Chen 1 Jiahui Chen Anthony Vine Mus 17 Winter 2

Chen 1
Jiahui Chen
Anthony Vine
Mus 17 Winter 2021
28 Feb 2021
Hip Hop Culture on Good Influence
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
131710000000019395
thesis
Chen 2
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
131710000000019395
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
Chen 4
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
131710000000019395
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
131710000000019395
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: <https://www.complex.com/music/best-hip-hop-
producers> [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.
Sheet1Car RentalScenario 1Insurance cost$10Minor accident$
1,500Major accident$ 15,000No accidentMinor accidentMajor
AccidentExpected ValueTake insurance($10)($10)($10)$
(10.00)Decline insurance$ - 0$ (1,500)$ (15,000)$
(9.90)Probability99.79%0.16%0.05%Based on the above
calculation, what is the best value decision? What would you
do? Explain!How would you evaluate the risk involved in this
scenario? Explain!Scenario 2Insura nce cost$15Minor accident$
2,500Major accident$ 25,000No accidentMinor accidentMajor
AccidentExpected ValueTake insurance($15)($15)($15)$

(15.00)Decline insurance$ - 0$ (2,500)$ (25,000)$
(16.50)Probability99.79%0.16%0.05%Based on the above
calculation, what is the best value decision? What would you
do? Explain!How would you evaluate the risk involved in this
scenario? Explain!
2/25/2021 Tools of the Producer/Beatmaker: MUS 17 - Hip-Hop
- Green [WI21]
https://canvas.ucsd.edu/courses/24336/pages/tools-of-the-
producer-slash-beatmaker?module_item_id=690380 1/5
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?
http://www.allmusic.com/artist/the-fat-boys-mn0000066743
http://www.allmusic.com/artist/kurtis-blow-mn0000116388
https://www.youtube.com/watch?v=5yugK-MuZeE
https://www.youtube.com/watch?v=5yugK-MuZeE
- Green [WI21]
"Traditional" Hip Hop Music Making Tools
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)
?wrap=1) I also
discovered a good concise definition of the term "sampling" in a
Hip Hop
Glossary_of_Terms 1.pdf.
?wrap=1)
?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
La Di Da Di
(https://www.youtube.com/watch?v=Q5LkADdZFB4)
(https://www.youtube.com/watch?v=Q5LkADdZFB4)
Drum Machines
The Roland TR-808
https://canvas.ucsd.edu/courses/24336/files/3095588/download?
wrap=1
wrap=1
wrap=1
wrap=1
https://www.youtube.com/watch?v=Q5LkADdZFB4
https://www.youtube.com/watch?v=Q5LkADdZFB4
- Green [WI21]
(Watch from 0:00-2:20)

The Oberheim DMX-DX
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
https://www.youtube.com/watch?v=p8vQq0oeU7M
https://www.youtube.com/watch?v=p8vQq0oeU7M
https://www.youtube.com/watch?v=vI0YDO7KYAk
- 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.
https://www.youtube.com/watch?v=RCPSrHBNRIg

https://www.youtube.com/watch?v=RCPSrHBNRIg
- 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)
Access Denied
https://medium.com/@jhallwrites/sampling-101-the-basics-of-
flipping-samples-for-hip-hop-production-dddd4bb4428d
https://www.rockthebells.com/blogs/articles/80s-hip-hop-

producers
2/25/2021 Bands and the Role of the DJ: MUS 17 - Hip-Hop -
Green [WI21]
https://canvas.ucsd.edu/courses/24336/pages/bands-and-the-
role-of-the-dj?module_item_id=686061 1/3
Bands and the Role of the DJ
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.
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……
https://www.whosampled.com/Grandmaster-Flash/The-
Adventures-of-Grandmaster-Flash-on-the-Wheels-of-Steel/
https://www.youtube.com/watch?v=1pEp6DjVkmw
https://www.youtube.com/watch?v=JArJLBBEDVk
Green [WI21]
In truth, when I was younger I erroneously thought the DJ w as
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 The Producer : MUS 17 - Hip-Hop - Green [WI21]
https://canvas.ucsd.edu/courses/24336/pages/the-
producer?module_item_id=688527 1/4
The Producer
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
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"
https://www.complex.com/music/2020/02/best-hip-hop-
producers
https://www.discogs.com/Kurtis-Blow-Kurtis-
Blow/release/9217871
https://www.youtube.com/watch?v=_rlUQsC8ECk
https://www.youtube.com/watch?v=_rlUQsC8ECk
Sucker MCs (https://www.youtube.com/watch?v=CIQ1s4lXi0E)
(https://www.youtube.com/watch?v=CIQ1s4lXi0E)
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

https://www.youtube.com/watch?v=CIQ1s4lXi0E
https://www.youtube.com/watch?v=CIQ1s4lXi0E
https://www.youtube.com/watch?v=O3uRLZk2AvM
https://www.youtube.com/watch?v=O3uRLZk2AvM
https://www.atlanticrecords.com/posts/jerry-wexler-godfather-
rb-18831
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.
https://www.whosampled.com/sample/1234/The-Notorious-
B.I.G.-Faith-Evans-One-More-Chance-Stay-With-Me-(Remix)-
DeBarge-Stay-With-Me/
https://www.discogs.com/artist/121765-
Trackmasters?type=Credits&filter_anv=0
2/25/2021 The Source Mind Squad: A Serious Critique of Hip
Hop: MUS 17 - Hip-Hop - Green [WI21]
https://canvas.ucsd.edu/courses/24336/pages/the-source-mind-
squad-a-serious-critique-of-hip-hop?module_item_id=701436
1/2
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]
https://canvas.ucsd.edu/courses/24336/pages/the-source-mind-
squad-a-serious-critique-of-hip-hop?module_item_id=701436
2/2
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 wer e 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.jpg
?wrap=1) and one of
four short form reviews..jpg
?wrap=1) .
Make sure and pay attention to the mic ranking system. You
will need to use it.
wrap=1

wrap=1
2/25/2021 The Beatmaker: MUS 17 - Hip-Hop - Green [WI21]
beatmaker?module_item_id=689246 1/1
The Beatmaker
Linafornia
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)
https://www.youtube.com/watch?v=wFmF-9GSuNs
https://www.youtube.com/watch?v=wFmF-9GSuNs
2/25/2021 The Engineer: MUS 17 - Hip-Hop - Green [WI21]
engineer?module_item_id=693222 1/2
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.
Search Show transcript
2/25/2021 The Engineer: MUS 17 - Hip-Hop - Green [WI21]
engineer?module_item_id=693222 2/2
Strictly Business

(https://www.youtube.com/watch?v=uvh4D_XP3Y8)
(https://www.youtube.com/watch?v=uvh4D_XP3Y8)
As the Rhyme Goes On
(https://www.youtube.com/watch?v=BlQ0H23q8ZY)
(https://www.youtube.com/watch?v=BlQ0H23q8ZY)
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.
https://www.youtube.com/watch?v=uvh4D_XP3Y8
https://www.youtube.com/watch?v=uvh4D_XP3Y8
https://www.youtube.com/watch?v=BlQ0H23q8ZY
https://www.youtube.com/watch?v=BlQ0H23q8ZY
2/25/2021 Research Project Overview: MUS 17 - Hip-Hop -
Green [WI21]
https://canvas.ucsd.edu/courses/24336/pages/research-project-
overview?module_item_id=683474 1/5
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/e
ssay_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_man
ual_17th_edition/c
mos_formatting_and_style_guide/chicago_manual_of_style_17t
h_edition.html)
author-date or notes-bibliography format and citation style, or
MLA
(https://owl.purdue.edu/owl/research_and_citation/mla_style/ml
a_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
https://owl.purdue.edu/owl/general_writing/academic_writing/es
say_writing/argumentative_essays.html
https://owl.excelsior.edu/argument-and-critical-
thinking/finding-topics/
https://owl.purdue.edu/owl/research_and_citation/chicago_manu
al_17th_edition/cmos_formatting_and_style_guide/chicago_man
ual_of_style_17th_edition.html
https://owl.purdue.edu/owl/research_and_citation/mla_style/mla
_style_introduction.html
Green [WI21]

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.
https://ucsd.libguides.com/c.php?g=91010&p=584898,
(https://ucsd.libguides.com/c.php?g=91010&p=584898,)
https://ucsd.libguides.com/howtocite
(https://ucsd.libguides.com/howtocite)
Music specific:
https://writingcenter.unc.edu/tips-and-tools/music/
(https://writingcenter.unc.edu/tips-and-tools/music/)
https://elon.libguides.com/music/cite
(https://elon.libguides.com/music/cite)
https://libguides.uwlax.edu/c.php?g=273990&p=4371588.
(https://libguides.uwlax.edu/c.php?
g=273990&p=4371588)
https://ucsd.libguides.com/c.php?g=90800&p=584619
(https://ucsd.libguides.com/c.php?g=90800&p=584619)

The source requirements include:
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) .
https://ucsd.libguides.com/c.php?g=91010&p=584898,
https://ucsd.libguides.com/howtocite
https://writingcenter.unc.edu/tips-and-tools/music/
https://elon.libguides.com/ music/cite
https://libguides.uwlax.edu/c.php?g=273990&p=4371588

https://ucsd.libguides.com/c.php?g=90800&p=584619
https://www.discogs.com/Drake-Nothing-Was-The-
Same/release/8868835
Green [WI21]
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.

https://www.whosampled.com/
https://www.npr.org/sections/microphonecheck/
http://theciphershow.com/
https://www.redbullmusicacademy.com/lectures/marley-marl-
tokyo-2014
Green [WI21]
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.pdf)
and here.
(http://www.capella.edu/interactivemedia/onlinewritingcenter /d
ownloads/handoutDevA

nnotatedOutline.pdf)
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.
Topic, Thesis, and Proposal
http://gatp.org/wp-content/uploads/2014/06/OutlineAnnBib.pdf
http://www.capella.edu/interactivemedia/onlinewritingcenter/do
wnloads/handoutDevAnnotatedOutline.pdf
Green [WI21]
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/HowtoWriteaPa
perProposal.pdf)
Be aware that some topics may be rejected, but we will help you
find something
suitable.
DUE: Wednesday, February 3rd, by 5pm PST.
https://depts.washington.edu/pswrite/Handouts/HowtoWriteaPap
erProposal.pdf
Chen 1
Jiahui Chen
Professor Green
Music 17

Feb 03 2021
Topic:
Hiphop Culture on Good Influence
Thesis:
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.
Proposal:
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 own 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.
2/25/2021 Topic, Thesis, and Proposal
https://canvas.ucsd.edu/courses/24336/assignments/268259?mod
ule_item_id=719094 1/1
Due Feb 3 by 5pm Points 10 Submitting a file upload
Re-submit Assignment
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, i n
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.
perProposal.pdf)
These other resources may also help:
https://uncw.edu/ulc/services/writing/thesis.html
(https://uncw.edu/ulc/services/writing/thesis.html)
erProposal.pdf
perProposal.pdf)
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.
erProposal.pdf
https://uncw.edu/ulc/services/writing/thesis.html

erProposal.pdf

Chen 1 Jiahui Chen Anthony Vine Mus 17 Winter 2

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