Identity is defined by the cultural differences of individual people, groups, or communities of people who express economic and political views with which we identify (Barker cited in Shuker 142) . The construction of identity does not consist of considering it as a “production”, incomplete but “always constituted inside and not outside of representation” (Hall cited in Weedon 5). Communal identity, as one of the forms of identity along with personal identity and national identity, is used in popular music to identify with a group of people sharing vested interests to form a community ( Shuker 142-143). Although an individual may be the producer of a piece of music, it is the audience who shares their appreciation and makes it popular. The audience for each piece of music constitutes a community in itself. The importance of the work is conveyed through what the artist produces and what he calls “meaning”. For the audience, the “meaning” lies in the interpretation of the music produced. This meaning can be affected depending on different factors involved in the listening experience. These factors include lyrics, form and performance style, among others. The piece that demonstrates “meaning” according to the audience is something they enjoy, what is called popular music, and something the audience can relate to as a community (Robinson, Buck, and Cuthbert 15). This can be associated with music from the past. The past meaning of music refers to “the material and aesthetic environment in which it once played” (Denora 144). Different communities of people have tastes and identify with different forms of music. Rap music is associated with the identity of a particular community of young people who define themselves as “rap univores”. This term is ...... in the middle of the article ......t the margins: popular music and global cultural diversity. SAGE Publications, Inc. 1991. Print. Roy Shuker. Popular music: key concepts. Second edition. London: Routledge. 2005. Print. Kellner, Douglas. “The Elvis Show and the Culture Industry.” Sound synergies: music, technology, community, identity. Ed. Gerry Bloustien, Masrgaret Peters and Susan Luckman. Ashgate Publishing Limited. 2008. Print. Weedon, Chris. Identity and culture: stories of difference and belonging. MPG Books Ltd. 2004. Print.Carrey, James T. “Changing Courtship Patterns in Popular Song.” » The American Journal of Sociology, Vol. 74, no. 6 (May 1969), pp. 720-731. June 1, 2010. Print. Tanner, Julian. “Listening to rap: cultures of crime, cultures of resistance. » Social Forces, volume 88, number 2, December 2009, pp. 693-722. May 25, 2010. Print.