Rapper Quotes

You know the world is going crazy when the best rapper is a white guy, the best golfer is a black guy, the tallest guy in the NBA is Chinese, the Swiss hold the America's Cup, France is accusing the U.S. of arrogance, Germany doesn't want to go to war, and the three most powerful men in America are named "Bush", "Dick", and "Colin." Need I say more?

You can't call me boo." "Why not?" "Because you're not a rapper, and I'm not your shorty.

Article 24: "When wearing a baseball cap, a Bro may position the brim at either 12 or 6 o’clock. All other angles are reserved for rappers and the handicapped.

You know, fame is a funny thing, man, especially, you know, actors, musicians, rappers, rock singers, it's kind of a lifestyle and it's easy to get caught up in it - you go to bars, you go to clubs, everyone's doing a certain thing... It's tough.

Well, boo, how does bacon sound?” “Bacon sounds great, but you can’t call me boo.” “Why not?” “Because you’re not a rapper, and I’m not your shorty.

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.

Yeah!" shouted Jonah, twirling the much larger Hamilton around the restaurant in a victory dance. The other diners watched in amazement. This wild display was hardly the public image of the too-cool-for-school Jonah Wizard. "What's the matter?" Hamilton challenged. "Haven't you ever seen a happy rapper before?

..And the same rapper who revels in a woman's finely proportioned behind may also speak against racism and on behalf of the poor, even as he encourages them not to look at hip-hop as their salvation.

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.

I like to quote Shakespeare. But in this case, the rapper Eminem said it best: Words are a motherfucker.

Correct me if I'm wrong, but isn't it usually aspiring gangsta rappers who set such store by designer labels?

When wearing a baseball cap, a Bro may position the brim at either 12 or 6 o’clock. All other angles are reserved for rappers and the handicapped.

You know I’m the first rapper to adopt a tabby cat. You know I adopted straight from the ASPCA, you feel me? Just breaking the boundaries, man, showing everybody it’s okay to be yourself. Embrace yourself. Embrace your health. Ayyy! Just continue to love yourself and accept.

Williamson Starr doesn't use slang - if a rapper would say it, she doesn't say it, even if her white friends do. Slang makes them cool. Slang makes her "hood". Williamson Starr holds her tongue when people piss her off so nobody will think she's the "angry black girl". Williamson Starr is approachable. No stank-eyes, none of that. Williamson Starr is no confrontational. Basically, Williamson Starr doesn't give anyone a reason to call her ghetto. I can't stand myself for doing it, but I do it anyway.

We give violent movies a pass but come down hard on a rapper like Scarface, who is ultimately a storyteller just like Brian de Palma. And neither of them is responsible for the poverty and violence that really do shape people's lives--not to mention their individual choices.

My life after childhood has two main stories: the story of the hustler and the story of the rapper, and the two overlap as much as they diverge. I was on the streets for more than half of my life from the time I was thirteen years old. People sometimes say that now I'm so far away from that life - now that I've got businesses and Grammys and magazine covers - that I have no right to rap about it. But how distant is the story of your own life ever going to be? The feelings I had during that part of my life were burned into me like a brand. It was life during wartime.

I was out in a second and ninjas are missing. Am back to the top every singer and the rappers are shaking their asses am killing they feeling it. Am rocking the party to Klassik it" [From the song AYI]

I passed a large dark room where a wall-mounted flat-screen with sound muted showed an overweight rapper performing rap hand gestures, which are supposed to project masculine cool but in fact look like a pointlessly violent version of deaf sign language.

Hip hop in my veins, if you cut cut me I will bleed.

In ancient Greek you use the verb ἁρπάζειν, which comes over into Latin as rapio, rapper, raptus sum and gives us English rapture and rape—words stained with the very early blood of girls, with the very late blood of cities, with the hysteria of the end of the world.

Rappers, as a class, are not engaged in anything criminal. They're musicians. Some rappers and friends of rappers commit crimes. Some bus drivers commit crimes. Some accountants commit crimes. But there aren't task forces devoted to bus drivers or accountants. Bus drivers don't have to work under the preemptive suspicion of law enforcement. The difference is obvious, of course: Rappers are young black men telling stories that the police, among others, don't want to hear. Rappers tend to come from places where police are accustomed to treating everybody like a suspect. The general style of rappers is offensive to a lot of people. But being offensive is not acrime, at least not one that's on the books. The fact that law enforcement treats rap like organized crime tells you a lot about just how deeply rap offends some people--they'd love for rap itself to be a crime, but until they get that law passed, they come after us however they can.

It was a complete rejection of genre norms in Korea’s idol industry, where every frame of every video was perfectly produced for public consumption. BTS members were not just idols. They were rappers who released mixtapes and YouTubers who gave tutorials on music production and dance.

Rappers use words that rhymes, But When Lil Wayne Used Rhymes They don't really mean nothing.

My inspiration for writing music is like Don McLean did when he did "American Pie" or "Vincent". Lorraine Hansberry with "A Raisin in the Sun". Like Shakespeare when he does his thing, like deep stories, raw human needs. I'm trying to think of a good analogy. It's like, you've got the Vietnam War, and because you had reporters showing us pictures of the war at home, that's what made the war end, or that shit would have lasted longer. If no one knew what was going on we would have thought they were just dying valiantly in some beautiful way. But because we saw the horror, that's what made us stop the war. So I thought, that's what I'm going to do as an artist, as a rapper. I'm gonna show the most graphic details of what I see in my community and hopefully they'll stop it quick. I've seen all of that-- the crack babies, what we had to go through, losing everything, being poor, and getting beat down. All of that. Being the person I am, I said no no no no. I'm changing this.

I live in my own head and it all makes sense to me.

What we're saying — what I'm saying, anyway — is that it's OK to be weird, and maybe your weird is my normal. Who's to say?

It was made to fail, born to be co-opted and subsumed into the junky ferrywake of media's coaching.

It had the word bitches in it, which is perfectly fine to use if you're a rapper or a director making a movie about career women, but not if you're a teen girl talking about her homies." "Good point, Petra. We know that young ladies of the teen persuasion do not use these indelicate words. Nor do they have thoughts about sex, masturbation, violence, being competitive, or farting.

As I sat alone in my new office, I recalled a time, as a young prosecutor, when I overheard some of my colleagues in the hallway. “Should we add the gang enhancement?” one of them asked. “Can we show he was in a gang?” the other said. “Come on, you saw what he was wearing, you saw which corner they picked him up on. Guy’s got the tape of that rapper, what’s his name?” I stepped out into the hallway. “Hey, guys, just so you know: I have family that live in that neighborhood. I’ve got friends who dress in that style. And I’ve got a tape of that rapper in my car right now.

Check it out." Jonah removed the bubble wrap and held up the picture for his three cousins. Dan took a step backward. The shock was almost as powerful as it had been the day before at the Uffizi. "It's perfect! It's every bit as disgusting as the real one!" Amy nodded. "And so fast. We only called you yesterday." Jonah shrugged. "Even the Janus take a short cut every now and then. You can do a lot with digitization these days. You break the picture down to squares and reproduce them one at a time. The other two are just as fly." "You mean, hog ugly," Hamilton amended. "The serpents don't help," Dan put in critically. "Live fat spaghetti. Lady, if you're thinking of a modeling career, forget it!" The rapper clucked sympathetically. "You guys just don't appreciate the power of the visual image. The Wiz used to be like that–until Gangsta Kronikles. When you're in film industry, you understand the whole picture's-worth-a-thousand-words deal." Hamilton rolled his eyes. "Here we go again.

I admire the inner peace I found

He was in the studio all the time. He really thought he was a rapper now. Bless his heart—because he did take it so seriously.

I just have to be normal Starr at normal Williamson and have a normal day. That means flipping the switch in my brain so I’m Williamson Starr. Williamson Starr doesn’t use slang—if a rapper would say it, she doesn’t say it, even if her white friends do. Slang makes them cool. Slang makes her “hood.” Williamson Starr holds her tongue when people piss her off so nobody will think she’s the “angry black girl.” Williamson Starr is approachable. No stank-eyes, side-eyes, none of that. Williamson Starr is nonconfrontational. Basically, Williamson Starr doesn’t give anyone a reason to call her ghetto. I can’t stand myself for doing it, but I do it anyway.

I don't ever want to lose sight of how short my time is here. And I don't ever want to forget that resistance must be its own reward, since resistance, at least within the life span of the resistors, almost always fails. I don't ever want to forget, even with whatever personal victories I achieve, even in the victories we achieve as a people or a nation, that the larger story of America and the world probably does not end well. Our story is a tragedy. I know it sounds odd, but that belief does not depress me. It focuses me. After all, I am an atheist and thus do not believe anything, even a strongly held belief, is destiny. And if tragedy is to be proven wrong, if there really is hope out there, I think it can only be made manifest by remembering the cost of it being proven right. No one - not our fathers, not our police, and not our gods - is coming to save us. The worst really is possible. My aim is to never be caught, as the rappers say, acting like it can't happen. And my ambition is to write both in defiance of tragedy and in blindness of its possibility, to keep screaming into the waves - just as my ancestors did.

My apologies, see, I forgot my manners. I get on the mic ’cause it’s my life. You show off for girls and cameras. You a pop star, not a rapper. A Vanilla Ice or a Hammer. Y’all hear this crap he dumping out? Somebody get him a Pamper. And a crown for me. The best have heard about me. You can only spell “brilliant” by first spelling Bri. You see, naturally, I do my shit with perfection. Better call a bodyguard ’cause you gon’ need some protection, And on this here election, the people crown a new leader. You didn’t see this coming, and your ghostwriters didn’t either. I came here to ether. I’m sorry to do this to you. This is no longer a battle, it’s your funeral, boo. I’m murdering you. On my corner they call me coroner, I’m warning ya. Tell the truth, this dude is borin’ ya. You confused like a foreigner. I’ll explain with ease: You’re just a casualty in the reality of the madness of Bri. No fallacies, I spit maladies, causin’ fatalities, And do it casually, damaging rappers without bandaging. Imagining managing my own label, my own salary. And actually, factually, there’s no MC that’s as bad as me. Milez? That’s cute. But it don’t make me cower. I move at light speed, you stuck at per hour. You spit like a lisp. I spit like a high power. Bri’s the future, and you Today like Matt Lauer. You coward. But you’re a G? It ain’t convincing to me. You talk about your clothes, about your shopping sprees. You talk about your Glock, about your i-c-e. But in this here ring, they all talking ’bout me, Bri!

Concurrently, the growing class power and public voice of conservative and liberal well-to-do black folks easily obscures the class cruelty these individuals enact both in the way they talk about underprivileged blacks and the way they represent them. The existence of that class cruelty and its fascist dimensions have been somewhat highlighted by the efforts of privileged-class blacks to censor the voices of black youth, particularly gangsta rappers who are opposing bourgeois class values by extolling the values of street culture and street vernacular. Significantly, the attack on urban underclass black youth culture and its gangster dimensions (glamorization of crime, etc.) is usually presented via a critique of sexism. Since most privileged-class blacks have shown no interest in advancing feminist politics, the only organized effort to end sexism and sexist oppression, this attack on sexism seems merely gratuitous, a smoke screen that deflects away from the fact that what really disturbs bourgeois folks is the support of rebellion, unruly behavior, and disrespect for their class values. In reality, they and their white counterparts fear the power these young folks have to change the minds and life choices of youth from privileged classes. If only underclass black folks were listening to gangsta rap, there would be no public effort to silence and censor this music. The fear is that it will generate class rebellion.

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?

When I found him, he had his head shaved. He was getting ready to shoot the cover for his album. He was in the studio all the time. He really thought he was a rapper now. Bless his heart—because he did take it so seriously.

This twisted cat and mouse game always starts the same First we're both down to play and somehow you go astray

Do what the fuck makes you happy. Because in the end, who's there? You.

You should never feel afraid to become a piece of art. It’s exhilarating.

I had zero idea of what I was doing.. I honestly had no idea where to start. All I knew was I had something I craved to say.. I wanted to create art that lived on longer than I do. Perseverance and teaching yourself, every day through stress and hard work proves shit really does progress without you realizing. One minute you're an amateur, knowing nothing, not even the basics. The next you can put pen to paper, write a song, and create art in such little time! It's crazy beautiful.

Kesey was doing some acid rapping, taking 500, 1,000, 1,500 micrograms instead of the normal 100 to 250. He had always been against that. Acid rappers, freaks who made a competition out of who could take the most acid—they all seemed to end up loose in the head, that breed.

What role models do kids have nowadays?Some ridiculously overpaid footballer prone to childish tantrums?The morons in the Big Brother house,perhaps? Or maybe the various gun-toting rappers who regularly delight us with their expletive-ridden vocabulary and eccentric attitude to women?

I squeeze through sweaty bodies and follow Kenya, her curls bouncing past her shoulders. A haze lingers over the room, smelling like weed, and music rattles the floor. Some rapper calls out for everybody to Nae-Nae, followed by a bunch of "Heys" as people launch into their own versions.

My Favorite rapper Tupac Shakur.. Philosophical... The emotional depth of his lyricism. Rest in peace. So sad when I listen your music. I understand the struggle, I know exactly how you feel... Been there a million times. Wanting to change the world and Everytime you speak up, only your echo answers you back

The head/heart duality is a well-known cultural phenomenon. In everyday speech we use "heart" as a shorthand to refer to our emotional state or our faith and "head" to refer to cognition or reason. Should I follow my head or my heart? Both "head" and "heart," while they are literally the names of body parts, are commonly used to stand for nonbodily phenonmena, for mental processes. But what body part do we use when we want to refer explicitly to our coporeal self? Whe, the humble "ass," of course! Consider the seminal gangsta rappers Niggaz with Attitude, who in thier classic track "Straight Outta Compton" rhyme: "Niggaz start to mumble / They wanna rumble / Mix 'em and cook 'em in a pot like gumbo / Goin' off on a motherfucker like that / With a gat that's pointed at yo ass." Do the guys in NWA mean to say that a gun is literally pointed downward, at your tuchas? Of course not. We understand that in this context "ass" means "corporeal self.

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.

My lyrics aren't offensive. Some people find everything offensive.

Hopeful dreams - even where crack kings’ and dope fiends feast. Dust from the ash and rubble; they shine like bright stars once the mic is gripped and the bars are spit.

Burn me down 'till I'm nothin' but memories

He would tell me stories about how the best rappers ever were Biggie and Tupac, but I always wondered if that was just because they were dead.

Cocktails should be cold. Cubes. Plural. Not the rapper.

In spouse, I mostly hear “S.mouse,” the name of Chris Lilley’s blackface teenage rapper in Angry Boys. And

Cuz even a gangsta rapper can find redemption For the sins committed before revelation.

Too many baby daddies not enough fathers Too many rappers not enough role models Too many entertainers not enough educators Too many preachers not enough spirit-led men

I would’ve put all my money against the little dweeb in braces and his attempt to make it big rapping. He showed me, and everyone else around him, that he was a mad genius.

Crappity, crap, crapper. Fuck a duck and smack a rapper….

A team on my own, deliver like a power play/ Call the king of rap, you can’t take the crown away/

rapper and entrepreneur Nipsey Hussle once said, and it rings true: If your circle does not serve you or does not make you better, you ain’t in a circle—you’re in a cage.

He really thought he was a rapper now. Bless his heart—because he did take it so seriously.

A lot of rappers have tried to become stars by taking on the thug persona—Ja Rule, for example—but they just weren’t as committed as ’Pac.

I don't have what it takes to inspire someone to become a "worldly" musician or rapper! I can't use the power God gave me yesterday to work against the Kingdom God set up many years ago!

Brutality is boring. Over and over, hell night after hell night, the same old dumb, tedious, bestial routine: making men crawl; making men groan, hanging men from the bars; shoving men; slapping men; freezing men in the showers; running men into walls; displaying shackled fathers to their sons and sons to their fathers. And if it turned out that you'd been given the wrong man, when you were done making his life unforgettably small and nasty, you allowed him to be your janitor and pick up the other prisoners' trash. There was always another prisoner, and another. Faceless men under hoods: you stripped them of their clothes, you stripped them of their pride. There wasn't much more you could take away from them, but people are inventive: one night some soldiers took a razor to one of Saddam's former general in Tier 1A and shaved off his eyebrows. He was an old man. "He looked like a grandfather and seemed like a nice guy," Sabrina Harman said, and she had tried to console him, telling him he looked younger and slipping him a few cigarettes. Then she had to make him stand at attention facing a boom box blasting the rapper Eminem, singing about raping his mother, or committing arson, or sneering at suicides, something like that⁠—these were some of the best-selling songs in American history. "Eminem is pretty much torture all in himself, and if one person's getting tortured, everybody is, because that music's horrible," Harman said. The general maintained his bearing against the onslaught of noise. "He looked so sad," Harman said. "I felt so bad for the guy." In fact, she said, "Out of everything I saw, that's the worst." This seems implausible, or at least illogical, until you think about it. The MI block was a place where a dead guy was just a dead guy. And a guy hanging from a window frame or a guy forced to drag his nakedness over a wet concrete floor⁠—well, how could you relate to that, except maybe to take a picture? But a man who kept his chin up while you blasted him with rape anthems, and old man shorn of his eyebrows whose very presence made you think of his grandkids--you could let that get to you, especially if you had to share in his punishment: "Slut, you think I won't choke no whore / til the vocal cords don't work in her throat no more!..." or whatever the song was.

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.

On a 2013 album Jay-Z, one of the country’s richest and most popular rappers, referenced one Wayne Perry in a song. Perry was a hit man in the 1980s for one of Washington, D.C.’s most notorious drug lords. He pleaded guilty in 1994 to five murders, and received five consecutive life sentences. In an interview with Rolling Stone magazine in 2010, President Barack Obama expressed his affinity for rappers like Jay-Z and Lil Wayne, whose lyrics often elevate misogyny, drug dealing, and gun violence. At the time of the president’s interview, Lil Wayne was imprisoned on gun and drug charges.

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…

It was 1998, and the Abercrombie scene had just started to fully embrace hip-hop without judgment.

Dealing with pain for surviving on this thirsty concrete

Get rich or die trying

I'm not a follower. I'm a leader. And anyone who speaks their mind is always criticised.

Youth is something I never wanna take for granted. I just want to smile and live life.

Not afraid to die , but not the fear of death

Trying to get famous, so one day I can afford to live in full anonymity.

Do you think there outside you are free Do you think chaining me you can flee The rest of the world is outside in a cage I am not gonna give up my case just like this

99 Problems is almost a deliberate provocation to simpleminded listeners. If that sounds crazy, you have to understand: Being misunderstood is almost a badge of honor in rap. Growing up as a black kid from the projects, you can spend your whole life being misunderstood, followed around department stores, looked at funny, accused of crimes you didn't commit, accused of motivations you don't have, dehumanized -- until you realize, one day, it's not about you. It's the perceptions people had long before you even walked onto the scene. The joke's on them because they're really just fighting phantoms of their own creation. Once you realize that, things get interesting. It's like when we were kids. You'd start bopping hard and throwing the ice grill when you step into Macy's and laugh to yourself when security guards got nervous and started shadowing you. You might have a knot of cash in your pocket, but you boost something anyway, just for the sport of it. Fuck 'em. Sometimes the mask is to hide and sometimes it's to play at being something you're not so you can watch the reactions of people who believe the mask is real. Because that's when they reveal themselves. So many people can't see that every great rapper is a not just a documentarian, but a trickster -- that every great rapper has a little bit of Chuck and a little bit of Flav in them -- but that's not our problem, it's their failure: the failure, or unwillingness, to treat rap like art, instead of acting like it's a bunch of niggas reading out of their diaries. Art elevates and refines and transforms experience. And sometimes it just fucks with you for the fun of it.

JAMES HALE sat at a side-street noodle-stall. The stall was set-up underneath the shade of a row of fruit trees. He watched a pair of pigeons courting beneath a fig tree. The male’s tail feathers were pushed up in self-promotion and his plumage was arrogantly puffed up. He danced his elaborate dance of love. The female didn’t look impressed. She turned her back to him. Birds were like gangster rappers, Hale thought. They sang songs about how tough they were and how many other birds they’d nested. They were egomaniacs with inferiority complexes. Posers in a leafy street. The bastards flew at the first sign of danger. They couldn’t make it on the ground. Hale hated birds with their merry chirps and their flimsy nests. Tweet. Tweet. Fucking. Tweet. The only thing Hale admired about them was the fact that they could fly. That would be cool. Right now, flying would be good.

When I feel lonely, I scroll through Tinder and remind myself what I’m missing. Which is dudes with coconut-oiled beards all posing next to the same graffitied wall in Dumbo with profiles written entirely in emojis. And I remember that I’m not lonely. I’m alone. When I’m comatose from writing and mothering, when I’m hurting too badly to cook, talk, or smile, I curl up with ‘alone’ like a security blanket. Alone doesn’t care that I don’t shave my legs in the winter. Alone never gets disappointed by me.” Eva sighed. “It’s the best relationship I’ve ever been in.” “Are you speaking metaphorically,” asked Cece, “or are you dating a man named Alone?” “You can’t be serious.” “My doorman is a SoundCloud rapper named Sincere. One never knows.” “I like being single,” Eva continued quietly. “I don’t want anyone to have to really see me.” They sat in silence, Eva idly snapping the rubber band on her wrist.

That a charlatan could find her way into enough parlors of upstate New York and Western Massachusetts in the early years of the twentieth century to provide a comfortable living, was not, in itself, remarkable. Anastasia, however, was, in the spectrum of spirit rappers, table turners, and ectoplasmic spinners, a practitioner of such ability that on some level, she decided, what she did was a kind of magic of its own. She’d come to the profession by way of her sister, who had correctly sensed that the pale, wide-eyed girl possessed a certain affinity for the extraordinary, and had brought her to a séance, where Edith, perceiving that the medium had affixed a scrap of iron to her boot to tap out the spirits’ “answers,” decided, in a moment of pique, to out-channel the star, tossed herself upon the carpeted table, and arching her back and tearing at her bodice, cried out in the voice of a Roman emperor named Augustus Titus.

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.

If you can't tell from my rap lyrics already, yes I am a feminist. And when I'm saying "hoe" or "bitch" I am actually referring to men. ...That sounded bad, in someway. But at the end of the day, I'm sick of rappers using "bitches" and "hoes" as terms towards women. Feminists are NOT a hate group. Feminists are not all female. Nor has it got an anti-male agenda. It's about equality! I've had a weird, special bond with women since I was a kid. And it's just a shame really that I'm gay.

I’ll give you an example. In my many years in the entertainment industry, I’ve been around some amazing artists, in particular some of the greatest rappers of all time. Now, rapping might not be an art form that people associate with calmness and stillness, but I can tell you that from LL Cool J to Chuck D to Biggie Smalls to Jay Z, one trait that all those great artists share is an ability to operate out of stillness. There are a lot of rappers who worked as hard as those guys, but very few were able to dip into that well of creativity like they were.

Don Chrisantos Michael Wanzala "Don CM Wanzala" (born April 13), popularly known as Don Santo (stylized as DON SANTO) is a Kenyan singer, rapper, songwriter, arranger, actor, author, content producer, Photo-Videographer, Creative Director (Blame It On Don), entrepreneur, record executive and Leader of the Klassik Nation and chairman and president of Global Media Ltd, based in Nairobi City in Kenya. ​ The genius of DON SANTO rests in his willingness to break from traditional formula and constantly push the envelope. He flips the method of the moment with undeniable swagger and bold African sensibility. As a songwriter, Santo revisits simple, but profound aspects of the human experience – love, lust, desire, joy, and pain that define classical art and drama. He applies his concept to rich, full vocals that exude his intended effect. It is this uncanny ability to compose classics and deliver electrifying live performances that define everything that is essential DON SANTO. In 2015, Santo won the East Africa Music Awards in the Artist of the year Category while his song "Sina Makosa" won the Song of The year. A believer in GOD, FAMILY & GOOD LIFE (Klassikanity).

There is always a tradeoff. As music gets disseminated, and distinct regional voices find a way to be more widely heard, certain bands and singers (who might be more creative, or possibly have just been marketed by a bigger company) begin to dominate, and peculiar regional styles—what writer Greil Marcus, echoing Harry Smith, called the “old weird America”—eventually end up getting squashed, neglected, abandoned, and often forgotten. This dissemination/homogenization process runs in all directions simultaneously; it’s not just top-down repression of individuality and peculiarity. A recording by some previously obscure backwoods or southside singer can find its way into the ear of a wide public, and an Elvis, Luiz Gonzaga, Woody Guthrie, or James Brown, can suddenly have a massive audience—what was once a local style suddenly exerts a huge influence. Pop music can be thrown off its axis by some previously unknown and talented rapper from the projects. And then the homogenization process begins again. There’s a natural ebb and flow to these things, and it can be tricky to assign a value judgment based on a particular frozen moment in the never-ending cycle of change.

ALICE COOPER: Now, if you’re in Norway and you want to have any kind of authority or credibility in metal, you have to eat your lead singer. It’s like rap: if you don’t shoot somebody you can’t really be a rapper. I love these advertisements in metal magazines for all these bands that are trying to be more evil than the other band, or they’re trying to be more Celtic or more occult. It’s just hysterical. These guys are role-playing for a couple years, and then they turn into something else. They go, “We are Gothora, and we are Vikings!” No, you’re not. You’re not Vikings at all. Vikings don’t go to McDonald’s.

Why do you always call me by my full name?” “I don’t know. I guess that’s how I think of you in my head.” “Oh, so you’re saying you think about me a lot?” I laugh. “No, I’m saying that when I think about you, which isn’t very often, that’s how I think of you. On the first day of school, I always have to explain to teachers that Lara Jean is my first name and not just Lara. And then, do you remember how Mr. Chudney started calling you John Ambrose because of that? ‘Mr. John Ambrose.’” In a fake hoity-toity English accent, John says, “Mr. John Ambrose McClaren the Third, madam.” I giggle. I’ve never met a third before. “Are you really?” “Yeah. It’s annoying. My dad’s a junior, so he’s JJ, but my extended family still calls me Little John.” He grimaces. “I’d much rather be John Ambrose than Little John. Sounds like a rapper or that guy from Robin Hood.” “Your family’s so fancy.” I only ever saw John’s mom when she was picking him up. She looked younger than the other mothers, she had John’s same milky skin, and her hair was longer than the other moms’, straw-colored. “No. My family isn’t fancy at all. My mom made Jell-O salad last night for dessert. And, like, my dad only has steak cooked well-done. We only ever take vacations we can drive to.

Similar to Christ’s, rap’s mission is self-esteem for those “previously deemed shit.” So it’s as dangerous as Christ’s. Because a lot of kids of all manner are listening, and no one in the industry wants their top floors threatened by either the wrong skin color or the wrong mindset—that is, anyone who cares about truth. Kids are the market, but you have to keep them believing they’re worth less than the stars or they won’t think they need what stars are selling. Wait till you see. When showbiz execs realize they can’t kill rap, they will hijack it. They’ll make millionaires of impostor rappers who say things like “You can’t be like me.

Battle rappers having an insult contest. Men and boys compete in ritualized insult wars all around the world. Earlier we saw how the instinctive choreography of a standard human fight has been elaborated into the world’s various formal dueling systems. The same goes for the monkey dance of the banter fight, which always involves the same basic moves and rules. Two men take turns hurling boasts and insults. The contests draw spectators, who laugh and hoot as the men derogate each other’s masculinity, while also leveling hilariously vile attacks on relatives (especially mothers). All around the world, the verbal duel is a pure monkey dance for the mind, in which men compete in verbal artistry, wit, and the ability to take a rhetorical punch. Like other forms of the monkey dance, scholars have wondered why boys and men are drawn to verbal duels, and girls and women generally aren’t. This strikes me as a very male sort of question to ask. It’s sort of like a dung beetle wondering why humans don’t find feces delicious. Women avoid verbal duels not because they’ve been told it’s unladylike, but because trading the vilest attacks conceivable while vying in braggadocio just isn’t most women’s idea of a good time. Why don’t people eat feces? Because coprophagy isn’t in our nature. Why don’t women like to duel verbally? Because it’s not in theirs.

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]

after major-league criminals who couldn’t be caught through legal means. So Nick remained a major-league criminal himself, secretly working for the FBI, and Kate remained a top FBI field agent, secretly working with an international fugitive. And that’s why Kate was currently taking the curves on Sunset like it was the Talladega Superspeedway. She was hoping to catch Nick in his Sunset Strip penthouse. Technically, the penthouse wasn’t Nick’s. The IRS had seized it from a rapper who’d neglected to pay his taxes, and then the IRS had left it unoccupied pending sale. Nick had posed as the listing agent and quietly moved in. Thanks to rich tax cheats, Nick could always find a swanky place to stay that didn’t require him to show

It's scary, and downing, that I make my best music when I'm going through my depression... At that moment, all i can see is black, darkness and shadows, but in the bigger picture.. it's a blessing. When I look through all my work, my art, I wouldn't change or take away my depression and anxiety for ANYTHING.. because when i get those days of rainbows, and colors.. i know deep down, i'm only honest when i'm at the deepest of the oceans.. so it's like listening to a different side of my mind, that i never realize exists, until i get that little peek through the blinds, and finally see the sunlight.. THEN on those simple moments, even if they only last a few minutes, i know deep down... maybe i do have a talent. Maybe I have got something, a "gift", that some people call... So really, if it wasn't for my depression, i would never, truly believe I have anything worth giving. So I will NOT sit back and wish i wasn't clinically depressed, I will learn to embrace it, live with it, and talk my brain into believing, and fully knowing, I HAVE A GIFT. I AM WORTHY. I DO HAVE SOMETHING TO GIVE THE WORLD. I will not let my depression or anxiety control me. They can live here(in my mind), but they best know, I AM STILL, AND WILL ALWAYS BE IN CONTROL. .. BUT This is my home, and you're just living under it.

And, where white women are slapped down for daring to be sexual, women of color are slapped down for daring to be anything else: Over the course of her career, Nicki Minaj has spoken about abortion rights, the need for female musicians to write their own work, the difficulty of being an assertive woman in a business setting, and the obstacles black women face in being recognized as creative forces. She is the best-selling female rapper of all time, and her success had done a tremendous amount to awaken critical and commercial interest in female voices within a genre that was largely seen (fairly or unfairly) as a man's game before she showed up. Nicki Minaj has done everything in her power to frame herself as a thoughtful black feminist voice, up to and including staging public readings of Maya Angelou poems. And yet, approximately 89 percent of Nicki Minaj's press coverage, outside of the feminist blogosphere, tends to focus on: her butt.

Vanity 6’s most famous song, ‘Nasty Girl’, may be less well-known than Prince’s greatest hits, but it’s among the most influential songs Prince has written. It’s easy to trace a line from Madonna, who in her earliest incarnation could have been a fourth member of the band, on to Janet Jackson, whose 1986 song ‘Nasty’ (produced by two former members of The Time) reverses the gender from ‘nasty girls’ to ‘nasty boys’, to Britney Spears, who claimed that the track ‘Boys’, from her 2001 album Britney, had ‘a kinda Prince feel to it’, but actually lifts directly from ‘Nasty Girl’ (the song is produced by The Neptunes, and its remixed version, ‘Boys (The Co-Ed Remix)’, features vocals from Pharrell Williams, a producer and rapper and diehard Prince fanatic). Britney’s ‘Let’s turn this dance floor into our own little nasty world’, and repeated invocations to ‘get nasty’, are clear Xeroxes of Vanity’s ‘my own little nasty world’ and ‘dance nasty girls’.

Recently, a judge of the prestigious 2014 British Forward Prize for Poetry was moved to observe that “there is an awful lot of very powerful, lyrical, and readable poetry being written today,” but we need education, because “we have lost the sense that poetry sits halfway between prose and music—that you can’t expect to read it like a novel.” A few years ago, the New York Times published an op-ed of mine, about learning poetry by heart. The response to it confirmed that people of all ages think about poetry as a kind of inspired music, embodying beauty and insight. On one hand, poetry has always flowed from music, as rap and hip-hop remind us big-time. Rappers know how poetry walks and talks. So we have music, or deeply felt recitations of poems that belong to collective memory. On the other hand, we have overly instructive prose poems, as well as the experiments of certain critical ideologies, or conceptual performance art. These aspects seem to represent the public, Janus face of poetry.

Do you ever feel that same need? Your life is so very different from my own. The grandness of the world, the real world, the whole world, is a known thing for you. And you have no need of dispatches because you have seen so much of the American galaxy and its inhabitants—their homes, their hobbies—up close. I don’t know what it means to grow up with a black president, social networks, omnipresent media, and black women everywhere in their natural hair. What I know is that when they loosed the killer of Michael Brown, you said, “I’ve got to go.” And that cut me because, for all our differing worlds, at your age my feeling was exactly the same. And I recall that even then I had not yet begun to imagine the perils that tangle us. You still believe the injustice was Michael Brown. You have not yet grappled with your own myths and narratives and discovered the plunder everywhere around us. Before I could discover, before I could escape, I had to survive, and this could only mean a clash with the streets, by which I mean not just physical blocks, nor simply the people packed into them, but the array of lethal puzzles and strange perils that seem to rise up from the asphalt itself. The streets transform every ordinary day into a series of trick questions, and every incorrect answer risks a beat-down, a shooting, or a pregnancy. No one survives unscathed. And yet the heat that springs from the constant danger, from a lifestyle of near-death experience, is thrilling. This is what the rappers mean when they pronounce themselves addicted to “the streets” or in love with “the game.” I imagine they feel something akin to parachutists, rock climbers, BASE jumpers, and others who choose to live on the edge. Of course we chose nothing. And I have never believed the brothers who claim to “run,” much less “own,” the city. We did not design the streets. We do not fund them. We do not preserve them. But I was there, nevertheless, charged like all the others with the protection of my body. The crews, the young men who’d transmuted their fear into rage, were the greatest danger. The crews walked the blocks of their neighborhood, loud and rude, because it was only through their loud rudeness that they might feel any sense of security and power. They would break your jaw, stomp your face, and shoot you down to feel that power, to revel in the might of their own bodies.

For the bus ride, which Delaney estimated would be ninety minutes, she had prepared a mix of happy journeying music, which she activated as they pulled out of the campus gate. The first song was by Otis Redding, and the first message came via her phone. Woman-hater, it said, with a link to an unsigned and evidence-less post hinting that he had been unkind to an ex-girlfriend who he’d met shortly before the bay and the dock and the sitting. Thanks for the early-morning pick-me-up! the writer said, meaning that Delaney had ruined the day and tacitly endorsed Redding’s newly alleged misogyny. Delaney skipped to the next song, Lana Del Rey’s “High by the Beach,” and then quickly figured it was too big a risk so skipped ahead. The third song, the Muppets’ “Movin’ Right Along,” was unknown to most on the bus, and survived its three-minute length, during which a handful of passengers furiously tried to find a reason the song was complicit in evil committed or implied. Delaney skipped the next song, by Neil Diamond, thinking any Jewish singer dubious in light of the Israeli sandwich debacle, skipped songs six and seven (from Thriller), briefly considered the Ronettes’ “Be My Baby” but then remembered Phil Spector, and so finally settled on a young Ghanian rapper she’d recently discovered. His first song was hunted down quickly in a hail of rhetorical buckshot—as a teen, the rapper had zinged a borderline joke about his female trigonometry teacher—so Delaney turned off the shared music, leaving everyone, for the next eighty-one minutes, to their earbuds and the safety of their individualized solitude.

I’m Sushi K and I’m here to say I like to rap in a different way Look out Number One in every city Sushi K rap has all most pretty My special talking of remarkable words Is not the stereotyped bucktooth nerd My hair is big as a galaxy Cause I attain greater technology [...] I like to rap about sweetened romance My fond ambition is of your pants So here is of special remarkable way Of this fellow raps named Sushi K The Nipponese talking phenomenon Like samurai sword his sharpened tongue Who raps the East Asia and the Pacific Prosperity Sphere, to be specific [...] Sarariman on subway listen For Sushi K like nuclear fission Fire-breathing lizard Gojiro He my always big-time hero His mutant rap burn down whole block Start investing now Sushi K stock It on Nikkei stock exchange Waxes; other rappers wane Best investment, make my day Corporation Sushi K [...] Coming to America now Rappers trying to start a row Say “Stay in Japan, please, listen! We can’t handle competition!” U.S. rappers booing and hissin’ Ask for rap protectionism They afraid of Sushi K Cause their audience go away He got chill financial backin’ Give those U.S. rappers a smackin’ Sushi K concert machine Fast efficient super clean Run like clockwork in a watch Kick old rappers in the crotch [...] He learn English total immersion English/Japanese be mergin’ Into super combination So can have fans in every nation Hong Kong they speak English, too Yearn of rappers just like you Anglophones who live down under Sooner later start to wonder When they get they own rap star Tired of rappers from afar [...] So I will get big radio traffic When you look at demographic Sushi K research statistic Make big future look ballistic Speed of Sushi K growth stock Put U.S. rappers into shock

I Am A God [Intro: Capleton] Blazing, mi don't want them Mi need them Blazing Suh mi tek har outta bugah red and put her in a tall skirt And now she find out what life is really worth No to X rated Yo mi tek har outta bugah red and put her in a tall skirt And now she find out what life is really worth No to X rated [Intro] I am a god I am a god I am a god [Hook] I am a god Hurry up with my damn massage Hurry up with my damn ménage Get the Porsche out the damn garage I am a god Even though I'm a man of god My whole life in the hands of god So y'all better quit playing with god [Verse 1] Soon as they like you make 'em unlike you Cause kissing people ass is so unlike you The only rapper compared to Michael So here's a few hating-ass niggas who'll fight you And here's a few snake-ass niggas to bite you And I don't even wanna hear 'bout what niggas might do Old niggas mentally still in high school Since the tight jeans they never liked you Pink-ass polos with a fucking backpack But everybody know you brought real rap back Nobody had swag, man, we the Rat Pack Virgil Pyrex, Don C snapback Ivan, diamond, Chi-town shining Monop' in this bitch, get a change of climate Hop in this bitch and get the same thing I'm in Until the day I get struck by lightning I am a god So hurry up with my damn massage In a French-ass restaurant Hurry up with my damn croissants I am a god I am a god I am a god AAAAAAAAAAAAAHHHHHHHHHHHH!! AAAAAAAAAAAAAHHHHHHHHHHHH!! AAAAAAAAAAAAAHHHHHHHHHHHH!! [Verse 2] I just talked to Jesus He said, "What up Yeezus?" I said, "Shit I'm chilling Trying to stack these millions." I know he the most high But I am a close high Mi casa, su casa That's that cosa nostra I am a god I am a god I am a god AAAAAAAAAAAAAHHHHHHHHHHHH!! AAAAAAAAAAAAAHHHHHHHHHHHH!! AAAAAAAAAAAAAHHHHHHHHHHHH!! AAAAAAAAAAAAAHHHHHHHHHHHH!! [Outro: Justin Vernon] Ain't no way I'm giving up. I'm a god

Zap. Sports channel. Normal is nine innings, four balls, three strikes, somebody wins, somebody loses, there’s no such thing as a tie. Zap. Normal is unreal people, mostly rich unreal people, having sex with rappers and basketball players and thinking of their unreal family as a real-world brand, like Pepsi or Drano or Ford. Zap. News channels. Normal is guns and the normal America that really wants to be great again. Then there’s another normal if your skin color is the wrong color and another if you’re educated and another if you think education is brainwashing and there’s an America that believes in vaccines for kids and another that says that’s a con trick and everything one normal believes is a lie to another normal and they’re all on TV depending where you look, so, yeah, it’s confusing. I’m really trying to understand which this is America now. Zap zap zap. A man with his head in a bag being shot by a man without a shirt on. A fat man in a red hat screaming at men and women also fat also in red hats about victory, We’re undereducated and overfed. We’re full of pride over who the f*ck knows. We drive to the emergency room and send Granny to get our guns and cigarettes. We don’t need no stinkin’ allies cause we’re stupid and you can suck our dicks. We are Beavis and Butt-Head on ’roids. We drink Roundup from the can. Our president looks like a Christmas ham and talks like Chucky. We’re America, bitch. Zap. Immigrants raping our women every day. We need Space Force because Space ISIS. Zap. Normal is Upside-Down Land. Our old friends are our enemies now and our old enemy is our pal. Zap, zap. Men and men, women and women in love. The purple mountains’ majesty. A man with an oil painting of himself with Jesus hanging in his living room. Dead schoolkids. Hurricanes. Beauty. Lies. Zap, zap, zap. “Normal doesn’t feel so normal to me,” I tell him. “It’s normal to feel that way,” he replies.

Real Quick" [Intro:] Valuable lesson, man I had to grow up That's why I never ask for help I'll do it for you niggaz and do it for myself [Chorus:] I go 0 to 100 nigga, real quick Real quick, whole squad on that real shit 0 to 100 nigga, real quick Real quick, real fuckin quick nigga 0 to 100 nigga, real quick Real quick, whole squad on that real shit 0 to 100 nigga, real quick Real quick, real fuckin quick nigga! [50 Cent:] I'll run my blade 'cross a nigga ass {"real quick"} I'm so for real I'm on some real real nigga shit You playin boy I'll get you hit {"real quick"} You better hope the parademics come {"real quick"} Got me fucked up you think it's different now a nigga rich Before I get to cuttin know you niggaz better cut the shit Boy, you gon' have ya head popped, pull a trigger for me And my lil' niggaz trigger op' like it's legal homie No game when I bang, boy I empty the clip You run like a bitch, you ain't 'bout that shit Hey hey hey hey, I'll catch you another day day day day It's the Unit back to the bullshit [Tony Yayo:] Yeah! Nothin in life is out of bounds AK hold about a hundred rounds 60 shots like K.D. at the Rucker's Okay! When I see you on respirators Southside nigga 'til the day I'm gone Indulge in the violence when the drama on Yeah, these rap niggaz lukewarm I'm two sleeves of dope, when the mic on [Chorus] [Kidd Kidd:] Real quick, Rida Gang fuck nigga, huh! Don't Tweet me, see me when you see me Down to make the news just to say that I'm on TV (Kidd Kidd) This clip rated R, niggaz PG Them shells burn like a bootleg CD (huh?) Fuck love, I want the money When you get too much of it they gon' say you actin funny "Kidd, how you feel now that the Unit's back?" Like a million bucks, muh'fucker do the math! [Young Buck:] Cold-blooded, boy my heart don't feel shit Get with me, ask 50, I'll take the hit {"real quick"} Balenciagas, you can still get ya ass kicked Take a rapper nigga bitch and make a real flick I know I'm different from what you usually be dealin with Don't need a mic, give me some white to make a million with Single borough, six shots on the Brooklyn Bridge I'll let the nigga Drake tell you what I just did (yeah) [Chorus] [Lloyd Banks:] Nigga gettin money new to you (uh) I give a fuck if shit get ugly, there'll be a beautiful funeral You fit the script I'm gon' assume it's true Can't manuever through the street without a strategy, ain't nobody to tutor you And man was lucky Unit's through, you know why he flows 15 years, switchin dealers like casinos And my goon'll clip you on the arm (uhh) I'm out the country every week and dumpin ash out on the Autobahn Auto-pilot's always on Rather better livin, I've been [?] green bills callin me all day long This is homicide, more tears in your mama eyes More reason to wake up, real niggaz arrive [Chorus]