Picture Audrey Hepburn with a chain and a chopper.
If Orson Welles directed “The Wire” this would be the opening theme.
The White Owl lays down some Minnesota Nice for ya.
Inspired by a recent viewing of “Dear White People”, which is perhaps the best movie made in the past two years (Mad Max: Fury Road doesn’t count cause they started making that shit years ago), I’ve decided to post the smartest thing I have ever written. A essay covering the history of Hip-hop, the growth of the “thug Image” and the ability to “gay up” the most dogmatically heterosexual musical genre (after white trash) “Because of the Internet”.
Gambino Reference, off to a great start.
No Heaven for a Gangsta
The Feminization of Hip-Hop Culture in the Internet Age
The offspring of DJ Kool Herc, Afrika Bambaataa and the Ghetto Brothers, Hip-hop has done some growing up since the 1970’s. From it’s birthplace in the Bronx, the movement spread like wildfire across both the United States and the world, giving a creative outlet and voice to predominantly African-American suffering. Hip-hop found its target audience in the poverty-stricken ghetto’s of American cities, and like every other musical subculture before it felt the conforming hands of record companies taking hold. The disco/funk influences and light tone found in songs like “Rappers Delight” by The Sugarhill Gang were abandoned quickly by the 80’s as anger percolated into the genre. Ice-T and NWA rapped over heavy beats about killing cops, Run-DMC, Erik B & Rakim, and LL Cool J brought a level of technique to rapping unheard of prior. The Beastie Boys proved that white kids could participate in the emerging scene, albeit in a somewhat ironic and silly fashion. De La Soul provided the hippy-esque influence that would create alternative hip-hop, but the clear direction of hip-hop was toward hyper-masculine aggression. Gangsta rap and the image of “thugs” were forged during the Reagan era.
They just don’t make em like this anymore, folks.