Dre explains, "Why do I call myself a nigga, ya ask me?/ 'Cause that's just the way flippin' burgers, 'cause I deserve/ A nine-to-five I can be proud of/ That I can speak loud of." "Real Niggaz Don't Die," set against ominous layers of rugged guitar chords, attacks police brutality, while on "Niggaz for Life" the rappers take turns answering the question of why they call themselves niggaz.
wastes no time in narrating more graphic tales from the dark side on "Efil4Zaggin" (Ruthless/Priority). Meanwhile, Stevie Wonder's first record in three years, the soundtrack for Spike Lee's "Jungle Fever" - a film that has been getting reams of publicity - opened at No. (In England last week, 24,000 copies of "Efil4zaggin" were seized by the government's Obscene Publications Squad, though it features both the standard Recording Industry Association of America "explicit lyrics" label and a second one applied in England.) Billboard gives "Efil4zaggin" a bullet, suggesting it will hit the top spot next week, and Ice-T's album is in the Top 20 as well. 2 spot is remarkable: Not only is the album on a small independent label, but many of the nation's traditionally conservative rackjobbers have refused to stock the album. In fact, N.W.A.'s immediate ascent to the No. By forcing both its advocates and opponents to question and examine pervasive attitudes and values in America and in themselves, this brand of hip-hop - ironically called "underground" by fans - has surfaced in a big way. Ice-T enjoys a visible acting role in the film "New Jack City," and N.W.A.'s new album debuts at No. (if you don't know by now, the acronym stands for "Niggaz With Attitude") consistently sell millions of records.
Some record stores have even pulled their albums from the racks because local officials have deemed them pornographic.īut still, harder-than-hardcore South Central L.A.
Forget seeing their videos on "Yo! MTV Raps," Fox's "Pump It Up" or BET's "Rap City," unless network censors find inventive ways of cutting and pasting blurbs of turntable scratches, bleeps, guitar riffs (or whatever else works) to cover up all the four-letter nasties. You'll never hear their singles on commercial radio.
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