CSCR 21300-01: Hip Hop Cultures
Tuesdays & Thursdays 1:10pm – 2:25pm
Center for Health Sciences, Room 202, Spring 2010
COURSE INFORMATION
Faculty: Dr. Sean Eversley Bradwell
Phone:
E-mail:
274-3823 (office)
[email protected]
Office:
101 Center for Health Science
Office Hours:
Tuesdays 2:30pm – 4:00pm
Wednesdays 2:30pm – 4:00pm
And times by appointment
COURSE DESCRIPTION
Birthed in the 1960s (and before), hip hop has become one of the largest and furthest-reaching social
movements in modern history. The course is designed to examine its journey and the historical, political,
racial, economic, and social importance of hip hop culture. Particular attention is given to hip hop’s main
tenets:
• writ’ing
• b-boy’ing / b-girl’ing
• dj’ing
• mc’ing
• know’ing
Particular attention is also given to the conditions / context from which hip hop culture originates. The
course utilizes a seminar format along with lectures, videos, guest speakers/discussants, community events,
and more in order to achieve the following goals:
o Provide historical background and context for hip hop culture;
o Provide forum to discuss/analyze the political economy of hip hop; racial commodifications, hip
hop masculinity, the legacy/agency of raced culture, media consolidation, and authenticity;
o Provide guidance in the research and production of hip hop culture scholarship.
SPRING 2011 REQUIRED BOOKS: Hip Hop Rising
Jay-Z. (2010). Decoded. New York: Spiegel & Grau.
Rose, T. (2008). The Hip Hop Wars: what we talk about when we talk about hip hop--and why it matters.
New York: BasicCivitas.
Williams, T. C. (2010). Losing My Cool: How a father's love and 15,000 books beat hip-hop culture. New
York: Penguin Press. [Audiobook also available from Penguin Audiobooks]
COURSE RESERVES and ADDITIONAL READINGS:
The required books are available via the Ithaca College library’s 2-hour course reserve holdings. To access
course reserves, check with the circulation desk. Journal articles and additional readings can be found in
PDF format via Blackboard (Bb). You will also find digital reserves (albums and selected tracks) via
COURSE WEBSITE
Course material and additional resources are available via Blackboard (Bb): http://courses.ithaca.edu. The
course site also contains information on assignments, grades, readings, supplementary assessment
information, links to websites, class handouts, and more. Enrolled students should become familiar with the
Bb site and expect to log-in a couple times each week.
IC LIBRARY RESEARCH GUIDE:
The Ithaca College librarians have created a hip hop research guide. Information can be found here:
http://www.ithacalibrary.com/sp/subjects/hiphop.
Hip Hop Cultures Syllabus – p. 1
COURSE REQUIREMENTS, ASSIGNMENTS, and GRADING
•
Class Participation/Attendance/Engagement – The learning objectives are heavily dependent on consistent
attendance and active participation. Read course material and participate in class discussions.
Participation/attendance comprises 20% of the final grade.
•
Response Writings – (3–4 pages, every other week). These writings are not summaries but rather biweekly
reactions and responses to readings, lectures, films, etc. Evaluation is based on evidence of effort and
quality of ideas. Check Bb site for due dates and more information.
Response writings comprise 20% of the final grade.
•
Midterm Assessment – (a formal writing assignment, 6–8 pages total). The midterm will required the use of
course material (readings, lectures, discussions, guest lectures, videos, etc) in writing responses/answers.
Check Bb site for more information. Paper copy due in or before class on Thursday, March 10.
The midterm comprises 20% of the final grade.
•
Final Project – Specific information and instructions will be given as the course progresses. Final project
due to CSCRE (101 CHS) by 12:00pm (noon) on Friday, May 6.
The final project comprises 20% of the final grade.
•
Video Final Exam – (‘blue-book’ final). It is an open book, open notes handwritten exam covering any/all
course material. Final Exam is held on Wednesday, May 11 @ 10:30am – 1:00pm in CHS 202.
The final exam comprises 20% of the final grade.
Grading Policy
All grades and grading are subjective. Final letter grades will approximate the conversation
chart to the right. To receive the best grade, participate and complete all assignments on time
with evidence of thought/effort.
Extra Credit: (1) send notice prior to campus/community event. (2) Attend event. (3) Write 2–
3 pages offering connections between the event and course material. Extra-credit responses
should be submitted within one week from event date. Any questions, ask.
Numeric
Grade
Letter
Grade
90–100
A (or A-)
80–89
70–79
B (or B+/-)
C (or C+/-)
60–69
D (or D+/-)
59–
F
Academic Writing
Proficiency in academic writing (ability to synthesize information, cite references, support ideas, structure
arguments, etc) is strongly encouraged. Beyond the services offered by the college Writing Center, additional
resources are available on the Bb site.
Attendance Policy
The course meets twice-a-week (30 meetings) and carries an expectation of discussion/participation.
Excessive absences (defined as more than three) will negatively impact your performance and can result in
course failure. Excessive tardiness will also impact performance and final grade.
Participation Policy
While many find it difficult to participate in class/group discussions, this does not absolve one from the course
expectation. You should give as well as take from course dialogues. Participation grade will not be assessed
by ability to dominate airtime but rather by a willingness to engage ideas and pose questions. The better
prepared, the easier it is to participate.
Late Assignment Policy
Late response writings are accepted within one week of the original due date. Midterms and finals that are
submitted late incur a ½ letter penalty for each day past original due date. Unless there are extenuating
circumstances, there are no exceptions.
Hip Hop Cultures Syllabus – p. 2
Accommodations
In compliance with Section 504 of the Rehabilitation Act of 1973 and the Americans with Disabilities Act,
reasonable accommodation will be provided to students with documented disabilities on a case-by-case basis.
Students must register with the Office of Academic Support Services and provide appropriate documentation
to the College before any academic adjustment will be provided.
Academic Integrity
“Academic honesty is a cornerstone of the mission of the College. Unless it is otherwise stipulated, students
may submit for evaluation only that work that is their own and that is submitted originally for a specific
course. According to traditions of higher education, forms of conduct that will be considered evidence of
academic misconduct include but are not limited to the following: conversations between students during an
examination; reviewing, without authorization, material during an examination (e.g., personal notes, another
student’s exam); unauthorized collaboration; submission of a paper also submitted for credit in another course;
reference to written material related to the course brought into an examination room during a closed-book,
written examination; and submission without proper acknowledgment of work that is based partially or
entirely on the ideas or writings of others” (as quoted in section 7.1.4.A of the IC Policy Manual).
Topic and Suggested Reading Schedule
Below is a rough outline of the readings/topics to be covered this semester. Each topic is linked and, as such, there are no
definitive starting or ending points. NOTE: Bring books, articles, handouts, etc. to class for use in discussions.
Week 1
Jan 25 – 27
Administrative Tasks and Introduction
Klosterman, C. (2006, November). Reason for the Rhyme. Retrieved on November 15, 2007 from ESPN at:
http://sports.espn.go.com/espn/eticket/story?page=alirap1
Davis, J. (1997, December). Review: When We Were Kings. The Journal of American History, 84(3), pp.
1182–1183.
Film: Gast, L. & T. Hackford (1997). When We Were Kings. Gramercy Pictures.
Maar, J. (2006) Ali Rap. ESPN Original Entertainment.
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For Additional Information:
Remnick, D. (1999). King of the World: Muhammad Ali and the Rise of an American Hero. New York: Vintage
Books.
Week 2
Feb 1 – 3
G.O.A.T. is the GOAL (All of the Lights)
Dyson, M. E. (2004) “Hip Hop Culture and the Legacy of Tupac Shakur.” Audio lecture given on April 10,
2004. Boulder, CO.
Iwamoto, D. (2003). “Tupac Shakur: Understanding the Identity formation of hyper-masculinity of a
popular hip hop artists.” The Black Scholar; 33 (2).
Film: Bythewood, R. R. (2010). One Night in Vegas: ESPN Films 30 for 30. ESPN Home Entertainment.
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For Additional Information:
Lazin, L. (2003). Tupac — Resurrection. Hollywood, CA: Paramount. Dyson, M. E. (2001). Holler If You Hear Me:
Searching for Tupac Shakur. New York: Basic Civitas Books.
Shakur, T. (1999). The Rose that Grew from Concrete. New York: Pocket Books.
Dyson, M. E. (2001). Holler If You Hear Me: Searching for Tupac Shakur. New York: Basic Civitas Books.
Hip Hop Cultures Syllabus – p. 3
Week 3
Feb 8 – 10
Hip Hop Alpha and Omega
Perry, I. (2005). “Hip Hop’s Mama.” Found in Prophets of the Hood. Durham, NC, Duke University
Press.
Yousman, B. (2003). Blackophilia and Blackophobia: White Youth, the Consumption of Rap Music, and
White Supremacy. Communication Theory, 13(4).
Film: Hurt, B. (2005). Hip Hop: Beyond Beats and Rhymes. God Bless the Child Productions, Inc.
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For Additional Information:
Toop, D. (1984). The Rap Attack: African Jive to New York Hip-Hop. Cambridge: South End Press.
Tate, G. (2003). Everything But the Burden: What White People are Taking from Black Culture. New York:
Broadway Books.
Kitwana, B. (2005). Why White Kids Love Hip-Hop: wankstas, wiggers, wannabes, and the new reality of race in
America. New York, Basic Civitas.
Week 4
Feb 15 – 17
Keeping in (un)Real
Judy, RAT (1994). “On the Question of Nigga Authenticity” (p.105-117) found in Forman, M. and M. A.
Neal (2004). That's the Joint!: the hip-hop studies reader. New York, Routledge.
Kelley, R.D.G. (1997). “Looking for the ‘Real’ Nigga: Social Scientists Construct the Ghetto” (p.119-136)
found in Forman, M. and M. A. Neal (2004). That's the Joint!: the hip-hop studies reader. New York,
Routledge.
Film: Silver, T., H. Chalfant, et al. (1983). Style Wars. New York, NY, Public Art Films.
*********************************
For Additional Information:
Fricke, J., C. Ahearn, et al. (2002). Yes Yes Y’all: The Experience Music Project Oral History of Hip-Hop’s First
Decade. Cambridge: Da Capo Press.
Larkins, T. (2004). The N Word: Divided We Stand [DVD]. United States, UrbanWorks.
Kennedy, R. (2002). Nigger: the strange career of a troublesome word. New York, Pantheon.
Week 5
Feb 22 – 24
Hip Hop Wars, Round 1
Rose, T. (2008). Intro- Ch 3: “Hip Hop Causes Violence (ch 1)”; “Hip Hop Reflections Dysfunctional
Black Culture (ch 2)”; and “Hip Hop Hurts Black People (ch 3)” found in The Hip Hop Wars: what we
talk about when we talk about hip hop--and why it matters. New York: BasicCivitas.
Film: Israel, J. (2002). The Freshest Kids. Chatsworth, CA: QD3 Entertainment.
*********************************
For Additional Information:
Light, A. (1999). The Vibe History of Hip-Hop. New York: Three Rivers Press.
Kugelberg, J. (ed.). (2007). Born in the Bronx: A Visual Record of the Early Days of Hip Hop. New York: Rizzoli.
George, N. (1998). Hip Hop America. New York: Penguin Books.
Week 6
March 1 – 3
Hip Hop Wars, Round 2
Rose, T. (2008). Chapter 4-7: “Hip Hop is Destroying American Values (ch 4)”; “Hip Hop Demeans
Women (ch 5)”; “Just Keeping it Real (ch 6)”; and “Hip Hop Isn’t Responsible for Sexism (ch 7)”
found in The Hip Hop Wars: what we talk about when we talk about hip hop--and why it matters. New
York: BasicCivitas.
Film: DuVernay, A. (2010). My Mic Sounds Nice: A Truth About Women and Hip-Hop. BET Docs.
Raimist, R., O. Asia, et al. (1999). Nobody Knows My Name. New York, NY, Women Make Movies
distributor.
*********************************
For Additional Information:
Gaunt, K. (2006). The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop. New York: New
York University Press.
Pough, G. D., Neal, M. A., & Morgan, J. (2007). Home girls make some noise: Hip-hop feminism anthology. Mira
Loma, Calif: Parker Pub.
Morgan, J. (1999). When the Chickenheads Come Home to Roost. New York: Touchstone.
Hip Hop Cultures Syllabus – p. 4
Week 7
March 8 – 10
Midterms Due in or before class on Thursday, March 10th
Week 8
March 15 – 17
Week 9
March 22 – 24
No Class - Spring Recess
Hip Hop Wars, Round 3
Rose, T. (2008). Ch 8-11: “There are Bitches and Hoes (ch 8)”; “We’re Not Role Models (ch 9)”, “Nobody
Talks About the Positive in Hip Hop (ch 10)”, and “Mutual Denials in Hip Hop Wars (ch 11)” found
in The Hip Hop Wars: what we talk about when we talk about hip hop--and why it matters. New York:
BasicCivitas.
Film: Zahn, P. (2007). Hip Hop: Art or Poison? CNN Special Report. Time Warner.
*********************************
For Additional Information:
Bynoe, Y. (2004). Stand and Deliver: Political Activism, Leadership, and Hip Hop Culture. Brooklyn: Soft Skull
Press.
Watkins, S. C. (2005). Hip Hop Matters. Boston: Beacon Press.
Week 10
March 29 - 31
Cool Pose, pt. 1
Williams, T. C. (2010). Losing my cool: How a father's love and 15,000 books beat hip-hop
culture. New York: Penguin Press. Film: LaChappelle, D. (2005). Rize. Lions Gate.
Film: Sloan, C. & A. Fuqua. (2005). Bastards of the Party. HBO Films.
Jhally, S., Katz, J. et al. (1999). Tough Guise: violence, media, and the crisis in masculinity.
Northampton, MA: Media Education Foundation.
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For Additional Information:
Davis, M. (2006). City of Quartz: Excavating the Future in Los Angeles (new edition). Verso Press
Quinn, E. (2005). Nuthin’ but a “G” thang: The Culture and Commerce of Gangsta Rap. New York: Columbia
University Press.
Hopkinson, N. & N. Moore (2006). Deconstructing Tyrone: A Look at Black Masculinity in the Hip-Hop Generation.
San Francisco: Cleis Press.
Week 11
April 5 - 7
Cool Pose, pt. 2
Williams, T. C. (2010). Losing my cool: How a father's love and 15,000 books beat hip-hop
culture. New York: Penguin Press. Film: LaChappelle, D. (2005). Rize. Lions Gate.
Film: Gibson, T. (2005). Letter to the President. T. Gibson. Chatsworth, CA: Image Entertainment.
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For Additional Information:
Collins, P. H. (2006). From Black Power to Hip Hop: Racism, Nationalism, and Feminism. Philadelphia: Temple
University Press.
Boyd, T. (2002). The New H.N.I.C.: The Death of Civil Rights and the Reign of Hip Hop. New York: New York
University Press.
Week 12
April 12 -14
Hip Hop Decoded – Can You Knock the Hustle?
Jay-Z. (2010). Decoded. New York: Spiegel & Grau.
Film: de Longeville, T. & L. Leone. (2005) Just For Kicks. Caid Productions, Inc.
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For Additional Information:
Kelley, N. (1999). The Political Economy of Black Music. Black Renaissance, 2(2).
Hip Hop Cultures Syllabus – p. 5
Week 13
April 19 - 21
Hip Hop Decoded - “I’m not a businessman, I’m a business, man.”
Jay-Z. (2010). Decoded. New York: Spiegel & Grau.
Film: Forbes, S. (2010, Sep 22). “Jay-Z, Buffett and Forbes on Success and Giving Back” Available from:
http://video.forbes.com/fvn/forbes400-10/jay-z-buffett-forbes-success-giving
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For Additional Information:
Banter, B. (2005). “Hip Hop Mathematics: A Lesson for Teachers.” Available at
http://playahata.com/pages/banner/hiphopmathematics.htm
Day, W (2003). “Artist Still Don’t Make Money From Record Deals.” Available at
http://www.rapcoalition.org/Rappers%20Don’t%20Make%20Loot.htm
Week 14
April 26 - 28
Hip Hop Decoded –
Jay-Z. (2010). Decoded. New York: Spiegel & Grau.
Film: No Film
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For Additional Information:
Mitchell, T. (2001). Global Noise: Rap and Hip-Hop Outside the USA. Middletown, CT: Wesleyan University Press.
Basu, D. & S. J. Lemelle. (2006). The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture.
Ann Arbor, MI: Pluto.
Week 15
May 3 - 5
Wednesday,
May 11
Final Projects and Course Evaluation(s)
Video Final Exam: 10:30am – 1:00pm in CHS 202
Hip Hop Cultures Syllabus – p. 6