Like other entities that are reproduced and evolve, words rise or decline depending upon a complex interplay between their intrinsic properties and the environments in which they function. Using Internet discussion communities as model systems, we define the concept of a word niche as the relationship between the word and the characteristic features of the environments in which it is used.
This work is licensed under a Creative Commons Attribution 3. Please contact mpub-help umich. Through close readings of the site, this article considers the architecture of this space of interracial exchange and identifies the interface as an example of Modernist architectural simplicity.
After the links there is a search bar and the ubiquitous symbols for the social media sites Facebook, Twitter, and Instagram. Finally, there is one more, much larger, advertising block.
Looking at WSHH, it becomes clear that there is no template or expectation for the appearance of a hip-hop website. WSHH resembles other video-sharing sites and with only three different page options to select, it limits the possible interpretations of hip-hop web design.
Similarly, browsing through the site provides little clarity on what constitutes a hip-hop video; visitors will find user-submitted films, professional and amateur music videos, news clips, and sports highlights that all feature diverse performers.
Thus, when WSHH describes itself as a hip-hop or urban site, it makes a strange claim about the current state of the black musical tradition. Visitors who wish to upload their own clips on the site must submit the pre-existing URL for the video.
That means the challenge of defining WSHH as a hip-hop website is complicated by the equally complex terrain of blackness. If hip-hop is made recognizable as an expression of blackness, how then do we recognize blackness?
Returning to WSHH through this racial lens makes it clear that there is also no template for the appearance of blackness. How does a website or a video become black? Further, if hip-hop is a form of the expression of blackness and the genre is broadening and being produced and consumed all over the world, often through social media sites and aggregators similar to WSHH, is blackness shareable?
In a six-part editorial on Vulture. What the hell is that? A house you build with a Hammer? Understanding blackness as the architectonic logic of any environment relies on a definition of blackness that is not bounded by phenotype or figural representation because referring to a space, building, or website as black implies the de-corporealization of blackness.
On WSHH, the aesthetics of blackness are expressed as a set of mediated looking relations that make the unwieldy video archive intelligible. For that reason, this paper defines blackness as an aestheticized social continuity. However, when these videos enter the rational Modernist architectural space of WSHH, the interface operates like racial discourse that attempts to make race and other overdetermined, illogical categories appear obvious or commonsensical.with hip-hop music and White supremacy, including ways in which hip-hop music has been commercialized, appropriated (including examples showing the relationship between hip-hop, Standard American English, and Racism), and "uncritically consumed" by White people.
The focus of this article is Gazeebow Unit, an adolescent hip-hop group from Newfoundland, Canada, whose tracks, which date from , are available only online.
As white rappers whose language is grounded in vernacular Newfoundland English, their rap raises obvious questions relating to both authenticity and hybridization. Despite the group’s use .
Marcyliena Morgan Harvard University (Draft – Please Do Not Quote) Marcyliena Morgan Through both commercial and underground media, the music and words of hip hop transcend language, neighborhoods, cities and national the nature of indexicality as a means to exploit and su bvert symbols.
Writers. This article focuses on a case that compared to previous studies of hip hop language, is surprising; a group of adolescents in Copenhagen increasingly use more monolingual, standard linguistic practices in their hip hop productions on YouTube.
The global hip-hop Diaspora: Understanding the culture The young people in Tanzania reject the perception that individuals who listen to hip-hop music are “hooligans” and use lyrics to address political concerns and educate their listeners on multiple topics, such as AIDS and multiple sex partners.
Shulman caninariojana.comcality and the. Drawing on studies of music videos, TV ads, and film in cultural and media studies and multimodal studies, this paper examines an under-researched area of hip hop, the global spread of Chicano rap, by conducting a multilingual, multimodal critical discourse analysis of several videos by Mona AKA Sad Girl, a Japanese rapper whose lyrics .