Listening to Rap: Cultures of Crime, Cultures of Resistance
Listening to Rap: Cultures of Crime, Cultures of Resistance
Julian Tanner, University of Toronto Mark Asbridge, Dalhousie University Scot Wortley, University of Toronto
This research compares representations of rap music with the self-reported criminal behavior and resistant artirudes of the music's core audience. Our database is a large sample of Toronro high school studenrs (n = 3,393) from which we identify a group of listeners, whose combination of musical likes and dislikes distinguish them as rap univores. We then examine the relationship between their cultural preference for rap music and involvement in a culture of crime and their perceptions of social injustice and inequity. We find thar the rap univores, also known as urban music enthusiasts, report significantly more delinquent behavior and stronger feelings of inequity and injustice than listeners with other musical tastes. However, we also find thar the nature and strengths of those relationships vary according to rhe racial identity of different groups within urban music enthusiasts. Black and white subgroups align themselves with resistance representations while Asians do not; whites and Asians report significant involvement in crime and delinquency, while blacks do not. Finally, we discuss our findings in light of research on media effects and audience reception, youth subcultures and post-subcultural analysis, and the sociology of cultural consumption. Thinking About Rap The emergence and spectacular growth of rap is probably the most important development in popular music since the rise of rock 'n' roll in the late 1940s. Radio airplay, music video programming and sales figures are obvious testimonies to its popularity and commercial success. This was made particularly evident in October 2003 when, according to the recording industry bible Billboard mzgnzme, all top 10 acts in the United States were rap or hip-hop artists;' and again in 2006, when the Academy award for Best Song went to It's
Julian Tanner, University of Toronto Mark Asbridge, Dalhousie University Scot Wortley, University of Toronto
This research compares representations of rap music with the self-reported criminal behavior and resistant artirudes of the music's core audience. Our database is a large sample of Toronro high school studenrs (n = 3,393) from which we identify a group of listeners, whose combination of musical likes and dislikes distinguish them as rap univores. We then examine the relationship between their cultural preference for rap music and involvement in a culture of crime and their perceptions of social injustice and inequity. We find thar the rap univores, also known as urban music enthusiasts, report significantly more delinquent behavior and stronger feelings of inequity and injustice than listeners with other musical tastes. However, we also find thar the nature and strengths of those relationships vary according to rhe racial identity of different groups within urban music enthusiasts. Black and white subgroups align themselves with resistance representations while Asians do not; whites and Asians report significant involvement in crime and delinquency, while blacks do not. Finally, we discuss our findings in light of research on media effects and audience reception, youth subcultures and post-subcultural analysis, and the sociology of cultural consumption. Thinking About Rap The emergence and spectacular growth of rap is probably the most important development in popular music since the rise of rock 'n' roll in the late 1940s. Radio airplay, music video programming and sales figures are obvious testimonies to its popularity and commercial success. This was made particularly evident in October 2003 when, according to the recording industry bible Billboard mzgnzme, all top 10 acts in the United States were rap or hip-hop artists;' and again in 2006, when the Academy award for Best Song went to It's