A preliminary review of competitive reactions in the hip‐hop music industry

2008 ◽  
Vol 31 (9) ◽  
pp. 637-649 ◽  
Author(s):  
Vickie Cox Edmondson
Keyword(s):  
Hip Hop ◽  
Music Industry ◽  
Preliminary Review ◽  
Competitive Reactions ◽  
Hip Hop Music

scholarly journals Pragmatic Function(s) of Pronouns and Pronominals in Nigerian Hip Hop Music

2015 ◽  
Vol 15 (2) ◽  
Author(s):  
M Temitope ◽  
I Filani
Keyword(s):  
Hip Hop ◽  
Music Industry ◽  
Pragmatic Function ◽  
Hip Hop Music

Rivalry and enmity are phenomena that seem to have permeated the Nigerian music industry, especially the hip hop genre. In this regard, Nigerian hip hop artistes employ language to demonstrate their superiority over one another. A strategy employed by Nigerian hip hop artistes to assert their differences and superiority is the pragmatic use of pronouns. Here, pronouns are said to do more than achieve coherence.The paper investigates how Nigerian hiphop artistes use pronouns to achieve pragmatic meanings. Nigerian hip hop artistes employ pronouns to project their individuality and personality; identify and solidarise with their fans, and map boundary and polarity with their rivals. The paper submits that, while using pronouns, the Nigerian hip hop artistes express a sense of rivalry and enmity, individuality and personality; identity and solidarity.Key Words: Rivalry, Nigerian Hip hop artistes, pronouns, pragmatic meanings

Influencer prevalence and role on cigar brand Instagram pages

2020 ◽  
pp. tobaccocontrol-2020-055994
Author(s):  
Mario Antonio Navarro ◽  
Erin Keely O'Brien ◽  
Ollie Ganz ◽  
Leah Hoffman
Keyword(s):  
Social Media ◽  
African Americans ◽  
Hip Hop ◽  
Music Industry ◽  
Potential Utility ◽  
The Past ◽  
Hip Hop Music ◽  
Education Campaigns

PurposeInfluencers market products for tobacco companies on social media. This is the first study to systematically examine leading cigar brands’ use of influencers on their brand Instagram pages.MethodsWe identified 24 leading cigar brands, using July 2017–June 2018 US retail data. We identified cigar brands that had official appearing Instagram pages, with at least one influencer in the past 20 posts. We coded characteristics of the past three posts from each of five brand pages that contained influencers, such as setting and what the influencer was doing. Finally, we described influencer characteristics.ResultsApproximately one-third of the 24 brands had official Instagram accounts with at least one influencer in the past 20 posts. We identified 28 influencers, typically people of colour from the hip-hop music industry, some with millions of followers. Influencers included Bella Thorne (@bellathorne), Shaquille O’Neal (@shaq) and T.I. (@troubleman31). Brands’ posts that contained influencers showed the influencer using/holding a product, wearing branded merchandise or appearing in photos with a brand watermark. Three brands’ pages posted sponsored event photos (ie, concerts and events using branded backgrounds).DiscussionCigar brands commonly use influencers to market their products on brand Instagram pages. Results are consistent with previous findings that cigar companies’ marketing may target younger African Americans and highlight the potential utility of education campaigns that similarly engage influencers.

Being Bad in Order to Do Well: Deviance Admiration in the Rap/Hip-Hop Music Industry

2011 ◽  
Vol 14 (3) ◽  
pp. 175-199
Author(s):  
Leyland M Lucas ◽  
Jill R Hough ◽  
Dan Fisher
Keyword(s):  
Hip Hop ◽  
Music Industry ◽  
Hip Hop Music

Queer Hip Hop

2018 ◽  
Author(s):  
Shanté Paradigm Smalls
Keyword(s):  
Cultural Production ◽  
Hip Hop ◽  
Music Industry ◽  
Hip Hop Culture ◽  
Hip Hop Music ◽  
Bisexual And Transgender ◽  
History Of

This chapter explores the relatively long history of the queer presence inside of hip hop cultural production. Starting in the late 1970s and ending in the current moment, this historiography argues that queer and/or lesbian, gay, bisexual, and transgender (LGBT) artists in hip hop music have chartered and navigated perilous landscapes—in the music industry, in hip hop culture, and in the broader US pop terrain. The discussion details the notable queer artists, some known and some forgotten, who have made possible the seeming ease with which queer and queer-friendly artists emerging in the 2000s and afterward have captured audiences in multiple mainstream areas.

Code-Switching and Code Mixing in the Selected Tracks of the Hip Hop Music of Flavour and 9ice

2021 ◽  
Vol 2 (3) ◽  
pp. 55-70
Author(s):  
Balogun Sarah ◽  
Murana Muniru Oladayo
Keyword(s):  
Hip Hop ◽  
English Language ◽  
Mother Tongue ◽  
First Language ◽  
Music Industry ◽  
Positive Influence ◽  
Code Switching ◽  
National Language ◽  
Code Mixing ◽  
Unique Identity

This article attempts a comparative analysis of code-switching and code-mixing in the Nigerian music industry, using the lyrics of Flavour and 9ice as a case study. Although the English language is the national language in Nigeria and the language used by most of the musicians for the composition of their songs, and due to the linguistic plurality of Nigeria, most of these musicians tend to lace their songs chunks of words and phrases from their mother tongue or at least one of the three major languages in Nigeria, which are Hausa, Igbo, and Yoruba. The Markedness Model by Myers-Scotton (1993) is used as the framework to interrogate the switching and mixing in the codes used by these selected musicians and we find that while most code-switching is done in three languages – English, Nigerian Pidgin and the artist’ first language (mother tongue)  – their mother tongue plays the prominent role. Code-switching or code-mixing in these songs, therefore, becomes a depiction of the Nigerian state with its diverse languages and it provides the links between the literates and the illiterates thereby giving the artiste the popularity desired. The study concludes that the unique identity created by code-switching and code-mixing in the Nigerian music industry has a positive influence on music lovers, helping artists to achieve wide patronage and reflecting the ethnolinguistic diversity of the Nigerian nation.

scholarly journals Waikīkī: A paradisiac‐parasitic pacific paradise

2021 ◽  
Vol 2 (1) ◽  
pp. 2.1-2.12
Author(s):  
Daniel Kauwila Mahi
Keyword(s):  
Hip Hop ◽  
The People ◽  
Feature Lines ◽  
The World ◽  
Hip Hop Music ◽  
The Way

Waikīkī is a world-renowned leisure destination; at least, that is the image flung vehemently around the world about Hawaii. This framing of Hawaii as paradisiac is parasitic, it eats away and denigrates the enduring relationship that Hawaii the land and the people have. During the COVID-19 pandemic, we have seen a shift in the way our home feels. Tourism, a self-proclaimed necessity of Hawaii’s economy, was not only put on hold, it was essentially eliminated. Through this project I would like to present pre/post-colonialist modalities of Hawaii, to contest and disarm this space densely affected by militourism. Hawaii has been framed as a leisure destination first by colonialists and much later by hip hop music. My approach to contesting these projections is to refuse this notion and feature lines from songs, chants and prayers related to Waikīkī which are pre/postcolonial and have been influenced by colonialism through hip hop.

scholarly journals Breaking the Gender Gap in Rap/Hip-Hop Consumption

2021 ◽  
pp. 51-65
Author(s):  
María Luisa Palma-Martos ◽  
Manuel Cuadrado-García ◽  
Juan D. Montoro-Pons
Keyword(s):  
Decision Making ◽  
Gender Studies ◽  
Gender Gap ◽  
Hip Hop ◽  
Music Industry ◽  
Men And Women ◽  
Alternative Music ◽  
Music Consumption ◽  
Exploratory Survey ◽  
Insight Into

AbstractSome music genres have traditionally and mainly been consumed by men. This is the case of rap/hip-hop. However, data on the consumption of this genre in recent years shows a relevant increase in the number of women interested in this type of music. It would therefore seem to be pertinent to analyse this new trend, not only as a question linked to gender studies but also to marketing decision-making for the music industry, which is struggling to attract new audiences, a factor compounded in the pandemic. To frame this analysis, literature on music consumption, specifically in relation to gender and rap as an alternative music genre, has been reviewed from different approaches. An exploratory survey was conducted to obtain an insight into rap/hip-hop consumption and appreciation by gender. Results show that rap concert attendees’ satisfaction and interest in this kind of music are high, irrespective of gender. Only knowledge, which has not been as extensively studied, seems to be different between men and women, with this factor being slightly higher for the former. In addition, the identification of three clusters (involved, apathetic and hedonists), including both women and men, leads us to suggest that the gender gap in rap/hip-hop consumption is closing.

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