We have harped on this several times over the past few weeks, months. Never yet had we seen any of the dominant liberal web sites, big city newspapers, cable news, or social media do any extensive comment on it. Instead we’ve read and heard about all the honors bestowed on the rap and hip hop stars, and how many top “songs’ (like the ones noted here that occupy the playlists of Barack Obama and politicians and celebrities from all political ideologies.
As the shootings in Broward and the never ending “conversations” on gun violence and the causes drone on, we’ve not seen anyone make any serious reference to the deadly, corrosive effect of this stuff on young people and the culture at large.
This is about the first we’ve seen. When we have published the actual lyrics of this awful “musical” genre on Veritaspac, we’ve gotten just about zero response. If we did it would probably be that we shouldn’t present such “graphic, pornographic” language.
In the final analysis, listen up America…even you folks in the Quad Cities. Few have not been in traffic, stopped at a light and not have been subject to this crud that the occupants and drivers, black and white, have cranked up and are mesmerized by. The young people in this country and in this community are consuming this stuff.
And we’re supposed to rise up against the NRA??!!
News flash! These are not the “niggas with attitude” and they are not “straight outa Compton”! DLH
The article below from Newsbusters presents more documentation of the cultural scandal and the hypocrisy of the left regarding the misogyny and violence embedded in the hip-hop and rap culture. It has the added feature of reference to a glossary of terms of sorts.
Now we have seen yutes, male and female sing along with the hip hop /rap tune (there is only one) never missing a lyric. Nor do they miss any grammatical rules, because the genre exists in part to destroy any. And these same aficionados talk the same cadence in everyday, everywhere discourse. One of he big problems is what they supposedly rebel against is something never imposed on them in our indigenous schools. So educated America is at a loss to a mechanism for being able to talk the talk.
So we have added some vocabulary game proposals along the side that our clever readers might be able to adapt to help teach those who might be unable to understand the words or patois. Here are some excerpts from the Newsbusters expose. Bold our emphasis
In the #MeToo era, many in the music industry have been producing and awarding sexually exploitive lyrics.
For the week of March 31st, 2018, eight of the top 20 songs in Billboard’s “R&B/Hip-Hop” chart were blatantly sexist and misogynistic. In these songs, women were portrayed as commodities or luxury goods — something to be owned or consumed and of no more importance than money, cars, liquor or drugs. Sexual lyrics are casually graphic and almost solely about women giving men pleasure.
In eight of the 20 songs, singers used the word “bitch” a total of 55 times, with 15 blatant instances of women being treated as sex objects. Cardi B, a woman and a wanna-be #MeToo activist, had a new Top-20 song about dominating “bitches” and giving them drugs. Newly minted rap star Post Malone and Ty Dolla $ign rapped that they “can take yo’ bitch,” and receive oral sex from “hoes.” And Kendrick Lamar’s “King’s Dead” (which used “bitch” seven times) grossly detailed oral sex.
Graphic Lyrics Deriding Women as Mere Sex Objects
The song “Psycho” occupied the No. 3 spot on Billboard’s R&B/Hot-Hip Hop chart. Written by Post Malone and featuring artist Ty Dolla $ign, it depicted the luxuries the young rappers have earned, with the worst lyrics concerning the women they’ve acquired. They rapped about stealing “bitches,” and getting them to perform sex acts for them.
In just the second verse, several lines included the lyrics, “You should see the whip, promise I can take yo’ bitch. Dolla ridin’ in an old-school Chevy, it’s a drop top. Boolin’ with a thot-thot, she gon’ give me top top.”
Translation: “thot” is slang for a slut or a whore. It’s a word condensed from the phrase, “that hoe over there.” “Top” is also slang for oral sex.
Another current Top-20 fixture has been the rap group Migos. These three rappers have frequently written songs that objectify and are disparaging towards women. This week, their song “Stir Fry” sat at No. 8 on the Hot R&B/Hip-Hop listing. It’s lyrics stated that they have the “finest hoes,” and that one “hoe” in particular has “got a big ol’ onion booty, [that] make[s] the world cry.”
Another Migos’ song, “Walk It, Talk It,” was high in the chart as well. The song sat at No. 12 and was written about the rap moguls’ decadent lifestyle which included dominating loose and easy women. Several lyrics portrayed rappers’ desire for a threesome with women, “I want that thot, this thot, menagin’,” [as in menage a trois]; and a disparaging objectification of women’s bodies, “She just bought a new ass, but got the same boobs.”
“Him and I” by G-Eazy and Halsey came in at No. 13. A sort of Bonnie and Clyde romance, if you will, the song’s lyrics depicted the two lovers/partners in crime living a fast and hard lifestyle. “We do drugs together, fuck up clubs together,” the song lyrics read. Although the songwriters expressed some type of dependency and intimacy towards one another, it devolved into expressing how the female of the duo is the man’s “down bitch.” G-Eazy and Halsey write:
My bitch was the most solid, nothing to solidify. She would never cheat, you’d never see her with a different guy. Ever tell you different, then it’s a lie. See that’s my down bitch, see that’s my soldier. She keeps that thang-thang if anyone goes there… We keep mobbin’, it’s just me and my bitch. Fuck the world, we just gon’ keep getting rich, you know?
No. 14 in the hip-hop top 20 was “Plug Walk,” by Rich the Kid. It was a song dedicated to his drug supplier, or “Plug,” in which Rich the Kid rapped about a day driving around with his dope-slinger, and getting into gang banger mischief. (“Pick him up in a space coup, I don’t let my plug walk.”)
Rich talked about making deals as a Gucci-wearing “boss,” and picking up women along the way, while discarding old ones. He rapped in the chorus, “New freak, had to cut my other lil’ bitch off (ooh, ooh, lil’ bitch.)” In the second verse, the rapper described a woman he was planning on having have sex with. He wrote, “Bitch this ain’t no Henny in my cup (lil’ bitch.) Stayed down, now the racks up (racks up.) She gon’ let me fuck, ass up (ass up.
Nielsen ratings have found that “it’s the first time in U.S. history that the genre has risen to the top of the musical food chain,” with it making up “25.1 percent of all music consumption in the U.S.” as of 2017. Rock music is second place with only 23%. This is particularly problematic for youth. In a recent article for the The Harvard Crimson, contributing writer Uzochi Nwoko wrote that the “average age of hip hop listeners is the lowest of all major music genres in the United States. Because of this impressionable demographic, the content of hip hop and rap music has particular potential for impact.”
Nwoko discussed that, while the message of wealth and empowerment have been appealing to African-American youth, they have also been receiving the more “insidious connotations.” One such example, the writer claimed, is “the saturation of rap and hip hop music with misogynistic lyrics that hypersexualize and give little or no respect to women.” Nwoko also reported her Billboard hip-hop findings for the week of Feb. 24, which was that an astonishing 18 out of the top 25 songs used language belittling towards women, such as “bitch,” “hoe,” and “whore.” . . .
Dr. Carolyn West, Associate Professor of Psychology at the University of Washington wrote in 2008 about the dangerous implications Hip-Hop culture poses towards young black women in particular. As far as rap music’s expansion from its urban roots to the corporate mainstream, West claimed, “What’s changed over time is the greater sexualization of hip-hop. Initially it started off as a revolutionary form of music. Now, large corporations produce images that sell, and there is a blatant link between hip-hop and pornography.”
Looking the lyrics of the recent top- 20, it’s hard not to recognize this pornographic material. West argued that “Black adolescent girls are being bombarded with graphic sexual images… Black Entertainment Television, plays more than 15 hours of music videos per day.” Considering that rap has become the predominant music genre in the decade since, furthered by the enormous prevalence of social media in America today, it’s safe to say that even more youngsters are plagued by hip-hop’s negative connotations.
. . .
Why Does Hip-Hop Get a Pass? . . .
To have a high-profile music awards show celebrate a genre that is inundated with blatant sexism in the height of Hollywood’s #MeToo movement seems like doublethink. It shows that the toxicity of sexual abuse and misogyny in pop culture is not really being taken seriously, despite the celebrity virtue-signaling. Rap continues to outsell every other genre, and also sells to the most impressionable demographic. Even the Daily Beast argued that the rap industry practically promotes artists accused of real-life violence towards women. For those who care about our culture, obviously there is a huge problem, and for outspoken #MeToo advocates, a huge disconnect.
Don’t be “lost in America.” There is no urban divide. Hip-hop is taught and practiced in every state, cities large and small, farm and manufacturing communities of every stripe. Adapt these aids to help bring you and yours up to date.