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Franchising Trade Journals do not do well, because today with all the industry regulations only about 1800 active franchise actually exist in the US. Down sharply over the past five years. Why? Over-regulation. Now you have a Bank Cooperative, which owns a company that collect data, FranData of Uniform Franchise Offering Circulars, which are the industries required disclosure documents to new franchise buyers. The company sells it to attorneys and to competitors of which many probably are financed through that bank. My God can this be real. Then they work with industry Trade Journals to do Top 50 franchises lists, but to be qualified to be reviewed they of course wish to see your UFOC; Uniform Franchise Offering Circular. So what is the deal with this purported 50 Fastest New Franchise List? Is it real? Does it matter if it is? After all once a Franchisor decides to participate they have just given their life's work to someone who will sell the data including the names addresses and phone numbers of each and every one of your franchisees to your competitors or to franchise industry salesmen who will never stop harassing you or your company and to the over seas competitors who want to come into this country and take you customers and end use customers of your franchise families income. You think this is acceptable? It is unbelievable to think that this is acceptable, in a time when Accounting Firms and Agencies cannot advise and audit or a time when the NYSE is splitting up it's executive and regulating boards. This whole thing smells of Conflict of interest, anti-trust laws, misrepresentation of intent. Meanwhile the SBA, a government agency, paid by us is paying this company or has given them an exclusive to collect this data for their SBA registry of franchising companies to streamline loan application process times? Holly conflict of interest; can you believe that the industry has there penis so far up the regulating agencies rear end that they allow this? Then a lady who called our company had the nerve to ask us to participate with them in a survey, so she can help us get more publicity? No; so their company can give away our information to those companies who cannot compete with us head on in the market place, because they are either to incompetent or too lazy to offer better service and lower prices to the consumer. Instead they are willing to pay for all our secrets via a group financed by government contracts at the SBA, which is really involved in industry spying? Wow, for an agency like the SBA which is suppose to help people in achieving their American Dream, they have allowed and exclusive contract to a company that wants to put the screws to the next Ray Kroc, up and coming franchise concept? Pathetic, typical Washington, "It's who you know and who you BLOW" attitude, literally. You can bet that http://www.Franchising.org is going to get to the bottom of this, meanwhile if you are an up and coming franchisor and you want to succeed, then realize who you are dealing with before you allow the important data that makes your business possible out of your sight. Franchise Buyers must be screened carefully, do not hand over your information, data, financial audit, or profile without weighing the benefits first. Be sure to ask questions of these companies who claim to be helping you in some way? Yah sure, they are going out of their way to help you? Since when has anyone besides a new franchisor; ever done that in your life? Since when has someone gone out of their way to assist you in building your franchise company? What we see here is an undermining of the entire Friedman Economic Model, which dictates free markets, which is run by a company which profits from screwing over the little guy. Last time I checked it was new smaller businesses and expanding businesses, which provided jobs. Not the government or attorneys, speaking of which wasn’t it great watching that lawyer hide behind the tree the other day trying not to be shot buy a guy he ripped off; I think that happened at a California court house last year? In my opinion FranData a subsidiary of the National Bank Cooperative is violating the intent if not the letter of the law as it relates to anti-trust. And it is our opinion that only a D.C. Company could get way with such a conflict of interest working in cahoots with a government agency, which literally gives out money. Have you seen the fall out rates of SBA loans? It is also our opinion that we were lied to by FranData for them to secure more information from our company to give, actually sell, to our competitors. What started out as a nice contract for a Black African American businessman has been manipulated and then sold to a Bank Cooperative, which uses this data through a subsidiary to profit of the sale of said data to competitors. Does this affect our team? Our Company, the franchise business I have been working on for 27 years? Well, it could if we give our data to these people to sell online. But still these companies buying the data will see we do not take prisoners in the marketplace. However for a small franchisor starting out, it could spell disaster. Every time we see these things, we are more resolved to get out there and kick ass against those who manipulate the system, break the law or think they can take the easy way out to compete with us. My advice for this new franchise entrepreneur, Watch Out, things are not as they appear and it is politics as usual in the Belt Way. Think about it. Additional thoughts on this subject www.parthe.net/_fr0202/00000019.htm www.parthe.net/_fr0202/0000001d.htm www.parthe.net/_fr0202/00000013.htm www.parthe.net/_fr0202/00000023.htm www.carwashguys.com/073102_1.shtml penis enlargment tool health pro solution free magna rx penile enlargment before and after picture free penis elargement tip pnis enlargement before and after photo penis elargement technique penis enlargment testimonials

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Gangster rap, or hardcore rap, is generally considered a sub genre of the larger category of rap music, which itself is a subcategory of hip-hop. Gangster rap is differentiable from other rap music in that it makes use of images of urban life associated with crime (Haugen, 2). According to the Encyclopedia Britannica definition of gangster rap, the top four images associated with the genre are violence, drugs, materialism and sexual promiscuity. Gangster Rappers as Defining the Hip-Hop Social Group As the hip-hop movement has gained recognition throughout the United States, it has established itself as one of the fastest growing social groups anywhere. In the late 1990s immediately following the murders of both Tupac Shakur and Christopher Wallace, two nationally known gangster rappers, a propaganda campaign escalated against rap music and the hip-hop culture (Slaughter). Although gangster rap only represented a small percentage of the hip-hop culture at the time, all hip-hop and rap music was instantly stereotyped negatively as being “gangter-like”. Why? Well, this gangster version of hip-hop was the highest selling and most recognized form of hip-hop music among the majority class. And many critics have determined that this is because America is in love with sex, drugs and violence (Whaley). Hip-Hop’s Rejection of Inferior Social Group Status Henri Tajfel, a social psychologist who developed a theory of inter-group relations and social change, argues that members of a social group deemed inferior by a majority class can either accept or reject their inferior position in society. If a group refuses to accept its inferior position in society as just, it will attempt as a group to change things (Coates, 8-9). A large number of hip-hop artists have used their musical lyrics to reject the inferior social status placed upon them by the majority class. The Reconstruction of the Gangster Identity I have found that hip-hop artists use lyrics, both musical and poetic, to redefine the negatives characteristics given to their culture by the majority class, and in the process, reconstruct the gangster identity. By examining these hip-hop and gangster rap lyrics as text, I will show ways in which the lyrics attempt to reconstruct the stereotyped gangster rap identity by examining different views of violence, drugs, materialism and sexual promiscuity. In the end, one tends to wonder: Who exactly are the real gangsters? Violence That the hip-hop culture represents gangster-like violence is perhaps the biggest disputed claim amongst hip-hop artists. In order to disprove this claim, many hip-hop artists have pointed to the violence that exists within the majority social group, and how it leads to violence all over the world. In “Violence”, 2 Pac demonstrates his belief that violence was prevalent long before gangster rap existed: I told em fight back, attack on society If this is violence, then violent's what I gotta be If you investigate you'll find out where it's comin’ from Look through our history, America's the violent one Here, the poet points to American society as “the violent one” and that he has to be violent in order to “fight back.” In “Who Knew”, Eminem showed a similar viewpoint by expressing his belief that violence is a common occurrence in American society, yet not challenged in genres outside of the urban environment: So who's bringin’ the guns in this country? I couldn't sneak a plastic pellet gun through customs over in London And last week, I seen a Schwarzaneggar movie Where he's shootin’ all sorts of these bad guys with an Uzi Here, the poet questions the existence of violence in a country that allows firearms and violent movies. In “Casualties of War”, Rakim blames the United States government, specifically its Head of State, as the group causing the violence in society with their war-like ways: I'ma get back to New York in one piece But I'm bent in the sand that is hot as the city streets Sky lights up like fireworks blind me Bullets, whistlin’ over my head remind me... President Bush said attack Flashback to Nam, I might not make it back In this text, the poet refers to our country’s decision to go to war as an example of the violence that exists amongst the majority social class. In “The Watcher”, Dr. Dre redefines the negative characteristic of violence by pointing to the police force as the source of violence, and therefore, referring to them as “gangster-like”: Things just ain't the same for gangstas Cops is anxious to put people in handcuffs They wanna hang us, see us dead or enslave us Keep us trapped in the same place we raised in Then they wonder why we act so outrageous Run around stressed out and pull out gauges Cause everytime you let the animal out cages It's dangerous, to people who look like strangers Here, the poet accuses the majority class of keeping them “trapped in the same place we raised in” and that the perceived violence is only due to the introduction of “people who look like strangers.” These are examples of how hip-hop artists redefine the image of violence by showing how it exists or was created within the majority social group. Drugs Another common disputed stereotype of hip-hop artists is their use and distribution of illegal drugs. In attempts to redefine this negative characteristic, many hip-hop artists have pointed at the majority social group as the facilitator of drug abuse. In “Justify My Thug”, Jay-Z speaks directly to members of government, raising questions about who has made the availability and use of these drugs possible: Mr. President, there's drugs in our residence Tell me what you want me to do, come break bread with us Mr. Governor, I swear there's a cover up Every other corner there's a liquor store - what is up? In this example, the poet inquires as to why there is a liquor store in “every other corner” of his community. In “I Want to Talk to You”, Nas uses the same approach to challenge the notion of drug distribution by asking his representatives what they would do in his situation: Why y'all made it so hard, damn People gotta go create their own job Mr. Mayo,r imagine if this was your backyard Mr. Governo,r imagine if it was your kids that starved Imagine your kids gotta sling crack to survive Here, the poet claims that the distribution of drugs is not only an effect of the poverty that exists in his environment, but also a means of survival. In “Manifesto”, Talib Kweli actually accuses the government of being the body which allows drugs into the country: Like the C.I.A. be bringin’ in crack cocaine bailin’ out of planes With the George Bush connections, I push Reflection Like I'm sellin’ izm, like a dealer buildin’ the system Supply and the demand it's all capitalism People don't sell crack cause they like to see blacks smoke People sell crack cause they broke In this example, the poet accuses the C.I.A. of flying drugs into the country, and again reiterates the point that it is a means of survival due to the “supply and demand” of a capitalist society. In “Damn It Feels Good to be a Gangster”, the Geto Boys fully redefine the negative characteristic of drug distribution by accusing the President of being a drug dealer, and therefore, a gangster: And now, a word from the President! Damn it feels good to be a gangsta Getting’ voted into the White House Everything lookin’ good to the people of the world But the Mafia family is my boss So every now and then I owe a favor gettin' down Like lettin' a big drug shipment through And send 'em to the poor community So we can bust you know who These examples show how hip-hop artists redefine the image of being drug dealers and users by again pointing to the majority class as the creator of the drug problem in this country. Materialism Hip-hop music is also seen by the majority class as a genre dominated by materialism. Again, artists point back to the majority class in an attempt to redefine this negative characteristic. In “Respiration”, Black Star points to all the wealth surrounding urban areas, and how it absorbs the lower class in materialism, making them want parts of that wealth: Where mercenaries is paid to trade hot stock tips For profits, thirsty criminals take pockets Hard knuckles on the second hands of workin’ class watches Skyscrapers is colossus, the cost of living Is preposterous, stay alive, you play or die, no options Here, the poet talks about various materialistic aspects of the majority class, and how the lower class must “play or die” to “stay alive.” In “All Falls Down”, Kanye West actually blames this materialism on American society: It seems we living the American dream But the people highest up got the lowest self esteem The prettiest people do the ugliest things For the road to riches and diamond rings In this example, the poet blames the “American dream” for materialism, saying it causes people to “do the ugliest things” for “riches and diamond rings.” In “Los Angeles Times”, Xzibit also blames this materialism on the majority class, claiming that is what the youth are taught coming up in urban environments: Welcome to L.A. Where you can see the whole city burning Cause the cops got Uzis and the dealers keep serving And your kids ain't learning it, except this Sex power and wealth, forget everything else Here, the poet expresses his belief that certain aspects of materialism, including “power and wealth” are taught to children through occurrences in society. These are examples how hip-hop artists redefine the negative characteristic of being materialistic by showing examples of how this materialism is prevalent in the majority class, and often created within that class. Sex And the final debated stereotype of the hip-hop social class is that they are sexually promiscuous, often leading to disrespectful treatment towards women. The poets also attempt to redefine this stereotype by blaming the core of the problem on society. In “Pussy Galore”, the Roots claim that the country’s obsession with sex is pushed by sexually-driven marketing campaigns: Lookin' out the limo window up at the billboards 200 miles, she was the only thing I saw Promotin' everything, from the liquor to the nicotine Cell phones, anti-histamines, chicken wings You gotta show a little skin to get them listening For real yo, the world is a sex machine In this example, the poet retells a personal experience in which he saw sex advertisements as “promotin’ everything.” And in order to “get them listening”, he claims, “you gotta show a little skin.” In “Get By”, Talib Kweli blames this sexual obsession on what we view on television: The TV got us reachin’ for stars Not the ones between Venus and Mars, The ones that be readin’ for parts Some people get breast enhancements and penis enlargers Here, the poet expresses his belief that television creates a misconception of what people should be sexually, and that contributes to the promiscuity that is being blamed on the hip-hop movement. Hip-hop artists have used their lyrics and poetry to influence the rejection and reconstruction of the gangster identity that plagues their social class. This is accomplished through the redefining of negative characteristics assigned by the majority class. In most cases, these redefinitions include pointing to the majority class as the real holders of these negative characteristics. The redefining of these “gangster-like” images through hip-hop lyrics helps to reconstruct the gangster identity by questioning “gangster-like” behaviors and which social class actually has these behaviors. So the question presented is: Who exactly are the gangsters? Works Cited / Discography 2 Pac. 2Pacalypse Now. Jive Records, 1991. Black Star. Mos Def & Talib Kweli are Black Star. Rawkus Records, 1998. Coates, Jennifer. Women, Men and Language. Longman Publishing, New York: 1993. Dr. Dre. The Chronic 2001. Interscope Records, 1999. Eminem. The Marshall Mathers LP. Interscope Records, 2000. Geto Boys. Uncut Dope LP. Interscope Records, 1999. Haugen, Jason. “‘Unladylike Divas’: Language, Gender and Female Gangster Rappers.” Popular Music and Society: December, 2003. Jay Z. The Black Album. Def Jam, 2003. Kanye West. College Dropout. Roc-A-Fella Records, 2004. Nas. I Am. Sony Records, 1999. Rakim. Don’t Sweat the Technique. MCA Records, 1992. Rawkus Records. Lyricist Lounge Volume 1. Priority Records, 1999. Slaughter, Peter. “Attack on Rap Music.” Barutiwa Weekly News. June 14, 1997. Talib Kweli & DJ Hi-Tek. Train of Thought. Rawkus Records, 2000. Talib Kweli. Quality. Rawkus Records, 2003. The Roots. Phrenology. MCA Records, 2002. Whaley, Angela. “Hip Hop is Not for Sale.” Colorado State University’s Talking Back: Volume 3, Issue 1. Xzibit. 40 Days and 40 Nights. Loud Records, 1998.