ountry, and their interaction with their white counterparts that one gets to appreciates the political, economic, cultural, and social realities of minority groups. This is as well as the their contribution in redefining America as it is today. The Krumpin in North Hollywood provides the opportunity for examining this history from the perspective and voices of the people who lived through it. In this regard, one can learn to evaluate and contextualize the first-hand accounts from the past and their contribution to the present and the future. To a great extent, the Krumpin in North Hollywood facilitates the examination of how race in general and blackness in particular, were created, lived, and evolved over time.
During the 818 session, it is plausible that the presence of the local security machineries reminds one of the status of the parking lot as a private space. Hence the prohibition of any form of intrusion into it (Frazier, Robeson, & Koslow 2). While circling the perimeter of the parking lot, the local police, and other paid security personnel frequently command the dancers to lower the volume of their music or leave the area. Failure to this, the dancers risk being imprisoned. This is a clear demonstration of the curtailing of freedoms as witnessed during the repressive periods of the 1950s and the 1960s where the minority groups had much of their freedom limited through the use of state agencies. In fact, the practice of young people forming a gathering in an empty, though private yard, and the police encroaching on their activities elicit the general culture of domination and regulation. This is especially of the marginalised groups in the U. S. To some extent, it is noteworthy the state is adamant in curtailing the use of public space, not just by the young blacks, but also by the brown youths.
It seems that many forces are at play here with corporate takeovers of public space.