• A series of commodities, material items, demands some kind of cash relationship (materialistic economy).
• Amounts to something more than entertainment leisure.
• Popular culture –> ideological attachment.
• Inseparable from our society, but not the culture; hence, it shapes society’s character.
• Influences the way we look at the world; hence leading to academic interest.
• 1950s, social scientists define popular culture (PCu)

Problems with  the “Folk”/ “Popular” [distinction]

• Nostalgic view of the past
• Assumes that traditional/modern are unproblematic terms
• Equates “Folk Culture” with creativity & mass culture with passivity

Problems of High and Low Culture [distinction]

• Elitist ideas made about “high” culture.
• Unclear division between ‘high” and “low/popular” culture
• Culture and ideology conceptually linked
• Culture/ideology landscape marked by relations of power and politics.

Theories of Popular Culture is a post from: The Glaring Facts

Defining Postmodernism

• Concept difficult to define—has been adopted and used by many different disciplines.
  • Art
  • Psychologists
  • Sociologists
  • Geography
• Basic premise for each of the above—postmodernism—the end of dominant ideology
• Dominant Ideologyreplaced by a series of competing, subjective discourses
  • Nothing more than particular opinions
  • Series of competing subjective discourses
  • Sociology itself can be seen as the ruling ideologies
  • Doesn’t exist but there will always be competing thoughts
• Discourse– a way of conceptualizing and representing a particular topic
  • Will always be a way to talk about competing ideologies.
• Frederic Jameson
  • Our whole notion of what reality is is changing radically from modernity to post-modernity
  • History is no longer anything that gives us an understanding of our world, it’s just a representation of a series of opinions
  • We are social subjects; we are no longer the summation of our ethnic backgrounds, our national culture, or whatever. We are essentially fragmented
  • A new depthlessness and a consequent weakening of historicity: the “waning” of effect; a fragmentation of the subject; the omnipresence of pastiche and prevalence of the nostalgia mode
• Factors argued to have given rise to postmodernism include:
  • Loss of faith in rational, scientific explanations
  • Declining centrality of work in daily life
  • The onset of post-industrialism and increasing emphasis on consumerism and leisure.
  • Increasing role of media in circulating texts and images.
• Modernity grounded in principles of enlightenment project
• After WWII, faith in enlightenment ideas began to wither.
• Postmodernism (PM) coincides with decline in dominance of modernist thinking
• According to Lyotard, PM – deligitimation of modernity’s claim to ideological and moral authority.
• Postmodernity characterized by a plurality of discourses – pivotal in this respect is introduction of new media technologies from 1950s onwards.
• If it is all around us, the way it is being taken advantage of is very striking in the past years. Basically what you have in the world of popular culture is the circulation of competing narratives, competing discourse, fragmatic texts and discourses. It is not beyond the realm of plausibility, to say that the media itself now function in an increasingly arbitrary fashion but they are continually decontextualizing and reconceptualizing images, of not only sound, but images from varies centuries of histories and they also cut across spatial and discursive histories.
• Much like rap, you get the mix of arrays of music such as jazz, blues, etc…until Rap came in and combined all together, like electronic sampling and now you have an even more seamless approach to putting music into newer tracks.
• The “sign” and the “signified”
  • Baudrilliard argues that PM has disturbed this once fixed relationship
  • Signifiers no longer tied to sign – signifiers are now ‘free-floating’
  • According to Best and Kelltier
    • “Signifiers is free to float and establish its meanings through its manipulation in coded and differences and associated chains”
  • Postmodern identity is one that has no longer a connection with class, locality, etc… identity is now a free-floating self-made concept of influence.
  • Identities are liberating, through postmodern identity people get to see through themselves, more freedom in it

Cultural Theory and Postmodernism is a post from: The Glaring Facts

Lexical Density vs. Lyrical Quality:

While lexical density and lyrical qualities are different, this study analyzed the characteristics of such differences. It’s clear that greater lexical density does not necessarily equate to lyrical quality–this distinction is critical for this lyrical analysis. The thesis for this analysis is very clear–the lyrical density and lyrical quality of underground hip hop is significantly greater and drastically different than that of mainstream hip hop. As such, this study attempts to chart these differences. One must not presuppose that all underground hip hop artists will have lyrics significantly different than that of their mainstream counterparts; however, this study will oversee whether there is a difference or not. In the end, this study will chart these differences in order to inspire future studies in the topic.

Lexical Density:

Lexical Density reviews the text’s readability, as such, it is a measure of how easily or difficult the text is to read. It uses the following formula:

Lexical Density = (Number of different words / Total number of words) x 100

According to UsingEnglish.com: ”The lexical density of a text tries to measure the proportion of the content (lexical) words over the total words. Texts with a lower density are more easily understood.” Essentially, a text that is dense has a percentage around 60-70%, while a text with low density has around 40-50%. Furthermore, lexical density measures how much information there is in a text, as such, it provides the depth of meaning through the use of content words and information words (PrimarySchoolScience.com). While these texts may not appear inherently difficult and challenging, it is highly dependent on the structure of the sentences and its complex characteristics. Texts may convey both technical vocabulary (that listeners may not know, or names), as well as unfamiliar vocabulary which produces an increase in such densities. As such, I will be analyzing texts not only for its lexical density, but of lyrical quality in order to illustrate how these artists are significantly different, or may be similar to their mainstream counterparts.

SMOG Index

The SMOG (Simple Measure of Gobbledygook) Index was used in this study to analyze what grade level one must be in order to comprehend the lyrics of these rappers. It’s important to consider the level simply because the texts convey very different lexical densities than their mainstream counterparts. Clearly, one must be of adequate grade level in order to comprehend individuals like Immortal Technique, Aztlan Underground and even Apathy, for they use lyrics and diction that are not so easily digested by mainstream hip hop listeners. According to its founder, G. Harry McLaughlin (1969), “It is to be understood that SMOG Grades 13-16 indicate the need for college education; 17-18 the need for graduate training; and 19 and above, the need for a higher professional qualification” (SMOG grading: A new readability formula. Journal of Reading, 12 (8) 639-646).

The SMOG Index formula “yields an outstandingly high 0.985 correlation with the grades of readers who had 100% comprehension of test materials.” This means that often, the grade levels indicated by the SMOG Index are accurate to the grade levels required to comprehend the lexical densities of these lyrics.

SMOG Index Formula

Gunning-Fog Index

The Gunning-Fog Index is a statistical measuring tool used to assess how easy, or hard a text is easy to read. This essentially serves as a double check to the Lexical Density measurement already explained above. The reason for this is to assess the validity of both statistical values and compare their findings. In doing so, these rap lyrics will undergo more scrutiny statistically. The formula is as follows:

Gunning-Fog Index Formula

Similarly to the SMOG Index, the Gunning-Fog Index calculates the hypothetical age required to understand the text. Furthermore, this value determines the difficulty level of the text. According to UsingEnglish: “The Gunning Fog Index formula implies that short sentences written in plain English achieve a better score than long sentences written in complicated language.” The Fog Index is a useful value that will show the complexity of the text and adds as a comparison with the SMOG Index & Lexical Density. The complexities of the lyrics are ranged between 11 (average readability, ease of understanding) to 18 (technical prose, difficult to understand, requires some vocabulary).

Limitations

This study does not go without its limitations. Firstly, words like “y’all” and words that end with an apostrophe, like: nothin’, somethin’, etc… have been corrected in order for them to be analyzed properly. Furthermore, I broke down the lyrics via stanzas, lines separated by commas until the end of each stanza.

Index Measurements for Rap Lyrics is a post from: The Glaring Facts

The prevailing debate regarding the effect of global popular culture industries (Globalization) on local cultures and local identities are significant today more than ever. The reason for this importance lies in the preservation of the traditional cultures and values that are carefully being sewn into the entanglements of globalization. The spread of capital across foreign lands has given a new importance for the hierarchy of order in a country to succumb to radical changes in technology and infrastructure: country, nation, community, subcultures, and the individual. In this respect, the rapid spread of technology and capital in the late twentieth century has now provided a visual look at the pending clash between tradition and globalization. In a world that is arguably dominated by the mass prospect of capital gain and industrial expansion, the significance of “local culture” and “local identity” have been given a new importance.

The Effect of Globalization

The last decade has shown an escalating interest in “local identity” and “local cultures.” The reason for this interest stems from the “accelerating processes of globalisation” (Smart, 1993: 129). Before, the idea of diversity appeared indisputable; however, in this decade, former ideas regarding the diversity of cultures and identities slowly diminished into the fear of globalization acting as a threat to local identities and cultures. In recent years, studies regarding local identity and cultures have shown a profound increase. Another dimension of this globalization debate is in the cultural realm (Lowe and Lloyd, 1997). Some decry the effects of globalization on local culture or cultural autonomy as an ever-expanding form of cultural imperialism (Dorman 2000, 34), and some see globalization as postmodernization in which Western values have become dominant even if they must operate within a global cultural context (Inglehart 2000; Nash 2000, 71-87).

An example where this idea of global popular culture industries affecting the traditional landscape, local identity, and local cultures is seen through the concept of Americanization (Hoggart, 1957: 250, 247). Hoggart (1957) theorized that, due in part because of American values and popular cultural themes were intersecting with British values and cultural norms, Americanization had served a silent apocalypse triggering the appropriation of American norms within the British local culture. In this manner, the idea of the global popular culture industry becomes a form of cultural imperialism, the inner-workings of an imminent global hegemony in the form of capital influence.

Global popular culture industries, through capital consumption and the major assistance given to the development of corporate giants to provide regulated products for customers, the industry created is one controlled by capitalism. In this notion, agreeably, the idea spread of capital in foreign countries produces a very Frankfurtian notion of global cultural imperialism. The fundamental concern regarding the expansion of global popular culture industries ties in clearly with massified cultural products and homogenized subjectivities (Bottomore: 1984: 13). Global popular culture industries conflict with traditional cultures and local identities because of its sudden intervention. Global popular culture industries marks a quick integration of local identities with that of a global syndicate thereby making local identities and cultures even more significant in their past states.

Global enterprises that administer their influence in foreign countries (i.e. Wal-Mart) have devised another counteractive attack to local identities and cultures. In this way, global popular culture industries merely seep in, if you will, into local cultures and identities. In an unnoticeable way, this can be seen through the effect of what is termed “Glocalization.” “Glocalization” is an historical process whereby localities develop direct economic and cultural relationships to the global system through information technologies, bypassing and subverting traditional power hierarchies like national governments and markets. In contrast, “globalization” is often used as a term to suggest the historical processes leading to a more one-way relationship between the “global” realm inhabited by multinational corporations, the entertainment industry, CNN, the Web, etc. and a subjugated “local” realm where the identity-affirming senses of place, neighborhood, town, locale, ethnicity, etc. survive (if just barely) against the global onslaught of global capitalism, media, and network identities.

Glocalization is a global corporate strategy of tailoring commodities to local markets. This corporate strategy stresses the importance of a product or service specifically adapting to the locality or culture it is marketed in. This fusion of globalization with localization causes a fundamental shift in the way in which commodities from foreign countries inflict their dominant popular cultural norms on a more predominantly traditional atmosphere. Through the unannounced integration of capital in an otherwise traditional atmosphere, the danger, as perceived by the public, lies in the effect it has on local identities and culture.

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Local Culture vs. Local Identity: Globalization is a post from: The Glaring Facts

Immortal Technique (IT) is considered, today, one of the leading underground hip hop artists. Before pursuing this post, I read over some of the content published online about individual impressions of Immortal Technique. Steve Greaves writes here that, “Immortal Technique will vanish like all other would-be-creatve mortals if he doesn’t apply this insight to his craft with consistency.” Throughout, he makes it clear with unexplained comparisons and empty context-less analyses of Immortal Technique’s CD Revolutionary Vol. 2 that he is bound to approach an unavoidable downfall with his over-agressive style, and potentially ruthless lyrics. As this content analysis will yield, IT is beyond any reviews such as Greaves.

Immortal Technique IS sophisticated hip hop, significantly different compared to the mainstream. This endeavour is relevant simply because it is an overly ignored aspect of popular culture and the music industry in particular. Often, individuals are unable to statistically and qualitatively differentiate the characteristics of the underground compared to its mainstream counterpart, and as such is the goal of this study.

Method:

This study did not only pay attention to statistical methods, as explained in yesterday’s post: Index Measurements for Rap Lyrics, but rather a synthesis of quantity and quality. This study was conducted over a span of one week, transcribing IT’s lyrics with their respective tracks as listed in the Results section. This study followed a revision process, listening to each song once, transcriptions accompanied by many pauses followed by a final listen.

I utilized a synthesis of YouTube music videos, online lyrics in order to compare with my transcriptions and further information (if there was any) regarding individual tracks. As such, this study attempted to be as thorough as possible concerning the methodological aspects.

Due to the lack of interest in pursuit of this study, I conducted this study myself and believe that it has been very thorough.

Results:

This table below depicts the statistical measures this study conducted as well as their results. Furthermore, one can see that Immortal Technique has a very consistent pattern regarding his lyrical style. As you can see below, IT maintains excellent linguistical comprehension and vocabulary. The term “Hard Words” means words that contain 4 or 5 syllables, averaging as high as 122 hard words out of 1,142 words–10.6%. Furthermore, the average syllables per word is 1.43, meaning that IT is able to go beyond simple rhymes like “run” and “sun” to more complex rhyme schemes. This average is compounded by the hard words average, revealing that he has an average hard word count of 65.3 out of the 10 songs this study analyzed. In addition, his lexical density is an average of 50.18, characteristic of low density texts. Similarly, the SMOG Index measure shows 12.49, a value that suggests a college undegraduate would be able to understand his material. While the text may be of low density, nonetheless, a college undergraduate would be able to understand his lyrics, reinforcing that his lyrics are indeed difficult to understand according to the Fog Index average of 15.95.

Table of Immortal Technique’s Lyrical Quality

Discussion:

IT ‘s texts are both difficult lyrically, yet maintains a very dark foreshadowing, almost imminent vivid illustrations of society today. As indicated in the Results section, IT is distinctively separated from the mainstream for using lyrics and hard words only reinforced in college educational level. While the statistical measures show his distinctiveness, this study will also attempt to explain his uniqueness lyrically.

IT is capable of complex poetry combined with alliteration and poetic prose unseen in the mainstream. To quench the thirst of others who “diss” (shun, name-call, etc..), he states very eloquently :

I might be nobody but wait till I’m together like a symphony
Resounding sound that will continue infinitely…

Some niggas dream of pushing kilos but I drop tons
With more facts and formulas and philosophical logic
Then a basement full of scientists puffing on chronic
Dipped in mycin potassium cyanide and liquid bubonic (The Prophecy).

This is the kind of example often accompanied by IT’s style: alliteration, euphemisms, metaphors, and exaggerations that, once compiled together, appear significantly more valuable lyrically than of the mainstream counterparts. In comparison, read Eminem’s Love the Way You Lie (ft. Rhianna):

I can’t tell you what it really is
I can only tell you what it feels like
And right now it’s a steel knife in my windpipe
I can’t breathe but I still fight while I can fight
As long as the wrong feels right it’s like I’m in flight (Love the Way You Lie).

As is evidently clear, IT and Eminem are of completely different lyrical prowess. Eminem’s lyrics are often accompanied by 1-2 syllables on average, misarranged and grammatically incorrect phrases. Eminem’s lyrics appear very emotional oftentimes and come with a singing that is not characteristic of the rap and hip hop genre. In comparison with IT, Eminem’s lyrics are on average below high-school level diction only made to satisfy the mainstream addiction.

IT’s lyrics focus on estrangement, psychological manipulation, elimination of blissful ignorance and a revolutionary yearning. Immortal recognizes his duties to fulfill this need within his people as exemplified in the Poverty of Philosophy:

Most of my Latino and black people who are struggling to get food, clothes and shelter in the hood are so concerned with that, that philosophizing about freedom and socialist democracy is usually unfortunately beyond their rationale. They don’t realize that America can’t exist without separating them from their identity, because if we had some sense of who we really are, there’s no way in hell we’d allow this country to push it’s genocidal consensus on our homelands. This ignorance exists, but it can be destroyed.

He relishes in the spoken-word form, a poetic form accompanied by stories, experiences, and even as a lecture. Despite most of his other songs have an awe of magnificent intensity, IT is essentially a story-teller as is exemplified in Dance with the Devil:

The devil grows inside the hearts of the selfish and wicked
White, brown, yellow and black colored is not restricted
You have a self destructive destiny when you’re inflicted
And you’ll be one of God’s children and fell from the top
There’s no diversity because we’re burning in the melting pot
So when the devil wants to dance with you, you better say never
Because the dance with the devil might last you forever

Throughout this track, Immortal uses vivid imagery to capture his listeners. It is clear that the intent is to stun listeners into paralysis, only experienced after a revelation. As such, IT’s lyrics refocuses the listener to the threat of government, social and psychological warfare that is hindering the growth of Latino and Black communities. In Leaving the Past he reminds his listeners that slavery was not the only part of their history, attempting to rekindle historical interest.

Conclusion:

In conclusion, Immortal Technique reserves a special place in the black and latino culture, using his lyrical influence to motivate and inspire listeners to become more aware. His main interests and activism lies in racism, poverty, and government corruption. It is uncommon though that underground artists like IT would appear video interviews; however, I believe that for IT’s sake that such interviews will only hinder his future, for he does not have the same vocal composure as he does in his music.

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Analysis of Immortal Technique’s Lyrics is a post from: The Glaring Facts

Cormega (‘Mega), alongside Immortal Technique, is considered today a well acclaimed underground hip hop artist; however, he has shown trememndous promise with lyrical quality although his work definitely requires more than well-versed lines from his youth. He has shown great influence, having dealt disses back and forth between him and Nas, Kanye, and who knows who else. Raised in Queensbridge Housing Projects, he’s undergone dark childhood developments–even witnessing his own mother’s murder at the age of four. During such times, he’s recorded the ghettos in lyrics, archived memories with Nas and Mobb Deep and has effectively risen from such torment into wonderful eloquence.

Having debuted his single while in prison, appearing in Nas’s Illmatic called “One Love” leading to his breakthrough. Having signed a contract with Def Jam Records, his life became complicated with Nas’s connections:

Unfortunately, The Testament will never be released as it was held back by Violator president Chris Lighty due to Nas’ industry connections. Cormega used this as inspiration and fuel, and as soon as he bought his release from his contract with Def Jam, he released The Realness which featuring hundreds of jabs at Nas, both subliminal and direct, including entire songs “American Beauty”, “Thun & Kicko”, “The Saga”, “R U My Nigga”, “Get Out My Way” and “Fallen Soldiers (Stylus Magazine, 2002).

Most of Cormega’s reviews have shown positive results, indicating that many enjoy his lyrical style and in-your-face attitude. Here, let’s discuss both his lyrical quality and capacity for complex literary functions. If you want to read more about how I did this, please visit my initial post explaining how this study was conducted. Keep in mind that I have removed multiple versus since they only add to the statistical information already there with the first chorus/verse.

Method

This article explains both the lyrical quality and statistically measures Cormega’s lyrical prowess. Much like the analysis of Immortal Technique’s lyrics, this analysis too took a week of statistical compilation and calculations. To view which calculations I utilized, visit Index Measurements for Rap Lyrics.

This study used statistical methods like the SMOG Index, Lexical Density, Fog Index, as well as brief calculation of “Hard Words” (words with 3 or more syllables). These assessments were compiled thoroughly, having removed redundancies in lyrics (like the repetition of the chorus which adds absolutely little information to the already compiled data of the first verse). This data was then averaged as well as respective data on syllable count and its average. It’s quite interesting to note the stark differences statistically and qualitatively.

Results

These results show very interesting data on Cormega’s lyrical skill. As one can see, ‘Mega does not utilize his vast comprehensive vocabulary as much as Immortal TEchnique, preferring to use simplistic diction in the place of more complex and meaningful exchanges of conversation and drama. A SMOG Index of 13-15 requires college education in order to comprehend lyrics, significantly falling short of the level of intellectual capacity required to understand ‘Mega’s lyrics. According to the SMOG Index, you need to be at least 7 years old to understand ‘Mega’s lyrics, definitely not representative of the intellectual rigour of most underground hip hop artists.

As this table shows, Cormega’s lexical density is averaged at 56.07 from 10 of his tracks randomly selected. It is quite interesting to note that despite his lexically low dense material, his story-telling is quite a fascinating aspect of his lyrical genius. Cormega often deploys simple words accompanied by lots of swearing, a detrimental aspect to the calculation of the Lexical Density average. According to the Fog Index measurements this study conducted, Cormega has displayed terribly simple lyrical prose that has all too severe consequences for the ingenuity it takes to comprehend his work. Cormega’s work is not open to various interpretation, for its story-telling style tends to use very simple, low dense, and lowly averaged Fog Index prose of 8.26. According to the Fog Index:

The complexities of the lyrics are ranged between 11 (average readability, ease of understanding) to 18 (technical prose, difficult to understand, requires some vocabulary) (Index Measurements for Rap Lyrics).

Discussion & Conclusion

Cormega’s lyrics are conveyed too simply, his material is very easy to understand; however, it does not diminish his story-telling qualities that make it extremely counter-reactive to results displayed above. His work is not without it’s own uniqueness. For example, in his track: “R U My Nigga”, he explains the fault of trust, the danger of allegiances and the conflicts that arise from gang-related group dynamics and activity.

Can you accept the consequences of life, of livin trife
And take yours with honor, if a real nigga strike
Or would you fall weak and help a courtroom indite
And live with dishonor for the rest of your life . . .

Felonies no longer worry me, for real
Its the betrayal and the jealousy
The insecurity of things they might never see (R U My Nigga)

Cormega’s distrust has been compounded by his experiences during his time in prison and Queensbridge. He’s shown philosophical competence, complicated word-play that is very characteristic of his style. Throughout “R U My Nigga”, he emphasizes that jealousy, insecurities unseen can have more devastating psychological consequences. His story-telling, autobiography “Ain’t Gone Change” is again one of his overly lyrically complete characteristic of his entire skill:

I ain't forget the hunger pangs
Stomach growlin like thunder and rain
Fame calmed the savage that I once became
My status wasn't established from trying to get a name
It came from serving addicts lead and automatics bang
My physical form grew stronger in a Riker's Island cage (Ain't Gone Change).

His lyrical skills show great usage of metaphors and similes–he enjoys comparison and lively personification. Preferring simplistic diction, he uses his words as emotionally as possible. He stresses emotionally the feeling of hunger, the uncertain life of a Queensbridge youth. His work is often emotionally charged, forcefully conveyed to ensure emotional understanding. He orchestrates and illuminates the way of the gangster, the life of uncertainty, and the challenges of inner-city life. In “Ain’t Gone Change”, he explains how he became what he is now, what struggles and what misery he conquered. Despite his overtly emotional characteristics, his description of betrayal in “R U My Nigga” came to reality when he produced his Nas “diss” (backlash) in “Poetry”. His lyrical quality descended abysmally, really showing ‘Mega’s barbarity when it comes to lyrics. He attacks Nas unprofessionally, explaining his almost blood-fued hatred to Nas’s betrayal. Unlike Immortal Technique’s consistency, ‘Mega’s work requires balance and more emotional outlining, explaining more specifically the inner-city life.

Check out Cormega’s Albums!

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Analysis of Cormega’s Lyrics is a post from: The Glaring Facts

1. 9th Wonder
2. Access Immortal
3. Afu Ra
4. Akir
5. Akon
6. Alchemist
7. Algorithm
8. Apathy
9. Aztlan
10. Blackstarr
11. Cage
12. Canibus
13. Cormega
14. Dead Prez
15. DJ Premier
16. Esoteric
17. Ghostface Killah
18. GZA
19. Hieroglyphics
20. ill Bill
21. Immortal Technique
22. Jean Grae
23. Jedi mind Tricks
24. Jus Allah
25. K-OS
26. Mobb Deep
27. Nas
28. Necro & ill Bill
29. Papoose
30. Public Enemy
31. Raekwon
32. Ras Kass
33. Saigon
34. Saul Williams
35. Talib Kweli
36. KRS-One
37. RZA
38. Common

And many more to come later on for sure….

The Archives of Underground Hip-Hop and Rap is a post from: The Glaring Facts

1. CRTC is introduced in 1971; mandate only 30% CC; Canadian identified by MAPL designation
2. MAPL designation
   • Music written (or co-written) by Canadians; artist is Canadian; production took place in Canada; lyrics written (or co-written) by Canadian(s) [2 of these must be fulfilled]
3. CRTC objectives:
   • Increasing exposure to Canadian musical performers, lyricists, and composers to Canadian audiences
   • To strengthen the Canadian music industry, including both the creative and production components
4. 3 Eras since Cancon began
   • Imitative: bands achieving international success, seek to grow the Canadian industry
   • Inflective: Canadian scene stronger;  bands can be more overtly Canadian using pop styles
   • Current era: nation no longer matters as a confident, mature scene has emerged.
5. My definition of a bombastic jazz style
   • Scene of identity, a frequent Canadian question. What is Canadian identity, or definition? What is that definition for Canada’s numerous cultural communities; sample from local game show (definition), sample used by Mike Myers in Austin powers movies, sample taken from Quincy Jones

Do you want to see the full lecture notes from my professor? Click here!

MAPL-MUSIC Regulations in the Canadian Industry is a post from: The Glaring Facts

is your personal lifeline and your company’s success depends heavily on its relationship to the global village. It is critical because of its closest proximity to human nature, the need to make relationships and friendships. Social media is not a hoax, but a key and irreplaceable component to your everlasting success. Social media works and if you haven’t figured out how, allow me to explain:

5 Valuable Guides towards Effective Social Media

1. People are social by nature: individuals are in constant participation, social media = participation — at a fast-paced real-time environment as clearly demonstrated by Twitter. In 140 characters, people can begin to have a conversation across the globe. Furthermore, social media is beyond visual queues and it is to be expected that a person’s looks will not be a great determinant in an individual’s success. By nature, social media allows communication to an ascended level, bringing together a large community of like-minded individuals.
2. People value the opinion of their friends: social media research continues to, time and time again, prove that individuals are more likely to try a product if their friends recommended it. So much so that people will spread the word of your product for you, that your product will become something of relevance.
3. People Like what their Friends Like: Ever noticed how a FB Fanpage is suggested to you because of its connection with your FB friends? That’s because Facebook knows that you’ll most likely like something that your friends also like, because you usually befriend people who are like you. With the right level of social buzz within a group of people whom you befriend, your product will be greatly spread for you via word-of-mouth.
4. Social Media and Popularity: Let’s face it, some people are just popular and the best way to attract their attention is to reveal your value. These people who are so popular have the influential capacity to pass along your product or service to their followers and friends, giving you a chance to affect more with your product and increase sales.
5. People are always on Social Media: This vital integration into their lives is evidence enough why social media will work and continue to be a viable solution to marketing. People are always online! This means that you’ll have to be on social media, discussing, sharing, building relationships around the globe.

Social Media in Conclusion…

To put things in a larger perspective, social media is designed to satisfy the needs of those people who require social integration, dialogue, friendships, relationships, and network development.

In the end, people will either make or break you, you just have to find a way to ensure that you don’t get broken. To engage the masses, you have to become familiar with the tools of the masses and how they use it. Social media is the lifeline of your business’s overall success.

Social Media to put us Together

5 Reasons Social Media is Irreplaceable is a post from: The Glaring Facts