“I feel English as fuck”: translocality and the performance of alternative identities through rap

Abstract

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‘Trapped in the trap’: Exploring Music Therapists’ clinical engagement with the current discourse around UK Drill

“…While US Hip-Hop has influenced Rap in the United Kingdom, Bramwell and Butterworth (2019) describe its unique and under-researched history as having 'debts to a range of Caribbean-derived oral poetic and dance music forms ' (p. 2511). It was in the early 90s with acts like Rebel MC and Black Twang, that a distinctive UK scene appeared, but by the new millennium, the appearance of MCs (derived from 'master of ceremonies') such as Wiley who had grown up 'immersed in reggae culture' (Bramwell andButterworth, 2019: 2514) saw the birth of Grime. Drawing on the electronic musical properties of UK garage, this new genre lyrically identified with the 'dark side of urban life' (Fatsis, 2019(Fatsis, : 1306 portraying the 'lived experience of young metropolitan black working-class life' (Perera, 2018: 87).…”

Localization and mainstream emergence of hip-hop music in China: a critical transculturalism perspective

“…The commercialization and transnationalism of hip-hop began in the early 2000s, and four periods of development followed (Bradley and Dubois, 2010). It eventually emerged as a global phenomenon that was both localized in different societies worldwide and promoted by transnational businesses, resulting in diverse cultural outcomes (Androutsopoulos and Scholz, 2003; Bramwell and Butterworth, 2019; Kerr, 2015; Solomon, 2009; Zambon and Uca, 2016). Emerging from an underground cultural form, hip-hop culture has deep roots in rebellion and negotiates marginalization.…”

“…Applying the translocal perspective is not meant to deflect attention toward Western power, but to ‘pave the way for the construction of alternative perspectives on hybridity and locality that are not confined to global-to-local links that reinscribe dependency’ (Kraidy, 2005: 155). Analyses of translocality have focused on, for instance, how hip-hop culture in different countries in Europe was created by mutual interactions between nations (Androutsopoulos and Scholz, 2003), or how hip-hop in London and Bristol helped young people construct place-based and alternative English identities in the UK (Bramwell and Butterworth, 2019). The intertextual perspective refers to the mutual constitution of text and context.…”

“…Hip-hop culture, which originated from African American culture half a century ago, has now evolved into a global phenomenon attracting extensive academic research on its adaptation and localization in different regions and societies (Androutsopoulos and Scholz, 2003;Barrett, 2012;Bennett, 1999aBennett, , 1999bBramwell and Butterworth, 2019;Eberhardt and Freeman, 2015;Flew et al, 2019;Kerr, 2015Kerr, , 2020Zambon and Uca, 2016). Its globalization has been considered a new type of universality, because its development is rooted in 'the local and the temporal' and is about 'where I'm from' (Potter, 1995: 146).…”

From roadman to royalties: Inter-representational value and the hypercapitalist impulses of grime

“…The subversive potential of these logics is that they encourage the reimagination of socio-economic marginality as a leverageable position of value, not necessarily weakness. By exploring these new forms of inter-representational value, I expand Bramwell and Butterworth’s (2019) understanding of the ‘translocality’ of grime to include its integrative trans temporality as well. Whilst hip hop is widely known to draw on the ‘refined capitalist logic and the existence of distinct market regions’ (Forman, 2000: 67) that grants artists a degree of ‘proprietorship’ over the representation of the self, the digital has caused these logics and specificities to evolve in meaning.…”