#BOOK ¹ Why White Kids Love Hip-Hop: Wankstas, Wiggers, Wannabes, And the New Reality of Race in America ⚫ eBook or E-pub free

Interesting perspective on race relations in the United States as viewed through our popular culture I am not really comfortable with many of his assertions, which seem at best wildly optimistic and pie in the sky with little substance While some of what he discusses is occurring, as far as Ive read it fails to really reflect a true and full view of the idiosyncrasies with race and the younger generation In other words, his general assertion of hip hop being a civil rights kumbaya moment fails to address the difficulties and complexities of mainstream America s full acceptance of racist stereotypes and how seeing young black men through that lens in reality has adversely affected their welfare and well being Sadly, the book is devoid of little academic research, but lays its foundation largely on conjecture and opinion A hopeful book that is founded on very little data to ultimately have his points withstand the litmus test of what is actually occurring on the ground in America. A lot has changed since this book was published so a bit of it feels outdated I liked the parts explaining how the Nielsen Soundscan system is inaccurate, and the Eminem part was new to me, but I thought that the movie part wasn t needed On one hand, the movies all involved cultural appropriation and not just gag characters like Seth Green in Can t Hardly Wait , but on the other hand, I don t think these movies are big impactful enough Or at least it s the first time I heard of any of these I feel like the last chapter needed a better transition from the previous parts. #BOOK Á Why White Kids Love Hip-Hop: Wankstas, Wiggers, Wannabes, And the New Reality of Race in America ë Our National Conversation About Race Is Ludicrously Out Of Date Hip Hop Is The Key To Understanding How Things Are Changing In A Provocative Book That Will Appeal To Hip Hoppers Both Black And White And Their Parents, Bakari Kitwana Deftly Teases Apart The Culture Of Hip Hop To Illuminate How Race Is Being Lived By Young Americans Why White Kids Love Hip Hop Addresses Uncomfortable Truths About America S Level Of Comfort With Black People, Challenging Preconceived Notions Of Race With This Brave Tour De Force, Bakari Kitwana Takes His Place Alongside The Greatest African American Intellectuals Of The Past Decades I wasn t feeling Henry James tonight, so I picked this book up and read the first 60 pages Here is the typically vapid sentence that made me cast it to the pit with a groan This tendency to go against convention and go beyond the expected has long been a part of hip hop s history, and most certainly is a characteristic of many white kids who love hip hop. Any book that tried to give concrete answers to a premise as subjective as Why White Kids Love Hip Hop would be open to ridicule But the author, a former editor of hip hop Bible The Source, takes aintelligent approach than that He even casts doubt on the widely accepted notion that hip hop s primary audience is white He concludes that if white kids who are increasingly disenfranchised really are engaging in huge numbers with an art form perpetrated by oppressed blacks, then hip hop could be the last hope for a global political system that enriches a tiny elite while seeking to divide and conquer.Here are some quotes I liked Coming out of the gate in 1991, Soundscan was tracking approximately 7,300 retail outlets, mostly chain stores in the suburbs Before Soundscan, the majority of stores that reported sales were freestanding stores in urban areas This discrepancy was one of the earliest criticisms of Soundscan its data pool was lopsided to begin with, hence the seeming overnight shift of hip hop s audience from the hood to the suburbs.In 1963 Malcolm X discussed the Black revolution and the Negro revolution with a poignant analogy to coffee What do you do when you have coffee that s too Black You weaken it with cream The idea of a white primary audience became hip hop s cream, ready, willing and able to dilute what was considered by many Americans far too Black and far too influential Quoting hip hop scholar and author Murray Foreman The real test of white kids and hip hop is what happens with police brutality when the white officers policing Black and Latino communities are the same young whites who grew up on hip hop Quoting Bomb the Suburbs author Billy Wimsatt I m horrified by the aspect of the white hip hop thing where you can be a white hard core underground hip hop kid in, say, Minnesota, and not know a single Black person Their whole social circle is white Their favourite rappers are white, and they re trying to put out their own CDs, and so on This is shockingly and violently decontextualised from what hip hop came from and what it s about Quoting white writer Jon Caramanica As a white boy in hip hop, you gotta have someone on the scale below you First, it s all the corny white kids, then the ones new to hip hop The ones trying really hard Clearly you re cooler than that But then you start measuring yourself up to the black kids, thinking surely you re cooler,hip hop than the ones who don t seem to wear hip hop on their sleeve, the ones who you perceive as corny Then you start thinking you rehip hop than they are Quoting Hakim of hip hop group Channel Live Rap music is what you hear on the radio and see in music videos Hip hop, on the other hand, is how we survived the anti youth public policy of the 80s and 90s White hip hop activists fall into two main categories 1 those who were activists first and 2 those who moved in the opposite directionFor some white hip hop activists, it was the lyrics and oppositional politics of hip hop artists that were directly responsible for waking them up to American democracy s many brutal contradictions White Billy s activism is based on what he sees as unjust Black Donna s is based on what she s lived as unjust Quoting Harlem Renaissance writer Alain Locke in the New Negrothan 50 years ago F undamentally for the present the Negro is radical on race matters, conservative on others, in other words, a forced radical Where is the national debate on issues that matter to the hip hop voting bloc The need to create full employment with living wage jobs and repeal mandatory minimum sentencing which criminalizes hundreds of thousands of young people is never debated on Capitol Hill W hites voting for Obama aren t necessarily moving away from the old racial politics but in fact reinforcing it.Hip hop is the last hope for this generation and arguably the last hope for America The political elite has done an exceptional job of polarizing the country liberal versus conservatives, Blacks versus whites, underclass versus elite, heterosexual versus homosexual On every issue, mainstream electoral politics follows a strategy of divide and conquer This is what allows our electoral system to function unchallenged as a private piggy bank for the rich. an interesting collection of essays that cover the political, in particular racial, aspects of hip hop culture bakari both critiques and celebrates the appropriation of hip hop by white people, particularly white youth, with a clear understanding of the class struggles both races share no vapidity here tellingly, many of the other reviewers didn t readthan one or two essays Bakari Kitwana was, at one point, a writer for The Source As others have pointed out before me, this book is not solely about white kids and hip hop Rather this book is a collection of Kitwana s essays around hip hop in popular culture today and the implications of its influence To answer the question of the title, white kids love hip hop, in Kitwana s opinion, because they have moved beyond the racial definitions of their parents Their world ismulti cultural than those that have come before It is Dr King s vision realized He also feels that the white youth of America have farin common with the black youth, unemployment, sub standard education and poverty, than they do with their parents.Perhaps the most interesting essay in the book is the one that looks at the ongoing war against Eminem lead by Benzino and Mays, the founders and publishers of The Source and Kitwana s former employers While he does not condone the racist lyrics that Eminem was being attacked fore, Kitwana certainly sees selfish and jealous motives as the source of his former employers fury Given his job history, Kitwana has an interesting point of view on the issue And an interesting bias, that he does not really do much address.This is a good collection of essays, although the last one on the political influence of hip hop is a little dated given that it was written before Obama s election. Let s say three and a half stars.I appreciated Bakari Kitwana s approach in this book, and his attempt to have an open approach to the possible positive meaning of the involvement of white kids in hip hop culture and their love of hip hop music, while remaining historically grounded in the realities of cultural appropriation, and unjust economic compensation in the music business.I even appreciated his attempt to rehabilitate the role of Eminem to some degree even if I think Eminem is vastly overrated and found his argument that Marshall Mathers is not the hip hop Elvis meant in as disparaging a way as you can imagine is compelling, given that despite the in roads he and other white artists have made in hip hop and RB, for the most part the music is still created and performed by black performers to a degree that does not and likely will never parallel what happened with rock n roll.That said, I do find his ultimate conclusions overly optimistic, and don t think hip hop music has the opportunity to accomplish the kind of political possibilities ascribed to it both for black youth and for youths of different races The folk cultural origins of hip hop are long gone, strip mined as a way to sell black urban cache without the remotest need to understand or digest the historical and cultural realities of black and brown people in America. This book was in a weird place It came out in 2005 but this decade has seen a ridiculous amount of new cultural appropriators heck, that wasn t even a widespread term back when this was published , so the book would always feel dated and quaint The author s focus doesn t really help The book is pretty much four different parts, but it s not even divided like that There are case studies with individuals why this white person should be allowed to listen to hip hop , a lot of focus on Eminem s beef which I guess made sense but I would ve like to juxtapose his success with black rappers industry troubles to make it clearer , movie analyses, and then the importance of coalition building in politics and how hip hop can be used for that There were too many different ideas and it wasn t really connected with each other I would like to see the political part fleshed out in a new book.And if you re wondering, he cites economic disillusionment as for why white kids like hip hop following a loss of opportunity in the 80 s and 90 s I guess he was onto something. This book has some interesting points but mostly it is a black guy talking about how the white man is trying to steal his culture If you try to filter out all the bull about that then you can find he has some decent points I went into this book open minded but came out feeling like I wasted my time He tries to make excuses for all the problems in the black society You might want to read this if you would like a black person s perspective of hip hop when concerning white people, but it is probably what you expect.