text:
Gene Kelly

Eugene Curran Kelly (August 23, 1912 – February 2, 1996) was an American dancer, actor, singer, director and choreographer. He was known for his energetic and athletic dancing style and sought to create a new form of American dance accessible to the general public, which he called "dance for the common man". He starred in, choreographed, and, with Stanley Donen, co-directed some of the most well-regarded musical films of the 1940s and 1950s.

Kelly is best known for his performances in An American in Paris (1951), which won the Academy Award for Best Picture, Singin' in the Rain (1952), which he and Donen directed and choreographed, and other musical films of that era such as Cover Girl (1944) and Anchors Aweigh (1945), for which he was nominated for an Academy Award for Best Actor. On the Town (1949), which he co-directed with Donen, was his directorial debut. Later in the 1950s, as musicals waned in popularity, he starred in Brigadoon (1954) and It's Always Fair Weather (1955), the last film he directed with Donen. His solo directorial debut was Invitation to the Dance (1956), one of the last MGM musicals, which was a commercial failure.

Kelly made his film debut in For Me and My Gal (1942) with Judy Garland, with whom he also appeared in The Pirate (1948) and Summer Stock (1950). He also appeared in the dramas Black Hand (1950) and Inherit the Wind (1960), for which he received critical praise.

He continued as a director in the 1960s, with his credits including A Guide for the Married Man (1967) and Hello, Dolly! (1969),  which received an Oscar nomination for Best Picture. He co-hosted and appeared in Ziegfeld Follies (1946), That's Entertainment! (1974), That's Entertainment, Part II (1976), That's Dancing! (1985), and That's Entertainment, Part III (1994).

His many innovations transformed the Hollywood musical, and he is credited with almost single-handedly making the ballet form commercially acceptable to film audiences. According to dance and art historian Beth Genné, working with his co-director Donen in Singin' in the Rain and in films with director Vincent Minnelli, "Kelly ... fundamentally affected the way movies are made and the way we look at them. And he did it with a dancer's eye and from a dancer's perspective." Kelly received an Academy Honorary Award in 1952 for his career achievements; the same year, An American in Paris won six Academy Awards, including Best Picture. He later received lifetime achievement awards in the Kennedy Center Honors (1982) and from the Screen Actors Guild and American Film Institute. In 1999, the American Film Institute also ranked him as the 15th greatest male screen legend of Classic Hollywood Cinema.

Early life

Kelly was born in the East Liberty neighborhood of Pittsburgh. He was middle of 5 children of James Patrick Joseph Kelly, a phonograph salesman, and his wife, Harriet Catherine Curran. His father was born in Peterborough, Ontario, Canada, to an Irish Canadian family. His maternal grandfather was an immigrant from Derry, Ireland, and his maternal grandmother was of German ancestry. When he was eight, Kelly's mother enrolled him and his brother James in dance classes, along with their sisters. As Kelly recalled, they both rebelled: "We didn't like it much and were continually involved in fistfights with the neighborhood boys who called us sissies ... I didn't dance again until I was 15." At one time, his childhood dream was to play shortstop for the hometown Pittsburgh Pirates.

By the time he decided to dance, he was an accomplished sportsman and able to defend himself. He attended St. Raphael Elementary School in the Morningside neighborhood of Pittsburgh and graduated from Peabody High School at age 16. He entered the Pennsylvania State College as a journalism major, but after the 1929 crash he left school and found work in order to help his family financially. He created dance routines with his younger brother Fred to earn prize money in local talent contests. They also performed in local nightclubs.

In 1931, Kelly enrolled at the University of Pittsburgh to study economics, joining the Theta Kappa Phi fraternity (later known as Phi Kappa Theta after merging with Phi Kappa). He became involved in the university's Cap and Gown Club, which staged original musical productions. After graduating in 1933, he continued to be active with the Cap and Gown Club, serving as the director from 1934 to 1938. Kelly was admitted to the University of Pittsburgh Law School.

His family opened a dance studio in the Squirrel Hill neighborhood of Pittsburgh. In 1932, they renamed it the Gene Kelly Studio of the Dance and opened a second location in Johnstown, Pennsylvania in 1933. Kelly served as a teacher at the studio during his undergraduate and law-student years at Pitt. In 1931, he was approached by the Beth Shalom Synagogue in Pittsburgh to teach dance, and to stage the annual Kermesse. The venture proved a success, Kelly being retained for seven years until his departure for New York.

Kelly eventually decided to pursue a career as a dance teacher and full-time entertainer, so he dropped out of law school after two months. He increased his focus on performing and later said: "With time I became disenchanted with teaching because the ratio of girls to boys was more than ten to one, and once the girls reached 16, the dropout rate was very high." In 1937, having successfully managed and developed the family's dance-school business, he moved to New York City in search of work as a choreographer. Kelly returned to Pittsburgh, to his family home at 7514 Kensington Street, in 1940, and worked as a theatrical actor.

Stage career
After a fruitless search for work in New York, Kelly returned to Pittsburgh to his first position as a choreographer with the Charles Gaynor musical revue Hold Your Hats at the Pittsburgh Playhouse in April 1938. Kelly appeared in six of the sketches, one of which, La cumparsita, became the basis of an extended Spanish number in the film Anchors Aweigh eight years later.

His first Broadway assignment, in November 1938, was as a dancer in Cole Porter's Leave It to Me!—as the American ambassador's secretary who supports Mary Martin while she sings "My Heart Belongs to Daddy". He had been hired by Robert Alton, who had staged a show at the Pittsburgh Playhouse where he was impressed by Kelly's teaching skills. When Alton moved on to choreograph the musical One for the Money, he hired Kelly to act, sing, and dance in eight routines. In 1939, he was selected for a musical revue, One for the Money, produced by the actress Katharine Cornell, who was known for finding and hiring talented young actors.

Kelly's first big breakthrough was in the Pulitzer Prize–winning The Time of Your Life, which opened on October 25, 1939—in which, for the first time on Broadway, he danced to his own choreography. In the same year, he received his first assignment as a Broadway choreographer, for Billy Rose's Diamond Horseshoe. He began dating a cast member, Betsy Blair, and they got married on October 16, 1941.

In 1940, he got the lead role in Rodgers and Hart's Pal Joey, again choreographed by Robert Alton. This role propelled him to stardom. During its run, he told reporters: "I don't believe in conformity to any school of dancing. I create what the drama and the music demand. While I am a hundred percent for ballet technique, I use only what I can adapt to my own use. I never let technique get in the way of mood or continuity." His colleagues at this time noticed his great commitment to rehearsal and hard work. Van Johnson—who also appeared in Pal Joey—recalled: "I watched him rehearsing, and it seemed to me that there was no possible room for improvement. Yet he wasn't satisfied. It was midnight and we had been rehearsing since 8 in the morning. I was making my way sleepily down the long flight of stairs when I heard staccato steps coming from the stage ... I could see just a single lamp burning. Under it, a figure was dancing ... Gene."

Offers from Hollywood began to arrive, but Kelly was in no hurry to leave New York. Eventually, he signed with David O. Selznick, agreeing to go to Hollywood at the end of his commitment to Pal Joey, in October 1941. Prior to his contract, he also managed to fit in choreographing the stage production of Best Foot Forward.

1941–1945: Becoming established in Hollywood

Selznick sold half of Kelly's contract to Metro-Goldwyn-Mayer for his first motion picture: For Me and My Gal (1942) starring Judy Garland. Kelly said he was "appalled at the sight of myself blown up 20 times. I had an awful feeling that I was a tremendous flop." For Me and My Gal performed very well, and in the face of much internal resistance, Arthur Freed of MGM picked up the other half of Kelly's contract. After appearing in a B movie drama, Pilot No. 5 (1943) and in Christmas Holiday (1944), he took the male lead in Cole Porter's Du Barry Was a Lady (1943) with Lucille Ball (in a part originally intended for Ann Sothern). His first opportunity to dance to his own choreography came in his next picture, Thousands Cheer (1943), in which he performed a mock-love dance with a mop. Unusually, in Pilot No. 5, Kelly played the antagonist.

He achieved a significant breakthrough as a dancer on film when MGM lent him to Columbia to work with Rita Hayworth in Cover Girl (1944), a film that foreshadowed the best of his future work. He created a memorable routine dancing to his own reflection. Despite this, critic Manny Farber was moved to praise Kelly's "attitude", "clarity", and "feeling" as an actor while inauspiciously concluding, "The two things he does least well—singing and dancing—are what he is given most consistently to do."

In Kelly's next film, Anchors Aweigh (1945), MGM gave him a free hand to devise a range of dance routines, including his duets with co-star Frank Sinatra and the celebrated animated dance with Jerry Mouse—the animation for which was supervised by William Hanna and Joseph Barbera. That performance was enough for Farber to completely reverse his previous assessment of Kelly's skills. Reviewing the film, Farber enthused, "Kelly is the most exciting dancer to appear in Hollywood movies." Anchors Aweigh became one of the most successful films of 1945 and Kelly was nominated for the Academy Award for Best Actor. In Ziegfeld Follies (1946)—which was produced in 1944 but delayed for release—Kelly collaborated with Fred Astaire, for whom he had the greatest admiration, in "The Babbitt and the Bromide" challenge dance routine.

Military service
Kelly was deferred from the draft in 1940 by the U.S. Selective Service System at the request of his employers, but was classified 1-A, eligible for induction, in October 1944 after an appeal to President Franklin Delano Roosevelt by the head of the Selective Service in New York City. Roosevelt personally upheld the appeal. He was inducted into the armed forces a month later, and at his request he was assigned to the U.S. Navy. He served in the U.S. Naval Air Service and was commissioned as lieutenant, junior grade. He was stationed in the Photographic Section, Washington, D.C., where he helped write and direct a range of documentaries – this stimulated his interest in the production side of filmmaking. He was discharged in 1946.

1946–1952: MGM
After Kelly returned from Naval service, MGM had nothing planned and used him in a routine black-and-white movie: Living in a Big Way (1947). The film was considered so weak that the studio asked Kelly to design and insert a series of dance routines; they noticed his ability to carry out such assignments. This led to a lead part in his next picture, with Judy Garland and director Vincente Minnelli—a musical film version of S.N. Behrman's play, The Pirate (1948), with songs by Cole Porter. The Pirate gave full rein to Kelly's athleticism. It features Kelly's work with the Nicholas Brothers—the leading black dancers of their day—in a virtuoso dance routine. Now regarded as a classic, the film was ahead of its time, but flopped at the box office.

MGM wanted Kelly to return to safer and more commercial vehicles, but he ceaselessly fought for an opportunity to direct his own musical film. In the interim, he capitalized on his swashbuckling image as d'Artagnan in The Three Musketeers (also 1948)—and also appeared with Vera-Ellen in the Slaughter on Tenth Avenue ballet in Words and Music (1948 again). He was due to play the male lead opposite Garland in Easter Parade (1948), but broke his ankle playing volleyball. He withdrew from the film and persuaded Fred Astaire to come out of retirement to replace him. There followed Take Me Out to the Ball Game (1949), his second film with Sinatra, where Kelly paid tribute to his Irish heritage in "The Hat My Father Wore on St. Patrick's Day" routine. This musical film persuaded Arthur Freed to have Kelly make On the Town (also 1949), in which he partnered with Frank Sinatra for the third and final time. A breakthrough in the musical film genre, it has been described as "the most inventive and effervescent musical thus far produced in Hollywood."

Stanley Donen, brought to Hollywood by Kelly to be his assistant choreographer, received co-director credit for On the Town. According to Kelly: "when you are involved in doing choreography for film, you must have expert assistants. I needed one to watch my performance, and one to work with the cameraman on the timing ... without such people as Stanley, Carol Haney, and Jeanne Coyne I could never have done these things. When we came to do On the Town, I knew it was time for Stanley to get screen credit because we weren't boss–assistant anymore but co-creators." Together, they opened up the musical form, taking the film musical out of the studio and into real locations, with Donen taking responsibility for the staging and Kelly handling the choreography. Kelly went much further than before in introducing modern ballet into his dance sequences, going so far in the "Day in New York" routine as to substitute four leading ballet specialists for Sinatra, Munshin, Garrett, and Miller.

Kelly asked the studio for a straight acting role, and he took the lead role in the early the Mafia melodrama Black Hand (1950). This exposé of organized crime is set in New York's "Little Italy" during the late 19th century and focuses on the Black Hand, a group that extorts money upon threat of death. In the real-life incidents upon which this film is based, it was the Mafia, not the Black Hand, who functioned as the villain. Filmmakers had to tread gingerly whenever dealing with big-time crime, it being safer to go after a "dead" criminal organization than a "live" one. There followed Summer Stock (1950)—Garland's last musical film for MGM—in which Kelly performed the "You, You Wonderful You" solo routine with a newspaper and a squeaky floorboard. In his book Easy the Hard Way, Joe Pasternak, head of another of MGM's musical units, singled out Kelly for his patience and willingness to spend as much time as necessary to enable the ailing Garland to complete her part.

Then followed in quick succession two musicals that secured Kelly's reputation as a major figure in the American musical film. First, An American in Paris (1951) and—probably the most admired of all film musicals—Singin' in the Rain (1952). As co-director, lead star, and choreographer, Kelly was the driving force in both of these films. Johnny Green, the head of music at MGM at the time, said of him,

"Gene is easygoing as long as you know exactly what you are doing when you're working with him. He's a hard taskmaster and he loves hard work. If you want to play on his team you'd better like hard work, too. He isn't cruel, but he is tough, and if Gene believed in something, he didn't care who he was talking to, whether it was Louis B. Mayer or the gatekeeper. He wasn't awed by anybody, and he had a good record of getting what he wanted."

An American in Paris won six Academy Awards, including Best Picture. The film also marked the debut of 19-year-old ballerina Leslie Caron, whom Kelly had spotted in Paris and brought to Hollywood. Its dream ballet sequence, lasting an unprecedented 17 minutes, was the most expensive production number ever filmed at that time. Bosley Crowther described it as, "whoop-de-doo ... one of the finest ever put on the screen." Also in 1951, Kelly received an honorary Academy Award for his contribution to film musicals and the art of choreography.

The following year, Singin' in the Rain featured Kelly's celebrated and much imitated solo dance routine to the title song, along with the "Moses Supposes" routine with Donald O'Connor and the "Broadway Melody" finale with Cyd Charisse. Though the film did not initially generate the same enthusiasm An American in Paris created, it has subsequently overtaken the earlier film to occupy its current pre-eminent place in the esteem of critics.

1953–1957: Decline of Hollywood musicals
At the peak of his creative powers, Kelly made what in retrospect some see as a career mistake. In December 1951, he signed a contract with MGM that sent him to Europe for 19 months to use MGM funds frozen in Europe to make three pictures while personally benefiting from tax exemptions. Invitation to the Dance, a pet project of Kelly's to bring modern ballet to mainstream film audiences. It was beset with delays and technical problems, and flopped when finally released in 1956.

When Kelly returned to Hollywood in 1953, the film musical was beginning to feel the pressures from television, and MGM cut the budget for his next picture Brigadoon (1954), with Cyd Charisse, forcing him to make the film on studio backlots instead of on location in Scotland. This year also had him appear as a guest star with his brother Fred in the "I Love to Go Swimmin' with Wimmen" routine in Deep in My Heart (1954). MGM's refusal to lend him out for Guys and Dolls and Pal Joey put further strains on his relationship with the studio. He negotiated an exit to his contract that involved making three further pictures for MGM. The first of these, It's Always Fair Weather (1955), co-directed with Donen, was a musical satire on television and advertising, and includes his roller-skate dance routine to I Like Myself, and a dance trio with Michael Kidd and Dan Dailey that Kelly used to experiment with the widescreen possibilities of Cinemascope. MGM had lost faith in Kelly's box-office appeal, and as a result It's Always Fair Weather premiered at 17 drive-in theaters around the Los Angeles metroplex. Next followed Kelly's last musical film for MGM, Les Girls (1957), in which he joined Mitzi Gaynor, Kay Kendall, and Taina Elg. The third picture he completed was a co-production between MGM and himself, a B-film, The Happy Road (1957), set in his beloved France, his first foray in a new role as producer-director-actor. After leaving MGM, Kelly returned to stage work.

1958–1996: After MGM
In 1958, Kelly directed Rodgers and Hammerstein's musical play Flower Drum Song. Early in 1960, Kelly, an ardent Francophile and fluent French speaker, was invited by A. M. Julien, the general administrator of the Paris Opéra and Opéra-Comique, to select his own material and create a modern ballet for the company, the first time an American had received such an assignment. The result was Pas de Dieux, based on Greek mythology, combined with the music of George Gershwin's Concerto in F. It was a major success, and it led to his being honored with the Chevalier de la Légion d'Honneur by the French Government.

Kelly continued to make some film appearances, such as Hornbeck in the Hollywood production of Inherit the Wind (1960) and as himself in Let's Make Love (also 1960). However, most of his efforts were now concentrated on film production and directing. In Paris, he directed Jackie Gleason in Gigot (1962), but the film was drastically recut by Seven Arts Productions and flopped. Another French effort, Jacques Demy's homage to the MGM musical, The Young Girls of Rochefort (Les Demoiselles de Rochefort, 1967), in which Kelly appeared, was a box-office success in France and nominated for Academy Awards for Best Music and Score of a Musical Picture (Original or Adaptation), but performed poorly elsewhere.

He was asked to direct the film version of The Sound of Music, which had already been turned down by Stanley Donen. He escorted Ernest Lehman, the screenwriter, out of his house, saying, "Go find someone else to direct this piece of shit."

His first foray into television was a documentary for NBC's Omnibus, Dancing is a Man's Game (1958), in which he assembled a group of America's greatest sportsmen—including Mickey Mantle, Sugar Ray Robinson, and Bob Cousy—and reinterpreted their moves choreographically, as part of his lifelong quest to remove the effeminate stereotype of the art of dance, while articulating the philosophy behind his dance style. It gained an Emmy nomination for choreography and now stands as the key document explaining Kelly's approach to modern dance.

Kelly appeared frequently on television shows during the 1960s, including Going My Way (1962–63), which was based on the 1944 film of the same name. It enjoyed great popularity in Roman Catholic countries outside the US. He also appeared in three major TV specials: The Julie Andrews Show (1965), New York, New York (1966), and Jack and the Beanstalk (1967)—a show he produced and directed that again combined cartoon animation and live dance, winning him an Emmy Award for Outstanding Children's Program.

In 1963, Kelly joined Universal Pictures for a two-year stint. He joined 20th Century Fox in 1965, but had little to do—partly due to his decision to decline assignments away from Los Angeles for family reasons. His perseverance finally paid off, with the major box-office hit A Guide for the Married Man (1967), in which he directed Walter Matthau. Then, a major opportunity arose when Fox—buoyed by the returns from The Sound of Music (1965)—commissioned Kelly to direct Hello, Dolly! (1969), again directing Matthau along with Barbra Streisand. The film was nominated for seven Academy Awards, winning three.

In 1966, Kelly starred in a musical television special for CBS titled Gene Kelly in New York, New York. The special focuses on Gene Kelly in a musical tour around Manhattan, dancing along such landmarks as Rockefeller Center, the Plaza Hotel, and the Museum of Modern Art, which serve as backdrops for the show's entertaining production numbers. The special was written by Woody Allen, who also stars alongside Kelly. Guest stars included choreographer Gower Champion, British musical comedy star Tommy Steele, and singer Damita Jo DeBlanc.

In 1970, he made another television special: Gene Kelly and 50 Girls, and was invited to bring the show to Las Vegas, which he did for an eight-week stint on the condition he be paid more than any artist had ever been paid there. He directed veteran actors James Stewart and Henry Fonda in the comedy Western The Cheyenne Social Club (1970), which performed poorly at the box office. In 1973, he worked again with Frank Sinatra as part of Sinatra's Emmy-nominated TV special, Magnavox Presents Frank Sinatra. He appeared as one of many special narrators in the surprise hit That's Entertainment! (1974). He directed and co-starred with his friend Fred Astaire in the sequel That's Entertainment, Part II (1976). It was a measure of his powers of persuasion that he managed to coax the 77-year-old Astaire—who had insisted that his contract rule out any dancing, having long since retired—into performing a series of song-and-dance duets, evoking a powerful nostalgia for the glory days of the American musical film.

Kelly was a guest on the 1975 television special starring Steve Lawrence and Eydie Gormé, "Our Love Is Here to Stay," appearing with his son, Tim, and daughter, Bridget. He starred in the poorly received action film Viva Knievel! (1977), with the then high-profile stuntman, Evel Knievel. Kelly continued to make frequent TV appearances. His final film role was in Xanadu (1980), a surprise flop despite a popular soundtrack that spawned five Top 20 hits by the Electric Light Orchestra, Cliff Richard, and Kelly's co-star Olivia Newton-John. In Kelly's opinion, "The concept was marvelous, but it just didn't come off." In the same year, he was invited by Francis Ford Coppola to recruit a production staff for American Zoetrope's One from the Heart (1982). Although Coppola's ambition was for him to establish a production unit to rival the Freed Unit at MGM, the film's failure put an end to this idea. In November 1983 he made his first Royal Variety Performance before Her Majesty Queen Elizabeth II, at London's Theatre Royal. Kelly served as executive producer and co-host of That's Dancing! (1985), a celebration of the history of dance in the American musical. Kelly's final on-screen appearance was to introduce That's Entertainment! III (1994). His final film project was the animated film Cats Don't Dance, not released until 1997, for which Kelly acted as an uncredited choreographic consultant. It was dedicated to his memory.

Working methods and influence on filmed dance
When he began his collaborative film work, he was influenced by Robert Alton and John Murray Anderson, striving to create moods and character insight with his dances. He choreographed his own movement, along with that of the ensemble, with the assistance of Jeanne Coyne, Stanley Donen, Carol Haney, and Alex Romero. He experimented with lighting, camera techniques, and special effects to achieve true integration of dance with film, and was one of the first to use split screens, double images, and live action with animation, and is credited as the person who made the ballet form commercially acceptable to film audiences.

A clear progression was evident in his development, from an early concentration on tap and musical comedy style to greater complexity using ballet and modern dance forms. Kelly himself refused to categorize his style: "I don't have a name for my style of dancing ... It's certainly hybrid ... I've borrowed from the modern dance, from the classical, and certainly from the American folk dance—tap-dancing, jitterbugging ... But I have tried to develop a style which is indigenous to the environment in which I was reared." He especially acknowledged the influence of George M. Cohan: "I have a lot of Cohan in me. It's an Irish quality, a jaw-jutting, up-on-the-toes cockiness—which is a good quality for a male dancer to have." He was also heavily influenced by an African-American dancer, Robert Dotson, whom he saw perform at Loew's Penn Theatre around 1929. He was briefly taught by Frank Harrington, an African-American tap specialist from New York. However, his main interest was in ballet, which he studied under Kotchetovsky in the early 1930s. Biographer Clive Hirschhorn writes: "As a child, he used to run for miles through parks and streets and woods—anywhere, just as long as he could feel the wind against his body and through his hair. Ballet gave him the same feeling of exhilaration, and in 1933, he was convinced it was the most satisfying form of self-expression." He also studied Spanish dancing under Angel Cansino, Rita Hayworth's uncle. Generally speaking, he tended to use tap and other popular dance idioms to express joy and exuberance—as in the title song for Singin' in the Rain or "I Got Rhythm" in An American in Paris, whereas pensive or romantic feelings were more often expressed via ballet or modern dance, as in "Heather on the Hill" from Brigadoon or "Our Love Is Here to Stay" from An American in Paris.

According to Delamater, Kelly's work "seems to represent the fulfillment of dance–film integration in the 1940s and 1950s". While Fred Astaire had revolutionized the filming of dance in the 1930s by insisting on full-figure photography of dancers, while allowing only a modest degree of camera movement, Kelly freed up the camera, making greater use of space, camera movement, camera angles, and editing, creating a partnership between dance movement and camera movement without sacrificing full-figure framing. Kelly's reasoning behind this was that he felt the kinetic force of live dance often evaporated when brought to film, and he sought to partially overcome this by involving the camera in movement and giving the dancer a greater number of directions in which to move. Examples of this abound in Kelly's work and are well illustrated in the "Prehistoric Man" sequence from On the Town and "The Hat My Father Wore on St. Patrick's Day" from Take Me Out to the Ball Game. In 1951, he summed up his vision as: "If the camera is to make a contribution at all to dance, this must be the focal point of its contribution; the fluid background, giving each spectator an undistorted and altogether similar view of dancer and background. To accomplish this, the camera is made fluid, moving with the dancer, so that the lens becomes the eye of the spectator, your eye".

Kelly's athleticism gave his moves a distinctive broad, muscular quality, and this was a deliberate choice on his part, as he explained: "There's a strong link between sports and dancing, and my own dancing springs from my early days as an athlete ... I think dancing is a man's game and if he does it well he does it better than a woman." Caron said that while dancing with Astaire she felt like she was floating, Kelly danced close to the ground. He railed against what he saw as the widespread effeminacy in male dancing, which, in his opinion, "tragically" stigmatized the genre, alienating boys from entering the field: "Dancing does attract effeminate young men. I don't object to that as long as they don't dance effeminately. I just say that if a man dances effeminately, he dances badly—just as if a woman comes out on stage and starts to sing bass. Unfortunately, people confuse gracefulness with softness. John Wayne is a graceful man and so are some of the great ballplayers ... but, of course, they don't run the risk of being called sissies." In his view, "one of our problems is that so much dancing is taught by women. You can spot many male dancers who have this tuition by their arm movements—they are soft, limp, and feminine." He acknowledged that in spite of his efforts—in TV programs such as Dancing: A Man's Game (1958) for example—the situation changed little over the years.

He also sought to break from the class-conscious conventions of the 1930s and early 40s, when top hat and tails or tuxedos were the norm, by dancing in casual or everyday work clothes, so as to make his dancing more relevant to the cinema-going public. His first wife, actress and dancer Betsy Blair said: "A sailor suit or his white socks and loafers, or the T-shirts on his muscular torso, gave everyone the feeling that he was a regular guy, and perhaps they, too, could express love and joy by dancing in the street or stomping through puddles ... he democratized the dance in movies." In particular, he wanted to create a completely different image from that associated with Fred Astaire, not least because he believed his physique did not suit such refined elegance: "I used to envy his cool, aristocratic style, so intimate and contained. Fred wears top hat and tails to the Manor born—I put them on and look like a truck driver."

Personal life
From the mid-1940s through the early 1950s, his wife Betsy Blair and he organized weekly parties at their Beverly Hills home, and they often played an intensely competitive and physical version of charades, known as "The Game".

His papers are housed at the Howard Gotlieb Archival Research Center at Boston University.

Late in life, Kelly was awarded Irish citizenship under Ireland's Citizenship by Foreign Birth program. The application was initiated on his behalf by his wife Patricia Ward Kelly.

On December 22, 1983, the actor's Beverly Hills mansion burned down. Faulty Christmas tree wiring was blamed. His family and pets escaped and he suffered a burned hand.

Marriages
Kelly married three times. His first marriage was to actress Betsy Blair in 1941. They had one child, Kerry (b. 1942), and divorced in April 1957.

In 1960, Kelly married his choreographic assistant Jeanne Coyne, who had previously been married to Stanley Donen between 1948 and 1951. Kelly and Coyne had two children, Timothy (b. 1962) and Bridget (b. 1964). This marriage lasted until Coyne died in 1973.

Kelly married Patricia Ward in 1990 (when he was 77 and she was 30). Their marriage lasted until his death six years later and she has not remarried.

Political and religious views
Kelly was a lifelong supporter of the Democratic Party. His period of greatest prominence coincided with the McCarthy era in the US. In 1947, he was part of the Committee for the First Amendment, the Hollywood delegation that flew to Washington to protest at the first official hearings by the House Committee on Un-American Activities. His first wife, Betsy Blair, was suspected of being a communist sympathizer, and when United Artists, which had offered Blair a part in Marty (1955), were considering withdrawing her under pressure from the American Legion, Kelly successfully threatened MGM's influence on United Artists with a pullout from It's Always Fair Weather unless his wife was restored to the part. He used his position on the board of directors of the Writers Guild of America West on a number of occasions to mediate disputes between unions and the Hollywood studios.

He was raised as a Roman Catholic and was a member of the Good Shepherd Parish and the Catholic Motion Picture Guild in Beverly Hills, California. However, after becoming disenchanted by the Roman Catholic Church's support for Francisco Franco against the Second Spanish Republic during the Spanish Civil War, he officially severed his ties with the church in September 1939. This separation was prompted, in part, by a trip Kelly made to Mexico in which he became convinced that the church had failed to help the poor in that country. After his departure from the Catholic Church, Kelly became an agnostic, as he had previously described himself.

Illness and death
Kelly's health declined steadily in the late 1980s and early 1990s. In July 1994, he suffered a stroke and stayed in Ronald Reagan UCLA Medical Center hospital for seven weeks. In early 1995, he had another stroke which made him severely disabled. Kelly died on February 2, 1996.

Awards and honors

 * 1942 – Best Actor award from the National Board of Review for his performance in For Me and My Gal
 * 1946 – Academy Award nomination for Best Actor in Anchors Aweigh (1945)
 * 1951 – Nominated for a Golden Globe Award for Best Actor in a Motion Picture Musical or Comedy for An American in Paris
 * 1952 – Honorary Academy Award "in appreciation of his versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film." This Oscar was lost in a fire in 1983 and replaced at the 1984 Academy Awards.
 * 1953 – Nomination from the Directors Guild of America, Best Director for Singin' in the Rain, 1952 (shared with Stanley Donen).
 * 1956 – Golden Bear at the 6th Berlin International Film Festival for Invitation to the Dance.
 * 1958 – Nomination for Golden Laurel Award for Best Male Musical Performance in Les Girls.
 * 1958 – Dance Magazine's annual TV Award for Dancing: A Man's Game from the Omnibus television series. It was also nominated for an Emmy for best singing.
 * 1960 – In France, Kelly was made a Chevalier of the Legion of Honor.
 * 1960 - Star on the Hollywood Walk of Fame for motion pictures
 * 1962 – Gene Kelly Dance Film Festival staged by the Museum of Modern Art
 * 1964 – Best Actor Award for What a Way to Go! (1964) at the Locarno International Film Festival
 * 1967 – Emmy for Outstanding Children's Program for Jack and the Beanstalk
 * 1970 – Nomination for Golden Globe, Best Director for Hello, Dolly!, 1969
 * 1970 – Nomination from the Directors Guild of America, Best Director for Hello, Dolly!, 1969
 * 1981 – Cecil B. DeMille Award at Golden Globes
 * 1981 – Kelly was the subject of a 2-week film festival in France
 * 1982 – Lifetime Achievement Award in the fifth annual Kennedy Center Honors
 * 1985 – Lifetime Achievement Award from the American Film Institute
 * 1989 – Life Achievement Award from Screen Actors Guild
 * 1991 – Pittsburgh Civic Light Opera inaugurated the Gene Kelly Awards, given annually to high-school musicals in Allegheny County, Pennsylvania.
 * 1992 – Induction into the American Theater Hall of Fame
 * 1994 – National Medal of Arts awarded by United States President Bill Clinton
 * 1994 – The Three Tenors performed "Singin' in the Rain" in his presence during a concert at Dodger Stadium in Los Angeles.
 * 1996 – Honorary César Award, the César is the main national film award in France.
 * 1996 – At the Academy Awards ceremony, director Quincy Jones organized a tribute to the just-deceased Kelly, in which Savion Glover performed the dance to "Singin' in the Rain".
 * 1997 – Ranked number 26 in Empire (UK) magazine's "The Top 100 Movie Stars of All Time" list
 * 1999 – Ranked number 15 in the American Film Institute's "Greatest Male Legends" of Classic Hollywood list
 * 2013 – "Singin' in the Rain" ranked number one in "The Nation's Favorite Dance Moment".

Musical films
Kelly appeared as actor, singer and dancer in musical films. He always choreographed his own dance routines and often the dance routines of others and used assistants. As was the practice at the time, he was rarely formally credited in the film titles.

Documentaries

 * 1999 – Anatomy of a Dancer, directed by Robert Trachtenberg, PBS, 2002
 * 2013 – Gene Kelly, to Live and Dance, by Bertrand Tessier, France 5, 2017

title: Gene Kelly


text:
Gangsta rap

Gangsta rap or gangster rap, initially called reality rap, is a subgenre of rap music that conveys the culture and values typical of urban gangs, reality of the world and street hustlers. Emerging in the late 1980s, gangsta rap's pioneers include Schoolly D of Philadelphia and Ice-T of Los Angeles, later expanding in California with artists such as N.W.A and Tupac Shakur. In 1992, via record producer and rapper Dr. Dre, rapper Snoop Dogg, and their G-funk sound, gangster rap broadened to mainstream popularity.

Gangsta rap has been recurrently accused of promoting disorderly conduct and broad criminality, especially assault, homicide, and drug dealing, as well as misogyny, homophobia, promiscuity, and materialism. Gangsta rap's defenders have variously characterized it as artistic depictions but not literal endorsements of real life in American ghettos, or suggested that some lyrics voice rage against social oppression or police brutality, and have often accused critics of hypocrisy and racial bias. Still, gangsta rap has been assailed even by some black public figures, including Spike Lee, pastor Calvin Butts and activist C. Delores Tucker.

Schoolly D and Ice-T
Philadelphia rapper Schoolly D is generally considered the first "gangsta rapper", significantly influencing the more popular early gangsta rap originator, Ice-T. Ice-T was born in Newark, New Jersey in 1958. As a teenager, he moved to Los Angeles where he rose to prominence in the West Coast hip hop scene. An early case of using "gangsta" as an adjective and a compliment came in his 1984 single Body Rock. In 1986, Ice-T released "6 in the Mornin'", which is regarded as the second gangsta rap song. Ice-T had been MCing since the early 1980s, but first turned to gangsta rap themes after being influenced by Schoolly D's self-titled debut album, and especially the song "P.S.K. What Does It Mean?" (1985), which is regarded as the first gangsta rap song. Schoolly D had "Am I Black Enough For You" album in 1989. In an interview with PROPS magazine, Ice-T said:

 * Here's the exact chronological order of what really went down: The first record that came out along those lines was Schoolly D's "P.S.K." Then the syncopation of that rap was used by me when I made "6 in the Mornin'". The vocal delivery was the same: ' ... P.S.K. is makin' that green', ' ... six in the morning, police at my door'. When I heard that record I was like "Oh shit!" and call it a bite or what you will but I dug that record. My record didn't sound like P.S.K., but I liked the way he was flowing with it. P.S.K. was talking about Park Side Killers but it was very vague. That was the only difference, when Schoolly did it, it was "... one by one, I'm knockin' em out." All he did was represent a gang on his record. I took that and wrote a record about guns, beating people down and all that with "6 in the Mornin'". At the same time my single came out, Boogie Down Productions hit with Criminal Minded, which was a gangster-based album. It wasn't about messages or "You Must Learn", it was about gangsterism.

In 2011, Ice-T repeated in his autobiography that Schoolly D was his inspiration for gangsta rap. Ice-T continued to release gangsta albums for the remainder of the 1980s: Rhyme Pays in 1987, Power in 1988 and The Iceberg/Freedom of Speech...Just Watch What You Say in 1989. Ice-T's lyrics also contained strong political commentary, and often played the line between glorifying the gangsta lifestyle and criticizing it as a no-win situation.

Schoolly D's works would heavily influence not only Ice-T, but also Eazy-E and N.W.A (most notably in the song "Boyz-n-the-Hood"), as well as the Beastie Boys on their seminal hardcore hip hop-inspired album Licensed to Ill (1986).

Boogie Down Productions
Boogie Down Productions released their first single, "Say No Brother (Crack Attack Don't Do It)", in 1986. It was followed by "South Bronx/P is Free" and "9mm Goes Bang" in the same year. The latter is the most gangsta-themed song of the three; in it, KRS-One boasts about shooting a crack dealer and his posse to death (in self-defense). The album Criminal Minded followed in 1987, and was the first rap album to have firearms on its cover. Shortly after the release of this album, BDP's DJ, Scott LaRock was shot and killed. After this, BDP's subsequent records were more focused with the inadequate rationale removed.

Other early influences
The New York-based Run-DMC and LL Cool J, though originating prior to the establishment of "gangsta rap" as a cohesive genre, were influential in the formation of gangsta rap, often producing early aggressive hardcore hip hop songs and being among the first rappers to dress in gang-like street clothing. The seminal Long Island-based group Public Enemy featured aggressive, politically charged lyrics, which had an especially strong influence on gangsta rappers such as Ice Cube. The duo Eric B. & Rakim would further influence gangsta rap with aggressive, street-oriented raps, especially on the 1987 album Paid in Full.

The hip hop group Beastie Boys also influenced the gangsta rap genre with their 1986 album Licensed to Ill, with an early reference to being a "gangster" mentioned in the song "Slow Ride". In 1986, the Los Angeles-based group C.I.A. (consisting of Ice Cube, K-Dee, Sir Jinx) rapped over the Beastie Boys' tracks for songs such as "My Posse" and "Ill-Legal", and the Beastie Boys' influence can be seen significantly in N.W.A's early albums. The Beastie Boys had started out as a hardcore punk band, but after introduction to producer Rick Rubin and the exit of Kate Schellenbach they became a hip hop group. According to Rolling Stone Magazine, the Beastie Boys' 1986 album Licensed to Ill is "filled with enough references to guns, drugs and empty sex (including the pornographic deployment of a Wiffleball bat in "Paul Revere") to qualify as a gangsta-rap cornerstone."

N.W.A. and Ice Cube
The first blockbuster gangsta rap album was N.W.A's Straight Outta Compton, released in 1988. Straight Outta Compton established West Coast hip hop as a vital genre, and establish Los Angeles as a legitimate rival to hip hop's long-time capital, New York City. Straight Outta Compton sparked the first major controversy regarding hip hop lyrics when their song "Fuck tha Police" earned a letter from FBI Assistant Director, Milt Ahlerich, strongly expressing law enforcement's resentment of the song. Due to the influence of Ice-T, N.W.A, and Ice Cube's early solo career, gangsta rap is often somewhat erroneously credited as being a mostly West Coast phenomenon, despite the contributions of East Coast acts like Boogie Down Productions in shaping the genre and despite Philadelphia rapper Schoolly D being generally regarded as the first gangsta rapper.

In the early 1990s, former N.W.A member Ice Cube would further influence gangsta rap with his hardcore, socio-political solo albums, which suggested the potential of gangsta rap as a political medium to give voice to inner-city youth. Ice Cube's early solo albums and EPs, including AmeriKKKa's Most Wanted (1990), Death Certificate (1991), the Kill at Will EP (1991) and The Predator (1992) all contributed significantly to the development of gangsta rap. N.W.A's second album, Efil4zaggin (1991) (released after Ice Cube's departure from the group), broke ground as the first gangsta rap album to reach No. 1 on the Billboard pop charts.

Aside from N.W.A and Ice-T, Too Short (from Oakland), Kid Frost and the South Gate-based Latino group Cypress Hill were pioneering West Coast rappers with gangsta rap songs and themes. Above the Law also played an important role in the gangsta rap movement, as their 1990 debut album Livin' Like Hustlers.

Ice-T's solo career
Ice-T released one of the seminal albums of the genre, OG: Original Gangster in 1991. It also contained a song by his new thrash metal group Body Count, who released a self-titled album in 1992. Particular controversy surrounded one of its songs "Cop Killer". The rock song was intended to speak from the viewpoint of a police target seeking revenge on racist, brutal cops. Ice-T's rock song gained controversy, with observers ranging from President George H.W Bush and his Vice President Dan Quayle, the National Rifle Association of America, police organizations across the nation to various police advocacy groups. Consequently, Time Warner Music refused to release Ice-T's upcoming album Home Invasion and dropped Ice-T from the label. Ice-T suggested that the furor over the song was an overreaction, telling journalist Chuck Philips "... they've done movies about nurse killers and teacher killers and student killers. Arnold Schwarzenegger blew away dozens of cops as the Terminator. But I don't hear anybody complaining about that." In the same interview, Ice-T suggested to Philips that the misunderstanding of "Cop Killer", the misclassification of it as a rap song (rather than a rock song), and the attempts to censor it had racial overtones: "The Supreme Court says it's OK for a white man to burn a cross in public. But nobody wants a black man to write a record about a cop killer."

Ice-T's next album, Home Invasion, was postponed as a result of the controversy, and was finally released in 1993. While it contained gangsta elements, it was his most political album to date. After a proposed censoring of the Home Invasion album cover art, he left Warner Bros. Records. Ice-T's subsequent releases went back to straightforward gangsta rap, but were not as popular as his earlier releases.

G-funk and Death Row Records
In 1992, former N.W.A member Dr. Dre released The Chronic(1992) include "Nuthin' but a 'G' Thang", a massive seller (eventually going triple platinum) which showed that explicit gangsta rap could hold as much mass commercial appeal as the pop-oriented rap styles of MC Hammer, the Fresh Prince and Tone Lōc. The album established the dominance of West Coast gangsta rap and Dre's new post-N.W.A label, Death Row Records (owned by Dr. Dre along with Marion "Suge" Knight), as Dre's album showcased a stable of promising new Death Row rappers. The album also popularized the subgenre of G-funk, a slow, drawled form of hip hop that dominated the rap charts for some time.

Extensively sampling P-Funk bands, especially Parliament and Funkadelic, G-funk was multi-layered, yet simple and easy to dance to. The simple message of its lyrics, that life's problems could be overcome by guns, alcohol and marijuana, endeared it to a teenage audience. The single "Nuthin' but a 'G' Thang" became a crossover big hit, with its humorous, House Party-influenced video becoming an MTV staple despite that network's historic orientation towards rock music.

Another success was Ice Cube's Predator album, released at about the same time as The Chronic in 1992. It sold over 2 million copies and was No. 1 in the charts, propelled by the hit single "It Was a Good Day", despite the fact that Ice Cube was not a Death Row artist. One of the genre's biggest crossover stars was Dre's protégé Snoop Doggy Dogg (Doggystyle), whose exuberant, party-oriented themes made songs such as "Gin and Juice" club anthems and top hits nationwide. In 1996, 2Pac signed with Death Row and released the multi-platinum double album All Eyez on Me. Not long afterward, his murder brought gangsta rap into the national headlines and propelled his posthumous The Don Killuminati: The 7 Day Theory album (released under the alias "Makaveli") to the top of the charts. Lill 1/2 Dead released gangsta album. Warren G and Nate Dogg were other musicians at the forefront of G-funk. Successful G-funk influenced artists also included Spice 1, MC Lyte and MC Ren, all of them reaching decent positions on the Billboard 100, or soul chart in spite of not being associated with Death Row. Ray Luv released G single "Last Nite" in 1995.

Mafioso rap
Mafioso rap is a hardcore hip hop subgenre founded by Kool G Rap in the late 1980s. East Coast mafioso rap was partially the counterpart of West Coast G-funk rap. Mafioso rap is characterized by references to famous mobsters and mafiosi, racketeering and organized crime (particularly the Sicilian Mafia, the Italian-American Mafia, African-American organized crime, and Latin American organized crime or drug cartels) or has subject matter that would relate to the mafia. Though a significant amount of mafioso rap was grittier and more street-oriented, focusing on street-level organized crime, other mafioso rap artists frequently focused on lavish, self-indulgent, materialistic, and luxurious subject matter associated with crime bosses and high-level mobsters, such as expensive drugs, cars, and champagne. Though the genre died down for several years, it re-emerged in 1995 when Wu-Tang Clan member Raekwon released his critically acclaimed solo album, Only Built 4 Cuban Linx... That year also saw the release of Doe or Die by AZ and the release of the album 4,5,6 by subgenre originator Kool G Rap. His album featured other mafioso rap artists, including MF Grimm, Nas, and B-1. These three albums brought the genre to mainstream recognition, and inspired other East Coast artists, such as Jay-Z, Notorious B.I.G., and Nas to adopt the same themes with their albums Reasonable Doubt, Life After Death, and It Was Written, respectively.

East Coast gangsta rap was popular by the late 1990s, and there were more modern mafioso rap albums such as Ghostface Killah's Fishscale, Jay-Z's American Gangster, and Raekwon's Only Built 4 Cuban Linx... Pt. II. Many rappers, such as Conejo, Mr Criminal, T.I., Rick Ross, Fabolous, Jadakiss, Jim Jones, and Cassidy have maintained popularity with lyrics about self-centered urban criminal lifestyles or "hustling". Lil' Kim's mafioso album La Bella Mafia, released in 2003, was a commercial success, receiving platinum certification.

East Coast hardcore hip hop and the East Coast–West Coast feud
Meanwhile, rappers from New York City, such as Wu-Tang Clan, Black Moon and Boot Camp Clik, Onyx, Big L, Mobb Deep, Nas, the Notorious B.I.G., DMX and the Lox, among others, pioneered a grittier sound known as hardcore hip hop. In 1994, both Nas and the Notorious B.I.G. released their debut albums Illmatic (April 19) and Ready to Die (September 13) respectively, which paved the way for New York City to take back dominance from the West Coast. In an interview for The Independent in 1994, the Wu-Tang Clan's GZA commented on the term "gangsta rap" and its association with his group's music and hip hop at the time:

"Our music is not 'gangsta rap'. There's no such thing. The label was created by the media to limit what we can say. We just deliver the truth in a brutal fashion. The young black male is a target. Snoop (Doggy Dogg) has gone four times platinum and makes more money than the president. They don't like that, so you hear 'ban this, ban that'. We attack people's emotions. It's a real live show that brings out the inside in people. Like I said, intense."

It is widely speculated that the ensuing East Coast–West Coast hip hop rivalry between Death Row Records and Bad Boy Records resulted in the deaths of Death Row Records' 2Pac and Bad Boy Records' the Notorious B.I.G.. Even before the murders, Death Row had begun to unravel, as co-founder Dr. Dre had left earlier in 1996; in the aftermath of 2Pac's death, label owner Suge Knight was sentenced to prison for a parole violation, and Death Row proceeded to sink quickly as most of its remaining artists, including Snoop Dogg, left. Dr. Dre, at the MTV Video Music Awards, claimed that "gangsta rap was dead". While Puff Daddy's Bad Boy Entertainment fared better than its West Coast rival, it eventually began to lose popularity and support by the end of the decade, due to its pursuit of a more mainstream sound, as well as challenges from Atlanta and New Orleans-based labels, especially, Master P's No Limit stable of popular rappers.

Southern and Midwestern gangsta rap
Houston first came on to the national scene in the late 1980s with the violent and disturbing stories told by the Geto Boys(hit single "Mind Playing Tricks On Me"), with member Scarface achieving major solo success in the mid-1990s. After the deaths of Tupac Shakur and the Notorious B.I.G. and the media attention surrounding them, gangsta rap became an even greater commercial force. However, most of the industry's major labels were in turmoil, bankrupt, or creatively stagnant, and new labels representing the rap scenes in new locations sprang up.

Master P's No Limit Records label, based out of New Orleans, became quite popular in the late 1990s, though critical success was very scarce, with the exceptions of some later additions like Mystikal (Ghetto Fabulous, 1998). No Limit had begun its rise to national popularity with Master P's The Ghetto Is Trying to Kill Me! (1994), and had major hits with Silkk the Shocker (Charge It 2 Da Game, 1998) and C-Murder (Life or Death, 1998). No Limit released Mia X, Mr. Serv-On and TRU albums also. Cash Money Records, also based out of New Orleans, had enormous commercial success with Juvenile, B.G., Hot Boys, beginning in the late 1990s with a similar gangsta rap style like No Limit.

Memphis collective Hypnotize Minds, led by Three 6 Mafia and Project Pat, have taken gangsta rap to some of its darker extremes. Led by in-house producers DJ Paul and Juicy J, the label became known for its pulsating, menacing beats and uncompromisingly thuggish lyrics. However, in the mid-2000s, the group began attaining more mainstream popularity, eventually culminating in the Three 6 Mafia winning an Academy Award for the song "It's Hard out Here for a Pimp" from Hustle & Flow.

The chopped and screwed genre was developed in Houston, Texas, the location which is still most associated with the style. DJ Screw is credited with the creation of and early experimentation with the genre. DJ Screw began making mixtapes of the slowed-down music in the early 1990s and began the Screwed Up Click. This provided a significant outlet for MCs in the South-Houston area, and helped local rappers such as Willie D, Big Moe, Lil' Flip, E.S.G., UGK, Lil' Keke, South Park Mexican, and Z-Ro gain regional and sometimes national prominence.

Narco-rap
Narco-rap is a music scene, similar to the early underground gangsta rap scene, that emerged in north-eastern Mexico and southern Texas. Its lyrical content, popular among Latino youth, is violent and focuses on the power of drug cartels and the gruesomeness of the Mexican drug war. Narco-rap emerged in the urban areas of Tamaulipas, a Mexican state currently subject to a turf war between Los Zetas and the Gulf Cartel. Narco-rappers sing about the life of mobsters and the reality of the cities under the cartel's rule. Some of the key players of the genre are Cano y Blunt, DemenT and Big Los.

1997–2007: bling era/crunk
Before the late 1990s, gangsta rap, while a huge-selling genre, had been regarded as well outside of the pop mainstream, committed to representing the experience of the inner-city and not "selling out" to the pop charts. However, the rise of Bad Boy Records, propelled by the massive crossover success of Bad Boy head Sean "Puffy" Combs's 1997 ensemble album, No Way Out, on the heels of the media attention generated by the murders of Tupac Shakur and the Notorious B.I.G., signaled a major stylistic change in gangsta rap (or as it is referred to on the East Coast, hardcore rap), as it morphed into a new subgenre of hip hop which would become even more commercially successful and popularly accepted. Gangsta Boo, Gangsta Blac, and Ghetto Twinz released Gangsta rap albums.

The earlier, somewhat controversial crossover success enjoyed by popular gangsta rap songs like "Gin and Juice" gave way to gangsta rap's becoming a widely accepted staple on the pop charts in the late 1990s. R&B-styled hooks and samples of well-known soul and pop songs from the 1970s and 1980s were the staples of this sound, which was showcased primarily in Sean "Puffy" Combs's latter-day production work for The Notorious B.I.G. ("Mo Money, Mo Problems"), Mase ("Feels So Good") and non-Bad Boy artists such as Jay-Z ("Can I Get A...") and Nas ("Street Dreams"), which he sampled from 2Pac's song (All Eyez On Me). Also achieving similar levels of success with a similar sound at the same time as Bad Boy was Master P and his No Limit label in New Orleans, as well as the New Orleans upstart Cash Money label. Three 6 Mafia, Lil Jon, Pitbull, and Crime Mob released "crunk" CDs.

By the turn of the century, the style of gangsta rap pioneered by N.W.A. had long given way to materialism regarding money, women and cars. Gangsta rap was hugely popular in the mainstream during the mid-2000s, propelled by 50 Cent's influential Get Rich or Die Tryin' album, which contained "catchy" and melodic music that helped its success on pop charts, while rapping about themes of guns and wealth.

2007–2012: Kanye vs. 50 Cent battle, mainstream decline
By the late 2000s, alternative hip hop had secured its place within the mainstream, due in part to the declining commercial viability of gangsta rap. Industry observers view the sales race between Kanye West's Graduation and 50 Cent's Curtis, both released on September 11, 2007, as a turning point for hip hop. Kanye West emerged the victor, selling nearly a million copies in the first week alone, proving that innovative rap music could be just as commercially viable as gangsta rap, if not more so. Cyhi the Prynce called it the "biggest shift in our culture" and that it led to the sound of new rappers like Drake. Although he designed it as a melancholic pop album rather than a rap album, West's subsequent release 808s & Heartbreak would have a significant effect on hip hop music. While his decision to sing about love, loneliness, and heartache for the entirety of the album was at first heavily criticized by music audiences and the album was predicted to be a flop, its subsequent critical acclaim and commercial success encouraged other mainstream rappers to take greater creative risks with their music.

During the release of The Blueprint 3, New York rap mogul Jay-Z revealed that next studio album would be an experimental effort, stating, "... it's not gonna be a #1 album. That's where I'm at right now. I wanna make the most experimental album I ever made." Jay-Z elaborated that like Kanye, he was unsatisfied with contemporary hip hop, was being inspired by indie-rockers like Grizzly Bear, and asserted his belief that the indie rock movement would play an important role in the continued evolution of hip-hop.

2012–present: Rise of drill, trap, chicano rap
In the 2010s, a new form of gangsta rap known as drill emerged from the Midwest, gaining popularity via rappers such as Lil Durk, Chief Keef, Lil Reese, King Von, Polo G and G Herbo. West Coast rapper Vince Staples is part of the new generation of rappers that is influenced by G-funk. Vince Staples' conscious rap album Summertime '06 (2015) reflects the "challenges of racism, injustice, and violent fallouts in his childhood neighborhood". T.I, Rick Ross, Future, and Gucci Mane released new rap style "trap" CDs.

Charlie Row Campo released "Stop Studio Gangstas" album. Other Afroamerican and Chicano gangsta rappers who gained small success or big success include XXXTentacion, Kendrick Lamar, Ms Krazie, Knight Owl, Chino Grande, Lil Rob, Mr. Criminal, Mr. Capone-E, Mr. Sancho, ShooterGang Kony, Mozzy, YNW Melly, Pusha T, Nsanity, Jeezy (Young Jeezy), YG, Nipsey Hussle, Migos, Freddie Gibbs, Meek Mill, A$AP Mob, Jay Rock, ScHoolboy Q, 21 Savage, Kodak Black 6ix9ine, Blueface, NBA Youngboy, NLE Choppa, Pop Smoke, Young Dolph and BlocBoy JB.

Gangsta rap's pioneers have met success in other forms of pop culture as well. In 2016, N.W.A was inducted to the Rock and Roll Hall of Fame. They were followed up by the late Tupac Shakur in 2017 who was inducted as the first solo hip hop act, under his first year of eligibility as a nominee. Other Rock and Roll Hall of Fame Hip-Hop Acts include the 2007 induction of Grandmaster Flash and the Furious Five, who are considered pioneers of expanding the sound of Hip-Hop from disco inspired partying, to street reality that inspired social change. The 2009 induction of Run-DMC to the Rock and Roll Hall of Fame opened the door for more Hip-Hop inductions, as they were followed up by the 2012 induction of Beastie Boys, and the 2013 induction of Public Enemy.

Criticism and debate
The explicit nature of gangsta rap's lyrics has made it heavily controversial. There is also debate about the causation between gangsta rap and violent behavior. A study by the Prevention Research Center of the Pacific Institute for Research and Evaluation in Berkeley, Calif., finds young people who listen to rap and hip-hop are more likely to abuse alcohol and commit violent acts.

Critics of gangsta rap hold that it glorifies and encourages criminal behavior, and may be at least partially to blame for the existence of street gangs. Those who are supportive or at least less critical of gangsta rap hold that crime on the street level is for the most part a reaction to poverty and that gangsta rap reflects the reality of lower class life. Many believe that the blaming of crime on gangsta rap is a form of unwarranted moral panic; The World Development Report 2011, for instance, confirmed that most street gang members maintain that poverty and unemployment is what drove them to crime; none made reference to music. Ice Cube famously satirized the blame placed on gangsta rap for social ills in his song "Gangsta Rap Made Me Do It". Many gangsta rappers maintain they are playing a "role" in their music like an actor in a play or film, and do not encourage the behavior in their music.

Moreover, English scholar Ronald A.T. Judy has argued that gangsta rap reflects the experience of blackness at the end of political economy, when capital is no longer wholly produced by human labor but in a globalized system of commodities. In this economy, gangsta rap traffics blackness as a commodifiable effect of "being a nigga". In other words, gangsta rap defines the experience of blackness, in which he locates in gangsta rap's deployment of the word "nigga", in this new global economic system as "adaptation to the force of commodification". For Judy, nigga (and gangsta rap) becomes an epistemologically authentic category for describing the condition of being black in the modern "realm of things".

Despite this, many who hold that gangsta rap is not responsible for social ills are critical of the way many gangsta rappers intentionally exaggerate their criminal pasts for the sake of street credibility. Rick Ross and Slim Jesus among others have been heavily criticized for this.

Hip-Hop Minister Conrad Tillard
In the 1990s and early 2000s, Nation of Islam Minister Conrad Tillard, known as the "Hip-Hop Minister," was an outspoken critic of hip hop lyrics that he perceived as degrading and dangerous to Blacks. He said such lyrics suggested "that we are penny-chasing, Champagne-drinking, gold-teeth-wearing, modern-day Sambos, pimps and players." He criticized hip-hop lyrics that portrayed American black communities as degenerate. He believed that in seeking to emulate the lyrics in gangsta rap, young Black Americans became victims of mass incarceration, violence, sexual exploitation, and drug crime.

In the 1990s, he started an organization called A Movement for C.H.H.A.N.G.E. ("Conscious Hip Hop Activism Necessary for Global Empowerment"), to advocate for "conscious hip hop activism".

After the drive-by shooting murder of rapper Tupac Shakur in 1996, Tillard organized a "Day of Atonement" event to advocate against violent themes in hip-hop music, to promote unity, and to celebrate Shakur's life. He invited rap group A Tribe Called Quest, Chuck D with Public Enemy, Kool Herc, Afrika Bambaataa, model Bethann Hardison, actor Malik Yoba, Bad Boy Records president Sean Combs, and rapper the Notorious B.I.G. There were an estimated 2,000 attendees.

Tillard also criticized the Reverend Al Sharpton and other civil rights leaders, calling them "hired guns" for not condemning rappers Sean Combs or Shyne Barrows. He also criticized the businessmen who supported that approach. He feuded with Def Jam founder Russell Simmons in 2001, accusing him of stoking violence by allowing the frequent use of words such as "nigga" and "bitch" in rap lyrics. Tillard organized a summit in Harlem over what he perceived as negative imagery in hip hop. Def Jam Recordings founder Russell Simmons organized a counter-summit, urging the public not to "support open and aggressive critics of the hip-hop community".

2Pacalypse Now controversy
In 1992, then-U.S. Vice President Dan Quayle blasted the recording industry for producing rap music he believed led to violence. Quayle called on Time Warner Inc. subsidiary, Interscope Records, to withdraw Tupac Shakur's 1991 debut album 2Pacalypse Now from stores. Quayle stated, "There is absolutely no reason for a record like this to be published—It has no place in our society." Quayle's motivation came in light of the murder of a Texas state trooper Bill Davidson, who had been shot by Ronald Ray Howard after he had been pulled over. Howard was driving a stolen vehicle while songs from 2Pacalypse Now were playing on the tape deck when he was stopped by the officer. The family of Davidson filed a civil suit against Shakur and Interscope Records, claiming the record's violent lyrics incite "imminent lawless action". District Judge John D. Rainey held that Shakur and the record companies did not have the duty to prevent distributing his music when they could not reasonably foresee violence arising from the distribution, nor was there any intent for the usage of the music as a "product for purposes of recovery under a products liability theory". Judge Rainey concluded the suit by ruling the Davidsons' argument that the music was unprotected speech under the First Amendment was irrelevant.

C. Delores Tucker
Politicians such as C. Delores Tucker have cited concerns with sexually explicit and misogynistic lyrics featured in hip-hop tracks. Tucker claimed the explicit lyrics used in hip-hop songs were threatening to the African-American community. Tucker, who once was the highest-ranking African American woman in the Pennsylvania state government, focused on rap music in 1993, labeling it as "pornographic filth" and claiming it was offensive and demeaning to black women. Tucker stated, "You can't listen to all that language and filth without it affecting you." Tucker also handed out leaflets containing lyrics from rap music and urged people to read them aloud. She picketed stores that sold the music and handed out petitions. She then proceeded to buy stock in Time Warner, Sony and other companies for the sole purpose to protest rap music at shareholders meetings. In 1994, Tucker protested when the NAACP nominated rapper Tupac Shakur for one of its image awards as Outstanding Actor in a Motion Picture from his role in Poetic Justice.

Some rappers labeled her "narrow-minded", and some ridiculed her in their lyrics, notably Shakur, who mentions her multiple times in his diamond certified 1996 album All Eyez On Me. Shakur mentions Tucker in the tracks "Wonda Why They Call U Bitch" and "How Do U Want It", where Shakur raps "Delores Tucker, you's a motherfucker/Instead of trying to help a nigga you destroy a brother." Tucker filed a $10 million lawsuit against Shakur's estate for the comments made in both songs. In her lawsuit, she claimed that the comments were slanderous, caused her emotional distress and invaded her personal privacy. The case was eventually dismissed. Shakur was not the only rap artist to mention her in his songs, as Jay-Z, Eminem, Lil' Kim, the Game and Lil Wayne have all previously criticized Tucker for her opposition of the genre.

First Amendment rights
Gangsta rap has also raised questions of whether it is protected speech under the First Amendment to the United States Constitution, since lyrics may express violence and may be considered true threats. The Supreme Court ruled in Elonis v. United States (2015) that mens rea, the intent to commit a crime, is necessary to convict someone of a crime for using threatening words in a rap song.

In a notable case, rapper Jamal Knox, performing as "Mayhem Mal", wrote a gangsta rap song named "F*** the Police" shortly after he was arrested for gun and drug charges in Pittsburgh. The song's lyrics specifically named the two arresting officers, and included explicit violent threats including "Let's kill these cops cuz they don't do us no good". One of the officers, believing to be threatened, subsequently left the force.

Knox was convicted of making terroristic threats and of witness intimidation in a bench trial, and the conviction was affirmed by the Supreme Court of Pennsylvania, which held that the song's lyrics amounted to a true threat. Knox petitioned the Supreme Court of the United States to hear the case, and academics joined rappers Killer Mike, Chance the Rapper, Meek Mill, Yo Gotti, Fat Joe and 21 Savage in an amicus curiae brief arguing that Knox's song should be seen as a political statement and thus is protected speech. The Supreme Court declined review in April 2019.

German gangsta-rap
The gangsta-rap movement in Germany derived its roots from the '90s; since 2003–2004, it has become a successful subgenre of German hip hop. Contextually and musically, it borrows its influences from the French and US-based gangsta rap and battle rap. Although there is a certain correlation between street-rap and gangsta-rap, gangsta-rap is not considered as a derivative genre since it is only partially related to street-rap and has contextually little to do with the other subgenre.

History
Pioneers of the subgenre gangsta-rap, who have been active since the 1990s, are Kool Savas and Azad. Within the genre, they implemented an incredibly explicit, broken and aggressive text, that originally still had much influence from English text elements. This style of rap, after the turn of the century, was implemented by the majority of gangsta-rappers in Germany and is, therefore, a very well respected form on the approach of German gangsta-rap. On the other hand, Savas distanced himself from these vulgar and explicit texts. One of the founding fathers of German gangsta-rap, Charnell, the little-known rapper and martial-arts artist, thematized growing up in the midst of a social renaissance. Gangsta-rap in other countries, that resembled the music of the Rödelheim Hartreim Projekt in Germany, was commercially successful in the 2000s. Germany at the time, however, had few rappers active in this subgenre; allowing certain artists in the Berlin underground-hip-hop scene an opportunity to establish themselves with their lyrics representing a certain hardship acquired through the criminal lifestyle which had previously been popularized. Recognizable names from the underground scene are Bass Sultan Hengzt, Fler, MC Bogy or MOK. Another notable rapper and pioneer of gangsta-rap in Germany is Azad. Although he came from the rural Frankfurt am Main, he was a big reason this subgenre became popular in Germany. In his lyrical text, he thematized the rigid and rough lifestyle of living in the northwest district of Frankfurt.

At the beginning of 2003, the process of commercialization of this subgenre began. Contrary to popular belief, a variable of the German gangsta-rap became popular before the actual subgenre itself did. When Sido, a notoriously known rapper from Berlin, released his album Maske which thematized gangs, drugs and violence, this album became the first of its genre to sell 100,000 copies. Following that album Sido released another two named Ich and Ich und meine Maske which both had over 100,000 sold copies and emphasized the success of his first album.

Following the success of Sido and his albums, Bushido became the next artist to emerge from the German gangsta-rap scene. He established himself a career and became the most important representative of German gangsta-rap of his time. Aggro Berlin, the label those two artists were both represented by, stated that this version of rap was the second, more aggressive evolution of German hip-hop. Bushido's albums Carlo Cokxxx Nutten with Fler and Bushido's debut album Vom Bordstein bis zur Skyline had relatively little success although the prominent topics on his album reflected directly with the themes that made Sido popular.

Following the continuous success of Sido and Bushido came a wave of rappers who were trying, with the help of major-labels, to establish themselves and be recognized by the populace. Eventually came Massiv, who was signed with Sony BMG, and was crowned by his label to be the German 50 Cent. This artist did not reach the success of 50 Cent. Further artists such as Baba Saad or Kollegah have since then established themselves as relatively successful in the German charts. As of recently, names such as Farid Bang, Nate57, Majoe & Jasko and Haftbefehl have appeared on the charts regularly.

Road rap
Road rap (also known as British gangsta rap or simply UK rap) is a genre of music pioneered in South London, primarily in Brixton and Peckham. The genre was pioneered by groups such as PDC, SMS, SN1, North Star, MashTown, U.S.G. and artists such as Giggs, K Koke, Nines and Sneakbo. The genre came to the fore as a backlash against the perceived commercialisation of grime in the mid-late 2000s in London. The genre came to prominence around 2007 with the rise of Giggs. Road rap retained the explicit depictions of violence and British gang culture found in some early grime music and combines it with a musical style more similar to American gangsta rap than the sound system influenced music of grime, dubstep, UK garage, jungle, reggae and dub.

Gangs played a large part in the genre, with gangs such as the Peckham Boys (with its various sets such as SN1, PYG and OPB), based in Peckham and GAS Gang, based in Brixton, becoming notable in the road rap scene during the 2000s.

The road rap scene centres around mixtape releases and YouTube videos with some of the genres more popular acts getting mainstream recognition. The genre has been criticised for the relentless nihilism and violence in its lyrics as well as its links to gangs and gun crime with many rappers serving prison sentences. In keeping with grime, road rap has suffered from pre-emptive policing with Giggs claiming that the Metropolitan Police have set out to deny him the opportunity to make a living from music having banned him from touring. In 2011, Stigs was served the first ever gang injunction that banned him from rapping about anything that may encourage violence.

In the early 2010s, the American genre drill began to emerge in the UK, pushed by groups such as 150, 67 and Section Boyz. UK drill has been referred to as subgenre of road rap due to the influence it has had on the genre. Road rap also went on to influence afroswing, which emerged in the mid-2010s.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Gangsta rap