"We Stick Out Like a Sore Thumb . . .": Underground White Rappers' Hegemonic Masculinity and Racial Evasion

In: Sociology of race and ethnicity: the journal of the Racial and Ethnic Minorities Section of the American Sociological Association, Band 2, Heft 3, S. 372-386

Abstract

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.