✪✪✪ Gender Stereotypes In Quicksand, Identity And Womens Experience

Friday, June 04, 2021 11:28:21 AM

Gender Stereotypes In Quicksand, Identity And Womens Experience

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Heated debate on gender pronouns and free speech in Toronto

Sadly, it was to be his last studio album before he died in — but it was a fitting final testament to a brilliant talent. But looked at from another angle, the record stretches and fades into additional dimensions. From the shimmering sadness of Lazuli to the magisterial harmonies of Wishes , the magic trick still beguiles. A sodden and sopping wet late-night crawl — and this really is a crawl; tracks like Hatch the Plan and Numb are glacially slow. As rewardingly rich as it is deeply melancholy, Luxury Problems feels befitting of a decade which always felt mired in a sense of sad and sorry wrongness.

The result was a glitchy, woozy, decade-defining blend of the mainstream and the underground. The first was a set of brooding, slightly slower pieces — such as the psychedelic and hypnotic Mi Lost with Miss Red and The Fall , a dystopian collaboration with Inga Copeland. The second was a full-fire explosion with slots from Flowdan, Death Grips and Warrior Queen adding vocal power to the colossal bass weight throughout. No one makes shuddering vibration quite like Kevin Martin and this was The Bug in technicolour with punishing yet varied compositions that further cemented his place as a true genius of the culture.

Upon hearing Blvcklvnd Rvdix Released in , Blvcklvnd… still manages to sound like both a collage of the hip-hop that had preceded it and a premonition of the generation of SoundCloud rappers that would come next. If their first two records established Arcade Fire as cult favourites, it was The Suburbs that secured their legacy as a generation-defining act. The Hotelier might be the best of those bands. Sure, but delivered in such a way that melodrama is replaced with sincerity, and exaggeration is softened by self-awareness. Halfway through the decade, Young Thug was the most happening extra-terrestrial in the rap game; his strange yelps, coos and ticks forming a kind of forbidden incantation that contorted the genre in curious new ways.

The Bristol boys have barely spent a day off tour since. A breakthrough for the artist, who moved from PAN to Warp for the release, it was sulky, moody and seductively stylish. Melding stuttering production and sublime noise with a lush Britpop sway, its PAN-goes-pop template became an instant cult classic, forging bridges between worlds that felt previously disconnected. He proved, once and for all, that delivery is just as — if not more — important than lyrical content.

His outlandish humour on tracks like Who Dat Boy was reigned in and balanced out by mature and strikingly vulnerable lyricism on Garden Shed. Meanwhile tracks like Chum and Hive remain some of his best, balancing the winding rap style that has defined his recent offerings with precise songwriting and devastating lyricism. The result is something eclectic that knows where it comes from, but which also feels genuinely brand new. In his relatively short life, Dev Hynes has accomplished more than most musicians do in their entire career — multiple bands, projects, collabs and artistic statements, and all of them are excellent. Freetown Sound , however, was a changing point, the album where all the things that made Blood Orange so arresting — 80s instrumentation, silky smooth vocals, race politics, A-grade guest stars — all gelled into a perfect whole.

While his contemporaries became household names, Novelist seemed to exit the scene completely, before resurfacing in with a completely singular debut LP. Self-written, self-produced, self-released and with no guests, Novelist Guy is the vision of an artist refusing to compromise. Rough, heavy but defiantly upbeat, this is the sound of a young man forging a path of his own. Were you sick of it? By contrast his fourth, Ghettoville , was met with a frustrated backlash.

According to some, it was too knotted, too long. As is so often the case, the clarity of hindsight reveals this dense, twisted city of an album — difficult and uncomfortable though it is in places — to be his most lasting of the decade. Songs about child molesting, drone strikes and presidential failings were delivered with a level of accessibility usually reserved for more benign pop artists. Much of this was down to the production from Hudson Mohawke and Oneohtrix Point Never, whose maximal futurist beats complimented the huge questions she posed throughout — most notably on the astounding Why Did You Separate Me From the Earth?

This, it should go without saying, is a good thing. Puberty is a turbulent period. One filled with sudden mood swings, angst and fluctuating hormones. The album that made his career, XXX is overflowing with crude bars, outlandish sex jokes and tales that still shock nine years after its release. Crucially though, Brown never tries to glamourise his obscenity, instead amplifying his more depraved instincts to the point of near insanity and turning the streets of Detroit into a hall of mirrors. Venezuelan producer Arca had previously fashioned her sound into avant-garde digital collages — her voice heavily distorted amongst the layers.

On her third self-titled album, the producer, for the first time, confronted pain and pleasure by placing her voice at the forefront of her compositions. Mournful vocals are accompanied by delicate strings, classical instruments, lyrics on love and longing, and production that evokes an apocalyptic future. Haunting, cathartic and heavenly in equal measure. Let it be said: Deafheaven turned even the staunchest metal naysayers into goths — even if it was just for one album. This album plays out like an epic saga; a story within a story. As every overdriven guitar part and fuzzy shriek burns with an emotional intensity, Sunbather feels wholly human. Nothing in his catalogue does that better than Take Care — rich with luxurious low-lit textures and instant-classic hits.

It was after Take Care that, truly, nothing was the same. In , when the discourse on sex-positive feminism unfolded across the internet, there was SZA; deftly weaving through the nuanced narratives of millennial situationships — radiating the power of being fully in ctrl of her voice. His last album, Voodoo , had all but defined the neo-soul genre, but that was way back in , when the music industry still had two legs to stand on. Black Messiah had become one of those mythical follow-up albums — so when it actually delivered, it was like a glorious magic trick.

Few could have predicted that the s would usher in a wave of new age-adjacent producers setting their gear to cosmic. Among this number was Daniel Lopatin whose experiments in synthesiser music took cues from drone and noise his Chuck Person alias, meanwhile, found unspeakable pathos in 80s MOR: vaporwave before vaporwave. His third album, Returnal, remains, arguably, his most cohesive statement. Sublime, foreboding and truly original. In many ways it set the mood for her cultural takeover, bypassing traditions and sidestepping paint-by-numbers bangers altogether — even its standout single Work is deliciously laidback.

In its carefree swagger, it embodies everything we love about her: it feels real. What a difference eight years makes. If her first record was about domestic constraint and being trapped between Concrete Walls , Plunge was anything but, and found Dreijer at her most overt and charged. Even up until the late 00s, the genre was measured on soulfulness and honesty. Released for free on his website directly from his bedroom in Toronto one cold March, the tape shifted the parameters of the genre into a darker, more experimental universe. Worlds away from Daft Punk collaborations and Adam Sandler movies and not even classified as an album, House of Balloons is the closest Abel Tesfaye ever came to perfection.

This is a jazz manifesto harking back to a firebrand Afrocentrism; a tonic for any and all ambivalence. These songs are about living for the moment, but also looking beyond this world too. According to producer Tony Visconti, Bowie wanted Blackstar to replicate the cinematic atmosphere of a Kendrick Lamar album — proof that Bowie, even on his deathbed, still had the hunger to be at the forefront of pop culture. My Beautiful Dark Twisted Fantasy is Kanye at the height of his powers as a showman and crowd pleaser.

Strange then, that their post-breakup LP remains the most straightforwardly joyous LPs of the last 10 years. Across 11 tracks of sunburnt pop, the pair perfected their spotless sound, cementing their reputation as the greatest band that barely happened. My Ma , Vomit , Saying I Love You : these are songs that plumb the rich reserves of 20th century Americana, while flushing a very modern longing through their veins. In another universe, Christopher Owens is a movie star.

Father, Son, Holy Ghost remains his greatest picture. It was and is, to say the least, visionary. The Frank Ocean record we were all waiting for. It followed a protracted waiting period while Ocean filled the void with zines, experimental carpentry and side-album Endless , released to fulfill the last of his obligations with Def Jam and ending a four-year silence. Stunning arrangements dissolve mid-song and float into some new elegant form. Pitched down vocals sound druggy and dissociating. Memories are glimpsed, lovers appear in past tense, relationships, youth and fame are viewed from the rear view mirror. But the more time spent with Blonde the more rewarding it becomes, revealing so many perfect moments it has a sort of mystic seduction, subtly gorgeous and somehow devastating at once.

Recorded in a small Portuguese village, the album serves as a document; a tribute to her daily, miles-long walk from the studio to the beach, but also as an acknowledgment to a failed love — confronted most explicitly on the paralysing beauty of Call Across Rooms. It was the first in what would be a trilogy that became overshadowed by the unimaginable tragedy of subsequent records, Skeleton Tree and Ghosteen. Few musicians would have expected to hit their musical peak in their 50s or with their 15th album — but Nick Cave is not like any other artist. If there was ever a fragment of doubt that J Hus was going to be a star, it disappeared the moment Jae5 hit the opening chords of Common Sense.

Bolstered by a string of well-loved singles — who, honestly could choose between Did You See? We defy anyone not to be transported, Tron -like, to the moment they first heard this record when the opening of Ultra Thizz effervesces into being. A glimpse into the club sounds of the future, Glass Swords sounds every bit as vital eight years on. This album is so old. The topics stared down, the blown-out crunch backing his screams, and intense centrifugal force of all these collaborators spinning together remain absolute dynamite.

And Yeezus was the biggest riot of all of them. Who else could take something as personal as a troubled marriage and turn it into an indelible pop culture moment, with no preamble or promo? Having already ushered in the era of the surprise drop with her self-titled album in , with Lemonade , Bey gave us her Thriller , her Pet Sounds , her Nevermind : an album that transcends the mainstream, transcends genre, and transitions the artist from blockbuster hit maker to undeniable genius. The story of Young Thug and the distribution of rap music in this decade is one hallmarked by impermanence — albums which never materialised, landmark projects leaking and artists locked in deals with labels incapable of keeping up with their output. Tha Tour Part 1 transcended that climate completely.

Ultraviolence marks a moment of becoming for Lana Del Rey. Ever since Video Games , critics had railed against her perceived inauthenticity — but rather than engaging, she doubled down on her vision: a heightened reality gilded in sadness that transcended the critical stonewalling. On Ultraviolence , the drama unfolded. Now we were introduced to the interior world of Lana Del Rey, an antiheroine who luxuriated in toxic relationships. Del Rey, clearly, caught us all off guard: we thought we had her figured out. She was way ahead of us. FKA twigs emerged fully-formed; her pair of debut EPs presented an artist with a singular vision, raw talent and a sound that was as inviting as it was hard to define. The arrangements here are skeletal and layered with surgical precision, like the meandering bassline which spins itself into a melodic cyclone on the magnificently paced Two Weeks.

The nonlinear construction produces genre-inversions that still sound breathtaking; Give Up is trap by way of the funhouse mirror, while the instrumentation of Pendulum interlocks enough elements to remain unclassifiable entirely. Hers is a dark outlook, but if we accept twigs as ahead of her time, which of us is fool enough to expect a happy ending? At the time of release, Classical Curves sounded unlike anything that had come before. Although packed with references to Detroit house, funk, grime and and Jersey club, these elements had been exploded and reassembled beyond recognition. The rhythms were stop-start; the drums exploded like malfunctioning machinery; and all recognisable sounds had been re-rendered with a hyperreal gloss sheen. Perhaps more than any electronic album of the decade, Classical Curves sounded unrelentingly like the future.

Apocalypse, girl is Jenny Hval at her mischievous best. This soft hallucinatory experience reaches its peak on Sabbath. A politically-charged fever dream. Galvanised by the growing neo-black power movement that arose following the rise of BlackLivesMatter and a heightened sense of political consciousness among young people, To Pimp a Butterfly mirrored a moment of culture shift. After Good Kid, M. D City , Kendrick widened his gaze, seeking to capture the collective feeling of a generation exasperated by state violence, institutional racism and police brutality. Few songs were able to articulate this growing sentiment quite like Alright , which became the battlecry at protests across the world. Affiliated with PC Music, the public speculated over her gender, even accusing her of appropriating femininity.

Synthetic sounds are tied to questions of artificiality and authenticity. Distorted vocals by Cecile Believe scale across octaves, unbound by notions of gender and the human voice. Above all, Oil of… was the sound of transcendence; it glowed with an optimism that still feels revolutionary. As a singer, Solange had struggled to find her footing, and while she had a few hits under her belt, nothing had connected enough for her to break out of her family name and blaze her own path. All that changed with Cranes in the Sky, an ode to finding the strength to love yourself in spite of the trappings of modern living.

Suddenly, Solange had found her vision, and it had been there all along — the strength and vulnerability of being a black woman, the unapologetic urge to demand her space in the world. In an era where conserving your sanity can be challenging to say the least, ASATT is a life raft amidst a churning ocean of uncertainty and rage. The Great War — one of the most seismic events in European history — is a bleak subject to take on, and in the hands of Harvey, she mines maximum devastation. Her eye is sharp and unflinching. The evocative and disturbing imagery offers warning signs that ring loud and clear in our unstable, divided times.

A potent turn of phrase in The Great War did shake England, with a force that would see trauma trickle down into subsequent generations. Nine years on from the release of Let England Shake , its power to shock remains undiminished. We should pay close attention. The only full-length album ever released by DJ Rashad is far from the definitive document of Chicago footwork, the genre that crept into dance music like a jungle vine during the 00s, changing the rhythmic mathematics of the floor forever. Still, Double Cup remains a timeless epitaph to an irreplaceable talent. Rest in power. Fluke of birth placed Kendrick Lamar in Compton; love for his city led him to spin his own coming-of-age saga.

D City captures economic degradation, hardened male bonds and brutal violence in a corner of America that was once a byword for urban mismanagement. We now know that he was just getting started. But Good Kid, M. They will have learned that politics is a struggle between marginalised groups and the holders of power, and that the state acts for the benefit of people only when it is forced to, often by groups within society challenging social norms and calling out injustice. Land, water and resources, they will have learned, are contested by various sectors of society. Not surprisingly, it has drawn political fire. Yet diversity is not greatly elaborated or celebrated in the curriculum.

The focus is on how diversity has been restricted or discriminated against through immigration policy. The panel agreed. Other subjects that seem, to the panel, to be conspicuous by their absence include the history of social welfare, labour and employment, the role of disease a missed opportunity given the current pandemic and the changing role of gender in society.

Other historians have noted the same lack. This has been both an outlet of personal identity and also an important expression of group and national identity. The human encounter with all that came before humans is an important, but missing, strand in the curriculum as it stands. But it is how the treatment of those themes is expressed in the curriculum that has troubled a number of historians, who have voiced their concerns on the New Zealand Historical Association website. There is a risk that teaching a confrontational view of history as something that plays out between winners and losers, those with power and those without, the privileged and the disenfranchised could result in polarised classrooms and a fraught learning environment.

Research here and overseas has found that where curriculum content includes traumatic histories, where students inescapably identify with those they are studying, and where a moral response is mandated as it is in the draft curriculum , many students can find the topics disturbing, even distressing. Teachers will face the hard mahi of delivering this difficult history. How will they fare, given the combative narrative that much of the draft version is presenting? Will they be equipped to deal with historical racial trauma when it arises — in themselves as well as in their students? How it is taught is crucial to which outcome emerges. Contests over authority, contests over the control and use of resources, contested ideas about identity.

Is everything, ultimately, a contest? Dutch historian Pieter Geyl thought so. The teaching of history can provide that sense of continuity. For individuals and peoples, it can be a real and vital lifeline. The draft curriculum goes a long way towards restoring it. Thank you for reading E-Tangata. Our content takes skill, long hours and hard work. But we're a small team and not-for-profit, so we need the support of our readers to keep going. This may be the time for a series of history books to be written that include all the missing aspects of our history noted above that are not included in the new curriculum.

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