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What do millennial rappers in the United States say in their music? This timely and compelling book answers this question by decoding the lyrics of over 700 songs from contemporary rap artists. Using innovative research techniques, Matthew Oware reveals how emcees perpetuate and challenge gendered and racialized constructions of masculinity, femininity, and sexuality. Male and female artists litter their rhymes with misogynistic and violent imagery. However, men also express a full range of emotions, from arrogance to vulnerability, conveying a more complex manhood than previously acknowledged. Women emphatically state their desires while embracing a more feminist approach. Even LGBTQ artists stake their claim and express their sexuality without fear. Finally, in the age of Black Lives Matter and the presidency of Donald J. Trump, emcees forcefully politicize their music. Although complicated and contradictory in many ways, rap remains a powerful medium for social commentary

What do millennial rappers in the United States say in their music? This timely and compelling book answers this question by decoding the lyrics of over 700 songs from contemporary rap artists. Using innovative research techniques, Matthew Oware reveals how emcees perpetuate and challenge gendered and racialized constructions of masculinity, femininity, and sexuality. Male and female artists litter their rhymes with misogynistic and violent imagery. However, men also express a full range of emotions, from arrogance to vulnerability, conveying a more complex manhood than previously acknowledged. Women emphatically state their desires while embracing a more feminist approach. Even LGBTQ artists stake their claim and express their sexuality without fear. Finally, in the age of Black Lives Matter and the presidency of Donald J. Trump, emcees forcefully politicize their music. Although complicated and contradictory in many ways, rap remains a powerful medium for social commentary. Includes a lyrical (content) analysis of recent rap music of men and women from 2005 to 2015. Analyzes commercial and underground/independent rap music in the United States. Discusses the emergence of queer emcees, the role of Black Lives Matter, and current politics. ; https://scholarship.richmond.edu/bookshelf/1378/thumbnail.jpg

This entry examines multiracial identity from each of the aforementioned perspectives, positing that classification entails more than individual claims and assertions; rather, the interactions between the state, multiracial groups, and personal decisions lead to a more nuanced understanding of the process of multiracial identification. The government plays a critical role in creating the "mark all that apply" (MATA) option on the census. The emergence and influence of multiracial activist organizations advocating for recognition of this population is significant now. Finally, there is considerable social psychological literature addressing mixed-race identity, focusing on the four largest pairings. Early research characterized this population as dysfunctional and pathological; however, current research posits that multiracial identity is fluid, contextual, and normal.

Employing the concept of racial evasion—a derivation of Bonilla-Silva's colorblind ideology theory—the author analyzes 237 songs of underground white and nonwhite rappers from 2006 to 2010. Performing a content analysis on their lyrics, the author finds that white artists make fewer references to racially political and social themes (e.g., racial profiling, police brutality, racist policies) than nonwhite artists—what the author terms racial evasion. The author speculates that white rappers, understanding that they operate in a specifically racialized black and brown cultural art form, deemphasize or mask their racial identity in their lyrics. This tactic is achieved through lyrically referencing hypermasculine tropes such as violence, misogyny, and homophobia to a greater degree than nonwhite artists. This work demonstrates the strategic use of hypermasculine discourse as a rhetorical strategy to achieve "hip hop authenticity" by minimizing or evading racial discourse within this popular cultural form. Furthermore, the author illustrates how the maintenance and manifestation of white male privilege operates via the process of deracialization as a form of meaning making. Ultimately, this work elaborates on the debate of "authenticity" within hip hop studies, providing a window into white racial identity construction within popular culture.

Employing content analysis of 44 songs taken from the Billboard charts between 1992 and 2000, the authors find that all female rap artists in the sample included the cornerstones of rap in their songs: braggadocio, consumption of alcohol and drugs, and "dissin" of female and male rap competitors. More important, the majority of the artists had themes of female agency and empowerment present in their music. However, the artists also had songs that were antithetical to Patricia Hill Collins' Black feminism. Indeed, a majority of the songs examined had women who self-objectified, self-exploited, and used derogatory lyrics when referring to other women. The author finds that these contradictory messages, sometimes by the same artists, nullify the empowering messages that are conveyed and only reproduce and uphold male hegemonic notions of femininity.