Locally lived hip-hop culture that is giving many of America's youth the tool they need to survive and thrive in America, in the face of public policy that have written too many young people off.

We live in a society that refuses to set a standard for what we will allow American entertainment to expose to our children. I think we need to set a standard that is entertainment industry wide, not just limited to hip-hop.

Locally lived hip-hop culture that is giving many of America's youth the tool they need to survive and thrive in America, in the face of public policy that have written too many young people off.

After many years of hip-hop as a nation we should have the sophistication to accept that their are distinctions between the corporate manifestation of hip-hop, sold as a commodity and package with sensational race, sex and violent imagery, and the hip-hop culture that kids are living everyday at a local level, which often doesn't dabble in that terrain.

Unfortunately there is a standard set for it that precedes hip-hop. It would be great if corporate America didn't do this, but there is a huge market for sex and violence and anti-Black representations in America and the world that doesn't begin or end with hip-hop.

I agree that all kids of all colors love hip-hop. My point in writing the book was to raise questions about the ways the hip-hop generation and the millennium generation, both who have lived their entire lives in post-segregation America, are processing race in radically different ways than any generation of Americans. I think they have a lot to tell us as a country about ways of addressing race matters.

Few places in American culture have made as effective a case for entrepreneurship than hip-hop. Hip-hop tells young people that our society is offering very limited options for youth. And that while society points to a radical decline in living wage jobs for youth and meaningful and affordable education, hip-hop is offering an alternative legitimate economy that is giving youth hope.