As best you can, summarize theCollective HistoryandIndividual Histories segments of Schloss’s Chapter Two. In particular, what has your reading of Schloss’s Chapter Two added to your understanding of the origins of hip-hop music production? The rap DJ simply evolved from the party DJ who played pre-recorded music for dance parties. The audience of these parties were mostly consumers of pop music. However, by remaking sounds with techniques such as scratching, cutting, and sampling, consumption was transformed into production. (Potter,1995)The innovation of early hip hop was that DJ-s used two copies of the same record on two turntables for different kinds of effects, especially isolation of break. These breaks were the basis of the so-called “new aesthetic”. Samplers allowed rap artists to expand the break beat (an important element of the rap) which can be defined as the isolation of the underlined rhythm section. Later, a good break beat became an essential part of the song. DJs often played seconds from each song and were no longer bound to genre or style. Furthermore, deejays enjoyed playing breaks from the genres that the audience confessed to despise. It came to the point where deejay Afrika Bambaataa played drum parts from the Monkees “Mary, Mary” and the audience didn’t recognize the song they danced to was the one they professed to hate. In the late 1970-s isolation of breaks with the usage of other effects such as scratching, cutting, and so on are considered a standalone form of music. Hip-hop is becoming a musical genre rather than a style used for musical reproduction. Before sampling was invented artists didn’t gravitate towards
