This thesis discusses the development of the rap-rock genre from the mid-1980s through the end of the 1990s by analyzing the programming choices of MTV and how this music and it's artists were perceived by audiences. The first major event that sets up this thesis is the Disco Demolition Night of 1979. The violence and anger that came from rock fans at this event shows us how rock at this point had, to them, become a "serious" art form, while they slandered disco because of it's simplistic, unoriginal style. Rock fans at the end of the 1970s believed rock to be the "superior" genre that shouldn't be changed or influences by genres lesser-than.℗ My first chapter takes place during the mid-late 1980s with an analysis of MTV's programming choices in relation to crossover genres. MTV's programming was heavily oriented toward rock fans at its premiere, but as the channel's audience expanded, MTV had to adapt in order to stay relevant. MTV's adaption to newer audiences included more pop music from white and black artists, as well as crossover between rap and rock. The popularity of rap-rock crossover in the mid-1980s was segregated again by MTV with the creation of its specialty programming, which separated rap and rock between the programs Yo! MTV Raps and Headbangers Ball. Chapter 2 discusses the rising popularity of rap music in popular culture and how this popularity allows white rock fans to begin taking influence from these black rap artists. As the presence of black rap artists' bodies became more and more common on MTV, white suburbanites began to emulate the clothing styles seen in the music videos. Chapter 3 illustrates the development of the use of the term nu-metal instead of rap-rock to illustrate how rap-rock was continuing to borrow from rap, but without the burden by removing the obvious connections to the genre. Chapter 3 ends with an analysis of Woodstock '99 and the perception from fans of the violence seen at the event in relation to the music that was played.℗
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