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MUH 2019 participation sheets March 14th-March 18th

by: Heya_Lanayia

MUH 2019 participation sheets March 14th-March 18th MUH 2019

Marketplace > Florida State University > Music > MUH 2019 > MUH 2019 participation sheets March 14th March 18th
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About this Document

Early hip hop participation sheet and answers
Modern Popular Music
Chris Orr
Class Notes
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This 3 page Class Notes was uploaded by Heya_Lanayia on Wednesday March 16, 2016. The Class Notes belongs to MUH 2019 at Florida State University taught by Chris Orr in Spring 2016. Since its upload, it has received 47 views. For similar materials see Modern Popular Music in Music at Florida State University.


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Date Created: 03/16/16
MUH 2019 Worksheet: Monday, March 13 – Early Hip hop 1. Describe the socioeconomic context in which hip hop coalesced as a genre. How did this context help shape and define this type of music? Postindustrial city condition (little federal funding, housing crisis, “urban decay”), and the post-Civil Rights era (new equalities for African Americans.) 2. What are the ‘four pillars’ of hip hop? How has the relative importance or prevalence of these four elements changed when compared with hip hop today? - Graffiti  Some street art is done, but graffiti in the hip hop world is not as prevalent - Breakdancing Not really as prevalent now, but it’s still important - DJ It’s still very prevalent and important in today’s hip hop world - MC (rapping) It’s still very prevalent today, and still very important in the hip hop world 3. Name the pioneering hip hop DJ who also founded the Zulu Nation and sought to use hip hop culture as a positive force for local youth: ___Afrika_________ _____Bambataa_____________ 4. Which pioneer DJ helped develop several foundational disc jockey techniques for hip hop, including back spinning, scratching, and punch phrasing? ___Grandmaster_________ _______Flash_________ 5. What is the name of the track by Melle Mel, Grandmaster Flash and his Furious Five that is often credited with establishing social realism in hip hop? __The_____ ______Message_______ Brackett, Ch. 70: Hip-hop. Don’t Stop (by Robert Ford, Jr.) 6. What was the relationship between disco and early hip-hop in the late-1970s? What were early hip hop DJs doing with disco records that was new and different? One of the key elements of hip hop was DJ-ing, which originated in disco Early hip hop DJs were playing the 30 second rhythm break (later called B-beats) from each disc Brackett, Ch. 71: ‘The Music is the Mirror’ (by Harry Allen) 7. Define the following terms: Break beats, Scratching, back spinning Break beats The repeating pf a drum break taken from the middle of a recording. Scratching Moving the needle rapidly back and forth across the grooves of a record. Back spinning Physically making a record (that’s already on the turn table) spin the opposing direction. Worksheet Oct. 21 , page 1 MUH 2019 Worksheet: Monday, March 13 – Early Hip hop (Continued on page 2  ) 8. What does Harry mean on p. 427 when he says of hip hop, “For African-Americans, especially young people, the music is a mirror”? How does this statement help us understand the significance of early hip hop for the local African American community in New York City? By saying this Harry means that the lyrics reflected the reality of African American lives This statement helps us understand the significance of early hip hop because it reflects how hip hop gave a sense of identity to African Americans. 9. How do you feel about Allen’s discussion of hip hop’s imagined historical connections back to Africa? How might our discussion of Paul Gilroy’s work The Black Atlantic inform this question? Allen’s discussion of hip hop’s imagines historical connections back to Africa is interesting, and to some extent logical, but at the same time too far of a stretch. According to Paul Gilroy only some of black experience can be traced back to African, but not all of it. He believes that the roots of the black experience go back to the cultural and political connections that bind African Americans. 10.How do you feel about Allen’s statement regarding the misogyny in early hip hop lyrics on page 428? : “Hip-hop is sexist. It is also frank. As I once told a sister, hip-hop lyrics are, among other things, what a lot of Black men say about Black women when Black women aren’t around. In this sense, the music is no more or less sexist than your fathers, brothers…” Is this a valid defense of such lyrics in hip hop? Allen’s statements are rather accurate as the subject matter of most hip hop is driven by stereotypes and prejudices against women. His defense is a bit of a stretch, and pretty exaggerated. Although hip hop artists and fathers and brothers may all talk about black women when they aren’t around, the actual content of what they say is very different Brackett, “Girls Ain’t Nothin’ but Trouble” (by Carol Cooper) Worksheet Oct. 21 , page 2 MUH 2019 Worksheet: Monday, March 13 – Early Hip hop 11.What sorts of obstacles did female hip-hop artists face in early hip-hop, and why do you think they were encountered by women in particular? How do you think these challenges have or have not changed for female hip-hop artists today? Obstacles that early female hip hop artists faced included not getting credit for rhythms they wrote, as well as not wanting to write sexist lyrics (which is a large part of hip hop). These issues were encountered by women in particular simply because rap is male dominated, and the attitude of sexism was very prevalent. In today’s world women receive credit for their raps, and also some choose to write lyrics that degrade women. Worksheet Oct. 21 , page 3


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