den här uppsatsen undersöker jag hur svenska rapmusiker ser på sina möjligheter att uttrycka sig fritt efter uppståndelsen kring den så kallade Mr-Cool affären. Resultatet bygger på intervjuer med sex svenska rappare och tyder på att dessa inte låtit sig påverkas i någon större utsträckning, men studien visar samtidigt på att svenska rappare har en stark artistisk integritet och ett motstånd mot mainstreamkulturen i samhället. Moralpanik och yttrande- och skapandefrihet som studien delvis berör visar sig även engagera dem på ett personligt plan.

The objective of this research is to examine the effects that different methods of RAP stockpile fractionation have on the volumetric mix design properties for high-RAP content surface mixes, with the goal of meeting all specified criteria for standard HMA mix designs. The processing of RAP materials results in the degradation of the aggregate structure of the original pavement. The increased presence of fine RAP materials in the stockpile can be attributed to the amount of crushing done on the RAP millings. Fractionation methods were designed to separate the stockpile at certain sizes to isolate the fine RAP materials which contained higher amounts of fine aggregate and negatively impacted the volumetric properties of the mix design. These isolated RAP materials were used in reduced proportions or completely eliminated, thereby decreasing the amount of fine aggregate material introduced to the mix. Mix designs were created using RAP materials included from each original stockpile and the two fractionated stockpiles created from each original stockpile at high-RAP contents of 30%, 40% and 50% by virgin binder replacement. Fractionation of RAP materials was effective in improving the volumetric properties of high-RAP content mixtures through reduction of fine aggregate material introduced by the RAP materials.

Adolescent depression affects up to 24% of adolescents before adulthood and is linked with serious outcomes. However as only 25% of affected adolescents in Australia receive appropriate assistance the prevention of adolescent depression has a high priority. Risk and protective factors exist in the individual, family, school and society, but the connection between these factors is often uncertain. Prevention at the individual level has been found to be successful but despite the importance of family factors there is little research into prevention at the family level. Because of the difficulty in engaging parents in preventive interventions it has been suggested that convenient, flexible delivery interventions may achieve better penetration. This study evaluates in two stages the Resourceful Adolescent Parent Program (RAP-P), a positively-focused family-based intervention for parents which has been developed to fill the need for a universal preventive intervention for adolescent depression. Firstly the study evaluates the theoretical basis for RAP-P by developing and testing models linking the family-based psychosocial risk and protective factors for teenage depression that are addressed by RAP-P, and the family systems factors underpinning these. No previous models linking these variables could be found in the literature. The study then evaluates two formats of RAP-P, one of three facilitated workshops attended by parents; the other a videotaped flexible delivery format for use at home, developed to overcome parents' poor involvement in preventive programs. Participants were 242 adolescents in Year 8 and 361 of their parents, recruited from eleven schools in Brisbane, Australia. Schools were randomly allocated to one of three conditions: workshop intervention, video intervention and control. Adolescents and parents completed measures at pre-test, post-test and 15 month follow-up. Based on the current adolescent depression literature and Bowen Theory, four models were developed, tested using structural equation modeling and confirmed after minor revisions. The first model examined links between adolescents' depression and the family based risk factors of parent-adolescent conflict and adolescents' negative perceptions of their parents' interactions with them, and the protective factor of parental attachment. Other models, based on Bowen Theory, examined the trans-generational transmission of differentiation of self from the adolescents' grandparents (generation 1) to the adolescents' parents (generation 2) and the effects of parents' differentiation and anxiety on the third generation adolescents' perceptions of their mothers, attachment and depression. The second part of the study examined the implementation and efficacy of the two formats of RAP-P. Predictions that the convenience of the flexible delivery format of RAP-P would result in better recruitment and lower attrition than for the workshop format were not supported, with the flexible delivery format encountering poorer recruitment and higher attrition. Predictions that parents' evaluations of both formats would be equally positive were not supported; the flexible delivery format was consistently evaluated less positively than the workshop format. However parents perceived both formats to be of similar benefit to them. Parents in the intervention conditions were predicted to exhibit better differentiation and lower anxiety than those in the control condition, resulting in their adolescents experiencing less intense conflict over fewer issues and appraising their parents more positively, and consequently exhibiting better parental attachment and lower levels of depression. The level of improvement was predicted to be related to the level of parental engagement in the interventions. However parents and adolescents in the intervention conditions did not show any positive effects of the interventions at post-test or follow-up. Parents who were engaged in the interventions and their adolescents similarly did not show any measurable benefits from the intervention. Thus this study has found support through modeling for the theoretical basis for RAP-P. Parents' feedback strongly supported the overall thrust and ethos of RAP-P and particularly of the workshop format, indicating that the intervention targeted the right factors in the right way. However the interventions did not achieve measurable improvements for parents or adolescents within the time frame of the study. With models supporting the appropriateness of the measured variables it appears that the potency of the intervention was insufficient. Finally the study found that the use of a flexible delivery videotape intervention did not achieve its goal of increased participation and was still very costly of resources.

<p>Hiphop och Rap är en kultur med stark genomslagskraft över hela världen och även bland ungdomar i Sverige.  Syftet med detta examensarbete är att, genom kvalitativa forskningsintervjuer med fem stycken respondenter, undersöka hur ungdomarna som ägnar sig åt Rap i sitt musikskapande kan skildra sin omvärld samt att undersöka hur de beskriver att deras skildringar behandlas i skolan. För att operationalisera syftet valde jag att ha en grupp högstadie- och gymnasieelever som ägnar sig åt Rap som undersökningspersoner. Resultatet visar på att ungdomarna via sitt musikskapande skildrar en ambivalent inställning till det egna bostadsområdet, där interaktioner med polisen, droger och våldsamheter kan vara en del av vardagen. Samtidigt skildras även förorten som en kärleksfull plats där barndomsminnen och de närmaste vännerna även beskrivs. Återkommande teman i respondenternas musikskapande är genomgående livet i förorten.  Vidare visar resultatet att uppfattningen om hur skolan behandlar den värld som skildras genom musiken skiljer sig mellan respondenterna beroende på vilket stadie de studerar vid.  Slutsatserna visar på att olika socialisations processer spelar en stor roll i valen av teman hos respondenterna. Samt att högstadieskolorna på ett mer användbart sätt behandlar den omvärld som respondenterna skildrar i sin musik.</p> / <p>Hip Hop and Rap is a culture with a strong appeal worldwide and also among young people in Sweden. The purpose of this thesis is that, through qualitative research interviews with five respondents, to examine how young people that are engaged in the RAP in its music creation can depict the world around them and to examine how they describe their depictions are treated in school. To meet the purpose of this essay, I chose to have a group of junior high school students and high school students that are engaged in RAP as study subjects. The results show that the respondent through their music creation depicts an ambivalent attitude towards their own neighborhood, where interactions with police, drugs and violence can be a part of everyday life. At the same time also depicted suburbia as a loving place where childhood memories and closest friends are also described. Recurring themes in respondents' music-making is consistently the life in the suburbs. Furthermore, the results show that the perception of how the school treats the world as depicted through the music is different between respondents depending on which stage they are studying at. The findings suggest that different socialization processes play a major role in the choice of themes among respondents. And that secondary schools in a more useful way deals with the outside world as respondents depict in their music.</p>

Hiphop och Rap är en kultur med stark genomslagskraft över hela världen och även bland ungdomar i Sverige.  Syftet med detta examensarbete är att, genom kvalitativa forskningsintervjuer med fem stycken respondenter, undersöka hur ungdomarna som ägnar sig åt Rap i sitt musikskapande kan skildra sin omvärld samt att undersöka hur de beskriver att deras skildringar behandlas i skolan. För att operationalisera syftet valde jag att ha en grupp högstadie- och gymnasieelever som ägnar sig åt Rap som undersökningspersoner. Resultatet visar på att ungdomarna via sitt musikskapande skildrar en ambivalent inställning till det egna bostadsområdet, där interaktioner med polisen, droger och våldsamheter kan vara en del av vardagen. Samtidigt skildras även förorten som en kärleksfull plats där barndomsminnen och de närmaste vännerna även beskrivs. Återkommande teman i respondenternas musikskapande är genomgående livet i förorten.  Vidare visar resultatet att uppfattningen om hur skolan behandlar den värld som skildras genom musiken skiljer sig mellan respondenterna beroende på vilket stadie de studerar vid.  Slutsatserna visar på att olika socialisations processer spelar en stor roll i valen av teman hos respondenterna. Samt att högstadieskolorna på ett mer användbart sätt behandlar den omvärld som respondenterna skildrar i sin musik. / Hip Hop and Rap is a culture with a strong appeal worldwide and also among young people in Sweden. The purpose of this thesis is that, through qualitative research interviews with five respondents, to examine how young people that are engaged in the RAP in its music creation can depict the world around them and to examine how they describe their depictions are treated in school. To meet the purpose of this essay, I chose to have a group of junior high school students and high school students that are engaged in RAP as study subjects. The results show that the respondent through their music creation depicts an ambivalent attitude towards their own neighborhood, where interactions with police, drugs and violence can be a part of everyday life. At the same time also depicted suburbia as a loving place where childhood memories and closest friends are also described. Recurring themes in respondents' music-making is consistently the life in the suburbs. Furthermore, the results show that the perception of how the school treats the world as depicted through the music is different between respondents depending on which stage they are studying at. The findings suggest that different socialization processes play a major role in the choice of themes among respondents. And that secondary schools in a more useful way deals with the outside world as respondents depict in their music.

This dissertation examines the various ways in which pop-cultural illustrations of the “bad nigger” figure beginning in the late 1960s helped to shape the kinds of defiant and oppositional practices that define the lives of black male youths today. I offer a brief history of the cultural and literary trope of the so-called “bad nigger.” I not only chart the cultural and political expressions of the “bad nigger” trope from the antebellum South to the industrial North, I also offer a critique of these accounts of defiant black male behavior that have dominated much of the intellectual discourse. Writing on the Streets: Urban Literature’s Black Male Hero does not pretend that the struggles of poor black inner-city life are somehow romantic or dramatic. What this dissertation does do, however, is offer popular black male cultural productions as a new critical site for engaging the cultural politics of economic power and racial oppression. Much of the scholarship on black male youth culture fails to engage popular texts that respond to black peoples’ negotiation of global issues. The works that do engage popular expressions and cultural productions often underestimate the importance violence, defiance, and opposition plays in the construction of a black male identity, not just for poor urban black male youths, but for men of color in general. Thus, this dissertation intends to magnify the need for more critical inquiry into popular cultural productions such as “street literature” and rap music, both of which contain poetic as well as practical elements of community uplift and self-empowerment and engage issues of cultural nihilism and self-destruction. This project’s focus on non-canonical texts follows bell hooks’ methodology and whose intellectual philosophy argues for “learning in relation to living regular life, of using everything we already know to know more. Merging critical thinking in everyday life with knowledge learned in books and through study has been the union of theory and practice that has informed my intellectual cultural work” (hooks 2). My hope, therefore, is that the readings I offer here will open the possibility for scholars and students of literature to consider more earnestly the importance of popular cultural productions in black communities. Furthermore, I write this dissertation in an effort to convince cultural and literary critics to concern themselves with the unique history and plight of poor urban black males confronting oppression and struggling in this criminal society.

Reproduction de : Thèse de doctorat : Sociologie : Paris 8 : 2007. / Titre provenant de l'écran-titre. Bibliogr. p. 312-320. Discogr. p. 321-325. Glossaire.

Thesis (M.S.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains iii, 45 p. Includes abstract. Includes bibliographical references (p. 34-37).

Religion and music are two cultural entities that have been closely related over time (Bossius, Harris &amp; Häger 2010:1). To investigate this close relationship the author of this paper has chosen to use two theories. The first is the secularization theory as it is presented by James A. Beckford in his book Social Theory &amp; Religion (2003), which expresses the idea that religion will become less visible in a society as it evolves and progresses. The second theory is based on music and is brought forth by Theodor A. Adorno in his paper On Popular Music (2008); it states that popular music is highly standardized and inevitably inferior to “Serious” music. The two theories will be used in researching and trying to understand how religion and music are interrelated to each other in Fiasco’s music and to investigate if the artist uses private or public religion in his music, furthermore the standardization theory will be used to see if his music and message are standardized. The aim of this paper is use the aforementioned theories by James A. Beckford and Theodor A. Adorno and see how they work in cohesion with Lupe Fiasco.The conclusion of this paper is that religion is influential and relevant in Lupe Fiascos music. In all his songs that have been released on CD: s, a total of 54 songs; 42 of these songs contained a religious word or phrase. This shows that the secularization theory, which stated that religion, would diminish and disappear from the public sphere the more modern a society got is not the case within the investigated artist and his music. The artists’ use of religion was a mix between public and private religion depending on the theme and message of the song. The second theory, which stated that popular music is standardized, could be verified, the message in Lupe Fiascos music is not new and neither it the music that he makes use of, even though the artist tries to give it a new sound. All music is standardized within its own genre and therefore will sound similar/standardized for one who is uninitiated within the different genres. Keywords: popular music, Religion, Lupe Fiasco, secularization, standardization, rap music.

The purpose of this ethnographic study was to explore how youth consumption of rap music informed their ideas of gender, race, sexuality, and education at a local community center in Atlanta, Georgia. The participants in the study were comprised of three male and six female Black students from working class families, ranging in age from 13–17 years old. The data collection process included 60 formal interviews, 55 informal interviews, 27 focus group interviews, 103 participant observations, and document analyses of media materials. Atlas.ti: The Knowledge Workbench (2003) assisted with the organizing, coding, categorizing, and interpreting of the vast amount of data. Findings from the study revealed four major themes: (a) youth’s engagement with rap music fostered essentialized notions of Blackness, (b) teens believed that Blacks were intellectually inferior, (c) youth perceived their classroom teachers as racist and (d) youth responded to their teacher’s perceived racism by disassociating themselves from youth they believed to be academically inferior. The findings of this study addressed the need for candid dialogues about race in the classroom and educational policy that incorporates critical media literacy.