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This paper presents findings from an ethnographic study of Christian hip hop music performed and practiced in Central Texas. I examine the emerging Christian rap scene through the experiences of members of the local social group known as The 51210 Movement. The 51210 Movement includes various Christian rappers, singers, songwriters, musicians, producers, and sound technicians. Their activities center on the multiple uses of Christian rap within their local communities. The central Texas Christian rap scene is situated within the musically rich city of Austin, the “Live Music Capitol of the World,” and San Antonio, a culturally and religiously diverse city. I focus on how members of The 51210 Movement use Christian rap as a proselytizing and pedagogical tool, how Christian rappers work together to create a self-perpetuating Christian rap scene, and how members of The 51210 Movement negotiate the interplay between the sacred and secular forms of rap to maintain religious authenticity.

The purpose of this paper is to examine and discuss the classification of commercial popular music when large digital collections are organised for use in films.

A range of systems are investigated and their organization is discussed, focusing on an analysis of the metadata used by the systems and choices given to the end‐user to construct a query. The indexing of the music is compared with a check‐list of music facets which has been derived from recent musicological literature on semiotic analysis of popular music. These facets include aspects of communication, cultural and musical expression, codes and competences.

In addition to bibliographic detail, descriptive metadata are used to organise music in these systems. Genre, subject and mood are used widely; some musical facets also appear. The extent to which attempts are being made to reflect these facets in the organization of these systems is discussed. A number of recommendations are made which may help to improve this process.

The paper discusses an area of creative music search which has not previously been investigated in any depth and makes recommendations based on findings and the literature which may be used in the development of commercial systems as well as making a contribution to the literature.

Rap music subordinates music to language. It is this emphasis on language that can make rap a vehicle for many ideas, if that is the rapper's intention. Playthell Benjamin, former academic and freelance writer for such magazines as the Village Voice and Emerge, believes that rappers can be divided into distinct groups, based on the message or non‐message conveyed. He groups rappers as “Narcissists, didactics, party‐time rappers, or gangsters” based on the content of their rapping. Any rapper who falls into one of these groups can have political significance for blacks, whites, women, liberals, conservatives, Jews, Muslims, and Christians. Narcissists frequently refer to women as mere sex objects, the worst example being the group 2 Live Crew, and less offensive examples being L.L. Cool J. and Big Daddy Kane. Didactics are the chief proponents of Afrocentric thinking and revisionist history. Representatives of this style would be Public Enemy, KRS‐One, and X‐Clan. Party‐time rappers, such as Heavy D and the Boyz or Biz Markie, are rarely serious, but sexism and homophobia can be elements in their raps. Gangster rappers N.W.A., Ice‐T, and Ice Cube are currently receiving a lot of attention from the press, and violent behavior characterizes their lyrics.

This paper builds upon a new era of research seeking to understand variability in how desirable outcomes result from engaging rap music as a health enhancing artifact. More specifically, the study explores the music mediated pathways to individual and community well-being. The study emphasizes female music engagement. Quantitative methods are used to examine listening habits and preferences associated with empowering rap music engagement among a female sample of 202 university students using an a priori established path analysis model. Results echo prior research that suggests the functional value of music in helping to define the self independently and articulate one’s social identity within the context of community (Dixon, Zhang, & Conrad, 2009; Hill, 2009; Travis & Bowman, 2012). Specifically, results suggest that among females in this sample, (a) their appropriation of rap music can be empowering, (b) specific factors play a significant role in determining the difference between females that feel more or less empowered from their interactions with rap music, and (c) female listeners were more likely to appropriate rap music for personal and community growth if it was their favorite music type, if they listened often, and if they tended to listen alone more often than with friends. These research findings offer promising routes for more in depth qualitative analysis to help uncover the nuances of preferred engagement strategies and to help define the subjective lived experiences that lead to feeling empowered by music to act toward positive change for oneself and others. Practical results indicate the possibility for gender-specific education, therapeutic or empowerment-based programs that utilize rap music as a rubric.

Purpose – We review the literature on the general effects of rap music and discuss in detail those studies that purport to examine how it affects attitudes and behavior related to violence and misogyny.Methodology – Critical review of the popular and scholarly rap music literature.Findings – We describe four critical weaknesses in this literature that limit our ability to draw firm conclusions on rap music's effects: (1) the nonempirical nature of most writings on rap; (2) vagueness regarding the precise relationship between rap music and attitudes and behavior, and the associated lack of theoretical perspectives in rap literature; (3) the exclusion of the perspectives of rap music listeners in most studies; and (4) the drawbacks of both experimental research and existing ethnographic studies in this area.Value of chapter – Based on the deficiencies in the literature, we provide recommendations for future work and discuss why it is imperative, despite the many challenges that exist, to conduct research on rap music and its effects.

Purpose – We use data from the United States and Finland, a literature review, and historical analysis to understand the concept and role of cool within global consumer culture.

Methodology/approach – This is a conceptual review and qualitative analysis of data from depth interviews, journals, and online discussion groups in two U.S. locations and one Finnish location.

Findings – Cool is a slang word connoting a certain style that involves masking and hiding emotions. As cool diffuses we find that it is both distilled and diluted. The concept itself has also evolved. What was once a low-profile means of survival and later a youthful rebellious alternative to class-based status systems has become commoditized.

Research limitations/implications – The study has been conducted in two cultures with a limited range of ages thought to be most susceptible to the appeal of being cool.

Practical limitations/implications – Marketers may not yet have exploited cool as effectively as they have exploited sex, but mainstream consumers now look for cool in the marketplace more than within themselves. The result is a continuous race to offer the next cool thing.

Originality/value of chapter – It is argued that coolness is a new status system largely replacing social class, especially among the young.

Purpose – The purpose of this chapter is to develop a framework for understanding deviant genres of music. Although it seems destructive, deviant music has positive effects, and can encourage greater socialization into the larger society.

Design/methodology/approach – By looking at deviant music of the past, it is possible to see more clearly why such music was created, and what functions it has in society. Three main functions were identified: social criticism, spreading the news, and public catharsis of outstanding events.

Findings – These three functions are found in deviant music today. But there are differences. Heavy metal, a counter culture, uses offensive language and images to repel unwanted outsiders and thus avoids commercialization. Grunge, music of a drop out culture, became popular and lost some of its alternative identity. Rap started as a legitimate African American youth art form but was hijacked by the music industry and has expanded beyond a meaningful art world. This has left both artists and listeners vulnerable to a distorted image.

Originality – The real value of deviant music is its historical record of the inner world of subcultures.

Purpose – The aim of this chapter is to theorize and describe the main characteristics of the social construction of the policy of electro-amplified popular music (EAPM) in the French context.

Design/methodology/approach – To explain the significance and the institutionalization of EAPM through the conflict and mediation between two modes of legitimation of the rebellion and recognition of identity: deliberative rationality and verbalization of protest, on the one hand, and “musicalization” of revolt and globalization of the rebellious feeling attitude, on the other hand.

Findings – The meaning of the so-called “musicalization of revolt” is defined. This phenomenon emerged, in France, at the end of 1960s, after a long and traditional period of “politization” and rationalization of protest. The main sociological and economic dimensions of this new historical process are designated: a special standardization of the emotional expression and a transcultural and global matrix of rebellion. Then, the public policy of EAPM is examined in depth. The paradox of the French voluntarism (the regulation of EAPM practices) is accentuated. What to do with the liberal origin of these styles and the institutional policy that began in 1982? Why and for what reasons has this public policy been still going on? What are the advantages of the public support from musicians’ as well as local and national authorities’ point of view? What are the topics of EAPM public policy (support for social creation, status of drugs, and ritualization of violence)?

Originality/value of chapter – This academic text offers some key concepts explaining the normalization of the emerging and anarchistic musical cultures.