We do so by introducing a concept of multiple authenticities, based on notions by Denis Dutton and Regina Bendix. In this chapter we discuss folk songs both as artefacts and in performance and evaluate how the concept of ‘authenticity’ changes according to these perspectives. as artefacts, while on the other hand, they also come to life the moment they are being sung, i.e. In folk songs, the matter is further complicated by the fact that, on the one hand, they can be referred to as objects collected on paper or sound-recordings, i.e. full text: Īuthenticity is a multi-layered and highly elusive concept, which seems to change its significance when it is applied to an object, a statement or a situation. Reading Song Lyrics demonstrates how and why song lyrics matter as a paradigmatic art form in the culture of modernity. Probing into the relationship between lyrics and the ambivalent performance of national culture in Britain, it offers exemplary readings of a highly subversive 1597 ayre by John Dowland, of an 1811 broadside ballad about Sara Baartman, ‘The Hottentot Venus’, and of a 2000 song by ‘jungle punk’ collective Asian Dub Foundation. The second part then offers three extended case studies which showcase the larger cultural and historical viability of this model. It outlines theoretical approaches to issues such as performance and performativity, generic convention and cultural capital, sound and songfulness, mediality and musical multimedia, and step by step applies them to the example of a single song. The first part of this book accordingly introduces a thoroughly transdisciplinary interpretive framework. It takes lyrics seriously as a complex form of verbal art that has been unjustly neglected in literary, music, and, to a lesser degree, cultural studies, partly as it cuts squarely across institutional boundaries. Too little has been said about black women’s representation in digital spaces where they imagine alternative gender performance, disrupt hegemonic tropes and engage in participatory culture.Reading Song Lyrics offers the first systematic introduction to lyrics as a vibrant genre of (performed) literature. Spaces, how they construct their identities within systems of controlling images and grapple with respectability politics? In order to address these questions with a critical lens, using an interdisciplinary approach grounded in black feminism and hip hop feminism, this essay offers a theoreticalĪpproach to a digital hip hop feminist sensibility (DHHFS). What does ‘hot girl summer’ tell us about significant changes in the ways that black women cultivate community in digital Hot girl summer is ‘about women and men being unapologetically them having a good-ass time, hyping up their friends, doing ’. ![]() Rapper Megan Thee Stallion’s lyrics on ‘Cash Shit’, where she raps about ‘real hot girl shit’, the phrase has morphed into a larger-than-life persona not only for Megan’s rap superstar profile, but also for a number of black girls. ![]() Through a hip hop feminist lens, how are we to interpret black girls’ and women’s self-identification in digital spaces that visibly resonate with new/remixed images? And more importantly, what happens when black female rap artists and their fan base disrupt, subvert orĬhallenge dominant gender scripts in hip hop in order to navigate broader discourses on black female sexuality? Drawing on the work of Joan Morgan and hip hop feminist scholarship in general, this essay aims to offer a critical reading of ‘hot girl summer’.
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