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题目材料：
This passage is adapted from material published in 1996.
Hip-hop music has emerged as a powerful African American cultural form addressing a broad spectrum of social issues. Yet hip-hop' s breadth is belied by hip-hop criticism, which has focused primarily on controversies about the antisocial content of some of its lyrics. Such discussions have almost preempted more sophisticated critical analysis. For example, little has been written about hip-hop' s relationship to its artistic precursors. Critics might examine parallels between hip-hop and the Black Arts Movement of the 1960s. Both movements produced art expressing the alienation felt by many African Americans. Furthermore, like the Black Arts Movement, hip-hop artists have collided with the profit-oriented nature of institutions of cultural production. Black artists continue to face restrictive conventions that the writers Zora Neale Hurston and Langston Hughes faced in the Harlem Renaissance of the 1920s: commercial publishers' tendency to favor particular themes, subjects, or treatments for Black artists' work. The Black Arts Movement dealt with this dilemma by seeking outlets for autonomous cultural production, including theater companies and publishing houses. Hip-hop is similarly threatened by mainstream commercialism. As Palmer notes, many commercialized hip-hop lyrics are light and innocuous. Committed hip-hop artists have therefore sought out alternatives to mainstream commercial venues.
Hip-hop music has emerged as a powerful African American cultural form addressing a broad spectrum of social issues. Yet hip-hop' s breadth is belied by hip-hop criticism, which has focused primarily on controversies about the antisocial content of some of its lyrics. Such discussions have almost preempted more sophisticated critical analysis. For example, little has been written about hip-hop' s relationship to its artistic precursors. Critics might examine parallels between hip-hop and the Black Arts Movement of the 1960s. Both movements produced art expressing the alienation felt by many African Americans. Furthermore, like the Black Arts Movement, hip-hop artists have collided with the profit-oriented nature of institutions of cultural production. Black artists continue to face restrictive conventions that the writers Zora Neale Hurston and Langston Hughes faced in the Harlem Renaissance of the 1920s: commercial publishers' tendency to favor particular themes, subjects, or treatments for Black artists' work. The Black Arts Movement dealt with this dilemma by seeking outlets for autonomous cultural production, including theater companies and publishing houses. Hip-hop is similarly threatened by mainstream commercialism. As Palmer notes, many commercialized hip-hop lyrics are light and innocuous. Committed hip-hop artists have therefore sought out alternatives to mainstream commercial venues.
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