Fusion of academia and creativity is no stranger within the gilded halls of higher learning. These days, the integration of hip-hop culture into collegiate spheres has become increasingly popular. Prominent artists, like Kanye West at Oxford and the Wu-Tang Clan’s very own GZA at Harvard, have graced universities with their distinct perspectives and specialties, demonstrating a shift in academic priorities and understanding of art’s impact on education. Among these innovative artists is hip-hop producer Atlas Jenkins, who recently brought his unique sonic tapestry to the lecture halls of Holy Cross University.
Invited by Professor Meghan Ross, an advocate for merging hip-hop culture and academia, Jenkins was given the opportunity to share his unique style of plunderphonics-inspired music productions to a class of eager students. This class wasn’t just theory; it was an opportunity for students to express creativity through writing, recording, and performing hip-hop music.
Raised in Louisville, Kentucky, Jenkins’ music is a melange of inspirations drawn from the works of The Bomb Squad, DJ Shadow and The Dungeon Family, supplemented with a splash of rock and roll essence from Pink Floyd, Led Zeppelin, and George Benson. These diverse influences, coupled with his personal and urban experiences, equip Jenkins with an artistic prowess that transcends common musical boundaries.
Jenkins’ lecture, aptly titled “Freeform Hiphop as a Soundscape,” prompted the students to immerse themselves in his new album, “The Doomsday Device”. Throughout this deep dive, they were encouraged to develop essays reflecting on the listening experience, exploring his signature plunderphonics style – the manipulation and assembly of other artists’ music into a new and interpretative composition.
The result was lights illuminating in the minds of students like Maggie O’Day (’25), who eloquently described ‘The Doomsday Device’ as a “musical therapeutic modality” expressing both hope and despair, provoking emotional introspection among listeners. Ben Lepper (’25) also hailed Jenkins as a true pioneer, commending the uniqueness of his album and earnestly awaiting more mind-blowing music.
Additionally, a distinct resonance could also be seen in Augustus Quigley’s reflections. Having witnessed the therapeutic effects of music in a retirement home, he found the discussion on hip-hop serving as a healing device particularly captivating. He further expressed that since hip-hop is currently the United States’ most popular genre, it should be leveraged to promote positive mental health.
Atlas Jenkins, however, is not just an illuminating hip-hop producer; he also works as an ICU nurse. This amalgamation of music and medicine drives his plan to use ‘The Doomsday Device’ therapeutically. Jenkins wishes to bring his unique brand of hip-hop to Johns Hopkins and Mount Sinai hospitals and incorporate them as ambient adjuncts in clinical trials involving psilocybin, a topic he is greatly passionate about.
In his words, “I borrow and collect bits of magic from the world around me to create lush sonic tapestries that are, in turn, my most authentic reflection of where I’m at in my human experience…”
Indeed, the union of art and academics signifies the evolution of higher learning. As academic institutions continue to open their doors to contemporary arts, students are set to benefit from the profound perspectives and creative genius of artists like Atlas Jenkins, enriching their learning and unveiling the boundless landscape that intertwines music, culture, and scholarship.
