Gangsta rap

Gangsta rap or gangster rap, initially called reality rap,[2] is a

subgenre of hip hop music that emerged in the mid- to late 1980s as a Gangsta rap
distinct but highly controversial rap subgenre, whose lyrics assert the Stylistic Hip hop ·
culture and values typical of American, predominantly black street origins hardcore hip hop ·
gangs and street hustlers.[3] (Many gangsta rappers flaunt associations political hip hop
with real street gangs, like the Crips and the Bloods.)[4] Gangsta rap's
reputed, earliest pioneers were Los Angeles rapper Ice-T, influenced Cultural 1985 · Philadelphia,
by Philadelphia rapper Schoolly D, and especially rap group origins Pennsylvania, U.S.[1]
N.W.A.[5] By 1995, via record producer Dr. Dre and rapper Snoop Derivative mafioso rap
Dogg, gangsta rap had taken the rap genre's lead and become forms
mainstream, popular music.
Subgenres
Gangsta rap has been recurrently accused of promoting disorderly Drill
conduct and broad criminality, especially assault, homicide, and drug
Fusion genres
dealing, as well as misogyny, promiscuity, and materialism.[6]
Gangsta rap's defenders have variously characterized it as artistic G-funk · Mobb music
depictions but not literal endorsements of real life in American Regional scenes
ghettoes, or suggested that some lyrics voice rage against social
West Coast hip hop ·
oppression or police brutality, and have often accused critics of
East Coast hip hop ·
hypocrisy and racial bias.[6][7] Still, gangsta rap has been assailed
even by some black public figures, in the 1990s by pastor Calvin Southern hip hop · Midwest hip hop
Butts and by activist C. Delores Tucker, and later by Spike Lee.[8] · British hip hop · Canadian hip hop
Other topics
Horrorcore
Contents
Origins: 1985–1990
Beginnings: Schoolly D and Ice-T
Boogie Down Productions and N.W.A
Others
1990–present
Ice-T
G-funk and Death Row Records
Mafioso rap
East Coast hardcore hip hop and the East Coast–West
Coast feud
Southern and Midwest gangsta rap
Narco-rap
Mainstream rap
Criticism and debate
2Pacalypse Now controversy
C. Delores Tucker
First Amendment rights
German gangsta-rap
History
Musical style
Road rap
See also
References
Sources

Origins: 1985–1990

Beginnings: Schoolly D and Ice-T

Ice-T, was born in Newark, New Jersey, in 1958. As a teenager, he moved to Los Angeles where he rose to
prominence in the West Coast hip hop scene. In 1986, Ice-T released "6 in the Mornin'", which is often
regarded as the first gangsta rap song. Ice-T had been MCing since the early '80s, but first turned to gangsta
rap themes after being influenced by Philadelphia rapper Schoolly D and his 1985 album Schoolly D. In an
interview with PROPS magazine, Ice-T said:

Here's the exact chronological order of what really went down: The first record that came out
along those lines was Schoolly D's "P.S.K." Then the syncopation of that rap was used by me
when I made "6 in the Mornin'". The vocal delivery was the same: ' ... P.S.K. is makin' that
green', ' ... six in the morning, police at my door'. When I heard that record I was like "Oh
@#!*% !" and call it a bite or what you will but I dug that record. My record didn't sound like
P.S.K., but I liked the way he was flowing with it. P.S.K. was talking about Park Side Killers
but it was very vague. That was the only difference, when Schoolly did it, it was "... one by
one, I'm knockin' em out." All he did was represent a gang on his record. I took that and wrote
a record about guns, beating people down and all that with "6 in the Mornin'". At the same
time my single came out, Boogie Down Productions hit with Criminal Minded, which was a
gangster-based album. It wasn't about messages or "You Must Learn", it was about
gangsterism.[9]

In 2011, Ice-T repeated in his autobiography that Schoolly D was his inspiration for gangsta rap.[10] Ice-T
continued to release gangsta albums for the remainder of the 1980s: Rhyme Pays in 1987, Power in 1988 and
The Iceberg/Freedom of Speech...Just Watch What You Say in 1989. Ice-T's lyrics also contained strong
political commentary, and often played the line between glorifying the gangsta lifestyle and criticizing it as a
no-win situation.

Schoolly D's debut album, Schoolly D, and especially the song "P.S.K. What Does It Mean?", would heavily
influence not only Ice-T, but also Eazy-E and N.W.A (most notably in the song "Boyz-n-the-Hood") as well
as the Beastie Boys on their seminal hardcore hip hop inspired album Licensed to Ill (1986).[11]

Boogie Down Productions and N.W.A

Boogie Down Productions released their first single, "Say No Brother (Crack Attack Don't Do It)", in 1986. It
was followed by "South-Bronx/P is Free" and "9mm Goes Bang" in the same year. The latter is the most
gangsta-themed song of the three; in it, KRS-One boasts about shooting a crack dealer and his posse to death
(in self-defense).[12] The album Criminal Minded followed in 1987, and was the first rap album to have
firearms on its cover. Shortly after the release of this album, BDP's DJ, Scott LaRock was shot and killed.
After this, BDP's subsequent records were more focused with the inadequate rationale removed.

The first blockbuster gangsta rap album was N.W.A's Straight Outta Compton, released in 1988. Straight
Outta Compton would establish West Coast hip hop as a vital genre, and establish Los Angeles as a legitimate
rival to hip hop's long-time capital, New York City. Straight Outta Compton sparked the first major
controversy regarding hip hop lyrics when their song "Fuck tha Police" earned a letter from FBI Assistant
Director, Milt Ahlerich, strongly expressing law enforcement's resentment of the song.[13][14] Due to the
influence of Ice-T, N.W.A and Ice Cube's early solo career, gangsta rap is often somewhat erroneously
credited as being a mostly West Coast phenomenon, despite the contributions of East Coast acts like Boogie
Down Productions in shaping the genre and despite Philadelphia rapper Schoolly D being generally regarded
as the first gangsta rapper.

In the early 1990s, former N.W.A member Ice Cube would further influence gangsta rap with his hardcore,
socio-political solo albums, which suggested the potential of gangsta rap as a political medium to give voice to
inner-city youth. N.W.A's second album, Efil4zaggin (1991) (released after Ice Cube's departure from the
group), broke ground as the first gangsta rap album to reach #1 on the Billboard pop charts.

Others

Aside from N.W.A and Ice T, Too Short (from Oakland, California), Kid Frost and the South Gate-based
Latino group Cypress Hill were pioneering West Coast rappers with gangsta rap songs and themes. Above the
Law also played an important role in the gangsta rap movement, as their 1990 debut album Livin' Like
Hustlers, as well as their guest appearance on N.W.A's 1991 Efil4zaggin, foreshadowing the dominance of the
genre in 1990s starting with Dr. Dre's The Chronic.

The Beastie Boys were one of the first popular groups to identify themselves as "gangsters", and one of the
first popular rap groups to talk about violence and drug and alcohol use, though largely in a more humorous
manner. They had started out as a hardcore punk band, but after introduction to producer Rick Rubin and the
exit of Kate Schellenbach they became a rap group.[15] According to Rolling Stone Magazine, their 1986
album Licensed to Ill is "filled with enough references to guns, drugs and empty sex (including the
pornographic deployment of a Wiffleball bat in "Paul Revere") to qualify as a gangsta-rap cornerstone."[16]

The Beasties' 1989 album Paul's Boutique included the similarly themed tracks "Car Thief," "Looking Down
the Barrel of a Gun," and "High-Plains Drifter." In 1986, the Los Angeles-based group C.I.A. rapped over
Beastie Boy tracks for songs such as "My Posse" and "Ill-Legal", and the Beastie Boys' influence can be seen
significantly in N.W.A's early albums.[17]

The New York rap group Run-DMC is often credited with popularizing hardcore and confrontational attitudes
and lyrics in hip hop culture, and were one of the first rap groups to dress in gang-like street clothing. Their
stripped-down, rock-inspired beats were also important in establishing the early gangsta rap production style.
The seminal Long Island-based group Public Enemy featured aggressive, politically charged lyrics, which had
an especially strong influence on gangsta rappers such as Ice Cube. East Coast hardcore rappers like Rakim,
Kool G Rap, Big Daddy Kane, Slick Rick, LL Cool J and EPMD also reflected the trend in hip-hop music in
the late 1980s towards hard-hitting, angry, aggressive, and politically conscious lyrics, revolving around crime,
violence, poverty, war and gunplay.

The Houston-based group known as the Geto Boys came out around the late 1980s and made songs
containing both gangsta themes of crime and violence and sociopolitical commentary. The group notably
released proto-mafioso rap music with the song "Scarface", a track centered on selling cocaine and killing rival
gang members. The Geto Boys are also known for being the first rap group to sample from the movie
Scarface, a film which became the basis for various mafioso rap samples in the 1990s. Furthermore, the Geto
Boys, along with Jam Master J's and Erick Sermon's group Flatlinerz and Prince Paul's and RZA's group
Gravediggaz, are often cited as pioneers of "horrorcore" rap, a transgressive and abrasive subgenre of hardcore
rap or gangsta rap which focuses on common horror themes, such as the supernatural and the occult, often
with gothic or macabre lyrics, satanic imagery and slasher film or splatter film-like violence.

1990–present

Ice-T

Ice-T released one of the seminal albums of the genre, OG: Original Gangster in 1991. It also contained a
song by his new thrash metal group Body Count, who released a self titled album in 1992. Particular
controversy surrounded one of its songs "Cop Killer". The rock song was intended to speak from the
viewpoint of a police target seeking revenge on racist, brutal cops. Ice-T's rock song infuriated government
officials, the National Rifle Association and various police advocacy groups.[18] Consequently, Time Warner
Music refused to release Ice-T's upcoming album Home Invasion and dropped Ice-T from the label. Ice-T
suggested that the furor over the song was an overreaction, telling journalist Chuck Philips "... they've done
movies about nurse killers and teacher killers and student killers. Arnold Schwarzenegger blew away dozens
of cops as the Terminator. But I don't hear anybody complaining about that." In the same interview, Ice-T
suggested to Philips that the misunderstanding of Cop Killer, the misclassification of it as a rap song (not a
rock song), and the attempts to censor it had racial overtones: "The Supreme Court says it's OK for a white
man to burn a cross in public. But nobody wants a black man to write a record about a cop killer."[18]

Ice-T's next album, Home Invasion was postponed as a result of the controversy, and was finally released in
1993. While it contained gangsta elements, it was his most political album to date. After a proposed censoring
of the Home Invasion album cover art, he left Warner Bros. Records. Ice-T's subsequent releases went back to
straight gangsta-ism, but were never as popular as his earlier releases. He had alienated his core audience with
his involvement in metal, his emphasis on politics and with his uptempo Bomb-Squad style beats during a time
when G-funk was popular. He published a book "The Ice Opinion: Who Gives a @#!*% ?" in 1994.

G-funk and Death Row Records

In 1992, former N.W.A member Dr. Dre released The Chronic, a massive seller (eventually going triple
platinum) which showed that explicit gangsta rap could hold mass commercial appeal just like more pop-
oriented rappers such as MC Hammer, The Fresh Prince and Tone Lōc. The album established the dominance
of West Coast gangsta rap and Dre's new post-N.W.A label, Death Row Records (owned by Dr. Dre along
with Marion "Suge" Knight), as Dre's album showcased a stable of promising new Death Row rappers. The
album also began the subgenre of G-funk, a slow, drawled form of hip hop that dominated the rap charts for
some time.

Extensively sampling P-Funk bands, especially Parliament and Funkadelic, G-funk was multi-layered, yet
simple and easy to dance to. The simple message of its lyrics, that life's problems could be overcome by guns,
alcohol, and marijuana, endeared it to a teenage audience. The single "Nuthin' but a "G" Thang" became a
crossover hit, with its humorous, House Party-influenced video becoming an MTV staple despite that
network's historic orientation towards rock music.

Another success was Ice Cube's Predator album, released at about the same time as The Chronic in 1992. It
sold over 5 million copies and was #1 in the charts, propelled by the hit single "It Was a Good Day", despite
the fact that Ice Cube was not a Death Row artist. One of the genre's biggest crossover stars was Dre's protégé
Snoop Doggy Dogg (Doggystyle), whose exuberant, party-oriented themes made songs such as "Gin and
Juice" club anthems and top hits nationwide. In 1996, 2Pac signed with Death Row and released the multi-
platinum double album All Eyez on Me. Not long afterward, his shocking murder brought gangsta rap into the
national headlines and propelled his posthumous The Don Killuminati: The 7 Day Theory album (released
under the alias "Makaveli") (which eerily featured an image of 2Pac being crucified on the front cover) to the
top of the charts. Warren G was another G-funk musician along with the now deceased Nate Dogg. Other
successful G-funk influenced artists included Spice 1, MC Eiht and MC Ren, all of them reaching decent
positions on the Billboard 100, in spite of not being associated with Death Row.

Along with the rappers that have ties to G-funk, Vince Staples is part of the new generation of rappers that is
influenced by G-funk.[19] Being from the same area as Snoop himself, Staples has a sound that is lyrically in
comparison to Gangsta Rap. His album, Summertime '06, reflects the "challenges of racism, injustice, and
violent fallouts in his childhood neighborhood."[20]

Mafioso rap

Mafioso rap is a hardcore hip hop subgenre founded by Kool G Rap in the late 1980s.[21] It is the pseudo-
Mafia extension of East Coast hardcore rap, and is considered the counterpart of West Coast G-Funk rap.
Mafioso rap is characterized by references to famous mobsters and mafiosi, racketeering and organized crime
in general (but especially the Sicilian Mafia, the Italian-American Mafia, African-American organized crime
and Latin American organized crime or drug cartels). Though a significant amount of mafioso rap was more
gritty and street-oriented, focusing on street-level organized crime, other mafioso rap artists frequently focused
on lavish, self-indulgent, materialistic and luxurious subject matter associated with crime bosses and high-level
mobsters, such as expensive drugs, cars and expensive champagne. Though the genre died down for several
years, it re-emerged in 1995 when Wu-Tang Clan member Raekwon released his critically acclaimed solo
album, Only Built 4 Cuban Linx.... 1995 also saw the release of Doe or Die by Nas' protégé AZ and the
release of the album 4,5,6 by subgenre originator Kool G Rap. This album featured other mafioso rap artists
MF Grimm, Nas and B-1. These three albums brought the genre to mainstream recognition, and inspired other
East Coast artists, such as Jay-Z, Notorious B.I.G. and Nas, to adopt the same themes as well with their
albums Reasonable Doubt, Life After Death and It Was Written (respectively). Though Mafioso rap declined in
the mainstream by the late 1990s, it saw somewhat of a revival in the mid 2000s with Ghostface Killah's
Fishscale, Jay-Z's American Gangster, and Raekwon's Only Built 4 Cuban Linx... Pt. II. Similarly, in recent
years, many rappers, such as Conejo, Mr Criminal, T.I., Rick Ross, Fabolous, Jadakiss, Jim Jones and Cassidy
have maintained popularity with lyrics about self-centered urban criminal lifestyles or "hustling". Lil' Kim's
mafioso album La Bella Mafia, released in 2003, was a commercial success, receiving platinum
certification.[22]

East Coast hardcore hip hop and the East Coast–West Coast feud

Meanwhile, rappers from New York City, such as Wu-Tang Clan, Onyx, Big L, Mobb Deep, Nas, The
Notorious B.I.G. and The LOX, among others, pioneered a grittier sound known as hardcore hip hop. In
1994, both Nas and The Notorious B.I.G. released their debut albums Illmatic (April 19) and Ready to Die
(September 13) respectively, which paved the way for New York City to take back dominance from the West
Coast. In an interview for The Independent in 1994, the Wu-Tang Clan's GZA commented on the term
"gangsta rap" and its association with his group's music and hip hop at the time:

Our music is not 'gangsta rap'. There's no such thing. The label was created by the media to limit
what we can say. We just deliver the truth in a brutal fashion. The young black male is a target.
Snoop (Doggy Dogg) has gone four times platinum and makes more money than the president.
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. Like I said, intense.[23]
 — GZA

It is widely speculated that the ensuing "East/West" battle between Death Row Records and Bad Boy Records
resulted in the deaths of Death Row Records' 2Pac (who was 25 years old) and Bad Boy Records' The
Notorious B.I.G. (who was 24 years old). Even before the murders, Death Row had begun to unravel, as co-
founder Dr. Dre had left earlier in 1996; in the aftermath of 2Pac's death, label owner Suge Knight was
sentenced to prison for a parole violation, and Death Row proceeded to sink quickly as most of its remaining
artists, including Snoop Dogg, left. Dr. Dre, at the MTV Video Music Awards, claimed that "gangsta rap was
dead". While Puff Daddy's Bad Boy Entertainment fared better than its West Coast rival, it eventually began to
lose popularity and support by the end of the decade, due to its pursuit of a more mainstream sound, as well as
challenges from Atlanta and New Orleans-based labels, especially, Master P's No Limit stable of popular
rappers.

Southern and Midwest gangsta rap

After the deaths of Tupac Shakur and Biggie Smalls and the media attention the murders generated,[24]
gangsta rap became an even greater commercial force. However, most of the industry's major labels were in
turmoil, bankrupt, or creatively stagnant, and new labels representing the rap scenes in new locations sprang
up.

Master P's No Limit Records label, based out of New Orleans, became quite popular in the late 1990s, though
critical success was very scarce, with the exceptions of some later additions like Mystikal (Ghetto Fabulous,
1998). No Limit had begun its rise to national popularity with Master P's The Ghetto Is Trying to Kill Me!
(1994), and had major hits with Silkk the Shocker (Charge It 2 Da Game, 1998) and C-Murder (Life or
Death, 1998). Cash Money Records, also based out of New Orleans, had enormous commercial success
beginning in the late 1990s with a similar musical style but utilized a quality-over-quantity business approach
unlike No Limit.

Memphis collective Hypnotize Minds, led by Three 6 Mafia and Project Pat, have taken gangsta rap to some
of its darker extremes. Led by in-house producers DJ Paul and Juicy J, the label became known for its
pulsating, menacing beats and uncompromisingly thuggish lyrics. However, in the mid-2000s, the group began
attaining more mainstream popularity, eventually culminating in the Three 6 Mafia winning an Academy
Award for the song "It's Hard Out Here for a Pimp" from Hustle and Flow.

Midwest gangsta rap originated in the mid-1990s and rose to major prominence in the 2000s. However, in the
2010s a new form of gangsta rap known as drill emerged from the Midwest. Drill gained popularity by rappers
such as Lil Durk, Chief Keef, Lil Reese and Lil Herb. Midwest hip hop was originally distinctive for its faster-
paced flow. This is evident in the styles of the earliest Midwestern rappers to release albums, Chicago's Twista
and Cleveland's Bone Thugs-n-Harmony. Bone Thugs, known for their fast, harmonizing vocals coupled with
an ultra-quick rap delivery, would achieve major success with their critically acclaimed 1995 album E. 1999
Eternal, which featured a major hit in the Grammy-winning "Tha Crossroads".

Houston first came on to the national scene in the late 1980s with the violent and disturbing stories told by the
Geto Boys, with member Scarface achieving major solo success in the mid-90s.

The Chopped and Screwed genre was developed in Houston, Texas which remains the location most
associated with the style. The late DJ Screw, a South Houston DJ, is credited with the creation of and early
experimentation with the genre.[25] DJ Screw began making mixtapes of the slowed-down music in the early
1990s and began the Screwed Up Click. This provided a significant outlet for MCs in the South-Houston area,
and helped local rappers such as Big Moe, Lil' Flip, E.S.G., UGK, Lil' Keke, South Park Mexican, Spice 1
and Z-Ro gain regional and sometimes national prominence.
Narco-rap

Narco-rap is a music scene, similar to the early underground gangsta rap scene, that emerged in northeastern
Mexico and southern Texas. Its lyrical content, popular among Latino youth, is violent and focuses on the
power of drug cartels and the gruesomeness of the drug war in the border region. Narco-rap emerged in the
urban area of Tamaulipas, a turf currently under armed dispute between the Zetas and the Gulf Cartel. Narco-
rappers sing about the life of mobsters and the reality of the cities under the cartel's rule. Some of the key
players of the genre are Cano y Blunt, DemenT and Big Los.[26][27][28][29][30][31][32]

Mainstream rap

Before the late 1990s, gangsta rap, while a huge-selling genre, had been regarded as well outside of the pop
mainstream, committed to representing the experience of the inner-city and not "selling out" to the pop charts.
However, the rise of Bad Boy Records, propelled by the massive crossover success of Bad Boy head Sean
"Puffy" Combs's 1997 ensemble album, No Way Out, on the heels of the media attention generated by the
murders of 2Pac and The Notorious B.I.G., signaled a major stylistic change in gangsta rap (or as it is referred
to on the East Coast, hardcore rap), as it morphed into a new subgenre of hip hop which would become even
more commercially successful and popularly accepted.

The earlier, somewhat controversial crossover success enjoyed by popular gangsta rap songs like "Gin and
Juice" gave way to gangsta rap's becoming a widely accepted staple on the pop charts in the late 1990s. For
example, between the release of The Notorious B.I.G.'s debut album Ready to Die in 1994 and his follow-up,
the posthumous Life After Death in 1997, his sound changed from a darker, tense production, with lyrics
projecting desperation and paranoia, to a cleaner, more laid-back sound, fashioned for popular consumption
(though the references to guns, drug dealing and life as a thug on the street remained).

R&B-styled hooks and instantly recognizable samples of well-known soul and pop songs from the 1970s and
1980s were the staples of this sound, which was showcased primarily in Sean "Puffy" Combs's latter-day
production work for The Notorious B.I.G. ("Mo Money, Mo Problems"), Mase ("Feels So Good") and non-
Bad Boy artists such as Jay-Z ("Can I Get A...") and Nas ("Street Dreams"). Also achieving similar levels of
success with a similar sound at the same time as Bad Boy was Master P and his No Limit label in New
Orleans, as well as the New Orleans upstart Cash Money label.[33]

Many of the artists who achieved such mainstream success in the 2000s, such as Jay-Z, DMX, then 50 Cent
and G-Unit, originated from the gritty 1990s East Coast rap scene and were influenced by hardcore artists such
as The Notorious B.I.G., Wu-Tang Clan, and Nas. Mase and Cam'ron were typical of a more relaxed, casual
flow that became the pop-gangsta norm. By contrast, other rappers like Eminem and DMX enjoyed
commercial success in the late 1990s by rapping about ever-more macabre tales of death and violence,
maintaining commercial relevance by attempting to be controversial and subversive, growing on the
Horrorcore rap style born in the late 1980s.

Gangsta rap's pioneers have met success in other forms of pop culture as well. In 2016, N.W.A. was inducted
to the Rock and Roll Hall of Fame.[34] They were followed up by the late Tupac Shakur in 2017 who was
inducted as the first solo hip hop act, under his first year of eligibility as a nominee.[35][36] Other Rock and
Roll Hall of Fame Hip-Hop Acts include the 2007 induction of Grandmaster Flash and the Furious Five, who
are considered pioneers of expanding the sound of Hip-Hop from disco inspired partying, to street reality that
inspired social change.[37][38] The 2009 induction of Run-D.M.C to the Rock and Roll Hall of Fame opened
the door for more Hip-Hop inductions, as they were followed up by the 2012 induction of The Beastie Boys,
and the 2013 induction of Public Enemy.[39][40][41]

Criticism and debate

The explicit nature of gangsta rap's lyrics has made it heavily controversial. There is also debate about the
causation between gangsta rap and violent behavior. A study by the Prevention Research Center of the Pacific
Institute for Research and Evaluation in Berkeley, Calif., finds young people who listen to rap and hip-hop are
more likely to abuse alcohol and commit violent acts.[42]

Critics of gangsta rap hold that it glorifies and encourages criminal behavior, and may be at least partially to
blame for the problem of street gangs.[43] Although this view is often stereotyped as that of white
conservatives, it has been shared by members of the black community, most notably Bill Cosby.[44]

Those who are supportive or at least less critical of gangsta rap hold that crime on the street level is for the
most part a reaction to poverty and that gangsta rap reflects the reality of lower class life. Many believe that the
blaming of crime on gangsta rap is a form of unwarranted moral panic; The World Development Report 2011,
for instance, confirmed that most street gang members maintain that poverty and unemployment is what drove
them to crime; none made reference to music.[45] Ice Cube famously satirized the blame placed on gangsta rap
for social ills in his song "Gangsta Rap Made Me Do It".

Moreover, English scholar Ronald A.T. Judy has argued that gangsta rap reflects the experience of blackness
at the end of political economy, when capital is no longer wholly produced by human labor but in a globalized
system of commodities.[46] In this economy, gangsta rap traffics blackness as a commodifiable affect of "being
a nigga".[47] In other words, gangsta rap defines the experience of blackness, in which he locates in gangsta
rap's deployment of the word "nigga", in this new global economic system as "adaptation to the force of
commodification".[48] For Judy, nigga (and gangsta rap) becomes an epistemologically authentic category for
describing the condition of being black in the modern "realm of things".

Despite this, many who hold that gangsta rap is not responsible for social ills are critical of the way many
gangsta rappers intentionally exaggerate their criminal pasts for the sake of street credibility. Rick Ross[49] and
Slim Jesus[50] among others have been heavily criticized for this.

2Pacalypse Now controversy

In 1992, then-U.S. Vice President Dan Quayle blasted the recording industry for producing rap music he
believed led to violence. Quayle called on Time Warner Inc. subsidiary, Interscope Records, to withdraw
Tupac Shakur's 1991 debut album 2Pacalypse Now from stores. Quayle stated, "There is absolutely no reason
for a record like this to be published—It has no place in our society." Quayle's motivation came in light of the
murder of a Texas state trooper Bill Davidson, who had been shot by Ronald Ray Howard after he had been
pulled over. Howard was driving a stolen vehicle while songs from 2Pacalypse Now were playing on the tape
deck when he was stopped by the officer. The family of Davidson filed a civil suit against Shakur and
Interscope Records, claiming the record's violent lyrics incite "imminent lawless action".[51] District Judge
John D. Rainey held that Shakur and the record companies did not have the duty to prevent distributing his
music when they could not reasonably foresee violence arising from the distribution, nor was there any intent
for the usage of the music as a "product for purposes of recovery under a products liability theory." Judge
Rainey concluded the suit by ruling the Davidsons' argument that the music was unprotected speech under the
First Amendment was irrelevant.[52]

C. Delores Tucker

Politicians such as C. Delores Tucker have cited concerns with sexually explicit and misogynistic lyrics
featured in hip-hop tracks. Tucker claimed the explicit lyrics used in hip-hop songs were threatening to the
African-American community. Tucker, who once was the highest-ranking African American woman in the
Pennsylvania state government, focused on rap music in 1993, labeling it as "pornographic filth" and claiming
it was offensive and demeaning to black women. Tucker stated, "You can't listen to all that language and filth
without it affecting you." Tucker also handed out leaflets containing lyrics from rap music and urged people to
read them aloud. She picketed stores that sold the music and handed out petitions. She then proceeded to buy
stock in Time Warner, Sony and other companies for the sole purpose to protest rap music at shareholders
meetings. In 1994, Tucker protested when the NAACP nominated rapper Tupac Shakur for one of its image
awards as Outstanding Actor in a Motion Picture from his role in Poetic Justice. Some rappers labeled her
"narrow-minded", and some ridiculed her in their lyrics, notably Shakur, who mentions her multiple times in
his diamond certified 1996 album All Eyez On Me. Shakur mentions Tucker in the tracks "Wonda Why They
Call U Bitch" and "How Do U Want It", where Shakur sings "Delores Tucker, you's a motherfucker/Instead
of trying to help a nigga you destroy a brother." Tucker filed a $10 million lawsuit against Shakur's estate for
the comments made in both songs. In her lawsuit, she claimed that the comments were slanderous, caused her
emotional distress and invaded her personal privacy. The case was eventually dismissed. Shakur was not the
only rap artist to mention her in his songs, as Jay-Z, Eminem, Lil' Kim, The Game and Lil Wayne have all
previously criticized Tucker for her opposition of the genre.[53][54][55][56]

First Amendment rights

Gangsta rap has also raised questions of whether it is protected speech under the First Amendment to the
United States Constitution, since lyrics may express violence and may be considered true threats. The Supreme
Court ruled in Elonis v. United States (2015) that mens rea, the intent to commit a crime, is necessary to
convict someone of a crime for using threatening words in a rap song.

In a notable case, rapper Jamal Knox, performing as "Mayhem Mal", wrote a gangsta rap song named "F***
the Police" shortly after he was arrested for gun and drug charges in Pittsburgh.[57] The song's lyrics
specifically named the two arresting officers, and included explicit violent threats including "Let's kill these
cops cuz they don't do us no good". One of the officers, believing to be threatened, subsequently left the force.

Knox was convicted of making terroristic threats and of witness intimidation in a bench trial, and the
conviction was affirmed by the Supreme Court of Pennsylvania, which held that the song's lyrics amounted to
a true threat.[57][58] Knox petitioned the Supreme Court of the United States to hear the case, and academics
joined rappers Killer Mike, Chance the Rapper, Meek Mill, Yo Gotti, Fat Joe and 21 Savage in an amicus
curiae brief arguing that Knox's song should be seen as a political statement and thus is protected speech.[59]
The Supreme Court declined review in April 2019.[60][61][62]

German gangsta-rap
The gangsta-rap movement in Germany derived its roots from the '90s and since 2003/2004 has become a
successful subgenre of German hip hop. Contextually and musically, it borrows its influences from the French
and US-based gangsta rap and battle rap. Although there is a certain correlation between street-rap and
gangsta-rap, gangsta-rap is not considered as a derivative genre since it is only partially related to street-rap and
has contextually little to do with the other subgenre.[63]

History

Pioneers of the subgenre gangsta-rap, who have since the 1990s still been active, are Kool Savas and Azad.
Within the genre, they implemented an incredibly explicit, broken and aggressive text, that originally still had
much influence from English text elements.[64] This style of rap, after the turn of the century, was implemented
by the majority of gangsta-rappers in Germany and is, therefore, a very well respected form on the approach of
German gangsta-rap. On the other hand, Savas distanced himself from these vulgar and explicit texts.[65] One
of the founding fathers of German gangsta-rap, Charnell, the little-known rapper and martial-arts artist,
thematized growing up in the midst of a social renaissance.[66] Gangsta-rap in other countries, that resembled
the music of the Rödelheim Hartreim Projekt in Germany, was commercially successful in the 2000s.
Germany at the time, however, had few rappers active in this subgenre; allowing certain artists in the Berlin
underground-hip-hop scene an opportunity to establish themselves with their lyrics representing a certain
hardship acquired through the criminal lifestyle which had previously been popularized. Recognizable names
from the underground scene are Bass Sultan Hengzt, Fler, MC Bogy or MOK. Another notable rapper and
pioneer of gangsta-rap in Germany is Azad. Although he came from the rural Frankfurt am Main, he was a big
reason this subgenre became popular in Germany. In his lyrical text, he thematized the rigid and rough lifestyle
of living in the northwest district of Frankfurt.[67]

At the beginning of the year 2003 the process of commercialization of this subgenre began. Contrary to
popular belief, a variable of the German gangsta-rap became popular before the actual subgenre itself did.
When Sido, a notoriously known rapper from Berlin, released his album Maske which thematized gangs,
drugs and violence, this album became the first of its genre to sell 100,000 copies. Following that album Sido
released another two named Ich and Ich und meine Maske which both had over 100,000 sold copies and
emphasized the success of his first album.[68][69][70]

Following the success of Sido and his albums, Bushido became the next artist to emerge from the German
gangsta-rap scene. He established himself a career and became the most important representative of German
gangsta-rap of his time. Aggro Berlin, the label those two artists were both represented by, stated that this
version of rap was the second, more aggressive evolution of German hip-hop.[71] Bushido's albums Carlo,
Cokxxx, Nutten with Fler and Bushido's debut album Vom Bordstein bis zur Skyline had relatively little success
although the prominent topics on his album reflected directly with the themes that made Sido popular.[72][73]

Following the continuous success of Sido and Bushido came a wave of rappers who were trying, with the help
of major-labels, to establish themselves and be recognized by the populace. Eventually came Massiv, who was
signed with Sony BMG, and was crowned by his label to be the German 50 Cent. This artist did not reach the
success of 50 Cent.[74] Further artists such as Baba Saad or Kollegah have since then established themselves
as relatively successful in the German charts. As of recently, names such as Farid Bang, Nate57, Majoe &
Jasko and Haftbefehl have appeared on the charts regularly.

Musical style

Gangsta-rap in Germany originated from Queensbridge-rap in the 1990s as well as French gangsta-rap.
Characteristically the necessary ambiance and melody for this type of hip-hop needs to be melancholic, dark
and often threatening. Often, the songs incorporate piano, choir, synthesizers, but also samples from classical
and neo-classical arrangements. All complexities such as minimalistic arrangements to vast orchestral
symphonic arrangements are used and sampled in this subgenre.

Road rap
Road rap (also known as British gangsta rap or simply UK rap) is a genre of music pioneered in South
London, primarily in Brixton and Peckham.[75][76] The genre was pioneered by groups such as PDC, SMS
(South Muslim Soldiers), Northstar and artists such as Giggs and K Koke.[77][78] The genre came to the fore
as a backlash against the perceived commercialisation of grime in the mid-late 2000s in London.[79] The genre
came to prominence around 2007 with the rise of Giggs.[78] Road rap retained the explicit depictions of
violence and British gang culture found in some early grime music and combines it with a musical style more
similar to American gangsta rap than the sound system influenced music of grime, dubstep, UK garage, jungle,
reggae and dub.[80]
Gangs played a large part in the genre, with gangs such as Mashtown based in Hackney, Star Gang (formed
by Tottenham Mandem members), the Peckham Boys based in Peckham (with its various subsets such as
SN1, PYG and OPB) and GAS Gang, based in Brixton, becoming notable in the road rap scene during the
2000s.[76][81][75]

The road rap scene centres around mixtape releases and YouTube videos with some of the genres more
popular acts getting mainstream recognition.[79] The genre has been criticised for the relentless nihilism and
violence in its lyrics as well as its links to gangs and gun crime with many rappers serving prison
sentences.[80][82][83] In keeping with grime, road rap has suffered from preemptive policing with Giggs
claiming that the Metropolitan Police have set out to deny him the opportunity to make a living from music
having banned him from touring.[84] In 2011, Stigs was served the first ever gang injunction that banned him
from rapping about anything that may encourage violence.[85]

In the early 2010s, the American genre drill began to emerge in the UK, pushed by artists such as 150, 67 and
Section Boyz.[86] UK drill has been referred to as subgenre of road rap due to the influence it's had on the
genre.[87][88][89] Road rap also went on to influence afroswing, which emerged in the mid-2010s.[90]

See also
List of gangsta rap artists
List of criminal enterprises, gangs, and syndicates
Narcocorrido
Road rap

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