This chapter explores the interplay between community, capitalism, and cultural production within Detroit’s hip-hop underground. It focuses on the women-centered collective The Foundation (2009–2014) and its contemporary counterpart We Are Culture Creators (WACC). The Foundation championed women in hip-hop and intergenerational collaboration but faced insurmountable economic challenges. WACC’s transition from nonprofit to hybrid nonprofit–LLC highlights new avenues that arts organizations are pursuing in their efforts to secure funding. The study also highlights the socioeconomic complexities of Detroit’s revitalization during the city’s municipal bankruptcy, with gentrification and neoliberal capitalism often undermining grassroots creative arts’ efforts. The chapter situates Detroit’s hip-hop underground as a microcosm of broader tensions between cultural resistance, community building, and capitalist pressures. It also advocates for the reestablishment of connections between contemporary hip-hop innovations and educational as well as community-oriented practices, which were integral to the work of the Foundation.

Our natural environment constitutes a complex and dynamic global ecosystem that provides essential resources for well-being and survival. Yet the environment is also subject to unprecedented threats from human activities, such as climate change, pollution, habitat loss, biodiversity decline, and the overexploitation of natural resources. This volume argues that such complex, multidimensional challenges demand equally complex, multidimensional solutions and calls for coordinated multistakeholder action at all scales, including governments, civil society, the private sector, and individuals. To meet the moment effectively, such interventions require both scientific knowledge about how the environment functions and social and institutional knowledge about the actors involved in environmental governance and management. Chapters include case studies of environmental knowledge collection, management, and sharing to explore how data and knowledge sharing can inform effective multistakeholder action to combat global threats to our environment. This title is also available as Open Access on Cambridge Core.

This chapter argues that the decade of the 1810s, especially when understood as ‘the Regency’, reflects a vision of time as static and repetitive, resistant to what Walter Benjamin famously called ‘homogenous, empty time’. To this end, this chapter looks at an unusual textual archive, nineteenth-century flagellation pornography. Two works are analysed with differing connections to the decade: Venus School-Mistress, probably published in 1810, and The Rodiad, written in 1871 but masquerading as a text of the 1810s. Comparing these two texts – one an authentic product of the period, the other an erotic antiquarian hoax – reveals not just the consistent temporal multiplicity of nineteenth-century pornography. It also demonstrates how the 1810s take on a paradoxical historiographical role as a specific example of the repetitive sameness of time. In so doing, the chapter aims to recast the idea of ‘the 1810s’ as a node of reactionary resistance to the temporality of liberal progress.

Scots and Scottish Standard English (SSE) encompass a wide range of socially indexed varieties, which are bound together as ‘Scottish’, and distinguished from other varieties of English, by a particular set of vowel duration patterns, the Scottish Vowel Length Rule (SVLR). In this chapter, we exploit recent technological advances for automated speech corpus analysis to provide the first large-scale analysis of vowel timing in 234k tokens from Scottish SPADE, a new meta-corpus of naturally occurring speech from more than 700 speakers of regional Scots and SSE. We confirm that the SVLR is now largely limited to /i ʉ/, and show evidence consistent with subtle weakening over the twentieth century. However, at the same time, our analysis also reveals a new and unexpected general Scottish pattern of very short vowels (an Anti-Voicing Effect) where lengthening occurs in other accents of English, which serves to maintain a clearly distinctive phonological character for Scottish English.

Reality entertainment first appeared in the late 1980s, with the emergence of the TV entertainment genre – inaugurated by shows such as Cops and America’s Most Wanted; the daytime talk shows hosted by Geraldo, Oprah, and Donahue; and the tabloid news of A Current Affair. Yet what we now call “reality TV” emerged in dialog with another kind of entertainment that served as its foil and borrowed its techniques – what rappers Ice Cube and Ice-T called “reality rap.” While N.W.A.’s ‘Fuck Tha Police’ countered Cops’ vision of Black lives in America, subsequent reality rappers such as Snoop Doggy Dogg and Tupac Shakur embraced tabloid spectacle and the media’s obsession with Black criminality. Reality rap and reality TV, this chapter contends, were twin components of a cultural revolution that redefined popular entertainment as a truth-telling medium by borrowing journalistic tropes while dispensing with the professionalism and responsibility demanded of reporting.

The 1810s saw a flurry of poems published in the Italianate form of ottava rima. This chapter focuses specifically on ottava rima poems that reflect on the role of expectation and anticipation in listening. This includes episodes of mishearing, which show how anticipation sometimes distorts perception. We hear what we expect or want to hear. The form of ottava rima, with its interlocking rhymes and closing couplet, presents an exaggerated example of the role of expectation at work in rhyme. The brief popularity of ottava rima in the 1810s also offers a neat marker for periodisation, which raises questions about how a given form was read at a given time and addresses the challenges of exemplarity and historical poetics.

This chapter focuses on the concepts of temperature and heat and also develops some initial ideas for both based on experimental observations. In doing so, the concept of equilibrium is discussed. The chapter then discusses the zeroth law of thermodynamics and finishes up on the concept of phase change (solidification, evaporation, etc.). The discussion on phase change leads to the idea that the current version of heat used in this chapter needs to be modified in order to account for situations that do not involve a temperature change.

This chapter considers two moments of national mourning and political crisis in the 1810s. It argues that they produce understandings of collective feeling as a kind of action at a distance. Its two case studies are the death of the Princess Charlotte in 1817 and the deaths of protesters in what became known as the Peterloo Massacre in 1819. In the aftermath of both, commentators encourage simultaneous forms of mourning, where individuals separated by distance feel an affective bond with others performing the same acts at the same time. In 1817 loyalist newspapers present such gatherings as spontaneous and heartfelt, though they resist the control of authorities. In 1819, radical reformers capitalise on the disruptive potential of action at a distance, advocating simultaneous meetings for political reform. In Mask of Anarchy, Percy Bysshe Shelley argues that virtual collectives acting at a distance produce a radical new vision of the nation.

The 1810s offer decadent examples of Regency queerness including Anne Lister’s diaries, the publication of Samuel Taylor Coleridge’s queer gothic ‘Christabel,’ and Byron’s queer heroes in his Oriental tales. Not singular oddities, these figures speak to queer communities at varying levels of British society. Though Lister documents a series of queer lovers, her writing likewise amasses a queer community, particularly within triadic flirtation and polyamory. ‘Christabel’ and Lister’s diaries both showcase queerness and class-crossings as intertwined and multiple, also apparent in Lister’s own gender movements, identifying as ‘a gent’ and frequently traveling. These connections recur within newspaper stories of gender-crossing patriotic sailors and Byronic queer naval spaces, particularly the sailor-heroes in Lara and The Corsair whose conflicts become symptomatic of queerness in search of community.