MEST4 Xmas Task #2

Laughey,Dan,(2009),Media Studies Theories and Approaches, Herts, Kamara Books. :

"The media industries are ideal for testing out consumer power. What the media produce are not necessities we need to consume but forms of information and entertainment we may desire to experience". pg. 46

"In a fiercely competitive media environment, broadcasters and other producers desperately vie for our attention". pg.47

"Exponents of consumer power claim that audeinces pay little attention to ads and are certainly not manipulated into buying products advertised at them". pg. 47

O'Sullivan, Tim, (1997), Media Studies Reader, London, Arnold.. :

"Consumerism, moreover, by its very nature is seen to encourage an anarchic individualism which runs riot with possibilities for solid and stable indentities". pg.432

Strinati, Dominic, (2000), An Introduction To Studying Popular Culture, Routledge, London.:

"Consumerism treats the viewer or listner as a consumer, as someone who is there to buy the services and goods produced". pg.154

Creerer, Glen, (2001), The Television Genre Book, British Film Institute, London. :

"MTV seems to be a perfect example of postmodernism: the material it broadcasts appear to be shallow, based around commodity images with no 'message' except the injunction to buy". pg.178

Bignell, Jonathan, (2001), An Introduction to Television Studies, Routledge, New York. :

The visual aspect has always been tied closely to fashion, and the role of singers influencing youth consumer choices has been central way for pop musicians to differentiate their products in a very competitive market". pg.89

Rayner, Phillip, (2001), The Essential Introduction, Routledge, London.:

"Certainly much current thinking in the pop music business would suggest that a hit single is not going to be possible without a video to accompany it. And the video has to do far more than simply act as a vehicle for the song. It is now vitally important for the video to make some kind of impact." pg. 268

Casey,Bernadette, (2002), Television Studies, The Key Concept, Routledge, London.:
"Given the overtly commercial origins of music video, a good deal of the critical literature on it has focused on the notion of commercialisation and the commodification of culture." pg. 136

"Lewis' feminist approach to analysing music video work is useful in that she highlights how music video brings together two cultural forms which have a history of objectifying women - television and rock music". pg. 137

"Most theorists have tended to treat music videos as self contained tests, and have ignored the commericial and industrial dimensions of the form." pg. 137-138.

MEST 4 Xmas Task #3

"Black Steel in the Hour of Chaos" is a song by the American Hip-Hop group Public Enemy from their second album, 'It takes a nation of millions to hold us back'.The lyrics deal with a fictional story of an escape from a US prison. Chuck has been drafted ("I got a letter from the government, the other day / I opened and read it, it said they were suckers / they wanted me for their army or whatever"); however, he refuses to become part of the army ("Picture me giving a damn / I said 'never!'"). The main idea behind this is that the war is wrong, with a hint of pure indignation towards the treatment of Black people by other parts of American society ("here's a land that never gave a damn about a brother like me"). This serves to both criticize racism and the prison system ("Four of us packed in a cell like slaves").

Chuck is then taken to prison, from which he attempts to escape. "Black Steel" is a reference to a gun, which he needs to escape. By the end of the second verse, Chuck has taken a gun from a C.O. (corrections officer) who was "fallin' asleep." ("But ever when I catch a C.O. / Sleeping on the job/My plan is on go-ahead.)

With gun in hand, Chuck and the other prisoners escape "to the ghetto - no sell out." Chuck then comments on how there are 6 C.O.s who he "ought to put their head out." He does not, at first ("But I'll give 'em a chance 'cause I'm civilized"), but after a female tries to thwart the escape she is shot, ("Got a woman C.O. to call me a 'copter / She tried to get away, and I popped her"), presumably dead ("I had 6 C.O.s, now it's 5 to go").

The final verse ends with Chuck and the rest of the prisoners on their final escape. They are confronted with shots and there is a state of chaos. Chuck makes a comment about prison and racism ("This is what I mean—an anti-nigger machine"), which later became the basis for another Public Enemy song, "Anti-****** Machine" (featured on the 1990 album, Fear of a Black Planet). Finally, he is rescued. The song ends with the line "53 brothers on the run, and we are gone" indicating a successful prison escape. (However, in the video for the song, this line accompanies the image of Chuck D being hanged by the triumphant warden of the prison.)

MEST 4 Xmas Task #1

The title of my critical investigation is, "An investigation into the idealisation of consumerism and materialism in Hip-Hop music videos". As a result, I have decided to use Hip-Hop artist Soulja Boy's, "Turn my Swag On", music video as a re-occuring example which can be referred back to in order to support the points that I make. 'Soulja Boy' is an emerging artist in the Hip-Hop music scene which has himself been criticized in recent times for glamorising consumerism and materialism in his music videos.

The music video follows a linear narrative with the non digetic sound of the song obviously playing contstantly throughout the music video. The institution which has distributed the music video has not been named. At the beginning of the music video the camera enters Soulja Boy's bedroom and using a panning shot the audience are exposed to a wide variety of Hip-Hop music magazines in which the rapper has featured on the title page (such as 'The Source'). This allows him to boast of his popularity and importance in the music industry to the audience who are most probably teenagers or young adults as stereotypically Hip-Hop fans tend to be. Furthermore, a close up shot of Soulja Boy is shown in which he emphasises "I'm gettin' money!" and then goes on to blow his nose with a couple of dollars. This leads the audience to believe that the rapper truely has no respect for money as he is happy to do such things with it. Various similar close up shots of this kind are given great importance as the music video escaltes (such as the rapper dancing in a whirl wind of cash , chucking dollars at the camera and sleeping in a pile of money). Next, with the use of a tracking shot, the camera follows the rapper into his closet in which a very brief 2 second shot is shown of him changing into his simple clothing. On the contrary a rather prolongued 6 second close up shot illustrates the amount of jewellery Soulja Boy has as he proceeds to spoil himself with wearing 6 golden chains. This shot not only highlights the amount of money he has but idealises his infatuation with material possessions and the idea of consumerism. The connotations of this shot suggest that the rapper regards material possessions (such as jewellery) to be of a higher importance than basic neccessities (such as clothing) which underlines his negative values. Towards the end of the music video Soulja Boy can be seen riding around on a children's scooter which can be observed as a representation of his youth. This has probably been implemented within the text so that the audience recognize Soulja Boy has been successful at such an early age allowing him another chance to boast (18 - during the time the video was shot). The media effect this could have on the audience is that it may make them want to immitate Soulja Boy as they would be of a similar age and visualize themselves in his place. The would enforce the idea of catharsis and vicarous living into the way in which the audience would consume the text.

It is disputable as to whether or not the content being put forth within the music video (or any music video which promotes consumerism and materialism) is a true reflection of the way in which the artist (in this case Soulja Boy) lives their life or not. Soulja Boy's music video shares similar content to that of many new Hip-Hop music videos whether they be released by new or existing artists - Lil Wayne - "Got money", 50 Cent - "I get money" and Jay-Z - "Roc Boys", but to name a few. What isn't disputable though is the fact that the new Hip-Hop music being released does not reflect the society which it has originally been formed to cater to (the African American youth). It is obvious that the content does not mirror the daily lives of the African American youth (as not all African American youths are millionaire rapstars), though it is unclear as to whether or not the content is an accurate representation of what the African American youth aspire to be like or just a stereotype. From this we can tell that Hip-Hop music has evolved overtime and that artists no longer focuses upon the concerns of the African American communities of which they once were a part of such as poverty, a poor education and drugs (which made the music more political). Instead the music now has become more about what the artist has, rather than what the artist doesn't have, and within this has given birth to the idea of advertising within music videos giving them a completley different level of importance. It can be said that now major institutions somewhat rely upon music videos to advertise their products or services. Such is the case within Soulja Boy's, "Turn my Swag On", in which he overtly and covertly advertises institutions such as Apple, 'The Source', Xbox 360 and 'GTA 4' but to name a few.

There are a few theories which would be appropriate to use within my critical investigation. One of if not the most important of those theories would be 'marxism'. This is due to the fact that this theory suggests the idea that the society is dominated by capitalist structures which maintain the hegenomy of the ruling class and lead to the exlploitation of the working class. Other significant useful theories would include 'pluralism', 'audience theory' and 'postmodernism'.

Quotes for Coursework from the internet

1.) "The modern promotion of consumerism in hip hop culture is a far cry from hip hop’s original intentions."

http://209.85.229.132/search?q=cache:UBTAoNdRwqgJ:cue.ru.ac.za/music/2009/hip-hop-activism-consumerism.html+consumerism+hip+hop+music+videos&cd=7&hl=en&ct=clnk&gl=uk&client=firefox-a

2.) "The only topics discussed are “bling-bling” materialism, how many guns you have, and ‘ho’s.’”

http://209.85.229.132/search?q=cache:O9EiPmdG2ecJ:www.newcommave.com/node/275+consumerism+hip+hop+music+videos&cd=12&hl=en&ct=clnk&gl=uk&client=firefox-a

3.) "Let's face it: many rap songs celebrate, if not downright glorify, materialism. To signify baller status, you're encouraged to have a "Rollie" on your arm like Snoop Dogg, "cashmere thoughts" like Jay-Z, and "mustard & mayonnaise" like E-40. Otherwise, as Too $hort might say, you's a "broke biatch.""

http://209.85.229.132/search?q=cache:zwN6Cr5EX8oJ:www.eastbayexpress.com/eastbay/is-hip-hop-too-materialistic/Content%3Foid%3D1090155+consumerism+hip+hop+music+videos&cd=18&hl=en&ct=clnk&gl=uk&client=firefox-a

4.) "The Hypodermic Needle model would have us believe that music with such a message (materialism at any expense) would motivate the masses to put consumerism at the centre of their worlds, with little or no regard to the rest of society. "

http://209.85.229.132/search?q=cache:tvUkM45F-YoJ:musicouch.com/musicouching/mainstream-music-effect-on-popular-culture/+consumerism+hip+hop+music+videos&cd=35&hl=en&ct=clnk&gl=uk&client=firefox-a

5.) "there exists a spectacularly symbiotic relationship between the dictates of the street code and an energetic American consumerism."

http://findarticles.com/p/articles/mi_qa3669/is_199704/ai_n8760647/pg_9/?tag=content;col1

6.) "Nas was clearly referring to Hip Hop music being killed by American commercialization and heartless consumerism."

http://209.85.229.132/search?q=cache:eHXuB_up7QEJ:oldschoolscholar.com/real-hip-hop-in-africa-senegal-rocks-to-the-breaka-dawn/+consumerism+hip+hop+music+videos&cd=51&hl=en&ct=clnk&gl=uk&client=firefox-a

7.) "Mass consumerism creates a false sense of helping an
individual find a unique identity."

http://209.85.229.132/search?q=cache:K-lQFeY3UvsJ:mpelembe.blogware.com/blog/_archives/2007/10/31/3325056.html+consumerism+hip+hop+music+videos&cd=72&hl=en&ct=clnk&gl=uk&client=firefox-a

8.) "Tim Fite has pursued a solo carrier. His 2006 hip-hop album entitled "Over the Counter Culture" is probably the most critically acclaimed of his albums. His witty and straightforward lyrics criticizing the modern culture of consumerism and greed won him many new fans."

http://209.85.229.132/search?q=cache:SSjrbwqpQW8J:www.frostclick.com/wp/%3Fp%3D2270+consumerism+hip+hop+music+videos&cd=107&hl=en&ct=clnk&gl=uk&client=firefox-a

9.) "My son loves hip-hop, and I can't even let him watch videos because of how the women are portrayed. I refuse to have a son who does not respect women. The other thing I can't stand is the consumerism and the lack of balance in content. Both of those bring us down as a community as opposed to building us up."

http://209.85.229.132/search?q=cache:mGoW51lwg1UJ:www.wiretapmag.org/arts/43305/+consumerism+hip+hop+music+videos&cd=111&hl=en&ct=clnk&gl=uk&client=firefox-a

10.) "Back in the day, Run-DMC’s mega-hit My Adidas promoted consumerism as a form of rebellion. More recently, however, as savvy teens lose interest in traditional forms of advertising, product placement in lyrics and music videos has become big, big business for manufacturers and rappers alike."

http://209.85.229.132/search?q=cache:VKONTxUTbCsJ:www.films.com/id/15116/Rhyme_Pays_Hip-Hop_and_the_Marketing_of_Cool.htm+consumerism+hip+hop+music+videos&cd=148&hl=en&ct=clnk&gl=uk&client=firefox-a

My Critical Investigation Title

'An investigation into the idealisation of consumerism and materialism in Hip-Hop music videos'

Quotes for Coursework

Laughey,Dan,(2009),Media Studies Theories and Approaches, Herts, Kamara Books. :

"The media industries are ideal for testing out consumer power. What the media produce are not necessities we need to consume but forms of information and entertainment we may desire to experience". pg. 46

"In a fiercely competitive media environment, broadcasters and other producers desperately vie for our attention". pg.47

"Exponents of consumer power claim that audeinces pay little attention to ads and are certainly not manipulated into buying products advertised at them". pg. 47

O'Sullivan, Tim, (1997), Media Studies Reader, London, Arnold.. :

"Consumerism, moreover, by its very nature is seen to encourage an anarchic individualism which runs riot with possibilities for solid and stable indentities". pg.432

Strinati, Dominic, (2000), An Introduction To Studying Popular Culture, Routledge, London.:

"Consumerism treats the viewer or listner as a consumer, as someone who is there to buy the services and goods produced". pg.154

Creerer, Glen, (2001), The Television Genre Book, British Film Institute, London. :

"MTV seems to be a perfect example of postmodernism: the material it broadcasts appear to be shallow, based around commodity images with no 'message' except the injunction to buy". pg.178

Bignell, Jonathan, (2001), An Introduction to Television Studies, Routledge, New York. :

The visual aspect has always been tied closely to fashion, and the role of singers influencing youth consumer choices has been central way for pop musicians to differentiate their products in a very competitive market". pg.89

Rayner, Phillip, (2001), The Essential Introduction, Routledge, London.:

"Certainly much current thinking in the pop music business would suggest that a hit single is not going to be possible without a video to accompany it. And the video has to do far more than simply act as a vehicle for the song. It is now vitally important for the video to make some kind of impact." pg. 268

Casey,Bernadette, (2002), Television Studies, The Key Concept, Routledge, London.:
"Given the overtly commercial origins of music video, a good deal of the critical literature on it has focused on the notion of commercialisation and the commodification of culture." pg. 136

"Lewis' feminist approach to analysing music video work is useful in that she highlights how music video brings together two cultural forms which have a history of objectifying women - television and rock music". pg. 137

"Most theorists have tended to treat music videos as self contained tests, and have ignored the commericial and industrial dimensions of the form." pg. 137-138.

Selina stokes a diversity debate that needs addressing

It will come as a surprise to few but a delight to many that Selina Scott is suing Five over ageism in its refusal to hire her for a maternity cover role and choice of younger presenters instead. It is a delight not because Five is worse than anyone else in this respect, but because it stokes a debate which urgently needs to be taken more seriously. Casual sexism, ageism and racism are the collective dirty secret of the vast majority of media institutions, and they represent as much of an industrial challenge as they do a moral one.

The Equality and Human Rights Commission's Report on Sex and Power, published last week, drew a depressing picture for women in the workplace. In general the progression of women at the highest level in the workplace is pitiful and the media are no exception: only 13.6% of national newspaper editors (including the Herald and Western Mail) are women; only 10% of media FTSE's 350 companies have women at the helm; and at the BBC, which has often been held as an exemplar of diversity, women make up less than 30% of most senior management positions. It puts into context Jeremy Paxman's deranged rant about the white male in television. Ethnic minority representation is even worse.

A couple of weeks ago Pat Younge, former BBC head of sports programmes and planning who left to work for Discovery in the US, caused a stir at the MediaGuardian Edinburgh International TV Festival by saying that diversity targets should be like financial targets - you don't hit them, you get fired. I have to say that as board champion for diversity at Guardian News and Media I would currently be firing myself and most of the board for some missed targets. But Younge is right - because diversity targets are not just a feelgood add-on, they are vital to the health of any media business. The temptation to hire in one's own image for most managers is as irresistible as it is subliminal - which is why there are a lot of opinionated women working in digital management at the Guardian, and why we all need targets to remind us to look beyond the mirror.

On screen, any number of unconventional-looking ageing blokes (Jeremy Clarkson, Jonathan Ross, Chris Moyles, Alan Sugar, Adrian Chiles, Jeremy Paxman, Simon Cowell, Piers Morgan) are paid at a top rate for the talent they possess beyond their appearance. For women it is an altogether different story - appearance and age are clearly factors in choosing female presenters in a way that they aren't for men.

The media should be deeply concerned about this un-diversity - not because it represents moral turpitude on our part, but because it represents bloody awful business sense. What is happening to the UK population at the moment? It is ethnically diversifying, and it is ageing. It is also the case that it is, as of the 2001 Census, marginally more female than it is male. And we live longer - so older women, and non-white potential audiences are on the rise. In London, the major urban conurbation and key market for so many media brands, the population is around 37% ethnically diverse, yet this is nowhere near reflected in the management structures of media companies. Or indeed in their on-screen or in-paper representation.

How though, can you hope to address audiences for which you have no instinctive feel, and towards which you show casual discrimination? We are all in danger of becoming irrelevant to the changing demographics of our target audience at a time when holding any kind of audience is key to survival. If white men are so good at solving business problems - and given that they represent well over 80% of FTSE 100 directors we can speculate that this is a skill they must possess in measure - then I'm surprised they haven't grasped this one already.