With a ghetto background that allegedly involved numerous counts of illegal activity in his past and taking on a name derived from Iceburg Slim with a mean caustic wit, Ice-T set himself up to declare himself the original gangsta rapper' (but truth is he wasn't the first but he did manage to invent the potent west coast' style of it). In his original configuration of the act as a rapper he raised the ire of the PMRC for his lyrics and style of glorifying criminal activity in albums like Rhyme Pays (1987). Power (1988) was more mature but the follow-up Girls L.G.B.N.A.G. (Let's Get Butt Naked And Fuck) set the bar back down again, mind you, it was hardly his most offensive set - he clearly wasn't done yet. The follow-up was his first real attempts at moving into the Rock/Metal realm for 1989's The Iceburg: Freedom Of Speech was his statement defending his rights against the PMRC, with the follow-up O.G. Original Gangster (1991) making top 5 in the U.K. His argument has always been that he tells it the way it is, but it was more likely just a lame excuse for the glorification of criminal activities and objectifying women.
Thinking he had gone to the limits in Hip Hop, and probably reversing the work of Chuck D., he moved into Heavy Metal full-time, another genre not known for it's tolerance either. Recruiting the membership of him (Ice-T) on vocals with Bernie C. on lead guitars, D-Roc (rhythm guitar), Mooseman (bass) and Beatmaster V' (drums). His debut under the moniker of Body Count was a heavy as hell Rap-Metal hybrid that pushed the envelope farther, most likely as he wanted, on his self-titled Body Count album of 1992 with tracks like Momma's Gotta Die Tonight, a track that addressed racism and was relatively harmless overall, but the album was just getting started. Other tracks on the disc got more notoriety, however, with KKK Bitch getting the disc banned on store shelves. But the track that threw the shit squarely at the oscillating fan was Cop Killer, the ditty about killing men in blue uniforms. While the infamous LAPD objected (who incidentally were hardly in a moral position to do so), President George Bush and Vice President Dan Quale waded into the conversation by stating (more or less) that the entertainment industry should censor such artists. But the final straw was with Warner Bros.' (his label) when staff members started receiving death threats. In his defense, fellow indie acts Sonic Youth, Ministry and Beastie Boys took out a full-page ad in the trade paper Daily Variety with the slogan How Does Dan Quayle Spell Censorship. I-C-E-T. Needless to say Warner Bros.' gave him the boot with subsequent editions of the albums missing the offending track. Ice-T took his business to Virgin' for his less inflammatory follow-up Born Dead (1994).
After taking a break to write a book and host a TV documentary of Blaxploitation and show Baadaass TV he would return, now apparently targeting people of the Jewish faith on VI: Return Of The Real (1996) with the line up change of Griz (bass) and O.T. (drums) taking over from the incumbents to be featured on Violent Demise (The Last Days).