Pepperdine Journal of Communication Research

Volume 8 Article 3

2020

Effect of Hip Hop on Youth Consumerism

Joanna A. Cabalquinto Pepperdine University, [email protected]

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Recommended Citation Cabalquinto, Joanna A. (2020) "Effect of Hip Hop on Youth Consumerism," Pepperdine Journal of Communication Research: Vol. 8 , Article 3. Available at: https://digitalcommons.pepperdine.edu/pjcr/vol8/iss1/3

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Eect of Hip Hop on Youth Consumerism

Joanna A. Cabalquinto

Written f or C OM 3 00: M edia R esearch ( 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 protable businesses in the corporate world, Billboard Charts are ranked according to penetrating mainstream media. Its inuence sales, streams, or airplay and can be dedicated extends far beyond that o the music industry, to a specic 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 specic 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 inuential commodities in mainstream showcasing them (Coveney, 2004). Artists music. Rap music reects its origin o young, oen “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 11 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 dicult 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 dierent 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 eort 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 eects 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 inuence 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 oen use music and its with artists through identication with corresponding content to establish themselves certain characteristics enhance the and learn about fashion, lifestyle choices, and eectiveness o branding through music as a even social issues. e music industry has had consumer’s desire to mirror what they see or 12 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 inuenced 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. Ocial 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 aerwards. e relationship longer being viewed has led to the between advertisers and artists is mutually “convergence o content and commerce” — a benecial, 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 reected 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 denes 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 13 visual imagery from the video any time they Research uestion/Hypothesis hear the song aerwards (Burkhalter and e research uestion being posed is, ornton, 2014). However, the eectiveness o “How has Hip Hop culture made a social brand placements relies on its congruence to signicance 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 inuence 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 eects 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 aected. 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 prot 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 eect 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. acuired.

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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 inuence 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 inuenced 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 aected by Hip Hop ethnic/racial homogeneity by reaching out to inuence. 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 specic brands were aected 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 strules and dierences understand how much inuence Hip Hop has endured. on their buying habits and why they remain loyal to specic 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% identied as male and on basic demographics uestions and general 40.6% identied 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 15 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 specic, 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 briey 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 dierences 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 eorts? 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 reuired 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 dierences 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 specic 16 collaborations they purchase and proudly own Another noted that Hip Hop culture allowing the researchers to measure i one’s was “highly inuential, 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 objectication 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 aected 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 specic 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 aects 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 diculty 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 prot. 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 aect 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. reects back onto the company’s morals irdly, participants discussed what because o their willingness to support the things aect 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 inuential 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 uniue 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 suested 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 specic collaboration but the brand as a lyrics that fortify their purchase decisions whole would remain largely unaected. (Burkhalter and ornton, 2014). Another noted that in some extreme cases, 18

Advertisements in the music industry heavily inuenced 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 eect 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 signicance 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 inuence 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 inltrated 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 specic 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 connes o the music industry making it screened in front o the focus group was a impossible to ignore. Engulng more than feeling o a sort o caricature. One participant music, Hip Hop is oentimes 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 inuence on today's youth specialization — when an artist is more loyal by becoming an integral part o pop culture to one brand — is more eective. Yet, many and consumerism. erefore, it is important participants identied designer brands as a to study how Hip Hop inuences 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-identied as knowledgeable 19 on the topic. It is possible that the diering 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 identied 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 benecial to ask participants to further Black culture and normalization o the elaborate on their answers in order to fully “N-word.” Oppositely, those who identied 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 aer, 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 dene 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 inuential hip Hop Artist o all time and how do they compare to the current leading artist now? 5. What are the dierences you notice in what they wear and how they rap? 6. How has Hip Hop’s inuence 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 eorts? 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