Abstract This dissertation paper looks at areas concerning the marketing of an agency's website - specifically a music agent. The paper is an in-depth analysis - textually and graphically - on how agencies can best represent themselves on the Net.
From the Paper "The Internet is truly a powerful marketing tool for any business, especially within the versatile, ever changing, consumer driven market that is the music industry. With CD's and other tangible products (i.e. products which you can touch, as opposed to the services offered by agencies and DJ?s), a website is a secondary route of marketing as a majority of products will already be known to the consumer, but the service industries must develop their other marketing strategies (the Internet being one of them) much more as they do not have the tangible high street presence."
Abstract This paper begins with an explanation of the cultural and sociological origins of Hip Hop and then describes how it has evolved over time to have two different faces. The paper describes one version of Hip Hop as more mainstream and accessible to society at large and one version as more underground, authentic, and still representative of the group that first created the Hip Hop culture.
From the Paper "The reasons why hip hop music became popular and the reasons why it is popular today are interconnected but unfortunately no longer identical. In the beginning, hip hop was based on cultural interrelation, rebellion, expression and accessibility -- its popularity was an organic part of its relationship to the impoverished and disadvantaged black community, and an implicit rejection of the way in which former modes of black music had sold out to white corporate America. Today, leaving aside the few dedicated independent and underground bands, hip hop has largely become part of the corporate machine. Modern hip hop's popularity is based on commercializing shrink wrapped rebellion, promoting the get-rich-quick dreams of an underprivileged class, and a myth of cultural continuity. However, this is not to say that nothing of the original vision remains, and there is certainly a degree to which hip hop is not dead."
Abstract This paper presents an understanding of certain musical genres. The research includes various examples of formats such as rap, techno, disco, and other musical outreaches. By examining the likes of these various genres, we gain an insight into society's trends at the time the particular musical style was most popular. For example, the foundation of rock was strongly influenced by the Vietnam war, 'free love,' and a drug experimentation era. The paper shows that disco, rap, and techno are no exceptions. There were cultural situations that greatly increased the chances of these styles' success.
From the Paper "The entire movement revolved around a new way to dress, dance, talk and even walk. "The way they danced, dressed, walked, and talked was unique, as opposed to most of the disco artists and fans of the time, which were not as in touch with the urban streets of America." (Blow, Kurtis) Hip-hop represented the new generation of blacks suffering in urban poverty. The passion and truth generated were really cries for help and today those cries are being answered by middle class whites all trying to be as cool as the original B-Boys."
Abstract This paper looks at the current issues facing music artists in Australia. These include: DJs, copyright issues and intellectual property laws (file sharing, copying CDs ). The concerns of the current music industry are also addressed in response to these issues.
From the Paper "Copyright protection in Australia, and 'any other country which is also a party to an international copyright treaty', (www.law.gov.au) begins the moment the work is completed. Australia is a member of a number of international treaties and conventions including: Berne Convention for the Protection of Literary and Artistic Works (Berne Convention), World Trade Organisation Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS Agreement), International Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organisations (Rome Convention); and Convention for the Protection of Producers of Phonograms Against Unauthorized Duplication of their Phonograms (Geneva Phonograms Convention). (www.law.gov.au)"
Abstract This essay discusses the failings of radio and the rising dominance of iPod and internet radio.
It shows how mainstream radio has come to the conclusion that the so-called iPod generation is tuning out in preference of their portable, commercial free iPod. Some radio stations have started to replace the traditional DJ with programmers and machines.
From the Paper "After dumbing down their playlists, playing more commercials per hour than ever before, all but putting the kibosh on listener requests, and, at some stations, replacing DJs with programmers and machines, mainstream radio is suddenly coming to the revelation that the so-called iPod generation is tuning out, perhaps for good. With the advent of the ability to carry some 15,000 songs in your pocket at all times, it would have seemed obvious for radio, and the music industry at large, to have seen this coming quite some time ago. "
Abstract This paper analyzes the slang that reflects the evolution of Hip Hop from the 1950s to the present. In many ways, Hip Hop offered an outlet about the realities of African American culture under the oppression of a white hegemonic American society. The paper further discusses how by using the Disc Jockey (the DJ) to bring this message to the masses, the issue of black identity was made into a unique and constructive base for activism and political awareness.
From the Paper "This anthropological study will examine the evolution of language surrounding Hip Hop music in the African American culture. In many ways, the difference between earlier black slang and the present day use of the Hip Hop language are significant in how "Gangsta" culture defines a new evolution in youth communication. By analyzing the way that consumerist markets target this Gangsta culture, one can realize how language has developed within the African American community in relation to street behaviors and communicative tradition from the 1950s to the present. The early traditions from what would eventually become Hip Hop culture had evolved from the radio disc jockey movements of the 50s and 60s."
Abstract This paper takes a look at the genre of music known as 'Bastard Pop'. According to the paper, 'Bastard Pop' is not a formal musical categorization, but rather a common, colloquial term for music that is the result of a fusion of different musical styles or elements, often using several different types of songs that are combined into one, new song or style.
Contents:
Definition
Is it Stealing?
Recent History
Artists and Critics Sound Off on Bastard Pop
The Grey Album: Is it art?
Conclusion
From the Paper "In the 1990s, the phenomenon of downloadable music made the ability to fuse and combine genres even more accesible to everyday computer users and listeners, even young persons with only a PC in their bedrooms. Disc jockeys and then ordinary listeners could develop mixing techniques that turned first the record player, then the home computer into an instrument. Such technology-driven creativity gave birth to first such musical genres as disco, then to hip-hop and finally house and techno. "These innovations not only radically changed their immediate cultural and social contexts, but also served as templates for a variety of other musical practices around the world, so much so that contemporary popular music would be unthinkable without them." (Wehelive, 2004) Popular music, the argument goes, depends upon copying, and without such self-referential techniques, modern music would be much poorer."
Tags: original, DJ, copy, downloaders, technology, rap, artist
Abstract Rap Music has a great effect on our pop culture and race today. In fact, since the music of Elvis, various forms of music have pushed the limits of tolerance and decency in pop culture. According to some critics, rap has done this to an extent that cannot be disregarded in terms of social standards. This paper reviews the rap music genre, while also taking into consideration the impact it has on pop culture. The paper asserts that, while it is true that some rap artists have broken rules and norms not only in their music, but also in their lifestyles, it is also true that other rap musicians attempt to use their art for social uplift in pop culture.
From the Paper "During the 1920s, urban street jive was a form of speech developed in Chicago ("Getting"). According to some historians, this is the tradition at the root of rap music as it exists today. In its current form, rap music emerged in New York City, courtesy of a Jamaican immigrant, Clive Campbell, or DJ Kool Herc, as he is also known. During the 1970's, Campbell developed this art form by mixing music from two records on two separate turntables. The beat created in this manner was accompanied by Campbell speaking to match the rhythm of the music. The first hit in this genre was created by the Sugarhill Gang in 1979, and entitled "Rappers Delight.""
Abstract This paper explains that the post-civil rights and black power groups, who witnessed so many radical social changes, provided the attitude and style that gave birth to Hip-Hop. The author points out that MCs (emcees), DJs (deejays), break dancing and graffiti art are considered to be the roots of the movement that empowered urban youths to use music, dance and other forms of artistic expression to describe life as they saw it. The paper stresses that, when listening to today's Hip-Hop and R&B, it is important to remember that many artists from the 1990s, who are still around, do not consider today's Hip-Hip as "tru Hip-Hop".
Table of Contents:
What is Hip-Hop?
Roots of Hip-Hop Culture
Creativity
Bling-Bling?
Wrapping It Up
From the Paper "Depending on who was the first to be commercialized, one thing that will always be argued is that once Hip-Hop was made into a commodity it needed to be mass-produced. From the top, Hip-Hop artists would sign onto independent labels only because the owners were willing to take a risk. No major record label wanted to sign an artist who could only reach a certain group or community and when signing an artist, companies want to make sure that the artist would be able to sell records to all of America and not just the inner city suburbs."
