DAMN ALLHIPHOP GOES ON ON LIL WAYNE {AKA HOUSE NEGRO} FOR HIS DISRESPECTFUL SONG "WHIP IT LIKE A SLAVE" CALLS HIM AN EMBARASSMENT TO HIPHOP AND AN OVERALL COON.LINKS INSIDE
Lil’ Wayne, “Whip It Like A Slave,” and the Crisis
Published Monday, August 03, 2009 10:00 AM
* Get E-Alerts|
* Submit Tip
* Print|
* RSS 2.0
* | Atom 1.0
ShareThis Facebook ADD TO GOOGLE Google
* Most Views & Comments: Hip-Hop Rumors:Jay-Z To Sign Shyne? Dame's Book To Blast Jay? Foxy Brown Arrested?
By Tolu Olorunda
Lil’ Wayne, “Whip It Like A Slave,” and the Crisis of Coonery
“Music is said to soothe the savage beast, but it may also powerfully excite it. … At an emotional level, there is something ‘deeper’ about hearing than seeing; and sometimes about hearing other people which fosters human relationships even more than seeing them.”
—Storr, Anthony. Music and the Mind. New York: Free Press, 1992, p. 26.
That Lil’ Wayne is an embarrassment to the rich legacies of musical excellence which paved the road for his rise to prominence is not a breakthrough. It’s a given. An irrefutable fact. But that he would stoop so low to the level of making a song titled, “Whip It Like A Slave,” boggles the mind of even this writer.
For too long, unskilled rappers, like Lil’ Wayne, have landed featherweight punch-lines on the ear-drums of trained listeners, reminding us that the art of lyrical swordsmanship should be left to those best capable of wielding it. But this song, bad pun or not, crosses the line. This time, somebody must be held accountable for the drivel and acerbic vitriol Lil’ Wayne lashed out at his ancestors, who suffered far too much to be disrespected by an intellectually crippled caricature.
The lyrics of the song, which also features super-lyrical southern crew Dem Franchize Boyz, goes:
I wake up in the morning, take a sh**, shower, shave/ Stand over the stove and whip it like a slave/ I whip it like a slave, I whip it like a slave/ Stand over the stove and whip it like a slave/
This hook is maintained for a good 40 seconds (that way, it’s sufficiently ingrained in the minds of young listeners), before Mr. Carter comes in—in signature superciliousness. And just so no one misses the point of the song, he raps: “New day new yay/ Bet I whip it like Kunta Kinte/ Talking sugar, talking dough like a ben-YAY/ I take a brick, karate chop it like a sensei/.”
Of course, it’s always comical to hear Lil’ Wayne discuss the dangerous terrain of drug-dealing. Why, the multi-millionaire who had it made at 11 knows more than anyone else the perils of the dope game.. But even with this awareness, many younger fans are still desperate enough to be lied to blatantly about an experience they know he never partook in, and one which they are foreign to. On this ground, commonality is found. Most of them, you see, are White and rich.
White suburban girls can’t get enough of “Weezy,” and for good reason—he, essentially, validates the centuries-old lies told about Blackness as a racial demerit. Lil’ Wayne is the epitome of a 21st century Minstrel. Stepin’ Fetchit in the flesh. He bucks, coons, and shines, for the shillings tossed his way by far wealthier white executives at the helm of this recording industry.
“Your career is a typo/
Mine was written like a Haiku/”
And before we go any further, a couple of points must be addressed:
1). Lil’ Wayne is no gangster, no dope dealer, no Blood. He’s, in truth, merely a child star who cashed in, quite handsomely I might add, on the untimely retirement of Jay-Z in 2004. Many of us who, today, shake our heads consistently at the very thought of Lil’ Wayne being regarded the “Best Rapper Alive,” remember the laughs we shared when he first, in early 2005, declared himself that. Most saw his ambitiousness as an unwise publicity stunt, but lately, circumstances have changed considerably. What we now realize, and are forced to admit, is the enormous control of those “old White men” Mos Def sang about in “The Rape Over” (The New Danger, 2004).. Lil’ Wayne’s success, it can be safely assumed, is a product not of talent or merit but of an agenda long-drafted before he came onto the scene. At best, he’s the dummy whose strings were picked to be pulled by powerful ventriloquists in big skyscraper offices.
2). Lil’ Wayne is powerless. Just that. For one who sold an impressive 1,000,000+ copies with his latest album, Tha Carter III (2008), and has been mentioned no less than twice by the most powerful man in the world, he might be getting less respect, from his bosses, than security guards and janitors.
According to the Irv Gotti golden rule of business in the Hip-Hop industry, to get whatever they want, artists must “get hot.” Well, no other artists, with the exception of Drake, is hotter than Lil’ Wayne at this point, and still, label executives and A&Rs could care less about hurt feelings, as they rip asunder his many aspirations.
In a December 2007 interview with RollingOut Television, Rap mogul Irv Gotti discussed the tricks of the Rap trade: “The key to negotiations and the key to success [is]—just get hot and stay hot, and when you go in that office and have that meeting, check your hotness..” Gotti explained how to ascertain the hotness of an artist: “Say some stupid sh**. If they kick you out [of] the office, Ni**a, you’re not that hot. If you say some outlandish sh** and they sit there and talk with you, you’re pretty hot. If you say some outlandish sh** and they thinking about doing it, Ni**a, you’re off the hook!”
So, let’s put Lil’ Wayne’s career to that test.
In 2008, at peak time, following the huge success of his now-triple platinum album, Mr. Big Shot decided he wanted to release a Rock-themed album, Rebirth. Many laughed and, apparently, some of those were executives at Universal Records—his parent company. After the release of his first single, “Prom Queen,” his manager, Cortez Bryant, was advised that the shot-callers weren’t really feeling the concept, and if Weezy “doesn't brighten up, they have to turn into Mr. Evil Record Company and just tell him it’s never going to be released.” The album was originally scheduled for an April 2009 release date. It’s been pushed back several times now, but is tentatively set for November 2009. Something tells me—this time next year Rebirth would have been shelved. The reason: Lil’ Wayne, to borrow Gotti’s term, is not hot.
The many impediments put before his collaboration album (three years in the making) with Harlem rapper Juelz Santana, I Can’t Feel My Face, provides further validation.
For this reason, I stand convinced that the concept for Lil’ Wayne’s “Whip It Like A Slave” diatribe was probably suggested by some sleazy executive whose name we might never know. This contention, however, should not be read as an excuse for the vitriolic investments these Black rappers made in the song. But I can see a scenario play out where Lil’ Wayne’s original line was “Whip It Like A Soda,” or a variant of sorts, but a snot-nosed executive heard the hook, thought a while about it, and compelled him to introduce that one word which gives it a completely different context. In fact, I’m not sure you call that compulsion. Forced might be the more accurate adjective.
“Put a barrel in a capo mouth, ‘til his scalp come out/
You a kid, you don’t live what you rap about/”
In spite of this, I’m not sure of many White rappers or MCs who would get away with similar statements. I can see Hip-Hop message boards overflowing past maximum capacity if a, say, Eminem or Asher Roth released such song. I can see the NAACP trotting out its best and brightest to condemn the disrespect hurled at the legacy of more than 80 million people washed away by the rivers of inhumanity and brutality. I can see esteemed Hip-Hop artists, fueled with great pugnacity, penning diss songs to make known their rage at hearing a White rapper flaunt invectives at the history that produced this great culture of ours—which they, today, benefit bountifully from. I can see Hip-Hop sites invoking the works of John Henrik Clarke, John Hope Franklin, Frances Cress Welsing, Carter G. Woodson, Frederick Douglass, C.R. Gibbs, Hubert Harrison, Herbert Aptheker, and Ida B. Wells to damn the acidity of hatred contained in the song. But these weren’t White rappers. As far as I can tell, Lil’ Wayne darkness isn’t debatable. These characters are Black. Yes, Coons and Samboes, but they’re Black nonetheless. So why, then, am I left victim to the voicelessness of Hip-Hop’s countless culture warriors.
Is the pain any less bearable because a Black rapper is the utterer?
“Rappers only talk about Kis., it’s all poison/
… Think about the kids you mislead with the poison/”
The impact this song masters on the minds of Lil’ Wayne’s many adoring young Black fans is certainly no less caustic. The message that slavery, its aftermath, and the insurmountable cost of the African Holocaust, are trivial still plays itself out perfectly in the minds of impressionable listeners. Many of these listeners, already accustomed—due to criminally negligent education in public schools—to a fabricated interpretation of slavery, would find great relief, courtesy of Lil’ Wayne (and the masks behind him), that the Trans-Atlantic slave trade isn’t at all the gory and bestial experience it’s been established as.
Some would argue that even young listeners can separate fraud from fact, but I beg to differ. I understand that everyone is innately capable of deciphering the truth, but I also understand that the world in which we live is filled with so much inequity and iniquity that any condition can be adapted to. Any condition. Good or bad. Ignorance, hatred, folly, fame. I understand that even the most repulsive imagery, conjured by half-baked Rap artists, after a while adopts a normalized nature in the psyche of the listener.
Late English author Anthony Storr described this process in his 1994 book, Music and the Mind:
Noise can be threatening to normal people. If someone is hypersensitive to noise, and unable to filter out what is irrelevant from all the different noises which constantly impinge upon him, he may be specifically inclined to deal with it by trying to impose a new order on it, make sense out of it, and thus turn what was threatening into something manageable. [p. 102]
We’ve witnessed this “sense” play itself out in Hip-Hop recently. Lil’ Wayne is hardly the only one to spit terror and torture on the history that gave birth to him. Gone are the days when such audacity invited Timberland boots and golf clubs to the bodies of uninformed Rappers. On the monstrously misogynistic second single of Cleveland Rapper Kid Cudi’s upcoming album, “Make Her Say (Poke Her Face),”—also featuring the ever-conscious Common—Kanye West invokes Civil Rights icon Rosa Parks to demonstrate his financial prowess: “And That’s My Commandment, You Ain’t Gotta Ask Moses/ More Champagne, More Toastest /More Damn Planes, More Coastest/ And F*** A Bus, The Benz Is Parked Like Rosa/.” Of course, West’s comments appear mild in the face of Atlanta Rapper Young Jeezy who had previously compared himself to MLK, Malcolm X and Jesus. And not to forget Lil’ Wayne demanding, two years ago, that a XXL interviewer “[t]alk to me like you talk to Martin Luther King or Malcolm X. You’re not going to ask him about what he thinks about what somebody said about him. You ask him about his greatness and his greatness only.” Pretty damn accurate if you ask me.
Well, since Lil’ Wayne sees fit to anoint himself the modern-day MLK and Malcolm X, I’ll appreciate any fans who can relay to him, when next he stops by, just how proud we are to have Martin Luther King or Malcolm X “wake up in the morning, take a sh**, shower, shave/ Stand over the stove and whip it like a slave.”
Tolu Olorunda is a cultural critic and a Columnist for BlackCommentator.com. He can be reached at Tolu.Olorunda@gmail.com.
http://www.Twitter.com/AllHipHopCom Follow us on Twitter http://www.Twitter.com/AllHipHopCom
Launch AllHipHop Radio SOURCE;http://www.allhiphop.com/stories/editorial/archive/2009/08/03/21872...
Published Monday, August 03, 2009 10:00 AM
* Get E-Alerts|
* Submit Tip
* Print|
* RSS 2.0
* | Atom 1.0
ShareThis Facebook ADD TO GOOGLE Google
* Most Views & Comments: Hip-Hop Rumors:Jay-Z To Sign Shyne? Dame's Book To Blast Jay? Foxy Brown Arrested?
By Tolu Olorunda
Lil’ Wayne, “Whip It Like A Slave,” and the Crisis of Coonery
“Music is said to soothe the savage beast, but it may also powerfully excite it. … At an emotional level, there is something ‘deeper’ about hearing than seeing; and sometimes about hearing other people which fosters human relationships even more than seeing them.”
—Storr, Anthony. Music and the Mind. New York: Free Press, 1992, p. 26.
That Lil’ Wayne is an embarrassment to the rich legacies of musical excellence which paved the road for his rise to prominence is not a breakthrough. It’s a given. An irrefutable fact. But that he would stoop so low to the level of making a song titled, “Whip It Like A Slave,” boggles the mind of even this writer.
For too long, unskilled rappers, like Lil’ Wayne, have landed featherweight punch-lines on the ear-drums of trained listeners, reminding us that the art of lyrical swordsmanship should be left to those best capable of wielding it. But this song, bad pun or not, crosses the line. This time, somebody must be held accountable for the drivel and acerbic vitriol Lil’ Wayne lashed out at his ancestors, who suffered far too much to be disrespected by an intellectually crippled caricature.
The lyrics of the song, which also features super-lyrical southern crew Dem Franchize Boyz, goes:
I wake up in the morning, take a sh**, shower, shave/ Stand over the stove and whip it like a slave/ I whip it like a slave, I whip it like a slave/ Stand over the stove and whip it like a slave/
This hook is maintained for a good 40 seconds (that way, it’s sufficiently ingrained in the minds of young listeners), before Mr. Carter comes in—in signature superciliousness. And just so no one misses the point of the song, he raps: “New day new yay/ Bet I whip it like Kunta Kinte/ Talking sugar, talking dough like a ben-YAY/ I take a brick, karate chop it like a sensei/.”
Of course, it’s always comical to hear Lil’ Wayne discuss the dangerous terrain of drug-dealing. Why, the multi-millionaire who had it made at 11 knows more than anyone else the perils of the dope game.. But even with this awareness, many younger fans are still desperate enough to be lied to blatantly about an experience they know he never partook in, and one which they are foreign to. On this ground, commonality is found. Most of them, you see, are White and rich.
White suburban girls can’t get enough of “Weezy,” and for good reason—he, essentially, validates the centuries-old lies told about Blackness as a racial demerit. Lil’ Wayne is the epitome of a 21st century Minstrel. Stepin’ Fetchit in the flesh. He bucks, coons, and shines, for the shillings tossed his way by far wealthier white executives at the helm of this recording industry.
“Your career is a typo/
Mine was written like a Haiku/”
And before we go any further, a couple of points must be addressed:
1). Lil’ Wayne is no gangster, no dope dealer, no Blood. He’s, in truth, merely a child star who cashed in, quite handsomely I might add, on the untimely retirement of Jay-Z in 2004. Many of us who, today, shake our heads consistently at the very thought of Lil’ Wayne being regarded the “Best Rapper Alive,” remember the laughs we shared when he first, in early 2005, declared himself that. Most saw his ambitiousness as an unwise publicity stunt, but lately, circumstances have changed considerably. What we now realize, and are forced to admit, is the enormous control of those “old White men” Mos Def sang about in “The Rape Over” (The New Danger, 2004).. Lil’ Wayne’s success, it can be safely assumed, is a product not of talent or merit but of an agenda long-drafted before he came onto the scene. At best, he’s the dummy whose strings were picked to be pulled by powerful ventriloquists in big skyscraper offices.
2). Lil’ Wayne is powerless. Just that. For one who sold an impressive 1,000,000+ copies with his latest album, Tha Carter III (2008), and has been mentioned no less than twice by the most powerful man in the world, he might be getting less respect, from his bosses, than security guards and janitors.
According to the Irv Gotti golden rule of business in the Hip-Hop industry, to get whatever they want, artists must “get hot.” Well, no other artists, with the exception of Drake, is hotter than Lil’ Wayne at this point, and still, label executives and A&Rs could care less about hurt feelings, as they rip asunder his many aspirations.
In a December 2007 interview with RollingOut Television, Rap mogul Irv Gotti discussed the tricks of the Rap trade: “The key to negotiations and the key to success [is]—just get hot and stay hot, and when you go in that office and have that meeting, check your hotness..” Gotti explained how to ascertain the hotness of an artist: “Say some stupid sh**. If they kick you out [of] the office, Ni**a, you’re not that hot. If you say some outlandish sh** and they sit there and talk with you, you’re pretty hot. If you say some outlandish sh** and they thinking about doing it, Ni**a, you’re off the hook!”
So, let’s put Lil’ Wayne’s career to that test.
In 2008, at peak time, following the huge success of his now-triple platinum album, Mr. Big Shot decided he wanted to release a Rock-themed album, Rebirth. Many laughed and, apparently, some of those were executives at Universal Records—his parent company. After the release of his first single, “Prom Queen,” his manager, Cortez Bryant, was advised that the shot-callers weren’t really feeling the concept, and if Weezy “doesn't brighten up, they have to turn into Mr. Evil Record Company and just tell him it’s never going to be released.” The album was originally scheduled for an April 2009 release date. It’s been pushed back several times now, but is tentatively set for November 2009. Something tells me—this time next year Rebirth would have been shelved. The reason: Lil’ Wayne, to borrow Gotti’s term, is not hot.
The many impediments put before his collaboration album (three years in the making) with Harlem rapper Juelz Santana, I Can’t Feel My Face, provides further validation.
For this reason, I stand convinced that the concept for Lil’ Wayne’s “Whip It Like A Slave” diatribe was probably suggested by some sleazy executive whose name we might never know. This contention, however, should not be read as an excuse for the vitriolic investments these Black rappers made in the song. But I can see a scenario play out where Lil’ Wayne’s original line was “Whip It Like A Soda,” or a variant of sorts, but a snot-nosed executive heard the hook, thought a while about it, and compelled him to introduce that one word which gives it a completely different context. In fact, I’m not sure you call that compulsion. Forced might be the more accurate adjective.
“Put a barrel in a capo mouth, ‘til his scalp come out/
You a kid, you don’t live what you rap about/”
In spite of this, I’m not sure of many White rappers or MCs who would get away with similar statements. I can see Hip-Hop message boards overflowing past maximum capacity if a, say, Eminem or Asher Roth released such song. I can see the NAACP trotting out its best and brightest to condemn the disrespect hurled at the legacy of more than 80 million people washed away by the rivers of inhumanity and brutality. I can see esteemed Hip-Hop artists, fueled with great pugnacity, penning diss songs to make known their rage at hearing a White rapper flaunt invectives at the history that produced this great culture of ours—which they, today, benefit bountifully from. I can see Hip-Hop sites invoking the works of John Henrik Clarke, John Hope Franklin, Frances Cress Welsing, Carter G. Woodson, Frederick Douglass, C.R. Gibbs, Hubert Harrison, Herbert Aptheker, and Ida B. Wells to damn the acidity of hatred contained in the song. But these weren’t White rappers. As far as I can tell, Lil’ Wayne darkness isn’t debatable. These characters are Black. Yes, Coons and Samboes, but they’re Black nonetheless. So why, then, am I left victim to the voicelessness of Hip-Hop’s countless culture warriors.
Is the pain any less bearable because a Black rapper is the utterer?
“Rappers only talk about Kis., it’s all poison/
… Think about the kids you mislead with the poison/”
The impact this song masters on the minds of Lil’ Wayne’s many adoring young Black fans is certainly no less caustic. The message that slavery, its aftermath, and the insurmountable cost of the African Holocaust, are trivial still plays itself out perfectly in the minds of impressionable listeners. Many of these listeners, already accustomed—due to criminally negligent education in public schools—to a fabricated interpretation of slavery, would find great relief, courtesy of Lil’ Wayne (and the masks behind him), that the Trans-Atlantic slave trade isn’t at all the gory and bestial experience it’s been established as.
Some would argue that even young listeners can separate fraud from fact, but I beg to differ. I understand that everyone is innately capable of deciphering the truth, but I also understand that the world in which we live is filled with so much inequity and iniquity that any condition can be adapted to. Any condition. Good or bad. Ignorance, hatred, folly, fame. I understand that even the most repulsive imagery, conjured by half-baked Rap artists, after a while adopts a normalized nature in the psyche of the listener.
Late English author Anthony Storr described this process in his 1994 book, Music and the Mind:
Noise can be threatening to normal people. If someone is hypersensitive to noise, and unable to filter out what is irrelevant from all the different noises which constantly impinge upon him, he may be specifically inclined to deal with it by trying to impose a new order on it, make sense out of it, and thus turn what was threatening into something manageable. [p. 102]
We’ve witnessed this “sense” play itself out in Hip-Hop recently. Lil’ Wayne is hardly the only one to spit terror and torture on the history that gave birth to him. Gone are the days when such audacity invited Timberland boots and golf clubs to the bodies of uninformed Rappers. On the monstrously misogynistic second single of Cleveland Rapper Kid Cudi’s upcoming album, “Make Her Say (Poke Her Face),”—also featuring the ever-conscious Common—Kanye West invokes Civil Rights icon Rosa Parks to demonstrate his financial prowess: “And That’s My Commandment, You Ain’t Gotta Ask Moses/ More Champagne, More Toastest /More Damn Planes, More Coastest/ And F*** A Bus, The Benz Is Parked Like Rosa/.” Of course, West’s comments appear mild in the face of Atlanta Rapper Young Jeezy who had previously compared himself to MLK, Malcolm X and Jesus. And not to forget Lil’ Wayne demanding, two years ago, that a XXL interviewer “[t]alk to me like you talk to Martin Luther King or Malcolm X. You’re not going to ask him about what he thinks about what somebody said about him. You ask him about his greatness and his greatness only.” Pretty damn accurate if you ask me.
Well, since Lil’ Wayne sees fit to anoint himself the modern-day MLK and Malcolm X, I’ll appreciate any fans who can relay to him, when next he stops by, just how proud we are to have Martin Luther King or Malcolm X “wake up in the morning, take a sh**, shower, shave/ Stand over the stove and whip it like a slave.”
Tolu Olorunda is a cultural critic and a Columnist for BlackCommentator.com. He can be reached at Tolu.Olorunda@gmail.com.
http://www.Twitter.com/AllHipHopCom Follow us on Twitter http://www.Twitter.com/AllHipHopCom
Launch AllHipHop Radio SOURCE;http://www.allhiphop.com/stories/editorial/archive/2009/08/03/21872...
Views: 3
Replies to This Discussion
-
Permalink Reply by MeeeeeeMeeeee on -
Me? Or the other guy? lawls.
-
Permalink Reply by MeeeeeeMeeeee on
-
Everyone's missing the point. The bottom line is that LIL WAYNE is black himself. He can't control who listens to the song, and what would we expect when white people are the majority in USA? It was up to Lil Wayne to decide what he wanted to say, and he chose to say "whip it like a slave." People are acting like that style of slavery actually still exists in this country and it doesn't. What negative impact could a song like this possibly have other than a bunch of white people and black people alike arguing over it?! Nothing. It's just a silly song about crack. Why aren't you outraged that he raps about CRACK, I'll never know, crack is still infesting neighborhoods everywhere. Oh, I guess that's okay but making a comment about history is unnacceptable. Please.
-
Permalink Reply by MeeeeeeMeeeee on
-
But the song isn't about modern racism, it's about slavery. The song didn't say, "Whip it like a white man that goes out and becomes a f****** stupid police officer just so he can find some black guy who is successful and hate on him and try to hold him down!" The song said whip it like a slave. We don't even need to mention blacks that have been killed by the police (RIP ERIC). You also specifically avoided the way I carefully worded what I said. I SAID "THAT STYLE OF SLAVERY" doesn't exist in this country, idiot. Don't try to talk AROUND what I said, talk ABOUT what I said if you want to try to disagree. Whip it like a slave ACTUALLY never said, "Whip it like a black slave" It mentioned Kunta Kente once but it never got even specific about what other slaves it may or may not have been talking about. Are Jewish people crying about their pasts of being slaves b/c of this song? NO. Are Asians? NO. So stop giving me all that, "racism still exists" speech like I didn't already know that. You're an idiot for even feeling like you have to mention that to someone who clearly KNOWS that racism is in the U.S. Nobody said s*** about racism, we're talking about whipping style slavery here, so READ more clearly next time, wake up, and get a f****** clue.
-
Permalink Reply by MeeeeeeMeeeee on
-
Wait a second. Are you so ignorant that because I used the word "type" that you automatically think about FASHION?!?! LMFAO. Wow, you're dumb. It doesn't matter how you want to slice it and dice it up, it really doesn't. What I was telling you is that black people are not getting whipped in the United States, which is the TYPE (NOT FASHION) of slavery that Lil Wayne could have been referring to. Most likely. But we can't just put that assumption on there, and even if we do, you still skim over my point just to shout about how you feel. The point is that there are other PROBLEMS in the black community that people should not be so childish that they focus on a SONG rather than the issues. Also, I am aware that racism comes from multiple sources but do YOU even know what racism IS?! Because Lil Wayne is not "making a contribution" to make this song. He's not being racist, he's making a JOKE out of racism, which is what should be done. Why make it worse? Why not make light of it and then use your energy you're expending on getting mad at MeeeMeee to actually fight against something that matters?? hmmmm?
-
Permalink Reply by MeeeeeeMeeeee on
-
I'll address what you wrote point by point, so we're clear.
First off, Asians weren't only enslaved 2000 years ago like the Jews. Asian-Americans have some slave ancestors from the early 1800's when there was actually a "shortage" of Africans. They were called coolies. Of course, their plight isn't as bad as what the settlers did to African people, but it is a legitimate part of history. Most Chinese people did come here during the gold rush, but there were Asian slaves in America during the tmes of Black slavery.
Lil Wayne can't contribute to racism with this, though. He can make himself appear ignorant or mean, but it in no way contributes to racism because he wasn't targeting anyone. People usually define racism as a system of oppression, and making crass comments about your own ancestors really doesn't qualify as fueling oppression.
Lil Wayne obviously has no need for a publicist or anything like that because his public image is already horrible. He's way drugged up and has several children on the way by different women. It doesn't get much worse than that. So especially for Lil Wayne to do this, is not anything for us to bat an eyelash at. If it was Obama, then I can see what you're talking about. But it's not Obama or Oprah or Al Sharpton or any respectable Black person, it's Lil Weezy F. Baby, lol.
Okay, then you said something like, "we haven't come far enough for it to be a joke." But we/you have!!! That's the thing. If you LET it be a joke, that's part of how we all grow and how we all see that we have come a long, long way. That was my main point. That by simply making a big deal out of it keeps the cycle of oppression ALIVE!! To be offended by this fuels the oppressor.
I did instantly understand that people wouldn't like it, but CERTAIN PEOPLE are expected to not like it. You might assume that civil rights leaders might raise an eyebrow but who knows what anyone is really thinking? We can't actually assume anything about anyone, for real. We can try, but that doesn't make us right. I would personally think that fans of rap music wouldn't think much of it because it's one rap line of many crazy, wild things that have been said in hip hop.
It's not Lil Wayne I'm defending. I don't like him that much for real, I'm definitely not a fan of his rock music or that voice synthesizer crap. I just respect his right to say what he feels.
If you make a joke about the holocaust, and your career ends, we all need to remind ourselves that Jewish people control the majority of this country and all of the media. Look into it, because it's true. Jewish people have the 1% of power that controls the rest of the world. They are behind the fed, Viacom, and many other important arenas. THAT'S why it's that way. Not because making jokes about the holocaust is wrong. In fact, Jewish people DO make fun of the holocaust - haven't you ever seen Family Guy?!
Making light of racism if for COMEDIANS?!?! No. That's wrong. I'm sorry, but that's WARPED. No one group of ENTERTAINERS is in a special category of political-correctness. That's RIDICULOUS. Comedians do it. Martin is always running around stage pretending to be Kunta Kente and the crowd goes wild. Lil Wayne makes a joke and it's not different.
This is real life? Lil Wayne is in NO WAY associated with REAL LIFE. He's been rich since 11, he makes stories about selling drugs and then he f**** anything moving. His life is not what one would consider an example of being real.
Slavery was everywhere. You are right about that. It's an issue, but an issue of the past. What we need to do is stop arguing with each other and realize that that's what "they" would WANT US to do. Remember? DIVIDE and conquer. People need to leave Wayne alone and focus on real issues, like why our President lies to us, and why so many people are poor, why do blacks have a disproportionate number of people under the poverty line, why are people still judged by what color their skin is when they look for a job, or walk down the street, or go to the airport???
All of these things are more important than how any of us feel about Lil Wayne. -
-
Permalink Reply by Biz{) | Get Back Up \^/ on -
c/s
-
Permalink Reply by EAZY JONES on -
(To MeeeeMeeee) Just by reading the first few lines you wrote I wouldn't even bother reading ur post cause you are Clearly Ignorant
-
Permalink Reply by MeeeeeeMeeeee on
-
That's the most ignorant post on here. Someone who wont educate themselves is the ignorant person, that's almost exactly the definition. You don't stand for anything. And also, you don't need the caps for "clearly" or "ignorant".
-
Permalink Reply by MeeeeeeMeeeee on
-
It's actually pretty funny. The reason why it's not funny to you is because people told you not to laugh.
-
Permalink Reply by ghostniggga MR FRANK BLACK on -
u sound like a smart chick but aint no way u defending sumbady rapping about whipping it like a slave first of all wat dat got to do wit a song.wat dis cats running outta s*** to rap about wtf
-
Permalink Reply by MeeeeeeMeeeee on
-
Well, I just mean that I don't care what people rap about, pretty much. It's not so much in defense of the song but the fact that the guy is allowed to say whatever he wants, and if we don't like it we don't listen to it. I don't like devilish music like some of the heavy metal bands out there so I don't listen to it. If people don't like Wayne, why are they concerning themselves with him? I can't even name one heavy metal band because I don't like it, so I distance myself far from it. Distance yourself from Wayne if you don't like the song. Don't buy his album. He's allowed to rap about whipping slaves if he wants to, and I personally think that if people make it like it's such a problem to talk about slavery in a joking matter, it's because they haven't moved on. But people have to move on. To answer your question, "what does it have to do with the song?" It's just a silly, funny metaphor for whipping up the coke. Of course Wayne is running out of things to rap about, he's not hungry any more like he was during his first few albums. But he can say what he wants, and it's not our place to say how other people should or would feel. Right?
Top Content
![Superstar Jay Presents: Tony Yayo "El Chapo 2" [FREE DOWNLOAD]](http://api.ning.com/files/LOLHcXBpSGUDesgKtQMSFTZ*GjLkYkUhczo6HaWaaKE_/mixtapeweeklyheaderlogo.jpg?width=32&height=32&crop=1%3A1){kind=small}
Upcoming Releases
-
Ultimate Underground Artist Showcase in New York City 2/21
February 21, 2012 from 8pm to 11:45pm – CLUB PYRAMID
Latest Activity
- Top News
- Everything
Blackout replied to Trev -2012 SUB HUMANS's discussion 'That Mc list is another reason why Hip Hop is Illegitimate If 50 isnt on it then it doesnt MATTER! #FACT'
Do you feel the SHIFT?????????????????????????
In a response to a fan asking "so did you just give up on your new album? I was expecting a classic man", 50 said "I may have to fall back"
Lol....this n**** falls back for Rozayyyy.
row1000 - BATTLEAXE WARRIORS replied to Trev -2012 SUB HUMANS's discussion 'BOTTOME LINE: If 50 isnt Acknowledged in Hip Hop then it cant be Legitimate #FACT'
agreed. SK is huge
Youngslim replied to Trev -2012 SUB HUMANS's discussion 'That Mc list is another reason why Hip Hop is Illegitimate If 50 isnt on it then it doesnt MATTER! #FACT'
I thought 50 was gonna be focusing on music 100% WTF is going on
Raw Talent Mixtapes shared their blog post on Facebook
Officer William Roberts replied to MiC's discussion 'The BAWSE #1 Hottest MC in the game! Makes sense coming off his ALL-TIME RECORD BREAKING $46 million tour. Can't be stopped!!'
Mic won't answer that nor did he ever post those low record sales
Trev Jr. -FuckMTV replied to Trev -2012 SUB HUMANS's discussion 'That Mc list is another reason why Hip Hop is Illegitimate If 50 isnt on it then it doesnt MATTER! #FACT'
"If you dont acknowledge The General then its Illegitimate" <<<<< THAT !!
©ü£tur€™_SK®_ØßÅM@ 2012¡ replied to MiC's discussion 'The BAWSE #1 Hottest MC in the game! Makes sense coming off his ALL-TIME RECORD BREAKING $46 million tour. Can't be stopped!!'
Rofl at any of you taking the MTV list seriously.....
© 2012 Created by 50 Cent.
