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Pepperdine Journal of Communication
Research
Volume 8 Article 9
2020
Pepperdine Journal of Communication Research Volume 8 // May
2020
Follow this and additional works at: https://digitalcommons.pepperdine.edu/pjcr
Part of the Communication Commons
Recommended Citation
(2020) "Pepperdine Journal of Communication Research Volume 8 // May 2020," Pepperdine Journal of
Communication Research: Vol. 8 , Article 9.
Available at: https://digitalcommons.pepperdine.edu/pjcr/vol8/iss1/9
This Complete Journal is brought to you for free and open access by the Communication at Pepperdine Digital
Commons. It has been accepted for inclusion in Pepperdine Journal of Communication Research by an authorized
editor of Pepperdine Digital Commons. For more information, please contact Katrina.Gallardo@pepperdine.edu,
anna.speth@pepperdine.edu, linhgavin.do@pepperdine.edu./
2
Mission Statement
e Pepperdine Journal o Communication Research seeks to pursue truth and academic excellence in
the eld o communication by recognizing outstanding student scholarship that explores
interpersonal, intercultural, organizational, and rhetorical communication. rough rigorous
student peer-review, the annual Journal strives to contribute to ongoing discussion in
communication studies by publishing student papers that investigate a variety o contemporary
topics and issues.
2019-2020 Editorial Sta
Daniela Singleterry
Editor-in-Chie
Bert Ballard, Ph.D.
Diana Bowen, Ph.D.
Faculty Co-Advisors
Chelsea Amal tano
Allissa Williams
Tryphena Clair
Vernetta Covarrubias
Associate Editors
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A Special Thank You To
Sarah Stone Watt, Ph.D.
Divisional Dean
Bert Ballard, Ph.D.
Associate Professor o Communication
Diana Bowen, Ph.D.
Assistant Professor o Communication
Josias Bartram
Librarian for Digital Publishing
Esther O’Connor
O ce Manager o Communication Division
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Table of Contents
Introduction 5
From the Editor-in-Chie 6
Resiliency vs. the Coronavirus: A Re ection 7
Shelby Little
E ect o Hip Hop on Youth Consumerism 10
Joanna Cabal uinto
e 3 P’s: Pewdiepie, Popularity, and Pro tability 21
Lea Medina, Eric Reed, and Cameron Davis
e Rhetoric Surrounding Mary Cain 35
Katie O’Malley
Capital O ense: e Rhetorical Importance o Identi ers 43
Olivia Robinson
Strong, Powerful, and Beautiful 47
Katie O’Malley
ank you 51
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Introduction
e Pepperdine community has experienced many drastic events over the past two years
that have dramatically a ected what is considered the “typical” Pepperdine experience. From res to
losing a member o our student body to a mass shooting to COVID-19 orders, Pepperdine has had
far too many traumatic events, more than most other universities. Yet, it has strengthened our
community in a number o ways. e most recent event Pepperdine has faced is the transition to
remote classes due to COVID-19. Like so many other universities and colleges, not only have classes
shi ed entirely online, but campus life and activity as we know it has come to a screeching halt in
order to prioritize the safety and health o all. Although students’ daily life, living situations,
post-graduate plans, and summer plans were uickly turned upside down without much explanation
or expectation for when normalcy will return, the majority o the community has found ways to
come together and thrive in these trying times. As a third-year student deeply immersed in the
culture o Pepperdine, I am proud to call mysel a part o this community because o the way all
have exhibited resilience during these trying times.
Resilience does not take the form o a single action, attitude, or way o thinking. It is found
in the way students communicate with one another, in the way faculty and sta have made
themselves available to students in these unusual circumstances, and in the way the world and our
own local communities around us function in order to survive unprecedented circumstances. In this
year’s Journal, we invited students to write about the di erent ways in which they have experienced
resilience through communication, rhetoric, language, and the world at large. We are extremely
grateful to have the input o students who have witnessed resilience in unexpected ways and places
and have been able to articulate their experiences in this year’s edition. Beginning with a student’s
re ection on the way she’s seen resiliency exhibited in spite o COVID-19, we hope to take readers
on a journey o the di erent ways that our student contributors have found resilience. is issue
o ers a personal re ection o a student who has lived through the dramatic events at Pepperdine.
e concept o resilience is then examined through two research articles examining content creators'
ability to pro t despite challenges they are faced with, both in the music industry and in the
less-regulated YouTube industry. Two other authors take a di erent approach, inspecting the ways
resilience plays a role in rhetoric and the way those who have had rhetoric used against them in the
past have been resilient. Lastly, this issue nishes with a piece by a student who exhibited resilience
rsthand in the face o oppression related to gender roles. Our hope is that through these works, the
concept o resilience is broadened and communicated in ways that had never been considered
before.
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From the Editor-in-Chief
I am so proud to have had the privilege to edit this year’s Journal. It was an
incredible experience to be able to work with so many talented students and faculty.
e diversity o this year’s submissions in light o the current crisis certainly speaks to
the resilience exhibited by the Communication division and its students. We hope
that you enjoy reading about the ways in which Communication and Resilience go
hand-in-hand in our world through the eyes o students who continuously experience,
research, and exhibit the ways that the two intersect under unprecedented and
unexpected circumstances. ank you!
Daniela Singleterry, Editor-in-Chief
Pepperdine Journal of Communication Research, 2020
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Resiliency vs. the Coronavirus: A Reflection
Shelby Little
Journalism Major: Written as a personal reflection
Nature is a wild and untamed force for which (Merriam-Webster's collegiate dictionary,
we will never have all the answers, but isn’t 1999) A er what we have been through as a
that what makes it so special? At Pepperdine, school, a community, and a family, we have
we pride ourselves on being Waves. Waves o had many opportunities to display this trait
character, leadership, purpose, and service. while being there for one another and li ing
Scienti cally, waves can come in many each other up.
di erent forms, whether it be a sound wave, About three months ago, I had no
visible light wave, or a microwave. Yet the idea what the coronavirus was. I have never
wave that overpowers the rest is an ocean been great at following the news and keeping
wave, the strongest force in nature. When I up with di erent current events that are
think o the ocean, I think o a hungry and going on around our country, let alone around
relentless force, something with a strong the world. As I began to hear more about it
foundation that can be stopped by almost and what exactly this virus was, I continued
nothing. When there is no swell, there is not a to be optimistic with the view that it was
ripple, let alone a single wave in sight. e “just a bad cold” and it will pass as everything
ocean is still, calm, and peaceful. O course, else does, but oh how wrong I was. ings
when there is a swell, the number o waves began escalating uickly and as we returned
will di er, but more importantly, the size will from spring break, my classes were having
increase. Picture waves 80+ feet in size, conversations about whether or not it was
weighing more than 400 tons, so heavy that right that we even returned to campus. e
the mere impact would instantly kill a human. thought o not coming back to school, which
ese waves are made up o billions and feels more like home to me now, was not even
billions o tiny drops o water, yet each drop one that had gone through my mind, but with
makes a di erence. Without all o them all the talk and anxiety that in ltrated our
working together, this force would not have campus, it seemed like it wasn’t that unlikely.
the ability that it has to crack rock or snap I remember getting that email a er soccer
sur oards in half. is image is how practice on ursday morning and having
Pepperdine students view our community, very mixed emotions. At rst as athletes, we
from the Woolsey re and Borderline thought we were going to be allowed to
shooting a year ago, to the coronavirus today, remain on campus and continue training, but
and to whatever challenges our future may even that got taken away from us. It broke my
have in store for us. roughout these heart to think about the seniors who were not
di erent events, there has been a common able to nish their seasons and the hard work
theme o resiliency that is constantly being that the spring athletes had been putting into
displayed. Resiliency can be de ned as, “the training all year round for their opportunity
capacity to recover uickly from di culties; to shine. e next few days were uite
toughness.” or “the ability o a substance or chaotic, but it felt more like eerie chaos. All
object to spring back into shape; elasticity.” students had to pack up and leave campus as
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uickly as they could. Everything we had been mentors every single day to not even being
looking forward to in the springtime, now allowed to leave the house. As humans, we are
taken away by this deadly virus. Walking very physical creatures. We rely heavily on
through an empty campus on Sunday a er social interactions and physical touch to
most o the students had gone home was a display our love and care for one another. We
gloomy feeling. A place that I had begun to also take pride in our daily, weekly, and
call home, where I was constantly surrounded monthly routines/schedules. Now, that has all
by people from so many di erent places been taken away from us and we have been
around the globe yet I had begun to call my forced to improvise. A er the coronavirus
family, completely deserted. I began to re ect outbreak, but before it completely took away
on all the things I now feel like I had taken sporting matches, we were no longer allowed
for granted. Simply walking down Upper to give the other team handshakes before or
Dorm Road and passing welcoming faces on a er a game, but instead had to “elbow-bump”
my way to class, or walking through the ca each other in a way to avoid contact as best
and being able to uickly chat with many we could. Similar to this, we have had to nd
di erent friends. Even a simple “hey” or uick other ways to stay mentally sane and
hug on the way to the library, these are all connected. We are back to as normal a school
special moments from freshman year that I schedule as you can be with everything online,
will not get back. Yet through all o these and I think it is good for everyone. It has
emotions, all o these stru les, the sta at given us somewhat o a new routine and
Pepperdine made a point to be there for us. structure. e fact that we can all come
Where else will you receive daily messages and together from across the world and continue
prayers from the President o your University? to exceed academically is an example o our
Or texts from professors, coaches, RA’S, and resiliency. Another way I have seen this being
fellow students reminding you that you are in displayed is through our soccer team at
their thoughts and prayers and simply Pepperdine. Although distance truly does
reaching out a helping hand i you need it? keep us apart, we continue to meet as a team
A er returning home, the sta at once a week and check-in with each other
Pepperdine did not stop their support. We while holding each other accountable and
continue to receive constant updates about continuing to meet the highest standards
the virus itself, as well as prayers, both physically and mentally that we have set
encouragement, and check-in emails. is for ourselves. Although we have been “set
communication is something that does not go back” in many ways, we also have an
unnoticed and has had a great impact on our opportunity to use it to grow and excel on our
community. During this time, it is easy to be own. Without being forced to go to practice
overtaken by negative emotions. We feel and workout every day, we can focus on other
panicked because o the uncertainty o things outside o our sport, whatever it might
everything. We feel unsettled and worried be. For me, I have begun to do more writing
because many o the things that bring us joy and journaling, as well as di erent forms o
and purpose have been taken away from us. art. is has been very healthy and has opened
We have been forced to reevaluate our whole my mind to things I had not primarily been
lives; everything we have previously labeled as putting my focus on. It is very unlikely that
priorities, whether it be school, work, or our we will have a time like this ever again, where
sport, has been upended. We have gone from many people are not allowed to go to work,
being physically connected to friends and school, sports, social events, or even the
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beach. is is a time in which I have been Romans 12:11-12 reads, “Never be lacking in
closer to my family than I think I ever have zeal, but keep your spiritual fervor, serving
been before. With three other siblings, it is the Lord. Be joyful in hope, patient in
not very o en that we are all home together, a iction, faithful in prayer.” is is especially
but now we get to do just that. We have been relevant in our time today and can directly
brought together, even i it was against our apply to each one o us as we are uarantined
will, but I truly believe that this is a good at home. We must keep our eyes xed above
time for family culture. A time where we and not lose hope. For when this is all nally
must not let our circumstances de ne our over, we do not want to be the ones looking
attitudes, but we can show resiliency and back wishing we had done anything
display our character in the way that we react. di erently with the time that we had.
is time is not going to last forever and by
slowing down, re ecting, visualizing, and
healing, we can get through this together.
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E ect of Hip Hop on Youth Consumerism
Joanna A. Cabalquinto
Written for COM 300: Media Research (Dr. Klive Oh)
Introduction socio-political issues. Although its target
Hip Hop is a genre that arose from adverse audience may be comprised o teenagers and
environments, minority groups, and young adults, the music is universal and can
underprivileged youth — mostly the black appeal to a global audience o any age —
community and how they expressed evidenced by Hip Hop’s ability to remain on
themselves through music. Since its origins, the U.S. Billboard Music Charts with songs
Hip Hop has become one o the most consistently featured in the Hot 100. e
pro table businesses in the corporate world, Billboard Charts are ranked according to
penetrating mainstream media. Its in uence sales, streams, or airplay and can be dedicated
extends far beyond that o the music industry, to a speci c genre or cover all genres to
permeating various other areas o society like provide weekly chart updates in addition to
fashion, politics, and even slang thus creating the Year End charts. e Hot 100 compiles all
an entire culture surrounding Hip Hop. three data sets (sales, streams, and airplay)
Examples o the synergy between these into a chart to gauge the relative popularity o
seemingly separate industries are the “NBA a song or genre.
Unleashed” Powerbeats Pro commercial which Audiences perceive celebrities to hold
features “ e Codes We Live By” by Travis certain meanings and the more they believe
Scott and an AT&T Wireless commercial they are similar, the more persuasive the
featuring a song by Dreamville, founded by celebrity’s message will be. Consumers who
J.Cole. ese two commercials combine align themselves with the messages presented
sports, music, and technology into one in such music are thus exposed to brand
succinct 30 second money-making endorsements and product placements
advertisement. associated with these artists in greater
roughout the past 20 years, Hip volumes. is can cause young,
Hop established its own reputation in the impressionable consumers, particularly
media, being featured in lms, commercials, Millenials and Gen Z, to associate speci c
and other digital mediums like social media. brands and products with certain ideologies
However, Hip Hop, like other forms o music, and personas causing a change in their buying
cannot be understood without the frame o its habits.
historical and social context. One key musical Hip Hop artists consider certain
element o Hip Hop is Rap, the vocal delivery brands to be part o their identity and
o rhythmic speech usually expressed over a incorporate them in their music, videos, and
backing track, which has become one o the everyday lifestyle by verbally or visually
most in uential commodities in mainstream showcasing them (Coveney, 2004). Artists
music. Rap music re ects its origin o young, o en “use brands as points o comparison —
urban, working-class African-Americans whether to upli their own status or to
which allows this otherwise underrepresented belittle the status o another” (de Gregorio,
group to use their voice to call attention to Federico, and Yongjun Sung, 2009). Drake, a
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four-time Grammy award-winning rapper to adapt to changes in the market due to new
and founder o OVO Sound Record Label, means o distribution and listening platforms.
and Pharrell, who is best known for his e power o music in regards to the youth is
Grammy-winning work as a musician and important to many advertisers because today’s
producer and hit song “Happy,” are just two consumers are becoming increasingly di cult
o the industry’s leading artists in charge o to persuade through traditional marketing
major pop-culture and fashion trends, yet tactics. erefore, brands are turning to more
already amassed their own clothing lines and unobtrusive forms o advertising to reach
partnerships. Others include A$AP Rocky's young consumers by integrating their content
partnership with Under Armour and Kanye with mainstream media.
West’s partnership with Adidas. Big brands Marketing and brand placement in
are partnering with artists to release lines di erent areas o the entertainment industry
associated with their image and cumulate allows audiences to “buy lifestyles and
support from their already established experiences” to express a sense o sel by
fanbases. Youths that idolize these artists may identifying with a particular artist they enjoy
be inclined to purchase products they endorse (Burkhalter and ornton, 2014). Music plays
in an e ort to emulate them. As a result, an essential role in multiple cultures as a
brand managers are adapting Hip Hop to mode o entertainment and means for
advertise products and reach an extended conveying said culture. One study found that
range o consumers, garnered through the 93% o the US population spends over 25
cross-over o other genres with Hip Hop. hours a week listening to songs making music
In this study, a researcher from the most listened to form o media (Craig,
Pepperdine University will be conducting Flynn, and Holody, 2017). It is a form o
focus groups with a predetermined set o socialization that communicates values and
uestions consisting o individuals who have expectations because o its ability to
been recruited through a convenience sample. document cultural changes across time (Craig,
e e ects o Hip Hop culture on youth Flynn, and Holody, 2017).
consumer behavior is important to note Young people tend to be more
because most industries have been touched by susceptible to the consumption o goods or
the in uence o Hip Hop culture which services that convey certain meanings because
continues to shape behaviors o the youth they experience insecurities and use their
beyond that o simply listening to music. symbolic properties to express themselves.
With rapidly changing methods o e symbolic properties associated with such
consumption, it is important to note ways brands and products signal a certain social
advertisers have adapted this resilient genre position that allows young people to conform
to the evolving consumerist industry. to group norms (Piacentini and Mailer, 2004).
Products are social tools that allow
Literature Review individuals to cultivate their identity and
Music helps the youth create their make assumptions about the identities o
identities by acting as a symbol that “anchors others based on their possessions. Parasocial
youth subcultures” (Burkhalter and ornton, relationships that are formed by consumers
2014). Young audiences o en use music and its with artists through identi cation with
corresponding content to establish themselves certain characteristics enhance the
and learn about fashion, lifestyle choices, and e ectiveness o branding through music as a
even social issues. e music industry has had consumer’s desire to mirror what they see or
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hear develops (Craig, Flynn, and Holody, Product placement allows an artist to
2017). Socially consumed products are heavily bring their personality to the product, and
in uenced by luxury items that help project a more generally, to the brand, potentially
certain image. Advertisers have recently creating positive associations for the
capitalized on Hip Hop artists and their consumer between the brand and the artist. A
tendency to reference such luxury goods to brand’s reputation can be reinforced or
highlight their accomplishments with elevated by its exposure in popular
products that are symbolic o the upper-class entertainment while giving entertainment a
which was once elusive to them (Burkhalter more realistic feel. O cial deals between
and ornton, 2014). brands and artists are preferred to be kept
Artists can make brand references for secret to assure credibility for both parties
personal or artistic motivations. Mentioning involved. Corporations that use celebrity
certain brands in song lyrics or showcasing endorsements to garner interest and increase
them in videos may be a tribute or tactic to loyalty want consumers to think artists are
enhance their status (Ferguson , 2015). ese incorporating brands into their art because
mentions sometimes lead to endorsement they genuinely like them, not because they
deals. For example, while Run DMC did not were paid endorsements (Craig, Flynn, and
initially receive or seek out compensation for Holody, 2017).
their hit “My Adidas” in which they ese paid endorsements have become
mentioned the brand 22 times, they earned a increasingly appealing to brand managers as
1.5 million dollar endorsement contract television commercials are displaced by other
following it (Bettig and Hall, 2012). So, means o streaming media. Billions o dollars
although it may not be their initial intention, are invested into advertising and the growing
an artist may gain opportunities or worry that television commercials are no
compensation a erwards. e relationship longer being viewed has led to the
between advertisers and artists is mutually “convergence o content and commerce” — a
bene cial, especially now that the sell-out phrase that describes the role advertising
stigma is gone and artists are more willing to plays in the production o popular culture
partner with brands. (Taylor, 2009). e rise o “branded
Most artists cannot rely on radio entertainment” has caused an increase o
airplay for promotion because companies brand placement in media forms like lm and
have streamlined and standardized their music to get consumers’ attention by making
playlists in order to cut costs, creating less their advertisements as compelling as the
exposure for more artists (Taylor, 2009). is programming in areas they already take
causes them to seek out brands to place their interest in (Taylor, 2009).
music into their advertisements. Artists tend Brand placement in music videos has
to align themselves with companies that been found to impact brand memory and
already coincide with their image. us attitude with high return rates —27 times the
creating a relationship “built on the truth o cost— as an artist’s image is re ected onto the
popular culture's perception o the music and brands being endorsed (Craig, Flynn, and
the brand. e music is cool. e brand is Holody, 2017). When a fan watches a music
cool. And both can become part o the DNA video for a song they enjoy, they are already
o how a person de nes him or hersel ” responsive to the information presented in it.
(Taylor, 2009). is ‘self-reinforcing’ nature means once a
viewer watches a music video, they recall the
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visual imagery from the video any time they Research uestion/Hypothesis
hear the song a erwards (Burkhalter and e research uestion being posed is,
ornton, 2014). However, the e ectiveness o “How has Hip Hop culture made a social
brand placements relies on its congruence to signi cance towards young adults in terms o
the message o the media already presented by advertising and brand endorsements?” e
the artists. Congruence is conceptualized by objective o this study is to analyze the impact
two things, relevancy and expectancy. o Hip Hop culture on the U.S. youth to nd
Relevancy is “the extent to which information out how marketers are integrating Hip Hop
detracts or contributes to the primary culture in their brand and to understand Hip
message being communicated” and Hop culture’s in uence on consumer buying
expectancy as “delineating the degree to habits. Whether this is done by having the
which information follows a pre established music playing in commercials or having a
conceptual pattern” (Ferguson and Burkhalter, collaboration with an artist as the “face” o
2015). In this case, Hip Hop culture shares a their campaign, Hip Hop culture is the lens
communal sense o fashion, music, art, through which consumer behavior and its
language, dance, etc. meaning that congruence e ects on sales will be looked at.
refers to moments where a brand corresponds As previously mentioned, Hip Hop
with this notion o culture (Ferguson and culture encompasses more than just music. It
Burkhalter, 2015). A brand is considered extends to other industries and areas o life
incongruent when they diverge from the associated with behavioral patterns o those
established patterns o hip hop culture and who partake in the art being a ected. Hip
consumers are then less receptive to their Hop has consistently held a place in the top
marketing. music charts with messages referencing
erefore, in order to fully utilize Hip anything from luxury goods and excess
Hop culture for sales, advertisers need to lifestyles to social and political oppression.
understand the core messages o the culture ese messages resonate particularly strongly
they are trying to appeal to. However, because with today’s youth, particularly those who fall
o the increase in branded entertainment, within the Millenial and Gen Z range, who
there has been increased amounts o the are growing up in the society referenced in
commercialization o music as artists attempt the lyrics and videos. us, as their
to pro t o o their cra . Young audiences admiration for certain artists grows, so does
are particularly susceptible to this their likelihood o buying products that they
commercialization because o their desire to perceive will help them identify with the
construct and perpetuate images similar to same social group as the artist they are
artists they admire. When advertising attempting to emulate. is has caused brand
messages appear congruent to the art, young managers to turn to the music industry and
adults are more likely to readily accept the product placement to reach audiences like
product because o its association with an these and convert their musical interests into
artist they have a parasocial relationship with. sales. rough analyzing the history, brand
is rise o branding and marketing has campaigns, and the behavior o young
coincided with Hip Hop’s ascension into consumers, a stronger understanding o Hip
popular culture causing it to have a Hop culture’s e ect on this market and
commonplace in the lives o young adults as insight on the industry’s future can be
they make their purchase decisions. ac uired.
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Method conduct the focus groups and pull a segment
Research Design o the total population that is presumed to
In order to collect data, participants represent it. Convenience sampling was
will be asked to take part in a focus group chosen out o necessity due to time
during which they will be given a preliminary constraints and limited access to research
uestionnaire to start. e focus group will participants. e researchers held seven focus
allow participants to interact and in uence groups consisting o about six to eight
one another’s responses as they would in an Pepperdine students willing to voluntarily
uncontrolled environment. e uestions dedicate time to this study. Additionally, the
were written open-endedly to avoid forcing individuals asked to take part were known to
participants into any assumptions based on a either listen to Hip Hop music or self-identify
uestion’s wording. e target sample size for either as a fan o the music or with Hip Hop
each focus group was around six to eight culture. e rst focus group was composed
participants who met at the Media Center o solely o members o the Sigma Phi Epsilon
Payson Library for about an hour to discuss Pepperdine chapter who were known
Hip Hop culture, their perceptions o it, and personally by one o the researchers as
i their buying habits or brand attitudes have patrons o Hip Hop culture. e other three
ever been in uenced by Hip Hop’s consisted o Pepperdine students recruited
endorsement o a particular brand or product. from various on-campus locations.
e independent variable is the product Demographically, the researchers utilized an
placement and branding that is commonplace ethnically diverse sample with members o
in Hip Hop culture. e dependent variable is both genders present from Pepperdine’s
the youth consumer behavior towards these population. e researchers aimed to avoid
brands that may be a ected by Hip Hop ethnic/racial homogeneity by reaching out to
in uence. e focus group is aimed to give various on-campus clubs that the researchers
the researchers a deeper and more personal are a part o like Black Student Association,
insight into what attracts young consumers to Filipino American Student Association, and
Hip Hop as well as how their overall attitudes Latino Student Association. Especially since
towards speci c brands were a ected when Hip Hop culture originated in historically
attached to an artist’s name. Analysis o the racially-oppressed Afro-American urban
information obtained through the focus communities with messages rooted in
groups will allow the researchers to socioeconomic stru les and di erences
understand how much in uence Hip Hop has endured.
on their buying habits and why they remain
loyal to speci c brands — and how loyalty can Procedure
be increased when associated with certain Each focus group began with a
artists. preliminary uestionnaire given to each
participant as they entered the room and sat
Sample at the designated table. e uestionnaire
e population for this study consisted o 10 uestions (Appendix A) on
consisted o college-aged young adults from 18 paper allowing the researchers to gather data
to 23 years old. 59.4% identi ed as male and on basic demographics uestions and general
40.6% identi ed as female with 53% o opinions and cognizance o Hip Hop. e
participants being from California. e uestionnaires from all groups were later
researchers utilized convenience sampling to compiled by inputting each participant’s
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answers into a Google form. is compilation advertise with Hip Hop artists the most?
was referred to by the researcher during 2) Are you more likely to purchase from
analysis o conversational themes that a brand i it is associated with your favorite
persisted throughout the focus group sessions. Hip Hop artist?
Following the preliminary uestionnaire, a
discussion moderated by the researcher ese are essential uestions to help
centered on a series o uestions (Appendix the researchers gain a feel for the participants
A) — from broader to more speci c, like a and their level o attachment to Hip Hop
funnel — to place to help participants become prior to the focus group allowing the
more comfortable with sharing their candid researchers to use them as a conversation
thoughts. Each discussion lasted around 45 starter. It also allows the researchers to see
minutes. Each uestion was posed one at a how they are receiving information regarding
time and had an approximate response time Hip Hop artists collaboration with brands or
o ve minutes which varied between focus exposure to their music in general. Overall,
groups with major points and general notes o they allow the researchers to brie y see
discussion being recorded in a Google Doc by Millennial & Gen Z buying habits and
the researcher. e researcher remained consumer behavior as it pertains to Hip Hop
largely removed from discussion, only serving culture.
to propose the next uestion, to help foster
more interaction amongst participants and Examples o focus group uestions:
allow them to answer each uestion to their 1) What are the di erences you notice in
fullest. During the focus group, participants today’s Hip Hop compared to the old-school
were also shown music videos that 1980s & 1990s?
prominently feature product placement 2) What are some brands that have a
(Appendix C). Lastly, each focus group closed mention o Hip Hop artists in their
with the same post-discussion uestion, “How commercials or publicity e orts? Which ones
has this conversation changed your are memorable? How does it make you feel?
perceptions o Hip Hop, i at all?” 3) Do you own any products that artists
collaborated with?
Instrument
is study re uired a more ese uestions go deeper into the
personalized approach for answers in order to personal perceptions o each participant on
note the engagement between participants. the topic o Hip Hop culture and brand
e focus group allowed participants to endorsements. e rst uestion allows the
express in entirety their opinions and participants to call out the di erences they
sentiments about Hip Hop and discuss detail notice in today’s Hip Hop music and see how
their consumer habits and social media they feel about the changes in content and
consumption in detail. Below are a few visuals. e second uestion allows
uestions asked during the focus group with participants to list brands that have been
the full list available in Appendix B. successful in making their collaborations
notable to the consumers as well as giving us
uestions from the preliminary an insight at the Millenial and Gen Z
uestionnaire: perception regarding those collaborations.
1) rough what mediums (social media, e third uestion takes it a step further by
commercials, posters) have you seen brands having the participants identify speci c
/16
collaborations they purchase and proudly own Another noted that Hip Hop culture
allowing the researchers to measure i one’s was “highly in uential, but not always in the
love for Hip Hop increases their likelihood o best way” and explained how artists can create
purchasing a product. certain images and blur perceptions o the
negative messages that are involved with their
experience. However, it is important to note
Findings that each focus group had participants
ere are three prominent themes ranging in ethnic background. is sentiment
that were major points o discussion in each might be based on the demographic o the
focus group, starting with general attitudes group and whether people who feel more
towards Hip Hop, and the culture strongly towards Hip Hop are more critical o
surrounding it, to personal ideologies and it. Another aspect o Hip Hop culture that
purchase intent. First, the researchers found participants were critical o was the misogyny
that participants were critical o Hip Hop to depicted not only in lyrics but in the visual
some degree and did not nd its current state objecti cation o women through music
favorable because o the heavy videos. is leads into the second major
commercialization within the genre. ere theme — the interplay between personal
was a sense o dissatisfaction/frustration with ideologies, social views, and overall worldview
the industry and the cultural appropriation o and perceptions o Hip Hop.
“black music.” Some participants rejected the Some participants stated that their
idea o people trying to identify with Hip buying habits might be a ected by their
Hop and tap into the culture when they are perceptions o an artist and whether or not
clearly an out-group. Rap used to be centered they like or support them. According to one
on the experiences o African American participant, although Hip Hop is a
communities. One participant noted their “mainstream commodity” nowadays, it still
desire for Hip Hop to regress back to has the ability to produce and tell stories. It is
messages o overcoming adversity instead o a proactive genre that always changes
the materialistic ideals that are commonly according to current trends, but also has the
promoted nowadays. ability to create them. A speci c example that
Another participant viewed Hip Hop came up and sparked debate was Chris Brown
culture as “an avenue for exploitation o and his past with abusing women, naming
culture” as it tends to normalize the “N-word” Rihanna as an example — inconclusive on
through its use in the lyrics o multiple songs. whether or not people should separate art
Additionally, as mentioned previously, Hip from the artist, artist from the brand, art
Hop culture a ects the use o slang in the from the brand, etc.
English language which in turn changes how One participant said that they “would
young adults converse, potentially leading to have to like both the artist and the brand
the use o such racial slurs and cultural beforehand but a successful partnership with
appropriation. It is “easy to rise when you go an artist they like would give an extra push
the Hip Hop route because people imitate towards one o two competing brands."
that ‘story’ o growth and di culty which Whether or not art should be separated from
sells” allowing people who do not live or the artists, one participant declared that
understand those experiences to make music wherever the line drawn needs to be
about it for pro t. consistent without making exceptions for
certain people. Many participants agreed in
/17
saying whether or not an artist’s personal they would be deterred from a brand because
ideologies should a ect your consumption o it becomes more about personal ideals than
their products should have a consistent product. Partnering with a problematic artist
standard which leads into the next theme. re ects back onto the company’s morals
irdly, participants discussed what because o their willingness to support the
things a ect personal decisions to purchase a messages they are putting out. Others
brand and certain aspects o consumer disagreed saying “people have a natural
behavior and its relation to Hip Hop. inclination to look up to someone” and so
Surprisingly, the researchers found that Hip when they promote a product consumers may
Hop itsel was not very in uential when be willing to overlook some negative aspects
referring to someone’s buying intentions. and consider purchasing. Another deterring
Rather, participants stated that they tended factor o brand endorsements and product
to buy from brands they already have an placements is how prominently featured in
established relationship with because there is the art.
already a level o trust for the uality o a
product. is loyalty can be enhanced i a Discussion
brand brings in an artist they like but While some o the researcher’s
consumers are less likely to swap brands solely ndings for the focus group were to be
because o a partnership. Multiple expected, some participant’s answers were
participants agreed in saying that “good also surprising and uni ue based on the
product is more important,” the person circumstance o the uestion. Past studies
advertising it tends to be irrelevant because stated that consumers would buy a product,
consumers care more about the uality they and even switch brands, i endorsed by a
are getting. One participant mentioned Travis celebrity that they support. is su ested a
Scott’s collaboration with Nike — direct relationship between product
combination o both his favorite artist and placements and endorsements and consumer
favorite brand — stating his preference for buying intentions. However, the researchers
artists that collaborate with already found that this relationship is not as explicit
established brands rather than creating their as previously made out to be. According to
own, adding that “logos o already established the data gathered from the focus groups,
brands are enticing.” erefore, pre-existing young adults are more inclined to purchase
relationships with brands are enhanced when brands that are partnered with their favorite
seen with a favored artist, thus reinforcing a Hip Hop artist i the product is a
consumer’s purchase decisions. collaboration with an already established
Additionally, i a brand is known to brand they currently have a relationship with.
represent or support causes the participant is is because they are guaranteed the uality
perceives as ethical then an artist is associated associated with the logo. As a result,
with them, consumers are more receptive collaborations and partnerships faired more
because “they are supporting a cause, not just favorably than when an artist attempts to
a brand or product.” One participant noted create their own brand. is brand loyalty
that i they do not agree with an artist’s code creates a “self-reinforcing” relationship once a
o ethics, then they would not buy their consumer watches a music video or listens to
speci c collaboration but the brand as a lyrics that fortify their purchase decisions
whole would remain largely una ected. (Burkhalter and ornton, 2014).
Another noted that in some extreme cases,
/18
Advertisements in the music industry heavily in uenced by Hip hop artists in how
are increasing rapidly because o the vast they perceive advertisements and make
amounts o money being invested into purchasing decisions — whether cognizant o
advertising. e inability to completely the e ect o commercialization o music on
separate the two has led to the “convergence them or not. Currently, there is a big
o content and commerce” which shows how emphasis on consumerism within the genre,
essential advertising’s role in the production many songs iterate the signi cance o owning
o popular culture is (Taylor, 2009). e rise o things, objectifying objects and people while
such “branded entertainment” has caused an they talk about wealth and status. e level o
increased volume o brand placement in in uence that Hip Hop culture holds over
varying media forms to get consumers’ consumer buying intentions is profound
attention by aligning their advertisement considering how Hip Hop is a genre o music
with entertainment media a consumer is born out o underprivileged African
already intaking (Taylor, 2009). However, this American communities. Hip Hop artists used
has led to some negative sentiments towards to use music as an avenue to talk about their
Hip Hop culture as the focus has been placed lives and the issues in the socioeconomic
on advertisement causing people to put things environment. However, it is no surprise that
out because they want to get noticed, not Hip Hop in ltrated mainstream culture
because they want to develop themselves as because their experiences and hardships were
artists. relatable to many other minority groups who
Participants stated how artists can looked to speci c artists to articulate their
lose their authenticity with partnerships experiences in the universal language o
because their music then becomes more about music. Despite their much faced adversity,
clout than their inner thoughts. One response Hip Hop culture has penetrated society past
to the music video for “Gucci Gang” that was the con nes o the music industry making it
screened in front o the focus group was a impossible to ignore. Engul ng more than
feeling o a sort o caricature. One participant music, Hip Hop is o entimes considered a
stated that Gucci was referenced so many social movement that gained popularity in the
times and was too prominent causing Migos 1970s to constructively use their energy
to “degrade the name because o how silly it is towards bringing awareness to their
in saturation.” e abundance o brand experiences. Hip hop, a musical genre and
endorsements and product placements in Hip cultural phenomenon originating from an
Hop causes it to lose value as consumers’ oppressed minority in American history, has
attention to it diminishes. Rather, displayed resilient in uence on today's youth
specialization — when an artist is more loyal by becoming an integral part o pop culture
to one brand — is more e ective. Yet, many and consumerism. erefore, it is important
participants identi ed designer brands as a to study how Hip Hop in uences the youth
major characteristic o Hip Hop culture, and their consumption o media because o its
showing how they “subconsciously have prevalence in even unconscious perceptions o
associated designer brands with status society and branded entertainment.
because o artists without even realizing.”
Limitations and Further Research
Conclusion In this study there were varying levels
rough thorough analysis, the o expertise on Hip Hop culture because
researchers concluded that young adults are participants self-identi ed as knowledgeable
/19
on the topic. It is possible that the di ering taken place had there been no time constraint
racial/ethnic identities present in each focus which would have allowed the researchers to
group promoted groupthink between those gain even better insight on purchase history
who identi ed similarly. Ethnic minorities and understanding for how
might have been pressured to agree with the commercialization o Hip Hop culture
majority or self-censor more controversial translates to sales. In future studies, it would
thoughts pertaining to the exploitation o be bene cial to ask participants to further
Black culture and normalization o the elaborate on their answers in order to fully
“N-word.” Oppositely, those who identi ed as understand their reasoning and logic behind
White might not have wanted to disagree buying habits. It would also be constructive
with ethnic minorities and their opinions so for the researchers to allot more time to the
they would not appear to be oppressive or analysis o discourse conducted with each
ignorant to racial dynamics in Hip Hop. focus group immediately a er, rather than
Additionally, there was much more waiting a few days before discussion.
information and analysis that could have
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Appendix A
Focus Group uestions:
1. How would you de ne Hip Hop culture? What are words that come to mind?
2. What is your knowledge o early 1980s-1990s hip hop?
3. Who are the top Hip Hop artists today?
4. Who do you view as the most in uential hip Hop Artist o all time and how do they
compare to the current leading artist now?
5. What are the di erences you notice in what they wear and how they rap?
6. How has Hip Hop’s in uence on young adults changed from the early 1980s-1990
compared to current artists today?
7. What are some songs that you can recall that mention brand products or names?
8. What are some brands that have a mention o a Hip Hop artist in their commercials o
publicity e orts? Which ones do you remember? How did it make you feel?
9. Do you personally own any partnerships/collaborations?
10. With today’s current status in technology, which platform or mediums do you use th
most that provide advertisements o brands utilizing Hip Hop artists?
11. How important is social media to a Hip Hop artist’s career or does it not matter at all?
Appendix B
Videos Screened in Front o Focus Groups:
“Motor Sport” by Migos, Nicki Minaj, and Cardi B
https://www.youtube.com/watch?v=9v_rtaye2yY
“Versace” by Migos
https://www.youtube.com/watch?v=rF-hq_CHNH0
“Wish Wish” by D Khaled feat. Cardi B and 21 Savage
https://www.youtube.com/watch?v=Oq8z-U3bPgo
“Bad and Boujee” by Migos feat. Lil Uzi Vert
https://www.youtube.com/watch?v=S-sJp1FfG7Q
/21
The 3 P’s: Pewdiepie, Popularity, & Popularity
Lea Medina
Written for COM 300: Media Research (Dr. Klive Oh)
Introduction Channel is an online pro le created on the
Felix Arvid Ul Kjellberg—more website YouTube where users can upload their
a ectionately referred to as Pewdiepie—is original video content to the site. e factors
statistically the most successful YouTuber, o his channel that will be explored are his
with a net worth o over $15 million and over relationships with the viewers, his personality,
100 million subscribers. With a channel that relationship with his wife, and behavioral
has uploaded over 4,000 videos, it becomes patterns.
natural to uestion how one person can gain Horton and Wohl’s Parasocial
such popularity and pro t just by sitting in Interaction eory states that interacting
front o a camera. It seems that Pewdiepie’s with mediated gures, such as YouTube
more controversial actions such as using personalities, can cause viewers to feel like
o ensive language have ultimately only added they have formed real relationships despite
to his popularity; these moments o criticism that relationship being one-sided. Parasocial
show that he is a character o resilience in an Interaction eory helps to answer the
industry o ever-changing trends. While uestion o why Pewdiepie is so pro table.
gaming has been widely overlooked in the For starters, Pewdiepie has created an
past, it became the “most popular and atmosphere in his online community in which
pro table form o entertainment” (D'Argenio, subscribers believe they are interacting with
2018). Content creators stand to gain him in a meaningful way. Subscribers can post
nancially from brand deals, sponsored on his subreddit (an online hub to talk about
videos, and other ways o promoting video shared interests) and hope Pewdiepie displays
and mobile games. By 2021, the gaming their post in his newest video. Pewdiepie has
industry is set to make 180.1 billion dollars been committed to posting once a day for
(Dobrilova, 2019). Not only can Pewdiepie be over six years which ensures a constant
seen as a character o resilience but the presence in his subscribers’ lives so as not to
gaming industry, through which Pewdiepie be forgotten. Finding ways to connect with
made a name for himself, can also be seen as a and support Pewdiepie has never been so easy.
powerful force o resilience. By studying what From wearing his merchandise to buying his
factors make Pewdiepie’s videos so popular sponsored gamer energy drink, there seems to
and how he obtains money from that online be no limit to how Pewdiepie can in uence
success, it will be easier to understand how his large subscriber base.
content creators will pro t on YouTube in the e uestion is both relevant and
future and how others can mimic such signi cant because YouTube is continuing to
resilience. is research also helps to better grow and expand its user base. Within this
understand the mind o a consumer and what modern context speci cally, YouTube has a
they value in an online personality. reliable audience who watch their favorite
Many terms need to be conceptualized channels regularly as i tuning in to a network
within this research uestion. A YouTube show. YouTube stars are making so much o
/22
their online content that the pursuit o a centric creation to its now
YouTube career is becoming increasingly professionally-generated content selection.
more common and desirable. In the United e content uploaded to YouTube in 60 days
Kingdom and United States alone, being a is the same amount o content that would be
YouTuber is about 3 times more likely to be broadcast over a span o 60 years (Figueiredo,
chosen as a career amongst children than Benevenuto, & Almeida, 2011). e
being an astronaut (Berger, 2019). Looking at astonishing rate o content available to the
the Parasocial Interaction eory, it can be online world is o en overlooked because only
seen how modern consumers turn to YouTube some content creators and videos are deemed
to be entertained through the most mundane as popular. Online celebrities arise from the
means. e shi in entertainment from creation o YouTube as these created
professionally generated content (PGC) to personalities begin to post their videos at a
user-generated content (UGC) is important constant rate. As YouTubers gain more views,
to professional industries (entertainment, they increase in popularity. e most popular
lm, advertising, etc.) as this reveals YouTuber, in terms o the number o views, is
consumer behavior. e increasing use o Felix Arvid Ul Kjellberg otherwise known as
YouTube signi es an interest in varying forms Pewdiepie. Using the Parasocial Interaction
o content. eory, Hegemonic Masculinity eory,
In conclusion, this study will research Inclusive Masculinities eory, it becomes
the factors that make Pewdiepie successful on possible to understand why he can gain such a
the YouTube platform by analyzing the following as well as indicating what makes
relationship between his popularity and him pro table. Discovering why Pewdiepie’s
pro tability. By studying these aspects o the videos are so popular is important as these are
most popular YouTube channel, the goal is to personalities that greatly in uence large
further understand what garners nancial populations. It is important for many
success on YouTube so future users o the industries to better understand the
platform and researchers can better predict relationship between content creator and
what makes or breaks a new YouTube viewer. Looking to Parasocial Interaction
personality. is research seeks to nd how eory, it is important to know what can
social media personalities, speci cally make a subscriber so loyal to someone they
YouTube stars, can become resilient gures o have never met.
in uence over their viewers despite their Social Media is something that is
shortcomings. By understanding this, our commonly used but it is di cult to de ne. To
study will gain insight into how content conceptualize such a medium, it is useful to
creators, namely Youtubers, can create view social media as a “proto-industry” made
relationships with their audience and, up o content creators who “engage in content
through that, gain a pro t. innovation” to a global community (Craig &
Cunningham, 2017). is is an ever-growing
Literature Review industry that allows for anyone to gain a
YouTube is a social media platform following via the follow-button through
that has transformed the world o new media. platforms such as Instagram, Twitter,
It a ects how viewers nd entertainment (i.e. Facebook, etc. e increase in the use o social
“Vlo ing, gaming, style tutorials”) (Craig & media also brings an in ux o social media
Cunningham, 2017). YouTube, itself, has had a in uencers. ese are “organizational
transformation since its user-generated advocates in the new medium o social media
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