Killing Me Softly or on the Miseducation of (Love and) Hip Hop

2016 ◽  
Vol 22 (10) ◽  
pp. 785-789 ◽  
Author(s):  
Robin M. Boylorn
Keyword(s):  
Social Class ◽  
Hip Hop ◽  
Informal Education ◽  
Personal Narrative ◽  
Growing Up ◽  
Rural South ◽  
And Performance ◽  
Poetic Prose

In this bluesy poetic prose, the author engages poetry, personal narrative, and performance to reflect on how hip hop served as a soundtrack for her transition to womanhood in the rural south. She uses lyrics from Killing Me Softly (originated by Roberta Flack in the 70s and repopularized by The Fugees in 1996) and other songs from the 90s to tell stories about growing up, love, loss, depression, and abuse situated within her race, culture, sex, and social class. She muses how the cadences of sound and the words of songs helped her become a writer and feminist. She also reflects on how her formal and informal education has informed and been informed by her relationship to hip hop, which at times has fluctuated from fixation to disillusionment.

“You're Only Ever A Block From The ‘Hood”

2021 ◽  
Vol 33 (4) ◽  
pp. 152-170
Author(s):  
Alex Blue V
Keyword(s):  
Identity Formation ◽  
Hip Hop ◽  
Participant Observation ◽  
Automobile Plant ◽  
Original Intent ◽  
Spatial Reorientation ◽  
Field Notes ◽  
And Performance ◽  
Forms Of Violence ◽  
The City

This article explores the use of sound, lyrics, and performance as tools for spatial reorientation and reimagining, identity formation and affirmation, and counternarrative or counterarchive in a rapidly gentrifying contemporary Detroit, Michigan. Two discrete, yet discursively linked case studies are presented—performances by the same artist in two different spaces—that exhibit various modes of “flipping,” slang that can refer to multiple transformative practices in contemporary Detroit. These practices include the use of overdetermined spaces, or spaces that have been declared abandoned or vacant, for something other than their original intent—i.e. using a decommissioned automobile plant as a music video set; sampling, which can be understood as using sonic components from previously recorded songs in the creation of new hip-hop beats; buying homes in a state of disrepair, fixing and reselling them at large profits; and inverting meaning itself, via slang or coded language. Additionally Black techniques of sounding and performance are illuminated, with a focus on echo as a mode of co-creation. These various practices are all responses to the growing wave of gentrification that gains momentum in the city daily. The analysis draws primarily from ethnographic research conducted from 2016 to 2018, culling data from participant observation, recorded interviews, informal conversations, field notes, lyrical and video analysis, and the analysis of mediated accounts, both print and online. As the analysis shows, the strategies utilized by artists in Detroit ensure that no matter how much the spaces in Detroit continue to change, and no matter how much an attempt is made to provide racially curated space through various forms of violence, you’re only ever a block from the ‘hood.

scholarly journals Social-Class Disparities in Higher Education and Professional Workplaces: The Role of Cultural Mismatch

2018 ◽  
Vol 28 (1) ◽  
pp. 67-73 ◽  
Author(s):  
Nicole M. Stephens ◽  
Sarah S. M. Townsend ◽  
Andrea G. Dittmann
Keyword(s):  
Higher Education ◽  
Social Class ◽  
Working Class ◽  
Cultural Models ◽  
Cultural Barriers ◽  
Cultural Barrier ◽  
Cultural Mismatch ◽  
Cultural Ideal ◽  
Key Sites ◽  
And Performance

Differences in structural resources and individual skills contribute to social-class disparities in both U.S. gateway institutions of higher education and professional workplaces. People from working-class contexts also experience cultural barriers that maintain these disparities. In this article, we focus on one critical cultural barrier—the cultural mismatch between (a) the independent cultural norms prevalent in middle-class contexts and U.S. institutions and (b) the interdependent norms common in working-class contexts. In particular, we explain how cultural mismatch can fuel social-class disparities in higher education and professional workplaces. First, we explain how different social-class contexts tend to reflect and foster different cultural models of self. Second, we outline how higher education and professional workplaces often prioritize independence as the cultural ideal. Finally, we describe two key sites of cultural mismatch—norms for understanding the self and interacting with others—and explain their consequences for working-class people’s access to and performance in gateway institutions.

scholarly journals Team emotion diversity and performance: The moderating role of social class homogeneity.

2018 ◽  
Vol 22 (2) ◽  
pp. 76-92 ◽  
Author(s):  
Jiping Li ◽  
Anran Li ◽  
Prithviraj Chattopadhyay ◽  
Elizabeth George ◽  
Vishal Gupta
Keyword(s):  
Social Class ◽  
And Performance ◽  
Moderating Role

scholarly journals Sounds familiar(?): Expertise with specific musical genres modulates timing perception and micro-level synchronization to auditory stimuli

2021 ◽  
Author(s):  
Anne Danielsen ◽  
Kristian Nymoen ◽  
Martin Torvik Langerød ◽  
Eirik Jacobsen ◽  
Mats Johansson ◽  
...  
Keyword(s):  
Skill Acquisition ◽  
Hip Hop ◽  
Musical Training ◽  
Timing Perception ◽  
Nature And Nurture ◽  
Micro Level ◽  
And Performance ◽  
Musical Genres ◽  
Perceptual Systems

AbstractMusical expertise improves the precision of timing perception and performance – but is this expertise generic, or is it tied to the specific style(s) and genre(s) of one’s musical training? We asked expert musicians from three musical genres (folk, jazz, and EDM/hip-hop) to align click tracks and tap in synchrony with genre-specific and genre-neutral sound stimuli to determine the perceptual center (“P-center”) and variability (“beat bin”) for each group of experts. We had three stimulus categories – Organic, Electronic, and Neutral sounds – each of which had a 2 × 2 design of the acoustic factors Attack (fast/slow) and Duration (short/long). We found significant effects of Genre expertise, and a significant interaction for both P-center and P-center variability: folk and jazz musicians synchronize to sounds typical of folk and jazz in a different manner than the EDM/hip-hop producers. The results show that expertise in a specific musical genre affects our low-level perceptions of sounds as well as their affordance(s) for joint action/synchronization. The study provides new insights into the effects of active long-term musical enculturation and skill acquisition on basic sensorimotor synchronization and timing perception, shedding light on the important question of how nature and nurture intersect in the development of our perceptual systems.

scholarly journals Team Emotion Diversity and Performance: The Moderating Role of Social Class Homogeneity

2017 ◽  
Vol 2017 (1) ◽  
pp. 14803
Author(s):  
Jiping Li ◽  
Prithviraj Chattopadhyay ◽  
Elizabeth George ◽  
Vishal Gupta
Keyword(s):  
Social Class ◽  
And Performance ◽  
Moderating Role

scholarly journals Pertunjukan Teater Karo Hip Hop Kontemporer KAI

2013 ◽  
Vol 13 (2) ◽  
Author(s):  
Silvia Anggreni Purba
Keyword(s):  
Hip Hop ◽  
Cultural Tradition ◽  
Training Process ◽  
Cultural Traditions ◽  
Cultural Elements ◽  
Language And Culture ◽  
Aesthetic Form ◽  
Hybrid Culture ◽  
And Performance ◽  
Different Cultures

Pertunjukan ini berawal dari sebuah ide untuk mengkolaborasikan tradisi Karo dengan budaya populer. Dengan cara seperti ini pertunjukan bisa dinikmati tanpa batasan bahasa dan budaya. Proses menggabungkan dua budaya yang berbeda merupakan bentuk budaya hibrida dan terjadi akibat proses globalisasi. Melalui proses pengendapan pengamatan dan kesan yang kuat, pertunjukan ini dibawa ke dalam bentuk Hip Hop. Pertunjukan ini merupakan bagian dari sebuah tragedi modern dengan karakter destruktif, mengeksplorasi emosi dan menyampaikannya kepada penonton. Eksplorasi budaya Karo dan tari Hip Hop sebagai bahasa simbol mampu memperkuat kata-kata. Gerak tidak diungkapkan dengan kata lisan tetapi disajikan melalui gerak tari Hip Hop. Penafsiran legenda dan teks ke dalam gerak, melalui proses pelatihan di laboratorium sebagai proses pencarian dan eksperimentasi diwujudkan dengan mempertimbangkan unsur-unsur dasar dari Hip Hop, unsur budaya Karo dan tontonan. Karo Hip Hop diharapkan menjadi bentuk estetika teater modern yang diinginkan tanpa kehilangan tradisi.Kata kunci: Tari Karo kontemporer, Hip-hop, budaya hibridaABSTRACTPertunjukan Teater Karo Hip Hop Kontemporer KAI. The performance of Karo Theater collaborated with Hip Hop stems from a simple idea to collaborate Karo cultural traditions with popular culture. The performances can be enjoyed without having limitation on the language and culture. The process of combining two different cultures is a form of hybrid culture, and it may occur due to the globalization process. Through the process of deposition of the observations and strong impression, this performance is then brought into the form of Hip Hop as a preferred form which is energetic, personal and global. This performance is part of a modern tragedy with its destructive character which has explored the emotion and has presented it to the audiences. The exploration of Karo cultural tradition and Hip Hop dance as a language of symbols is able to reinforce words. The movement is not revealed by the verbal phrase but is presented through the movement of Hip Hop dance. The interpretation of the legend and texts into movement is carried out through the training process at the laboratory as a searching process and experiment, and afterward can be realized by considering the basic elements of Hip Hop, Karo cultural elements and performance. Karo Hip Hop Theatre is expected to become a preferred aesthetic form of a modern theater without losing its tradition form.Keyword: a contemporary Karo theater, Hip Hop, hybrid culture.

scholarly journals Synthesizers, Virtual Orchestras, and Ableton Live: Digitally Rendered Music on Broadway and Musicians’ Union Resistance

2019 ◽  
Vol 13 (03) ◽  
pp. 273-304
Author(s):  
LIAM E. GIBBS
Keyword(s):  
Hip Hop ◽  
Electronic Music ◽  
Digital Technologies ◽  
Production Values ◽  
Downward Pressure ◽  
Acoustic Instruments ◽  
Union Local ◽  
And Performance ◽  
Industry Professionals ◽  
Previous Scholarship

AbstractAs Broadway musicals embrace contemporary popular music styles, orchestrators must incorporate the digital technologies necessary for producing convincing simulations of genres like hip hop and electronic music. At the same time, as production values soar, producers work to minimize their budgets, often putting downward pressure on the size of the orchestra. Although digital and electronic music technologies can expand the sonic register of the Broadway orchestra, they can also replace traditional acoustic instruments and save money. The Broadway musicians’ union, Local 802, has regularly sought to control the use of digital technologies and ensure that live musicians produce as much music as possible. Thus, Local 802's advocacy for the employment of their members can limit the sounds heard on Broadway.The following narrative considers three digital technologies—synthesizers, virtual orchestras, and Ableton Live—and examines case studies and controversies surrounding their use in Broadway orchestras and implications for liveness in performance. Informed by interviews with industry professionals, author observation of pit orchestras in rehearsal and performance, archival research, popular and industry media, and previous scholarship, I argue that the union's entrenched interests and antiquated regulations can stifle musical innovation on Broadway by resisting the use of digital music technologies.

Southern Strivings

2017 ◽  
Author(s):  
Erik S. Gellman ◽  
Jarod Roll
Keyword(s):  
Meaning In Life ◽  
Life Stories ◽  
Jim Crow ◽  
Young Men ◽  
Growing Up ◽  
Agricultural Labor ◽  
Rural South ◽  
Family Survival ◽  
Jim Crow South

This chapter details the respective backgrounds of the two preachers under discussion, highlighting the similarities in their life stories—particularly their shared frustrations growing up as ambitious, talented young men in the rural South. Their youths were defined by the tensions between family survival and an individual sense of calling, between agricultural labor and adventure, and between physical hunger and the thirst for deeper meaning in life. Moreover, the laws and culture of the Jim Crow South also held sway over both their lives, and made Claude Williams's youth at once very similar to, yet completely separate from, Owen Whitfield's experience. Both men would, however, come to the same religious calling as they came of age.

Social Class and Test Performance: Comparative Validity of the Peabody with the WISC and WISC-R for Two Socioeconomic Groups

1977 ◽  
Vol 40 (1) ◽  
pp. 139-145 ◽  
Author(s):  
Alan S. Appelbaum ◽  
June M. Tuma
Keyword(s):  
Socioeconomic Status ◽  
Social Class ◽  
Low Socioeconomic Status ◽  
Test Performance ◽  
Concurrent Validity ◽  
Socioeconomic Group ◽  
Ability Level ◽  
Low Socioeconomic ◽  
Socioeconomic Groups ◽  
And Performance

Comparability of IQs yielded by the Peabody and the revised Wechsler scale, the WISC-R, is important to interpret IQ estimates obtained from these two scales. In the present study, 40 normal 10-yr.-old children (20 male and 20 female, half of whom were from high and half from low socioeconomic status) were compared for performance on the Peabody, the WISC and the WISC-R. IQs obtained on Forms A and B of the Peabody correlate highly and, thus, the two Peabody forms are essentially parallel and equivalent forms. Concurrent validity coefficients ranging from .71 to .83 were obtained between the Peabody IQs and Verbal and Full Scale IQs of the WISC and the WISC-R. Much lower validity coefficients were obtained between the Peabody and Performance IQs of the WISC and the WISC-R. Large differences in IQ between children from low socioeconomic backgrounds and those from high socioeconomic backgrounds were obtained on all four tests. The Peabody IQs were closer in magnitude to the WISC-R IQs than to the WISC in the low socioeconomic group. The results support administering the Peabody to children for obtaining valid IQ estimates. Interpretations of Peabody scores in relation to the WISC-R should be somewhat different from those of the Peabody and the WISC, however, in view of the effects of socioeconomic status (and therefore ability level) on estimates of IQ.

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