Vocal Vulnerabilities

2018 ◽  
Author(s):  
Sarah Lappas
Keyword(s):  
Emotional Distress ◽  
Generation X ◽  
Hip Hop ◽  
Millennial Generation ◽  
Black Masculinity ◽  
First Century ◽  
Pitch Range ◽  
Musical Representations ◽  
Twenty First Century

This article explores vocal trends associated with hip hop artists of the millennial generation. New vocal techniques such as the use of stylized Auto-Tune, a widening of pitch range, and increased use of paralinguistic utterances associated with emotional distress have permeated the soundscape of hip hop in the twenty-first century. These techniques starkly contrast with the vocal styles associated with Generation X rappers in the 1980s and 1990s, affectively embedding vulnerability into the voices of underground and mainstream hip hop. This chapter approaches the shift in the soundscape of hip hop vocality as a point of embarkation in exploring evolving musical representations of Black masculinity by rappers of the millennial generation.

An Amalgamation of Power and Paint: Gajin Fujita, Los Angeles Street Art, and Images of Edo Japan

2019 ◽  
Vol 5 (3) ◽  
pp. 329-356
Author(s):  
Alison J. Miller
Keyword(s):  
Los Angeles ◽  
Hip Hop ◽  
Visual Language ◽  
First Century ◽  
Street Art ◽  
Artistic Practice ◽  
Hip Hop Culture ◽  
Twenty First Century ◽  
And Performance ◽  
Japanese Painting

The paintings of Gajin Fujita (b. 1972) express the urban Asian diasporic experience in vivid images filled with historic and contemporary cultural references. Creating an amalgamation of contemporary sports figures, hip-hop culture, historic Japanese painting conventions, street art, and the visual language of Edo Japan (1600–1868), Fujita reflects his diverse experiences as a citizen of twenty-first century Los Angeles in his paintings. This article introduces the artist and provides a nuanced examination of his works vis-à-vis an understanding of the larger issues addressed in both Edo artistic practice and contemporary street art culture. By specifying the agents of power and performance in Fujita’s works, a greater understanding of the hybrid world of his colourful graphic paintings can be found.

Sound Relations

2021 ◽  
Author(s):  
Jessica Bissett Perea
Keyword(s):  
Hip Hop ◽  
Music History ◽  
American Music ◽  
Indigenous Studies ◽  
Sound Studies ◽  
First Century ◽  
Self Determination ◽  
Musical Life ◽  
Twenty First Century

Sound Relations: Native Ways of Doing Music History in Alaska delves into histories of Inuit musical life in Alaska to amplify the broader significance of sound as integral to Indigenous self-determination and resurgence movements. The book offers relational and radical ways of listening to a vast archive of Inuit presence across a range of genres—from hip hop to Christian hymnody and drumsongs to funk and R&B—to register how a density (not difference) of Indigenous ways of musicking invites readers to listen more critically to and for intersections of music, Indigeneity, and colonialism in the Americas. The research aims to dismantle stereotypical understandings of “Eskimos,” “Indians,” and “Natives” by considering how Indigenous-led and Indigeneity-centered analyses of Native musicking can reframe larger debates of race, Indigeneity, power, and representation in twenty-first-century American music historiography. Instead of proposing singular truths or facts, this book asks readers to consider the existence of multiple simultaneous truths, a density of truths, all of which are culturally constructed, performed, and in some cases politicized and policed. A sound relations approach advances a more Indigenized sound studies and a more sounded Indigenous studies that works to move beyond colonial questions of containment—“who counts as Native” and “who decides”—and colonial questions of measurement—“what exactly is ‘Native’ about Native music”—and toward an aesthetics of self-determination and resurgent world-making.

scholarly journals Technological Disruption: Millennials and the Practice and Teaching of Architecture

2019 ◽  
Author(s):  
Darius Sollohub ◽  
Keyword(s):  
Millennial Generation ◽  
First Century ◽  
Technological Transformation ◽  
Architectural Practice ◽  
Twenty First Century

The second decade of the twenty first century finds the practice and academies of architecture in the midst of an ongoing disruption. This paper discusses the economic upheaval that began this trajectory and its impacts on present and future architectural practice and teaching. How both the profession and academy can adapt depends on their understanding of the ascendant Millennial generation. An awareness of their demographic, technological, and learning characteristics can be essential in navigating the turbulence of technological transformation in the coming century.

Epilogue

2019 ◽  
pp. 217-228
Author(s):  
Cheryl A. Wall
Keyword(s):  
African American ◽  
Hip Hop ◽  
First Century ◽  
Collective Identities ◽  
African American Authors ◽  
The Status ◽  
The Will ◽  
The Subject ◽  
Twenty First Century ◽  
American Authors

This chapter considers the status of the essay in the twenty-first century as it shifts its medium from print to digital. It is argued that given the ability for the essay to speak to moments of political and social crisis, comment on and define aesthetic debates, and reflect on the meaning of individual and collective identities, it remains a crucial genre for twenty-first century African American authors. Through analyzing the work of Brittney Cooper and Ta-Nehisi Coates amongst others, this chapter illustrates how black essayists continue to work through the subject of freedom and express the will to adorn. Deploying the vernacular process, one inflected with a hip-hop beat, these authors blur the line between the digital and print, and continue to highlight the centrality of the essay to the African American literary tradition.

Brithop

2020 ◽  
Author(s):  
Justin A. Williams
Keyword(s):  
United Kingdom ◽  
National Identity ◽  
Hip Hop ◽  
First Century ◽  
British Society ◽  
Multiple Forms ◽  
Hip Hop Culture ◽  
Political Discourses ◽  
The United Kingdom ◽  
Twenty First Century

Brithop investigates rap music’s politics in the twenty-first-century United Kingdom. In it, the author argues that this music is partly an extension of, or often a counter to, political discourses happening in other realms of British society. These rappers are essentially responding through rap to mainstream Britain’s political discourses. The rappers in this book critique the United Kingdom’s more conservative narratives, and they express their relationship to Britain in the politically turbulent climate of the new century, providing valuable perspectives which can go unnoticed by those skeptical of or ignorant of hip-hop culture. Through themes of nationalism, history, subculture, politics, humor, and identity, this book looks at multiple forms of politics in rap discourses from Wales, Scotland, and England. It covers selected hip-hop scenes from 2002 to 2017, featuring rappers and groups such as The Streets, Goldie Lookin Chain, Akala, Lowkey, Stanley Odd, Loki, Speech Debelle, Lady Sovereign, Shadia Mansour, Shay D, Stormzy, Sleaford Mods, Riz MC, and Lethal Bizzle. It investigates how rappers in the United Kingdom respond to the “postcolonial melancholia” (Gilroy) of post-Empire Britain. In contrast to more visible narratives of national identity in Britain, Brithop tells a different, arguably more important, story.

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