Who Was Rosa Parks? by Yona Zeldis McDonough, Stephen Marchesi

By Yona Zeldis McDonough, Stephen Marchesi

Illustrated through Stephen Marchesi.

In 1955, Rosa Parks refused to provide her bus seat to a white passenger in Montgomery, Alabama. This probably small act caused civil rights protests throughout the United States and earned Rosa Parks the identify “Mother of the Civil Rights Movement.”

This biography has blackand- white illustrations all through.

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9. Steven Connor, “The Modern Auditory I,” in Rewriting the Self: Histories from the Renaissance to the Present, ed. : Stanford University Press, 1999); Friedrich Kittler, Discourse Networks 1800/1900, trans. : Stanford University Press, 1990) and Gramophone, Film, Typewriter, trans. : Stanford University Press, 1999); Sadie Plant, Zeros and Ones: Digital Women + the New Technoculture (New York: Doubleday, 1997). 10. Hayles’s critique and theory only “work” because she positions her own insights against the retrograde impulses of cybernetics and informatics as opposed to writing about more contemporary discourses that already incorporate notions of informational embodiment.

49 These two ballads exert a more subtle influence than the hip hop samples redacted above but provide inspiration for the reemergence of the vocoder in R&B. In contrast to most other tracks in the Zapp canon, “Computer Love” features not only the vocoderized voice of Roger Troutman but also the “human voices” of the Gap Band’s Charlie Wilson and Zapp’s longtime background singer Shelley Murdock, who enjoyed a brief solo career in the 1980s. ” Once the verse commences, Wilson and Murdock’s voices overlap (although Wilson dominates) until the lyrics make explicit references to informational technologies, such as “could it be your face I see on my computer screen” and “thanks to my technology,” which are bolstered by the vocoder in the background, leading to a crescendo in which all three voices grow higher both in pitch and volume.

Tricia Rose briefly glosses the difference between Zapp’s vocoder use on these two ballads and its deployment by producer Dr. Dre on the Tupac track “California Love,” which featured Roger Troutman’s vocoderized presence. ” Conversely, Dr. Dre uses “the vocoder (and sampling equipment more generally) to narrate mediated and fractured relationships” (Tricia Rose, “Sound Effects: Tricia Rose Interviews Beth Coleman,” in Nelson, Tu, and Hines, Technicolor: Race, Technology, and Everyday Life, 142 – 53; 147).

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