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a Stop the Violence campaign--with song, record, and concerts--and published an article which argues that it is new technologies of violence that make it more lethal, that violence is thus a social problem that must be addressed, and that we must gain knowledge of what is accelerating violence, and then how to control the technologies and social conditions that are accelerating violent incidents. [8] For many rappers, it is time to wake up, a time to do something, a time to get educated as to what is happening, a time to think and act for oneself. "Don't believe the hype!" and "Fight the Power!" shouts Public Enemy. While some rap is sexist, some is mediocre, and some is just plain silly, the best rap music is intensely political and incarnates what Herbert Marcuse (1964) described as "the great refusal," refusing to submit to domination and oppression. Rap songs frequently invoke groups that are doing something, as well as the black radical heroes and traditions of the recent past, such as Malcolm X, the Black Panthers, H. Rap Brown, and MLK. Thus, certain forms of rap, like Public Enemy, are good examples of a political form of postmodernism that turns the forms of media culture against the established society. On the other hand, there are more apolitical, narcissistic, sexist rappers like 2 Live Crew and Snoop Doggy Dogg who are consistently derogatory toward women, portraying them as good only for sex, and who are looking primarily for good times. Snoop's lyrics and cover art cartoons are a panegyric to a hedonistic lifestyle of gin and juice, chronic (highly potent weed), cars, sex, and money. The world of danger, paranoia, suffering, and oppression that Tupac has underscored is largely absent in the exploits of Snoop and the Dogg Pound. Snoop revels in his distance from it all. As the chorus in "For All My Niggaz & Bitches" celebrates: "Put your hands in the air/We don't care/About nothin' at all/Real niggers don't give a fuck nigger." Such attitudes have erased the distinction between pessimism and apathy. Like many other rap artists, Snoop is obsessed with being a "G," a gangster, a lawbreaker who smokes dope and kills with impunity. Indicative of the situation in the inner cities, his rage is directed against fellow blacks, not whites, and he brags "I never hesitate to put a nigger on his back" -- as he does on Doggystyle in an argument over a woman, and as he was prosecuted for in real life, before being acquitted. Snoop's rhythms are infectious, and his rhymes clever indeed, but his lyrics put women through a verbal shredder similar to the infamous Hustler cover featuring a naked woman being ground into meat. Doggystyle's cartoon-art portrays a woman merely as a hole to be filled by the man and the songs have hundreds of disparaging remarks toward "'ho's" and "bitches." In "Ain't No Fun, for example, Snoop and the pound swagger: I have never met a girl that I love d in the whole wide world. Well if [I] gave a fuck about a bitch I'd always be broke, I'd never have no motherfuckin' Indo to smoke ... I have no love for her, that's something that I had in the past, you're just the latest 'ho. Now that pussy's mine, so I'll fuck it a couple mo times, and then I'm through with it, there's nothing else to do with it, pass it to the homies ... It ain't no fun if the homies can't have none ... Use of the terms "bitches" and "'ho's" replicate sexism and oppression within the black community, showing