It’s fairly groansome – not quite the end of the line of a bunch of stand & deliver knockoffs (the awesome/hilariously bleak samuel jackson vehicle 187 is probably the end of the line there). « SIMPLY RED – “Fairground” ROBSON AND JEROME – “I Believe”/”Up On The Roof” » Comments 1 2 3 4 » All Whatever sympathy we feel for him, however well he tells his story, Coolio’s character is a lost soul. LV’s sorrowing chorus – “the ones we hurt are you and me” – lays it down, the gothickry of the horrorcore choir piles it on. Instead “Gangsta’s Paradise” is grand pop theatre, without much subtlety but with a clear moral stand. But this is far from hardcore hip-hop, nothing like the paranoid tabloid take on ‘gangsta rap’. Its success – the first really satisfying hip-hop Number One – and the gulf between its subject matter and anything else in the Top 40 does suggest how weak and backwards the charts might have sounded to anyone interested in rap. This makes “Gangsta’s Paradise” sound nihilistic – but it’s only uncompromising or chilling in the context of the rest of pop.
But the contempt with which Coolio spits “frontin’” makes it more like a slap. It’s a nod to the film “Gangsta’s Paradise” comes from, Dangerous Minds, in which Michelle Pfeiffer plays the tough but fair white teacher redeeming hood kids with Bob Dylan lyrics. By the end of the verse he’s shrugging them off – “what can I say?” And the final, hopeless conclusion he comes to about the establishment who want him to change: “They say I gotta learn but nobody’s here to teach me / If they can’t understand it, how can they reach me? / I guess they can’t / I guess they won’t / I guess they frontin’” – the verse running rapidly through the gears, from despair to anger.
Two other examples: the top of the second verse, where he jumps from glib explanation to glib explanation – welfare, peer pressure, TV, money – none of them ringing completely false or true: he doesn’t sound quite like he believes them himself. “Me be treated like a punk, you know that’s unheard of”: he knows a bad role model, a screw-up, but he’s got his pride. He’s playing a man whose first impulse is to self-knowledge and self-analysis, but whose second impulse is always to anger, and each verse leaves him long enough to see the one switch to the other. And that’s what happens to Coolio’s character here. They simply shut up, letting the interviewee carry on, expanding their story, filling in blanks, turning back on and contradicting themselves. Researchers and other interviewers have a well-known – and no less effective for that – technique for getting the most out of their subjects. But what really makes it work is Coolio’s storytelling and self-justification. This song earns its sample, in other words. They turn the 1976 track from sermon to single. The stern, basic backbeat makes Wonder’s strings hit hard, the bassline gives the track a sinister momentum “Pastime Paradise” never had. If “Gangsta’s Paradise” were only didactic it wouldn’t be effective, and it wouldn’t be great pop. It wants you to remember how sweet soul could be in the early 70s, and then it wants to tell you, as straight as it can, why it can’t be that way now. And “Gangsta’s Paradise” deliberately forces Stevie Wonder’s conscious, anti-materialist soul music into dialogue with that more brutal context. Isolating musical developments is a luxury: it means ignoring music’s social and economic context. With that reading, Coolio using Stevie Wonder’s beautiful “Pastime Paradise” so fully was flaunting rap’s supposed lack of creativity.
Coolio gangsta paradise was realeased full#
For some critics, to draw a line from Stevie Wonder to hip-hop was to trace a decline: to tell the story of black American pop’s lost soul, from a 70s full of hope, warmth and conscience to a present day of seeming aggression and amorality. Coolio was 32 when “Gangsta’s Paradise” came out, but the man he’s voicing is 23 – born in ’72, then, the year Stevie Wonder released Talking Book.
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