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Commercial breaks

Commercial breaks are not just a time for you to run to the bathroom or finish a task before what we are watching comes back on, Commercials try to get a message across that prompts you to buy or act.

Identify and analyze YOUR favorite T.V commercial:

  1. Describe the commercial and why you like it.
  2. Who is the intended audience (i.e. target market)?
  3. Is the message clear and effective?
  4. Do you believe that the commercial is ethical or unethical?

Sample Solution

pular tunes to create a semantic snowballing effect that gave the original song meaning. Continuous repetition of determined revolutionary activities in a mundane life, results in the internalisation of revolutionary ideas within the general population, without the governments attention. Building musical communities involves the role of semiotic effects as shared sense of community is built through the repetition of certain musical practices and people begin to associate music with the community that they are a part of which becomes part of their identity. However, communities can also surpass boundaries of identity and what holds these communities together is their shared experience of music, which often leads to the acknowledgement of shared experience or political alienation. This creates the emergence of new group political identities. El General’s rap broke the spell of fear and showed other artists that it was possible to rebel and survive as he was released three days after his arrest due to public uproar. On January 25, 2011 the protests spread to Egypt and music played its part in the firing line. In Egypt, on Tahir Square in Cairo, loudspeakers carried the voice of 26-year-old singer Ramy Essam to the thousands of protesters who gathered there. Before 2011, Ramy Essam was not a household name in Egypt, he was a simple student and an impressive writer with a guitar and an impactful message. He began singing in Tahir square in early days of the revolution with his songs ordering Mubarak to ‘Irahal’ ‘Irhal’ (‘Leave, leave’) which had become the sound of the Egyptian revolt. His songs were taken up with glee by the protestors and were incredibly important to the protesters. According to professor and musician Mark Levine who was on Tahir square during the upheaval, it gave the public adrenaline and new hope when Ramy took the best of chants and slogans and incorporated them in his music. His song became representation and a commodity, going viral on YouTube and Huffington post before being picked up by CNN and the TV networks around the globe. Ramy Essam documented a piece on Aljazeera claiming that his “music and politics were fused together” similar to all the other artists of the revolution. In Egypt music and action were braided into new forms of revolutionary practice, repeated call for dignity and to awaken people’s sense of radical possibility. This is very apparent if you watch the interactions between musicians and crowds at street protests. In this perspective, people have basic human needs for identity, security and recognition. When the state lacks institutions to provide for these needs and protect human rights, people become angry. “Irhal” and “Rais Lebled” reflect two entirely different ways in which music impacts revolutionary events. El Général never performed his song live during the Revolution. Indeed, it was Essam’s physical presence in Tahrir during the key fighting, his literal embodiment of the struggle that helped make “Irhal” the anthem of the revolution. “If I were just a singer coming to the square and then leaving, it wouldn’t have had the same impact,” Essam believes. It was his physical presence, his performance of what I have elsewhere described (with Bryan Reynolds) as “theater of immediacy,” that overcame any possibility of government control or repression of the music, the message or the messengers. Essam explained to me that “my job is to listen to all the things Egyptians are saying, distill them into their essence, and share it as widely as possible.” ...(download the rest of the essay above)
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