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Mark of tha gangsta

Twenty years after 'Straight Outta Compton,' Ice Cube considers its ramifications.

August 16, 2008|Geoff Boucher | Times Staff Writer

THE JHERI CURL is long gone, and the scowl, well, Ice Cube still has that, but he uses it selectively now. It was 20 years ago this month that the group N.W.A -- with Cube as its most vital lyricist -- released the shocking "Straight Outta Compton." They called their music "reality rap," but everyone else just called it gangsta, and music history was made.

On a recent morning, in a hushed Burbank music studio, Cube sat down in a solitary corner with a Sharpie in his hand and a pile of posters showing his famous scowl. Over and over, without even looking down, the man born O'Shea Jackson signed his more famous name. "I can't tell you," he said, "how many times I signed that name in my life. . . ." The rapper and actor will have a new album in stores on Tuesday and a new film in theaters three days after that, but most of the posters in front of him were from years ago. He had just come back from a European tour, and the loudest cheers were for his oldest, angriest anthems. It was 20 years ago this month that the N.W.A album "Straight Outta Compton" changed the course of American music, and somehow 21st century kids in Amsterdam and Leipzig are bellowing along to its vintage black rage and uniquely Southern California sound.

"They know every word," Cube said with a bewildered sort of pride. "That music is still echoing, which nobody could have predicted. That's what I'm proudest of, the impact that we had. N.W.A changed the rules."

Hip-hop came from the clubs and sidewalks of New York City as a party music made with turntables and rhymes by performers who usually couldn't afford music instruments. It was party music, but then it came west and got a beat-down by a swaggering collective that called itself N.W.A. Run-DMC gave rap its commercial shape and Public Enemy provided the politics, but it was N.W.A that took the genre to the dangerous side of the street.

There was that one song in particular, that one with a three-word title: The first word began with the letter F and the other two were "Tha Police." It was a sonic Molotov cocktail. There were protests and outrage, and, not surprisingly, police officers refused to provide security for their concert tours. It's hard for music fans today, who are accustomed to gangsta rappers as corporate pitchmen on television, to understand how jolting it was when N.W.A hit the scene. An assistant director of the FBI famously sent a letter to Ruthless Records, the label for N.W.A, in 1989, excoriating the music and its message. If you want to read it, it's on display at the Rock and Roll Hall of Fame in Cleveland.

The group's lineup was as stacked in its own way as the Beatles: Cube, Dr. Dre, Eazy-E and MC Ren would all go on to be platinum-selling solo artists. Yella worked on Eazy's albums. The lineup's time in the spotlight was as fleeting as the Sex Pistols'; "Compton" was the group's second album, and Cube, angered over the royalties split, went solo the year after the landmark release. Now, as an elder statesman of rap and a film star, he can look back without anger.

"I'm proudest of the impact of the record," Cube said. "The thing that people don't talk about, really, is that it opened artists up to being themselves in a lot of ways. They didn't have to try to figure out what to do or be to become stars, they could just be themselves. . . . After N.W.A, you didn't have to put on the polish to be a star."

That's an interesting statement considering that while Cube may still snarl on his albums, his film persona is often very polished and mass-audience safe, especially in clean family fare such as "Are We There Yet?" His upcoming film is another family-minded project, "The Longshots" (directed by, of all people, Fred Durst of Limp Bizkit fame), which has Cube as a somewhat unsavory guy who, through coaching his niece in Pop Warner football, learns some life lessons.

Cube's new album, "Raw Footage," on the other hand, is intense, laced with social commentary and, compared with contemporary rap releases, far more spare and funk-minded in its production. He may be going to the center in movies, but he's looking for the edge in rap. Rolling Stone gave the album 4 1/2 stars out of five and said of Cube that his new music "proves that even though he's middle-aged, he's still hungry."

Cube turned 39 in June, which seems young, really, considering how long he has been in the public eye and ear. He was 16 when he wrote N.W.A's anthem against cops and authority and was ill-prepared to become a political figure before age 20.

"We were coming from a straight, pure place," he said. "We thought our music was going to land on the shelves with the dirty comedy albums. The blue stuff. We never thought our music could possibly get above the underground. That wasn't part of the plan, believe me. Did we expect to get rich or turn the industry on its ear? We were doing music we thought our buddies up the street might like.

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