Epsiode 20: Happy Birthday, Hybrid Theory!

Total Page:16

File Type:pdf, Size:1020Kb

Epsiode 20: Happy Birthday, Hybrid Theory! Epsiode 20: Happy Birthday, Hybrid Theory! So, we’ve hit another milestone. I’ve rated for 15+ before like 6am, when it made 20 episodes of this podcast – which becomes a Top 50 countdown. When I was is frankly very silly – and I was trying younger, it was the quickest way to find to think about what I could write about new music, and potentially accidentally to reflect such a momentous occasion. see something that would really scar I was trying to think of something that you, music-video wise. Like that time I was released in the year 2000 and accidentally saw Aphex Twin’s Come to was, as such, experiencing a similarly Daddy music video. momentous 20th anniversary. The answer is, unsurprisingly, a lot of things But because I was tiny and my brain – Gladiator, Bring It On and American was a sponge, it turns out a lot of what Psycho all came out in the year 2000. But I consumed has actually just oozed into I wasn’t allowed to watch any of those every recess of my being, to the point things until I was in high school, and they where One Step Closer came on and I didn’t really spur me to action. immediately sang all the words like I was in some sort of trance. And I haven’t done And then I sent a rambling voice memo a musical episode for a while. So, today, to Wes, who you may remember from we’re talking Nu Metal, baby! Hell yeah! such hits as “making this podcast sound any good” and “writing the theme tune I’m Alex. This is Pop Culture Boner, the for this podcast”, explaining the idea of podcast edition, and today, I’m thinking 20th anniversaries or something, and about Linkin Park’s Hybrid Theory. they went me a text message back that just said, “Linkin Park, Hybrid Theory”. Ok, the intro to this is a little bit Now, because I struggle with time as a misleading… again. The ol’ bait and concept, I immediately had to double switch. It’s how I keep you coming back check that Linkin Park’s seminal album for more. Anyway, you might remember was, in fact, 20 years old. It is. me saying at some point that I’m not particularly good at music. That hasn’t My second thought was, “I dunno if I changed. I like things I like, even if they’re actually know that many Linkin Park objectively bad, I will write essays to songs.” I was incorrect. One thing I defend those bad things (welcome to the was allowed to do as a youth, for some podcast) and I don’t really understand reason, was wake up at 3am and watch the kind of territorial pissings that come Rage for hours at a time. For the very with dedicating your life to one genre. tiny percentage of foreigners listening, Which is why, despite my introductory Rage is an all-night music video show enthusiasm re: discussing Nu Metal, I was that airs on the public broadcaster that’s actually a little bit surprised to discover that people consider Linkin Park to be a watched on Nu Metal in the last two Nu Metal band. Despite the turntables days) also mentions that down-tuned and the rapping/ screaming combo, it seven string guitars are a hallmark of the hadn’t occurred to me that they would genre – this means nothing to me, but technically fall under that genre. perhaps one of you is musical and this is a revelatory moment… I don’t know. It And then, the more I was talking to other also says that the genre rarely features people I knew who were a couple of years any display of technical competence. It’s younger than me and didn’t obsessively referring to guitar solos, but like… same, watch music videos for 8 hours a day on ya know? Anyway, sound-wise, it’s a lot their weekend, the more I realised that of heavy riffs that kind of reverberate Nu Metal was such an obscene blip on your rib cage and vocals that seem to the pop cultural radar, that anyone who lean toward a kind of hip-hop style. didn’t immediately express loathing for Sometimes one guy has turntables. A its very existence actually didn’t even surprising number of them have silly face really know what it was. One particular paint. Which doesn’t necessarily sound friend sent me a voice memo saying, “I like such a bad thing on paper, or like… know that New is spelled N U. Because I at least the stuff prior to the face paint… am cool… also I thought Limp Bizkit, was but in practice Nu Metal is perhaps one spelled biscuit… like a bicky… which I of the most reviled genres, to the point realise now is silly.” Which is hilarious that it is almost impossible to bring up but also made me a little bit concerned without having someone explain why it that this particular episode might be deserves to be wiped off the face of the even more of a scream into the void than earth. NME called it a skidmark on music usual. But then I remembered, it’s my history in a 2013 article titled 10 reasons podcast, and I can do what I want. why Nu Metal is the worst genre of all time. Lots of artists from cool-guy bands So, we’re gonna spend some time looking credited with kickstarting the whole thing at what Nu Metal is, why Nu Metal is, have given scathing interviews claiming and why, if the genre is so universally that this is not the case. reviled, Linkin Park’s Hybrid Theory still bangs so hard 20 years later. Is it even So… why the hatred? Great question. I’ve Nu Metal at all? Do we even care? done a lot of reading, and I’ve come to the conclusion that it doesn’t have a huge Alright, lets start with what Nu Metal is amount to do with the music itself, if I’m for the uninitiated. Like, I said, I’m not being totally honest. Because sonically, a music guy, so I’m just going to pull the there’s not actually anything really wrong definition from Wikipedia: “Nu metal with smushing metal with other genres, is a subgenre of alternative metal that and especially not hip hop. Rap music combines elements of heavy metal music and rock music together wasn’t even a with elements of other music genres little bit new in the early 00s, and in fact such as hip hop, alternative rock, funk, as a combination had found quite a bit of industrial, and grunge.” The intro (and popularity. Aerosmith and Run DMC had every single documentary piece I’ve released Walk This Way in 1986, which peaked at number 4 on the Billboard with the actual music itself in most cases, Hottest 100 and was actually the first hip what I mean is that I think a lot of the hop song to chart at all in the UK. Hip hop hatred has to with this kind of, extremely artists had been yanking heavy samples macho, jock-ish energy that sprung up basically forever. Alternative metal around the scene. It went from being a bands had been experimenting with kind of insular playground for weird kids more groove-oriented riffs throughout doing heavy things with bass guitars and the late 80s and early 90s. turntables, to the biggest genre in the world, headed up by the worst guy you’ve This background already existed. And ever seen. I’m talking about Limp Bizkit then Korn happened. Metalheads love and Fred Durst, obviously. You are just as a documentary about themselves. I’ve likely to remember Limp Bizkit from front watched so many of them over the last man Fred Durst’s shitty behaviour as you couple of days and I can’t tell you how are from their shitty music. But let me funny it is to watch a guy try and explain give you a little refresher. Musically, they succinctly how he accidentally invented leaned hard into the rap rock element, a genre to a guy who is extremely and had huge hits with songs like Break invested in the response. But lead- Stuff, Nookie and Rolling. Where Korn’s singer Jonathan Davis has to do that lyricism at least had a kind of intimate or like once a year for the rest of his life, personal element to it, Limp Bizkit’s was because Korn released their self-titled aimless, violent and stupid. Behaviour- debut album, which sounded completely wise, Limp Bizkit is embedded in the batshit and effectively birthed Nu Metal Australian cultural psyche as the band as a thing. While they don’t rap, to me, it who had a 16-year-old girl die in their almost seems to kind of take everything mosh pit at the Big Day Out, paused for including the guitar and the vocals as 8 minutes, then kept going. Or perhaps, like a weird percussive instrument. None you may remember their Woodstock 99 of the instruments are doing any of the performance a couple of years prior to the things that you really think they should Big Day Out, where Durst was accusing of be, and on top of that a lanky white guy inciting a riot while the festival burned to in an adidas tracksuit is flailing his arms the ground and a number of women were around like he’s been hit with 240 volts sexually assaulted.
Recommended publications
  • Internet Killed the B-Boy Star: a Study of B-Boying Through the Lens Of
    Internet Killed the B-boy Star: A Study of B-boying Through the Lens of Contemporary Media Dehui Kong Senior Seminar in Dance Fall 2010 Thesis director: Professor L. Garafola © Dehui Kong 1 B-Boy Infinitives To suck until our lips turned blue the last drops of cool juice from a crumpled cup sopped with spit the first Italian Ice of summer To chase popsicle stick skiffs along the curb skimming stormwater from Woodbridge Ave to Old Post Road To be To B-boy To be boys who snuck into a garden to pluck a baseball from mud and shit To hop that old man's fence before he bust through his front door with a lame-bull limp charge and a fist the size of half a spade To be To B-boy To lace shell-toe Adidas To say Word to Kurtis Blow To laugh the afternoons someone's mama was so black when she stepped out the car B-boy… that’s what it is, that’s why when the public the oil light went on changed it to ‘break-dancing’ they were just giving a To count hairs sprouting professional name to it, but b-boy was the original name for it and whoever wants to keep it real would around our cocks To touch 1 ourselves To pick the half-smoked keep calling it b-boy. True Blues from my father's ash tray and cough the gray grit - JoJo, from Rock Steady Crew into my hands To run my tongue along the lips of a girl with crooked teeth To be To B-boy To be boys for the ten days an 8-foot gash of cardboard lasts after we dragged that cardboard seven blocks then slapped it on the cracked blacktop To spin on our hands and backs To bruise elbows wrists and hips To Bronx-Twist Jersey version beside the mid-day traffic To swipe To pop To lock freeze and drop dimes on the hot pavement – even if the girls stopped watching and the street lamps lit buzzed all night we danced like that and no one called us home - Patrick Rosal 1 The Freshest Kids , prod.
    [Show full text]
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Sexism Across Musical Genres: a Comparison
    Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 6-24-2014 Sexism Across Musical Genres: A Comparison Sarah Neff Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Social Psychology Commons Recommended Citation Neff, Sarah, "Sexism Across Musical Genres: A Comparison" (2014). Honors Theses. 2484. https://scholarworks.wmich.edu/honors_theses/2484 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. Running head: SEXISM ACROSS MUSICAL GENRES 1 Sexism Across Musical Genres: A Comparison Sarah E. Neff Western Michigan University SEXISM ACROSS MUSICAL GENRES 2 Abstract Music is a part of daily life for most people, leading the messages within music to permeate people’s consciousness. This is concerning when the messages in music follow discriminatory themes such as sexism or racism. Sexism in music is becoming well documented, but some genres are scrutinized more heavily than others. Rap and hip-hop get much more attention in popular media for being sexist than do genres such as country and rock. My goal was to show whether or not genres such as country and rock are as sexist as rap and hip-hop. In this project, I analyze the top ten songs of 2013 from six genres looking for five themes of sexism. The six genres used are rap, hip-hop, country, rock, alternative, and dance.
    [Show full text]
  • In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998).
    [Show full text]
  • Limp Bizkit (From the 1999 Album SIGNIFICANT OTHER) Transcribed by Danj Inc Words and Music by Limp Bizkit ([email protected]) Arranged by Limp Bizkit
    RE-ARRANGED As recorded by Limp Bizkit (From the 1999 Album SIGNIFICANT OTHER) Transcribed by danj_inc Words and Music by Limp Bizkit ([email protected]) Arranged by Limp Bizkit A Intro/Verse Downtuned 7-string guitar arr. for 6-string Moderate Nu-Metal = 105 SEE PERFORMANCE NOTES P 8 1 g I 4 Gtrs I, II, III, IV, V T A B N.C. 8x VV VV VV VV 8x 9 g VV VV VV V V VV VV VV V V V V VV VV VV VV V VV VV VV V V V V I V V V V V V V V V V V V V V V V Gtrs I, II 3 0 3 0 7 7 0 8 T 3 0 3 0 7 7 0 8 A 14 14 14 14 14 14 14 14 14 14 14 14 14 14 14 14 B 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 12 T T T T T T T T T T T T T T T T T P T T T P T T T T T T T T P T T T T N.C. 11 g V V V V V V I V V V V V V } } } V V V V V V } } } Gtr II V V } } } } } V V } } } } } T A 14 17 14 x x x 14 17 14 x x x B x x x x x x 12 12 3 15 15 3 12 12 x x x x x 12 12 3 15 15 3 12 12 x x x x x T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T B Interlude 4 13 g I T A B Generated using the Power Tab Editor by Brad Larsen.
    [Show full text]
  • Hybrid Dynamic Density Functional Theory for Polymer Melts and Blends
    Hybrid Dynamic Density Functional Theory for Polymer Melts and Blends Takashi Honda ∗ Japan Chemical Innovation Institute, and Department of Organic and Polymeric Materials, Tokyo Institute of Technology, Ookayama, Meguro-ku, Tokyo 152-8552, Japan Toshihiro Kawakatsu Department of Physics, Tohoku University, Aoba, Aramaki, Aoba-ku, Sendai 980-8578, Japan Abstract We propose a high-speed and accurate hybrid dynamic density functional theory for the computer simulations of the phase separation processes of polymer melts and blends. The proposed theory is a combination of the dynamic self-consistent field (SCF) theory and a time-dependent Ginzburg-Landau type theory with the random phase approximation (GRPA). The SCF theory is known to be accurate in evaluating the free energy of the poly- mer systems in both weak and strong segregation regions although it has a disadvantage of the requirement of a considerable amount of computational cost. On the other hand, the GRPA theory has an advantage of much smaller amount of required computational cost than the SCF theory while its applicability is limited to the weak segregation region. To make the accuracy of the SCF theory and the high-performance of the GRPA theory compati- ble, we adjust the chemical potential of the GRPA theory by using the SCF theory every constant time steps in the dynamic simulations. The performance of the GRPA and the arXiv:cond-mat/0609081v1 [cond-mat.soft] 5 Sep 2006 hybrid theories is tested by using several systems composed of an A/B homopolymer, an AB diblock copolymer, or an ABC triblock copolymer. Using the hybrid theory, we succeeded in reproducing the metastable complex phase-separated domain structures of an ABC triblock copolymer observed by experiments.
    [Show full text]
  • “Rapper's Delight”
    1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap.
    [Show full text]
  • Eminem 1 Eminem
    Eminem 1 Eminem Eminem Eminem performing live at the DJ Hero Party in Los Angeles, June 1, 2009 Background information Birth name Marshall Bruce Mathers III Born October 17, 1972 Saint Joseph, Missouri, U.S. Origin Warren, Michigan, U.S. Genres Hip hop Occupations Rapper Record producer Actor Songwriter Years active 1995–present Labels Interscope, Aftermath Associated acts Dr. Dre, D12, Royce da 5'9", 50 Cent, Obie Trice Website [www.eminem.com www.eminem.com] Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition. The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse and in 2011 for his album Recovery, giving him a total of 13 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip hop single.[3] Eminem then went on hiatus after touring in 2005.
    [Show full text]
  • A Hybrid Theory of Metaphor
    A Hybrid Theory of Metaphor Relevance Theory and Cognitive Linguistics Markus Tendahl A Hybrid Theory of Metaphor Copyright material from www.palgraveconnect.com - licensed to Taiwan eBook Consortium - PalgraveConnect - 2011-03-02 eBook Consortium - PalgraveConnect Taiwan - licensed to www.palgraveconnect.com material from Copyright 10.1057/9780230244313 - A Hybrid Theory of Metaphor, Markus Tendahl This page intentionally left blank Copyright material from www.palgraveconnect.com - licensed to Taiwan eBook Consortium - PalgraveConnect - 2011-03-02 eBook Consortium - PalgraveConnect Taiwan - licensed to www.palgraveconnect.com material from Copyright 10.1057/9780230244313 - A Hybrid Theory of Metaphor, Markus Tendahl A Hybrid Theory of Metaphor Relevance Theory and Cognitive Linguistics Markus Tendahl University of Dortmund, Germany Copyright material from www.palgraveconnect.com - licensed to Taiwan eBook Consortium - PalgraveConnect - 2011-03-02 eBook Consortium - PalgraveConnect Taiwan - licensed to www.palgraveconnect.com material from Copyright 10.1057/9780230244313 - A Hybrid Theory of Metaphor, Markus Tendahl © Markus Tendahl 2009 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988.
    [Show full text]
  • A Hybrid Theory of Environmentalism Steve Matthews Charles Sturt University
    Essays in Philosophy Volume 3 Article 10 Issue 1 Environmental Aesthetics 1-2002 A Hybrid Theory of Environmentalism Steve Matthews Charles Sturt University Follow this and additional works at: http://commons.pacificu.edu/eip Part of the Philosophy Commons Recommended Citation Matthews, Steve (2002) "A Hybrid Theory of Environmentalism," Essays in Philosophy: Vol. 3: Iss. 1, Article 10. Essays in Philosophy is a biannual journal published by Pacific nivU ersity Library | ISSN 1526-0569 | http://commons.pacificu.edu/eip/ Matthews -- Essays in Philosophy Essays in Philosophy A Biannual Journal Vol. 3 No. 1 A Hybrid Theory of Environmentalism Abstract The destruction and pollution of the natural environment poses two problems for philosophers. The first is political and pragmatic: which theory of the environment is best equipped to impact policymakers heading as we are toward a series of potential eco- catastrophes? The second is more central: On the environment philosophers tend to fall either side of an irreconcilable divide. Either our moral concerns are grounded directly in nature, or the appeal is made via an anthropocentric set of interests. The lack of a common ground is disturbing. In this paper I attempt to diagnose the reason for this lack. I shall agree that wild nature lacks features of intrinsic moral worth, and that leaves a puzzle: Why is it once we subtract the fact that there is such a lack, we are left with strong intuitions against the destruction and/or pollution of wild nature? Such intuitions can be grounded only in a strong sense of aesthetic concern combined with a common-sense regard for the interests of sentient life as it is indirectly affected by the quality of the environment.
    [Show full text]
  • Rap in the Context of African-American Cultural Memory Levern G
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Empowerment and Enslavement: Rap in the Context of African-American Cultural Memory Levern G. Rollins-Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES EMPOWERMENT AND ENSLAVEMENT: RAP IN THE CONTEXT OF AFRICAN-AMERICAN CULTURAL MEMORY By LEVERN G. ROLLINS-HAYNES A Dissertation submitted to the Interdisciplinary Program in the Humanities (IPH) in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of Levern G. Rollins- Haynes defended on June 16, 2006 _____________________________________ Charles Brewer Professor Directing Dissertation _____________________________________ Xiuwen Liu Outside Committee Member _____________________________________ Maricarmen Martinez Committee Member _____________________________________ Frank Gunderson Committee Member Approved: __________________________________________ David Johnson, Chair, Humanities Department __________________________________________ Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my husband, Keith; my mother, Richardine; and my belated sister, Deloris. iii ACKNOWLEDGEMENTS Very special thanks and love to
    [Show full text]
  • Sounds of the Human Vocal Tract
    INTERSPEECH 2017 August 20–24, 2017, Stockholm, Sweden Sounds of the Human Vocal Tract Reed Blaylock, Nimisha Patil, Timothy Greer, Shrikanth Narayanan Signal Analysis and Interpretation Laboratory University of Southern California, USA [email protected], {nimishhp, timothdg}@usc.edu, [email protected] Do speech and beatboxing articulations share the same Abstract mental representations? Previous research suggests that beatboxers only use sounds that Is beatboxing grammatical in the same way that exist in the world’s languages. This paper provides evidence to phonology is grammatical? the contrary, showing that beatboxers use non-linguistic How is the musical component of beatboxing represented articulations and airstream mechanisms to produce many sound in the mind? effects that have not been attested in any language. An analysis of real-time magnetic resonance videos of beatboxing reveals To address these questions, a comprehensive inventory of that beatboxers produce non-linguistic articulations such as beatboxing sounds and their articulations must first be ingressive retroflex trills and ingressive lateral bilabial trills. In compiled. addition, beatboxers can use both lingual egressive and Some steps toward this goal have already been taken. pulmonic ingressive airstreams, neither of which have been Splinter and TyTe [5] proposed a Standard Beatbox Notation reported in any language. (SBN) to encode contrasts between different beatboxing The results of this study affect our understanding of the sounds, and Stowell [6] uses a combination of new characters limits of the human vocal tract, and address questions about the and characters from the International Phonetic Alphabet (IPA) mental units that encode music and phonological grammar. to represent some sounds of beatboxing.
    [Show full text]