Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by MUS 235 student Rachel and features a chapter from the book Sounding Race In Rap Songs entitled “Let Me Ride: Gangsta Rap’s Drive Into The Popular Mainstream”. Thanks, Rachel!

Sounding Race In Rap Songs by Loren Kajikawa

“‘Let Me Ride’: Gangsta Rap’s Drive into the Popular Mainstream” is the third chapter in Loren Kajikawa’s book Sounding Race in Rap Songs. The chapter focuses on how lyrics, imagery, and sound worked in tandem in LA-based gangsta rap. Kajikawa compares Dr. Dre’s work with gangsta group N.W.A. with singles from his solo career to identify the changes in sound, production, and aesthetic choices that allude to different ideas about race and politics.

Kajikawa beings the chapter by quoting Robin D. G. Kelley’s thoughts on the badass attitude emulated by rappers, especially during the Los Angeles Uprising in 1992. He explains that the purpose of inflating their personalities for being violent trouble makers, rappers were able to stand up to the powers and challenges that were oppressing them. This confidence allowed rappers to comment on issues such as police brutality, racial profiling, poverty, and the criminalization of black youth. With this in mind, Kajikawa hones in specifically on the aesthetic changes in Dr. Dre’s music and videos to see the development of such critiques.

Kajikawa quotes Murray Forman to explain that “rappers often cultivate and aura of authenticity tied to their respective ‘hoods.” N.W.A. does this with Compton, California to reflect the experience of the black community in LA. Kajikawa states that the conditions of the neighborhood N.W.A. identifies with offers insight into the decisions the group made in the making of their music and videos. From factories closing and laying off employees in the 60s, to rapid population increases in the 70s, to deindustrialization, LA was incredibly vulnerable and enabled by the mobility of capital. With the rise of the automobile industry and the construction of the freeway system, the excitement of newly accessible opportunities hid the isolation and dilapidation of poorer LA neighborhoods, like Compton. As a result, gangsta rap drew inspiration form the crime, violence, underground drug trade, and overall chaos in their community. These issues lead to an aggressive response by the LAPD, who sought to control the violence and sale of drugs with tactics such as search-and-seizure round ups and intimidation. N.W.A.’s adoption of the gangsta persona in their music served as an outlet to use the system that was working against them to make money.

NWA: Straight Outta Compton – Album Art (1988)

After establishing the roots and influences of N.W.A. and gangsta rap in general, Kajikawa transitions to more of a musical analysis of Dr. Dre’s work with and without N.W.A. In the song “Straight Outta Compton,” Dr. Dre samples a backbeat from the Winstons’ and includes a syncopated snare and bass loop that sounds similar to the commonly sampled “Funky Drummer” by James Brown. Dre includes numerous repeating sounds, 16-count hi-hats, and various instruments like guitar and a horn drone. Though some of the sounds appear to be sampled, Dr. Dre preferred to have studio musicians recreate preexisting parts of songs to allow him more control over the tracks.

Overall, Dre’s production of the song results in a punchy and staccato sound with a noisy beat. The instrumentation, combined with the inclusion of nonmusical sounds like gunshots, sirens, and screeching tires. reflects the lyrics extremely well, as the group raps about the violence and injustices they have experienced in Compton. The music video adds another layer of intensity to the song, matching the beat with jump cuts and shocking imagery. The video depicts the daily struggles of the members of N.W.A. and the black community in Compton in general, highlighting the LAPD’s harsh tactics. Shortly after the release of N.W.A.’s second album in 1991, Dr. Dre split from the group to focus on his solo career, which lead to a change in his sound.

Dr. Dre’s solo album, The Chronic, was released in 1992. Kajikawa notes the harsh shift (and dismissal) of Dre’s past music with N.W.A. Dre openly critiques his former partners in a way to prove his authenticity over theirs. Kajikawa uses “Nuthin’ But A ‘G’ Thang” and “Let Me Ride” to illustrate the changes in sound and production that Dr. Dre implemented. When considering the musical style and visuals of the accompanying videos, there is an obvious shift away from the violent struggles of life in Compton and a focus on the lifestyle and celebration of freedom and mobility. However, Kajikawa notes that the change in tone are found primarily in the music and imagery, as the lyrics still touch on a lot of the same themes. Ultimately, Dr. Dre’s solo album illustrates his success and momentum in society in a way that allowed listeners/viewers to identify with it.

Dr. Dre: The Chronic – Album Cover (1992)

Musically, Dr. Dre’s solo work took on the style of G-Funk, a term adopted from George Clinton’s P-Funk collective. This “freaky” sound drew inspiration from Leon Haywood’s “I Wanna Do Something Freaky To You,” which included a chiller groove and distorted guitar. Dr. Dre recreated (not sampled) the relaxed groove to loop in “Nuthin’ But A ‘G’ Thang.” By adding more percussion, the song lends itself to a danceable feel, which may have helped widen Dr. Dre’s audience. Additionally, Dre often used a Minimoog synthesizer (see photo). Since the use of synthesizers was huge in New Wave and pop music at the time, his music was likely able to transcend demographic lines. The delivery of the vocals in both “Let Me Ride” and “Nuthin’ But A ‘G’ Thang” are also drastically different, departing from the shouting of lyrics heard in N.W.A.’s music to a more conversational and sensual type of rapping. By adapting gangsta rap into “gangsta cool,” Dr. Dre also opened the door to radio play for his music.

Minimoog synthesizer

Visually, Dr. Dre presents himself to be in a much different position than he was when he released music with N.W.A. In “Let Me Ride,” he illustrates his success by cruising around LA in a convertible, as opposed to being on foot. Instead of tense jump cuts, the video features fades in and out, matching the relaxed nature of the beat. Though some critics claim that The Chronic depoliticized gangsta rap in some ways, Dre definitely knew how to produce music that audiences would want to listen to.

In both eras, it is clear that Dr. Dre signifies different musicians and relevant cultural topics in his music via sampling and his lyrics. I found this source extremely helpful in gaining a better understanding of the regional history of rap, as well as the influences that shaped the nature of the lyrics and style heard in much of the rap music during the 80s and 90s. My paper aims to compare the ways in which different rappers have used music and videos to comment on issues surrounding racism, and this chapter offered a musical analysis that will help me better analyze the musical elements of other rap songs. Additionally, learning more about how Dr. Dre recreated songs as opposed to sampling straight from the track furthered my knowledge regarding how new artists pull from older artists to create something with a deeper meaning. Sampling continues to be a huge part of rap music today, so knowing more about the process and intentionality of it all is significant in understanding why certain samples are included in songs. Ultimately, I believe this source could help students looking to establish a deeper understanding of the musical styles and aesthetic choices of gangsta rap, as well as help students learn more about the significance of these deliberate choices.