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Argues that Eminem's success reveals that the US is still a white supremacist society. Eminem is seen as part of a long tradition of white sublimation of African American people/culture. He represents both the "whiteness" of US policies/social being & the "Africanness" of its consciousness. The "white shadow" Eminem casts over race relations calls attention to the persistence of white racial oppression. The personal experience of growing up as a white kid in an all-black neighborhood of Detroit is related to reflect on the radical objectification of "whiteness." Eminem's proud projection of "whiteness" is examined, along with his acceptance by the hip-hop underground; & hip-hop's unique contribution to popular culture, including its ability to transform "consumers of popular culture into producers of popular culture." It is concluded that the sublimation of hip-hop occurs when the final product "is gleaned as complete in & of itself, & is regarded as an inevitable outcome of 'the market' or, conversely, of one artists' heroic climb to the heights of stardom & aesthetic perfection.". 9 References. J. Lindroth

AbstractScholars who study rap music have long expressed concerns that criticism of the genre is inextricably linked to stereotypes of young Black men in the United States. Yet minimal research has empirically examined how rap music is linked to race in ways that legitimize and maintain anti‐Black attitudes, particularly attitudes related to crime. This article reviews how scholars have typically challenged seemingly racialized concerns about rap music before surveying the handful of studies that empirically examine attitudes related to rap music, race, and crime. In so doing, this essay highlights a growing need for broader conceptualizations of race/ethnicity and social control.

Rap music has always been under surveillance, and the purpose of this article is to explore the most significant ways that the genre has been influenced by it. It begins with an overview of some of the ways in which surveillance has played a crucial role in the emergence of hip hop in general and rap in particular. It then uses a close analysis of 2Pac's track "Can't C Me" as a point of departure for a broader discussion of the way many of rap's lyrical, structural, and thematic features can be interpreted as a response to the perception of being watched. As this article will demonstrate, despite rap's ostensible emphasis on visibility and recognition, these features indicate a countervailing strain in rap's aesthetic, one that favors invisibility and anonymity.

AbstractThis article reviews the history of scholarship on racial authenticity within studies of rap music and hip hop. The concept of authenticity currently enjoys a central place in sociological work on popular music, subcultures, and racial identity. As a music and cultural form that straddles all three of these fields, the debates surrounding authenticity within rap and hip hop are as contentious as any. Using the year 2000 as an arbitrary dividing line, this article presents the late 20th century foundations of research on authenticity and race within hip hop, then moves on to discuss more recent developments in the academic literature. Despite hip hop scholars' increased emphases on discourses of space and place, and processes of culture and identity formation, the field continues to be framed through notions of essential blackness, and critical interrogations of white hip hop legitimacy. After providing an overview of the state of the field, it is argued that greater attention to language use among hip hop enthusiasts, and a particular emphasis on hip hoppers who fall outside the black–white racial binary will prove fruitful in reinvigorating these longstanding debates. Ethnographic studies of local underground hip hop scenes within the Unites States are recommended as a logical place to begin.

Intro -- Acknowledgements -- Praise for Rap Music and the Youth in Malawi -- Contents -- Acronyms -- Chapter 1: Introduction -- Book Structure -- References -- Chapter 2: Locating Rap in Malawi's Music Industry -- Platforms of Malawian Rap -- The Gospel Turn: Rapping in a "God-Fearing" Nation -- Agency, Art for Art's Sake and the Commercialisation of Malawian Rap -- Music Videos: A Comment -- References -- Chapter 3: The Language of Malawian Rap -- Rappers' Language Choice -- Bars and Punchlines: Judging Rap Skill -- Conclusion -- References -- Chapter 4: Verses of Youth Political Participation -- Disillusionment and Awareness of Exploitation -- Partisan Allegiance and Appeal to Conscience -- Voting as an Exercise of Power -- Conclusion -- References -- Chapter 5: Youth, Alcohol and the Forging of Community -- The Youth and Alcohol: The Midori Factor -- Forging a Community Identity -- Conclusion -- References -- Chapter 6: Reppin' the Ghetto: Space and Identity -- Introduction -- Imagining the Ghetto: Multiple Perspectives -- Conclusion -- References -- Chapter 7: Social Consciousness: The Rapper as an Activist -- Malawian Rap and the Safety of People with Albinism -- Commoditizing the Body -- The Rap Artist and Covid-19 Awareness -- Conclusion -- References -- Chapter 8: Making Rap Malawian: Cultural Appropriation and Authenticity -- Conclusion -- References -- Chapter 9: Conclusion: The Future of Malawian Rap -- References -- Index.

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.