On the other, her persona, music, videos, and further media commodities are part of the global ‘mediascape’ (Appadurai, Reference Appadurai1996). On the one hand, she physically travels the world playing concerts to her audiences. Singers, like Rihanna, are thus mobile, transnational linguistic agents. The example of Rihanna shows that singers can be transporters of English varieties: she is a Caribbean artist who started a successful career in the US, and whose music today has global reach. Noelliste, Reference Noelliste2016), others acknowledge her performance as a ‘reclamation of her Barbadian heritage’ (Gibsone, Reference Gibsone2016). While some critics describe her lyrics as ‘gibberish’ (cf. Her language performance attracted public attention of various sorts as she audibly incorporates several Caribbean English Creole (CEC) features. Rihanna's single Work is an example of this prevalent multivocality in pop music culture. In this special context different varieties of English meet at a high density. Today, pop music circulates across national boundaries and English is the main medium of communication in transnational pop culture. Singing is a very dynamic and innovative mode of communication through which artists often express themselves with a set of various voices. Singers often playfully employ certain features to highlight parts of their identity or locate themselves in a particular music genre. Different language influences are formed into individual linguistic repertoires. Moreover, singers show that the linguistic (and cultural) resources as such are mobile. smart phones, tablets) and applications (Facebook, Twitter, Instagram) facilitate as well as accelerate the transnational dissemination of media resources. In other words, her products easily spread across the globe and are reproduced, transcending national and social boundaries. On the other, her persona, music, videos, and further media commodities are part of the global ‘mediascape’ (Appadurai, 1996). Noelliste, 2016), others acknowledge her performance as a ‘reclamation of her Barbadian heritage’ (Gibsone, 2016).
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