- Crate Digging Begins at Home: Black and Latinx Women Collecting and Selecting Records in the 1960s and 1970s Bronx
- The Strain of the Voice: Hip Hop’s Ambient Vocalities
- Between Live Performance and Mediated Narrative: Contemporary Rap Battle Culture in Context
- On Politics and Performativity in Atlanta Hip Hop Party Culture, Or How to Get Crunk with (Body and) Words
- “Check Out the Hook While My DJ Revolves It”: How the Music Industry Made Rap into Pop in the Late 1980s
- “I’m Ready to Die”: The Notorious B.I.G., Black Love, and Death
- Vocal Vulnerabilities: The New Masculinities of Millennial Hip Hop
- From Black Hipsters to Black Hippy: Flow and the Cultural Genealogy of “Neo-Bohemian” Hip Hop
- Properly Compensating Artists in Academic Hip Hop Research
- Intersectionality in American Sign Language Hip Hop Interpreting
- All in the Family: The Contested Meanings of Mothers, Fathers, and Children in Hip Hop Culture
- Mo’ Money Mo’ Problems: Hip Hop and Luxury’s Uneasy Partnership
- Recuperating the Real: The Liberation Imperative of Hip Hop Authenticity
- Hip Hop Life Writing: An Intermedial Challenge to Essentialist Reading Practices
- Hip Hop as Martial Art: A Political Economy of Violence in Rap Music
- “I Still Don’t Understand Award Shows”: Kanye West and Hip Hop Celebrity in the Twenty-First Century
- Prince Paul’s Psychoanalysis: What Is It?: The Rap Album as Psychoanalytic Self-Exploration
- Hip Hop Music and (Reading) the Narrative Soundtracks of New Black Realist Cinema
- Rhythm Technologies, Workflows, and Convergence Culture in Amateur Hip Hop Beat-Making YouTube Videos
- The Ghosts Got You: Exploring the Queer (After) Lives of Sample-Based Hip Hop
- Noise Reconsidered: Public Enemy’s Bomb Squad as Hip Hop Outlier
- Hip Hop without a DJ: Authenticating The Roots in an Era of Sample-Based Hegemony
- Evaluating the Past and Present of Sample-Based Hip Hop
- “Playas” and Players: Racial and Spatial Trespassing in Hip Hop Culture Through Video Games
- Digital, Underground: Black Aesthetics, Hip Hop Digitalities, and Youth Creativity in the Global South
- “When We Gonna Quit? The 31st Of Never!”: Hip Hop Sounds and Sensibilities in Post-Bankruptcy Detroit
- Brazilian Hip Hop in Three Scenes
- Rappalachia: The Performance of Appalachian Identity in Hip Hop Music
- Bucktownversus“G”Thang: The Enduring East Coast/West Coast Dialectic in Hip Hop Music
- Remixing the Environment: Climate Change, Rhythm Science, and DJ Spooky’s Digging in the Landscape
Abstract and Keywords
This chapter explores how Paul D. Miller (aka DJ Spooky) experiments with multimedia formats and hip hop aesthetics, including remix culture and sampling, to challenge how pressing environmental issues are communicated to the public. His work Terra Nova: Sinfonia Antarctica (2009) combines scientific data with social advocacy and activism, illustrating how his music and personal politics have a sustained relationship with global polar regions, soundscape recording, data, technology, and climate change advocacy. In his ecoconscious works, Miller calls attention to communities whose voices are often muted in the discourse of climate change and the many other pressing global environmental issues. He is also concerned with making his music and the information it contains accessible to all. The chapter describes how in Terra Nova Miller uses sonification and sound technology to remediate and repackage climate change data and environmentalism discourse for a diverse audience.
Keywords: DJ Spooky, ecomusicology, remix culture, sampling, sonification, remediation, soundscape, climate change, environmental activism, social justice
Kate Galloway specializes in 20th and 21st century music that responds to diverse environmentalisms, sonic geography, radio, sound studies, science and technology studies, new media studies and audiovisual culture, and digital humanities. Her monograph Remix, Reuse, Recycle: Music, Media Technologies, and Remediating the Environment examines how and why contemporary artists remix and recycle sounds, musics, and texts encoded with environmental knowledge. Galloway’s work has been published in Ethnomusicology, MUSICultures, Tourist Studies, and Sound Studies. She has forthcoming essays in The Oxford Handbook of Music and Advertising, Playing for Keeps: Improvisation in the Aftermath of Crisis, and Music in the Role-Playing Game: Heroes and Harmonies. She received her Ph.D. in Musicology/Ethnomusicology from the University of Toronto and a Graduate Certificate in Digital Humanities from the University of Victoria. Prior to her appointment at Wesleyan University, she was a Postdoctoral Research Fellow from 2012-2016 at Memorial University of Newfoundland at the Research Centre for the Study of Music, Media, and Place (MMaP).
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- Crate Digging Begins at Home: Black and Latinx Women Collecting and Selecting Records in the 1960s and 1970s Bronx
- The Strain of the Voice: Hip Hop’s Ambient Vocalities
- Between Live Performance and Mediated Narrative: Contemporary Rap Battle Culture in Context
- On Politics and Performativity in Atlanta Hip Hop Party Culture, Or How to Get Crunk with (Body and) Words
- “Check Out the Hook While My DJ Revolves It”: How the Music Industry Made Rap into Pop in the Late 1980s
- “I’m Ready to Die”: The Notorious B.I.G., Black Love, and Death
- Vocal Vulnerabilities: The New Masculinities of Millennial Hip Hop
- From Black Hipsters to Black Hippy: Flow and the Cultural Genealogy of “Neo-Bohemian” Hip Hop
- Properly Compensating Artists in Academic Hip Hop Research
- Intersectionality in American Sign Language Hip Hop Interpreting
- All in the Family: The Contested Meanings of Mothers, Fathers, and Children in Hip Hop Culture
- Mo’ Money Mo’ Problems: Hip Hop and Luxury’s Uneasy Partnership
- Recuperating the Real: The Liberation Imperative of Hip Hop Authenticity
- Hip Hop Life Writing: An Intermedial Challenge to Essentialist Reading Practices
- Hip Hop as Martial Art: A Political Economy of Violence in Rap Music
- “I Still Don’t Understand Award Shows”: Kanye West and Hip Hop Celebrity in the Twenty-First Century
- Prince Paul’s Psychoanalysis: What Is It?: The Rap Album as Psychoanalytic Self-Exploration
- Hip Hop Music and (Reading) the Narrative Soundtracks of New Black Realist Cinema
- Rhythm Technologies, Workflows, and Convergence Culture in Amateur Hip Hop Beat-Making YouTube Videos
- The Ghosts Got You: Exploring the Queer (After) Lives of Sample-Based Hip Hop
- Noise Reconsidered: Public Enemy’s Bomb Squad as Hip Hop Outlier
- Hip Hop without a DJ: Authenticating The Roots in an Era of Sample-Based Hegemony
- Evaluating the Past and Present of Sample-Based Hip Hop
- “Playas” and Players: Racial and Spatial Trespassing in Hip Hop Culture Through Video Games
- Digital, Underground: Black Aesthetics, Hip Hop Digitalities, and Youth Creativity in the Global South
- “When We Gonna Quit? The 31st Of Never!”: Hip Hop Sounds and Sensibilities in Post-Bankruptcy Detroit
- Brazilian Hip Hop in Three Scenes
- Rappalachia: The Performance of Appalachian Identity in Hip Hop Music
- Bucktownversus“G”Thang: The Enduring East Coast/West Coast Dialectic in Hip Hop Music
- Remixing the Environment: Climate Change, Rhythm Science, and DJ Spooky’s Digging in the Landscape
