Journal articles: 'Misogyny in rap music'

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Weitzer, Ronald, and Charis E. Kubrin. "Misogyny in Rap Music." Men and Masculinities 12, no. 1 (February 19, 2009): 3–29. http://dx.doi.org/10.1177/1097184x08327696.

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Dixon, Travis L., Yuanyuan Zhang, and Kate Conrad. "Self-Esteem, Misogyny and Afrocentricity: An Examination of the Relationship between Rap Music Consumption and African American Perceptions." Group Processes & Intergroup Relations 12, no. 3 (April 17, 2009): 345–60. http://dx.doi.org/10.1177/1368430209102847.

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The aim of this study was to examine the relationships between African American audiences, rap music videos, Black collective self-esteem, and attitudes towards women. One-hundred and forty-one African American college students participated in a survey measuring their amount of rap music video viewing, collective self-esteem, Afrocentric identity, and their belief that rap degrades women. The results revealed that viewers who consumed more rap music videos also had a higher sense of collective self-esteem. Additionally, individuals who had strong Afrocentric features tended to identify with rap music videos that contained characters with strong Afrocentric features. Finally, consumption of misogynistic rap content was negatively related to the belief that rap music degrades women. These results are discussed in light of Allen's (1993, 2001) cultural lens perspective, Appiah's (2004) theory of ethnic identification and the priming paradigm. Suggestions are made for future research concerning African American audiences and rap music.

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de Boise, Sam. "Music and misogyny: a content analysis of misogynistic, antifeminist forums." Popular Music 39, no. 3-4 (December 2020): 459–81. http://dx.doi.org/10.1017/s0261143020000410.

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AbstractResearch exploring the relationship between misogyny and music has been divided between those who argue that certain music causes, confirms or is a manifestation of misogyny. Yet this often takes for granted the link between certain genres (predominantly hip hop, rap and metal) and misogynistic 'messages'. Instead of asking what types of music might be misogynistic, this article instead asks how music is discussed amongst those who actively espouse misogynistic views. Through content analysis of 1173 posts, from 6 ‘misogynistic antifeminist movement’ (MAM) forums, it shows that whilst hip hop, rap and metal genres and artists are the most commonly mentioned, there is significant variation in terms of musical preferences and justifications. Whilst masculinist lyrics were the main reasons for music preferences, this study shows how MAM communities’ musical judgments are a confluence of sonic and extra-musical discourses which are shaped and amplified within these online communities.

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Baker, Andrea, and Katrina Williams. "Building on #MeToo and #MeNoMore: Devising a framework to examine sexual violence in Australian music journalism." Australian Journalism Review 41, no. 1 (June 1, 2019): 103–16. http://dx.doi.org/10.1386/ajr.41.1.103_1.

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Allegations against film producer Harvey Weinstein, co-owner of US entertainment company Miramax Films, which led to the revitalized #MeToo movement of October 2017, gave global recognition to the sexual violence (sexism, misogyny, sexual harassment, assault and rape) that women experience in the creative industries. As a spin-off, the #MeNoMore campaign in December 2017 resulted in more than 400 women working in the Australian music industry speaking out against similar behavior. Despite having a reputation for sexual violence, the local music press played a minor role in this hashtag development, claiming that its practices are tied to radical, liberal and progressive values. In the post-Weinstein, #MeToo and #MeNoMore era, this contradiction signifies that the Australian music press is fertile ground for a feminist investigation. However, to date minimal local research has examined the link between sexual violence and music journalism. As a literature review to a larger empirical case study, this article draws on a critical discourse analysis from the post-feminist wave of media research into rockism, poptimism, punk, rap, hip hop, dubstep and electronic dance music genres, mainly conducted in the United States and United Kingdom. Derived from this analysis, the article argues that there are four framing techniques associated with music journalism practice in Australia: gendered music press, a masculine attitude towards music reporting, gendered musical tastes and gendered sexual harassment.

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Schneider, Hendrik, Hannah Beusch, Giulia Borsalino, Hans-Henning Gonska, and Johann Ostermiller. "Kriminalität, Recht und Justiz in den Texten des deutschsprachigen Gangster-Raps. Genre mit strafrechtlichem Gefährdungspotential?" Neue Kriminalpolitik 32, no. 1 (2020): 57–74. http://dx.doi.org/10.5771/0934-9200-2020-1-57.

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Deutschsprachiger Gangster-Rap dominiert die Musik-Charts und ist insbesondere bei Jugendlichen beliebt. Die Texte handeln in einer bisher in der deutschen Unterhaltungsmusik nicht dagewesenen Intensität von Straftaten, Gewalt und Misogynie. Die Kriminologie hat sich diesem Phänomen bislang noch nicht ausreichend angenommen. Dies gilt sowohl für die Bezüge zu den kriminologischen Theorien, als auch für die Erforschung der Wirkungen auf die Rezipient*innen. Auf diese Lücken im Forschungsstand ist der vorliegende Beitrag bezogen.

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Tyson, Edgar H. "The Rap Music Attitude and Perception (RAP) Scale." Journal of Human Behavior in the Social Environment 11, no. 3-4 (October 12, 2005): 59–82. http://dx.doi.org/10.1300/j137v11n03_04.

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Thannoo, Babita. "Rap Music in Mauritius." Wasafiri 27, no. 4 (December 2012): 35–41. http://dx.doi.org/10.1080/02690055.2012.716595.

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Bonnette, Lakeyta M. "Black Political Attitudes and Political Rap Music." Ethnic Studies Review 35, no. 1 (January 1, 2012): 157–75. http://dx.doi.org/10.1525/esr.2012.35.1.157.

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Many argue that political or message rap no longer exists. Scholars and critics point to rap music as a genre that is completely negative and only diminishes the progress of the Black community by offering and supporting stereotypes of African Americans (Johnson, Jackson and Gatto 1995; Carpentier, Knobloch and Zillman 2003). On the contrary, I argue that all rap music is not the same and that in fact, there is a subgenre in rap music, political rap, that discusses political issues and candidates exclusively. In this article, I proffer a criterion for identifying political rap music to demonstrate a distinction between the subgenres of rap and the prevalence of political rap within mainstream radio. Finally, I examine the lyrical content of political rap for the assertion of Black Nationalist ideology.

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Minard, Michael, and Lenore Pogonowski. "Rap: Music in Words, Words in Music." Soundings (Reston, VA) 2, no. 3 (April 1989): 30–32. http://dx.doi.org/10.1177/104837138900200311.

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Henderson, Errol A. "Black Nationalism and Rap Music." Journal of Black Studies 26, no. 3 (January 1996): 308–39. http://dx.doi.org/10.1177/002193479602600305.

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Baussard, A., and T. Boutin. "Time-reversal RAP-MUSIC imaging." Waves in Random and Complex Media 18, no. 1 (January 14, 2008): 151–60. http://dx.doi.org/10.1080/17455030701481856.

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Travis, Raphael. "Rap Music and the Empowerment of Today’s Youth: Evidence in Everyday Music Listening, Music Therapy, and Commercial Rap Music." Child and Adolescent Social Work Journal 30, no. 2 (November 16, 2012): 139–67. http://dx.doi.org/10.1007/s10560-012-0285-x.

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Fried, Carrie B. "Bad Rap for Rap: Bias in Reactions to Music Lyrics1." Journal of Applied Social Psychology 26, no. 23 (December 1996): 2135–46. http://dx.doi.org/10.1111/j.1559-1816.1996.tb01791.x.

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Tyson, Edgar H., Tiffany L. Brown, and Antoine Lovell. "The Intersection of Race, Gender, and Rap Music Perceptions: A Content Validation Study of the Rap-Music Attitude and Perception Scale." Urban Social Work 3, no. 1 (May 1, 2019): 25–50. http://dx.doi.org/10.1891/2474-8684.3.1.25.

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ObjectivesThis study examines the content validity of a newly developed measure, the Rap-Music Attitude and Perception (RAP) scale.MethodsUtilizing data from a racially diverse sample of undergraduate college students (N= 871), this investigation highlights an underutilized mixed method, qualitative–quantitative scale development approach, while investigating relationships between race, gender, and rap music views.FindingsResults indicate overlap between themes identified in participants' qualitative responses and RAP scale items. Furthermore, there were several within and between (race and gender) group differences in the endorsement of RAP scale items.ConclusionsImplications of these results support the utility of the RAP for examining perceptions of rap music and provide insight into how the intersection of race and gender relates to hip-hop music themes.

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Gourdine, Ruby M., and Brianna P. Lemmons. "Perceptions of Misogyny in Hip Hop and Rap: What Do the Youths Think?" Journal of Human Behavior in the Social Environment 21, no. 1 (January 31, 2011): 57–72. http://dx.doi.org/10.1080/10911359.2011.533576.

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Gilmore, Jeremy. "Chance Encounters: Rap Music as a Relational and Pedagogical Resource in Clinical Pastoral Education." Journal of Pastoral Care & Counseling: Advancing theory and professional practice through scholarly and reflective publications 72, no. 1 (March 2018): 32–36. http://dx.doi.org/10.1177/1542305018754795.

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Music has long been regarded as a valuable tool for educators. Over the last three decades, rap music has grown to become a global phenomenon. However, due to historical and cultural factors, rap music is often underutilized in Clinical Pastoral Education. This article discusses the social significance of rap music, highlights how rap music informed my supervision of a clinical pastoral education student, and examines Chance the Rapper’s mixtape Coloring Book as a case study on the utilization of rap music as a relational and pedagogical resource in spiritual education.

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Wilson, Asif, and Daunte Henderson. "Ambitionz az a Teacha: understanding Contemporary Rap Music’s Pedagogical Implications." International Journal of Critical Media Literacy 2, no. 1 (September 7, 2020): 31–55. http://dx.doi.org/10.1163/25900110-00201003.

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Abstract This case study extends Elligan’s (2000, 2004) Rap Therapy model to explore the pedagogical usefulness of contemporary rap music. Methodologically, the authors borrow the testimonio from Latina Feminist Scholarship, to explore the ways in which young people participating in a summer literacy program analyzed their lives and the world through rap music; how rap music supported their healing; and how rap music was used as a pedagogical tool. Over the course of four months the co-authors of this study created and analyzed 17 co-written testimonios for their generative themes. The authors conclude with a presentation of The (Re) mix—a rap-centered pedagogical framework. The (Re) mix is made up of three, interconnected pillars. One, contemporary rap music (re)tells the experience(s) of the dispossessed. It helps shift the blame for oppression in the world towards the structures of society. Second, contemporary rap music (re)affirms young peoples’ existence. It provides them with an imaginative environment to imagine a more just world. Third, contemporary rap music (re)stores our humanity. It is a tool to name, connect, and move beyond our pain, creating a context for healing as individuals in a collective society. The authors hope that findings of this study empower other educators to infuse contemporary rap music into their pedagogies as a method for students to better read and write the world, adding to the body of knowledge related to critical media literacy.

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Knobloch-Westerwick, Silvia, Paige Musto, and Katherine Shaw. "Rebellion in the Top Music Charts." Journal of Media Psychology 20, no. 1 (January 2008): 15–23. http://dx.doi.org/10.1027/1864-1105.20.1.15.

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Abstract. In spite of great public concern about offensive messages in hip-hop/rap and rock, actual quantitative prevalence is rarely examined. This investigation analyzed 260 rap/hip-hop and rock songs from the top-charts of 1993 and 2003 for rebellious messages about impulsive and hostile behaviors. Results show that the majority of top songs contain rebellious messages. Songs with messages about impulsiveness are more common than those about hostility in the rap/hip-hop genre and have increased.

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Gonzalez, Tiphanie, and B. Grant Hayes. "Rap Music in School Counseling Based on Don Elligan's Rap Therapy." Journal of Creativity in Mental Health 4, no. 2 (June 5, 2009): 161–72. http://dx.doi.org/10.1080/15401380902945293.

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Malmberg, Mikko. "Rap and cultural change: Authenticity and hybrid identities in the music of rappers of African descent in Finland." Journal of European Popular Culture 12, no. 1 (March 1, 2021): 5–22. http://dx.doi.org/10.1386/jepc_00025_1.

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In many European countries, the different local rap music scenes were originally founded by marginalized ethnic minority youths, and in academia, the genre is often discussed as resistance music that these youths employ to challenge oppressive cultural hegemonies. Thus, the focus in academic research has often been on rappers who are openly political and critical towards their societies in their music. However, as rap has become highly popular and influential within global youth culture, many academics have become increasingly concerned about its messages, arguing that commercial rap with apolitical, materialistic and self-obsessed lyrics have replaced rap’s anti-hegemonic resistance messages. This article challenges the idea that the majority of contemporary rap music is either harmful or insignificant and that only openly political and socially critical rap is worthy of academic praise. Instead, by focusing on the music of Finnish rappers of African descent, this article examines how rap music by marginalized ethnic minorities can challenge oppressive cultural hegemonies and foster cultural change because of an element that unites all rap: the central role of authenticity.

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Schmidt, Johannes. "German Rap Music in the Classroom." Die Unterrichtspraxis / Teaching German 36, no. 1 (2003): 1. http://dx.doi.org/10.2307/3531679.

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Cummings, Melbourne S., and Abhik Roy. "Manifestations of Afrocentricity in Rap Music." Howard Journal of Communications 13, no. 1 (January 2002): 59–76. http://dx.doi.org/10.1080/106461702753555049.

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Anderson, Paul A. "Ellington, Rap Music, and Cultural Difference." Musical Quarterly 79, no. 1 (1995): 172–206. http://dx.doi.org/10.1093/mq/79.1.172.

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Dunbar, Adam, Charis E. Kubrin, and Nicholas Scurich. "The threatening nature of “rap” music." Psychology, Public Policy, and Law 22, no. 3 (2016): 280–92. http://dx.doi.org/10.1037/law0000093.

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Norfleet, Dawn M. "Rap Music and Street Consciousness (review)." Journal of American Folklore 120, no. 475 (2007): 113–14. http://dx.doi.org/10.1353/jaf.2007.0026.

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Yuliantari, Ans Prawati. "Molas Baju Wara: Hybridity in Manggarai Rap Music." Celt: A Journal of Culture, English Language Teaching & Literature 16, no. 2 (June 21, 2017): 201. http://dx.doi.org/10.24167/celt.v16i2.769.

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Rap music which has been popular since 2007 in Manggarai region, East Nusa Tenggara, Indonesia, gave rise to rap hybrid phenomenon. The mixture between American rap music formats and local elements of Manggarai attracted the attention of young people in the region. One of the local songs that feature hybridity in rap Manggarai is "Molas Baju Wara" created by Lipooz, one of the pioneers of rap in Ruteng, the capital city of Manggarai district. To discuss this phenomenon, the concept of hybridity in cultural territory proposed by James Lull is adopted. This concept is used particularly to analyze the forms of hybridity reflected in " Molas Baju Wara" and the ways they are used in showing the social and cultural conditions of Manggarai. "Molas Baju Wara" was selected as the object of study because the song is clearly showing the characteristics of hybridity in music. The study shows that hybridity could be perceived in Manggarai rap music specifically in the use of local musical instruments like drums, cajon, and tambourine as a substitute for percussive sounds of drums, boombox, or turn-table which are commonly used by rap musicians in their home country, the U.S.A. In addition, there are elements of local sound such as the sound of rain that represents Ruteng as the rain city. Hybridity characteristics can also be found in the use of Manggarai vernacular in the whole lyrics as well as the narration of local themes and certain sites that represent Ruteng.

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Williams, Justin A. "The Construction of Jazz Rap as High Art in Hip-Hop Music." Journal of Musicology 27, no. 4 (2010): 435–59. http://dx.doi.org/10.1525/jm.2010.27.4.435.

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Multiple factors contributed to the elevation of jazz as "high art" in mainstream media reception by the 1980s. The stage was thus set for hip-hop groups in the late-1980s and early 90s (such as Gang Starr, A Tribe Called Quest, and Digable Planets) to engage in a relationship with jazz as art and heritage. "Jazz codes" in the music, said to signify sophistication, helped create a rap-music subgenre commonly branded "jazz rap." Connections may be identified between the status of jazz, as linked to a high art ideology in the 1980s, and the media reception of jazz rap as an elite rap subgenre (in opposition to "gangsta" rap and other subgenres). Contemplation of this development leads to larger questions about the creation of hierarchies, value judgments, and the phenomenon of elite status within music genres.

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Fikentscher, Kai, David Toop, and Jon Michael Spencer. "Rap Attack 2: African Rap to Global Hip Hop." Ethnomusicology 38, no. 2 (1994): 349. http://dx.doi.org/10.2307/851745.

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Reitsamer, Rosa, and Rainer Prokop. "Keepin’ it Real in Central Europe: The DIY Rap Music Careers of Male Hip Hop Artists in Austria." Cultural Sociology 12, no. 2 (May 2, 2017): 193–207. http://dx.doi.org/10.1177/1749975517694299.

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This article sets out to broaden our understanding of the significance of authenticity, locality and language for the development of a do-it-yourself (DIY) rap music career by taking male rap artists in Austria as an example. Drawing on interviews carried out in 2014–2015 with two groups of rap artists from different social and cultural backgrounds who embarked on their rap music careers in the early 1990s and the early 2000s, we analyse their rap lyrics and the social and economic contexts in which these individuals became rappers. We examine how the artists articulate claims to authenticity by appropriating African-American rap styles, meanings and idioms and blending them with local languages and references to local cultures and national politics. We also examine the rappers’ relationship to the music industry and the use of informal channels for the production, performance and consumption of rap and hip hop in general. The article suggests that the DIY careers of these rap artists depend on both the rappers’ use of music to articulate claims to authenticity and their ability to form (trans-)local networks for sharing skills, knowledge and other resources, as well as on Austria’s cultural policy and the changes in the music industry that have taken place in recent years.

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Boyer, Holly. "The Alert Collector: Hip Hop in the United States." Reference & User Services Quarterly 55, no. 3 (March 24, 2016): 215. http://dx.doi.org/10.5860/rusq.55n3.215.

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Hip hop is a ubiquitous part of American society in 2015—from Kanye West announcing his future presidential bid to discussions of feminism surrounding Nikki Minaj’s anatomy, to Kendrick Lamar’s concert with the National Symphony Orchestra, to Questlove leading the Tonight Show Band, hip hop has exerted its influence on American culture in every way and form.Hip hop’s origin in the early 1970s in the South Bronx of New York City is most often attributed to DJ Kool Herc and his desire to entertain at a party. In the 1980s, hip hop continued to gain popularity and speak about social issues faced by young African Americans. This started to change in the 1990s with the mainstream success of gangsta rap, where drugs, violence, and misogyny became more prominent, although artists who focused on social issues continued to create. The 2000s saw rap and hip hop cross genre boundaries, and innovative and alternative hip hop grew in popularity.

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Tomlinson, Brendan H. "The Censorship of Misogynistic Rap Music - A Consideration of Gender-Based Harms and Free Speech." Victoria University of Wellington Law Review 26, no. 3 (September 2, 1996): 531. http://dx.doi.org/10.26686/vuwlr.v26i3.6152.

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The lyrics of gangster rap music have created a storm of controversy in the United States and elsewhere. This article considers the censorship of misogynistic rap music, analysing both the harm which it may do to women, and the way in which free speech principles apply to rap music. The criteria for works to be censored in New Zealand and the United States are analysed. Comments are made about how the New Zealand Classification Office should treat rap music works. It is argued that censorship of rap will rarely be justified. The article concludes by examining an interesting and fundamental difference between the free speech principles of the two jurisdictions: American free speech doctrine treats censorship based on the work's viewpoint with hostility, whereas New Zealand law advocates censorship of this kind.

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Henze, Catherine A. "Unraveling Beaumont from Fletcher with Music, Misogyny, and Masque." SEL Studies in English Literature 1500-1900 44, no. 2 (2004): 379–404. http://dx.doi.org/10.1353/sel.2004.0016.

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Hodgman, Matthew R. "Class, Race, Credibility, and Authenticity within the Hip-Hop Music Genre." Journal of Sociological Research 4, no. 2 (November 16, 2013): 402. http://dx.doi.org/10.5296/jsr.v4i2.4503.

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<p>After its advent in the 1970s, the rap music genre was represented almost exclusively by male black artists who honestly and realistically embodied a poor urban image. Images of black urban poverty in music videos and rap lyrics were consistently used by black artists to emphasize and authenticate who they were and where they came from. With the upsurge of white rap acts starting in the early 90s and continuing through the early 21<sup>st</sup> century, the means by which rap authenticity is measured have been permanently renegotiated. Before the emergence of white rappers, race was the primary signifier of rapper authenticity. After the success of white rappers such as Eminem new parameters of what constitute credibility and authenticity in the rap genre have been forged. This article discusses the significance of the continued presence of white rappers in hip-hop in terms of class and race in relation to artistic credibility within the rap genre. On a larger scale, this article considers questions related to cultural interloping upon a racially concentrated art form. It is concluded that class has generally emerged as the premier indicator or variable of authenticity throughout rap. </p>

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Abdul-Adil, Jaleel K. "Modern Rap Music: Mining the Melodies for Mental Health Resources." Journal of Youth Development 9, no. 2 (June 1, 2014): 149–52. http://dx.doi.org/10.5195/jyd.2014.66.

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Modern Rap music is a very popular, powerful, and controversial form of contemporary youth media. Despite clearly counter-productive aspects of certain lyrics, videos, and other cultural elements, Rap music also offers prosocial material that can enhance the appeal and impact of mental health interventions. This article describes the Young Warriors program as an example of a Rap-based program that promotes positive development in urban ethnic minority youth. Future directions and similar scholarly efforts are also highlighted.

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Kubrin, Charis E. "“I See Death around the Corner”: Nihilism in Rap Music." Sociological Perspectives 48, no. 4 (December 2005): 433–59. http://dx.doi.org/10.1525/sop.2005.48.4.433.

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Rap is one of the most salient music genres of the late twentieth and early twenty-first centuries. Gangsta rap, in particular, with its focus on urban street life, has become a dominant means of expression within contemporary African American adolescent culture. As such, it speaks directly to issues of identity, culture, violence, and nihilism—themes that permeate recent research on inner-city black communities. Mostly ethnographic in nature, this work describes how structural disadvantage, social isolation, and despair create a black youth culture, or street code, that influences adolescent behavior. The current work builds on the community literature by exploring how the street code is present not only on “the street” but also in rap music. It addresses two important questions: (1) To what extent does rap music contain elements of the street code—and particularly nihilism—identified by Anderson (1999) and others? (2) How do rappers experience and interpret their lives, and how do they respond to conditions in their communities? These questions are explored in a content analysis of over four hundred songs on rap albums from 1992 to 2000.

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Wicke, Peter, and Adam Krims. "Rap Music and the Poetics of Identity." Lied und populäre Kultur / Song and Popular Culture 47 (2002): 244. http://dx.doi.org/10.2307/3595215.

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Cinar, Alev. "Cartel: Travels of German-Turkish Rap Music." Middle East Report, no. 211 (1999): 43. http://dx.doi.org/10.2307/3013340.

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Rode, Geralynne A. "Rap Music as a Method for Review." American Biology Teacher 54, no. 4 (April 1, 1992): 242–43. http://dx.doi.org/10.2307/4449463.

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Beighey, Catherine, and N. Prabha Unnithan. "Political Rap: The Music of Oppositional Resistance." Sociological Focus 39, no. 2 (May 2006): 133–43. http://dx.doi.org/10.1080/00380237.2006.10571281.

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Stephens, Ronald Jemal. "The Three Waves of Contemporary Rap Music." Black Sacred Music 5, no. 1 (March 1, 1991): 25–40. http://dx.doi.org/10.1215/10439455-5.1.25.

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Scott, Jonathan. "Sublimating hiphop: Rap music in white America." Socialism and Democracy 18, no. 2 (July 2004): 135–55. http://dx.doi.org/10.1080/08854300408428404.

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Blair, M. Elizabeth. "Commercialization of the Rap Music Youth Subculture." Journal of Popular Culture 27, no. 3 (December 1993): 21–33. http://dx.doi.org/10.1111/j.0022-3840.1993.00021.x.

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Pinn, Anthony B. "Rap music, culture and religion: Concluding thoughts." Culture and Religion 10, no. 1 (March 2009): 97–108. http://dx.doi.org/10.1080/14755610902786361.

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Lena, Jennifer C. "Voyeurism and Resistance in Rap Music Videos." Communication and Critical/Cultural Studies 5, no. 3 (September 2008): 264–79. http://dx.doi.org/10.1080/14791420802206825.

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Stoia, Nicholas, Kyle Adams, and Kevin Drakulich. "Rap Lyrics as Evidence." Race and Justice 8, no. 4 (January 31, 2017): 330–65. http://dx.doi.org/10.1177/2153368716688739.

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Recent scholarship has shed light on the troubling use of rap lyrics in criminal trials. Prosecutors have interpreted defendants’ rap lyrics as accurate descriptions of past behavior or in some cases as real threats of violence. There are at least two problems with this practice: One concerns the interpretation of art in a legalistic context and the second involves the targeting of rap over other genres and the role of racism therein. The goal of the present work is translational, to demonstrate the relevance of music scholarship on this topic to criminologists and legal experts. We highlight the usage of lyric formulas, stock lyrical topics understood by musicians and their audiences, many of which make sense only in the context of a given genre. The popularity of particular lyric formulas at particular times appears connected to contemporaneous social conditions. In African American music, these formulas have a long history, from blues, through rock and roll, to contemporary rap music. The work illustrates this through textual analyses of lyrics identifying common formulas and connecting them to relevant social factors, in order to demonstrate that fictionalized accounts of violence form the stock-in-trade of rap and should not be interpreted literally.

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Berry, Venise, and Houston A. Baker Jr. "Black Studies: Rap and the Academy." American Music 13, no. 3 (1995): 381. http://dx.doi.org/10.2307/3052627.

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Ben Moussa, Mohamed. "Rap it up, share it up: Identity politics of youth “social” movement in Moroccan online rap music." New Media & Society 21, no. 5 (May 2019): 1043–64. http://dx.doi.org/10.1177/1461444818821356.

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This study examines the discursive and artistic expression of Moroccan youth identity politics through the production and consumption of rap music online, particularly on YouTube. Drawing on multimodal discourse analysis (MDA), the study explores textual, visual, and reception modes and discourses of Moroccan rap songs mediated through songs’ lyrics, video clips, and user comments on the video sharing platform. Focusing on four levels of discourse, namely, narrative and interpersonal representation, genre, modality, and style, the study examines the following key questions: What are the discourses that emerge from the production, circulation, and consumption of online rap music by Moroccan youth? How do online rap production and reception contribute to identity formation among Moroccan youth? To what extent does online rap music contribute to the development of a progressive and alternative social youth movement that challenges dominant cultural and political power relations?

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Uhlig, Sylka, Erik Jansen, and Erik Scherder. "“Being a bully isn’t very cool…”: Rap & Sing Music Therapy for enhanced emotional self-regulation in an adolescent school setting – a randomized controlled trial." Psychology of Music 46, no. 4 (July 21, 2017): 568–87. http://dx.doi.org/10.1177/0305735617719154.

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Music as an effective self-regulative tool for emotions and behavioural adaptation for adolescents might enhance emotion-related skills when applied as a therapeutic school intervention. This study investigated Rap & Sing Music Therapy in a school-based programme, to support self-regulative abilities for well-being. One-hundred-and-ninety adolescents in grade 8 of a public school in the Netherlands were randomly assigned to an experimental group involving Rap & Sing Music Therapy or a control group. Both interventions were applied to six classes once a week during four months. Measurements at baseline and again after four months provided outcome data of adolescents’ psychological well-being, self-description, self-esteem and emotion regulation. Significant differences between groups on the SDQ teacher test indicated a stabilized Rap & Sing Music Therapy group, as opposed to increased problems in the control group ( p = .001; ηp2 = .132). Total problem scores of all tests indicated significant improvements in the Rap & Sing Music Therapy group. The RCT results imply overall benefits of Rap & Sing Music Therapy in a school setting. There were improved effects on all measures – as they are in line with school interventions of motivational engagement in behavioural, emotional and social themes – a promising result.

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Denisova, Anastasia, and Aliaksandr Herasimenka. "How Russian Rap on YouTube Advances Alternative Political Deliberation: Hegemony, Counter-Hegemony, and Emerging Resistant Publics." Social Media + Society 5, no. 2 (April 2019): 205630511983520. http://dx.doi.org/10.1177/2056305119835200.

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The late 2010s have seen the unprecedented rise of Russian rap culture on YouTube. This study delves into the unexplored area of the relationship between rap music, politics, and the Internet audience in Russia. It focuses on the analysis of the production of the most popular rap videos—their narratives, power relations, and socio-political themes, as well as the prevailing patterns in the discussion on socio-political issues by the YouTube audience. The study brings three contributions that identify the power relations in the Russian society that manifest in the field of rap music. First, the Russian-speaking users demonstrate a high level of criticality toward the pro-Kremlin rap music on YouTube and challenge the lies of propaganda rap. Second, pro-government rappers follow the Soviet authoritarian ethos and praise belonging to the collective of elites, while liberal ones adhere to the individual responsibility. Third, we demonstrate the prevalence of patriarchal gender values, including macho politics and unquestioned sexism, which are representative of gender politics in the country. This article proves the importance of socio-political commentary on YouTube and points to the rap videos as the popular hubs for the socio-political debates. Users flow to rap videos and utilize the comment section to have their say on the political context and power relations rather than the music, to engage with others, and to contribute to the emerging collective debate. The comment sections on these rap videos have a unique value for the Russian users who exploit them as the negotiation space in the void of other platforms for social dialogue in Russia.

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James, Robin. "Must Be Love On The Brain?" Journal of Popular Music Studies 32, no. 4 (November 30, 2020): 75–94. http://dx.doi.org/10.1525/jpms.2020.32.4.75.

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As #MeToo activism has revealed cascades of famous and influential men to be serial sexual harassers and rapists, the question of what to do about aesthetically pleasing art made by morally and politically disgusting men has received renewed interest and urgency. I identify two different types of feminist responses to this question. The first kind of response modifies post-feminist and post-race approaches to diversity as a kind of beauty: replacing beauty with disgust, these approaches treat sexism and misogyny as individual-level flaws that can be eliminated through appropriate aesthetic judgments. The second kind of response begins from the premise that centuries of white supremacist capitalist cisheteropatriarchy have shaped our aesthetic principles and conventions such that sexism and misogyny are systemic problems baked into all works of art. I examine how Angela Davis’s revision of Marcuse’s concept of the aesthetic dimension, Katherine McKittrick’s and Alexander Weheliye’s concept of “emulation,” and Rihanna’s vocal performance choices on her 2016 single “Love On The Brain” are all instances of this latter type of response.

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Journal articles on the topic 'Misogyny in rap music'

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