I used to love to listen to NWA and Eazy E, flava flav (guy with the big ass clock around his neck, right?)
Chicago suffers deadliest day in 60 years with 18 murders in 24 hours
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I used to love to listen to NWA and Eazy E, flava flav (guy with the big ass clock around his neck, right?)
How many of those genres have gone to State and even the U.S. Supreme Court though?
Rap has. A lot.
Hell Al Gore tried ban Tupac for god sake.
And the genre hasn't faded a bit since the early 90's. It alive and well.
Here's the ACLU from 2013
https://www.aclu-nj.org/download_file/view_inline/1175/947
And the SCOTUS just last year I think... considered but didn't hear a case to overturn the PA Supreme Court over some rapper, I forget his name, that name dropped (and called for violence against) some cops that arrested him.
Edit... here ya go
Rap Lyrics on Trial
By Erik Nielson and Charis E. Kubrin
- Jan. 13, 2014
Credit...Pablo Delcan
SHOULD rap lyrics be used in court as evidence of a crime?
Next week, the Supreme Court of New Jersey will hear a case that could help decide just that. At issue is a prosecutor’s extensive use of rap lyrics, composed by a man named Vonte Skinner, as evidence of his involvement in a 2005 shooting.
During Mr. Skinner’s trial in 2008, the prosecutor read the jury 13 pages of violent lyrics written by Mr. Skinner, even though all of the lyrics were composed before the shooting (in some cases, years before) and none of them mentioned the victim or specific details about the crime.
In keeping with rap’s “gangsta” subgenre, the lyrics read like an ode to violent street life, with lines like “In the hood, I am a threat / It’s written on my arm and signed in blood on my Tech” — a reference to a Tec-9 handgun. “I’m in love with you, death.”
The other evidence against Mr. Skinner was largely testimony from witnesses who changed their stories multiple times. And yet, the jury found him guilty of attempted murder, and he was sentenced to 30 years in prison.
ruled that the lyrics should never have been admitted as evidence. The majority opinion stated, “We have a significant doubt about whether the jurors would have found defendant guilty if they had not been required to listen to the extended reading of these disturbing and highly prejudicial lyrics.” The state appealed the ruling to the Supreme Court.
Mr. Skinner’s case is far from unique. Rap lyrics and videos are turning up as evidence in courtrooms across the country with alarming regularity. Last year, the American Civil Liberties Union of New Jersey found that in 18 cases in which various courts considered the admissibility of rap as evidence, the lyrics were allowed nearly 80 percent of the time.
As expert witnesses who have testified in such cases, we have observed firsthand how prosecutors misrepresent rap music to judges and juries, who rarely understand the genre conventions of gangsta rap or the industry forces that drive aspiring rappers to adopt this style. One common tactic is to present a defendant’s raps as autobiography. Even when defendants use a stage name to signal their creation of a fictional first-person narrator, rap about exploits that are exaggerated to the point of absurdity, and make use of figurative language, prosecutors will insist that the lyrics are effectively rhymed confessions. No other form of fictional expression is exploited this way in the courts.
Admittedly, the complex and creative manipulation of identity in rap helps account for its treatment in court. Nobody believes that Johnny Cash shot a man in Reno or that Bret Easton Ellis carried out the gory murders described in “American Psycho”; neither artist claimed that he was writing autobiographically. That’s not always the case with rappers. Many remain in character long after they leave the recording studio, trying to establish their authenticity by convincing listeners that they live the lives they rap about. Those familiar with the genre understand that this posturing is often nothing more than a marketing pose.
But for the uninitiated, it is easy to conflate these artists with their art. It becomes easier still when that art reinforces stereotypes about young men of color — who are almost exclusively the defendants in these cases — as violent, hypersexual and dangerous. If that’s what jurors see, what are the chances for a fair trial?
study in the late 1990s to measure the impact of gangsta rap lyrics on juries. Participants were given basic biographical information about a hypothetical 18-year-old black male, but only some were shown a set of his violent, sexually explicit rap lyrics. Those who read the lyrics were significantly more likely to believe the man was capable of committing a murder than those who did not.
More than a decade later, this bias appears to persist, leaving rap music as vulnerable as ever to judicial abuse. Although appellate courts in Massachusetts and Maryland have recently reversed convictions after citing prosecutors for their improper use of rap lyrics or videos as evidence, most similar appeals are unsuccessful. Just this summer the Supreme Court of Nevada upheld the admissibility of rap lyrics as evidence in a first-degree murder case. A definitive ruling by the Supreme Court of New Jersey rejecting this use of rap music could help turn the tide.
In anticipation of Mr. Skinner’s case, the American Civil Liberties Union of New Jersey filed an amicus brief arguing that rap lyrics, however unsavory they might be, are “artistic expressions entitled to constitutional protection.” For scholars and fans of hip-hop, this is a statement of the obvious. In today’s court system, sadly, it is not.
Yeah so ?
Thirty years ago, a committee known as the Parents Music Resource Center made a playlist of what it deemed the most offensive music at the time, including songs by megastars like Madonna and Prince and culty underground metal groups like Venom and Mercyful Fate. The list, dubbed the "Filthy 15," was to serve as an example of how the PMRC thought albums should be "rated," in a way similar to the MPAA. But instead of issuing general "PG" and "R" designations, the committee — on which former Second Lady Tipper Gore famously served — suggested content-based ratings: "X" for profane or sexually explicit lyrics, "O" for occult references, "D/A" for lyrics about drugs and alcohol and "V" for violent content.
Ultimately, the Record Industry Association of America convinced labels to affix potentially offensive albums with the warning stickers the world has grown to love: "Parental Advisory: Explicit Lyrics." At the time, record-stickering became such a talking point that the Senate's Committee on Commerce held a hearing on the "Contents of Music and the Lyrics of Records," at which Frank Zappa, John Denver and Twisted Sister's Dee Snider testified. The musicians were worried that stickering would lead to record stores refusing to carry albums, a fact that came true with Walmart.
The 30th anniversary of the hearing is this weekend, so Rolling Stone has revisited each of the so-called Filthy 15 songs to see what was so objectionable about them in the first place, and to find out what became of the music industry's onetime pariahs. Many of the artists, including Judas Priest, W.A.S.P., Vanity, Mary Jane Girls and Black Sabbath, were eager to offer their thoughts on what it all means now.
Thirty years ago, a committee known as the Parents Music Resource Center made a playlist of what it deemed the most offensive music at the time, including songs by megastars like Madonna and Prince and culty underground metal groups like Venom and Mercyful Fate. The list, dubbed the "Filthy 15," was to serve as an example of how the PMRC thought albums should be "rated," in a way similar to the MPAA. But instead of issuing general "PG" and "R" designations, the committee — on which former Second Lady Tipper Gore famously served — suggested content-based ratings: "X" for profane or sexually explicit lyrics, "O" for occult references, "D/A" for lyrics about drugs and alcohol and "V" for violent content.
Ultimately, the Record Industry Association of America convinced labels to affix potentially offensive albums with the warning stickers the world has grown to love: "Parental Advisory: Explicit Lyrics." At the time, record-stickering became such a talking point that the Senate's Committee on Commerce held a hearing on the "Contents of Music and the Lyrics of Records," at which Frank Zappa, John Denver and Twisted Sister's Dee Snider testified. The musicians were worried that stickering would lead to record stores refusing to carry albums, a fact that came true with Walmart.
The 30th anniversary of the hearing is this weekend, so Rolling Stone has revisited each of the so-called Filthy 15 songs to see what was so objectionable about them in the first place, and to find out what became of the music industry's onetime pariahs. Many of the artists, including Judas Priest, W.A.S.P., Vanity, Mary Jane Girls and Black Sabbath, were eager to offer their thoughts on what it all means now.
I'm just saying... this genre, its style, its words, the sound... its far from losing its popularity. Although I think the term "gangsta rap" might be... as it was probably coined by 'whitey' anyway.
Dozens of new artists are making bank, call it whatever you want, but listen to the words. That's not Sunday School.
i tell you right now the top selling artists in the 90s versus now shows the difference in the type of music linked to the culture. Gangsta rap was huge in the 90s and tried to survive into 2000 but just did not carry anymore weight like now. Drake, Travis Scott, Boogie with Hoodie etc. are more singing about love and I am the best rather than slanging and banging. It used to be Little Kim and Foxy Brown rapping about being gangsta hoes and then Missy Elliot to Cardi B talked being money makers and one their own. The rap scene changed so much with the time so gangsta rap is held on to by the small fringe that still thinks that is cool but what sells says differently in my opinion.
El Culo Ancho is nominated for shithead of the year.
This is the number 1 song on the Billboard charts for the Hip Hop genre.
Intro: DaBaby]
Woo, woo
I pull up like
How you pull up, Baby? How you pull up? (Oh, oh, oh)
How you pull up? I pull up (Woo, Seth in the kitchen)
[Chorus: DaBaby]
Let's go
Brand new Lamborghini, fuck a cop car
With the pistol on my hip like I'm a cop (Yeah, yeah, yeah)
Have you ever met a real nigga rockstar?
This ain't no guitar, bitch, this a Glock (Woo)
My Glock told me to promise you gon' squeeze me (Woo)
You better let me go the day you need me (Woo)
Soon as you up me on that nigga, get to bustin' (Woo)
And if I ain't enough, go get the chop
[Verse 1: DaBaby]
It's safe to say I earned it, ain't a nigga gave me nothin' (Yeah, yeah, yeah)
I'm ready to hop out on a nigga, get to bustin'
Know you heard me say, "You play, you lay," don't make me push the button
Full of pain, dropped enough tears to fill up a fuckin' bucket
Goin' for buckets, I bought a chopper
I got a big drum, it hold a hundred, ain't goin' for nothin'
I'm ready to air it out on all these niggas, I can see 'em runnin'
Just talked to my mama, she hit me on FaceTime just to check up on me and my brother
I'm really the baby, she know that her youngest son was always guaranteed to get the money (Okay, let's go)
She know that her baby boy was always guaranteed to get the loot
She know what I do, she know 'fore I run from a nigga, I'ma pull it out and shoot (Boom)
PTSD, I'm always waking up in cold sweats like I got the flu
My daughter a G, she saw me kill a nigga in front of her before the age of two
And I'll kill another nigga too
'Fore I let another nigga do somethin' to you
Long as you know that, don't let nobody tell you different
Daddy love you (Yeah, yeah)
Trump is going to kill a lot more than 18 on the 18th in Tulsa restarting the Nurenberg rallys.
Yeah baby....sing it...wanted to see who I could get to go look it up haha.
Go check out #2 through #10 and tell me if they are the same lyrics and music. NOT!
