Generate text that refutes this claim: Defending hip hop artists’ right to free speech  The intervention of the state is necessary in order to ensure that aggressive forms of hip hop remain accessible only to adults, especially in neighbourhoods and home environments that are not part of a cohesive, caring community. Some degree of public control over the content of hip hop will also help to preserve the diversity, accessibility of the genre in the face of commercial dominance by violent forms of rap.  Mainstream success in hip hop has become synonymous with gangsta rap, and with artists who have backgrounds that lend veracity to their lurid verses. However, many of these supposedly “authentic” experiences consist of little more than exaggeration and invented personas. When being interviewed about the controversial content of her son’s single “Fuck tha’ police”, the mother of rapper Ice Cube commented that “I don’t see [him] saying those curse words. I see him like an actor.”  The existence of pornography attests to the market for forms of media that fulfil base and simplistic human fantasies. Much the same can be said for the violent and cynical content of rap singles. Unlike the relationship between cinema and pornography, however, many commentators appear to regard gangsta rap as being synonymous with hip hop – a position as deceptive as a film critic claiming that all movies are inevitably tied to pornography.  The significant public profile and poor regulation of hip hop have meant that gangsta rap fans have become the genre’s dominant class of consumer. The amount of money that fans are willing to spend on singles, albums, concert tickets and associated branded goods means that labels that cultivate relationships with gangsta rappers have become the gatekeepers of the hip hop genre in general. “Conscious” rappers, who do not glorify violence, along with musicians working in other hip hop genres must work with labels that promote acts containing violent lyrics in order to publish their own music.  Either consciously, or by design, the terrain of contemporary hip hop is hostile to musicians who are not prepared to discuss “guns, bitches and bling” in their work. This constitutes a significant barrier to rappers ability to communicate novel messages and listeners’ ability to receive them. It could be called a market failure – the pervasive public presence of gangsta rap has effectively denied an audience to other rappers.  Classification has the potential to maximise the freedom and effectiveness of musical expression by hip hop artists who choose not to trade in brutality and misogyny.  The alternative is to allow hip hop to continue to be dominated by businesses such as Death Row Records, Low Life Records and Machete Music. This will lead to hip hop as a medium becoming inextricably linked with violent lyrics and the dubious businesses practices of gangsta labels’ bosses. Popular disengagement is much more likely under these circumstances, and will actively deny a voice, and opportunities, to musicians with a different perspective on hip hop.
living difference house would ban music containing lyrics glorify
Banning one type of hip hop is not an effective way to intervene in a market that is in danger of dismantling itself.  Governments are not record companies. They are not in a position to make nuanced judgements about the content, meaning and themes of singles and albums. In short, the state cannot be relied on to understand when a musician has produced a work of violent fantasy, or a piece of social commentary with broad appeal.  The state can perform a positive correction for inequalities and failures in the hip hop market by subsidising niche or experimental performers, in the same way that is provides financial support to opera, theatre and the fine arts.  The policy that proposition side seem to be advocating, however, would only do further harm the reputation of hip hop. Once officially censured by the state- which is still seen as a significant moral authority- it is likely that the public profile and popularity of hip hop will be further damaged. The ambivalent position of hip hop in popular culture, as both a commercially successful medium and the subject of wide scale condemnation, is a significant opportunity for the medium, rather than a spectre of its imminent demise. However, larger record companies will be more likely to disengage from hip hop culture if they believe that their businesses affairs might be compromised by intrusive government legislation.