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Williams Wimsatt's book, Bomb the Suburbs is an inspiring book about race relations that discusses the white, middle-class male who was accepted into the world of Chicago hip-hop due to their b-boying and graffiti writings. He explains an intimate account of the conditions of hip-hop in the early nineties, in which it was the beginning of the current widespread of the widespread cultural fascination with most of the item urban. William Wimsatt went ahead and discussed the greatness of the white suburbanite with black which he termed as coolness in its ability to give promises and most nefarious manifestations. He went further and explained that the white kids love the experience of blackness, direct and dramatic (Wimsatt, William Upski).
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After giving criticism directed at the white consumer of the urban culture and traditions, he decides to communicate on his problematic relationship to a community that he always regards as his own, in which he believes both an outsider and insider. He finalizes by saying that he accepts the ambiguous, uneasy and challenging platform to repay the moral debt that he feels all the white Americans and he owns to the black community as an apologetic way for years of racism (Wimsatt, William Upski). Williams also mentioned that hip-hop might be considered as a sign of unity and a dividing line. He believes that graffiti most of the times alternates from being creative and destructive and back again. William Upski concludes by urging for a codification of hip-hop set of rules that assist in managing our anger, our communication, our expression, our resources and our political power. He argued that although a rational and organized army is something to recognize, the unification of minds, bodies, voices and the art to support which will make hip-hop a social interaction and a site of community (Wimsatt, William Upski).
