[6] Ubongo as a term originated from a speech by President Nyerere in the late 70's during a very difficult time following both the global fuel shocks of the 70's and the Kagera war against Uganda.

The term Ubongo was being used as a clever way to say both, survival in Dar es Salaam required brains and inelegance, but was also full of mentally deranged people.

[13] The 70 minute record which features artists including X Plastaz, Juma Nature, and Gangwe Mobb has enjoyed wide international distribution.

This infant Bongo Flava style and imported American hip hop was initially embraced almost exclusively by young upper class individuals who found it fashionable to follow US trends.

[17] The use of Swahili language in bongo flava conveys a particular message and idea to its listeners, instilling a sense of national pride and common culture.

"[17] At the same time, the employment of Swahili Rap represents an attempt to negotiate the authentic gangster projection with more traditional and local Tanzanian musical forms.

It makes sense then that those most dependent on the more marketable hardcore rap generally come from the impoverished regions of Tanzania, like Dar Es Salaam, where any chance at success may be more important than the worry of abandoning national pride in exuding a culturally ambivalent image.

One of the paramount rap topics in this issue of balance is the objectification of women, which while it may be more marketable than less explicit forms, stands in contention with the Islamic ideals that many Tanzanians embrace.

Still though, crude styles tend to appeal to the urban youth of Tanzania, as exemplified by the rap group LWP Majitu who, according to Out Here Records, "are popular for their hardcore hard hitting lyrics.

Hip hop culture in Tanzania began in the early to mid 1980s chiefly as an underground movement, when promoters and artists would be forced to record and copy music in makeshift studios using rudimentary equipment.

[21] These students of hip hop played an integral part in the formation of bongo flava, "through participation within a transcultural, multilingual and multiracial global hip-hop nation, combining African-American language with Swahili and local street varieties ("Kihuni")".

For example a hip hop group from Tanzania, Berry White, exemplifies the influence of African American music solely in the name of the band.

[24] This gave Tanzanian citizens limited access to hip-hop, and early artists either learned of it by hearing it in a foreign country through connections abroad.

Rap music was merely a pastime for the upper and middle classes, in opposition to early hip-hop artists in the United States and South Africa.

Education was seem as their way to gain financial and social success and early rappers mostly rapped in English using American lyrics and tracks.

For example, artist Balozi recently worked on a project with poor Tanzanian boys affected by the HIV/AIDS epidemic, writing a song expressing their plight.

Or are artists borrowing some elements of American hip-hop that resonate with them, among a variety of other (for example Tanzanian, Congolese, Japanese, or Cuban) cultural influences and then creating something entirely new, entirely their own?

In a region where Islam plays a strong role in the lives of the general populace, it is difficult to incorporate the vain outlook on life and the condescending attitude towards women so prevalent in commercially successful rap in America.

Tanzanian hip hop group Jungle Crewz Posse scoffed at the notion that their songs were just like American music, saying "Rap is not copying from abroad...we are not talking gun.

Already with a second generation of hip-hop artists emerging new, uniquely African sounds have been used more, including "muziki wa dansi, taarab, and Indian filmi.

[32] As most fail and even die to make this transition, bongo-flava songs, while still speaking out against heavy issues like HIV/AIDS, has recently been made to be "uplifting and memorable," in order to give Tanzanians hope and a positive outlook on life.

As a result of politicians post Nyerere forgetting about ujamaa and the rise of unemployment and poverty, an avenue for artistic expression was created as an underground movement.

"[11] Rap has become a way for youth in Tanzania to teach other others about joblessness, corruption, class differences, AIDS and other problems that are faced within the Tanzanian society.

"[11] Kenyan rapper Nazizi developed a large following in Tanzania and worked with Tanzanian producers P-Funk Majani and Mika Mwamba.

"[48] The biggest difficulty facing female rappers is that they must overcome the assumption that MCing is a masculine activity and that hip hop is associated with gangs and violence.

These include the (now defunct) Hip Hop Kilinge (Cypher), a weekly event that brought youth to the New Msasani Club in Dar es Salaam for performances, battles, and education sessions.

In her article, Sidney refers to Tanzanian rapper Dully Sykes and a song he released in 2001 called ‘Nyambizi’ (Swahili for voluptuous woman).

In response, many artists have begun using hip hop to bring awareness to the AIDS epidemic and to teach youth safe sexual practices.

"Our main theme – don't feel shy, talk with your partner about abstinence, being faithful or using a condom," says Nassoro Ally, a regional outreach coordinator for Ishi.

Paul Matthysse who is also known as P-Funk Majani, is not only the owner of Bongo Records but also as talented producer, who has had a lot of input in the way the genre of music is shaped.