"Be nice or leave!" - Why is rap so violent?

1. Introduction

This paper will focus on the depictions of and the reasons given for crime and violence in rap music. This seems to be relevant because a certain glorification of rap seems to endure in mainstream society, which also goes hand in hand with this music's belittlement. In the 1980s, few people would have thought that rap would be the major force it is today. The music is still, for the most part, rather simply crafted, not all lyrics are expressions of streetwise genius but maybe that is its strength: reducing everything to the minimum, cleansing the music from all unnecessary components. This minimalism is also visible in its content. The depicted experiences are mostly on a very basic existential level, crime and violence abound. Real life conflicts are not only reflected in the music, they are sometimes even initiated by words spoken on a record. At a recent award ceremony Melle Mel, one of rap's early legends, even criticized contemporary hip hop a "culture of violence" ¹ .

Of all the different elements of rap narratives, violence and crime seem to be the most enduring ones. The most successful rap artists were often also the ones that delivered the most realistic narratives of both elements. Therefore I will focus strictly on mainstream rap, since this is obviously the genre of rap with the largest audience and the most successful combination of all the narrative elements. I will also focus mainly on the lyrics, although I do not want to question the enormous importance of the music production for the success of a record. In fact, chart success is often dependent on the producers, while rappers have a hard time trying to create a lasting impression. For as long as rap music has become a product, the lyrics and the imagery has evolved mainly about the depiction and imitation of criminal lifestyles. Violence, misogyny and flamboyant display of property are all related to and based on criminality. I will first examine earlier attempts at more peaceful and dedicated attitudes in rap and trace back the rise of modern "ultra-violent" rap stars and also throw a light on some early careers. I will then analyze the portrayals of crime and violence in rap, their significance and also the explanations offered.

1 Jon Pareles: "Hip-Hop Is Rock ’n’ Roll, and Hall of Fame Likes It". In: New York Times, March 13, 2007. Like many rappers of the first generation, Melle Mel makes no difference between rap and hip hop culture.

1.1 A Note on Secondary Sources

Rap music is a topic that is hard to describe in academic literature, since it is a field of study that is already very rich in primary content, expressed in a very direct language that leaves little room for interpretations. Furthermore, when reading publications on rap, I am often irritated because the authors often show very little insight and seem to have entirely different personal musical tastes. One publication I have consulted ² is fairly recent, which is not always granted, but even while just skimming the book, I was forced to find out that the author could not distinguish between the voices of Method Man and The Notorious B.I.G. ³ . This comes close to not knowing the difference between Laurel and Hardy and then writing a book about black and white comedy movies. Neither had she heard, that Tim Dog is actually not a West Coast artist ⁴ (as one could guess by the title of his one and only success, "F*** Compton"). This is a symptom for a general problem: When it comes to certain topics, an academic title does not necessarily prove great knowledge of the subject matter. On the rare occasions that I read scholastic material on rap music, I usually have the notion that the authors see the music simply as an object of study. They create beautiful and intricate theories about various aspects of it, and yet the consumer will probably receive all the information he needs by listening to it. This is also why I will strongly rely my own listening experiences as sources of information.

2. Good Intentions Don't Make Good Sales

Presuming that violence is a part of human nature and hence triggers an instinctive fascination in many humans that is beyond categories like good and evil, it can be stated that a large part of rap's attraction is based on violence. Rap artists have combined other elements of rap or placed different emphases while trying to leave out the glorification of violence. A prominent example is the Native Tongue movement from the early Nineties. Explicitly non-violent groups like De La Soul or A Tribe Called Quest tried to evoke social consciousness and a sense of community. While being hyped by the liberal media, they enjoyed only brief successes and are now rather a shameful memory (if remembered at all) outside of dedicated circles. As Perry states, "conscious" rap's resonance is usually stronger among "underground" artists ⁵ . Just as violent rap lyrics do not necessarily make society more violent, peaceful lyrics did not make society less violent. The

2 Imani Perry: "Prophets of the Hood". Durham & London 2004.

3 Perry, p. 144

4 Perry, p. 21

5 Perry, p. 28

political and social powers of music should not be overestimated. Public Enemy, a group relying massively on Black Power and Afrocentric rhetoric, succeeded far better in creating media attention and a dedicated fan base than the Native Tongue movement. They can be seen as New York's more political counterpart to L.A.-based N.W.A. While Public Enemy actually propagated social change as the key to black emancipation ⁶ , N.W.A. were content with being left alone by the police in order to pursue their life of petty crime and drug abuse. ⁷ Eazy E makes the group's refusal to be role models quite clear with the line “Don't quote me boy, 'cause I ain't said shit.” ⁸ The effect of this attitude on the popularity of rap music, namely the artist's unwillingness to take responsibility for the impact of his music, must not be underrated. N.W.A.'s classic "Straight Outta Compton" must have been the first major rap album to entirely avoid any kind of political or social lesson. It was simply a portrayal of the group's "attitude". Also, contrary to later hyped-up rap personae, they had a far different approach to being a gangster. N.W.A.'s definition was not connected to organized crime. Neither did they claim membership with any of the then prospering L.A. street gangs. Their definition would come much closer to the rebels portrayed in rock 'n' roll culture. ⁹ Krims employs the term "reality rap" and calls the industry label of Gangsta Rap "a modern kind of minstrelsy". 10

Later artists would then continually strive to fulfill every possible stereotype of the young black male, the most successful recent examples being 50 Cent and The Game. On the one hand, earning respect from peers and dedicated fans will certainly have been a motive. On the other hand, the urge to satisfy consumer interests has eventually become a more important driving force for many rappers. The artist must seek the audience's consent; he must therefore avoid any topics that might provoke any disagreements. For this he might be criticized by politicians and parent associations, but they are not his audience. Should he satisfy their interests, it would not help him much, since they are not the ones that buy his records.

The successful artist must therefore be seen as the reacting element in a bilateral relationship with his audience. Blaming rappers for the perceived increase in sex and violence in problematic contexts because of their systematic exploitation of these topics is like blaming pin up girls and pop singers for discrimination against females. The underprivileged, just like any other group, must rely on the resources that are most easily accessible to them. Therefore they sell stylized images of crime and other social failures to an audience eager to consume what corresponds to their world view. As Perry states that "the market supports the kind of music that

6 Public Enemy: "It takes a Nation of Millions to Hold us Back"

7 See also: Eazy E: “Boyz-N-The-Hood (remix)”, N.W.A.: "Gangsta Gangsta"

8 Eazy E: “Boyz-N-The-Hood (remix)”.

9 "Virtually every hip hop artist mentioned in the mainstream news suffered transmogrification into a gangster rapper [...]" Perry, p. 95

10 Krims, p. 70

easily fits into notions of black experience." ¹¹ This is not a novelty. Sir Henry from Oscar Wilde's Dorian Gray even goes as far as to say that "[c]rime belongs exclusively to the lower orders." and further states that "crime [is] to them what art is to us". ¹² Of course he is wrong, as Gray's various crimes make evident. He is right in one respect though: The upper classes define what crime is and what it is not. The legal and the moral definitions of crime are divergent.

2.1 Early Attempts

Many of rap's current stars actually started their careers with less aggressive, sometimes more party-oriented or more political music. Jay-Z, for example, can be seen in an early clip ¹³ with his former mentor Jaz-O checking hands with men wearing dashikis. Furthermore, afrocentric symbols are constantly flashed throughout the video. In another clip, "Hawaiian Sophie" ¹⁴ , Jay-Z is elevated from the ceiling on a rope, while his partner raps in a lighthearted manner about his relationship to a woman in Hawaii. Needless to say that the only reason these videos ever reappeared was Jay-Z's massive later success with singles like "Money, Cash, Hoes" or "Big Pimpin'". His first solo album, "Reasonable Doubt", on whose cover he is depicted in a suit inspired by Mafia films and whose content is also full of references to organized crime, was an instant classic. Even Tupac Shakur, who coined the phrase "Thug Life", started out first as a dancer, then as a rapper for a comedy-oriented ensemble called "The Digital Underground". They resembled a modern version of 1970s P-Funk artists. On one song he even claims: "can't go wrong, if I play the nice guy" ¹⁵ . (He would later go right by "playing the bad guy".) He also studied acting, poetry and jazz before he became a rapper, which reflects a rather peace-loving attitude. His first album had a strong socially conscious focus. Its most successful single was "Brenda's Got A Baby", the tragic story of a young single mother. Nevertheless, the album did not sell too well overall. Speaking in career terms, his numerous incarcerations and conflicts with the law were obviously advantageous. His violent death was actually his ultimate career move, making him the best-selling rap artist up to date. His most successful album was released only shortly after he had served a one-and-a-half-year prison sentence for "sexual abuse (forcibly touching the buttocks)". 16

11 Perry, p. 125

12 Oscar Wilde: "The Picture of Dorian Gray". London, 1998. p. 263

13 Jaz-O featuring Jay-Z: "The Originators"

14 Jaz-O: "Hawaiian Sophie"

15 Digital Underground: "Same Song"

16 http://en.wikipedia.org/wiki/Tupac_Shakur#Early_life