I do not have enough context to fully answer those questions based on the provided documents. The documents discuss various topics related to popular music and its commercialization but do not seem to directly address those specific questions.

2. Rap and Race : It’s got a Nice beat,
But What about the Message
Rachel E. Sullivan

3.  Mid-1979s
 New York City

4.  Rap’s fan : Black and Latino

5.  1980s : “golden era of rap” and many rappers
turned to more overly political themes ( gang
violence, police brutality, poverty and racism)
Ex: Song Fight the Power
Artist: Public enemy .

6. “Elvis was a hero to most
But he never meant ---- to
me you see
Straight up racist that
sucker was
Simple and plain
Mother---- him and John
Wayne
Cause I'm Black and I'm
proud
I'm ready and hyped plus
I'm amped”
“Elvis was a hero to most
But he never meant ---- to
me you see
Straight up racist that
sucker was
Simple and plain
Mother---- him and John
Wayne
Cause I'm Black and I'm
proud
I'm ready and hyped plus
I'm amped”

7. Social movement
 From the start, the public viewed the hip-hop
culture rap music through a racist lens.
 Rap music has long been the target of criticism from
the popular media.
 Rap music and hip-hop culture are a potential form
of resistance.
 Rap helps low income African American youth
develop empowering beliefs that help them
connect with their culture and develop positive
identities .

8.  White fans were more likely to say that rap
had affected their opinion about racism
than Black fans.
 White fans listen to rap maybe motivated
by curiosity.

9. The Miseducation of Hip-Hop
Evelyn Jamilah

10.  Hip-hop brash, vulgar, in-your-face hip-
hop is indisputably the dominant youth
culture today.

12. Not all hip hop is irresponsible .
There’s a link between students’ tastes and their
cultural identity, their grads and other key indicators.
Those who has a low self-consciousness and highly
materialistic  “gangster rap”

13. Arguments
 Failure to educate
 Administrators and teachers can’t apply
‘60s and 70s methods to teaching a new
millennium.

14. 5 Things That Killed Hip Hop
J-Zone
1) Clans, Posses, Crews & Cliques : Who U
wit?
The days of solo roller are over.
Mid-late 90s, a crew with 1,000 different
artist ( touring together, crew t-shirts, beef
with other crews, collaborations).

15.  3 producers and 3 guests
  10 producers and 7 guests
 the lost of album Cohesiveness and the
focus on just music

16.  Ex: Song :“You don’t know”
 Artist : 50 Cent, Lloyd Banks and Cashis.

17. 2) Too much music
People want to  ↑Quantity ↓ Quality

19. 3) Too cool to have fun/no balance in Rap
Not too many people are doin’ music for
fun anymore.

20. 4) Law & order : MPC and Sampling
The appeal of Hip-hop was always
rearranging the old to create the new.
Now 1/8 of a second sample can run you
the risk of legal action.
Legal industries have officially declared
war on rap.

21. The Money Note : Can the Record
Business Be Saved?
John Seabrook

22. 1. Singer and Producer
2. CDs and MP3

23. Singer and Producer

25. How a “star” is made ?
 “Go to thousands of sweaty night clubs,
and sit through a dozen office auditions
each week”

29. Local Fan base

30. Get their song on the Radio

31. Product endorsement deal

32. The Image

33. “Reality Show”

34.  CDs and MP3

35. CDs
 “If the star is big enough, people will want
to buy the CD”

36. Mp3
 It can be copied millions of times without
any fidelity degradation.
 Music fan now will go to the Internet and
get the song they like.
  affect the number of hard copies sold.

37.  Apple’s iTunes – music store selling
downloadable songs .
 It is considered the best designed and
best stocked of the legal services.
  People just purchase the songs that
they like.

38. “Take those old records off the
shelf” : Youth and Music
consumption in the Postmodern
age
David Hayes

39. Take those old records off the shelf
Bob Seger
Just take those old records off the shelf
I'll sit and listen to 'em by m'self
Today's music ain't got the same soul
I like that old time rock and roll

41. • “Singles” artists
• Contemporary musis landscape was populated by
untalented performers and profit hungry excutives

42. Ashlee Simpson’s
Saturday night
live lip-sync
Rihanna can’t
sing

43. Post modern malaise and nostalgia
Vinyl remained the format of choice for many die-hard
collection.
Vinyl is the reproductions of sound.
Physical interaction is the dominant factor
•Clean the vinyl
•Position the needle
•Flipping the record
Regard themselves as serious music fan.

44. Sex and Drugs and Rock ‘n’ Roll :
Urban legends and Popular Music
Ian Inglis

45.  Urban legends : stories that “belong to the subclass
of folk narratives, legends believed, or at least
believable”

47. 4 typology of story teller
1. The believer : believes or hope that the legend is
true.
2. The cynic : knows or believe the legend is false.
3. The entertainer: the story is nothing more than a
diverting or unusual tale to be told to others.
4. The Expert : each retelling of a story increases the
stock of “cultural capital” he/she possesses.

48. The social functions of popular
music’s urban legends
 Provide conversational topics to assist in
the establishment and maintenance of
social relationships via interaction and
communication.

49.  Second, these tales can be seen as
modern variants of the deeper often
religious.

50.  Third, the social function of these legends
is to allow for members of the public to
engage in vicarious identification with the
named protagonist and elements of their
lifestyle.
  fans project their own desires, hopes
through their idols.

51.  Fourth, some tales are employed
individually to perform important political
functions .

52.  Fifth, in their position as cultural texts, the
materials of popular music continually
offer themselves for interpretation.

53. In Perfect Harmony : Popular music
and Cola advertising
Bethany Klein

54. Perfect harmony ?
 Music already represented an important
weapon in the cola war’s arsenal.
 Both Coke and Pepsi have positioned
themselves as having more genuine
connection to music culture, as
enthusiasts, champions, and partner
 “Fit to the use of music”

55. Casting doubt on the perfect
harmony
 “The best pop music is the truth of
someone singing powerfully about what
they feel”
 Sponsorships from company for use of
songs in ads and the endorsement from
the artists
 The division between art and commerce
is blurred.

56. Commercialism-Friendly Music
 Rap alongside pop are the most common
genre taped by cola companies.

57. Benefits to Artists
 For older artists, participating in
commercial campaigns can spark a
renewed interest in back catalogs.
 The commercial campaigns can act as a
cross-promotion tool.

58.  For artists today, the benefit is clearly to
save them out of the hard times .
 Yet, the finished products will cary the
artist’s aesthetic and at times moral mark
in very bizzarre ways.

59. Advertising as
Entertainment

60. The adoption of Rock
qualities
1. An anti-authoritarianism : selecting
notorious artists.
2. Authenticity : “It’s the real thing”
3. Gravity : “Borrow the emotion to go over
the top”

61. Question

62. Questions:
1. “MTV kill all the radio stars”. To what
extends do you agreed or disagreed
with this statement?
2. Purchasing hard copies is the way to
that you are serious about music ?
Agreed or disagreed ?
3. Does a singer nowadays must know how
to sing or he/she can be a performer?