Rap Song Quotes

In the words of a rap song my neighbor used to play on his boombox when I was a kid: Hold up, wait a minute.

You could name practically any problem in the hood and there'd be a rap song for you.

Hip-hop has always been controversial, and for good reason. When you watch a children's show and they've got a muppet rapping about the alphabet, it's cool, but it's not really hip-hop. The music is meant to be provocative - which doesn't mean it's necessarily obnoxious, but it is (mostly) confrontational, and more than that, it's dense with multiple meanings. Great rap should have all kinds of unresolved layers that you don't necessarily figure out the first time you listen to it. Instead it plants dissonance in your head. You can enjoy a song that knocks in the club or has witty punch lines the first time you hear it. But great rap retains mystery. It leaves shit rattling around in your head that won't make sense till the fifth or sixth time through. It challenges you. Which is the other reason hip-hop is controversial: People don't bother trying to get it. The problem isn't in the rap or the rapper or the culture. The problem is that so many people don't even know how to listen to the music.

...and - holy shit was this song bad. It was like the singer was stabbing my ear with a dagger made of dried turds.

Whether the vessel is a legal document or a rap song, language is often chosen ot exclude. To use a scholarly phrase, "discourse communities" are often gated,so it's the good writer's job to offer readers a set of keys.

The music is meant to be provocative—which doesn’t mean it’s necessarily obnoxious, but it is (mostly) confrontational, and more than that, it’s dense with multiple meanings. Great rap should have all kinds of unresolved layers that you don’t necessarily figure out the first time you listen to it. Instead it plants dissonance in your head. You can enjoy a song that knocks in the club or has witty punch lines the first time you hear it. But great rap retains mystery. It leaves shit rattling around in your head that won’t make sense till the fifth or sixth time through. It challenges you.

Why incentivize laziness? High-school students shouldn't be discouraged from grappling, sometimes unsuccessfully, with challenging books, pictures, and songs. A really, really good work of art doesn't bow down to you; you step up to it, and it rewards you. In the end, kids faced with what Chaucer actually wrote may still dislike him, and I'm fine with that; they will have earned that opinion rather than had it handed to them. For heaven's sake, it's easy for kids to see themselves and their peers in a rap song. When they can start to see themselves in a 14th-century poem, then they're actually learning something.

The story of the rapper and the story of the hustler are like rap itself, two kinds of rhythm working together, having a conversation with each other, doing more together than they could do apart. It's been said that the thing that makes rap special, that makes it different both from pop music and from written poetry, is that it's built around two kinds of rhythm. The first kind of rhythm is the meter. In poetry, the meter is abstract, but in rap, the meter is something you literally hear: it's the beat. The beat in a song never stops, it never varies. No matter what other sounds are on the track, even if it's a Timbaland production with all kinds of offbeat fills and electronics, a rap song is usually built bar by bar, four-beat measure by four-beat measure. It's like time itself, ticking off relentlessly in a rhythm that never varies and never stops. When you think about it like that, you realize the beat is everywhere, you just have to tap into it. You can bang it out on a project wall or an 808 drum machine or just use your hands. You can beatbox it with your mouth. But the beat is only one half of a rap song's rhythm. The other is the flow. When a rapper jumps on a beat, he adds his own rhythm. Sometimes you stay in the pocket of the beat and just let the rhymes land on the square so that the beat and flow become one. But sometimes the flow cops up the beat, breaks the beat into smaller units, forces in multiple syllables and repeated sounds and internal rhymes, or hangs a drunken leg over the last bap and keeps going, sneaks out of that bitch. The flow isn't like time, it's like life. It's like a heartbeat or the way you breathe, it can jump, speed up, slow down, stop, or pound right through like a machine. If the beat is time, flow is what we do with that time, how we live through it. The beat is everywhere, but every life has to find its own flow. Just like beats and flows work together, rapping and hustling, for me at least, live through each other. Those early raps were beautiful in their way and a whole generation of us felt represented for the first time when we heard them. But there's a reason the culture evolved beyond that playful, partying lyrical style. Even when we recognized the voices, and recognized the style, and even personally knew the cats who were on the records, the content didn't always reflect the lives we were leading. There was a distance between what was becoming rap's signature style - the relentlessness, the swagger, the complex wordplay - and the substance of the songs. The culture had to go somewhere else to grow. It had to come home.

I wish there was a way that 1988 Ice Cube could be introduced to 2014 Ice Cube. He would be as astounded as a motherfucker.

inclined my head toward said friends. One of them, a curvy redhead in a gold skirt that made her look like a disco ball, chose that moment to hop onto the table and shake her ass to the rap song blasting through the speakers. Josh snorted. “Jules? She’s a liability, not help. Stella is as trusting as Ava, and Bridget…well, she has security, but she’s not around as much.

Then she was in a different part of the club, and she and Kitty were dancing to a rap song they both knew all the words to, and Kitty was wearing a thin plastic headband with antennae off of which wobbled life-sized sparkly pink penises. How marvelous this headband was! Even more marvelously, Kitty pointed out that Liz was wearing an identical one. Truly, it was a magical night.

Now let me ask you all a question, what's more pathetic and sad to you? A bunch of poor black people who listen to rich black rappers rapping about their wealth, or a bunch of poor white people who listen to rich white country singers singing songs about how much they love being broke rednecks?

In the old days, people told their kids stories about the big, bad wolf, and men who were especially cruel and horrible were said to be like animals, maybe werewolves. But the things ordinary men do every day are a million times worse than anything a wolf would do. A wolf would never torture another animal to death, or lock it up. They kill out of instinct, in order to survive, because they have to - not because they just feel like it, not because they're evil. Not like us. Man is the scariest animal on the planet, but from the beginning of time, the wolf has gotten the bad rap. We've tried to pretend that evil is out there, lurking inside animals beyond the campfire, and not where it really is, in here.' He [Cody] tapped his chest.

While 'Rap Trax!' recorded, Neel found some scrap paper and we started writing our first lyrics. Bandying about subject matter and title, we got stuck on the idea of 'cool', so my first rap song became 'Pretty Cool'. It was a symbol of our confidence. We weren't awesome cool or mega cool. We were only... pretty cool.

Out of the right speaker in your inner ear will come the endless stream of self-aggrandizement, the recitation of one’s specialness, of how much more open and gifted and brilliant and knowing and misunderstood and humble one is. Out of the left speaker will be the rap songs of self-loathing, the lists of all the things one doesn’t do well, of all the mistakes one has made today and over an entire lifetime, the doubt, the assertion that everything that one touches turns to shit, that one doesn’t do relationships well, that one is in every way a fraud, incapable of selfless love, that one had no talent or insight, and on and on and on.

Is it not strange that things invariably turn out other than what we expected them to be? The malignant power, which lies in wait to deceive us, loves to lull its chosen victim to sleep with with sweet songs and golden stories. On the other hand the messenger that brings salvation from heaven often raps sharply and terrifyingly at our door.

But he played music so loudly he could not hear his pain. He stunted his growth beneath a bass that decorated his aura and lyrics that hardened the glass parts of him. He was indeed an autumn leaf dipped in concrete. He wanted sound, any sound but his own thoughts. Ears that needed songs louder than the mind were ears afraid of what they might hear inside.

Project Princess Teeny feet rock layered double socks Popping side piping of many colored loose lace ups Racing toe keeps up with fancy free gear slick slide and just pressed recently weaved hair Jeans oversized belie her hips, back, thighs that have made guys sigh for milleni year Topped by an attractive jacket her suit’s not for flacking, flunkies, junkies or punk homies on the stroll. Her hands mobile thrones of today’s urban goddess Clinking rings link dragon fingers no need to be modest. One or two gap teeth coolin’ sport gold initials Doubt you get to her name just check from the side please chill. Multidimensional shrimp earrings frame her cinnamon face Crimson with a compliment if a comment hits the right place Don’t step to the plate with datelines from ‘88 Spare your simple, fragile feelings with the same sense that you came Color woman variation reworks the french twist with crinkle cut platinum frosted bangs from a spray can’s mist Never dissed, she insists: “No you can’t touch this.” And, if pissed, bedecked fists stop boys who must persist. She’s the one. Give her some. Under fire. Smoking gun. Of which songs are sung, raps are spun, bells are rung, rocked, pistols cocked, unwanted advances blocked, well stacked she’s jock. It’s all about you girl. You go on. Don’t you dare stop.

Your pussy is a fruit that I wanna juice Your pussy is a fruit that I wanna juice, yeah Put the molly in the booty, girl, we turning up tonight Cos that pussy is a smoothie it know how to do me right.

In the words of the infamous Ice Cube, today was a good day. #GangstaRapInspiration   ...   You know when people say don’t count your chickens before they hatch?   I hate the saying. I’m terrified of birds and their evil, beady eyes and razor-sharp beaks waiting to peck me to death. But that’s not the point. The point is someone should’ve repeated this to me before I skipped down the street, whistling rap songs.

The Chronic is sonically incredible, but it’s hard to drive around singing songs about, ‘Eazy-E can eat a big fat dick,’” Rock wrote on his website. “But I got a feeling I’ll be singing ‘Gin and Juice’ when I’m ninety.

I want to marry his smile, and if his smile is already married to someone else, then I want to marry his eyebrows and eyes. They're remarkable. Nobody's ever made better use of his or her eyes or eyebrows as a rapper than Kurtis Blow.

Connie goes off the charts and into a whole new realm of music. Suddenly channeling Ol’ Dirty Bastard’s scary voice and skyrocketing to a new level of coolness, Connie raps an all-new ghetto version of the once-tepid theme song to Follow the Boys,

DMX Death Threats Gun Death: 35, Generic Threat: 20, Beat Up to Death: 6, Non-Gun Weapon: 5, Robbery Death: 2, Death by Truth: 1 “Niggas wanna lie/Then niggas wonder why/Niggas wanna die” There are 69 death threats on DMX’s It’s Dark and Hell Is Hot

So much money spent so that between 1969 and 1972 a dozen white men could take the express train to a lifeless world? Why, Negro women and men could barely go to the next state without worrying about predatory police, restaurants that refused to serve them, and service stations that wouldn’t let them buy gas or use the bathroom. Now they wanted to talk about a white man on the Moon? “A rat done bit my sister Nell, with Whitey on the Moon,” rapped performer Gil Scott-Heron in a song that stormed the airwaves that year.

Music is reflection of self We just explain it, and then we get our checks in the mail It's fucked up, ain't it? How we can come from practically nothin To bein able to have any f*ckin thing that we wanted That's why we sing for these kids who don't have a thing Except for a dream and a f*ckin rap magazine Who post pin-up pictures on they walls all day long Idolize they favorite rappers and know all they songs Or for anyone who's ever been through shit in they lives So they sit and they cry, at night, wishin they'd die Til they throw on a rap record and they sit and they vibe We're nothin to you, but we're the f*ckin sh*t in they eyes That's why we seize the moment Try to freeze it and own it, squeeze it and hold it Cause we consider these minutes golden And maybe they'll admit it when we're gone Just let our spirits live on Through our lyrics that you hear in our songs, and we can…

A fast note about Ice-T's autobiography: There's a section where he tells a story about hanging out with Flavor Flav that involves going to Red Lobster in a Ferrari. I suspect the phrase "going to Red Lobster in a Ferrari" is the most accurate description of Flavor Flav anyone will ever come up with.

PAUL IS SOMEBODY WHO DOES THINGS WITH ENTHUSIASM, which makes people feel appalled and insulted at things he chooses to do. If you’re under thirty, you have never heard of a song called “Spies Like Us,” and I am a horrible person for being the one to tell you. It was the theme for a big-budget Hollywood spy comedy starring Chevy Chase and Dan Aykroyd. Nobody saw the movie, but Paul’s theme was worse than the movie could have been. MTV played it constantly during the 1985 holiday season, though radio wouldn’t touch it. Paul does a rap that goes something like, “Oooh oooh, no one can dance like you.” In the video he plays multiple roles as members of a studio band, mugging and biting his lower lip. The drumming is where his cheeky-chappy act gets profoundly upsetting. You see this video, you’re going to be depressed for at least ten minutes about the existential condition of Paul-dom. His enthusiasm makes you doubt the sincerity of his other public displays. It makes you doubt yourself. You might think it’s a cheap laugh but it will cost you something.

Do those of you in like Chicago or NYC ever notice how commuters on the train tend to get all quiet and intense when South Side or South Bronx starts to flow past? If you look closely at the faces, you see it’s not depression, not even discomfort; it’s a kind of rigid fascination with the beauty of ruins in which people live but look or love nothing like you, a horizonful of numbly complex vistas in slab-gray and spraypaint-red. Hieroglyphs on walls, people on stoops, hoops w/o nets. White people have always loved to gaze at the ‘real black world,’ preferably at a distance and while moving briskly through, toward business. A view from this remove yields easy abstractions about rap in its role as just the latest ‘black’ music. Like: the less real power a people have, the more they’ll assert hegemony in areas that don’t much matter in any grand scheme. A way to rule in hell: their own vocabulary, syntax, gestures, music, dance; own food; religious rhetoric; social and party customs; that…well-known athletic superiority—the foot-speed, vertical leap—we like them in fields, cotton- or ball-. It’s a Hell we like to look at because it has so clearly been made someone else’s very own….And the exported popular arts! The singing and dancing!…each innovation, new Scene, and genius born of a ‘suffering’ we somehow long to imagine, even as we co-opt, overpay, homogenize, make the best of that suffering song go to stud for our own pale performers.

The great ones, however, never get lost in those distractions. Biggie in particular was legendary for his ability to stay focused. There could be all sorts of things going on—drinks being passed, blunts being rolled, people trying to holler at him about various projects—but he’d just sit in a chair with his eyes closed, seemingly oblivious to all the chaos around him. That was his way of connecting to the stillness inside of him, so that when it was time to get behind the microphone, he wasn’t caught up in worrying about how his last record did or how this one might be received once it was released. No, when it was time to make a song, he was always able to connect with both the music he was hearing in his headphones and the poetry that was filling up his heart. The same way today artists like Jay Z or Lil Wayne are able to create entire songs without ever putting a word down on paper. Through being able to connect completely with the music, they are able to operate from that “zone” that the great ones are able to access. That might not sound like a big deal, but I’ve seen so many artists get sidetracked by those distractions. And when it’s time for them to get in the recording booth and execute their craft, their mind is somewhere else. Sure, they’re rapping along to the beat, but they’re not connected to it.

Parents need to awaken to the fact that some of today’s trendy tunes on the pop charts include lyrics that glamourize illicit drug usage, encourage demoralizing sexual activity, and blaspheme God. It was difficult enough for me to read the lyrics to some of these songs in my research for this book, much less think about what they represent and how they mock godly principles. “Just harmless music,” you say; “another form of artful expression.” After all, “no one bothers listening to the words anyway; they’re just interested in the beat . . . right?” Think on this disturbing story: A twenty-nine-year-old man confessed to police that he sang songs while fatally stabbing his wife and daughter. His four-year-old son survived the attack despite being stabbed eleven times. According to police, the husband and father said he was possessed and believed that his wife was a demon. (Note: It is not possible for a human being to become a demon, but one can be controlled by demonic forces.) The man reportedly told the police that just before stabbing his wife, he started screaming lyrics from a popular rap song, saying, “Here comes Satan. I’m the anti-Christ; I’m going to kill you.” Police said this father admitted that when the kids awoke to their mother’s screams, he stabbed them too. He said he stabbed his son the most because he loved him the most. Then he rolled a cigarette, said another prayer, and called 911.14

That's why we sing for these kids who don't have a thing, except for a dream and a fuckin rap magazine; Who post pin-up pictures on they walls all day long, idolize they favorite rappers and know all they songs; Or for anyone who's ever been through shit in they lives, so they sit and they cry, at night, wishin they'd die; Til they throw on a rap record and they sit and they vibe; We're nothin to you, but we're the fuckin shit in they eyes; That's why we seize the moment; Try to freeze it and own it, squeeze it and hold it, cause we consider these minutes golden; And maybe they'll admit it when we're gone; Just let our spirits live on, through our lyrics that you hear in our songs... [Sing for the Moment]

Eventually I became a tad compulsive about hearing certain songs. At first it was a handful of jazz classics—Miles Davis’s “Freddie Freeloader,” John Coltrane’s “My Favorite Things,” Frank Sinatra’s “Luck Be a Lady.” (Before one primary debate, I must have played that last track two or three times in a row, clearly indicating a lack of confidence in my preparations.) Ultimately it was rap that got my head in the right place, two songs especially: Jay-Z’s “My 1st Song” and Eminem’s “Lose Yourself.” Both were about defying the odds and putting it all on the line (“Look, if you had one shot or one opportunity, to seize everything you ever wanted in one moment, would you capture it? Or just let it slip…”); how it felt to spin something out of nothing; getting by on wit, hustle, and fear disguised as bravado. The lyrics felt tailored to my early underdog status. And as I sat alone in the back of the Secret Service van on the way to a debate site, in my crisp uniform and dimpled tie, I’d nod my head to the beat of those songs, feeling a whiff of private rebellion, a connection to something grittier and more real than all the fuss and deference that now surrounded me. It was a way to cut through the artifice and remember who I was.

Okay, I have unfrozen the humans and adjusted their memories.' Beezlebub pouted. 'Buzzkill--I was just giving the people what they wanted.' Thor's look-a-like rolled his eyes. 'I do not believe singing along to a '90s rap song should have been construed as an invitation to turn them to ice.

also ask DJ AM to bump the song at Las Palmas. He did throw it into the mix days after I recorded it, mostly because it was the first time anyone had ever said his name on a rap song, something he reminded me of just days before he passed away.

A shot-in-the-dark phone call to a dumb rap contest, from a suburbanite who once sharted in sixth-grade PE and as a result had his mom pick him up from the nurse’s office, had turned into a song dope enough to play on LA radio.

Chaotic words are but the mind's take on its rap of thoughts.

I NEED U,” a calm and delicate sound is layered against SUGA’s incensed rapping, and then, when the sound suddenly speeds up, he sings in a low and sorrowful voice, “Sorry (I hate u) / Love you (I hate you) / I forgive you (Shit).” With intensity and sadness appearing constantly alongside one another, listeners feel sad while also becoming more and more elated. Then, in the chorus, these emotions fuse together and explode. The way in which the drawn-out chorus suddenly switches to a powerful beat demonstrates the song’s cathartic element alongside its explosive dance routine.

struggling with the lyrics to “No More Dream.” RM had to compose a staggering twenty-nine versions of the rap lyrics for this particular song.

Poetry is much much more than all of the definitions, theories or explanations that you read or hear about everyday. Poetry is not just a form, a quote or one or two popular poets or pop stars in the media. Poetry is not hip hop or gangsta rap, slam or new formalism, gay or straight, white or black, dead or alive. Poetry does not belong either to the streets or the academics. Poetry is not always a love song. Poetry is not always about the rain or nature, mountains or castles. Poetry is neither happy nor depressed, a villain or a hero, a lover or a friend. Poetry is merely poetry for poetry’s sake. But the words are sacred, something sacred which we share. Poetry is a state of consciousness and the mind. Poetry is all of history and is the history of being. Poetry is all of us Poetry is you.

The music on the radio--pop, rock, rap, and country songs which promote class war and celebrate idiocy, sociopathy, immoral wealth accumulation, discrimination, and stultifying social roles--is the thrown voice of Wall Street. All of the broker's values are exemplified in this music. ...The elite seek to program, dupe, hypnotize, control you--who they regard as their property, their 'bitch'--through these proxy singers. ...Don't let them talk to you that way.

I suppose you could have learned to kick game from “Bonita Applebum”—meager, mealymouthed, soothing “Bonita Applebum” for your meager, mealymouthed, soothing game. Good luck, guy. I’ll take “Around the Way Girl” any day, and twice on days my hair looks good.

Whenever an art form—music, book, drama, song—is dragged into the seminar rooms, it is finished as a force. Nothing is more deadly than the anatomizing of scholarship, since the study of art, any art—even the obscene, semiliterate yawp and grunt of rap—drains the life from it.

Well, we have to remember that this whole band thing was kind of thrown together at the last minute. We hadn’t even picked a name yet.” Sasha started talking into a headset, and suddenly the house lights dimmed. The curtains opened to reveal the first act, which was a seventh-grade rap group dressed in fuzzy dog costumes. They were performing the song “Who Let the Dogs Out?” I hoped it was supposed to be a comedy act. “This is SO unfair!” Chloe groaned. “There has to be something we can do!” Zoey moaned. “That’s showbiz!” Violet said sarcastically. Sasha shot us a dirty look and covered the mic on her headset. “In case you haven’t noticed, I’m trying to put on a show here. Take it out in the hall. Please!” We sighed and slowly shuffled out of the dark auditorium. Then the five of us threw a private pity party for Dorkalicious. Everyone looked SO disappointed. It was heartbreaking.

No, I called LL and said we should meet. I remember being in the dorm and going through his notebook. This was before rap songs really had structure. Often they could be eight, nine minutes long—one entire side of a 12-inch. So I would go through LL’s lyric book and say, “Let’s use these eight bars as a verse, and let’s use these 16 bars as a verse, and this phrase here is going to be the hook, and that will be repeated.

As soon as we had the music arranged on our stands, Conductor Li tapped his baton on the lectern and called us to attention. "Quiet please, comrades! And as we play just think of the Long March," he said. "I will be at the front, like Chairman Mao. I will beat the time. Try to keep up. If you get lost, skip a few pages. Hopefully, the rest of us will pass your way eventually... The first movement sounded like nothing less than a full-scale military retreat. We were ambushed by missing pages of score, by an impulsive feint by the cellists and double basses, and by a flautist who turned two pages rather than one and played along happily in no man's land for a dozen or so bars until he was rapped on the head with the end of a clarinet

When deployed in rap vernacular, the word villain feels slightly anachronistic, particularly when prefaced by the adjective mother-fuckin’. It’s a little old-timey. But there simply wasn’t a word that better described N.W.A’s public aspirations with such accuracy. I suppose gangsta is the only other word that came close, a modifier so flexible it could even be used to describe how rappers operated their cars. If you lowered the seat and tilted your body toward the vehicle’s passenger side, the posture was referred to as the “gangsta lean.” Spawned in 1972 by forgotten R&B wunderkind William DeVaughn, “gangsta lean” is an amazingly evocative term, particularly to those who did not initially know what it meant. But once you unpacked the definition, it merely outlined a villainous way to drive your jalopy to White Castle, operating from the position that appearing villainous was an important way to appear at all possible times. This was very, very important to the members of N.W.A. It was the only thing they seemed to worry about. Everything they attempted had to possess criminal undertones. I can only assume they spent hours trying to deduce villainous ways to microwave popcorn (and if they’d succeeded, there would absolutely be a song about it, assumedly titled “Pop Goes the Corn Killa” or “45 Seconds to Bitch Snack”).

turned on the radio, looking for something to blast the thoughts out of my head, hoping the moist nighttime air would blow in a rare non-country station. I ground through static and static and static, then recoiled at the shrill, choking sound of a man apparently squealing through a crushed larynx. After a moment I realized it was simply Fred Durst and the group Limp Bizkit—Shitload’s favorite band. They’re the ones who invented the musical technique of feeding a list of generic rap phrases to a goat, then reading its turds into a microphone over heavy metal guitar. This was the song “Rollin’,” judging by the fact that the chorus was Fred saying that word several dozen times. Perfect. Rollin’, rollin’, rollin’ . . .

Serio famous quote and song lyrics... "I'm not a follower, I am the Leader. I'm not a student, I am the Teacher. I'm not a fellowship, I am the Preacher.

Tuning in to these stations, audiences heard a rap song as just another pop hit. Hip hop had become just that: hit pop.

The only thing predictable about life is It’s unpredictability Anyone can be anything You can be everything

He often said, “I don’t do commitment,” with a rhythm in his voice, as though miming a rap song, but I didn’t hear what he said; I heard what I wanted to hear: he hadn’t done commitment yet.

Shake your head at rap music all you like: When’s the last time you heard a popular country song about finishing up your master’s in engineering at MIT?

complement the first. The initial credit line Junior offered for investing in artists was only $100 million, much less than what had been available at Warner, but Morris could see that, sitting on a limitless tap of booze money, there was a lot more where that came from.4 Best of all, Seagram was domiciled in Canada, where the lyrics of popular rap songs were not a pressing political issue. Although Jimmy Iovine and Doug Morris were temporarily estranged as colleagues, they remained best friends and hoped to reunite. Fuchs’ actions had stung them both, and Iovine had raised such a stink after Morris’ sacking that he was no longer permitted in the Time Warner Building. Under normal circumstances, he too would have been fired, but Iovine didn’t actually work for Warner directly—he was an equity partner in a joint venture, and the only way to get rid of him was to sell him back his shares. This was an expensive proposition, as Interscope had diversified beyond rap, signing No Doubt, Nine Inch Nails, and Marilyn Manson. Together, the two came up with a plan. Iovine, the agitator, would make himself unbearable to Fuchs, and push extreme albums like Dogg Food and Antichrist Superstar that made the provocations of The Chronic seem boring by comparison. Morris,

Music opens the mind to the harmony with the melodies of words.

Music opens the doorway to words long forgotten.

The world calls on us to listen. Listen, says my daughter, who is writing a paper on Emily Dickinson. Listen, says my son, tucking an earbud in my ear so I can hear the angry rap song that he loves. Listen, says a friend, I have to tell somebody what just happened. . . .

Rap. Songs of rage and hate blended with screaming instruments.

​Gaby: Calm down! I don’t believe in monogamy, okay? I don’t understand how you can be with one partner all your life. Love just the same person for the rest of your life, be committed to one person. ​Nathaniel: I can’t believe… This can’t be true. ​Gaby: Let me explain it in your language. It's like listening to the same song throughout your life. The same song every freaking day. Sooner or later you’ll get tired of it. Then those notes, that melody, those words will get on your nerves, and, in the end, one day, you will be done. That’s why there are people like me. We listen to everything, rap, pop, rock, country, even classical music. You must understand, you can’t get everything from one partner. I came back because I knew that no matter what, you will always be there waiting for me. You are giving me things others can’t give and vice versa. It’s easy.

Calm down! I don’t believe in monogamy, okay? I don’t understand how you can be with one partner all your life. Love just the same person for the rest of your life, be committed to one person… Let me explain it in your language. It's like listening to the same song throughout your life. The same song every freaking day. Sooner or later you’ll get tired of it. Then those notes, that melody, those words will get on your nerves, and, in the end, one day, you will be done. That’s why there are people like me. We listen to everything, rap, pop, rock, country, even classical music. You must understand, you can’t get everything from one partner. I came back because I knew that no matter what, you will always be there waiting for me. You are giving me things others can’t give and vice versa. It’s easy.

Ultimately it was rap that got my head in the right place, two songs especially: Jay-Z’s “My 1st Song” and Eminem’s “Lose Yourself.

She took me to the pasture and let me milk a mammoth brown cow. She taught me how to drive a tractor. We rode horses through the woods. We smoked weed on the roof and pointed out clouds that looked like penises. We fed tiny chunks of raw chicken to her brother’s Venus flytrap. We fucked each other with fresh-picked ears of corn. We built a fire under a billion stars and told ghost stories. We took bets to see how many cigarette butts the rooster would eat. We let the goats hop on top of our backs and nibble our hair. We built an altar of stones, sticks and berries at the top of a hill, and when we hummed a family of deer came to us, licking our palms and nuzzling our cheeks. We bathed in streams and made bread from scratch. We pulled ticks and leeches off each other’s backs. We wrote rap songs about farm life and smoking meth. We stayed up a whole night watching movies about vampires and warlocks. We left clumps of hair, string and silver buttons for a family of crows. When it stormed for three days and we lost power, I rocked her gently in the dark and told her I loved her.

A coaching session can be compared to the creative process of freestyle rap. Neuroscientists at the National Institute on Deafness and Other Communication Disorders scanned the brains of twelve professional rappers with an fMRI (functional magnetic resonance imaging) machine. The scientists discovered that although the brain’s executive functions were active at the start and end of a song, during freestyle, the parts of the brain responsible for self-monitoring, critiquing, and editing were deactivated. In this context, the researchers explained that the rappers were “freed from the conventional constraints of supervisory attention and executive control,” so sudden insights could easily emerge.1 In other words, the rappers used the executive functions of their cognitive brains as they started rapping to deliberately set the intention of the composition up front. Once they had a sense of where they were going, they switched off their inner critic and analyzer. This allowed for more activity in the inner brain, where the eruption of new ideas—creativity—takes place. As they moved to closing out the song, their cognitive brains came back online to provide a consciously designed ending to the composition.

I showed her the Mobb Deep song “Shook Ones Part II” in the first days or weeks when we got together. Now, all of a sudden, she was excited, showing me a video of some pool party where the crowd was puzzled when the DJ played a little childlike tune with very few notes and sounds. Until they recognized the sampled song being played with the original piano tune of Herbie Hancock underneath, called “Jessica”, she was acting like she was teaching me something or something I didn't know beforehand. She was acting like she was smarter than me, or as if I didn't know anything about music, hip hop, or rap. It was very odd. Who could have shown her that track, that video, and Herbie Hancock? I wondered. So, I played the next song myself - Bob Marley's “Forever Loving Jah”. Then, she played Jonathan Richmann's “Something about Mary”. So, I played the song “Jah is One” from Mosh Ben Ari and certain members of Shotei Hanevua to see her reaction to Israeli reggae music. So she played Notorious BIG and the Junior Mafia’s song: “Get money.” She was singing the chorus shaking her boot. Then I played Tupac Shakur's “Hit 'Em Up.” She played Notorious BIG’s song “Juicy.” So I played his song called “Somebody Gotta Die.” She then played the Moldy Peaches, „We are not those kids, sitting on the couch” So I played Mad Child's “Night Vision” to see if she knew it.

Not everyone shared Cronkite’s exuberance. All that money—and for what? many wondered. So much money spent so that between 1969 and 1972 a dozen white men could take the express train to a lifeless world? Why, Negro women and men could barely go to the next state without worrying about predatory police, restaurants that refused to serve them, and service stations that wouldn’t let them buy gas or use the bathroom. Now they wanted to talk about a white man on the Moon? “A rat done bit my sister Nell, with Whitey on the Moon,” rapped performer Gil Scott-Heron in a song that stormed the airwaves that year.

I’m so fucking grateful for his existence, for being my brother, my true family. Now’s not the place in my story for this but shit, damnit, fuckit, when he started writing lyrics over my bass lines his artistry gave me new life. My heart grew a couple of sizes. The color of his words, the sharp sound of the syllables cracking together. Both his lyrics and my bass lines pulsed together, same as the heartbeat of our friendship. It was the conversation we’d started in the Fairfax gymnasium translated into music. When his words met my grooves they flowed together unconsciously, like they’d always been together, like baby wolf twins bursting out of the dark den of their infancy, joyfully embracing the infinite light of the outside world for the first time. When he wrote “Green Heaven,” a long and dynamic rap narrative over our hard funk, I was on the phone for hours, trembling with emotion, calling everyone I knew and excitedly reciting the entire song.

I'm just me. Samuel Clearwater. I was born in this shit hole town. My favourite word is any variation of FUCK. I like my whiskey with a side of blow and maybe a little weed. I have a running theme song in my head for pretty much every occasion and I like to sing it at the top of my lungs, regardless of who is around or where I am. One of my most favorite things to do in this life is to give my friend Bear shit 'cause the look on his face is fucking priceless. I love all kinds of movies and I cried like a little bitch during the entire two hours of PS I Love You. I dig all kinds music. Countrey. Folk. Pop. Blues. Rap. Everything from Tupac to Taylor Swift. I have an unnatural obsession with making perfect pancakes.

She hung with hoodlums. So-called ‘rappers’ who really only write barely coherent poems about violence and debauchery.”… Hypocrite hovered over my tongue. Poems about violence and debauchery? Like he didn’t grow up in the ‘80s and ‘90s singing along to rhythmic revolutionaries, proud gangsters, and player presidents. Those songs only told what people were really going through. They were journalism, not instructions.

Ermias Davidson Asghedom (Nipsey Hussle) provided the blueprint for future rappers - talented lyricists - destined for the industry. On top of showing them how to think beyond Hip Hop, he also showed them how to combat Mumble Rap - a weapon designed by the opposition to our covert empowerment movement, which has been underway, through song, since slavery of which America, herself, has yet to atone for.

That was just one of many weird things we have done. Even weirder to me than that, was the fact that we all talked about- like how it would be for one of us to die… if we would. Sex, drinking, and death were the main topics most nights. Yet that nightfall I do not remember how it came up in the conversations, other than Kenneth complaining that I got to sit in the front seat- aka ‘shotgun’ with Jenny after the party I guess I was where he thought he should be, and you know that wearing a seatbelt is for pussies. I do remember us talking about what a bucket let would be, yet to me, I thought mine was almost complete. The rap music was so loud, that we were yelling at one other just to overhear. Jenny kept going through her I-phone to change the song and text her other friends and boys, her phone was in her right hand in her lap. One reason I sat there is that- I was the one that was meant to pick the music so she could drive. I remember hearing the lyric- ‘To the window to the walls…’ the song was ‘Get Low!’ However, Jenny was so high, and Maddie was singing in the back to the words making her hands go in-between the front seats, and that was comical because she is as white as they come. I remember that is when we started shouting our theory on death and the afterlife, or if there is one. I thought there was… yet I was not sure. We were all gathering what those would be. Jenny was bitching about how it could be and going to be, in the ground, and like her beautiful body is going to be eaten away overtime in her sealed casket. That made my skin crawl. We were all like you’re going to die you’re not going to feel anything dumb ass. Then Maddie said my dying wish is to hook up with Lizzy, Sam, and others all at the same time and never stop. Hey, why not they were both very sexy hot girls. I could see that fantasy of doing it until death. I was a little pissed that I was not one of the girls in that scenario but it's her death wish not mine. Yet this is kind of surprising to me because Maddie was never that way at all. Like she has a boyfriend of two years. However, their love life was always on again and off again. The makeup hookups are all that kept them together… I think...? (#- Hashtag: Wcw- Women crush Wednesday)

This was followed by the sweet sound of Millie’s voice. It was such a great combination and we knew that we sounded good. But the highlight was when Jack broke into his awesome rap. To me, that was the coolest sound ever. The reaction from the audience was amazing. And the cheering and whistling of the kids in our grade spurred us on as we continued with more hit songs, perfectly played. When our final song came to an end, the audience was on their feet, demanding more. All we could do was stare at the sight in front of us. It was unbelievable that they loved our music so much. Without a doubt, it was the proudest moment of my life. And after a nod from Mrs. Harding, giving us permission to continue, we burst into another song. Glancing back towards her, I caught the beaming smile on her own face and could see that she was filled with pride as well. When we later lined up for the last of the official photos, I realized that Blake’s eye was as black as the cap on his head. But no one cared and we all joked about the stories that would be told when looking back at those photos in years to come. Out of all the photos taken, one of my favorites was the one that my brother snapped just before leaving. What made it even more special was the fact that he later decided to keep a copy for himself. That meant more to me than anything. It had been such an incredible night, one that I knew I would never forget. And when my parents surprised me afterward with a family dinner at a special restaurant in town, I couldn’t have felt happier. In addition to graduating, I had received the best report card ever and it was definitely time to celebrate. As I lay in bed later that night, reliving every minute of the previous several hours in my head, not in a million years did I anticipate that in a week’s time, an abrupt turn of events would change everything. And when I was later faced with the news, I simply could not come to terms with how things had changed so dramatically. It was incomprehensible and I did not understand. Too sudden and too unexpected, nothing could ever have prepared me.

To suit the variety of moods that they experience, they listen to a range of music genres. People are often curious about their taste in music, especially the extent of the diversity. One minute they are listening to classical music and the next hardcore rap! The lyrics to a song can have a powerful effect on an empath, especially if it relates to something they have recently experienced. It is advised that empaths listen to music without lyrics to avoid sending their emotions into a spin.

One night in the House of Drinking and Smoking we were victims of what I would later call a home invasion. I didn’t know the term then. I think I learned it later, from a rap song, or a movie based loosely on a newspaper columnist’s fear of a rap song.

Oh, my name is Mr. Cookie Face And I am here to flow Singing hip-hop songs Is what I know Now, gather ‘round And listen to this Because if you ignore my words You’ll get hit with my fist Because I’m a hip-hop master And I’m crafting a sick beat I can’t rap any faster Because then I’ll need to eat Creepers, skeletons, and zombies all know it I’m the Man and I don’t need to show it Haters try to flex But won’t block my success Rhymes flow through my brain Like honey in a bee’s nest Mr. Cookie Face ain’t no dessert Best back away or You gonna get hurt.

end of the class he stood in the doorway to block the Frenchman’s exit. “You’re going around the world showing people pictures of how to use condoms?” Cool B asked mockingly. “I’ll show you what to do.” He snatched away the man’s prospectus and, reading from the text, improvised an anti-AIDS rap on the spot in the manner of LL Cool J. The Frenchman was impressed. Within a couple of days, he had arranged for Cool B to record the rap at a downtown nightclub, and the song made him a momentary celebrity among Abidjan youth. It also began his long association with white people—among them Petra, his girlfriend, who eventually went back to Germany, and Éliane de Latour, a French filmmaker who employed him for a while as a researcher on a feature about Abidjan youth. Cool B keeps pictures of them on his wall, and he tries to figure out why, in spite of these connections, he remains stuck in Koumassi. He spends his ample free time and his limited funds at a local Internet café, surfing international dating sites and chat rooms where people he knows have found marriage opportunities that got them out of Africa. Or he visits

When I drive to work, I listen to thuggish rap at a very loud volume even though the lyrics are degrading to women and offend me to my core. The classic Ying Yang Twins song 'Salt Shaker'? It's amazing.

Poetry is not difficult. If you possess one of the five senses, poetry is in it. If you can compose text message, tweet or Facebook status, you can write poetry. If you can rap a song, you can rhyme poetry. If you can memorise a prayer, you can recite poetry. If you struggle to make sense of formatted text, poetry is your call.