W Marshall
Biographic Data
| ID | 22899 |
|---|---|
| NAME | W Marshall |
| GIVEN NAMES | W |
| FAMILY NAME | Marshall |
| SIGNATURE | MARSHALL W |
| AFFILIATIONS | Harvard University |
| ORCID | 0000-0003-1120-0182 |
| VERIFIED | Yes |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 19 |
| AUTHOR COUNT | 15 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1936 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 2 |
Qui a inventé le reggaeton
Cet article en deux parties (la suite au prochain numéro !), issu d’un ouvrage collectif consacré au reggaeton ( Reggaeton , paru chez Duke University Press en 2009), nous vient d’un des principaux théoriciens de la « bass culture » internationale, l’universitaire Wayne Marshall – un auteur qui n’a pas son pareil pour décrire et analyser les références de « Despacito » ou l’écoute de rap sur les fréquences aiguës de nos téléphones portables. C’es…
Qui a inventé le reggaeton
Dans la première partie de cette histoire du reggaeton, initialement parue en 2009 et que nous avions commencé à traduire dans notre précédent numéro, nous nous étions arrêtés sur une première tentative de crossover des musiques issues du reggae dancehall et des circulations de grooves entre Porto Rico, Panama et New York : le « meren-rap », une musique rap-reggae-merengue new-yorkaise marketée à destination des classes moyennes. Cette seconde pa…
Listening to the Sound of Culture
This essay responds to Louis Chude-Sokei’s The Sound of Culture: Diaspora and Black Technopoetics by highlighting the book’s crucial musical threads in order to examine how it reorients specific histories of black music, offers new openings for musicology and sound studies, and makes the case that the power of an audible, creole technopoetics, as best embodied by dub reggae, can remake our very conception of the human. In addition to dub, the aut…
The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall
La scène et l'industrie du disque jamaïcaines, des années 1950 jusqu'à nos jours, ont une manière bien particulière d'aborder les notions de composition, d'œuvre originale et de propriété. Prolongeant une tradition où la performance live implique l'utilisation de disques (et influence en retour leur production), la relative autonomie, dans ce système, des riddims et des parties vocales [voicings] remet en cause les idées habituelles sur ce qui co…
Tales of the tape: Cassette culture, community radio, and the birth of rap music in Boston
Recent scholarship on peer-oriented production and participatory culture tends to emphasize how the digital turn, especially the Internet and the advent of the so-called ‘social web’, has enabled new forms of bottom-up, networked creative production, much of which takes place outside of the commercial media. While remarkable examples of collaboration and democratized cultural production abound in the online era, a longer view situates such practi…
It takes a little lawsuit: The flowering garden of Bollywood exoticism in the age of its technological reproducibility
The Hindi film song ‘Thoda resham lagta hai’ [It takes a little silk] written by the music director Bappi Lahiri for the film Jyoti (1981) was a long forgotten tune before being rediscovered in 2002 by American music producer DJ Quik. Based around an unauthorized 35-second sample of the recording, the Truth Hurts song ‘Addictive’ famously inspired Bappi Lahiri to sue Quik's associate Dr Dre (executive producer of the song), Aftermath Records, and…
No Logos?: No Logos?
Reggaeton
From Música Negra to Reggaeton Latino: The Cultural Politics of Nation, Migration, and Commercialization
Dub: Soundscapes and Shattered Songs in Jamaican Reggae (review)
Roundtable: VH1's (White) Rapper Show: Intrusions, Sightlines, and Authority
The riddim method: Aesthetics, practice, and ownership in Jamaican dancehall
The Jamaican system of recording and performance, from the 1950s to the present, constitutes a distinctive approach to notions of composition, originality and ownership. Emerging from a tradition of live performance practice mediated by (and informing) sound recordings, the relative autonomy of riddims and voicings in the Jamaican system challenges conventional ideas about the integrity of a song and the degree to which international copyright la…
Giving up Hip-Hop's Firstborn: A Quest for the Real after the Death of Sampling
Giving up Hip-Hop's Firstborn:A Quest for the Real after the Death of Sampling Wayne Marshall (bio) In a December 2000 post to an online forum at Okayplayer.com, the Roots' website, producer and drummer Ahmir "?uestlove" Thompson (pronounced "Questlove") responded to fellow posters' queries about the state of sampling—the use of elements from other performers' recordings, for example, funk records, to make hip-hop beats. 1 The discussion centered…
Psychological and social predictors of motorcycle use by young adult males in New Zealand
Biological reactions to earthquakes
The introduction is devoted to a review of the scarce medical literature of physiological observations in earthquakes. A correlation is offered to show a relationship between the behavior in earthquakes and that occurring during other catastrophes. The contention of Brussilowski in proposing an earthquake syndrome is substantiated, with a few additional points added. (PsycINFO Database Record (c) 2006 APA, all rights reserved)
The riddim method: Aesthetics, practice, and ownership in Jamaican dancehall
The Jamaican system of recording and performance, from the 1950s to the present, constitutes a distinctive approach to notions of composition, originality and ownership. Emerging from a tradition of live performance practice mediated by (and informing) sound recordings, the relative autonomy of riddims and voicings in the Jamaican system challenges conventional ideas about the integrity of a song and the degree to which international copyright la…
Giving up Hip-Hop's Firstborn: A Quest for the Real after the Death of Sampling
Giving up Hip-Hop's Firstborn:A Quest for the Real after the Death of Sampling Wayne Marshall (bio) In a December 2000 post to an online forum at Okayplayer.com, the Roots' website, producer and drummer Ahmir "?uestlove" Thompson (pronounced "Questlove") responded to fellow posters' queries about the state of sampling—the use of elements from other performers' recordings, for example, funk records, to make hip-hop beats. 1 The discussion centered…
It takes a little lawsuit: The flowering garden of Bollywood exoticism in the age of its technological reproducibility
The Hindi film song ‘Thoda resham lagta hai’ [It takes a little silk] written by the music director Bappi Lahiri for the film Jyoti (1981) was a long forgotten tune before being rediscovered in 2002 by American music producer DJ Quik. Based around an unauthorized 35-second sample of the recording, the Truth Hurts song ‘Addictive’ famously inspired Bappi Lahiri to sue Quik's associate Dr Dre (executive producer of the song), Aftermath Records, and…
Psychological and social predictors of motorcycle use by young adult males in New Zealand
Biological reactions to earthquakes
The introduction is devoted to a review of the scarce medical literature of physiological observations in earthquakes. A correlation is offered to show a relationship between the behavior in earthquakes and that occurring during other catastrophes. The contention of Brussilowski in proposing an earthquake syndrome is substantiated, with a few additional points added. (PsycINFO Database Record (c) 2006 APA, all rights reserved)
Psychological and social predictors of motorcycle use by young adult males in New Zealand
The riddim method: Aesthetics, practice, and ownership in Jamaican dancehall
The Jamaican system of recording and performance, from the 1950s to the present, constitutes a distinctive approach to notions of composition, originality and ownership. Emerging from a tradition of live performance practice mediated by (and informing) sound recordings, the relative autonomy of riddims and voicings in the Jamaican system challenges conventional ideas about the integrity of a song and the degree to which international copyright la…
Giving up Hip-Hop's Firstborn: A Quest for the Real after the Death of Sampling
Giving up Hip-Hop's Firstborn:A Quest for the Real after the Death of Sampling Wayne Marshall (bio) In a December 2000 post to an online forum at Okayplayer.com, the Roots' website, producer and drummer Ahmir "?uestlove" Thompson (pronounced "Questlove") responded to fellow posters' queries about the state of sampling—the use of elements from other performers' recordings, for example, funk records, to make hip-hop beats. 1 The discussion centered…
Roundtable: VH1's (White) Rapper Show: Intrusions, Sightlines, and Authority
From Música Negra to Reggaeton Latino: The Cultural Politics of Nation, Migration, and Commercialization
Dub: Soundscapes and Shattered Songs in Jamaican Reggae (review)
Reggaeton
No Logos?: No Logos?
It takes a little lawsuit: The flowering garden of Bollywood exoticism in the age of its technological reproducibility
The Hindi film song ‘Thoda resham lagta hai’ [It takes a little silk] written by the music director Bappi Lahiri for the film Jyoti (1981) was a long forgotten tune before being rediscovered in 2002 by American music producer DJ Quik. Based around an unauthorized 35-second sample of the recording, the Truth Hurts song ‘Addictive’ famously inspired Bappi Lahiri to sue Quik's associate Dr Dre (executive producer of the song), Aftermath Records, and…
Tales of the tape: Cassette culture, community radio, and the birth of rap music in Boston
Recent scholarship on peer-oriented production and participatory culture tends to emphasize how the digital turn, especially the Internet and the advent of the so-called ‘social web’, has enabled new forms of bottom-up, networked creative production, much of which takes place outside of the commercial media. While remarkable examples of collaboration and democratized cultural production abound in the online era, a longer view situates such practi…
The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall
La scène et l'industrie du disque jamaïcaines, des années 1950 jusqu'à nos jours, ont une manière bien particulière d'aborder les notions de composition, d'œuvre originale et de propriété. Prolongeant une tradition où la performance live implique l'utilisation de disques (et influence en retour leur production), la relative autonomie, dans ce système, des riddims et des parties vocales [voicings] remet en cause les idées habituelles sur ce qui co…
Listening to the Sound of Culture
This essay responds to Louis Chude-Sokei’s The Sound of Culture: Diaspora and Black Technopoetics by highlighting the book’s crucial musical threads in order to examine how it reorients specific histories of black music, offers new openings for musicology and sound studies, and makes the case that the power of an audible, creole technopoetics, as best embodied by dub reggae, can remake our very conception of the human. In addition to dub, the aut…
Qui a inventé le reggaeton
Cet article en deux parties (la suite au prochain numéro !), issu d’un ouvrage collectif consacré au reggaeton ( Reggaeton , paru chez Duke University Press en 2009), nous vient d’un des principaux théoriciens de la « bass culture » internationale, l’universitaire Wayne Marshall – un auteur qui n’a pas son pareil pour décrire et analyser les références de « Despacito » ou l’écoute de rap sur les fréquences aiguës de nos téléphones portables. C’es…
Qui a inventé le reggaeton
Dans la première partie de cette histoire du reggaeton, initialement parue en 2009 et que nous avions commencé à traduire dans notre précédent numéro, nous nous étions arrêtés sur une première tentative de crossover des musiques issues du reggae dancehall et des circulations de grooves entre Porto Rico, Panama et New York : le « meren-rap », une musique rap-reggae-merengue new-yorkaise marketée à destination des classes moyennes. Cette seconde pa…
Music History and Culture (10 works) · Art (8 works) · Computer Science (6 works) · Caribbean history, culture, and politics (5 works) · Sociology (5 works) · History (4 works) · Philosophy (4 works) · Visual arts (4 works) · Art history (3 works) · Law (3 works)