Alternative (or “underground”) rap music proves a worthy site for applying ideas associated with Bourdieu's field of cultural production. I examine how underground rap music blurs the boundaries of restricted and large-scale production, as represented by noncommercial and commercial rap respectively. Artists identified as “underground” deploy anti-corporate, politically-charged, and socially-conscious lyrics, which can be viewed as restricted production. However, these lyrical themes are relatively scarce compared to themes of misogyny and hyper-masculinity found in this sub-genre and predominately found in commercial rap. This study thus reveals that large-scale and restricted fields of production may intersect (Craig and Dubois, 2010; Elafros, 2013; Hitters and van de Kamp, 2010; Sapiro, 2010). In this case, a symbiotic relationship may exist between major record companies and underground artists (Lena, 2006; Watkins, 2005; Watts, 2012) that demands further analysis. Rappers’ habitus may inform and interact with rap music production, especially for “second-go-round” artists, compelling them to cooperate with commercial rap market imperatives (i.e., by using misogynistic and violent lyrics, as well as politically-oriented and socially-conscious rhymes) to maximize their appeal to both alternative rap consumers and large, mainstream record labels.
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