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      <title>Charles Pickering - Progress Map - Y2 C18201 BIP Part 2 (Diss Prep) 21-22 by Charles Pickering</title>
      <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9</link>
      <description></description>
      <language>en-us</language>
      <pubDate>2022-04-24 14:42:59 UTC</pubDate>
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      <item>
         <title>Session 1 | Thursday 21st April</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2155315981</link>
         <description><![CDATA[<div>- Commercial Publicity&nbsp;<br>- Pro-War Symbolism&nbsp;<br>- Nissan Z | Political Connotations - Example<br>- Nissan Z | Classism &amp; The Free World<br>- Mind Map: Publicity<br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-04-24 14:46:43 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2155315981</guid>
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      <item>
         <title>Commercial Publicity </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2160972033</link>
         <description><![CDATA[<div>"Publicity is explained and justified as a competitive Medium, that benefits the public." (Berger, 1972)<br><br>The image shown above, is taken from the 1972 John Berger novel, Ways of Seeing, which depicts a historical photograph of Piccadilly Circus, London, in all its advertising glory.<br><br>The companies visible in this image, such as Coca Cola, Gordons Gin and Max Factor, all link to the dynamic purpose of publicity. Its ability to flow through society, encouraging us all to invest in idealistic, materialistic products, which portray the 'perfect lifestyle'.&nbsp;<br><br>Products such as Coca Cola for example, do not create desires for lifestyle, but claims to refresh you the best, with delicious ingredients. This may not be necessarily true, but is made credible, through bold colourisations, neon's and elusive typographic statements. In more contemporary times, visual advertising can support/manipulate the success of providing appropriate publicity.<br><br>"The great hoardings and neon's of the cities of capitalism are the immediate sign of 'The Free World'." (Berger, 1972)<br><br><br></div>]]></description>
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         <pubDate>2022-04-27 19:12:32 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2160972033</guid>
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      <item>
         <title>Pro-War Symbolism </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2160979970</link>
         <description><![CDATA[<div>The 'Z' symbol illustrated on Russia's military vehicles, signify '<em>friendly</em>' connotations to the Russian state. However, this same symbol portrays Propogandist features to the opposition in the West. The connotations and perception of this symbol vary between both Russian/Ukrainian &amp; Western forces,&nbsp;<br><br>The symbolism behind this 'Z', has even been referred to by some, as the modern day Swastika [A symbol adopted by the Nazis, that originated from 19th Century German Scholars; translating Indian Texts]. (Campion Jain, 2014) (Davis, 2022)<br><br>Every time the 'Z' symbol is used,&nbsp;negative connotations may now be associated with this universal/alphabetical character/symbol is used; producing negative impacts on companies/designs/individuals using this symbol. (The Telegraph, 2022).&nbsp;<br><br>"The “Z”, a letter that does not exist in the Cyrillic Russian alphabet, was spotted being painted on Russian military vehicles weeks before the invasion of Ukraine on February" 24. (Davis, 2022)</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=tCZlGi_tnu8" />
         <pubDate>2022-04-27 19:17:48 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2160979970</guid>
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         <title>Nissan Z | Political Connotations - Example</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2161001174</link>
         <description><![CDATA[<div>An example <em>in theory</em>, could be the proposed, 2023 Nissan Z model. The 'Z' model, could <em>now</em> be associated with negative connotations, in relation to the Russian/Ukraine conflict.&nbsp;<br><br>Through the vehicular model using this current, controversial alphabetic character, it could appear as an insensitive correlation to the current conflict in Europe. Although the model has no direct involvement with such political affairs, it is the damaging connotations which may create theoretical drawback.&nbsp;</div>]]></description>
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         <pubDate>2022-04-27 19:34:30 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2161001174</guid>
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      <item>
         <title>Nissan Z | Classism &amp; The Free World - Example</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2161089403</link>
         <description><![CDATA[<div>In the previous example, I covered the political implications that the 2023 Nissan Z Model may encounter during its distribution, however, I also want to share the 'publicity' this vehicular model offers. In John Berger's 1972 book, Ways of Seeing, the author entertains the reality of publicities form and function in our society. <br><br>The materialistic ideals and desires we as consumers all experience on a day to day basis, are what keep the language of publicity alive. For example, seeing a car of this stature advertised in an vibrant city environment [as shown in the image above], entices those of the working class, upper class to dedicate more time to their occupations, in order to afford an elegant, expensive item such as this 2023 Nissan Z.<br><br>Yet, that is the greatest illusion of publicity. It is the dynamic conductor of our economic/personal success, as well as our global downfall. Publicity is used to make us <em>believe</em> that we are in control of our own lifestyles, reaching a desirable way of living, when in fact, the whole time we remain static; chasing a series of dreams that are forever interchangeable . Our desires through publicity are what inevitably make us the <em>passengers</em> in a car such as the Nissan Z, rather than the actual <em>owner</em>.&nbsp;<br><br>Those who do own such a vehicle are then subject to another desire. This is why publicity is the most powerful tool imaginable. It captures its consumers, by tapping into their minds, personalities and values. This is why there is so much variety in advertisements and PR stunts [abstract, subliminal etc]. Each aims to reach a different individual/audience. It is a component to classism and idealism.</div>]]></description>
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         <pubDate>2022-04-27 20:54:37 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2161089403</guid>
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      <item>
         <title>Session 2 | Thursday 29th April </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2164508709</link>
         <description><![CDATA[<div><br><strong>Preliminary Research:<br></strong><br>Reference Type: [Books]<strong><br></strong><br>- <strong><em>Spinfluence</em></strong> [Nick McFarlane] [2013]<br>- <strong><em>The Beauty Myth</em></strong> [Naomi Wolf] [1990]<br>- <strong><em>Symbols</em></strong> [Sandra Forty] [2003]<br><br>--<strong><br><br>Drafts &amp; Reviews:<br></strong><br>- Research Review - Reference Mind Map<br><br><strong><br><br></strong><br><br></div>]]></description>
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         <pubDate>2022-04-29 15:37:53 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2164508709</guid>
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      <item>
         <title>Spinfluence (2013)</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2165883544</link>
         <description><![CDATA[<div>The file attached above, is a collection I have made of all the impactful/relevant quotes and imagery from Nick McFarlane 2013 <em>Spinfluence</em> book. The publication focuses primarily on propaganda, persuasion of the masses, manipulation and the illusion of control. <br><br>I find this entire subject very captivating, and can easily link it back to my dissertation topic of Publicity. John Berger's 1972 book, <em>Ways of Seeing</em>, confronts similar ideologies, but from an alternative angle; perception. The concept of illusive authority dictating our societal structures, beliefs and actions is an area which I would love to write about within my dissertation. <br><br><em>Spinfluence</em> also includes an array of quotes and statements shared by a range of philosophical practitioners and experts. I plan to use more of the resources provided in this book to help formulate my dissertation and leading question.</div>]]></description>
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         <pubDate>2022-05-01 16:57:12 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2165883544</guid>
      </item>
      <item>
         <title>The Beauty Myth (1990)</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2165946895</link>
         <description><![CDATA[<div>Naomi Wolfs 1990 book, <em>The Beauty Myth, </em>divulges the struggle of gender equality and the everchanging belief, of <em>true </em>female beauty. Such beliefs are imposed via media outlets [i.e: Television, Radio, Press etc.], that use persuasive publicity and attractive marketing techniques, through industries such as cosmetics and diet programmes.<br><br>The fictions [or <em>vital lies</em>] told through generations, have changed in continual correlation with each time period. The intensity of these contradicting beauty beliefs, have been radicalised by institutional societies, and technological marketing. <br><br>This psychological vivisection of the female form is disguised in plain sight, through online publicity and institutionalised law. Wolf describes the societal damage women must endure, and how the barrage of 'vital lies' will not cease to exist, as they are entirely dependent on the successes/failures of the feminist community.<br><br>I have just began reading this book, and I am already enthralled by its contents, as it links directly to the study of public persuasion, and manipulation. There are a range of examples and chapters which will be crucial to my dissertation research. <br><br>Unlike <em>Spinfluence</em> and <em>Ways of Seeing</em>, which outline the theoretical illusion of control, <em>The Beauty Myth </em>demonstrates a more personalised&nbsp; record of the topic, allowing the reader to experience what it is like for women to be on the receiving end of this institutionalised male hierarchy.&nbsp;<br><br></div>]]></description>
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         <pubDate>2022-05-01 19:03:50 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2165946895</guid>
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      <item>
         <title>To what extent does publicity encourage pro-war propaganda and how should media outlets respond to this?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2165964815</link>
         <description><![CDATA[<div><strong>Lead Question [Draft 1]</strong><br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-01 19:36:40 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2165964815</guid>
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         <title>To what extent does publicity encourage our psychological behaviour and is there any truth in a society, that is built on falsities? </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2165965856</link>
         <description><![CDATA[<div>Lead Question [Draft 2]<br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-01 19:38:45 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2165965856</guid>
      </item>
      <item>
         <title>Symbols (2003)</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2166635625</link>
         <description><![CDATA[<div>I chose to explore elements of this book, by Sandra Forty, as a way to visually reinforce my topic surrounding publicity. Although <em>Spinfluence</em> illustrates a concise breakdown of illusion and how the masses are controlled (through diagrams/infographics), <em>Symbols</em> provides a direct, evolutionary encyclopaedia of notable religious, political and cultural symbols used by our generations. <br><br>Not only do I want to highlight the academic research of how the masses are persuaded through publicity, but I also want to outline visual examples from our history, when/where this has been achieved. The industry of Graphic Design is one that holds enormous responsibility. Designs can divide, and control communities. <br><br>The ripple effect is a key interest of mine. It is an area I learnt about during my previous Authorship and Action unit - which led me to really consider some of the choices and decisions I make as a designer. Ignorance to such responsibility, lacks the professionalism a designer must have; without these attributes, society falls to the risk of design dictatorship and propagandist beliefs.<br><br>This area of design politics is essential to the foundations that illuminate my Dissertation topic. Without going <em>too </em>broad, on an already vast subject, this topic of the Ripple Effect, could be the specified field needed for my research into publicity to take off.</div>]]></description>
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         <pubDate>2022-05-02 11:59:31 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2166635625</guid>
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         <title>Mind Map: Publicity </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2170309329</link>
         <description><![CDATA[]]></description>
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         <pubDate>2022-05-04 17:23:45 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2170309329</guid>
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         <title>To what extent could public relations influence our psychological behaviour. Are our actions dependent, or independent? </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2170318736</link>
         <description><![CDATA[<div>Lead Question [Draft 3]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-04 17:29:55 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2170318736</guid>
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         <title>Spinfluence | Visual Research</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2170341385</link>
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         <pubDate>2022-05-04 17:44:34 UTC</pubDate>
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      <item>
         <title>Spinfluence | Visual Research</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2170353282</link>
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         <title>Spinfluence | Visual Research </title>
         <author>cpickering6</author>
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         <title>Spinfluence | Visual Research</title>
         <author>cpickering6</author>
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         <title>Spinfluence | Visual Imagery</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2170376183</link>
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         <title>The Beauty Myth | Visual Research</title>
         <author>cpickering6</author>
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         <title>The Beauty Myth | Visual Research</title>
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         <title>The Beauty Myth | Visual Research</title>
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         <title>The Beauty Myth | Visual Imagery</title>
         <author>cpickering6</author>
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         <title>The Beauty Myth | Visual Research</title>
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         <title>Symbols | Visual Research</title>
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         <title>Symbols | Visual Research</title>
         <author>cpickering6</author>
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         <title>Symbols | Visual Research</title>
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         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2170444752</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/baad33ccc579ae2bf4001707661aa704/web_n09_ban_bomb_720x491_1.jpg" />
         <pubDate>2022-05-04 18:54:20 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2170444752</guid>
      </item>
      <item>
         <title>The Beauty Myth | Visual Research</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2171663019</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/b41371709d69f802bc237cacf5183946/65799.jpg" />
         <pubDate>2022-05-05 15:49:50 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2171663019</guid>
      </item>
      <item>
         <title>The Beauty Myth | Visual Research</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2171665236</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/90bee6cd3cc548a598502fa4bdc54b3a/6_1_o3x77rzfnshhtmcpghuquvz5yrv25mgsgysah0w1wg.jpg" />
         <pubDate>2022-05-05 15:51:13 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2171665236</guid>
      </item>
      <item>
         <title>Spinfluence | Visual Research</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2171676875</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/ae7f8c5af11e5977f45168e6243a5e3f/heartfield_john_48_2005_448423_displaysize.jpg" />
         <pubDate>2022-05-05 15:58:23 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2171676875</guid>
      </item>
      <item>
         <title>Session 3 | Thursday 5th May </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2171695211</link>
         <description><![CDATA[<div><strong>Concept Development:</strong><br><br>- Graphic Influence [Political] - Mind Map<br>- Graphic Influence [Social] - Mind Map<br><br><strong>Preliminary Research:</strong><br><br>Reference Type: [Books]<strong><br></strong><br>- <strong><em>Politics of Design</em></strong> [Ruben Pater] [2016]<br>- <strong><em>Hidden Persuaders</em></strong> [Vance Packard] [1957]<br>- <strong><em>Women &amp; Power</em></strong> [Mary Beard] [2017]<br><br><br><strong>Drafts &amp; Review:</strong><br><br>Lead Question [Drafts]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-05 16:10:24 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2171695211</guid>
      </item>
      <item>
         <title>Research Review | Reference Mind Map</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2171705567</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/012d8f52baf21eabec37d18a4b3a3d27/Research_Review___Mind_Map.pdf" />
         <pubDate>2022-05-05 16:17:39 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2171705567</guid>
      </item>
      <item>
         <title>To what extent could graphic influence direct our psychological behaviour? </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2174356145</link>
         <description><![CDATA[<div>Lead Question [Draft 4]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-08 11:42:12 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2174356145</guid>
      </item>
      <item>
         <title>Dependence &amp; Independence: to what extent does graphic influence dictate our psychological behaviour?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2174358516</link>
         <description><![CDATA[<div>Lead Question [Draft 5]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-08 11:46:42 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2174358516</guid>
      </item>
      <item>
         <title>Dependence &amp; Independence: How do societal perceptions, become dictated by graphic influence?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2174360478</link>
         <description><![CDATA[<div>Lead Question [Draft 6]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-08 11:50:09 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2174360478</guid>
      </item>
      <item>
         <title>Dependence &amp; Independence: How does  perception of the masses, become dictated by graphic influence?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2174361612</link>
         <description><![CDATA[<div>Lead Question [Draft 7]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-08 11:52:41 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2174361612</guid>
      </item>
      <item>
         <title>Dependence &amp; Independence: To what extent does graphic influence dictate our psychological behaviour and societal perceptions?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2174364147</link>
         <description><![CDATA[<div>Lead Question [Draft 8]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-08 11:57:59 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2174364147</guid>
      </item>
      <item>
         <title>Commodity Culture &amp; Design Innovation: To what extent could graphic influence dictate our psychological behaviour and societal perceptions?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2175391891</link>
         <description><![CDATA[<div>Lead Question [Draft 9]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-09 09:28:06 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2175391891</guid>
      </item>
      <item>
         <title>Commodification &amp; Design Innovation: To what extent could graphic influence dictate our psychological behaviour and societal perceptions?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2175392443</link>
         <description><![CDATA[<div>Lead Question [Draft 10]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-09 09:28:33 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2175392443</guid>
      </item>
      <item>
         <title>Session 4 | Thursday 12th May</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185403547</link>
         <description><![CDATA[<div><strong>Formative Presentation:</strong><br><br>- Presentation Review<br><br><strong>Concept Development:</strong><br><br>- Racial Capitalism [Topic]<br>- Racial Capitalism [Images]<br>- Racial Capitalism - Mood Board<br><br><strong>Drafts &amp; Reviews:</strong><br><br>- Lead Question [Drafts]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-16 09:21:07 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185403547</guid>
      </item>
      <item>
         <title>Formative Presentation | Review</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185443129</link>
         <description><![CDATA[<div>The repercussions of a positive/ill natured Graphic design, is evidence of the power and responsibility graphic influencers posses. Societal beliefs and political persuasions, may be entirely determined by one individuals belief; and their design skill, to express that belief.<br><br>Initially, my topic surrounded the illusive side of publicity; the idea that we [the herd] are all controlled by an elitist society. <br>However, the vast topic of graphic influence stretches its role into Propaganda, Public Relations, Commodification &amp; Commodity Culture, the Beauty Myth etc. <br><br>These sections were all included within my presentation, as they are very relevant to the fascinating ideology, that everything we perceive to be independent choice, may actually <em>be</em> co-dependency, via Government bodies, secret organisations etc. <br><br>The belief that the majority are influenced by such authorities, through emotional manipulation and pressure; which is enforced through a <em>mob mentality, </em>intrigues me.&nbsp; I disagree with how <em>a</em>nyone outside this network, are considered as worthless, or <em>insane</em>.<br><br>However, a main issue I had during my research of this topic [or topics], was finding a common ground between the sources I had discovered. A 'topic of debate' was unclear. I recognise that the dissertation must not be a reflection of my own personal opinions, but rather a collection of sources that help to formulate an engaging, concise topic, told through various perceptions.<br><br>The feedback I received from Liz was very useful. I appreciated her honesty in telling me I would 'drown', when trying to include all these topics into a dissertation. She explained how there are over ten different topics of research in my presentation and that each one is just as complex as the other. To form a debate between such monumental topics, would not be possible in the timeframe available. <br><br>My lead question is a prime example of how these topics begin conflicting another. Although, I believed the <strong><em>10th draft </em></strong>to be the strongest, this review has made me reconsider how else I might aim to approach my overall proposal.&nbsp;<br><br>I would still be keen to explore the topic of public relations, and the fascinating ideologies of those who abused their power as Graphic Designers, compared to those who used their role, to be on the right side of history. Yet, during my research there was one topic that really stood out to me - a subject that I knew very little about, but was shocked to read. Racial Capitalism.</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/89051b93c4a4578229cd3c61f5a2caaa/Dependence___Independence___Graphic_Influence.pdf" />
         <pubDate>2022-05-16 09:59:36 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185443129</guid>
      </item>
      <item>
         <title>Racial Capitalism [Topic]</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185458517</link>
         <description><![CDATA[<div>Racial Capitalism - The process in which an individual/company will promote themselves as multinationals, with diversified principles, when in reality, their principles are dishonest - used only for popularity, financial gain.<br><br>For example, in Ruben Paters 2016, <em>Politics of Design</em> book, Pater explains how many companies globally, use the same multi-racial photographs, which is a result of shareholders sharing the same stock images as their adversaries - or worse, a result of image manipulation, achieved on software's such as Adobe Photoshop. Photoshop would allow editors to copy and paste multi-racial individuals into any given environment. <br><br>Law Professor at Denver University, Nancy Leong labels this as 'racial capitalism' - the idea that company shareholders make profit from the image of minorities. The idea that company principles may only go as far as the <em>equal</em> propositions they are depicting.<br><br>Difference in culture and ethnicity, creates a diversity in the workforce. When this diversity is communicated to society, the company receives appraisal for their inclusive principles, which in turn results in higher employability and consumer rates. Meaning those who benefit most from this marketing crime, are not the minorities represented.<br><br>This racial capitalism is not only present in the retail sector, but also through entertainment/design industries too. For example, the music industry which sees genres like Hip Hop/Afrobeat's/Drill. being dominated by white rappers [Such as Aitch, Ardee, Potter Payper etc.] - even though the genre/subgenres are of black origin. <br><br>The debate does not lie within whether or not these white rappers should be <em>allowed</em> to partake in such genres - but it is more focused on their popularity, the cultural appropriation and what they are giving back in return to the pioneers who made the art form, helping to shape their careers.<br><br>(Leong, 2014) (Leong, 2013) (Pater, 2016) (D'Anjou, 2020) (Sayles, 2020) (II Mason, 2018)</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-16 10:16:31 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185458517</guid>
      </item>
      <item>
         <title>Racial Capitalism | Cultural Appropriation</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185554743</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/43a56cfd920de3d49531ac4044b00f82/5f52019a7ed0ee001e25d721.webp" />
         <pubDate>2022-05-16 11:48:29 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185554743</guid>
      </item>
      <item>
         <title>Racial Capitalism | Cultural Appropriation</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185564569</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/54e1b35f50c44f2ef20e10c89e1b9a0e/img_1850.jpg" />
         <pubDate>2022-05-16 11:55:41 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185564569</guid>
      </item>
      <item>
         <title>Racial Capitalism | Cultural Appropriation</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185582151</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/4e6d8b2239f9f45ccd20c82e857525df/2629eb0206dae3008b903dbc99dbdfda79b286ebfeed896bab9d08a185edf496.jpg" />
         <pubDate>2022-05-16 12:09:50 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185582151</guid>
      </item>
      <item>
         <title>Racial Capitalism | Social </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185586982</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/1b365ff39d28534426191528f871b40b/D6xMR4lXoAAzh0k.jpg" />
         <pubDate>2022-05-16 12:13:21 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185586982</guid>
      </item>
      <item>
         <title>Racial Capitalism | Education</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185893877</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/83b465b78799bf8da8a880e6874a3a34/race_capitalism.jpg" />
         <pubDate>2022-05-16 15:06:14 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2185893877</guid>
      </item>
      <item>
         <title>Racial Capitalism | Fashion</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2186160088</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/bb9d5d6d1042e324dc1ab36b4d20f4d9/screenshot_2015_11_07_at_10_14_13_pm.webp" />
         <pubDate>2022-05-16 17:42:48 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2186160088</guid>
      </item>
      <item>
         <title>Racial Capitalism | Employment</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2186178194</link>
         <description><![CDATA[<div>Underrepresented Minorities.</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/5a41b616dc1ebbf70180d1f95ddfbebc/R2006J_ABALAKA_1200x564.jpg" />
         <pubDate>2022-05-16 17:53:39 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2186178194</guid>
      </item>
      <item>
         <title>Racial Capitalism | Festivals/Carnivals</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2186184904</link>
         <description><![CDATA[<div>The uncomfortable truth is that culture can’t really be owned. (Chesterton, 2020)</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/38a697089fee90fd06050a8582f8bc7d/image.png" />
         <pubDate>2022-05-16 17:57:21 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2186184904</guid>
      </item>
      <item>
         <title>Racial Capitalism | Appropriation vs Appreciation</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2186203933</link>
         <description><![CDATA[<div>“It’s not fair to ask any culture to freeze itself in time and live as though they were a museum diorama. Cultural appropriation can sometimes be the savior of a cultural product that has faded away.” (Scafidi, 2005) (Avins, 2015)</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-16 18:08:18 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2186203933</guid>
      </item>
      <item>
         <title>To what extent does cultural appropriation damage black communities through Hip Hop?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2191350975</link>
         <description><![CDATA[<div>Lead Question [Draft 1]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-19 13:31:59 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2191350975</guid>
      </item>
      <item>
         <title>Boho Fashion</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193948348</link>
         <description><![CDATA[<div>'Adopting something without being informed on its meaning and history could easily lead to disrespecting it, much like wearing eagle feathers from Native American traditions.' (Nizzoli, 2021)<br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-21 14:31:19 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193948348</guid>
      </item>
      <item>
         <title>Racial Capitalism: Appropriation vs. Appreciation in Hip Hop</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193961333</link>
         <description><![CDATA[<div><strong>African Caribbean Music - African American Music</strong><br><br>'I'm not saying you can't rap because you're white, of course you should rap if you love rap, but you don't need to deny where this culture comes from. I don't really need to deny that Shakespeare was English because I read his work.' (Wilcox, 2017)</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=58wqAvdZ6CA" />
         <pubDate>2022-05-21 14:53:07 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193961333</guid>
      </item>
      <item>
         <title>Racial Capitalism | Violence portrayed in Hip Hop</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193973294</link>
         <description><![CDATA[<div>'Jungle' as an example of how black culture is portrayed by white artists.' (Daley, 2006) (Deme, 2012)<br><br>'The music video uses imagery portraying violence between black people, but would never stereotype white people in such a way. Lyrics such as "hungry ape" are being used in a derogatory way.' (Wilcox, 2017)</div><div><br></div><div>'It's played on daytime TV no one accuses him of promoting violence, with his tours remaining open for public viewing.'&nbsp; (Wilcox, 2017)</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=GLfEU5lelUM" />
         <pubDate>2022-05-21 15:12:30 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193973294</guid>
      </item>
      <item>
         <title>Racial Capitalism | History of Hip Hop</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193978862</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://www.youtube.com/watch?v=rgM-WXr-0gM" />
         <pubDate>2022-05-21 15:22:27 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193978862</guid>
      </item>
      <item>
         <title>Form 696 | Risk Assessment Form</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193988183</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/6b8e1290e0ab00edb2a7de0d04477e6f/84828516_696.png" />
         <pubDate>2022-05-21 15:37:04 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193988183</guid>
      </item>
      <item>
         <title>Racial Capitalism | Tours &amp; Album Signing Cancelled</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193994600</link>
         <description><![CDATA[<div><a href="http://www.bbc.co.uk/news/entertainment-arts-39181672">“it’s been happening for so many years that now we kind of know, it’s just our scene. They [police] target grime a lot, they just blame a lot of things on grime.”&nbsp;</a>(Bickersteth, 2017)<br><a href="http://www.bbc.co.uk/news/entertainment-arts-39181672"><strong><em><br></em></strong></a><br></div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=Up5i7e48a-g" />
         <pubDate>2022-05-21 15:46:59 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193994600</guid>
      </item>
      <item>
         <title>Session 5 | Thursday 19th May</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193998483</link>
         <description><![CDATA[<div><strong>Preliminary Research:<br><br></strong>Reference Type: [Online Video Lectures &amp; Interviews]<br><br>- <strong>Akala: The History Of Cultural Appropriation In Black Music </strong><em>(Wilcox, 2017)<br><br>- </em><strong>Eminem - Without Me (Official Music Video) </strong>(<em>Mathers III, 2002</em>)</div><div><br>- <strong>Professor Green ft. Maverick Sabre - Jungle</strong> (HD) [Official Video] <em>(Paul Manderson, 2010)</em><br><br>- <strong>The Evolution of the Emcee: Akala at TEDxSalford</strong> <em>(Daley, 2006) <br><br>- </em><strong>The Police vs Grime Music - A Noisey Film</strong><em> (Noisey, 2014)<br><br>- </em><strong>Giggs response to HMV signing being cancelled </strong>[@OfficialGiggs] | Link Up TV <em>(Thompson, 2013)<br></em><br><br><strong>Notes:</strong><br><br>- Dissertation Considerations<br><br><strong>Drafts &amp; Reviews:</strong><br><br>- Lead Question [Drafts]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-21 15:53:24 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2193998483</guid>
      </item>
      <item>
         <title>Racial Capitalism: Form 696 | Risk Assessment </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2194742135</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://www.youtube.com/watch?v=eW_iujPQpys&amp;t=688s" />
         <pubDate>2022-05-22 19:26:20 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2194742135</guid>
      </item>
      <item>
         <title>Dissertation Considerations:</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2194744087</link>
         <description><![CDATA[<div>- Portray the inequality that cultural appropriation creates within popular African American/Caribbean music genres? [I.e: Hip Hop, Grime, Drill etc.]<br><br>- Portray this inequality through film, media?<br><br>- Although you are exploring the inequality and injustice against African American/Caribbean culture, what is your theme of debate for this?&nbsp;<br><br>- Why are you highlighting these issues in this particular field?<br><br>- What makes it different from other articles highlighting the same issues?&nbsp;<br><br>- What result does your debate, discussion, analysis aim to achieve?</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-22 19:29:36 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2194744087</guid>
      </item>
      <item>
         <title>Racial Capitalism | Mood Board</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2195601227</link>
         <description><![CDATA[<div>(Harmate, 2020), (Lauren Hall, 2015), (Damm, 2016), (Chen, 2008), (Monroy, 2022), (X, 1925), (Burden-Stelly, 2020), (J. Ely, et al., 2020), (Bickersteth, 2017), (Kylea Cowie Jr., 2012), (J. Davies, 2019), (Thomson, 2013), (Paul Manderson, 2010).<br><br></div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/8b287bcd8b64b306390254f4e438717f/Racial_Capitalism___Mood_Board.pdf" />
         <pubDate>2022-05-23 09:35:47 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2195601227</guid>
      </item>
      <item>
         <title>Diss Option | Written Dissertation</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2195678693</link>
         <description><![CDATA[<div>I plan to write my Dissertation in the traditional written format; breaking the topic down into&nbsp; 3 - 5 chapters. I wish to analyse, debate the topic of Racial Capitalism using various sources [both historical/contemporary] associated with its societal uprising. <br><br>I have narrowed down my investigation into this topic, [from the wide societal, political, media establishments/movements] and now aim to filter my research into the subject of UK Hip Hop, and how cultural appropriation has already infiltrated its way into the African American/Caribbean culture.<br><br>I am fascinated as to how much influence cultural appropriation has had on Racial Capitalism, its disguise through <em>appreciation </em>and the ramifications it has caused for these black communities.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-23 10:50:14 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2195678693</guid>
      </item>
      <item>
         <title>Racial Capitalism: To what extent do Caucasian communities capitalise on British Hip Hop, and how can this affect the African American/Caribbean Culture?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197647995</link>
         <description><![CDATA[<div>Lead Question [Draft 5]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-24 12:54:56 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197647995</guid>
      </item>
      <item>
         <title>Racial Capitalism: To extent do Caucasian communities capitalise on the UK Rap Scene, and how can this affect the African American/Caribbean Culture?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197667346</link>
         <description><![CDATA[<div>Lead Question [Draft 4]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-24 13:06:40 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197667346</guid>
      </item>
      <item>
         <title>Racial Capitalism: What acknowledgements separate cultural appreciation, from appropriation through UK Hip Hop? </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197683657</link>
         <description><![CDATA[<div>Lead Question [Draft 2]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-24 13:16:27 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197683657</guid>
      </item>
      <item>
         <title>Racial Capitalism: To what extent does cultural appropriation damage African American/Caribbean Culture?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197686229</link>
         <description><![CDATA[<div>Lead Question [Draft 3]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-24 13:18:03 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197686229</guid>
      </item>
      <item>
         <title>Racial Capitalism: To what extent has cultural appropriation influenced UK Hip Hop and how have stereotypes damaged the African American/Caribbean Culture?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197689757</link>
         <description><![CDATA[<div>Lead Question [Draft 6]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-24 13:20:12 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197689757</guid>
      </item>
      <item>
         <title>Racial Capitalism: To what extent does cultural appropriation influence the portrayal of UK Hip Hop and how does this affect African American/Caribbean Culture?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197692412</link>
         <description><![CDATA[<div>Lead Question [Draft 7]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-24 13:21:48 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197692412</guid>
      </item>
      <item>
         <title>Racial Capitalism: To what extent has cultural appropriation influenced the negative portrayal of Black artists in British Hip Hop?</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197704663</link>
         <description><![CDATA[<div>Lead Question&nbsp;[Draft 8]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-24 13:29:17 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197704663</guid>
      </item>
      <item>
         <title>Graphic Influence | Mind Map [Political]</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197713873</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/c05fe5609ac4bb3ab2f86983465a8ef9/Political_Mind_Map.PNG" />
         <pubDate>2022-05-24 13:34:41 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197713873</guid>
      </item>
      <item>
         <title>Graphic Influence | Mind Map [Social]</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197714553</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/ce1f03c84dcee397cd684ea4fe03cd1a/Social_Mind_Map.PNG" />
         <pubDate>2022-05-24 13:35:07 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2197714553</guid>
      </item>
      <item>
         <title>BIP Part 2 | Brief</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2200867154</link>
         <description><![CDATA[<div><strong>Covers:<br></strong><br>- Deadlines&nbsp;<br>- Submission Methods<br>- Proposal Overview [Methods]<br>- Research Review [Methods]</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/82f7b55b7ab8b57c833a5e51f2d2ee06/C18201_Big_Ideas___Philosophies_Part_2___leading_to_Dissertation_proposal.pdf" />
         <pubDate>2022-05-26 13:28:55 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2200867154</guid>
      </item>
      <item>
         <title>Session 6 | Thursday 26th May</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2200882961</link>
         <description><![CDATA[<div><strong>Concept Development:</strong><br><br>- Proposal Plan Paragraph [Edits]<br>- Chapter Plan Breakdown [Notes]<br>- Racial Capitalism | Leading Practitioners<br>- List of Practitioners<br>- <strong>Research Methods<br>- Research Sources<br>- Summer Schedule | Deadlines </strong>[Jun-Oct 2022]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-26 13:41:56 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2200882961</guid>
      </item>
      <item>
         <title>Proposal Plan | Paragraph Edits</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2200893994</link>
         <description><![CDATA[<div>What will you do if you <strong>can't</strong> talk to individuals or companies you have planned to interview? <br><br>How will you <strong>overcome</strong> these issues? <br><br>What <strong>alternative</strong> considerations should you make to <strong>prevent</strong> this error from affecting the pace and time management of your Dissertation?</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-26 13:50:50 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2200893994</guid>
      </item>
      <item>
         <title>Chapter Plan | Breakdown</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2200903160</link>
         <description><![CDATA[<div><strong>Chapter 1 -</strong> Introduction <br><br>Set the scene. Explain the idea. What does the audience need to know? The history of the topic. <br><br><strong>Chapter 2 -</strong> Main Debate <br><br>Use this chapter to formulate your <strong>main debate</strong>, and discuss the <strong>opposing arguments</strong>, some of which may contradict others. Inform readers on <strong>solutions</strong> that compromise some of these contradicting areas. This chapter is the most influential to the rest of the Dissertation.<br><br><strong>Chapter 3 -</strong> Realisations<br><br>Following on from Chapter 2, explain the areas which you are&nbsp; confounded by. What have you learnt about the topic from research conducted in your Primary &amp; Secondary research?<br><br><br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-26 13:58:05 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2200903160</guid>
      </item>
      <item>
         <title>Racial Capitalism | Leading Practitioners</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2201144268</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://www.youtube.com/watch?v=--gim7W_jQQ" />
         <pubDate>2022-05-26 17:10:45 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2201144268</guid>
      </item>
      <item>
         <title>Racial Capitalism | Leading Practitioners </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2201146747</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://www.youtube.com/watch?v=2CS627aKrJI" />
         <pubDate>2022-05-26 17:12:48 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2201146747</guid>
      </item>
      <item>
         <title>Racial Capitalism | Leading Practitioners</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2201171862</link>
         <description><![CDATA[<div>Ashok Kumar disagrees with Cedric J. Robinson's 'Black Marxism' theory. </div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=SdjwMhtunqE" />
         <pubDate>2022-05-26 17:34:25 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2201171862</guid>
      </item>
      <item>
         <title>List of Practitioners</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2202376881</link>
         <description><![CDATA[<div>- Cedric J. Robinson<br>- Ruth Wilson Gilmore<br>- Robin D.G. Kelley<br>- Paul Gilroy<br>- Robert Farris Thompson&nbsp;<br>- Karl Marx<br>- Gargi Bhattacharyya<br>- Ashok Kumar<br>- W.E.B. Du Bois<br>- Stephanie Camp<br>- George Lupsitz</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-27 16:22:56 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2202376881</guid>
      </item>
      <item>
         <title>Research Methods</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2203139703</link>
         <description><![CDATA[<div>I am currently researching online <strong>Newspaper/Magazine sources, Encyclopedias, Discographies, Journals, and lectures</strong> (<em>TED Talks &amp; TEDx</em>) (Daley, 2006) (II Mason, 2018)(X, 1925), which debate the concept of Racial Capitalism. I plan to lengthen my investigation, by arranging <strong>interviews </strong>and <strong>Focus Groups</strong>, with Emcees/DJ’s in London/Essex regions and Studio/Event Hosts.<br><br>I aim to widen my scope of research to <strong>books</strong>, <strong>studio</strong> <strong>exhibitions/lectures</strong> and <strong>libraries</strong>, to achieve an understanding on each possible angle in which Racial Capitalism can affect the career of a Black artist. <br><br>If I am unable to get in contact with Studios/Events directly, I will be networking with a range of Essex/London based artists who may be in contact with an <strong>alternative</strong> range of Studios and Event hosts; this is to prevent any errors from occurring.</div><div>&nbsp;</div><div>I intend to conduct further secondary research into local issues revolved around Racial Capitalism (such as Form 696), as it will reinforce the debate and the unjust actions of Racial Capitalism. I want to understand the topic first, before committing myself to interviewing others. It is a subject I am still to learn <em>more</em> about. Once this is done, I will email my contacts to gain Primary Research as early as possible. I can collate all statements in good time, before structuring them into a debate.</div><div>&nbsp;</div><div>Finally, I have not experienced any major disappointments. I understand my subject’s direction and understand that I <em>must</em> continue to reflect on my lead question, to avoid tangents and irrelevant information.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-28 21:15:23 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2203139703</guid>
      </item>
      <item>
         <title>Research Sources</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2203139704</link>
         <description><![CDATA[<div>I aim to contact with local <strong>Hip Hop/Rap artists</strong> and <strong>Studios</strong> in the <strong>Essex/London</strong> regions. (Eventbrite, 2022)(Abbey Road Studios , 2022) (Miloco, 2022) Their opinions on Racial Capitalism will be imperative to my research. Catherine Hall held a lecture on the topic, at Birkbeck, University of London, which focuses on the historical origins, that formed the <em>mechanics</em> of Racial Capitalism. (Hall, 2022)</div><div>&nbsp;</div><div>The works of Cedric J. Robinson (<em>‘Black Marxism’ </em>and<em> ‘Racial Capitalism, Black Internationalism, and Cultures of Resistance.’) </em>will further inform me on western fascism, providing historical movements/beliefs, that compare with modern day equivalents (J. Robinson, 1983) (J. Robinson, 2019). Paul Gilroy’s 2002 book, <em>‘There Ain’t No Black in the Union Jack’</em> will be a very important book to read, when highlighting social/political attitudes towards race in the UK (Gilroy, 2002). <br><br>Justin A. Williams’ 2020 release, <em>‘Brithop: The Politics of UK Rap in the New Century</em>’ explores the substance of UK Hip Hop, its cultural influence, and political discourses (A. Williams, 2020).</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-28 21:15:23 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2203139704</guid>
      </item>
      <item>
         <title>Summer Schedule | Deadlines</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2203435640</link>
         <description><![CDATA[<div><strong>June: <br><br>- </strong>I will use this month to conduct further <strong>secondary research </strong>into my lead question and begin <strong>refining</strong> the information that I plan to use in my final Written Dissertation.<br><br>- I will continue to edit my Chapter Plan, with new, refined structures on what information will go where. Narrowing down this information will create a more concise bridge between how <em>Marxism</em> affects the contemporary negative portrayal of UK Hip Hop. <br><br>- Consent Forms will also be produced within this month of study.<br><br>- I will also use this month to contact my <strong>Primary Research </strong>participants, arranging interviews with local Emcee's and (if available) Studio/Event Hosts. <br><br>- I need to begin this stage as early as possible, due to the <strong>potential risk</strong> of waiting lists. Yet, Secondary research must be solid enough to inform this stage.<strong><br><br>July - September<br><br>- </strong>If I do not receive any responses within June, then I will be using the majority of July, August and September to conduct the main body of Primary research. <br><br>- I will reach out to alternative <strong>local/nationwide</strong> Emcee's, as well as <strong>nationwide</strong> Studios/Event Hosts. The wider my scope is, the more informative my debate will be, when describing different its perspectives.&nbsp; <br><br>- During my spare time, I will be collating the <strong>statements, quotes </strong>and<strong> arguments</strong> made within these <strong>Interviews/Focus Groups</strong>. <br><br>- I will structure these statements accordingly, in comparison to my Secondary Research.<br><br>- The Progress Map will act as a <strong>personal schedule</strong>, for me to meet <strong>deadlines</strong> and <strong>smart targets</strong>.<br><br>- I will create a new <strong>Bibliography</strong>, with a range of <strong>relevant sources</strong>, conducted through my Primary and Secondary studies.<br><strong><br>October:<br><br></strong>- During the month returning to write the Dissertation, I will sort through my previous structures made. These will inform my final outcome of the Written Dissertation.<br><br>- All images and video sources will be posted on my <strong>Progress Map</strong> throughout the Summer. This will keep my visual studies in an organised place, ready for use.<br><br>- The Primary and Secondary research collected, should begin to <strong>combine</strong> with visual sources, to help formulate my debate.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-05-29 12:34:33 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2203435640</guid>
      </item>
      <item>
         <title>DISSERTATION UPDATE | May 30th - August 1st </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252763450</link>
         <description><![CDATA[<div>The weeks between May 30th and July 31st 2022, I committed much of my time to work, as well as personal projects outside of the University curriculum.&nbsp;<br><br>This has led me to shift my initial research plans over June and July, into August and September.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-01 12:34:02 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252763450</guid>
      </item>
      <item>
         <title>Dissertation Prep | Feedback Notes</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252765099</link>
         <description><![CDATA[<div>The investigation examines Racial Capitalism and the negative portrayal of Black British Hip Hop artists through cultural appropriation.&nbsp;<br><br>Independent and extensive secondary research has been undertaken demonstrating an exceptional depth of enquiry&nbsp; which has uncovered a wide variety of conceptual approaches to the debate. &nbsp;<br><br>There is an effective structure of chapters which cover the issues highlighted with targeted research, providing a crucial context for debate through the theory of Racial Capitalism.&nbsp;<br><br>Primary research has been identified which allows for interview with practitioners as well as engagement of the audience in a focus group.&nbsp;<br><br>The area of Behavioural Psychology may also be of interest?&nbsp;<br>Images have been successfully chosen and effectively utilised to illustrate the points made in the argument, they can also illustrate the proposed statistics in primary research.&nbsp;<br><br>Ethical concerns have been both thoughtful and sensitive to the primary research identified and have been addressed in the Rave Checklist.&nbsp;<br><br>There is an excellent mapping of progress across the unit which tracks research and conceptual thinking.&nbsp; It demonstrates a high level of critical thinking and cohesive organisation of research.&nbsp;</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-01 12:37:37 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252765099</guid>
      </item>
      <item>
         <title>DISSERTATION | ACTION POINTS</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252765217</link>
         <description><![CDATA[<div>Action Points:<br>•	Behavioural Psychology.<br>•	Research Audience and Gratifications Theory.<br>•	Read: Maslow’s Hierarchy of Needs.<br>•	Read: The Essays/articles of James Baldwin: Many Thousands gone: If Black English isn’t a Language etc. – Inspirational.&nbsp;<br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-01 12:37:55 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252765217</guid>
      </item>
      <item>
         <title>Summer Schedule | August Update</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252769931</link>
         <description><![CDATA[<div><strong>August: <br><br></strong><strong><mark>- </mark></strong><mark>I will use this month to conduct further </mark><strong><mark>secondary research </mark></strong><mark>into my lead question. </mark><br><br><mark>- I will begin </mark><strong><mark>refining</mark></strong><mark> the information that I plan to use in my final Written Dissertation.<br><br></mark>- I will continue to <strong>edit</strong> my <strong>Chapter Plan</strong>, with new, refined structures on <strong>what</strong> information will go <strong>where</strong>. <mark><br><br></mark>- Narrowing down this information will create a more concise bridge between how <strong><em>Black</em></strong> <strong><em>Marxism</em></strong> coincides with the contemporary <strong>negative portrayal</strong> of <strong>UK Hip Hop</strong>. <mark><br><br>- </mark><strong><mark>Consent Forms</mark></strong><mark> will also be produced within this month of study.<br><br>- I will also use this month to contact my </mark><strong><mark>Primary Research </mark></strong><mark>participants, arranging interviews with local Emcee's and (if available) Studio/Event Hosts. <br><br>- Secondary research must be </mark><strong><mark>solid</mark></strong><mark> and </mark><strong><mark>reviewed </mark></strong><mark>enough to </mark><strong><mark>inform</mark></strong><mark> this </mark><strong><mark>Primary Research </mark></strong><mark>stage.<br><br>- The Progress Map will act as a </mark><strong><mark>personal schedule</mark></strong><mark>, for me to meet </mark><strong><mark>deadlines</mark></strong><mark> and </mark><strong><mark>smart targets</mark></strong><mark>.</mark><br><mark><del><br></del></mark><strong><mark><del>COMPLETED&nbsp;</del></mark></strong></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-01 12:48:09 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252769931</guid>
      </item>
      <item>
         <title>Summer Schedule | September Update</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252770111</link>
         <description><![CDATA[<div><strong>September<br><br></strong><strong><mark>- </mark></strong><mark>If I </mark><strong><mark>do not</mark></strong><mark> receive any responses from my </mark><strong><mark>Primary Research</mark></strong><mark> audience in August, then I will be using the rest of September to conduct the main body of Primary research. </mark><br><br><mark>- I will reach out to alternative </mark><strong><mark>local/nationwide</mark></strong><mark> Emcee's, as well as </mark><strong><mark>nationwide</mark></strong><mark> Studios/Event Hosts. The wider my scope is, the more </mark><strong><mark>informative</mark></strong><mark> my debate will be, when describing different its perspectives.&nbsp; </mark><br><br>- During my spare time, I will be collating the <strong>statements, quotes </strong>and<strong> arguments</strong> made within these <strong>Interviews/Focus Groups</strong>. <br><br>- I will <strong>structure</strong> these statements <strong>accordingly</strong>, in comparison to my Secondary Research.<br><br><mark>- The Progress Map will act as a </mark><strong><mark>personal schedule</mark></strong><mark>, for me to meet </mark><strong><mark>deadlines</mark></strong><mark> and </mark><strong><mark>smart targets</mark></strong><mark>.</mark><br><br><mark>- I will create a new </mark><strong><mark>Bibliography</mark></strong><mark>, with a range of </mark><strong><mark>relevant sources</mark></strong><mark>, conducted through my Primary and Secondary studies.</mark><br><br>- I will <strong>begin</strong> writing <strong>drafts</strong> that correlate with my <strong>finalised</strong> Chapter Plan.<br><mark><br></mark><strong><mark><del>COMPLETED&nbsp;</del></mark></strong></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-01 12:48:42 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252770111</guid>
      </item>
      <item>
         <title>Autumn Schedule | October Update</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252771900</link>
         <description><![CDATA[<div><strong>October:<br><br></strong>- During the month <strong>returning</strong> to write the Dissertation, I will sort through my finalised Chapter Plan and drafts made. This will <strong>inform</strong> and shape my final outcome of the Written Dissertation.<br><br><mark>- All images and video sources will be posted on my </mark><strong><mark>Progress Map</mark></strong><mark> throughout the Summer. This will keep my visual studies in an organised place, ready for use.</mark><br><br>- The Primary and Secondary research collected, should begin to <strong>combine</strong> with visual sources, to help formulate my debate.<br><br><strong>COMPLETED&nbsp;</strong></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-01 12:52:58 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252771900</guid>
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      <item>
         <title>Independent Study - Week 1 | Mon 1st - Sun 7th August </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252773069</link>
         <description><![CDATA[<div><strong>Monday | Concept Review:</strong><br><mark><br></mark>- REVIEW | Current Dissertation Proposal<br><br>- REVIEW | Current Chapter Plan&nbsp; <br><br>- REVIEW | List of Practitioners<mark><br></mark><br><strong>Tuesday | Secondary Research:<br><br></strong>Reference Type: [Online Journals, Essays &amp; Music Videos]<br><br>- Eminem Ft. D12 - When The Music Stops<br><br>- Jay-Z Ft. Eminem - Renegade<br><br>- Eminem - Sing For the Moment<br><br>- Dr. Dre Ft. Anderson .Paak - Animals<br><br>- Stormzy - WickedSkengMan 4<br><br>- Stormzy - Shut Up<br><br>- JME - Serious<br><br>- JME - It Ain't Working<br><br>- JME - Integrity<br><strong><br></strong>- Behavioural Psychology.<br><br>- Audience and Gratifications Theory.<br><br>- Maslow’s Hierarchy of Needs.<br><br><strong>Thursday | Practitioner Review<br><br></strong>Reference Type: [Documentary &amp; Music Video]<br><br>- Joyner Lucas [<em>I'm Not Racist</em>]<br><br>- Lenny Henry [<em>Caribbean Britain Documentary BBC</em>]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-01 12:55:21 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252773069</guid>
      </item>
      <item>
         <title>DISSERTATION BRIDGE | Summer Independent Study</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252780753</link>
         <description><![CDATA[<div>- SUMMER SCHEDULE UPDATE<br>- FEEDBACK<br>- ACTION POINTS</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-01 13:11:25 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252780753</guid>
      </item>
      <item>
         <title>MONTHLY SCHEDULE</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252780926</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-08-01 13:11:46 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252780926</guid>
      </item>
      <item>
         <title>WEEKLY SCHEDULE</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252781122</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-08-01 13:12:00 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2252781122</guid>
      </item>
      <item>
         <title>REVIEW | List of Practitioners</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2253429233</link>
         <description><![CDATA[<div>- Cedric J. Robinson<br>- Ruth Wilson Gilmore<br>- Robin D.G. Kelley<br>- Paul Gilroy<br>- Robert Farris Thompson <br>- Karl Marx<br>- Gargi Bhattacharyya<br>- Ashok Kumar<br>- W.E.B. Du Bois<br>- Stephanie Camp<br><br><strong>Updated List:<br></strong><br>- Joyner Lucas<br>- Lenny Henry<br>- James Baldwin <br>- Abraham Maslow<br>- Kingslee James McLean Daley<br>- Justin A. Williams<br>- Nathaniel Thompson [<em>Giggs</em>]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-02 12:51:24 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2253429233</guid>
      </item>
      <item>
         <title>DISSERTATION PREP | Bibliography</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2253434481</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/f0fa4229c0271db5571cf9b045e43cc0/Bibliography.pdf" />
         <pubDate>2022-08-02 13:02:51 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2253434481</guid>
      </item>
      <item>
         <title>Racial Capitalism | Behavioural Psychology</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2253486131</link>
         <description><![CDATA[<div>Following the feedback I received from my Proposal submission, I have been encouraged to explore Human Behaviour and Psychology (Cherry, 2021). This field of interest can be associated with my investigation into Racial Capitalism. <br><br>For example, I would like to present the negative portrayal of Black British Hip Hop artists, through the perspective of their audience; the individual listener(s). Audiences may resonate with the explicit, controversial lyrics delivered by Black British Hip Hop artists (Crooke, 2017), (Beaumont-Thomas, 2018), (C. McCool, 2021) in the same way they could also appreciate the genres sounds, samples, rhythm and blues.<br><br>Hip Hop as an art form, umbrellas a host of subgenres (such as <em>Drill</em>, <em>Grime</em>, <em>Rap) </em>all of which elicit resistance against authoritarianism (Beaumont-Thomas, 2018), (Noisey, 2014), (Bickersteth, 2017). <br><br>Such resistance stems from the Black ancestry of the slave trade era (D.G Kelley, 1998), (J. Robinson, 1983) and has since grown from its individualistic boost of morale, into a recurring action of black power, and connection across African American/Caribbean communities; reverberating throughout modern society (Crooke, 2017), (Stapleton, 1998), (Jenkins, 2011). <br><br>However, what has led Black artistic power, to becoming associated with crime and violence? The Media has once again supported this overshadowing stereotype, through corporate Record Labels capitalising on Black '<em>Gangster Rap</em>', visually amplifying gang culture; promoting it to young audiences, as being '<em>cool</em>' and '<em>hip</em>' (Crooke, 2017), (C. McCool, 2021). <br><br>Meanwhile, explicit, lyrical violence is purposefully delivered within Hip Hop Music (D. Morrison, 2019)<em> </em>(Mundy, 2014) as a caution that should not be ignored. Black British artists provide these socially conscious connotations in their music, as well as their own personal involvement in the initial inner-city conflicts which may occur <em>before</em> their Music is released (C. McCool, 2021).<br><br>However, due to the capitalisation of gang-culture and lyrical violence, the social integrity of Black British Hip Hop artists (and international Hip Hop artists as a whole), are overlooked (C. McCool, 2021), (Crooke, 2017). <br><br>Does this reverse the roles of whom is to blame for the negative portrayal of Black British Hip Hop artists? Is it truly the artists who encourage violent actions/behaviour of its listeners? (Stapleton, 1998), (Jenkins, 2011) Or are Record Labels responsible for influencing teenagers, young adults and children to the visual glorification of violence and gang-culture? (C. McCool, 2021), (Crooke, 2017)<br><br>In conclusion to this body of research, I aim to explore the behavioural psychology and emotions of those who listen to Black British Hip Hop music. I will achieve this by conducting a Music experiment during my Primary research. <br><br>Do listeners act on their own decisions, judgement and morals? Or are they truly influenced by not just what they hear, but also what they see? <br><br>Does the <strong>visual</strong> capitalisation of Black British Hip Hop music&nbsp; amplify this pyramid of negative socio-political marginalisation? Or does it encourage listeners to overlook the true, social conscious meaning behind a Black artists music; and potential experience of inner-city violence, poverty and crime?&nbsp;<br><br>These societal issues existed as external factors, before the establishment of Hip Hop. So who, or whom attached them negative&nbsp;to Black British Hip Hop? Why are African/American Caribbean communities often associated with leading negative lifestyles in pre-existing living in these conditions? (C. McCool, 2021).</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/cdf52d83b402c93e7ad7999c7bd92d7a/an_overview_of_the_types_of_emotions_4163976_abaafd59e7214706b7cd6326d0dd8257.webp" />
         <pubDate>2022-08-02 14:33:37 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2253486131</guid>
      </item>
      <item>
         <title>Primary Research | British Hip Hop Lyric  Investigation [1] </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2253540078</link>
         <description><![CDATA[<div>Based on my secondary research into behavioural psychology, I would like to conduct a social investigation into the emotional/psychological affect Rap lyrics can have upon its listeners. <br><br>I plan to invite a host of participants between the ages <strong>16 - 30</strong> to an <strong>online forum</strong> (via. Zoom, Microsoft Teams). Participants will be shown a range of carefully selected tracks from British Hip Hop artists.<br><br>Each participant will be expected to note down the <strong>emotions</strong> they feel, along with the <strong>mentality</strong> each track may put them through. For example, do they experience empowerment, anger, upset, discomfort when listening? <br><br>Do the lyrics encourage this, or are participants externally influenced, by personal experience, personal I.D, Diversion or age susceptibility? <br><br>The <strong>aim</strong> of the investigation is to compare participant responses with my research into behavioural psychology and gratification theory. The correlation between what is <em>stereotyped</em> through Media, and what is <em>experienced</em> through individual emotion will support my debate with factual conclusion.<br><br>Finally, consent forms will be <strong>specifically</strong> produced to inform participant's on the investigations aims, with all records being used for research study purposes only.&nbsp;</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-02 16:13:11 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2253540078</guid>
      </item>
      <item>
         <title>Primary Research | British Hip Hop Music Video Experiment [2]</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2253540333</link>
         <description><![CDATA[<div>Investigating further into behavioural psychology, I would like to conduct a second social investigation, into the <strong>visual emotional/psychological</strong> affect Rap <strong>Music Videos</strong> can have upon its viewers. <br><br>I plan to invite a host of participants between the ages <strong>16 - 30</strong> to an <strong>online forum</strong> (via. Zoom, Microsoft Teams). Participants will be shown Music Videos of the same tracks heard in the first investigation. Once again these videos will <strong>only</strong> show British Hip Hop artists, as my debate focuses on the debate of <strong>Racial Capitalism </strong>and the <strong>violent portrayal </strong>of Black British artists.<br><br>Each participant will be expected to note down the <strong>emotions</strong> they feel, along with the <strong>mentality</strong> each Video may put them through. For example, do they experience empowerment, anger, upset, discomfort when viewing? <br><br>Does the visual content encourage this, or are participants externally influenced, by personal experience, personal I.D, Diversion or age susceptibility? <br><br>The <strong>aim</strong> of this secondary investigation is to not only compare participant responses with my research into behavioural psychology and gratification theory; but more so, to record how the addition of <strong>visual media</strong> may alter the mentality of the viewer.<br><br>The correlation between what is <em>stereotyped</em> through Media, and what is <em>experienced</em> through individual emotion will support my debate with factual conclusion.<br><br>Finally, consent forms will be <strong>specifically</strong> produced to inform participant's on the investigations aims, with all records being used for research study purposes only.&nbsp;</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-02 16:13:46 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2253540333</guid>
      </item>
      <item>
         <title>Racial Capitalism | Audience &amp; Gratifications Theory</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254107348</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/5b4b5c9c5188d8cc7cc05953a1d9949d/Audience_Gratification.jpg" />
         <pubDate>2022-08-03 12:06:35 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254107348</guid>
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      <item>
         <title>Racial Capitalism | Eminem - When The Music Stops</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254113894</link>
         <description><![CDATA[<div>The Platinum album The Eminem Show (2002) deals with social issues related to Racial Capitalism and the impact rap music can have on young listeners.<br><br>The 2002 track '<em>When The Music Stops</em>' [<em>Featuring D12</em>] entertains the potentially negative behavioural/psychological influence that rap music can have on its listeners. <br><br>For example, the opening lyrics composed by Rufus Arthur Johnson, a.ka <em>Bizarre</em>, highlights the '<em>responsibility</em>' Hip Hop artists have over their audiences, before retracting that statement - insinuating his belief in the ideology that&nbsp; individual listeners have their <em>own</em> choice, to make independent decisions. <br><br>Criminal actions undertaken by audience members, should not be at the discretion of the artists, associated as a by-product of the Music they produce. (Johnson, 2002).<br><br>"<em>Music, reality, sometimes it's hard to tell the difference<br>But we as entertainers have a responsibility to these kids<br>Psych</em>" (Johnson, 2002)<br><br>Another prominent example of how Rap Music/Hip Hop audiences may misinterpret the artists true likeness, with their music, is established in the lyrics composed by Marshall Mathers a.k.a <em>Slim Shady</em>,<em> Eminem</em> (Marshall III, 2002), who states.<br><br>"<em>Yo, Slim, you gon' let him get away with that?<br>He tried to play you, you can't let him escape with that<br>Man, I hate this crap<br>This ain't rap, this is crazy, the way we act<br>When we confuse hip-hop with real life when the music stops.</em>" (Marshall III, 2002)<br><br>The following Music/Lyric Videos shown, are further examples of how <em>American</em> Hip Hop artists are conscious of this worldwide societal issue; recognising the Hip Hop genre as a Media scapegoat for inner-city conflicts and criminal offences that occur.</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=HEVPKuxkWzA" />
         <pubDate>2022-08-03 12:21:05 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254113894</guid>
      </item>
      <item>
         <title>Racial Capitalism | Stormzy - WickedSkengMan 4</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254134687</link>
         <description><![CDATA[<div>The 2015 online hit '<em>WickendSkengMan 4</em>', composed by British rapper, singer and songwriter Michael Ebenezer Kwadjo Omari Owuo Jr. a.k.a <em>Stormzy;</em> delivered a descriptive lyrical truth on the clothing stereotype seen in Black British Rap Videos. <br><br>"<em>Went Jools Holland in my tracksuit<br>Rep for the scene like yeah man, I had to<br>Just run a sick beat I can rap to<br>Everybody calm down, it's a tracksuit<br>What the fuck, man? I ain't gonna stab you.</em>" (Owuo Jr., 2015)<br><br>The artist conveys that he is just wearing a tracksuit and that he has no intention to harm, or <em>stab</em> anyone (Owuo Jr., 2015). The negative connotations associated with popular sportswear brands; such as Adidas and Nike, include knife crime. A criminal offence that has been commonly linked with sportswear brands, promoted in Black British Rap Music (Odling, 2018), (Camber, 2018), (Wheeler, 2017)<strong>. <br><br></strong>The following examples are a range of British Hip Hop artists&nbsp;who are socially conscious to these racial, societal issues.</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=HHys23WkJeg" />
         <pubDate>2022-08-03 13:00:00 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254134687</guid>
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      <item>
         <title>Racial Capitalism | JME - Serious </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254164435</link>
         <description><![CDATA[<div>British Grime artist <em>(</em>and<em> </em>co-founder of British Grime collective and label '<em>Boy Better Know'</em>) (Wikipedia, 2022), Jamie Adenuga a.k.a <em>JME,</em> is a unique wordsmith, wise on wordplay, intricate rhyming, with a social conscience that delivers hard logic, over metaphoric fantasy (Adenuga, 2005). <br><br>His debut single <em>Serious, </em>released in 2005, invites listeners into an <em>actualised </em>lifestyle, experienced by a Black British Grime MC. JME educates listeners on falsified stereotypes that are associated with Black British Hip Hop; discarding negative Media portrayals and Emcee's who '<em>act up'</em> to this stereotype (Adenuga, 2005). <br><br>"<em>Everybody thinks to MC tough, your lyrics must be about negative stuff<br>Go ravin', no one's skankin', turn round, I bet you someone's shankin'<br>Just 'cause we come from the gutter and we know about scraping the bottom of the butter<br>Don't mean we have to be sinners, major labels don't want killers<br>Think, who's gonna sign a guy with a shank? Or a guy with a nine mil'?</em>" (Adenuga, 2008)<br><br>The following tracks composed by JME are further examples taken from his 2015, Integrity Album; which delivers the artists impactful social conscience, in relation to Black representation in British Hip Hop (Grime).</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=LaVwb-owy5s" />
         <pubDate>2022-08-03 13:46:50 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254164435</guid>
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      <item>
         <title>Racial Capitalism | JME - It Ain&#39;t Working</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254179674</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://www.youtube.com/watch?v=tYbAomo--Eg" />
         <pubDate>2022-08-03 14:11:59 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254179674</guid>
      </item>
      <item>
         <title>Racial Capitalism | JME - Integrity</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254180165</link>
         <description><![CDATA[<div>Exposes the negative <em>Fate</em> that Black British artists experience, after being signed by corporate Record Labels and A&amp;R executives&nbsp;(Adenuga, 2015).&nbsp;</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=TwHsg2XO--c" />
         <pubDate>2022-08-03 14:12:42 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254180165</guid>
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      <item>
         <title>Racial Capitalism | Jay Z Ft. Eminem - Renegade</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254184234</link>
         <description><![CDATA[<div>'<em>Renegade' </em>first appears on Jay-Z’s sixth studio album ‘<em>The Blueprint</em>,’ released on September 11, 2001. The song notably raises the finger to overly opiniated critics, who point the blame toward Hip Hop artists, framing it as being the <em>only</em> influence to inner-city crime rates increasing.&nbsp;<br><br>This negative ideology, once again overlooks the likeness of all artists involved in the genre, discarding their potential personal experience within these turbulent environments (McDonald, 2021).</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=gbefvqyM1rA" />
         <pubDate>2022-08-03 14:18:57 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254184234</guid>
      </item>
      <item>
         <title>Racial Capitalism | Eminem - Sing For the Moment</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254196419</link>
         <description><![CDATA[<div>Listeners become the fly on the wall, during this socially conscious song by Eminem; who illustrates the vivid lifestyle of a teenage boy who uses Rap music as his only desire to live and succeed.&nbsp;<br><br>It highlights artist responsibility for talent encouragement in the youth, overlooking the Medias portrayal of Hip Hop, identifying it as a negative influence on the youth (Mathers III, 2002).</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=D4hAVemuQXY" />
         <pubDate>2022-08-03 14:36:15 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254196419</guid>
      </item>
      <item>
         <title>Racial Capitalism | Eminem - Without Me</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254199959</link>
         <description><![CDATA[<div>Black British rapper Kingslee James McLean Daley a.k.a Akala, explains in the 2012 <a href="https://www.youtube.com/c/Amarudontv"><em>Amarudontv</em></a> documentary; '<em>Akala: The History Of Cultural Appropriation In Black Music</em>' (Wilcox, 2017), that Eminem is set aside from other white rappers, as the artist makes his capitalisation on Black music apparent, in his 2002 smash hit, '<em>Without Me</em>' (Mathers III, 2002). <br><br>Through the artists recognition of cultural appropriation, Eminem admits that he used the art form for his own personal success, appropriating the Black culture, similar to the "<em>King of Rock and Roll</em>" Elvis Presley - who was accused of the same appropriation, in regards to Rhythm, Blues and Gospel (Berman, 2018). <br><br>Eminem's open acknowledgement to the racism that surrounds Hip Hop as a genre, and how society favourite White artists over Black, is what makes Eminem an appreciator of the Black culture, rather than appropriator. <br><br>Kingslee reinforces this statement by quoting lyrics from Eminem's 2002 album single, '<em>White America</em>' (Mathers III, 2002), (Wilcox, 2017).<br><br>"<em>Let's do the math: If I was black, I would've sold half<br>I ain't have to graduate from Lincoln High School to know that.</em>" (Mathers III, 2002)</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=YVkUvmDQ3HY" />
         <pubDate>2022-08-03 14:41:42 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254199959</guid>
      </item>
      <item>
         <title>Racial Capitalism | Dr. Dre Ft. Anderson .Paak</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254227172</link>
         <description><![CDATA[<div>An expression of how Black artists and individuals feel, when outsiders enter their lifestyle/home environment. <br><br>They may feel like '<em>Animals</em>' for what the types of clothing they wear and how they act towards another (D., et al., 2015).&nbsp;</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=BcUutVO-b-8" />
         <pubDate>2022-08-03 15:21:33 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254227172</guid>
      </item>
      <item>
         <title>Racial Capitalism | Stormzy - Shut Up</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254235735</link>
         <description><![CDATA[<div>Tracksuit example (Owuo Jr., 2017).</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=RqQGUJK7Na4" />
         <pubDate>2022-08-03 15:36:20 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254235735</guid>
      </item>
      <item>
         <title>Racial Capitalism | Dave X AJ Tracey - Thiago Silver </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254239737</link>
         <description><![CDATA[<div>Sportswear example (Grant &amp; Omoregie, 2016).</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=OQTsZGvVUbs" />
         <pubDate>2022-08-03 15:44:15 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254239737</guid>
      </item>
      <item>
         <title>Racial Capitalism | Audience Gratification Theory </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254738880</link>
         <description><![CDATA[<div>The Audience Gratification model is used to highlight five main needs of fulfilment, influenced by the Media. The model<br>applies a means, to a psychological cause and effect, with a range of factors contributing to an individuals behaviour in society (Thompson, 2019).<br><br>For example, Social Media has the online ability to both exacerbate an individuals <em>true</em> personality, as well encourage a social façade (Thompson, 2019). Their are five online personalities, known as the 'Big Five' which have been investigated by various scholars (Yu, et al., 2020), (Chen, et al., 2015), (Chen, et al., 2017). <br><br>These five online personalities include; agreeableness, openness, extraversion, neuroticism, and conscientiousness, all of which are an expression of interpersonal/intrapersonal identity (Yu, et al., 2020), (Chen, et al., 2015), (Chen, et al., 2017).<br> <br>Eminem's 2002 single, '<em>Sing For the Moment</em>' is a storytelling masterpiece that depicts an imperative reflection of how <em>one</em> individuals purpose/happiness, may be entirely dependant on the Black idols/talents of Hip Hop Music (Mathers III, 2002). <br><br>Eminem paints the lyrical picture on how <em>one</em> person can recuperate a sense of diversion, and personal identity, building an empowering relationship between themselves and the Black artists they idol; in exchange for their own loneliness and neglectful lifestyle (Mathers III, 2002). <br><br>However, where does this psychological theory coincide with the topic of Racial Capitalism? <br><br>Personal opinions and relationships towards the Hip Hop culture can be altered through false online surveillance. Media outlets may present inaccurate, biased sources, that encourage audiences to alter their perspective on both the genre and its respective artists (Lewis, 2003), (Davies, 2021), (Campista, 2022), (McWhorter, 2003), .<br> <br>Uneducated criticism towards <em>any</em> art form and culture, has the power to encourage a widespread negative response (McWhorter, 2003),(Camber, 2018), (ITV News, 2022).&nbsp;<br><br>These negative repercussions are experienced by countless Black Hip Hop artists (Camber, 2018), (Noisey, 2014), (Bickersteth, 2017), (Thompson, 2013), (Kylea Cowie Jr., 2012), (C. McCool, 2021), with White Rappers being hailed for their work, regardless of their potentially violent, explicit content (Mathers III, 2002), (Paul Manderson, 2010), (Daley, 2006), (Wilcox, 2017).&nbsp;<br><br>There is an increased risk of other communities becoming convinced by this systematic abuse fuelled by false information. Derogative stereotypes disparaging Black culture (Hackman, 2016), (Stark, 1993), (Collins, 2020), continue to create further resistance within African/American Caribbean communities (Lucas, 2017), (Thomas, 2019).</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/920baa881cb5f05d8167e872cfd6d5be/uses_gratifications_model.png" />
         <pubDate>2022-08-04 09:08:46 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2254738880</guid>
      </item>
      <item>
         <title>Tate Britain Exhibition | Practitioners</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257269712</link>
         <description><![CDATA[<div>- Winston Branch<br>- Raphael Albert<br>- Michael Armitage<br>- Maud Sulter<br>- Larry Archiampong<br>- John Akomfrah<br>- James Barnor<br>- Denzil Forrester<br>- Claudette Johnson<br>- Chris Ofili<br>- Bandele 'Tex' Ajetunmobi<br>- Cornelia Parker<br>- Hew Locke</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-09 08:09:07 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257269712</guid>
      </item>
      <item>
         <title>Independent Study - Week 2 | Wed 10th - Sun 14th August </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257271275</link>
         <description><![CDATA[<div><strong>Tuesday | Primary Research:<br><br></strong>Reference Type: [Exhibition]<br><br>- Tate Britain: Hew Locke | The Procession <br><br><strong>Wednesday | Secondary Research &amp; Practitioner Review<br><br></strong>Reference Type: [Books]<br><br>-&nbsp; <em>‘There Ain’t No Black in the Union Jack’</em> | By Paul Gilroy &nbsp; (2002)<br><br>- <em>'Many Thousands Gone'</em> | By James Baldwin (- - - -)<br><br>If Black English isn’t a Language etc. – Inspirational. <br><br>- <em>‘Brithop: The Politics of UK Rap in the New Century</em>’ | By Justin A. Williams (2020)<br><br>- <em>‘Black Marxism’ </em>| Cedric J. Robinson (1983)<em><br><br>- ‘Racial Capitalism, Black Internationalism, and Cultures of Resistance.’</em> | Cedric J. Robinson (2019)<br><br>--<br><br>Reference Type: [Documentaries/Online Lectures]<br><br>Ruth Wilson Gilmore | Geographies of Racial Capitalism – An Antipode Foundation Film (2020)<br><br>Robin D. G. Kelley - What is Racial Capitalism and Why Does It Matter? (2017)<br><br>--<br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-09 08:12:54 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257271275</guid>
      </item>
      <item>
         <title>Racial Capitalism | Joyner Lucas - I&#39;m Not Racist</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257273228</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://www.youtube.com/watch?v=kMTUBE4KOek" />
         <pubDate>2022-08-09 08:16:53 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257273228</guid>
      </item>
      <item>
         <title>James Baldwin | Many Thousands Gone</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257274701</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-08-09 08:20:50 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257274701</guid>
      </item>
      <item>
         <title>Racial Capitalism | Lenny Henry&#39;s Caribbean Britain</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257303173</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://www.bbc.co.uk/iplayer/episode/p0ccw85z/lenny-henrys-caribbean-britain-series-1-episode-2" />
         <pubDate>2022-08-09 09:25:35 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257303173</guid>
      </item>
      <item>
         <title>Racial Capitalism | Musical Youth - Pass The Dutchie (Official Video HD) </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257307207</link>
         <description><![CDATA[<div>African Caribbean culture established itself in British society, shortly after British-Jamaican reggae group, Musical Youth, released their 1982 debut single '<em>Pass The Dutchie</em>'. <br><br>The song reached number 1 in the UK Singles Charts, from which Black culture became integrated into British society (Henry, 2022), (SongFacts, 2022).<br><br><em>'Pass the Dutchie'</em> was a sampled composition, which used playful, joyful lyrics, in comparison to the original Mighty Diamonds track <em>'Pass the Kutchie'</em>. <em>Kutchie</em> is a pipe used by Rastafarians for communal smoking of marijuana (Urban Dictionary, 2009).&nbsp;<br><br>However, the original drug connotations sparked controversy during the songs initial production. To avoid the bands negative portrayal, the lyrics were changed by the Youth group (Richardson, 2022), (Simspon &amp; Seaton, 2018).&nbsp;<br><br>The songs adaptation can still be associated with drug use, but creates additional atmosphere to the track and as Pop pantheons (Henry, 2022).&nbsp;</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=Ak93pjr2mew" />
         <pubDate>2022-08-09 09:36:22 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257307207</guid>
      </item>
      <item>
         <title>Racial Capitalism | Smiley Culture - Cockney Translation</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257309027</link>
         <description><![CDATA[<div>Smiley Cultures 1984 single, 'Cockney Translation' provided young Black British listeners/residents, with an educational scope on London's infamous cockney rhyming slang (Simpson &amp; Emmanuel, 2011), (Henry, 2022). <br><br>Artist Emmanuel David integrated Jamaican culture with British slang, further strengthening the bond between British communities and those of African Caribbean/Jamaican decent (SongFacts, 2022), (Simpson &amp; Emmanuel, 2011).<br><br>The harmless purpose and impact delivered in these pioneering tracks of Black British music, debates the contemporary notion that Black British artists are <em>violent</em> individuals.&nbsp;<br><br>Instead, examples provided from the previous sources express Black music as a recital of experience and resistance, rather than an art of violent intention (Henry, 2022), (Bennett, et al., 1982), (Emmanuel, 1985). &nbsp;</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=vvPuj4f5CKw" />
         <pubDate>2022-08-09 09:40:58 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2257309027</guid>
      </item>
      <item>
         <title>Racial Capitalism | UB40 - Red Red Wine (Official Video)</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2258209793</link>
         <description><![CDATA[<div>The success of UB40's 1983 number 1 single, '<em>Red, Red Wine</em>', further influenced the integration of Black culture into British society (Marley, et al., 1983), (Henry, 2022).</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=zXt56MB-3vc" />
         <pubDate>2022-08-10 13:42:12 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2258209793</guid>
      </item>
      <item>
         <title>Racial Capitalism | Shaba Shak - Over the Years (Durrty Goodz Diss)</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2258238137</link>
         <description><![CDATA[<div>The source provided above, is an example of <em>how</em> Hip Hop/Rap music can end with disastrous consequences.&nbsp;<br><br>Shaba Shah's (a.k.a Shabba Shak) early Grime career included a diss track aimed towards Dwayne Mahorn; half-brother of Grime underground sensation, Crazy Titch (Muir, 2006).&nbsp;<br><br>Crazy T a.k.a Carl Dobson and his childhood friend, Anthony Green hunted for Shah and his associates, including Crazy T's own producer, Richard Holmes; who had allied himself with the 16 year old star Shah.&nbsp;<br><br>The disrespect Dobson felt from his producer, led the artist to murder;&nbsp; fatally shooting Holmes through the back, over the lyrical feud (Muir, 2006). Carl Dobson now serves life in prison due to the diss track made by Shabbah Shaks.</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=uJsRjToOjtw" />
         <pubDate>2022-08-10 14:17:38 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2258238137</guid>
      </item>
      <item>
         <title>Racial Capitalism | Diss Culture and Rap Battles </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2258239274</link>
         <description><![CDATA[<div><strong><mark>YOU ARE HERE</mark></strong><mark><br></mark><br>The Art of War, or, The Calculus of the Diss Track</div><div><br>The most electrifying times in hip hop are when emcees take to the booth to lay down verses going after their rivals. It feels like these intentionally public airings-out happen about as often as a really good election season, when it is time for a new king or queen of hip hop to seize the throne.<br><br><br></div><div><br><br><br><br><br><br><br>--<br>Diss tracks and Rap battles have always been at the very heart of Rap music. It provides each individual artist with the competitive foundation to be 'better than the next', feeding their hunger that ultimately fuels their success and/or failure ______________.<br><br>The competitive rap genre was popularised, since its establishment in the Bronx, New York _____________ and has seen the rise and fall of local and international artists <mark><br><br><br><br><br><br></mark><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-10 14:18:30 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2258239274</guid>
      </item>
      <item>
         <title>Racial Capitalism | 2Pac - Hit &#39;Em Up (Dirty) (Music Video) HD</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2258241585</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://www.youtube.com/watch?v=41qC3w3UUkU" />
         <pubDate>2022-08-10 14:21:30 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2258241585</guid>
      </item>
      <item>
         <title>Primary Research | The Impact of Diss Tracks &amp; Battle Rap</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2258242640</link>
         <description><![CDATA[<div>Interview artists on this section?<br><br>What would they do if they were dissed?<br><br>How would they act?<br><br>Who would it affect?<br><br>How would it affect them if they didn't act?<br>Is their a pressure to do so?<br><br>--<br><br>Relate responses back to<strong> Maslows Heirarchy of needs </strong>-<strong> Gratification Theory </strong>- <strong>Psychological Behaviour</strong></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-08-10 14:22:42 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2258242640</guid>
      </item>
      <item>
         <title>Racial Capitalism | Winston Branch</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2258251225</link>
         <description><![CDATA[<div>Professor Eddie Chambers at the Department of Art and Art History at the University of Austin, Texas compares Winston's 1982 art piece <em>'Zachary II'</em> to the work of Frank Bowling. <br><br>Both artists use abstraction, colour blending and tonalities to depict the emotional frustration of Black stereotype.<br>Chambers explains that abstract paintings such as this creates excitement for the viewer. <br><br>The colour blends and tonalities expressed by the substance have the ability to transform the painting into a subject of emotional experience. Chambers believes that Black artists <em>should</em> be producing more art such as this (Branch, 1982).</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/86cb6dfbd63819220471bb1c782e26a3/IMG_5184.JPG" />
         <pubDate>2022-08-10 14:33:18 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2258251225</guid>
      </item>
      <item>
         <title>Racial Capitalism | Raphael Albert </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259816346</link>
         <description><![CDATA[<div>Rapheal Alberts photography focused on primarily documenting Black lifestyles. His work supported the Black is Beautiful Movement, and encouraged Black British individuals to embrace their cultural qualities, from their colour, to hairstyles (Albert, 1960-1974).&nbsp;</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/43fae47e5abe513e734013b96531285d/Rapheal_Albert.pdf" />
         <pubDate>2022-08-12 13:19:01 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259816346</guid>
      </item>
      <item>
         <title>Racial Capitalism | Michael Armitage</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259817968</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/d1ea8770eb6c0875003f4ef17f075a25/IMG_5178.JPG" />
         <pubDate>2022-08-12 13:21:03 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259817968</guid>
      </item>
      <item>
         <title>Racial Capitalism | Maud Sulter </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259826469</link>
         <description><![CDATA[<div>Maud Sulters work aims to explore the history of forgotten Black Women and their exoticisation. Her inspiration stems from a 19th century black actress and dancer, Jeanne Duval (c.1820 - c.1862) who Sulter researched.&nbsp;<br><br>Recognising the lack of knowledge that surrounded Duvals career and personality, Maud Sulter re-imagines herself as the performer in the portraits above, producing a contemporary sense of identity for this 19th century figure. (Sulter, 2002).</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/ab63e444b7e5cd1d874f27d27ef0c95d/IMG_5169.JPG" />
         <pubDate>2022-08-12 13:33:06 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259826469</guid>
      </item>
      <item>
         <title>Racial Capitalism | Larry Archiampong</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259845720</link>
         <description><![CDATA[<div>Larry Archiampong's photographs are a depiction of family archives, which illustrate Black British lifestyles in the 1980's.&nbsp;<br><br>The abstract symbols on the heads of these individual family members, are a deliberate interruption of the Black lifestyle, and convey the hostility Black people would experience during the era; from Blackface performers, Golliowog dolls and Pickaninny Caricatures.&nbsp;<br><br>The symbols continually appear, to remind the viewer of British colonialism, and how domestic racism invaded their homes, creating black resistance within communities (Archiampong, 2013 - 2018).&nbsp;</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/15d1f09bf292b58f116f8fa2b45a29a3/Larry_A_.pdf" />
         <pubDate>2022-08-12 13:59:16 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259845720</guid>
      </item>
      <item>
         <title>Racial Capitalism | John Akomfrah</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259866321</link>
         <description><![CDATA[<div>John Akomfrah's 'The Unfinished Conversation', follows the memories and archives of the cultural theorist and sociologist Stuart Hall.&nbsp;<br><br>The work is shown across three screens, all of which are presented in a non-linear narrative, whilst playing at the same time, to replicate the fractured nature of memories (Akomfrah, 2012).<br><br>Akomfrah includes Stuart Hall's ethnic and political quest, being the 'darkest member of his light skin family middle-class family, the story integrates Hall's personal videos/photographs, alongside 1960's News footage and&nbsp; poetic sounds of Jazz and Gospel Music.<br><br>All angles are used to align past, present and future to the three screens, portraying Hall's journey of cultural identity in colour-conscious colonies (Akomfrah, 2012).</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/575dc41621f0e3c805e05211a5b65684/J_K.pdf" />
         <pubDate>2022-08-12 14:27:29 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259866321</guid>
      </item>
      <item>
         <title>Racial Capitalism | James Barnor</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259876156</link>
         <description><![CDATA[<div><em>"Diaspora identities are those which are constantly producing and reproducing themselves anew, through transformation and difference.” </em>(Hall, et al., 2014) (Wan, 2022) </div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/294fcd20d9bb576259525d6e0fa16322/J_Barnor.pdf" />
         <pubDate>2022-08-12 14:40:59 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259876156</guid>
      </item>
      <item>
         <title>Racial Capitalism | Denzil Forrester</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259896112</link>
         <description><![CDATA[<div>The three compositions portrayed by Denzil Forrester were produced within the duration of Reggae tracks, as part of Forresters Nightclub series.<br><br>The combination of pastels, charcoals, graphite and water colours supported Forresters rough illustrations, when capturing the atmosphere and energy of the crowd.&nbsp;<br><br>Forrester wanted to highlight the passion and joy experienced by no-white communities to avoid an oppressive gaze. His work depicts the true spirit expressed by people of colour, through fashion and creativity (Forrester, 1982-1983).</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/9beea8b063719e6ff05578c2c09ae067/Denzil.pdf" />
         <pubDate>2022-08-12 15:02:14 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2259896112</guid>
      </item>
      <item>
         <title>Racial Capitalism | Young Thug - Anybody [Official Sign Video]</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2279136132</link>
         <description><![CDATA[<div><br><br></div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=JwAnH6PLimo" />
         <pubDate>2022-09-01 11:33:26 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2279136132</guid>
      </item>
      <item>
         <title>Racial Capitalism | Young Thug Lyrics associated with Gang violence</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2279140329</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://www.youtube.com/watch?v=ZB2mzwmmuSY" />
         <pubDate>2022-09-01 11:38:45 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2279140329</guid>
      </item>
      <item>
         <title>Dissertation Bridge | August 15th - 2nd September | Update</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280488477</link>
         <description><![CDATA[<div>Between the dates of August 15th - 26th I was at work and had little time to commit myself to the planning of my primary research; including interviews, focus groups and social experiments.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-09-02 08:35:28 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280488477</guid>
      </item>
      <item>
         <title>Independent Research | Primary Research | Sept 4th - 10th</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280493494</link>
         <description><![CDATA[<div><strong>Sunday - Saturday | Primary Research:<br><br></strong>Reference Type: [Planning]<br><br>- Focus Group&nbsp;<br>- Focus Group Members<br>- Focus Group Consent Forms<br>- Focus Group Emails</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-09-02 08:41:59 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280493494</guid>
      </item>
      <item>
         <title>Racial Capitalism | Claudette Johnson</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280495167</link>
         <description><![CDATA[<div>Claudette Johnson illustrates larger-than-life portraits of Black women, using the entire space on the page to portray Black resistance and the presence of African/American women.&nbsp;<br><br>To achieve this cultural gravitas, the artist does not restrict her portraits to the edge of the page and aims to amplify the presence of Black women, due to its distorted, hidden and denied history (Johnson, 2018).</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/b94d40b98891b3eeaeb773fc5213a8db/Claudette.pdf" />
         <pubDate>2022-09-02 08:44:05 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280495167</guid>
      </item>
      <item>
         <title>Racial Capitalism | Chris Ofili</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280502714</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/649a58d4c046cd809e346f0db593dbb3/Chris.pdf" />
         <pubDate>2022-09-02 08:53:15 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280502714</guid>
      </item>
      <item>
         <title>Racial Capitalism | Bandele &#39;Tex&#39; Ajetunmobi</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280530779</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/fbbae6f107ed69404fdf0cb015d1b68f/Bandele.pdf" />
         <pubDate>2022-09-02 09:29:32 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280530779</guid>
      </item>
      <item>
         <title>Racial Capitalism | Cornelia Parks </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280531703</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/2225c1abaf59a92cb98ad7673daf0ed2/Cornelia.pdf" />
         <pubDate>2022-09-02 09:31:02 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280531703</guid>
      </item>
      <item>
         <title>Racial Capitalism | Hew Locke &#39;The Procession&#39; | Gallery 1</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280532127</link>
         <description><![CDATA[<div>The 2022 Tate Britain Commission, presents the colourfully surreal works of British sculptor and contemporary visual artist, Hew Locke. <br><br>Locke describes this new, and exciting large-scale installation as an attractive congregation of societal procession. One that uses the Tate's environment to travel through time and space (Locke, 2022), (Tate Britain, 2022). <br><br>Within this Procession, Locke depicts the ebb and flow of historical cultural/societal changes and indifferences. The use of materials, architecture, illustrations, wealth and clothing are <strong>only</strong> some of the tools implemented to amplify the cycle of human culture and the discomfort global finance, power and colonialism creates (Locke, 2022), (Tate Britain, 2022). <br> <br>This exhibition is the blend of historical and contemporary culture. The sculptures in their overall form do not feel static. Each and every one has its own story to tell, reflecting on a narrative of survival, wealth, worship, celebration and more (Tate Britain, 2022). <br><br>The empowerment it brings to a viewer is achieved through a choice of bold, bright colours, moreover, the colours merely show the surface in an expression of struggle, survival and resistance. <br><br>It should make the viewer want to become part of something bigger than themselves. An enabler of contemporary change. <br><br>A Procession that does not end at the doors of the Tate, but one that should go on to inspire others to march alongside such prestigious sculptures, into a new imagined future; for these sculptures are <strong><em>only</em></strong> a reflection of what real individuals experienced through history. Their reliance, resistance and will shines through this exhibition and should be a lesson to us all.<br><br>I attended this exhibition [alongside other exhibitions within the Tate], because <strong>resistance</strong> is the key factor behind all Media that was presented. My extensive secondary research into Hip Hop Music educated me on the power of resistance; the artistic beauty it creates, but the discomfort and pain from which it is birthed. <br><br>The cultural relevance Hew Lockes 'Procession' has in correlation with my Dissertation topic is clear. Locke uses this exhibition as an expression of art, through an important lesson of culture. <br><br>Without such education, there cannot be such 'Processions', or societal movements to occur. If everyone were to follow and march together, without understanding the cause in question, it would not necessarily be a good thing.<br><br>Educating society on <strong>any</strong> ethnicities cultural history is essential, as it provides the acquired knowledge to those taught, on how to challenge others who may question a cultures place in society. <br><br>I aim to educate my readers on the <strong>damage</strong> Racial Capitalism has on Black communities. How cultural appropriation influences false stereotypes of Black Hip Hop artists, whilst enabling Caucasian Emcee's to capitalise on Black culture. Establishing what is factual, from recurring stereotypes is what will create the foundations for my overall debate.<br><br></div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/a3f07fba6be6623086e8dc2dc8455ded/Hew_Locke_1_.pdf" />
         <pubDate>2022-09-02 09:31:24 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2280532127</guid>
      </item>
      <item>
         <title>Racial Capitalism | Hew Locke &#39;The Procession&#39; | Gallery 2</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2282086196</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/699159d200c832bc4ed1b48d56a26f09/Hew_Locke_2_.pdf" />
         <pubDate>2022-09-04 17:11:52 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2282086196</guid>
      </item>
      <item>
         <title>Racial Capitalism | Hew Locke &#39;The Procession&#39; | Gallery 3</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2282094623</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/b2e198f9d50fe15c8c2286afc2de4fc9/Hew_Locke_3_.pdf" />
         <pubDate>2022-09-04 17:31:19 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2282094623</guid>
      </item>
      <item>
         <title>Racial Capitalism | Hew Locke &#39;The Procession&#39; | Gallery 4</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2282095302</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/6463999c2a954342fc650f168b42f7cd/Hew_Locke_4_.pdf" />
         <pubDate>2022-09-04 17:32:36 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2282095302</guid>
      </item>
      <item>
         <title>--WORK TO DO--</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2282100817</link>
         <description><![CDATA[<div>--<br><mark>- </mark><strong><mark>Rap Battle History: </mark></strong><mark>Resistance links and links to violence in Hip Hop.<br><br>- </mark><strong><mark>Thousands Gone Research: </mark></strong><mark>James Baldwin Essay.<br><br>--<br><br>- </mark><strong><mark>&nbsp;Chapter Plan: </mark></strong><mark>With all your research Primary and Sec, begin structuring your Chapter Plan.</mark></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-09-04 17:45:35 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2282100817</guid>
      </item>
      <item>
         <title>Primary Research | Focus Group </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2284615796</link>
         <description><![CDATA[<div>I have decided to take a much different approach to my Primary Research. Initially, I was going to interview Studio/event hosts, local Emcee's and Radio DJ's. <br><br>However, my extensive secondary research has since informed me with the knowledge that the portrayal of Black British Hip Hop artists lies more within how the audience may behave and think, rather than the artists themselves (Cherry, 2021), (Thompson, 2019). <br><br>Stereotypes are ingrained in our everyday observation of social roles, that specific group members may occupy. <br><br>This embedded issue of judgement, lends itself to the herd mentality, giving society the power to turn <strong>one</strong> occupation, media, art form, routine, lifestyle, or culture into a global stereotype (Eagly, 2015). <br><br>Platforms can also amplify such stereotypes, as I learnt from my research into Record Labels, which are often the root cause responsible, in portraying violent content across most Rap Music Videos (Crooke, 2017), (Beaumont-Thomas, 2018), (C. McCool, 2021). <br><br>Black artists who choose to share personal and explicit content through their lyricism, are only <strong>informing</strong> listeners on their background, upbringing and lifestyle, rather than having the intention to <strong>encourage</strong> listeners to experience the same thing (Crooke, 2017), (C. McCool, 2021), (D. Morrison, 2019),<em> </em>(Mundy, 2014).<br><br>This illogical ideology is expressed brilliantly, in the debut single <em>'Serious'</em> (Adenuga, 2005), by British Grime artist JME.<br> <br>Artists such as <em>Stormzy</em><strong> </strong>(Owuo Jr., 2015), and <em>Kano</em> (Brett Robinson, 2016) also identify the same counterproductivity of being <em>violent </em>during their time of success. The artists reflect on their upbringing, the struggles and journey they faced. Expressing gratefulness for present day fame, making their humbleness apparent.<em><mark><br></mark></em><br>However, perspectives can still be altered, with incidents such as the 2005 murder of<em> </em>Grime Producer Richard Holmes, which occurred over a <strong>diss track </strong>(Muir, 2006), (Shak, 2006).<br><br>--<br><br><em>Following these major sources of interest, I aim to conduct </em><strong><em>three</em></strong><em> main investigations. </em><br><br>1. The <strong>first</strong> investigation will record the behaviour/emotions of participants who have listened to the lyrics of <strong>six</strong> British Hip Hop tracks.<br><br>2. The <strong>second</strong> investigation will record the behaviour/emotions of participants who have viewed the Music Videos of these same <strong>six</strong> British Hip Hop tracks.<br><br>3. The <strong>third</strong> investigation will record the behaviour/emotions and desired actions of participants and existing artists whom may be the target of a <strong>diss track</strong>. <br><br>Context of the diss tracks content will be applied to each participant/artist, such as family, personal, and partners or lifestyle. The purpose of this joint investigation (between artist/audiences), is to record who is more likely to <strong>react</strong> in a violent manner, when being targeted with sensitive/non-sensitive information in a diss track.<br><br>The results from this third and final investigation will either conclude the evidence that audiences may commonly misinterpret lyrics, influencing themselves into becoming violent self-fulfilling prophecy. <br><br>However, it may also conclude that some artists are more inclined to <strong>react</strong> than others. The result may also be neutral depending on the responses I receive. <br><br>--<br><br>Before conducting these three investigations, I must first assemble an online <strong>Focus Group</strong>. <br><br>This will allow me to <strong>pitch</strong> my investigation plans to a group of professional individuals, all of whom will have different experience in respective fields of interest.&nbsp;<br><br>Acquiring alternative perspectives could help me identify what may be missing from the investigations, build upon their aims, the potential risks, how to overcome these and their overall method of reliability. </div>]]></description>
         <enclosure url="" />
         <pubDate>2022-09-06 13:15:26 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2284615796</guid>
      </item>
      <item>
         <title>Primary Research | Investigations 1 &amp; 2 | Track list </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2284748164</link>
         <description><![CDATA[<div><strong>1.</strong> <em>Kano - Trouble</em></div><div><br><strong>2.</strong> <em>Bugzy Malone - M.E.N</em></div><div><br><strong>3.</strong> <em>Giggs - Dark Was The Case</em></div><div><br><strong>4.</strong> <em>JME - Serious</em></div><div><br><strong>5.</strong> <em>Professor Green - Jungle</em></div><div><br><strong>6. </strong><em>Aitch - Safe To Say</em></div><div><br>I have decided to enlist <strong>six British Hip Hop tracks </strong>for the participants to view and listen to. The specific number of <strong>six tracks</strong> is a deliberate consideration made, as it reverts back to the six emotions associated with <strong>behavioural psychology</strong>. <br><br>The six tracks set out on this list, will potentially deliver a range of honest personal responses. I aim to avoid stereotyped answers, by giving little information on the tracks selected. This will ensure all participants can give an honest answer from their <strong>own perspective</strong>, without the influence of online reviews, stereotypes contaminating the investigation.<br><br>The more honest these responses are, the easier it will be to identify responses in correlation with experiences presented in the <strong>gratification theory</strong> diagram. Responses will be <strong>compared</strong> against the behavioural psychology and gratification theory diagrams, where all three outcomes should coalesce as a reliable source/statistic for my debate.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-09-06 14:24:12 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2284748164</guid>
      </item>
      <item>
         <title>Primary Research | Focus Group Members</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2284883711</link>
         <description><![CDATA[<div>1. Charlotte Drury&nbsp;<br>2. Crystal Alleyne<br>3. Ekene Izegbu<br>4. Amy Lieu<br>5.&nbsp;<br>6.<br><br>The list of names provided above are the professionals I have invited to my Investigation(s) Focus Group.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-09-06 15:40:00 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2284883711</guid>
      </item>
      <item>
         <title>Participant Emails | Focus Group </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2285033391</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/264ca7badee28d8bb76565607b877ab4/Email_Screenshots.pdf" />
         <pubDate>2022-09-06 17:09:17 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2285033391</guid>
      </item>
      <item>
         <title>Participant Consent Forms | Focus Group</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2285033770</link>
         <description><![CDATA[<div>There will be <strong>two</strong> copies of every Focus Group consent form handed out. One will be kept with myself as the lead researcher and the other will be kept with the participator, for insurance.</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/38396a71c9ed38968e95ec0ad594b110/Focus_Group___Consent_Form.pdf" />
         <pubDate>2022-09-06 17:09:30 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2285033770</guid>
      </item>
      <item>
         <title>Racial Capitalism | Grime Clashes</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2286094148</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-09-07 08:59:53 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2286094148</guid>
      </item>
      <item>
         <title>Session 1 | Wednesday 5th October </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2327439882</link>
         <description><![CDATA[<div>- Recap of Research &amp; Knowledge <br>[Information gathered over the summer]<br><br>- Session Feedback <br><br><strong>Primary Research:</strong><br>Open Mic Venues | London</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-05 11:57:47 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2327439882</guid>
      </item>
      <item>
         <title>Session 1 | Wednesday 5th October | Feedback </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2327457808</link>
         <description><![CDATA[<div>During this first Dissertation session, I spoke with Liz about my plans for the Primary research investigations.&nbsp;<br><br>I shared my concern with how I would be able to gather a number of individuals across all cultures, in order to record a reliable amount of views for my investigative research.<br><br>However, Liz encouraged me to avoid this approach. The risks of dealing with too many participants in a subject/investigation such as this, could be that those who partake may be expressing an opinion, rather than a viewpoint.<br><br>I would need a clear perspective for my investigations to be reliable in their results. The risk of conflicting statements/opinions could clutter my debate with inaccurate research, inevitably affecting the legitimacy of my Dissertation debate.<br><br>Instead, Liz supported the idea that I should contact industry professionals, rather than randomised individuals. The reason for this change of direction is to capture the perspective of Black/White artists who are in the position to experience such unjust backlash.&nbsp;<br><br>By directly focusing my research on musicians within the Hip Hop career, and their lyrical content, I am bridging the gap between how Cultural Appropriation influences Racial Capitalism, addressing this popularised stereotype with concrete evidence provided by artists within that field.<br><br>Finally, my original Focus Group plan is affected by this new direction, however, I will overcome this issue, by postponing the additional task, until I have a new area of focus to gather alternative viewpoints on.&nbsp;<br><br>Again, I will be contacting more industry based individuals for this task, so that I can gain their perspectives on how to approach this delicate subject in the presence of industry professionals.&nbsp; &nbsp;</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-05 12:11:57 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2327457808</guid>
      </item>
      <item>
         <title>Session 1 | Recap Research</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2327717085</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/11fce0430f716cc9a014a9f874953eba/Charles_Pickering_Dissertation_Bridge_Research.pdf" />
         <pubDate>2022-10-05 14:38:35 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2327717085</guid>
      </item>
      <item>
         <title>Open Mic Venues | London </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2327879733</link>
         <description><![CDATA[<div>1.) Brickology, 210a Brick Lane, London<br><br>2.) The Queens Head, 25 Tryon St, London<br><br>3.) Poplar Union, 2 Cotall St, London<br><br>4.) King William IV, 111 Grosvenor Rd, London<br><br>5.) Luna - The home of live music, 7 Church Lane, London<br><br>6.) The North London Tavern, 375 Kilburn High Rd, London<br><br>7.) Red Sequin Door, 92 Stoke Newington High St, London<br><br>8.) The Queen's Head, 15 Denman St, London<br><br>9.) George, 75 Borough High St, London<br><br>10.) Loop, 189-191, Broad Ln, London<br><br>11.) The Hill, Dartmouth Road, London<br><br>12.) Gallery Cafe, St. Margarets House Settlement, 21 Old Ford Rd., London<br><br>13.) Allsop Arms, 137 Gloucester Pl, London<br><br>14.) Duke of Kendal, 38 Connaught St, London<br><br>15.) Mascara Bar, 72 Stamford Hill, London<br><br>16.) The Angel of Bow, 171 Devons Rd, London<br><br>17.) Kings Arms, 425 New Kings Rd, Greater, London<br><br>18.) Clerks Court, 18-20 Farringdon Ln, London<br><br>19.) The Camden Eye, 2 Kentish Town Rd, London<br><br>20.) Anchor Bankside, 34 Park St, London</div>]]></description>
         <enclosure url="https://www.google.co.uk/search?q=open+mic+nights+in+London&amp;sxsrf=ALiCzsY3CY5VogETcoRoEPjTuPpAtEox9A:1664985952840&amp;source=hp&amp;ei=YKs9Y5TXMJPVgQb15bLoBw&amp;iflsig=AJiK0e8AAAAAYz25cFMrmoCGtTT8Uc7-HOCP-zZo5_qk&amp;uact=5&amp;oq=open+mic+nights+in+London&amp;gs_lcp=Cgdnd3Mtd2l6EAMyBQgAEIAEMgYIABAeEBYyBggAEB4QFjIGCAAQHhAWMgYIABAeEBYyCAgAEB4QDxAWMgYIABAeEBYyBggAEB4QFjIGCAAQHhAWMgYIABAeEBY6BAgjECc6BAgAEEM6DgguELEDEIMBENQCEJECOhQILhCABBCxAxCDARDHARDRAxDJAzoHCAAQyQMQQzoFCAAQhgM6CggAEIAEEIcCEBQ6CAgAEIAEEMkDOgUIABCSA1AAWLkiYLIkaAJwAHgBgAG-AYgBgRWSAQQ5LjE1mAEAoAEB&amp;sclient=gws-wiz&amp;ibp=htl;events&amp;rciv=evn&amp;sa=X&amp;ved=2ahUKEwiRgN6EvMn6AhVVQUEAHXxKDg4Q66QDKAJ6BAgDEAg#htichips=date:week&amp;htischips=date;week&amp;htidocid=L2F1dGhvcml0eS9ob3Jpem9uL2NsdXN0ZXJlZF9ldmVudC8yMDIyLTEwLTA2fDE2MzE5ODYzNTA1MjEyOTYxNjI4&amp;htivrt=events&amp;fpstate=tldetail" />
         <pubDate>2022-10-05 16:07:39 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2327879733</guid>
      </item>
      <item>
         <title>Session 2 | Wednesday 12th October </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347213839</link>
         <description><![CDATA[<div><strong>- Chapter Plan Skeleton | Lecture</strong></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-19 15:06:47 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347213839</guid>
      </item>
      <item>
         <title>Session 3 | Wednesday 19th October </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347214618</link>
         <description><![CDATA[<div><strong>- Authorship | Researching and Writing Analytically<br><br>- Primary Research Contacts</strong></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-19 15:07:12 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347214618</guid>
      </item>
      <item>
         <title>Contacts | Primary Research</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347292810</link>
         <description><![CDATA[<div>The screenshots within this document show my evidence that I have reached out to London recording studios, whose clients range from local to industry professional. I have contacted studios who have a large client list, with predominantly Black Hip Hop artists.&nbsp;<br><br>I plan to network with the studio hosts/owners, in order to get further contacts within the UK Hip Hop industry. Studio owners will have a closer connection to their clients and will make contact with them more accessible.&nbsp;<br><br>I plan to explore more studios to boost these connections and attend local Open Mic events, to interview Black emerging artists who may wish to share their perspective. This comparison of industry professional artists, and local emerging talents will contrast the perspectives for my main argument in Chapter two.&nbsp;</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/95615042887d27a90f68c3ad9b79f463/London_Studio_Contacts_File.pdf" />
         <pubDate>2022-10-19 15:45:48 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347292810</guid>
      </item>
      <item>
         <title>Chapter Plan | Skeleton </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347461746</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/0fe5d2ae1a0a9c3905a4d607dc60f744/Chapter_Plan_Skeleton.jpg" />
         <pubDate>2022-10-19 17:13:30 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347461746</guid>
      </item>
      <item>
         <title>Chapter Plan | Skeleton </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347463357</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/22ce6798f088969fa4c47181eacc8ee4/The_Dissertation_Plan.pdf" />
         <pubDate>2022-10-19 17:14:19 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347463357</guid>
      </item>
      <item>
         <title>Dissertation | Session Plan</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347464179</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/8ee7137e301ab15d30ea6ca3a259e7bd/_22_23__Dissertation_Lesson_Plan_Schedule.pdf" />
         <pubDate>2022-10-19 17:14:48 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347464179</guid>
      </item>
      <item>
         <title>Analytical Writing Guide</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347469335</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/9ce69f36cb30d6d59aa3ed5d63c71c18/Mini_Guide_to_writing_an_analytical_paragraph.pptx" />
         <pubDate>2022-10-19 17:17:28 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2347469335</guid>
      </item>
      <item>
         <title>Chapter Plan </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2355922683</link>
         <description><![CDATA[<div>- Lead Question<br><br><strong><mark>- Introduction</mark></strong><br><br>- Chapter One: Background<br><br>- Chapter Two: The Main Debate<br><br>- Chapter Three: Debate Conclusion/New Research<br><br><strong><mark>- Conclusion</mark></strong></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-25 17:52:39 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2355922683</guid>
      </item>
      <item>
         <title>Chapter One | Background</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2355923366</link>
         <description><![CDATA[<div><strong>Bullet Points:<br></strong><strong><mark><br>- </mark></strong><mark>Racial Capitalism is the overarching theme for my lead question. </mark><br><br>- It incapsulates subtexts of covert racism, i.e., cultural appropriation/appreciation, and fake diversity. <br><br>--<br><br><mark>-&nbsp; The theory of Racial Capitalism - identifying its cultural origin within South Africa (Tilley, 2021). </mark><br><br>- American Professor in the Department of Black Studies and leading pioneer in the concept of Racial Capitalism, Cedric J. Robinson will inform this chapter.<br><br>- The understanding of <em>Marxism </em>through works of<em> </em>German philosopher and political theorist Karl Marx; Head interlocutor for Cedric Robinsons. <br><br>- Three of Robinson’s landmark accounts within this debate, include <em>‘Black Marxism’</em> (1983), <em>‘Black Movements in America’</em> (1997) and <em>'Racial Capitalism, Black Internationalism and Cultures of Resistance’ </em>(2019). <br><br>- Highlight the unjust foundations of European Capitalism. <br><br>- Robinson applies his knowledge of Black studies, into the Marxist concept. <br><br><strong><mark>- What other practitioners would argue against Cedrics work?<br><br>Ruby Gilmore Wilson<br>DJ Kelley</mark></strong><br><br>--<br><br>- Robinson identifies the cultural oppression of the African American/Caribbean people, their exploitation, endeavours, and resistance. <br><mark><br></mark><strong><mark>- Possibly look into how this resistance transformed itself during the Battle rap era. - Did this moment in Hip Hip history establish the 'violent' tag that media outlets appoint it to today?</mark></strong><br>--<br>- These struggles of people of colour were overlooked within Marx’s general report of analysis, on the <em>global</em> industrial experience.<br><br>- This neglected Black minority groups creating further resistance. <br><br>--<br><br><mark>How does this set up your debate into </mark><strong><mark>RACIAL CAPITALISM</mark></strong><mark>?<br><br></mark>How does this support your subtexts of <strong>COVERT RACISM</strong>, <strong>CULTURAL APPROPRIATION</strong>, <strong>CULTURAL APPRECIATION</strong>, and <strong>FAKE DIVERISTY</strong>.<br><br><mark>Do </mark><strong><mark>ALL</mark></strong><mark> these areas need to be included?</mark></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-25 17:53:02 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2355923366</guid>
      </item>
      <item>
         <title>Lead Question</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2355924924</link>
         <description><![CDATA[<div>Racial Capitalism: To what extent has cultural appropriation influenced the negative portrayal of Black artists in British Hip Hop?</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-25 17:53:59 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2355924924</guid>
      </item>
      <item>
         <title>Chapter Two | The Main Debate</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2355930468</link>
         <description><![CDATA[<div><strong>Bullet Points:</strong></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-25 17:56:58 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2355930468</guid>
      </item>
      <item>
         <title>Chapter Three | Debate Conclusion/New Research</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2355931231</link>
         <description><![CDATA[<div><strong>Bullet Points:</strong></div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-25 17:57:23 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2355931231</guid>
      </item>
      <item>
         <title>Introduction </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2355969362</link>
         <description><![CDATA[<div><strong>NOTES:</strong><br><br>- I want to investigate <em>where</em> racially motivated ideologies originated. Black Radical Tradition relates to this.<br><br>- I want to investigate <em>how</em> racially motivated ideologies, can personally affect the success of African American/Caribbean Emcee’s in UK Hip Hop.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-25 18:19:42 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2355969362</guid>
      </item>
      <item>
         <title>Session 4 | Wednesday 26th October</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357398939</link>
         <description><![CDATA[<div>- Primary &amp; Secondary Research structure<br><br>- Appendices (Appendix)<br><br>- Bibliography<br><br>- Harvard Referencing<br><br>- Formative Assessment</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-26 14:31:15 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357398939</guid>
      </item>
      <item>
         <title>Contact Numbers | London Recording Studios </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357406619</link>
         <description><![CDATA[<div><strong>Hot Money Studios:&nbsp;</strong></div><div><br></div><div>02087980061 <br><em>[no response]<br>--</em></div><div><strong>Ondabeat Studios:</strong></div><div><br></div><div>07956623006<strong> <br>[Anthony]</strong>&nbsp;<br>--</div><div><strong>Miloco Studios:&nbsp;</strong></div><div><br></div><div>020 7232 0008<br><em>[unavailable to give client details]<br>--</em></div><div><strong>Nxne Studios:</strong></div><div><br></div><div>02082452632 <br><strong>[Moshik]</strong>&nbsp;<br><br>--<br><br>I called these four recording studios in London. Hot Money studios phone line was down, as there was no receiver. Miloco studios had their own policy to keep client information confidential.<br><br>Fortunately, I was able to reach the Studio owners for Ondabeat Studios and Nxne Studios. Both were accommodating to my request to interview their clients (artists) and asked me to forward them an email that explains the Dissertation and its aims.<br><br>This was requested, so that the appropriate information can be passed on to the correct artists.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-26 14:34:19 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357406619</guid>
      </item>
      <item>
         <title>Contact Numbers | London Studios Telephone Response</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357503858</link>
         <description><![CDATA[<div>I called these four recording studios in London. Hot Money studios phone line was down, as there was no receiver. Miloco studios had their own policy to keep client information confidential.<br><br>Fortunately, I was able to reach the Studio owners for Ondabeat Studios and Nxne Studios. Both were accommodating to my request to interview their clients (artists) and asked me to forward them an email that explains the Dissertation and its aims.<br><br>This was requested, so that the appropriate information can be passed on to the correct artists.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-26 15:27:37 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357503858</guid>
      </item>
      <item>
         <title>HANDIN DEADLINE: 25th January </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357507128</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-10-26 15:29:25 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357507128</guid>
      </item>
      <item>
         <title>PERSONAL DEADLINE: 23rd January </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357507829</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-10-26 15:29:50 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357507829</guid>
      </item>
      <item>
         <title>Contacts | London Studio Interview Emails</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357511976</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/c4122507f034b1bcbaa364052ffe9fa9/London_Studio_Interview_Emails.pdf" />
         <pubDate>2022-10-26 15:32:19 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357511976</guid>
      </item>
      <item>
         <title>Autumn Schedule | October Update</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357617668</link>
         <description><![CDATA[<div>October:<br><br>Areas that have not been highlighted in my original Autumn schedule have not yet been completed, or are yet to be removed due to a new direction for my topic. <br><br>For example, the Focus Group I had planned (for my three original investigations), has now been postponed. This is until I am able to produce a new strategy for my Focus Group purpose. The investigations have also been paused, due to a more specified approach I have in regards to my Primary Research.<br><br>I am no longer going to investigate/interview <em>anyone</em>, but instead - the appropriate people for the topic. <br><br>During todays session I found out that Focus Groups do not have to be in response to an investigation, but can be nothing more than a gathering of professionals who are debating your topic amongst themselves.<br><br>I must consider that if I conduct any Focus Groups going forward, I will be the <strong>CM = Ceremonial Master</strong>. This role includes responsibilities as follows:<br><br>- <strong>TIME MANAGEMENT</strong> [I must adjourn to the planned duration of my Focus Group]<br><br>- <strong>CLARITY</strong> [My debate must be understood by all participants involved]<br><br>- <strong>CONSENT</strong> [Consent to record/photograph the session and participants within it must be given to me by each participant]<br><br>- <strong>INTERJECTION</strong> [I must have the ability to control the session even if it means cutting others off - This can also everyone to speak, and get their perspective across]</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-10-26 16:32:55 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357617668</guid>
      </item>
      <item>
         <title>Paul Gilroy | &#39;Ain&#39;t no Black in the Union Jack&#39; </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357651299</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-10-26 16:52:58 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357651299</guid>
      </item>
      <item>
         <title>Justin A. Williams | ‘Brithop: The Politics of UK Rap in the New Century’</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357661593</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-10-26 16:59:17 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357661593</guid>
      </item>
      <item>
         <title>Cedric J. Robinson | ‘Black Marxism’ </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357664004</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-10-26 17:00:53 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357664004</guid>
      </item>
      <item>
         <title>Cedric J. Robinson | ‘Racial Capitalism, Black Internationalism, and Cultures of Resistance.’ </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357664797</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-10-26 17:01:25 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357664797</guid>
      </item>
      <item>
         <title>Ruth Wilson Gilmore | Geographies of Racial Capitalism – An Antipode Foundation Film </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357668309</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-10-26 17:03:07 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357668309</guid>
      </item>
      <item>
         <title>Robin D. G. Kelley | What is Racial Capitalism and Why Does It Matter? </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357671795</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-10-26 17:05:14 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2357671795</guid>
      </item>
      <item>
         <title>Interview Consent Form | Dissertation Debate Overview</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395861213</link>
         <description><![CDATA[<div>I produced this brief document, to inform my interviewee on the Dissertation topic in more detail.  It is the first form to be included within the Consent Form. It is attached, to prepare Interviewees' for the Interview and encourage them to share  any burning questions, perspectives or statements, that they may wish to share.</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/0fbfa1be20ca37fbc59f9f7dadc08b2c/Dissertation_Debate_Overview.pdf" />
         <pubDate>2022-11-23 17:28:32 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395861213</guid>
      </item>
      <item>
         <title>Session 5 | Formative Assessment</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395865526</link>
         <description><![CDATA[<div>- Feedback</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-11-23 17:33:25 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395865526</guid>
      </item>
      <item>
         <title>Interview Consent Form | Terms &amp; Conditions </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395865984</link>
         <description><![CDATA[<div>For legal purposes, I included a Terms &amp; Conditions section to my Consent Form. This cautionary measure was implemented to ensure that the interviewee's understand the professionalism of the Interview process, the potential risks involved (such as confidential information being shared) and how/where their contribution to the topic will be used.</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/5b708301da4ad7180000d8758f698df5/Dissertation_Term_s___Conditions.pdf" />
         <pubDate>2022-11-23 17:34:00 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395865984</guid>
      </item>
      <item>
         <title>Interview Consent Form | Contact Details</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395871385</link>
         <description><![CDATA[<div>Finally, I included contact details in the Consent Form, so Interviewee's are aware on who they can contact, if they wish to file a complaint, or request for information to be removed, or added.</div>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/873113483/18671f4ca9fc3c045fa84ac852f3dd2b/Contact_Details.pdf" />
         <pubDate>2022-11-23 17:40:20 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395871385</guid>
      </item>
      <item>
         <title>Interview Consent Form</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395873235</link>
         <description><![CDATA[<div>This was the finalised Consent Form I made for the Interview I have arranged with Music Producer, Jason Francis (a.k.a Jas), on <strong>27/11/2022</strong>.</div>]]></description>
         <enclosure url="https://my.forms.app/form/637d0069b200f15a82c00e53" />
         <pubDate>2022-11-23 17:42:12 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395873235</guid>
      </item>
      <item>
         <title>Session 6 | Update</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395874093</link>
         <description><![CDATA[<div>Unfortunately, I was unable to attend the Bibliography workshop, due to train strikes. Instead I spent the rest of the week creating more initial drafts for my Chapter 1.</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-11-23 17:43:09 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395874093</guid>
      </item>
      <item>
         <title>Sessions 7 &amp; 8 | Update</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395881225</link>
         <description><![CDATA[<div>Unfortunately, I was unable to make it to either of these last two sessions, due to being ill. During my spare time however, I have been progressing more with my Chapter 1. <br><br>For example, I began looking into how the 1948 Apartheid Policy has majorly influenced the concept of Racial Capitalism (Kundnani, 2020), (Leggasick &amp; Hemson, 1976).<br><br>The repercussions caused such resistance in Black communities, through its oppressive segregation laws/legislations. Black Unionists who were left to survive on below-starving wages, were forced to unite against the Afrikaner National Party; whom at the time, were a political giant, comprised entirely, of White minority (Blakemore, 2019)<strong>, </strong>(Leggasick &amp; Hemson, 1976), (Vigne, 2016).&nbsp;<br><br>The Afrikaner National Party used societal, political, economic means, to suppress Black rights and freedom. Efforts to ensure these political oppression remained, often resulted in Police brutality, white supremacy and violence (SAHO, 2018), (Asian Times, 1987).</div>]]></description>
         <enclosure url="" />
         <pubDate>2022-11-23 17:50:39 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395881225</guid>
      </item>
      <item>
         <title>Formative Feedback</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395886743</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2022-11-23 17:57:14 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2395886743</guid>
      </item>
      <item>
         <title>Cultural Appropriation - Website Quote</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2435135684</link>
         <description><![CDATA[<div>Appropriation versus appreciation in terms of fashion and hip-hop is a more difficult topic to decipher. A more obvious example is usage of the n-word by white audiences. It is a word that is so commonly used in hip-hop, that people listening to it, regardless of race, tend to sing along to the rap lyrics and include the n-word. On one hand, white people rapping the n-word could be seen as appreciation because they are just singing the lyrics to the song and they are not directing the word towards anyone. On the other hand, the <a href="https://www.prindlepost.org/2018/03/complex-yet-remarkably-straightforward-ethics-n-word/">n-word</a> has such a long, hateful, and offensive history that still persists today. (II Mason, 2018)<br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-05 21:05:37 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2435135684</guid>
      </item>
      <item>
         <title>Jas Interview | Quotes | Question 1.</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2435606191</link>
         <description><![CDATA[<div>- British music producer, Jas - composer for other artists, his own tracks.<br><br><strong><mark>-&nbsp; Racism is a huge player, in the hypocrisy that comes from those who rather take black culture - make it themselves, but when black people use that culture to produce creativity, they get shut down, judged and stereotyped.</mark></strong><br><br><mark>- The UK Drill scene for example , around 2016 - 2017, originated in Chicago, but as UK artists got interested in this predominantly black genre, others began promoting and using this genre as their new scene. It overtook Grime, and as it became more mainstream, White people did take it.</mark><br><br>- They took it for themselves.<br><br>- <mark>Jas builds on this statement, explaining how White corporations, institutions focus only on the violent glorification expressed in Black music - over Black experience expressed - what they have been put through and shared trauma that can be understood by white and black people</mark> -<strong> </strong><strong><mark>links to behavioural therapy and gratification theory. </mark></strong><br><br>- Two types of Drill, the glorified gang violence - drug dealing, misogynistic views, abuse - Jas does not agree with that, glorifying is not good, however, Drill artists talking about the same issues, through past experience, is free game. <br><br>- It is an expression of trauma, rather than glorification.<br><br><strong><mark>- Businesses such as Spotify, Apple Music, and Record Labels do not see the difference between gang glorification and gang experience. They associate as one style, which causes the music to lose is conscious meaning.<br><br>- These institutions will promote a negative portrayal of Black communities, Drill music and not realise that there are an array of Black artists out there who are sharing their experience, rather than the glorification of violence.</mark></strong><br><br><strong><mark>- Their more than happy to make money on black culture and the negative views brought to the table. Labels do not care for this and purposely fail to address it, inciting violence amongst Black people.</mark></strong><br><br>- Some believe that Drill music as a genre is dying out, due to this negative portrayal of gang violence and stabbings.<br><br>- There are examples of Black artists who get signed, have their own bars, stories, lyrics - but when signed the label have a certain path for them on what artists can and can't say. Authorities can get involved as well.<br><br>- Due to artists past mistakes, instead of talking from experience, they are forced by white institutions to glorify the violence, because labels are convinced that is what sells.<br><br>- Young artists don't realise that a label is a loan in theory. A large sum of money these labels owe (£300,000), will entice the artist with wealth, in exchange for sales that will make that money back. Artists that don't make this money back go into debt.<br><br><mark>- Violence, drugs and negativity is popular in this world. Morbid curiosity. The state of the world these days encourages this.</mark><br><br><strong><mark>Artists who aim to connect to audiences on an personal level through experience (rather than chasing a viral hit on Tik Tok), are less likely to succeed the same financial wealth. This is because music of substance is not todays world, and does not fit the music industry market.<br><br>Black artists are persuaded to play in that game, to what is popular in the industry, such as gang glorification and violence – in order to achieve the best sales. They forced to this by institutional promises.<br></mark></strong><br>- Jas believes that big corporations, multi-billion dollar industries, are running this - other black music traditions such as Jazz, Blues, Rock n' Roll have all been negatively portrayed through these institution control. <br><br>- Disco was even dubbed as being too sexual.<br><br><strong><mark>- Afro, Drill, Grime, Brithop, American Hip Hop, Trap are all susceptible to these same negative portrayals, due to their confrontational styles.</mark></strong><br><br>- If you are a positive Black artist you will receive negative feedback, or feelings around that genre.<br><br>- For example, you could be the most positive Drill artists and still receive this ideology. <br><br><strong><mark>- Jas has worked with a few positive Drill artists such as Bobbi London, DSix.<br><br>- Bobbi London works with Fitz on fire in the spooth, where famous cartoon characters rap over a Drill beat in a genre parody - sometimes battling eachother.<br><br>- Not all things have to be PG, nor violent, but it can be fun and creative - as any music genre should be.</mark></strong><br><strong><br></strong><strong><mark>- Labels do not care for this, rejecting to address it - if it does incite violence of Black people, it doesn't work.</mark></strong><br><br>- People are scared of 808 beats.<br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-06 12:54:51 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2435606191</guid>
      </item>
      <item>
         <title>Jas Interview | Questions</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2435606370</link>
         <description><![CDATA[<div>1. What are your views on the portrayal of Black British artists in the Hip Hop industry?<br><br>2. Would you consider an unsigned artist; with less sales, to have more creative wealth, over an artist who is signed to a label?</div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-06 12:55:05 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2435606370</guid>
      </item>
      <item>
         <title>Jas Interview | Quotes | Question 2.</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2435648469</link>
         <description><![CDATA[<div>- It is all dependant and subjective on setting, position, the hand you are dealt and the kind of decisions you make.<br><br>- I wouldn't say those who are unsigned are better off, than those who are, vice versa.<br><br>- Central Cee is an example of an independent Black artist who knows he doesn't need to be signed to a label to do well&nbsp; - <mark>Links to JME research.</mark><br><br>- We're in a new age now, where you don't need to go to a label to be signed, be famous or have a successful career. <br><br>- We're in an age where you can go viral through social media.<br><br>- If an artist is determined enough to promote themselves, they are likely to succeed - it is a game of survival of the fittest, who is better at social media - or who has a better presence online. <br><br>- Presence on lifestyle, or work ethic is favoured by viewers/listeners. Independent artists are more encouraged by this self-employment than going for a label.<br><br>- Jas believes those who are unsigned are in the slightly better position, because they have a chance to use their independent platform, without institutions telling them what to do.<br><br>- Being independent are better off.<br><br>- However, those who are signed are supported through all the resources - something independent artist have to do themselves - building a gradual public and personal connection/interaction.<br><br>- Artists who are independent are less likely to contribute to cultural appropriation and Racial Capitalism. Everything you do as an independent artist its off your own back.<br><br>- Artists who are signed are more inclined to fall into this systemic trap of Racial Capitalism.<br><br>- Blues in America was a black culture that was appropriated by white communities to build the white foundation of Rock. For example, Elvis Presley stole elements of Blues, from artists such as B.B King - and Black cultures were furious.<br><br>- Artists who did want to give back, Booker T and the MGs, Steve Copper, Alan Ruben.<br><br>- These individuals made sure that Black culture was learnt from, embraced and appreciated -<mark> cultural appreciation</mark>.<br><br>- Elvis stole Black culture and made it his own.<br><br>- Eminem was one of the many few White artists who gave back to the black culture of Hip Hop. He was not bothered by skin colours, he appreciated the music and wanted to show his respects to the culture -<mark> gratification theory and behavioural therapy</mark>.<br><br>- Coming into music with that approach - racism, racial capitalism and appropriation cannot exist.<br><br>- Appreciate the culture and acknowledge it <mark>- links to Akala.</mark><br><br>- Jas explains that if he made a ton of Afrobeats and didn't admit that he had any inspiration, that would be an example of cultural appropriation.<br><br>- Many artists today refuse to admit their influencers, which fuels the fire to racial capitalism.<br><br>- Sadly racism is soaring.&nbsp;<br><br>- Always give back credit. Why would you not be that way.<br><br>- More people need to be interested and educated on the topic of racism, in order to challenge it and change the world.<br><br>- For example, tons of racist people will listen to Black music/culture, inspire them subconsciously, but once these racists become aware of it, they deny it and build more inner hatred towards that culture.<br><br>- &nbsp; Jas explains how this ignorance builds on the topic of Racial Capitalism and cultural appropriation - and how it is easy to be negative and steal from others. It doesn't make you a good person.<br><br>- Institutions are protected by this racism, due to the amounts of money and finances they have. They are not held accountable for their actions, and when they are, they are not punished as much as they should be.</div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-06 13:46:59 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2435648469</guid>
      </item>
      <item>
         <title>Drill Music | Bragging attributes Quote</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2438278584</link>
         <description><![CDATA[<div><br>Both feature aggressive lyrics — which paint a stark picture of the violent reality of disaffected and disenfranchised young minority men from impoverished socio-economic areas — over a menacing beat, and, of course, the typical braggadocious flexing rap is known for in general. Beef with opposing gangs (opps), violence, retaliation and drug dealing are often visited topics in both forms of Drill. (Lim, 2020)<br><br></div><div><br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-09 18:48:25 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2438278584</guid>
      </item>
      <item>
         <title>Chapter 2 | Structured Breakdown</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2439166395</link>
         <description><![CDATA[<div>- Apartheid Freedom Songs/Resistance<br><br>- Slave Trade Spirituals/Talking Drums/Call-and-response<br><br>- Contemporary Freedom/Protest Songs<br><br>- Black Radical Tradition | Black Radicalism<br><br>--<br><br>- Debate that Apartheid &amp; Slave Trade institutionalism, inadvertently influenced Hip Hop success<br><br>- Institutions are argued to have capitalised on Hip Hop once it became mainstream - causing an underdevelopment<br><br>- Music Tech Firm/Corporation examples<br><br>- Positive article from a tech firm, that counteract this argument of Hip Hops underdevelopment&nbsp;<br><br>- Negative articles of White Supremacy, supporting arguments against these firms and corporations [Statistics]<br><br>- Arguments on how tech firms/corporations reject issues such as fascism and violence - profiting from the glorification of these factors<br><br>-&nbsp;<br><br>- Brithop genre Drill is one such example of this Glorification of Violence&nbsp;<br><br>- Talks about how the genre is linked to violence&nbsp; - Drill questioned as the source or symptom<br><br>- Police incident example<br><br>- Mike Skinner argues how the genre is negatively portrayed through media sources/institutions, associating Black Drill artists with violent&nbsp;<br><br>- However, the success of the genre must be to do with its audiences&nbsp;<br><br>- Positive examples of Drill music&nbsp;<br><br>--<br><br>- Drill rappers being compared to terrorists<br><br>- Confrontational techniques of Rap, being a by-product of all Hip Hop/Brithop genres<br><br>- How institutional markets purposely fail to understand the difference between black experience and black violence - using glorified violence to sell and portray Black artists in a negative light<br><br>- Links to Racial Capitalism&nbsp;<br><br>- Black people are once again viewed as statistics rather than humans<br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-10 11:51:31 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2439166395</guid>
      </item>
      <item>
         <title>Ekene Interview | Questions </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2441057031</link>
         <description><![CDATA[<div>1. How do you perceive Black British artists in British Hip Hop to be portrayed by the Media?<br><br>2. Who do you consider to be the benefactors/profiteers from this portrayal?&nbsp;<br><br>3. Do White artists and/or audiences encourage cultural appropriation? Or is it a result of institutional persuasion?&nbsp;<br><br>4.&nbsp;Do you know of any media outlets, sharing a positive portrayal of Black British Hip Hop artists?<br><br>5. Would you agree or disagree, that behaviour/psychology of each listener may influence this portrayal?<br><br><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-11 16:11:12 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2441057031</guid>
      </item>
      <item>
         <title>Chapter 1 | Structured Breakdown</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2442101040</link>
         <description><![CDATA[<div>- Where Racial Capitalism started - Legassick &amp; Hemson&nbsp;<br><br>- Afrikaner National Party<br><br>- South Africa's financial influence on Racial Capitalism<br><br>- Black population statistics&nbsp;<br><br>--&nbsp;<br><br>- SAP, Native Lands Act 1913, Native Urban Areas Act 1923<br><br>- Apartheid establishment&nbsp;<br><br>- Black disempowerment<br><br>--<br><br>- AAM, Defiance Campaign<br><br>- Police Brutality, Shaperville Massacre<br><br>- How Black people were framed for this horrific act of violence<br><br>--<br><br>- How does Racial Capitalism history apply itself to contemporary forms of Hip Hop/Brithop?<br><br>- When did Black Resistance play a role?<br><br>- Where does the inequality of Music industry and exploitation of black talent apply itself to South Africa capitalist history?<br><br>- Who are the benefactors of this capitalist hierarchy - and why? </div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-12 10:57:26 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2442101040</guid>
      </item>
      <item>
         <title>Chapter 3 | Structural Breakdown </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2442226650</link>
         <description><![CDATA[<div>- Ekene agrees with aspects of arguments raised by Jas and Derek Ide in regards to mainstream media, however, Ekene also believes that it is the responsibility of the media and artist in unison, who portray a negative light on Black talent.<br><br>- This opens the debate on the behavioural psychology of artists and audiences.</div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-12 13:07:35 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2442226650</guid>
      </item>
      <item>
         <title>Ekene Interview Quotes | Question 1.</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2443745158</link>
         <description><![CDATA[<div>- Ekene is a Black British, ex-Hip Hop artist, in the Essex/London area - released three EP's between 2017 - 2019<br><br>- Narrated Music videos, collaborations and has been part of freestyle music platforms, such as Black Box <br><br>--<br><br><strong><mark>- Ekene perceives Black British Brithop artists to be portrayed in a negative light by insitutions - like ex-criminals/offenders.</mark></strong><br><br><strong><mark>- This is due to the disenfranchised/working class environment they may be coming from - Such as South London, East London, Midlands, Birmingham, Manchester - all over the UK.</mark></strong><br><br>- Hip Hop has a stigma, coming from the Ghettos, slums, from disenfranchised environments, and Media plays on that - putting emphasis on it, when pertaining to Black British Hip Hop artists.<br><br>- Though not all Black artists come from this backgrounds, the stigma around rap itself, will portray any Black artist involved in that stigmatised way.&nbsp;<br><br>- Hip Hop started in the Bronx, New York, a violent place - the title struggle music came from there and Hip Hop music was used as a form of expression to reflect on these socio-political situations.<br><br>--<br><br>- Daily Mail article - Boy Better Know (BBK) artist, Solo 45 rape case, included images of alternative Black British artists, such as Stormzy, Wiley Grime artists. Stormzy addressed this and stated he knew Solo 45 and was from the same industry - but did not know about this crime.<br><br>- Stormzy did not like how the media was portraying himself and other colleagues, to look as though they had a part to play in this incident.<br><br>- There was an uproar at the time in the Grime scene<br><br>- Ekene himself was taken aback, explaining how to the average reader (who may not be musically inclined to understand Grime, Brithop music) they may get the perception that all Black British artists condone these crimes and have a part to play in it.&nbsp;</div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-13 15:49:22 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2443745158</guid>
      </item>
      <item>
         <title>Ekene Interview Quotes | Question 2.</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2443770801</link>
         <description><![CDATA[<div><strong><mark>- Kenny believes that in the Music Industry, those who benefit the most are the record labels - executives and the artists.</mark></strong><br><br><strong><mark>- There is a blueprint that artists have to follow, for example the paradigm of Drill music relies a lot on the clothing style, puffer jackets, branding such as Adidas, Nike and Balaclavas.</mark></strong><br><br><strong><mark>- The gangster image is what sells among young people as it is perceived as 'cool' </mark></strong><br><br><strong><mark>- Record Labels encourage this music more, with artists going along with it as artists know they will receive more traffic - whilst labels get a bigger financial piece of the pie.</mark></strong><br><br><strong><mark>- Ekene believes that this is blueprint has been used and passed down by genres and subgenres of Hip Hop - before Drill music's establishment. In the 90's it was Hip Hop, for us it was Grime, now it is Drill<br></mark></strong><br><strong><mark>- Benefits go to the artist and label - as both know the young audiences want to hear this - with Drill demographics reaching 13 - 18 year olds - where themes of gangsterism is perceived is 'cool'<br><br>- Artists emulate this knowing they will get more reach/traffic/publicity<br></mark></strong><br></div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-13 16:10:06 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2443770801</guid>
      </item>
      <item>
         <title>Ekene Interview Quotes | Question 3.</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2443795871</link>
         <description><![CDATA[<div>- Ekene believes that record labels are still those responsible for cultural appropriations influence on young listeners. It's evident and prevalent.<br><br>- YouTube for example, everyone can upload their own music, not just online, but through independent studios etc. - without the worry of A&amp;R's, and labels. It is more within our hands now - rather than looking for labels.<br><br>- Labels do still have a big role and hold on music, and had they not pushed the Hip Hop genre into the airways through marketing prospects, it would not have encouraged the pressure for young black and white artists to push the genre forward.<br><br>-&nbsp; Labels are not creating these scenarios, Black Drill rappers are taking their inspiration from reality, to write from what really happens to them and others among disenfranchised communities.<br><br>- Young people are being stabbed, with knife crime being a huge issue in London, the midlands and nationwide.&nbsp;<br><br>- There are people who go round wearing balaclavas and hoodie and tracksuit culture.<br><br>- it's a mixture of reality and the machine/consumer making this negative portrayal</div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-13 16:30:35 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2443795871</guid>
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      <item>
         <title>Ekene Interview Quotes | Question 4.</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2443811005</link>
         <description><![CDATA[<div>- Ekene shares how platforms such as American Journalist VladTV who supports the reality behind Hip Hop music, its cultural influence and socio-political foudations.<br><br>- VladTV is called a culture vulture even though he is trying to push the culture forward - <mark>look into this more as could link to other cultural appropriation cases.<br><br></mark>- VladTV spreads awareness about it - from an informative view<br><br>- Cultural appropriation is an ideology that Ekene would have once agreed with but is now fifty/fifty on - he states how although there are many cultures in the world and you appreciate its creative styles, that in itself is enough. You don't have to go out of your way to show appreciation.<br><mark>Similar to Akalas reference.<br><br></mark>- He gives an example if he liked Punjabi music, he would be grateful to Indian culture for creating that art form.<br><mark><br></mark>- Ekene explains how he likes Japanese music, and admits he doesn't understand the language they are speaking, but nevertheless appreciates the cultural sound the music presents.<br><br>- <strong><mark>There are so many people on earth, that we have all assimilated the culture to some degree</mark></strong> -<mark> </mark><strong><mark>links to no culture is owned quote.<br><br></mark></strong>- Ekene explains how he speaks English, even though it is not his native language, he states how he doesn't need to go around thanking everyone for the language.<br><br><strong><mark>- He supports this saying we are all mixed through interracial genetics and in essence this connects us all to each culture.<br><br>Hip Hop cultural is circumstantial - black history relates to it, as the slave trade led to the Black migration of different African/Caribbean cultures. This circumstance led to Black culture as a whole representing a sporadic culture - one that is fluid, formed through Black community migration.</mark></strong> - <strong><mark>Links to quote saying no one owns culture.</mark></strong><br><br>- Some could argue what is Black culture? Using these circumstantial facts</div>]]></description>
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         <pubDate>2023-01-13 16:42:57 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2443811005</guid>
      </item>
      <item>
         <title>Ekene Interview Quotes | Question 5.</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2443821880</link>
         <description><![CDATA[<div>- Ekene believes that music definitely has an influence on its listeners, but does not represent the main source.<br><br>- Music is a distress signal for many Black, poverty stricken communities.<br><br>- Hip Hop in the Bronx was evidence of this - with gun crime, knife crime, drugs. A call for help to society.<br><br>- Rappers who are disgruntled, and are expressing emotion through music can make their feelings contagious. If a song is angry, it could make you feel/or alleviate anger, this goes for other emotions.<br><br>- When you're in the gym, empowering music influences how hard you push</div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-13 16:52:36 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2443821880</guid>
      </item>
      <item>
         <title>December 2022</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2448683571</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2023-01-18 17:16:33 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2448683571</guid>
      </item>
      <item>
         <title>January 2023</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2448683965</link>
         <description><![CDATA[]]></description>
         <enclosure url="" />
         <pubDate>2023-01-18 17:16:50 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2448683965</guid>
      </item>
      <item>
         <title>Racial Capitalism | Childish Gambino - This is America </title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2448815913</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://www.youtube.com/watch?v=VYOjWnS4cMY" />
         <pubDate>2023-01-18 18:47:08 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2448815913</guid>
      </item>
      <item>
         <title>Final Structure</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2451489614</link>
         <description><![CDATA[<div>- Cover Sheet<br>- Title<br>- Illustrations&nbsp;<br>- Acknowledgements<br>- Introduction<br>- Chapter 1<br>- Chapter 2<br>- Chapter 3<br>- Conclusion<br>- Appendices [A-E]<br>- References<br>- Bibliography&nbsp;<br>- Progress Map</div>]]></description>
         <enclosure url="" />
         <pubDate>2023-01-20 19:36:20 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2451489614</guid>
      </item>
      <item>
         <title>Racial Capitalism | Fight the Power: How Hip Hop changed the World Documentary</title>
         <author>cpickering6</author>
         <link>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2452554501</link>
         <description><![CDATA[]]></description>
         <enclosure url="https://www.bbc.co.uk/iplayer/episode/p0dj70yd/fight-the-power-how-hip-hop-changed-the-world-series-1-1-the-foundation" />
         <pubDate>2023-01-22 20:34:40 UTC</pubDate>
         <guid>https://padlet.com/cpickering6/hcvyf5dwsh552oz9/wish/2452554501</guid>
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