The More You Know: Media and Power

Case Studies from UW Bothell Media & Communication Studies

Music and Marketing Suggested Reading List

Kyle:

AllHipHop. “Ice-T Gets Deep Into Politics, Trump, Obama & Stupid Americans.” Exclusive Hip Hop News, Interviews, Rumors, Rap & Music Videos | Allhiphop. N.p., 17 Dec. 2015. Web. 06 Mar. 2017.

Best, Xavier. “Immortal Technique: A Revolutionary Artist Fusing the Lyrical & the Political.” MEDIA ROOTS- Reporting From Outside Party Lines. N.p., 5 June 2014. Web. 07 Mar. 2017.

Berry, Venise, and Tricia Rose. “Black Noise: Rap Music and Black Culture in Cpntemporary America.” American Music 14.2 (1996): 231. Web. 7 Mar. 2017

Mukhopadyhay, Samhita. “How Political Was N.W.A, Really?” TPM. N.p., 31 Aug. 2015. Web. 08 Mar. 2017

Peezydakid. “12 Notable Rap Lyrics Aimed at Politicians.” The Boombox. N.P., 02 Nov. 2015. Web. 08 Mar. 2017.

Rabin, Nathan. “1991 Found Hip-Hop in Transition, with 2Pac Leading the Way to the Future.” The A.V. Club N.p., 21 Aug. 2012. Web. 08 Mar. 2017

Kelly, Lauren Leigh. “Hip Hop Literature: The Politics, Poetics, and Power of Hip-Hop in the English Classroom.” The English Journal 102.5 (2013): 51-56. JSTOR. Web. 08 Mar. 2017

Desta, Yohana. “A Tribe Called Quest Saw Donald Trump Coming.” Vanity Fair. Vanity Fair. 10 Nov. 2016. Web. 06 Mar. 2017.

 

Kyle Annotated Bibliography:

Desta, Yohana. “A Tribe Called Quest Saw Donald Trump Coming.” Vanity Fair. Vanity Fair. 10 Nov. 2016. Web. 06 Mar. 2017.

The article discusses the politics that are expressed within hip hop, and within expression of personal ideas and opinions of the current political dilemma that is the Donald Trump extravaganza. It uses the famous group A Tribe Called Quest as an example of how marketing politics through music is developed and how they take a political stance on current events. Furthermore, this article is useful for my case study because it is a prime example of rap music tackling a strategic approach to expand the people’s voice and exemplify a thought and to promote a mindful opinion of politics. This article is one of many examples presented to show

Kelly, Lauren Leigh. “Hip Hop Literature: The Politics, Poetics, and Power of Hip-Hop in the English Classroom.” The English Journal 102.5 (2013): 51-56. JSTOR. Web. 08 Mar. 2017

This article discusses and summarizes the importance of hip hop culture in literary studies, as well as its input and assertion into educational studies to educate the youth and provide them with an in depth look into not only a culture of life and people, but also an avenue and a medium to voice their stance and to project ideas and lifestyles through the hip hop culture. This is important for my case study because it not only represents my message, but it also exposes the significance of what the culture of hip hop, and within hip hop, rap music brings to the awareness of one’s life. It creates a voice and a platform for a political stance that is free within one’s speech.

Preston:

“Why racism haunts Macklemore’s Grammy victory over Kendrick Lamar.” Rolling Out. N.p., 27 Jan. 2014. Web. 13 Mar. 2017.

“White Rappers and Hip-Hop’s Race Problem.” Rap Rehab. N.p., 27 May 2016. Web. 13 Mar. 2017.

Preezydakid. “What It Means to Be White in Hip-Hop in 2015.” The Boombox. N.p., 25 Nov. 2015. Web. 13 Mar. 2017.

Williams, Stereo. “Too Many White Hip-Hop Fans Don’t Give a Shit About Black People.” The Daily Beast. The Daily Beast Company, 02 May 2015. Web. 13 Mar. 2017.

“The Politics of Race in Rap.” Harvard Political Review. N.p., 05 Nov. 2015. Web. 13 Mar. 2017.

Scholarly Journal Annotated –

http://journals.sagepub.com/doi/abs/10.1177/030639689303500105?journalCode=racb

Lusane, Clarence. “Rap, race and politics.” Race & Class 35.1 (1993): 41-56. Web.

This article is an examination of how rap and race are constructed through the politics of music. Lusane goes in depth on the meaning of hip hop and how it became powerful through its political messages. Following the struggles of many young black men in america, it represents the social class inequality through race that has given hip hop such a strong following. The reason that black men have been represented this way is due to the skilled ad agencies and record producers that provide an image for these labels.

Rachel E., Sullivan. “Rap and Race: It’s Got a Nice Beat, but What about the Message?” JOURNAL OF BLACK STUDIES (2003): 1-18. Web.

This particular article is an examination of how rap is interpreted differently through race. How white vs. black races perceive and value rap/ hip hop. It is also a study with trials demonstrating the effects that rap has on white vs. black ethnicities. The article covers the commitment and meaning that rap provides for each race and what it does for the general society over time.

 

Bre:

“Why Every Marketer Should Know the Story of Kendrick Lamar.” Why Every Marketer Should Know The Story Of Kendrick Lamar. Deep Advantage, 15 Dec. 2016. Web. 08 Mar. 2017.

Sullivan, Rachel E. “Rap and Race: It’s Got a Nice Beat, but What about the Message?” Journal of Black Studies, vol. 33, no. 5, 2003, pp. 605–622., http://www.jstor.org/stable/3180978.

Journal of Public Policy & Marketing

Vol. 13, No. 1 (Spring, 1994), pp. 108-114

This article explains and defines social marketing. The term alludes to striving to achieve something good within a certain group of people and benefit individuals or families in a given society. The problem with this seemingly beneficial mode of marketing is that in some respects, may be for the purpose of acclaiming to social justice, however can be applied by marketing organizations themselves. All in all, defining this term can help to understand the influence of marketeers and help to dissect agendas of advertising and marketing agencies alike.

1. VIDEO: Hall, S. (1997). Representation and the Media. Media Education Foundation.

  Annotation:

Stuart Hall explains the work of representation that is being conducted and perpetuated through visual imagery in the media. Representation itself does not allude to an authentic nor all-inclusive form. Rather, it is the way in which something is given meaning by the way it is portrayed as a “stand-in”. Through visual representations of certain groups of people depicted in the media, society is conditioned by these signs and create discourse. Concluding, dominant ideologies are made influential by the media.

 

Derrick:

http://www.billboard.com/biz/articles/news/indies/1560132/how-20-year-old-chance-the-rapper-has-nearly-every-major-label

https://en.wikipedia.org/wiki/Mainstream_mediahttp://www.therichest.com/expensive-lifestyle/entertainment/10-best-hip-hop-record-labels-of-all-time/

http://www.npr.org/2011/11/01/141910346/j-cole-an-upstart-rapper-speaks-for-himself

http://eds.b.ebscohost.com/ehost/resultsadvanced?sid=2b5e3f0b-6b55-46d6-8f01-dd5b8f4fd889%40sessionmgr120&vid=3&hid=120&bquery=(hip+hop+culture)+AND+(politics)&bdata=JmRiPWE5aCZ0eXBlPTEmc2l0ZT1laG9zdC1saXZl

https://www.forbes.com/sites/ogdenpayne/2016/05/30/three-marketing-takeaways-from-chance-the-rappers-coloring-book-roll-out/#63e07293e5e1

Scholarly Annotations:

Croteau, David, and William Hoynes. The business of media: corporate media and the public interest. Thousand Oaks: Pine Forge Press, 2007. Print.

David Croteau discusses the framework of better understanding media through the concept of the market model. Society has limitations to the media market model but cannot be confined by profitability alone. He mentions the advantages of markets through the market model and promotes responsiveness, efficiency, flexibility, innovation, competition, and monopolies. He also brings up the public sphere model which combats the market model because it gives its full rights advantages to the citizens rather than sufficiently containing unregulated markets.

Salaam, Mtume ya. “The Aesthetics of Rap.” African American Review, vol. 29, no. 2, 1995, pp. 303–315., http://www.jstor.org/stable/3042309

Mtume Salaam mentions the importance of the aesthetics of rap and suggests its contrast against its social aspect of its stereotyped criminal element. In the beginning, Salaam mentions the history of how significant major record labels were to begin a rapper’s career. In its early stages, he mentions that rap music began to be incorporated to labels in order to see the potential commercial direction rather than seeing artists for their artistic integrity or genuine characteristic. Rap labels were first signed on independent labels whom in general at the time, did not sign smaller rap artists or “inferior” artists because they had a much smaller margin for error than major record labels. He continues on to explain how labels were relevant in the success of an upcoming artist and what made rap flourish.

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