Customer Reviews

Why White Kids Love Hip Hop: Wangstas, Wiggers, Wannabes, and the New Reality of Race in America

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4 star:		(2)
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2 star:		(2)
1 star:		(2)

 

 

*sigh*... I'm always on the lookout for books about hip-hop (as a music form, culture, and generation) as it relates to American culture. More specifically, I'm interested in the social ramifications of the culture as a whole. Thus, when I was given this book by a friend, I was hoping for a good social science read. Unfortunately, I was highly dismayed, finding this particular selection to be a sloppily written manuscript with virtually no empirical evidence anywhere.

For much of this book, the author makes vague statements which are supposed to be evidence (I.E. - "First and foremost among the reasons white kids love hip-hop is the growing sense of alienation from mainstream American life they experienced in the 1980s") but then makes little or no effort to show proof of such theories. This is discouraging.

What makes matters worse is that the author later goes on to dismiss the limited evidence that does exist showing whites are the dominant purchasers of hip-hop albums, and instead of inserting evidence which shows otherwise, he launches into page upon page of bizarre hypothesis' for potential ways blacks might still be the majority purchasers (ironically mentioning bootleg CDs). Ultimately I grew tired of reading his writing which became increasingly less academic.

His "expert" sources are also questionable - while at times he does move towards legitmate figures in the hip-hop community - I felt he vastly stretched for some of the opinions gathered for this book. For instance, I seriously wonder whether it was wise to include a very long section on a 19 year-old white female for who "hip-hop has been mainstream culture" for her entire life. Her priciple credits for being mentioned appear to be that she once dated a black guy, doesn't mind the b-word, and got hooked on hip-hop when she heard "Hypnotize" while developing film. I was not impressed.

If you are looking for an actual intelligent and informed book on hip-hop, please look elsewhere. Reading this, you'll mainly come away with disjointed personal theories of the author, as well as numerous plugs for THE SOURCE magazine.

1/5 Stars

I think that the issue Kitwana attempts to explore in Why White Kids Love Hip-Hop is interesting. But his approach to taking on this topic was both sloppy and simplistic. It starts in the preface, where he says that the hip-hop generation (which in reality covers two generations) is the first one to grow up without experiencing de facto segregation. I'm sure that White suburbanites in Scarsdale and Orange County would be interested in knowing that there are phantom people of color floating around their communities.

Kitwana also overemphasizes the impact of hip-hop on the emergence of African Americans in popular culture and their impact on young Whites during the 1980s and 1990s. He concentrates so much on Michael Jordan and his first Nike ads with Spike Lee that he forgets about Dr. J, Mean Joe Green, and a host of others that paved the road for Jordan in the first place.

But Kitwana's biggest error is in glossing over the distance between Whites embracing hip-hop culture and Whites living anti-racist, social justice oriented lives. Like John Tuturro's character in Do the Right Thing, there are at least as many Whites who are hip-hop lovers but have as stereotypical an opinion of Blacks and other people of color as Whites who listen to honky-tonk. I don't that everything Kitwana says in Why White Kids Love Hip Hop is incorrect -- his book is just selectively incomplete.

Can you say "sanctimonious hot air", boys and girls? This author should know better. I only got through the first few pages of this while I was bookstore-browsing one day before I tossed it aside with a roll of my eyes. Kitwana completely misses the point. The "loss of a mainstream cultural identity among whites" doesn't turn these kids onto hip-hop. Nor do today's underclass whites' socioeconomic status (identifying with being a minority) and being raised in more racially-integrated neighborhoods solely make them idolize and mimic rappers.

The reason Eminem is the biggest selling rap artist today among white youth is the same reason Elvis and the Beatles were huge in the 50s: APPROPRIATION, black American creativity in the Arts and Music arena is a CASH COW. We live in a Capitalist society, we worship the Almighty $$$, and any time there's money to be made off of the popularity of some new thing, it is pimped out for all it's worth. Everything is for sale here and inviting any other theory for this "whites loving what blacks do" argument is akin to spinning your wheels in a ditch. One major support for my opinion is this: blacks had to do much assimilating into the white Anglo-Saxon culture of the U.S. in order to achieve success, wealth, and equal representation of their civil rights under protection of the law. "Survival of the Fittest" in a social context is common sense - adapt/adopt the ways and habits of the ruling class to raise yourself and your family up, and you will be tolerated (but still not truly welcomed, trusted or appreciated).

Black culture, marketed and sold as an image, a lifestyle, to other races is a big moneymaker because interracial love and whites with blacks is still taboo to many (and I daresay MOST) people. All sorts of bizarre, racist lies and jokes are still popular (just not PC) and feed the psychological flames of fear of the unknown. The psychology of racism works both ways - as a tool for fear, hatred and ignorance (the three-headed dragon that never dies) and as an emotional vessel for the expression of exotic sensuality, sexuality and rebellion. I call it the rape of the African queen, but that may be too harsh for some.

From the antebellum period of the 1600s when slavery was constitutionally protected, up until the Civil Rights Movement, whites have always admired, patronized, supported and profited from black art forms, not just Music (Jazz, Bebop, Rock and Roll and the Blues before Rap, all of which have deep roots in Afro-Caribbean culture) but our achievements in the Sciences, in Engineering, Sports, Medicine, Education, Dance, Theatre, and so on. Even when black American athletes were treated worse than dogs in the street at home, they were sent to Greece in the 40s to participate in the Olympics, because EXCELLENCE cannot be ignored. It is costly to hold talented black people back, and when they excel, they are considered ASSETS (instead of second-class citizens or property). But it's still all about money.

Americans must have the most short-term memory of any other creature on the planet when it comes to race. Either that, or they just like living in a dream world. Books like this one try to convince the reader that there's something going on other than white folks turning a buck off of hard black labor (akin to the slave days). The fact that now, in today's society, more blacks have education and affluence, have more equality under the law, and can make nearly as much money as "The Man" (lol) doesn't change the reality that CAPITALISM makes it all possible. It's a conceit there's anything else going on BUT the mass exploitation of race. There's always been a strong, historical undercurrent of attraction/revulsion of whites toward blacks, this dangerous sexual paradox, and it continues to this very day. This book should be four pages long, at the most, with a picture of Al Jolson in blackface on a $100 dollar bill. Or, better yet, Eminem, since our TiVo, Xbox, Internet and Ipod generation of profligate youth don't study their own history (unless it's about war or Christianity) and wouldn't know who Jolson is.

Even though I don't mean to equate ALL Rap music as Minstrelsy, to a disturbingly large degree, the most anti-social, anti-law, violent and "proudly thuggish" Gangsta Rap is an update on the stereotypical Black Menial, all brute strength and raw sexuality, but no brains. Gangsta Rap is self-destructive, but it is based on something all men love - the extravagant power of the Mafia. A dark-skinned millionaire with gold teeth, dressed in a suit and tie (or track-star party clothes !!!), spending all his money on jewelry, cars and mansions, carrying a Glock - this is the updated Black Buck of the 21st century. Like Shaft, dangerous and cool. And we can all appreciate a scary "urban" legend. Besides, Christian values are full of duality - white/black, good/evil, rich/poor, and this is one way for whites to celebrate that walk on the wild side. To play with fire but not get burned.
So out of a compulsive Liberal-guilt-for-white-privilege complex (which is self-pitying behavior) or a delusion that the differences between whites and blacks no longer matter (which is insulting), many young whites co-opt black styles until they grow tired of it, subvert it, or find a way to exploit it themselves. I'm just letting you know how this works through a CAPITALIST perspective. It's just business as usual. And I guess after my explanation, it still must be said that to most black people, Jewish people are white people, too. We don't differentiate.

The use of the terms "wangsta" and "wigger" are laughable and obnoxious at best, not damaging to any white person's psyche, because they're still white, no matter what music scene they're into. There are sociocultural reasons. Many whites grow up in mostly black neighborhoods, and like any other group in that environment, many of them learn to take on the appearance and mannerisms of the prevailing ethnic group. They "talk in ebonics" and throw up gang signs to be ironic... is this odd behavior funny to the rest of us not raised in these environments? Sure, you bet. We love to poke fun at people who don't quite fit. Human nature, I guess. But this book doesn't even begin to articulate or provide any measures to eradicate the problem of racism or classism. Classism combined with racism is worse these days. Rich white kids especially think it's cool that they can somehow "be down" and "get gangsta" with disenfranchised black kids, which is really downplaying the seriousness of the social disparity among blacks and whites, as if the world's just a great big ferris wheel of stupid fun. Some would say maybe it is and I need a sense of humor. But tell you what. Instead of reading this book, read a book by Dr. Cornell West or Tony Brown instead. Even "Soul On Ice" by Eldridge Cleaver. Then you'll begin to understand why whites love rap music so much. And why most blacks still mistake flattery for fellowship.

Please do not be fooled by the title of this book or by the fact that Kitwana is exploring an "unexplored" facet of American pop culture. If you are seriously into hip hop this book is not for you. If you have no preconceived notions and/or previous interest in hip hop Why White Kids... may prove to be mildly engaging, unless you choose to delve further into the culture and music. As the Publishers Weekly review states, Kitwana races past the so-called "subject" of his book and when he does address young white involvement in HH culture his narratives are painfully dated. X-Clan, Bambaataa, Public Enemy, Rakim, SugarHill Gang ("Rapper's Delight" as important a song as it is, it does not need to be referenced two million times in a 210pp book) are the groups and people that create the framework for his analysis. N.W.A, 50 Cent, Dre, Kweli, etc. are swept by in passing. The book seems like an addendum to The Hip Hop Generation, which IS groundbreaking-Are these the unused chapters? The few pages on SoundScan are worthwhile and thoughtful. Though Kitwana's ace has to be his use of Billy "Upski"-of Bomb the Suburbs fame-whose few quotes are predictable. If you enjoy the music of any of these groups rest assured you will not find them in this book, and will probably walk away as frustrated as me:

M.O.P.
All of Def Jux
All of Rhymesayers
Jean Grae
MF Doom
Das Efx
Mos Def (Yes! I swear Mos Def, is mos def M.IA.)
Immortal Technique
Cam'Ron
Tribe Called Quest
De La Soul
Blackalicious
Prince Paul
Gang Starr....

However, don't get it twisted, I'm not making claims on what's "real HH," this just seems like the best way to summarize.

Why White Kids Love Hip Hop by Bakari Kitwana is a very well-written book which discusses why white kids, even upper-middle class and upper-class ones, love hip hop, specifically its musical component. I believe Bakari Kitwana puts a completely new spin on this question due to his clear enjoyment and understanding of hip-hop. He is able to look at hip-hop with less prejudice than many authors who have attempted to tackle this question. Kitwana uses convincing reasoning, such as whites' decreasing sense of racial privilege, and strong opinions to advance his arguments on why white kids love hip-hop.
I recommend this eloquent book to any hip-hop enthusiasts especially those interested in the question "why do white kids love hip-hop?" Not to say that this book is by any means perfect, Kitwana has his own unique set of prejudices like anyone and he has a tendency to belittle the work of some less hardcore hip-hop fans. Overall it is a wonderful book, a true must-read in my opinion. This is an adult book but it is not terribly long or difficult to read and while it does feature some necessary racial epithets it doesn't uselessly throw around foul language. A great book for the avid hip-hop listener or anyone who has ever wondered just why white kids love hip-hop.

Finally, someone with the foresight to write a book about White kids and hip-hop! Kitwana has written the definitive book, a groundbreaking work that critically examines the politics, placement, and myths regarding the place of White kids in hip-hop.
An important point Kitwana makes in Why White Kids Love Hip Hip is that the national conversation about race is ludicrously out of date. Bakari Kitwana deftly teases apart the culture of hip hop to illuminate how race is being lived by young Americans and how media manipulates perceptions such that a predominately Black and Latino cultural production can be mistakenly perceived as something consumed predominately by Whites. He effectively derails the Sound Scan train that created the White kid myth in the first place to ferret out an attempt to "erase" Blackness from hip-hop. This topic is ripe, but untried, and there is a plethora of questions that he is the first to articulate.
In the book he maps out that hip hop does indeed still belong to black kids, but has gained a wide appeal among white youth, many on a surface level (he also includes Black youth in this new generation as well). Kitwana also does a wonderful job of plotting out how mass media and consumer culture have made hip hop a unique phenomenon.
This is a groundbreaking book, the first of its kind that studies White youth who are drawn to African American cultural productions-hip-hop. Kitwana has written a book that anyone interested in American cultural studies or hip hop must read because he examines old racial politics and through the voices of White youth suggests that with the help of hip-hop the new racial politics look promising.

Dr. T. Lewis
Dept. of English
Willamette University

You're an idiot. It would literally take me 3 days to write about how wrong you are. So instead I'll paraphrase for your simple, narrow mind.

To say that hip hop is all about blaming whitey over a congo beat might be the most ignorant thing I have ever heard. HIP HOP is a culture, RAP is a genre of music. You are referring to RAP, not hip hop. But even then, not all RAP is what you are describing. Also, if it was, what is wrong with blaming Whitey? You mean to tell me that artists shouldn't use music as a medium to spread a message? Was N.W.A wrong for telling the world about the aubsive LAPD in the late 80's/early 90's? Any way, I doubt you actually read the book, and if you did, your mind obviously is incapable of accepting black people outside of some bubble you have put them in. Grow up, wise up and get a clue.

You're an idiot.