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Gangsta Rap Music
This paper discusses gangsta rap music and violence towards women. -- 1,396 words; MLA

Afro-American Music
A comparison of two new types of music - Gangsta Rap and Minstrelsy in the African American context. -- 2,335 words; MLA

The Hip-Hop Movement
This paper discusses the hip-hop movement, or more specifically gangsta rap beginning in 1992, as an example of a pop music explosion similar to Beatlemania. -- 845 words; MLA

The Voice of Today's Black Youth
A discussion of the influence of rap music, in particular that of gangsta rap, on adolescents and young adults in America. -- 812 words; MLA

Rap Music
This paper discusses rap music and compares it to the institution of slavery. -- 595 words; MLA

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GANGSTA RAP AND VIOLENCE

Stacey Hawkins English 2 sec. 34 11-21-96 Gangsta Rap and Violence Go Hand in Hand Mr.
Officer, I want to see you layin' in a coffin, sir, from The Chronic and F--- the police,
from N.W.A., are few lyrics from the music genre gangsta rap. This kind of music is being
sold to young children without any thought of concern. When many children listen to this
kind of music they think that was being said in the songs is not wrong or against the
law. The lyrics in many songs contain violent and explicit lyrics that usually talk about
killing someone along with sounds of gunshots in the background. It is also music that
refers to women as bitches, whores and sex-dispensing hos(Saunders B29). Gangsta rap  has
been criticized and debated over for its graphic sexual content, violent imagery and
misogyny. When rappers were asked why they refer to women as bitches and hos their
replies were similar. Snoop says, that it is just for the women who are like that and if
you're a real women, you're classy and elegant. Those lyrics wouldn't necessarily affect
you. You'd just groove to the music (Farley 78). Richard Shaw, Bushwick Bill, says: I
call women bitches and hos because all the women I've met since I've been out here are
bitches and hos. When asked, at the [National Association of Black Journalists]
convention, what he calls his mother he says, I call her a 'woman', but I'm not f---ing
my mother. If I was f---ing you, you'd be a bitch. He then apologized for what he said to
the reporter. (Raspberry A21) If you don't give a f--- about a bitch/ Then you're rolling
with the row, are lyrics from Doggystyle. If all people were to think like this what
respect would women have. Some say, if we don't have respect for our women, why should
anyone else? (Raspberry A21). Do these rappers think that they own women and can treat
them any way they want to. If this is the way some people think, that the own women and
can dis respect them then what footsteps are the children going to follow in. Young
children and adults, 14, 15 and 16 years of age, who listen and memorize these rap songs
think that it is acceptable behavior. Gangsta rap is hardly the only source of violence,
but it is a potent one. Not only is the music violent but the rappers lifestyle is also.
Many rappers have rap sheets and young people see that and say, hey, their rich and money
talks. Today most young people think that if a person is rich and famous they can get
away with anything. Not all rappers have run-ins with the law, but the ones that do are
very well known. Tupac Shakur, who recently was murdered this year, has had many run-ins
with the law. Shakur was arrested for aggravated assault, charged with shooting two off
duty police officers in Atlanta in 1993, but the charges were later dropped. He was
accused of beating a limousine driver in Los Angeles and found guilty of threatening a
fellow rapper with a baseball bat in Michigan. He was also found guilty of sexual abuse
in 1994 and was serving time up to 4 ? years in prison (Sims E3). In some raps he
glamorized the life of a gangster and fun gunplay. He lived the life tattooed on his
stomach, Thug Life, and died doing it. "Gangsta Rap has attracted a high-profile of
enemies and no one may ever know who really killed Tupak. The police are still not sure
of who shot and killed Tupak, but they think that it may have been linked to Death Row
Record's ties with rival gangs. There are no witnesses who can identify the driver or
shooter in the Cadillac that pulled up next to Tupak and driver, Marion Knight. Calvin
Broadus, better known as Snoop Doggy Dogg, was arrested in 1993 on murder-conspiracy
charges. He pleaded not guilty and was acquitted. He also has a police file that Hawkins
3 identifies him as a member of Long Beach Insane Crips, a notorious street gang
(Cheevers A1). He was also a drug dealer and user. His music also glorifies violence and
demeans women. Andre Young, a.k.a. Dr. Dre, served five months in a halfway house in 1993
for violating his probation for breaking another rap producers jaw in 1992. He was also
convicted of hitting a New Orleans police officer in a hotel brawl and of slamming a TV
talk-show host into a wall at a Hollywood club in 1991 (Sims E3). His music demeans women
and generates bad vibes against police officials. The Chronic, an album by Dr. Dre and
Snoop Doggy Dogg, has many explicit lyrics and unnecessary foulmouthing. In one song they
say, that if f--- with Dre you f--- with death row..., more or less saying that if anyone
messes with them they will have to worry about everyone that is with Death Row Records.
In the same song they tell a woman, referring to her as a bitch, to yell-187 (police code
for someone that has been killed). In another song they ask anther black man why he has
been talking crap about them, he says it was not he. Then they put a gun in his mouth
asking him, what's wrong can't talk with a gun in your mouth?...Do you know Lucifer?, he
replies,no,and they tell him, well you're about to meet him(Rap). All of the songs on
this album contain foulmouth language, violent and sexually explicit lyrics, drugs and
misogyny. Is this the kind of music that young children should be able to listen to?
William Drayton, Flavor Flav of the group Public Enemy, was arrested for attempted
murder. The police were lead to his home after a source told them that shots were fired
at a neighbor during an argument. The police found a loaded 38-caliber semiautomatic
handgun with one round missing. His music also glorifies violence. Hawkins 4 Eric Wright,
known as Easy-E, has also generated bad vibes against police officials. This album He
died at 31 years of age after revealing that he had the virus AIDS. From his deathbed he
urged young people to learn about the disease. His music also talked about having the
lifestyle of being promiscuous and that lifestyle killed him. All of these rappers
criminal records depict their lifestyles. They say that their music depicts the harsh
reality of life in the hood. To these rappers, people dying young and going to jail is an
everyday thing (Marriott 75). Tupak says that violence is all we know and telling it like
it is is a way of getting the people to listen to what is really going on. Ice-T's
controversial album Body Count, produced by Warner Bros. Records, had provoked a sharp
debate in 1992 when the album first came out. The song Cop Killer, with obscene and
violent lyrics, forced Time Warner to stop selling the album with the song on it. The
lyrics on the song said it was dedicated to the L.A.P.D. It also talked about dusting
some cops off, with sounds of gun fire he then asks the listener to sing along for their
freedom-cop killer (Ice Body). Cop Killer is not the on song on the album that glorifies
violence. Even though the song was cut from the album the other songs on it were just as
bad. Another song talks about killing his mother by setting her on fire, hitting her with
a louieville slugger and then cutting her up with a carving knife, all because she was
racist. Is this reality and was is really going on in the world today? In other songs the
lyrics talk about being promiscuous (giving very explicit sex lyrics) and yet the album
was still being sold to young children. Foulmouthed trash like this has been debated on
whether or not it should be censored. Many think it should and are trying to do something
about. Delores Tucker denounced Hawkins 5 companies that pimped porno rap to children.
She asks, What would Martin Luther King say about these rappers that demean women and
glorify thugs, drug dealers and rapists?, and What kind of role models are those for
young children living in the ghetto? (Philips A18). U.S. Representative Cardiss Collins,
a chairwomen of the congressional panel, complained that little was being done by the
industry executive to cut out vulgar and violent lyrics. She said that a sticker is not
enough (Congesswomen 7). Some censorship has been incorporated in the radio industry.
Inner City Broadcasting has put a stop to playing hard-core rap and other misogynous and
violent rap. It hopes to be a model for other radio stations to follow(Cleaning 22). Most
radio stations now do not allow that kind of music on the air. Even though the radio has
stopped playing hard-core rap, record companies are still producing this kind of music.
Death Row Records, the top producer of rap music, has been under a lot of fire not only
by Dolores Tucker, but by Bob Dole and others also. Death Row Records has recently had
its own wake-up call. The companies CEO, Marion Suge Knight, has recently been arrested
for violated his probation and is in jail. He was charged with assault with a deadly
weapon in 1992 and was sentenced to five years probation plus 30 days in a halfway house.
A hearing later will decide on what kind of sentence he will receive. Knight could face
up to five to nine years in prison if convicted. The company may suffer a great loss
because no business actions or even phone calls are allowed from prison. Before he began
his fortune as CEO he was an All-American defensive end and was on the dean's list at the
University of Nevada, Las Vegas. He the played pro-football for the Los Angeles Rams but
later quit to become a concert promoter. Soon Hawkins 6 after this his run-ins with the
law started with his arrest for trafficking guns. After other run-ins with the law Knight
began recording The Chronic, which refers or a type of marijuana, with Dr. Dre. He then
was approached by Interscope Records, who wanted him to produce records. He negotiated a
$10 million deal to start up Death Row Records (Cheevers A1). Now Death Row Records is
known as the only label that can do whatever they want. To some listeners Death Row's
music is powerful and is also reality , but to others their music celebrates drugs,
murderers and misogyny. The FBI says that this rap label has ties to gangs and drugs.
They are still trying to determine wether the company was involved in
cocaine-trafficking, money laundering and racketeering (Leeds B1). The FBI has been
investigating Death Row Records and the individual members. Death Row Records is not the
only record company to promote rap, Time Warner has also been producing rap records. Time
Warner has pledged to do something about obscene and rude lyrics in rap music. The new
chairman of Warner Music Group , Michael J. Fuchs, was asked to talk with critics of rap
lyrics and to work with other record companies to come up with some regulations for
warning labels (Landler D2). Warning labels have been placed on albums with provocative
lyrics, but these warnings do little to prevent the lyrics from reaching children. The
chairman and chief executive claims that music is not the cause of society's ills. That
may be true but do they have an influence on the people that listen to the music. Many
say yes and many say no. An experiment done by James D. Johnson shows that violent rap
tends to perpetuate the acceptance of the use of violence and an anti-education mind-set.
He thinks that this kind of music should have some regulation. He refers to rap music
being like nicotine- it is addictive; it is mood Hawkins 7 altering and it is available
with some strains (Raspberry, Does A27). A person has to be 18 years old to buy
cigarettes, rent X-rated movies, or get into a strip bar/nightclub and has to be 21 years
old to drink or buy alcohol. There are age limits on these things that can endanger young
people and there should also be a age limit on buying albums with explicit lyrics on
them. Even though there is a warning label on the albums young children can still buy
them because there is no law to prohibit sale. There are a lot of people who agree
something should be done about the explicit lyrics on albums. Stanley Crouch, a music
critic and writer, says that rappers are a bunch of opportunists who are appealing to an
appetite that America has for vulgarity, violence and anarchy inside Afro America (Sims
3). Kevin Powell, a writer for Vibe magazine, believes that rap music is a legitimate art
form, but thinks that the genre has gone too far and the music industry is to blame for
not exercising some degree of control (Sims 3). He also thinks that it has made black
children think that being hard is the definition for being black in the 1990's. There are
many people who feel this way, but many rappers and defenders of rap disagree. Most
rappers do not think that their music causes violence and that they have no influence on
their listeners. Before Easy-E died his lawyer read a letter from the rapper that said,
anyone could get AIDS, that it does not discriminate (Marriot 74). After the letter was
read the Minority AIDS Project in South-Central Los Angeles reported a 80 percent
increase in requests for AIDS testing. This was more of an increase than when Magic
Johnson made his announcement (Marriot 74). His influence was seen in warning people
about the AIDS virus just as Magic did when he found out he had HIV. Snoop says that he
hopes that listeners will see that any black man out Hawkins 8 of the ghetto can do
something positive with his life if he is dedicated (Farley 78). He also says that if
parents were as strict as his that there would not be as much violence nowadays, yet he
was in a gang, a drug dealer and user and he arrested for murder-conspiracy charges.
Rapper Juice, half of the duo of Juice with Soul, says that listeners should realize that
these rappers do not hang around the hard street life, they go home to their fancy cars
and houses. Another rapper, Masta Ace, agreed with Juice, say that listeners should
realize that rappers are creating characters to sell records. Biz Markie says that
critics take it to seriously and it is strictly entertainment (Marriott, Hard-core A1+).
Joseph Simmons, known as Run of Run D.M.C., says that he has seen a rise in disrespect to
women lately. But he thinks that it has more to do with the parents rather than the
rappers. M.C. Lyte, a pioneer among female rappers agrees that parents need to take more
responsibility for how their children act and behave. She also thinks that rap should not
be the blame for what young people are doing today because movies also show violence,
rapes, and people being killed (Marroitt, Hard-core A1+). Russell Simmons, CEO of Def Jam
Recordings, says that no truly in-touch person believes that the state of society is the
result of rap music. He goes on to say that each type of music that comes later seems
more violent than before. There was a time when everyone thought that rock and roll was
the devils' music. He says that many of these songs are like horror films and cannot be
taken literally (Proffitt M2). He also points out the good views of rap--that it is so
diverse and there is a lot of positive messages in the songs. Simmons thinks that rap is
just expressing the outrage of there community. His most important point would be that
when kids in Beverly Hills Hawkins 9 listen to rap they will know a little bit better how
the kids in the ghettos think (Profitt M3). Other rap experts point out the genre turning
points. In the 1990's the messages about black empowerment that started national slogans
and the wearing of African pride medallions were replaced by messages of drug selling and
survival in inner-city neighborhoods. The marketing strategy of the record companies
began to promote label with images of black swaggering men carrying guns and drinking
beer. This resulted the new gangsta look. This made young rappers that were hungry for
fame and fortune take on the look of being thugs themselves. The move of raps' homeland,
New York, to the West Coast caused a dramatic change to the sound. People tend to miss
the true skill rather that all the violence and how many people that get killed. Rap's
image is being tainted by all the scandals of the top rappers shakled in the courtrooms.
The inspiration and energy from rap reflects what goes on in the streets and in black
life in America (Williams B1+). Maxine Waters also agrees that gansta rap is a new art
form to describe the pains, fear and frustations that young people express to adults. She
also thinks that just because some people do not like the way the rappers use lyrics
should not be a cause for censorship (Jet 7). A professor of black studies thinks that
many rappers have distorted what black life really is and that white record companies are
eager to sell black stereotypes. Rappers have distorted and divided black life and tried
to incorporate it into street life. Now people are doing what they hear and they want to
shoot people and be rich (Marroitt, Hard-core A1+). If this is true should not there be a
warning label prohibiting sale to minors. Rap music that pimps pornography and violence
to young children and that has messages of violence should have some kind of censorship.
Defenders of rap say that censorship is taking Hawkins 10 away their right to free speech
stated in The First Amendment. The First Amendment states: Congress shall make no law
respecting an establishment of religion, or prohibiting the free exercise thereof; or
abridging the freedom of speech, or of the press, or the right of the people peaceably to
assemble, and to petition the government for a redress of grievances(McNally 29).
Censoring music would be taking the right of free speech away. Most of the lyrics are
protected by The First Amendment and cannot be censored on the albums or records.
Censorship has been made in the radio industry so that the songs with explicit lyrics
cannot be heard. Even though these rappers say that they are reflecting what really
happen on the streets rappers before them do not have these explicit lyrics in their
messages. Rappers such as Afrika Bambataa, Kurtis Blow, MC Shan and the Fat Boys used
music for fun and release to show good-hearted territorial rivals. Now it is about guns,
treating women like trash and drinking malt liquor. Rap has changed for the worse taking
the art form and transforming it into trash with some positive messages that are hard to
grasp from the music. If the whole album is about death, violence, misogyny and drugs
except for one or two songs, what kind of message is going to be placed first. If what
can be heard on a porno film can be heard on a rap album, then the album should have a
age limit for sale. Since there is no age limit on T.V., today many inventions are being
made to prevent children from viewing violence and nudity. Is this not some form of
censorship for children. If there is enough concern to censor programs on T.V. that
contain violence and harsh language should there not be concern for children that listen
to hard-core gangsta rap. Parents should take more responsibility for what there children
listen to and view. Hawkins 11 Parents can take charge of what there children view on
T.V. and listen to on the radio while they are in the house, but what kind of authority
can they take when their children are not home. Parent cannot control the kind of music
their children buy on their own. That is when it is left up to the law. Not taking away
the rappers' right to free speech, but rather prohibiting sale to minors just as
cigarettes. There is only so much that parents can do to keep their children out of harm.
Violence is a reality , but should it be preached about like it is okay and make it sound
like fun and games. The answer is no and something should be done about it. Bibliography
Cheevers, Jack, Phillips, Chuck and Willian ,Frank B. Violence Top the Charts. L.A. Times
3 April 1995: A1+. Cleaning Up Violence on Radio. The New York Times 11 December 1993:
22. Congresswomen Square Off ON Issue Of 'Gangsta Rap'. Jet 7 March 1994: 6-7. Farley,
Christopher The Dogg Is Unleashed. Time 13 December 1993: vol.124, 78. Landler, Mark Time
Warner Pledges Action On Rap Lyrics. The New York Times 19 May 1995: D2. Leeds, Jeff and
Newton, Jim FBI Probing Rap Label for Ties to Gangs, Drugs. L.A. Times 28 September 1995:
B1+. Marriot, Michel A Gangster Wake-up Call. News week 10 April 1995: vol.125, 74-6.
Marriott, Michel Hard-core Rap Lyrics Stir Black Backlash. The New York Times 15 August
1993: A1+. McNally, Rand The Amendments to the Constitution. The American Patriot's
Handbook Chicago/New York/San Francisco 1993: 29. Phillips, Chuck Anti-Rap Crusader Under
Fire. L.A. Times 20 March 1996: A1+. Profitt, Steve Defending the Art of Communication
Known as Rap. L.A. Times 27 August 1995: M3. The Rap Lyrics Page. Online.
http://home.worldonline.nl/~zoftw/lyrics.ntm. Raspberry, William Does Rap Music Need a
Warning Label? The Washington Post 24 June 1994: A27. Raspberry, William Foulmouthed
Trash. The Washington Post 30 July 1993: A21. Saunders, Michael Gangsta Warfare. Boston
Globe 10 March 1996: B29. Bibliography Sims, Calvin Gangster Pappers: The Lives, The
Lyrics. The New York Times 28 September 1993: E3. T, Ice. Cop Killer. Body Count. New
York: Warner Bros. 1992. Williams, Frank B. How Rap Music Got Its Bad Rap. L.A. Times 13
January 1995: B1+. Work Consulted Barron, James After Day as Defendant, Rapper Becomes
Victim. The New York Times 1 December 1994: A1+. Britt, Donna Making a Killing Off
Gangsta Music. The Washington Post 5 November 1993: B1+. Chappell, Kevin What's Wrong
(and Right) About Black Music. Ebony September 1995: vol. 50, 25-6+. Dunhan, Richard S.,
Oneal, Michael Gunning for the Gangstas. Bussiness Week 19 June 1995: 41. Hamilton,
Kendall Double Trouble for 2pac. Newsweek 12 December 1994: vol. 124, 62-3. Hewitt, Bill
Rapper Sheets. People Weekly 6 December 1993: vol. 40, 89-90. Jenkins, Holman W. Jr. It's
Got a Catchy Beat, but Not Enough Violence. Wall Street Journal 17 September 1996: A19.
Jones, Charisse For a Rapper, Life and Art Convergen in Violence. The New York Times 1
December 1994: B3+. Klinghoffer, David See No Evil. National Review 24 January 1994: vol.
46, 73-4. Leland, John Criminal Records. Newsweek 29 November 1993: vol. 122, 60-4.
Leland, John The Word on the Street Is Heard in the Beat. Newsweek 11 May 1994: 52-3.
Marsh, Dave Cops 'n' Gangtas. The Nation 26 June 1995: vol. 260, 908-9. Marriot, Michel
Shots Silence, Angry Voice Sharpened by the Streets. The New York Times 16 September
1996: A1+. McAdams, Janice It's Not Gangsta Rap, but It Is Raunchy. The New York Times 14
August 1995: D6. Obituary. People Weekly 10 April 1995: vol. 43, 93. Rose, Tricia Rap
Music and the Demonization of Young Black Males. USA Today May 1994: vol. 122, 35-6.
Works Consulted Rule, Sheila Generation Rap. The New York Times Magazine 3 April 1994:
40-5. Staples, Brent How Long Can Rap Survive. The New York Times 22 September 1996: E12.
Tate, Greg Above and Beyond Rap's Decibels. The New York Times 6 March 1994: 1+.
Trachtenberg, Jeffrey A. Time Warner Sells Its 50[percent] Interest in Record Label Under
Fire For Rap. Wall Street Journal 17 September 1996: A19. The United States Of Violence.
USA Today May 1994: vol. 122, 22-42+. Women and Gangsta Rap. Glamour June 1994: vol. 92,
93. Zoglin, Richard A Company Under Fire. Time 12 June 1995: vol. 145, 37-9. 


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