Introduction From its onset, Hip Hop has been inextricably linked to critical thought. With its roots in West African culture and the identity of the griot (1)/bard (Keyes, 2002), spreading through the Caribbean (George, 1998; Rose, 1994; Kitwana, 2002), and re-membered (2) in the mid 1970s in the streets of New York, early Hip Hop pioneers gazed upon their experience of living in poor conditions and began a running dialogue with each other that took many forms. Black and Brown urban communities were plagued by "shrinking federal funds, affordable housing, [and] shifts in the occupational structure from blue collar manufacturing toward corporate and informational services" (Rose, 1994, p. 31). Through dance, art, poetry, and music, a critique of systems of oppression began in a language that those connected to the oppression could understand. And understand they did. Today Hip Hop music exists as a main feature of the soundtrack to a new globalization and corporate culture, but embedded within Hip Hop culture is the critical discourse upon which it was founded. This discourse is buried beneath corporate control and unconscious/uncritical thought, but it is still there buried within the subconscious minds of everyone connected to Hip Hop whether they know it or not.