Vape pen product placement in popular music videos.
Ontology highlight
ABSTRACT:
SUBMITTER: Allem JP
PROVIDER: S-EPMC8381774 | biostudies-literature |
REPOSITORIES: biostudies-literature
Similar Datasets
Project description:Recent work in the sociology of music suggests a declining importance of genre categories. Yet other work in this research stream and in the sociology of classification argues for the continued prevalence of genres as a meaningful tool through which creators, critics and consumers focus their attention in the topology of available works. Building from work in the study of categories and categorization we examine how boundary strength and internal differentiation structure the genre pairings of some 3 million musicians and groups. Using a range of network-based and statistical techniques, we uncover three musical "complexes," which are collectively constituted by 16 smaller genre communities. Our analysis shows that the musical universe is not monolithically organized but rather composed of multiple worlds that are differently structured-i.e., uncentered, single-centered, and multi-centered.
| S-EPMC4874668 | biostudies-literature
Project description:IntroductionSecond generation electronic nicotine delivery systems (ENDS; also known as e-cigarettes, vaporizers or vape pens) are designed for a customized nicotine delivery experience and have less resemblance to regular cigarettes than first generation "cigalikes." The present study examined whether they generalize as a conditioned cue and evoke smoking urges or behavior in persons exposed to their use.MethodsData were analyzed in N = 108 young adult smokers (?5 cigarettes per week) randomized to either a traditional combustible cigarette smoking cue or a second generation ENDS vaping cue in a controlled laboratory setting. Cigarette and e-cigarette urge and desire were assessed pre- and post-cue exposure. Smoking behavior was also explored in a subsample undergoing a smoking latency phase after cue exposure (N = 26).ResultsThe ENDS vape pen cue evoked both urge and desire for a regular cigarette to a similar extent as that produced by the combustible cigarette cue. Both cues produced similar time to initiate smoking during the smoking latency phase. The ENDS vape pen cue elicited smoking urge and desire regardless of ENDS use history, that is, across ENDS na?ve, lifetime or current users. Inclusion of past ENDS or cigarette use as covariates did not significantly alter the results.ConclusionsThese findings demonstrate that observation of vape pen ENDS use generalizes as a conditioned cue to produce smoking urge, desire, and behavior in young adult smokers. As the popularity of these devices may eventually overtake those of first generation ENDS cigalikes, exposure effects will be of increasing importance.ImplicationsThis study shows that passive exposure to a second generation ENDS vape pen cue evoked smoking urge, desire, and behavior across a range of daily and non-daily young adult smokers. Smoking urge and desire increases after vape pen exposure were similar to those produced by exposure to a first generation ENDS cigalike and a combustible cigarette, a known potent cue. Given the increasing popularity of ENDS tank system products, passive exposures to these devices will no doubt increase, and may contribute to tobacco use in young adult smokers.
| S-EPMC7207065 | biostudies-literature
Project description:In modern societies, cultural change seems ceaseless. The flux of fashion is especially obvious for popular music. While much has been written about the origin and evolution of pop, most claims about its history are anecdotal rather than scientific in nature. To rectify this, we investigate the US Billboard Hot 100 between 1960 and 2010. Using music information retrieval and text-mining tools, we analyse the musical properties of approximately 17?000 recordings that appeared in the charts and demonstrate quantitative trends in their harmonic and timbral properties. We then use these properties to produce an audio-based classification of musical styles and study the evolution of musical diversity and disparity, testing, and rejecting, several classical theories of cultural change. Finally, we investigate whether pop musical evolution has been gradual or punctuated. We show that, although pop music has evolved continuously, it did so with particular rapidity during three stylistic 'revolutions' around 1964, 1983 and 1991. We conclude by discussing how our study points the way to a quantitative science of cultural change.
| S-EPMC4453253 | biostudies-literature
Project description:Popular music is a key cultural expression that has captured listeners' attention for ages. Many of the structural regularities underlying musical discourse are yet to be discovered and, accordingly, their historical evolution remains formally unknown. Here we unveil a number of patterns and metrics characterizing the generic usage of primary musical facets such as pitch, timbre, and loudness in contemporary western popular music. Many of these patterns and metrics have been consistently stable for a period of more than fifty years. However, we prove important changes or trends related to the restriction of pitch transitions, the homogenization of the timbral palette, and the growing loudness levels. This suggests that our perception of the new would be rooted on these changing characteristics. Hence, an old tune could perfectly sound novel and fashionable, provided that it consisted of common harmonic progressions, changed the instrumentation, and increased the average loudness.
| S-EPMC3405292 | biostudies-literature
Project description:Background: Our study aimed to determine source of upload and content portrayed in the100 most-viewed videos on autism spectrum disorders (ASDs) on the video sharing public forum, YouTube. ASDs have become highly prevalent in the last decade, arousing a significant response from the media and psycho-educational health professions. Utilization of and reliance on social media for information on health matters has also proliferated. Some suggest that online videos could promote early detection (and intervention) of ASD by prompting caregivers to seek guidance. However, the usefulness of the available videos is unclear. Methods: The 100 most popular YouTube videos were examined for source of upload and information provided. Popularity was determined by number of views, using the filter tool. Results: The videos had more than 121 million views combined. Only one video had been uploaded by a professional (a clinical psychologist). The 99 (non-professional) videos provided minimal data and research into known ASD risk factors. Interestingly, discredited vaccine-associated risks were promoted in 16% (95% CI = 09%-25%) of the 100 videos analyzed. Many videos featured a child with ASD exhibiting some characteristic patterns, such as engaging in a repetitive behavior (73%, 95% CI = 63%-81%); about as many videos referenced various therapies (75%, 95% CI = 65%-83%); and 54% (95% CI = 44%-64%) and 61% (95% CI =51%-71%) of the videos mentioned the economic and emotional toll of ASD on the family,respectively. Additional variables are discussed. Conclusion: The most popular online videos were primarily uploaded by non-professionals and provided limited content regarding ASD. Given the wide reach of social media and its potential for providing valuable information and guidance to the public on matters pertaining to ASD, we wish to underscore the necessity for a professional presence in this medium.
| S-EPMC5647360 | biostudies-literature
Project description:How well do we remember popular music? To investigate how hit songs are recognized over time, we randomly selected number-one Billboard singles from the last 76 years and presented them to a large sample of mostly millennial participants. In response to hearing each song, participants were prompted to indicate whether they recognized it. Plotting the recognition proportion for each song as a function of the year during which it reached peak popularity resulted in three distinct phases in collective memory. The first phase is characterized by a steep linear drop-off in recognition for the music from this millennium; the second phase consists of a stable plateau during the 1960s to the 1990s; and the third phase, a further but more gradual drop-off during the 1940s and 1950s. More than half of recognition variability can be accounted for by self-selected exposure to each song as measured by its play count on Spotify. We conclude that collective memory for popular music is different from that of other historical phenomena.
| S-EPMC6364888 | biostudies-literature
Project description:The appearance of insects in music videos was examined. The most common taxa observed were Lepidoptera, then Hymenoptera, with Coleoptera, Araneae, Diptera, and Orthoptera essentially tied for third most represented. Insect music videos have increased in frequency over time, probably as an artifact of industry growth. Swarms and infestations were common in insect videos (appearing in 26%), as were chimeric insectoid humans (19%), and, to a lesser extent, giant insects (5%), but not all of these representations were used to induce horror. Some insect music videos have garnered awards, and many of the songs associated with them have been very successful. There were many animated insect sequences, but also images of specimens that were sufficiently detailed to allow identification of the species. The insect groups observed reflect both positive and negative values. There is some indication that insects are not viewed in such a negative light as they once were, providing hope for improving attitudes of humans toward insects.
| S-EPMC8306228 | biostudies-literature
Project description:ImportanceRap artists are among the most recognizable celebrities in the US, serving as role models to an increasingly diverse audience of listeners. Through their lyrics, these artists have the potential to shape mental health discourse and reduce stigma.ObjectiveTo investigate the prevalence and nature of mental health themes in popular rap music amid a period of documented increases in mental health distress and suicide risk among young people in the US and young Black/African American male individuals in particular.Design and settingLyric sheets from the 25 most popular rap songs in the US in 1998, 2003, 2008, 2013, and 2018, totaling 125 songs, were analyzed by 2 trained coders from March 1 to April 15, 2019, for references to anxiety, depression, suicide, metaphors suggesting mental health struggles, and stressors associated with mental health risk.Main outcomes and measuresMental health references were identified and categorized based on Diagnostic and Statistical Manual of Mental Disorders (Fifth Edition) and Mayo Clinic definitions. Stressors included issues with authorities, environmental conditions, work, and love life. Descriptive language and trend analyses were used to examine changes over time in the proportion of songs with mental health references. Stressors were analyzed for their co-occurrence with mental health references.ResultsMost of the 125 analyzed songs featured lead artists from North America (123 [98%]). Most lead artists were Black/African American male individuals (97 [78%]), and artists' mean (SD) age was 28.2 (4.5) years. Across the sample, 35 songs (28%) referenced anxiety; 28 (22%) referenced depression; 8 (6%) referenced suicide; and 26 (21%) used a mental health metaphor. Significant increases were found from 1998 to 2018 in the proportion of songs referencing suicide (0% to 12%), depression (16% to 32%), and mental health metaphors (8% to 44%). Stressors related to environmental conditions (adjusted odds ratio, 8.1; 95% CI, 2.1-32.0) and love life (adjusted odds ratio, 4.8; 95% CI, 1.3-18.1) were most likely to co-occur with lyrics referencing mental health.Conclusions and relevanceReferences to mental health struggles have increased significantly in popular rap music from 1998 to 2018. Future research is needed to examine the potential positive and negative effects these increasingly prevalent messages may have in shaping mental health discourse and behavioral intentions for US youth.
| S-EPMC7921905 | biostudies-literature
Project description:AimsTo quantify tobacco and alcohol content, including branding, in popular contemporary YouTube music videos; and measure adolescent exposure to such content.DesignTen-second interval content analysis of alcohol, tobacco or electronic cigarette imagery in all UK Top 40 YouTube music videos during a 12-week period in 2013/14; on-line national survey of adolescent viewing of the 32 most popular high-content videos.SettingGreat Britain.ParticipantsA total of 2068 adolescents aged 11-18 years who completed an on-line survey.MeasurementsOccurrence of alcohol, tobacco and electronic cigarette use, implied use, paraphernalia or branding in music videos and proportions and estimated numbers of adolescents who had watched sampled videos.FindingsAlcohol imagery appeared in 45% [95% confidence interval (CI)?=?33-51%] of all videos, tobacco in 22% (95% CI?=?13-27%) and electronic cigarettes in 2% (95% CI?=?0-4%). Alcohol branding appeared in 7% (95% CI?=?2-11%) of videos, tobacco branding in 4% (95% CI?=?0-7%) and electronic cigarettes in 1% (95% CI?=?0-3%). The most frequently observed alcohol, tobacco and electronic cigarette brands were, respectively, Absolut Tune, Marlboro and E-Lites. At least one of the 32 most popular music videos containing alcohol or tobacco content had been seen by 81% (95% CI?=?79%, 83%) of adolescents surveyed, and of these 87% (95% CI?=?85%, 89%) had re-watched at least one video. The average number of videos seen was 7.1 (95% CI?=?6.8, 7.4). Girls were more likely to watch and also re-watch the videos than boys, P?<?0.001.ConclusionsPopular YouTube music videos watched by a large number of British adolescents, particularly girls, include significant tobacco and alcohol content, including branding.
| S-EPMC4402034 | biostudies-literature
Project description:Music discovery in everyday situations has been facilitated in recent years by audio content recognition services such as Shazam. The widespread use of such services has produced a wealth of user data, specifying where and when a global audience takes action to learn more about music playing around them. Here, we analyze a large collection of Shazam queries of popular songs to study the relationship between the timing of queries and corresponding musical content. Our results reveal that the distribution of queries varies over the course of a song, and that salient musical events drive an increase in queries during a song. Furthermore, we find that the distribution of queries at the time of a song's release differs from the distribution following a song's peak and subsequent decline in popularity, possibly reflecting an evolution of user intent over the "life cycle" of a song. Finally, we derive insights into the data size needed to achieve consistent query distributions for individual songs. The combined findings of this study suggest that music discovery behavior, and other facets of the human experience of music, can be studied quantitatively using large-scale industrial data.
| S-EPMC5362644 | biostudies-literature