History is repeating itself in more ways than one for rapper O’Shea Jackson, better known as Ice Cube. Jackson is expected to generate box office millions surpassing those of culture classic “Next Friday,” with the movie release of N.W.A’s “Straight Outta Compton,” in which Jackson’s son O’Shea Jackson Jr. will debut as his father on film. The groups 1988 hit ‘F—ck the Police’ has once again become a black power anthem of sorts against police brutality and has unarguably rallied the support of new fans a few generations removed from the era of N.W.A. Time has provided opportunity and convenience for this story to be told, capturing the current sentiment of African Americans nationwide, leaving critics to question the motives behind its debut.
Already deemed as “one of the summer’s best movies,” by New York Post writer Lou Lumenick, the highly anticipated biopic will debut next Friday as tension continues to rise between law enforcement and the black community. More than ever, black voices want to be heard explicitly — unabridged and unfiltered.
N.W.A perpetuated this renewed philosophy during their career, lionizing the ills of black society with lyrics that spoke loudly to law enforcement and even louder to the black community for those listening, changing the culture of Hip Hop forever.
A sample of lyrics from the 1988 classic “Straight Outta Compton”:
“So what about the b—ch that got shot, f—ck her, you think I give a damn about a b—tch, I’m not a sucker.”
“Shoot a mother—cker in a minute. I find a good piece o’ p—sy , I go up in it. So if you’re at a show in the front row I’m a call you a b—ch or dirty a— ho. You’ll probably get mad like a b—ch is supposed to, but that shows me, slut, you’re composed to a crazy muthaf—cker from tha street.”
“When I’m called off, I got a sawed off. Squeeze the trigger, and bodies are hauled off. You too, boy, if ya f—ck with me the police are gonna hafta come and get me off yo a—.”
This is “Straight Outta Compton” unclothed, without the Hollywood inducing beautification of black rage.
It sounds like ‘Appetite for Destruction’, ‘Chin Check’, ‘Dopeman’ and ‘Real Niggaz Don’t Die’. It sounds like ‘Niggaz 4 Life’, ‘One Less B—ch’, and ‘Findum, F—ckum & Flee’, but to disenfranchised African Americans and diehard Hip Hop fans, next Friday it will only sound like ‘F—ck the Police’, a cry against police injustice, painting a poignant portrait of black ignorance, or worse — black indifference.
“They fail to highlight how the group’s multi-million dollar empire was built on black women’s backs,” Sikivu Hutchinson wrote in an article entitled “Straight Outta Rape Culture.” Hutchinson continued, “As gangsta rap pioneers and beneficiaries of the corporatization of rap/hip hop in the 1990s, N.W.A. played a key role in yoking rape culture and rap misogyny. Throughout their career they’ve been hailed as street poets and raw truth tellers mining the psychic space of young urban black masculinity. In song after song, gang rape, statutory rape, the coercion of women into prostitution and the terroristic murder of prostitutes are chronicled, glorified and paid homage to as just part of the spoils of “ghetto” life.”
Hip Hop culture all but guarantees the success of “Straight Outta Compton,” with its global appeal and inexplicable reach, influencing music in countries as obscure as Japan. History will repeat itself in more ways than one next Friday, seeing the black community place millions in the pockets of men who have aided in the criminal depiction of poor black men, men who often do not become multi-millionaires, but Mike Browns: cold lifeless bodies left in the street atop fragmented blood stained concrete, victims of police brutality or black on black crime.