A Guest in the House of Hip-Hop

A Guest in the House of Hip-Hop
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Born in rural Kentucky, Mickey Hess grew up listening to the militant rap of Public Enemy while living in a place where the state song still included the word “darkies.” Listening to hip-hop made Hess think about what it meant to be white, while the environment in small-town Kentucky encouraged him to avoid or even mock such self-examination. With America’s history of cultural appropriation, we’ve come to mistrust white people who participate deeply in black culture, but backing away from black culture is too easy a solution. As a white professor with a longstanding commitment to teaching hip-hop music and culture, Hess argues that white people have a responsibility to educate themselves by listening to black voices and then teach other whites to face the ways they benefit from racial injustices. In our fraught moment, A Guest in the House of Hip Hop offers a point of entry for readers committed to racial justice, but uncertain about white people’s role in relation to black culture.

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Mickey Hess. A Guest in the House of Hip-Hop

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MORE ADVANCE PRAISE FOR A GUEST IN THE HOUSE OF HIP HOP

“… an entertaining and richly informative instruction manual for both seasoned and budding allies.”—Kirkus Reviews

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Jews certainly heard their share of slurs. Thirty years after Heller saw that anti-Semitic graffiti, such hateful notions persisted. In 1989, Heller was making money managing Niggaz With Attitudes when Public Enemy’s Professor Griff proclaimed, “The Jews are wicked. And we can prove this.”8 But Heller suggested that being Jewish entitled him to claim a slur that had been designed to hurt black people, so that having been called a “kike” entitled him to call himself a “nigga,” even though he was a white record executive working in an industry built on the exploitation of black musicians, and even though his own black musicians accused him of keeping more than his share of their money.

America made being born powerless, hated, and poor such a compelling start to our stories that everyone wanted in, regardless of skin color. America was born out of rebellion, so my white Kentucky classmates felt like rebels listening to Public Enemy’s great call to action “Fight the Power” just one year after we felt like rebels listening to Hank Williams Jr’s revisionist daydream “If the South Woulda Won.” As much as Hank had preached self-reliance and living off the land in his earlier anthem “A Country Boy Can Survive,” he still pined for the good old days when slaves would have cooked him his pancakes. Two decades later, in 201l, the South still hadn’t risen again. Hank didn’t like our black president one bit and he wasn’t shy about sharing his views. ESPN parted ways with Hank after he compared President Obama to Hitler; America had become so oppositional, said Hank, that the Republican speaker of the house playing golf with the Democrat president was like Israel’s prime minister playing golf with Hitler. “Working-class people are hurting,” said Hank, who was worth $45 million, “and it doesn’t seem like anybody cares. When both sides are high-fiving it on the ninth hole when everybody else is without a job—it makes a whole lot of us angry. Something has to change.”9 We were a country born of rebellion. We just couldn’t agree on which powers to fight.

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