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Hamerlinck identities such genre as 'woman-killing songs' based on 'murder ballads' popular during the 1920s. Physical and emotional violence, supported by slang words and abusive language, was widely used by blues artists. With the development of MTV and video, 'woman killing songs' became a part of video production and clips. Hamerlinck names such well-known groups as The Beatles, singers Jimmi Handrix and Charles Manson who use themes of homicide and infidelity in their lyrics. Hamerlinck underlines that music does not cause violence but reflect tendencies typical for mass culture: "songs are not about love; they are about power and control" (Hamerlinck). Rap and rock are the main genres which base their lyrics on themes of violence and low social status of woman. They depict women as light-minded and dissolute persons. Also, a special attention is given to body which is too much sexualized. For instance, in "My Humps" the singers stress: "They say they love my ass 'n" or Tryin' a feel my hump, hump. Lookin' at my lump, lump". Paying attention to sexualized body images, this song tends to promote desire for sex which is aimed to satisfy longing. Using such slang words as "lump" and "hump" describing parts of her body, the singer (a girl) underlines negative attitude towards women and their sexual attractiveness. NWA (Niggaz With Attitude), Dr.
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Although, it has no set definition but, generally refers to a lifestyle characterized by the ‘culture of mass-consumption’ and contemporary ideas that pervades almost every aspect of the society through an unofficial consensus. It encompasses the widely accepted norms of the majority and is the mainstream of the culture taking heavy inspirations from the western, particularly American mass media.
Young people’s use of music in peer groups in a school-life context is evaluated, applying taste and identity to the development of culture. Lastly, popular music and the school curriculum are discussed. The position of for-popular music in school curriculum is taken and the place of popular music in the school curriculum is discussed.
In this field, analyzing and describing the ways language, religion, economy government and various cultural phenomena diverge or remain constant, from one place to another in trying to explain how humans function spatially. The belief that people and societies get their control from the environment in which they develop provides a link on how culture connects to places.
One essential development that immensely contributed to the international popularity of J-Pop is the alleviation of the Japanese music industry from being an ignored local phenomenon to being a big influence that has a decisive say in the Japanese and international pop culture.
Music has always been part and parcel of our everyday lives which enables us to give meaning and expressions to our thoughts, ideas, feelings and emotions. Different kinds of music appeal to different people depending on their tastes which are very much based on the culture and background from which they come.
Music plays a big role in the youth today. Some youth use music as a form of identity, while others use it to relax and ‘get away.’ To understand the role of popular music in the lives of young people in the framework of education, we have to look at popular music from a social and cultural aspect.
Morris’s article begins by denoting the explorative nature of Japanese music, associated business practices in modern Japan, advancement of media technology in the country, as well as, the significant role played by English in pop lyrics of Japanese music.
pleasure and therefore, our values, identities and interests and that those preferences depend on a chain of political choices and processes that in turn shape our culture (1997).
The relationship between popular culture and politics is cofounded on passion but the connection
Accordinmg to the report the radical democratic theory requires that the youths who are normally actors and players to practice democracy by giving various opinions in what they do and say. The radical democracy assumes that the acts of consumption of cultural production are part of public domain.
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