This article examines how structural and symbolic forces combine to produce racialized discourses of belonging and geographies of exclusion in and around downhill skiing. Drawing from literatures in Whiteness studies, sports sociology, leisure studies, and environmental history, I advance the concept of racial spatiality to illustrate how processes of everyday racism work to secure skiing’s social spaces as predominantly White, thereby restricting the participation and representation of Black skiers. Skiing’s hegemony of Whiteness is discussed in relation to parallel integration strategies of Black ski organizations, racialized representations of extreme skiing and snowboarding, and exclusionary residential development tactics. As a provisional effort to promote research on racism and leisure–sports–tourism, I argue that skiing offers a valuable site for considering the ongoing and overlooked saliencies of race and racial segregation in America.

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This article looks at audiocassette tapes that are produced and circulated within the Bay Area underground hip hop scene as subcultural artefacts through which an understanding of the key activities, ideologies and sensibilities that mark subcultural identity can be grasped. Using du Gay's circuit of culture (1997) as a template for organising ethnographic data, the article demonstrates the ways in which subcultural meanings are encoded into the activities surrounding the commodification of underground hip hop cassettes. Ultimately, it argues for a reading of audiocassette tapes as unique technologies that simultaneously embrace the progressive politics of subcultural inclusion while defending subcultural boundaries against mainstream co-optation.

This article reviews the history of scholarship on racial authenticity within studies of rap music and hip hop. The concept of authenticity currently enjoys a central place in sociological work on popular music, subcultures, and racial identity. As a music and cultural form that straddles all three of these fields, the debates surrounding authenticity within rap and hip hop are as contentious as any. Using the year 2000 as an arbitrary dividing line, this article presents the late 20th century foundations of research on authenticity and race within hip hop, then moves on to discuss more recent developments in the academic literature. Despite hip hop scholars' increased emphases on discourses of space and place, and processes of culture and identity formation, the field continues to be framed through notions of essential blackness, and critical interrogations of white hip hop legitimacy. After providing an overview of the state of the field, it is argued that greater attention to language use among hip hop enthusiasts, and a particular emphasis on hip hoppers who fall outside the black-white racial binary will prove fruitful in reinvigorating these longstanding debates. Ethnographic studies of local underground hip hop scenes within the Unites States are recommended as a logical place to begin.1784 Racial Authenticity in Rap Music and Hip Hop

Ethnography (Understanding Qualitative Research) provides a comprehensive guide to understanding, conceptualizing, and critically assessing ethnographic research and its resultant texts. Through a series of discussions and illustrations, utilizing both classic and contemporary examples, the book highlights distinct features of ethnography as both a research methodology and a writing tradition. It emphasizes the importance of training—including familiarity with culture as an anthropologically derived concept and critical awareness of the history of ethnography. To this end, it introduces the notion of ethnographic comportment, which serves as a standard for engaging and gauging ethnography. Indeed, ethnographic comportment issues from a familiarity with ethnography’s problematic past and inspires a disposition of accountability for one’s role in advancing ethnographic practices. Following an introductory chapter outlining the emergence and character of ethnography as a professionalized field, subsequent chapters conceptualize ethnographic research design, consider the practices of representing research methodologies, discuss the crafting of accurate and evocative ethnographic texts, and explain the different ways in which research and writing gets evaluated. While foregrounding interpretive and literary qualities that have gained prominence since the late twentieth century, the book properly situates ethnography at the nexus of the social sciences and the humanities. Ethnography (Understanding Qualitative Research) presents novice ethnographers with clear examples and illustrations of how to go about conducting, analyzing, and representing their research; its primary purpose, however, is to introduce readers to effective practices for understanding and evaluating the quality of ethnography.