Week Three Writing/Discussion Section Questions:

1) After learning about disco rap, why do you think that hip hop groups’ style and music went back to a more street aesthetic (i.e. Run-D.M.C. And Eric B. & Rakim)? In what ways was this about authenticity, and possibly the authenticity lost in hip hop culture’s transition to rap records in the years that preceded (1979-1982)? Based on what you now know about Def Jam the record label, Rubin’s idea of rap being “black punk rock,” as well as Run-D.M.C.’s and the label’s crossovers with rap/rock (read as black audience and white audience), what was being represented with these groups?

2) Goldberg says that “the cut is another elemental DJ technique that prefigured use of the digital sampler” (p. 118). After reading his chapter and my demonstration in class, coupled with the DJ songs you listened to, as well as the songs for Tuesday that were all made using digital sampling, explain (using examples) how DJ technique informed the digital sampling technique that came after. Think of techniques like the merry go round, quick mix theory, punch phrasing, cutting, scratching, looping, etc. How was the DJ the stepping stone to being a producer?

3) Chang says, “The key issue of the ’80s was representation” (p. 249). What was Public Enemy representing in its music? How was PE’s music and aesthetic related to “The Message” and how did the group go beyond that? In what ways is the message in “Fight the Power” and “Rebel Without a Pause” relevant today?