求一篇介绍或有关说唱 嘻哈 HIPHOP rap 的演讲稿
Gangster通常亦写作Gangsta. 是美国黑人文化中重要的一部分。
可以翻译为“黑帮”，“匪帮”，“匪徒”等。
一般Gangsta都不会指的是小喽啰，最起码要在帮派内有所作为，或者犯下过较大罪行的人才有资格被称之为Gangsta. Gangsta是冷酷、冷血的形象，要讲义气，并且要在黑社会中混到如鱼入水财色双收才叫到位。
作为一名Gangsta，一般都口无遮拦，脏话连篇才能凸显你出身于街头。
作为一名杀人不眨眼的黑道中人，涉及违法乱纪的事情应该多多益善，和警察(Cops)是永远的死敌。
炫富、枪械、女人、警察、泄密者、毒品等都是围绕着Gangsta形象密不可分的关键词。
Hip-Hop音乐中，有一个很大的流派就是Gangsta Rap，而关于说唱圈里的Gangsta形象，我们在此推荐大家阅读下面这篇由邪恶少年EB撰稿的文章：关于Gangsta：认真你就输了竞争、比拼一直是Hip-Hop的一个重要基因，硬币的另一面是对暴力的推崇。
Hip-Hop的饱受争议很大程度上与此有关，尤其是Gangsta Rap(匪帮饶舌)在美国大行其道之后，那些看不惯Rap的议员和社团就更是把柄在手不依不饶，好像不消灭Rap就会引发世界大战似的。
我认为谈暴力色变是很愚蠢的，这个话题可以改天讨论。
我想说的是，那些控诉着rap的议员们、那些整天争论谁谁谁到底“Real”还“Fake”的歌迷们，甚至一些Rapper自己，有时候对待这个问题都太过认真了。
这是一场cosplay假还是真，我认为讨论Gangsta rap或者那些艺人的时候，根本不是问题。
你什么时候见过真的黑手党杀人之前，先拍个杀人预告片，伴着鼓点超有韵律地强调几十遍“我要杀你哦，我这次真的要杀了你哦!”没有吧? Hip-Hop乐迷对匪帮饶舌不会陌生，最常见的主旋律话题是“你这个假模假式的冒牌匪徒，我代表正牌黑帮枪毙你”。
可其实“代表正牌消灭你”的仁兄也正不到哪去，大家半斤八两，都是小坏蛋在cosplay大恶棍。
十几年来，你听到东西海岸各路gangsta rapper换了歌词换曲调，换了节奏换韵脚，绞尽脑汁只为提炼一个中心思想：看呐!这群可怜的假匪徒!看呐!我才是唯一的真匪! 这是个游戏，一个很有趣的角色扮演游戏，一个看谁能把“我真你假”这句话说得更花哨的游戏。
从歌词、配乐到Flow，各个层面的技巧为这游戏带来乐趣，而亦真亦幻、模糊而神秘的色彩则是让整场游戏充满魅力，让旁人趋之若鹜望眼欲穿。
你想要多真匪帮饶舌的歌迷分两种。
一种比较注重音乐，某个艺人的坏蛋形象“看上去很美”，黑帮音乐“听上去很匪”，他就认为OK。
另一种在听音乐的同时，对“真实性”有一种孜孜不倦锲而不舍的追求。
某某因为枪械案判刑了，哦他很真实;谁谁涉嫌命案或毒品交易被查，哦太真实了;某某巨星遭遇枪击身亡——啊太可惜了太怀念了——与此同时，心底是不是还有个声音在悄声地喊：“Gangsta Rap太刺激了!” 前一种乐迷追求的是一种逼真的虚构，好比看一部黑帮电影;后一种乐迷则不满足于此，希望更进一步。
如果某歌手在歌词里说自己是毒枭说自己杀人，真实生活中他没有做到，这个歌手会受到后一种乐迷的鄙视。
但我可以肯定，后一种乐迷几乎注定要失望，多数艺人的“真实度”无法满足他们的要求，极个别黑白两道一起走的艺人要么作品太烂要么没出几张专辑就进去了。
艺人，顾名思义就不可能全是真的。
如果真的一味追求真实性，也许2Pac、Biggie们拿命都换不到这个认可，这个位置可能更适合John Gotti这种既是黑道风云人物、又热爱抛头露面的Dapper Don。
Jay-Z早年贩毒起家，50 Cent的黑街恩怨惹来杀身之祸，许多说唱厂牌、艺人和黑道人物牵扯不清，这些都是真的，他们作品中也绝对有基于真实的成分，但程度必然有限，点到即止，更多的是虚构成分。
就是早年有黑街背景的艺人，成名发财之后，你还指望他整天冒着生命危险，“keep it real”地继续在街头跑他以前的致命买卖? 真人秀也是秀啊哥们，别逼着演员们一个个都把自己演死。
差不多行了。
认真就输了“Don’t you ever ask me how far the sun is, only thing I could tell is how real I keep.” 你别说，我把杨钰莹那句“不要问我太阳有多高\\\/我会告诉你我有多真”翻成英文，还真有点Gangsta Rap歌词范儿! 不开玩笑了，我想说的是，每一个在歌里喊着“keep it real”的匪帮饶舌歌手，他们也许有一点真实的“匪”在里头，但这种音乐在反映一部分现实的同时，必然有虚构成分的。
作为乐迷的我们，过分追求现实，既没必要也不现实。
这是带有虚构的娱乐，通过安全地展现暴力带来刺激。
Gangsta Rap和GTA游戏没有本质区别。
我玩GTA游戏时从来不会过分追究所谓真假问题，听Gangsta Rap的时候也一样，认真你就输了。
Enjoy that shit, and that’s it.
急急急
关于黑人HIP-HOP文化的英语演讲稿
Hip Hop Culture EssaySince the early to mid 90’s, hip-hop has undergone changes that purists would consider degenerating to its culture. At the root of these changes is what has been called “commercial hip-hop. Commercial hip-hop has deteriorated what so many emcees in the 80’s tried to build- a culture of music, dance, creativity, and artistry that would give people not only something to bob their head to, but also an avenue to express themselves and deliver a positive message to their surroundings..What does the term “commercial” mean? It can take on various meanings, but in essence that term is used to label artists who have alienated parts of the hip-hop culture in their work. The High and Mighty, a duo from Philadelphia signed to Rawkus Records, summed up what commercial hip-hop is in their 1999 single release “The Meaning”. Mr. Eon says: “…they’re tryin’ to turn hip-hop to just plain rappin’\\\/let the poppers pop\\\/and the breakers break…”But the disenchantment with artists who don’t appreciate hip-hop as consisting of emceeing, breaking, graffiti art, beat boxing and dj-ing is not new. Underground artists, predominately hip-hop purists, have lashed out at biters and perpetrators for many years. For example, in 1989 3rd Bass released their first album, The Cactus Cee\\\/D. Throughout the album, MC Serch and Prime Minister Pete Nice scold the commercialized booty shakers like MC Hammer for corrupting hip-hop, particularly on the track “The Gasface” they specifically call out Hammer for his antics.Inside the album jacket, Serch sums up hip-hop in ‘89: “There was a time when nothing was more important than the New York Rap Scene.” It’s dilluted, but not divided.” To hip-hop afficionados, Serch’s quote sounds like the equivalent to a Vietnam soldier’s letter home. Obviously, the group saw the possibility of the hip-hop culture being tainted.Another good example of a group combatting the increase in commercial hip-hop was The Boot Camp Clik, consisting of Buckshot, Helter Skelter, Cocoa Brovaz, OGC, Illa Noyz and The Representativz. The Clik’s slogan throughout the duration of their 1997 release Album for the People was: “Commercial rap get the gun clap”. A descendent of the early backpacker days, Buckshot has always been opposed to mainstream artists who sacrfice artistic integrity in the lure for more money.The underground hip-hop scene has emerged as a circuit where young, talented and intelligent emcees can thrive. Their message is less abrasive and violent. While not all underground artists are choir boys, they are not barking over mics in a frenzy either.. They play small, sometimes dark and dank venues in front of a couple hundred people or much less than that.Like the Christians in ancient Rome who held mass in catacombs and spread their religion secretly, underground artists are privately leading a revolution in these small clubs now in promotion of returning rap to hip-hop, and there probably has never been such a fierce fire lit under the artists like there is now to bring change. Underground artists are fed up with how hip-hop is treated by a lot of major labels that have changed the structure of songs. In 2000, especially on the radio, you may hear one or two verses, an R&B singer lacing the track and then a hook that is repeated enough times to take up 3 plus minutes. This is a brash example of today’s state of hip-hop, but the point is made- creativity in hip-hop has been pushed aside for tracks that incorporate overused samples, have no real message, and have virtually eliminated the DJ from the music.Remember when you could listen to a song for five minutes and all you heard was Rakim bouncing outrageous similes and euphemisms off his tongue and Eric B. blessing the 1s and 2s. Not only was there depth in those types of tracks, but there was creativity and ingenuity. What about groups like Afrika Baambata whose songs lasted as long as infommercials. Eric B. & Rakim and Baambata are perferct examples of the true hip-hop culture because they were innovators and trendsetters, and Rakim never had enough to say.Unless you are an underground fan, you never hear artists like that on the radio. In reality, people have been brainwashed into thinking that what they hear on the radio is hip-hop. It falls terribly short of hip-hop, and may not be worthy of being called rap. Since 1995, we have seen a trend in the implementation of R&B into hip-hop music. The problem with that is it has dilluted the music. Commercial artists like Jay Z, for example, know that the dough will roll in if Blackstreet does the hook for one of his tracks that he, as stated earlier, only writes a couple versus to. Money now controls hip-hop instead of the artists controlling it, and label execs have become more powerful in determining how an artist’s music will sound. This explains the increase in the number of independent labels because artists have discovered that they lose creative control over their music when they sign on with major labels.Now that I’ve ranted over the gripes we purists have about hip-hop as a whole, the next few chapters will deal with separate issues surrounding the decline, yet hopeful resurrection of the elements of the hip-hop culture.
急急急
关于黑人HIP-HOP文化的英语演讲稿
Hip Hop Culture EssaySince the early to mid 90’s, hip-hop has undergone changes that purists would consider degenerating to its culture. At the root of these changes is what has been called “commercial hip-hop. Commercial hip-hop has deteriorated what so many emcees in the 80’s tried to build- a culture of music, dance, creativity, and artistry that would give people not only something to bob their head to, but also an avenue to express themselves and deliver a positive message to their surroundings..What does the term “commercial” mean? It can take on various meanings, but in essence that term is used to label artists who have alienated parts of the hip-hop culture in their work. The High and Mighty, a duo from Philadelphia signed to Rawkus Records, summed up what commercial hip-hop is in their 1999 single release “The Meaning”. Mr. Eon says: “…they’re tryin’ to turn hip-hop to just plain rappin’\\\/let the poppers pop\\\/and the breakers break…”But the disenchantment with artists who don’t appreciate hip-hop as consisting of emceeing, breaking, graffiti art, beat boxing and dj-ing is not new. Underground artists, predominately hip-hop purists, have lashed out at biters and perpetrators for many years. For example, in 1989 3rd Bass released their first album, The Cactus Cee\\\/D. Throughout the album, MC Serch and Prime Minister Pete Nice scold the commercialized booty shakers like MC Hammer for corrupting hip-hop, particularly on the track “The Gasface” they specifically call out Hammer for his antics.Inside the album jacket, Serch sums up hip-hop in ‘89: “There was a time when nothing was more important than the New York Rap Scene.” It’s dilluted, but not divided.” To hip-hop afficionados, Serch’s quote sounds like the equivalent to a Vietnam soldier’s letter home. Obviously, the group saw the possibility of the hip-hop culture being tainted.Another good example of a group combatting the increase in commercial hip-hop was The Boot Camp Clik, consisting of Buckshot, Helter Skelter, Cocoa Brovaz, OGC, Illa Noyz and The Representativz. The Clik’s slogan throughout the duration of their 1997 release Album for the People was: “Commercial rap get the gun clap”. A descendent of the early backpacker days, Buckshot has always been opposed to mainstream artists who sacrfice artistic integrity in the lure for more money.The underground hip-hop scene has emerged as a circuit where young, talented and intelligent emcees can thrive. Their message is less abrasive and violent. While not all underground artists are choir boys, they are not barking over mics in a frenzy either.. They play small, sometimes dark and dank venues in front of a couple hundred people or much less than that.Like the Christians in ancient Rome who held mass in catacombs and spread their religion secretly, underground artists are privately leading a revolution in these small clubs now in promotion of returning rap to hip-hop, and there probably has never been such a fierce fire lit under the artists like there is now to bring change. Underground artists are fed up with how hip-hop is treated by a lot of major labels that have changed the structure of songs. In 2000, especially on the radio, you may hear one or two verses, an R&B singer lacing the track and then a hook that is repeated enough times to take up 3 plus minutes. This is a brash example of today’s state of hip-hop, but the point is made- creativity in hip-hop has been pushed aside for tracks that incorporate overused samples, have no real message, and have virtually eliminated the DJ from the music.Remember when you could listen to a song for five minutes and all you heard was Rakim bouncing outrageous similes and euphemisms off his tongue and Eric B. blessing the 1s and 2s. Not only was there depth in those types of tracks, but there was creativity and ingenuity. What about groups like Afrika Baambata whose songs lasted as long as infommercials. Eric B. & Rakim and Baambata are perferct examples of the true hip-hop culture because they were innovators and trendsetters, and Rakim never had enough to say.Unless you are an underground fan, you never hear artists like that on the radio. In reality, people have been brainwashed into thinking that what they hear on the radio is hip-hop. It falls terribly short of hip-hop, and may not be worthy of being called rap. Since 1995, we have seen a trend in the implementation of R&B into hip-hop music. The problem with that is it has dilluted the music. Commercial artists like Jay Z, for example, know that the dough will roll in if Blackstreet does the hook for one of his tracks that he, as stated earlier, only writes a couple versus to. Money now controls hip-hop instead of the artists controlling it, and label execs have become more powerful in determining how an artist’s music will sound. This explains the increase in the number of independent labels because artists have discovered that they lose creative control over their music when they sign on with major labels.Now that I’ve ranted over the gripes we purists have about hip-hop as a whole, the next few chapters will deal with separate issues surrounding the decline, yet hopeful resurrection of the elements of the hip-hop culture.
求一篇介绍或有关说唱 嘻哈 HIPHOP rap 的演讲稿
Gangster通常亦写作Gangsta. 是美国黑人文化中重要的一部分。
可以翻译为“黑帮”，“匪帮”，“匪徒”等。
一般Gangsta都不会指的是小喽啰，最起码要在帮派内有所作为，或者犯下过较大罪行的人才有资格被称之为Gangsta. Gangsta是冷酷、冷血的形象，要讲义气，并且要在黑社会中混到如鱼入水财色双收才叫到位。
作为一名Gangsta，一般都口无遮拦，脏话连篇才能凸显你出身于街头。
作为一名杀人不眨眼的黑道中人，涉及违法乱纪的事情应该多多益善，和警察(Cops)是永远的死敌。
炫富、枪械、女人、警察、泄密者、毒品等都是围绕着Gangsta形象密不可分的关键词。
Hip-Hop音乐中，有一个很大的流派就是Gangsta Rap，而关于说唱圈里的Gangsta形象，我们在此推荐大家阅读下面这篇由邪恶少年EB撰稿的文章：关于Gangsta：认真你就输了竞争、比拼一直是Hip-Hop的一个重要基因，硬币的另一面是对暴力的推崇。
Hip-Hop的饱受争议很大程度上与此有关，尤其是Gangsta Rap(匪帮饶舌)在美国大行其道之后，那些看不惯Rap的议员和社团就更是把柄在手不依不饶，好像不消灭Rap就会引发世界大战似的。
我认为谈暴力色变是很愚蠢的，这个话题可以改天讨论。
我想说的是，那些控诉着rap的议员们、那些整天争论谁谁谁到底“Real”还“Fake”的歌迷们，甚至一些Rapper自己，有时候对待这个问题都太过认真了。
这是一场cosplay假还是真，我认为讨论Gangsta rap或者那些艺人的时候，根本不是问题。
你什么时候见过真的黑手党杀人之前，先拍个杀人预告片，伴着鼓点超有韵律地强调几十遍“我要杀你哦，我这次真的要杀了你哦!”没有吧? Hip-Hop乐迷对匪帮饶舌不会陌生，最常见的主旋律话题是“你这个假模假式的冒牌匪徒，我代表正牌黑帮枪毙你”。
可其实“代表正牌消灭你”的仁兄也正不到哪去，大家半斤八两，都是小坏蛋在cosplay大恶棍。
十几年来，你听到东西海岸各路gangsta rapper换了歌词换曲调，换了节奏换韵脚，绞尽脑汁只为提炼一个中心思想：看呐!这群可怜的假匪徒!看呐!我才是唯一的真匪! 这是个游戏，一个很有趣的角色扮演游戏，一个看谁能把“我真你假”这句话说得更花哨的游戏。
从歌词、配乐到Flow，各个层面的技巧为这游戏带来乐趣，而亦真亦幻、模糊而神秘的色彩则是让整场游戏充满魅力，让旁人趋之若鹜望眼欲穿。
你想要多真匪帮饶舌的歌迷分两种。
一种比较注重音乐，某个艺人的坏蛋形象“看上去很美”，黑帮音乐“听上去很匪”，他就认为OK。
另一种在听音乐的同时，对“真实性”有一种孜孜不倦锲而不舍的追求。
某某因为枪械案判刑了，哦他很真实;谁谁涉嫌命案或毒品交易被查，哦太真实了;某某巨星遭遇枪击身亡——啊太可惜了太怀念了——与此同时，心底是不是还有个声音在悄声地喊：“Gangsta Rap太刺激了!” 前一种乐迷追求的是一种逼真的虚构，好比看一部黑帮电影;后一种乐迷则不满足于此，希望更进一步。
如果某歌手在歌词里说自己是毒枭说自己杀人，真实生活中他没有做到，这个歌手会受到后一种乐迷的鄙视。
但我可以肯定，后一种乐迷几乎注定要失望，多数艺人的“真实度”无法满足他们的要求，极个别黑白两道一起走的艺人要么作品太烂要么没出几张专辑就进去了。
艺人，顾名思义就不可能全是真的。
如果真的一味追求真实性，也许2Pac、Biggie们拿命都换不到这个认可，这个位置可能更适合John Gotti这种既是黑道风云人物、又热爱抛头露面的Dapper Don。
Jay-Z早年贩毒起家，50 Cent的黑街恩怨惹来杀身之祸，许多说唱厂牌、艺人和黑道人物牵扯不清，这些都是真的，他们作品中也绝对有基于真实的成分，但程度必然有限，点到即止，更多的是虚构成分。
就是早年有黑街背景的艺人，成名发财之后，你还指望他整天冒着生命危险，“keep it real”地继续在街头跑他以前的致命买卖? 真人秀也是秀啊哥们，别逼着演员们一个个都把自己演死。
差不多行了。
认真就输了“Don’t you ever ask me how far the sun is, only thing I could tell is how real I keep.” 你别说，我把杨钰莹那句“不要问我太阳有多高\\\/我会告诉你我有多真”翻成英文，还真有点Gangsta Rap歌词范儿! 不开玩笑了，我想说的是，每一个在歌里喊着“keep it real”的匪帮饶舌歌手，他们也许有一点真实的“匪”在里头，但这种音乐在反映一部分现实的同时，必然有虚构成分的。
作为乐迷的我们，过分追求现实，既没必要也不现实。
这是带有虚构的娱乐，通过安全地展现暴力带来刺激。
Gangsta Rap和GTA游戏没有本质区别。
我玩GTA游戏时从来不会过分追究所谓真假问题，听Gangsta Rap的时候也一样，认真你就输了。
Enjoy that shit, and that’s it.
关于流行音乐的演讲稿
Hello, everybody! My name is XX, 16 years old, from beautiful, flowers, resorts in Emei, Chengdu railway school as a student, I feel very honored.I am very fond of music, here called music refers to the European and American pop music, it too made me mad, and spoke the words that I would much, for time considerations, I would say some of it a little.For Europe and the United States pop music, my knowledge, though not too much, but still know a little. Many European and American pop music sub-genres such as R B, hip-hop, rock, country, jazz, etc., which I most prefer R B, followed hip-hop, I love both genres of music, is too nice a.I enjoy music have their own way. First, from a number of carefully selected songs in your favorite songs, an album also more than a dozen songs selected from the 23 on the well, and if elected five or even from 5 or more songs, it got very difficult, but not without this; then, view the lyrics of the English meaning, though not able to read the lyrics in English, but look up English meaning of the lyrics, or beneficial, This will help to learn English, because I love Europe and the United States pop music Caidui generate so little interest in English; Finally, take a look at the video song, so as to feel the music, mood, if only not to see the songs video songs If it is too monotonous, song video not only see but can hear, so that it can feel.So we are talking about here, as a gift on his arrival, I put his sorrow Trio, dedicated to all right. These three songs are: Kanye West's Flashing Lights, Ashanti's The Way That I Love You, Whitney Houston's Call You Tonight, thank you appreciation.Thank you!
嘻哈文化，关于街舞的演讲稿
街舞,就是所谓的HIP-HOP DANCE.如果我们蹈的观点来看,它可成NEW SCHOOL以及OLD SCHOOL两大类.如何去区分这两大呢?我们可以以年代及动作或是音乐类型来作为区分. 而HIP-HOP就是各种街舞的总称.事实上,我们所BREAKING DANCE或是OLD SCHOOL正也是属于HIP-HOP的一种.这种OLD SCHOOL的舞蹈包含着LOCKING(锁舞).POPING(机械舞).BREAKING(劈历舞).WAVE(电流)这些东西.他起源于美国街头的舞者的即兴舞蹈动作.这些街头舞者多半是以黑人或是墨西哥人为主.或许正是所谓的穷人的娱乐,这些流行的街舞多半发源自美国纽约的布如克林区(这一区住的全是一些穷困的黑人或墨西哥人.)这些黑人及墨西哥人的孩子们成天在街上混,跳舞．并自然而然的行成各种的派系,也很自然的在他们所跳的舞蹈上发展出不一样的风格.目前，街头文化,也随境外传媒的影响来到了中国,但不可否认,当街头文化在全国热火朝天的时候,做为特区省会海口,却没受到太大的关注力.追根源由，当民众面对奇装异服，发式哈韩化的表演者，自心深处都产生出一种反感，而面对这街舞的表现形式．更由于舞者身体扭曲的幅度大，没有了一般跳舞的规律性产生不被认同．街舞的文化范畴街舞是一种民间舞蹈，兴起于20世纪80年代的美国黑人青少年，是美国黑人“嘻哈文化”（Hip-Hop）的组成部分。
由于这种舞蹈出现在街头、不拘于场地器械，所以称为街舞，并且具有极强的参与性、表演性和竞赛性。
在逐渐的发展中，街舞青少年形成了一种共同的思想理念和行为方式，他们以街舞来张扬自我个性，展示青春的活力和激情，表达勇于进取的生活态度，他们强调的是“做自己，享受生命，勇于挑战”的理念。
街舞在日韩的发展随着嘻哈文化在世界的普及，街舞也迅速传遍世界。
街舞成型之际就已传入日本，并转而传入韩国。
日本人创造并发展了许多新的街舞形式，比较注重其中的舞蹈性。
而韩国人将街舞融入自己的理解，创造了极具民族特点的嘻哈变体文化：青春靓丽的歌舞组合，旋律优美节奏明快的音乐，简单整齐的舞蹈，绚丽夸张的造型……这种文化自1997年开始风靡中国，被称为“韩流”。
日韩这种嘻哈变体文化形成对亚洲其他国家强大的文化影响力。
街舞的种类以动作为标准，街舞分两大类：Hip-Hop和Breaking。
Breaking：技巧型街舞，要求舞者具有较高的力量、柔韧性和协调性，属于技巧较高的体育舞蹈，所以最先为国内青少年所喜爱。
跳这种类型舞蹈的青少年叫做B-Boy\\\/B-Girl。
20世纪80年代，被称为“Hip-Hop之父”的DJ Kool Herc创造了B-Boy的概念，也就是Breaking Boy。
每年，全世界的许多国家都有一些为B-Boy们举办的比赛，较有名的是每年一度的BOTY（B-Boy of The Year）和在英国举办的B-BoyChampion，超过10个国家的百名参赛选手会参加这样的盛事。
比赛的优胜者很快就会声名远播，成为青少年的明星。
Hip-Hop：舞蹈型街舞，有Poping、Locking、Electric、Turbo、House等多种风格。
它们都不如Breaking那样需要较高的技巧，但更要求舞者的动作协调性和舞感，以及肢体灵活性和控制力。
好的Hip-Hop舞者同样需要艰苦的练习。
由于Hip-Hop Dance不如Breaking那样技巧性强，也缺乏竞赛性，以前没有受到街舞爱好者足够的重视，现在随着舞蹈观念的增强，这种情况得到了改变，甚至B-Boy也开始练习并出现了许多全能型的街舞好手。
街舞的沿革以时代特色为标准，街舞可以分为Old School和New School两类，前者为20世纪80年代的街舞风格，后者产生于90年代，在音乐和动作上都有相当大的改观。
Old SchoolOld School的音乐有非常快的节拍来配合Breaking的动作，而后随着Hip-Hop音乐的演进，Hip-Hop的节奏变慢，Breaking动作便不适合了。
因为如果在这种慢板的Hip-Hop音乐中作风车或排腿之类的动作,会觉得一点爆发力都没有甚至失去其舞感。
此时Old School的舞蹈就开始分家了,那是在1986年左右。
早期New School的舞步非常简单，如耳熟能详的“滑步”(Running Man) 这在以前MC Hammer及Babby Brown的音乐录影带的中均可见到，这种劲爆的Hip-Hop舞蹈也称为Funky Dance。
然而以现在的眼光来看这些MC Hammer及Babby Brown时期所流行的街舞,也渐渐变成了Old School。
Breaking（技巧）：BreakingBOY Breaking GRIL 简称BBOY BGRIL ，需要力量和平衡，以及身体的柔软性.是一种难度较高的舞种，大体上可以分为两种类型：style MOVE POWER MOVE。
用手、头、身体在地上旋转，称为 POWERMOVE（大地板）；用肢体在地上踩出复杂变化的脚步动作，加上刁钻的倒立，称为style MOVE（小地板）。
舞蹈里面似乎还参杂了类似中国功夫的动作，例如排腿、前后侧空\\\/手翻、跳转、蛙转、风车、直升机、霹雳摔、鞍马、头转…以及各式组合，具有相当的危险性。
当然，跳舞的同时也可以随意去搭配你所想表现的动作。
Breaking是适合喜欢耍酷的年轻人，选练的舞种。
由于舞种对体能的特殊要求，不建议女孩选练；女孩练习者称BreakingGirl,简称B-Girl.JAZZ（爵士）：JAZZ有很多种:比如STREET JAZZ，RAGGAEPOWER JAZZ ，MODEN JAZZ，SEXY JAZZ，NEW JAZZ等等MODEN JAZZ由芭蕾舞蹈演变而来的,是一种很绅士很幽雅的舞种。
也是其他JAZZ舞种的基础舞种之一SEXY JAZZ很性感,在MODEN的柔软基础上加上一些SEXY的演变POWER JAZZ 是种力量型的JAZZ，很注重力点和力的爆发捏还有控制,跳起来属于很劲爆的那种FUNKY JAZZ比较类似POWER JAZZ也是力量之一,但是他注重力的点和过程的结合运用,跳起来相似于HIPHOP中的PUNKY STREET JAZZ是由POWER JAZZ和FUNKY还有部分HIPHOP元素组成!可观性很强的RAGGAE 我觉得是现在很受欢迎的女孩子舞种!结合了SEXY JAZZ和HIPHOP的NEWSCOOL的感觉!他的原始就是PUP里面的钢管舞!可不是艳舞哈，现在看到的RAGGAE大多都是改编过的``关于NEW JAZZ其实new jazz 就是现在我们现在一般在跳的爵士，只不过pose点比较多以前可能是有了舞蹈，再找音乐，但是新潮爵士则是有音乐，再配合去编舞，像各式音乐MTV。
NEW JAZZ早期是在美国纽约由芭蕾所演化过来的。
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创造出了芭蕾融合HIP-HOP的街舞魅力其实NEW JAZZ的特色也可以说成是JAZZ加上HIP-HOP的一种舞````NEW JAZZ的特色就是：身体的延展。
NEW JAZZ的每一个动作都有固定的角度跟摆的方式跳NEW JAZZ的时候作手的动作的时候会有无限延伸的感觉，这种感觉就像是有人正在拉你的手一样爵士的劲爆，妖娆，性感，以及其独特的特性，适合广大上班族选跳，尤其受到广大女孩子的晴眯。
Popping（机械舞）：这是一种很见功力的舞蹈,跳起来像是机器人,又名机械舞。
运用身体各部位的肌肉和关节，随着音乐的节拍，加上自己丰富的想像力，创造出令人惊讶的舞步。
属于难度较高的街舞类型。
POPPING是BOOGALOO SAM在1976年创造的舞蹈。
它是一种包括收缩身体上的关节的舞蹈。
它不是WAVING，TUTING，或任何其他的STYLE。
它有它自己的风格。
虽然你可以把TUTING或其他风格混合到POPPING中，但POPPING还是它自己的事。
一些人还在认为POPPING是所有舞蹈风格的混合体。
对此你怎么看
当PETE在1978年跳它时，没有人WAVING或TUTING。
WAVING甚至在1981年前还没出现。
如果你问OG WAVER或TUTER他们在那段时间做什么，他们会告诉你他们在跳WAVING或TUTING，而不是在跳POPPINGpoping,又叫机械舞；运用身体部位肌肉和关节的震动，伴随着音乐的节拍，产生动感的视觉冲击，气氛的感染力较强。
适合广大的人群选学Hiphop：这是人们最常接触的一种舞蹈，它有着幅度大而简单的舞步，能够表现出复杂的舞感。
因为容易学习，跳起来也相当好看，所以很受大众喜爱。
由于此舞种深受广大女孩们喜爱，逐渐延伸出一个hipop分枝 G-Hiphop。
NEW SCOOL hiphop dance时代是随着NEW JACK SWING music(一种融合了R&B和POP的元素的音乐)的盛行而开始的.它开始于1989年-1990年.在Bobby Brown, Bell Biv Devoe, Heavy D, 和M.C. Hammer 的一些音乐录影带里展现了一种可以给舞蹈带来新的活力的一种方式.几乎当时所有的日本年轻舞者,迅速的探索研究这种形式,并且他们取得了成功.你一定记得,在这个时期里,许多RAPPER都有舞者伴舞.1989年,本土的舞蹈电视节目 DADA LMD开播了,相比于美国的soul train,这种TV SHOW在表演之后,有一种一起表演舞蹈,排成一排.在表演的当中,会由一些专业的舞者教授一些最流行的舞步.最后这些舞者会像歌手一样登场,祝贺演出成功.另外还有DANCE DANCE DANCE的TV show.dance dance dance是每个星期由4个舞蹈团体进行比赛,并且由节目里的专业舞者作为佳宾表演.但是这两档节目都是在午夜以后播放的.其影响力还不足以迸发出一种新的舞蹈形式.于是1989年,国际电视节目DANCE KOSHIEN开播.这档节目每个星期天8点播出,主要是高中生之间的HIPHOP DANCE比赛.尽管事实上,比赛的参与者,许多并不是高中生,但是这档节目却大大影响了当时的许多年轻人,并且开始跳舞.一些人,通过参加DANCE KOSHIEN的比赛而声名大振.一个叫做LL Brothers的组合,在比赛中成为了最成功的组合,并且后来成了了歌手.三档电视节目的存在,表明了流行的价值.lockin(锁舞)：〔what’s happening〕片中有一个滑稽的卡通人物Rerun，他常常做很滑稽的舞蹈，手脚动作非常快，可是在动作和动作间他又会短暂的暂停一下，或是锁住。
Lockin就是从此卡通人物身上演化而来。
虽然lockin看上去没有HIPHOP那么随意，没有POPPIN那么潇洒，没有BREAKIN那么吸引人，但它是一个很让人着迷的舞种，也是最具有表现力的一个舞种。
它其中的一大特色是一连串快速动作后突然在某个姿势上停住，中文解释为“锁舞”。
Lockin采用的音乐是funk music，由多种乐器组成而BASS占了很大的比例，后来又加进了DISCO以及电子合成音乐，给人带来一种欢快,跳跃,向上的感觉。
House：House是New School舞蹈的一部份，跳House时，音乐控制着你的身体。
随着House音乐，运用复杂而神奇的步伐展现轻盈与力度的恰当配合。
故而说，house是一种以音乐名称定义的舞种，它比Hip-Hop有更多的Free Style，加上拉丁舞的扭腰、武术的空翻、踢踏舞的基本步以及芭蕾的转圈，跳起来既可以十分优雅，也可以相当狂野。
（希望对你有帮助
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