Monologue Of Lil Kodak

Rap & DJ Polo, featuring Biz Markie & Big Daddy Kane in the album, “Wanted: Dead or Alive”. The rap started with an intro from Biz Markie, introducing other artistes and informing that they would do just one part, and depicting the agitations they’ve had with race from a very long time, “We all gonna do just one part… because you know, we came a long way... You know, from back in Martin Luther King days,” Malcom X cuts in, emphasizing the freedom of Nelson Mandela, with an exclamation on the need to talk about this racism pervading the country, and the need for it to be

I'm in the ghetto, the gutter, I got the sugar the butter I got the mama the brother, oh yeah your son is a hustler

And I'm bout to take it to another level bitch Don't matter who you go and get, ain't nobody as cold as this Do the rap and the track triple double no assist And my only focus is staying on some bogus shit Arguin' with my older bitch acting like I owe her shit I heard the beat the same raps that give the track pain Bought the chain that always give me back pain Fuckin' up my money so yeah I had to act sane

[x2] This is the end, but you really feeling it Here's one more verse, cause I ain’t no stingy bitch Ain't got much to say cause it's in my piece Guess my words are blunt and I ain't talking weed Yep, yep, you know that I go

I can’t wait I need a hit Baby, give me it You’re dangerous I’m lovin’ it Too high Can’t come down Losing my head Spinning ‘round and ‘round Do you feel me now With a taste of your lips I’m on a ride

You may know him from his Lisa Simpson haircut or his mouth full of 24-karat gold teeth; he is the 19-year-old rapper that is taking the music industry by storm. In the past, two years his music has gained national recognition and appealed to all types of fan bases. He is a force not to be reckoned with and his name is Kodak Black. He is the self-proclaimed “Project-Baby” from South Florida that is giving rapper a run for their money. Jon Caramanica, from the New York Times, described Black as “an unlikely savior for a hip-hop industry that has lately been preoccupied with melodic-minded Drake clones. Instead, he’s an old-fashioned literalist and represents the perennial power of grit even in a time that’s squeaky clean.” Kodak Black is an

The hip-hop genre has set standards and norms for rap throughout its development. Eminem’s “The Way I Am” and Vanilla Ice’s “Ice Ice Baby” are examples of well-known rap songs written by authentic rappers. These songs conform to the conventions set for rap with their structure and literary devices and deviate from the conventions with their approach toward establishing their credibility in an original and effective manner.

Nigga touch my gang we gon turn this shit to Columbine Ice on my neck cost me 10 times 3 30, 000 dollars for a nigga to get flee I just hit Rodeo and I spent like 10 Gs I just did a show and spent the check on my mama When I go on vacay I might rent out the Bahamas And I keep like 10 phones, damn I'm really never home All these niggas clones tryna copy what I'm on Nigga get your own, tryna pick a nigga bone Way to Brother Skip, boy I had a good day Metro PCS trapping boy I'm making plays 50 shades of grey, beat that pussy like Hulk Hogan

All boys voice over: Bitches ain 't sh*t but hoes and tricks / Lick on these nuts and suck the d*ck."

Lil

The connection that is drawn between the formerly economically challenged rapper and the child whose parent works two jobs, and can’t pay his child’s college tuition is paramount in making this point. The illusion of the American dream is set through many hip-hop songs. The picture of the evolution of the rags to riches story is set by many rappers in current hip-hop culture, this picture is the basic premise

Get Dunked on Roses are red You’re wack Catch me outside How about that Bruh, come at me I will drop you harder than a tree I’ll hit you then you go blam Come and catch these hands The sun shines bright Come on and fight Go higher than a kite You will see the light Crunch crunch goes the bones Ring ring goes the phone

The money ebing the motive for mostly everything in life. Then in the third line of the refrain we see the word "she", hinting at soem type of stripper, or possible a "Pro". Next lines after are just a reassurance from the weeknd bascically saying, "Great job, keep on going" while recongnizing that what shes doing is a difficult task to master and stay ahead with.

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

[Intro:] If Pirus and Crips all got along They'd probably gun me down by the end of this song Seem like the whole city go against me Every time I'm in the street I hear [ScHoolBoy Q:] "YAWK! YAWK!