The purpose of this essay is to investigate the confrontation of the Facebook group that was developed in response to the interview with the rap artist Greekazo in Malou Efter Tio. The study investigates the research questions: How is the discursive practice of Facebook utilized to challenge a mainstream television production? How are the stereotypes of contemporary marginalized rap artists reproduced in the Swedish news media? Our key interest lies in the moment of conflict between a section of the public and a mainstream media organization where we discuss how the media representation of a Swedish contemporary rap subculture is confronted by a minority of people online. To support the research questions, the study relies on two additional working questions: How do resistance and group formations develop in terms of dynamics within the Facebook comment section of Malou Efter Tio? Why are the stereotypes of contemporary marginalized rap artists reproduced this way in the Swedish news media? The focus is to analyze how the discursive formation of Facebook presents alternative viewpoints to challenge the mainstream media.  The theoretical framework of the essay is constituted by the theory of social discourse in which we have embarked on the critical discourse theory (CDA) by Norman Fairclough (1993). This approach uses theories and methods to theoretically problematize and investigate the relationship between the text, the discursive practice, and the sociocultural dimension (Fairclough, 1993; Winther Jørgensen & Phillips, 2000). The notion of media representation has been approached from two perspectives: The Agenda Setting theory and the Framing Theory, here we have particularly emphasized the idea of moral panic in which we have investigated how Malou Efter Tio was speaking about moral panic fears concerning the contemporary rap subculture in Sweden.  Previous research includes Djerf-Pierre and Shehata (2017) in which they applied the Agenda Setting theory in a Swedish news media environment, Nilsson (2009) who investigated the media representation in Swedish television, Lindholm (2014) who researched the notion of self-presentation in Swedish rap music, and Johnen, M., Jungblut, M. & Ziegele, M. (2018) who investigated what incites participation in online discussions.  In the analysis, we distinguished three prominent themes: social injustice, responsibility, and solidarity. These themes were established from the selection process in which 19 Facebook comments were collected and analyzed through the critical discourse analysis. The study showed how the Facebook discourse was utilized as a space for resistance of which the dispute betokened an abruption in ideology. This abruption was consequently challenged by the Facebook users in which they collectively built authority throughout the affordances of the Facebook discourse. The study will end with a discussion concerning the role of Facebook in a wider context in which the democratic space of the platform is contextualized from a societal and political point of view.

I slutet av 1990-talet kom en våg av rapmusik på svenska som populariserade genren. En scen för engelskspråkig rap i Sverige hade funnits sedan 1980-talet men de tidiga försöken med rap på svenska fick sällan varma mottaganden. Idag är svensk rap större än någonsin. Ny teknik gör det lättare och snabbare att producera och distribuera musik vilket har lett till att svensk rap ytterligare har populariserats. Denna uppsats analyserar användningen av engelska i populär svensk rapmusik från två olika tidsperioder. Syftet är att se hur engelska blandas med svenska och hur detta kan ha förändrats över tid. Analysen undersöker var i den musikaliska och grammatiska strukturen kodväxlingen inträffar, och om kodväxlingen har någon pragmatisk funktion efter Sarkar och Winers Quebec-studie (2006). Materialet är hämtat från svenska Grammisgalan där de utvalda artisterna har fått nomineringar för sina verk. Det äldre materialet är låtar nominerade under åren 1999-2003, det nyare materialet är låtar som nominerades under åren 2016-2020. / In the late 1990’s Sweden saw a wave of rap music in Swedish that set a standard and popularized the genre. A scene for English spoken rap in Sweden had existed since the 1980’s but earlier attempts of rap in Swedish was often seen as something rather uncool. Today Swedish rap is bigger than ever. New technology makes producing and distributing music easier and faster which has led to the expansion of Swedish rap.    This paper analyzes the use of English in popular Swedish rap music from two different time periods. The purpose is to see how English is mixed in with Swedish and how this may differ between the different time periods. The analysis examines where in the musical and grammatical structure the changes occur, and if the switching has any pragmatic function after Sarkar and Winers Quebec study (2006). The material is collected from the Swedish Grammy Awards where the featured artists have received nominations for their work. The older material are songs nominated in the years 1999-2003, the newer material are songs nominated in the years 2016-2020.

Den här uppsatsen fokuserar på autenticitet inom rapp: hur den skapas och bibehålls. Först introduceras genren ”gangsterrapp” och därefter analyseras en uppsättning av låtar inom genren både text-, ljud- och bildmässigt. Därefter följer en diskussion om mina undersökningsresultat och slutsatsen att svenska gangsterrappare skapar autenticitet genom att vara kriminella. Oavsett var de kommer från eller vilka de känner presenterar gangsterrapparna sig som frontfigurer för stora kriminella nätverk och använder sina texter som en slags ”gangsters dagbok”. Teman såsom polishat, drogförsäljning och kallblodigt mord förekommer ofta och är till och med förväntade. / This paper focuses on authenticity in rap: how it is created and maintained. First, I introduce the subgenre of “gangsta rap” and how it is defined. Then, I continue by analyzing a set of songs both lyrically, audibly and visually, and while direct audible differences are included, they are deemed less important than the social aspect of said songs. Subsequently follows a discussion of my findings and the conclusion that Swedish gangster rappers create authenticity by being criminals. No matter where they come from, or who they know they will always present themselves as the front figure of vast criminal networks and use their lyrics as a form of “gangster diary.” Themes such as hating the police, selling drugs and killing in cold blood are commonplace and are even expected.