Stigma Of Popular Music

Music has a dynamic ability of influencing emotions, from mood regulation to rumination and self-expression. The presence of political and social messages in popular music is frequently seen across cultures, in particular focusing on social issues and racism (Back, 2000, 127). This paper attempted to explore the political and social messages in popular music, more specifically it investigated the relationship between Soul music and civil rights movements in the United States.

Music is an art form and source of power. Many forms of music reflect culture and society, as well as, containing political content and social message. Music as social change has been highlighted throughout the 20th century. In the 1960s the United States saw political and socially oriented folk music discussing the Vietnam War and other social issues. In Jamaica during the 1970s and 1980s reggae developed out of the Ghetto’s of Trench town and expressed the social unrest of the poor and the need to over-through the oppressors. The 1980’s brought the newest development in social and political music, the emergence of hip-hop and rap. This urban musical art form that was developed in New

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,

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.

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.

In cultures all over the world, music can be seen encompassing many aspects of life for many individuals. It is a form of mass communication that"speaks directly to society as a cultural form", and often reflects a collection and pattern of personal experiences (King 19). Music is so influential because it communicates on three different levels: the physical, emotional, and cognitive. Not only does it operate in a nondiscursive way, by affecting the physiological mode of the body, causing one to move and dance, but it also encourages one to think. This paper will explore music as a form of protest; showing how a political message, in general form, is presented through music.

“I want kids of this generation to see that everything is cool, that there 's some kind of unity in hip-hop. We all found something that 's really important to us, and music is all we 've really got” – Missy Elliot. Hip-Hop is a cultural movement and popular genre of music that emerged during the early 1970 's by working class Black youths in New York City. The cultural movement has rapidly expanded across different countries and ethnicities over the years, becoming one of the few markers that define a generation. Hip-Hop can be seen as “the fundamental matrix of self-expression for this whole generation” (Katz & Smith, 1993). Through music, itself, artists can express their feelings towards different events or social changes that they’ve see or have experienced in their lives. According to Frith (1986), this perspective towards writing music is similar to Mooney’s argument that popular song lyrics is a reflection of what’s missing or needed at their time, giving us a trace of America’s ‘mood’ throughout history. In return, music artists captivate the minds of people among various backgrounds who use these relatable music lyrics as a source of empowerment or as an expression of their own thoughts. While some music artists create music to uplift their audience by giving them a sense of freedom, other artists create music that separates their audience by dehumanizing one group and giving power to the other.

While many may argue that the rise of hip-hop is a major triumph, Questlove worries that by becoming so pervasive, the genre has, to a certain degree, become “invisible.” Instead of serving as “resistance to mainstream culture,” he believes hip-hop is now “part of the sullen dominant.” Questlove further laments that nowadays hip-hop is not as much a form of protest art; it has been marginalized, and its themes have been narrowed into ideas “mostly about [artists’] own victories and the victory of their genre.” Countless critics have made this same complaint—that hip-hop music is largely dedicated to lyrics about women, money, and fame.

Music, “…one of the most widely used and appealing forms of communication…”, is universal and used for different purposes (Root, 2005, p. 7). Among the uses are “…play or entertainment, which humans of all ages engage in to stimulate feelings of joy, tension, and interaction, and enrich their experiences by adding mental complexity, counteracting boredom and lethargy” (Root, 2005, p. 7). In addition, music expresses “…emotions such as love, sentiment, or anger” (Root, 2005, p. 7). Ultimately, it communicates values showing the reality of society and culture. Anyone listening to “a few records [helps] enrich [their] feelings, extend [their] sense of love or despair, and feed [their] fantasies or fire some real relationship” (Cooper & Haverkos,

Music is one of the most popular ways of expression and has been for generations. It makes us want to dance, inspires, soothes, relaxes, and sometimes tells us a story. Music is something the whole world shares and has brought together different kinds of people. However, there has been a question on whether some music has affected society negatively and crossed the line with some of its lyrics, content, and the persona of the artists. Certain music has been boycotted and even banned in the U.S. Pro-censorship supporters say that music is something that can deeply affect our society especially children who should not have to be subjected to things like violence, sex, drugs, or hate. However, being that music is a form of expression,

Throughout history, music has been seen as a medium in which different people all over the world can relate. Adorno criticizes, however, that songs that have the most “hits” on the top music charts or are most listened to, otherwise known as popular music, are being produced for and consumed by the masses as a commodity. He identifies popular music as being a part of a culture used for capitalism, and that we as listeners, are falling into a trap in which we believe songs have individuality and that we have the freedom to choose what we listen to. He argues that in reality these popular songs are all standardized and made to seem different through various elements that are added. In this paper, I will display how Adorno’s critique of popular music being used for capitalism applies to the song,1-800-273-8255, by hip-hop and rap artist Logic, through its standardized elements in both its content and marketing; however, I will argue that although it contains these elements, the audience is actively listening and responding to the song as it brings awareness to mental health and suicide prevention that is changing and saving lives all around us.

Do you ever wonder what is the meaning behind what you so proudly sing whenever you hear it? Music is an art form of culture which organizes sound with times It first came around in prehistoric times, however, as times passes, music is drastically changing. As a result, in the last decades music has experienced drastic changes in the themes they are talking about. These changes are due to the generations and what they are living, political and social actions of the time. For example, the decade of the 80s was the rise of hip-hop and rap music from a local phenomenon to a worldwide known genre of music. Previously, a crack cocaine epidemic had stroke major cities in the USA and it coincided with the rise of hip-hop in black communities as these

This essay will evaluate Adorno’s critical attack on popular music. The essay will briefly provide some context on Adorno. Adorno claims that “listeners are made not born”, thus listening is a cultural practice, in which modernity has transformed into a profit (Adorno, 2002:248). By this, the essay will begin by focusing on the broader idea of the culture industry, in terms of commodities and popular music as not being critical. Following on, particular focus will be given to three main areas which convey Adorno’s criticism of popular music. These being, the musical form under standardisation, pseudo-individualisation and regressive listening in terms of escapism. Standardisation will be evaluated in structural terms, and critiqued by Middleton (1990) and Witkin (2003). Adorno’s critique of popular music can only be understood in relation to his analysis of serious music, therefore, the essay will focus on both types of music. Adorno’s criticisms of popular music and critics of this criticism, will enable for a conclusion to be drawn on whether or not I agree with Adorno’s claims on popular music.

The popular culture of music has changed dramatically over the course of sixty five years. Since this time, new genres of music have been introduced, existing genres have changed, and fixed stereotypes have been associated with certain genres of music. Music has become a major part of popular culture, and is portrayed almost everywhere in first world societies, including on television, radio, at shopping centers, sporting events and in every area of popular culture. Music has become a major part of popular culture, and continues to strive and develop into more and diverse areas of culture.

Music is an important part of life. Its role as a form of art and entertainment is a significant one but more important is that it serves to reflect and reinforce societal norms and values. It is not only used to entertain but also serves as a form of social commentary (Baran, 2009). For instance, the emergence of Rhythm and Blues (R&B) in America after the Second World War was a means of advancing the black race and it helped blur the line between white and black as more young white people became aware of the distinctions that existed in the society. The Hip-hop and rap of the 1980s and 1990s had almost the same effect, awakening in Black Americans a sense of