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Journal articles on the topic 'Rap (Music) Music trade'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

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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2

Kwame Harrison, Anthony, and Craig E. Arthur. "ReadingBillboard1979–89: Exploring Rap Music's Emergence through the Music Industry's Most Influential Trade Publication." Popular Music and Society 34, no. 3 (July 2011): 309–27. http://dx.doi.org/10.1080/03007766.2010.522806.

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Mangialardi, Nicholas. "Deciphering Egyptian Rap Ciphers." Middle East Journal of Culture and Communication 12, no. 1 (March 29, 2019): 68–87. http://dx.doi.org/10.1163/18739865-01201004.

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Abstract In this essay, I look at hip hop music in Egypt and examine a popular rap activity known as ‘ciphering’, a verbal jam session in which rappers take turns trading lyrics over a beat. The gatherings I investigate were usually held on public city sidewalks, but Egyptian youth also exchanged short rap videos online with friends in what became a virtual cipher. Through these rap ciphers, Egyptian youth established creative spaces outside the realm of family authority where they could rehearse different selves among friends. The technologies with which they recorded and traded their videos were key to the social experience of ciphering and offered new ways of narrating the self. In this essay, I suggest that ciphering entails more than just rapping; it is a practice entangled in a range of social activities that Egyptian youth do together. Through the ritual of ciphering, rappers affirm their individuality and establish membership in groups.

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4

Draper, Angela. "Review: British Fashion Design: Rag Trade or Image Industry? In the Culture Society: Art, Fashion and Popular Music." Media International Australia 95, no. 1 (May 2000): 273–75. http://dx.doi.org/10.1177/1329878x0009500133.

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Petchauer, Emery. "“Oh boy, I ain’t playin’ no games!”: making sense with youth in the aural imaginary." English Teaching: Practice & Critique 19, no. 3 (May 15, 2020): 365–79. http://dx.doi.org/10.1108/etpc-08-2019-0103.

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Purpose This paper aims to explore how sounds and attunements to particular organizations of sound collide across an English language community learning space. The activities in the paper come from a six-week summer initiative that connected middle school youth with community artists for writing songs and rap lyrics, making beats and hip-hop DJing. Design/methodology/approach This paper draws from the interdisciplinary field of sound studies and, specifically, the concept of aural imaginary to explore the collisions alive and in-motion across the learning space. The paper uses qualitative and ethnographic approaches to explore the research questions. Findings The findings focus on how youth hear certain sounds and organizations of sound in music as “old” and “new,” and how these shifting listening entangle talk, claims and interactions in the learning space. The findings also trace the ways that youth use sound as an active, aural resource to make competing distinctions between rapping, singing and talking. Originality/value This paper reasserts the role of sound in multiliteracies, hip-hop and English education work, keying into the ways it collides with other aspect of the learning space. The paper raises questions about what educators might attune themselves to by considering English education as already taking place in a youth aural imaginary.

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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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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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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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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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10

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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11

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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12

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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13

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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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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15

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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16

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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17

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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18

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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19

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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20

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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21

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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22

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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23

Mäkelä, Niko, Matti Stenroos, Jukka Sarvas, and Risto J. Ilmoniemi. "Truncated RAP-MUSIC (TRAP-MUSIC) for MEG and EEG source localization." NeuroImage 167 (February 2018): 73–83. http://dx.doi.org/10.1016/j.neuroimage.2017.11.013.

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24

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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25

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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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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27

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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28

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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29

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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30

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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31

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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32

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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33

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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34

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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35

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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36

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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37

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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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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Minott, Mark. "Using rap and Jamaican dance hall music in the secondary music classroom." International Journal of Music Education 26, no. 2 (May 2008): 137–45. http://dx.doi.org/10.1177/0255761407088490.

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40

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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Westrol, Michael S., Susmith Koneru, Norah McIntyre, Andrew T. Caruso, Faizan H. Arshad, and Mark A. Merlin. "Music Genre as a Predictor of Resource Utilization at Outdoor Music Concerts." Prehospital and Disaster Medicine 32, no. 3 (February 20, 2017): 289–96. http://dx.doi.org/10.1017/s1049023x17000085.

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AbstractObjectivesThe aim of this study was to examine the various modern music genres and their effect on the utilization of medical resources with analysis and adjustment for potential confounders.MethodsA retrospective review of patient logs from an open-air, contemporary amphitheater over a period of 10 years was performed. Variables recorded by the medical personnel for each concert included the attendance, description of the weather, and a patient log in which nature and outcome were recorded. The primary outcomes were associations of genres with the medical usage rate (MUR). Secondary outcomes investigated were the association of confounders and the influences on the level of care provided, the transport rate, and the nature of medical complaint.ResultsA total of 2,399,864 concert attendees, of which 4,546 patients presented to venue Emergency Medical Services (EMS) during 403 concerts with an average of 11.4 patients (annual range 7.1-17.4) each concert. Of potential confounders, only the heat index ≥90°F (32.2°C) and whether the event was a festival were significant (P=.027 and .001, respectively). After adjustment, the genres with significantly increased MUR in decreasing order were: alternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music (P<.05). Medical complaints were significantly increased with alternative rock or when the heat index was ≥90°F (32.2°C; P<.001). Traumatic injuries were most significantly increased with alternative rock (P<.001). Alcohol or drug intoxication was significantly more common in hip-hop/rap (P<.001). Transport rates were highest with alcohol/drug intoxicated patients (P<.001), lowest with traumatic injuries (P=.004), and negatively affected by heat index ≥90°F (32.2°C; P=.008), alternative rock (P=.017), and country music (P=.033).ConclusionAlternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music concerts had higher levels of medical resource utilization. High heat indices and music festivals also increase the MUR. This information can assist event planners with preparation and resource utilization. Future research should focus on prospective validation of the regression equation.Westrol MS, KoneruS, McIntyreN, Caruso AT, ArshadFH, MerlinMA. Music genre as a predictor of resource utilization at outdoor music concerts. Prehosp Disaster Med. 2017;32(3):289–296.

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42

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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43

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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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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45

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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46

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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Focht, D. R. "Rap Music Videos and Unhealthy Behaviors in Adolescents." AAP Grand Rounds 9, no. 6 (June 1, 2003): 70–71. http://dx.doi.org/10.1542/gr.9-6-70.

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Forman, Murray. "‘Represent’: race, space and place in rap music." Popular Music 19, no. 1 (January 2000): 65–90. http://dx.doi.org/10.1017/s0261143000000015.

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Say somethin' positive, well positive ain't where I liveI live around the corner from West HellTwo blocks from South Shit and once in a jail cellThe sun never shined on my side of the street, see?(Naughty By Nature, ‘Ghetto Bastard (Everything's Gonna Be Alright)’, 1991, Isba/Tommy Boy Records)If you're from Compton you know it's the 'hood where it's good(Compton's Most Wanted, ‘Raised in Compton’, 1991, Epic/Sony)IntroductionHip hop's capacity to circumvent the constraints and limiting social conditions of young Afro-American and Latino youths has been examined and celebrated by cultural critics and scholars in various contexts since its inception in the mid-1970s. For instance, the 8 February 1999 issue of US magazine Time featured a cover photo of ex-Fugees and five-time Grammy award winner Lauryn Hill with the accompanying headline ‘Hip-Hop Nation: After 20 Years – how it's changed America’. Over the years, however, there has been little attention granted to the implications of hip hop's spatial logics. Time's coverage is relatively standard in perceiving the hip hop nation as a historical construct rather than a geo-cultural amalgamation of personages and practices that are spatially dispersed.

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Wegner, Jarula MI. "Rethinking countermemory: Black-Jewish negotiations in rap music." Memory Studies 13, no. 6 (August 29, 2018): 1219–34. http://dx.doi.org/10.1177/1750698018794801.

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The concept of countermemory is frequently used in various, sometimes contradictory ways. This essay aims at further clarifying the concept of countermemory by highlighting its potentials and limits. After revisiting Michel Foucault’s initial use of countermemory, the concept is analysed in three case studies of Black-Jewish negotiations in US Rap music. The analysis shows that the discourse of Black-Jewish relations entered rap music in the 1980s and continues well into the twenty-first century. The concept of countermemory has at least four characteristics. It is necessarily related and in opposition to another memory. It employs two different time horizons and enables transcultural memory negotiations. Finally, there are instances of moderate and radical uses of countermemory. Some characteristics are essential to the concept, while others only occasionally appear. Countermemories can be reactionary or progressive, constructive or destructive, factual or fictitious.

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Harrison, Anthony Kwame. "Racial Authenticity in Rap Music and Hip Hop." Sociology Compass 2, no. 6 (November 2008): 1783–800. http://dx.doi.org/10.1111/j.1751-9020.2008.00171.x.

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