If you have other results you’d like to include, consider adding them to an appendix or footnotes.Avoid speculative or interpretative words like “appears” or “implies.” Only include results that are directly relevant to answering your research questions.While the length of this section depends on how much data you collected and analyzed, it should be written as concisely as possible.Your results should always be written in the past tense.This gives your reader a clear idea of exactly what you found and keeps the data itself separate from your subjective analysis. The study also takes into account data from an interview with the artist and social media to gain insights into issues of authenticity and cultural appropriation.When conducting research, it’s important to report the results of your study prior to discussing your interpretations of it. This genre-based study looks at how the artist constructs a feminist glocal identity through a combination of song lyrics, musical style, cultural iconography, body decoration, gesture and film techniques that localize the oppositional super-vernacular of Chicano rap while challenging discourses of patriarchy and nationalism. Drawing on studies of music videos, TV ads, and film in cultural and media studies and multimodal studies, this paper examines an under-researched area of hip hop, the global spread of Chicano rap, by conducting a multilingual, multimodal critical discourse analysis of several videos by Mona AKA Sad Girl, a Japanese rapper whose lyrics switch between Japanese, Spanish, and English. Sociolinguistic studies on the globalization of hip hop have focused on multilingual lyrics as emblematic of superdiversity and hybrid identity, but the multimodal turn in sociolinguistics suggests the need to consider how lyrics interact with musical and visual features. This article touches on the relevant ways in which reggaeton has succeeded in fostering a sense of pan-Latino pride by providing a socio-musical community that Latino youth participate in together, highlighting the similarities, rather than the tensions, between different Latino groups in America Secondly, both genres feature lyrics that reference issues faced by different Latino communities and explicitly call for the development of pan-Latino unity. First, both genres are influenced and composed of a diverse array of musical styles, allowing people from different Latino backgrounds to relate to, and enjoy, the hybrid musical elements. Drawing on an analysis of music, lyrics, and music videos, I argue that both salsa and reggaeton have been specifically designed to reach the widest possible Latino demographic in two significant ways. In this article, I trace some of the ways in which reggaeton shares commonalities with salsa’s construction of, and engagement with, a pan-Latino U.S. But this is the not the first time that popular music has fostered a sense of pan-Latino pride in the States. It quickly cultivated a significant pan-Latino audience in the United States composed of youth from a variety of Latino backgrounds – Puerto Rican, Mexican, Colombian, Dominican, Venezuelan, and more. popular music market with its danceable rhythms and catchy hooks. In 2004, reggaeton exploded upon the U.S.
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