Tag Archives: music

The Weekly Text, Friday 9 June 2023: History of Hip-Hop Lesson 14, The Message: Hip-Hop as Political and Social Manifesto

Don’t worry, after this, only two lessons remain to post in the History of Hip-Hop Unit. This week’s Text is lesson plan fourteen of the unit, on Grandmaster Flash and the Furious Five’s seminal Hip-Hop recording, “The Message.” This lesson begins, after your class change, with this Cultural Literacy worksheet on the concept of a manifesto. The central work of this lesson is a reading, and a listening, for which I use this Official Video of the song on YouTube, and the lyrics to the song, to guide students toward completing these comprehension and analytical questions on these verses.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Weekly Text, Friday 2 June 2023: History of Hip-Hop Lesson 13, Breaking into the Charts: Hip-Hop as Party Music

This week’s Text offers the thirteenth lesson plan of the History of Hip-Hop Unit. This lesson opens, after a class change, with this Cultural Literacy worksheet on the Nation of Islam. The principal work of this lesson are the lyrics to “Rapper’s Delight” by the Sugarhill Gang and “The Breaks” by Kurtis Blow, and the comprehension and analytical questions about those lyrics. You can find both of these songs on YouTube–and in the case of “The Breaks” a live performance by Kurtis Blow on Soul Train. I’ve shown parts of both–and nota bene, please, that “Rapper’s Delight,” depending on which version you land on, can be a long song.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Joruri

“Joruri: Originally a genre of popular song in Japan, accompanied first by the biwa (Japanese lute) and later by the samisen (Japanese banjo), it was adapted as the musical narrative for the Japanese puppet theater (Bunraku). The person who chants the joruri is known as the giddayu, Joruri is not a dramatic form, but rather is the chanted narration of tales often dramatic in nature.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

The Weekly Text, Friday 28 April 2023: History of Hip-Hop Lesson 12, DJ Kool Herc Steps Forward to Sample in The Bronx

Continuing with the History of Hip-Hop Unit, here is lesson plan twelve, on Clive Campbell, aka DJ Kool Herc. This Cultural Literacy worksheet on the Congress of Racial Equality (CORE) begins the lesson. The centerpiece of this lesson is this reading on Clive Campbell  with its accompanying comprehension worksheet.

And that is that for another week.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Weekly Text, Friday 21 April 2023: History of Hip-Hop Lesson 11, Gil Scott-Heron: Black Power Griot of Harlem

This week’s Text, following in sequence, is the eleventh lesson plan of the History of Hip-Hop unit, this one on the late, great, Gil Scott-Heron. This lesson begins with this Cultural Literacy worksheet on the National Association for the the Advancement of Colored People. The center of this lesson is this adapted reading on Gil Scott-Heron with its comprehension worksheet to accompany it.

This lesson also includes listening to two of Gil Scott-Heron’s songs, both of which are available on YouTube. Here are the lyrics to “The Revolution Will Not Be Televised” and “The Bottle.”

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Weekly Text, Friday 14 April 2023: History of Hip-Hop Lesson 10, The Last Poets, Harlem Griots

Moving along with the History of Hip-Hop unit, this week’s Text is the tenth lesson plan, on The Last Poets. I open this lesson with this Cultural Literacy worksheet on Malcolm X. From there we proceed to the mainstay of the lesson, this adapted reading on The Last Poets and its attendant comprehension-building worksheet.

Incidentally, if you’re interested in the full text from which the reading above was adapted, here is a PDF of the master of the reading. I snipped this from a copy of Uncut magazine back when the Hip-Hop fanzines were still published in paper and available at the Borders on Lower Broadway (very near Wall), near the school where I served at that time and where I would pick them up. So, we’re talking, basically, about pre-2008, which is when Borders ceased to exist, a casualty of the financial crisis that year. I had a hell of a time finding the citation, but I am relatively confident of it.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Weekly Text, Friday 7 April 2023: History of Hip-Hop Lesson 9, The Black Power Movement in the United States

This week’s Text is lesson plan nine of the History of Hip-Hop unit, on the rise of the Black Power movement in the United States. This lesson begins with this Cultural Literacy worksheet on the Black Panthers. The principal work for this lesson is this reading on the Black Power Movement with its accompanying comprehension worksheet.

And that’s it for another week.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Charlie Parker

Charlie Parker (originally Charles Christopher): (1920-1955) U.S. saxophonist and composer, one of the originators of bebop and among the greatest improvisers in jazz. Born in Kansas City, Parker played with Jay McShann’s big band (1940-42) and those or Earl Hines (1942-44) and Billy Eckstine (1944) before leading his own small groups in New York. (A nickname acquired in the early 1940s, Yardbird, was shortened to Bird and used throughout his career.) Parker frequently worked with Dizzy Gillespie in the mid-1940s, making a series of small-group recordings that heralded the arrival of bebop as a mature outgrowth of the improvisation of the late swing era. His direct, cutting tone and unprecedented dexterity on the alto saxophone made rapid tempos and fast flurries of notes trademarks of bebop, and his complex, subtle harmonic understanding brought and altogether new sound to the music. Easily the most influential jazz musician of his generation, his chronic drug addiction and early death contributed to making him a tragic legend.

Excerpted/Adapted from: Stevens, Mark A., Ed. Merriam Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

The Weekly Text, 24 February 2023, Black History Month 2023 Week IV: A Reading and Comprehension Worksheet on Miles Davis

For the final Friday of Black History Month 2023, here is a reading on Miles Davis along with its accompanying vocabulary-building and comprehension worksheet. I don’t know what more I need to say about Miles–but that’s because I assume that most people know who he is.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Great Migration in American Culture, Politics, and Society

Toni Morrison’s parents migrated from Alabama to Lorraine, Ohio. Diana Ross’s mother migrated from Bessemer, Alabama to Detroit, her father from Bluefield, West Virginia. Aretha Franklin’s father migrated from Mississippi to Detroit. Jesse Owens’s parents migrated from Oakville, Alabama, to Cleveland when he was nine. Joe Louis’s mother migrated with him from Lafayette, Alabama to Detroit. Jackie Robinson’s family migrated from Cairo, Georgia, to Pasadena, California. Bill Cosby’s father migrated from Schuyler, Virginia to Philadelphia, where Cosby was born. Nat King Cole, as a young boy, migrated with his family from Montgomery, Alabama to Chicago. Condoleeza Rice’s family migrated from Birmingham, Alabama to Denver, Colorado, when she was twelve. Thelonious Monk’s parents brought him from Rocky Mount, North Carolina, to Harlem when he was five. Berry Gordy’s parents migrated from rural Georgia to Detroit, where Gordy was born. Oprah Winfrey’s mother migrated from Koscisusko, Mississippi, to Milwaukee, where Winfrey went to live as a young girl. Mae Jemison’s parents migrated from Decatur, Alabama, to Chicago when she was three years old. Romare Bearden’s parents carried him from Charlotte, North Carolina, to New York City. Jimi Hendrix’s maternal grandparents migrated from Virginia to Seattle. Michael Jackson’s mother was taken as a toddler from Barbour County by her parents to East Chicago, Indiana; his father migrated as a young man from Fountain Hill, Arkansas, to Chicago, just west of Gary, Indiana, where all the Jackson children were born. Prince’s father migrated from Louisiana to Minneapolis. Sean “P. Diddy” Combs’s grandmother migrated from Hollyhill, South Carolina, to Harlem. Whitney Houston’s grandparents migrated from Georgia to Newark, New Jersey. The family of Mary J. Blige migrated from Savannah, Georgia, to Yonkers, New York. Queen Latifah’s grandfather migrated from Birmingham, Alabama, to Brooklyn. August Wilson’s mother migrated from North Carolina to Pittsburgh, following her own mother, who, as the playwright told it, walked most of the way.”

Excerpted/Adapted from: Wilkerson, Isabel. The Warmth of Other Suns: The Epic Story of America’s Great Migration. New York: Vintage, 2011.