In Art on the Block Book What Connections Can Be Made Between Hip Hop Punk and Graffiti?

Essential Question

What are the historical roots of Hip Hop?

Overview

Hip Hop emerged directly out of the living atmospheric condition in America's inner cities in the 1970s, particularly the South Bronx region of New York City. As a largely white, centre-form population left urban areas for the suburbs in the 1950s and 1960s—a phenomenon known equally "white flying"—the demographics of communities such as the Bronx shifted chop-chop. The Bronx, one of New York City'southward five "boroughs," became populated mainly by Blacks and Hispanics, including big immigrant populations from Caribbean area nations including Puerto Rico, the Dominican Republic, Jamaica, Barbados, Trinidad and Tobago, and others.

Simultaneous with the "white flight," social and economic disruptions abounded. Construction on the Cross Bronx Expressway, which began in the postwar period and continued into the early on 1970s, decimated several of the minority neighborhoods in its path; city infrastructure was allowed to crumble in the wake of budget cuts, hitting the less privileged parts of the city virtually directly; and strikes organized by disaffected blue-collar workers crippled the entire metropolitan surface area.

Amidst the college crime and ascension poverty rates that came with urban decay, young people in the South Bronx made use of express resources to create cultural expressions that encompassed non just music, simply also dance, visual art, and fashion. In music, Latin and Caribbean traditions met and mingled with the sounds of sixties and seventies Soul, Disco, and Funk. The venues for the emerging art of Hip Hop were public parks and community recreation centers, sheets of cardboard laid out on city sidewalks became dance floors, and brick walls were transformed into artists' canvases. Turntables became laboratories for musical experimentation equally quondam sounds were remixed in new means. The spirit of invention was peculiarly vibrant confronting a properties of empty lots, boarded-upwardly windows, and burned-out buildings.

In a borough where poverty and an eroded infrastructure meant very limited access to instruments  and music education, young music makers created with what they could discover. DJs assembled their own sound systems and built extensive tape collections by searching secondhand stores for old Soul, Funk, and Rock and Roll albums; they used their collections to provide amusement within their communities. Sounds taken from these records—from James Chocolate-brown's pulsate breaks to Parliament Funkadelic's funky bass lines—provided the raw materials for creative work: beats to exist mixed and modified. On top of that, MCs (brusk for Master of Ceremonies) rapped.

While early Hip Hop was frequently dance music, the genre also picked upward where sure seventy's Soul left off, serving equally a vehicle for social commentary. Stylistically, MCs drew on a number of influences, including Jamaican "toasting," a style of lyrical chanting over a beat that was brought to New York by the burgeoning Caribbean immigrant customs.  The role of the MC expanded over time while the raps themselves blended influences from a variety of marginalized populations, reflecting the circumstances of an evolving urban America.

In this lesson, students volition examine raw documentary footage, demographic charts, television set news stories, and song lyrics to connect the sounds of early Hip Hop to the substandard living conditions in American inner cities in the late 1970s, peculiarly the Bronx in New York City.  Students will etch their own verses to Grandmaster Wink'southward "The Bulletin," to be followed up with a research-driven writing assignment to further explore the urban environment depicted in the landmark song.

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Objectives

Upon completion of this lesson, students will:

1. Know (knowledge):
   • How early Hip Hop reflected the social and economic conditions of America's inner cities, especially the Bronx in New York Metropolis
   • Important events in the history of New York City in the 1960s and 1970s, including the construction of the Cross Bronx Superhighway, high crime rates, and a major transit strike
   • The contributions of early Hip Hop artists including DJ Kool Herc and Grandmaster Flash
   • Key vocabulary relating to the rise of Hip Hop, including such terms as "scratching," "rapping," "MC" and "DJ"
2. Be able to (skills):
   • Make connections between artistic movements and the social and economic conditions from which they emerge
   • Connect song lyrics to gimmicky events
   • Place musical sources from which early Hip Hop was created
   • Students volition integrate information from maps and information charts with texts and videos to make thematic connections and create deeper understandings (CCSS Reading 7; CCSS Speaking and Listening 2)
   • Students will apply knowledge of language to empathise how give-and-take choice can evoke pregnant and manner (CCSS Language three)

Activities

Motivational Activity:

Show ABC News clip of the South Bronx in 1982 (video does non contain sound). Discuss equally a class:

• What practise you lot observe about this neighborhood? What practise y'all call up has taken place there?
• What means do you think people living in this environment would have to express themselves artistically?
• This video clip was left without any sound.  If y'all were to compose music to accompany this footage, what would that music audio like? What feelings or emotions might you endeavour to convey through your music?

Procedure:

one.  Explain to students that the place shown in the clip is an expanse of New York City known as the Bronx, a place considered to be the birthplace of Hip Hop. Distribute Handout 1: Map of New York City. Ask students:

• New York City is broken upward into five sections, called "boroughs." What are each of these five boroughs named?
• What famous landmarks do you discover on this map? In which borough are nearly of these landmarks located?
• Where is the Bronx in relation to Manhattan, where many of the famous landmarks are plant?

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two.  Guide students to the indicate on the map marked "1520 Sedgwick Artery" and display prototype of the building. Explain that this is the accost of an flat building in the Bronx where some of the earliest Hip Hop performances occurred, including several business firm parties emceed by DJ Kool Herc, a resident of the edifice.

Ask students:

• Are there any roads or highways demarcated on the map? [Students should find the Cross Bronx Freeway.]

Display photograph of the Cross Bronx Expressway. Explain that the motorway was constructed between 1948 and 1972, and was 1 of the first highways to be built direct through a crowded urban surround. While technologically innovative, its construction deeply afflicted the communities through which it passed by dividing neighborhoods, lowering property values, and hastening the charge per unit of urban decay in many sections of the Bronx.

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iii.  Direct students back to the map. Inquire students:

• What is the proximity between 1520 Sedgwick Avenue and the Cross Bronx Expressway, and how might that affect life at that accost? [Students should run into that the throughway is correct upwards next to the flat building.]

4.  Distribute Handout 2: Bronx Demographics 1960-2000. Ask the students to respond the post-obit questions about the socioeconomic weather in the Bronx based on the information in the two charts:

• The population of which racial/ethnic grouping increased the virtually in the Bronx between 1960 and 2000? Which population decreased the near?
• What happened to the poverty rate of the total population of the Bronx between 1970 and 2000? What percentage of the total population was in poverty in 1980?
• What overall conclusions can you draw from these charts about the socioeconomic weather in the Bronx while Hip Hop was developing in that location in the 1970s?

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5.  Show a video prune from an interview with Hip Hop pioneer Grandmaster Flash. Explain that this news story was produced in 2000, but examines events that occurred in the late 1970s. Talk over as a class:

• Where was early Hip Hop performed? Who was in the audience?
• What equipment did Grandmaster Flash utilize to build a new musical sound? How did he utilize this equipment in an innovative way?
• What are "the breaks" to which Grandmaster Flash is referring? What is "scratching"? What about the mode Hip Hop DJs played this music made it original?
• How does Grandmaster Flash describe the role of the Master of Ceremonies, or MC at a Hip Hop performance?

6.  Dissever class into small groups of iii–iv students. Distribute Handout iii: New York City Timeline 1960s-1970s, and Handout 4: "The Message" Lyric Excerpts; to each group.

7.  Show video excerpt of the song "The Message" by Grandmaster Wink and the Furious V, recorded in 1982. Inform students that they volition piece of work in their groups to clarify the way the song reflects the social atmospheric condition of New York City in the 1960s and 1970s. Students should underline specific lines in the song and connect them to specific events from the timeline.

[Note to teacher: The video and vocal lyrics of "The Bulletin" contain some explicit language. The teacher is advised to assess whether or not these materials are appropriate for their students. Also notation that the video clip ends earlier the tertiary poesy, but students should be able to complete the assignment using the lyrics on the handout.]

8.  Discuss in groups:

• Why do you lot remember this song was titled "The Bulletin"? What is its bulletin?
• What are the images in the song that reflect life in the city in the 1970s?  (e.g. broken glass, vermin, etc.)

9.  Poll sample answers from dissimilar groups.

x.  Reconvene the class and discuss:

• Why do you retrieve Hip Hop became so pop with the people in urban communities such every bit the Bronx?
• How did "The Message" reflect the social and economical conditions of the Bronx in the 1970s? Remember most both the equipment that was needed to produce it and the themes reflected in its lyrics.

[Teacher tin can emphasize the thought that early on Hip Hop required few resources: a turntable or ii, speakers, existing records, and a DJ with a lot of imagination; students can compare this to the instruments, equipment, and resources needed to class a rock band.]

Summary Activity:

Inquire students to select one or more events from the timeline not already evoked in the vocal and write an additional verse for "The Message" to reflect those events and their moment.

Writing Prompt:

Students will select an event from the New York Urban center timeline and conduct farther research into it, producing an argumentative essay to demonstrate an historical understanding of that result and how it affected New York City in the 1960s and 1970s. Students should include a clear thesis statement declaring the importance of that result in comparing with other events on the timeline, followed by research-based evidence to support the thesis. Be sure to also explain why the outcome was important enough to warrant a lyrical mention by Grandmaster Flash in "The Bulletin."

Extension:

Show video of Grandmaster Flash on ABC'southward Nightline in 2012. Hash out as a grade:

• What specific musical sources does Grandmaster Flash point to every bit influences? What did he detect inspiring virtually these musicians and records?

Standards

New Jersey State Standards

New Bailiwick of jersey State Learning Standards for English Language Arts: Reading

• NJSLSA.R7: Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.

New Jersey State Learning Standards for English Linguistic communication Arts: Writing

• NJSLSA.W2: Write informative/explanatory texts to examine and convey complex ideas and information conspicuously and accurately through the effective selection, organization, and analysis of content.
• NJSLSA.W3: Write narratives to develop existent or imagined experiences or events using effective technique, well-chosen details, and well-structured consequence sequences.

New Jersey State Learning Standards for English Language Arts: Speaking and Listening

• NJSLSA.SL2: Integrate and evaluate information presented in various media and formats, including visually, quantitatively, and orally.
• NJSLSA.SL6: Adapt speech to a variety of contexts and chatty tasks, demonstrating command of formal English when indicated or advisable.

New Bailiwick of jersey State Learning Standards for English Linguistic communication Arts: Language

• NJSLSA.L3: Apply knowledge of language to empathize how language functions in dissimilar contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

New York State Standards

New York Land Next Generation English Linguistic communication Arts Learning Standards
Reading Anchor Standards

• Integration of Knowledge and Ideas Standard
  • Standard vii: Integrate and evaluate content presented in diverse media and formats.

Writing Anchor Standards

• Text Types and Purposes
  • Standard two: Write informative/explanatory texts to examine and convey circuitous ideas and information clearly and accurately through the effective selection, organization, and assay of content.
  • Standard 3: Write narratives to develop real or imagined experiences or events using effective techniques, well-chosen details, and well-structured upshot sequences.

Speaking and Listening

• Comprehension and Collaboration
  • Standard 2: Integrate and evaluate information presented in diverse media and formats (including visual, quantitative, and oral).
  • Standard half dozen: Conform speech to a variety of contexts and chatty tasks, demonstrating control of academic English language when indicated or advisable.

Linguistic communication Standards

• Conventions of Academic English language/Language for Learning
  • Noesis of Language
    • Standard 3: Apply cognition of linguistic communication to understand how language functions in different contexts, to brand constructive choices for pregnant or way, and to cover more fully when reading or listening.

NYS Next Generation 6-12 Literacy Standards in History/Social Studies, Science, and Technical Subjects
Literacy half dozen-12 Anchor Standards for Reading

• Integration of Cognition and Ideas
  • Standard 7: Integrate and evaluate content presented in diverse media and formats, including across multiple texts.

Literacy vi-12 Anchor Standards for Writing

• Text Types and Purposes
  • Standard 2: Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.
  • Standard three: Write narratives to understand an event or topic, using effective techniques, well-chosen details, and well-structured sequences.

Texas State Standards

Texas Essential Cognition and Skills for ELA & Reading

• Make inference almost text and use textual prove to support understanding.
• Summarize, paraphrase, and synthesize texts in means that maintain meaning and logical gild within a text and across texts.
• Brand intertextual links amid and across texts, including other media (due east.g. moving-picture show, play, music) and provide textual bear witness.
• Brand complex inference about text and employ textual evidence to support agreement.

Texas Essential Cognition and Skills for Social Studies

• Culture: The student understands the relationship that exists between the arts and the societies in which they are produced. The student expects to:
  • Explicate the relationships that exist between societies and their architecture, fine art, music, and literature.
  • Relate ways in which contemporary expressions of civilisation have been influenced by the past.
  • Draw ways in which contemporary issues influence creative expression.
• Economics: The student understands why various sections of the United State develop different patterns of economic activity. The educatee is expected to:
  • Explain the reasons for the increase in factories and urbanization.
  • Analyze the causes and effects of economical differences amongst unlike regions of the United States at selected times in U.S. History.

Texas Essential Knowledge and Skills for Fine and Performing Arts

• Historical and cultural relevance: The student relates music to history, culture, and the world. The student is expected to: Identify relationships of concepts to other academic disciplines such equally the relations between music and mathematics, literature, history, and the sciences.

Texas Essential Knowledge and Skills for Music

• (5) Historical and cultural relevance. The student relates music to history, culture, and the earth. The student is expected to:
  • (A) compare and contrast music by genre, way, culture, and historical period;
  • (B) define uses of music in societies and cultures;
  • (C) place and explore the relationships betwixt music and other academic disciplines;
  • (E) identify and explore the impact of technologies, ethical issues, and economical factors on music, musicians, and performances.

Common Core Country Standards

College and Career Readiness Reading Ballast Standards for Grades 6-12 for Literature and Informational Text

• Reading vii: Integrate and evaluate content presented in various formats and media, including visually and quantitatively, as well as in words.

College and Career Readiness Writing Ballast Standards for Grades 6-12 in English Language Arts and Literacy in History/Social Studies, Science and Technical Subjects

• Writing 2: Write informative/explanatory texts to examine and convey circuitous ideas and information clearly and accurately through the effective selection, organization, and analysis of content.
• Writing iii: Write narratives to develop existent or imagined experiences or events using effective technique, well-called details, and well-structured effect sequences.

College and Career Readiness Anchor Standards for Speaking and Listening for Grades 6-12

• Speaking and Listening ii: Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.
• Speaking and Listening 6: Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English language when indicated or advisable.

College and Career Readiness Ballast Standards for Language for Grades half-dozen-12

• Language 3: Utilise knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

Social Studies – National Council for the Social Studies (NCSS)

• Theme 1: Civilisation
• Theme 2: Time, Continuity, and Change
• Theme 3: People, Places, and Environments
• Theme vii: Production, Distribution, and Consumption
• Theme 8: Scientific discipline, Applied science, and Order

National Standards for Music Education

Cadre Music Standard: Responding

• Clarify: Analyze how the structure and context of varied musical works inform the response.
• Translate: Support interpretations of musical works that reflect creators' and/or performers' expressive intent.
• Evaluate: Support evaluations of musical works and performances based on analysis, interpretation, and established criteria.

Core Music Standard: Connecting

• Connecting 11: Relate  musical ideas and works to varied contexts and daily life to deepen understanding.

National Core Arts Standards

Responding

• Ballast Standard 7: Perceive and clarify creative work.
• Anchor Standard 8: Interpret intent and meaning in creative work.
• Anchor Standard 9: Apply criteria to evaluate creative work.

Connecting

• Anchor Standard 10: Synthesize and chronicle knowledge and personal experiences to make fine art.
• Anchor Standards xi: Chronicle artistic ideas and work with societal, cultural and historical context to deepen understanding.

Career Technical Education Standards (California Model) – Arts, Media and Entertainment Pathway Standards

Blueprint, Visual and Media Arts (A)

• A1.0 Demonstrate ability to reorganize and integrate visual art elements across digital media and blueprint applications.
  A1.1 View and respond to a variety of manufacture-related artistic products integrating industry appropriate vocabulary.
  A1.iv Select industry-specific works and clarify the intent of the work and the advisable use of media.
  A1.5 Inquiry and analyze the work of an artist or designer and how the creative person'south distinctive style contributes to their industry production.
  A1.9 Analyze the cloth used by a given artist and describe how its use influences the meaning of the work. ia, and Amusement |
  A3.0 Analyze and assess the impact of history and culture on the development of professional arts and media products.
  A3.1 Identify and describe the part and influence of new technologies on gimmicky arts industry.
  A3.2 Describe how the issues of time, place, and cultural influence and are reflected in a variety of artistic products.
  A3.iii Identify gimmicky styles and talk over the diverse social, economical, and political developments reflected in fine art piece of work in an industry setting.
  A4.0 Analyze, assess, and identify effectiveness of artistic products based on elements of art, the principles of design, and professional industry standards.
  A4.two Deconstruct how beliefs, cultural traditions, and current social, economic, and political contexts influence commercial media (traditional and electronic).
  A4.5 Clarify and articulate how society influences the estimation and effectiveness of an creative production.
  A5.0 Identify essential manufacture competencies, explore commercial applications and develop a career specific personal plan.
  A5.2 Explore the part of art and pattern beyond various manufacture sectors and content areas.
  A5.3 Deconstruct works of art, identifying psychological content constitute in the symbols and images and their relationship to industry and society.
  A5.iv Predict how changes in technology might change the role and function of the visual arts in the workplace.
  A5.7 Synthesize traditional fine art work and new technologies to design an artistic product to be used by a specific industry.
  A8.0 Understand the key technical and technological requirements applicable to various segments of the Media and Design Arts Pathway.
  A8.3 Know the features and uses of current and emerging engineering science related to computing (due east.g., optical character recognition, sound processing, cable TV, cellular phones).
  A8.7 Evaluate how avant-garde and emerging technologies (e.m., virtual surroundings or voice recognition software) bear on or improve media and design arts products or productions.

Performing Arts (B)

• B2.0 Read, mind to, deconstruct, and analyze peer and professional person music using the elements and terminology of music.
  B2.2 Describe how the elements of music are used.
  B2.5 Analyze and depict significant musical events perceived and remembered in a given industry generated example.
  B2.6 Analyze and depict the use of musical elements in a given professional work that makes it unique, interesting, and expressive.
  B2.7 Demonstrate the different uses of form, both past and nowadays, in a varied repertoire of music in commercial settings from various genres, styles, and professional applications.
  B7.0 Analyze the historical and cultural perspective of multiple industry performance products from a discipline-specific perspective.
  B7.1 Identify and compare how pic, theater, tv, and electronic media productions influence values and behaviors.
  B7.iii Clarify the historical and cultural perspective of the musician in the professional setting.
  B8.0 Deconstruct the aesthetic values that drive professional person performance and the artistic elements necessary for manufacture production.
  B8.3 Analyze the aesthetic principles that apply in a professional person piece of work designed for live functioning, film, video, or live broadcast.

Product and Managerial Arts (C)

• C3.0 Analyze and differentiate the function of the various members of a product squad.
  C3.one Identify the skills and competencies of the various members of a product team including producer, production manager, director, assistant managing director, stage managing director, production designer(south), post product, etc.
  C5.0 Utilise knowledge of services, equipment capabilities, the workflow procedure, information acquisition, and engineering science to a timely completion of projects.
  C5.i Identify essential qualifications and technological competencies for each team member, including artists, designers, performers, composers, writers, and technicians.
  

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Source: https://teachrock.org/lesson/the-historical-roots-of-hip-hop/

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