Hip Hop Music: History, Culture & Aesthetics
MUS 360
Fall 2019
Monday & Wednesday 3-4:50PM: Global Scholars Hall #123
INSTRUCTOR INFORMATION:
Dr. André Sirois aka DJ food stamp aka The Real Dr. Dré™
Office: 263 Knight Library
Office Hours: Tuesday 11-1PM, and by appointment
Email: asirois [at] uoregon [dot] edu
Phone: 207-251-2339 (my cell, call ONLY if it is an emergency)
Social: @djfoodstamp33
Final Exam: Thursday December 12th, 2:45PM in GSC #123 ***Note, I do not reschedule final exams except for emergency situations (going home to Palo Alto or Seattle is not an emergency)
CONTACTING ME BY EMAIL:
For any questions or concerns regarding this class or its assignments, feel free to email me at any time: asirois [at] uoregon [dot] edu. However, it is very important that you write “MUS 360” followed by anything else in the subject space so that I don’t miss the email.
Please note that I am very busy and will try to get to your emails. I will not respond to emails for things covered in class (i.e you missed class and want to know what you missed) or items clearly detailed in the syllabus or on the website. You may ask these types of questions during my office hours or if there is time before/after classes. But, please do not hesitate to send a follow-up email if you do not hear back. It’s important to be professional in your email, and make sure to note who you are and what class you’re in. Please do not write in emoji-filled, Snapface tweet language (lmao! ).
OFFICE HOURS:
I am open for office hours 2 hours a week and am around and can meet or chat before/after class. If you plan to come to any office hours, please drop me an email the day before so I know you’re coming. I hold office hours Tuesday 11-1PM and my office is Knight Library #263, which is on the second floor around the corner from the Cinema Studies Computer Lab. If you cannot come to office hours and need to make an appointment, please email me 3-5 days in advance so I can try to accommodate.
COURSE DESCRIPTION:
In the last forty years, hip hop has gone from a small subculture to a globally practiced form of expression, and morphed into a multi-billion dollar culture industry (music, clothes, screen media, lifestyle, etc.). This course presents a history and the stylistic evolution of hip hop music and practice (which includes DJing/turntablism, digital sampling production, and rapping), and examines the various outcomes of a black and brown working class/working poor subculture’s collision with corporations and corporate culture. We will study music from 1972 until about 1998, but also address current styles and forms. By looking at aesthetics of the music historically, we will be able to see how the music of today has been influenced by the past. This class will expose you to a whole range of new artists and music (not just hip hop music itself, but the music that became part of hip hop through sampling/appropration).
In this class we will analyze the artistic and political dimensions of hip hop music, and look at the music’s evolution in relation to US law, policy, and popular culture. Therefore, we will examine how aesthetics (choices in sounds, words, images, rhythms, technology, etc.) relate to broader social developments. This class will help broaden your understanding of not only hip hop music, but also the industries, technologies, racial and gender politics, and moments in U.S. history that have influenced the music (and also, how the music has had a prominent influence on the aforementioned).
While we will certainly spend time deconstructing rap songs and performances, this course de-emphasizes the rapper/MC in order to spend equal time on the actual sounds, practices, artists and technologies that structure the lyrics. That is, we will give equal consideration to DJs and producers as we will rappers.
To have success in the class you do not need to be versed in hip hop music or musical theory, but you will be expected to listen to music/lyrics and familiarize yourself with songs, sounds, techniques, artists and styles.
EXPECTED LEARNING OUTCOMES:
-
Students will evaluate and discuss how music (specifically hip hop and other forms of African American music) relate to American mass culture and social inequities.
-
Students will explore and be able to navigate how hip hop music collides with American corporate and legal culture.
-
Students will be able to demonstrate knowledge of the ways in which hip hop music is made and the motivations behind such technical and textual choices.
-
Students will be able to apply critical, social, musical, historical and legal analyses to the production and consumption of hip hop music.
-
Students will be able to navigate how the history of hip hop music has created the present state of hip hop culture, music, and art.
-
Students will be able to synthesize concepts and content from this class with their personal tastes in hip hop music and see it within a new context.
WORKLOAD:
Most of the outside work for this class is reading, listening to songs, and viewing films relevant to those readings and class topics, and studying for exams. On non-exam weeks you should expect to spend 6-10 hours reading, viewing, and listening. On exam weeks the reading load should be 3-5 hours, but for success on the exams you should plan on AT LEAST 10 hours of study time.
This is a School of Music & Dance class. This means we will listen to songs in class, but we will watch more documentaries, films and film clips than in most of your classes. This is also why the class longer. Because class is longer, there will be a short halftime break.
GRADES:
Exam #1: 30%
Exam #2: 30%
Exam #3: 30%
Attendance/Participation: 10%
***I will try and have all exams graded and handed back to you 5-7 days after submission and will try and have them available via Canvas. Grades are as follows: A=94-99; A-=90-93; B+=87-89; B=84-86; B-=80-83; C+=77-79; C=74-76; C-=70-73; D+=67-69; D=64-66; D-=60-63; F=59 and below. I DO NOT give A+ grades (they don’t exist on a 4.0 scale), nor do I give students a 100% (you can ALWAYS do 1% better).
CANVAS:
I do NOT use Canvas like most faculty. I do use it to upload and keep track of your grades and for email/contacting you. That’s it. I manage the course assignments through the course website.
ASSIGNMENTS:
***Late assignments will NOT be accepted UNLESS you have prior consent from me, and that consent will come in rare, dire instances. I DO NOT do makeup exams!
Exam #1 (30%): Monday October 30th This exam will cover all the discussions, lectures, films, and outside readings, viewings, and listening from September 30th through October 21st. Exam questions will be a combination of multiple choice and true/false. Scantron forms will be provided BUT YOU NEED TO BRING A NUMBER 2 PENCIL!!! (*Please note, you will not be tested on material that is not specifically discussed in class or discussion. I will also give you a review guide 5-7 days prior to the exam.)
Exam #2 (30%): Monday November 20th This exam will cover all the discussions, lectures, films, and outside readings, viewings, and listening from October 23rd through November 11th. Exam questions will be a combination of multiple choice and true/false. Scantron forms will be provided BUT YOU NEED TO BRING A NUMBER 2 PENCIL!!! (*Please note, you will not be tested on material that is not specifically discussed in class or discussion. I will also give you a review guide 5-7 days prior to the exam.)
Final Exam #3 (30%): Thursday December 12th at 2:45PM in GSC #123 This exam will cover all the discussions, lectures, films, and outside readings, viewings, and listening from November 13th through December 4th. Exam questions will be a combination of multiple choice and true/false. Scantron forms will be provided BUT YOU NEED TO BRING A NUMBER 2 PENCIL!!! (*Please note, you will not be tested on material that is not specifically discussed in class or discussion. I will also give you a review guide 5-7 days prior to the exam.)
Attendance/ Participation (10%): This is simple. For each class you attend you will be given +.5% towards your final grade. This is how you are graded “objectively” in respect to participation (see below for my attendance policy.)
***BONUS: Go to a Live Hip Hop Show and Write-Up (up to 3 points on your final grade): Due Thursday December 12th during our final exam period. Go to a live hip hop show and produce a 2-4 page writeup on the experience as it relates to the class. More details on this to come, but this could be a rap show, b-boy/b-girl jam, or a DJ/producer performance. But, it must be hip hop music ya’ll!!! Please check with me if you are unsure if you’re selected performance would qualify. (3 points means that if your average score is an 88 in the class, it will could go to a 91, so a B+ to an A-). Note that by doing this assignment well will earn you 3 points, not so much effort will get you 2 points, and minimal effort 1 point.
***BONUS: Go to the UO Hip-Hop Jam (1-point on your final grade): Thursday December 5th. 20 students in this class are in a FIG connected to this course and we’re planning a hip hop jam with emcees, DJs, dancers, artists etc. It’s free and fun. You MUST come for at least ONE HOUR! More details soon! This is 1 point on your final grade, which could mean going from an 89 to a 90, a B+ to an A-.
ATTENDANCE:
Attendance for this class is mandatory!!! For each class you attend you will be given +.5% towards your final grade. So, if you come to 18 classes you will score 9 of 10 possible points; if you come to 16 classes you will score 8 or 10 points. You can make up for missed classes by participating in a relevant manner when you are in the class. 4 or more unexcused absences will result in losing all your Attendance points, which is 10% of your final grade (so, you can miss 4 classes w/out excuse and w/out major penalty.). For an absence to be excused, I will need some form of formal documentation.
REQUIRED TEXTS:
All readings, viewings, and listening will be available on the course website on the Things to Do Before Class page. Out of class listening and viewings will either be embedded into that page or I will provide a dropbox link to an audio file that I prepare. All readings, viewings, and listening MUST be done before class. If I can, I will put together a Spotify playlist (this will be super hard because of copyright licensing issues).
***Please see the Valuable Resources page on the course blog for a full list of books, films, journal articles, etc. that may be helpful in your education on the issues we address in class.
SCHEDULE: ***note that this schedule is subject to change and I will be adding or moving readings around. The up-to-date schedule will be here on the course website.
|
Date |
Topic |
Readings/Viewings (to be completed before class) |
In-class Viewings |
Due |
|
9/30 |
NO CLASS! |
NO CLASS! |
NO CLASS! |
|
|
10/2 |
Introduction, Review of Syllabus, and History, Culture & Aesthetics |
none |
||
|
10/7 |
Deindustrialization, White Flight, Broken Windows and Urban (mis)Planning |
Read: *Chang, Jeff. 2005. “Necropolis: The Bronx and the Politics of Abandonment.” Watch: *Watch a little bit of Flyin’ Cut Sleeves |
Rubble Kings |
|
|
10/9 |
Kool Herc, The Breaks, and the B-Boys in the Bronx |
Read: *Rose, Tricia. 1994.“All Aboard the Night Train”: Flow, Layering, and Rupture in postindustrial New York.” *Hebdige, Dick. 1987. Dub and talk over. *Hip Hop Family Tree, DJ Kool Herc Spawns A New Culture. Bonus Watch (you don’t have to, but if you’re inspired): *Davey D Interviews the Father of Hip Hop Kool Herc Listen: |
Finish Rubble Kings |
|
|
10/14 |
Disco and the Birth of the Rap Record |
Read: *Blair, M. Elizabeth. 2004.“Commercialization of the Rap Music Youth Subculture.” *Fricke & Ahearn. 2002. Superappin’ and Funky Four + 1 *Ogg and Upshal. 1999. “Rapper’s Delight.” *This comic on Label interest in rap *This comic on Rapper’s Delight’s release *This comic on Sugar Hill Gang |
Watch the second half of Hip Hop Years…Close to the Edge (PT 1) |
|
|
10/16 |
Disco Sucks and Rap Gets Its Raw Street Attitude Back in Queens and Strong Island |
Read: *Chang, Jeff. 2005. “What We Got to Say” from Can’t Stop, Won’t Stop. (pages 231-261 and 276-280) *Coleman, Brian. 2007. Eric B. & Rakim Paid in Full from Check the Technique: Liner Notes for Hip-Hop Junkies *Coleman, Brian. 2007. Public Enemy It Takes a Nation of Millions to Hold Us Back from Check the Technique: Liner Notes for Hip-Hop Junkies *These comics: 1) The Message by Grandmaster Flash and the Furious Five; 2) Rick Rubin and Def Jam; 3) Run-DMC Releases Their First Record; 4) Russell Simmons Meets Rick Rubin; 5) Run DMC’s King of Rock; 6) Def Jam signs with CBS Records; 7) LL Cool J’s First LP, Radio; 8) Chuck D and Spectrum City; 9) Public Enemy No. 1
***BONUS Reading if you’re interested in Def Jam History: Charnas, Dan. 2010.“The Beat Box: Def Jam Fosters a Revolution in Hip-Hop Art and Commerce.” |
||
|
10/21 |
Adventures of Grandmaster Flash (and others) on the Wheels of Steel and the DJ Song |
Read: *Goldberg, David Albert Mhadi. 2004. “The scratch is hip-hop: Appropriating the phonographic medium.” In Appropriating technology: Vernacular science and social power, edited by Ron Eglash, Jennifer L. Croissant, Giovanni Di Chiro, and Rayvon Fouche´, p. 107-144. Minneapolis: University of Minnesota Press. *just read 107 through the bottom of 128*
*These comics: Adventures of Grandmaster Flash on the Wheels of Steel and Hip Hop Family Tree, Rockit & Grandmixer DST *This comic on Flash taking over the scene *This comic on the ’77 Blackout |
||
|
10/23 |
The Golden Daisy Age of Sampling and the Native Tongues Afrocentric Hippie Vibes |
Read: *A beginner’s guide to hip-hop collective Native Tongues *McLeod and DiCola. 2011. “The golden age of sampling.” In Creative license: The law and culture of digital sampling, p. 19-35. Durham, North Carolina: Duke University Press. *Coleman, Brian. 2007. A Tribe Called Quest The Low End Theory from Check the Technique: Liner Notes for Hip-Hop Junkies. *Bonus reading material for those who care, so you don’t need to read this:1989: when Beastie Boys, De La Soul, and sampling ruled
Watch: *If you have time and care, please watch De La Soul is Not Dead |
||
|
10/28 |
Copyright Criminals: You’re Telling Me Our Art is Illegal?!? |
Read: *Before class, download and/or write these questions down in your notebook and answer them while we watch Copyright Criminals. *J-Zone. 2001. “Legal Action from a Pimp” in Root for the villain: Rap, bullshit, and a celebration of failure, 69-71. *Schloss. 2004. “Sampling Ethics” in Making Beats: The Art of Sample-Based Hip-Hop, 101-133. *Tim Wu. Jay-Z Versus the Sample Troll: The shady one-man corporation that’s destroying hip-hop |
||
|
10/30 |
Exam #1 |
None, Study!!! |
Exam covering materials from September 30th through October 21st |
|
|
11/4 |
Sampling Technique and Technology: Paul C, Large Professor, and Pete Rock |
Read: *Edwards. 2015. Producers and Samplers/Sequencers in The Concise Guide to Hip-Hop Music: A Fresh Look at the Art of Hip-Hop, from Old-School Beats to Freestyle Rap, 98-110 and 122-129. *“Traveling at the Speed of Thought” by Dave Tompkins *“Back to basics with Pete Rock” by Dave Ma *Interview: Hip Hop Great Large Professor by Chairman Mao for Red Bull Music Academy. Watch: *Bonus watch if you’re interested: MEMORIES OF PAUL C MCKASTY |
||
|
11/6 |
Making and Marketing Gangsta Rap: Politics and Politricks |
Read: *N.W.A.- Art or Irresponsibility? Interview by Davey D and Keith Moerer in BAM Magazine (April 21 1989) *Chang, Jeff. 2005. “The culture assassins: Geography, generation and gangsta rap” from Can’t Stop, Won’t Stop, p. 299-329. (read it all) *Watts, Erik. 2004. “An exploration of spectacular consumption: Gangsta rap as cultural commodity” from That’s the joint!: The hip-hop studies reader. (read 593 through the top of 603) *Look over “How Ronald Regan Created Gangsta Rap” in The Village Voice (1996) ‘*Look over “A History of Rap Songs Protesting Police Brutality” on Complex |
||
|
11/11 |
10 Crack Commandments & the Sonic High |
Read: *Before class, download and/or write these questions down in your notebook and answer them while we watch Planet Rock: the Story of Hip Hop and the Crack Generation. *Watkins, S.Craig. 1999. “Black Youth and the Ironies of Capitalism.” from Representing: Hip hop culture and the production of black cinema, p. 50-76. (*read only 58-63)
Watch: *Please watch this short, 4-minute film by Jay-Z The War on Drugs is an Epic Fail |
||
|
11/13 |
Swing Down, Sweet Chariot: G-Funk and Yacht Rap |
Read: *Williams, Justin. 2014. “Jeep Beats” from Rhymin’ and Stealin’: Musical Borrowing in Hip-Hop, p. 73-102. (Please read the whole thing, but focus your energy on 82-102.) *Selected pages from Brothas Be, Yo Like George, Ain’t That Funkin’ Kinda Hard On You?: A Memoir (focus on pages 289-295, but please read the whole thing) *Take a look at the P-Funk sampleography No need to look at this, but in case you want to brush up on your G-Funk look at The 30 best G-Funk tracks of all time (note, many of the links don’t work) |
||
|
11/18 |
Keepin’ it Real: ’90s Boom Bap Rap and How Diddy Re-Prioritized Authenticity. |
Read: *McLeod, Kembrew. 1999. Authenticity within hip-hop and other cultures threatened with assimilation. Journal of Communication 49, no. 3: 134-150. *“Keep It Real: Hip Hop’s Changing Views On Authenticity” by Andres Tardio Watch: |
||
|
11/20 |
Exam #2 |
None, Study!!! |
Exam covering materials from October 23rd through November 11th |
|
|
11/25 |
Femcees and Gender Politics |
Read: *Keyes, Cheryl L. 2004. “Empowering self, making choices, creating spaces: Black female identity via rap music performance,” p. 265-274. *Roberts, Robin. 1994. “Ladies First”: Queen Latifah’s Afrocentric feminist music. African American Review 28, no. 2: 245-257. |
||
|
11/27 |
DJ Battles and the Pinoy Influence |
Read: *Katz, Mark. 2O12. “The art of war-The DJ battle: 1991-1996.” In Groove Music: The Art and Culture of the Hip-Hop DJ, pgs. 153-178. London: Oxford University Press. (You can skip 166-174) *Wang, Oliver. 2015. “Take me out with the fader: The decline of the mobile scene.” In Legions of Boom: Filipino American Mobile DJ Crews in the San Francisco Bay Area, pgs. 125-150. Durham, NC: Duke University Press. (Please focus on pages 128-138) Watch: *Rock Steady DJs 1992 World DMC Championship Set *Roc Raida 1995 World DMC Championship Set *D-Styles Serato Performance Video *Mista Sinista Method Man Routine *Rob Swift and the Biz Markie Routine (and, him explaining the composition) |
Scratch (2001) |
|
|
12/2 |
Hi! My Name Is (what?): Racial Authenticity and Cultural Appropriation |
Read: *Kajikawa, Loren. 2009. “Eminem’s ‘My Name Is’: Signifying whiteness, rearticulating race.” In Journal of the Society for American Music 3, no. 3: 341-363. Watch: |
||
|
12/4 |
J Dilla Saved My Life! Who’s Slum Village?: The Legacy of Dilla and Hip Hop’s “Underground” and Rapocalypse Now! |
Read: TBD Watch: *How J Dilla humanized his MPC3000 Maybe Watch: *How the triplet flow took over rap *Kanye, deconstructed: The human voice as the ultimate instrument |
||
|
12/5 |
6th UO Hip Hop Jam, 6:30-10PM, location TBD |
|||
|
12/12 2:45PM in GSC #123 |
Final Exam #3 |
None, Study |
None |
Exam covering material from November 13th through December 4th & Optional Bonus Paper |
COURSE POLICIES:
1. Please turn off all cell phones and PUT THEM AWAY! I mean, do I even have to say this?! If you need to be by the phone for emergency purposes, please let me know in advance. Using your phone in class is disrespectful; your Instagram and Facebook and Snapchatting and Tweeting can wait until after class. If I see you on your phone I will stop talking and stare at you and everybody will see and it will be embarrassing. Ahahahahaha.
2. Please be on time. Showing up late is a distraction to your peers and to myself. Being on time means showing up at 2:50.
3. Class ends at 4:50…no earlier. Most likely we can end early. Please pack up you gear once class is over and not before.
4. Most importantly, respect everybody! This includes fellow students, the GEs and myself, and obviously you respect yourself by participating and being open to different opinions. This class is discussion-based from the provided materials and my lectures; thus your voices are vital.
ACADEMIC MISCONDUCT:
Do I really have to say that cheating is bad? Your parents should have taught you that. Well, we live in a digital era where “stealing” other peoples’ ideas and words is easy (and tempting). However, this is only illegal if you take credit for the words/ideas without citing the authors from whom they originate. As much as Google allows students to borrow, steal, and cheat, it also is a GREAT tool for helping teachers to catch those same acts.
Thus (so you know) academic misconduct includes cheating, plagiarizing, fabrication, and deliberately interfering with the work of others. Plagiarizing means representing the thoughts, words, or images crafted by someone else as your own. Misconduct includes tampering with grades, theft of tests, or using other students’ files. Fabrication includes the creation of sources and information that are not real.
Academic dishonesty can result in a failing grade for the assignment and/or the course thus resulting in disciplinary action at the university level, including academic suspension.
If you ever question your actions or writing then cite and/or clarify with me.
SPECIAL NEEDS:
Please see me about any physical or learning disabilities so that I may accommodate you.
Students should be aware that the School of Music and Dance desires to discourage any sort of action that makes an individual feel uncomfortable or unwelcome. Students with concerns related to discrimination, bias, or sexual harassment are encouraged to contact the following office or offices should you wish to report such an incident and get help in resolving the incident.
-
Affirmative Action and Equal Opportunity Office | 677 E 12th Ave, Suite 452 | 541-346-3123 | aaeo.uoregon.edu
-
Bias Response Team | 164 Oregon Hall | 541-346-3216 | bias.uoregon.edu
-
Conflict Resolution Services | 164 Oregon Hall | 541-346-0617 | crs.uoregon.edu
-
Counseling & Testing Center | 2nd floor, University Health, Counseling, and Testing Center Building | 541-346-3227 | counseling.uoregon.edu
-
Sexual Violence Response and Support Services Coordinator | 541-346-SAFE (7233) (available 24/7) | safe.uoregon.edu
-
ASUO Student Advocacy | 337 EMU | 541-346-3722 | officeofstudentadvocacy.org
If you are registered with the Accessible Education Center, you should make an appointment with the instructor as soon as possible to discuss any course accommodations that may be necessary. To request disability accommodations, register for services at the Accessible Education Center.
-
Accessible Education Center | 164 Oregon Hall | 541-346-1155 | aec.uoregon.edu
All original content, curriculum, and this syllabus, are published and licensed under Creative Commons CC BY SA 4.0. Please credit Dr. Andre´ Sirois
Hip Hop Music: History, Aesthetics, Culture 