ࡱ> UWRST[tbjbj 4zΐΐvP 8I4},(9"[ gqssssss$LF99hHHHH_qHqHHV@۩z Y ]^0e04~ 44oH yooojooo4ooooooooo :Memetic branding among teens Maja Katarina Tomi1, dipl.ing.mat. and Ljubica Baki-Tomi2, prof.dr.sc. 1 Mathematics department, Faculty of Science, University of Zagreb e-mail: HYPERLINK "mailto:mktomic@gmail.com"mktomic@gmail.com 2 Faculty of Teacher Education, University of Zagreb, Croatia e-mail: HYPERLINK "mailto:lj.bakic-tomic@ufzg.hr"lj.bakic-tomic@ufzg.hr Abstract By placing themselves in certain social groups teens often decide on their likes and dislikes, their values, future occupations and principles. Brands play a special role in the process of differentiation, whereas the products that accompany a certain brand are worn as badges of belonging to a certain social group. Three types of teen-memes have been identified: language (sayings and phrases), fashions and skills (type of clothes worn, hairstyles, make-up etc), and beliefs (attitudes adopted by the members of a certain social group). Teens create their identity by assembling a set of memes, which eventually results in 'memeplexes'. Thus, if there is a significant overlap between their own memeplexes and those of a certain social group (i.e. subculture), they are perceived as members of it. Due to accessibility of mobile technology and internet, the meme reproduction evolves faster than ever. Consequently, they are an important marketing tool, and knowing which memes are a part of the identity of youth marketers' target groups is very important for their business. Dawkins listed the following three characteristics for the successful replication of meme: copying-fidelity, number of copies per time unit and longevity. Heylighen proposes a four-stage model for memetic replication: assimilation of a meme by a host, retention within the host's memory; expression by the host through behavior, language or some other medium, transmission of the expression to one or more other hosts. At each stage the non-fit memes are discarded and only the toughest survive to pass through all four stages. In this paper we studied the appearance of a certain cultural phenomenon that is currently spreading among teenagers in Croatia, the so called 'turbofolk' music. We have studied two researches conducted in Croatia, one made by the Croatian newspapers Jutarnji list and the Mediana agency, and another conducted among the high-school students in Sisak. Introduction Speed of Meme Spreading The memetic science had been studying cultural phenomena and their spreading; a successful meme had been compared to a cultural virus that 'infects' a group of hosts. The issue of the speed of the meme spreading is very important, especially when dealing with cultural phenomena. The popularity or success of a meme is determined by natural selection, and only those memes will spread that are well-adapted to the socio-cultural environment, while the others will become extinct3. In regard to the prediction of the speed of the meme spreading, Dawkins (1976) listed the following three characteristics for the successful replication of meme (valid also for any kind of replicator): copying-fidelity, number of copies per time unit (i.e. fecindity) and longevity. Heylighen (1998) proposes a four-stage model for memetic replication: assimilation of a meme by a host, retention within the host's memory; expression by the host through behavior, language or some other medium, transmission of the expression to one or more other hosts. At each stage the non-fit memes are discarded and only the toughest survive to pass through all four stages. The overall survival rate of a meme m can be expressed as the meme fitness F(m), which measures the average number of memes at moment t divided by the average number of memes at the previous time step or "generation" t-1. This fitness can be expressed in a simplified model as the product of the survival rates for each of the four stages: F(m) = A(m)*R(m)*E(m)*T(m) A denotes the proportion of memes independently discovered by the host that are assimilated. R represents the proportion of these assimilated memes that are retained in memory. Hence it holds Ad"1 and Rd"1. E is the number of times a meme is expressed by the host. T is the number of copies of an expression that is transmitted to a potential new host. Unlike A and R, E and T do not have an upper bound. F is zero as soon as one of its components (A, R, E, T) is zero. This expresses the fact that a meme must successfully pass through all four stages in order to replicate. For a meme to spread (F > 1) , we must have E>1 or T>1 (Heylighen, 1998). Technology and Meme In the modern era of internet and mobile communication, memes have been given new channels which speeded up their spreading considerably and opened up wonderful new opportunities for 'infection'. As these new channels are certainly present in teenagers' lives, they are a demographic group in which the meme reproduction evolves much faster than ever, if compared to other demographic groups. Adolescence is a period of life in which teenagers explore themselves and try to answer the ultimate 'who am I' question. Through interactions with their caregivers and contact with and through the media (such as video clips, fashion magazines, popular sites like YouTube or Facebook) teenagers search for and decide upon their values, future occupation and identity. If compared to the mobile communication, the escalating (and alarming) trend of communication in Croatia via internet, namely Facebook, has caught the eye of the public. Teenagers invent their own languages and acronyms to use in their communication in case their parents use the same weapon to spy on them. A Croatian teenager has averagely 200-300 friends on Facebook, with whom he or she can interact daily, and using Facebook utilities has been the first step in using internet for many. According to a 18-year old Croatian student: 'if you're not on Facebook often enough, you begin to feel you're not on top of things'. Another very successful channel for meme spreading are iPod phones. Teenagers can listen to music, watch movies or serials, browse the internet or download. If compared to the 70ies, when all a teenager had was a walkman and a few cassettes, it is quite clear that the new technology has opened up many new possibilities for meme spreading. Furthermore, artists who create music consider that offering free downloads of their work is a good way to promote themselves and their work and in that way make teenagers decide to buy their CDs. The teenagers' search for their identities makes them exploit these channels and many marketers are shamelessly using this. Knowing which memes are a part of the identity of their target groups and which are not, they can use this powerful tool to boost up their business1. Teenage Memetic Branding Teenagers seek to confirm their desired identities, and thus they act in accordance with the lifestyle of their social and aspiration tribe. At the same time they feel the need to distinguish themselves from certain social groups they do not want to be a member of. Here brands play a special role insomuch that categories such as clothes, accessories, hairstyles etc are important ingredients of personal culture, reputation and a way of life. They choose those brands and products that are relevant to their individuality and that represent those aspects of their identity they wish to emphasize. Thus such distinguishing products become more like 'badges' of differentiation between social groups. Research (A. Verhaeghe, J.Van den Bergh, N. Schillewaert) has identified three types of teen-memes and transmitters among teenagers: language (here memes are not only words but sayings and phrases common to the social group), fashion and skills (clothes, hairstyles, accessories but also specific behavioural patterns and hobbies) and beliefs (attitudes and convictions adopted by the members of a certain social group). Teenagers create their identities by collecting individual sets of memes. Such clustering of memes results in 'memeplexes'. Teenagers adopt memes from lifestyle groups they want to associate with; if there is a significant overlap between their own memeplex and that of the certain lifestyle group, they will be perceived as members of the particular subculture. Turbofolk as a Memeplex Ivo }ani in his book "Cheated History"4 speaks about a new wave of music that is spreading like an epidemic among the young people in Croatia. "A music genre, originating in the East, which has been spreading since 1987, is a bastard that will years after grow into a spiritual monster and in a good measure become the soundtrack of genocide and destruction. It has started off its crusade benignly, as a combination of classical folk music and the influence of the carefree 80ies. Violins, accordions and tamburas are simply no longer enough for the new audience which yearns for a more 'heavy' sound and lyric that are closer to the atmosphere of a hysterical party." He considers that this "obvious trend is a sign that teenagers are revolting against the culture of their parents according to which folk music is generally considered as a very obscure thing, something to be avoided", but also that young people are "logically searching for something different and are choosing from the few items that are at their disposal". Ethnologist Ines Prica from the Institute for Ethnology and Folklore considers the whole matter ready for persiflage if teenagers are being asked serious questions by the police, because the only answer to the unsurprising percentage of the turbofolk fans can be in the shape of a warning about "more sports and quality time spent with parents". Turbofolk is considered to be nothing more than a profit-gaining tool which would continue to expand and grow for some time, after what its price would begin to fall. It is falsely assumed that turbofolk is a Croatian product and that it does not occur in other countries, as it can be considered as a version of a memeplex present in teenagers all over the world. The characteristics of this memeplex, namely language, lifestyle and principles, are very similar to those of other teenagers in the world. 1. Language used is a slang or language of the streets, of simple linguistic constructions and limited vocabulary. It is dominated by banality, simplicity and distortion. 2. Lifestyle that is recognizable through fashion, clothes, hairstyles, and last, but not the least, by symbols that attract the attention and which emphasize women as sexual objects, domineering music rhythms, dance as an activity, Facebook, mobile phones, fast food etc. 3. Positions regarding life are: party and enjoyment above all, living life with full lungs, a life of luxury, breaking down boundaries. Obvious models come from the US, where teenagers listen to techno, house or hip-hop music. The similarities are domineering music rhythms, ideology of women as sexual objects, dance and iconography (through fashion and accessories). Turbofolk is considered to be a communicological memeplex of teenagers in the modern society because its spreading is supported by the computer and communication technology. The 'Memphis' of turbofolk is Aleksandrovac, a village in the western Serbia which used to be known as a wine-growing community. The 'Sun' of this story was the nightclub Diskos, and the 'Sam Phillips' was Miodrag M. Ili, a popular folk musician. Meme, in order to duplicate and spread, demand copying fidelity, fecindity and longevity, as said before. "Meme spread through different types of conscious and unconscious behaviour. Memetic imitation can be systemized as: non-verbal, vocal, verbal and artefactual"5. 1.Non-verbal: When we speak about the non-verbal communication in the context of spreading (replicating) meme, we refer to the part of non-verbal communication which had been mastered throughout the life of an individual. The most significant part of the meme spreading is accomplished through mimic, gesticulating, proxemics and paralinguistics. The word 'mimic' is of Greek origin and it stands for imitation. Imitation is the exact thing that dominates the turbofolk teen subculture. Gesturing poses as the 'second language' of every culture (Fouts, 1997/197). Thus, through gesticulating the base elements of some culture or non-culture are transferred. Paralinguistics speaks of our unconscious imitation of the paralinguistic characteristics of those who we admire. Within a community there are certain paralinguistic elements that are unique to it, which in the case of turbofolk subculture are being dictated by the turbofolk music, i.e. musicians that are most popular. 2.Vocal: The second most important factor in the spreading of meme is through singing. Singing is a very important tool which is used by the meme to spread successfully. Here we refer to singing as listening, creating or reproducing certain music which is most acceptable to the major part of the audience. Turbofolk has chosen music as the governing tool to spread its meme. 3.Verbal: We do not speak in order to make up for the limitedness of non-verbal communication, but in order to spread our meme and influence others in such a fashion that they feel compelled to imitate us (Blackmore, 2005/117/118). 4.Artefactual: The ICT technology and internet as well as cheap sound carriers (CDs) allow the meme to be memorable, precise and to spread, all of which are the characteristics of turbofolk as well as meme. Thus we must conclude that, according to its appearance, acceptance and spreading among teenagers, turbofolk can be considered as a memeplex, meaning a complex of meme, which refer to language, fashion, lifestyle, positions and iconography of belonging to a certain group which has been conquered by the turbofolk memeplex. Methods and Sample For the needs of this study we will analyze two surveys conducted among the high-school teenagers in the Republic of Croatia: 1. First survey has been conducted in 2006 by the Croatian daily newspaper Jutarnji list and the Mediana agency. The survey has been conducted in 13 Croatian towns on the sample of 1000 pupils attending 3rd and 4th high school grades (520 third-graders and 480 fourth-graders have been involved). 2. Second survey has been conducted in 2008 in Sisak and its vicinity on the sample of 502 pupils of the high school in Sisak. This longitudinal survey is not methodologically consistent, but is nevertheless comparable in points of interest, meaning the spreading of turbofolk as the memeplex of the modern teenage society. We will be following both surveys in points in which they meet, and analyze results of every survey individually in points in which they differ. The surveys answer the basic communicological questions: who, how many, with whom, how, why, where and since when. Survey Goals and Hypotheses The basic aim of the surveys has been to explain why young people like turbofolk music which their parents do not approve, especially since it comes from the countries with which Croatia has been in war 15-20 years ago. "If we think about the matter in question as a dictatorship of the war borders in the post-war period, it would turn out that the 'best Croats', those who live by the borders like Dalmatians or Slavonians, are the 'worst Croats' because the Serbian turbofolk is very popular there; whereas 'questionable Croats', like Istrians, suddenly become 'best Croats', because turbofolk does not have many fans among them"6. We will try to give an answer to this question by looking for the attributes of the meme replicators in turbofolk music. Main hypothesis: we are interested in the attributes like memorability, precision and spreading of turbofolk among young people, whereby we are not interested in the usual sociological and economical distinguishers such as scholarly achievements or gender as dependent or independent variables. As the surveys have been conducted on a fairly large sample of teenagers, we can presume that the sample is representative, and that all dominant attributes of teenage population in Croatia have been included. We have already emphasized that we are interested in turbofolk memeplex as a communicological creation. Auxiliary hypotheses: 1. Proof of spreading: Majority of teenagers consume turbofolk music (what, where, how, how often), as a proof of turbofolk spreading as a memeplex. 2. Proof of precision: Serbian and Bosnian turbofolk musicians are more popular than the Croatian musicians (influence coming from one source). 3. Proof of memorability: Motivation for this type of music (a lasting interest) is greater than the need for simply having fun (a passing interest). Results and Discussion How many young people do listen to turbofolk music in regard to the samples taken, i.e. in regard to the rest of the teenage population?  The increasing trend is obvious if we compare the 59 % in 2008 to 43 % in 2006.  Subjects state that that 80 % of their friends listen to turbofolk, which means that the number of turbofolk fans is in reality bigger than the number of those who publicly proclaim themselves as fans and visit turbofolk nightclubs or bars. We can conclude that the first hypothesis has been corroborated because in both cases the percentage of fans inclines toward 50 %. This is nevertheless a high percentage for popularity of a single music genre in comparison to others.   According to the 2006 survey, the most popular turbofolk musicians are Seka Aleksi (52 %) and Ceca Ra~njatovi (24 %), whereas these two names also appear at the top of the popularity list in the 2008 survey as well, Seka Aleksi with 38 % and Ceca Ra~njatovi with 33,30 %, both of whom come from Serbia. It is clearly visible from the results that the two Serbian musicians have claimed a very high percentage of teenage fans. That corroborates our second hypothesis. If teenagers are asked about the songs they remember best, the lyric unavoidably spins around negative connotations, such as: ashtray, dirty-dirty, rotten cherry, tattoo, black and gold, fur coats etc, in short everything that comes along with the ideology of earning fast and easy, living and dying quickly. The answer to motivation, i.e. 'why do you listen to turbofolk music', has been answered by 44,7 % with 'because I like it'. 30,3 % answered this question with 'because the best fun goes along with it', what corroborates the impression about the criteria teenagers have concerning music they choose to listen. A further proof of that is the statistical fact that the greatest percentage of teens choose to listen to turbofolk music at home. That would corroborate our third hypothesis.  Conclusion :<bd   d h j  ͻͻͫݟn_nHn;hB CJH*OJQJaJ,hB heb0J>*B*CJOJQJaJphhB hebCJOJQJaJ%jhB hebCJOJQJUaJhB hB CJOJQJaJhihB CJOJQJaJhB CJOJQJaJhihebCJH*OJQJaJ"hiheb5CJH*OJQJaJhiheb5CJOJQJaJhihebCJOJQJaJ%hihebB*CJOJQJaJph:<X , w x +,9QR>tgdeb$a$gdebgdeb$a$gdebgdigdigdigdeb$a$gdeb $ 4 5 ^ _ u v w x ,QR01QRtv02Ҭҝznzn^NNNNNNNhiheb6CJOJQJaJhihebCJH*OJQJaJhiCJOJQJaJ%hihebB*CJOJQJaJphhiB*CJOJQJaJphhihebCJOJQJaJ,hB heb0J>*B*CJOJQJaJphhB hebCJOJQJaJ%jhB hebCJOJQJUaJhB CJOJQJaJhihB CJOJQJaJTVdfln|~ %%%%%p++N,P,]4e4556"67<8<:<G<@@AAsBBDDDHH!K"KKKM"hiheb56CJOJQJaJhiB*CJOJQJaJphhihebCJH*OJQJaJ%hihebB*CJOJQJaJphhiheb6CJOJQJaJhihebCJOJQJaJ=\"v$%%%`(*p+++/1a23Z45667\:0;:<;<I<=">>gdebgdi$a$gdeb>@@AAsBBBCDDDDECFFHHHIKMNN;OOOOOgdebgdigdeb$a$gdebMNN+NNN>OSOOOOOtPuPvPPPJSLS߿߅jO44jhihebCJOJQJUaJmHnHtHu4j`hihebCJOJQJUaJmHnHtHu4j1hihebCJOJQJUaJmHnHtHu4jhihebCJOJQJUaJmHnHtHuhiCJOJQJaJ%hihebB*CJOJQJaJphhiB*CJOJQJaJphhiheb6CJOJQJaJhihebCJOJQJaJ"hiheb56CJOJQJaJOtPwPPPHSJSPSTSVWYYYYYm$q/q0qqqr@s t & Fgdebgdebgdi$a$gdebgdeb$a$gdebLSNSPSRSYYYYYl$q/q>t@tAtCtDtFtGtItJtLtMtOttֻ֠֍֋֍xplplplpl\J\"hih'5CJH*OJQJaJhih'5CJOJQJaJhMjhMU$hihqCJOJQJaJmH sH U%hihebB*CJOJQJaJph4jiChihebCJOJQJUaJmHnHtHu4jhihebCJOJQJUaJmHnHtHuhihebCJOJQJaJ4jwhihebCJOJQJUaJmHnHtHuWe can conclude that the turbofolk music is the most popular music genre among teenagers in Croatia, as it is seen from the increase from 43 % to 59 % in popularity. This kind of music is preferred among other genres by the teenagers because they like it, they have a relatively lasting interest for it and atop of all they listen to it at home as well. Serbian musicians are at the very top of popularity. With the analysis of the titles of popular songs we have observed non-quality, superficiality, worthlessness and even nihilism. Nevertheless, according to the results the intensity of interest is in increase, what begs the question - where is it all going? When will this trend culminate (of it already has not), and when will it start decreasing? And then, are we in for something better or worse? Can we, being familiar with the laws of meme replication, consciously and purposefully positively influence teenagers? It does not seem to be impossible because science and numerous surveys and researches present it as a promising path of change. Is not the behaviour of young people the true face of the adults, their parents, who seek to suppress them and hide them, all to have the truth bursting out through their children? These are the questions and dilemmas that ought to be answered by a new research. References A. Verhaeghe, J.Van den Bergh, N. Schillewaert: Teen-memes, Memetic branding and identity of youngsters F. Heylighen: What makes a meme successful? Selection criteria for cultural evolution K.Chielens, F.Heylighen: Operationalization of Meme Selection Criteria: Methodologies to Empirically Test Memetic Predictions Ivo }ani: Cheated History, Durieux, Zagreb 1998/99 Vanja Bora: Meme as a unit of alienization of religious propaganda - an integral approach, PhD thesis 2010 Branimira Lazarin, Jutarnji list, 11th March, 2006     4th Special Focus Symposium on ICSKS: Information and Communication Sciences in the Knowledge Society Zagreb, Croatia (Hrvatska) November 11th to 13th, 2010 t?t@tBtCtEtFtHtItKtLtttttttt dgdod$dNgdogdsV$&dPa$gdsV dgdsV dgdH  & FdgdHtttttttttttttɱɱ$hihqCJOJQJaJmH sH hM/hih'6B*CJH*OJQJRHZaJph,hih'6B*CJOJQJRHZaJph hmIh'CJ OJQJ^JaJ h'hih'OJQJ 21h:p~. 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