History 122:
That's the Joint: Race, Gender, and Migration in Hip-Hop History
Course Description & Goals
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.
This is not a music or Hip-Hop appreciation course. We will do MUCH more than simply listen to or talk about Hip-Hop music and
your favorite artists. The goals of this course are to take a CRITICAL approach to the genre and contextualize our analyses within the
larger, global, historical and sociopolitical contexts within which it originated and continues to thrive.
Course Learning Outcomes (CLOs):
Upon successful completion of this course, students will be able to:
Recognize the processes by which societies, cultures, and institutions change over time.
Describe particular historical development of the “Hip-Hop” movement and explain their wider context.
Critically read, analyze, and synthesize primary and secondary sources. Use methods of narrative and analysis appropriately for communicating historical phenomena.
Identify the various contexts that shape the construction and use of historical sources and knowledge
To support student success coherently across History coursework, all courses tie together the CLOs specific to the course to some
or all of the encompassing History Program Learning Outcome for the degree. In this way, students experience to holism that the
degree offers. For this course, the CLOs support students in reaching Program Learning Outcomes 1, 2, 3, 4 and 5:
1. Recognize the processes by which societies, cultures, and institutions change over time.
2. Describe particular historical developments and explain their wider context.
3. Critically read, analyze, and synthesize primary and secondary sources.
4. Use methods of narrative and analysis appropriately for communicating historical phenomena.
5. Identify the various contexts that shape the construction and use of historical sources and knowledge.
Laptop Policy:
I am enforcing a strict ban on laptop usage in the classroom. You may not use laptops in class under any circumstances (unless you
have a documented medical reason). If you happen to bring a laptop with you to campus, it must remained closed and turned off
for the duration of the class period. You will therefore need to take notes using paper and pen/pencil.
Cell Phone Policy:
Make sure to turn your phone off when entering the classroom. Do not put it on vibrate, turn it off. Anyone receiving, sending, or
reading text messages during class will be put on blast. I might even make you read it aloud to the class. Additionally they will lose
points for participation.
Special Needs:
Students with disabilities, who may need accommodations, please see me as soon as possible. You may also email me or contact me
during office hours. I will work with the Disability Services Center (113 Kolligian Library) to provide reasonable accommodations.
Student Advising:
You may take draft papers to the Student Advising and Learning Center (SALC) if you need assistance in organizing and editing your
ideas. SALC also provides tutoring and workshops in time management and study skills. For more information, visit
learning.ucmerced.edu.
Academic Misconduct
Students should be aware of University policy regarding academic misconduct. Failure to cite sources in papers, copying the work of
other students, and submission of papers completed for other courses are considered to be cheating by your instructor. Always ask
if you are in doubt! The penalty for academic misconduct is failure of the course and possible expulsion from the University.
Assignments
Autobiographical Introduction 5%
Participation 20%
Writing Responses 20%
Midterm Essay 25%
Final 30%
Autobiographical Introduction
Each student will write a 2-3 page autobiographical introduction (Times New Roman/Arial, 12pt font, one-inch margins) that
essentially answers the following question: “Why did you choose this course at this point in your life?”
Guidelines:
1. You may not use the word “interesting” or a related vague term that really tells us little about who you are and where you have
been in your life.
2. Please avoid talking about your need for electives, etc. Probe deeper and justify an interest in this course beyond the usual
reasons related to a need for graduation credits.
3. Share something interesting about yourself. Consider addressing one or more of the following questions (and any other details
that come to mind):
What is Hip Hop? How do you feel about this music, and how much do you know about its history/origins? Where are you from
originally and what makes Hip Hop
in your region unique? What do you expect to learn in this course?
Participation
Participation is a key component of learning. I expect each and every one of you to be active agents in your own education. That
means you must attend class and every absence will result in a negative effect on your grade. That being said, participation does not
mean just showing up. My definition of active participation include the following, doing the reading BEFORE class, listen actively,
engage your fellow students while maintaining respect for one another, and feel free to turn and talk directly to other students. You
are welcome to have a conversation with each other, not just with me. Remember, you can have challenging ideas without being a
challenging person.
Writing Responses – 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.
Midterm Essay – Your midterm will be a 5-7 page essay. Directions for the essay will be given two weeks prior to the final. As a
matter of policy I do not give extensions for finals. So do not ask for an extension and do not turn your papers in late. They will not
be accepted.
Final – That’s the Joint: The Mixtape
For your final, you will be required to create a “mixtape” of sorts, inclusive of fifteen (15) tracks, that in your opinion reflect the
major themes and issues covered in AFS 260: Politics of Hip Hop Culture. To accompany your mixtape, you will create an insert that
will explain the significance of each track.
Translation: You will burn a CD on which you put 15 carefully selected Hip Hop songs. Pretend the person who will get the CD did not
take this course and is not familiar with the major themes and issues we discussed throughout the semester. Your CD will be their
introduction to these issues. To accompany the CD, you will turn in a 16-page “paper” – the first page will be a summary of your
“mixtape” to include a list of track titles and one paragraph explaining the issues your mixtape addresses and why you believe it
provides a good summation of this course; the rest of the paper will include one page per song in which you explain the importance
of the particular song, identify the key issue(s)/theme(s) that it reflects/addresses, and justify why you believe it reflects/addresses
these key issue(s)/theme(s). You should pull out particular lyrics to support your analysis. The final mixtape will be due on the day
and time scheduled for our course final. We will use this time to have a discussion about your mixtapes and have one last listening
party.
NOTE: FAILURE TO COMPLETE ANY OF THE ASSINGMENTS WILL RESULT IN A FAILING GRADE
Required Texts
TBA
Online Texts
Assigned readings that are articles will be cited as such. Articles will be uploaded onto UCMCROPS and it is your responsibility to
print, read, and bring to class all assigned readings.
READINGS AND LECTURE SCHEDULE
Week 1 – Introduction: How do you study Hip-Hop?
Week 2 – Roots, Rock, Reggae: Diaspora and Migration in Music
Week 3 – I’m So Bad I Make Medicine Sick: Muhammad Ali and the Forbearers of Rap
Week 4 - The Bronx is Burning: Post-Industrial Urban America and the Development of Hip-Hop
Week 5 - Soul Sonic Forces: Technology, Music, and Orality
Week 6 – No Loitering: Race, Space, and Public Space
Week 7 – Prophets of Rage: Rap, Resistance, and Politics
Week 8 – Straight Outta Compton: NWA, Police Brutality, and the Ramparts Scandal
Week 9 – As Nasty as They Wanna Be: Censorship and Moral Panic
Week 10 – Prisons for Our Bodies, Closets for Our Minds: Masculinity, Authenticity, and Violence
Week 11 – Bad Sistas: Women, Sexism, and Representation
Week 12 – I’m Not a Businessman, I’m a Business, Man: Commodification and Capitalism in Hip-Hop
Week 13 – The Real Slim Shady: Whiteness and Minstrelsy
Week 14 – Stranded on Death Row: The Hip-Hop Police and the Prison Industrial Complex
Week 15 – Nueva Canción: Hip-Hop in Latin America
Week 16 – Global Noise: Globalization and the Sound of Migration