Miley Cyrus Rhetorical Devices

Just My Two Cents In her book, The Curious Feminist, Cynthia Enloe argues that inner-city boys who aspire to become professional basketball players are convinced that certain brands of shoes will make them better players . She does not substantiate this claim by evidence that shows the presence of this strong belief as well as the reasons behind it. Henceforth I recommend Enloe to support her claim by analyzing this conviction from the amateur basketball players’, the corporate world’s, the professional basketball player's point of view. First, Enloe should conduct a survey in all the inner-city high schools with a good basketball team. This survey will assess whether high school basketball players believe that brand-name shoes give them an extra advantage over their opponents during their game.

Music is part of everyday life and serves as the center of many cultures across the world. Music brings out the best parts of a movie, a car ride, or even a special event. The purpose of music varies from artist to artist and different cultures. Every piece of music carries a unique message, but a song, in particular, carries meaning. “Runaway Love” by Ludacris, featuring Mary J. Blige, exploits the struggles of young girls by using rhetorical techniques, such as pathos, ethos, logos, tone, and visual rhetoric throughout the music video to raise national awareness about youth runaways.

Transcendentalism has 5 basic values which are confidence, self-reliance, free thought, nature and nonconformity. “Stronger” by Kelly Clarkson is a song that reflected transcendentalist values. The song embodies self-reliance and confidence as a transcendental thought. In this song Clarkson teaches the people that they must have self-confidence and must rely on themselves in order to be stronger. Kelly Clarkson explains the message of the song that even if somebody feels defeated, he/she has to have a potential and confidence to get back up on his/her foot because the problem that he/she is facing didn’t kill them in fact it made them stronger.

These men are forced to prostitute their wonderful musical talents for mere pocket change and pats on their backs” (79). Levee attempts to put his power on display by trying to put down others so that he can feel good about himself. When Levee’s recording session starts, he decides to show up late. Furthermore, he attempts to be flashy by purchasing a new pair of shoes that he puts on. The shoes are a symbol of power for Level. Levee was able to by the shoes with his own money and pick them out on is own accord. This works to give Levee a sense of individualism. Levee refers to his shoes with a feeling a pride because they belong to him and no one can take that away from him. While the other men believe that Levee’s shoes are flamboyant and excessive, Levee does not care because they make him feel good about himself. Levee puts his shoes on and says, “Yeah! Now I’m ready! I can play some good music now!” (Ma Rainey’s Black Bottom 24). In a way, the shoes are like armor for Levee, they work to protect him against those who do not which to see him prosper. The other band members don’t care about Levee’s shoes. One member, Slow Drag even steps on his shoes and does not really care that he does. However, for Levee

Has it ever occurred to you that this generation tries to search for the next best thing? Is it like a business man try to look for the next best thing that everyone is buying? I mean if other people do it and there perfectly fine doing it we assume that we could do it and we think we will be just fine as well. Take those examples and try to use it with music. Do you think that what we listen to can affect us in any way or not? Maybe and maybe not, but some of us tend to get influenced by what they put into their heads. Not everything that we see or do can import negative thought or feelings, but listening is a part of that category as well. Therefore, what these artists are trying to do is trying to use a rhetorical device to tell us that

People walk around with cameras strapped to their heads or chest, videotaping their entire lives and posting it for the world to see, as they truly believe their own life is so significant that the entire universe should stop living their own lives and take the time to watch, comment, like and subscribe to their life instead of the viewer living their own lives. The music industry has even taken a turn towards encouraging narcissism. Lyrics have drastically changed from generation to generation, specifically Generation Z’s music lyrics contain “ “I” and “me”...more frequently along with anger-related words, while...a...decline in “we” and “us”and the expression of positive emotions” (Tierney). The music society listens to, the images they view daily, and the readily available ways to change appearance

Encyclopedia Britannica defines music as, “art concerned with combining vocal or instrumental sounds for beauty of form or emotional expression, usually according to cultural standards of rhythm, melody, and, in most Western music, harmony”. Music was considered beautiful at one time. Musical artist in this day and age put their drive to succeed strongly before their personal morals. The explicit language warnings on music covers are not enough. The foul language usage in music remains not the only concept that continues influencing the younger generation. Pop, country, R&B, and rap music continues having an immense impact on influencing the American youth. The biggest factor of these music

When people think of popular music they think of party beats created for pure entertainment and nothing more. People do not see this genre of music as capable of anything else. The stigma of popular music only being a form of amusement for the mass consumer is challenged when artists use music to attract attention to social issues. This paper intends to show how music like Raï challenge the thought that popular music is only for entertainment.

The Demographic Imperative is crucial for intercultural competence seen from the recent mistakes of an uneducated spokesman, Miley Cyrus. From her last racy performance to this year’s racist lingo and attire, Cyrus demonstrated a perfect example of the horrible ignorance to the demographics of an audience. Increasing in diversity, the demographics of the United States have changed dramatically over the past few decades; “The U.S. population is now more than 308 million, of which 62.3 percent are European American, 16.3 percent are Latino, 12.6 percent are African American, 4.8 percent are Asian American, and 1.1 percent are Native American. About 2.9 percent of people identify themselves as belonging to two or more cultural groups. (Intercultural

For my rhetorical analysis of a set of texts, I’ve decided to analyze three music videos from three different female-fronted rock groups. The videos I’ve chosen include Hey Monday’s “I Don’t Wanna Dance,” PVRIS’s “My House,” New Years Day’s “Defame Me,” and In This Moment’s “Big Bad Wolf.” These songs span a variety of rock sub-genres, all of which have their own innate conventions. In this analysis, I’ll discuss these conventions and how each video conformed or did not conform to them. I’ll also discuss how each band knew their audience and used it to their advantage.

Stardom, as a social phenomenon, has strong impacts on the society and its people. Stardom is firstly associated with the Hollywood film system, but now it appears in all areas, predominantly in sports, television industry and popular music industry. Shuker (2012) defines stardom in popular music as it is “about illusion and appeal to the fantasies of the audience” and is “about talent and creativity” as well. Without overlooking the commercial profits that it evidently generates, at the same time, it brings benefits and detriments to both the artists and the influenced crowd. In this essay, I will be arguing that stardom is not simply an economic process that brings revenue and fame to the

It is clear that the hip hop culture plays a huge role in the lives of many people. It has influenced the way people dress, the way they talk, and the way they act. Unfortunately, many big corporations have taken advantage of this and commercialized rap music in order to gain a profit (Blair, 497). Commercialization is a very complex topic; however, it is important to understand. This is because of the fact that when something becomes widely known, such a hip hop and rap have, it is vulnerable to change (Phillips, paragraph 9). An example of this is when author Nicole Phillips states, “Hip-hop became more about edge and less about the content of the message. It became about sales….” (Phillips, paragraph 9). Therefore, in order to prevent any further change, one needs to understand commercialization and how it works. This paper is going to explore the complexities and nuances of commercialization of the hip hop culture. In order to do this, this paper will consider what commercialization of hip hop culture entails. This paper will also discuss how Elizabeth Blair, author of “Commercialization of the Rap Music Subculture,” conceptualized commercialization, as well as how she discusses the situation in general. After discussing these topics, the paper will move on to discussing cultural appropriation. This discussion will include how authors describe cultural appropriation, and a debate regarding this topic.

The feel-good essence of a lot of commercial pop music has the outcome of concealing the reality of structural where a people may not be treated as equals around the world (McKay, 2000, p.2). Therefore, commercial pop music has the triple socialising effect of having listeners forget the environment that they live in, having them believe there is validity in commercial power, and of muting people by mass-producing blaring, fused type of pop music while censoring others. This is concerning since the increasing variety of media controlled by the same corporations. An argument to this is that this feel-good aspect can help consumers feel, that they have escaped the conditions they live in. (McKay, 2000,

Let's take rap. Some kids who like rap talk like rappers, dress like rappers, eat like rappers, and treat women like rappers treat women. Is it because they're influenced by what they see on TV or hear on their favourite rap artist's album?” Glen Chiacchieri makes it clear that there are many aspects of culture that are dependent on Music, and that music has been, and that the way people lived there lives are affected by music and popular culture.

Popular music is often one of the best lenses we have through which to view our own cultural orientation. Many of the artistic and experimental shifts in popular music have mirrored changes in our own society. For instance, the emergence of Elvis Presley as a public figure would signal the start of a sexual revolution and the growth in visibility of a rebellious youth culture. Similarly, the folk and psychedelic music of the 1960s was closely entangled with the Civil Rights, anti-war and social protest movements. In this regard, we can view popular music as an artifact through which to better understand the time and place in which it is produced. In light of this, the state of popular music today may suggest troubling things about our society.