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Rinaldo Walcott's groundbreaking study of black culture in Canada, Black Like Who?, caused such an uproar upon its publication in 1997 that Insomniac Press has decided to publish a second revised edition of this perennial best-seller. With its incisive readings of hip-hop, film, literature, social unrest, sports, music and the electronic media, Walcott's book not only assesses the role of black Canadians in defining Canada, it also argues strenuously against any notion of an essentialist Canadian blackness. As erudite on the issue of American super-critic Henry Louis Gates' blindness to black

The debate on the essence of black popular culture hinges on a specific moment in postmodern cultural globalization, where the struggle is fought over cultural strategies. The new ambiguous window opened to difference & marginality is met with reactionary & aggressive resistance in an attempt to restore the hegemony of the Western narrative. Black popular culture encompasses internally contradictory elements in the black community, which preserves black traditions, maintains the black aesthetic, & houses alternative black counternarratives. In the profoundly mythical & complexly constructed arena of popular culture, strategic essentialism in the use of the qualifier black unlocks both critical/creative options & produces shortcomings (eg, exclusion, the naturalization & dehistoricization of difference). 6 References. J. Sadler

Suggests that the repertoires of black popular culture, which, since black people were excluded from the cultural mainstream, were often the only performative spaces left, were overdetermined from 2 directions: from their inheritances; and by diasporic conditions in which the connections were forged.