A Study on the Cultural and Social aspects of Hip-hop in Korean Pop Music

BACKGROUND: The deaths of American hip-hop and rap recording artists often receive considerable media attention. However, these artists’ deaths have not been examined as a distinct group like the deaths of rock, classical, jazz, and pop music artists. This is a seminal epidemiological analysis on the deaths of an understudied group, American hip-hop and rap music recording artists. METHODS: Media reports were analyzed of the deaths of American hip-hop and rap music recording artists that occurred from January 1, 1987 to December 31, 2014. The decedents’ age, sex, race, cause of death, stage names, and city and state of death were recorded for analysis. RESULTS: The most commonly reported cause of death was homicide. The 280 deaths were categorized as homicide (55%), unintentional injury (13%), cardiovascular (7%), undetermined/undisclosed (7%), cancer (6%), other (5%), suicide (4%), and infectious disease (3%). The mean reported age at death was 30 yrs (range 15–75) and the median was 29 yrs; 97% were male and 92% were black. All but one of the homicides were committed with firearms. CONCLUSIONS: Homicide was the most commonly reported cause of death. Public health focus and guidance for hip-hop and rap recording artists should mirror that for African-American men and adolescent males ages 15–54 yrs, for whom the leading causes of death are homicide, unintentional injury, and heart disease. Given the preponderance of homicide deaths in this analysis, premature mortality reduction efforts should focus on violence prevention and conflict mitigation.

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The rise of calypso feminism: gender and musical politics in the calypso

Popular Music ◽

10.1017/s0261143001001581 ◽

2001 ◽

Vol 20 (3) ◽

pp. 409-430 ◽

Cited By ~ 5

Author(s):

Cynthia Mahabir

Keyword(s):

Great Britain ◽

West Africa ◽

Hip Hop ◽

Pop Music ◽

The Usa

The sky is the limitWe rising, we rising, we woman rising,(Easlyn Orr, cited in Ottley 1992, p. 154)In February 1999, two women of Afro-Caribbean ancestry won their respective societies' highest musical honours. On 14 February, Singing Sandra was crowned Trinidad-Tobago's Calypso Monarch 1999 – the second woman ever to win this coveted title, a full twenty-one years after the country's first woman calypso monarch, Calypso Rose. Two weeks later in the USA, Lauryn Hill received five Grammy awards, the most in any single year for a female performer or a hip-hop artist. This trend continues in Great Britain, where ‘rude girl’ DJ Patra has a growing posse of fans, and in West Africa where the pop music stylings of Benin's Angelique Kidjo and Mali's Oumou Sangaré enjoy mass followings.

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The Jewish Atlantic: Diaspora and Pop Music

Connected Jews ◽

10.3828/liverpool/9781906764869.003.0005 ◽

2019 ◽

pp. 109-130

Author(s):

Caspar Battegay

Keyword(s):

Hip Hop ◽

Black Atlantic ◽

Pop Music ◽

Music Business ◽

Intercultural Exchange ◽

Cultural Minorities ◽

Rock N Roll ◽

Paul Gilroy ◽

The Relationship ◽

Production Conditions

This chapter discusses the emergence of pop music as a distinctive musical genre intended for very wide audiences and often controlled by the giants of the music business. It describes how pop is characterized by the specific conditions of religious and cultural minorities that are closely linked to African American history, such as jazz, blues, rock 'n' roll, reggae, disco music, soul, and hip hop. It also mentions the British scholar of cultural studies named Paul Gilroy, who defined the production conditions of hip hop as transnational structures of circulation and intercultural exchange. The chapter examines the relationship between the hip hop world and the real world that changed since Gilroy's observations in the 1990s. It talks about the insistence on the diasporic context of the 'Black Atlantic' and its kinship with Jewish modernity that remains pivotal to any pursuit of the diaspora in popular culture.

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I'm the illest fucka

English Today ◽

10.1017/s026607840700209x ◽

2007 ◽

Vol 23 (2) ◽

pp. 54-60 ◽

Cited By ~ 10

Author(s):

Jamie Shinhee Lee

Keyword(s):

African American ◽

South Korea ◽

Detailed Analysis ◽

Hip Hop ◽

American English ◽

African American English ◽

Pop Music ◽

Face To Face ◽

South Korean ◽

Tv Commercials

ABSTRACTAn analysis of African American English in South Korean hip hop. English is rarely used in face-to-face terms in South Korea, but the use of English in commerce and entertainment is not such a rarity. The presence of English expressions in advertising and pop lyrics is no longer considered extraordinary. Lee (2006) reports that 83.75% of 720 South Korean TV commercials use some type of English, and only 16.25% of advertisements rely exclusively on Korean. Pop music is another discourse space in which English is fairly frequently used, occurring in more than 50% of pop song titles. A detailed analysis of the frequency of English in South Korean pop music (SK-pop) is reproduced.

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What Do Music Preferences Reveal About Personality?

Journal of Individual Differences ◽

10.1027/1614-0001/a000082 ◽

2012 ◽

Vol 33 (2) ◽

pp. 119-130 ◽

Cited By ~ 36

Author(s):

Alexandra Langmeyer ◽

Angelika Guglhör-Rudan ◽

Christian Tarnai

Keyword(s):

Gender Differences ◽

Hip Hop ◽

Structural Equation ◽

Equation Model ◽

Pop Music ◽

Music Preferences ◽

Short Test ◽

Age Range ◽

First Time ◽

The Relationship

The present study is the first to examine the relationship between music preferences and personality among a sample of young Germans (N = 422, age range 21–26 years). We replicated the factor structure of the Short Test of Music Preferences (STOMP, Rentfrow & Gosling, 2003 ) by means of confirmatory factor analysis (CFA). The validity of the STOMP was also confirmed for the first time by rating soundclips. The relationship between the dimensions of personality (Big Five Inventory) and music preferences (STOMP and soundclips) was analyzed with a structural equation model (SEM). Gender differences were examined with multigroup analyses (MGA). Our findings corroborate earlier findings on the relationship between music preferences and personality: Individuals open to experience prefer reflective and complex music (e.g., classical) and intense and rebellious music (e.g., rock), whereas they dislike upbeat and conventional types of music (e.g., pop music). Extraverts, on the other hand, prefer upbeat and conventional and energetic and rhythmic types of music (e.g., rap/hip-hop). The results reveal some gender differences.

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The Empire Samples Back

10.1093/oso/9780190855475.003.0003 ◽

2021 ◽

pp. 61-92

Author(s):

M.I. Franklin

Keyword(s):

Hip Hop ◽

Cultural Practice ◽

The Other ◽

Historical Narratives ◽

Sampling Techniques ◽

Pop Music ◽

Music Making ◽

The World ◽

The One ◽

The Uk

Chapter 3 moves to the other end of the sonic and acoustic spectrum through a close listening to two well-known tracks from the group, Asian Dub Foundation (ADF). This group has been at the forefront of sampling as a decolonizing musico-cultural practice for some decades. Their music making, and how they deploy the full repertoire of sampling techniques, draw on the Club/DJ cultures of the 1990s on the one hand and, on the other, Jamaican Reggae and Dub, musicalities that played a formative role in the emergence of Rap and Hip-Hop (Chapter 6). ADF made their mark as part of the “Asian Underground” generation of British Asian musicians. Their sampling practices straddle classical Indian music, “Bollywood” soundtracks, Rap vocals, Reggae rhythms, and Dub bass lines for tracks that are not only danceable but also explicitly political, in ways that go beyond the lyrics. ADF’s collaborative, and technologically mediated “crossover” compositions decolonize Western pop music idioms as their musicking evokes contemporary and historical narratives of social injustice and racism, in the UK and around the world.

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Global South Korea and the K-Pop Phenomenon

Oxford Research Encyclopedia of Literature ◽

10.1093/acrefore/9780190201098.013.770 ◽

2018 ◽

Author(s):

Crystal S. Anderson

Keyword(s):

Hip Hop ◽

First Generation ◽

The United States ◽

Pop Music ◽

South Korean ◽

Korean Economy ◽

Rhythm And Blues ◽

Musical Activity ◽

Promotional Strategies ◽

Musical Elements

K-pop is a form of South Korean popular music directed at a global audience that fuses Korean and foreign musical elements. While “idols” (performers who sing, dance, and engage in extra-musical activity) are the most visible, K-pop encompasses a wide variety of genres. Emerging in the wake of a major financial crisis that prompted a restructuring of the Korean economy, K-pop benefits from increased freedom in cultural expression, support by the Korean government, and a global cultural movement that reaches East Asia and beyond. The first K-pop groups appeared in the early 1990s, drawing on hip-hop and rhythm and blues popular in the United States. The use of rap and b-boying/breakdance style, along with emotional vocals of R&B, became staples for first-generation “idol” groups. Initially presenting an approachable image, they later took on more mature concepts before they disbanded in the late 1990s. Several continue to influence the K-pop music scene, even as subsequent generations of K-pop artists emerge. These idol groups have diversified their images as well as their musical styles. Several solo artists have emerged, and hip-hop groups continue to participate. All of this musical activity is governed by Korean agencies, the largest of which are responsible for the creation and management of “idols,” while others encourage indie artists and still others are led by K-pop artists themselves. In addition to the promotional strategies of agencies, media, both professional and fan-driven, play a large role in the global spread of K-pop. The fans themselves are also active participants, acting as both audience members and content producers.

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CONNECTION BETWEEN PERSONAL VALUES AND MUSIC PREFERENCES

Bulletin of Taras Shevchenko National University of Kyiv. Series “Psychology” ◽

10.17721/bsp.2020.2(12).9 ◽

2020 ◽

pp. 52-56

Author(s):

Anton Kurapov ◽

Mykhailo Kandykin

Keyword(s):

Hip Hop ◽

Personal Values ◽

Punk Rock ◽

Pop Music ◽

Music Preferences ◽

Age And Gender ◽

Music Festivals ◽

Aged People ◽

And Gender ◽

The Relationship

This article describes the main correlations that were obtained between music preferences and personal values. It has been discovered that personal values play a significant role in people’s music preferences and they are at the forefront in proposing a map that links personal values to music preferences. According to the results, music preferences can be defined by personal values since people tend to listen to a specific type of music if corresponding values are projected such as conservatism and openness. In this case, music is broken into four preference dimensions which include reflective and complex for folk, jazz, and classical, rebellious and intense comprising of punk, rock, and alternate, conventional and upbeat comprising of pop, country, and soundtracks, and lastly rhythmic and energetic including funk, electronica, hip-hop, and soul. Besides, preferences may be defined by socio-demographic characteristics such as age and gender such that the young people tend to prefer music because of what the other peers listen to and enjoy music in social places such as bars, restaurants, and music festivals, middle-aged people listen to the music of their preferences and at the time of their choosing at homes or while carrying out activities, the aged tend to have less music preference but some cannot do anything without listening to music and therefore have to keep their preference music always. Males tend to focus on certain genres of music such as heavy metal and rock which are associated with cognitive listening and demonstrates a negatively conservative nature of music while females prefer listening to pop music more than males. This article discloses the main results that were obtained in the empirical study of different articles concerning the topic of the relationship between personal values and music preferences. No such research was conducted on Ukrainian-speaking samples before.

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Negative Emotion Responses to Heavy-Metal and Hip-Hop Music with Positive Lyrics

Empirical Musicology Review ◽

10.18061/emr.v14i1-2.6376 ◽

2019 ◽

Vol 14 (1-2) ◽

pp. 2

Author(s):

Marco Susino ◽

Emery Schubert

Keyword(s):

Heavy Metal ◽

Hip Hop ◽

Negative Emotion ◽

Emotional Responses ◽

Pop Music ◽

High Arousal ◽

Negative Valence ◽

Social Contribution ◽

Hip Hop Music ◽

Hop Test

This research investigated whether negative emotional responses to heavy-metal and hip-hop music could be stereotypes of the music genres. It was hypothesized that heavy-metal and hip-hop music with positive lyrics would be perceived as expressing more negative (negative valence/high arousal) emotions, compared with pop music excerpts with identical lyrics. Participants listened to either two heavy-metal or two hip-hop test stimuli and two pop control stimuli. They then responded by stating what emotion they perceived that the music expressed. Results indicated that heavy-metal and hip-hop stimuli were perceived as expressing more negative emotions than pop stimuli. Lyrics were recognized above chance in both heavy metal and hip hop, suggesting that the negative emotion bias was not a result of misunderstanding the lyrics. The Stereotype Theory of Emotion in Music (STEM) explains the findings in terms of an emotion filter which is activated to simplify emotion perception processing. The conclusions provide a novel way of understanding the cultural and social contribution of emotion in music.

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