ABSTRACT
From its origins in the Black communities of New York City, hip hop has been known as a form of cultural expression and empowerment for disenfranchised groups. Over thirty years since its inception hip hop has seeped into the fabric of American culture through advertisements, film and television. This form of popular culture has transcended cultural boundaries as far as Japan and China and continues to be one of the most popular and profitable cultural commodities in the world (Kitwana 2002). In the United States hip hop remains a cultural product heavily produced and populated by Black Americans (Stapleton 1998). As such, scholars have continued to explore and critique the relationship between the cultural production of hip hop music and the lived experiences of Blacks. While the music is featured in marketing campaigns from cars to cereals, community members from whom the music is derived continue to be impacted in ways that are arguably not as profitable.
