤酒、不含酒精的饮料）第33类（酒、含酒精饮料）第34类（烟草、烟具）第35类（广告、商业管理、市场营销）第36类（金融事务、不动产管理、典当担保）第37类（建筑、室内装修、维修维护）第38类（电信、通讯服务）第39类（运输仓储、能源分配、旅行服务）第40类（材料加工、印刷、污物处理）第41类（教育培训、文体活动、娱乐服务）第42类（研发质控、IT服务、建筑咨询）第43类（餐饮住宿、养老托儿、动物食宿）第44类（医疗、美容、园艺）第45类（安保法律、婚礼家政、社会服务）
[create_time]2018-07-14 21:37:21[/create_time]2018-07-29 08:27:44[finished_time]1[reply_count]13[alue_good]八戒知识产权[uname]https://cambrian-images.cdn.bcebos.com/18833e31238ea07b7bfae55c86100b9a_1541670591662.jpeg[avatar]百度认证:重庆猪八戒知识产权服务有限公司[slogan]八戒知识产权（猪八戒网旗下品牌）商标局正规备案代理机构，近40万企业选择，服务超过185万+件，连续三年获全国商标代理十强。[intro]455[view_count]
跪求关于team work的英文演讲稿!
文章以团队精神为例子
(1)As is vividly depicted in the picture,(描述图画).(2) The most striking feature is(图画重点信息).(3)There is no doubt that its symbolic meaning subtly conveyed should be given deep consideration.
(1)As is symbolically revealed in the set of drawings, the fact that(重复上面的图画信息) profoundly indicates that team work is momentous (重要的) and fundamental to any one who undertakes great deeds. (2)Undoubtedly, it is team work that keeps us continually doing something valuable and admirable in spite of difficulty, that makes us still full of energy to face the coming challenges and competition and that offers us the foundation for the coming success. (3)If we don not cooperate sincerely, we will live a dull and depressing life and feel frustrated and humiliated or feel loss of hope about the future. (4)As far as I am concerned, there are several advantages that can be given as below. To begin with, nothing is more beneficial than team work to overcome our defects and improve our efficiency. (5)Secondly, no issue is as good as team work to make our life more colorful and energetic.(6)No better illustration of this idea can be thought than the example mentioned below. (7)A person who is assigned various jobs along the production lines will make a mess just because no one can be proficient in all the things. (8)Only by cooperating with other people can you put your capacities into full play and can you be the winner in the society.
[create_time]2013-10-19 16:55:16[/create_time]2013-11-01 19:14:39[finished_time]1[reply_count]0[alue_good]匿名用户[uname]https://iknow-base.cdn.bcebos.com/yt/bdsp/icon/anonymous.png?x-bce-process=image/quality,q_80[avatar][slogan]这个人很懒，什么都没留下![intro]530[view_count]
【英语角】第二期 关于“养宠物是否好”的辩论大赛
作文标题： 【英语角】第二期 关于“养宠物是否好”的辩论大赛
关键词： 英语角 第二期 初中初一
本文适合： 初中初一
作文来源： https://zw.liuxue86.com
本作文是关于初中初一的作文，题目为：《【英语角】第二期 关于“养宠物是否好”的辩论大赛》，欢迎大家踊跃投稿。
【英语角】第二期 关于“养宠物是否好”的辩论大赛
李亦菲
由于大家一直以来对我们“Flying Dream”，使得我们圆满地举办了第一期“英语角”活动。第一期活动，共有参与人数十来人，参与作品将近20篇。对于第一次举办此类活动的我们，这真是一项巨大的突破！
time flies quickly，转眼六一儿童节到了。在这个特殊的时刻，容我郑重宣布——Flying Dream “英语角”第二期活动——关于“养宠物是否好”的辩论大赛，现在开始！
正方：It is goodto have a pet.
反方：It's not good to have a pet.
博友可以任选一方进行辩论。
具体要求如下：
NO. One 博友可任选其一方进行观点阐述。以博文的形式发表到博客上（题目自拟），再将博客地址回复在本帖下方；
NO.Two 参与博文词数不得少于50个单词；
NO.Three 参与者允许在网上查找相关资料，但不得copy他人劳动成果；
NO.Four 每人参与作品数量不限，正反方不限。
活动时间：6月1日——6月25日。
评审时间：6月25——6月27日。
获奖结果公布时间：6月27日。
下期“英语角”活动公布时间：7月1日。
奖品设置：
亚军（1名）获得由大管家提供的20元众享教育优惠券
季军（1名）获得由大管家提供的10元众享教育优惠券
幸运奖（随机抽取5名）获得由小婧子制作的精美信纸1张
冠亚季军获得者还会得到技术支持老师（排名不分先后）
——爱在行动、月牙091112、小婧子妈妈的精彩点评！
Flying Dream 还会陆续举办各样精彩的活动，敬请大家的关注与期待！
[create_time]2022-12-21 06:16:12[/create_time]2023-01-05 00:41:30[finished_time]1[reply_count]0[alue_good]乡村西施[uname]https://himg.bdimg.com/sys/portrait/item/wise.1.d605dc31.YKuJEDG80ZS-O0AA42kB0A.jpg?time=4525&tieba_portrait_time=4525[avatar]TA获得超过1658个赞[slogan]这个人很懒，什么都没留下![intro]51[view_count]
Hip-Hop文化的简短英文介绍
Hip-Hop is the cultural noun, including the traditional entertainment involving talking and singing, the doodle, the street dance and DJ hits the small dish four parts; RAP stems from the 60s, but understood as music Hip-Hop stemmed from the early 70s, its predecessor will be RAP (will sometimes add R(B). Hip-Hop looked from the wording that Hip is the buttocks, Hop is Shan Jiatiao, puts together is the light torsional pendulum buttocks, what refers to originally was the embryonic form stage street dance (is also we before said break dancing), afterward only then gradually developed the Hip-Hop culture which one huge concept - - we said now also to include these spacious clothes, the heavy pure gold accessories, usually to speak on “YoYowhat's up?”The spoken language custom - - is in brief in that kind of American poor block black's life style as well as they “Fan”.
[create_time]2014-07-27 08:18:41[/create_time]2014-07-27 01:34:07[finished_time]1[reply_count]6[alue_good]暮年1550[uname]https://himg.bdimg.com/sys/portrait/item/wise.1.1e3373cf.vBxxM140isH6Cuh3AtroaA.jpg?time=3558&tieba_portrait_time=3558[avatar]超过58用户采纳过TA的回答[slogan]这个人很懒，什么都没留下![intro]2352[view_count]
求关于hip-hop的介绍.(英文版的.)
The roots of hip hop are found in West African and African-American music. The griots of West Africa are a group of traveling singers and poets, whose musical style is reminiscent of hip hop. Within New York City, griot-like performances of poetry and music by artists such as The Last Poets and Jalal Mansur Nuriddin had a great impact on the post-civil rights era culture of the 1960s and 1970s. Hip hop arose during the 1970s when block parties became common in New York City, especially the Bronx. Block parties were usually accompanied by music, especially funk and soul music. The early DJs at block parties began isolating the percussion breaks to hit songs, realizing that these were the most dance-able and entertaining parts; this technique was then common in Jamaica (see dub music) and had spread via the substantial Jamaican immigrant community in New York City, especially the "godfather" of hip hop, DJ Kool Herc. Dub had arisen in Jamaica due to the influence of American sailors and radio stations playing R&B. Large sound systems were set up to accommodate poor Jamaicans, who couldn't afford to buy records, and dub developed at the sound systems (refers to both the system and the parties that evolved around them).
Herc was one of the most popular DJs in early 70s New York, and he quickly switched from using reggae records to funk, rock and, later, disco, since the New York audience did not particularly like reggae. Because the percussive breaks were generally short, Herc and other DJs began extending them using an audio mixer and two records. Mixing and scratching techniques eventually developed along with the breaks. (The same techniques contributed to the popularization of remixes.) Later DJs such as Grandmaster Flash refined and developed the use of breakbeats, including cutting.[citation needed] As in dub, performers began speaking while the music played; these were originally called MCs; Herc focused primarily on DJing, and began working with two MCs, Coke La Rock and Clark Kent—this was the first emcee crew, Kool Herc & the Herculoids. Originally, these early rappers focused on introducing themselves and others in the audience (the origin of the still common practice of "shouting out" on hip hop records). These early performers often emceed for hours at a time, with some improvisation and a simple four-count beat, along with a basic chorus to allow the performer to gather his thoughts (such as "one, two, three, y'all, to the beat, y'all"). Later, the MCs grew more varied in their vocal and rhythmic approach, incorporating brief rhymes, often with a sexual or scatological theme, in an effort at differentiating themselves and entertaining the audience. These early raps incorporated similar rhyming lyrics from African American culture (see roots of hip hop music), such as the dozens. While Kool Herc & the Herculoids were the first hip hoppers to gain major fame in New York, more emcee teams quickly sprouted up. Frequently, these were collaborations between former gang members, such as Afrikaa Bambaataa's Universal Zulu Nation (now a large, international organization). Melle Mel, a rapper/lyricist with The Furious Five is often credited with being the first rap lyricist to call himself an "MC."[2] During the early 1970s, breakdancing arose during block parties, as b-boys and b-girls got in front of the audience to dance in a distinctive, frenetic style. The style was documented for release to a world wide audience for the first time in Beat Street.
Origin of the term "Hip Hop"
Coinage of the term hip hop is often credited to Keith Cowboy, a rapper with Grandmaster Flash & the Furious Five. Though Lovebug Starski, Keith Cowboy, and DJ Hollywood used the term when the music was still known as disco rap, it is believed that Cowboy created the term while teasing a friend who had just joined the US Army, by scat singing the words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of marching soldiers.[3] Cowboy later worked the "hip hop" cadence into a part of his stage performance, which was quickly copied by other artists; for example the opening of the song "Rapper's Delight" by The Sugarhill Gang.[3] Former Black Spades gang member Afrika Bambaataa is credited with first using the term to describe the subculture that hip hop music belongs to, although it is also suggested that the term was originally derisively used against the new type of music.[4]
The historical conditions contributing to the origin of hip hop
The reasons for the rise of hip hop are found is the changing urban culture within the United States during the 1970s. Perhaps most important was the low cost involved in getting started: the equipment was relatively inexpensive, and virtually anyone could MC along with the popular beats of the day. MCs could be creative, pairing nonsense rhymes and teasing friends and enemies alike in the style of Jamaican toasting at blues parties or playing the dozens in an exchange of wit. MCs would play at block parties, with no expectation of recording, in the way of folk music. The skills necessary to create hip hop music were passed informally from musician to musician, rather than being taught in expensive music lessons.
Another reason for hip hop's rise was the decline of disco, funk and rock in the mid- to late 70s. Disco arose among black and gay male clubs in America, and quickly spread to Europe, where it grew increasingly sunny, bright and pop. Once disco broke into the mainstream in the United States, and was thus appropriated, its original fans and many other listeners rejected it as pre-packaged and soul-less. While many remember the white teens shouting "disco sucks" at every available opportunity, often in racist and homophobic contexts, inner-city blacks were similarly rejecting disco and disco-fied rock, soul and funk (which was virtually everything on the radio at the time). If disco had anything redeemable for urban audiences, however, it was the strong, eminently danceable beats, and hip hop rose to take advantage of the beats while providing a musical outlet for the masses that hated disco. Disco-inflected music (though comparatively little actual disco) was one of the most popular sources of beats in the first ten or twelve years of hip hop's existence. In Washington DC, go go also emerged as a reaction against disco, and eventually mixed with hip hop during the early 1980s, while electronic music did the same, developing as house music in Chicago and techno music in Detroit.
Along with the low expense and the demise of other forms of popular music, social and political events further accelerated the rise of hip hop. In 1959, the Cross-Bronx Expressway was built through the heart of the Bronx, displacing many of the middle-class white communities and causing widespread unemployment among the remaining blacks as stores and factories fled the area. By the 1970s, poverty was rampant. When a 15,000+ apartment Co-op City was built at the northern edge of the Bronx in 1968, the last of the middle-class fled the area and the area's black and Latino gangs began to grow in power.
Diversification of styles in the later part of the decade
In the mid-1970s, hip hop split into two factions. One sampled disco and focused on getting the crowd dancing and excited, with simple or no rhymes; these DJs included Pete DJ Jones, Eddie Cheeba, DJ Hollywood and Love Bug Starski. On the other hand, another group were focusing on rapid-fire rhymes and a more complex rhythmic scheme. These included Afrika Bambaataa, Paul Winley, Grandmaster Flash and Bobby Robinson.
As the 70s became the 1980s, many felt that hip hop was a novelty fad that would soon die out. This was to become a constant accusation for at least the next fifteen years. Some of the earliest rappers were novelty acts, using the themes to Gilligan's Island and using sweet doo wop-influenced harmonies.
With the advent of recorded hip hop in the late 1970s, all the major elements and techniques of the genre were in place. Though not yet mainstream, it was well-known among African Americans, even outside of New York City; hip hop could be found in cities as diverse as Los Angeles, Washington, DC, Baltimore, Dallas, Kansas City, Miami, Seattle, St. Louis, New Orleans, and Houston.
Philadelphia was, for many years, the only city whose contributions to hip hop were valued as greatly as New York City's by hip hop purists and critics. Hip hop was popular there at least as far back as 1976 (first record: "Rhythm Talk", by Jocko Henderson in 1979), and the New York Times dubbed Philly the "Graffiti Capital of the World" in 1971, due to the influence of such legendary graffiti artists as Cornbread. The first female solo artist to record hip hop was Lady B. ("To the Beat Y'All", 1980), a Philly-area radio DJ. Later Schoolly D helped invent what became known as gangsta rap.
The 1980s
The 1980s saw intense diversification in hip hop, which developed into a more complex form. The simple tales of 1970s emcees were replaced by highly metaphoric lyrics rapping over complex, multi-layered beats. Some rappers even became mainstream pop performers, including Kurtis Blow, whose appearance in a Sprite commercial made him the first hip hop musician to be considered mainstream enough to represent a major product, but also the first to be accused by the hip-hop audience of selling out. Another popular performer among mainstream audiences was LL Cool J, who was a success from the release of his first LP, Radio.
Hip hop was almost entirely unknown outside of the United States prior to the 1980s. During that decade, it began its spread to every inhabited continent and became a part of the music scene in dozens of countries. In the early part of the decade, breakdancing became the first aspect of hip hop culture to reach Germany, Japan and South Africa, where the crew Black Noise established the practice before beginning to rap later in the decade. Meanwhile, recorded hip hop was released in France (Dee Nasty's 1984 Paname City Rappin') and the Philippines (Dyords Javier's "Na Onseng Delight" and Vincent Dafalong's "Nunal"). In Puerto Rico, Vico C became the first Spanish language rapper, and his recorded work was the beginning of what became known as reggaeton.
Politicization
The first rap records (Fatback Band's King Tim III, Grandmaster Flash's "Super Rappin'" and The Sugarhill Gang's Rapper's Delight) were actually recorded by live musicians in the studio, with the rappers adding their vocals later. This changed with DJ records such as Grandmaster Flash's "Adventures on the Wheels of Steel" (known for pioneering use of scratching, which was invented by Grandwizard Theodore in 1977) as well as electronic recordings such as "Planet Rock" by Afrika Bambaataa and Run DMC's very basic, all electronic "Sucker MC's" and "Peter Piper" which contains genuine cutting by Run DMC member Jam Master Jay. These early innovators were based out of New York City, which remained the capital of hip hop during the 1980s. This style became known as East Coast hip hop.
Grandmaster Flash & the Furious Five released a "message rap", called "The Message", in 1982; this was one of the earliest examples of recorded hip hop with a socially aware tone. In 1984, Marley Marl accidentally caught a drum machine snare hit in the sampler; this innovation was vital in the development of electro and other later types of hip hop.
Popularization
The mid-1980s saw a flourishing of the first hip hop artists to achieve mainstream success, such as Kurtis Blow (Kurtis Blow), LL Cool J (Radio) and especially Run-D.M.C. (Raising Hell), as well as influences in mainstream music, such as Blondie's Debbie Harry rapping in the first non-black hit to feature rapping, "Rapture". LL Cool J's Radio spawned a number of singles that entered the dance charts, peaking with "I Can Give You More" (#21). 1986 saw two hip hop acts in the Billboard Top Ten; Run-D.M.C.'s "Walk This Way" collaboration with Aerosmith, and the Beastie Boys "(You Gotta) Fight for Your Right (To Party!)". The pop success of both singles was unheard of for the time; "Walk This Way" has proved especially memorable for its early mixture of hip hop and rock (though it was not the first such mixture), and it peaked at an unheard of #4 on the pop charts. Also, the mid-1980s saw the rise of the first major black female group, Salt-N-Pepa, who hit the charts with singles like "The Show Stoppa" in 1985. Ice-T's seminal "6n' Da Mornin'" (1986) is one of the first nationally successful West Coast hip hop singles, and is often said to be the beginning of gangsta hip hop (along with Schoolly D, LL Cool J and N.W.A.).
In 1987, Public Enemy brought out their debut album (Yo! Bum Rush the Show) on Def Jam - one of hip hop's oldest and most important labels, and Boogie Down Productions followed up in 1988 with By All Means Necessary; both records pioneered wave of hard-edged politicized performers. The late 1980s saw a flourishing of like-minded rappers on both coasts, and Public Enemy's It Takes a Nation of Millions to Hold Us Back became surprisingly successful, despite its militant and confrontational tone, appearing on both the club and rap charts, and peaking at #17 and #11, respectively. Aside from the lyrical innovations, Public Enemy's Terminator X (along with Eric B., of Eric B. & Rakim) pioneered new techniques in sampling that resulted in dense, multi-layered sonic collages.
The rise of gangsta rap
Main article: Gangsta rap
The first gangsta rap album to become a mainstream pop hit, selling more than 2.5 million copies, was N.W.A.'s Straight Outta Compton (1988). N.W.A.'s controversial subject matter, including drugs, violence and sex, helped popularize what became known as gangsta rap (said to have begun with Ice-T's "6N' Da Morning"). Specifically, the song "Fuck Tha Police" earned the foursome the enmity of law enforcement, resulting in a strongly-worded letter of discontent from the FBI. N.W.A.'s most lasting impact, however, was placing the West Coast on the hip hop map.
Diversification
Though women, whites and Latinos had long been a part of the hip hop scene, it was not until the 1980s that groups other than young African American males began creating popular, innovative and distinctive styles of hip hop music.
The first rap recording by a solo female was Philadelphia-based Lady B.'s "To the Beat, Y'All" (1980), while The Sequence became the first female group to record. It was, not, however, until Salt-N-Pepa in the middle of the decade that female performers gained mainstream success.
The first groups to mix hip hop and heavy metal included 1984's "Rock Box" (Run-D.M.C.) and "Rock Hard" (Beastie Boys). Later in the decade, Ice-T and Anthrax were among the most innovative mixers of thrash metal and hip hop. These fusions helped move hip hop into new audiences, and introduced it to legions of new fans in the States and abroad.
Latin hip hop
Main article: Latin Rap
In Puerto Rico, Vico C became the first mainstream Spanish language rapper, and his recorded work was the beginning of what became known as reggaeton. Hip hop had always had a significant connection to the Latino community in New York City including the first Latin DJ DJ Disco Wiz, and hip hop soon spread amongst Latinos. In the late 1980s and early 1990s, most Latin rap came from the West Coast of the United States. In 1989, Cuban-American Mellow Man Ace became the first Latino artist to have a major bilingual single. Mellow Man, referred to as the "Godfather of Latin rap", brought mainstream attention to Spanglish rhyming with his 1989 platinum single "Mentirosa". In 1990, fellow West Coast artist Kid Frost further brought Latinos to the rap forefront with his single "La Raza." Cypress Hill, of which Mellow Man Ace was a member before going solo, would become the first Latino rap group to reach platinum status in 1991. Ecuadorian born rapper Gerardo received heavy rotation on video and radio for his single "Rico, Suave." As a result of the success of these artists, countries throughout Latin America such as Cuba, the Dominican Republic and Mexico created their own Hip Hop scenes.
Electro
Main articles: Electro (music) and Electro (disambiguation)
While Run DMC laid the groundwork for East Coast rap, "Planet Rock" (Afrika Bambaataa) was one of the first electro tracks. Based on a sample from German rock group Kraftwerk (Trans-Europe Express), "Planet Rock" inspired countless groups, based in New Jersey, New York City and Detroit, among other places, to make electronic dance music (called electro) that strongly influenced techno and house music, and especially the burgeoning electro music scene in northern England, the Midlands and London.
"Planet Rock" influenced hip hop outside of New York as well, such as Latin hip hop (also Latin freestyle or freestyle) such as Expose and The Cover Girls, as well as Los Angeles-based electro hop performers like the World Class Wreckin' Cru and Egyptian Lover.
Further spread within the US
By the end of the 1970s, hip hop was known in most every major city in the country, and had developed into numerous regional styles and variations. Outside of New York City, New Jersey and Philadelphia, where hip hop had long been well-established, the 1980s saw intense regional diversification.
The first Chicago hip hop record was the "Groovy Ghost Show" by Casper, released in 1980 and a distinctively Chicago sound began by 1982, with Caution and Plee Fresh. Chicago also saw the development of house music (a form of electronic dance music) in the early 1980s and this soon mixed with hip hop and began featuring rappers; this is called hip house, and gained some national popularity in the late 1980s and early 90s, though similar fusions from South Africa, Belgium and elsewhere became just as well-known into the 90s.
Los Angeles hardcore rappers (Ice-T) and electro hop artists (Egyptian Lover) began recording by 1983, though the first recorded West Coast rap was Disco Daddy and Captain Rapp's "Gigolo Rapp" in 1981. In Miami, audiences listened to Miami bass, a form of sultry and sexually explicit dance music which arose from Los Angeles electro; it frequently included rapping. In Washington D.C. a hip hop-influenced form of dance music called go go emerged and incorporated rapping and DJing.
International spread
Beginning in the early 1980s, hip hop culture began its spread across the world. By the end of the 1990s, popular hip hop was sold almost everywhere, and native performers were recording in most every country with a popular music industry. Elements of hip hop became fused with numerous styles of music, including ragga, cumbia and samba, for example. The Senegalese mbalax rhythm became a component of hip hop, while the United Kingdom and Belgium produced a variety of electronic music fusions of hip hop, most famously including British trip hop. Hip hop also spread to countries like Greece, Spain and Cuba in the 1980s, led in Cuba by the self-exiled African American activist Nehanda Abiodun and aided by Fidel Castro's government. In Japan, graffiti art and breakdancing had been popular since the early part of the decade, but many of those active in the scene felt that the Japanese language was unsuited for rapping; nevertheless, by the beginning of the 1990s, a wave of rappers emerged, including Ito Seiko, Chikado Haruo, Tinnie Punx and Takagi Kan. The New Zealand hip hop scene began in earnest in the late 1980s, when Maori performers like Upper Hutt Posse and Dalvanius Prime began recording, gaining notoriety for lyrics that espoused tino rangatiratanga (Maori sovereignty).
The 1990s
In the 90s, gangsta rap became mainstream, beginning in about 1992, with the release of Dr. Dre's The Chronic. This album established a style calle
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