The Honest Feelings of a Former Fan of Rap Music,
Looking Back at the Same for What it Really is
Rap “music” is nothing more than the ranting, whining, bragging, and threatening, of a bunch of savages from some slum of a neighborhood (South Bronx, Oakland, Compton, et al.). Their lyrics consist of illiterate, unintelligible garbage that many normal people have trouble comprehending. Their subject matter consists of how much their house, the precious metals that are embedded in their teeth, the precious metals that are draped around their necks, their cars, and the crap that they add to their cars, are all worth (they actually think that we care!), how much they despise the police, or anything else that reminds them of enforced civility, how badly they treat their women, how much money they made selling illegal drugs (and blaming the CIA for introducing them), bitching about the poor conditions in their neighborhoods that they, and their “homies”, have created, how much they enjoy drinking alcohol, and doing drugs, to excess, how much they like engaging in promiscuous sexual activity (after all, worrying about consequences is for whitey, and for Uncle Toms, you know), and how much they enjoy killing people over stupid, and insignificant reasons (such as over a color, or over an accidental bump), or over no reason at all. No rap “song” is complete without the use of that butchery of the English language known as “Ebonics”, a litany of curse words thrown in, and some “shout-outs” to their illiterate criminal friends back at home. And, role-playing is also an integral part of (c)rap music. A (c)rapper has to call himself a thug, gang member (“gangsta”), pimp, drug dealer, killer, or some other scum of the earth (they don’t have to actually be any one of them, since their job is only to glorify the same), in order to cement a specter of credibility in the eyes of his fanbase, and to legitimize those roles to the same audience, so as to make legitimate, honest work seem like a fool’s errand.
Even the so-called “conscious” rap is garbage. Its subject matter consists of Afrocentrist pseudo-history (they actually claim that the Egyptians were black, invented batteries, flew with hang gliders, and lost all of their knowledge and technology due to the white devil, and yes, some of the Afrocentrists actually don’t believe in that crap, but want to force everyone else to believe in it anyway), black supremacy (if that doesn’t [censored] you off, then imagine whites doing the same with white supremacy), conspiracy theories (I guess that the CIA really does see you when you are sleeping, and when you are beating one of your many girlfriends, just like Santa Claus), blaming whitey for all of your problems (especially self-inflicted ones), anti-Americanism (why complain when the “motherland” is a one-way plane ticket away?), complaining about racism, while being racist against whites (when they use the word “devil”, they refer to whites) and Asians (think Black Korea), justifying the murder of police officers, while asserting the innocence of those who do (by the way, Mumia, and Assata Shakur, should fry), and of course, praising socialism and communism as being the solution for all of the problems in the black community (I guess that 150 million dead in nine decades weren’t enough, so let’s give it another chance. After all, it’s only because the right people weren’t in charge, right?)
Also, a very important feature of “conscious” rap is the excessive use of hard words (more like 9-10th grade vocabulary words), and referring to themselves and to their brethren as “gods” throughout the song (because most of them are members of the black Nazi cult known as the Nation of Islam). Well look, Jamal Abdul al-Killwhitey (very interesting choice for a “non-slave” name by the way, considering that Arabs held black slaves since the 9th century, and continue to do so today, also it’s important to note that Swahilophones were the slave traders that sold millions of slaves to their European counterparts from the 16th, to the 19th, centuries, despite the Swahili language today being used as the language of choice for Afrocentrists), just because you can say a few hard words (hard for you, that is), reference some current events, and a few historical ones as well, while reciting them with an Afrocentrist slant, and claim that the white man is out to get you, (I forgot to mention that they’re really paranoid) doesn’t mean that what you have to say is of actual intelligence. In fact, it’s unintelligible, ahistorical nonsense that sounded like Calypso Louie Farrakhan was ghostwriting for you. And no, the Pharaoh was not black, Socrates was not black, Abraham was not black, Jesus was not black, Cleopatra was not black, and just about every notable figure in the ancient world was NOT black. This Afrocentrist garbage is nothing more than a repugnant attempt to rewrite history along racial lines, and should be viewed as much as a legitimate part of the history curriculum as a typical Harry Turtledove novel (should alternate history be really be taught as real history?).
As for their rap videos, it’s hard to say if they are as bad as the music, or worse. What a typical rap video consists of is some (c)rapper dressed in oversized brand-name clothing (such as F.U.B.U.: Farmers Usually Beat Us, or some other overpriced piece of crap made in some Red Chinese sweatshop), waving his hands and arms in a manner suggesting the presence of a mental disability (his “crew” doing the same), displaying stupid-looking hand signals, and cavorting with at least half a dozen scantily-clad women in such a manner so as to have the entire video resemble a soft-porn flick. The real purpose of having said women around is to distract the viewer from the talentless drivel leaking out of the (c)rapper’s mouth (a time-tested industry secret). The scenery can be of a bunch of luxury vehicles with rims made of gold, silver, or platinum (remember, they think that we actually care), a house party, a prison (usually in raps about their toughness), a slum, or some strip club. All of the obnoxiousness that one hears from a typical (c)rap recording is displayed for all to see in these “music” videos. Exactly what is so enlightening about the sight of an oversexed bum, pressing himself against a woman who dresses as a prostitute, or of some freak with long hair, and a room-temperature IQ, ranting some incomprehensible gibberish, while waving a gun in one hand, and a bottle of liquor in another? Maybe it’s the realization of how far we have fallen as a culture. I will hate to see how much further we can fall in a generation from now. Anyway, does anyone notice that the Harlem Shake resembles one of the symptoms of Parkinson’s?
Oh yes, while we are on the subject of rap “music”, does anyone notice that just about every rap DJ or producer doesn’t know how to read music, or especially how to play an actual musical instrument? And no, an obsolete long-player (LP) doesn’t qualify as an actual musical instrument, any more than a tape recorder, or an iPod can qualify. Hell, all that you need to do to be a (c)rap DJ is to at least borrow your grandfather’s old LP from the attic or basement, buy some rap “music“ in LP form, and while the LP is playing, press your hand against the LP disc back and forth, at random intervals. That’s pretty much it. However, being a high-end producer means spending a few dozen thousand dollars on audio equipment, learning how to work it (trial-and-error can take months), and end up creating a rap “beat” that vaguely resembles music. All that you really need to do to make a rap “beat” is to make a 5-second instrumental piece, loop it around 4-8 or so times (every 2-4th time can have a slightly different ending), then create a similar sounding, or completely different, instrumental piece for the chorus, loop it once or twice, and when you have three verses, and three or four choruses ready, you now have yourself a (c)rap beat. All that you need to do at that point is to sell the (c)rap beat to some (c)rapper who will add his (c)rap lyrics to the same. There, that’s pretty much it, not a lot of talent involved, unless you know what suits people fancy. No need to be usin da whyt manz instruments, ya kno?
One more aspect of rap “music” that I want to talk about, which is by the way, the real reason why rap “music” sucks, is the violence aspect of it. Has there ever been any other genre of music in which you have to worry about your favorite music artist (music graffiti vandal in this case) being murdered? Every now and then, some rapper gets shot to death over some stupid reason, usually a grudge. 2Pac, his ex-lover Biggie, Fatal (a member of some group 2Pac created), Freaky Tah (don’t ask me how do they come up with these names), Proof, Big L, Camouflage (some unknown rapper), H.I.T.L.A.H. Capo-Confucius (no, I didn’t make the first part up), have all been fatally shot in the last decade. Also, a good percentage of the members of the rap group Bloods & Crips (seriously, I’m not making this up, they are actual gang members who took a break from killing each other in order to make an album with each other) have died, can you guess why? As a 2Pac memorial mural once said: “Live by the gun, die by the gun.” What parts of that do they not understa… Oh wait, we all know the answer to that, never mind. When they say, “Stop duh Vahlens”, they either obviously don’t mean it, are too stupid to learn from it, or are too stupid to even comprehend its meaning, actual or otherwise.
And then, there are rappers on the other side of the gun. Out of fairness, I will only mention crimes committed by (c)rappers after they became big. C-Murder (what a creative name, by the way), is serving life in prison for murdering a 16-year-old boy for the high crime of beating C-Murder in a freestyle battle. C-Murder, being a typical “gangsta”, couldn’t handle losing, so he took out a shotgun, and blew the kid away. Mystikal (careful, since we are dealing with a spelling bee champion here!) is doing 30 years for raping a woman. DJ Spigg Nice (a member of the now-defunct group Lost Boyz, along with the aforementioned Freaky Tah) is doing 35 years for a string of armed robberies to support his drug habit. DMX has been in and out of jail for years now, and will not learn anything until he gets serious time. And Cassidy gets a few years for providing one of his “homies” with a gun that was later used in a murder. Does anyone still wonder why these (c)rappers hate “snitching”? The last thing that they see themselves doing is having to answer for whatever crimes that they had committed. One exception to my rule will be Noreaga, since his pre-rap crime was very serious. Noreaga (I think that he meant the man-raping, drug-smuggling, Panamanian dictator Manuel Noriega, but I’m not sure), when he was 16, murdered a guy in a movie theater simply because he accidentally stepped on Noreaga’s shoe (ghetto dwellers are known the world over for their lack of reason, restraint, and impulse control).
It is quite common for (c)rappers to have a rap sheet, no pun intended, and some of them have really long rap sheets for drugs, robbery, assault, etc… Anyway, the best way to calculate their IQ figures is to give all of them an IQ score of 80, and to subtract two points for every page that’s on their rap sheet. And this is the slime that white kids (70% of all rap fans), and others, look up to, so they can learn how to use illiterate and profane gutter language, dress up like retards (there are very few things worse in this world than for a young woman to go to school or work in pajamas, or to dress as a prostitute, or for a young man to dress up as a drug dealer, complete with an oversized shirt, oversized pants that keep falling off, and even for some young men to even dress in pink, because some talentless rapper named Cam’ron, and his Dip Stick crew, try to make it look cool), treat women like objects, or mere property, just as the practitioners of the religion of “peace” are doing, have multiple sexual partners, act thuggish, or outright violent, for no real reason, other than to “keep it real”, and to be made to believe that acting civilized is undesirable. And the young who listen to that (c)rap garbage, and assimilate to that perverted, degenerate (c)rap culture, are really going to be entrusted to carry on our civilization?
Go ahead, call me a racist, since you can say nothing else in defense of rap filth. You can beat me over the head over how they’re just reporting conditions in the ghetto as they are, how they’re just storytellers, and so on. It’s all dreck. The (c)rappers are not merely telling a story, they are glorifying a dead-end, and corrupt lifestyle, and encouraging their impressionable listeners to embrace the same. They tell their listeners that being a law-abiding citizen is bad, but being a brainless, sadistic, and oversexed animal is good. Hell, how many of these (c)rappers have graduated college, or even high school? If they did, then shame of them, since they have the brains to make decent money without having to record toilet noises on a CD. Calling me a racist is nothing more than a feeble attempt to stifle debate on this subject, to keep people from sharing their true feelings about the same, and exposes you as having nothing else but ad hominem attacks to say in defense of (c)rap music. And calling me jealous, because many of these (c)rappers happen to make so much money doing what they do, won’t cut it either, for the same reasons.
I used to be a fan of (c)rap music, but then I grew up. I hope that other fans are as lucky, and then (c)rap music can finally be cast into the same trash bin of fads as pet rocks, disco music, and digital pets. But, then again, none of those had ever advocated mindless violence, or outright backwardness.
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