R&B and hip hop together....

Rhythm and blues (R&B) is an awkward music genre to pin down. It shifts over time, and seems essentially to mean any music created by black people in America (not elsewhere) which is not jazz or soul, but which over time came to incorporate elements of jazz and to largely absorb soul. Black (and white) people from different countries can perform R&B, but the music they perform would have a style origin in America. If the style origin is not America, it is not called R&B until American black artists make it their own. Jamaican dubbing and toasting is not R&B until American blacks take it over and make it their own as rapping and hip hop. Then it becomes a part of R&B. By and large it appears that R&B is, for Americans both black and white (though the term appears to be white in origin), a way to identify and differentiate the music of black people from the music of white people. So, in the 50s, for example, black people played and listened to R&B while white people played and listened to rock & roll. There was (and still is) some crossover, but by and large in America there is a huge race issue, so both black and white people are fixed by skin colour such that they prefer to keep apart, and it is the rare and exceptional artist who wishes to truly cross over. Chuck Berry turned R&B into rock and roll with lyrics that were aimed more at whites (who were more fixated on cars than hard times and on chasing girls than bragging about their sexual conquests) and with music that was more riff based, and has become more of an icon for whites than for blacks, Ray Charles sang country,  and Jimi Hendrix, influenced by Eric Clapton, played British R&B. Ray Charles was a crossover success, appealing to both blacks and white in large numbers because he sang both black and white style music, while Berry and Hendrix appealed mainly to white people, as they played mainly white music. 

Wikipedia: 

Rhythm and blues, often abbreviated as R&B, is a genre of popular music that originated in African-American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, rocking, jazz based music with a heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of relationships, economics, and aspirations.

The term "rhythm and blues" has undergone a number of shifts in meaning. In the early 1950s, it was frequently applied to blues records. Starting in the mid-1950s, after this style of music contributed to the development of rock and roll, the term "R&B" became used to refer to music styles that developed from and incorporated electric blues, as well as gospel and soul music. In the 1960s, several British rock bands such as the Rolling Stones, the Who and the Animals were referred to and promoted as being R&B bands; posters for the Who's residency at the Marquee Club in 1964 contained the slogan, "Maximum R&B". Their mix of rock and roll and R&B is now known as "British rhythm and blues". By the end of the 1970s, the term "rhythm and blues" had changed again and was used as a blanket term for soul and funk. In the late 1980s, a newer style of R&B developed, becoming known as "contemporary R&B". It combines rhythm and blues with elements of pop, soul, funk, disco, hip hop, and electronic music.

When Jimmy Jam and Terry Lewis produced Janet Jackson on Control in 1986 they blended hip hop and dance-pop with the urban contemporary sound of R&B and so influenced the creation of new jack swing. Most notably developed on Rhythm Nation (1989), which influenced her brother Michael to hire Teddy Riley to produce Dangerous (1991). 

A London sound crew becomes Soul II Soul and in 1989 releases Club Classics with "Keep On Moving" and "Back To Life", which would later be classed as neo soul, a style that blends contemporary R&B with hip hop, funk, jazz and electronica. The roots of neo soul go back to Terence Trent D'Arby with Introducing The Hardline According To (1987),  which built on the progressive soul of  Stevie Wonder and others. 

When Puff Daddy produced Mary J. Blige on What's the 411? in 1992 he blended R&B and hip hop and so created "hip hop soul". Most notably developed on My Life (1994).

In the late 80s in Bristol, sound crews were blending Jamaican dub with hip hop and acid jazz and acid house in a form of music that would later be called trip hop.  One of those crews became Massive Attack who released Blue Lines in 1991 and  Protection in 1994. Somewhat independently Bjork, the Icelandic singer from The Sugarcubes, released Debut (1993).  Portishead, also from Bristol, released  Dummy in 1994.  Tricky, from Massive Attack, went solo and released  Maxinquaye in 1995.