Based on Passage A, which statement best captures the relationship between Tin Pan Alley pop music and rap music?
","rationale_html":null,"correct_answer":["D"],"equiv_key":"38e45166cf33df5da01fe844","has_media":false,"has_mathml":false,"has_table":false,"section_label":"Reading","options":[{"label":"A","content_html":"Rap artists have rejected every aspect of Tin Pan Alley pop.
","ord":0},{"label":"B","content_html":"Rap artists have been aware of Tin Pan Alley pop but not influenced by it.
","ord":1},{"label":"C","content_html":"Tin Pan Alley pop developed at the same time as rap.
","ord":2},{"label":"D","content_html":"Tin Pan Alley pop has influenced many rap artists.
","ord":3}],"passage":{"id":"act_practice_pdf:pt1:reading:p3","source_id":"act_practice_pdf","form_id":"act_practice_pdf:pt1","section":"reading","number":"III","kind":"INFORMATIONAL","title":null,"content_html":"Passage A is from the book Foundation: B-Boys, B-Girls, and Hip-Hop Culture in New York by Joseph G. Schloss (©2009 by Oxford University Press). Passage B is from the book The Tanning of America: How Hip-Hop Created a Culture That Rewrote the Rules of the New Economy by Steve Stoute with Mim Eichler Rivas (©2011 by Steve Stoute). Passage A by Joseph G. Schloss The term b-boying refers to break dancing. In the first sense of the term, hip-hop refers collectively to a group of related art forms in different media (visual, sound, movement) that were practiced in Afro5 Caribbean, African American, and Latino neighborhoods in New York City in the 1970s. The term, when used in this sense, also refers to the events at which these forms were practiced, the people who practiced them, their shared aesthetic sensibility, and contemporary activities that maintain those traditions. Perhaps the most important aspect of this variety of hip-hop is that it is unmediated, in the sense that most of the practices associated with it are both taught and performed in the context of face-to-face interac15 tions between human beings. To some degree, this constitutes an intentional rejection of the mass media by its practitioners, but to a great extent it is just the natural result of the practices themselves. Activities like b-boying and graffiti writing are simply not well suited 20 to the mass media. Although in both cases, brief attempts were made to bring these forms of expression into mainstream contexts (b-boying in a series of lowbudget “breaksploition” movies in the early 1980s and graffiti as part of a short-lived gallery trend around the 25 same time), neither developed substantially in those environments. This, it has been suggested, was not so much because the forms lacked appeal, but because— on an economic level—b-boying was an advertisement with no product. This reality is reflected in the phrase 30 that is often used to refer to this branch of hip-hop: “hip-hop culture,” which suggests something that is lived rather than bought and sold. The second sense of the term hip-hop refers to a form of popular music that developed, or was devel35 oped, out of hip-hop culture. This hip-hop, also known as “rap music,” resulted from the interaction between hip-hop culture and the preexisting music industry. As we would expect, this hip-hop features elements of both sensibilities. My students are often surprised when I 40 point out that, even when hip-hop lyrics seem to reject every aspect of mainstream culture and morality, the one thing they almost never reject is a strict 16-bar verse structure derived from Tin Pan Alley pop music. But this should not be surprising. This hip-hop, in con45 trast to hip-hop culture, is deeply intertwined with the mass media and its needs, largely because it does have a product: records, CDs, MP3s, and ringtones. Passage B by Steve Stoute It wasn’t until I was nine years old, late in 1979, that I even heard the words “hip” and “hop” strung together or was able to grasp the notion of what being a 50 rapper actually meant. That was when, fatefully, I heard a record that changed my life (and pop culture) forever. Like it’s yesterday, I can still remember that moment over at my aunt’s home in Brooklyn—where it seemed there was always a party under way with rela55 tives and neighbors hanging out, a great spread of food, and new, hot music on the record player. Most stereo systems in those days could be adapted for the single two-sided records that were smaller and had the big hole in the middle (45 RPM) as well as the bigger 60 records with the small holes (33⅓ RPM)—which were the full albums that had several songs on each side. But as the intro plays to what I recognize as “Good Times” by the group Chic and I’m drawn into the living room because it’s a familiar hit song from the previous 65 summer, I encounter a record on the turntable that defies categorization. Instead of the sweet female lead vocals of that disco smash, I hear something totally different and spot a baby-blue label on the black vinyl record I’ve never seen before. Even though it’s a 70 twelve-inch disc, the size of an album, as I listen to the rhyming words being spoken—“Singin’ on ’n’ ’n’ on ’n’ on / The beat don’t stop until the break of dawn / Singin’ on ’n’ ’n’ on ’n’ on on ’n’ on / Like a hot buttered a pop da pop da pop dibbie dibbie pop da pop 75 pop / Ya don’t dare stop”—it hits me that this entire side is one long song. Almost fifteen minutes long as it turns out. Or, to be exact, fourteen minutes and thirty-six seconds of pure fun laid over the thumping bass beat from the 80 break of “Good Times” with sing-along words easy to remember and repeat. The record, I discover, is by an unknown group, the Sugarhill Gang, and is called “Rapper’s Delight.” From then on, nobody ever has to tell me what rap 85 is. It’s whatever words are spoken, chanted, or talksung, or whatever philosophies, stories, or ideas are espoused, by the house party Master of Ceremonies.
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\t\t\t\tA. This is NOT the best answer because Passage A makes the point that hip-hop lyrics almost never reject a “16-bar verse structure derived from Tin Pan Alley pop music” (Passage A third paragraph), which contradicts the idea that rap artists have rejected every aspect of Tin Pan Alley pop.
B. This is NOT the best answer because Passage A indicates that the verse structure of hip-hop lyrics usually follows the verse structure of Tin Pan Alley pop music (Passage A third paragraph), which supports the idea that rap artists have been influenced by Tin Pan Alley pop.
C. This is NOT the best answer because Passage A lacks information about when Tin Pan Alley pop music and rap music developed, which would be necessary to support the claim that these forms of music developed at the same time.
D. This is the best answer because Passage A states that even when hip-hop lyrics seem to reject mainstream culture, “the one thing they almost never reject is a strict 16-bar verse structure derived from Tin Pan Alley pop music” (Passage A third paragraph), which strongly supports the conclusion that Tin Pan Alley pop music has influenced many rap artists.
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