Starr and Waterman suggest that the demand for Minstrelsy may be understood as more than a output of light racism which " working-class white youth expressed their particular sense of marginalization by using a identification with African American social forms (Starr/Waterman 2007, g. 19). ” In addition , it had been during the Minstrel era that " the most pernicious stereotypes of dark people, ” including " the big-city knife carrying dandy (the " negative negro”) -- became everlasting images in mainstream American culture, disseminated by an emerging entertainment industry and patronized by a predominantly white colored mass market. ” (Starr/Waterman 2007, g. 21).

Just like Minstrelsy, Hiphop music is usually steeped in images and iconography associated with African American traditions and is favored by predominantly light audiences. Creator Bakari Kitwana explores the multi-racial benefit of Hip Hop music in his book Why White colored Kids Love Hip Hop: Wangstas, Wiggers, Wannabes, and the New Reality of Race in America

Hear Kitwana's interview with Tavis Strichgesicht at


or perhaps


and answer the next questions:

Why does Kitwana claim that white youngsters love Rap?

The small white Us citizens are fighting the question of what it basically means to always be young, light, and American. He as well sees youthful white youngsters in catastrophe of their personality. What are the most crucial similarities and differences inside the presentation of Hip Hop music and Minstrelsy? They are related because light people indicated identification with what people believe that hip hop is an " African American ethnic form. Precisely what is different even though is that I don't think any person is applying white racism for liking hip-hop everyone just enjoys the music. Do you think that white colored audiences in the late 20th 100 years and early on 21st Century share " their particular sense of marginalization through identification with African American cultural...


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