Rap and hip hop music has long been a part of popular culture. From Outkast to Drake, this genre continues to thrive and made up 13.6% of music sales in 2020.
People often assume rap music caters exclusively to teenage boys; however, is this really the case? Furthermore, is it true that 80% of rappers are white?
Blacks
If you ask any high school or college student what genre of music they like best, they will likely say rap. Teenagers tend to gravitate toward what their peers listen to; therefore rappers try to keep their songs relevant with current events and the younger generation so as to stay relevant; according to senior Luca Vella, most fans of rap music are teenage boys, suggesting this could explain why this genre’s popularity may favor certain groups over others.
Hip-hop and rap music accounted for 32.24% of all on-demand song streams on Spotify in 2020, making up one of the fastest-growing music industries globally. Notable rappers with chart-topping hits include Drake, Lil Wayne and Nicki Minaj; additionally rap was one of the highest selling genres domestically; its industry had experienced 28% growth since 2015.
The myth that white Hip Hop fans make up 80% has persisted for decades, but has never been verified through official research. This may be due to research companies not being able to survey every person who purchases rap music; multiple factors could potentially skew results such as purchasing one cassette of MC Hammer from Sam Goody in 1990; that individual may not qualify as being considered true fans.
Researching Rap Music can be challenging since most studies use polling a sample population and do not necessarily represent its entirety. Respondents provide their responses voluntarily through self-reporting; and individual definitions of rap may differ – making comparing results across genres such as rock difficult.
Though research may have its limitations, the findings do demonstrate that many rap consumers are white; however, their numbers still fall below those of blacks and Hispanics in America. A 2004 Mediamark Research Inc study determined that 60 percent of all rap consumers were white.
Whites
Though many rap artists and industry experts have long touted the “80% white hip hop fan” claim, it is demonstrably false. Such numbers would require massive numbers of white fans who simply do not exist – something Top 40 radio station sales departments often exploit when trying to convince potential ad buyers that hip hop stations offer airtime for advertising purchases.
Truth be told, many whites do indeed enjoy listening to rap, but the figure of 80% that has been floating around for twenty years is inaccurate. Mediamark Research Inc. estimated in 2004 that only 60% of rap consumers were white – which still represents a substantial portion of the market but significantly less than what has been assumed for so long.
Note that MRI’s survey only focused on music consumption and did not offer insight into respondents’ musical preferences or whether they preferred hardcore or pop rap, which could greatly skew results. Also keep in mind that its sample was limited to people who purchased records within the last year – therefore making its results not accurate or representative of all listeners.
Reasons against the likelihood that a majority white audience exists include record purchases at Sam Goody where customers purchase music of various genres; should a black music fan purchase 10 different cassettes by various rappers while only purchasing one copy of MC Hammer’s latest release then the record company would never know about their interest in hip-hop music from one white person!
Hispanics
Rap music has had an immense cultural and socioeconomic impact. From gangster lifestyle to drug abuse, rap has provided an outlet for people to express their frustrations and experiences as well as serve as a political voice of communities of color to express their needs and ambitions. While hip-hop has often been blamed on African Americans alone for its creation, it must always be remembered that its foundation lies with everyone in society as a whole.
In the mid ’90s, an influential generation of hip-hop artists emerged that would revolutionize culture in many ways. Not only were these rappers black but they were also Latino. Their songs and styles challenged stereotypical views about rap music genre. These new artists then paved way for future artists who continued making an impactful statement in hip-hop industry.
Market Research Insight has conducted an in-depth study and revealed that Hispanics are the greatest consumers of rap music in America, accounting for 13.6% of total sales since 2004 (an impressive jump from 4%). Furthermore, Hispanics were twice as likely to purchase it than white counterparts.
Joell Ortiz and Bodega Bamz are two Hispanic rappers that combine elements of both rap and reggaeton into their music, which has proven extremely popular with Hispanic audiences. Furthermore, some of the top hip-hop artists like Tory Lanes, Drake, and Tinnie Tempah also boast Hispanic heritage.
Hip-hop has an extensive history of incorporating Latin influences. Originating in ghetto environments where gangs and street hustlers would gather to break dance and rap, its popularity soon spread through urban communities across America to eventually become an international movement with huge followings worldwide.
Hip-hop music was initially created out of African-American suffering; however, its growth into an all-embracing genre can be seen from its popularity across racial lines. Latin beats combined with street style has propelled hip-hop into one of the world’s most loved musical forms.
Asians
Rap has taken hold around the globe since its 1970s Bronx party roots were first explored; from French banlieues and Latin clubs in France, to Asian streets. But it remains predominantly white; popularity among people of color has taken longer. Why is that? Part of it may have to do with the stereotyping that pervades our society: Asians are supposed to remain quiet minorities who adhere to white society norms while hip-hop’s rebellious roots challenge authority and social norms – making hip-hop hard sell for those already familiar with Asians being expected to comply.
Even when Asian rappers wanted to break through, the industry has proven difficult for them. Mountain Brothers and Ruffhouse both experienced difficulties from a lack of support from executives who couldn’t understand or respect their cultural background and were therefore stuck within genre boundaries that didn’t support them as musicians.
Despite these difficulties, some Asian American rappers have managed to achieve great success in the rap world. Dumbfoundead and Year of the Ox are two artists who draw upon their cultural background when crafting their music; both can stand out among a sea of white rappers on charts by tapping into this audience through cultural connections.
AAPI rappers offer another opportunity to challenge stereotypes of Asian Americans and alter how people in Asia perceive America. If rap can challenge conservative ideas about race and identity in China – where Western culture has long been seen as an agent of imperialism – then its spread might provide another method of challenger oppression.
Due to these trends, an emerging wave of Asian American rappers is making waves within the hip hop landscape. Artists such as Awkwafina and Ricegum have used internet presences like theirs to cultivate dedicated fan bases while bypassing any sexist or racist attitudes which traditionally would hinder them; additionally they utilize virality of rap music in order to chart on their own terms without mainstream industry approval. Collaboration and dialogue remain keys components to progress for race equality within hip hop.