Development of Gangsta Rap in Southern California - Research Paper Example

?Research Plan This essay will examine the similar elements between Los Angeles Noir, specifically its articulation in Michael Connelly’s Mulholland Drive, and the Southern California 1990s development of ‘gangsta rap’ as demonstrated in the music of artists such as Dr. Dre, Snoop Doggy Dog, and Tu Pac Shakur. It’s recognized that these elements present at times drastically different formulations of Los Angeles, yet these differences, notably socio-economic concerns, and means of expression, will be considered as they are demonstrate different elements of Los Angeles culture. While these different elements exist, it’s also recognized that there are many similarities between the two styles. The most prevalent such similarity being these style’s mutual exploration of death and dark elements of society and culture in creating an engaging and provocative narrative. Annotated Bibliography Hamilton, Denise (2007). Los Angeles Noir. California: Akashic Books. This text contains a selection of Los Angeles Noir stories. Importantly it contains the primary noir text – Muhlholland Drive – that is examined in this essay. Pacino, Black. (2011) ‘Gangster Rap History 101’ The Spizzy. http://spizzyblog.com/2009/11/09/gangster-history-mob-style/ This site contains a comprehensive history of gangster rap. It also demonstrates a thorough understanding of its stylistic dimensions. Springhall, John (1999). Youth, Popular Culture and Moral Panics: Penny Gaffs to Gangsta Rap. New York: Palgrave Macmillan. This text presents a sociological investigation of a variety of youth cultural elements in the 1990s. One of the most notable investigations is its consideration of the gangsta rap phenomenon in the early 1990s. In these regards, it provides valuable historical and stylistic elements. Ulin, David. (2002). Writing Los Angeles. Library of America. Similar to Los Angeles Noir, this text is a collection of noir fiction writing. It contains valuable information related to Los Angeles style and artistic development, most particularly noir fiction. Style Essay Los Angeles represents one of the most fertile grounds for literature and art, with a plethora of styles and works emerging from the city. One of the major such Los Angeles developments is noir. Michael Connelly’s ‘Mulholland Drive’ presents an engaging, yet characteristic presentation of Los Angeles noir. Southern California is also credited with developing the music style gangster rap. While these styles are seemingly diametrically opposed, it’s clear upon deeper investigation that there are a number of similar elements. This essay compares and contrasts the stylistic tendencies Los Angeles’ noir and gangster rap share. One of the primary elements of the story is its concern with typical noir themes of death and murder. Perhaps the most characteristic element of noir fiction and film is its implementation of a murder plot as a primary element of the narrative. In ‘Mulholland Drive’ it’s clear that this is a characteristic element of the story. Early in the story, Connelly establishes this narrative element, stating, “Clewiston had worked Mulholland fatals several times. He was the expert. He was the one they called in from home. He knew that whether the identity of the victim in this case demanded it or not, he’d of gotten the call” (pg. 21). Here the reader learns that the primary element of the story is going to be an investigation into the murder that occurred, and that the primary character description of the protagonist is their acuity with murder investigations or ‘fatals’. It’s also worth noting in this description that Connelly implements a gritty and true-to-life form of imagery and characterization. In these regards, one might argue that the text glamorizes its authenticity or understanding of police culture and human motivation. The text embodies noir elements in its idealized portrayal of the environment and the characters involved in the story. As the narrative occurs in Los Angeles, it already contains an idealized aura, but Connelly further establishes this element through his characterization of Mulholland Drive. In these regards he writes, “Mulholland was literally the backbone of Los Angeles…Mulholland had that top-of-the-world feel to it. It could make you feel like the prince of a city where the laws of nature and physics didn’t apply” (Connelly, pg. 23-24). This description, just as the narrative implementation of death and murder, functions to create interest in the story. In addition to these noir conventions, Connelly also implements a number of other noir elements. Speaking of the dead individual, Connelly writes, “You have any idea what this guy was worth? We’re talking tens of millions, and on top of that he’s supposedly in the middle of a divorce” (Connelly, pg. 24). He also describes the car that was being drive, “The moonlight reflected off the dented silver skin of he Porsche as it was pulled over the edge like a giant beautiful fish hauled into a boat” (Connelly, pg. 24) While these seem like elements that are for the most part cursory to the narrative, they represent significant aspects of noir conventions, as they indicate explore elements of socio-economic class. In these regards, it’s clear that the narrative gains mystique and creates interest through its presentation of upper-class affluence. Another noir element that is included in the story is the existence of a femme fatale that influences the male lead in his actions. In this story, Connelly notes that the main protagonist is influenced by the deceased ex-wife. He writes, “’You wanted it to happen, so it happened,’ he said. ‘I told you I would take care of it.’ ‘What happened?’ ‘He went off the road on Mulholland. It’s an accident and you’re a rich lady now’” (Connelly, pg. 33). The final element worth considering in this story is that it presents a sort of moral compass, or element of justice. While the main protagonist has participated in the death of the victim, towards the story’s conclusion it is revealed that the very same fate the victim found, the crooked police officer finds. Connelly writes, “Clewiston knew it was over. His lungs burned for release. It was his time. He let out all of his breath and took the water in. He journeyed toward the light” (Connelly, pg. 37). This scene seems to play on the notion of a sense of justice in the universe as a story convention. Another style that was developed in Los Angeles is gangster rap. While noir is generally understood as a literary and film style, gangster rap is solely a music style. When considering gangster rap it’s clear there are a number of important conventions. One of the most prominent stylistic elements is the frequent implementation of murder and crime as central lyrical tools. Consider Dr. Dre’s lyrics in a seminal gangster rap song ‘Dre Day’, “Stompin on the 'Eazy'est streets that you can walk on/ So strap on your Compton hat, your locs/ And watch your back cause you might get smoked, loc” (Pacino, Web). In this song Dr. Dre threatens an old rap partner with whom he had a falling out with, threatening to murder him. While Dr. Dre is recognized as not participating in such criminal activities, the song implements these stylistic elements as means of creating interest in the song (Spinghall). Gangster rap also has further secondary conventions. One of these secondary conventions is the idealization of place. In these regards, areas of lower-socioeconomic status are generally glorified. As two of the most prominent gangster rappers, Snoop Doggy Dog and Dr. Dre are from lower economic neighborhoods, oftentimes these areas will surface in their song lyrics, with frequent references being made to Long Beach and Compton. Another gangster rap convention is the frequent degradation of women. In virtually every gangster rap song there is reference made to women as bitches or hoes, and song titles such as ‘Bitches ain’t Nothin, but Hoes and Tricks’. In these regards, it’s clear that misogynism and idealization of place are prevalent stylistics elements of gangster rap. While ostensibly gangster rap and noir are diametrically opposed, upon further investigation it’s clear that these styles share a number of similar elements. One of the major stylistic elements they share is the implementation of the darker elements of society, notably crime and murder as major narrative elements. In Connelly’s story this is witnessed in the murder of both the husband and later the police officer; in gangster rap this is demonstrated in the ideation of murder. Another element that both styles implement is the use of place. In Connelly’s story this is witnessed in the idealization of Mulholland Drive, whereas as in gangster rap this is seen in the glorification of the lower-income neighborhoods of Compton and Long Beach. Considering socio-economics, while both styles implement these elements they differ in their formulations. In large part noir is concerned with the upper-class or rich aspects of society, whereas gangster rap is concerned with the lower-class and debased elements. The two styles are also different in their treatment of women. While both styles present women as somewhat evil, noir in-large part empowers women as controlling and manipulating weak men. Conversely, gangster rap presents women as debased and largely controlled by the powerful men in the songs. Ultimately, both styles represent dark, yet different elements of Los Angeles society. In conclusion, both noir and gangster rap both demonstrate similar and diverse stylistic elements. This essay has demonstrated that noir is in large part concerned with dark elements of society from an upper-socioeconomic class. Noir also empowers women as powerful and manipulative. Gangster rap shares with noir a concern with dark and criminal elements, as well as a glorification of place. It differs from noir, as gangster rap is concerned with lower socio-economic statuses, and debases women rather than empowers them. References Hamilton, Denise (2007). Los Angeles Noir. California: Akashic Books. Pacino, Black. (2011) ‘Gangster Rap History 101’ The Spizzy. http://spizzyblog.com/2009/11/09/gangster-history-mob-style/ Springhall, John (1999). Youth, Popular Culture and Moral Panics: Penny Gaffs to Gangsta Rap. New York: Palgrave Macmillan. Ulin, David. (2002). Writing Los Angeles. 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