The mid-to-late 1980s cultural shock wave known as hip hop with its roots in rap and “gangsta culture” flourished in the economic and social madness that paralyzed American cities and neighborhoods. The form of the music was a cultural response from overlooked black and Latino neighborhoods like the Bronx, New York City, which captured a portion of the youth culture and career opportunities. This article will attempt to bring together the different critiques that answer the question: to what extent did the language used in early commercial rap music of the 1980s begin as a cultural response to the socioeconomic oppression that afflicted the black community? Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay As the 1980s came to a close, rap and hip hop only increased in popularity and criticism. Republican and Democratic politicians and many black leaders blamed hip hop music such as gangsta rap for the socioeconomic blight affecting black communities across America. They blamed the genre for promoting violence such as drug use, teenage pregnancy, unemployment, gang violence and high school dropouts. However, many black rappers – particularly Ice-T and Sister Souljah – argue that they have been unfairly singled out because they believe that rap music empowers people of all races and generates an outlet for their social neglect, anger, pain and even happiness . This essay will discuss how music has delineated Black social preferences and opportunities, and ultimately recognize the perception of authoritative discrimination in which Black rappers have used music to aggressively respond. The analysis of these topics will include rap songs produced and released between the years 1979 and 1989. Artists being prosecuted include Schoolly D and Ice-T, and groups such as NWA (Niggaz With Attitude), Sugarhill Gang and Grandmaster Flash. The defining music of their generation includes the songs "Rapper's Delight," Fuck tha Police" and "The Message." In recent years, controversy over rap music and its gangsta culture has been at the forefront of American media. East Coast hype to the West Coast rivalry that overshadowed the murders of rappers Tupac Shakur and Notorious B.I.G. to the demonization of modern music in the wake of the Littleton, Colorado school shootings Critics are quick to blame rap for an apparent trend in youth violence, but they fail to understand the way rap culture has defined artists today and their promotional messages as black expression Old school rap lyrical content certainly began as a form of expressionism black of the violence and aggression faced by the black community in the socioeconomic situation of the 80s and 90s Topic 1 - Social prejudice and opportunity: Black rappers expressed their feelings against the seemingly present racism and social prejudice of the 1990s. 80 with the use of offensive and violent language such as swear words and racial slurs in their songs. In 1989, artists Chuck D, Hank Shocklee, Eric Sadler and Keith Shocklee released their hit album "Fear of a Black Planet" which targeted racism as the refrain of many songs, most notably the song "Fight the Power" . Elvis was a hero to many, but he never meant shit to me, you see. Really racist, that idiot was plain and simple. Mama, fuck him and John Wayne, cause I'm black and I'm proud (Rap Genius). Public Enemy expresstheir thoughts on the white community, especially Elvis and John Wayne, calling them 'sons of bitches' because they believe they were only known as racist by blacks. 'Gangsta Rap' pioneer Schoolly D wrote the song “Don 't Call Me Nigger” in 1989 as a statement to end the use of the word “nigga”. Don't call me nigger….WHITEY! Don't call me nigger ) WHITE! Now take that word nigga, and that's what I imagine a nigga to be, it's ignorant, inept and lazy So what you're trying to say boy, is I'm crazy (Rap Genius) Schoolly D explicitly defines the word "nigga" as a racial slur and the chorus tells the white population directly not to say it because it is offensive and racist. Calling them "WHITEY" was the juxtaposition with "Nigga", meaning it also had the right to demonize. Its tone is very violent because feels motivated to speak the truth on behalf of the black community. Retaliation against the white community has been just one of the many foundations that have defined rap music for decades. It has been an outlet for Public Enemy and Schoolly D to express their opinions with racial slurs through harsh language and profanity. The stereotype is a form of social prejudice that society used to categorize blacks and whites as dangerous and friendly when it comes to drug dealing activities. . Schoolly D's "Don't Call me Nigger" emphasized carelessness in the use of the racial slur, but also one reason it was so commonly used is because it reinforced the image that blacks, especially those from ghetto neighborhoods, they always had to be charged when it came to the sale and production of narcotics. The Whitney my friend, you're a fan of mine I look at your face and I gotta tell you damn I feel a lot of pain, the money you make cause I'm black you think it comes out 'caine (Rap Genius) Schoolly D rap from both the point of view a white man than a black one. Schoolly D is implicitly accused of being a drug dealer by the way a white man looks at him. Illegal use of drugs such as cocaine was very common in the 1980s, and the image was formed that the only way black men growing up in poor neighborhoods could survive was through drug dealing. In 1988, O'Shea Jackson (Ice Cube) and the NWA wrote the single "Fuck tha Police" after police made a false accusation that they were gang affiliated based on their appearance. Ice Cube was enraged by the stereotyping police officers accuse young black men of and mentions selling narcotics as a motivation for looking like commonly dressed gang members in their controversial song. Fucking with me 'cause I'm a teenager With some gold and a pager Looking for my car, looking for the product Thinking every nigga sell narcotics (Rap Genius) Decent white police officers mostly accused of young black men as affiliate to a band. The fast pace and rhyme emulate Ice Cube's deranged stereotype, he is making a statement addressed to the police. This vision is what NWA were known for talking about and rapping about on many other songs such as “Gangsta Gangsta” and “Straight Outta Compton” which will be analyzed in the next topic. Ice Cube's passion and motivation was the influence he had on behalf of his community to put an end to drug dealing, harassing stereotypes from police officers who society demonized them. In the early '80s, "The Message" would shift the direction of mainstream rap's partying and self-congratulatory boasting chants to provide hip hip its first standout rap song that instead communicated social commentary. Grandmaster Flash and the Furious Five “The Message”, released in 1982, highlighted the harsh stereotypical life endured by a black man from the 'ghetto'.Smugglers, swindlers, thieves, gamblers Pickpockets, street vendors, even beggars You say, "I'm all right, eh, I'm not a fool." But then you end up dropping out of high school (Rap Genius). Black youth resort to crime and unconscious decisions as the vanguard of the image they wanted the community to see them as powerful, such as being a feared criminal. Their economic education was poor. and consequently became the stereotype that all blacks were "messed up" in society. Now you're unemployed, all null and void Walking around like I'm Pretty Boy Floyd Became a robber, but look what you've done You've been sent for an eight year offer (Rap Genius) Last line tells us the last place where you will end up is prison and that is the same thinking as white people considered the timeline of a black man. This true and metaphorical use of language communicated a story that Grandmaster Flash wanted his "brothers and sisters" to understand. Another infamous example is "Am I Black Enough for You?" by Schoolly D. The satirical lyrics challenge America's established stereotype of blacks: “Am I black enough for you, America? I'm black! Too damn powerful. I'm still a bad boy and I have a full hour. Schoolly D's rhetorical question about whether he lives up to the “power” stereotype simply by being black challenges those who believe it to consider his point of view. These artists used their music to communicate a message about their emotional and fundamental understanding of the difference in opportunity between the races. Topic 2 - Police Brutality and Discrimination: On April 29, 1992 came the screams of South Los Angeles in deep need for safety, jobs, and respect. The Los Angeles riots resulted in over 50 recorded deaths, 2,000+ injuries, and approximately $1 billion in damage. Integral to the skepticism about the LA Riots' story were the lyricisms of major hip hop figures such as NWA (Ice Cube, Ice-T, and Dr. Dre). Through their music, the needs of the people of South LA were finally heard and echoed around the world. In 1991, the U.S. Department of Commerce released a statistical abstract highlighting the rising poverty rate in South Los Angeles between the years 1989 and 1991. The abstract mirrored Ice Cube's hit "My Summer Vacation," released on October 29, 1991, which chronicled the tense relationship between the community and the police, along with people's economic strain. Now this is a young man's summer vacation No chance of rehab 'Cause look at the crappy years I'm facing (Rap Genius) For most kids going back to school in September, it's usually something you're happy to discuss, while Ice Cube contradicts this view, in the sense that for the dirty things he has done, there is no option for rehabilitation after a heavy prison sentence. That same year, the Baltimore Sun published its report showing civilian complaints of "excessive force" by LAPD officers, by 33 percent between the years 1984 and 1989. Ice Cube interpreted these claims as "typical summer vacation". After it was announced that the police officers would be cleared of all charges, the South LA community was in flames and violent violence erupted in 1992. Amidst the animosity between the black community and the LAPD, Ice Cube wrote the song "Black Korea" released in 1991 which discussed the animosity between the black and Korean communities. They think all the bros in the world are out to get so they watch every damn move I make They hope I don't pull out a gun and try to rob They got a weird little store, but, bitch, I got a job (Rap Genius) Korean iStore owners stereotyped blacks as dangerous criminals. Ice Cube explains that such community racial profiling tactics have increased tension and bitterness between the races. Korean owners were eventually forced to carry weapons to protect their properties as most of their stores were engulfed in the Los Angeles riots. Another notable example of a black artist standing up against racial tensions was Public Enemy and their single "Fight the Power" released on June 1, 1989. People, people, we're the same No, we're not the same 'Cause we don't know the game (Rap Genius) Chuck D. of Public Enemy explained that there is only one race, the human race. The point of these lines is telling anyone who claims racism is dead that they are lying as it continues to harm the community. The public enemy claims that blacks do not have the same rights as predominantly white society because they do not receive fair treatment. “Fight the Power” broke out as an influential and strategic protest for the black community and their motivation for the Los Angeles riots. The early 1990s were the cutting edge of police brutality and their ability to overexert their power by falsely accusing black men of criminal negligence. The Los Angeles Police Department has a history of racial discrimination and excessive use of force against the black community. This behavior inspired Ice Cube and the NWA to create “Fuck Tha Police” (1988), an aggressive social statement against the police. Get your damn ass out now! Aww shit, now, what the fuck did you stop me for? Because I want it! Get your ass to the curb and shut the fuck up! Man, fuck this shit! All right, smart guy, I'm taking your black ass to jail! (Rap Genius) Police officers judge, charge, and harass innocent black men walking the streets and immediately label them as dangerous, especially because the way they dress resembles gang members. This daily incident was a disgrace and brutally underlined that law enforcement is above the law. “Fuck Tha Police” was a statement that served as a way to reappropriate derogatory language for positive change, projecting Black voices regarding injustice, through hip hop. Tupac Shakur, among many born instigators like Ice Cube, was known for rapping this revolutionary theme in “Trapped” as one of the first mature signs of his revolutionary potential. Tupac's message was much more complex, far beyond his full melodies and compelling ethos. They trapped me, I can barely walk the streets of the city without a cop harassing me, frisking me and then asking me my identity Hands up, throw me against the wall, I didn't do anything I'll tell you one day, these idiots I gotta fall Handcuffed, throw me on the concrete Tupac was brutally assaulted by the Oakland Police Department around this time after swearing and walking shrilly at the police. He was badly bruised after the accident and arrested at the scene. Tupac addresses the police describing the minority and their brutality in this song. Black artists like Tupac and Ice Cube don't write to tell a story, they write to tell their story, a story they want to hear about authoritative discrimination and expressionism. Arguments Against: Public Criticism: The commercialization of rap music has, for many decades, been accused of being stolen from the community, repackaged by money-driven businessmen, and resold to the ghettos and streets of their origins as music videos and charts Billboard Top 100. In the early 1990s, hip hop became a market for professionals"..