澳洲莫纳什代写作业:嘻哈文化

2019-02-17 19:55

如前所述，在今天的嘻哈文化中，CIROC的身影数不胜数，以至于这个品牌成为了嘻哈文化的缩影。这种对酒精的崇拜在音乐中，特别是在嘻哈音乐中，并不是CIROC所独有的。例如,酩悦和克里斯特,正确地观察到作为高端品牌,已经使用梳子的歌词门生末臭名昭著的大,他说,“俱乐部喝的酩悦的后面,你会发现我”和“带着点,把他们的钥匙,让我的老师/在笑声中过着幸福快乐的日子/哈,从未见过‘水晶’倒快/和那些混蛋,傻瓜挤压导致。Miller和Muir(2004)指出，“嘻哈作为一种文化和商业力量，其影响是巨大的:可口可乐、百事可乐、古奇、百加得、巴宝莉、奔驰、耐克和麦当劳等品牌都曾利用嘻哈来推销自己”(第178页)。尽管嘻哈音乐是由比在俱乐部里用哪瓶酒“流行”更严肃的问题塑造而成的，但某些品牌的受欢迎程度大幅提升，要归功于说唱歌手在各种歌词中的支持。该运动提出了另一种文化观念，那就是女性是如何被代表的。Amico说:“广告提升了女性童稚性感的形象。”从广告一开始，女性就以一种顺从、戏谑的角色出现，将其视为奢华生活的另一种表现。女性有一个说话的部分;在广告中，女性角色很少有发言权，除非是直接面向女性的广告。Wood(1999)指出，“在美国，女性化意味着有吸引力、有差异、不具侵略性、情绪化、有教养、关心他人和关系”(引用Turow & McAllister, 2009, p. 193)。这些概念在广告中都有描述，强调了女性作为主角应该为男性服务的性别角色的历史信念。尽管像许多现代女性一样，这些女性的着装体现了职业精神，但当她们被这样描绘时，她们被视为回到家就得做“第二份工作”。没有比以往更少的证据表明，这则广告正在削弱妇女权利方面取得的任何进展。然而，这里传递给观众的信息是，男人是有权威的人——掌控一切的人，而女人的角色是服务;仅仅因为女人们看起来很成功，玩得很开心，这只是在她仍然履行她作为女主人的主要职责的条件下。
澳洲莫纳什代写作业:嘻哈文化
As mentioned beforehand, there are countless references of CIROC in hip-hop culture today, so much so that the brand epitomizes the approach to the music. Such adoration toward alcohol in music, and specifically in hip-hop is not unique to CIROC. For example, MOET and CRISTAL, rightly having been observed as premium brands, have been used in the lyrics of Combs protégé the late Notorious BIG in which he says, “The back of the club sipping ‘Moet’ is where you’ll find me” and “Take their spots, take their keys, make my faculty/Live happily ever after in laughter/Hah, never seen ‘Cristal’ pour faster/And to those bastards, knuckleheads squeeze lead.” Miller and Muir (2004) note that, “As a cultural and commercial force, hip-hop’s impact is formidable: Coke, Pepsi, Gucci, Bacardi, Burberry, Mercedes, Nike and McDonald’s are among the brands that have used hip hop to sell themselves” (p. 178). While hip-hop was shaped from much more serious questions than which bottle to ‘pop’ in the club, it is thanks to endorsements from rappers in various lyrics that certain brands have enjoyed a substantial boost in popularity.The campaign suggests another cultural perception, and that is how the women are represented. Amico says that, “Advertisements promoted the image of women as childlike and sexy” . From the onset of the commercial, the women appear in a role that is subservient and playful, regarding them as another expression of the luxurious life. The women have one speaking part; following a trend in advertising that rarely do female characters have a voice in a commercial unless it is for something directly marketed to women. Wood (1999) notes, “To be feminine in the United States is to be attractive, differential, unaggressive, emotional, nurturing, and concerned with people and relationships” (as cited in Turow & McAllister, 2009, p. 193). These concepts are depicted in the commercial and emphasize the historic belief about gender roles that women as the protagonist are expected to serve the male. Although the women are dressed in attire that suggests professionalism, as with many modern women, when they are portrayed this way, women are seen as having to work their “second job” when they arrive home. There is less evidence than usual to suggest this advert is working to undercut any progress made for women’s rights. However, the message sent to the viewers here is that the men is the one with authority—the one in control, and the woman’s role is to serve; and just because the women appear successful and having a good time, it is only on the condition that she still carries out her principal duties as hostess.