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Rap Music (rap + music)

Distribution by Scientific Domains

Humanities and Social Sciences	44%

Selected Abstracts

Ambivalent Sexism and Misogynistic Rap Music: Does Exposure to Eminem Increase Sexism?,

JOURNAL OF APPLIED SOCIAL PSYCHOLOGY, Issue 12 2007
Michael D. Cobb
We evaluate the oft-repeated but typically untested claim that rap music encourages sexism. We randomly assigned participants to 1 of 3 conditions: no music, misogynistic rap music, and nonmisogynistic rap music. The first study (treated as a pilot; N = 232) weakly demonstrated the differential impact of exposure on male and female participants, but our measures of sexism were unreliable. We then conducted a second study (N = 175) employing well-validated (and more subtle) measures taken from the Ambivalent Sexism Inventory (ASI). While we replicated the weak differential impact of participants' sex, we also find that sexism increased after listening to nonmisogynistic rap music, especially among males. Implications for the debate about labeling and censoring rap music are discussed. [source]

Blackophilia and Blackophobia: White Youth, the Consumption of Rap Music, and White Supremacy

COMMUNICATION THEORY, Issue 4 2003
Bill Yousman
This paper uses the phenomenon of White youth identification with rap music to argue that Blackophilia (manifested by White consumption of Black popular culture) is linked with Blackophobia (fear and dread of African Americans). Coexistent with White youth fascination with hip-hop culture and African American athletes and celebrities is the continuing manifestation of White youth resistance to programs that challenge institutional racism and the attraction of small but significant numbers of White youth to far-right White supremacist groups. The author argues that these phenomena may be best understood as interrelated aspects of White supremacy. [source]

Transcendental alcohol marketing: rap music and the youth market

ADDICTION, Issue 9 2005
JAMES F. MOSHER
No abstract is available for this article. [source]

Changes in the prevalence of alcohol use in rap song lyrics, 1979,97

ADDICTION, Issue 9 2005
Denise Herd
ABSTRACT Aims This paper explores the role of changing images of drinking and alcoholic beverage use in rap music from its beginnings in the United States in the late 1970s to the late 1990s. Design A sample of 341 rap music song lyrics released from 1979 to 1997 were selected using Billboard and Gavin rating charts. Song lyrics were coded for music genres, alcohol beverage types and brand names, drinking behaviors, drinking contexts, intoxication, attitudes towards alcohol and consequences of drinking. Findings From 1979 to 1997, songs with references to alcohol increased fivefold (from 8 to 44%); those exhibiting positive attitudes rose from 43% to 73%; and brand name mentions increased from 46% to 71%. There were also significant increases in songs mentioning champagne and liquor (mainly expensive brand names) when comparing songs released after 1994 with those from previous years. In addition, there were significant increases in references to alcohol to signify glamour and wealth, and using alcohol with drugs and for recreational purposes. The findings also showed that alcohol use in rap music was much more likely to result in positive than negative consequences. Conclusions Many of these findings are consistent with the idea that rap music has been profoundly affected by commercial forces and the marketing of alcoholic beverages. In addition, it is possible that the increase in references to alcoholic beverages in rap music, particularly spirits, is a reflection of a broader advertising culture which increasingly associates African Americans with alcohol use. [source]

Ambivalent Sexism and Misogynistic Rap Music: Does Exposure to Eminem Increase Sexism?,

Global Englishes, Rip Slyme, and performativity

JOURNAL OF SOCIOLINGUISTICS, Issue 4 2003
Alastair Pennycook
In this article I suggest that while recent sociolinguistic work focusing on crossing, styling the Other or language boundaries is raising significant questions concerning how we relate language, identity and popular culture, these insights have largely passed by the sociolinguistics of world Englishes. This latter work is still caught between arguments about homogeneity and heterogeneity, between arguments based on liberal accommodationism, linguistic imperialism or linguistic hybridity that do not allow for sufficiently complex understandings of what is currently happening with global Englishes. Focusing particularly on rap music, I suggest that we need, at the very least, a critical understanding of globalization, a focus on popular cultural flows, and a way of taking up performance and performativity in relationship to identity and culture. [source]

What's Burmese about Burmese rap?

AMERICAN ETHNOLOGIST, Issue 1 2009
Why some expressive forms go global
ABSTRACT Although older Burmese associate contemporary Burmese rap with an indigenous call-and-response genre, younger Burmese rap fans link it only to international models. The content of Burmese raps strikes an outsider as tame, but rap in Burma resembles foreign prototypes closely in its preoccupation with youthful masculine power. In Burma and elsewhere, rap's lyrical contents reflect a libertarian ideology in keeping with its emphasis on the autonomy of individuals and widespread anxieties of and about young males, in particular,this despite many commentators' wish to see in rap an empowering political voice. [rap music, Burma, masculinity, globalization, resistance] [source]