Well let me put it to you this way. "New Jack City" is actually a very effective fictional portrayal of the Paid In Full Posse style gangs that were overtaking urban cities in America fueled on crack sales. And you can actually tell that Wesley Snipes based his character not off of people like Azie or Alpo but rather on Big Daddy Kane. Which is actually profound, as Kane most definitely KNEW these guys through Marley & Magic. But you ask anyone who's seen that movie, they know who are the good guys or bad guys, but nobody thinks Ice-T was the star, you know? (It's actually got a perfect sort of companion in Ferrara's "King Of New York" where Snipes plays the rogue cop and there you have someone deciding there's NOTHING sympathetic about these guys. Mario Van Peebles at least took the effort of painting Nino as an evil figure despite his nobility.)
So in that regard, look at your Boyz, Colours, Menace. You see all these more admirable, noble street types like Doughboy, and you also see demonic cops such as Sean Penn in Colours being the young OTT ready to kill the people he's supposed to police. It's reminiscent of people's criticism of police in Ferguson, or even more present-day Police criticisms in The Wire, and that's already the 80s. 30s years in America, and the urban community still thinks the police view its underprivileged citizens as 'the natives' while they occupy space, 'the war on drugs' as a sort of inner-American colonialism.
So look back again at those films, you can say "Yeah, they tell you they're the bad guys." but they made those people humans that are identifiable with heroic qualities. And I'm not trying to demonize the people in those gangs, but they sold the Bloods and Crips as a new American Outlaw the same way they did the Mafia. But does the Mafia have a way of marketing themselves as entertainment? No, because they thrive off of secretly dominating their community. Not everyone in the Bloods and Crips were looking to dominate their community, its why they don't function the same way (I remember Snoop having to discreetly allude to being in the Rolling 60s on Howard Stern, and nobody understood how the Crips aren't hierarchic in the same way as traditional views of organized crime), so rap brought them a method of escape. Look at people as talented as DJ Quik. It's a dangerous situation when you create this exchange.
"Do The Right Thing" isn't really a great example of Native Tongues aesthetic as cinema, though I'm not sure what is. Native Tongues is kind of like an artistic movement, not everyone has the same priorities. Like, there's a George Clinton irreverent theme in some people like the JBz, PE (via Flav) and Ultramagnetic. But Ultra LOVED playing Gangster Chic (Keith is probably the first MC from an East Coast basis to play with a pimp or serial killer persona), and we all know how negative "Criminal Minded" is. And PE totally underplayed the more 'gangster' elements on the debut album ("Miuzi" is probably as influential on NWA as KRS and Schoolly were) as they grew up, but also later jettisoned their humor. So like... Because they were such a disparate group, you can't say that there's a real PROPER Native Tongues aesthetic. Nowadays we've historically homogenized it into Africa Pendants, baby dreads, that scene in CB4 where the group pretends to be De La/Tribe and say "We're The Bohemians!". V. valid, but kind of shows how as certain groups moved into commerciality, aspects got lost over-time.
Because let's not get it twisted, Bambaataa is the spiritual father of these guys (The Jungle Brothers actually having been the 2nd generation official Zulu Nation MCs for Red Alert, the chosen new heirs to Zulu in the NYC while Bam was constantly touring the world as an ambassador for Hip-Hop, and people have vids of Kool Keith breaking for Zulu Nation), but he was most certainly a former Black Spade who was known for acts of violence in the South Bronx. In a sense, you have in the Juice Crew/Native Tongues schism (even though the JBz and Tribe are from the Queens/BK area) as a battle between the Bronx/Long Island trying to undo the damage placed upon them in society, and the Queens/BK based drug trade being like "*cocaine snort* FUKKIT!" (Wu-Tang, ever fittingly, are actually three Brooklyn based also-rans (Dirty, Gza and Rza) and a bunch of Staten Islanders. Staten Island is eternally behind the times (I think Luka once told me this can be said the same of South London), so it's fitting that they revived the Juice Crew aesthetic because they're still stuck in that era. Biggie and Nas did it because Nas' mentor was Tragedy, Juice Crew distaff member, and Biggie was groomed by Mister Cee, former DJ of Big Daddy Kane).
As far as Warren G's saga, he was Dre's cousin, and tried to get Dre to pay attention to his, Snoop and Nate's group. Dre was not interested in Warren's beats or rhymes, but saw Snoop and Nate and was like "YES." So Dre enlisted them to help in writing The Chronic, in addition to having The D.O.C. serve as his ghostwriter and as an 'editor' for Snoop. (Snoop's said basically that he would write 108 bar freestyles, and then DOC would be like "OK, this the first verse, this the hook, this the bridge, this is garbage) But Suge, a blood, disliked Warren, Daz and Kurupt for being crips. So Suge would basically bully the shit out of Warren G, I believe he may have even physically thrown Warren off a boat. After a couple of years of this, realizing that Dre wasn't going to actually help him, Warren bailed. Thankfully for him, Def Jam came a-calling, smelling a possible credible West Coast act, and they scored big with "Regulate".
I'm not even touching No Limit today, lol.