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Mental illness and oppression in literature
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For your boy I'm watchin' Freaks and Geeks with the trampoline on the floor I'm tryna pop the McLaren with the vertical doors nigga [Verse 1 - Tyler, The Creator:] Money, money, money, money, money ain't the motive What's your name again? Nobody knows it Don't speak to me nigga, you not important I'm focused They say I'm nutty, picnic basket Not short of a sandwich A peanut butter, Boyce Watkin's a faggot Please come and get me Said I suck him at your neck Like a hickey, boy I'm sicky Like a HIV victim , man nobody fuckin' with me I got banned from New Zealand, whitey called me demon And a terrorist, God dammit I couldn't believe it Ban a kid from the country, I never fall, never timber But you fucked up as a parent, your child idol’s a nigger …show more content…
Scarier than black people with ideas Nobody can tell me where I'm headin' But I feel like Michael Jordan, Scottie Pippen at my wedding They say I'm crazy but that's the best thing going for me You can't Lynch Marshawn, and Tom Brady throwin' to me I made a million mistakes, but I'm successful in spite of em I believe you like a fat trainer takin' a bite or somethin' I wanna turn the tanks to playgrounds I dream't of 2Pac, he asked me "are you still down?" "Yeah my nigga", Its on, its on, its on, its on I know they told their white daughters don't bring home Jerome I am the free nigga archetype I am the light and the beacon, you can ask the deacon It's funny when you get extra money Every joke you tell just be extra funny I mean you can even dress extra bummy Cocaine, bathroom break, nose extra runny And I gave you all I got, you still want extra from me Oxford want a full blown lecture from me And the Lexus pull up, skrrtt like hop, I'd hopped out, wassup Erg erg erg, step back, hold up, my leg'll be stuck I studied the proportions, emotions runnin' out of Autobahn Speed level, had a drink with fear, and I was textin' God He said "I gave you a big dick, so go extra hard" [Hook 2:] For your boy I'm tryna pop the McLaren with the vertical …show more content…
Cooper or Jews in Berlin Or some niggas from Alabama, Birmingham I need music all over the street like Erick Sermon Was, fuck us, maybe we should team up Anti Golf boys cuz I don't fuck with me either I'mma liar, I'mma faggot [Verse 6 - Lil Wayne:] Son you need Jesus But I heard he left sunset, to go on tour with Yeezus, well I'm prayin' for the new
In today’s music industry, the convenience and custom of using racial stereotypes are still ubiquitous. Whether it be obvious stereotypical depictions of minority races or the reliance on numerous racist tropes, these race issues can be found in a considerable amount of songs. The song "Freaky Friday" by Lil Dicky plays into the overused stereotypes of Asian Americans, African Americans, and even White Americans. In the midst of all the humor and parody, "Freaky Friday" shows that race is still a joke and should continue to be made fun of as it is good material for a song and a music video.
Published by: The Johns Hopkins University Press. Stable URL:http://www.jstor.org/stable/40068235 " N.W.A – Straight Outta Compton." Rap Genius. N.p., n.d. Web.
Rap started as a social movement during the mid-1970’s, once the 80’s arrived it started expanding dramatically, and became popular among white suburban youth. During the late 1980s and early 1990s rap became overtly political with its messages, which expanded its popularity further. Unfortunately, political rap lost its popularity in the mid-1990s; regardless of this artists and their voices have been marginalized because of corporate control. Although there does not seem to be a direct connection between rap music and its whitening, the author claims that it is not coincidental. Despite the political messages within the genre, rap has been viewed through a racist
If there was one defining characteristic to hip hop in 1997, it was the jiggy factor- an aesthetic of unapologetic flash, fashion and glamour that ruled everything around us and made hip hop life nice and organized. Of course, for each movement there always exists a counter-movement; for each yin there is a yang; and for each designer-label clad champagne sipper, there must be an uncompromised figure lurking in the shadows, ready and willing to reclaim rap from the penthouse to the pavement. Embracing this return to the anarchy, enraged and raw, Def Jam Records presents 1998 as the Year of Pandemonium. The human embodiment of such exhilarating and unadulterated chaos exists in none other than Ruff Ryders/Def Jam's very latest lyrical sensation, DMX. "I love to write rhymes," says the Yonkers-born MC. "I love to express what real niggas feel, what street niggas feel. They need to be heard. They need to know there is a voice that speaks for them, and I am that voice." Within the tumultuous annals of hip hop's dog-eat-dog history, second chance opportunities are few and far between. However, every now and then the experienced and distinguished bark of a particularly cagey canine re-emerges from rap's chaotic kennels, representing the triumph and perseverance inherent in true greatness.
Songs are one way of expressing feelings and emotion, many artist do this constantly in their music. To some it is why they make music. There are endless signs and verses that hint at many things such as problems, politics, living in racist era’s also places. I chose to focus on one main rapper and his music only. I chose to examine, review, and study a few of his songs. Kid cudi grew up in cleveland, Ohio. His father passed away when he was a young age which affected the kid ever since. He writes about living his life and having to go through many obstacles
It is a day in the summer of 1974 on the block of 1520 Sedgwick Avenue, Bronx, NY. The grass is blazing, the air is fresh, and the kids are shrieking with joy. This is where it happened. DJ Kool Herc popped in his new record playing smooth rhythms of jazz and blues with the integration of Jamaican sound creating a new genre that would soon sweep the nation. He called it Hip-Hop. Some would call it “black noise”, but to urban African Americans it was music they could own; music they could learn to appreciate and adore. As they faced afflictions like racism, oppression, drugs, and much more, they used this new found hip- hop to express their thoughts and feelings. Today, we try to understand where this passion and substance in rap has escaped; if it was left to wither in the blazing grass, or blow away in the fresh air. Today, we try to understand what is hip hop, and why it’s becoming the “black noise” we once denied it to be. Ever since rap officially emerged in the 1970s, critics had a negative reaction; even when rap had meaning and substance and consisted of people telling their stories. Now that rap has become more contemptuous, critics have began to question what rap is really about. It is clear themes have changed: But at what point? And how? Furthermore, how has this impacted blacks and their image, who dominate the rap industry. Conclusively, while themes in mid 20th century rap have been known to revolve around aspects like politics and unity, currently rap has underwent a dramatic change now producing themes that promote violence, among many other things, and has ultimately painted a negative image of African Americans.
Swedenburg, Ted. "Homies in The ‘Hood: Rap’s Commodification of Insubordination." Rpt. in That’s the Joint!: The Hip-Hop Studies Reader. Ed. Murray Forman and Mark Anthony Neal. New York, NY: Routledge, 2004. 579-591. Print.
Jeffries, M. P. (2011). Thug Life: Race, Gender, and the Meaning of Hip-hop. Chicago: University of Chicago Press.
4. Foreman, (2002). The Hood Comes First: Race, Space, and Place in Rap and Hip hop. Middletown, Conn.: Wesleyan University Press.
You five dollar boy and I'm a million dollar man/ Youse a sucker MC, and you're my fan/ You try to bite lines, but rhymes are mine/ Youse a sucker MC in a pair of Calvin Klein/ Comin from the wackest, part of town/ Tryin to rap up but you can't get down
Although this original face of rap music was murdered at the young age of 25, Tupac’s expressions of dreams for black social justice, along with his declaration of “thuglife,” have contributed to his beloved legacy by hip culture, even 19 years after his death. He was considered a figure of empowerment for urbanized communities because of his support in black nationalism that aims to “define, defend, and develop of Blacks as a people,” especially because he grew up in the impoverished intercity (Stanford, 2011, pg. 4). In “Violent” he raps,
The video “White and Nerdy” by Weird Al Yankovic is a parody of the original song “Ridin’ Dirty” by Chamillionaire. The parody provides the viewer with a descriptive exposition on the nerd stereotype. Several aspects of the video including the title, lyrics, and parody of the hip hop style all contrast the ‘white identity’ to the particular view of ‘black identity’. Particularly, the props, costumes, and settings shown in the parody video help convey Yankovic’s message.
For a long time, rap music has been critiqued in spreading messages of violence, drug usage, misogyny, objectification of women, homophobia, and nihilism, among others to young people (Kubrin, 2005). One such song whose lyrics not only contain some of these messages, but also misconceptions about criminal activity and gang lifestyles is “Love Sosa” (2012) by Chicago drill rapper Chief Keef.
Kubrin, C. (2005). Gangstas, thugs, and hustlas: Identity and the code of the street in rap music. Social Problems, 52(3), 360–378.
Dixon, Travis L., TaKeshia Brooks. “Rap Music and Rap Audiences: Controversial Themes, Psychological Effects and Political Resistance.” Perspectives. 7 April 2009. .