ABSTRACT
Th e cursory spectator might easily characterize hip-hop as a nonsensical form of entertainment that glorifi es misogyny, Black-on-Black violence, consumerism, and hyper-masculinity. Although there are derivative forms of hip-hop that serve as cheap entertainment, hip-hop also has various aesthetic contributions which allow it to operate as a springboard for discourse surrounding youths’ attitudes and beliefs about issues such as identity, violence, marginalization, hegemony, resistance, and social justice (Cohen, 2007). Since its beginnings, hip-hop has branched out into many forms, including ole school hip-hop, gangsta rap, dirty south rap, and raggaeton, and no single description fi ts all of them accurately. Nevertheless, the idea of “keepin’ it real” seems present across all forms of hip-hop (Rose, 1994), and is the element that diff erentiates it from other musical genres. However, while most rappers claim to represent “reality” in their music, they are actually attempting to depict the experiences of marginalized or hood life.
