Yup, this is hella funny, phresh too. http://www.mortco.azit.com/82.html Skully's Hip Hop Slang http://www.mortco.azit.com/79.html
Artist: 50 Cent Album: Guess Who's Back Title: Fuck You
[Chorus: *Scratching*] Pain In Da Ass "Fuck You" 3x Styles "I don't give a fuck" 3x Styles "I don't give a fuck who you are" Pain In The Ass " Fuck You" Nas "Niggaz is this and that" Big Pun "I'm even, even better than before" Styles "I don't give a fuck who you are" Pain In Da Ass "Fuck you" Nas "Niggaz is this and that, I'm just, I'm just, I'm just the best" Styles "I don't give a fuck who you are" Pain In Da Ass "Fuck you" Nas "Niggaz is this and that" Big Pun "I'm even, even better than before" Styles "I don't give a fuck who you are" Nas "Niggaz is this and that, I'm just, I'm just, I'm just the best"
[Verse] Either I'm trippin' off the ecstasy Or I could feel the world turnin' I'm havin' flashbacks, I can feel the shells burnin' Comin' up, I was taught never back down That's why I act the way I act now, hold the mac down 32 shots, squeeze til there ain't a shell left Come with my gun smokin', you can smell death They get the first laugh, I get the last laugh homie Hit the gas on it, pull up and mash on 'em There's a lot of talk in the streets about me Niggaz know, ain't nothing sweet about me Get back to questions, like "50, who shot ya?... You think it was Preme, Freeze or Tah, Tah?" Nigga, street shit should stay in the street So, keep it on the low But everybody who's somebody already know A few words for any nigga that get hit the fuck up My advice if you get shot down, is get the fuck up LET'S GO
Chorus (Different Variations)
[Verse] Maaaaaaaaan I told niggaz not to fuck with me they still push me Figured they'd get away with it cause Tone and Poke pussy I been gone through static, shot at with auto
Ya Ya We All Know About Stagger Lee. NICK CAVE LYRICS "Stagger Lee" New book, http://www.hiphopmusic.com/archives/000121.html
NICK CAVE LYRICS
"Stagger Lee"
It was back in '32 when times were hard He had a Colt .45 and a deck of cards Stagger Lee He wore rat-drawn shoes and an old stetson hat Had a '28 Ford, had payments on that Stagger Lee His woman threw him out in the ice and snow And told him, "Never ever come back no more" Stagger Lee So he walked through the rain and he walked through the mud Till he came to a place called The Bucket Of Blood Stagger Lee He said "Mr Motherfucker, you know who I am" The barkeeper said, "No, and I don't give a good goddamn" To Stagger Lee He said, "Well bartender, it's plain to see I'm that bad motherfucker called Stagger Lee" Mr. Stagger Lee Barkeep said, "Yeah, I've heard your name down the way And I kick motherfucking asses like you every day" Mr Stagger Lee Well those were the last words that the barkeep said 'Cause Stag put four holes in his motherfucking head Just then in came a broad called Nellie Brown Was known to make more money than any bitch in town She struts across the bar, hitching up her skirt Over to Stagger Lee, she starts to flirt With Stagger Lee She saw the barkeep, said, "O God, he can't be dead!" Stag said, "Well, just count the holes in the motherfucker's head" She said, "You ain't look like you scored in quite a time. Why not come to my pad? It won't cost you a dime" Mr. Stagger Lee "But there's something I have to say before you begin You'll have to be gone before my man Billy Dilly comes in, Mr. Stagger Lee" "I'll stay here till Billy comes in, till time comes to pass And furthermore I'll fuck Billy in his motherfucking ass" Said Stagger Lee "I'm a bad motherfucker, don't you know And I'll crawl over fifty good pussies just to get one fat boy's asshole" Said Stagger Lee Just then Billy Dilly rolls in and he says, "You must be That bad motherfucker called Stagger Lee" Stagger Lee "Yeah, I'm Stagger Lee and you better get down on your knees And suck my dick, because If you don't you're gonna be dead" Said Stagger Lee Billy dropped down and slobbered on his head And Stag filled him full of lead Oh yeah.
New book, http://www.hiphopmusic.com/archives/000121.html http://www.daveyd.com/ http://www.urbanthinktank.org/ CELIE'S REVENGE: HIP HOP BETRAYS BLACK WOMEN by Jennifer McLune
Hip Hop is sexist and homophobic and any deviation from this norm within the culture and music has to be fought for and still remains marginal to its most dominant and lucrative expressions. Hip Hop owes its success to the ideology of woman-hating that it creates, perpetuates and reaps the rewards of.
http://www.hiphopcongress.com/interviews/dyson.html "Harder Than Y’all Cause I’m Smarter Than Y’all” An Interview with Dr. Michael Eric Dyson
DeGenova, Nick. 1995. DeGenova, Nick. 1995. Gangster Rap and Nihilism in Black America: Some Questions of Life and Death. Social Text 43: 89- 132. Gangster Rap and Nihilism in Black America: Some Questions of Life and Death, Social Text 43: 89-132. DeGenova, Nick, 2003, "Why I Won't Ever Say, 'Two, Three Many Somalias, ' Again!
Kelley, Robin. 1997. Yo’ Mama’s dysfunctional! Fighting the Culture Wars in Urban America Robin D.G. Kelley, "Kickin' Reality, Kickin' Ballistics: The Cultural Politics of Gangsta Rap in Postindustrial Los Angeles," in Eric Perkins, ed., Droppin' Science: Critical Essays on Rap Music and Hip Hop Culture (Philadelphia: Temple University Press, Forthcoming)
Mercer, Kobena. 1994. Welcome to the Jungle: Identity and Diversity in Postmodern Politics. In Welcome to the Jungle: New Positions in Black Cultural Studies. New York: Routledge
Keyes, Cheryl L. 2002. Daughters of the Blues: Women, Race and Class Representation in Rap Music Performance. In Rap Music and Street Consciousness. Urbana, Illinois: University of Illinois Press.
http://muse.jhu.edu/quick_tour/18.2gray.html
BLACK MASCULINITY AND VISUAL CULTURE*
by Herman Gray
> ...By drawing on deeply felt moral panics about crime, violence, gangs,
> and drugs, these figures have attempted, often successfully, to turn
> dominant representations of black male bodies into a contested cultural
> field. Black rappers imaginatively rework and rewrite the historic tropes
> of black heterosexual, masculine (hyper)sexuality, insensitivity,
> detachment, and cold-bloodedness into new tropes of fascination and fear.
The cultural effects of these images are as complex as they are troubling. The complex cluster of self-representations embodied in images of the black heterosexual body as rapper, athlete, and movie star challenges racist depictions of black masculinity as incompetent, oversexed, and uncivil-- ultimately a threat to middle class notions of white womanhood, family, and the nation. But representations of the OG (and self-representations of black male youth more generally) are also underwritten by definitions of manhood deeply dependent on traditional notions of heterosexuality, authenticity, and sexism.
These very same images of black manhood as threat and dread not only work to disturb dominant white representations of black manhood, they also stand in a conflicted relationship with definitions and images of masculinity within blackness, most notably constructions of black masculinity produced by the middle-class wing of the civil rights movement and those produced more recently by black gay men. In the first instance, the OG as an emblem of black heterosexual male youth culture threatens and challenges middle- class male (liberal and conservative) conceptions of public civility, private morality, and individual responsibility...Marlon Riggs' Tongues Untied (1989) and Marco Williams' In Search of Our Fathers (1992) illuminate the contested character of this terrain of black heterosexual masculinity. These films, together with the episode of Roc featuring Richard Roundtree as a gay black man involved with a white lover, challenge and destabilize the monolithic and hegemonic character of images rooted in stable heterosexual black masculinity and essential notions of family and nation. The works offer different and more complex ways of seeing and imagining black masculinity and black collective identity. And it is this very complexity and vitality that represents new possibilities for seeing and experiencing our black male selves differently, especially insofar as binaries like manhood/womanhood, black/white, gay/straight, high culture/low culture, public/private, tv/film, commodification/authenticity become more and more problematic and unstable. In their travels and circuits, contemporary images of black masculinity are necessarily engaged in the production of complex intertextual work whose cultural meanings and effects are constantly shifting, open to negotiation, challenge, and rewritings. * Reprinted from the exhibition catalogue, Black Male: Representations of Masculinity in Contemporary American Art. Copyright © 1994, Whitney Museum of American Art, 945 Madison Avenue, New York, NY 10021.
Herman Gray teaches courses in media, popular culture, and cultural politics at the University of California in Santa Cruz. He is author of Producing Jazz: The Experience of an Independent Record Company and Watching Race: Television and the Sign of "Blackness".
http://www.phatfamily.org/ Gay and lesbian Hiphop http://www.deep-dickollective.com/ http://www.nyu.edu/fas/Faculty/HarperPhillip.html Are We Not Men? Masculine Anxiety and the Problem of African-American Identity. New York: Oxford UP. 1996. http://www.oup-usa.org/isbn/0195126548.html Queer Transexions of Race, Nation, and Gender, co-editor. Special issue of Social Text 52/53. Fall/Winter 1997.