Global Hip Hop Studies最新文献

The Globally Familiar: Digital Hip Hop, Masculinity, and Urban Space in Delhi, Ethiraj Gabriel Dattatreyan (2020) 全球熟悉:数字嘻哈、男子气概和德里的城市空间，Ethiraj Gabriel Dattatreyan (2020)

Global Hip Hop Studies Pub Date : 2021-11-01 DOI: 10.1386/ghhs_00047_5

Elloit Cardozo

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Digital feminisms in Palestinian hip hop 巴勒斯坦嘻哈中的数字女权主义

Global Hip Hop Studies Pub Date : 2021-11-01 DOI: 10.1386/ghhs_00042_1

Polly Withers

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Tiny Desk Concert as an emerging site of hip hop intimacy, authenticity and accessibility Tiny Desk Concert作为嘻哈亲密，真实和可访问性的新兴网站

Global Hip Hop Studies Pub Date : 2021-11-01 DOI: 10.1386/ghhs_00046_5

J. Henry

{"title":"Tiny Desk Concert as an emerging site of hip hop intimacy, authenticity and accessibility","authors":"J. Henry","doi":"10.1386/ghhs_00046_5","DOIUrl":"https://doi.org/10.1386/ghhs_00046_5","url":null,"abstract":"From the late Mac Miller’s introspective 2018 session to Megan Thee Stallion’s sexually empowering show in 2019, National Public Radio’s (NPR) Tiny Desk Concert (TDC) series has showcased several unique and memorable hip hop performances over the last few years. Many of these concerts have garnered millions of views and critical acclaim, making the series an important artistic medium and promotional tool for contemporary hip hop artists. TDCs challenge artists to put forth creative and intimate performances which offer unique audio-visual experiences to YouTube users. In addition to being a well-produced, accessible and engaging online concert series, individual TDC performances constitute important areas of contemporary hip hop music inquiry that raise interesting questions about musical authenticity, aesthetic negotiation, technological mediation, online engagement and genre. I suggest that these performances are becoming increasingly relevant sites of online hip hop mediation that should be further investigated and adopted as scholarly and pedagogical resources. More specifically, I demonstrate how TDC compellingly produces and distributes unique, intimate and engaging internet content that offers nuanced performances of contemporary hip hop artistry, self-representation and reception. Through analysis of concert videos and comment sections, I illuminate how the high-quality audio-visual production, unique performance practices and YouTube’s platform features enable crucial elements of live performance – liveness, immersion and interaction – to be fully present in the online context. Overall, TDC provides ways for users to engage with more nuanced representations of hip hop culture as artists challenge the boundaries of what twenty-first-century hip hop performance can be. Accordingly, TDC has the potential to provide great theoretical and pedagogical value to hip hop researchers, educators, students and enthusiasts.","PeriodicalId":395273,"journal":{"name":"Global Hip Hop Studies","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121518712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Splice and the platformization of hip hop production: Navigating the online music platform for royalty-free samples 拼接和嘻哈音乐制作的平台化:为免版税样品导航在线音乐平台

Global Hip Hop Studies Pub Date : 2021-11-01 DOI: 10.1386/ghhs_00045_1

Alexandria Arrieta

{"title":"Splice and the platformization of hip hop production: Navigating the online music platform for royalty-free samples","authors":"Alexandria Arrieta","doi":"10.1386/ghhs_00045_1","DOIUrl":"https://doi.org/10.1386/ghhs_00045_1","url":null,"abstract":"As a large marketplace of royalty-free samples, the music platform Splice has worked to centralize and open up the process of hip hop production to over 4 million users, varying from beginning bedroom producers to established producers like Turbo (who has worked on tracks for artists including Young Thug, Gunna and Lil Baby). Founded by sound engineer Matt Aimonetti and GroupMe co-founder Steve Martocci in 2013, Splice experienced extreme growth during the COVID-19 pandemic as more aspiring producers took up beat-making from home. Hip hop producers have long used the internet to exchange and sell samples for beat production through direct messaging, sample blogs and sample marketplaces. While these digital exchanges have enabled quicker collaboration and accessibility for producers, they have also set the groundwork for companies like Splice to have an unprecedented influence in musical interactions and activity. Online platforms geared towards hip hop production and beat-making are becoming increasingly critical to the music industry, offering an important opportunity to examine digital creative economies and the platformization of cultural production. Splice incorporates features such as curation and algorithmic recommendation of samples to aid creators in their production process. Through interviews with producers who use Splice and a critical analysis of the platform’s user experience, this article demonstrates that producers can feel the need to strike a balance when engaging with the platform, finding ways to use automated tools that make their work more efficient while simultaneously striving to maintain high standards of individual creativity and technical skills. This suggests that it is necessary to have a nuanced understanding of Splice’s impact on music production and how it differs from streaming platforms because of its particular logics and functionalities geared towards music creators as a primary userbase.","PeriodicalId":395273,"journal":{"name":"Global Hip Hop Studies","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133325428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Link in bio: Exploring the emotional and relational labour of Black women rappers in sexual dance economies on OnlyFans 在OnlyFans上探索黑人女性说唱歌手在性舞蹈经济中的情感和关系劳动

Global Hip Hop Studies Pub Date : 2021-11-01 DOI: 10.1386/ghhs_00043_1

Jabari Evans

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‘Makhanda Forever?’: Pirate internet infrastructure and the ephemeral hip hop archive in South Africa “Makhanda永远?:南非的盗版互联网基础设施和短暂的嘻哈档案

Global Hip Hop Studies Pub Date : 2021-11-01 DOI: 10.1386/ghhs_00044_1

Alette Schoon

{"title":"‘Makhanda Forever?’: Pirate internet infrastructure and the ephemeral hip hop archive in South Africa","authors":"Alette Schoon","doi":"10.1386/ghhs_00044_1","DOIUrl":"https://doi.org/10.1386/ghhs_00044_1","url":null,"abstract":"This article examines how hip hop heads in marginalized, Black, low-income neighbourhoods in a town in South Africa make use of ‘grey’ pirate internet infrastructure from the Global South to create distribution platforms for their music. In this ethnographic study, hip hop heads from the town of Makhanda, who cannot afford the bandwidth to use graphic-intensive sites such as ReverbNation or SoundCloud, come up with innovative ways to hack and extend the limitations of their own low-bandwidth internet distribution infrastructure. To do so they not only move media offline onto various digital devices in innovative ways but also use online solutions from the Global South developed for less-connected users like themselves. This includes the file-drop platform DataFileHost, the ‘Wap’ platform Wapka and various forms of translocal pavement internet involving WhatsApp distribution. As digital pioneers in their communities, these hip hop heads showcase innovation from below by cobbling together translocal digital spaces that incorporate grey pirate platforms. Since they exist outside of the public, algorithmically monitored channels of the internet, these spaces remain outside of the mainstream centralized global media flows and exemplify ‘pirate modernity’ in the Global South. They point to the deep infrastructural inequalities between and inside countries and the need for building a more inclusive internet where no-one is exiled to the low-bandwidth, mostly off internet outposts of the less-connected. While pirate platforms form part of an interim innovative solution to help connect communities, their ephemeral nature means that the music archives created by these hip hop communities remain precarious and under constant threat of being lost forever.","PeriodicalId":395273,"journal":{"name":"Global Hip Hop Studies","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128109823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Nationhood, identity and subcultures: A case study of the Norwegian rap duo Karpe 国家，身份和亚文化:挪威说唱二人组Karpe的案例研究

Global Hip Hop Studies Pub Date : 2021-06-01 DOI: 10.1386/ghhs_00033_1

Juliette Saetre

引用次数: 1

Mixtapes and memory-making: A hip hop remix of the traditional archive 混音带和记忆制作:传统档案的嘻哈混音

Global Hip Hop Studies Pub Date : 2021-06-01 DOI: 10.1386/ghhs_00037_1

Mark V. Campbell

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Hip hop’s third space: Imagined community and the global hip hop nation 嘻哈的第三个空间:想象的社区和全球嘻哈国家

Global Hip Hop Studies Pub Date : 2021-06-01 DOI: 10.1386/ghhs_00029_2

Adam Haupt, J. Rollefson

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Breaking the limits? Exploring the breaking scene in Havana, Cuba and belonging in a global (imagined) breaking community 打破限制?探索古巴哈瓦那的突发事件，并归属于全球(想象中的)突发事件社区

Global Hip Hop Studies Pub Date : 2021-06-01 DOI: 10.1386/ghhs_00031_1

Friederike Frost

{"title":"Breaking the limits? Exploring the breaking scene in Havana, Cuba and belonging in a global (imagined) breaking community","authors":"Friederike Frost","doi":"10.1386/ghhs_00031_1","DOIUrl":"https://doi.org/10.1386/ghhs_00031_1","url":null,"abstract":"This article discusses the findings from my initial foray into the Havana breaking scene in February 2020. Inspired by ethnomusicologist and hip hop scholar Joseph Schloss’s (2009) ethnographic study of the New York breaking scene, I deploy three central aspects from his work:\u0000 community as social entanglement, music as a creator of belonging, and movement as the connecting elements between dancers. I explore how these aspects are visible in Havana and suggest that there are various aspects, for example, heterogeneity, internet access and possibilities to travel,\u0000 connect and exchange within a global dance community, that define the local breaking scene in Havana, which add to the three pillars Schloss develops from breaking itself. In addition, I question breaking’s ‘normed narratives’ ‐ for example, the assumption that b-boys\u0000 and b-girls always draw inspiration from the United States, breaking’s country of origin ‐ to interrogate US and Eurocentric/western-nation perspectives. I also explore how I was able to dive in and conduct qualitative research with relative ease in a short period of time as a\u0000 white European b-girl, hip hop, and dance scholar as well as a foreigner to Cuba’s breaking scene. I reflect on the importance of travelling as a means of knowledge acquisition, the idea of belonging to a ‘Global Hip Hop Nation’, an ‘imagined community’ and ‘connective\u0000 marginalities’ as concepts to help untangle the forms of belonging within the global breaking community as they play out in Cuba. This research is based on a practice-of-theory approach that places the body at the centre of investigation enhanced with the idea of meaningful movement.\u0000 Data is collected through participant field observation, qualitative interviews as well as my embodied and cultural knowledge as a b-girl, which informs my role as ‘hybrid expert’ in, and between, Havana’s breaking scene.","PeriodicalId":395273,"journal":{"name":"Global Hip Hop Studies","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114473932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0