Nwa Record Cover
2021年2月3日Download here: http://gg.gg/o6dxh
Label: Ruthless Records - SL 57102,Priority Records - SL 57102. Format: Vinyl LP, Album. Country: US. Genre: Hip Hop. Style: Gangsta. The controversial cover of Nevermind was interpreted by many as an innocent band reaching for the almighty dollar when in reality (according to Geffen Records art director Robert Fisher) it was the. And the Posse, often regarded as American rap group N.W.A’s first or debut but neglected album, is a compilation album, rereleasing N.W.A and associated, underground rap songs from the Los Angeles area’s rap scene on November 6, 1987. N.W.A’s second studio album, Niggaz4Life, was the first hardcore rap album to reach number one on the Billboard 200 sales charts. 4 Rolling Stone ranked N.W.A number 83 on their list of the ’100 Greatest Artists of All Time’. The cover photo is the same as N.W.A’s “Panic Zone” single and features people who do not appear on the record. The album peaked at #39 on Billboard magazine’s Top R&B/Hip-Hop Albums chart.
The new biopic of iconic West Coast rap group N.W.A., Straight Outta Compton (in theaters Friday), may come as a shock to younger viewers. Is that really the Ice Cube who starred in mainstream comedies like Ride Along and Last Friday? Is this the same Dr. Dre who designed my headphones? It’s hard to think of a more stark illustration of how rap went from being the protest music of an angry, marginalized subculture to the multi-unit-selling mainstream genre it is today than the rise and rise of N.W.A.’s two biggest surviving stars.
Twenty-four years ago the idea that Ice Cube would one day wrestle a talking deer in Are We There Yet? would have been unfathomable. This, after all, was the man whose fierce opening verse in 1989’s ‘F—k the Police’ helped prompt the FBI to send a letter to the group’s record distributor advising them that “advocating violence and assault is wrong.” By 1991, N.W.A. was reveling in its self-described role as the World’s Most Dangerous Group, condemned by politicians and law enforcement authorities alike. Straight Outta Compton had sold some 2 million copies, and its hotly anticipated second full album Efil4zaggin (read it backwards) brought the group fresh infamy when it was released in June of that year.
The album’s cover showed N.W.A. — now without Cube, who had left to start a solo career in 1989 after falling out with manager Jerry Heller — as ghosts rising from gunned-down corpses, and its content was no less violent or nihilistic. Songs about violence and sex were punctuated with skits that were just as extreme; the band used the N-word some 249 times. Having been roundly condemned as a menace to society, the group was doing its best to live up to the label. And it worked; the album was banned from some record chains in the U.S., and British authorities, under the authority of the Obscene Publications Act, seized 25,000 copies of the album upon its release. Critics weren’t impressed. TIME’s Jay Cocks branded the album “grotesque” in a July 1991 review, not for its threat to the moral order but for its relentless negativity and misogyny:Nwa Record Cover Band
N.W.A.’s runaway success was driven not by “street-seasoned bloods,” Cocks wrote. Instead, he continued, the group appealed to white, middle-class teenage boys thousands of miles from South Central L.A. who were looking for a way to rebel (boys like this writer, who remembers listening to a bootlegged tape in late 1991 with a mixture of disgust and riotous glee). Little surprise then that the moral majority believed the hype about N.W.A. being so dangerous. To Cocks, however, they were a danger only to themselves — the threat of being “stifled”, he wrote, by their own “ravening sexism.” It’s a charge that hip-hop has never quite managed to shake even as it moved further into the mainstream, with jiggling booties still common in music videos and female rappers often treated with disrespect or outright hostility.
But a quarter century on, as a new generation prepares to learn about the rise of N.W.A. and the lure of its music, the absence of a truly disruptive band or musician of the moment is striking. Plenty of artists still express their anger at society, especially as the world becomes increasingly aware of inequality, but the top of the pop charts is not usually where those people end up. So who are today’s preteen boys listening to in their private moments of rebellion, who is upsetting the nation’s parents, who is riling up the critics — and who will perhaps sell us headphones in a decade or two?
Read the full 1991 article about N.W.A., here in the TIME Vault: A Nasty Jolt for the Top PopsGet our History Newsletter. Put today’s news in context and see highlights from the archives. Thank you! For your security, we’ve sent a confirmation email to the address you entered. Click the link to confirm your subscription and begin receiving our newsletters. If you don’t get the confirmation within 10 minutes, please check your spam folder. Read NextReview: <em>Straight Outta Compton</em> Is a Bio-pic With a Sanitized AttitudeNext Up: Editor’s PickPortraits of Ruth Bader Ginsburg’s Favorite Collars and the Stories Behind ThemEDIT POST
Last week, Dr Dre released Compton: The Soundtrack – his first album in 16 years – with cover art that features the iconic Hollywood sign transformed to read C-O-M-P-T-O-N.
The timing, title and cover imagery of the album coincide with the new biopic Straight Outta Compton, a film that details the rise and fall of Dr Dre’s former rap group NWA (Niggaz Wit Attitudes), which, along with Dre, included Eazy-E, MC Ren, DJ Yella and Ice Cube.
NWA was active for only a few years, but their 1988 album Straight Outta Compton gave birth to West Coast gangsta rap – the controversial genre of music defined by its gritty depictions of inner-city street life.
In NWA’s world, however, Compton and Hollywood have never been far apart. In fact, the photograph for the cover of the group’s first album – 1987’s NWA and the Posse – wasn’t even taken in Compton. Instead, it was shot in a graffiti-filled Hollywood alleyway near the group’s first record label.
And in a deeper sense, NWA’s brand of rap music was always a cinematic blend of reality and fiction: a blaxploitation film with beats. The genius of the group’s approach – masterminded by member Eric “Eazy-E” Wright – was the way it manufactured a narrative of Compton as a rough, unpredictable place, while placing it at the center of NWA’s identity.Selling the hood
For decades, real estate boosters have packaged the Southern California good life, using images of sunshine and palm trees to entice millions of Americans to relocate to the West Coast.
Under the guidance of Eazy-E, NWA commodified a more sinister version of the Los Angeles story, crafting a new brand of hardcore rap that moved from third-person descriptions of street life to first-person portrayals of the gangstas themselves.
Compare earlier recordings like Eazy-E’s Boyz-n-the-Hood – which describes the arrest, trial and failed escape of a fictional drug dealer named Kilo-G – to NWA’s Gangsta Gangsta, in which Ice Cube actually assumes the role of an unrepentant criminal, proclaiming:
Taking a life or two, that’s what the hell I do / You don’t like how I’m living? Well, fuck you!
Over Dr Dre’s booming beats and sampled sounds of automatic gunfire, Ice Cube, MC Ren and Eazy-E rapped about their sexual prowess and penchant for violence. Playing upon stereotypes dating back to blackface minstrelsy, they tapped into a centuries-old American appetite for racialized entertainment.
Meanwhile, in interviews, the group members were cagey. Understanding intuitively that their infamy was tied to record sales, they posed for pictures holding guns and refused to state clearly whether they were gang members, drug dealers or just kids looking to make a quick buck.
In truth, the only rap sheets NWA members had were notebooks full of song lyrics.
Although the group often claimed they were simply “street reporters,” the violent gang- and drug-filled world of their music ignored more prosaic aspects of Compton, such as its single-family homes and history as a black, middle-class enclave.
But in segregated Los Angeles, whites often avoided predominantly black communities and viewed black youth suspiciously. Straight Outta Compton played to their shrill, pervasive fears about gang violence, offering outsiders a vicarious look into a neighborhood most had only heard about on the nightly news.
Music fans ate it up: the album went double platinum and encouraged music industry executives to focus on developing more hardcore acts.An underlying social message
Nonetheless, the larger-than-life personas populating NWA’s recordings spoke to complicated realities.
On tracks like Gangsta Gangsta Ice Cube might have sounded invincible – “I’m the type of nigga that’s built to last / Fuck with me, I’ll put my foot in your ass” – but all of that bravado masked real social insecurity.
NWA’s core members grew up in Compton and South Central neighborhoods that had been devastated by massive deindustrialization. The resulting poverty and unemployment proved fertile ground for the influx of cocaine in the early 1980s. They witnessed the dramatic rise in gang violence connected to it and felt the LAPD’s heavy-handed response. Nwa Album Cover
With draconian names like C.R.A.S.H. (Community Resources Against Street Hoodlums) and Operation Hammer, the LAPD criminalized entire neighborhoods, conducting destructive search and seizure missions with the dual purpose of finding contraband and intimidating residents.
By embracing the role of the “bad guys,” NWA found a profitable way to capture public attention and strike back at the system – a musical strategy I explore in my recent book Sounding Race in Rap Songs.
For example, in the video for Straight Outta Compton, the group members rap lyrics about their indomitable strength, but portray themselves at the mercy of one of the LAPD’s terrorizing gang sweeps. NWA’s critique, which came years before the Rodney King beating, provided fans with a glimpse at the LAPD’s worst practices under Police Chief Daryl Gates.
In the group’s most famous and controversial song Fuck Tha Police, they parodied courtroom proceedings. White police officers stood trial as defendants, Dr Dre presided as judge, and rappers MC Ren, Eazy-E and Ice Cube served as prosecuting attorneys.
Testifying against the LAPD’s widespread racial profiling and excessive force, Ice Cube rapped:
Fuck the police coming straight from the underground / A young nigga got it bad ‘cause I’m brown / And not the other color so police think / They have the authority to kill a minority.
A year after the police killing of Michael Brown and the ensuing protests, the timing the Straight Outta Compton biopic could not be better. #BlackLivesMatter and the Department of Justice report on Ferguson have helped shed light on ongoing patterns of police violence and harassment against black people nationwide.
Current events continue to make NWA look prophetic, and the biopic – along with Dr Dre’s Compton: The Soundtrack – will certainly profit from them. Nwa Record Cover Template
Whether that feels like a Hollywood cash in for the group or another attempt to say something meaningful remains a subject of much debate.
Download here: http://gg.gg/o6dxh
https://diarynote.indered.space
Label: Ruthless Records - SL 57102,Priority Records - SL 57102. Format: Vinyl LP, Album. Country: US. Genre: Hip Hop. Style: Gangsta. The controversial cover of Nevermind was interpreted by many as an innocent band reaching for the almighty dollar when in reality (according to Geffen Records art director Robert Fisher) it was the. And the Posse, often regarded as American rap group N.W.A’s first or debut but neglected album, is a compilation album, rereleasing N.W.A and associated, underground rap songs from the Los Angeles area’s rap scene on November 6, 1987. N.W.A’s second studio album, Niggaz4Life, was the first hardcore rap album to reach number one on the Billboard 200 sales charts. 4 Rolling Stone ranked N.W.A number 83 on their list of the ’100 Greatest Artists of All Time’. The cover photo is the same as N.W.A’s “Panic Zone” single and features people who do not appear on the record. The album peaked at #39 on Billboard magazine’s Top R&B/Hip-Hop Albums chart.
The new biopic of iconic West Coast rap group N.W.A., Straight Outta Compton (in theaters Friday), may come as a shock to younger viewers. Is that really the Ice Cube who starred in mainstream comedies like Ride Along and Last Friday? Is this the same Dr. Dre who designed my headphones? It’s hard to think of a more stark illustration of how rap went from being the protest music of an angry, marginalized subculture to the multi-unit-selling mainstream genre it is today than the rise and rise of N.W.A.’s two biggest surviving stars.
Twenty-four years ago the idea that Ice Cube would one day wrestle a talking deer in Are We There Yet? would have been unfathomable. This, after all, was the man whose fierce opening verse in 1989’s ‘F—k the Police’ helped prompt the FBI to send a letter to the group’s record distributor advising them that “advocating violence and assault is wrong.” By 1991, N.W.A. was reveling in its self-described role as the World’s Most Dangerous Group, condemned by politicians and law enforcement authorities alike. Straight Outta Compton had sold some 2 million copies, and its hotly anticipated second full album Efil4zaggin (read it backwards) brought the group fresh infamy when it was released in June of that year.
The album’s cover showed N.W.A. — now without Cube, who had left to start a solo career in 1989 after falling out with manager Jerry Heller — as ghosts rising from gunned-down corpses, and its content was no less violent or nihilistic. Songs about violence and sex were punctuated with skits that were just as extreme; the band used the N-word some 249 times. Having been roundly condemned as a menace to society, the group was doing its best to live up to the label. And it worked; the album was banned from some record chains in the U.S., and British authorities, under the authority of the Obscene Publications Act, seized 25,000 copies of the album upon its release. Critics weren’t impressed. TIME’s Jay Cocks branded the album “grotesque” in a July 1991 review, not for its threat to the moral order but for its relentless negativity and misogyny:Nwa Record Cover Band
N.W.A.’s runaway success was driven not by “street-seasoned bloods,” Cocks wrote. Instead, he continued, the group appealed to white, middle-class teenage boys thousands of miles from South Central L.A. who were looking for a way to rebel (boys like this writer, who remembers listening to a bootlegged tape in late 1991 with a mixture of disgust and riotous glee). Little surprise then that the moral majority believed the hype about N.W.A. being so dangerous. To Cocks, however, they were a danger only to themselves — the threat of being “stifled”, he wrote, by their own “ravening sexism.” It’s a charge that hip-hop has never quite managed to shake even as it moved further into the mainstream, with jiggling booties still common in music videos and female rappers often treated with disrespect or outright hostility.
But a quarter century on, as a new generation prepares to learn about the rise of N.W.A. and the lure of its music, the absence of a truly disruptive band or musician of the moment is striking. Plenty of artists still express their anger at society, especially as the world becomes increasingly aware of inequality, but the top of the pop charts is not usually where those people end up. So who are today’s preteen boys listening to in their private moments of rebellion, who is upsetting the nation’s parents, who is riling up the critics — and who will perhaps sell us headphones in a decade or two?
Read the full 1991 article about N.W.A., here in the TIME Vault: A Nasty Jolt for the Top PopsGet our History Newsletter. Put today’s news in context and see highlights from the archives. Thank you! For your security, we’ve sent a confirmation email to the address you entered. Click the link to confirm your subscription and begin receiving our newsletters. If you don’t get the confirmation within 10 minutes, please check your spam folder. Read NextReview: <em>Straight Outta Compton</em> Is a Bio-pic With a Sanitized AttitudeNext Up: Editor’s PickPortraits of Ruth Bader Ginsburg’s Favorite Collars and the Stories Behind ThemEDIT POST
Last week, Dr Dre released Compton: The Soundtrack – his first album in 16 years – with cover art that features the iconic Hollywood sign transformed to read C-O-M-P-T-O-N.
The timing, title and cover imagery of the album coincide with the new biopic Straight Outta Compton, a film that details the rise and fall of Dr Dre’s former rap group NWA (Niggaz Wit Attitudes), which, along with Dre, included Eazy-E, MC Ren, DJ Yella and Ice Cube.
NWA was active for only a few years, but their 1988 album Straight Outta Compton gave birth to West Coast gangsta rap – the controversial genre of music defined by its gritty depictions of inner-city street life.
In NWA’s world, however, Compton and Hollywood have never been far apart. In fact, the photograph for the cover of the group’s first album – 1987’s NWA and the Posse – wasn’t even taken in Compton. Instead, it was shot in a graffiti-filled Hollywood alleyway near the group’s first record label.
And in a deeper sense, NWA’s brand of rap music was always a cinematic blend of reality and fiction: a blaxploitation film with beats. The genius of the group’s approach – masterminded by member Eric “Eazy-E” Wright – was the way it manufactured a narrative of Compton as a rough, unpredictable place, while placing it at the center of NWA’s identity.Selling the hood
For decades, real estate boosters have packaged the Southern California good life, using images of sunshine and palm trees to entice millions of Americans to relocate to the West Coast.
Under the guidance of Eazy-E, NWA commodified a more sinister version of the Los Angeles story, crafting a new brand of hardcore rap that moved from third-person descriptions of street life to first-person portrayals of the gangstas themselves.
Compare earlier recordings like Eazy-E’s Boyz-n-the-Hood – which describes the arrest, trial and failed escape of a fictional drug dealer named Kilo-G – to NWA’s Gangsta Gangsta, in which Ice Cube actually assumes the role of an unrepentant criminal, proclaiming:
Taking a life or two, that’s what the hell I do / You don’t like how I’m living? Well, fuck you!
Over Dr Dre’s booming beats and sampled sounds of automatic gunfire, Ice Cube, MC Ren and Eazy-E rapped about their sexual prowess and penchant for violence. Playing upon stereotypes dating back to blackface minstrelsy, they tapped into a centuries-old American appetite for racialized entertainment.
Meanwhile, in interviews, the group members were cagey. Understanding intuitively that their infamy was tied to record sales, they posed for pictures holding guns and refused to state clearly whether they were gang members, drug dealers or just kids looking to make a quick buck.
In truth, the only rap sheets NWA members had were notebooks full of song lyrics.
Although the group often claimed they were simply “street reporters,” the violent gang- and drug-filled world of their music ignored more prosaic aspects of Compton, such as its single-family homes and history as a black, middle-class enclave.
But in segregated Los Angeles, whites often avoided predominantly black communities and viewed black youth suspiciously. Straight Outta Compton played to their shrill, pervasive fears about gang violence, offering outsiders a vicarious look into a neighborhood most had only heard about on the nightly news.
Music fans ate it up: the album went double platinum and encouraged music industry executives to focus on developing more hardcore acts.An underlying social message
Nonetheless, the larger-than-life personas populating NWA’s recordings spoke to complicated realities.
On tracks like Gangsta Gangsta Ice Cube might have sounded invincible – “I’m the type of nigga that’s built to last / Fuck with me, I’ll put my foot in your ass” – but all of that bravado masked real social insecurity.
NWA’s core members grew up in Compton and South Central neighborhoods that had been devastated by massive deindustrialization. The resulting poverty and unemployment proved fertile ground for the influx of cocaine in the early 1980s. They witnessed the dramatic rise in gang violence connected to it and felt the LAPD’s heavy-handed response. Nwa Album Cover
With draconian names like C.R.A.S.H. (Community Resources Against Street Hoodlums) and Operation Hammer, the LAPD criminalized entire neighborhoods, conducting destructive search and seizure missions with the dual purpose of finding contraband and intimidating residents.
By embracing the role of the “bad guys,” NWA found a profitable way to capture public attention and strike back at the system – a musical strategy I explore in my recent book Sounding Race in Rap Songs.
For example, in the video for Straight Outta Compton, the group members rap lyrics about their indomitable strength, but portray themselves at the mercy of one of the LAPD’s terrorizing gang sweeps. NWA’s critique, which came years before the Rodney King beating, provided fans with a glimpse at the LAPD’s worst practices under Police Chief Daryl Gates.
In the group’s most famous and controversial song Fuck Tha Police, they parodied courtroom proceedings. White police officers stood trial as defendants, Dr Dre presided as judge, and rappers MC Ren, Eazy-E and Ice Cube served as prosecuting attorneys.
Testifying against the LAPD’s widespread racial profiling and excessive force, Ice Cube rapped:
Fuck the police coming straight from the underground / A young nigga got it bad ‘cause I’m brown / And not the other color so police think / They have the authority to kill a minority.
A year after the police killing of Michael Brown and the ensuing protests, the timing the Straight Outta Compton biopic could not be better. #BlackLivesMatter and the Department of Justice report on Ferguson have helped shed light on ongoing patterns of police violence and harassment against black people nationwide.
Current events continue to make NWA look prophetic, and the biopic – along with Dr Dre’s Compton: The Soundtrack – will certainly profit from them. Nwa Record Cover Template
Whether that feels like a Hollywood cash in for the group or another attempt to say something meaningful remains a subject of much debate.
Download here: http://gg.gg/o6dxh
https://diarynote.indered.space
コメント