What that means, precisely, is debatable, but it has something to do with young white hipsters believing they can shed white privilege by parodying the black hip-hop life. In this way, they hope to escape their uptight conditioning and get in touch with the looser soul within them.
Of course, it's arguable whether it's not just privileged white kids poking fun at (a parody of) black culture for a laugh, reaffirming that they're above it because they can don it as a costume and then take it off, and then going back to their privileged white lives, smug in the awareness of their superiority; much like hipster appropriations of working-class culture (trucker caps and redneck paraphernalia), only with an added racial dimension. The counter-argument would be along the lines of the hipsters in question being sufficiently enlightened, by virtue of their postmodern upbringing, to be exempt from accusations of racism, which is a rather debatable proposition.
A few months ago, 29-year-old Sharda Sekaran was hitting dance spots with friends when she stumbled into a Kill Whitie party. "There was a bunch of white people acting like a raunchy hip-hop video," she said. "I don't get why that wouldn't be a characterization of black people for the entertainment of themselves."
Casady was raised in Santa Barbara, Calif., but quickly notes her worldliness by listing the cities where she has lived along the trail to Brooklyn. A regular Kill Whitie partygoer, she tried the conventional (that is, non-hipster) hip-hop clubs but found the men "really hard-core." In this vastly whiter scene, Casady said that "it's a safe environment to be freaky."
His street fliers come emblazoned with the words "Kill Whitie" across a woman's backside. Another flier offers free admission to anyone with a bucket of fried chicken.It's not just New York's hipsters either; I seem to recall hearing that some of the Melbourne Shake Some Action coolsies were getting really into the booty-bass thing a year or so ago.
In about 1985, when my postpunk indie friends and I were the ancestors of the thing now called "hipster", I remember nervous white kids joking like this. They'd take radio DJ names that sounded "funny black" like Cleotis or Lashawna, and hit the blaxploitation stereotypes pretty hard. The kind of blacker-than-black dialogue you see in "Pulp Fiction" was common. I remember a friend once just spontaneously saying to me "black people are funny!"
That attitude + 20 years of hip hop video + entitlement + the irony epidemic gets you this new minstrel show.
My friend Shane has <a href="http://strikecuriousposse.blogspot.com/2005/07/some-of-you-know-i-have-jelly.html#comments">some interesting things to say</a> about this. He was a funny man to watch - he love's his britney-esque pop and when people talk about irony (or, "how can you like this crap") he goes off - it's not irony, he genuinly thinks they are making good, no great, music (not my thing, but hey, i like negativland).
Here is a follow up post about <a href="http://strikecuriousposse.blogspot.com/2005/08/on-monday-i-made-esthers-pickle-soup.html#comments">the love pump's first release</a>