“The words I speak have scared many people to this stage.”Īn underlying theme in much of Ice-T’s music during this portion of his career was utter disdain for pretending to be what they’re not, as well as those who compromise their principles in pursuit of financial success (or “sell out”). “What's more powerful-the brain or a twelve gauge?” he ponders. Over blaring horns and dirge-like keys, he speaks to the power of the mind and ideas, expressing how they can be used to take out sucker emcees, inspire action, and even oppress others. On “Lethal Weapon,” the album’s first single, Ice-T also speaks to the power of his words, likening the potency of his raps to the force of bullets. Ice-T even more directly attacks these pro-censorship forces on “Freedom of Speech.” He exudes pure, raw anger over spare drums and itchy guitar licks, calling the PMRC a bunch of “stupid, fucking assholes” and declares, “Think I give a fuck about some silly bitch named Gore?” He directs more venom at Columbus, Georgia, announcing, “You can suck my dick! You ain’t nothing but a piece of fucking shit on the damned map!” Between the insults thrown at these opponents, he asserts his overriding right to express his opinion, rapping, “I'm gonna tell and rebel every time I’m on a / Microphone on the stage cold illing / The knowledge I drop will be heard by millions.” The album-opening “Shut Up, Be Happy” paints a picture of the imagined dystopian hellscape, as he pairs a spoken-word piece by the Dead Kennedys’ Jello Biafra with a sample of Black Sabbath’s “Black Sabbath.” An ominous voice informs the population that “All Constitutional rights have been suspended,” and the government representatives will be along shortly to collect urine samples. Ice-T was beginning to run afoul of Tipper Gore’s Parent Music Resource Center (PMRC) and was nearly arrested in Columbus, Georgia for violating their “anti-lewdness” ordinance while performing at a concert, for the “crime” of cursing while on stage.Īs a result, Ice-T began positioning himself as a free-speech activist, warning of the consequences of limiting the right to expression. We were still about a half a year away from 2 Live Crew’s obscenity trail and subsequent arrest, but things were headed in that direction. Hip-Hop was slowly gaining more nationwide acceptance, as hip-hop albums were frequently going platinum or gold, rappers were staging nationwide tours, and MTV was broadcasting Yo! MTV Raps.Īt the same time, “parents groups” and ultra-right wing religious organizations increasingly had rappers in their sights. The Iceberg was released during a time when both the national prominence of hip-hop music and the efforts to censor it were on the rise.
In this environment, he released The Iceberg/Freedom of Speech… Just Watch What You Say, an album fueled by his overwhelming desire to educate and speak his mind, coupled with his desire to offend his critics’ delicate sensibilities. Ice-T saw himself as an artist under attack on three separate fronts: the police department, parents, and “activist” organizations were becoming increasingly hell-bent on limiting access to rap music, and his music in particular. Ice-T had established that he was comfortable coming from either angle on his albums, especially with his second LP Power (1988).
However, the rise of politically aware groups like Public Enemy and Boogie Down Productions demonstrated the importance of social commentary within hip-hop music. The prominence of artists like N.W.A showed that “Gangsta Rap” was as strong as ever. Happy 30th Anniversary to Ice-T’s third studio album The Iceberg/Freedom of Speech… Just Watch What You Say!, originally released October 10, 1989.Īs the 1980s drew to a close, Tracy “Ice-T” Marrow seemed to sense that the landscape was changing.
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