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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.
Instead, the fantasy of blackness is free to enjoy its own movement across mediums. Of course, this tension between belief and disbelief must be disavowed in order for blackness to remain a meaningful category. However, the expanded representational possibilities of the digital age make rendering this shareable blackness visible on WSHH.
I argue the site is a black space precisely because of its ability to incorporate non-black bodies and images.
Using the non-representational theoretical frameworks of visual culture studies and architectural theory, this article suggests WSHH has a distinct spatial arrangement that visualizes a racial event that is typically impossible to see—the process of rendering a body as black.
Architecture is not just the backdrop of this event; it constitutes the event. Hip-hop refers to both rap music and a vast cultural aesthetic that, not surprisingly, has made it a challenge to establish a clear definition of hip-hop.
These examples illustrate a collapse between urbanity and blackness that, in turn, is essential to defining hip-hop. The apparent convergence of hip-hop, space and race, which allows these terms to resemble each other, is a primarily aesthetic concern. Yet, aesthetic analysis is a methodology that is largely absent from scholarship on the genre.
Instead, the existing literature on these three topics utilizes historical and sociological methodologies and presents these constellations as causally linked. For example, Tricia Rose argues hip-hop is a form of black cultural expression that emerged in post-industrial cities and was a response to black and Latino communities facing economic disenfranchisement.
Although these methodologies offer valuable contextualization, linear approaches to blackness are often too tidy to account for the complex and even bewildering experience of encountering race. For example, determining the causal relations that shape the aesthetics of black popular culture presumes these forms of expression are unchanging.In rutadeltambor.com-hop, the use of the P-words bush, saddam, and iraq reflects discussion about the war in Iraq.
Both the war, and the political events leading up to it, took place outside of the Usenet community. Hip Hop (no hyphen, both capitalized acting as a noun and an adjective) is the name of our culture and artistic elements, [as in Hip Hop - language].
hip-hop (no capitalization, and either acting as a noun or verb [i.e. ‘rapping’]) is Rap music product and its mainstream activities (Reeken, ). 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. 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.
Need writing abnormal hip joint essay? Use our essay writing services or get access to database of free essays samples about abnormal hip joint. Signup now and have "A+" grades! From New York to Paris, Tokyo and Sydney, hip-hop culture is a Diaspora transcending ethnic, linguistic, and geographic boundaries.
As Osumare [Osumare H. Beat streets in the global hood: connective marginalities of the hip-hop globe.