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Above the Law Rapper: The Implications of Untouchable Artists in the Music Industry
By Dr. Anya Sharma, PhD in Sociology, specializing in the intersection of popular culture and social justice.
Published by The Rhythm & Reason Journal, a leading academic publication focusing on the sociological and cultural aspects of music.
Edited by Professor David Miller, PhD in Musicology, with over 20 years of experience analyzing the cultural impact of hip-hop.
Summary: This article explores the phenomenon of the "above the law rapper," examining the complex interplay of celebrity, wealth, and the legal system that allows some artists to seemingly operate outside societal norms and legal consequences. We analyze the societal implications, the impact on the industry, and potential solutions to address this growing concern.
Introduction: The Myth and Reality of the "Above the Law Rapper"
The term "above the law rapper" evokes a powerful image: a wildly successful artist who, through wealth, influence, or a combination of both, seems to evade accountability for their actions. While the idea might initially seem hyperbolic, instances of rappers facing lenient consequences compared to individuals from less privileged backgrounds fuel this perception. This article delves into the reality behind this perception, examining the societal structures, legal complexities, and industry dynamics that contribute to the creation and perpetuation of the "above the law rapper" narrative.
H1: The Power Dynamics at Play: Wealth, Influence, and Legal Navigating
The success of many rappers is intricately linked to their ability to cultivate a powerful brand and amass significant wealth. This wealth translates into access to high-powered legal teams capable of strategically navigating the legal system. These teams are adept at exploiting loopholes, delaying trials, and negotiating plea bargains that often result in significantly reduced penalties compared to those faced by individuals without similar resources. This stark disparity fuels the perception of an uneven playing field, solidifying the "above the law rapper" image. The sheer financial resources available to these individuals can also influence public perception, potentially swaying media narratives and shaping public opinion.
H2: The Role of Media and Public Perception in Creating the Narrative
The media plays a crucial role in shaping the narrative surrounding "above the law rappers." Sensationalized reporting can amplify transgressions, while simultaneously downplaying or ignoring the consequences. The constant cycle of news coverage, often focused on the artist's musical achievements alongside their legal battles, can inadvertently create a distorted perception of accountability. This media portrayal can create a culture of impunity, where actions that would result in severe consequences for others are seemingly forgiven or minimized for high-profile artists. The public, saturated with this media representation, can unconsciously internalize the idea that certain individuals are indeed "above the law."
H3: The Impact on the Music Industry and its Future
The existence of the "above the law rapper" narrative has significant ramifications for the music industry. It can erode public trust, damage the reputation of the industry as a whole, and create a culture of normalization around problematic behavior. This can discourage aspiring artists who prioritize ethical conduct and create an uneven playing field for those lacking the resources to navigate the legal system effectively. Furthermore, the perception of impunity can embolden some artists to engage in risky or illegal activities, potentially escalating the issue and further entrenching the "above the law rapper" narrative.
H4: Challenging the Narrative: Towards Greater Accountability
Addressing the "above the law rapper" issue necessitates a multi-pronged approach. Increased transparency in the legal processes involving high-profile individuals is crucial. The media needs to adopt a more critical and nuanced approach to reporting, avoiding sensationalism and ensuring a balanced portrayal of events. Furthermore, the legal system itself needs to actively combat biases and ensure equitable application of the law, regardless of an individual's wealth or fame. Finally, the music industry itself has a role to play in fostering a culture of accountability and responsibility.
H5: Case Studies: Examining Specific Instances
Several high-profile cases involving rappers demonstrate the complexities of the "above the law rapper" narrative. A thorough analysis of these cases, focusing on the legal strategies employed, media portrayals, and eventual outcomes, can reveal the systemic issues at play. This comparative analysis highlights the disparities in legal treatment based on wealth and influence, ultimately reinforcing the central argument of this article. (Specific case studies would be included here, with careful consideration of legal and ethical implications).
Conclusion:
The "above the law rapper" is not merely a sensationalized media construct; it reflects deeper societal issues concerning wealth disparity, media representation, and the unequal application of the law. Addressing this complex problem requires a collective effort from the legal system, the media, the music industry, and society at large. By fostering transparency, promoting equitable justice, and challenging biased narratives, we can move toward a more just and accountable music industry and society.
FAQs:
1. What constitutes an "above the law rapper"? It's a perception, not a legal designation, stemming from the belief that certain rappers escape accountability for their actions due to wealth and influence.
2. How do legal teams contribute to this perception? High-powered legal teams can delay trials, exploit loopholes, and negotiate favorable plea bargains, leading to reduced penalties compared to individuals without similar resources.
3. What role does the media play in perpetuating this narrative? Sensationalized reporting and biased narratives can amplify transgressions while minimizing consequences, creating a distorted perception of accountability.
4. Does this impact the entire music industry? Yes, it can erode public trust, damage the industry's reputation, and create an uneven playing field for less privileged artists.
5. Can this perception be challenged? Yes, through increased transparency in legal processes, more responsible media reporting, and equitable application of the law.
6. Are there specific legal reforms needed? Yes, reforms aimed at reducing biases and ensuring equal justice for all, regardless of wealth or fame, are necessary.
7. What is the ethical responsibility of the music industry itself? The industry should foster a culture of accountability and responsibility, discouraging behaviors that contribute to the "above the law" narrative.
8. How can fans contribute to positive change? Fans can demand greater accountability from artists and the industry, supporting artists who prioritize ethical conduct.
9. What are the long-term societal implications? The normalization of impunity can erode societal values and weaken the rule of law for everyone.
Related Articles:
1. The Influence of Wealth on Criminal Justice Outcomes: Examines the correlation between socioeconomic status and sentencing disparities in the legal system.
2. Media Representation of Hip-Hop Artists: Analyzes how media portrays rappers, focusing on biases and the construction of narratives.
3. The Ethics of Celebrity Culture: Discusses the ethical responsibilities of celebrities and the impact of their actions on society.
4. Legal Strategies Employed by High-Profile Individuals: Explores common legal tactics used by wealthy individuals to navigate the legal system.
5. The Power of Public Opinion in Shaping Legal Outcomes: Investigates the influence of public pressure and media narratives on legal decisions.
6. The Impact of Plea Bargaining on Justice: Critically analyzes the plea bargaining system and its potential for bias and inequity.
7. Case Studies in Celebrity Justice: Provides in-depth analysis of specific high-profile cases involving celebrities and the legal system.
8. Reforming the Criminal Justice System for Equity: Explores potential reforms to create a fairer and more equitable criminal justice system.
9. Hip-Hop Culture and Social Responsibility: Examines the role of hip-hop in shaping social consciousness and promoting positive change.
| above the law rapper: SPIN , 1990-06 From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks. |
| above the law rapper: Original Gangstas Ben Westhoff, 2016-09-13 Raw, authoritative, and unflinching ... An elaborately detailed, darkly surprising, definitive history of the LA gangsta rap era. -- Kirkus, starred review A monumental, revealing narrative history about the legendary group of artists at the forefront of West Coast hip-hop: Eazy-E, Dr. Dre, Ice Cube, Snoop Dogg, and Tupac Shakur. Amid rising gang violence, the crack epidemic, and police brutality, a group of unlikely voices cut through the chaos of late 1980s Los Angeles: N.W.A. Led by a drug dealer, a glammed-up producer, and a high school kid, N.W.A gave voice to disenfranchised African Americans across the country. And they quickly redefined pop culture across the world. Their names remain as popular as ever -- Eazy-E, Dr. Dre, and Ice Cube. Dre soon joined forces with Suge Knight to create the combustible Death Row Records, which in turn transformed Snoop Dogg and Tupac Shakur into superstars. Ben Westhoff explores how this group of artists shifted the balance of hip-hop from New York to Los Angeles. He shows how N.W.A.'s shocking success lead to rivalries between members, record labels, and eventually a war between East Coast and West Coast factions. In the process, hip-hop burst into mainstream America at a time of immense social change, and became the most dominant musical movement of the last thirty years. At gangsta rap's peak, two of its biggest names -- Tupac and Biggie Smalls -- were murdered, leaving the surviving artists to forge peace before the genre annihilated itself. Featuring extensive investigative reporting, interviews with the principal players, and dozens of never-before-told stories, Original Gangstas is a groundbreaking addition to the history of popular music. |
| above the law rapper: Ruthless Jerry Heller, Gil Reavill, 2007-08 The maverick music mogul who put rap on the map recounts his riveting career comprising delirious highs and shocking lows, cocaine-fueled mega-deals, brutal wranglings, and the uncanny insight that made a middle-aged, Jewish white guy the most successful record company executive of the rap era. |
| above the law rapper: Parental Discretion Is Advised Gerrick Kennedy, 2017-12-05 Eazy-E, Dr. Dre, Ice Cube, MC Ren, and DJ Yella caused a seismic shift in hip-hop when they decided to form N.W.A in 1986. Suddenly rap became gangsta and relevant on the West Coast. With their hard-core image, bombastic sound, and lyrics that were by turns poetic, lascivious, socially conscious, and downright in-your-face, N.W.A spoke the truth about life on the streets of Compton, California--at the time a hotbed of poverty, drugs, gangs, and unemployment. Their hood tales offered a sharp contrast to the cozy, comfortable images of thriving middle-class life emanating from television screens across America. For the group, making music was not about being nice or projecting a false reality. It was all about expressing themselves. Through firsthand interviews and exhaustive research, Los Angeles Times music reporter Gerrick D. Kennedy transports readers back in time and offers a front-row seat to N.W.A's early days and the drama and controversy that followed the incendiary group as they rose to become multiplatinum artists. Kennedy leaves nothing off the table in his pursuit of the full story behind the group's most pivotal moments, including Ice Cube's decision to go solo after their debut studio album became a smash hit, the forming of Ruthless Records, the group's confrontation with the FBI over their inflammatory lyrics, incidents of physical assault, Dr. Dre's decision to launch Death Row Records with Suge Knight, N.W.A's impact on the 1992 LA riots, Eazy-E's battle with AIDS, and much more. A riveting and illuminating work of music journalism, [this book] captures a defining moment in rap music, when N.W.A made it altogether social, freaky, enterprising, and gangsta. They forced us all to take notice. For that reason alone, their story must be told.--Dust jacket flap. |
| above the law rapper: B-Side Andy Cowan, 2023-06-06 Pop music would be a different beast without the B-Side. Music history is riven with songs deemed throwaway that revolted against their lowly status and refused to be denied. Be it rock'n'roll’s national anthem (‘Rock Around The Clock’), disco’s enduring game-changer (‘I Feel Love’) or hip-hop’s most notorious dis track (‘Hit ’Em Up’), all three started life as the so-called ‘lesser’ track on releases primed for maximum chart impact. But the B-side has done much more than make stars of Bill Haley, Donna Summer and 2Pac. Whether it was the Beatles, the Kinks and the Yardbirds in the 60s, Elton John, the Who and Queen in the 70s, Depeche Mode, the Cure and Prince in the 80s, or Oasis, Pulp and Radiohead in the 90s, the B-side allowed many of the world’s greatest artists freedom to experiment with no commercial constraints in an age where physical product ruled the roost. A quickfire A-Z of 500+ flips, B-SIDE is the first serious examination of the format’s covert role in pushing the musical envelope. Best read with one eye on YouTube and one ear on a streaming service, its revelations will prick up the ears of music fans of all persuasions. |
| above the law rapper: Deadest Rapper Alive Jomo K. Johnson, 2015-02 Deadest Rapper Alive makes an eye-opening examination and social diagnosis of the Rap Music icon, Dwayne Carter a.k.a. Lil' Wayne. By studying his image, content, persona, and lyrics, Pastor Johnson makes a dire plea of warning. He proposes that the music of Wayne is actually much more than beats and lyrics, but it is a philosophy that when followed will lead to extremely dangerous consequences in the lives of Urban Youth. |
| above the law rapper: Rap on Trial Erik Nielson, 2019-11-12 A groundbreaking exposé about the alarming use of rap lyrics as criminal evidence to convict and incarcerate young men of color Should Johnny Cash have been charged with murder after he sang, I shot a man in Reno just to watch him die? Few would seriously subscribe to this notion of justice. Yet in 2001, a rapper named Mac whose music had gained national recognition was convicted of manslaughter after the prosecutor quoted liberally from his album Shell Shocked. Mac was sentenced to thirty years in prison, where he remains. And his case is just one of many nationwide. Over the last three decades, as rap became increasingly popular, prosecutors saw an opportunity: they could present the sometimes violent, crime-laden lyrics of amateur rappers as confessions to crimes, threats of violence, evidence of gang affiliation, or revelations of criminal motive—and judges and juries would go along with it. Detectives have reopened cold cases on account of rap lyrics and videos alone, and prosecutors have secured convictions by presenting such lyrics and videos of rappers as autobiography. Now, an alarming number of aspiring rappers are imprisoned. No other form of creative expression is treated this way in the courts. Rap on Trial places this disturbing practice in the context of hip hop history and exposes what's at stake. It's a gripping, timely exploration at the crossroads of contemporary hip hop and mass incarceration. |
| above the law rapper: Who Got the Camera? Eric Harvey, 2021-10-05 Reality first appeared in the late 1980s—in the sense not of real life but rather of the TV entertainment genre inaugurated by shows such as Cops and America’s Most Wanted; the daytime gabfests of Geraldo, Oprah, and Donahue; and the tabloid news of A Current Affair. In a bracing work of cultural criticism, Eric Harvey argues that reality TV emerged in dialog with another kind of entertainment that served as its foil while borrowing its techniques: gangsta rap. Or, as legendary performers Ice Cube and Ice-T called it, “reality rap.” Reality rap and reality TV were components of a cultural revolution that redefined popular entertainment as a truth-telling medium. Reality entertainment borrowed journalistic tropes but was undiluted by the caveats and context that journalism demanded. While N.W.A.’s “Fuck tha Police” countered Cops’ vision of Black lives in America, the reality rappers who emerged in that group’s wake, such as Snoop Doggy Dogg and Tupac Shakur, embraced reality’s visceral tabloid sensationalism, using the media's obsession with Black criminality to collapse the distinction between image and truth. Reality TV and reality rap nurtured the world we live in now, where politics and basic facts don’t feel real until they have been translated into mass-mediated entertainment. |
| above the law rapper: Billboard , 2008-08-09 In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends. |
| above the law rapper: Hip-Hop Vanessa Oswald, 2018-12-15 Hip-hop culture has shaped many facets of popular culture, including the worlds of music, politics, and business. The hip-hop movement began with New York City residents with few resources and has now turned into a billion-dollar worldwide industry. Readers will learn about the four elements of hip-hop: rapping (MCing), disc jockeying (DJing), graffiti art, and B-boying (break dancing). They'll learn how these foundational components evolved to construct what hip-hop is recognized as today. A list of essential hip-hop albums and annotated quotes from music critics and famous hip-hop artists are also included in this all-encompassing look at the history of hip-hop. |
| above the law rapper: Billboard , 2008-08-09 In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends. |
| above the law rapper: Rap Whoz who Steven Stancell, 1996 Rap has been among America's most popular musics for over two decades now. Yet, for most listeners, rappers are mysterious figures, shrouded behind outrageous costumes, incendiary lyrics, and colorful pseudonyms. Rap Whoz Who identifies rap's major stars, tracing the influences of the pioneering rappers, deejays, promoters, and composers through today's best-known artists, both black and white. It shows how rap as a genre bridges many musical styles, and includes a variety of social and political messages. Rap has been controversial because of its content, but as a musical style it has barely been documented. Rap Whoz Who closes this gap in a thoughtful and colorfully written account of the music and its stars. |
| above the law rapper: The Supreme Team: The Birth of Crack and Hip-Hop, Prince’s Reign of Terror and the Supreme/50 Cent Beef Exposed Seth Ferranti, 2023-09 When the crack era jumped off in the 1980s, many street legends were born in a hail of gunfire. Business minded and ruthless dudes seized the opportunities afforded them, and certain individuals out of the city's five boroughs became synonymous with the definition of the new era black gangster. Drugs, murder, kidnappings, shootings, more drugs, and more murder were the rule of the day. They called it The Game, but it was a vicious attempt to come up by any means necessary. In the late 1980s, the mindset was get mine or be mine, and nobody embodied this attitude more than the Supreme Team.The Supreme Team has gone down in street legend and the lyrical lore of hip-hop and gangsta rap as one of the most vicious crews to ever emerge on the streets of New York. Their mythical and iconic status inspired hip-hop culture and rap superstars like 50 Cent, Jay-Z, Biggie, Nas and Ja Rule. Born at the same time as crack, hip-hop was heavily influenced by the drug crews that controlled New York's streets. And the cliché of art imitating life and vice versa came full circle in the saga of the Supreme Team's infamous leaders- Kenneth Supreme McGriff and Gerald Prince Miller. In the maelstrom of the mid-80s crack storm and burgeoning hip-hop scene, their influence and relevance left a lasting impression.Going from drug baron to federal prisoner to hip-hop maestro to life in prison, Supreme was involved in hip-hop and the crack trade from day one. His run stretched decades, but in the end he fell victim to the pitfalls of the game like all before him had. His nephew, the enigmatic Prince, who had a rapid, violent, and furious rise in the streets also fell hard and fast to the tune of seven life sentences. The Supreme Team has been romanticized and glorified in hip-hop, but the truth of the matter is that most of their members are currently in prison for life or have spent decades of their prime years behind bars. This book looks at the team's climatic rise from its inception to its inevitable fall. It looks at Supreme's redemption with Murder Inc. and his relapse back into crime. This book is the Supreme Team story in all its glory, infamy, and tragedy. It's a tale of turns, twists, and fate. Meet the gangsters from Queens where the drug game influenced the style and swagger of street culture, hip-hop and gangsta rap and made the infamous cast of characters from the Supreme Team icons in the annals of urban lore. |
| above the law rapper: Music Lyrics and Commerce United States. Congress. House. Committee on Energy and Commerce. Subcommittee on Commerce, Consumer Protection, and Competitiveness, 1994 |
| above the law rapper: SPIN , 1990-06 From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks. |
| above the law rapper: Droppin' Science William Eric Perkins, 1996 Rap and hip hop, the music and culture rooted in African American urban life, bloomed in the late 1970s on the streets and in the playgrounds of New York City. This critical collection serves as a historical guide to rap and hip hop from its beginnings to the evolution of its many forms and frequent controversies, including violence and misogyny. These wide-ranging essays discuss white crossover, women in rap, gangsta rap, message rap, raunch rap, Latino rap, black nationalism, and other elements of rap and hip hop culture like dance and fashion. An extensive bibliography and pictorial profiles by Ernie Pannicolli enhance this collection that brings together the foremost experts on the pop culture explosion of rap and hip hop. Author note: William Eric Perkins is a Faculty Fellow at the W.E.B. DuBois House at the University of Pennsylvania, and an Adjunct Professor of Communications at Hunter College, City University of New York. |
| above the law rapper: Chicano Rap Pancho McFarland, 2012-09-21 Powered by a driving beat, clever lyrics, and assertive attitudes, rap music and hip hop culture have engrossed American youth since the mid-1980s. Although the first rappers were African Americans, rap and hip hop culture quickly spread to other ethnic groups who have added their own cultural elements to the music. Chicano Rap offers the first in-depth look at how Chicano/a youth have adopted and adapted rap music and hip hop culture to express their views on gender and violence, as well as on how Chicano/a youth fit into a globalizing world. Pancho McFarland examines over five hundred songs and seventy rap artists from all the major Chicano rap regions—San Diego, San Francisco and Northern California, Texas, and Chicago and the Midwest. He discusses the cultural, political, historical, and economic contexts in which Chicano rap has emerged and how these have shaped the violence and misogyny often expressed in Chicano rap and hip hop. In particular, he argues that the misogyny and violence of Chicano rap are direct outcomes of the patriarchal dominance paradigm that governs human relations in the United States. McFarland also explains how globalization, economic restructuring, and the conservative shift in national politics have affected Chicano/a youth and Chicano rap. He concludes with a look at how Xicana feminists, some Chicano rappers, and other cultural workers are striving to reach Chicano/a youth with a democratic, peaceful, empowering, and liberating message. |
| above the law rapper: Rap Music and Street Consciousness Cheryl Lynette Keyes, 2004 In this first musicological history of rap music, Cheryl L. Keyes traces the genre's history from its roots in West African bardic traditions, the Jamaican dancehall tradition, and African American vernacular expressions to its permeation of the cultural mainstream as a major tenet of hip-hop lifestyle and culture. Rap music, according to Keyes, is a forum that addresses the political and economic disfranchisement of black youths and other groups, fosters ethnic pride, and displays culture values and aesthetics. Blending popular culture with folklore and ethnomusicology, Keyes offers a nuanced portrait of the artists, themes, and varying styles reflective of urban life and street consciousness. Drawing on the music, lives, politics, and interests of figures including Afrika Bambaataa, the godfather of hip-hop, and his Zulu Nation, George Clinton and Parliament-Funkadelic, Grandmaster Flash, Kool DJ Herc, MC Lyte, LL Cool J, De La Soul, Public Enemy, Ice-T, DJ Jazzy Jeff and the Fresh Prince, and The Last Poets, Rap Music and Street Consciousness challenges outsider views of the genre. The book also draws on ethnographic research done in New York, Los Angeles, Detroit and London, as well as interviews with performers, producers, directors, fans, and managers. Keyes's vivid and wide-ranging analysis covers the emergence and personas of female rappers and white rappers, the legal repercussions of technological advancements such as electronic mixing and digital sampling, the advent of rap music videos, and the existence of gangsta rap, Southern rap, acid rap, and dance-centered rap subgenres. Also considered are the crossover careers of rap artists in movies and television; rapper-turned-mogul phenomenons such as Queen Latifah; the multimedia empire of Sean P. Diddy Combs; the cataclysmic rise of Death Row Records; East Coast versus West Coast tensions; the deaths of Tupac Shakur and Christopher The Notorious B.I.G. Wallace; and the unification efforts of the Nation of Islam and the Hip-Hop Nation. |
| above the law rapper: The History of Gangster Rap Soren Baker, 2018-10-02 Journalist Soren Baker’sThe History of Gangster Rap takes a deep dive into this fascinating music subgenre. Foreword by Xzibit Sixteen detailed chapters, organized chronologically, examine the evolution of gangster rap, its main players, and the culture that created this revolutionary music. From still-swirling conspiracy theories about the murders of Biggie and Tupac to the release of the film Straight Outta Compton, the era of gangster rap is one that fascinates music junkies and remains at the forefront of pop culture. Filled with interviews with key players such as Snoop Dogg, Ice-T, and dozens more, as well as sidebars, breakout bios of notorious characters, lists, charts, and beyond, The History of Gangster Rap is the be-all-end-all book that contextualizes the importance of gangster rap as a cultural phenomenon. “History has so often been written by the victors, that you very rarely ever get the real story behind anything. So it’s really important to hear from the people that were there, which is exactly what Soren Baker shares in this book. He writes about it and he’s honest about it.” —The D.O.C. |
| above the law rapper: Pimps Up, Ho's Down T. Denean Denean Sharpley-Whiting, 2007-03-01 Untangles the intricately knotted issues around hip-hop culture and its treatment of young black women Pimps Up, Ho’s Down pulls at the threads of the intricately knotted issues surrounding young black women and hip hop culture. What unravels for Tracy D. Sharpley-Whiting is a new, and problematic, politics of gender. In this fascinating and forceful book, Sharpley-Whiting, a feminist writer who is a member of the hip hop generation, interrogates the complexities of young black women's engagement with a culture that is masculinist, misogynistic, and frequently mystifying. Beyond their portrayal in rap lyrics, the display of black women in music videos, television, film, fashion, and on the Internet is indispensable to the mass media engineered appeal of hip hop culture, the author argues. And the commercial trafficking in the images and behaviors associated with hip hop has made them appear normal, acceptable, and entertaining - both in the U.S. and around the world. Sharpley-Whiting questions the impacts of hip hop's increasing alliance with the sex industry, the rise of groupie culture in the hip hop world, the impact of hip hop's compulsory heterosexual culture on young black women, and the permeation of the hip hop ethos into young black women's conceptions of love and romance. The author knows her subject from the inside. Coming of age in the midst of hip hop's evolution in the late 1980s, she mixed her graduate studies with work as a runway and print model in the 1990s. Her book features interviews with exotic dancers, black hip hop groupies, and hip hop generation members Jacklyn “Diva” Bush, rapper Trina, and filmmaker Aishah Simmons, along with the voices of many “everyday” young women. Pimps Up, Ho’s Down turns down the volume and amplifies the substance of discussions about hip hop culture and to provide a space for young black women to be heard. 2007 Popular Culture Association/American Culture Association Emily Toth Award |
| above the law rapper: The Hip Hop Movement Reiland Rabaka, 2013-04-04 The Hip Hop Movement offers a critical theory and alternative history of rap music and hip hop culture by examining their roots in the popular musics and popular cultures of the Civil Rights Movement and Black Power Movement. Connecting classic rhythm & blues and rock & roll to the Civil Rights Movement, and classic soul and funk to the Black Power Movement, The Hip Hop Movement explores what each of these musics and movements contributed to rap, neo-soul, hip hop culture, and the broader Hip Hop Movement. Ultimately, this book’s remixes (as opposed to chapters) reveal that black popular music and black popular culture have always been more than merely “popular music” and “popular culture” in the conventional sense and reflect a broader social, political, and cultural movement. With this in mind, sociologist and musicologist Reiland Rabaka critically reinterprets rap and neo-soul as popular expressions of the politics, social visions, and cultural values of a contemporary multi-issue movement: the Hip Hop Movement. Rabaka argues that rap music, hip hop culture, and the Hip Hop Movement are as deserving of critical scholarly inquiry as previous black popular musics, such as the spirituals, blues, ragtime, jazz, rhythm & blues, rock & roll, soul, and funk, and previous black popular movements, such as the Black Women’s Club Movement, New Negro Movement, Harlem Renaissance, Civil Rights Movement, Black Power Movement, Black Arts Movement, and Black Women’s Liberation Movement. This volume, equal parts alternative history of hip hop and critical theory of hip hop, challenges those scholars, critics, and fans of hip hop who lopsidedly over-focus on commercial rap, pop rap, and gangsta rap while failing to acknowledge that there are more than three dozen genres of rap music and many other socially and politically progressive forms of hip hop culture beyond DJing, MCing, rapping, beat-making, break-dancing, and graffiti-writing. |
| above the law rapper: Gangsta Rap Coloring Book Aye Jay Morano, Aye Jay, 2004 The title of the book says it all. 48 pages of line-drawings of Gangsta' rappers, done with the black line we all remember from the colouring books of our youth. The juxtaposition of the outlaw image of the rappers with the childlike innocence of a colouring book makes for an instant laugh. In a smaller self-published edition, the book was an immediate hit with the few people who were able to see it. Now expanded from 20 to 48 pages, the book includes all of the top rappers and their underground peers.' |
| above the law rapper: Hyper City Peter J.M. Nas, Annemarie Samuels, 2013-10-28 First published in 2006. Cities are sites of multiple meanings and symbols, ranging from statues and street names to festivals and architecture. Some times the symbolic side of urbanism is so strong that it outshines reality - then we speak of hypercity. Urban symbolic ecology and hypercity studies are relatively new fields that deal with the production, distribution and consumption of symbols and meanings in urban space, timely concerns in an era of increasing globalization and competition between mega-urban regions. This volume presents a detailed introduction to the new fields, followed by case studies of the cultural layer of symbolism in Brussels (Belgium), Cape Town (South Africa), Cuenca (Ecuador), Delft (The Netherlands), Kingston (Jamaica), Ljubljana (Slovenia), Paris (France) and cities in Italy and Indonesia. It amply demonstrates that the time has come for urban symbolic ecology and hypercity studies to be included in regular urban studies training in the fields of anthropology, sociology, social geography and architecture. |
| above the law rapper: Rhythm and Blues, Rap, and Hip-hop Frank W. Hoffmann, 2005 Presents brief entries covering the history, significant artists, styles and influence of rhythm and blues, rap, and hip-hop music. |
| above the law rapper: The History of Rap and Hip-Hop Soren Baker, 2012-06-22 Hip-hop culture has grown from its humble beginnings in the South Bronx section of New York City into a significant and influential cultural movement. This volume examines the rich history and promising future of this musical genre. Created in the mid-1970s by poor Bronx residents with few resources, hip-hop has become a billion-dollar industry whose reach now stretches around the world. Hip-hop has influenced the way people make music, the way they dance, and the way they wear their clothes. It has also shaped people's political views and turned many people into entrepreneurs. |
| above the law rapper: 101 Great Playlists Mac Randall, 2012-08-21 In the era of mp3 players, there seems to be more music than ever and all of it is just a click away. But what’s the best way to organize your listening? That’s easy: By creating the great playlists in this book, you’ll make terrific musical discoveries and hear familiar songs with a refreshing new perspective. Compiled by veteran music journalist and aficionado Mac Randall (Exit Music: The Radiohead Story, The Rolling Stone Album guide), each of these playlists contains 10 to 25 tracks, and is divided into three categories: genres, specific individuals and their influence, and concepts. There’s a playlist here for every person, mood, and occasion! |
| above the law rapper: The Come Up Jonathan Abrams, 2022-10-18 The essential oral history of hip-hop, from its origins on the playgrounds of the Bronx to its reign as the most powerful force in pop culture—from the award-winning journalist behind All the Pieces Matter, the New York Times bestselling oral history of The Wire “The Come Up is Abrams at his sharpest, at his most observant, at his most insightful.”—Shea Serrano, #1 New York Times bestselling author of Hip-Hop (And Other Things) ONE OF THE BEST BOOKS OF THE YEAR: The Boston Globe, The Guardian, Spin The music that would come to be known as hip-hop was born at a party in the Bronx in the summer of 1973. Now, fifty years later, it’s the most popular music genre in America. Just as jazz did in the first half of the twentieth century, hip-hop and its groundbreaking DJs and artists—nearly all of them people of color from some of America’s most overlooked communities—pushed the boundaries of music to new frontiers, while transfixing the country’s youth and reshaping fashion, art, and even language. And yet, the stories of many hip-hop pioneers and their individual contributions in the pre-Internet days of mixtapes and word of mouth are rarely heard—and some are at risk of being lost forever. Now, in The Come Up, the New York Times bestselling author Jonathan Abrams offers the most comprehensive account so far of hip-hop’s rise, a multi-decade chronicle told in the voices of the people who made it happen. In more than three hundred interviews conducted over three years, Abrams has captured the stories of the DJs, executives, producers, and artists who both witnessed and themselves forged the history of hip-hop. Masterfully combining these voices into a seamless symphonic narrative, Abrams traces how the genre grew out of the resourcefulness of a neglected population in the South Bronx, and from there how it flowed into New York City’s other boroughs, and beyond—from electrifying live gatherings, then on to radio and vinyl, below to the Mason-Dixon Line, west to Los Angeles through gangster rap and G-funk, and then across generations. Abrams has on record Grandmaster Caz detailing hip-hop’s infancy, Edward “Duke Bootee” Fletcher describing the origins of “The Message,” DMC narrating his role in introducing hip-hop to the mainstream, Ice Cube recounting N.W.A’s breakthrough and breakup, Kool Moe Dee recalling his Grammys boycott, and countless more key players. Throughout, Abrams conveys with singular vividness the drive, the stakes, and the relentless creativity that ignited one of the greatest revolutions in modern music. The Come Up is an exhilarating behind-the-scenes account of how hip-hop came to rule the world—and an essential contribution to music history. |
| above the law rapper: Lil Wayne Morwenna Ferrier, 2012 In the Top Ten on YouTube, Facebook and Twitter, with millions of followers, Lil Wayne holds sway over a huge online community. All those lovin' the Best Rapper Alive need to buy this unofficial biography - the ultimate celebration of his grit and determination, with inspirational words and photographs. |
| above the law rapper: Hip Hop Decoded Black Dot, 2005 Hip Hop - you already know the history, now uncover the mystery. Warning! This book is not for everyone. If you feel that there's nothing wrong with the current state of Hip Hop, then this book is not for you. If you feel that gangsta rap, pimpin hos, violence, drugs, thug activity, and half naked women in videos have elevated Hip Hop as an art form; then this book is definitely not for you. If, on the other hand, you feel that listening to the same songs over and over on the radio that are laced with negative lyrics, watching soft porn or graphically violent videos, while reading the watered down Hip Hop magazines that endorse this way of life has shaped the minds of our youth, and are collectively being used as part of a mind control operation to mentally and spiritually enslave our future generations; then welcome to... Hip Hop Decoded: From Its Ancient Origin to Its Modern Day Matrix. |
| above the law rapper: Rap Pages , 2000 |
| above the law rapper: Hip Hop at Europe's Edge Milosz Miszczynski, Adriana Helbig, 2017-03-27 Essays examining the impact of hip hop music on pop culture and youth identity in post-Soviet Central and Eastern Europe. Responding to the development of a lively hip hop culture in Central and Eastern European countries, this interdisciplinary study demonstrates how a universal model of hip hop serves as a contextually situated platform of cultural exchange and becomes locally inflected. After the Soviet Union fell, hip hop became popular in urban environments in the region, but it has often been stigmatized as inauthentic, due to an apparent lack of connection to African American historical roots and black identity. Originally strongly influenced by aesthetics from the United States, hip hop in Central and Eastern Europe has gradually developed unique, local trajectories, a number of which are showcased in this volume. On the one hand, hip hop functions as a marker of Western cosmopolitanism and democratic ideology, but as the contributors show, it is also a malleable genre that has been infused with so much local identity that it has lost most of its previous associations with “the West” in the experiences of local musicians, audiences, and producers. Contextualizing hip hop through the prism of local experiences and regional musical expressions, these valuable case studies reveal the broad spectrum of its impact on popular culture and youth identity in the post-Soviet world. “The volume represents a valuable and timely contribution to the study of popular culture in central and eastern Europe. Hip Hop at Europe’s Edge will not only appeal to readers interested in contemporary popular culture in central and eastern Europe, but also inspire future research on post-socialism’s unique local adaptations of global cultural trends.” —The Soviet and Post-Soviet Review “The authors of this edited volume do not romanticize and heroize the genre by automatically equating it with political opposition, a fate often suffered by rock before. Instead, the book has to be given much credit for presenting a very nuanced picture of hip hop’s entanglement—or non-entanglement, for that matter—with politics in this wide stretch of the world, past and present.” —The Russian Review |
| above the law rapper: Hip Hop in America: A Regional Guide [2 volumes] Mickey Hess, 2009-11-25 An insightful new resource that looks at the rise of American hip hop as a series of distinct regional events, with essays covering the growth of hip hop culture in specific cities across the nation. Thoroughly researched, thoroughly in tune with the culture, Hip Hop in America: A Regional Guide profiles two dozen specific hip hop scenes across the United States, showing how each place shaped a singular identity. Through its unique geographic perspective, it captures the astonishing diversity of a genre that has captivated the nation and the world. In two volumes organized by broad regions (East Coast, West Coast and Midwest and the Dirty South), Hip Hop in America spans the complete history of rap—from its 1970s origins to the rap battles between Queens and the Bronx in the 1980s, from the well-publicized East Coast vs. West Coast conflicts in the 1990s to the rise of the Midwest and South over the past ten years. Each essay showcases the history of the local scene, including the MCs, DJs, b-boys and b-girls, label owners, hip hop clubs, and radio shows that have created distinct styles of hip hop culture. |
| above the law rapper: Blues & Soul , 1990-07 |
| above the law rapper: Ego Trip's Book of Rap Lists Sacha Jenkins, Elliott Wilson, Jeff Mao, Gabe Alvarez, Brent Rollins, 2014-03-25 Ego Trip's Book of Rap Lists is more popular than racism! Hip hop is huge, and it's time someone wrote it all down. And got it all right. With over 25 aggregate years of interviews, and virtually every hip hop single, remix and album ever recorded at their disposal, the highly respected Ego Trip staff are the ones to do it. The Book of Rap Lists runs the gamut of hip hop information. This is an exhaustive, indispensable and completely irreverent bible of true hip hip knowledge. |
| above the law rapper: Newsweek , 2005-03 |
| above the law rapper: Youth Cultures in America [2 volumes] Simon J. Bronner, Cindy Dell Clark, 2016-03-21 What are the components of youth cultures today? This encyclopedia examines the facets of youth cultures and brings them to the forefront. Although issues of youth culture are frequently cited in classrooms and public forums, most encyclopedias of childhood and youth are devoted to history, human development, and society. A limitation on the reference bookshelf is the restriction of youth to pre-adolescence, although issues of youth continue into young adulthood. This encyclopedia addresses an academic audience of professors and students in childhood studies, American studies, and culture studies. The authors span disciplines of psychology, sociology, anthropology, history, and folklore. The Encyclopedia of Youth Cultures in America addresses a need for historical, social, and cultural information on a wide array of youth groups. Such a reference work serves as a corrective to the narrow public view that young people are part of an amalgamated youth group or occupy malicious gangs and satanic cults. Widespread reports of bullying, school violence, dominance of athletics over academics, and changing demographics in the United States has drawn renewed attention to the changing cultural landscape of youth in and out of school to explain social and psychological problems. |
| above the law rapper: Blowin' Up Jooyoung Lee, 2016-03-22 What many readers have wished for is now reality: a richly descriptive ethnography of street rappers. Blowing up refers to rappers dream of becoming rich and famous, or, at the least, successful as recording artists. Jooyoung Lee adds a shape to his story of Flawliis, VerBS, E. Crimsin, Psychosiz, and Tick-a-Lott: how do young black men from the inner city navigate their twenties? Blowin Up is a vibrant look at the young-adult stage of people who grow up in the shadow of gangs, dead-end jobs, and a glittering entertainment industry (the setting is Los Angeles). No other account of ghetto youth affords us this particular angle of vision. Lee discovers that in South Central L.A., rap can create bridges that bring young men together with peers from different neighborhoods (underscoring the importance of a healthy alternative to gangs). A rapper s underground artistic career is rooted in battle skills and crowd appeal, and, to boot, is meritocratic (whereas mainstream career success is based on branding, timing, funding, networks, and gimmicks). Rapping is an embodied artit takes much practice to learn, and requires body skills in dance, stance, and voice. Lee homes in on the skills and personalities of individual rappers, but he also illuminates the complex hip-hop scene around which these young men orbit, giving us detailed understandings of how young men navigate the intricate, tightly-wound world of tragedy and opportunity in the city. Lee balances the prospect of risk and existential uncertainty for youth entering a young adult life-stage with the hope for a big break in forging an entertainment career. In the end, Lee shows us how the arts can shape the lives of at-risk youth. |
| above the law rapper: The Story of Interscope Records Diane Bailey, 2014-09-29 Hip-hop started on the streets of New York with African American youths in the 1970s. But with its strong beats and raw lyrics, it quickly spread across the country. It became the music of a generation of young Americans. But hip-hop is more than just music. It's a lifestyle. It's also big business. When Interscope Records was formed in 1990, the company's founders saw an opportunity. Young people loved the energy of hip-hop. Interscope gave rappers like Eminem and 50 Cent their start—and it paid off. Today, Interscope is a multimillion-dollar company that handles all kinds of music. There were setbacks on the way to success. But whether it was Lady Gaga or the Black Eyed Peas, Interscope always managed to find a star! |
| above the law rapper: Dr. Dre Ronin Ro, 2007-03-17 Born on February 18, 1965 to a sixteen-year-old single mom, Andre Young,AKA Dr. Dre, co-founded the notorious rap group N.W.A. The group was one of the most successful hip-hop groups of the late 1980s and, most importantly, started what the media quickly dubbed Gangsta Rap. His departure from N.W.A. was a story right out of a pulp fiction novel. His new mentor, Suge Knight, allegedly used guns, baseball bats and a kidnap threat to get Dr. Dre released from his contract. Dre and Knight went on to build Death Row Records and turned it into a multi-billlion dollar company. Yet despite its unprecedented success with stars such as Snoop Doggy Dogg and Tupac Shakur, the company quickly unrivaled in a firesom of rivalries, greed, violence and scrutiny by the government and the media as Suge Knight's unconventional business practices increasingly mirrored the violent, hard-edged themes of its music. Dr. Dre bailed out, losing his company, his copyrights, his master tapes and all his money in the process. Back in the ghetto, he had to figure out how to get back on top. He decided to start his own record company called Aftermath Entertainment. As CEO of Aftermath, Dr. Dre then discovered and created new stars. He managed, produced, launched and is still in charge of luminaries such as Eminem, Fifty Cent, The Game and Eve. All of the luminaries owe their phenomenal success to Andre Young. The rise, fall and rise of Dr. Dre is what this book is about. |
| above the law rapper: Rap and Hip Hop Jared Green, 2003 Of the many pop culture movements that currently influence styles, attitudes, beliefs and even politics around the world, few have had as extensive an impact as hip hop. Since its emergence as a set of underground African-American artistic expressions in the 1970s, hip hop has become a full-fledged culture that has reached every corner of the globe. This volume examines the social and musical history of rap music and hip hop culture and explores a wide range of writing on both the music itself and the controversies that so often surround it. |
ABOVE Definition & Meaning - Merriam-Webster
The meaning of ABOVE is in the sky : overhead. How to use above in a sentence. Using Above as an Adjective or Noun: Usage Guide
ABOVE | English meaning - Cambridge Dictionary
ABOVE definition: 1. in or to a higher position than something else: 2. more than an amount or level: 3. most…. Learn more.
234 Synonyms & Antonyms for ABOVE - Thesaurus.com
Find 234 different ways to say ABOVE, along with antonyms, related words, and example sentences at Thesaurus.com.
Above - definition of above by The Free Dictionary
In or to a higher rank or position: the ranks of major and above. prep. 1. Over or higher than: a cool spring above the timberline. 2. Superior to in rank, position, or number; greater than: put …
ABOVE - Definition & Translations | Collins English Dictionary
Discover everything about the word "ABOVE" in English: meanings, translations, synonyms, pronunciations, examples, and grammar insights - all in one comprehensive guide.
What does above mean? - Definitions.net
What does above mean? This dictionary definitions page includes all the possible meanings, example usage and translations of the word above. Something, especially a person name in …
Above Definition & Meaning - YourDictionary
In, at, or to a higher place; overhead; up. In heaven; heavenward. In or to heaven. Upstairs. A table in the dining room above. Over or higher than. A cool spring above the timberline. Higher …
Above vs. Over: What's the Difference? - Grammarly
Above is used to indicate a higher level without implying contact, or signifies superiority or excess in quantity. Over, on the other hand, can imply contact, movement, or being directly superior to …
above: Meaning and Definition of - Infoplease
not subject or liable to; not capable of (some undesirable action, thought, etc.): above suspicion; to be above bad behavior. of too fine a character for: He is above such trickery. rather than; in …
Above | Meaning, Part of Speech & Phrases - QuillBot
Apr 14, 2025 · Above generally works in combination with the other elements of a sentence to mean that one thing is “over,” “higher,” or “more than” something else (e.g., “She lives in the …
ABOVE Definition & Meaning - Merriam-Webster
The meaning of ABOVE is in the sky : overhead. How to use above in a sentence. Using Above as an Adjective or Noun: Usage Guide
ABOVE | English meaning - Cambridge Dictionary
ABOVE definition: 1. in or to a higher position than something else: 2. more than an amount or level: 3. most…. Learn more.
234 Synonyms & Antonyms for ABOVE - Thesaurus.com
Find 234 different ways to say ABOVE, along with antonyms, related words, and example sentences at Thesaurus.com.
Above - definition of above by The Free Dictionary
In or to a higher rank or position: the ranks of major and above. prep. 1. Over or higher than: a cool spring above the timberline. 2. Superior to in rank, position, or number; greater than: put principles above expediency. 3. Beyond …
ABOVE - Definition & Translations | Collins English Dictionary
Discover everything about the word "ABOVE" in English: meanings, translations, synonyms, pronunciations, examples, and grammar insights - all in one comprehensive guide.
