Conference Proceedings 2019

Total Page:16

File Type:pdf, Size:1020Kb

Conference Proceedings 2019 2019 Conference Proceedings Table of Contents Latifa Abdin Bots and Fake News: The Role of WhatsApp in the 2018 Brazilian Presidential Election 1-15 McMaster University Colin Jon Mark Crawford Fictitious Capital: Netflix and the New Narratives of Media Value in Platform Capitalism 15-24 Concordia University Jeff Donison Horror Movies on Wax: Examining Violence in ‘90’s Horrorcore Rap 25-33 York University Manon Hakem-Lemaire The Poetics of Contrast: Alfonso Cuarón’s Negotiation of Mexican Progress in Y tu mamá también (2001) and Roma (2018) 34-40 University of Guelph Casey Robertson Music, Noise, and Discourse: Pathways for Queer Agency in the Modern Sonic Landscape 41-47 York University Anushray Singh South Asia and the West: Identity, Multidimensionality and the Public Gaze 48-55 University of Windsor Davis Vallesi Framing the Issue: A Critical Examination of Traditional Journalism 56-62 York University Intersections | Cross-sections Graduate Conference 2019: Versus Bots and Fake News: The Role of WhatsApp in the 2018 Brazilian Presidential Election Latifa Abdin Masters of Globalization McMaster University Hamilton, ON Canada. Abstract This paper will seek to explore the use of computational propaganda, as defined by Woolley and Howard (2018), specifically on the chat app WhatsApp, in the 2018 Brazilian presidential election. It will argue that the illegal use of computational propaganda paved the way for the victory of the far-right candidate Jair Bolsonaro. First, this paper will outline Brazil’s recent political history and acknowledge the role that history played in the outcome of this presidential election. Then, this paper will look at the transformation in Brazil’s media landscape – specifically at how WhatsApp has taken over the role the traditional news media has played in the country. Finally, using news reports from both Western and Brazilian news media, in addition to preliminary research that has been conducted by academics in Brazil, this paper will outline how paid-for “cyber-troops” were able to use the public group feature on WhatsApp to disseminate fake news, and the variables that allowed this to be a successful misinformation campaign. The use of chat apps, WhatsApp especially, to disseminate fake news, particularly during elections, has been a growing trend in Global South countries where use of the app has grown rapidly. This paper will conclude by analysing articles, academic and journalistic, to suggest ways in which this problem can be combated to prevent future manipulation of public opinion by political actors using WhatsApp during elections. Keywords: Brazil elections 2018, WhatsApp, fake news, computational propaganda Introduction On Sunday October 2018, social media was flooded with news sites publishing articles declaring the results of the 2018 Brazilian presidential election. The far-right wing candidate, 63 year-old Jair Bolsonaro, claimed 55.1% of the vote. (Phillips & Phillips, 2018b) A year ago, many political analysts assumed that he did not stand a chance winning the presidency. Since his victory, the world’s concern has turned to how he will govern. For the first time in its modern democratic history, Brazil elected a president who supports extreme far right-politics. (Staff, 2018) For a large part of Brazil’s history, the military played a central role in the running of the state. In 1964, a military coup d’état forced the ruling reformist party out. The authoritarian military regime that took over was an oppressive one, focused solely on neo-liberal projects meant to modernize the state. The regime faced intense 1 Intersections | Cross-sections Graduate Conference 2019: Versus resistance from leftist political groups, artist, intellectuals, and press outlets. Ultimately, the regime fell back and there was a transition to democracy in 1984. Though Brazil is now the world’s fourth largest democracy, its recent political history has been marred by scandals and corruption by the leftist parties that have run the country. Political analysts and historians have attributed current nostalgia for the days of the regime, to the scandals that have come to light in recent years. (Napolitano, 2018) This nostalgia is what many believe lead to the shocking results of this 2018 election – a country that only elected centrist or leftist parties since transitioning to democracy, elected a “a far-right, pro-gun, pro-torture populist,” who publicly reminisced about the days of the military regime. (Phillips & Phillips, 2018b) Though the results were shocking to many, they show a continuation in a global trend that started with the 2016 American presidential election. Populist proto-fascist candidates have been winning elections globally, notably in Europe, and their right-wing rhetoric has slowly become normalized. There is a strong argument to be made that this normalization is happening, in large part, through social media. The most notable aspect of various elections that took place over the past two years, again, beginning with the 2016 American presidential election, is the central and vital role social media has increasingly played in each one. The 2016 American presidential election brought this role to the spotlight – it revealed that international interference in elections was happening on a micro-targeted level on social media platforms. Russia, namely, tried to sway the American election in favour of Donald Trump. A report recently published by the Computational Propaganda Project at the University of Oxford (Howard et al., 2018) revealed that Russian interference in the 2016 U.S. election was present online as far back as 2013, across several social media platforms including Facebook, YouTube, Instagram and Twitter. The Russian government’s Internet Research Agency had utilized “automated or fake accounts” to spread false content online. According to the report, over 30 million users between 2015 and 2017 shared the Russian content which often “[encouraged] extreme right-wing voters to be more confrontational and [spread] sensationalist, conspiratorial, and other forms of junk political news and misinformation to voters across the political spectrum.” (Howard, et.al 2018) As the world is well-aware, this misinformation campaign succeeded, and pushed online right-wing content into the mainstream. This revelation sparked outraged calls for social media companies to be held accountable for allowing such interference on their platforms. The world was reminded that only six years earlier, social media served as the liberating force for democratic movements such as the Arab Spring; as a result, social media had been hailed as the new democratizing force that would allow social movements to mobilize. The potential for social media to be used as a mobilizing tool for non-state actors such as progressive social movements and political dissidents was met with optimism. These platforms, specifically Twitter and Facebook, created a “new public sphere” that allowed grassroots participation for political dissidents and a new platform for political education, particularly among youth. Freedom of expression and speech was possible in authoritarian contexts, if users were careful to protect their identities online (Fominaya, 2014, pp. 162–163); however, the optimism for the democratizing 2 Intersections | Cross-sections Graduate Conference 2019: Versus potential of social media was quickly replaced by cynicism, as states and political actors adapted to this new technology. Initially, governments blocked access to social media during times of civil unrest or protest. This has happened in countries like Egypt1, Turkey, Iran, and Pakistan, to name a few examples (Arthur, 2011; Fominaya, 2014, p. 164; Frenkel, 2018; Kalvapalle, 2017; Roberts, 2016); however political actors have been increasingly using the same platforms that help mobilize social movements, to subvert the movements and to subvert democratic processes. As Bradshaw and Howard (2018) write, “where government control over Internet content has traditionally relied on blunt instruments to block or filter the free flow of information, powerful political actors are now turning to [misinformation campaigns] to shape public discourse and nudge public opinion.” This has been happening almost exclusively in Global South (pp. 4, 8). While the 2016 American presidential election demonstrated how foreign governments use disinformation campaigns to do this, the 2018 Brazilian election demonstrated how political actors do this domestically. This was one aspect that the news media focused on when covering the Brazilian election. The other aspect the news media focused on during the 2018 Brazilian election was the social media platform where the disinformation campaign took place. Previously Facebook and Twitter had been the platforms of choice for disinformation campaigns as the 2016 American election demonstrated. The disinformation campaign that took place in Brazil during the election was on WhatsApp, a messaging app. (Isaac & Roose, 2018) This was not the first time that WhatsApp came under fire for having misinformation on its app. In January 2017 propaganda spread on the app that incited racial violence in India (Rebelo, 2018). There were also alarms raised over its misuse during other elections such as in Mexico (Owen, 2018). However, during the Brazilian election mainstream media focused so heavily on a misinformation campaign taking place on the app and many commentators blamed the app for Bolsonaro’s victory. These two aspects of the Brazilian
Recommended publications
  • 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]
  • Is Hip Hop Dead?
    IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work.
    [Show full text]
  • Hip Hop Pedagogies of Black Women Rappers Nichole Ann Guillory Louisiana State University and Agricultural and Mechanical College
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Schoolin' women: hip hop pedagogies of black women rappers Nichole Ann Guillory Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Education Commons Recommended Citation Guillory, Nichole Ann, "Schoolin' women: hip hop pedagogies of black women rappers" (2005). LSU Doctoral Dissertations. 173. https://digitalcommons.lsu.edu/gradschool_dissertations/173 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. SCHOOLIN’ WOMEN: HIP HOP PEDAGOGIES OF BLACK WOMEN RAPPERS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Curriculum and Instruction by Nichole Ann Guillory B.S., Louisiana State University, 1993 M.Ed., University of Louisiana at Lafayette, 1998 May 2005 ©Copyright 2005 Nichole Ann Guillory All Rights Reserved ii For my mother Linda Espree and my grandmother Lovenia Espree iii ACKNOWLEDGMENTS I am humbled by the continuous encouragement and support I have received from family, friends, and professors. For their prayers and kindness, I will be forever grateful. I offer my sincere thanks to all who made sure I was well fed—mentally, physically, emotionally, and spiritually. I would not have finished this program without my mother’s constant love and steadfast confidence in me.
    [Show full text]
  • The Moral Priorities of Rap Listeners
    Published: Nzinga, K.L.K., & Medin, D.L. (2018). The Moral Priorities of Rap Listeners. Journal of Cognition and Culture, 312-342. http://booKsandjournals.brillonline.com/content/journals/10.1163/15685373-12340033 The Moral Priorities of Rap Listeners Kalonji L.K. NZINGA Douglas L. MEDIN Northwestern University A Cross-cultural approach to moral psychology starts from researchers withholding judgments about universal right and wrong and instead exploring community members’ values and what they subjeCtively perCeive to be moral or immoral in their loCal Context. This study seeks to identify the moral ConCerns that are most relevant to listeners of hip- hop music. We use validated psyChologiCal surveys inCluding the Moral Foundations Questionnaire (Graham, Haidt, & Nosek 2009) to assess whiCh moral ConCerns are most central to hip-hop listeners. Results show that hip-hop listeners prioritize concerns of justiCe and authentiCity more than non-listeners and deprioritize ConCerns about respeCting authority. These results show that the ConCept of the “good person” within the hip-hop subculture is fundamentally a person that is oriented towards soCial justiCe, rebellion against the status quo, and a deep devotion to keeping it real. Results are followed by a disCussion of the role that youth subCultures have in soCializing young people to prioritize Certain virtues over others as they develop their moral identity. 1. Introduction Many AmeriCan rappers inCluding KendriCk Lamar (2010), Snoop Dogg (2015), and Busta Rhymes (2006) have delivered the following CatCh phrase in their lyriCs: “You Can take me out the hood, but you Can’t take the hood out of me.” They proClaim that there are Certain aspeCts of the “hood” lifestyle and value system that, onCe they are part of you, direCt how you perCeive the world and behave in it.
    [Show full text]
  • ENG 350 Summer12
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
    [Show full text]
  • Digitale Disconnectie Voor De La Soul
    juridisch Digitale disconnectie dreigt voor hiphopgroep De La Soul Stakes Is High Bjorn Schipper Met de lancering op Netflix van de nieuwe hitserie The Get Down staat de opkomst van hiphop weer volop in de belangstelling. Tegen de achtergrond van de New Yorkse wijk The Bronx in de jaren ’70 krijgt de kijker een beeld van hoe discomuziek langzaam plaatsmaakte voor hiphop en hoe breakdancen en deejayen in zwang raakten. Een hiphopgroep die later furore maakte is De La Soul. In een tijd waarin digitale exploitatie volwassen is geworden en de online-mogelijkhe- den haast eindeloos zijn, werd onlangs bekend dat voor De La Soul juist digitale disconnectie dreigt met een nieuwe generatie (potentiële) fans1. In deze bijdrage ga ik in op de bizarre digi- tale problemen van De La Soul en laat ik zien dat ook andere artiesten hiermee geconfronteerd kunnen worden. De La Soul: ‘Stakes Is High’ Net als andere hiphopalbums2 bevatten de albums van De New Yorkse hiphopgroep De La Soul bestaat De La Soul vele samples. Dat bleef juridisch niet zon- uit Kelvin Mercer, David Jude Jolicoeur en Vincent der gevolgen en zorgde voor kopzorgen in verband met Mason. De La Soul brak in 1989 direct door met het het clearen van de gebruikte samples. Niet zo vreemd album 3 Feet High and Rising en kreeg vooral door ook als we bedenken dat in die tijd weinig jurispruden- de tekstuele inhoud en het gekleurde hoesontwerp al tie bestond over (sound)sampling. Zo kreeg De La Soul snel een hippie-achtig imago aangemeten. Met hun het na de release in 1989 van 3 Feet High and Rising vaste producer Prince Paul bewees De La Soul dat er aan de stok met de band The Turtles.
    [Show full text]
  • Black Youth in Urban America Marcyliena Morgan Harvard
    “Assert Myself To Eliminate The Hurt”: Black Youth In Urban America Marcyliena Morgan Harvard University (Draft – Please Do Not Quote) Marcyliena Morgan [email protected] Graduate School of Education Human Development & Psychology 404 Larsen Hall 14 Appian Way Cambridge, Massachusetts 02138 Office:617-496-1809 (617)-264-9307 (FAX) 1 Marcyliena Morgan Harvard University “Assert Myself To Eliminate The Hurt”: Black Youth In Urban America Insert the power cord so my energy will work Pure energy spurts, sporadic, automatic mathematic, melodramatic -- acrobatic Diplomatic, charismatic Even my static, Asiatic Microphone fanatic 'Alone Blown in, in the whirlwind Eye of the storm, make the energy transform and convert, introvert turn extrovert Assert myself to eliminate the hurt If one takes more than a cursory glance at rap music, it is clear that the lyrics from some of hip hop’s most talented writers and performers are much more than the visceral cries of betrayed and discarded youth. The words and rhymes of hip hop identify what has arguably become the one cultural institution that urban youth rely on for honesty (keeping it real) and leadership. In 1996, there were 19 million young people aged 10-14 years old and 18.4 million aged 15-19 years old living in the US (1996 U.S. Census Bureau). According to a national Gallup poll of adolescents aged 13-17 (Bezilla 1993) since 1992, rap music has become the preferred music of youth (26%), followed closely by rock (25%). Though hip hop artists often rap about the range of adolescent confusion, desire and angst, at hip hop’s core is the commitment and vision of youth who are agitated, motivated and willing to confront complex and powerful institutions and practices to improve their 2 world.
    [Show full text]
  • 3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
    “3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums.
    [Show full text]
  • INTRODUCTION Fatal Attraction and Scarface
    1 introduction Fatal Attraction and Scarface How We Think about Movies People respond to movies in different ways, and there are many reasons for this. We have all stood in the lobby of a theater and heard conflicting opin- ions from people who have just seen the same film. Some loved it, some were annoyed by it, some found it just OK. Perhaps we’ve thought, “Well, what do they know? Maybe they just didn’t get it.” So we go to the reviewers whose business it is to “get it.” But often they do not agree. One reviewer will love it, the next will tell us to save our money. What thrills one person may bore or even offend another. Disagreements and controversies, however, can reveal a great deal about the assumptions underlying these varying responses. If we explore these assumptions, we can ask questions about how sound they are. Questioning our assumptions and those of others is a good way to start think- ing about movies. We will soon see that there are many productive ways of thinking about movies and many approaches that we can use to analyze them. In Dragon: The Bruce Lee Story (1992), the actor playing Bruce Lee sits in an American movie theater (figure 1.1) and watches a scene from Breakfast at Tiffany’s (1961) in which Audrey Hepburn’s glamorous character awakens her upstairs neighbor, Mr Yunioshi. Half awake, he jumps up, bangs his head on a low-hanging, “Oriental”-style lamp, and stumbles around his apart- ment crashing into things.
    [Show full text]
  • (2001) 96- 126 Gangsta Misogyny: a Content Analysis of the Portrayals of Violence Against Women in Rap Music, 1987-1993*
    Copyright © 2001 Journal of Criminal Justice and Popular Culture All rights reserved. ISSN 1070-8286 Journal of Criminal Justice and Popular Culture, 8(2) (2001) 96- 126 GANGSTA MISOGYNY: A CONTENT ANALYSIS OF THE PORTRAYALS OF VIOLENCE AGAINST WOMEN IN RAP MUSIC, 1987-1993* by Edward G. Armstrong Murray State University ABSTRACT Gangsta rap music is often identified with violent and misogynist lyric portrayals. This article presents the results of a content analysis of gangsta rap music's violent and misogynist lyrics. The gangsta rap music domain is specified and the work of thirteen artists as presented in 490 songs is examined. A main finding is that 22% of gangsta rap music songs contain violent and misogynist lyrics. A deconstructive interpretation suggests that gangsta rap music is necessarily understood within a context of patriarchal hegemony. INTRODUCTION Theresa Martinez (1997) argues that rap music is a form of oppositional culture that offers a message of resistance, empowerment, and social critique. But this cogent and lyrical exposition intentionally avoids analysis of explicitly misogynist and sexist lyrics. The present study begins where Martinez leaves off: a content analysis of gangsta rap's lyrics and a classification of its violent and misogynist messages. First, the gangsta rap music domain is specified. Next, the prevalence and seriousness of overt episodes of violent and misogynist lyrics are documented. This involves the identification of attributes and the construction of meaning through the use of crime categories. Finally, a deconstructive interpretation is offered in which gangsta rap music's violent and misogynist lyrics are explicated in terms of the symbolic encoding of gender relationships.
    [Show full text]
  • Raja Mohan 21M.775 Prof. Defrantz from Bronx's Hip-Hop To
    Raja Mohan 21M.775 Prof. DeFrantz From Bronx’s Hip-Hop to Bristol’s Trip-Hop As Tricia Rose describes, the birth of hip-hop occurred in Bronx, a marginalized city, characterized by poverty and congestion, serving as a backdrop for an art form that flourished into an international phenomenon. The city inhabited a black culture suffering from post-war economic effects and was cordoned off from other regions of New York City due to modifications in the highway system, making the people victims of “urban renewal.” (30) Given the opportunity to form new identities in the realm of hip-hop and share their personal accounts and ideologies, similar to traditions in African oral history, these people conceived a movement whose worldwide appeal impacted major events such as the Million Man March. Hip-hop’s enormous influence on the world is undeniable. In the isolated city of Bristol located in England arose a style of music dubbed trip-hop. The origins of trip-hop clearly trace to hip-hop, probably explaining why artists categorized in this genre vehemently oppose to calling their music trip-hop. They argue their music is hip-hop, or perhaps a fresh and original offshoot of hip-hop. Mushroom, a member of the trip-hop band Massive Attack, said, "We called it lover's hip hop. Forget all that trip hop bullshit. There's no difference between what Puffy or Mary J Blige or Common Sense is doing now and what we were doing…” (Bristol Underground Website) Trip-hop can abstractly be defined as music employing hip-hop, soul, dub grooves, jazz samples, and break beat rhythms.
    [Show full text]
  • Mean Streets: Death and Disfiguration in Hawks's Scarface
    Mean Streets: Death and Disfiguration in Hawks's Scarface ASBJØRN GRØNSTAD Consider this paradox: in Howard Hawks' Scarface, The Shame of the Nation, violence is virtually all-encompassing, yet it is a film from an era before American movies really got violent. There are no graphic close-ups of bullet wounds or slow-motion dissection of agonized faces and bodies, only a series of abrupt, almost perfunctory liquidations seemingly devoid of the heat and passion that characterize the deaths of the spastic Lyle Gotch in The Wild Bunch or the anguished Mr. Orange, slowly bleeding to death, in Reservoir Dogs. Nonetheless, as Bernie Cook correctly points out, Scarface is the most violent of all the gangster films of the eatly 1930s cycle (1999: 545).' Hawks's camera desists from examining the anatomy of the punctured flesh and the extended convulsions of corporeality in transition. The film's approach, conforming to the period style of ptc-Bonnie and Clyde depictions of violence, is understated, euphemistic, in its attention to the particulars of what Mark Ledbetter sees as "narrative scarring" (1996: x). It would not be illegitimate to describe the form of violence in Scarface as discreet, were it not for the fact that appraisals of the aesthetics of violence are primarily a question of kinds, and not degrees. In Hawks's film, as we shall see, violence orchestrates the deep structure of the narrative logic, yielding an hysterical form of plotting that hovers between the impulse toward self- effacement and the desire to advance an ethics of emasculation. Scarface is a film in which violence completely takes over the narrative, becoming both its vehicle and its determination.
    [Show full text]