The following is an excerpt from David Samuels' essay, "The Rap on Rap" published in Common Culture (which has several other essays with somewhat differing views).
The ways in which rap has been consumed and popularized speak of cross-cultural understanding, musical or otherwise, but of a voyeurism and tolerance of racism in which black and white are both complicit. "Both the rappers and their white fans affect and commodify their own visions of street culture," argues Henry Louis Gates, Jr., of Harvard University, "like buying Navajo blankets at a reservation roadstop. A lot of what you see in rap is the guilt of the black middle class about its economic success, its inability to put forth a culture of its own. Instead they do the worst possible thing, falling back on fantasies of street life. In turn, white college students with impeccable gender credentials buy nasty sex lyrics under the cover of getting at some kind of authentic black experience."
Gates goes on to make the more worrying point: "What is potentially very dangerous about this is the feeling that by buying records they have made some kind of valid social commitment." Where the assimilation of black street culture by whites once required a degree of human contact between the races, the street is now available at the flick of a cable channel-- to black and white middle class alike. "People want to consume and they want to consume easy," Hank Shocklee says. "If you're a suburban white kid and you want to find out what life is like for a black city teenager, you buy a record by N.W.A. It's like going to an amusement park and getting on a roller coaster ride-- records are safe, they're controlled fear, and you always have the choice of turning it off. That's why nobody takes a train up to 125th Street and gets out and starts walking around. Because then you're not in control anymore: it's a whole other ball game." This kind of consumption-- of racist stereotypes, of brutality toward women, or even of uplifting tributes to Dr. Martin Luther King-- is of a particularly corrupting kind. The values it instills find their ultimate expression in the ease with which we watch young black men killing each other: in movies, on records, and on the streets of cities and towns across the country.