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Home , Action Bronson, A Milli, Danny Brown, Fetty Wap, Geto Boys, How Ya Like Me Now

************************************************************* Music of : -Decoded MUS 307/AFR 317

Spring 2021 MWF 12-1pm (online and synchronous)

Instructor: Dr. Charles Carson [email protected] (but please use Canvas) : @UT_Doc_C 512.232.9448 Virtual Office hours: W 1-2pm, or by appointment

Teaching Assistants: Jeannelle Ramirez [email protected] (but please use Canvas)

Luis Sebastián Pabón-Rico [email protected] (but please use Canvas)

I. Course Description: Generally speaking, this course is an introduction to the musical, social, cultural, and political aspects of Hip Hop culture in the US, as interpreted through the history and development of its musical style.

II. Course Aims and Objectives: Aims Beyond increasing familiarity with African American music and culture, a major goal of this course is to provide you with the tools to coexist--and indeed thrive--in a global context.

Specific Learning Objectives: By the end of this course, students will: ● Be able to recognize and describe general elements of African American cultural practices, including instruments/media, performance practice, and aesthetics.

● Discuss the ways in which these elements have influenced (and continue to influence) contemporary US society, especially with respect to hip hop and related genres.

● Critically assess expressions and representations of African American culture in music and media.

● Be able to apply these critical thinking skills in the context of other cultures and contexts, both historical and contemporary.

III. Format and Procedures: Instructional mode: ONLINE - this course is designed to be 100% online and 100% synchronous. Students will be able to complete all required course activities remotely. Alternative access will be provided to students with demonstrated need for such accommodations.

The content will center around a select body of readings, recordings, videos, and other media. Advance preparation is key to following the content, so please come to class prepared to engage with that day’s materials. Other activities include: quizzes & assignments, and a final project to be explained in class.

IV. My Assumptions I believe that diversity is good for the world. It opens up our eyes to other perspectives and possibilities, and can thus help move humankind forward. I also believe that the understanding of how identity works in general is key to understanding ourselves. While this course will focus primarily upon expressions of African American identity, I hope that we will foster greater patience, understanding, and respect for any and all peoples.

By enrolling in this class, I assume that you are interested in taking such a journey. (By the way, the answer to question #5 on the syllabus quiz is C.) While I don’t expect you to agree with everything you hear, I do expect that you will put the utmost effort towards developing an appreciation for the musics and cultures discussed, as well as an awareness of music’s important role in the enrichment of the human spirit.

This class is NOT intended just for music majors. No previous musical knowledge or experience is required to excel in this course. Keep in mind that listeners make up the largest (and arguably the most powerful) demographic of the music industry, so what you think and feel about the music is important. Music is all around you, and—however unknowingly—you have developed the tools to interpret, discuss, and critique it. This class is intended to hone those skills, augmenting them with information about the music’s technical and cultural contexts.

PLEASE BE PATIENT. The university, your professors, and your teaching assistants are all having to adjust to this situation, too, and we are doing the best we can. There will be bumps and hiccups, but we will all take them in stride. Your grade will not be affected if something goes wrong, so relax and let’s just have some fun. Students who need accommodations due to their unique COVID-related situations should reach out to me immediately, so we can work around them.

A Word About Language Many of the recordings that we will encounter will utilize “colorful” language of various types. Whenever practicable, I have substituted edited versions of some examples if the edits do not dramatically affect the intention, meaning, or aesthetic of the . However, some examples need to be heard in their original format. Consider this a warning. The inclusion of such examples is not intended to be offensive, merely to represent the realities of the musical soundscapes we are discussing. Furthermore, such content is not to be taken as representing the thoughts, ideas, or perspectives of the instructor, your fellow students, or the university. More detail will be provided in class discussions.

V. Course Requirements: 1. Class attendance and participation policy: a. We recognize that this is a challenging time for all, and we will strive to be flexible and sensitive to the needs of individual students. b. That being said, you will be expected to attend virtual sessions, and demonstrate engagement through a variety of means.

c. Attendance will be taken virtually, through session logs and online participation polls. d. Students will be allowed two unexcused absence before their grade will be affected. e. Unexcused absences are any absence for which you do not have a valid, verifiable excuse. These do NOT have to be provided beforehand, but need to be clearly documented. f. YOU are responsible for any content that you miss due to absence, including readings, quizzes, or other activities, but of course we are available to help you access this material. g. Late assignments will not be accepted, except in the case of EXCUSED absences. h. A Word about Conduct in the Virtual Classroom: This course will deal with some touchy issues, including race/ethnicity, class, and gender/sexuality issues. While I want you to feel comfortable to express your thoughts, feelings, and opinions, I ask that please be sensitive to those around you—we all come from a variety of backgrounds and belief systems (which is critical to the learning experience), and our experiences vary greatly. Students who refuse to be respectful will be asked to leave the sessions. i. At the same time, however, I encourage you to challenge yourself and your assumptions about the world by embracing ideas that may be new or unfamiliar to you. This class should be a safe environment with learning as our primary goal—let’s take advantage of that opportunity. j. If, at any time, you are made to feel uncomfortable, please do not hesitate to bring this to my attention. I am sure we can work through it.

Religious Holy Days By UT Austin policy, you must notify me of your pending absence at least fourteen days prior to the date of observance of a religious holy day. If you must miss a class, an examination, a work assignment, or a project in order to observe a religious holy day, I will give you an opportunity to complete the missed work within a reasonable time after the absence.

2. Course Readings/Materials: ○ Assorted readings, provided by the instructor and available online. ○ Recordings, provided by the instructor and available online. ○ CANVAS course site access (see technology policy)

3. Assignments, Assessment, and Evaluation a. Throughout this course, you will be expected to read and listen regularly. This is not only part of your preparation for this course, but also a part of your musical and intellectual development in general. Readings and listenings assignments on the syllabus are to be completed BY that date. Please come to class prepared to discuss the material assigned for that day, and submit all assignments online in a timely manner. b. The bulk of the coursework will consist of quizzes, reading guides, short assignments, and a one-time “DECODING” final project, which will be explained in class. c. Reading Guides must be completed BEFORE class time on the day the reading is listed on the course calendar d. . No late reading guides will be accepted. e. NO FINAL EXAM for this class. Instead, you will complete a final project, which is due by end of the university scheduled final exam time. This will be submitted online, per the instructions given in class. f. Make-up quizzes will not be given. Should you fall too far behind, see me. Each quiz will be available online for AT LEAST two days, so you should plan to be able to complete them before their due date. g. Students should use the grading rubric below to estimate their progress in the class.

5. Technology Policies a. This class uses CANVAS (https://canvas.utexas.edu). If you are not familiar with it, please take some time NOW to get used to navigating the interface. 99% of course materials, announcements, etc. will be circulated via this courseware. b. This class will be delivered via LAITS own online learning system, Rendezvous. Links will be posted in the appropriate places on Canvas. c. Virtual office hours (as well as one-on-one meetings, by appointment) will be conducted via ZOOM. Students should make sure they are logged into their official UT ZOOM account, via https://utexas.zoom.us d. This class has a twitter feed (@UT_Doc_C), which I will use to inform you about interesting stories, events, or class updates in real time. While following me is not a requirement, you will want to check the twitter feed periodically. For those of you who do not use Twitter, I have embedded a Twitter feed widget on the main page of Canvas. Since this account is purely for educational purposes, I will not follow you back—nothing personal. e. If you experience any technical issues whilst online, go ahead and email me as soon as possible. The LAITS representatives will handle technology issues, but your timely email to me will be documentation of problems for attendance/participation purposes. f. Last thing: the STUDENT is responsible for their own technology. You wouldn’t ask your dentist to fix your toilet, so don’t ask your music professor to fix your computer. IT Helpdesk offers substantial support for Canvas, email, connectivity, software, and hardware. They can be reached at 475-9400.

VI. Grading Procedures: Grades will be based on:

10% = Attendance & Participation 20% = Reading Guides 40% = Assignments (Quizzes, Discussion Forums, etc.) 30% = Final DECODED Project

Letter grades are computed as follows: 90%=A, 80%=B, 70%=C, 60%=D, and so forth. All pluses and minuses are computed at x3% and x7% (for example, 80%=B-, 83%=B, 87%=B+. The university does not give A+ grades, but you will know in your heart if you are an A+ person.

VII. Academic Integrity

University of Honor Code The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the university is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community.

Each student in this course is expected to abide by the University of Texas Honor Code. [See the UT Honor Code above.] Any work submitted by a student in this course for academic credit will be the student's own work.

VIII. Other University Notices and Policies

Sharing of Course Materials is Prohibited. No materials used in this class, including, but not limited to, lecture hand-outs, videos, assessments (quizzes, exams, papers, projects, homework assignments), in-class materials, review sheets, and additional sets, may be shared online or with anyone outside of the class unless you have my explicit, written permission. Unauthorized sharing of materials promotes cheating. It is a violation of the University’s Student Honor Code and an act of academic dishonesty. I am well aware of the sites used for sharing materials, and any materials found online that are associated with you, or any suspected unauthorized sharing of materials, will be reported to Student Conduct and Academic Integrity in the Office of the Dean of Students. These reports can result in sanctions, including failure in the course.

Class Recordings Class recordings are reserved only for students in this class for educational purposes and are protected under FERPA. The recordings should not be shared outside the class in any form. Violation of this restriction by a student could lead to Student Misconduct proceedings.

Course Flags This course carries the flag for Cultural Diversity in the . Cultural Diversity courses are designed to increase your familiarity with the variety and richness of the American cultural experience. You should therefore expect a substantial portion of your grade to come from assignments covering the practices, beliefs, and histories of at least one U.S. cultural group that has experienced persistent marginalization.

Email and Communication Policy Email is the primary mode of communication for this course. It is the student’s responsibility to make sure that his/her email settings are such that they can receive official email from the university, and more specifically, through Canvas. Please allow a 24 hour turnaround for all emails to the professor. After 24 hours, however, feel free to send it again—it has gotten buried. Of course, I will attempt to answer messages as soon as possible, but last-minute or odd-hour emails will have to wait. In case of an emergency: email me immediately to apprise me of the situation, and then relax—we will work something out. You are always welcome during my virtual office hours, or you can make an appointment.

Documented Disability Statement Any student with a documented disability who requires academic accommodations should contact Services for Students with Disabilities (SSD) at (512) 471-6259 (voice) or 1-866-329-3986 (video phone). Faculty are not required to provide accommodations without an official accommodation letter from SSD.

■ Please notify me as quickly as possible if the material being presented in class is not accessible (e.g., instructional videos need captioning, course packets are not readable for proper alternative text conversion, etc.).

■ Contact Services for Students with Disabilities at 471-6259 (voice) or 1-866-329-3986 (video phone) or reference SSD’s website for more disability-related information: http://www.utexas.edu/diversity/ddce/ssd/for_cstudents.php

Behavior Concerns Advice Line (BCAL) BCAL) is now the Behavior Concerns and COVID-19 Advice Line to address questions or concerns from our university community about COVID-19. Are you worried about a student in your class, bothered that your roommate has been acting differently, or concerned about the behavior of a co-worker? Do you have questions about

COVID-19 and need support or resources? If so, contact the Behavior Concerns and COVID-19 Advice Line at 512- 232-5050 or submit your behavior concerns or COVID-19 questions online.

COVID-19 Pass/Fail Exceptions For the fall 2020 and spring 2021 semesters, undergraduate students may choose to have a of three (3) classes graded on a Pass/Fail basis without penalty.Beginning January 6, 2021 and continuing through May 28, 2021, undergraduate students may contact the College’s Office of Student Affairs to request a COVID-19 Pass/Fail Exception for up to three (3)classes taken during the 2020-2021 academic year. It may be advisable to wait until after the spring semester so that you can make the best decision by optimizing your three conversions over both semesters. It is also important to keep in mind how classes taken with a grade of “P” (Pass) will be treated by graduate and professional school admissions, licensure requirements, and others. It is therefore recommended that you work with your advisor to make this decision, as changing a letter grade to Pass/Fail may have unintended consequences.

Extended Q-Drop Deadlines For the spring 2021 semester, all Q-drops will be considered “non-academic,” which allows students to drop a class without counting toward the six-class limit. The deadline for Extended Q-Drops is May 11. If you are considering a Q-drop for any of your classes for Spring 2021, contact the Office of Student Affairs. There may be some conditions when a Q-drop is not available (e.g., students on probation). Additionally, Q-drops may have an impact on financial aid as well as other implications. Land Acknowledgment We would to acknowledge that we are meeting on Indigenous land. Moreover, (I) We would like to acknowledge and pay our respects to the Carrizo & Comecrudo, Coahuiltecan, Caddo, Tonkawa, Comanche, Lipan , Alabama-Coushatta, Kickapoo, Tigua Pueblo, and all the American Indian and Indigenous Peoples and communities who have been or have become a part of these lands and territories in Texas, here on Turtle Island.

Date UNIT Topic Reading Listening Due Week 1 UNIT I Foundations and Elements of Hip Hop W 1/19 Intro: Course Outline Decoding Hip Hop: Jay-Z: Decoded (excerpt), NO 2004: Jay-Z -- "" "99 Problems" & "Crack Music" READING GUIDE 2004: -- "Crack Music" F 1/21 Reilly-Destined to Disrupt 2019: Lil X -- "Old Town Road" Case Study #1: "Old Town Road" 2011: Jason Aldean -- "Dirt Road Anthem" Syllabus Quiz (online), due by 8pm Sunday Week 2 M 1/25 Keeping It Real: Tropes and Authenticity W 1/27 The Industry F 1/29 Hip Hop: Where and Why? Week 3 M 2/1 Case Study #2: "The Message" (Flow, Rose: "Flow, Layering, and Rupture in Layering, and Rupture) Postindustrial " W 2/3 The Four Elements: Graffiti Jenkins: "Graffiti" F 2/5 The Four Elements: Breakdancing Unit I Quiz (online) due by 8pm Sunday Week 4 UNIT II Early Hip Hop M 2/8 Szwed: "The Real Old School" 1968: -- "Say It Loud--I'm Black and I'm Proud" 1976: George Clinton (w/ Parliament-Funkadelic) -- "Tear the Roof Off the Sucker" 1974: Keith Hudson -- "Pick A Dub" Precursors to Hip Hop 1979: Chic -- "Good Times" 1971: Gil Scott Heron -- "The Revolution Will Not Be Televised"

W 2/10 1969: The Winstons: "Amen, Brother" 1970: James Brown -- "" The Four Elements: 1973: The Incredible Bongo Band --"Apache" DJ-ing 1973: The Incredible Bongo Band -- "Bongo Rock"

F 2/12 George "Hip Hop's Founding Fathers" 1981: GMF & FF – “ on the Wheels of Steel” The "Founding Fathers" of Hip Hop Week 5 M 2/15 The Four Elements: MC-ing (Content) Edwards, "How Flow Works" W 2/17 The Four Elements: MC-ing (Structure) F 2/19 The Four Elements: MC-ing (Style) Week 6 M 2/22 Frick & Ahearn: "Rapper's Delight" 1979: Sugar Hill Gang – “Rapper’s Delight” 1981: GMF & FF – “Superappin'" Old Skool Hip Hop 1980: Curtis Blow – “The Breaks” 1980: Blondie – “Rapture” 1982: & Soulsonic Force – “Planet Rock” W 2/24 1984: UTFO – “Roxanne, Roxanne” The "Roxanne Wars" 1984: Roxanne Shanté – “Roxanne’s Revenge” F 2/26 Michel: "L.L. Cool J" 1984: Rock Master Scott & The Dynamic Three – “The Roof is On Fire” 1984: – "The Freaks Come Out At Night" Transition to New School 1985: – “P .S.K.” 1985: Doug E. Fresh & MC Ricky D () – “La Di Da Di” 1985: LL Cool J – “Just Can’t Live Without My Radio” Unit II Quiz (online) due by 8pm Sunday Week 7 UNIT III The Golden Age Jones: "Run-D.M.C." 1986: Run DMC (feat. ) – “” M 3/1 Case Study #2: "Walk This Way" 1986: The – “The New Style” (Intro to the Golden Age) W 3/3 1986: Ice-T – “6 In The Morning” 1987: Eric B and – “Eric B is President” Foundational MCs of the Golden Age 1988: – “Raw” 1988: EPMD – “Strictly Business” F 3/5 1987: – “” 1987: -N- – “Push It” The Golden Age, cont. 1988: MC Lyte – “Paper Thin” 1989: and – "Ladies First" Week 8 M 3/8 Rose: "Fear of a Black Planet" 1988: N.W.A. – “” 1988: – “My Philosophy” 1989: – “Fight The Power” Edutainment & Activism 1992: Sister Souljah – "The Hate That Hate Produced" 1985: MC Shan – "The Bridge" 1986: Boogie Down Productions – "South Bronx" W 3/10 Diehl: "" 1988: Ton Loc – "Wild Thing" 1989: Young MC – "Bust A Move" 1989: Biz Markie – "Just A Friend" 1989: Digital Underground – "Humpty Dance" Hip POP & The 1989: DJ Jazzy Jeff & The Fresh – “Parents Just Don’t Understand” 1990: MC Hammer – “U Can’t Touch This” 1989: – 'Me, Myself, and I" 1990: Vanilla Ice – “Ice, Ice, Baby” 1991: – "Check The Rhime" F 3/12 1989: De La Soul – "Transmitting Live from Mars" Sampling 1991: Biz Markie – "Alone Again" Unit III Quiz (online) due by 8pm Sunday Week 9 SPRING BREAK Date UNIT Topic Reading Listening Due Week 10 UNIT IV The Modern Era M 3/22 TBA TBA Basic Recording Techniques

W 3/24 Hess: " and G- 1989: The D.O.C. – "No One Can Do It Better" Case Study #4: "Nuthin' But a 'G' Thang" " 1990: – "Amerikkka's Most Wanted" (The Modern Era) 1992: Dr. Dre (feat. Snoop Doggy Dogg) – “Nuthin’ But a ‘G’ Thang” 1993: Snoop Doggy Dogg – "Gin & Juice" F 3/26 1992 [1998]: 2Pac – “Changes” West Coast Dominance: Tupac & Snoop 1996: 2Pac (feat. ) – “2 of Amerikaz Most Wanted” Week 11 M 3/29 Bry: "Resurgence of NY" 1993: Wu-Tang Clan – “Protect Ya Neck” 1995: – “Shook Ones, Pt. II” The Empire (State) Strikes Back 1998: Lauryn Hill –"Doo Wop (That Thing)" 2000: DMX – "Party Up (Up In Here)" W 3/31 1994: The Notorious B.I.G. – “Hypnotize” The King(s) of New York: Biggie & Nas 1994: Nas – “The World Is Yours” F 4/2 1996: Jay-Z – “Can I Live?” Case Study #5: "Takeover" v "Ether" 1996: Jay-Z – "Dead Presidents I" (Jay-Z vs Nas) 2001: Jay-Z - "Takeover" 2001: Nas - "Ether" Week 12 M 4/5 Gender in Hip Hop TBA TBA W 4/7 2000: – "The Light" 2003: Kanye West –"Through the Wire" Regional Trends: Chi-Town 2006: – "Kick, Push" 2012: – "Love Sosa" F 4/9 1999: – "" 2006: J-Dilla – "Lightworks" 2013: (feat. Purity Ring) – "25 Bucks" Regional Trends: " vs Everybody" 1997: Bone Thugs-N-Harmony – "Tha Crossroads" 2000: – "Country Grammar" 2007: – "Midwest Choppers" Week 13 M 4/12 1986: The Showboys – "Drag Rap (aka Triggaman)" 1991: DJ Jimi (feat. ) – "Bounce (for the Juvenile)" 1995: Geto Boys - “Damn It Feels Good To Be A Gangster” [recorded 1992] 2002: Geto Boys/Michael “5000 Watts” – “Damn It Feels Good To Be A Gangster Regional Trends: Durty Souf []” 1996: UGK – “One Day” 1996: – “ATLiens” 2000: – “Shake It Fast” [“” clean version] 2000: – “Southern Hospitality” (produced by The Neptunes) W 4/14 Regional Trends: Durty Souf, cont. F 4/16 Global Trends: Hip Hop in Latin America TBA TBA Unit IV Quiz (online) due by 8pm Sunday Week 14 UNIT V Contemporary Hip Hop M 4/19 Kajikawa: "Eminem’s 'My Name Is': 2000: Eminem – “” Signifying Whiteness, Rearticulating 2002: Eminem – “” Race" 2004: Kanye West – “” 2007: T-Pain – “Buy U a Drank (Shawty Snappin’)” Mainstream 2008: – “” 2008: Young – “My President” 2010: – “Black & Yellow” 2010: Kanye West - "Monster" 2010: – “Your Love” W 4/21 "" 1999: [Yasiin Bey] – "Hip Hop" 2008: – “Day n Nite” 2011: – “22 Offs” 2016: Noname – "Yesterday" Underground, Indies, and Trap 2017: – "1-800-273-8255" 2002: T.I. – "24s" 2012: Chief Keef – "Love Sosa" 2014: – "" F 4/23 2013: “Rusty” – Tyler, the Creator The New Lyricism 2013: “1 Train” – A$AP Rocky (ft. , , , Danny (XXL Freshmen Class) Brown, and Big K.R.I.T.) 2013: “Control” – (ft. Kendrick Lamar, Jay ) Week 15 M 4/26 Case Study #6: "Alright" (Kendrick Lamar's "Challenging But Gripping" 2015: Kendrick Lamar – "Alright" TO PIMP A BUTTERFLY) W 4/28 Battan: "How SoundCloud Rap Took 2007: Tell'em – " (Soulja Boy)" Over Everything" 2016: – "" Mumble, Memes, & Soundcloud 2017: (feat. Lil Uzi Vert) – "Bad and Boujee" 2018: XXXTenacion – "Sad!" F 4/30 2011: (feat ) – "Take Care" Hip Hop's Rise 2015: Taylor Swift (feat. Kendrick Lamar) – "Bad Blood" Most Influential Voting Round 1 2015: Drake – "" (by Sunday 8pm) Week 16 M 5/3 2017: – "Bodak Yellow" 2017: Princess Nokia – "Brujas" 2018: & – "Sunflower" 2018: – "Last Time Latest Developments That I Checc'd" 2018: J Cole – "ATM" 2018: – "Sicko Mode" 2019 [2017]: Lizzo – "Truth Hurts" 2020: – "The Box" W 5/5 Most Influential Voting FINAL Round Latest Developments, cont. (by 8pm Wednesday) F 5/7 TBA UNIT V QUIZ (by Sunday 8pm) ----- Most Influential Discussion DECODED PROJECT DUE BY FINALS