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Gangsta rap's pioneers have met success in other forms of pop culture as well. In 2016, N.W.A. was inducted to the Rock and Roll Hall of Fame. They were followed up by the late Tupac Shakur, who was inducted in 2017 under his first year of eligibility as a nominee.^[1]^[2]

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Gangsta rap's pioneers have met success in other forms of pop culture as well. In 2016, N.W.A. was inducted to the Rock and Roll Hall of Fame.^[3] They were followed up by the late Tupac Shakur in 2017 who was inducted as the first solo Hip-Hop act, under his first year of eligibility as a nominee.^[4]^[5] Other Rock and Roll Hall of Fame Hip-Hop Acts include the 2007 induction of Grandmaster Flash and the Furious Five, who are considered pioneers of expanding the sound of Hip-Hop from disco inspired partying, to street reality that inspired social change.^[6] The 2009 induction of Run-D.M.C to the Rock and Roll Hall of Fame opened the door for more Hip-Hop inductions, as they were followed up by the 2012 induction of The Beastie Boys, and the 2013 induction of Public Enemy.^[7]^[8]^[9]

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Grandmaster Flash and the Furious Five released The Message in 1982. The release of this single is a mark in Hip-Hop history, as the south Bronx rap crew introduced the harsh light of reality into a genre of music whose cornerstone had previously been partying. Its keen portrayal of the New York City urban street life described as the concrete jungle, proved to later become the quintessence of gangsta rap; it also contributed to the essence of rappers and rap groups such as Public Enemy, N.W.A., 2Pac, and other acts that were known to rap for a purpose, which can be described as rap that is socially conscious. Chuck D described rap as "CNN for Black People"^[10] ^[11] ^[12]

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Real life deceased gangster and criminal Al Capone, earned the nickname Scarface after being slashed while working the door of a Brooklyn night club.^[13] Capone served as the inspiration for the character Tony Camonte in Armitage Trail's novel Scarface (novel), which was soon adapted into the 1932 film Scarface (1932 film). The novel had been adapted once again in 1983 with the central character of Tony Montana in Scarface (1983).^[14] The film has it's own stamp in the hip-hop culture, being referenced numerous times over the course of hip-hop's history and serving as an inspiration to various rap artists. The film draws parallels with the journey of the typical gangster rapper, from the bottom to the top, with a path that involves selling drugs to escape poverty and destitution. Wu-Tang Clan’s Raekwon, described the film as the bible of hip-hop. Raekwon’s solo album Only Built 4 Cuban Linx contains a multitude of references to the 1983 film, notably in the single Incarcerated Scarfaces.^[15] Houston rapper Bradley Jordan, chose the famous nickname to be used as his stage name. Jordan and his hip-hop group, the Geto Boys, released their debut album Grip It! On That Other Level in 1989. The LP includes a song entitled Scarface, where Jordan introduces his alter ego, Tony Montana. Jordan, who at the time went by the stage name Akshen, asserted the name Scarface was the proper fit for him. He felt that the protagonist of the 1983 adaption film was similar himself in many ways.^[16]

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C. Delores Tucker

Politicians such as C. Delores Tucker have cited concerns with sexually explicit and misogynistic lyrics featured in hip-hop tracks. Tucker claimed the explicit lyrics used in hip-hop songs were threatening to the African-American community. Tucker, who once was the highest-ranking African American woman in the Pennsylvania state government, focused on rap music in 1993, labeling it as "pornographic filth" and claiming it was offensive and demeaning to black women. Tucker stated, "You can't listen to all that language and filth without it affecting you." Tucker also handed out leaflets containing lyrics from rap music and urged people to read them aloud. She picketed stores that sold the music and handed out petitions. She then proceeded to buy stock in Time Warner, Sony, and other companies for the sole purpose to protest rap music at shareholders meetings. In 1994, Tucker protested when the NAACP nominated rapper Tupac Shakur for one of its image awards as Outstanding Actor in a Motion Picture from his role in Poetic Justice (film). Some rappers labeled her "narrow-minded", and some ridiculed her in their lyrics, notably Shakur, who mentions her multiple times in his diamond certified 1996 album All Eyez On Me. Shakur mentions Tucker in the tracks "Wonda Why They Call U Bitch", and "How Do U Want It", where Shakur sings "Delores Tucker, you's a motherfucker/Instead of trying to help a nigga you destroy a brother." Tucker filed a $10 Million lawsuit against Shakur's estate for the comments made in both songs. In her lawsuit, she claimed that the comments were slanderous, caused her emotional distress and invaded her personal privacy. The case was eventually dismissed. Shakur wasn't the only rap artist to mention her in his songs, as Jay-Z, Eminem, Lil' Kim, The Game and Lil Wayne have all previously crticized Tucker for her opposition of the genre.^[17]^[18]^[19]^[20]

2Pacalypse Now Controversy

In 1992, former vice president Dan Quayle blasted the recording industry for producing rap music he believed led to violence. Quayle called on Time Warner Inc. subsidiary, Interscope Records, to withdraw Tupac Shakur's 1991 debut album 2Pacalypse Now from stores. Quayle stated, "There is absolutely no reason for a record like this to be published—It has no place in our society." Quayle's motivation came in light of the murder of a Texas state trooper, who had been shot by Ronald Ray Howard after being pulled over by the officer. Howard was driving a stolen vehicle while 2Pacalypse Now was playing on the tape deck when he was stopped by the officer. The family of the deceased trooper filed a civil suit against Shakur and Interscope Records, claiming the record's violent infused lyrics incite "imminent lawless action."^[21] District Judge John D. Rainey held that Shakur and the record companies did not have the duty to prevent distributing his music when they could not reasonably foresee violence arising from the distribution, nor was there any intent for the usage of the music as a “product for purposes of recovery under a products liability theory.” Judge Rainey concluded the suit by ruling the Davidsons' argument that the music was unprotected speech under the First Amendement was irrelevant.^[22]