Perceptions of Lyrics based on Music Category and Perceiver’s Race JUAN ZAPATEL The study investigated perceptions of lyrics as a function of perceivers’ race and STELLA GARCIA-LOPEZ* the music labels attached to them. Lyrics were presented to Anglo and Hispanic participants as black rap, latin rap, alternative, or Christian music. Afterwards, University of Texas at participants responded to questionnaire items that assessed attitudes about the San Antonio lyrics and perception of the artist. Results showed, as predicted, that lyrics labeled black rap were viewed more negatively than latin rap, alternative, or Christian. That perceptions were more positive for lyrics labeled Christian than rap or alter- native was also supported. The other result, that Anglo more than Hispanic par- ticipants perceived lyrics labeled black rap unfavorably than in other categories, was found for the dependent variable of degree of lyrics’ influence on teenagers.

aertner and Dovidio’s (1986) program of This negative type of reception for rap music is research has shown that explicit forms of prej- not new (e.g., Ballard & Coates, 1995). In fact, rap G udice have given way to more subtle forms of music has been examined for both its negative and expression. Individuals may express the unacknowl- positive effects (e.g., Jackson, 1992). Some of its neg- edged negative feelings that they have towards blacks, ative effects include its influence on mood (Ballard for example, by expressing it in situations that have & Coates, 1995) and an increased tolerance and accept- attributional ambiguity (i.e., racist behavior can be ance of violence among African-American adolescents attributed to nonracist factors). That is, individuals (Johnson, Jackson, & Gatto, 1995). On the other hand, may behave in a prejudiced manner in less obvious rap music has also been recognized for having posi- ways and therefore not be viewed as racist. Prejudicial tive effects such as raising awareness on social issues beliefs and attitudes are thus behaviorally expressed (Armoudian, 1994) and drawing attention to the plight in situations that provide attributional ambiguity. That and hardships of inner city living (Cummins, 1992; is, because of the ambiguity in the situation, witnesses Jackson, 1992). Although rap music is criticized for can attribute one’s prejudicially motivated behavior its violent themes, Armstrong (1993) and Noe (1995) to nonprejudicial reasons. both report that these themes are common in other Fried (1996)demonstrated an instance of the types of music (e.g., country music). expression of prejudice in a situation of attributional If rap songs have both positive and negative effects ambiguity. Controversy arouse from the rapper artist on listeners and its themes are similar to other kinds Ice T’s 1992 song “Cop Killer.” The public reacted of songs, why then is there such controversy over these vehemently against it because the content of the song Author note. The authors acknowledge and thank Carilu Queseda, glorified the act of killing a police officer. Fried ques- Kelli Padilla, and Jodi Moss for their assistance in the collection tioned whether the public’s overwhelming negative and coding of data. We also thank two anonymous reviewers for reaction to the song was due to the lyrics themselves their time and feedback. Correspondence should be directed to Stella Garcia-Lopez at or to its music classification of rap, which is a category the Department of Psychology, University of Texas at San Antonio, associated with African-American individuals. San Antonio, Texas 78249 or at [email protected].

68 PSI CHI JOURNAL OF UNDERGRADUATE RESEARCH Summer 2004 *Faculty Supervisor Copyright 2004 by Psi Chi, The National Honor Society in Psychology (Vol. 9, No.2, 68–74 / ISSN 1089-4136). PERCEPTIONS OF LYRICS Zapatel and Garcia-Lopez songs? Fried (1996) had participants read a lyrical studies. Thus, the first goal was to examine if percep- passage from a folk rock song (by the Kingston Trio) tions of lyrics would be affected by the lyrics them- about a man who hunts down and kills a police officer. selves or by some other attached minority music label In one condition, the participants were informed that (i.e., other than the black rap label). the song was a folk song by the Kingston Trio, the A second objective was to replicate Fried’s (1996, other condition was told that it was a country song by 1999) results concerning the perceptions of lyrics an artist named D.J. Jones, and the participants in the labeled as black rap but from the perspective of a dif- third condition were told that it was a rap song by D.J. ferent group such as a Hispanic sample. San Antonio Jones. The results indicated that perceivers reported provided an opportunity to examine perceptions of the song to be more offensive, more dangerous to lyrics labeled as black rap from this social group. Fried’s society, more objectionable, and should be regulated studies consisted of only Anglo participants, and this if the lyrics were identified as rap than if the same study evaluated whether similar results would be found lyrics were labeled country or folk song. In the sec- from the responses of Hispanic perceivers as well. ond study, Fried presented participants with the same A third goal was to expand on the dependent lyrics but in one condition, the lyrics was accompa- variables that Fried used to assess perceptions of lyrics nied with a photograph of a Black artist while the labeled in different categories. Additional attitudinal second condition received a picture of a White artist. dimensions were added in the dependent variable- The findings showed more negative reaction to the measuring instrument such as the likelihood the lyrics if it was presented with a photograph of a Black listeners liked the song, whether they would purchase artist rather than a White artist. the album, and the degree they perceived its influ- Fried (1999) replicated these results and found ence on children and teenagers. There were also items that these perceptions of lyrics based on its music that assessed perceivers’ perceptions of the lyrics them- genre were more prevalent among individuals who selves (e.g., offensive, poetic) and perceptions about were over the age of 40, married with children, and the character of the artist (e.g., talented, deviant). did not buy or had purchased a small number of music This study investigated, then, the perceptions of albums in a 6 month time frame. Thus, it seems that lyrics as a function of the perceivers’ race (Hispanic or perceivers tend to report unfavorable perceptions of Anglo) and the music labels attached to the lyrics. lyrics based on its categorical label rather than its Results from two previous pilot studies helped content. Based on the results of her studies, Fried con- narrow the music categories to be used in this study. cluded that the public outcry of rap songs is an instance The music genres of black rap, latin rap, alternative of aversive prejudice (Gaertner & Dovidio, 1986). music, and Christian music were used. Pilot study par- ticipants reported general unfamiliarity (i.e., did not Present Study or rarely listened to) with these music types and artists. Fried’s studies (1996, 1999) demonstrated subtle prejudice in terms of reactions to music lyrics. The Hypotheses present study attempted to investigate further these There were two main predictions. The first hypoth- negative perceptions of lyrics based on label rather esis was a replication of Fried’s general findings. It than content. There were three objectives for con- was predicted that lyrics that were labeled as black rap ducting the present study. would be perceived more negatively than if the same First, the music category of rap is only one of the lyrics were labeled as latin rap, alternative music, or many different types or genres of songs associated Christian music. An extension of the first hypothesis with a particular social group. There are numerous was that reported perceptions would be more posi- others such as latin rap, Christian music, goth music, tive for lyrics labeled as Christian music than if they and country music just to name some instances. Each were described as rap or alternative. Again, the rea- of these music categories may elicit attitudes, beliefs, son for this prediction is that the category labels or emotions in a listener depending on that perceiver’s provide a situational feature of attributional ambigu- preexisting notions of the associated group. ity such that prejudice can be expressed in subtle ways. The location for this study was San Antonio, Texas. The second prediction was that Anglos, more than San Antonio provides the potential backdrop to exam- Hispanics, would report unfavorable perceptions of ine perceptions of lyrics labeled as some other lyrics that were labeled as black rap than if the same non-black minority music category. For example, one lyrics were labeled with the other categories. of the culturally diverse music styles in the San Antonio As stimulus lyrics for the study, the results of pre- community is latin rap. This style was chosen for the vious pilot studies indicated the highest level of present study based on results of previous pilot unfamiliarity with the songs “Missing Person” by the

Summer 2004 PSI CHI JOURNAL OF UNDERGRADUATE RESEARCH 69 Copyright 2004 by Psi Chi, The National Honor Society in Psychology (Vol. 9, No. 2, 68–74 / ISSN 1089-4136). PERCEPTIONS OF LYRICS Zapatel and Garcia-Lopez

Christian music artist, Michael Smith, and “Speed of (g) the degree to which they perceive that parents would Pain” by the alternative music artist, Marilyn Manson. object to their son or daughter listening to the lyrics. These two lyrics then served as counterbalancing stim- Respondents were also asked the degree to which ulus lyrics for the study. Again, the participants were they thought that the lyrics were positive, emotional, presented with one of these two lyrics labeled as either ambiguous in meaning, pleasing, poetic, bizarre, black rap, latin rap, Christian music, or alternative offensive, confusing, and sad. Items assessing their music. Their perceptions as a function of these manip- perceptions of the artist consisted of the degree to ulations were afterwards assessed. which they thought the artist was spiritual, extraverted, musically talented, deviant, honest, disciplined, strong Method in character, and neurotic. Participants There were 275 participants in the study. Forty- Procedure seven from this group were dropped from the data Students enrolled in introductory psychology set. Two participants recognized the lyrics, and the classes signed up in experimental sheets posted on other 45 participants did not complete all the infor- the psychology bulletin board. The possible influence mation, did not follow instructions, expressed of an experimenter’s race on the participants’ responses knowing what the experiment was about, or were of the was controlled by having three experimenters of race category of “Other.” Data from 81 men and different races run as equal a number of experimen- 147 women remained with a total sample size of 228. tal sessions as possible. This sample consisted of 111 Anglo (44%) and 117 Each experimental session consisted of four to Hispanic (51% of the sample) participants. Eighty- six participants. Each of the participants sat in a two percent of the sample was between the ages of 18 cubicle for privacy. After reading and signing an to 20 years old. Participation in the study fulfilled a informed consent form, each participant was ran- course requirement. domly assigned to one of the four conditions (i.e., black rap music, latin rap music, alternative Materials music, or Christian music). They were given the Individual sheets of paper contained either the sheet of paper that contained the manipulation and Manson or the Smith lyrics. At the bottom of each were told to read the lyrics. Afterwards, the partici- sheet was the following statement: “The song that pants were instructed to open a brown envelope contains these lyrics is a mid-1990s recording of black that contained the questionnaire assessing the rap music” (or latin rap music, alternative music, or dependent variables and to take their time filling Christian music). The lyrics were approximately 9 to it out. They were informed that their responses 11 lines long (see Appendix). These songs were were confidential and would be kept anonymous. pretested earlier as the most unrecognized songs by Participants were allowed to look at the sheet that participants in the pilot study. contained the lyrics while they filled out the A self-report questionnaire was created to assess questionnaire. Afterwards, the participants were told participants’ perceptions of the lyrics. Questions about to return their completed questionnaire in the demographic information included the participants’ brown envelope to assure them of privacy and sex, age, and race. The other items in the question- confidentiality. Finally, the participants were naire measured attitudinal dimensions, participants’ given a posttest survey that asked them of their perceptions of the lyrics, and their perceptions of the music preferences, if they recognized the lyrics and artist. The Likert-type response format for these items the artist, and if they had an idea of what the study ranged from 1 (not at all) to 10 (very much). The fol- was about before they came to the experiment. The lowing were items assessing the respondents’ attitudes participants were also debriefed, thanked, and about the lyrics. Participants were asked the degree dismissed. to which: (a) they liked the lyrics; (b) they would likely purchase the album that contained these lyrics; (c) Results they think that the lyrics deviated from traditional The study was a 2 (participants’ race: Anglo, family values; (d) they think that the lyrics reflected Hispanic) X 4 (music category: black rap, latin rap, problems in American society today; (e) they felt that alternative, and Christian music) between-subjects the lyrics would influence children (aged 7 to 13 years), design. The Manson and Smith lyrics were used as adolescents (aged 14 to 18 years), and adults (aged counterbalancing stimuli. Descriptive analyses were 19 to 30 years); (f) they believe that the album con- initially conducted on all dependent variables and taining the lyrics should contain a warning label; and posttest questionnaire items. In addition, a multi-

70 PSI CHI JOURNAL OF UNDERGRADUATE RESEARCH Summer 2004 Copyright 2004 by Psi Chi, The National Honor Society in Psychology (Vol. 9, No. 2, 68–74 / ISSN 1089-4136). PERCEPTIONS OF LYRICS Zapatel and Garcia-Lopez

Second, the results indicated a significant lyrics TABLE 1 main effect (Wilks’Lambda, F [27,198] = 4.31, p < Means of Dependent Variables Reported .0001). The univariate analysis showed a significant for the Manson and Smith Lyrics lyrics effect on the dependent variables of influence on children, F(1,177) = 56.67, p < .0001; the need of Dependent Variables Manson Lyrics Smith Lyrics a warning label, F(1,177) = 72.73, p < .0001; and par- ents’ objection to their son or daughter listening to Influence Children 4.64 (2.5) 3.93 (2.0) the lyrics, F(1,177) = 130.71, p < .0001. In addition, there was a lyrics effect on the items of poetic, F(1,177) Needs a warning label 3.81(2.4) 2.80 (2.3) = 38.45, p < .0001 and offensive, F(1,177) = 22.73, p < Parents Objection 4.40 (2.4) 3.30 (2.2) .0001. As for perception of the artist, a significant lyrics effect was evidenced for the dependent variables of talented, F(1,177) = 28.20, p < .0001 and disciplined, Lyrics: Poetic 6.27 (2.2) 7.30 (2.2) F(1,177) = 40.81, p < .0001. The means and standard Offensive 3.80 (2.6) 2.30 (1.7) deviation values are shown in Table 1. These results indicate that the Manson lyrics, more than the Smith Artist: Talented 5.20 (2.0) 5.83 (1.9) lyrics, were reported to be offensive, likely to influ- ence children, would need a warning label, and would Disciplined 4.73 (1.9) 5.42 (1.9) be objected to by parents. In contrast, the Smith lyrics Note.Standard deviation values are indicated in parenthesis. were perceived as poetic than the Manson lyrics. The Smith artist was also reported to be talented and more disciplined than the Manson artist. variate analysis of variance (MANOVA) was conducted to evaluate any effects of the lyrics. Finally, a MANOVA Main Analysis was conducted on the main data set. Participants’ Race. Results of the MANOVA indi- cated a significant effect for the participant race (Wilks’ Initial analyses Lambda, F [27, 194] = 2.05, p < .005). This variable Out of the 228 participants, 220 (96.5%) of them was significant on the dependent variables of the items reported that they did not recognize the lyrics and of poetic, F (1,220) = 9.65, p < .002 and sad lyrics, 226 (99.1%) said that they did not recognize the artist. F (1,220) = 7.50, p < .01. Overall, Hispanic participants Of the eight (3.5%) who reported that they recog- perceived the lyrics as more poetic (M = 7.20; SD = nized the lyrics “a little,” none of them correctly 2.0) than did the Anglo respondents (M for positive identified the title and artist of the lyrics. The most = 2.90; SD for positive = 1.9; M for poetic = 6.29; SD frequently cited type of music the participants listened for poetic = 2.4). However, Anglo participants reported to was “all,” followed by “rock,” “alternative,” and then the lyrics as more sad (M = 7.47; SD = 1.9) than did “country.” Majority of the participants also reported that the Hispanic respondents (M = 6.68; SD = 2.3). they liked “all” artists, followed by the group “Creed,” Music Category. There was a significant category and then by the artist “George Strait.” There were 120 effect (Wilks’ Lambda, F [27,194] = 1.34, p < .03) for participants who received the Manson lyrics whereas the following dependent variables: (a) degree the 108 respondents were presented with the Smith lyrics. lyrics would influence children, F (3,220) = 3.06, p < Results from descriptive analysis indicated that .03; (b) poetic lyrics, F (3,220) = 3.28, p < .02; and (c) there were no substantial violations of normality in artist’s degree of spirituality, F (3,220) = 4.81, p < .005 all dependent variables. In addition, preliminary (see Table 2). analysis indicated no experimenter effects. As can be seen from the means reported in Table 2, the results indicated that participants reported that Lyrics black rap would influence children more than alter- A MANOVA was conducted on the data to assess native music. In addition, lyrics labeled as Christian the effects of the lyrics. First, there were no signifi- music was rated as more poetic, and the artist of the cant 2-way interaction effects between lyrics and Christian music label was seen as more spiritual than participant race, and between lyrics and music cate- if the same lyrics were labeled black rap or was gory. There was no significant 3-way interaction effect written by a black rap artist. Last, the artist associated between the variables either. Thus a 2 (participant with the lyrics labeled as latin rap was reported by par- race) X 3 (music category) MANOVA was conducted ticipants to be less spiritual than if the same lyrics were on the main data set (see the following paragraph). written by a Christian music-artist.

Summer 2004 PSI CHI JOURNAL OF UNDERGRADUATE RESEARCH 71 Copyright 2004 by Psi Chi, The National Honor Society in Psychology (Vol. 9, No. 2, 68–74 / ISSN 1089-4136). PERCEPTIONS OF LYRICS Zapatel and Garcia-Lopez

TABLE 2 Means of Dependent Variables Reported for Music Category

Dependent Variables Christian Music Black Rap Latin Rap Alternative Music

Influence Children 4.15 (2.3) 4.89 (2.5)a 4.51 (2.3) 3.60 (2.1)a Poetic Lyrics 7.39 (2.0)b 6.10 (2.6)b 6.78 (2.0) 6.75 (2.3) Artist’s Spirituality 5.60 (2.5)c,d 4.10 (2.2)c 4.37 (2.1)d 4.60 (2.1) Note. Means with similar superscript letters are significantly different from each other at p <.05. Standard deviation values are in parenthesis.

Participants’ Race and Music Category. The only tunity for stereotypes to influence perceptions. These significant interaction effect between the race of the music labels contributed to the attributional ambi- participant and music category was on the depend- guity of the situation. ent variable of the degree to which the lyrics would One can argue that these results occurred because influence teenagers, F(3,220) = 5.66, p < .001. As indi- the perceivers were generally unfamiliar, did not, or cated in Figure 1, Anglo participants, more than the rarely listened to these types of music. However, unfa- Hispanic respondents, reported that the lyrics labeled miliarity with a social group is part of the foundation as black rap (SD = 2.1) and Christian music (SD = 1.8) of stereotyping and prejudice (Stephan & Stephan, would influence teenagers. Hispanics, on the other 1996). Stereotypes are relied on when perceivers have hand, perceived lyrics labeled as alternative (SD = 1.5) no prior experience (i.e., direct contact) with the to influence teenagers more than did the Anglo par- attitude object. Because most of the participants ticipants (SD = 2.5). reported listening to rock, country, or all types of songs, then their unfamiliarity with black rap or Discussion Christian music songs would provide the motivation The first hypothesis was that lyrics that were labeled to rely on stereotypic beliefs about these labeled lyrics. as black rap would be perceived more negatively than The second hypothesis was that Anglos, more than if the same lyrics were labeled as latin rap, alternative Hispanics, would report unfavorable perceptions of music, or Christian music. The results showed that lyrics that were labeled as black rap than if the same perceptions about lyrics presented as black rap were lyrics were labeled with the other categories. The generally unfavorable compared to perceptions of results indicated that Anglo more than Hispanic respon- these same lyrics labeled in the category of Christian dents would react unfavorably to lyrics categorized as music. An extension of the first hypothesis was that black rap but for one particular dependent variable reported perceptions would be more positive for lyrics only. Anglo participants perceived lyrics labeled as labeled as Christian music than if they were described Christian music to influence teenagers, more so than as rap or alternative. The results indicated that the reported by the Hispanic participants. An interesting lyrics with the label of Christian music resulted in speculation with this specific finding is the type of more positive perceptions than if the same lyrics were influence participants perceived black rap songs and categorized as black rap or latin rap music. And even Christian music songs would have on teenagers. One though the lyrics were the same for the different can assume that participants believed that black rap categories, the Christian music artist was rated as more songs exert a negative influence on teenagers, whereas spiritual than the latin rap artist. One can say that Christian music lyrics have a positive influence on these different categories brought to mind specific teenagers. On the other hand, it is possible that black beliefs about rap songs and rap singers, just as much rap is perceived to have positive effects that would be as the category of Christian music brought about spe- consistent with Armoudian’s (1994) and Cummins’ cific stereotypes about modern day religious songs (1992) reported findings. Because this dependent- and their artists. These beliefs or feelings influenced variable-item was asked in general terms and not in the resulting perceptions. Although Fried (1996, 1999) any specific terms (i.e., to what degree do the lyrics did not investigate the reaction to lyrics classified exert negative influence on teenagers?), these expla- under these different specific music labels (e.g., nations are speculative. Future studies can be con- Christian music), the results are consistent with the ducted in order to replicate this effect and examine the notion that the music categories provide an oppor- reasons for such an effect.

72 PSI CHI JOURNAL OF UNDERGRADUATE RESEARCH Summer 2004 Copyright 2004 by Psi Chi, The National Honor Society in Psychology (Vol. 9, No. 2, 68–74 / ISSN 1089-4136). PERCEPTIONS OF LYRICS Zapatel and Garcia-Lopez

questionnaire. In retrospect, some of the items were FIGURE 1 not specific enough and led to ambiguous results. For Interaction effect between participants’ race and example, as mentioned before, questions about how music category for the dependent variable of the influential the lyrics would be to children and teenagers degree the lyrics would influence teenagers. could have been revised to ask the type of influence they would have on children and teenagers (e.g., pos- itive or negative). In addition, more items assessing 10 behaviors or behavioral tendencies could have been 9 7.4 7.4 8 6.9 6.9 7.1 7 included in the questionnaire. An example would be 7 5.59 5.6 similar to Fried’s (1999) item of asking participants 6 Anglo 5 how many CD albums they had bought of a certain Hispanic 4 music genre. Having this information would be inform- 3 2 ative to see how this behavioral tendency relates to 1 reported perceptions of the labeled lyrics. 0 Despite these shortcomings, the present study contributes to the findings reported by Fried (1996, black rap latin rap Christian alternative 1999). The methodology is similar to Fried’s, and the Music Category results supplement her findings. In addition, the present results extend to perceptions of lyrics labeled as different music categories other than black rap. Hispanic respondents, on the other hand, were Theoretically, these outcomes provide further found to perceive lyrics labeled as alternative to influ- evidence of subtle prejudice, the form of prejudice ence teenagers, more so than the Anglo participants. exhibited in today’s time (e.g., Gaertner & Dovidio, Perhaps, alternative music is perceived as more pop- 1986). ular than other kinds of music among the Hispanic There are some practical implications of these participants. This reason is speculative, and this find- findings. If controversy arises again over the lyrics of ing awaits replication. a new song, one could question if the disagreement is There are some shortcomings to the present study. based on the song’s theme or content or if the dis- First, one can argue that the lyrics may be benign. It agreement is a reaction to the song’s music label. would have been ideal to have used lyrics that were Secondly, behavioral expressions of prejudice of lyrics blatantly crude, offensive, invective, or were descrip- based on its label could be manifested in a number tive of some taboo subject (e.g., lyrics similar to those of ways (and should still be further investigated in about cop killings that Fried used in her studies). In future studies). For instance, it is possible that any fact, other lyrics tested in the pilot study included form of regulation of music albums containing the lyrics about domestic violence (e.g., Garth Brooks’ debatable lyrics could potentially be perceived as a “Thunder Rolls”) and about the worship of guns (Pearl situation providing the subtle expression of prejudice. Jam’s “Glorified ‘G’”). However, participants correctly Whether or not reactions to lyrics are founded on identified and were highly familiar with these lyrics prejudice, there is evidence (e.g., Fried, 1996, 1999; and the artists (90% for Pearl Jam and 72% for Garth Johnson et al., 1995) to indicate that songs may be Brooks). Even lyrics from “gangster rap” music were another situation that allow the subtle expression of debated as stimulus lyrics, but its heavy use of curse prejudice. Being aware of and monitoring such pos- words prevented its use in the pilot study. Despite this sibility can be a way of combating this modern day problem, the lyrics that served as the stimulus lyrics form of prejudice (Gaertner & Dovidio, 1986). for the present study were strong enough as an inde- pendent variable manipulation. The results still References indicated biased perceptions of these lyrics labeled Armoudian, M. (1994, November 26). Beating the bad rap (rap music used to raise social awareness). Billboard, 106(48) 48-49. in different music categories. Future studies could Armstrong, E. G. (1993). The rhetoric of violence in rap and coun- involve using lyrics that are constructed rather than try music. Sociological Inquiry, 63, 64-84. lyrics from existing songs. This step would enable one Ballard, M. E., & Coates, S. (1995). The immediate effects of homi- cidal, suicidal, and nonviolent heavy metal and rap songs on a higher level of independent variable control and the mood of college students. Youth and Society, 27, 148-169. lesser to no possibility of familiarity with the lyrics by Cummins, B. (1992, September). Newsweek critique gives rap a participants. typical bad rap. (Media weren’t listening). St. Louis Journalism Review, 22(149), 10. Another aspect about the study that could have Fried, C. B. (1996). Bad rap for rap: Bias in reactions to music lyrics. been improved involves some of the items in the Journal of Applied Social Psychology, 26, 2135-2146.

Summer 2004 PSI CHI JOURNAL OF UNDERGRADUATE RESEARCH 73 Copyright 2004 by Psi Chi, The National Honor Society in Psychology (Vol. 9, No. 2, 68–74 / ISSN 1089-4136). PERCEPTIONS OF LYRICS Zapatel and Garcia-Lopez

Fried, C. B. (1999). Who’s afraid of rap: Differential reactions to Johnson, J. D., Jackson, L. A., & Gatto, L. (1995). Violent attitudes music lyrics. Journal of Applied Social Psychology, 29, 705-721. and deferred academic aspiration: Deleterious effects of expo- Gaertner, S. L., & Dovidio, J. F. (1986). The aversive form of racism. sure to rap music. Basic and Applied Social Psychology, 16, 27-41. In J. F. Dovidio & S. L. Gaertner (Eds.), Prejudice, discrimination, Noe, D. (1995). Parallel worlds: The surprising similarities (and and racism (pp. 61-90). New York, NY: Academic. differences) of country-and-western and rap. The Humanist, 55, Jackson, H. (1992, September). Media must face the music or risk 20-23. repeat of L.A. (Social relevance of rap among Black youths). Stephan, W. G., & Stephan, C. W. (1996). Intergroup Relations. St. Louis Journalism Review, 22, 10-12. Madison, Wisconsin: Brown and Benchmark.

APPENDIX A APPENDIX B Manson Lyrics Smith Lyrics when you want it, it goes away too fast Another question in me One for the powers that be when you hate it, it always seems to last It’s got me thrown, and so I put on my poker face but just remember when you think you’re free And try to figure this out, this undeniable doubt the crack inside your heart is me A common occurrence, feeling so out of place I wish I could sleep Guarded and cynical now but I can’t lay on my back Can’t keep wondering how because there’s a knife for everyday that I’ve known My heart evolved into a rock you Beating inside of me when you want it, it goes away too fast So I reel such a stoic ordeal when you hate it, it always seems to last. Where’s that feeling that I don’t feel.

Note. The song that contains these lyrics is a mid-1990s recording of Note. The song that contains these lyrics is a mid-1990s recording black rap music. of black rap music.

74 PSI CHI JOURNAL OF UNDERGRADUATE RESEARCH Summer 2004 Copyright 2004 by Psi Chi, The National Honor Society in Psychology (Vol. 9, No. 2, 68–74 / ISSN 1089-4136).