In his book, Making Beats, specifically the chapter titled “It’s about Playing Records”; Joseph Schloss attempts to discuss the relationship between deejays and producers, and the connection between individuals and collective hip-hop identity. He argues that academics who write about hip-hop, only center on the economic, political, and social concerns in its making, instead of the individuals behind the creative process (Schloss 2004). The main subjects of this chapter are how deejaying relates to sampling, how individuals shape the aesthetic quality of hip-hop and how women fit into a masculine profession. In his efforts to persuade the reader of the importance of speaking about the preferences/tastes of the individuals who helped to create
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These opinions, held by many in academia, ignore the individual contributions of various people involved in hip-hop’s making. In order to make this argument, he must assume that everyone was interested in showcasing their aesthetic taste as opposed to making statements about their lives, neighborhoods and circumstances. He justifies this in his discussion of early hip hop when he speaks on how hip-hop did not develop because artists had no other choice but to develop hip-hop. Unlike many scholars, he does not center on hip-hop as a large movement or subculture within Black America™. He instead focuses on the aesthetic quality of early hip hop, embodied in deejaying, which later leads to producing. Here, his accessible language helps the reader understand his unorthodox view of hip-hop’s development. Schloss states that “Hip-hop was not created by African American culture; it was created by African American people” (Schloss 2004). Moreover, Schloss criticizes other music writers who rarely or never discuss individual style in early hip-hop for the sake of discussing the poor conditions of the people who started hip-hop. This is where his argument is the strongest because Schloss’ language allows the reader to see the flaws in contrasting
These opinions, held by many in academia, ignore the individual contributions of various people involved in hip-hop’s making. In order to make this argument, he must assume that everyone was interested in showcasing their aesthetic taste as opposed to making statements about their lives, neighborhoods and circumstances. He justifies this in his discussion of early hip hop when he speaks on how hip-hop did not develop because artists had no other choice but to develop hip-hop. Unlike many scholars, he does not center on hip-hop as a large movement or subculture within Black America™. He instead focuses on the aesthetic quality of early hip hop, embodied in deejaying, which later leads to producing. Here, his accessible language helps the reader understand his unorthodox view of hip-hop’s development. Schloss states that “Hip-hop was not created by African American culture; it was created by African American people” (Schloss 2004). Moreover, Schloss criticizes other music writers who rarely or never discuss individual style in early hip-hop for the sake of discussing the poor conditions of the people who started hip-hop. This is where his argument is the strongest because Schloss’ language allows the reader to see the flaws in contrasting