5 \one day puffy was working at uptown records with jodeci, and they had a session with teddy riley and teddy riley didnt show up,\ author and music critic craig seymour says, noting that the group was tied to remix their hit single \come and talk to me.\ with riley out of commission, combs took inspiration from the djs of his youth and synced the vocals with one of his favorite hip - hop songs, \youre a customer,\ by epmd.
6 \in the eighties, we had djs (who) would take r&b instrumentals and place them over hip - hop beats,\ seymour adds. \it really came out of dj culture, party culture and radio culture.\
7 seymour continues his commentary on the turning point led by combs saying, hat session created hip - hop soul... very shortly after, mary j. blige... took that same approach.\
mary j. blige, long referred to as the queen of hip - hop soul, mary j. blige perfected the marriage between hip - hop and r&b with her no more drama project. as she reimagined soul classics from the 70s and layered thumping beats, she cultivated a sound that led to a tidal wave of hip - hop - tinged soul.
9 the r&b remix went on to reign supreme, with influential collaborations between swv and wu tang clan, and of course, mary j. blige and method man, becoming instant classics.
10 hip - hop and r&bs sounds (and audience) became so intertwined on the charts and in the public consciousness, billboard changed their charting to hot r&b/hip - hop in 1999, officially consolidating the genres.
11 \by the 2000s, you already had r&b and hip - hop moving a little closer together,\ says kelefa sanneh, author of major labels: a history of popular music in seven genres.
12 the early aughts* were dominated by artists who blended the two, such as usher, alicia keys, and beyoncé. more change was on the way.
what is alt - r&b?
13 starting in the early 2010s, an alternative sound that combined r&b/hip - hop with elements of dance, electronic, or rock went from the fringes to the mainstream with the success of acts like frank ocean, the weeknd, and miguel. this gave rise to then - bubbling acts who all undeniably had rhythm and blues influences, but melodically and thematically were unlike what audiences had been taught r&b was. since that point, what classifies as an r&b song, and who qualifies as an r&b artist has shifted, leaving the genre in what the atlantic has specified as an \identity crisis\ for the better part of the last ten years.
14 on the vocal side, production was once laced with honey sweet, soulful voices, but it has been at least partially replaced by whispery, semi - nasal, autotune - heavy vocalizations and vocal inflections* that speak to a new generation.
15 \starting in the early 2000s, the idea was if you wanted to get on the radio, you had to learn how to sound great over a beat and that meant making your voice a little smaller,\ sanneh observes. \singers have to figure out how to make space for the beat or how to sound good over a beat, and thats led to a lot of different things — its led to
* a term used to talk about the years from 2000 to 2009
* inflection (noun) a rise or fall in the sound of a persons voice; a change in the pitch or tone of a persons voice
analyzing text structure: how did hip - hop and r&b become one genre?
paragraph 12
3. how does paragraph 10 contribute to the overall section \marys joints\?
complete the sentence starter in the space below:
this section summarizes... and paragraph 10 contributes to the overall section by...

Question

5 \one day puffy was working at uptown records with jodeci, and they had a session with teddy riley and teddy riley didnt show up,\ author and music critic craig seymour says, noting that the group was tied to remix their hit single \come and talk to me.\ with riley out of commission, combs took inspiration from the djs of his youth and synced the vocals with one of his favorite hip - hop songs, \youre a customer,\ by epmd.
6 \in the eighties, we had djs (who) would take r&b instrumentals and place them over hip - hop beats,\ seymour adds. \it really came out of dj culture, party culture and radio culture.\
7 seymour continues his commentary on the turning point led by combs saying, 	hat session created hip - hop soul... very shortly after, mary j. blige... took that same approach.\
mary j. blige, long referred to as the queen of hip - hop soul, mary j. blige perfected the marriage between hip - hop and r&b with her no more drama project. as she reimagined soul classics from the 70s and layered thumping beats, she cultivated a sound that led to a tidal wave of hip - hop - tinged soul.
9 the r&b remix went on to reign supreme, with influential collaborations between swv and wu tang clan, and of course, mary j. blige and method man, becoming instant classics.
10 hip - hop and r&bs sounds (and audience) became so intertwined on the charts and in the public consciousness, billboard changed their charting to hot r&b/hip - hop in 1999, officially consolidating the genres.
11 \by the 2000s, you already had r&b and hip - hop moving a little closer together,\ says kelefa sanneh, author of major labels: a history of popular music in seven genres.
12 the early aughts* were dominated by artists who blended the two, such as usher, alicia keys, and beyoncé. more change was on the way.
what is alt - r&b?
13 starting in the early 2010s, an alternative sound that combined r&b/hip - hop with elements of dance, electronic, or rock went from the fringes to the mainstream with the success of acts like frank ocean, the weeknd, and miguel. this gave rise to then - bubbling acts who all undeniably had rhythm and blues influences, but melodically and thematically were unlike what audiences had been taught r&b was. since that point, what classifies as an r&b song, and who qualifies as an r&b artist has shifted, leaving the genre in what the atlantic has specified as an \identity crisis\ for the better part of the last ten years.
14 on the vocal side, production was once laced with honey sweet, soulful voices, but it has been at least partially replaced by whispery, semi - nasal, autotune - heavy vocalizations and vocal inflections* that speak to a new generation.
15 \starting in the early 2000s, the idea was if you wanted to get on the radio, you had to learn how to sound great over a beat and that meant making your voice a little smaller,\ sanneh observes. \singers have to figure out how to make space for the beat or how to sound good over a beat, and thats led to a lot of different things — its led to
* a term used to talk about the years from 2000 to 2009
* inflection (noun) a rise or fall in the sound of a persons voice; a change in the pitch or tone of a persons voice
analyzing text structure: how did hip - hop and r&b become one genre?
paragraph 12
3. how does paragraph 10 contribute to the overall section \marys joints\?
complete the sentence starter in the space below:
this section summarizes... and paragraph 10 contributes to the overall section by...

Accepted Answer

# Brief Explanations:
Paragraph 10 discusses how the sounds and audiences of hip - hop and R&B became intertwined on charts and in public consciousness, and how Billboard's change in charting to Hot R&B/Hip - Hop in 1999 officially consolidated the genres. This contributes to the overall section "Mary's Joints" by showing the official recognition and merging of the two genres, which is a key aspect of the historical development of R&B and hip - hop being explored in the text.
# Answer:
This section summarizes the intertwining of hip - hop and R&B sounds and audiences, and paragraph 10 contributes to the overall section by highlighting Billboard's 1999 charting change that officially consolidated the genres.

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