Other People's Property: A Shadow History of Hip-Hop in White America

by Jason Tanz

Over the last quarter-century hip-hop has grown from an esoteric form of African-American expression to become the dominant form of American popular culture. Today, Snoop Dogg shills for Chrysler and white kids wear Fubu, the black-owned label whose name stands for "For Us, By Us." This is not the first time that black music has been appreciated, adopted, and adapted by white audiences―think jazz, blues, and rock―but Jason Tanz, a white boy who grew up in the suburban Northwest, says that hip-hop's journey through white America provides a unique window to examine the racial dissonance that has become a fact of our national life. In such culture-sharing Tanz sees white Americans struggling with their identity, and wrestling (often unsuccessfully) with the legacy of race.

To support his anecdotally driven history of hip-hop's cross-over to white America, Tanz conducts dozens of interviews with fans, artists, producers, and promoters, including some of hip-hop's most legendary figures―such as Public Enemy's Chuck D; white rapper MC Serch; and former Yo! MTV Raps host Fab 5 Freddy. He travels across the country, visiting "nerdcore" rappers in Seattle, who rhyme about Star Wars conventions; a group of would-be gangstas in a suburb so insulated it's called "the bubble"; a break-dancing class at the upper-crusty New Canaan Tap Academy; and many more. Drawing on the author's personal experience as a white fan as well as his in-depth knowledge of hip-hop's history, Other People's Property provides a hard-edged, thought-provoking, and humorous snapshot of the particularly American intersection of race, commerce, culture, and identity.

Genres: Music, Nonfiction, Hip Hop

272 pages, Hardcover

First published February 6, 2007

Reviews

[Josh Bokor · Rating 4 out of 5]

3.5/5
It's interesting to read about whiteness in hip-hop and its impact in social, commercial, cultural, and political aspects from Tanz's point of view, since he's a white, obsessive male hip-hop fan. It's not a casual or comforting read, one that is pretty insightful and highlights from different perspectives in the hip-hop community and those who are out of it and instead are in offshoots of the genre. Although much has changed since its initial publication in 2007, "Other People's Property" is a proper telling of race's impact in hip-hop and it's definitely an introduction for a much larger and more in depth book on the topic.

[Ryan · Rating 2 out of 5]

To be forthright with my bias, I purchased "Other People's Property" from a Dollar Tree, so I did not have such great expectations for this book from the start. The book is, at times, an enjoyable read and provides some humorous moments. (For example, the author pays $75 to take a hip-hop history bus tour through the Bronx. The image of relatively affluent yuppies paying to see the streets of the ghetto had such a sense of comedic irony.)

In many aspects, however, I think this book fell short of what it's title proported to accomplish, specifically examining the interface between Caucasian consumption of a primarily African American artform. One of my favorite quotes from the book (p. 192) states, "Is hip-hop a door that swings open between our two cultures, letting us mix freely with each other, or is it a revolving door, endlessly spinning, allowing us to pass in opposite directions without ever actually touching?" If this had been the focus and delievery of Tanz's book, it would have been a much more worthwhile read.

At times, this book seems to be self-serving and autobiographical in nature. There are references littered throughout the chapers of Tanz's own racial insecurity and his neurotic desire to be seen as an authentic advocate of hip-hop, as opposed to a "poser" or "tourist". (See Ch. 1's reference to his wearing of a Malcolm X hat during his college years and the emotion associated with the responses he received.)

My primary concern is that it feels like to me Tanz only analyzes the Caucasian take-over of hip-hop from a white perspective. He spends several chapters focusing specifically on Caucasian adaptations of hip-hop (ex: Chapter 7's focus on the "nerdcore" genre)and Caucasian experiences with the music (ex: differentiating "wiggers" vs. "Wegroes"). We don't hear the "black voice" expressing much feelings about the take-over that has taken place, aside from a few references in articles written about Eminem.. (I think it's telling that it appears that most of the individuals Tanz interviewed were Caucasian, possibly as a result of the aforementioned racial anxities.) Failing to devote a whole chapter to this topic does a disservice to the discussion of race and hip-hop.

Overall, this book is a solid but unfilling read, falling far short of what it could have been. I can honestly say I got my money's worth out of this book, but that is not necessarily a ringing endorsement.

[Michael Lortz · Rating 5 out of 5]

Good read on an interesting part of hip-hop culture. Some of the personal anecdotes are a bit cringy but Tanz brings a unique perspective. Very good interviews with personalities in White Hip-Hop. I would be interested in an occasional update as this was written in 2005.

[Kathleen · Rating 2 out of 5]

This book's meandering search for a thesis didn't bother me nearly as much as the completely mortifying personal stories that the author included about his own forays as a white boy who really just wants to be hip-hop. The utter embarrassment this causes could possibly be ignored by people who enjoy Ben Stiller movies, painful situations, and dramatic misunderstandings. If you are the sort of person who enjoys these things, then I recommend this book. You might learn some interesting things about NWA, or, at the very least, get a craving to listen to some mid-nineties rap, which is never a bad thing. However, if you do not have the personality type that can enjoy seeing someone completely embarrass himself by being a self-conscious-yet-oblivious-poseur, then you should probably avoid this one.

The general style of Tanz's anecdotes can be summarized by a scene toward the end of the book where he practices for a week before doing "How I Could Just Kill A Man," by Cyprus Hill. This is a song about how those who do not live the thug life cannot understand a "kid from the street gettin' paid for [his:] vocals". Yet this is the song that the author chooses to belt unironically in public. Tanz seems to take pride in his own awkward attempts to crib hip-hop culture, but all of his anecdotes only serve to convince me that he should probably have better friends who can keep him from going out in public.

[Kyle · Rating 4 out of 5]

This book is due to be released in Feb. '07. I read an advance reading copy. Tanz talks to many white fans of various types of Hip-Hop about why they like the music. He seems to think it's a question of white kids wanting to escape from safe (boring) suburban lives through Hip-Hop. There is a question of authenticity, what is authentic? White kids seem to feel that the life in the ghetto portrayed in rap music is more real somehow than their experiences in malls and tract houses. Are white kids just bored? It also looks at how listening to rap influences racism for good and ill. Reads rather like a New Yorker article. Tanz visits various places: Nerdcore/Geeksta rap conventions; a Hip-Hop history tour through the Bronx; a short-lived rap radio station in Green Bay, Wisconsin; and discusses his theories about the white rap audience without really drawing any firm conclusions. Fascinating, but ultimately left me wondering why do I like rap so much?

[Bob Anderson · Rating 5 out of 5]

This book is a great illustration of the various ways white men and boys interact with the ideas of rap, hip-hop and the black cultural forces expressed therein. Written by a white, Jewish, man, and focusing on that point of view, it explores the phenomena of faddishness, hip-hop marketing, cultural appropriation, awkwardness, the wigger concept and different approaches to authenticity. Yes, some parts of the book are cringing, but such cringing is one of the qualities inherent in the intersection of white and black culture that we have in America. Other parts are heartfelt and passionate, or cynical and scornful; every part is well-written. This book was a breeze to read, and completely worth the while. If the idea of this narrowly targeted history appeals to you, jump at the chance. The notes section also contains many different ideas for further reading on the subject, if you want to get a wider view of hip-hop.

[Adam · Rating 5 out of 5]

Inciteful, critical view of how white male consumers incorporate hip-hop into their lives. Not a book of hope, but not a downer either. The nerdcore chapter on how primarily white nerdcore fans appropriate the oppression motif to their own ends is particularly valuable. Best book I've read so far this year! (And I've read 4 already and it's only January 4th!)

[John · Rating 4 out of 5]

I first borrowed this book from the library to read the part about Nerdcore rappers, I learned quite a bit about other hip-hop scenes and sub-genres. It addresses the "white" (a very broad term) view of graffiti, break dancing, and primarily rap. It is awesome to see a book quote mc chris as much as this one.

[Victor Martin · Rating 4 out of 5]

This uncovers the culture of Hip-Hop. It's interesting to read this book in a white author's perspective. If you're interested in the history of not only Hip-Hop music, but also Hip-Hop culture, this book is the one for you.

[anique]

I love hip hop. But I'm white. Jason Tanz tries to figure out what this means in Other People's Property, aptly named after a popular 90s hip hop anthem by Naughty by Nature.

[Darrell · Rating 4 out of 5]

don't remember much of this book but I seem to have rated it as enjoyable

[Travis · Rating 2 out of 5]

2.5 stars would've been more appropriate. Certain chapters were great.

[Nathan]

As a white boy from the burbs with an off and on obsession with hip hop music, I figure I should probably read this.