I’m not going to defend misogyny in hip-hop. But it didn’t affect me the way, say, Hustler magazine did. It’s very funny, American society: White culture can do all sorts of things and get away with it, but the minute a black person does it, it’s interpreted in some way.

While the patriarchal boys in hip-hop crew may talk about keeping it real, there has been no musical culture with black men at the forefront of its creation that has been steeped in the politics of fantasy and denial as the more popular strands of hip-hop.

Concurrently, the growing class power and public voice of conservative and liberal well-to-do black folks easily obscures the class cruelty these individuals enact both in the way they talk about underprivileged blacks and the way they represent them. The existence of that class cruelty and its fascist dimensions have been somewhat highlighted by the efforts of privileged-class blacks to censor the voices of black youth, particularly gangsta rappers who are opposing bourgeois class values by extolling the values of street culture and street vernacular. Significantly, the attack on urban underclass black youth culture and its gangster dimensions (glamorization of crime, etc.) is usually presented via a critique of sexism. Since most privileged-class blacks have shown no interest in advancing feminist politics, the only organized effort to end sexism and sexist oppression, this attack on sexism seems merely gratuitous, a smoke screen that deflects away from the fact that what really disturbs bourgeois folks is the support of rebellion, unruly behavior, and disrespect for their class values. In reality, they and their white counterparts fear the power these young folks have to change the minds and life choices of youth from privileged classes. If only underclass black folks were listening to gangsta rap, there would be no public effort to silence and censor this music. The fear is that it will generate class rebellion.

Patriarchal hip-hop ushered in a world where black males could declare that they were “keeping it real” when what they were really doing was taking the dead patriarchal protest of the black power movement and rearticulating it in forms that, though entertaining, had for the most part no transformative power, no ability to intervene on the politics of domination, and turn the real lives of black men around.

The American male runs half of the global world and grows up on rock music from day one. If you can alter the psyche of someone who's growing up to be a rapist or a total misogynist, you're creating values and instead of making the void bigger, you're making it smaller.

The mis-perception is gangster 50. That's the biggest misconception. Because, I can be those things that people – I have a reputation. My past is my shadow, it follows me everywhere I go. Well, all those things come from when I had no other choice. They put my back against the wall. I do what I gotta do. Because hip-hop has no requirements, you deal with people that have the least intelligence on the planet. Some of the people that compare themselves to me, compare themselves to me because they rap and I rap. They can't even read the contracts that they sign to be a rapper, to do the deal.

(about rap and hip-hop) They take your drawers off for you, they show your ass, they sell bullshit, they call themselves 'niggaz' and the women 'bitches' and 'hos' and it's fine with everybody. That's what the essence of decadence is.

When I started singing, it was mostly pop and love songs. Once I started doing rap, a lot of people were shocked. For those in Morocco, rap is for men, not women. I think all the criticism just made me be a stronger person.

Hip-hop saved me,. It gave me permission to use language in a certain way. It validated my community and my friends. It gave our slang a certain elegance. I have a chip on my shoulder I pet every morning, a constant feeling like I have something to prove. Hearing that the canon can’t be diversified, there’s no room for more brown faces—that fueled my fire. I loved music that people said was not music, that it was too violent, too crass, too sexual. And now everyone in the world is rapping Hamilton.

That experiment prefigured today's rap "artists," who are entirely dependent on promoters, arrangers, and sound technicians, and create no music themselves.

Young Asian males are nine times as likely as white youth to belong to a gang and Hispanic youth are 19 times more likely. A disproportionate share of Hispanic young and poor are thus assimilating into a misogynistic, rebellious, youth sub-culture of drugs, gangs, crime, contempt for formal education, and hostility to police.

Rap music is just computerised crap. I listen to Top of the Pops and after three songs I feel like killing someone.

Cutting and pasting is the essence of what hip-hop culture is all about for me. It's about drawing from what's around you, and subverting it and decontextualizing it.

Niggas die everyday, all ova bullshit
Dope money, dice games, ordinary hood shit
Could this be cuz of Hip Hop music
Or did the ones with the good sense not use it?