presentation by Jaspreet Kaur ( 10/27/14)

In the article, "Eminem's construction of Authenticity" the author Edward Armstrong talked about Eminem as a most popular living gangsta rap artist. He refused to say "nigga" in his songs and he considers himself white-black and violent misogynist axis. He described himself as white and he promoted his white identity and fosters his violent misogyny. In his lyrics he details the dimensions of Eminem's annunciations of authenticity. He discussed the distinctive elements of the gangsta rap. Eminem's race is necessary cause of success. Black gangsta rappers are seen as lyrical ethnographers of the violent criminal lives of black men in the ghetto. Eminem is professionally known as Marshall Mathers III. The author stated that Eminem had become franchise and hope of music industry. He was world's best-selling artist. He mentioned that different kind of popular music has different authenticity and it is really important in rap than any other genres. Eminem is firmly grounded in three kinds of authenticity. He also talked about that use of N word is a key element in rap music.

In the article, "Resistance under the Black Light: Exploring the Use of Music in Two Exotic Dance Clubs", the author R Egan talked about how exotic dancers use music in two exotic dance clubs in the New England area. Music functioned as a form of resistance for dancers in three ways: as a direct form of protest against owners, as a covert strategy of reappropriation, and as an overt expression of discontent in their interactions with regular customers. I also analyze the ways in which "buying against" gender inequality, through the use of music, falls short as a form of protest. For example, dancers often unwittingly fetishized the racial politics undergirding the genre of music. This research is informed by four years of ethnographic research in the New England area.