Snoop Dogg Themes

The success the N.W.A group artists consists of avoiding being taking advantage of by managers who do it because artists know less about paperwork, transactions and which type of business to do at the right point of time. O’shea Ice Cube Jackson got into a financial dispute between him and the N.W.A manager, Jerry Heller. The dispute was settled in-court in 1990. After the fact, Cube continued a successful solo career. After that the N.W.A continued working on the same path, despite of the obstacles by being criticized by politicians, Ban of sales from few retailers because it was the purest form “Gangsta Rap” full of violence, misogyny, but also a lot of humor, and pathos. Politicians spent amounts of energy to stop it from being something, it was simply wild. The politicians might take the side that says this specific type of music influence young African Americans to do crimes and do what gangs do as described in the songs yet, the beauty of it is that it’s purely honest, and making Compton visible on the world

Hip hop is something that has been around since the 21st century. When it comes to the hip hop community, there are so many stereotypes that the media portrays. This essay will show that the stereotype of violent, crimes African American in rap music can become self-prognostication for the hip hop community. This is a behavior that has been corresponding in the rap music and has become accepted as a social norm by the African American community.

Classic hip-hop's debatable and political content advocates for societal change. The explicit content which permeated classic hip-hop was something that the music industry hadn't experienced yet. However, many of these rap protest records are not without cause. An anthem of anger for blacks growing up in the streets of Compton and Los Angeles, N.W.A. released a song in which they took part in a fictional trial against the L.A.P.D ("N.W.A."). The song highlights offenses of brutality among police to the minorities living in such areas.

Nelson George states that “Gangsta rap is direct by- product of crack explosion. Unless you grasp that connection nothing else that happened in the hip hop’s journey to national scapegoat will make sense. This is not a chicken-or-the-egg riddle —first came rocks, then gangsta rap” (136). To prove his point he examines the connection between drug culture of the inner city areas and the hip hop music. The money collected from illegal drug deals spent on recordings of gangsta rap music. George says “Suspicion of women, loyalty to the crew, adoption of a stone face in confronting the world, hatred of authority—all major themes of gangsta rap-owe their presence of lyrics and impact on audiences to the large number of African-American men incarcerated in the ‘90s” (138). I agree with his statement that gangsta rap is a directed by- product of crack explosion, because social and racial issues for instance drug dealing influencing the lyrics of music and this explosion of heroin and crack in communities gave birth to gangsta rap.

With the violent diction, many people were put off by it. “Although violence, sexism and obscene lyrics have always been a part of American popular culture, what made gangsta rap intimidating was its lyrics…The lyrics came instead from the minds of what many white Americans considered to be the most violent and threatening segment of America-‘young angry inner city black men”(Canton 245). Much like today, the incarceration rate for black men was incredibly high, which can be seen through the aftermath of the Watts Riot, the formation of the Black Panther Party as well as countless other civil movement events. Gangsta rappers’ goal was to appeal to the masses of their culture. As many of them at least knew someone that had been put in jail, making songs about what got them there pulled a strong audience. For example, prominent gangsta rap group, NWA combined the violent rhetoric and political charged diction in their song, “F*ck tha

Frequently, the gansta rap has been the center of attention on national debates regarding the amount of violence in the media and its effects on America’s youth. In some occasions, there have been cases in where political experts and television analysts have accused individual rap starts for real life tragic events. However, it is imperative to understand that if hip hop music is violent, it is because the songs express the reality that African American live on a daily basis. In order to be objective on this matter, it is essential to look past the controversy and acknowledge that it is unrealistic for one particular

“Gangsta rap” which is form of rap became prominent. This type of music features not only violent lyrics but additionally sexually explicit themes that many view demeaning toward women. Rap groups such as NWA (Niggaz With Attitude) and 2 Live Crew helped found this trend which continues throughout the years with such artists as Nell, 50 Cent and Tupac Shakur just to name a few. Male rappers lyrics frequently served as indirect references to their position of power and they are viewed as boasting the hyper-masculine personas: pimps, players and macs. Alongside their lyrics, rappers also use their videos to reiterate their patriarchal dominance. NWA are considered the innovators of violent and sexist lyrics. They went against what artists like Public Enemy’s stood for with their rules of hip hop, which was about hardcore revolution, and transformed the style and message of hardcore rap. NWA released a highly debatable album “Straight Outta Compton” in 1989. This created turmoil within the media as well a public outcry against “gangsta rap.” The parental advisory label was one of the first actions taken to control the delivery of violent and sexual explicit

As N.W.A fell into the laps of the mainstream target audience: white, middle class, suburban males and their angst filled teens, more problems began to arise regarding the misconceptions of gangster rap and appropriation of the experience of black men in low income cities. Most of the rap that this demographic would hear on the radio was the lighter Pop-Rap of MC Hammer and The Fresh Prince and Jazzy Jeff. According to GZA, the founder of the Wu Tang Clan, “the label (Gangster Rap) was created by the media to limit what we can say. We just deliver the truth in a brutal fashion…They don 't like that, so you hear 'ban this, ban that '. We attack people 's emotions. It 's a real live show that brings out the inside in people”. But many people outside the scene just associated it with the violent rivalry between the East Coast’s Bad Boy Records and the West Coast’s Death Row records that ultimately resulted in the mysterious murders of The Notorious B.I.G. and 2Pac. However, when ‘Efil4zaggin’ hit number #1 on Billboard charts, the genre became more widely acknowledged and accepted by mainstream audiences. Although, in a general sense, “Fuck Tha’ Police” was relatable to the Every-Man in it’s dissatisfaction with unfairness- it cannot be separated completely from it’s specific context. Although facing discrimination and brutality at the hands of cops was a common experience for minorities, suburban America still refused to believe that this bias was happening. This track

In rap music it’s not hard to find the violent lyrics with most of the music speaks about gang violence, shootings, drugs, and more. An example of a song that influences violence is J. Coles song “A Tale of 2 Cities” with lyrics like “Picked up the paper and they say my nigga Eddie caught a body, I'm convinced anybody is a killer, all you gotta do is push 'em to the limps” in this part of the song Cole speaks about how his friend, who isn’t really a person who would commit a crime, murdered somebody; Cole isn’t surprised because he believes everybody is a killer if you push them to their limits. Another example in the song is “They robbin' niggas on the daily can you blame a nigga that ain't never had things? Guess not last night they pulled up on my nigga at the light like ugh, nice watch, run it” the first part of these lyrics Cole justifies the crime of robbing because they have nothing. In the second part Cole states that somebody came up to his friend and robbed him of his watch, on this part the sound of a gun being cocked in the background is heard and is continued with the chorus saying “hands in the air now” (Genius). These lyrics not only promote violence but justify why it was okay to do such crimes. The reasoning behind why artists talk about violence is that it’s a way of telling their story. Namir, a rapper in New York says “People have to realize that rappers are just like any other artist or musician. What makes an artist an artist is his artistic portrayal of his life and how he expresses his life through whatever art form that he does” (PBS). With people growing up in terrible environments and music being a way for them to cope the reasoning for the violent lyrics is the artist trying tell their

Picture this, you are teenager growing up in Los Angeles, on your way to school and you turn on the radio. “Yo thanks for tuning into to the hottest radio station in the streets of LA. Up next we got N.W.A. with their new single Appetite for Destruction.” That was common for nearly every person who lived in LA and enjoyed hip-hop music. During the early 90s and late 80s, West coast hip-hop was dominated by the gruesome realities of gangster rap and g-funk. Rap at the time was intense, authentic, and unbearable. Ultimately, this wave of “fuck you” sprouted from the injustices that plagued many impoverished communities. Individuals were angered from the oppressive acts that hindered any attempt to reach success, and gangster music within LA served as the platform to express the frustration under such terrible circumstances. Although the sound was revolutionary and taking over the entire nation, still Los Angeles needed a fresh of breath of air to display the artistic talent that came out of Los Angeles. New York could play with both sides of the hip-hop spectrum of light-heartedness to aggressiveness, but unfortunately for LA, they only had one sound. In New York, they had artists from Kid N Play to Public Enemy. If Los Angeles were ever going to snatch the throne from New York, they needed to do so quickly before the dawn of Golden Age ended.

Hip-Hop is an extensive and a broad conglomerate of various artistic forms that ultimately originated in the South Bronx and then quickly spread throughout the rest of New York City among African-Americans and other African-American youth mainly from the Caribbean and from Jamaica during the 1970’s. Over the course of decades and recent years, controversy surrounding Hip-Hop and rap music has been the vanguard of the media. From the over hype of the East and West Coast rivalry to the deaths of Tupac, Biggie, and even Michael Brown and Trayvon Martin, it seems that political and broadcasting groups have been injudicious to place essentially the blame on rap and Hip-Hop music for a superficial trend in youth violence.

In this book, Jeffrey Ogbar talks about the beginning of rap, where it started, some of the artists of this genre and some of the controversial topics the artists rap about. He also talks about the usage of the N word as well as men calling women the B word. In the first chapter of the book, Ogbar contextualizes the debate by talking about the history of the minstrel figure in American popular culture, relying mainly on the work of W. T. Lhamon and Patricia Hill Collins. He talks about how the earliest manifestations of hip-hop music in the 1970s came from the Black Power movement and often included direct rejections of minstrel tropes for example in the artist KRS-One’s song “My Philosophy”. Before going on a chronological study of the internal debates that many rappers have over their relationships with the minstrel trope, Ogbar finds the source of the debate in early twentieth-century black writers’, mainly W.E.B Du Bois, interest in elevating many portrayals of African Americans in the arts, versus Harlem Renaissance writers’ rejection of the emphasis on

The study of hip hop music has been cited well throughout its growth over time. The purpose of this paper is intended to discuss hip hop culture and address cultural stereotypes associated with rap and hip-hop music, but also how its original lyrical intentions were forms of expression and art. It will begin by guiding the reader through how it originated, its influence with the African-Americans with its subculture and popularity in urban areas, its styles of evolving, the introduction of hip hop and rap to the public, the depiction it gave off with its criticisms from outsiders. An evaluation of hip hop artists songs by Sugar Hill and the Gang, Run DMC, Queen Latifah, and N.W.A. Including lyrics from the songs “Rappers Delight”, “King of Rock”, “Latifah’s Law”, and “Niggaz4Life”. In the conclusion it exposes how hip hop music is clearly for black Americans to express themselves freely and in fact did not cause violence.

Boom, boom! Boom, boom! The kind of bass that drains batteries and the kind of lyrics that unload clips, these are the sounds that rap music produces. I chose this topic because I am extremely interested in rap music and I want to explore the violent aspect of the industry. I have never had a chance to look at the violent side of it and I plan to find answers to questions I have in my search. Tupac Shakur is one of my favorite artists and when he was shot and killed I really started to take notice of the violence. People were getting killed because of an image that was being set. What I really want to know, however, is why rappers feel compelled to graphically describe the violence.

     Most rap songs that contain violence reflects incidents that occur in today’s society such as the Rodney King incident. “Rap music brings together a tangle of some of the most complex social, cultural, and political issues in contemporary American society.” Rap and hip-hop artists write songs that promote the killing of enemies as well as targeting institutions such as the church, government, and justice system (Ro 145) Most artists relive their own painful experiences over and over again though their music, delaying their own society’s process of recovery . for example, in 1989