Street Gang ties in Gangster Rap

Alittle synthetic ritournelle to open, then the couple bass / infrabasses between, spiced by rolls of charlestons, before the contagious refrain … Difficult to resist I Do not Like, composed by Young Chop and interpreted by Chief Keef.

Gangster rap first burst onto the scene in the late 1980’s, in the forefront was the rap group N.W.A, Niggas wit Attitude. They grew up in south central Los Angeles, which is home to some of the most deadly street gangs.

At the age of 17, Keith Cozart (his real name) is one of the most prominent figures of a rap movement in Chicago, in the South Side district, and grouped around the term drill music, which fascinates as it worries and thus attracts the major’s dollars from the record.  Chicago has a lot of street gangs as well, but it is a lot more brutal and less organized than the gangs they have in LA, like the Crips street gang. Published in March 2012, her video now counts nearly 18 million views -with the scores of Rihanna and Justin Bieber, admittedly, but for a rap clip “hardcore” turned with the means on board, we are no longer in the anecdote.

Beyond the music itself, the clip shot by Duane Gaines, known as DGainz, is a direct dive into the universe of the burgeoning Chicago scene. On the YouTube channel, videos by artists such as LEP Bogus Boys (veterans) or Spenzo, for example, reveal the harshness of the neighborhoods in Illinois’s largest city, where artists from 13 to 25 years for the most part. And the King L (former King Louie), Lil Reese, Lil Durk, Fredo Santana, Buck 20 Brick Boyz, YP, or the girls Sasha Go Hard and Chella H raise the counter of the chain of DGainz beyond the 42 (!!!) millions of views.

Lil Reese

The drill music surpassed the local phenomenon, enough to alert one of the pride of Chicago rap, which nevertheless deserted the “windy city” for a while for softer and safe areas in New York or Los Angeles: Kanye West has offered a remix of I Do not Like , on which he has placed a part of the artists of his label GOOD Music, before sticking it to his compilation Cruel Summer at the last minute, to give a current tour to his the last project.

A recognition that opened a gap for Chicago’s young rap performers. Since last spring, Chief Keef signed for Interscope (the record company Eminem, 50 Cent, Dr. Dre but also Lady Gaga) for $ 3 million, it is said. A deal that includes rights for a biopic, headphones and a label deal (Glory Boyz Entertainement) that makes Cozart the youngest CEO of showbiz.

His comrades Lil Reese and Lil Durk have each found a contract with Def Jam, the mythical rap label (Beastie Boys, Jay-Z, Public Enemy …), while King L was welcomed by Epic / Sony Music … En less than six months, a real fever came from Chicago took over American business rap.

We can even add the signature of Rockie Fresh (another local rapper, but not necessarily associated with the drill scene) at MMG, the label of Rick Ross, the new rap giant. Lil Wayne who is a member of the bloods, knocked teenager Lil Mouse (13) and the industry is likely to keep an eye on the young Katie Got Bandz, Fredo Santana, SD, Chance The Rapper or the Buck 20 Brick Boys …

The stars leave the ship

Known for its jazz, soul and house music, the third city (and market) of the United States has yet never managed to impose a real rap scene, the opposite of New York, Los Angeles but also Houston, Atlanta or New Orleans. Local rap artists have nevertheless managed to impose themselves individually in the 90s and 2000s, the most confidential among us like Do Or Die, Bump J or Crucial Conflict (embodying rather the ghetto) to the big stars that can be Common or Kanye West through the famous figures like Da Brat in the mid-90s, Twista, No ID or Lupe Fiasco.

In 2012, the situation is a bit bitter for this old guard: Do Or Die, Crucial Conflict and Twista struggle to revive their careers, Lupe Fiasco is bogged down in artistic errors , Common runs the castings in Hollywood and Kanye West does shopping with Kim Kardashian in the stalls of the great couturiers between Milan, London and Paris.

The great figures have deserted the city and despite the efforts and critical recognition of some artists like Mikkey Halsted, Naledge of Kidz In The Hall, Rhymefest, GLC, the most “hype” Cool Kids or the most accessible Yung Berg, rap of Chicago appeared so far pale against scenes from the south, from Houston, New Orleans or Atlanta with his trap music : a leaping rap, doped to infra-low cut for the clubs, but hardcore and direct drive with the street.

It is in this movement that the aspiring rappers of South Side Chicago, the worst corner of the city to recognize their inhabitants as those who do not dare to set foot. The young artists, trapped in themselves in the US city where segregation is most profound, develop their sound and ambitions … The movement remained anonymous until the late Pacman and his cousin Fatzmack named him drill, term came the local slang. If it meant “responding to its attackers or enemies” originally, it has become a convenience to describe everything that seems exciting to its followers.

It is logical that drill defines the music of the LEP Bogus Boys or King Louie, which opened the way to the Keef, Reese, Durk or Katie … A music of the hood (the district), by him and for him. Aggressive, powerful and without filter: it speaks of violence, drug shootings, hustle … One hears noises of guns, one detects the desire to stack tickets … In short, sad street life American, the real.

The Bogus Boys LEP

Not the shadow of a Maybach or a Lamborghini in the videos, and if the clips are filmed on the pavement or in less shiny apartments, it is that the drill music recalls the rap to the bitumen. And vice versa. We are not so far from the Californian rap gangster of the 90’s, the distance, the perspective and the direction of the staging in less …

And like rap gangster, drill music triggers controversy. The ancient glories of the city are even opposed on the subject. Kanye West jumped at the opportunity to reconnect with the youth of her hometown while Lupe Fiasco told a Chicago radio station:

“Chief Keef frightens me. Not him particularly but the culture he represents. The villains, the gangsters … »

The young star responded dryly – even stubbornly – to his elder on the social networks, channels of Chicago’s new rap, which allowed him to make himself known beyond the South Side without the help of the glorious elders :

“Lupe Fiasco is a whore and when I see him, I’ll kick his ass to the little bitch he is.”

The rupture is consummated.

Reality rap

Lupe Fiasco may not be wrong to worry, but as the cliché says, Keith Cozart, says Chief Keef, is mostly the product of an environment. And the landscape offered to Chicago’s blacks is scary.

The Afro-American population of the city is mainly confined in two large neighborhoods, to the west and south, for decades and no sign of change is to be expected. Even worse, the homicide rate rose by 38% in 2012 (240 deaths in June 2012) while stagnating or falling in New York or Los Angeles. And the most affected neighborhoods are … West Side and South Side Chicago, where gangs, which have never ceased to exist, have gone from 500 to over 600 in just two years.

Chief Keef, from the Englewood neighborhood in the South Side, makes no secret of his membership in the 300 Black Disciple Gang. He does not hesitate to punctuate his rhymes of thundering “Bang! Bang! “ Or to mimic shootings on occasion. Last December, he was tightened for illegal use of firearms and found under house arrest at his grandmother’s house.

The online magazine Pitchfork turned an interview of the young rapper in a shooting range and triggered a real controversy that pushed the release to remove the video . Chief Keef smells powder.

When they ask the Chicago rap artists if they realize the significance of the message they convey, their answer is unanimous: “We only talk about what we know.”

Facts tragically justify them. On September 4, 2012, Joseph Coleman (known as Lil JoJo), an aspiring rapper and member of a rival gang of Chief Keef and Lil Reese, was shot and killed in the streets of Englewood at 18.

Like many members of the Chicago bands, this little world mistrusted regularly on social networks. Sign of the times. After the killing, Chief Keef rejoiced at the death of his enemy on Twitter, then retracted awkwardly by evoking the piracy of his account. Too late.

 

Lupe Fiasco is worried. Barack Obama, a former Illinois senator, is less so. He will have waited until mid-August to react. Limply. The president of the hip-hop generation, the one who receives Jay-Z at the show, quotes Common or Kanye West when he does too much, sent a video message calling for peace in the streets of Chicago on the occasion of a ” an annual parade broadcast locally. Having gone out of line, the band will never be broadcast.End of chapter.

Mitt Romney, the Republican presidential candidate, was not expected to quote Chief Keef or to waver at the rise of gang activity in the country’s third city, but from a man who considers Chicago as a city of adoption and has relied heavily on the African-American electorate and the hip-hop generation in 2008, this distance is far more surprising. To the mayor of the city, the former general secretary of the White House Rahm Emanuel, and to the local authorities manage …

At Englewood, elsewhere in the South Side or in the West Side, we do not wonder: we profit. The local rap scene has never been so much talked about, good or bad. It fascinates, disturbs and gives rap one of its primary functions: to shed light on the reality of American ghettos.

Drill music is not a matter of boudoir poetry, it is with sound cut for boxes and nightclubs in which they are not even old enough to enter that Chief Keef and his friends have become millionaires. What no one knows, not even them, is the end of the act: will they be the triumphant heroes or the tragic victims? The decor is dismal but the orchestra is exciting.

Pioneers of Gang Style Rap: NWA

NWA, the pioneer of the Gangsta Rap, is in many ways the most known band in the history of rap. Appearing in the late 1980s, when Public Enemy rewrote the rules of hardcore rap by proving that it could be intelligent, revolutionary with a social awareness, NWA takes sides on the subject of their music by ignoring their message.Conversely, this clan of 5 members celebrates the violence and mystifies the criminal life, relating them with a square and rough language. Initially, the relentless group appeared to be serious, with vital comments, even provoking a warning from the FBI on the NWA label, but after Ice Cube’s departure in 1989, the band began to become self-parody. Eazy-E’s urban nightmares resembled comical fantasy books, which satisfied the imagination of the teenagers or whites of the suburbs who became the nucleus of their audience. has become even more popular than before.Nevertheless, conflicting ego will prevent the band from releasing a third album and they separate after one of the producers, DrDre does not leave them for a solo career in 1992. Although the group was not active for a long time, their influence – their Funky beats, driven by bass, to their exaggerated lyrics – was evident during the 90s.

Ironically, in this original incarnation, NWA initially was highly revolutionary.Eazy-E (Eric Wright), a former dealer who created Ruthless Records with the money he saved by selling drugs, was eager to build an empire in rap by building a roster of talented artists.However, it did not succeed until DrDre (Andre Young), a member of a group, the World Class Wreckin ‘Cru and Ice Cube (O’Shea Jackson), a member of a team named CIA, began to write songs for Ruthless. Eazy gives them two tracks, including Boyz N The Hood, and then NWA format (an acronym for Niggaz With Attitude), adding to the DJ Yella group (Antoine Carraby), another member of The World Class Wreckin ‘Cru, as well as the Arabian Prince and the DOC. NWA’s first album, NWA and the Posse, was a somewhat stuck album, which largely contributed to its failure when it was released in 1987. The following year the band separated from The Arabian Prince and The DOC but adds MC Ren to its workforce and extends its sound, bringing to most of their sounds the extremely sonic innovations in the manner of Public Enemy and adopts words committed to violence. Later in 1988, NWA scored Straight Outta Compton, a vicious hardcore record that became an underground hit with no radio, TV or press support. NWA became famous for their hardcore lyrics like Fuck Tha Police, which prompted a warning letter from the FBI to Ruthless Records and the label’s parent company, Priority Records, suggesting that the group should review its approach.

Most of the political threats to the group stopped when Ice Cube left him at the end of 1989 amid many financial disagreements. A bad quarrel then begins between Cube and NWA which will reach its paroxysm with the title No Vaseline of Cube on which it attacks the managérat of the group on its album of 1991 Death Certificate. At that time, the group was already practically dissolved. In the two years between the departure of Cube and the dissolution of the group, NWA was dominated by the almost parodic lyrics of Eazy-E and the increasingly subtle and complex productions of DrDre. The band quickly released an EP, 100 Miles and Runnin ‘, in 1990 before quickly following the following year with Efil4zaggin (“Niggaz 4 Life” upside down). Efil4zaggin was filled with dense and funky sounds, with misogynist lyrics and parodying violence. Naturally, the words provoked outrage from critics and conservative organizations, but this had the effect of increasing the audience of the group with the listening of the white men of the suburbs. Though thinking that the group was at the peak of his popularity, Dre began to make efforts to leave the clan, due to ego conflicts and what he considered to be a bad deal for his pay .

Dre left the group to form Death Row Records with Suge Knight in early 1992. Knight threatened to kill Jerry Heller, NWA’s manager if he did not allow Dre to leave. The next five years, Dre and Eazy engaged in a highly public quarrel, both of which included attacks on each other in each of their respective solo albums.MC Ren and DJ Yella both released solo albums, which were not a huge success and Eazy continued to release albums in full self-parody until his tragic AIDS death in March 1995. Before his death, Cube and Dre will redeem themselves from Eazy by going to see him in the hospital.With his first solo album released in 1992, Dre established himself as the first producer of the mid 90s and for many he set the principles of the Gangsta Rap with its low elastics and soft and deep grooves. The Gangsta Rap self-imposed itself as the most popular Hip Hop current during the 90’s; in other words, NWA’s immoralist positions have temporarily triumphed over Public Enemy’s social Hip Hop, and have completely rewritten the Hip Hop rules of the 1990s.

What is gang style rap?

Gangsta rap is a subgenre of hip-hop that emerged in the late 1980s on the West Coast of the United States and was mainly played by artists such as Tupac , Snoop Dogg , Too Short , Ice T, NWA 2 . He knows his climax to start in Compton ( California ) in Los Angeles County , through the NWA group. The first gangsta rappers are from gangs , and tell their lives in violence. This is one of the reasons why certain themes are recurring, such as drugs, police hatred, procuring , money, homophobia , and misogyny .

The founding and recurring themes of gangsta rap are money and success, essentially financial; women, drugs and trade, murder and other illegal activities, which is referred to by the term “gangsta” derived from anglophone gangster slang . Originally launched on the West Coast, the genus is implanted in much of the United States and, in particular, on the East Coast . Schoolly D , a pro-gangsta rapper from Philadelphia , or Kool G Rap , a New York-based “old timer” and respected librettist, both present since the early 1980s, illustrate this generalization from West to East.

History

Gangsta rap is a genre of hip-hop and rap music derived from hardcore rap 1 originating from the US West Coast , specifically California , launched in the late 1980s by NWA if other rappers, like Schoolly D , are also the origin of the gangsta rap) who made themselves known especially by the album Straight Outta Compton (a classic of the gangsta rap 3 ) but also a little more later through his most famous representatives such as 2Pac , Snoop Dogg or The Notorious BIG .

The early gangsta rap between the late 1980s and early 1990s , with rappers and bands such as NWA , Snoop Dogg, WC , and MC Eiht , often represented the lives of Los Angeles suburban gangsters, violence, racism, drug sales, police persecution of black youth, theft, gang warfare (such as between the Bloods and the Crips 4 , 5 , 6 , 7 , 8 ) without showing too much material value.

In the mid-1990s, a whole culture was associated with gangsta rap: the wearing of clothing, shoes, bandanas, caps and scarves in the colors of his gang; crip-walk, and blood-walk, which are dances associated with gangs; the setting up of a language and a way of speaking gangsta. Gangsta rap is popular throughout the world, notably because of the repeated assassinations of such renowned artists as 2Pac in 1996 and The Notorious BIG in 1997. 9 This musical genre began to spread to the US East Coast in the mid-1990s, when it became popular in New York with artists such as Mobb Deep , Nas , Public Enemy and MOP who gave a very grim gangsta gap . The gangsta rap also developed very early in the southern United States with the label Rap-A-Lot based in Houston , Texas , which at this time included in its ranks the group Geto Boys and Scarface 10 . Later, the Dirty South , and the record- breaking No Limit Records like Master P , C-Murder , Mystikal , Sylk the Shocker and Snoop Dogg , originally from New Orleans , Louisiana , and Three 6 Mafia from Memphis, who are beginning to introduce a new style of gangsta rap in the Southern United States.

In the 2000s , a new wave of gangsta rap spread in Texas ( Paul Wall , Slim Thug , Mike Jones and Chamillionaire ), Georgia ( TI , Young Jeezy , and Gucci Mane ), Florida ( Rick Ross , Ace Hood , Flo Rida , and Brisco ), Tennessee ( Yo Gotti , and Young Buck ), Illinois ( Chief Keef , and Lil Durk ).

In 2010, gangsta rap is present throughout the United States with representative rappers such as 50 Cent , Trick Trick , Ja Rule , The Game , Slim Thug , Mr. Criminal , Nu Jerzey Devil , and Nelly . The rappers’ style of representation is above all to be dominant and superior to others (“The Boss”), rolling in luxury cars (or lowriders that are the emblem of the gangsta rap on the west coast) often surrounded by pretty girls, defending money and bling – bling attitude [ ref. desired] .

Critique

The gangsta rap is much criticized for the themes covered in the songs and the attitudes of its supporters. These observations come largely from a category of the population who disapprove of the ideas conveyed by this music: machismo , egoism , gratuitous violence, homophobia , racism , intolerance, and drugs . Some rappers also consider that gangsta rap should avoid repeating the same themes, which they believe are responsible for a truncated image of hip-hop culture. This type of rap is the most widely diffused among the various currents coming from the United States [ref. required] .

Representative Artists

Rap East Coast : 50 Cent , G-Unit , Ghostface Killah , Ice-T , Big L , KRS-One , Illa Ghee , Infamous Mobb ,
Rap, West Coast : 2Pac , Outlawz , DJ Yella , Dr. Dre , Eazy-E , Ice Cube , Krazy Dee , MC Ren , Snoop Dogg , NWA , Westside Connection , Bone Thugs-Buggy , Buggy Buggy , Buggy Buggy , Buggy Buggy , Buggy Buggy , Buggy Birds, N-Harmony , Gucci Mane , Mac Dre , Master P , Rick Ross , Scarface , Three Mafia , Trick Trick , Unikkatil , Xzibit , Nate Dogg .

History of Gangsta Rap

How it all Started

Gangsta Rap , a sub-genre of rap music inspired by a lifestyle of violent and outlawed gangster, fueled by the taste for money, sex and drugs, often dislikes to public opinion because of its obscenity and vulgarity. Yet in the mid-1980s, through what they called reality rap, some Los Angeles rappers sought to describe their social situation and show difficult living conditions in their neighborhoods. It was at the end of the 1980s, in contact with the music industry, that reality rap became the gangsta rap and that it would obtain a great commercial success in the United States. How to explain the success and popularity of gangsta rap , while the values ​​it carries seem to transgress those of the American society? A look at the socio-historical conditions of production and commodification of gangsta rap .

Because of the attitudes and remarks it highlights and the media visibility obtained through its commercialization, gangsta rap has become a scapegoat for a large part of society to explain violence and deviance morality in the United States. Yet, the famous gangsta rapper Tupac Shakur has already said: “I did not create violence in the United States. I did not invent criminal life. I diagnosed him “(our translation). Despite the diversity of rap music, gangsta rap has , since its emergence, tended to capture and even monopolize political and media attention.However, other sub-genres of rap music, such as conscious or political rap, which denounces inequalities and class and racial exploitation, receive little attention.

To date, rap music has been the subject of much academic research and the target of political and media discourse, which often shows a concern for the stability of public order, accuse rappers of inciting violence and being a threat to US society. The moralizing discourse formulated by these institutions has historically accompanied and justified the implementation of security policies in disadvantaged and segregated neighborhoods where most of the time rapp rappers come. During the 1990s, the War on Gangs , designed to combat criminal gangs and the growth of drug trafficking, will lead to containment policies and of anti-gang police units across the United States. These measures will lead to the filing and incarceration of persons who are victims of racial profiling. Municipal and national databases set up by the FBI and the Department of Justice will grossly and disproportionately incriminate racialized persons, *while the Street Terrorism Enforcement and Prevention Act (STEP Act), signed by the Governor of California in 1988 , will inspire several cities and states across the country. To date, despite the 2008 election of the first black president in US history, these same so-called security policies maintain the criminalization and massive incarceration of black people, as well as police and state violence against them.

The expression of a “reality”

While the hip-hop movement was born in the New York Bronx in the wake of the economic crisis of the 1970s, the first rap pieces on the west coast of the United States are produced in the city of Los Angeles. Marked by neo-liberal austerity policies (including budget cuts in social programs and the education system) and the persistence of racial segregation and oppression, Los Angeles proliferation of criminal gangs and escalating violence on its streets. To translate their anger and denounce the rise of police violence and political repression, become daily in the lives of many young black Americans, artists like Ice Cube, Eazy-E and Dr. Dre, later members of the group (NWA), are beginning to express themselves and become precursors of what they will call reality rap. By portraying a society that oppresses and excludes them, these artists formulate a critique of American society by appropriating symbols of the dominant culture that they do not really have access to, money or success. NWA also diverts the use of certain codes and elements of the dominant culture, for example by wearing military camouflage uniforms or by borrowing a police aesthetic (rendered by the “Do Not Cross – Police Line” their concerts. However, their descriptive speeches, notably celebrating their altercations with police and gang rivalries, will be articulated in speeches that blame them for social conditions and violence in certain neighborhoods.

” Is not nuthin ‘but a gangsta party “

When, after a while, large record companies and recording studios – largely owned by white men, who control 80% of the music industry – will be attracted by the commercial potential of this music emerging, they will participate in the institutionalization of the hip-hop movement.They will produce artists such as Ice-T, Dr. Dre, Snoop Doggy Dogg, or later 50 Cent, who will become references to what will now be called the gangsta rap . Gangsta rap performed by black men will thus be marketed by an industry that will exploit a stereotyped and fictional entertainment to offer to a wider audience. Gangsta rap , by borrowing the scenery from the underprivileged districts of the United States, is gradually becoming an entertainment for a white public who, attracted by the obscenity and the controversial character of rappers’ attitudes, constitutes the majority of consumers this musical style in the early 1990s. The success and visibility of gangsta rap is also growing thanks to the production of music videos on emerging television channels such as MTV. The rappers thus become actors who personify violence and obscenity in economic networks that take advantage of this imagery.

Conquered by the profitable profit by integrating the music industry and the majors, the gangstarappers produce stories and depoliticized, simplistic and one-dimensional stories. Reiterating the violent and dangerous character of life in certain districts, the staging of the gangsta rap isbased on a black “manufactured” and commoditized “authenticity”, fueled by the taste for excess and excess: money, sex and women, violence, drugs, and ” party life”. By illustrating these elements in videoclips, gangsta rap becomes the spectacle of an apparent threat to the morals and social order of American society. However, rappers do not create these speeches in isolation. Rather, they draw inspiration from the American cultural ideal of masculinity, success, wealth and social success, even going so far as to highlight it. As the philosopher Cornel West points out, “postmodern culture is increasingly a market culture, dominated by gangster mentalities and exuberance.” Thus, the figure of the gangster and the values ​​conveyed by the rappers do not seem so foreign to the dominant American values.

Stubborn stereotypes

According to the author and activist bell hooks, the staging of blackness in mainstreamchannels would have become entertainment for a predominantly white audience. This author considers that the commodification of black identity in a staged fiction constitutes a form of colonial exploitation that resonates with stigmatizing historical narratives. Indeed, in rap gangsta, rappers are not real gangsters: they are rather inspired by a lifestyle of abundance and excess allowing them to generate profit. Thus, bell hooks explains the commercial success of the gangsta rap by its ability to gather a public around a deviant lifestyle and transgressing a moral order staged by black people. Stuart Hall emphasizes that racial stereotypes, historically accompanied by the creation of a fundamentally different “Other,” persist in maintaining racial domination and power inequalities. The staging of gangsta rappers in deviant activities would borrow these stereotyped historical codes that dehumanize black people (both women and men) and deprive them of complex personalities. According to Ronald L. Jackson II, the exploitation of black bodies is lucrative in market processes which, by staging them, attribute to them a meaning or an image. According to the author, negative projections of black people through market activities constitute a contemporary form of racial exploitation [18] .

This commercialized image of gangsta rappers will be exploited by a whole commercial network through marketing practices and the production of advertisements of clothes, sodas, fast food and, more globally, by promoting a “cool” lifestyle and nonconformist. However, this consumption in different forms of deviance historically attributed to black people requires no commitment to a complex culture or history. Without, however, prohibiting it, it does not develop any awareness of the social inequalities that gave rise to gangsta rap and does not call into question the social, political and economic order in which these practices take place . Even if some talented rappers get rich in the process, the commodification of their deviance tends to reify the stereotypical myth of the criminal black rapper and the dangerousness of the ghetto.Paradoxically, despite the ubiquity and glorification of criminal behavior, the sexualization of female bodies, and physical strength, money and materialism in film and television, these elements are considered deviations when people blacks seize it.

A binary speech

The gangsta rap is thus articulated to a set of stereotypes and prejudices towards the black persons. Lester K. Spence points out that by reproducing a binary discourse between a “them” (whites) and a “we” (blacks) based on colonial codes, gangsta rappers fail to upset negative beliefs about them and emancipate themselves from the imaginary which creates the conditions of the oppressions which they denounce. Rather, the writer, the speeches of these rappers describing the ghetto as a dangerous place and non-rights, and glorifying their role in the criminal activities that take place there, reinforce the beliefs that they are a threat to the ghetto social order. Thus, by appropriating and valuing the elements of the dominant culture, their stereotypical criticism confirms these beliefs and reproduces the binary thought that establishes natural, insurmountable and problematic differences between races that are socially and historically constructed.

The reproduction and staging of binary thought through violent and misogynous lyrics and video clips have the effect of maintaining the stereotypes of criminality and the incapacity of black people to escape the constraints imposed by their social environment. According to bell hooks, the attribution to gangsta rappers of the responsibility for sexual violence, obsession and deviance, as well as objectivity and non-respect for women, would conceal the systemic violence of white patriarchal and supremacist capitalism , in which white people embody innocence and the norm. According to the author, the so-called stable and non-violent societal order, which these discourse seeks to preserve, would be threatened by deviance manifested and staged by gangsta rappers. However, locating the vices of society in the body of former colonial subjects contributes to the reiteration and maintenance of institutional and systemic racism. In this system, to which the gangsta rap is articulated, the white standard is considered threatened, while the black people tend to be perceived as deviant and threatening.This way of thinking continues today to motivate police intervention and repression in neighborhoods where social inequalities are strongest.

Systemic violence

The success of the gangsta rap , understood in its social and historical context of production and commodification, is therefore inseparable from the practices of commodification that accompanied it. The latter helped to conceal the context in which the gangsta rap emerged, and to transform the claims and criticisms made in reality rap into fictional entertainment.Inspired by a pre-existing gangster lifestyle in American culture, rappers will come to embody a threat and become the target of policies that accentuate the control and surveillance of black people.

The popularity and reach of gangsta rap is therefore beyond the scope of the music scene. The attention gained by its commercialization as well as its media visibility and its articulation with security policies is part of the context in which it is inscribed and of the issues at stake. Thus, the expression of the gangsta rappers made it possible to draw attention to social, political, economic and cultural issues that affect them, and which until then were hardly visible and discussed. In addition, moralizing discourses, which accompanied and justified the implementation of security policies by accusing rap music of encouraging violence and deviance, helped reaffirm the violence of American society – violence in which the gangsta raphas emerged. In his famous song “Gangsta rap made me do it” released in 2008, the rapper Ice Cube will reply with irony: “How can you tell me not to say that, when it was you who taught us ?