This chapter considers the history of Scots dictionaries in relation to their purposes and the dominant contemporary perceptions of the Scots language. The twenty-first-century Scots Dictionary for Schools (Scots Abc) mobile phone application encourages literacy and creativity in Scots. Thomas Ruddiman’s glossary (1710) assisted readers of Gavin Douglas’s translation of Virgil’s Aeneid, Eneados (1513). In his Etymological Dictionary of the Scottish Language (1808–1825), John Jamieson followed the Vernacular Revivalists, seeking to preserve and celebrate the language. A Dictionary of the Older Scottish Tongue (1931–2002) includes lexis shared with England, while the Scottish National Dictionary (1931–1976, 2005) focuses on distinctive use. Although the online Dictionary of the Scots Language (2004) is a major achievement, there is more work to be done. Twentieth-century dictionaries prioritised rural over urban vocabulary, and the diversity of language in Scotland invites debate. This chapter proposes that Scotland would benefit from a new resource, the ‘Dictionary for Scotland’.

This chapter listens closely to songs released by Saweetie (‘My Type’ and ‘Tap In’), Latto (‘Muwop’), Erica Banks (‘Buss It’), and Cardi B and Megan Thee Stallion (‘W.A.P.’) in 2019 and 2020. Each of these tracks employs sonic elements of trap music while sampling classic hip-hop and club anthems. Beyond just flipping samples, these rappers flip hip-hop sexuality itself on its head, transforming cuts that position Black women as objects into songs that center Black women’s desire and agency. We listen to these tracks not only in relation to one another (and to the sources of their samples) but also in the context of Sylvia Wynter’s influential analysis of Shakespeare’s The Tempest. Riffing on Katherine McKittrick’s engagement with Wynter, we theorize the work of these rappers as “demonic sound,” as they make themselves present in music that had previously absented them.

What Stradivarius and Steinway are to classical music, and Fender and Gibson are to rock and roll, the E-mu SP 1200 and AKAI MPC samplers are to hip-hop. As beat makers in the mid 1980s experimented with newly available digital samplers, E-mu Systems and AKAI introduced their all-in-one sampler. During the so-called Golden Era, the SP 1200 and MPC developed a reciprocal relationship with hip-hop music that saw the specifications of the machines in conversation with the aesthetics of the music. Through analyses of ‘South Bronx,’ ‘It Ain’t Hard to Tell,’ and ‘Unbelievable,’ the chapter addresses how these two machines became primary instruments of beat making. In addition, these examples reveal how each machine developed mythic legacies within hip-hop culture that have long survived their commonplace usage, and how these machines shape an aesthetic consideration of the “sound” of hip-hop beats to the present day.

This chapter considers whether, and under what conditions, private firms can productively combine existing patent assets to support the dissemination and use of green technology. It assesses the unique challenges that face the organizers of private patent commons in the green technology sector. To do so, it first reviews prior efforts to form green patent commons, as well as recent commons proposals that have not yet been implemented. Next, it asks why these efforts have not been successful in achieving their respective goals. Finally, it offers suggestions for future planners seeking to promote the global dissemination and use of patented green technologies through the formation of commons structures.

This chapter examines hip-hop’s rhyme history. With attention to examples from Grandmaster Flash and the Furious Five, Big Daddy Kane, and Busta Rhymes, it identifies three main modes of rhyme: “normal,” “extraordinary,” and “impossible.” Popular during hip-hop’s early development, normal rhymes clearly and predictably mark line endings. Sometimes dismissed as unsophisticated, they invite the listener to experience the depicted experience as communal. Extraordinary rhymes concentrate normal rhymes’ infrequent technical flourishes into a defining characteristic. They play intonation against line breaks and feature denser, more complicated multisyllabic rhymes such as mosaic and forced rhymes. They aim for a conspicuous virtuosity. Impossible rhymes are often performed at a formidable speed, without any clear sense of where lines start or end. Riddling passages also cannot be conclusively understood. While normal and extraordinary rhymes encourage their listeners to remember and perform them, impossible rhymes aim for irreproducibility.

This chapter examines two conservative novels written in the 1810s: Harriet Waller Weeks’ Memoirs of the Villars Family, or The Philanthropist and Lady Dunn’s The Benevolent Recluse, both of which are concerned to depict how the upper ranks can remake a moral economy based on a changing notion of benevolence and philanthropy. These novels have a didactic concern to represent philanthropy and benevolence as a particular ideological practice with a moral power to justify the traditional ranks within English society. In so doing, they engage in the period’s debates about the nature of poverty, and the redefinition of the social responsibility of the privileged towards the poor. In the end, both novels fail to produce a conservative ideology to rival the more bourgeois/democratic ideologies we find in other novels of the period that we still read today. However, in that failure is the beginning of a modern concept of philanthropy in the exchange logic of the commodity: a return on the gift invested. Thus, the reciprocity of moral obligations would now unify and justify hierarchical social relations under the guise of benevolence and moral judgement. Understanding philanthropy as acquiring this exchange value at this historical moment provides a framework for the discussion of these conservative novels, revealing their ideological significance to our understanding of this period, as well as why we may have forgotten them.

The dialects of Southwest England subsume the varieties spoken in Cornwall, Devon, Dorset, Somerset and Wiltshire, plus parts of bordering counties. Traditionally, these dialects were highly distinctive. Cornwall historically presents an interesting case of language shift, with recent attempts at Cornish revival implying a sense of local pride and identity. Data from popular sources indicate that modern Southwest English is enregistering traditional dialect features such as rhoticity or pronoun exchange to serve as markers of indexicality for younger and urban speakers. Dialect levelling has resulted in less pronounced differences between regions being preferred, but local identities within the Southwest remain clearly distinct through the maintenance of vernacular features. Features of urban varieties are often highlighted as salient nowadays, paralleling developments elsewhere in the world, moving away from a more area-based description of dialects. The historical influence of what is still widely known as West Country English beyond the Southwest was noticeable in South-East Ireland and in Newfoundland.

In this chapter, the equations that were defined in Chapters 1–3 are used to solve some problems. In addition, the existing equations are modified to make them more useful for finding various property values. Also, two new thermodynamic properties are very briefly introduced, Gibbs energy (or Gibbs free energy) and Helmholtz energy (or Helmholtz free energy), in order to provide a full set of equations often associated with the laws of thermodynamics.

Moving from Illmatic to Young Stoner Life, this chapter listens closely to rap flow – the complex metrical pulse that runs through its verses. Drawing on lyrical examples from rappers like MC Lyte and Missy Elliott, it lays out a series of core technical effects (such as pauses, overflows, and triplets) before turning to the question of how MCs have grappled with the challenge of recording their flows on the page. Discussing the obstacles that face any attempt to apply traditional print poetic scansion to hip-hop, the chapter moves on to the innovative ways that rappers like Rakim and Young Thug have approached their notepads – making use of 16x4 grids, unorthodox punctuation, and abstract shapes. It closes with a discussion of so-called mumble rap and the ethics of close listening, pointing to the controversial use of rap lyrics in the recent YSL court case.