JOURNAL REVIEW ASSIGNMENT

SECTION ONE Directions: Select a journal from a discipline that pertains to your specific research interests.  Spend time in the library (or online) visiting the journal, reviewing it since its inception. BILLBOARED or ROLLINGSTONE MAGAZINE, WHICH are MUSIC THEMED will work here. Consider the history, development, major players, subscription rates, publication information, acceptance/publication rates, style manual, editorial board, schools of contributors, kind of work contributed, what gets published, forums/ book reviews. Explore the current trends in topics. Who is the current editor, what is their term, their philosophy. Where is it being edited? Are there editorial prefaces? What do they say?

Spend some time running through or skimming the volumes of the journal. (Note: Set a time limit on browsing and reading and then manage your time. It is easy to be diverted from this task by reading articles of interest instead of browsing the entire journal.) Keep notes on significant changes you see over the years of the journal’s existence. Watch for changes in editorial boards, schools that the contributors or editors come from, topic changes, name changes of the journal itself, etc. Note specifically if a journal has a change in format such as adding a book review section, a forum section, or editor’s introductory remarks. Pay attention to long-term trends.

PART I – Write a report that contains the following information. Note, most of this information could be obtained from the most recent issues.

Journal name

Call number

Years of publication and volume numbers (note title changes, if any)

Issues (quarterly? semi-annually?)

Years available in our library (specify if on line volumes are available and where)

Facts of publication (who owns/sponsors the journal, where is it published, cost of subscription)

Current editor

Current style manual

Specifications for submissions (page limit, format (manuscript or electronic, etc.)

Anything else you think is relevant or interesting.

SECTION TWO Directions

PART II - Analysis

After completing your journal review, write a 2-3 page report that synthesizes and analyzes what you discovered. Your report should synthesize the content and content changes of the journal and identify the major trends that you discovered.

The assignment issues: 1. PLEASE NOTE, the ANSWERS received and POSTED BELOW, are not associated with the 2-part question posted above! 2. Answer submitted on 10.23.17 no.7009 plagiarizes the answer given for another assignment finalized on 10.16.17 no.6973! Please note that neither answer is titled “Journal Review, two-part Assignment”.

PLAGERIZED ASSIGNMENT RESULT for#7009 completed on 10.23.17, as the answer for question above, posted on 10.17.17, is from former answer to another assignment, presented for completion of “handshake” on 10.16.17, therefore the answer for the assignment remains incomplete with no solution in sight as the teacher is have difficulty embracing the issue. Would you please forward this breakdown to him, so that we can resolve this? Thank You, Kindest Regards, Hyssop2016

ASSIGNMENT No. 7009, RESULTS RECEIVED ON 10.23.17

Please compare assignment no.7009 with assignment no.6973 received on 10.16.17 to confirm plagiarism, which is understandably un-acceptable?

Music & subversive messaging

Student’s name

University affiliation

Introduction

From the ancient times, music has been a major form of entertainment as well as the presentation of culture. Therefore a performers’ main objective is to maximize their connection with the audience in both verbal and non-verbal communication. However, as the music took an integral part in the society, the need to disseminate information to specific audience increased but retained its main role as an entertainment medium. Therefore the dilemma of how artists’ addresses the same crowd and at the same time connect at a deeper level with an only selected portion of the audience has always existed. Communities across the globe have developed their own unique ways to code their messages. Therefore this essay explores three dimensions of music in order to define subversive messaging involving African- American music, pop, and calypso. The essence is to understand the historical background together with the need for subversive messaging in various cultures.

The coded message: African American music

Ragtime music can be traced from the southern communities presumably slaves. In this case, the style of music peaked in the 1890s and lasted long enough despite the emergence of various revivals in the 20th century. Ancient artists such as Scott Joplin composed music purposed to entertain the African American communities. However, the style attracted some white audience. As a result, some information had to be coded to avoid offending the whites (masters). Social as well as geographical segregation of blacks from the American lifestyle prolonged the existence of the African culture even with the end of slavery. (Verney, 2013). This is clearly portrayed with the emergence of jazz and the ‘blues.” The Blues, for instance, revealed an in-depth interpretation of the life of the south black’s communities in the period of and after slavery. The songs relied more on metaphors that conveyed hidden messages. However, the mere look of the music provided entertainment but keenly listening delivered lessons to be carried through the “black’ generations.

Pop music

Thomas Edison contribution to the invention of the phonograph in 1877, paved the way for pop music. His invention confirmed that the cylinder could be reversely rotated to produce a fascinating version of recorded music. According to the first experiment carried out during the Musique Concrete’ era’ pertaining editing and integration of sound fragments, after that messages have been expertly inserted into music. (Stollznow, 2014). However, the music is only heard with clarity upon playing the same song backward. ‘Beatles’ is a good example of group songs that ruled the music industry. Whether coded as a gimmick, the subversive messaging by the Beatles did not escape the attention of music fans. Apparently, the focus was too intense to an extent the death of some of the members could be intertwined in the selected backmasked songs. To date, apparently innocent pop music is associated with subliminal messaging particularly when played in reverse and this is more complex based on the choreography applied in the video. For example, a musician such as Miley Cyrus has been associated with the use of erotic and sexism in their video to portray unattainable love.

Calypso

This type of music is perceived to be carefree or frivolous. (Regis, 1999). On the other hand, this style of music is political based especially on its subtle. The origin of this genre of music can be understood from the historical fight for emancipation from both real as well as mental slavery. However, the composure of the songs is dependent on wit and unusual observation in order to communicate in a unique manner; that serves two purposes. Firstly it ensures the audience is hooked on the message while at the same time ensuring others are thrilled by the creativity. Therefore, it primarily served the purpose of mocking the slave master as well as communicating political occurrence at the time. To close, the highlighted case study of various music genres have comprehensively defined the need for subversive messaging. There was the need communicate certain information to a particular target audience.

Assignment No. 6973 Results Received on 10.16.17

The Essence of Subversive Messaging In Music

Student Name

Introduction

Throughout history, music has been a major form of entertainment and presentation of culture. The performers endeavor to maximize their connection with the audience in both verbal and non-verbal communication. However, as the music took center stage in the society, the need to pass some information to a particular audience arose while still retaining the contemporary role of music as an entertainment medium. How could the artists address the same crowd yet connect at a more intimate/ deeper level with an only selected portion of the audience? Different communities have found different ways to mask their ‘secret’ messages with the obvious coding naturally done through the language used. This paper explores some three perspectives of music to define subversive messaging including; calypso, pop, and African-American music. The intention is to understand the historical background and the need for subversive messaging in different cultures.

The Hidden Message: Pop Music

Thomas Edison invented the phonograph in 1877, and one year later, he found that the cylinder could be reversely rotated to produce an interesting version of recorded music. The melody was retained but in a unique manner including the word patterns. During the ‘Musique Concrete’ era, the Avant-garde musicians did the first experiment that entailed the editing and integration of sound fragments (Stollznow, 2014). Since then, messages have been expertly inserted into music that can only be heard with clarity upon playing the same song backward. The best example is the popular musical group the ‘Beatles’ that has ruled the music industry for over five decades. The group stumbled upon the art of back-masking while working on their 1965 album by the title ‘Rubber Soul’ (Stollznow, 2014). They heavily borrowed elements of ‘Musique Concrete’ to establish this new experience. Whether done as a popularization gimmick or conveyance of a secret message, the subversive messaging by the Beatles caught the attention of music fans and critics. The focus was too intense to an extent the death of some of the members could be supposedly confirmed through confessions in selected backmasked songs. One such incident is the 1966 rumors by American college students of Paul McCartney death and replacement but someone that resembled the artist (Stollznow, 2014).

Not long after, the 1973 film titled ‘the Exorcist’ kicked another public storm. A tape containing the garbled words of a possessed victim in the movie when played backward confirmed the speech to have been made in English. Since then, musicians such as Ozzy Osborne and bands including; The Eagles, ELO, Judas Priest and Led Zeppelin were accused of using subversive messaging to promote satanic subliminal messages (Stollznow, 2014). To date, seemingly innocent pop music is accused of subliminal messaging when played in reverse, and the complexities have since increased based on the ability to fuse music video elements that complete the subversive messaging. Musicians such as Miley Cyrus, Beyoncé, Justine Bieber and Lady Gaga have been cited for using erotic movements and sexism in their presentations to promote unattainable love. The words or dancing is intended to shift the focus from the main message that is often laid out in plain view.

African American Music

Ragtime music originated in the southern communities of African Americans (Blacks) presumably slaves. The style of music peaked in the 1890s and lasted till 1918 even though various revivals took place later in the 20th century. Artists of the time such as Scott Joplin made music intended to entertain the African American Community, but inevitably, the style attracted some white audience. Therefore, some crude lyrics often had to be coded or stylistically hidden to avoid offending the ‘masters.' The geographical and social exclusion of the ‘blacks’ from the mainstream American lifestyle prolonged the survival of the African culture long after the end of slavery (Verney, 2013). This reality was evident through the emergence of jazz and the ‘blues.' However, the Blues music provided an in-depth interpretation of the life of the southern black communities during and after slavery. Metaphors involving animals were popular in this music, and only a targeted audience could interpret and understand the underlying message. A superficial glance at the music often provided entertainment, but strategic listening delivered lasting lessons to be carried through the ‘black’ generations. The mule was a popular animal used to symbolize minimum reward for long and tedious working hours under unbearable conditions. The animal was also popular in symbolizing the lowest order in the society, reflecting the status of the black community.

Love and sex was also a popular theme in the male-dominated ‘Blues’ musical style where sexual prowess was magnified through animals such as roosters, writhing black snakes, and stallions (Verney, 2013). Objectification of women was also established during this era where they were mere symbols of sexual gratification. Some of the representations of women in graphics and words included; heifers, pig-meat, and mares (Verney, 2013). Politically, such songs often triggered debates because they tended to trigger memories of injustices, wrongs, and misfortunes of the black community. Depending on the prevailing atmosphere, the artists could twist lyrics to minimize adversities while maintaining the subliminal messages.

Calypso

Away from the Caribbean region, calypso music is perceived to be light-hearted, carefree and in some cases frivolous (Regis, 1999). On the contrary, this style of music is one of the most political based on its subtle but serious social commentary blurred in the joyful cadences. This genre of music originates from the historical fight for emancipation from both real and mental slavery. The composure of the songs in most cases demands wit and full imagination that finds a way to communicate the obvious in an indirect manner; that keeps the target audience hooked on the vibes while the rest are thrilled from the creativity. Emerging from the West African roots and propagated by the Slaves channeled in the Caribbean region, Calypso was designed to lament often and provide satirical effects. The content was intended to mock the Slave-Masters, especially in the ‘Harvest festival of Canboulay’ that was organized to coincide with the pre-Lent Carnival that excluded even the Freed Slaves (Regis, 1999). As the genre gained its highest popularity in the 1920s and 30s, it became the primary source of news as well as a mode of interpreting/ communicating political occurrences. Just like the Blues genre, Calypso provoked political debates leading to several incidents of its banning by the colonial government. The topics of interests diversified to racial consciousness to address racial segregation in the 1960s.

Assessment of unrequited love

The difficulties and the almost impossible act of emancipation or acquisition of freedom ensured subversive messaging was sustained for the safe communication of the minorities during slavery. Consequently, the beauty and expression of freedom became vivid to most if not all the hopeful slaves. The post-slavery period and urbanization era forced all the races to recognize the power of music. Some of the themes in early musicals lost part of their meaning as the world embraced freedom and modernization. However, the need to communicate prevailing injustices that could not be completely eliminated through physical freedom has sustained the use of subversive messaging. Love is a topic that crosses all human boundaries and has the potential to overcome all social stratification factors including; age, gender, race, class, employment status, and education level. Therefore, the songs of the post-slavery period could not find common ground of reaching the masses as well as using the theme of love. As unattainable love is predominant in these songs, so is the allure of fighting the social injustices that exceed to date. Therefore, the intensity of erotic representation of the same is often perceived by critics as a source of over-indulging the masses to ensure they do not focus on the ‘real issues.' Therefore, hidden communication is made to affect the conscious/ subconscious mind of the audience as a means of establishing contact. The essence is to deliver the message in circumstances that would otherwise generate resistance if such communication was plain or direct.

Conclusion

The highlighted case studies of different music genres have defined the need for subversive messaging as emerging from the need to communicate and resonate with a particular target audience. At the same time, the concept of hidden message sometimes in plain view serves to throw off track/ confuse potential threats to the performers or their preferred audience. The ability to customize the message often endears the song to the target audience thus creating a following that may directly or indirectly benefit the musician. The sexual escapades in music can be justified according to Charles Darwin’s theory that attaches the origin of music to the need for sex, as witnessed in animals, especially birds. Benjamin Charlton, a psychologist at the University of Sussex, supports Darwin’s theory through his experiment that found women to change their sexual preferences for music performers/ composers during their menstrual cycles (Charlton, 2014). Music producers, composers, and performers seem to have borrowed a leaf from the combined findings to enhance their songs to maximize on the natural allure of sexual escapades in music. Survival in the highly competitive music industry seems destined for the sexiest not only for the natural attraction but for the ability to exploit the power of subliminal messaging that has the power to maximize subconscious programming of the masses towards a particular topic or issue. Subversive messaging was and is intended to protect the artists and in the same breath endear them to a particular fan-base as a result of its authenticity. Most artists provide superficial appearances in their music but always find rare but valuable opportunities to provide an honest front/ opinion through hidden messages.

References

Charlton, B. D. (2014, June). Menstrual cycle phase alters women's sexual preferences for composers of more complex music. In Proc. R. Soc. B (Vol. 281, No. 1784, p. 20140403). The Royal Society.

Darwin, C. (1888). The descent of man and selection about sex (Vol. 1). Murray.

Regis, L. (1999). The political calypso: True Opposition in Trinidad and Tobago, 1962-1987. University Press of Florida.

Stollznow, K. (2014). Backmasking. In Language Myths, Mysteries and Magic (pp. 133-140). Palgrave Macmillan UK.

Verney, K. (2013). African Americans and US Popular Culture. London: Routledge.

References

Verney, K. (2013). African Americans and US Popular Culture. London: Routledge.

Regis, L. (1999). The political calypso: True Opposition in Trinidad and Tobago, 1962-1987. University Press of Florida.

Stollznow, K. (2014). Backmasking. In Language Myths, Mysteries and Magic (pp. 133-140). Palgrave Macmillan UK.