Schur, Richard L. “Claiming Ownership in the Post\u2013Civil Rights Era.” In Parodies of Ownership: Hip-Hop Aesthetics and Intellectual Property Law<\/i>, 68-98. ANN ARBOR: University of Michigan Press, 2009. http:\/\/www.jstor.org\/stable\/j.ctv65sx2s.8.<\/p>\n
Parodies of Ownership: Hip-Hop Aesthetics and Intellectual Property Law<\/span><\/em><\/p>\n The chapter being observed aims to connect the Civil-Rights movement to hip-hop music. This piece does not focus so much on the origin or initial creation of hip-hop, but instead on the development of hip-hop’s political impact and significance. Richard L. Schur argues that hip-hop aesthetics were developed as a specific type of ownership for Black Americans.<\/p>\n I will use this piece in conjunction with others to observe the past (and even original) uses of hip-hop music. I will then compare it with current purposes for the making of hip-hop music. I argue that neoliberalism in the music industry prefers profits-designed music and aesthetics over political commentary or emotional expression.<\/p>\n Williams, Justin. “Historicizing the Breakbeat: Hip-Hop’s Origins and Authenticity.” Lied Und Popul\u00e4re Kultur \/ Song and Popular Culture<\/i> 56 (2011): 133-67. http:\/\/www.jstor.org\/stable\/23339034.<\/p>\n Historicizing the Breakbeat: Hip-Hop’s Origins and Authenticity<\/span><\/em><\/p>\n This piece observes the history of hip-hop back to its origins (NYC). However, it goes beyond the sound and also explores the aesthetic and cultural development of hip-hop. I intend to, again, compare classical hip-hops original purposes and means of production to that of contemporary hip-hop. I then will argue that any forms of appropriation of hip-hop music are inspired\/encouraged by Neoliberalism.<\/p>\n <\/p>\n Weekly Progress:<\/p>\n I am still pulling together a historical framework. Next I will need to determine a relevant artist to observe.<\/p>\n","protected":false},"excerpt":{"rendered":" Schur, Richard L. “Claiming Ownership in the Post\u2013Civil Rights Era.” In Parodies of Ownership: Hip-Hop Aesthetics and Intellectual Property Law, 68-98. ANN ARBOR: University of Michigan Press, 2009. http:\/\/www.jstor.org\/stable\/j.ctv65sx2s.8. Parodies of Ownership: Hip-Hop Aesthetics and Intellectual Property Law The chapter being observed aims to connect the Civil-Rights movement to hip-hop music. This piece does not … Continue reading “April 3”<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":15,"menu_order":6,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-83","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/courses.bowdoin.edu\/sociology-3010a-spring-2019-hdunnepo\/wp-json\/wp\/v2\/pages\/83","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.bowdoin.edu\/sociology-3010a-spring-2019-hdunnepo\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/courses.bowdoin.edu\/sociology-3010a-spring-2019-hdunnepo\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/sociology-3010a-spring-2019-hdunnepo\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/sociology-3010a-spring-2019-hdunnepo\/wp-json\/wp\/v2\/comments?post=83"}],"version-history":[{"count":0,"href":"https:\/\/courses.bowdoin.edu\/sociology-3010a-spring-2019-hdunnepo\/wp-json\/wp\/v2\/pages\/83\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/sociology-3010a-spring-2019-hdunnepo\/wp-json\/wp\/v2\/pages\/15"}],"wp:attachment":[{"href":"https:\/\/courses.bowdoin.edu\/sociology-3010a-spring-2019-hdunnepo\/wp-json\/wp\/v2\/media?parent=83"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}