Commentary On Heads Up ! Heads Down !

The rest of the chapter talks about the similarity of minstrel images in 1990s hip-hop, as evidenced by the defining characteristics of greed, violence, hyper sexuality and pathos in “gangsta rap” (a sub-genre of hip-hop further defined in chapter two). Ogbar balances this landscape with challenges to what he calls “neo-minstrelsy” from both inside and outside the hip-hop community, including discussions of the Spike Lee movie, Bamboozled, underground conscious hip-hop groups such as The Roots and Little Brother, and the activist “Stop Coonin’ Movement”, to name a few. Throughout the book, Ogbar explains how rappers strive for authenticity by “keepin’ it real”. And that is defined by how they rap, walk, talk, and make their

The understanding of the idea of the "Dirty South" and southern rap in general has found the articulation in stereotypes of the south: the emergence of the idea represented a shift in already established geographical imaginary of hip hop music which is bombarded with authenticity and marketability claims (59). Before the idea, southern cities were not completely excluded from rap, but they were obliged to stick to certain styles and conceptual limits so as to reach a wider music authenticity for their own economic prosperity (63).

"Man but for real tho lemme tell you how Tuesday made a nigga feel like he was floating. I'm talking bout head game so good bruh. For real bruh lemme hook you up." His best friend went on as he thought to himself. Man I already smashed that hoe and her head game aint all that. Hell her ass was

The article titled, “What Hip-Hop Has Done to Black Women,” written by Dr. Johnnetta B. Cole starts off the piece by explaining how the nursery rhyme, “Sticks and stones may break my bones but words can never hurt me.” Remains a defense mechanism for the younger generation against verbal bulling. But Cole counter argues the rhyme saying that

Summer of 1994. New York City smelled no different than hot rat piss and looked accordingly. Fresh off my 15th birthday and wandering the Brooklyn streets with Hakeem, we followed the music wherever it played. Our community cherished music through constant airplay. Anyone with loud speakers, either in their car, apartment, or boombox, blared any of the anthems from the future greats. Whether it's Nas, Wu-Tang, Biggie, or Tribe, the list is blissfully endless. Hakeem’s brother, a well-connected music promoter, gave Hakeem two tickets to this secret show he was putting on for Ice Cube, who, despite being the first notable west coast rapper, carries a rage within him that the east coast entirely recognizes.

Rap tales are told in elaborate and ever-changing black slang and refer to black cultural figures and rituals, mainstream film, video and television characters, and little-known black heroes. For rap's language wizards, all images, sounds, ideas, and icons are ripe for recontextualization, pun, mockery, and celebration. Kool Moe Dee boasts that each of his rhymes is like a dissertation, Kid-N-Play have quoted Jerry Lee Lewis' famous phrase "great balls of fire," Big Daddy Kane brags that he's like raw sushi (and that his object of love has his nose open like a jar of Vicks), Ice Cube refers to his ghetto stories as "tales from the darkside," clearly referencing the television horror show with the same name. Das Efx's raps include Elmer Fud's characteristic "OOOH I'm steamin'!" in full character voice along with a sting of almost surreal collagelike references to Bugs Bunny and other television characters. At the same time, the stories, ideas, and thoughts articulated in rap lyrics invoke and revise stylistic and thematic elements that are deeply wedded to a number of black cultural storytelling forms, most prominently toasting and the blues. Ice-T and Big Daddy Kane pay explicit homage to Rudy Ray Moore as "Dolomite," Roxanne Shante toasts Milie Jackson, and black folk wisdom and folktales are given new lives and meanings in contemporary culture.

Every time you say “what up my nigga?” I hear, “what is up my slave that is see of no value to call a full man but you are just an instrument of existence that stems to push my profits higher and higher. And in the slight chance you start to think otherwise remember I

put the spocket with the crocket in my pocket locket. put the cracker in the zapper in the tapper rapper. need theed me see we are riding in a train car. When you watch tv see what I see for me. I love the way you watch t.v. wish you were here on this telophone call its celular. spongebob is bae all day all day. Whatever you say I will say its okaii. When will you learn its never ever your turn. crash and burn ketchup with me i'm to fast. speed and agility watch my rash. love you

“Hello?” I heard a voice call in the back of my head. My mind was black and foggy. “Hello? Don’t tell me I need to whack you awake. Or maybe I’ll just sit on you. I mean it, I’ll do it.”

“Mom please listen to me this one was different i promise please listen for one minutes just one “

Jamaican-American critic Garnette Cadogan told me that when he hears Celine Dion playing in a Kingston neighborhood, he speeds his car up to get out of there, because it means it's a really rough area. At ghetto dances there, people scream and fire pistols into the air when a Dion song comes on. Asked for an explanation, one Jamaican 'roughneck' said, in local patois, 'Bad man have fi play love tune fi show 'dat them a lova

As im about to open my mouth, Jerome rushes out; " Please Mr. P, Ihad no idea the rock belonged to you. My boss called me 5 minutes before the deal and said there were a change of plans. So Itook my orders so Iwouldnt get shot." He was clenching on to his chair and we both had a feeling something bad was about to happen. Diddy got up reached for his gun and walked up to him. " Now you supose Im gonna bring you in here have you ramble on and Im supposed to believe you?" He pointed the barrell of the gun to Jerome's groin. Inow noticed Diddy's scarred dark face. " How a nigga supposed to trust anyone when they aint even got the balls to tell a nigga they stole his trap?" Jerome was sweating right through his clothes now. " So you tellin' me your boss called you up right before the deal went down and told you there was a change of plans? You were gonna just go ahead and rob the biggest trap dealer in Taunton? You answer me that. Jerome and Iboth said," yes" he screamed, " niggas when Iask you somethin' its either yes or no sir you got that?!" " Y-yes sir." Jerome was shakin' in his chair. " Mr. P, sir- " Iinterrupted him, but he seemed like he didnt care. " Ikow what my collegue did was wrong-" " Damn right thats why im bout to bust a cap in your asses!!!" he was throwin the gun in my face while he flipped. He inhaled and then said, " you know what?

When "Fuck tha Police" released it developed a media storm, which resulted in a warning letter from the FBI to the group's distributor, Priority Records (1). This song was a protest targeted at the Los Angeles police. Protesting police brutality and racial profiling. The song itself expressed the approval of violence against police. The songs main vocals were Ice Cube, Eazy E, and MC Ren. With Dr. Dre, Ice Cube, and The D.O.C. doing the intro. The rest of the group, except DJ Yella, incorporated 3 skits throughout the song with a cop being added to these skits. The hook in itself, explicitly repeats “Fuck tha police!,” as the song is titled. This song is a part of their album “Straight Outta Compton.” This song tells about the case of N.W.A. versus the police department and Ice Cube testifying first, which is the group rapping the testimony. The testimony; song, tells about racial profiling towards the group and the police having the authority to do what they please to them. They go through searches and beatings from the police. With MC Ren testifying next about his experience. Telling about the white majority having power over the rest, using violence against the police, and not caring anymore. Then finally ending with Eazy E and his testimony. Which tells about him being exhausted of the treatment they receive and saying the police is

"The world is in trouble/Anytime Buju Banton come/ Batty boy get up and run/ ah gunshot in ah head man/Tell dem crew… it’s like/ Boom bye bye, in a batty boy head, rude boy nah promote no nasty man, them hafi dead." The average member of the reggae dancehall culture knows the message that this song is sending to its listeners. However, without a translation these lyrics do not mean a thing to someone who is not familiar with this culture and the vocabulary of dancehall artists. Translated the lyrics read: "The world is in trouble/When Buju Banton arrives/Faggots have to run/Or get a bullet in the head /Bang-bang, in a faggot’s head/Homeboys don’t condone nasty men/They must die."

“What up B.J” “What’s going on over there homey?” “What up young Rick!” “You haven’t heard?” “Damonte little brother J.Shawn got shot and killed by the police last night”. “What” “that’s fucked up, what happen?” “They say that J.Shawn was walking down the street drunk with a forty ounce bottle in his hand and the police tried to stop and question him and J.Shawn tried to leave and they shot him.” “Damn that’s fucked up, he must lunge at them or threw a punch or something for them to just shoot him like that?” “No bro, they say he didn’t do anything, what supposed had happen was when they confronted J.Shawn they was standing in front of J.Shawn and when J.Shawn turned to leave they say they feared for their lives because of the way he was holding the forty bottle”,” they say it was used as a weapon.” “The homey Bluebird was on the block parked with that head monster KeKe and he recorded it on his phone.