Reconstructing Operatic Melodrama – Lyricism and War, Lessons for Creating My Opus Sectile

Public Voices ◽  
2016 ◽  
Vol 8 (2) ◽  
pp. 67
Author(s):  
Valerie Patterson
Keyword(s):  
Hip Hop ◽  
Bush Administration ◽  
Political Rhetoric ◽  
The People ◽  
Hip Hop Music ◽  
Preemptive Strike ◽  
Invasion Of Iraq

In this article, Valerie Patterson employs what she refers to as “lyrical visioning” – a useful tool for garnering support for claims that may or may not be true – to review several successful strategies used by the Bush administration to secure support for the invasion of Iraq. By assessing the utility of “the hook” that in Hip Hop music and Opera is used to “grab” people and make them like or remember the melody, and in President Bush’s political rhetoric was used to reconstruct and repackage tactics that can be perceived as deceptive by some, the author argues that the repetitive utterance of certain words and concepts could explain the acceptance by many Americans that the WMD claim was a truthful assertion and thus validated and legitimized the decision to engage in a preemptive strike against the people of Iraq.

scholarly journals Waikīkī: A paradisiac‐parasitic pacific paradise

2021 ◽  
Vol 2 (1) ◽  
pp. 2.1-2.12
Author(s):  
Daniel Kauwila Mahi
Keyword(s):  
Hip Hop ◽  
The People ◽  
Feature Lines ◽  
The World ◽  
Hip Hop Music ◽  
The Way

Waikīkī is a world-renowned leisure destination; at least, that is the image flung vehemently around the world about Hawaii. This framing of Hawaii as paradisiac is parasitic, it eats away and denigrates the enduring relationship that Hawaii the land and the people have. During the COVID-19 pandemic, we have seen a shift in the way our home feels. Tourism, a self-proclaimed necessity of Hawaii’s economy, was not only put on hold, it was essentially eliminated. Through this project I would like to present pre/post-colonialist modalities of Hawaii, to contest and disarm this space densely affected by militourism. Hawaii has been framed as a leisure destination first by colonialists and much later by hip hop music. My approach to contesting these projections is to refuse this notion and feature lines from songs, chants and prayers related to Waikīkī which are pre/postcolonial and have been influenced by colonialism through hip hop.

On the Will of the People: Notes on the Political “Theory” of Populism

2020 ◽  
Vol 1 (1) ◽  
Author(s):  
Claus Offe
Keyword(s):  
Ethnic Identity ◽  
Political Theory ◽  
Conflicts Of Interest ◽  
Political Rhetoric ◽  
The Political ◽  
The People ◽  
National People ◽  
The Will

The “will of the (national) people” is the ubiquitously invoked reference unit of populist politics. The essay tries to demystify the notion that such will can be conceived of as a unique and unified substance deriving from collective ethnic identity. Arguably, all political theory is concerned with arguing for ways by which citizens can make e pluribus unum—for example, by coming to agree on procedures and institutions by which conflicts of interest and ideas can be settled according to standards of fairness. It is argued that populists in their political rhetoric and practice typically try to circumvent the burden of such argument and proof. Instead, they appeal to the notion of some preexisting existential unity of the people’s will, which they can redeem only through practices of repression and exclusion.

scholarly journals Come Fly With Me: Analyzing The F-35 Aircraft Acquisition Discourse to Study Incivility in Question Period

2021 ◽  
Author(s):  
Arun Jacob
Keyword(s):  
Public Sphere ◽  
Political Discourse ◽  
Public Discourse ◽  
Political Rhetoric ◽  
The Political ◽  
Political Accountability ◽  
The People ◽  
Canadian Politics ◽  
The Government

The main objective behind the parliamentary practice of Question Period is to ensure that the government is held accountable to the people. Rather than being a political accountability tool and a showcase of public discourse, these deliberations are most often displays of vitriolic political rhetoric. I will be focusing my research on the ways in which incivil political discourse permeates the political mediascape with respect to one instance in Canadian politics - the acquisition of the F-35 Lightning II Joint Strike Fighter. I believe that incivility in the political discourse of Question Period must be understood within the mechanics of the contemporary public sphere. By interrogating the complexities of how political discourse is being mediatized, produced and consumed within the prevailing ideological paradigms, I identify some of the contemporary social, cultural and political practices that produce incivility in parliamentary discourse.

scholarly journals AKTUALISASI SIMBOL-SIMBOL PERLAWANAN DALAM PERTUNJUKAN MUSIK HIP-HOP TRAHGALI SOULJA DI SURAKARTA

2019 ◽  
Vol 12 (1) ◽  
pp. 31-43
Author(s):  
Surya Purnama Putra
Keyword(s):  
Social Media ◽  
Hip Hop ◽  
Positive Response ◽  
Hip Hop Music ◽  
Front Stage ◽  
Musical Behavior ◽  
Front Region

This paper contains the actualization of resistance symbols contained in the performances of Trahgali Soulja, a hip-hop music group based in Surakarta. This includes reviewing the audience’s response to the music performed. The problems that arise are (1) the efforts of the Soulja Trahgali music group in constructing the symbols of resistance, (2) the form of actualization of ideas or the construction of symbols through the stage actions performed by Trahgali Soulja that illustrate the ideology of resistance, and ( 3) audience’s response to the stage action offered by Trahgali Soulja. The production and packaging of Trahgali Soulja’s performances are carried out on the backstage/back region - including the discovery of musical ideology, the process of interpreting the ideology of resistance, and the behind-the-scene communications among players. Then a scenario for the performance is employed in the stage action on the front stage/front region, and of course there are elements to support the performances being prepared. The positive response is shown by the audience with the emergence of the Red Ax Soldier community which supports the entire behavior of Trahgali Soulja, and not even rarely did this community adopt the musical behavior of Trahgali Soulja. In addition, social media such as Facebook, YouTube and Instagram also become the showrooms for this group’s hip-hop songs.Keywords: actualization, symbol of resistance, hip-hop music performances, trahgali soulja.

Remixing Mixedness

2020 ◽  
pp. 179-214
Author(s):  
Jasmine Mitchell
Keyword(s):  
Black Male ◽  
Hip Hop ◽  
Mixed Race ◽  
Music Videos ◽  
Hollywood Film ◽  
Racial Democracy ◽  
London 2012 ◽  
Hip Hop Music ◽  
A Site ◽  
Bidding Process

Chapter 5 explores the transnational dimensions of racial imaginings through the vision of Brazil as a mixed-race tropical paradise in both U.S. and Brazilian productions. U.S. hip-hop music videos such as Snoop Dogg and Pharrell’s “Beautiful” (2003), will.i.am’s “I Got It from My Mama” (2007), and the Hollywood film Fast Five (2011) exploit Brazil’s image as a racial paradise and a site of black male independence, based on its reputation as a racial democracy with a large mixed-race population and the imagery of the Brazilian mulata. The chapter ends with how the Brazilian state presented the Rio 2016 Olympics bidding process and the London 2012 handover ceremony on a global stage through images of multiculturalism.

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