Professional Documents
Culture Documents
Introduction
What does it mean to be a real hip-hop artist? The research paper aims to examine the
hip-hop identities white-passing artists construct and embody. This topic focuses on of a
major aspect of the United States today: socialization and racialization in popular culture.
artists shed light on their experiences growing up and advocate for a better future. Although
there hip-hop has been dominated by the African-American community that created it, more
and more white hip-hop artists have come to fame in the past 8 years. This has been met with
mixed reactions from African-American communities because of the hip-hop identities the
white artists create. While some white artists have like-minded hip-hop identities that speak
on their disadvantages, giving credit to the culture that made them, and try to push our
society forward, other white artists do the opposite by perpetuating racial stereotypes through
their hip-hop identities. This has been raised as a incredibly important aspect in the
socialization of youth consuming this music and furthering our racialized society.
Historically, the United States has dealt with racial tension that has shown waves of
visibility on political forefronts. Whether it is a lack of visibility because of the biased news
industries or focus on international affairs that are deemed more important at the time, the
United States has had a steady rate of racial inequality but not a steady rate of social progress.
This study uses hip-hop as a perspective in understanding the racial tension in the United
States, both the actions that perpetuate stereotypes as well as those standing up against the
social inequality. By understanding the identities white hip-hop artists embody in their music,
there can be a greater understanding in the roles artists play in the consumption of ideas that
With the current wave of social activism including the rise of the Black Lives Matter
our society in the right direction through their music and personal activism. Most recently,
the effort to be stand up against social issues has seen riffs be created between a variety of
groups because what has been said to be cultural appropriation in music. While the presence
of white hip-hop artists could already be considered as cultural appropriation of the genre, the
content of the music is more point of discussion in understanding the identity and purpose of
the artists music. By examining the hip-hop identities depicted by white artists, we can gain
a better understanding of the role artists play in the socialization of consumers and
Literature Review
society and ways to live. The power that artists have at such a high platform gives the
opportunity to for a call for social change. Noted as the symbol for change, hip-hop music
has brought to light the important connection of music and politics (Alridge and J.B 2005).
Hip-hop is genre of music that originated from the Bronx in the 1960s as a way for poor
youth to keep busy. It soon became a powerful outlet for racially marginalized groups in the
1970s. It grew to be a symbol of opposition against the status quo and a call for
transformation among youth (Alridge and Stewart 2005). Increased visibility of the music has
African-American communities. This form of political art spread across the world, giving
Although it became a well known way of protest against inequality across the world,
there has been an increasing amount of tension around the hip-hop community in the United
States when it comes to white individuals consuming the music. The disagreement around the
use of African-American culture is a result of the historical racial inequality within the
United States (Eberhardt and Freeman 2015). With hip-hop music focusing in on the lifestyle
and struggles of marginalized groups, there is conflict behind the consumption of this music
by youth.
oppositional political power (Hutnyk and Sharma 2000). Youth culture is noted for their
inevitable connection to the other and the popular, increasing the power of music and its
words on society. Cultural tourism, the understanding of another group or culture through
media, is a key factor in understanding the consumption of hip-hop music and the ways in
which this could further divide racial groups during a time of political unrest (Jacobson
2015). With the rise of various genres of hip-hop music, a political focus on inequality has
not always been evident in the music. Rather, themes of materialism, violence, drug use have
concerned many as youth consume the music with no background knowledge on the artist
(Jacobson 2015). Inequality has always been a systemic, underlying understanding in the
African American community that experience it firsthand. That being said, there is a focus on
how the consumption of hip-hop music works as a practice of racial formation theory as a
way for individuals to understand groups that they are not familiar with or are not commonly
social with (Young 2015). The consumption of hip-hop music by white youth bring concern
the individual is not a part of the African-American culture that created it, while others see it
as a powerful form of cultural transfer. The debate has been on-going for years, but the
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increasing racial tension in the United States has brought forth the question of how
individuals can consume hip-hop and be a part of social change even outside of the African-
American communities.
from one culture by another culture (Young 2005). For example, the use of African-American
United States. The increased consumption of hip-hop music in mass media brought upon the
use of AAE among white populations, including white hip-hop artists. Its marketable form
brings upon the implication of identity when it comes to standing against social inequality. It
is seen as linguistic appropriation can be taken as figurative form of blackface as lyrics and
other aspects of performance can perpetuate and symbolize racist attitudes (Eberhardt and
Freeman 2015). There is very limited research on whether or not it is acceptable for
gives credit to the group and does right by them in a political manner aligned with the call
Two artists that have been analyzed are newly famous white Australian artist Iggy
Azalea, as well as one of the most well known white artists in the hip-hop world, Eminem.
Iggy Azalea has been noted as an adamant user of AAE, while Eminem has made it a point to
stay away from using AAE (Eberhardt and Freeman 2015). Eminem has been analyzed as a
key player in understanding the position of a white artist in hip-hop. Eminem has been
supported in his understanding of white privilege as someone who has been through their
2014). This differs from the middle-class experience of Australian artist, Iggy Azalea, who
Freeman 2015). She has been looked down upon for her silence during the rise of racial
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political unrest in the United States. Contrary to this, Eminems work from the 90s onward
allowed him to build his rapport, express his own experiences and give credit where its due in
order to gain support in the black hip-hop community (University of Illinois Press 2014). On
the other hand, he has been noted to not do enough against the racial tension in the United
States as a white person in the hip-hop community. There is no specific line that has been
made as to what is appropriate and what is not as white artist in an environment ruled by
racial minorities. The comparison of these two artists have brought to light the ambiguity of
cultural appropriation versus cultural transfer as each individual had a different journey in
Cultural transfer is the give and take of items and ideas from one group to another.
Culture involves meaning, context, and political framework that all come together in order to
solidify the power behind the item or idea (Kim 2015). Hip-hop is commonly said to focus in
on keeping it real, an idea that focuses in on the common experience of inequality that
African American communities face. This creates the idea of racial authenticity: what is seen
as objectively true to one race. There has been a call to counter the racial authenticity in
music (Hutnyk and Sharma 2000). The concept racial sincerity has been coined by John L.
(University of Illinois Press 2014). It focuses on the personal experience of an artist and the
overall story they are telling in order to better recognize their position in the power. Although
people, the identification of culture has become more and more mixed and has allowed for
the creation of a third space (Kim 2015). Cultural transfer with the third space between
point a and b of giving and taking, allows for the dialogue between groups. This space creates
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a better understanding of background, ideas, and opens opportunities for adjustment to power
With the rise of hip-hop in mass media over years, some artists have steered away
from explicitly speaking on social issues of marginalized groups. As a result, of the mass
consumption of hip-hop has brought the practice of racial formation theory among and the
perpetuation of stereotypes based off of assumed racial authenticity. There has not been
enough analysis on political focus of hip-hop artists. Eminem has been the token white artist
analyzed on this topic, but has not been the only white artist to want to create change. Along
with this, the work analyzed is more so focused in his identification with the black
community than the use of his power against social inequality. Analysis on the different
white hip-hop identities present by other white artist needs to be done in order to have a well-
rounded understanding of the political discussion occurring. Along with this, there is work to
be done in understanding the impact of music on youth perception of politics and political
ideas. This all ties together in understanding the way in which artists play a role in
socialization of consumers.
Methodology
This study uses content analysis to examine the different hip-hop identities presented
which involves material already produced as the data to analyze. In order to answer the
research question of what white hip-hop identities are present, conducting content analysis on
music lyrics is the best method of analysis. This research analyzes hip-hop music produced
by white-passing artists between 2010 and 2016 to ensure the research is timely to the social
and political environment of the country. This ties back into the purpose of gaining greater
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knowledge on the kinds of ideas individuals are consuming from those who are in powerful
passing hip-hop artists between 2010 and 2016. It is key to note that the artists could be a
racially diverse background, but are phenotypically white-passing. The artists selected
include Logic, Iggy Azalea, Macklemore and Ryan Lewis, Action Bronson, Eminem, Brother
Ali, Mac Miller, Lil Dicky, G-Eazy, and Post Malone. Three songs from ten different artists
were selected in this process. After trying to find popular music charts, such as the Billboard
Charts, that highlight white-passing hip-hop artists, I found that not many white-passing
artists are on hip-hop charts. That being said, the artists analyzed were chosen through
personal knowledge. After selected the artists, I collected the lyrics of each song from
Genius, a website dedicated to the collection and annotation of music lyrics from a variety of
Wikipedia that allows the continuous editing of songs by community members with the
The collection of the sample brings up two of the three limitations of this study. The
three main limitations of this study includes the lack of music popularity, accuracy of the
lyrics, and genuine connection to the music produced. First, because there were not a
significant amount of white-passing hip-hop artists on major music charts, some of the artists
or songs chosen may not be the most popular or consumed. Although this does not change the
hip-hop identity presented by the white-passing artist, this should be mentioned as part of the
larger idea connected to socialization through mass media consumption. Secondly, many
artists either have part of all of their lyrics written by other individuals in the industry.
Another aspect of this limitation is the chance that the artist is actually speaking about
another individuals experience. Both parts of this limitation tend to the chance of the lyrics
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not being genuine to the artist, but rather be a part of the business of being a musical artist
and aiming to attract a large numbers of consumers. Finally, the third limitation is simply the
accuracy of Genius as the provider of song lyrics. Although they are looked over closely by
hundreds of contributors, there is always a chance of error in mishearing the song lyrics.
Although it is important to note these limitations, I do not believe they completely skew the
research at hand.
After finding my sample and doing the initial analysis of reading through the lyrics of
each song, I began my coding process to create order in the common themes found. With my
initial analysis, I was able to find descriptive and literal codes that gave me a general idea of
key concepts within the data. Then, I coded my main findings into three analytical themes in
order to group my data. Each analytical code created had three sub-codes that helped
identified qualities that attributed to that code. With that, I was able to look for cues and in
order to best understand my material. The meaning of certain colloquial phrases as well as
the mention of specific individuals or experiences commonly related to cultures such as hip-
hop were also considered in the coding as incredibly important aspects of overall purpose of
the music. By coding and grouping my data, I was able to easily define larger ideas that are
Data Analysis
The purpose of this study was to examine the hip-hop identities white-passing artists
present in their music. With the increasing number of white-passing hip-hop artists in the
music industry along with the growth of political activism against the racial tension in the
United States, this analysis dives in to understand the identities of the new wave of white-
passing artists in a historically African-American subculture. This research ties into a greater
thirty hip-hop songs produced by ten artists between 2010 and 2016, I was able to answer my
After collecting and analyzing the data, I was able to find three main identities
presented by white-passing hip-hop artists. (1) The Fighter: White-passing artists who hold
onto the original form of hip-hop as a method of self-empowerment and self-healing; (2) The
Activist: White-passing artists who recognize their role in progressing society forward; (3)
The Money Maker: White-passing artists who portray a lavish, worry-free lifestyle as all they
know. Although some songs have two or even three of the identities portrayed in some
manner, most artists embody the characteristics of one identity most often. In more depth, I
analyze the ways in which each of these identities were depicted and bring to life the ideas
Theme #1
The Fighter: White-passing artists who hold onto the original form
With the origin of hip-hop being an outlet of frustration and a way of pushing either
the self or communities forward, the identity of the fighter by white-passing hip hop artists
shows a continuation of the traditional purpose of the genre, regardless of the moves many
artists have made towards a more happily consumed form of hip-hop that speaks on idealistic
lavish lifestyles.
Artists spoke about their struggles which heavily related to family difficulties,
addiction, and violence. Along with this, there was a sense of personal cheerleading and
therapy that came with speaking those experiences and feelings into their music. Whether it
was growing up in a rough side of the city, having to deal drugs to leave, or struggling to
keep an important relationship going, the use of these experiences heavily tie the white-
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Often, artists have overlapping struggles they speak on and along with this, the use of
religion as a source of strength is prominent in the discussion of both success and struggle..
In Under Pressure, white-passing artist Logic speaks on both his broken relationship with
his father while also mentioning his struggle with addiction, I hate that man, If I see him I
swear I tell him that/No longer cooking crack in my kitchen, cutting, selling that/He broke
my heart, that relationship been to hell and back/I been working hard, I been searching for
God (2014).
Even when artists did not have a struggle to talk about, they spoke heavily on making
their way up to where they are now as a white-passing hip-hop artist. Artists G-Eazy and Iggy
Azalea had lyrics speaking on studying the game, referring to the hip-hop world, in order to
get to where they are now. In the same song by Iggy Azalea, she mentions, No money, no
family/16 in the middle of Miami (2014). Azalea sets herself apart in referring to her move
to the United States from Australia to follow her dream of being a part of the hip-hop culture.
There is a larger sense of racial recognition in the content analyzed, as the artists
highlight their hip-hop identity having to do with their hard work in making it into the hip-
hop circle. In his song What If, G-Eazy highlights the racial imbalance in the hip-hop
world by saying What if the game didnt care I was white/Would I still be selling out shows
every night/Would they all believe in all the hype/Regardless of image (2015). His
society. In itself, the passing race of the artist is portrayed as a struggle. By discussing their
experiences of struggle and success, the white-passing fighter is able to better connect with
Theme #2
music, some stepped up in ensuring they did what they could to stand for their disadvantaged
counterparts. Two main aspects of this was giving credit to African-American artists who
paved the way for them as well as explicitly standing up against the racial inequality present
By giving credit to those who inspired these white-passing artists and paved the way
for many other hip-hop artists, there is recognition of the power the genre has had on society
as a whole. In Macklemore and Ryan Lewis hit single White Privilege II there is a very
clear recognition of the fact that there is history behind the hip-hop genre, Rap entrepreneur,
built his own business/If Im only in this for my own self-interest, not the culture that gave
me a voice to begin with (2016). Artists Eminem and G-Eazy showed a different form of
God, while Eminem speaks on his success he earned from years of hard work, he states,
Furthermore, by giving credit to the creation and purpose of hip-hop, there is a greater
want to be a part of the culture. In his 2015 single, Professional Rapper, Lil Dicky touches
on that exactly by saying he wants to be a part of the hip-hop culture because of the freedom:
I can literally reinvent myself/I get a forum to project myself/ Its never boring, every
morning I wake up and try to best myself. By being in activist in this manner, white-passing
hip-hop artists bring to light the positive aspects of hip-hop and debunk hostility that often
Another form of the activist is seen as explicit narration of inequality in the United
States. Macklemore and Ryan Lewis along with Brother Ali make their position on the
political unrest in the United States very clear. From mentioning the terrorism led by the
United States abroad to discussing the failure of the education system, from gay rights to the
prison industry, a variety of social issues are discussed. The underlying theme in the explicit
activist identity, is the white-driven society. In Macklemore and Ryan Lewis White
Privilege II, the line Your silence is a luxury, hip-hop is not a luxury is repeated at the end
of the song as a reminder that privilege only goes so far. It highlights the activist position
Macklemore and Ryan Lewis take as white-passing artists in the hip-hop world. There is
recognition of identity and call for a more conscious and better led society.
Theme #3:
Many have seen as shift in the consumption of materialistic hip-hop that portrays the
wealthy, dream-like lifestyles of artists who became highly successful. Money, cars, sex, and
never ending fun is the key recipe to this identity. It stands for everything that is desired, but
misses the discussion of making it in the game of hip-hop. Rather, it holds itself above the
struggle by glamorizing drug use and exuberating power that is not granted, which leading to
From Mac Miller to Post Malone, Iggy Azalea to Action Bronson, many hip-hop
artists use drugs and alcohol as a key connection to success. This ties heavily into
conspicuous leisure, a theory coined by Veblen, which recognizes the connection between
consumption of recreation and social capital. With Action Bronson talking about tripping
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acid for ten days straight and Mac Miller speaking about drinking lean, a beverage with
prescription drugs mixed in, the power of the artist is amplified. There is a to show how not
only well off these artists are to be able to afford the consumption of theses drugs, but also
how powerful they must be to discuss these things in their music without talking about
addiction or problems struggling with the law. This marks a point of white privilege as whites
are less likely to have trouble with law enforcement as well as more likely to be able to afford
drug rehabilitation.
In two songs by Post Malone, he speaks on his success by mentioning women and
money in careless ways such as in White Iverson: Spendin, Im spendin all my fuckin
pay/I got me some braids and I got me some hoes (2015). In more explicit ways, he speaks
on his sexual encounters with women in a powerful and demanding manner after mentioning
how he was able to get rich quickly. Similarly, Action Bronson speaks on his success through
his relations with women. By calling himself the symbol for sex and reminds an ex-girlfriend
that her rage is understandable because he is shining brilliant with give Brazilians in his
2015 song Baby Blue, Action Bronson speaks on the high of his lifestyle as a successful
hip-hop artist. Another aspect of Action Bronsons misogynist remarks is the connection of
The use of racism in the money maker identity further creates racial tension that
divides white individuals from the others who are marginalized. There is a sense of a cool
and prestigious standing with the use of racism within this hip-hop identity. Iggy Azalea, who
has been mentioned before in this study, shows a different side with her implied racism when
discussing her race to success, Tire marks, tire marks, finish line with the fire marks/When
the relay starts Im a runaway slave-master (D.R.U.G.S 2011). While Iggy Azalea uses
the history of slavery in the United States as a way of discussing her opposition and fight to
the top, Action Bronson uses the imagery of slavery as a form of power: The best of all, had
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a midget Puerto Rican at my beck and call (Easy Rider 2015). Racist remarks aid in
increasing the racial tension as white-passing artists hold a colorblind mindset towards the
Conclusions
By examining the identities white hip-hop artists present in their music, there is a
greater understanding of the kind of ideas that are being consumed by the masses. Not only
do white-passing artists add onto the number of hip-hop artists in the game, but white-passing
artists automatically act as either allies or assailants to the African-American community that
created hip-hop. With the current political unrest in the United States surrounding the historic
racial tension, it is important to recognize the ideas we are consuming in our everyday mass
media. Analyzing the work of ten white-passing artists brought to light three major identities
that are present in hip-hop music and gives way to understanding the role of white-passing
artists in music.
The fighter is identified as the white-passing artist who hold onto the original form of
hip-hop. This identity holds to the main purpose of hip-hop at its coreempowering and
healing the artist and their community. By embodying this identity, white-passing artists are
able to show the struggle of the disadvantaged, regardless of race or ethnicity. It allows for
The activist is the white-passing artists who recognize their role in progressing society
in a positive manner. By embodying this identity, the white-passing artist highlights the
power of hip-hop as something that truly reaches so many individuals over so many years.
Those who construct this hip-hop identity for themselves recognize their position in the
The money maker can be defined as the white-passing artists who disregard struggle
and live the lifestyle of fame and fortune, portraying a sense of power that perpetuates racism
and a desire for mass consumption of drugs. This identity sets others apart as they allow for
there is a fair amount of knowledge on the kind of ideas being portrayed in mass media. The
fighter and activist identities could be very beneficial in helping build a better understanding
of hip-hop, the African-American community, and push forward against the racial tension in
the United States. It is clear that the money maker identity is that which brings the struggle of
cultural appropriation and racial tension in a genre that always strived to do good, for the
each and every hip-hop artist in having a more positive messages, it is good to recognize that
there are white-passing artists who are standing up for the purpose of keeping hip-hop on the
right track of political and social progress. To further the research on the intersection of hip-
hop and political engagement, it would be beneficial for further research to look into the hip-
hop identities constructed and embodied by other racial minorities as a point of comparison.
The power of hip-hop is something that is underestimated and the consumption of the ideas
spread through this music could change our world for the better.
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Bibliography
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Eberhardt, M., and Freeman, K. 2015. First things first, I'm the realest: Linguistic
appropriation, white privilege, and the hip-hop persona of Iggy Azalea. Journal of
Hutnyk, J., and Sharma, S. 2000. Music & Politics. An Introduction. Theory,
Jacobson, Ginger. 2015. Racial Formation Theory and Systemic Racism in Hip-Hop
Kim, J.-A.. 2015. Cultural Transfer as a Branch of Research for Music Sociology
Wiggers or White Allies?: White Hip-Hop Culture and Racial Sincerity. 2014.
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