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analysis of language within a magazine
Citation preview
The man has many faces, many monikers through
which he channels a singular vision of hip-hop
that’s been allowed to expand in the margins without coercion from
corporate suits and label politics.
But here, now, today, he is simply DOOM.
Daniel Dumile’s widest-known alter ego has dropped his ‘MF’ prefix for album three, ‘BORN LIKE THIS’ (the name is taken
from a Charles Bukowski poem), but the British-born and New
York-based rapper’s ear for the absurd in anyone else’s hands, his love of experimentation and sculpting designs anew, remains absolutely apparent. Five years may have passed since his last solo offering, ‘MM..Food’ (an
anagram of his name, FYI), but DOOM hasn’t been lazing about,
resting on his laurels. In the same year as ‘MM..Food’,
2004, he released the ‘Madvillainy’ album, a
collaborative effort with acclaimed producer Madlib (a follow-up is in the works); 19 months later, ‘The Mouse And
The Mask’ emerged, showcasing DOOM’s vocals alongside beats and pieces from white-hot studio wiz
Danger Mouse. So, while DOOM as a solo artist has been off the scene, his rhymes have
found their place in the public’s ear – both
collaborations took Dumile to a new level of recognition. And it’s this raised profile that ensures Clash gets 30
minutes phone time with the man himself. It’s late here
but early there, and DOOM’s just getting started…
Extract
Language: The language style featured in this account often move in and out of language associated with the the stereotypical reader whilst maintaining an intellectual approach to a historical account of the artist. What this allows the article to do is that it reflects what can be potentially perceived as a mainly ‘youth oriented’ genre without any real integrity or reality behind it as a respectable direction for an artist to go in once you dig deeper than just what is fed to you from the genre in the mainstream. Referential language: Most of this extract is heavily dependant on referential information concerning the artist’s past for example even the opening is a reference to his past alter egos whilst the following paragraph delves into a timeline of his collaborations, own music, productions and more. This is especially important in giving the reader background so they feel as though they are aware of what the artist has experienced making for a more informed reading. Expressive language: For the most part expressive language is quite understated and generally there is only the occasional adjective/adverb seeing as it is mainly a historical account of his past
Tone: The tone of the
extract despite its more
intellectual approach does
not come across as formal,
which can be to do with
descriptions such as “From
white-hot studio wiz” which
is more of a stereotype
target passage of speech as
it does not include any
formalities, especially the
word “wiz”. This way the
audience won’t feel like the
article strays too far from
what they were expecting
which is a respectable past
account of Daniel Dumile’s
life to lead into an interview,
but without going over the
top concerning the style of
language. Cursing: The extract is void
of any ‘foul language’ which
is definitely the correct
choice in this situation as
there is no need to lower the
tone of the article whilst
introducing the artist in
question. Potentially during
the interview an occasional
curse word could add an
element of humour to a
situation or maybe to
exaggerate a point but
overall it is not a necessity
in this style of article.
Tense: The tense begins in a
mix of past and present
which is effectively switched
between when referencing
different aspects of the
artists back catalogue.