Mittuniversitetet

The purpose of this study was to make an in-depth analysis of two songs and music videos by the rapper Greekazo. The intention was to examine how the artist constructs machomasculinity as an act of resistance, why the macho-masculine take perspective has been selected in his aesthetic to function as a movement of protest and what function the suburb intends to fulfil as a geographical place and aesthetic image in his artistry. In order to respond to the purpose of the study a number of different theories were applied, which together can be seen as parts of an intersectional perspective which function was to be combined into an illustrative general picture. The function of the theories was to act as tools to help understand Greekazo’s lyrics and music videos since the method itself possesses a subjective weakness. This is because the applied methodological approach is comprised of a narratological outlook that has been put in relation to a semiotic procedure, something that invites arbitrariness to the interpretation even though knowledge of the codes says otherwise. Therefore, the further analysis has been conducted gradually in steps where step one was to present the denotations in Greekazo’s music videos using a scheme of questions. Step two was to give meaning to the first step by mapping out the connotations with the use of a questionnaire. Finally, step three was to seek clarity in what Greekazo’sl yrics convey in relation to a theoretical and methodological approach in relation to the previously pointed out denotations and connotations. The result shows that as the suburb is labelled as an exposed area, rooted in variables such as ethnic background, geographic addressing, skin colour, attitudes and prejudices, it follows that its inhabitants also are viewed with a negative preconceived notion. This preconceived notion is derived from historical racism where Greekazo in his staging uses its stereotypical images as a sign of covert prestige. This is to create a sense of community and recognition for young men in the suburbs, even if this in the long run generates the opposite and instead fulfils the prophecies of the outside world. The resistance demands a hypermasculinity as it both extorts adaptation inwards (towards the majority society) and rebellion outwards (against the majority society) since these movements of protest are driven by the notion that life is at stake. Therefore, the result further shows the conclusion that the price of reconstructing the image of the myth of otherness for the young men in the suburbs in Greekazo’s artistry costs more than it is worth as everything already is too late.