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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
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.
When people hear the word rap, they think money and drugs. Unfortunately, every rapper falls in to that category however some rap can be more meaningful than any song could every be. Today, I’m going to show you one rapper who falls into this stereotype.
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.
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.
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
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.
Moments after Lil Dicky and Chris Brown switch bodies, the song begins. The first couple lines of the song, Lil Dicky realizes he is Chris Brown’s body. Chris Brown is an African American rapper, so Lil Dicky wonders and asks “Wonder if I can say the n-word (wait for real?) / Wait, can I really say the n-word?” (11-12). Lil Dicky takes advantage of being in Chris Brown’s body in order to use the n-word in a song. The desire of wanting to use the n-word is wrong because it ignores the historical context of the word and how it is still a demeaning word for African Americans. Lil Dicky apparently believes that there are no repercussions for reappropriating a hateful slur. This misuse and misunderstanding of the n-word is something as a civilization we see all too often; there is no sense of sensitivity in this
Randolph, A. (2006). "Don 't Hate Me Because I 'm Beautiful": Black Masculinity and Alternative Embodiment in Rap Music . Race, Gender & Class Journal, 200-217.
...mages of Violence in Rap Music Lyrics: 1979-1997” Journal of Public Health Policy, Vol. 30, No. 4 (Dec., 2009), pp. 395-406
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.
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,
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.
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. .