Project Abstract

Abstract
The influence of foreign music on the lifestyle of Nigerian youths, particularly in the city of Warri, Delta State, is a compelling and multifaceted topic that warrants in-depth exploration. This research project aims to investigate the extent to which foreign music has impacted the lifestyle choices, behaviors, and preferences of the youth population in Warri. By focusing on the case study of Warri, Delta State, this study delves into a specific geographic location known for its vibrant youth culture and active engagement with various forms of music. Utilizing a mixed-methods approach, this research project incorporates both quantitative surveys and qualitative interviews to gather comprehensive data on the subject matter. The quantitative surveys will provide statistical insights into the prevalence of foreign music consumption among Warri youths, as well as their preferences for specific genres and artists. On the other hand, the qualitative interviews will offer a nuanced understanding of how foreign music influences various aspects of youths' lifestyles, including fashion choices, social interactions, and cultural practices. Through the analysis of survey data and interview transcripts, this study aims to identify key trends and patterns regarding the impact of foreign music on the lifestyle of Nigerian youths in Warri. Furthermore, the research will explore the motivations behind youths' engagement with foreign music, considering factors such as globalization, digital media platforms, and cultural exchange. By examining the intersection of music, identity, and cultural globalization, this study contributes to a deeper understanding of contemporary youth culture in Nigeria. The findings of this research project are expected to shed light on the complex relationship between foreign music and youth lifestyle in Warri, Delta State. By uncovering the ways in which foreign music shapes youths' attitudes, behaviors, and self-perceptions, this study offers valuable insights for policymakers, educators, and cultural practitioners seeking to engage with Nigerian youth populations. Ultimately, this research project contributes to the ongoing discourse on globalization, cultural exchange, and the evolving dynamics of music consumption in a digital age.

Project Overview

INTRODUCTION
1.1   BACKGROUND TO THE STUDY
The advent of foreign music like the hiphop, Reggae, Rock & Roll, R & B, rap, jazz etc in Nigeria has been a welcome phenomenon, while some people believe it has created a massive and unappealing change in the life of the youths, insisting it’s slowly but surely wiping out the Nigerian culture coupled with the perception that the whole world is emulating America in a lot of ways, and Nigeria is no exception (Leadership Newspaper, 2014).

It is a known fact that in the 21st century, young Nigerians frequently cite Jay-Z and other foreign artist as their favorite artist. American musics has provided a blueprint for the rest of the world to appropriate and build new cultural formations that manifest in music and identity. Yet, the subtitle of Jay-Z’s Blueprint 2 album, “The Gift and The Curse” is an apt description for the complexity of the relationship between African American culture and Nigerian youth identity, which also impacts Nigerian popular music (Adeolu, 2011).

The foreign music culture has affected the way many young people and even the elderly see themselves in Nigeria. Many female contemporary musicians want to be like Beyonce, Rihanna, Jennifer Lopez, Nicky Minaj, etc. They put on skimpy clothes that expose all their natural endowments, ignoring the kind of society they belong. They move around in shorts that could pass as underwear for men. Their male counterparts put on clothes that don’t correspond with the weather just because they want to appear cool. Still, to some extent, the personal style of Nigerian music artistes is quite distinct. For example, Phyno, who is known for weaving the Igbo dialect into his music, has endeared fans all over the world with his funky hairstyle and skinny pants. On the other hand, Olamide, from the yoruba cultural setting, usually has a mix of western and local outlook in his dressing and this goes a long way to influence the lifestyle of their fans.
Many Nigerian artistes, as mentioned earlier, strive to be like foreign entertainers, at the expense of their own cultural values and modes of expression. When they put down lyrics, they are usually replete with words and expressions quite alien to the conservative society they belong. While technology has enhanced acceptability of otherwise strange phenomenon, many Nigerians frown at the continued denudation of our culture.

Warri is a city in Delta State, Nigeria. It is an oil hub in Southern Nigeria and houses an annex of the Delta State Government House. It served as the colonial capital of the then Warri Province. It shares boundaries with Ughelli/Agbarho, Sapele, Okpe, Udu and Uvwie although most of these places, notably Udu, Okpe and Uvwie, have been integrated to the larger cosmopolitan Warri. Osubi houses an airport that serves the city. Effurun serves as the gateway to and the economic nerve of the city. Towns in the Warri metropolis include: Ogbe-Ijo, Aladja, Ekurede Itsekiri, Jakpa, Ubeji, Ugbuwangue, Ifie-Kporo, Egbokodo Itsekiri, Ajamimogha, Pessu, Koko, Ugbolokoso, Ugborodo, Ajagbodudu, Iyara, Ode-Itsekiri (Big Warri), Osubi, Effurun, Enerhen, Ugborikoko, Agbarho, Deco, Okuokoko, Ebrumede, DSC Township, Ugbomro, Edjeba, Ekurede-Urhobo, Okere, Agbassa, Ogidigben, Gbaramatu, among others.