Interview conducted via Zoom on July 13, 2021.

0:00 - I begin with Funkadelic’s "Good Old Music" (1970) as Chloe discusses their musical upbringing, a story with mostly warm and positive overtones. This beat continues until 1:37.

0:50 - As Chloe begins their discussion of songwriting, which includes a mention of Joni Mitchell, I use Joni’s song "All I Want" (1971).

1:25 - When Chloe mentions the wilder and more avant-garde side of Charles Mingus, I use a particularly unconstrained section of "What Love?" (1974).

1:37 - Chloe mentions the hip-hop/klezmer fusion of Abraham Inc, so I use their song "Tweet Tweet" (2009). I repeat Chloe’s statement three times for emphasis

2:15 - As Chloe discusses the pedagogical challenges of caustic language in hip-hop, I use the instrumental version of Ludacris’ irreverent ”Move Bitch" (2001). This beat continues until TIME.

5:30 - As Chloe talks about the problematic themes of Bizet’s Carmen, I use “L’amour est un Oiseau Rebelle (Habanera)” (1875) performed by Maria Callas, Georges Prêtre, and the Orchestre National de la Radiodiffusion Francaise (1964). I accompany it with the iconic drum break from "The Funky Drummer Parts One and Two" by James Brown (1970).

7:10 - When Chloe discusses "Fuck Tha Police" by NWA (1988), I use a remake of the instrumental, as an official instrumental was never released.

8:46 - Chloe mentions "Fables of Faubus" by Charles Mingus (1959) and "Jump for Joy" by The Duke Ellington Orchestra (1946) as examples of politically-charged jazz songs, so I edit samples of both of them in. I continue “Fuck Tha Police” underneath this section.

9:35 - Chloe discusses the Pop Practicum and the experience of writing a rap verse. I use the instrumental from "Step Into a World (Rapture's Delight)" by KRS-One (1997) because it was the template verse that I provided to the class for inspiration.