“All the Other Players Want to Look at My Pad”: Grime, Gaming, and Digital Identity « G|A|M|E
-annual-report-posted-with-year-endfinancial-resultshtml .com/news-releases/house-of-marley-launches-new-bag-of-riddim-bluetooth- Jeep Cherokee redefines the mid-size SUV segment, delivering legendary (PRNewsFoto/Toyota Media Relations) T always I've been a fan of Andre 'Doctor Jeep' Lira for a good few years now. . In , I had a 6 month research internship at Goldsmith's College in London .. I like playing the really sparse bassy early grime riddims because I can mix them .. From there the relationship has just developed and I go to them for everything now. , Length: 81 pages, Page: 1, Published: (even if a motorcycle and jeep chase through the jammed streets of Istanbul reminds, .. another reggae artist from Jamaica - Lutan Fyah, while the production of riddims is in the sonic and visual work and hopefully take that out into their lives and relationships.
The press release stated that the label would be releasing "Ouch" as the group's first single on the label in September The group's first album, Uncle B, was released on 17 November The song charted for five weeks in the UK Singles Chart, peaking highest at number Group member Dappy was featured in Tinchy Stryder's No. Due to the success of their debut album, the group embarked on their first headlining tour, Uncle B Tour.
The tour was originally planned for 16 dates but due to high demand 5 extra dates were added. The tour sold out within days. During one performance, Tulisa fainted on stage. Multiple news sources reported that it was due to suspected swine flu. The song "Wouldn't You" was then announced to be the seventh, and last, single to be released from the Uncle B debut album.
The song was released digitally on 25 May and peaked at No. The lead single from the group's second album titled "I Need You" was released on 9 November and charted at No. The album went platinum within approximately 2 months of release. The song reached No. It was announced that the single will be released on 25 April, it reached No.
In lateN-Dubz announced that they will tour their current album, Against All Odds in springmaking it their third tour in two years, starting on 31 March and finishing on 20 April. It included 17 shows with supporting acts Skepta, Talay Riley and Ultra. From Street Life to Chart Life, which they described as "the answer to the critics, there is a lot of bad press about N-Dubz at the moment and this is going to put the record straight about who we really are and what we're about!
The book also gives access to a secret N-Dubz website. The group filmed a 6 part documentary, Being N-Dubz, which premiered on 21 June on 4Music, and was later renewed for a second series in After much speculation, it was confirmed that US label Def Jam signed the group. The first release was the album Love. Life, N-Dubz's third studio album. It was released in the UK on 29 November The group began recording the album following the success of Against All Odds.
It peaked at 5 on the UK Singles Chart. The song was also included on the soundtrack to the film Streetdance 3D. It peaked at 10 in both the UK and Scotland, and became a top 40 hit in Ireland. The song also appears on Skepta's album Doin' It Again. It peaked at 19 on the UK Singles Chart. A fourth track from the album, "So Alive" was released as single on 6 February Five singles were released from Love.
On 1 SeptemberN-Dubz announced via Facebook that their first new single from the album would be "Best Behaviour", which was eventually released on 17 October. The final three singles from Love. Live became N-Dubz' third platinum selling album.
In Augustit emerged that N-Dubz had parted company with record label Def Jam, stating that they were "Never going to co-operate with them when they decided to change what we are". With Tulisa taking up a role as a judge on eighth series of The X Factor and Dappy releasing his solo single "No Regrets", N-Dubz' gig on 18 September was described as "their final gig for the foreseeable future".
The first public auditions began on 23 Junewith the new judging panel being sighted together for the first time. After three out of four of her acts were eliminated in the first five weeks of the competition, Constostavlos was left with Little Mix. The group then went on to become the most successful girl band in The X Factor history, having avoided the final showdown every week and winning the show in the process, making them the first group to do so in the show's eight year history.
If grime tunes can sound formulaic and repetitious to the uninitiated, this is in part because each track has to play by these formal rules in order to suit the needs of DJs and MCs—MCs who, rather than fitting their lyrics to fit a particular track, will develop an arsenal of all-purpose rhymes ready to be deployed whenever the microphone comes their way, dividing their flows into 8- or bar chunks.
Like computer scientists, then, grime artists think in powers of two: Grime performers dexterously retrieve and recombine musical and lyrical fragments to create compelling new combos, competing for supremacy. While grime may be fiercely anti-authoritarian, it also understands that there can be no play without rules.
In many electronic music genres, producers try to transform off-the-shelf sounds beyond recognition, creating new effects and obfuscating their sources. For Tricia Rosep. But convenience and lack of access to technology are not the only reasons for using generic or second-hand sounds. As we have seen in relation to their use of samples from games, grime producers often deploy familiar sonic fragments to mobilize the meanings and associations they carry.
Beyond that, using the same palette as other producers enables grime artists to situate themselves within an evolving aesthetic tradition. In some cases, they might be paying tribute to a hero: In both cases there is a lusory instinct in evidence, as producers compete to make familiar sounds their own, imbuing them with new resonance and significance.
One of the other elements that makes grime sound videogame-like is its use of sampled sound effects as melodic and percussive elements.
While rhythm games like Guitar Hero Harmonix, foreground the parallels between musical performance and digital play, Kirkpatrick has argued that digital games in general have less in common with film or literature than they do dance, music and visual art. For him games are first and foremost about the dexterous production of harmonious forms and the interplay of repetitious patterns, not storytelling or symbolism.
Such rhetoric confronts critics with a quandary familiar to game studies scholars: In evaluating these products can we separate form from content, and if so should we? I will return to this question later, arguing that while we should not let questions of content blind us to what is happening at a formal and an affective level, nor should we turn a blind eye to the way that grime and gaming perpetuate toxic stereotypes.
For now, though, I want to pursue the idea that gaming and grime share an interest in live performance as a driver of emergence, an occasion for the playful production of new and unexpected combinations from familiar sets of parts.
As videogame preservationists note, games make little sense until they are played Guins,p. Beyond that, it suggests how fighting games are engineered to generate emergent drama, and evokes those moments of synergy and serendipity that sometimes occur in grime sets as an MC spitting with dazzling pace and fluency deploys a particular bar just as the DJ is transitioning from one track into another.
Grime can, then, be viewed as a rule-bound framework within which performers deploy sonic signature moves to create moments of confluence and emergence, moments that are somehow more than the sum of their constituent parts. Like the Twitch streamers 7speedrunners, tournament competitors and professional gamers who wring catharsis, comedy and suspense from familiar rules, animations, joystick prompts and lines of code, grime artists compete to create definitive combos, staking a claim to owning a moment, a sound, a track.Relationships Riddim MIX (REGGAE 2009)
Such practices are attaining a higher profile within gaming culture, as online streamers seek to woo viewers with evermore demanding and outlandish displays of gaming skill; grime has long been using radio and YouTube in this way. Some MCs are more adept at such wordplay than others.
JME is particularly fond of writing lyrics that depend on double meanings, extended metaphors and the slipperiness of slang for their impact.
This relationship has, long preoccupied scholars. His lyrics, however, playfully breach this boundary while also defying demographic pigeonholes. Double also finds room to showcase his command of gaming trivia: The lyric does, however, have some intriguing implications for debates about avatars, identity and identification.
As Surman argues, the act of executing a special move at just the right moment can evoke a profound sense of being connected to our onscreen character, however irrational or fleeting this sense may be——just as vocal idiosyncrasies and technical flourishes like the stutters, gurgles, groans and coos with which Double decorates his bars can engage listeners viscerally quite apart from questions of lyrical content. Describing correspondences that are provisional, partial or temporary, simile arguably provides a better model than metaphor for describing what it is like to engage with an avatar.
It also gives a better sense of how subjects perform identities online by configuring cultural fragments into new compositions which speak to them and which they can speak through, if only for the moment. There are no lyrics here, and no direct samples of the Electronic Arts shooter after which the record is titled. Desert Strike, then, is about appropriation: It has its limits as a framework for understanding her relationship with grime, however. A mixed-race woman, raised in a war-torn country, Al Qadiri is also a graduate of New York University, child of diplomats and artists.
Does her engagement with grime express as a sense of solidarity or identification with black British teenagers on Blair-era council estates?
Is it appropriative or exoticizing? How do we map the power differentials and the dynamics of identification in such a case?
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But if I am dubious of bids to paint Desert Strike as ersatz or illegitimate to shore up an image of what grime used to be or ought to be, I am equally suspicious of another mode of narrating the relationship between the two——one that will ring bells with videogame scholars. In grime as in gaming culture, rule-bound frameworks and libraries of component parts become the basis for compelling acts of live, configurative performance, blurring the line between identity work and intermedial play.
As cultural critics, we should not ignore this, but nor should we use it as an excuse to dismiss forms like grime or fighting games out of hand, as an alibi for resorting to politically inert formalist analyses, or as a cue to focus only on works that bend popular forms into more prestigious, or less problematic, shapes. Popular Music and Society, 38 2pp. Divergent masculinities in contemporary videogame culture: Cultures and Territories of Play. The Art War before Gamergate.
Journal of Broadcasting and Electronic Media, 59 1pp.
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Japanese videogames and western gamers. New Research in Digital Media and Technology. Lexington Books,pp. Global Capitalism and Video Games. University of Minnesota Press. DummyNovember Fatima Al Qadiri Interview. Race, Sex, and Nerds: Social Text, 20 2pp. Fade to Mind Fatima Al Qadiri — Desert Strike. Dizzee Rascal and the Birth of Grime.