Due Feb 3 by 5pm Points 10 Submitting a file upload
Re-submit Assignment
Topic, Thesis, and Proposal
For this assignment, you will write your topic and thesis as separate sentences. Please
double space For example (from my own work):
Topic: The linkage of Hip Hop and marching ensembles, in culture and practice, in the
African American South.
Thesis: I contend that African American Hip Hop and marching band musicians don’t
exist in isolation of each other in the South, but rather engage in constant musical
dialogue because of the presence and influence of Historically Black College and
University bands in their immediate vicinity, and in black popular culture in general.
Then, write a few sentences previewing your arguments. This portion is your proposal.
The key to this assignment is to be clear and concise. If you find yourself having
trouble it’s ok, but ask for help early. If you submit early, and would like to resubmit
after revising, you may do so. Look to number 1,3, and 4 on this document for
guidance.
(https://depts.washington.edu/pswrite/Handouts/HowtoWriteaPaperProposal )
These other resources may also help:
https://uncw.edu/ulc/services/writing/thesis.html
(https://uncw.edu/ulc/services/writing/thesis.html)
Be aware that some topics may be rejected, but we will help you find something
suitable. If you have not be engaging with the module content, this may impact your
performance on this assignment.
DUE: Wednesday, February 3rd, by 5pm PST. This is weighted as 5%. of your grade.
Research Project Overview
Crafting a well-researched argumentative paper about a topic connected to the
music , business, and culture of Hip Hop is the primary objective of this class. Read
general information in regards about argumentative papers (essays) here.
(https://owl.purdue.edu/owl/general_writing/academic_writing/essay_writing/argument
ative_essays.html)
Task, analysis of readings and media examples, note taking, and your written music
critiques are included to provide background about Hip Hop and to help you
generate knowledge. This knowledge can help you form ideas, which can lead to
choosing a topic. (https://owl.excelsior.edu/argument-and-critical-thinking/finding-
topics/)
Here are the assignments, in reverse order. This way you will have an
understanding of the finished product you we need, and how to construct things
properly.
Final Draft
Write a well-structured argumentative paper, using evidence garnered from music
analysis and your sources to connect to your thesis, that also happens to be an
interesting read. We want your analysis to interact with your sources without,
plagiarizing. While you may use some biographical information to support your
arguments, this is not a biographical assignment. Connect your arguments to what
you hear, and use your source material to reinforce those arguments.
The technical format and requirements are:
12 point, Times New Roman font, double spaced
Between 2000-2500 words, 8-10 pages of prose
Chicago
(https://owl.purdue.edu/owl/research_and_citation/chicago_manual_17th_edition/c
mos_formatting_and_style_guide/chicago_manual_of_style_17th_edition.html)
author-date or notes-bibliography format and citation style, or MLA
(https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_style_introductio
n.html) format and style. Footnotes, endnotes, works citied, and in-text citations
and quotes, and margins should follow the style you choose. Remember, you
must cite all of your sources, regardless if you use a direct quote from them or
not.
A title page, with the title of the paper, your name, date, MUS 17 Winter 2021,
and section number. There should not be a heading on the first page of the
prose.
Page numbers starting after the title page
Here are some more sources to help you. Some are specific to writing about music.
In text, songs are in quotes, albums or mixtapes are italicized.
Content from at least two of the class readings.
Analysis from at least two songs, or one song and one film or media example
used in class. This includes songs from 1989-2009 in the Southern Rap Canon.
The use of another song or songs that we didn’t cover that provides evidence for
your argument.
One of your external sources must be from a book, ebook, magazine, or
newspaper (UCSD library has access to Billboard, New York Times, LA Times,
Wall Street Journal, Newsweek,etc.)
These requirements are to insure you turn exclusively to websites as resources. Do
not use wikipedia as a resource. Reliance solely on websites for this project
will not be sufficient.
Some digital sources you may use, among others, include:
Discogs for album credits (who did what on an album)
https://www.discogs.com/Drake-Nothing-Was-The-Same/release/8868835
(https://www.discogs.com/Drake-Nothing-Was-The-Same/release/8868835) .
Who Sampled for trying to figure out what samples are used in Hip Hop songs
https://www.whosampled.com/ (https://www.whosampled.com/)
Podcast, like NPRs’ Microphone Check (
https://www.npr.org/sections/microphonecheck/
(https://www.npr.org/sections/microphonecheck/) ) and The
Cipha (http://theciphershow.com/ (http://theciphershow.com/) ).
Red Bull Music Academy lectures
https://www.redbullmusicacademy.com/lectures/marley-marl-tokyo-2014
(https://www.redbullmusicacademy.com/lectures/marley-marl-tokyo-2014) .
Netflix programs, like Hip Hop Evolution or Rhythm + Flow
Structure and organizational issues should be covered by the outline assignment.
DUE: Tuesday, March 16th, by 11:59pm PST.
Rough Draft
Look at the requirements for the final draft. Try to meet those requirements. If your
citations are not all formatted correctly, it’s not a problem, but you do need to let us
know what your sources are. You do not need a title page. Single space your name,
section, and title at the top of page one. Follow the structure of your annotated
outline, but you need to also concentrate on writing great prose (smooth transitions
between paragraphs, etc.). This assignment will not be graded as strictly as your
final draft, but pay attention to the comments, and make corrections accordingly for
your final draft.
DUE: Tuesday, March 2nd, by 11:59pm PST.
Annotated Outline (Optional)
You need to write a detailed outline, with ideas for your introduction, topic
sentences with evidence for your body, and a conclusion. We need to see structure,
organization and a logical building of arguments. Read these ideas on how to
transform your notes, analysis, and topic thesis and proposal project into your
outline:
1. Start with an introduction. The first section of your outline should be titled “Introduction,” and it
must include the following elements:
a hook that grabs attention and opens your paper;
a quick preview of your main points;
a thesis statement.
2. The main body of your paper should have section headings. You may make them more or less
specific, the main thing is to make sure that they are directly related to your thesis statement
because they must support it.
Your headings should reflect different aspects of the topic. For example, if you’re writing about
climate change in California, your headings may focus on the following things: the geological
profile of California, its climate systems, recent climate changes, the consequences of climate
change for the local economy, and consequences of global warming for wildlife and biology.
Make sure that your outline gets straight to the point. Don’t try to make more sections than you
actually need because the outline must be concise. Usually, annotated outlines don’t exceed
2-2.5 pages with double spaces.
3. Write two or more supporting paragraph headings under every section. We recommend that
you write at least two paragraph headings in each section.
4. Write topic sentences for all paragraphs. Every paragraph must begin with a topic sentence
that explains what this paragraph will be about and reflects the arguments that you make in
this paragraph.
5. Every paragraph should also explain how each paragraph connects back to the thesis
statement. Support your points with paraphrases and direct quotes from your sources, notes,
and music analysis.
Provide data from surveys and opinions from reputable experts. In the outline, briefly explain
the connection between the topic sentence and evidence from each paragraph.
Include a closing sentence that will allow you to make a transition from to the next another.
This way, your content will logically flow from one section to another.
6. Write a conclusion section. It must rephrase your thesis statement, wrap up the entire paper,
summarizing its key points, and express some meaningful ideas that will reinforce the thesis
and leave your readers with something to think about.
The above example is very detailed. Two more sources that explain how to write an
annotated outline here. (http://gatp.org/wp-
content/uploads/2014/06/OutlineAnnBib )
and here.
(http://www.capella.edu/interactivemedia/onlinewritingcenter/downloads/handoutDevA
nnotatedOutline )
Do not submit a simple outline. Include some explanation, sources, or both. The
more you put into it, the more we can help you.
Due date for those who choose to submit is set by your TA. Submit in the
“sections” module.
For this assignment, you will write your topic and thesis as separate sentences.
Please double space. For example (from my own work):
Topic: The linkage of Hip Hop and marching ensembles, in culture and practice, in
the African American South.
Thesis: I contend that African American Hip Hop and marching band musicians
don’t exist in isolation of each other in the South, but rather engage in constant
musical dialogue because of the presence and influence of Historically Black
College and University bands in their immediate vicinity, and in black popular
culture in general.
Then, write a few sentences previewing your arguments.
The key to this assignment is to be clear and concise. If you find yourself having
trouble it’s ok, but ask for help early. Look to number 1,3, and 4 on this document
for guidance.
(https://depts.washington.edu/pswrite/Handouts/HowtoWriteaPaperProposal )
Be aware that some topics may be rejected, but we will help you find something
suitable.
The Engineer
Task: Watch the videos below and answer the accompanying questions.
Listen to the fullness each track when asked in the above video. Listen to how
the sounds are put together. How would you describe what you’re hearing? Write
that in your notes.
0:00 / 13:14 1x1x
Search Show transcript
2/25/2021 The Engineer: MUS 17 – Hip-Hop – Green [WI21]
Now that you hold some knowledge in regards to the sonic markers of Hip Hop,
different ways it is conceived, and roles people occupy within it, you are ready to do
some critical analysis.
2/25/2021The Beatmaker: MUS 17 – Hip-Hop – Green [WI21]
The idea of a beatmaker stems from musicians utilizing technology in order to
construct tracks for emcees to rhyme over. Conceptually, it comes from the DJ
technique of extending the drum break. Beatmakers may collaborate with others on
tracks, but many like to work alone.
Many beatmakers, like Linafornia above, may sell beats to artists for their
recordings, but don’t always go the studio with them to complete the project. They
are also referred to as producers, but some believe a producer should complete the
song, with vocals intact.
Beatmakers have also come to release their own instrumental projects.
Listen: to “Wettt,” by Linafornia
Wettt
(https://www.youtube.com/watch?v=wFmF-9GSuNs)
(https://www.youtube.com/watch?v=wFmF-9GSuNs)
2/25/2021 The Source Mind Squad: A Serious Critique of Hip Hop: MUS 17 – Hip-Hop – Green [WI21]
The Source Mind Squad: A Serious
Critique of Hip Hop
(The March/April 1991 cover of the Source Magazine. )
Nelson George writes in his book Hip Hop America:
The Source: The Magazine of Hip Hop Music, Culture, and Politics was founded in
1988, by two Harvard student, Hip Hop fans/practitioners named Jonathan Shecter
and David Mayes and a businessman named Ed Young, in 1988. It started as a
two-page newsletter, coming out of a Cambridge dorm room, and eventually
became a monthly magazine, with offices and staff located in New York. The
Source became known for… it’s ongoing coverage of Hip Hop events, parties,
2/25/2021 The Source Mind Squad: A Serious Critique of Hip Hop: MUS 17 – Hip-Hop – Green [WI21]
upcoming talent, and cultural offshoots [Hip Hop and faith, sneaker culture, gang
violence, sports] (72-73).
A huge part of the magazines’ impact were in the “Record Reports,” aka the album
reviews. “The Mind Squad,” who were a group of individuals that worked or
gathered at The Source, and engaged in debate about the newest releases
“dropped” (released) by producers and rappers. The outcome of these discussions
resulted in record reviews featuring “mic ratings ” ( 5 mics being a classic) and a
description of the record. At one time, these reviews were taken extremely seriously
by practitioners and aficionados alike.
Kierna Mayo, who you heard from in Week 1, started working at the publication in
approximately 1991, and was one member of the ” Mind Squad.” She referred to
the group as “cultural theorists,” with Hip Hop being the platform.
These ideas, which were reflected in print, represent the grassroots, lived-
experience of Hip Hop, but also how the music was growing into a viable part of the
popular entertainment industry while still, seemingly, maintaining some sort of
autonomy from it. These reviews expressed insider information. Readers didn’t
have to agree with the reviewers assessment of the songs, but it was agreed upon
that their critique was steeped in emic knowledge of the music and culture of Hip
Hop.
All of you will now learn how to engage in this style of critique.
Task: Before you complete your graded critique, download and read the Dr. Dre
long form review
(https://canvas.ucsd.edu/courses/24336/files/3118492/download?wrap=1) and one of
four short form reviews.
(https://canvas.ucsd.edu/courses/24336/files/3117807/download?wrap=1) .
Make sure and pay attention to the mic ranking system. You will need to use it.
DJ, producer, engineer, and emcee,DJ Quik (David Blake) in the lab (studio).
The Producer
Who a music producer is and what they do is a source of confusion both in and
outside of the music industry. In a 2004 interview at the Red Bull Music Academy,
Bob Power, mostly known for his work as an mixing engineer in Hip Hop circles,
gives a really good description. Pay attention to the nuances of what he is saying.
But anyway, the role of a producer is really interesting. Some producers know music inside and
out. Some producers don’t know a note of music and they are incredible producers. Some
producers just have money. Some producers know music but not in traditional ways. Some
producers, and many times in hip-hop, are beat creators. These, and all combinations of these,
have become very valid concepts of what a producer does, and it’s fascinating. A lot of old school
musicians – and again because hip-hop was really the fulcrum, the point at which a lot of things
changed, about popular music and how it’s made – a lot of old school people, including
2/25/2021 The Producer : MUS 17 – Hip-Hop – Green [WI21]
engineers, got really resentful when hip-hop came around. Because they say, “Oh, A. This isn’t
music, B. That’s not the right way to do things, C. They don’t know about X, Y, Z, so they don’t
deserve this…
Read and Task: To really grasp the meaning of the above statement, I want you to
read portions of an online article by Complex Magazine, entitled “The Best Hip-
Hop Producer Alive, Every Year Since 1979
(https://www.complex.com/music/2020/02/best-hip-hop-producers) .” You will look at
the online resource Discogs to check album credit information. You will then be able
to have an idea of the production style the individuals you are studying.
Read: the beginning of the Complex article. Stop right before “Sylvia Robinson.”
What did you read in this material that relates to what Bob Power said?
Read “1980: Rocky Ford and J.B. Moore,” in Complex. Then, read the album
credits (https://www.discogs.com/Kurtis-Blow-Kurtis-Blow/release/9217871) for
the Kurtis Blow album. Look at the credits for A2, “The Breaks.” Listen to it again
if you need to.
According to Bob Powers’ description of different kinds of producers, how
would he define the role of Ford and Moore?
What did they do, as producers, in terms of creating the track?
Read “1982: Arthur Baker,” in Complex.
Listen: to “Planet Rock.”
Planet Rock (https://www.youtube.com/watch?v=_rlUQsC8ECk)
(https://www.youtube.com/watch?v=_rlUQsC8ECk)
What is the tool Baker used that became a staple for music production?
What did Baker do for the R&B/Pop group New Edition? Did he help Afrika
Bambaataa in a similar way?
Read “1983: Larry Smith,” in Complex.
Listen: to “Sucker MCs”
How does the texture of the beat on this track compare with the previous
two?
Which is more sparse and which is more dense?
According to Bob Powers’ description of different kinds of producers, how
would define the role of Smith?
Read “1991: DJ Quik,” in Complex.
Listen to “Tonite.”
Tonite
(https://www.youtube.com/watch?v=O3uRLZk2AvM)
(https://www.youtube.com/watch?v=O3uRLZk2AvM)
How does his wide knowledge of music factor into his production style?
How does Quiks’ skill-set differ than Ford and Moores’?
Take Note: Sean Combs aka Puffy Daddy or P. Diddy was included in this article,
tangentially. It was a noticeable, but understandable nuance. Easy Mo Bee, The
Hitmen, and others who worked with Combs making beats deserve attention, but
the way Combs is framed in the Complex article speaks directly to how Hip Hop
producers are defined.
Combs came to prominence after the emergence of The Notorious B.I.G (Biggie,
Christopher Wallace) in the early 1990s. His style of producing was not the
standard for 90s Hip Hop. His style mirrored producers outside of Hip Hop–similar
to Atlantic Records R&B producer Jerry Wexler.
(https://www.atlanticrecords.com/posts/jerry-wexler-godfather-rb-18831) Puff would
inform his artists on song content. In the studio, he coached vocals and decided on
which versions to keep. He’d advise his beatmakers on what sounds should be
added or subtracted in order make the track more attractive to the listener, even
though he couldn’t execute the task himself. Although he doesn’t play any
instruments, and cannot use tools to make beats, he can take an idea about a song
from start to finish. Most of all, he always has insight on what people would like to
hear.
At one point in time, if a one didn’t make beats, then one was not valued as a
producer in Hip Hop. However, the skill-set of creating hits has always been
valuable in the music business. His input into the success of Biggie, Mary J. Blige,
and more, ushered in the mainstreaming of Hip Hop.
Listen: to “One More Chance (Remix), and the sample source by DeBarge here
(https://www.whosampled.com/sample/1234/The-Notorious-B.I.G.-Faith-Evans-One-
More-Chance-Stay-With-Me-(Remix)-DeBarge-Stay-With-Me/) . Combs had the idea to
make the song, using the sample, but The Trackmasters
(https://www.discogs.com/artist/121765-Trackmasters?type=Credits&filter_anv=0) ,
who were a part of his production team, made the beat.
Session guitarist, Eddie Martinez. Played for Kurtis Blow, Run-D.M.C, and many others outside of
Hip Hop.
We know that the DJs playing continuous breaks, pushing low-end frequencies was
central to Hip Hop musical expression when it was an event-based practice. The
techniques DJs used for making music did not translate to the studio when the
opportunity to record songs arose in 1979. Bands took on the role of sound
providers for the emcees.
The Shifting Role of the DJ
The early impresarios, like Sylvia Robinson, who invested in recording and
marketing Hip Hop neither understood, nor valued the centrality of the DJ. Most of
them were musicians from an earlier era of music making that used bands to record
tracks for vocalists. The label executives for the independent companies Sugar Hill,
Paul Winley Records, and Enjoy Records all used instrumentalists to replay the
breaks they heard for the rappers on their labels, during the early 1980s.
Professional studio musicians were also used for Kurtis Blows’ (Walker) self- titled,
major label debut album, on Mercury Records.
2/25/2021 Bands and the Role of the DJ: MUS 17 – Hip-Hop – Green [WI21]
Task: Listen to the song “The Breaks” (1980) by Kurtis Blow. This is an example of
the band-based sound of the late 70s and early 80s.
Questions: Many followers of Hip Hop do not hold the sound of early band-based
tracks in high esteem.
Describe the beat (track) ,not the lyrics, to the best of your ability.
Does it matter that a band created this track and not a DJ?
Why or why not?
Meanwhile, Grandmaster Flash, who was leader of his group The Furious Five, was
continually sidelined and marginalized in the Sugar Hill Records recording studio.
Label head Sylvia Robinson disparaged him openly. In 1981, he was able to record
a mix routine using three turntables. The result was the piece “The Adventures of
Grandmaster Flash on the Wheels of Steel.” The achievement of recording this
piece didn’t change the mind of Robinson.
Question:
What well-known break is he using that you’ve already heard in this class? If
you’re not sure, look here. (https://www.whosampled.com/Grandmaster-
Flash/The-Adventures-of-Grandmaster-Flash-on-the-Wheels-of-Steel/)
The BreaksThe Breaks
The Adventures of GrandmaThe Adventures of Grandma……
In truth, when I was younger I erroneously thought the DJ was always responsible
for making the beat, when he/she was part of a rap group (when raps groups were
plentiful). You will find that this is true some of the time, but not always. If the DJ
knows how to cut and scratch, many times they will be hired to record those specific
sounds. In terms of who is responsible for making the beat, the song as a whole,
and controlling how the song sounds, there are three primary roles: the producer,
the beatmaker, and the audio/mixing engineer. In Hip Hop, these roles are not
always well-defined, and often overlap.
2/25/2021 Tools of the Producer/Beatmaker: MUS 17 – Hip-Hop – Green [WI21]
Tools of the Producer/Beatmaker
“Traditional Instruments”
We have discussed how the earliest era of recorded Hip Hop was played by bands.
The disconnect between the type of sound your heard on recordings like Kurtis
Blows’ “The Breaks,” and what was being heard at Hip Hop events, had an impact
on how Hip Hop makers would view the involvement of instrumentalists in Hip Hop
track making. During a NPR interview, producer Marly Marl described in detail what
the problem with bands were, in comparison to using drum machines and samplers.
The pioneers…They made a lot of records…The earlier Sugar Hill songs and a lot of the earlier —
like the Fat Boys (http://www.allmusic.com/artist/the-fat-boys-mn0000066743) and a lot of the
earlier Kurtis Blow (http://www.allmusic.com/artist/kurtis-blow-mn0000116388) productions were
great songs and great hooks. But it wasn’t really touching what made me love rap, and I’m sure it
wasn’t touching what made people fall in love with rap…When you got the rap tapes from Harlem
back in the day and the Bronx you would hear scratching, echoes, beat-boxing and just the
element of breakbeats…You gotta think: It wasn’t on the radio. There was tapes that people would
record right from their box, straight off the microphone, and those tapes would resonate
throughout the city. That’s how most of the people who loved hip-hop in the early-’80s, late-’70s —
this was our smoke signals, those tapes, those early tapes coming out of Harlem and the Bronx.
However, many producers/beatmakers either employ instrumentalists to play on
tracks, in addition to using drum machines or samplers, like Dr. Dre (Andre Young),
while others like Zaytoven (Xavier Dotson) arrive at Hip Hop production after
learning instruments (while producing for Future, The Migos, etc., he continues to
play organ for his church in Georgia).
Task: Listen to an instrumental version of “Break Your Neck.” It is mixed and
produced by Dr. Dre, with Mike Elizondo on guitar and Scott Storch on keyboards.
Stop at 1:40
Break Your Back
(https://www.youtube.com/watch?v=5yugK-MuZeE)
(https://www.youtube.com/watch?v=5yugK-MuZeE)
Can you distinguish the parts that Mike and Scott are playing when listening?
If not, what is making it difficult to do so?
Read: For this portion of the lesson, please read Edwards_Concise Guide To Hip
Hop (pp.111-129)pdf
(https://canvas.ucsd.edu/courses/24336/files/3095588/download?wrap=1)
(https://canvas.ucsd.edu/courses/24336/files/3095588/download?wrap=1) I also
discovered a good concise definition of the term “sampling” in a Hip Hop
Glossary_of_Terms 1 .
(https://canvas.ucsd.edu/courses/24336/files/3095592/download?wrap=1)
(https://canvas.ucsd.edu/courses/24336/files/3095592/download?wrap=1)
Task: Listen to and watch these examples. They give you an idea of the sounds
being described in the Edwards reading. Try your best to internalize these sounds.
Reread the Edwards after listening if needed.
Vocals Beatbox- “La Di Da Di” (1985), Doug E. Fresh and Slick Rick
11 Oberheim DMX-DX Hip Hop Beats (https://www.youtube.com/watch?
v=p8vQq0oeU7M)
(https://www.youtube.com/watch?v=p8vQq0oeU7M)
(watch from 0:00-1:13)
Samplers
Sampling became central to Hip Hop music making starting in the mid-1980s. It is
not easy to hear which sampler is being used by listening to the music. This song,
produced by The Bomb Squad, uses a sample collage technique that is rarely used
Building the Beat: Inside Legendary Roland TR-808 TracksBuilding the Beat: Inside Legendary Roland TR-808 Tracks
2/25/2021 Tools of the Producer/Beatmaker: MUS 17 – Hip-Hop – Green [WI21]
anymore (clearing samples, or asking permission and compensating the original
songs copyright holder can be expensive).
Night of the Living Baseheads (https://www.youtube.com/watch?
v=RCPSrHBNRIg)
(https://www.youtube.com/watch?v=RCPSrHBNRIg)
Digital Audio Workstations (DAWs)
Screenshot examples of different DAWs
Almost all producers and beatmakers use a DAW somewhere in their creation
process. A DAW is a software program or app, running on a hardware device, used
for recording and editing sound. Garage Band is an elementary level DAW. Most
DAWs are compatible tactile controllers, which allow you to control the program
without touching the screen or computer keyboard.
The DJ and producer 9th Wonder (Patrick Douthit) came to national attention as a
member of the group Little Brother in the mid-2000s. He was known for creating
soulful beats using the DAW Fruity Loops, which was somewhat marginalized for
being a non-professional program.
2/25/2021 Tools of the Producer/Beatmaker: MUS 17 – Hip-Hop – Green [WI21]
Task: Watch this entire video of 9th describing his process when creating the beat
for Kendrick Lamars’ “Duckworth” (2017). The DAW he seems to be using in the
video is Maschine (I can tell by the controller on the desk in front of him).
Take Note: If Hip Hop production seems interesting to you, think about ways it
could be framed as a research topic. Below are some additional optional sources to
read.
Sampling 101 (https://medium.com/@jhallwrites/sampling-101-the-basics-of-
flipping-samples-for-hip-hop-production-dddd4bb4428d)
Sonic Genius: Hip-Hop Producers Who Defined the 80’s
(https://www.rockthebells.com/blogs/articles/80s-hip-hop-producers)
Hip hop refers to rap music, a genre of popular music developed by Latin and
Afro-Americans in the United States in the 1970s. It was that time in the history of the USA
when block parties were getting popular because rap music was promoting the cultural
movement in the most influential art form. While many people have a stereotype of hip-hop
culture, they think that hip-hop culture symbolizes dark and negative elements, such as drugs,
gangs, and murder, but in fact, hip-hop is a culture with a lot of positive value and influence.
Many raps convey a positive influence, such as Drake’s God’s plan. Some rapper songs are also
persuading people to stay away from violence, receive school education, help others, take care of
their families and change their destiny. And hip-hop artists are a way for many underrepresented
groups to speak out. They use hip-hop music to express their social and political issues and
attitudes. And hip-hop culture brings people together in different ways.
In the context of the origin of hip hop culture, it has been observed that cultural aspects
such as break dancing and graffiti were known to be the first aspects that caught the greater
public attention. A teenage Greek American, in 1972, started a graffiti movement by signing his
name and address on the walls of the subway system throughout New York City. The same
Anthony Vine
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thesis
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sparked many actions, till 1975, that rendered the names of individuals by spraying colors and
paintings on the wall, which ultimately led to influential art dealers all across Europe, the US,
and Japan to display graffiti in art galleries. Meanwhile, turntable manipulation techniques were
being developed by deejays by playing short drum brakes, which created a rhythmic effect
known as scratching. In the US, rap first came as a prominent genre of music on the national
level by the release of the song “Rappers Delight'” by Sugarhill Gang in 1979. In the context of
the timeline of the hip-hop culture, the most notable event that led to the initiation of this
movement in the incident of Kool Herc holding his hip-hop parties in 1973. In 1979, the first
recorded rap song was released, followed by Curtis Blows single “The Breaks” massive sales in
1980. The last “old school” hip hop party was held by Kool Herc in 1984, and ‘The Show” was
created by Doue E. Fresh in 1985. Later in 1986, Run DMC remixes like “Walk This Way” led
to the opening of hip hop to new audiences, and gangster rap was also formed at the same time.
Furthermore, in 1992, “The Chronic” was written by Dr Dre that launched him and labeled him
as a hip-hop icon in the world of rap music. Besides, the contemporary age of hip-hop culture
has begun in the 2000s. According to Complex, 2021, Kanye West is one of the successful
hip-hop producers in the rap music world in 2005. So, this is how the rap culture has emerged
and evolved in the US by the multicultural exchange between Afro-Americans and the
immigrants from the Caribbean.
According to Berry, V., and Rose, T., 1996, hip hop has become a culture now, which is
not just limited to be music genre, but it has also been associated with culture as the social and
political culture of America has been influenced by it over the periods of past few decades. Hip
hop music has overall impacted the black community by uplifting them and giving them a sort of
platform to put their grievances. It has been known that America is a society that is broadly
Anthony Vine
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This brief history of hip-hop doesn’t provide any support for your argument and most of the context is irrelevant. I would recommend removing this paragraph.
Chen 3
divided on a racial and ethnic basis. In the context of the black community, people of color in the
US have always been oppressed, and their rights have been undermined within the social,
political, and economic structure of American society. The point is this community has not been
mainstreamed and broadly accepted by mainstream society. This is also one of the main reasons
that opponents of hip-hop culture argue that this music genre has disrupted the social fabric of
society by promoting violence and aggression. However, a platform to the black community in
America has been given in the form of hip hop culture, and a voice to the unheard voices has
been granted under the umbrella of hip hop culture. Hip-hop culture has been a crucial outlet for
the black community as it has played its part in making the people of color a significant part of
American society, thereby benefiting society as a whole.
Moreover, pop culture has given identity to the marginalized community, which has been
mainly neglected by mainstream American society. By creating awareness among the public, pop
culture has transformed society, as people have become more conscious about their rights. That
is to say; people have started demanding their (at least) basic human rights from the state. The
irony of the deprivation of rights of the colored people by the state can be best understood by the
recent example of a black American who has been killed by a white policeman by choking to
death. This incident led to the emergence of the Black Lives Matter Movement, which is known
to be a sister-movement of the Civil Rights Movement. One can infer from such incidents that if
American society is polarized and divided to this much level in the contemporary world that the
lives of black people are not safe even from the security providers, then what could be their
situation in the earlier history of the USA. Thereby, one can assume the extent through this
particular incident of how rights of Afro-Americans have been ignored and have been suppressed
by the state. However, hip-pop culture has given them the opportunity to get up and speak up for
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their rights. Hip-hop culture has given voice to their concerns, and now rap music has been
spread all across the world, particularly midland Europe. The point is it has become worldwide
known that blacks are not mainstreamed in American society. Thereby, it can be said that society
is being transformed by the hip-pop culture, which is a positive impact of hip-hop culture that it
has brought the black community together on one platform to be more vocal about their
grievances and concerns.
In the late Nineteenth-Century, extensive social changes have been marked in the culture
of America. The aptest example that can be quoted here is the influential trends that took place in
the nineties centers concerning the evolution of hip hop culture. Its history can be traced back to
the consciousness of the black community in the US. Besides, Clay A., 2003 stated that rap
music vis-à-vis hip hop culture could be characterized by the direct response to the social
inequalities against the colored men in society. These people turned their discontent into a
musical expression to restructure social opportunities and social attitudes. Besides, the inception
of musical movement has been seen in the late Eighties; however, the real force against
oppression by the musical wave has been attributed to the hip hop culture in the Nineties.
Despite the controversies over the legitimacy of the music concerning vulgar lyrics, the national
movement in the form of hip hop culture led the entire community to uplift the oppressed and
marginalized strata of the society. Thereby, bringing unity among the same groups, the rap music
and hip hop culture has brought them together to stand for their social rights so that they could
become a valuable part of the society.
Another positive impact of hip-hop culture was the promotion of social awareness. That
is to say, proponents of hip-hop culture tried to mitigate the effects of the social mobility that
was being biased towards black and other marginalized sections of the society. They promoted
Anthony Vine
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19th century = 1800s….
Chen 5
the message hip hop was not just simple entertainment; rather, it was the major part of the
present-day identity networks based on poverty, violence, capitalist accumulation, blackness,
power, and resistance. According to Pyatak, E. and Muccitelli, L., 2011, music in the form of rap
has been known as a powerful technique to engender social awareness throughout the history of
the USA. At the same time, music represents ideals, trends, conditions of society and inspires
attitudinal progression along with social change. So, it can be said that hip hop in the US has
been recognized as a blend of fiction and reality that rap music has become a notable response to
the condition of social inequality such as joblessness, poverty, disempowerment. Thereby, the
widened popularity of hip hop culture has been recognized as a social revolution in American
society during the Nineties. The marginalized communities have been able to develop
consciousness about their rights, and they out rightly conveyed their grievances in the form of
music against discrimination prevalent in society. Thus, one can say that hip hop has brought a
social change in American society by making people cognizant about their rights, ultimately
leading to a social change.
Another most important positive influence of the hip-hop culture was that it had
redefined the cultural norms. In the past, it has been observed that rights were granted to the
black community in the US in the wake of the Civil Rights Movement. The Civil Rights
Movement refers to the advocacy of the rights for the black community and abolition of slavery
from the American society. However, Afro-Americans were left behind that in this movement,
and now it has become a serious challenge for them that how would they continue fighting for
their rights and how would they determine the subtle forms of discrimination based on races and
ethnicity. It has given the Character-Ethic precedence over the Personality-Ethic to establish a
trustworthy social relationship. Berry, V. and Rose, T., 1996 stated that the changes that were
Chen 6
made in the social climate were notably confusing because black nationalists had been vocal to
identify the significance of Black culture and identity for its political struggle. Moreover,
hip-hop proponents have used Black Nationalism to fight for the rights of the colored people that
were left unchecked in the Civil Rights Movement. Thereby, one can say that by redefining
racism and by creating a balance between black rights and individuality, the hip-hop culture has
given a new shape to the cultural norms by regarding people of color as important public figures
and by establishing the new modes of learning and social interaction. It does not deny the fact
that hip hop has been recognized as a strong national movement that prevailed in the US which
provided vocals to that section of society who was oppressed and marginalized. There is a school
of thought that believes hip-hop music represents violence and aggression.
According to Shecter, J., and Mayes, D., 1988, it inherently represents vulgarity,
chauvinism, and profanity that are not a credible method of productive social reform. It is also
believed that an imagined community was formed by the members of the hip-hop nation that was
less based on realization and had been posing a threat to national integration. They argued that
any attempt to promote this notion was an act of rebellion against society. So, this stance by the
opponents of the hip-hop culture was an attempt to undermine the cause and intention of the
movement, thereby hurting the effects of hip-hop culture.
To sum up, it may be said that hip-hop culture has positively impacted American society.
Hip-hop music has transformed society by the mere method of advertisement and awareness
promotion into a formidable cultural force to construct the identity of both an individual and a
community. Across the country, people of color who were identified with rap music had been
informed by it a medium through which they share a national culture. People, particularly the
colored ones, have incorporated rap music and hip hop culture into their daily lives. Moreover,
Anthony Vine
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people of color *
Chen 7
hip-hop culture has brought a social revolution in the social sphere by giving identities to young
men and women belonging to Afro-American groups. Moreover, hip-hop culture has redefined
the cultural norms by creating conciseness about rights among the oppressed sections of
American society. It became the medium to express the voice against hatred, discrimination,
violence and social evils and therefore, it can be said to be a platform to raise awareness among
the common masses through the medium of art. The opponents of hip-hop culture tagged it as
promoting violence and that is has been undermining national integration because of the vulgar
lyrics and aggressive tone of rap music. Critics exist for any form of art or music, and therefore,
nothing can be declared ultimate success.
Chen 8
Work Cited
Berry, V. and Rose, T., 1996. Black Noise: Rap Music and Black Culture in Contemporary
America. American Music, 14(2), p.231.
Berry, V. and Rose, T., 1996. Black Noise: Rap Music and Black Culture in Contemporary
America. American Music, 14(2), p.231.
Clay, A., 2003. Keepin’ it Real. American Behavioral Scientist, 46(10), pp.1346-1358.
Complex, 2021. The Best Hip-Hop Producer Alive, Every Year Since 1979. [online] Complex.
Available at: [Accessed 27
February 2021].
Pyatak, E. and Muccitelli, L., 2011. Rap Music as Resistive Occupation: Constructions of Black
American Identity and Culture for Performers and their Audiences. Journal of
Occupational Science, 18(1), pp.48-61.
Shecter, J. and Mayes, D., 1988. The Source Mind Squad: A Serious Critique of Hip Hop. New
York, pp.72-73.
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