critical of perceived and misperceived racism. The pressures and stresses of racism become aninherent part of our identity.
The pressure and stresses provided by the “culture industry” that
has perverted much of the loudest voices in Hip Hop have also become part of the identity of those who associate themselves with Hip Hop (Adorno & Horkheimer 1993; hooks 1990).
Beginning Assertions and Biases
Towards the notion of critique, this paper is predicated on a two predominating ideas;that critical race theory provides valuable insight into, especially, American
society which othersocial theories miss or ignore, and that Hip Hop is a valuable tool for the creation of multi-ethnic, multiracial creative space. This paper will present what would best be described asinsider research. I am a part of the Hip Hop cultural community, both in name and in practice. Itis the first set of community linkages I have aimed to create when moving to a new city for atleast the last nine years. When not focusing on academic pursuits, my attention is on Hip Hop,which has taught me so much. This insider insight that I have on the subject is, of course,
somewhat problematic as I am by all accounts “native,” and am therefore much more willing to
explain or excuse negative behavior. However, as with most science I am attempting here to beas objective as possible without turning individuals or groups into objects. The value in being aninsider, however, lies in that much of what takes place in the Hip Hop community has a certainesoteric quality, and is therefore difficult for outsiders to interpret or understand.
In this critique I will argue that the “color blind” method by which some have decided to
deal with race and racialized issues is a fallacy, in that it cannot solve the problems that havebeen entrenched through generations of pervasive thought and in the current dismissiveness of the struggles of people of color (Bonilla-Silva 2006; pond cummings 2010; Wise 2010).
I am of
The United States of America’s society.