But I don’t hear anybody complaining.’ : A Q & A with Ice-T about rock, race and the ‘Cop Killer’ furor”. Philips, Chuck (July 19, 1992). “COVER STORY : ‘Arnold Schwarzenegger blew away dozens of cops as the Terminator. Can’t Stop, Won’t Stop: The History of the Hip Hop Generation The New Rolling Stone Album Guide, Fourth EditionĬhang, Jeff. Rude Boys, Amos Barshad, New York magazine 2011 5, retr 2012 Oct Rap, Rock, and Censorship: Popular Culture and the Technologies of Justice. Press Telegram (Los Angeles Newspaper group). Ice: A Memoir of Gangster Life and Redemption-from South Central to Hollywood, Chapter 8: Six in the Mornin’, One World, New York, 2011 Philips, Chuck (July 19, 1992). “COVER STORY : The Uncivil War : The battle between the Establishment and supporters of rap music reopens old wounds of race and class”. Gangsters Encyclopedia page 59, (2007) Michael NewtonĮncyclopedia of gangs page 44, Louis Kontos, David Brothertonīloods and Crips: The Genesis of a Genocide: page 42 (2009) Donovan Simmons, Terry Moses Gangs and Gang Crime (2008) Michael Newton
Gangsta rap was a side effect to the various wrongdoings that were being done to black people in underprivileged neighborhoods. In this world of gangsta rap, there exist the emotion and perspective of marginalized people that are constantly overlooked and are constantly berated and belittled by society. Gangsta rappers appear hardcore and “badder” compared to the early concepts and themes of hip-hop because they were saying what some people were afraid to say. Gangsta rappers often defend themselves by saying that they are describing the reality of inner-city life, and that they are only adopting a character, like an actor playing a role, which behaves in ways that they may not necessarily endorse. On the other hand, some commentators have criticized gangsta rap as analogous to black minstrel shows and blackface performance, in which performers-both black and white-where made up to look African American, and acted in a stereotypically uncultured and ignorant matter for the entertainment of audiences. The problem here is that the White House and wanna-bes like Bill Clinton represent a political system that never intends to deal with inner city urban chaos,” Sister Souljah told Philips. “The reason why rap is under attack is because it exposes all the contradictions of American culture…what started out as an underground art form has become a vehicle to expose a lot of critical issues that are not usually discussed in American politics. The white politicians, the artists complain, neither do they understand the music nor have the desire to hear what’s going on in the devastated communities that gave birth to the art form,” wrote journalist Chuck Philips in a review of the battle between the Establishment and defenders of rap music. “Many black rappers-including Ice-T and Sister Souljah-contented that they are being unfairly singled out because their music reflects deep changes in society not being addressed anywhere else in the public forum.
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Criticism has come from both left wing and right wing commentators, as well as religious leaders, who have accused the genre of promoting crime, serial killing, violence, profanity, sex addiction, homophobia, racism, promiscuity, misogyny, rape, street gangs, drive-by shootings, vandalism, thievery, drug dealing, alcohol abuse, substance abuse, disregarding law enforcement, materialism, and narcissism.
The subject matter inherent in gangsta rap has caused a great deal of controversy. Some gangsta rappers have been associated, or allegedly have ties with the Bloods or Crips gangs. After the national attention that Ice-T and N.W.A attracted in the late 1980s and early 1990s, gangsta rap became the most commercially lucrative subgenre of hip-hop. The genre was pioneered in the mid-1980s by rappers such as Schooll D and Ice-T, and was popularized in the later part of the 1980s by groups like N.W.A. Gangsta rap is a sub-genre of hip-hop music that evolved from hardcore hip-hop.
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