Term Paper

My term paper can be read by clicking on “Term Paper” in the navigation bar. You can read different sections by selecting one of the links from the drop-down menu or by clicking the Page Links on the right side of the screen.

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Some Thoughts on Myer and Kleck’s Article

Myer and Kleck’s ‘From Independent to Corporate’ is an examination of the Billboard music charts and how rap labels have changed as the industry has shifted into a corporate-controlled ‘artists popularity contest’ by UMG, Sony/BMG, EMI, and Warner.

While the study is extensive and covers 15 years of Billboard music charts – I’m surprised that they ended their study at a time when music piracy (and ways of consuming music) was on the uprise.

What I’m curious about is whether pirated music is somehow responsible for increasing artists popularity on the Billboard charts.

If we look at the top ten artists being downloaded on the PirateBay.org:

1. Eminem – Recovery (Label: Aftermath Entertainment – owned by UMG)
2. Lady GaGa – The Fame Monster (Label: Interscope – owned by UMG)
3. Drake – Thank Me Later (Label: Young Money – owned by UMG)
4. Usher – Raymond v. Raymond (Label: LaFace Records – owned by Sony Music Entertainment)
5. Taio Cruz – Dynamite (Label: Island – owned by UMG)
6. Arcade Fire – The Surburbs (Label: Merge Records – Independent)
7. Bruno Mars – Just the Way You Are (Label: Elektra – owned by Warner Music Group)
8. Eminem ft. Rihanna – Love the Way You Lie (Label: Shady Records – owned by UMG)
9. Trey Songz – Passion Pain & Pleasure (Label: Atlantic – owned by Warner Music Group)
10. Lil Wayne – Rebirth (Label: Young Money – owned by UMG)

These artists (except for Arcade Fire) are all owned by one of the Big Four companies, which Myer and Kleck explain are “able to absorb the effects of, and fight with legal powers…and piracy”.

Also interesting is that 7/10 of the artists above fit into the hip-hop & rap genres, and are currently, or were at one time, on the Billboard Top 100.

Does music piracy somehow effect the Billboard Top 100? Or is it the reverse?

Anyways – just some things I was thinking about.

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Yes We Can: American Hip-Hop Artists and the Lyrical Endorsement of Barack Obama

‘Yes We Can: American Hip Hop Artists and the Lyrical Endorsement of Barack Obama’ will discuss and analyze the American hip-hop community and their overwhelming support for the election of Presidential Nominee Barack Obama. During his campaign, numerous hip-hop artists, including Mos Def, Young Jeezy, and Jay-Z openly expressed their support for his election by mentioning his name and/or his political affiliations in their song lyrics. This has arguably created a greater interest in politics amongst the hip-hop community and at the time, strengthened support among hip-hip fans for his election.

The research aims to answer two sets of questions. 1: In what light is Barack Obama mentioned in these song lyrics? Are the lyrics supportive or unsupportive of his election?  2: Are these lyrical endorsements perceived as positive or negative to the average person? Did support by hip-hop artists hurt or help Obama’s public image and motivate young voters?

Two methodologies will be used to conduct research for this project. Discourse analysis will be used to answer the first set of questions, while 5-10 in-depth interviews of students of the McMaster community will be carried out to answer the second set of questions noted above. The researcher will seek approval from the McMaster Research Ethics Board prior to interviewing subjects.

Current research on lyrical endorsements is very limited and as such this research paper aims to build upon an existing body of research around the influence and persuasiveness of celebrity endorsements during political campaigns.  Current research by scholars such as Veer, Pease, Austin, and Lammie, as well as popular press articles will be used as a starting point to steer this project in the right direction.

An example of hip-hop songs to be examined include Jay-Z & Mary J Blige’s “You’re All Welcome”, Jadakiss’s “Why”, Common’s “The People”, Ti$a’s “Obamaway”, Young Jeezy’s “My President”, and Nas’s “Black President”. The songs that will be examined are either completely about Barack Obama or mention his name in some form.

My creative energy and interest in American politics and hip-hop music will be the driving force behind ‘Yes We Can’, and I am certain that this research project will be innovative and successful.

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Week # 2: Pardun & McKee + Rentschler Articles

Week # 2 Discussion: Pardun & McKee’s ‘Strange Bedfellows: Symbols of Religion and Sexuality on MTV’

Pardun and McKee’s ‘Strange Bedfellows: Symbols of Religion and Sexuality on MTV’ is an interesting study on the use of religious and sexual imagery in rock music videos. The research, which was conducted through content analysis, aims to examine how frequently these images are used at the same time in the same video.

The methodology involved aims to answer two questions: How often is religious imagery used in rock videos? And when religious image is used, is it used alone or is it combined with the use of sexual imagery?

Previous research in this field focused on Madonna, who’s music videos at the time blended both sexual and religious imagery. While this article does make some interesting points it is important to note that the article was published fifteen years ago in 1995.

It would be interesting to take Pardun and McKee’s methodology and apply it to music videos that are featured on MTV today. After reading the author’s literature review, where the authors quote Larson’s description of Madonna as someone who “wears a crucifix around her neck, see-through blouses, and fingerless gloves. She admitted the crucifix was because of her affinity for ‘a sexy man on a cross’ “, I couldn’t help but think of Lady Gaga’s ‘Alejandro’ music video and how this ties into their research.

One can see Madonna’s influence in this video and I would argue that Lady Gaga adds to Madonna’s critique of religion, most notably Christianity’s repressive viewpoints on sexuality and gender. The ‘Alejandro’ video contains scenes of Gaga wearing a nun’s dress made out of red leather, a white hood covered with red crosses, and a ghostly-looking Gaga swallowing a rosary.

Pardun and McKee state in their discussion that the ‘majority of the videos used religious images with no apparent connection to the story line of the music video’. Perhaps sexuality and religion that are found in music videos are simply outlandish ways to express an art-form – or maybe artists in the 1990s were critiquing religion like Lady Gaga is doing today.

Do you feel that displaying images of both sexuality and religion in music videos somehow motivate youth to change their viewpoint on sexuality or religion?

If this study was done today, do you think the research would find that music videos would portray more or less religious and sexual imagery than in 1995?

Link to ‘Alejandro’

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Week # 2 Discussion: Carrie Rentschler’s ‘Expanding the Definition of Media Activism’

Rentschler’s ‘Expanding the Definition of Media Activism’ examines four typologies of media activism: media reform movements, the alternative press, flak, and the use of public relations and news writing techniques. Rentschler examines what these practices are designed to do and how they can effect the media coverage of certain events, such as the national crime and antiviolence social movements.

Rentschler states that media activists want access to media outlets, they want to provide sources for news, and they want to encourage news stories that promote their specific policy agendas. Media watch groups are generally not financially backed by large media organizations because they advocate for media reform and an open, free media. This is troublesome because what media activists actually want is mainstream media attention. Activists will turn to alternative press to get there message out, which is also problematic as people who consume alternative media are already supportive of media reform.

What Rentschler fails to examine is the role that advertising plays in the role of media activism. The author states that media watch groups are resource-poor organizations. I think this is partially due to the fact that alternative media’s messages and ideals do not appeal to advertisers. Advertising is what financially backs big media. Since media advocates occasionally use flak to direct negative responses towards the media, its no wonder of why these organizations are resource poor.

In comparison to media corporations, media activist groups do not have a large following. They have limited reach because they have no money to create or fund media that consumers will actually watch. While Rentschler does address three strategies of media advocacy groups (becoming news sources, training journalists, and synthetic techniques that cut across categories), I feel there should be one more strategy added to this list: creating audiences that will attract advertisers.

With that being said, if media activist groups appealed more to advertisers would their messages appeal more to mass audiences as well?

Finally, will media reform and an open, free media ever exist with advertisers providing financial support for media corporations?

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