1 00:00:01,566 --> 00:00:03,566 >> NATE CAME UP WITH THIS ONE. 2 00:00:03,566 --> 00:00:05,400 IT WAS SANTA'S HELPERS ARE KNOWN 3 00:00:05,400 --> 00:00:09,500 AS SUBORDINATE CLAUSES. 4 00:00:09,500 --> 00:00:10,800 >> OUR GUEST TODAY IS A 5 00:00:10,800 --> 00:00:12,066 PERFORMANCE ARTIST AND AN 6 00:00:12,066 --> 00:00:14,000 EDUCATOR WHOSE CLASSES ARE A 7 00:00:14,000 --> 00:00:15,033 COMBINATION OF PHILOSIPHY 8 00:00:15,033 --> 00:00:18,000 SOCIOLOGY, HISTORY, CULTURE 9 00:00:18,000 --> 00:00:19,100 AND MUSIC. 10 00:00:19,100 --> 00:00:20,966 JOIN US AS WE CAP UP WITH DR. 11 00:00:20,966 --> 00:00:22,600 A.D. CARSON, AN ASSISTANT 12 00:00:22,600 --> 00:00:24,300 PROFESSOR OF HIP HOP IN THE 13 00:00:24,300 --> 00:00:25,733 GLOBAL SOUTH AT THE UNIVERSITY 14 00:00:25,733 --> 00:00:27,133 OF VIRGINIA. 15 00:00:27,133 --> 00:00:28,533 COME ON. 16 00:00:28,533 --> 00:00:30,066 >> YOU HAVE TO BE AWARE OF THE 17 00:00:30,066 --> 00:00:31,433 FACT THAT WE ARE TELLING STORIES 18 00:00:31,433 --> 00:00:34,333 OR WE ARE TELLING A STORY. 19 00:00:34,333 --> 00:00:35,833 EVERY RAP IS AN ARGUMENT. 20 00:00:35,833 --> 00:00:36,933 EVERY RAP SONG IS ARGUING 21 00:00:36,933 --> 00:00:39,433 SOMETHING. 22 00:00:39,433 --> 00:00:49,400 ♪♪♪ 23 00:00:49,400 --> 00:00:51,033 >> WHEN I'M ON STAGE, I IMAGINE 24 00:00:51,033 --> 00:00:52,033 MYSELF AS A TEACHER. 25 00:00:52,033 --> 00:00:53,566 AND WHEN I'M IN CLASS, I IMAGINE 26 00:00:53,566 --> 00:00:55,500 MYSELF AS A PERFORMER. 27 00:00:55,500 --> 00:00:57,266 AND I THINK THAT BOTH SPACES 28 00:00:57,266 --> 00:01:00,566 WHERE I'M ENGAGING BENEFIT FROM 29 00:01:00,566 --> 00:01:04,166 MY CONCEPTUALIZING IT AS THE 30 00:01:04,166 --> 00:01:04,466 OTHER. 31 00:01:04,466 --> 00:01:07,966 >> SO, TALK ABOUT THE DIFFERENT 32 00:01:07,966 --> 00:01:09,066 CLASSES THAT YOU'RE TEACHING. 33 00:01:09,066 --> 00:01:11,333 >> WELL, I TEACH A CLASS FOR 34 00:01:11,333 --> 00:01:14,633 UNDERGRADUATES CALLED "WRITING 35 00:01:14,633 --> 00:01:14,966 RAP." 36 00:01:14,966 --> 00:01:16,600 ESSENTIALLY, THE STUDENTS ARE 37 00:01:16,600 --> 00:01:20,700 LEARNING LIKE THE BASICS OF RAP 38 00:01:20,700 --> 00:01:23,466 WRITING AS WELL AS SOME VERY 39 00:01:23,466 --> 00:01:27,400 GENERAL HISTORIES OF HIP HOP AND 40 00:01:27,400 --> 00:01:29,200 DIFFERENT ERAS, THE WAY THE 41 00:01:29,200 --> 00:01:31,500 PEOPLE BREAK UP THE ERAS OF 42 00:01:31,500 --> 00:01:33,800 THAT, WHICH MEANS WE ALSO HAVE 43 00:01:33,800 --> 00:01:35,900 TO STUDY A LOT OF RAPS, 44 00:01:35,900 --> 00:01:37,200 LISTENING TO A LOT OF DIFFERENT 45 00:01:37,200 --> 00:01:38,300 PEOPLE, AND TRYING TO ANALYZE 46 00:01:38,300 --> 00:01:40,200 THE WAYS THAT THEY APPROACH THE 47 00:01:40,200 --> 00:01:41,100 WRITING OF RAPS. 48 00:01:41,100 --> 00:01:47,066 I ALSO TEACH A CLASS CALLED THE 49 00:01:47,066 --> 00:01:50,700 "BLACK VOICE." 50 00:01:50,700 --> 00:01:53,133 IT'S A SEMINAR FOR GRADUATE 51 00:01:53,133 --> 00:01:53,500 STUDENTS. 52 00:01:53,500 --> 00:01:54,933 IT'S NOT SAYING WE'RE GOING TO 53 00:01:54,933 --> 00:02:03,833 DEFINE WHAT A BLACK VOICE IS. 54 00:02:03,833 --> 00:02:09,500 IT'S NOT IN THE WAY FOLKS MIGHT 55 00:02:09,500 --> 00:02:11,400 PRESUME THAT WE MEAN WHENEVER 56 00:02:11,400 --> 00:02:16,000 THEY SEE THAT TITLE. 57 00:02:16,000 --> 00:02:17,866 I TEACH A COURSE CALLED 58 00:02:17,866 --> 00:02:19,533 COMPOSING MIXTAPES. 59 00:02:19,533 --> 00:02:22,133 THAT CLASS IS HIGHLY 60 00:02:22,133 --> 00:02:22,566 COLLABORATIVE. 61 00:02:22,566 --> 00:02:23,600 IT'S LIKE MAKING STUFF EVERY DAY 62 00:02:23,600 --> 00:02:25,133 FROM THE VERY BEGINNING, AND AT 63 00:02:25,133 --> 00:02:26,866 THE END, THE STUDENTS ARE 64 00:02:26,866 --> 00:02:28,300 EXPECTED TO NOT ONLY HAVE THE 65 00:02:28,300 --> 00:02:30,066 FINISHED ALBUM BUT TO PUT 66 00:02:30,066 --> 00:02:31,366 TOGETHER A SHOWCASE SO THAT THEY 67 00:02:31,366 --> 00:02:33,000 CAN SHARE THAT ALBUM WITH THE 68 00:02:33,000 --> 00:02:36,800 BROADER COMMUNITY. 69 00:02:36,800 --> 00:02:47,166 ♪♪♪ 70 00:02:47,166 --> 00:02:50,500 >> I THINK YOUR CLASSES ARE A 71 00:02:50,500 --> 00:02:55,600 MIX OF SO MANY OTHER CLASSES AS 72 00:02:55,600 --> 00:02:56,300 WELL. 73 00:02:56,300 --> 00:02:57,600 I THINK OF PHILOSOPHY. 74 00:02:57,600 --> 00:02:59,800 YOU'RE COVERING HISTORY. 75 00:02:59,800 --> 00:03:03,800 YOU'RE COVERING SOCIOLOGY, 76 00:03:03,800 --> 00:03:04,133 CULTURE. 77 00:03:04,133 --> 00:03:06,233 YOU'RE COVERING MUSIC, MUSIC 78 00:03:06,233 --> 00:03:06,966 THEORY, AND LANGUAGE. 79 00:03:06,966 --> 00:03:08,700 LANGUAGE AND HOW YOUR STUDENTS 80 00:03:08,700 --> 00:03:09,700 INTERPRET LANGUAGES FOR 81 00:03:09,700 --> 00:03:10,100 THEMSELVES. 82 00:03:10,100 --> 00:03:11,966 THAT'S A BIG PART OF WHAT YOU 83 00:03:11,966 --> 00:03:13,800 WANT THEM TO DISCOVER, SORT OF 84 00:03:13,800 --> 00:03:14,966 WHO THEY ARE IN THE WORLD AND 85 00:03:14,966 --> 00:03:16,400 HOW THEY WANT TO USE LANGUAGE. 86 00:03:16,400 --> 00:03:18,166 >> WELL, YOU KNOW, I THINK THAT 87 00:03:18,166 --> 00:03:20,066 IT'S EXTREMELY IMPORTANT THAT WE 88 00:03:20,066 --> 00:03:22,166 ALL REALLY THINK ABOUT OUR 89 00:03:22,166 --> 00:03:24,033 RELATIONSHIP TO LANGUAGE IN THE 90 00:03:24,033 --> 00:03:26,366 WAY THAT HAS AN EFFECT ON THE 91 00:03:26,366 --> 00:03:30,400 WORLD THAT WE LIVE IN, THE WORLD 92 00:03:30,400 --> 00:03:32,000 THAT WE CREATE, WHICH ARE 93 00:03:32,000 --> 00:03:33,133 STRUCTURED BY THE LANGUAGE THAT 94 00:03:33,133 --> 00:03:37,933 WE ENGAGE IN OR HOW WE ENGAGE IN 95 00:03:37,933 --> 00:03:38,966 LANGUAGE. 96 00:03:38,966 --> 00:03:40,533 SO, IT'S MUCH MORE PRESENT IN 97 00:03:40,533 --> 00:03:42,000 THIS CLASS BECAUSE I'M ASKING 98 00:03:42,000 --> 00:03:43,800 THEM TO WRITE RAPS AND BECAUSE 99 00:03:43,800 --> 00:03:45,833 THERE ARE CONSTRAINTS TO EACH OF 100 00:03:45,833 --> 00:03:48,933 THE PROJECTS THAT I'M GIVING 101 00:03:48,933 --> 00:03:51,500 THEM THAT MAKE THEM HAVE TO 102 00:03:51,500 --> 00:03:52,166 THINK. 103 00:03:52,166 --> 00:03:55,800 I HAVE 16 BARS TO GET ACROSS A 104 00:03:55,800 --> 00:03:58,333 POINT THAT IS PREDETERMINED, 105 00:03:58,333 --> 00:03:59,766 WHICH MEANS THAT I ONLY HAVE A 106 00:03:59,766 --> 00:04:01,233 CERTAIN NUMBER OF WORDS THAT I 107 00:04:01,233 --> 00:04:01,566 CAN SAY. 108 00:04:01,566 --> 00:04:05,466 >> RIGHT. 109 00:04:05,466 --> 00:04:07,900 >> SO, I HAVE TO EVALUATE MY 110 00:04:07,900 --> 00:04:09,200 RELATIONSHIP TO LANGUAGE TO BE 111 00:04:09,200 --> 00:04:10,700 ABLE TO NAVIGATE THAT IN SUCH A 112 00:04:10,700 --> 00:04:13,166 WAY THAT IT'S GOING TO CREATE 113 00:04:13,166 --> 00:04:15,300 SOMETHING THAT I AM PROUD OF. 114 00:04:15,300 --> 00:04:26,366 ♪♪♪ 115 00:04:26,366 --> 00:04:27,566 >> PEOPLE HAVE VERY DIFFERENT 116 00:04:27,566 --> 00:04:29,400 VERY DIFFERENCES, AND THIS IS 117 00:04:29,400 --> 00:04:31,600 THE KIND OF THE TIME WHERE I'VE 118 00:04:31,600 --> 00:04:32,833 REALIZED THAT MY EXPERIENCE IS 119 00:04:32,833 --> 00:04:33,866 JUST ONE EXPERIENCE. 120 00:04:33,866 --> 00:04:35,433 THIS CLASS HAS DEFINITELY MADE 121 00:04:35,433 --> 00:04:37,166 ME AWARE A LOT MORE ABOUT WHAT 122 00:04:37,166 --> 00:04:38,500 HIP HOP MEANS AND WHY IT IS 123 00:04:38,500 --> 00:04:40,333 IMPORTANT THAT WE RECOGNIZE THE 124 00:04:40,333 --> 00:04:41,566 WORK THAT HAS ALREADY BEEN DONE. 125 00:04:41,566 --> 00:04:43,200 >> IT REALLY ISN'T JUST A MUSIC 126 00:04:43,200 --> 00:04:43,500 FORM. 127 00:04:43,500 --> 00:04:45,466 IT'S AN ENTIRE CULTURE, AND I 128 00:04:45,466 --> 00:04:47,433 REALLY LIKE THAT WE ARE NOT 129 00:04:47,433 --> 00:04:49,466 RESTRAINED IN ARE WHAT WE CAN 130 00:04:49,466 --> 00:04:49,733 SAY. 131 00:04:49,733 --> 00:04:51,500 WE KNOW THAT EVEN IF WE HAVE A 132 00:04:51,500 --> 00:04:52,700 CONTROVERSIAL OPINION OR 133 00:04:52,700 --> 00:04:54,100 INTERPRETED SOMETHING 134 00:04:54,100 --> 00:04:56,033 DIFFERENTLY THAN OTHERS, THAT 135 00:04:56,033 --> 00:04:57,466 IT'S A PLACE WHERE WE CAN TALK 136 00:04:57,466 --> 00:04:58,800 ABOUT THAT AND WE'RE NOT GOING 137 00:04:58,800 --> 00:05:01,400 TO GET CRITICISM FROM HIM OR GET 138 00:05:01,400 --> 00:05:03,200 TOLD THAT WE SHOULDN'T GO IN 139 00:05:03,200 --> 00:05:03,800 THAT DIRECTION WITH OUR 140 00:05:03,800 --> 00:05:06,033 DISCUSSION. 141 00:05:06,033 --> 00:05:07,600 >> IF YOU LOOK BACK AT THE 142 00:05:07,600 --> 00:05:10,000 LYRICS THAT THEY USED TO SAY IN 143 00:05:10,000 --> 00:05:13,200 THE 90s AND 80s, YOU WOULD SAY, 144 00:05:13,200 --> 00:05:14,166 WHOA, THIS IS REALLY VIOLENT. 145 00:05:14,166 --> 00:05:15,633 I FEEL LIKE SOME OF THE LYRICS 146 00:05:15,633 --> 00:05:17,866 THEY USED BACK THEN WOULD NOT BE 147 00:05:17,866 --> 00:05:18,833 ACCEPTABLE TODAY BECAUSE PEOPLE 148 00:05:18,833 --> 00:05:20,700 WOULD BE MORE OUTRAGED AND SAY 149 00:05:20,700 --> 00:05:22,166 THIS IS WRONG. 150 00:05:22,166 --> 00:05:24,066 >> I THINK ABOUT JOYNER LUCAS' 151 00:05:24,066 --> 00:05:26,033 "I'M NOT A RACIST," THE SONG 152 00:05:26,033 --> 00:05:29,900 WHERE I THINK LOTS OF FOLKS FELT 153 00:05:29,900 --> 00:05:30,933 THAT THIS WAS A BINARY THAT 154 00:05:30,933 --> 00:05:32,233 WE'RE ALWAYS TRYING TO CREATE, 155 00:05:32,233 --> 00:05:34,366 LIKE BOTH SIDES OF THE ARGUMENT. 156 00:05:34,366 --> 00:05:36,033 IT'S A SONG LIKE THAT THAT'S 157 00:05:36,033 --> 00:05:40,466 REALLY, REALLY POPULAR. 158 00:05:40,466 --> 00:05:42,366 AND IT IS STRIKING A CHORD WITH 159 00:05:42,366 --> 00:05:43,833 SO MANY PEOPLE. 160 00:05:43,833 --> 00:05:45,266 IT'S REALLY IMPORTANT IF WE'RE 161 00:05:45,266 --> 00:05:46,800 IN A CLASS ABOUT WRITING RAPS TO 162 00:05:46,800 --> 00:05:48,433 HAVE THE CONVERSATIONS THAT WE 163 00:05:48,433 --> 00:05:49,833 ARE HAVING AMONGST PEOPLE WHO 164 00:05:49,833 --> 00:05:52,000 ARE FROM SO MANY DIFFERENT AREAS 165 00:05:52,000 --> 00:05:53,366 OF THE UNIVERSITY AND FROM SO 166 00:05:53,366 --> 00:05:54,866 MANY DIFFERENT WALKS OF LIFE. 167 00:05:54,866 --> 00:05:57,133 >> AND WHAT ARE THEY -- WHAT DO 168 00:05:57,133 --> 00:05:58,700 THEY THINK OF THE CLASS? 169 00:05:58,700 --> 00:06:00,100 TELL ME ABOUT YOUR STUDENTS. 170 00:06:00,100 --> 00:06:03,700 >> LOTS OF THEM ARE REALLY BIG 171 00:06:03,700 --> 00:06:05,933 FANS OF THE MUSIC, AND THEY 172 00:06:05,933 --> 00:06:07,500 BRING A LOT OF THAT TO THE 173 00:06:07,500 --> 00:06:07,933 CONVERSATION. 174 00:06:07,933 --> 00:06:09,200 AND THEN THERE ARE OTHERS WHO 175 00:06:09,200 --> 00:06:12,800 DON'T KNOW VERY MUCH AND WANT TO 176 00:06:12,800 --> 00:06:13,966 LEARN. 177 00:06:13,966 --> 00:06:15,566 AND I THINK THAT'S KIND OF A 178 00:06:15,566 --> 00:06:16,166 DOPE THING. 179 00:06:16,166 --> 00:06:19,066 I MEAN, IT'S NOT JUST LOOKING AT 180 00:06:19,066 --> 00:06:20,966 PEOPLE WHO ARE IN MUSIC OR 181 00:06:20,966 --> 00:06:22,033 PEOPLE WHO ARE INTO HIP HOP 182 00:06:22,033 --> 00:06:22,366 CULTURE. 183 00:06:22,366 --> 00:06:23,833 IT IS REALLY POPULAR MUSIC. 184 00:06:23,833 --> 00:06:27,933 >> ISN'T IT THE NUMBER ONE MUSIC 185 00:06:27,933 --> 00:06:28,233 FORM? 186 00:06:28,233 --> 00:06:32,066 >> YEAH, IT'S THE MOST CONSUMED. 187 00:06:32,066 --> 00:06:34,433 THAT MAKES IT EASIER FOR ME TO 188 00:06:34,433 --> 00:06:37,266 MAKE AN ASSERTION THAT LIKELY 189 00:06:37,266 --> 00:06:40,066 MOST STUDENTS HAVE HAD AN 190 00:06:40,066 --> 00:06:45,233 EXPERIENCE WITH RAP MUSIC. 191 00:06:45,233 --> 00:06:49,900 >> I'M REALLY CURIOUS TOO NOW 192 00:06:49,900 --> 00:06:51,966 ABOUT IF CHANCE LIFTED THAT. 193 00:06:51,966 --> 00:06:56,466 >> IT'S A GOOD QUESTION, RIGHT? 194 00:06:56,466 --> 00:06:58,333 >> YEAH. 195 00:06:58,333 --> 00:07:00,300 >> SO GIVE ME SOME EXAMPLES OF 196 00:07:00,300 --> 00:07:01,133 WHAT ELSE YOU'LL BE DOING 197 00:07:01,133 --> 00:07:03,833 THROUGHOUT THE YEAR. 198 00:07:03,833 --> 00:07:07,766 >> YOU KNOW, WE START OFF, AS I 199 00:07:07,766 --> 00:07:09,633 SAID, WE TALKED ABOUT OUR 200 00:07:09,633 --> 00:07:10,766 RELATIONSHIP TO LANGUAGE. 201 00:07:10,766 --> 00:07:11,466 AND WE HAVE TO HAVE THE 202 00:07:11,466 --> 00:07:18,600 CONVERSATION ABOUT THE SO-CALLED 203 00:07:18,600 --> 00:07:18,933 N-WORD. 204 00:07:18,933 --> 00:07:20,600 THE QUESTION IS ALWAYS ASKED WHO 205 00:07:20,600 --> 00:07:23,500 HAS THE RIGHT TO SAY IT AND WHO 206 00:07:23,500 --> 00:07:23,833 DOESN'T. 207 00:07:23,833 --> 00:07:25,000 AND I THINK IT'S IMPORTANT THAT 208 00:07:25,000 --> 00:07:27,966 WE HAVE THE CONVERSATION EARLY 209 00:07:27,966 --> 00:07:29,933 ON AND TO HAVE THAT BE SOMETHING 210 00:07:29,933 --> 00:07:31,333 THAT IS ON THEIR MIND BECAUSE 211 00:07:31,333 --> 00:07:32,600 THAT CONVERSATION IS ONE THAT 212 00:07:32,600 --> 00:07:34,500 APPLIES TO MANY OTHER WORDS OR 213 00:07:34,500 --> 00:07:36,033 ENGAGEMENTS IN LANGUAGE THAT WE 214 00:07:36,033 --> 00:07:37,133 MAY BE DON'T CONSIDER AS MUCH 215 00:07:37,133 --> 00:07:37,700 BECAUSE THEY ARE NOT 216 00:07:37,700 --> 00:07:41,000 CONTENTIOUS. 217 00:07:41,000 --> 00:07:43,066 >> RIGHT. 218 00:07:43,066 --> 00:07:46,933 >> WE TALK ABOUT PRODUCTION. 219 00:07:46,933 --> 00:07:48,566 AND HOPEFULLY WE HAVE SOME 220 00:07:48,566 --> 00:07:51,200 ARTISTS WHO ARE ABLE TO KIND OF 221 00:07:51,200 --> 00:07:51,966 SKYPE IN AND TALK VERY 222 00:07:51,966 --> 00:07:52,866 SPECIFICALLY ABOUT THE WRITING 223 00:07:52,866 --> 00:07:53,800 OF CERTAIN SONGS. 224 00:07:53,800 --> 00:07:55,400 >> OH, THAT'S GREAT. 225 00:07:55,400 --> 00:07:57,600 >> AND I'M TRYING MY BEST TO 226 00:07:57,600 --> 00:08:00,933 KEEP MY EARS OPEN FOR WHATEVER 227 00:08:00,933 --> 00:08:02,266 COMES OUT AND TO BE RECEPTIVE TO 228 00:08:02,266 --> 00:08:05,966 WHAT THEY WANT TO TALK ABOUT 229 00:08:05,966 --> 00:08:07,233 RATHER THAN HAVING THE AGENDA BE 230 00:08:07,233 --> 00:08:10,733 SO LOCKED IN THAT I CAN'T ADJUST 231 00:08:10,733 --> 00:08:12,600 SO THAT WE CAN TALK ABOUT 232 00:08:12,600 --> 00:08:15,200 SOMETHING THAT'S HAPPENING IN 233 00:08:15,200 --> 00:08:16,400 THIS MOMENT. 234 00:08:16,400 --> 00:08:18,766 [ RAPPING ]. 235 00:08:18,766 --> 00:08:23,333 >> I HELPED MASTER EXTENSION 398 236 00:08:23,333 --> 00:08:29,533 THE MIXTAPE, AND THEY SAID THEY 237 00:08:29,533 --> 00:08:31,100 WERE INSPIRED. 238 00:08:31,100 --> 00:08:34,100 YOU KNOW, THEY HAD AN EXCITEMENT 239 00:08:34,100 --> 00:08:35,400 ABOUT THEM. 240 00:08:35,400 --> 00:08:39,366 MOST CLASSES MAYBE -- I DON'T 241 00:08:39,366 --> 00:08:39,666 KNOW. 242 00:08:39,666 --> 00:08:41,700 A LOT OF TIMES PEOPLE DON'T GET 243 00:08:41,700 --> 00:08:43,900 THAT EXCITED ABOUT THEIR COLLEGE 244 00:08:43,900 --> 00:08:44,233 CLASSES. 245 00:08:44,233 --> 00:08:46,900 >> I WOULD LIKE TO WORK AS AN 246 00:08:46,900 --> 00:08:48,466 ARTIST'S MANAGER OR ON THE PR 247 00:08:48,466 --> 00:08:49,833 TEAM OR EVEN AS AN A&R AT A 248 00:08:49,833 --> 00:08:51,333 RECORD LABEL. 249 00:08:51,333 --> 00:08:52,766 RAP LAB AND HIS WRITING RAPS 250 00:08:52,766 --> 00:08:54,533 COURSE IS REALLY HELPFUL FOR 251 00:08:54,533 --> 00:08:57,000 LOOKING INTO THE INDUSTRY. 252 00:08:57,000 --> 00:09:03,533 ♪♪♪ 253 00:09:03,533 --> 00:09:05,233 >> AT UVA, THERE'S NOT A LOT OF 254 00:09:05,233 --> 00:09:07,466 RAPPERS AND PRODUCERS. 255 00:09:07,466 --> 00:09:09,133 I KNEW THAT I FINALLY HAVE 256 00:09:09,133 --> 00:09:11,066 SOMEONE THAT I COULD TREAT AS MY 257 00:09:11,066 --> 00:09:13,100 MENTOR. 258 00:09:13,100 --> 00:09:15,300 I COULD JUST GO TO AND ASK 259 00:09:15,300 --> 00:09:17,333 HIS OPINIONS ON MY MUSIC AND STUFF 260 00:09:17,333 --> 00:09:23,133 ♪♪♪ 261 00:09:23,133 --> 00:09:24,966 >> I WANT TO HEAR ABOUT YOUR 262 00:09:24,966 --> 00:09:25,333 DISSERTATION. 263 00:09:25,333 --> 00:09:26,633 ALL THE STUDENTS TALK ABOUT 264 00:09:26,633 --> 00:09:27,866 THEIR DISSERTATION WHEN THEY'RE 265 00:09:27,866 --> 00:09:28,900 TALKING ABOUT YOU. 266 00:09:28,900 --> 00:09:31,300 >> AS AN EMCEE, I'M GOING TO BE 267 00:09:31,300 --> 00:09:34,233 WRITING THESE SONGS BECAUSE I 268 00:09:34,233 --> 00:09:35,366 CAN'T GO OR BE ANYWHERE WITHOUT 269 00:09:35,366 --> 00:09:36,966 WRITING MUSIC ABOUT WHAT I'M 270 00:09:36,966 --> 00:09:38,700 GOING THROUGH, WHICH MEANS THAT 271 00:09:38,700 --> 00:09:42,600 AS A DOCTORAL STUDENT I AM 272 00:09:42,600 --> 00:09:44,866 WRITING SONGS ABOUT THE 273 00:09:44,866 --> 00:09:45,266 ENVIRONMENT. 274 00:09:45,266 --> 00:09:46,866 THERE WERE WAYS THAT I WANTED TO 275 00:09:46,866 --> 00:09:48,966 ARTICULATE THINGS THAT ARE 276 00:09:48,966 --> 00:09:52,066 WRITING AN ESSAY OR A STRONGLY 277 00:09:52,066 --> 00:09:54,533 WORDED OP-ED WOULD NOT GET AT. 278 00:09:54,533 --> 00:09:56,233 I FINALLY MADE MY MOVE TO THE 279 00:09:56,233 --> 00:09:56,533 SOUTH. 280 00:09:56,533 --> 00:09:57,833 I GET A BETTER UNDERSTANDING OF 281 00:09:57,833 --> 00:10:00,033 WHAT MY ROOTS ARE ABOUT BECAUSE 282 00:10:00,033 --> 00:10:02,000 MY PEOPLE ARE FROM HERE. 283 00:10:02,000 --> 00:10:02,866 THOUGH I CAN'T SEE THEM FROM 284 00:10:02,866 --> 00:10:04,833 HERE, THEY'RE REFLECTED IN MY 285 00:10:04,833 --> 00:10:06,600 EXPRESSION, SO YOU'RE HEARING 286 00:10:06,600 --> 00:10:07,666 THEM CLEAR. 287 00:10:07,666 --> 00:10:10,533 THAT WAS REALLY -- I DON'T KNOW 288 00:10:10,533 --> 00:10:12,266 THAT THERE WAS ANOTHER WAY TO 289 00:10:12,266 --> 00:10:13,633 EXPRESS WHAT GETS EXPRESSED IN 290 00:10:13,633 --> 00:10:14,166 THAT SONG. 291 00:10:14,166 --> 00:10:16,166 THERE'S NOT AN ESSAY THAT YOU 292 00:10:16,166 --> 00:10:17,266 WRITE THAT DOES THAT WORK, AND 293 00:10:17,266 --> 00:10:18,500 THAT'S THE KIND OF THING I WANT 294 00:10:18,500 --> 00:10:21,833 TO PROVIDE MY STUDENTS ACCESS TO 295 00:10:21,833 --> 00:10:23,766 WHEN THEY'RE IN THE COMPOSING 296 00:10:23,766 --> 00:10:24,533 MIXTAPES CLASS. 297 00:10:24,533 --> 00:10:33,800 ♪♪♪ 298 00:10:33,800 --> 00:10:35,166 >> MOVING FORWARD, WHAT WOULD 299 00:10:35,166 --> 00:10:36,566 YOU LIKE TO SEE HAPPEN WITH 300 00:10:36,566 --> 00:10:38,900 THESE CLASSES? 301 00:10:38,900 --> 00:10:40,766 >> I REALLY HOPE THE STUDENTS 302 00:10:40,766 --> 00:10:42,400 COME HERE AND RECORD THEIR OWN 303 00:10:42,400 --> 00:10:43,466 PROJECTS AND THAT THEY 304 00:10:43,466 --> 00:10:45,166 COLLABORATE WITH OTHER PEOPLE 305 00:10:45,166 --> 00:10:46,766 WHO ARE IN HERE. 306 00:10:46,766 --> 00:10:50,133 AN EMCEE SHOWS UP AND MEETS THE 307 00:10:50,133 --> 00:10:51,500 PRODUCER, AND THEN THEY START A 308 00:10:51,500 --> 00:10:53,033 RELATIONSHIP THAT PRODUCES SOME 309 00:10:53,033 --> 00:10:54,033 DOPE MUSIC. 310 00:10:54,033 --> 00:10:57,000 I HOPE THERE CONTINUE TO BE 311 00:10:57,000 --> 00:10:58,533 RESOURCES SO THAT A SPACE LIKE 312 00:10:58,533 --> 00:11:00,933 THIS EXISTS WHERE FOLKS FROM THE 313 00:11:00,933 --> 00:11:02,700 UNIVERSITY, FROM THE COMMUNITY, 314 00:11:02,700 --> 00:11:05,433 FROM WHEREVER CAN MEET AND 315 00:11:05,433 --> 00:11:06,833 CONVERSE AND COLLABORATE AND 316 00:11:06,833 --> 00:11:09,333 CONSTRUCT AND COMPOSE AND DO ALL 317 00:11:09,333 --> 00:11:10,900 OF THE THINGS THAT WE'RE DOING 318 00:11:10,900 --> 00:11:15,000 IN THIS VERY SMALL WAY IN THESE 319 00:11:15,000 --> 00:11:16,633 CLASSROOMS, THAT THAT EXISTS 320 00:11:16,633 --> 00:11:20,000 EXTERNAL TO HERE IN THIS 321 00:11:20,000 --> 00:11:23,866 BUILDING WHERE FOLKS DON'T HAVE 322 00:11:23,866 --> 00:11:27,366 TO NAVIGATE THE CAMPUS IN ORDER 323 00:11:27,366 --> 00:11:30,033 TO GET TO IT. 324 00:11:30,033 --> 00:11:31,400 HOPEFULLY, THAT'S IN LINE WITH 325 00:11:31,400 --> 00:11:33,133 SOME STUFF THAT THE UNIVERSITY 326 00:11:33,133 --> 00:11:36,600 SEES ITSELF INVOLVED IN AT SOME 327 00:11:36,600 --> 00:11:37,200 POINT. 328 00:11:37,200 --> 00:11:38,766 >> I'M NOT EXACTLY SURE WHAT THE 329 00:11:38,766 --> 00:11:40,266 GOAL OF MY MUSIC IS GOING TO BE 330 00:11:40,266 --> 00:11:41,700 AT THIS POINT, BUT I'M HOPING 331 00:11:41,700 --> 00:11:43,266 THAT THROUGH THIS CLASS I KIND 332 00:11:43,266 --> 00:11:44,866 OF DISCOVER MY VOICE. 333 00:11:44,866 --> 00:11:46,233 >> I THINK I'M PUTTING MYSELF 334 00:11:46,233 --> 00:11:48,833 OUT THERE A LOT BY GIVING MY 335 00:11:48,833 --> 00:11:51,066 CREATIVE EXPRESSION A PLATFORM 336 00:11:51,066 --> 00:11:52,300 TO AN AUDIENCE THAT I DON'T 337 00:11:52,300 --> 00:11:53,966 REALLY KNOW THAT WELL, BUT IT 338 00:11:53,966 --> 00:11:56,066 ALSO ALLOWED ME TO BE MORE 339 00:11:56,066 --> 00:11:58,733 SECURE IN WHAT I'M DOING. 340 00:11:58,733 --> 00:12:00,566 >> YEAH, I LOVE IT. 341 00:12:00,566 --> 00:12:01,866 I REALLY WANT TO BE A RAPPER. 342 00:12:01,866 --> 00:12:03,166 I REALLY WANT TO TOUR AROUND THE 343 00:12:03,166 --> 00:12:03,900 WORLD AND PERFORM. 344 00:12:03,900 --> 00:12:07,500 I DO IT EVERY DAY. 345 00:12:07,500 --> 00:12:09,133 >> EVERY LINE ENDS WITH KANYE. 346 00:12:09,133 --> 00:12:10,233 EVERY SINGLE LINE ENDS WITH 347 00:12:10,233 --> 00:12:11,933 KANYE. 348 00:12:11,933 --> 00:12:13,466 LET'S DO IT. 349 00:12:13,466 --> 00:12:16,000 I LOVE KANYE.