Holy crap this could be awesome. Or not. Who knows whether there will be overacting or the created drama will be over the top but who cares? I’m part of the unintended audience of late-80s early-90s suburban kids who took to hardcore rap with an enthusiasm free of self awareness. We just liked it.
In reflection, there are probably sociological reasons for the suburban adolescent embrace of NWA that could be brought to bear by academic study, but my theory is this: teenage boys have a secret desire to be seen as a force with which to be reckoned. When your mother ushers you from point A to point B in a minivan, this is not in the cards. And when said adolescents finally find freedom via driver’s license, they are still chained to the minivan aesthetic–Mom owns your wheels and she left a tape of Christopher Cross in the cassette deck. In the absence of danger, the thing to be then is outrageous. Blasting Eazy Duz It out of the open windows of a Chevy Astro van could help achieve that¹.
But there was more to it than that. The beats were good. The rhymes were scathingly funny. The music had the raw power of metal without the cheese factor; it was–and still is–good².
Mike Judge, one of the best comic minds of that era, played on the suburban rap phenomenon in two of the most hilariously true scenes from his work:
Especially in the second video from 1:16 on…”Beavis, you’re a white wussy from right here.”
All of it, brilliant.
1. The best explanation for this is in Chuck Klosterman’s book I Wear The Black Hat and his discourse on 2 Live Crew. He said in a Rolling Stone interview, “It was ‘we’re going to see how far we can use language to sort of offend people or upset people.'”