Rap music is one among the various musical genres of American “popular culture” that emerged at the intersection of major technological advances in the sound recording and broadcasting industry and the post-colonial critique of Europe as the model of artistic expressions and aesthetics. The subsequent emergence of USA as the world power and the processes of ‘globalization’ facilitated a wide circulation and consumption of the musical genres invigorating a yet another process of the emergence of “hybrid” forms of artistic expression in several regions in the world. Rap music stands apart from other musical genres because of its roots in the overtly “political” and subversive discourse of anti-racism and self respect and its co-habitation along with other expressive forms like breakdance, DJaying/turntablism/scratching, sampling and graffiti making it part of a larger Hip Hop culture. As a musical genre Rap also stands apart because of its distance from melody and harmony and emphasis on the beat and a verbal delivery proximate to poetry and poetic narrative genres. Even as one element in the formation of “black” or African American artistic expressions and black aesthetics and the ensuing debates on subversive taste, in the case of Rap ( and Hip Hop) the debates are far more intense. On the one hand, the intensity is produced at the intersection of racist and anti racist thought and on the other hand, Rap, right from the early times also produced internal debates about its sexist and misogynist attitudes. The aggressive forms of “Gangsta Rap” added a further salience to these debates. Early scholars of American Hip Hop and Rap, often locate it simultaneously in the larger context of “popular culture” and urban studies; as elaborations of black-aesthetics and the making of the “inner city” or the “hood” and gang wars, for example. Simultaneously, this scholarship also traces the journey of Hip Hop out of the streets and gangs into the “culture industry” and the participation of non-black artists and consumers and the subsequent debates around community, ownership, appropriation and authenticity. Most of this scholarship combines an ethnographic and culture studies approach. More recent scholarship has reviewed these debates and refined the scholarship in two ways. On the question of the history of Rap and Hip Hop, it has challanged the claim of singular ‘black’ ownership by drawing more nuanced genealogies of Hip Hop to other participations such as Latino American and Asian migrant populations in USA. Secondly, extending the scope of culture studies and ethnographic studies through musicological and ethnomusicological approaches scholars have been more attentive to the interconnections between musical ideas and their place in the formation of the social around this music, often making new concepts for understanding these interconnections.