If I were to ask you “Where’s my killer tape at?” you would undoubtbly know that “Shameek from 212 got bust in his head two times and he was laying there like a new born fucking baby god with all types of fucking blood coming out”
Or if in passing I said “torture muthafucker torture” you might inform me that you would indeed “stab my tongue with a rusty screwdriver”
Let’s say you were hungry and wanted to get some food that was best described as “some marvelous shit to get your mouth watering” you would know who to see.
How is it that we would all know this?
Well from our number four album Enter the 36 Chambers by The Wu Tang Clan.
Released in 1993 it revolutionized production and offered up a bevy of styles from GZA’s traditional rhythms and cadence to ODB’s madman with a mic style, it was unlike anything that any of us have heard at the time and since then artists have been trying to replicate it with expectedly boring and lackluster results….I’m looking at you white people.
My first experience with the Wu was at the Wiz on Central Avenue in Yonkers. I spent my summers working on a Coors truck and every Tuesday I would go to the Wiz and by all the new releases whether I heard them or not. Towards the end of that summer I bought the cassette single for Protect Ya Neck b/w Method Man. The art work could best be described as non-descript, basically plain white cover with a logo. I never heard them, but I read about them and people suggested I check them out. I went back to my car, at the time a Colt Vista Wagon, aka a piece of American shit that Detroit has become famous for, and played the single for a good 45 minutes before pulling out of the parking lot. It was that good and different. Even U-God came off, which is usually the case when he limited to 8 bars or less.
Needless to say I was stuck. I waited and waited until the album came out that fall. The wait was worth every second. The album dropped and it felt like everything changed, at least it did for me. Production now had to be moody and cinematic, lyrics had to be strong and layered and flows had to be insane. The album feature 3 of the greatest songs in the history of rap (Protect Ya Neck, CREAM, and Can It Be All So Simple) and I guess you can argue for a fourth with Method Man, which for my money was a great song for the 90s but not all time.
Everything about the album (with the exception of the song Tearz) is perfect, even the skits are enjoyable to this day. What other album has had skits that spawned hours of conversations and inside jokery, t-shirts, Youtube clips, etc. There are none.
I can’t believe I considered leaving this album off the list.
I have recently been thinking about artists that show potential but never reach it for whatever reason. This phenomenom tends to be of epidemic proportions in rap music and I am not sure why. It could be the culture in the record industry demanding quick turn over and a follow the leader approach to marketing the music. It could be that most rappers do not have the musical background to understand what it takes to make a strong record. it could be that there isnt a lot of guidance other than the “make sure you have the x, y and z” style songs on your album. Or it could just be that some rappers are either too self indulgent or lazy to ever get the best from them.
I started thinking about this because of the artist Mos Def. Obviously a talented rapper. His work in the late 90s with Black Star was brilliant. His first solo album Black on Both Side, though uneven showed immense promise. Sadly that promise was never reached. It was a combination of him being bored with rap, trying to do too much, acting, getting hammered by Christopher Hitchens on Bill Maher, etc.
The point is he was unable to keep focus for a full album and his works became increasingly, how can I say this without being insulting, shitty.
With Mos there are always amazing moments.
When he is on, it is exactly what I want to hear when I listen to rap music, but when he is off it is exactly everything I hate when I listen. So this got me thinking, what if some one like Mos, or The Roots, or Ras Kass had a strong personality with an ear for what makes a great record pushing them to do so? Would it work. Would we get what we always hoped for from them? Sadly we will never know because the music industry has pretty much eliminated the true A&R position for quick profits and disposable artists. So I decided to try on my A&R hat and see if I couldnt put together a great album from the material that is already out there. I set a few rules in place to avoid just turning this into a best off type deal:
1. The music can only come from the artist album catalogue, no collaborations, guest appearances or side projects.
2. The project must flow like an album, which means if the song doesnt fit, it doesnt get on, I dont care if it is their biggest hit or has a Jay-Z or Kanye guest appearance.
3. It must not be longer than 55 minutes and 14 songs, because no album ever should be.
So lets see how this little experiment worked out. Mos Def, you are about to be Laskified.
Mos Def – Laskified
Track Listing
1. Champion Requiem
2. Mr. Nigga
3. Murder of a Teenage Life
4. Ghetto Rock
5. Quiet Dog Bite Hard
6. Undeniable
7. White Drapes
8. Sex, Love, and Money
9. Napoleon Dynamite
10. Close Edge
11. Umi Says
12. History feat. Talib Kweli
13. Brooklyn
I spent a lot of time trying to fill this slot. I was torn between two albums that I absolutely love, Breaking Atoms by Main Source and Whut? Tha Album by Redman, but the more I listened to those albums the less I could justify including them in the top ten-est rap albums of all time based on the criteria laid out in this space two weeks ago. So I pondered, and tried to figure out what I could put in this slot. I already had every album I wanted to include on this list plotted out and ready to go. Then it hit me I needed to move Ghostface Killah’sIron Man from its previous position which was so high because it was going to be the de facto Wu album to the number 8 slot and move Enter the 36 Chambers into the slot held by Ghostface. After all Enter the 36 Chambers is a monster that has earned its right to represent itself.
So here we are at number 8 with what I consider to be the best of the Wu Tang solo records and one of my favorite records of all time. One could argue that any of the first round of Wu Tang solo records could claim a top spot on this list, but you would be wrong. Tical was very good for its time, but Meth’s style on the record has become dated; Liquid Swords aged horribly mostly due to Gza’s anti-personality; and Return to the 36 Chambers while fantastic was just a little too uneven. That leaves Raekwon’s Only Built for Cuban Linx and Ghostface Killah’sIron Man. I feel like you can make an argument for either of these albums being the high point of mid 90s NYC street rap perhaps only being matched by Mobb Deep’sThe Infamous and Hell on Earth, but I can’t give any credence to an album where Havoc is prominently featured on the mic. So I went with my personal favorite of the two. Iron Man.
There is something special about this record, I wouldn’t say it is the high point creatively for Ghostface and the Rza, that would be Supreme Clientele, and it isn’t even the high point for ghost as a lyricist. But there is something about this album that makes me revisit it for weeks at a time. It has a cohesiveness that the others lack, still holds to the signature Wu sound which you could easily argue was the last sound out of New York that really mattered. Sorry Jay-z’sThe Blueprint was cool and all but it was not redefining shit. Where Supreme Clientele and Bulletproof Wallets highlight the verbal ability of Ghost they are lacking in a constant that tethers you to the music, causing the albums to lose urgency as time goes on. Pretty Toney, while enjoyable was the start of the downfall of Ghost as a creative entity eventually leading horrifically boring projects like Fish scale and More Fish. Sure they had moments but they were few and far between. I think what makes Iron Man so special is the emotional core and the rawness of the sound. It resonates through time and the music throughout the record is phenomenal, with a perfect mix of Wu Tang battle raps, street revelry and introspective genius that I think I will still be revisiting well into my latter years.
I recently decided that I needed to put together the definitive list of the top 10 bestest hip hop albums of all time. It is an on-going process which I hope will finally put this discussion to rest. I have set up some ground rules that include the following:
1. No albums released before 1988 or after 2005 are eligible, when the last great rap album (Kanye West’s Late Registration) was released. Sorry Raekwon, Cuban Linx two was good but not great. We need to be honest with ourselves in that historical significance and record sales have nothing to do with the quality of the record, which is why you won’t find any Run DMC, EPMD or Dre on here.
2. The album must still be good. I don’t care if it was great in its heyday, if it isn’t good today it won’t be considered. You need to compete in all eras of the music to be considered one of the all time greats, again see any Dre or Snoop album.
3. If half the album sucks it doesn’t matter how good the rest of the album is, so this rules out all NWA albums, all BDP albums, all Eric B and Rakim albums, and so on. Many of the most impactful albums in rap music were half bad. They were fortunate that they came at the right time and the portion of the album that was great was revolutionary enough that they could ride into the history books.
4. We will not confuse a long career of good with a onetime moment of trancendent greatness. Jay Z while a great MC with many great songs never had a trancendent moment. The same goes with Biggie Smalls. While Ready to Die is a great album it’s not trancendent and just because he died early we like to remember him as the greatest ever, when in reality he was probably top 10-15.
5. Any album on this list must get the “I see where you can make a case for this being on here even if I don’t agree” seal of approval.
6. The album must be known to at least a few hundred thousand people. This means no obscure underground shit. If your album wasn’t good enough to spawn some sort of movement, even if it was just among active hip hop fans then you aren’t on here.
7. Finally – No Tupac….he fucking sucked. Tupac fans are right up there with white kids with dreads and vice interns as the most annoying group of people ever.
This is going to be a long journey, it will probably take us at the very least a few months to get through it all but I imagine that by the time we are done you will agree that this is the most complete list of the top 10 rap albums ever:
Coming in at number 10 we have the aforementioned Kanye West with Late Registration. Originally I had this ranked higher at number 7. Partially because I feel it is a phenomenal album and partially because I knew placing it that high would piss people off and start up some discussion. When I bounced the idea off some friends I consider to be knowledgeable on the subject they all felt the mere inclusion of Kanye in this list would spark the same discussion and emotions. So I rightfully moved it to the 10 slot, the album is only four years old and has yet to stand the test of time.
You probably think I am crazy for including Kanye on this list, but I as I make my case I hope you see my point. I think we can all agree that as a mc Kanye ranks between Phife Dog on the low end of the spectrum and maybe big Boi on the high end. Two 2nd fiddles in legendary groups, who were great as a complimentary voice to the lead vocals of Q-Tip and Andre 3000 respectively. Both have ventured into solo territory with varying degrees of success, Phife being an unadulterated failure and Big Boi having some marginal success and a few good jams. The difference is Kanye was able to pull off the average mc making a great album, outside of Guru he is the only subpar MC to make this list. (more…)
A few years back I did a show in Baltimore and I met an MC named K-Beta. He seemed like a good enough guy, we chopped it up a bit, and he gave me a copy of his cd. Most times when this happens the cd gets a few seconds of listen than tossed. However Beta’s cd stayed in heavy rotation for the whole tour and beyond. I was amazed at how hungry, clear and hard his raps were. There was an honestly in his music that I havent heard from anyone in quite some time. He was the total package, if I started my own label he would be the first rapper I would sign. I recently sat down with Beta to discuss his music and life.
Please take a few seconds to introduce yourself to the steady bloggin audience, please give them a little back ground as to who you are, what you do, etc.
Whaddup y’all..I’m K-Beta coming outta the DMV. I’m 1/4 of Inner Loop Records..and also an artist on the label. I’m also co-owner and CBO of BetaRaz Entertainment. I’m an MC/producer/vocal arranger/party host/calendar publisher/last line of defense.
Right now you seem poised to make a big statement for the DC scene, what was your path from first starting out to where you are now?
Its a hell of a journey, and its far from over. I’m blessed and fortunate to be a part of a great team. We have all paid our dues, and have come too far to even consider turning back. The statement for DMV hip-hop is already being made. I’m coming in to put the period on the end of the sentence.
I first became aware of your work when you gave me the cd ‘Nigger” at Sonar in Baltimore. I was extremely impressed by the craftmanship on the record. The writing was some of the most honest I have ever heard put on wax. What was the writing experience like for that record. Did you have any concerns about it being too honest for an audience that typically gravitates towards the dramatic and sensational?
Thanks a lot A. Coming from an artist of your calibur, that’s a huge compliment. Honestly, most of those lyrics were written while I was still locked up. I came home in 2004 with hundreds of songs written, and we put Nigger together with the best joints from that bunch. I don’t concern myself with sensationalizing my work, because I pride myself on being a sensational lyricist. I have been given the ability to articulate any state of mind or emotion through my lyrics, and people gravitate towards that. The honesty pulls people in, because they can draw strength and inspiration from that. Its the way I was raised by the MCs I grew up listening to.
Listening to the 89 to 09 cd, it is obvious that you are a student of rap, the beats you picked come from a diverse cross section of artists and your flows stayed very true the the artist chosen. What was the reason behind the project and how has influence of the artists chosen guided you as an artist.
89 to 09 was a way for us to put something out that would stand out from the slew of mixtapes in a sorely oversaturated market. There are a lot of artists who are throwing out mixtape after mixtape, and the general interest has damn near bottomed out. With 89 to 09, I was able to not only put out a quality product that is an enjoyable listen, but also have a lot of fun giving props to some of my favorite MCs of the past 20 years. Also, I wanted to display that various influences that have guided and growth as a writer.
A lot of your work tells of your struggles with alcohol and drugs, being in this life, doing shows, touring, etc one is surrounded by drugs and alcohol, how do you deal with that, does it effect you in anyway?
I just focus on my purpose. I stopped drinking about two years ago, because my alcohol use was the biggest roadblock to my success, happiness and overall well-being. Being out isn’t a real problem for me, because I harbor no illusion about the severity of my struggles. I know the consequences of making that choice, so I cannot fool myself.
A lot of the country is not familiar with the DC scene, can you give us a bit of a history and tell us the current state of the scene?
There has always been hip-hop on the DC scene. I was fortunate to be around at a time when the scene was starting to take form, and as a result, I have been able to watch and participate in the explosion of DMV hip-hop to what it is today. Growing up, I was excited to see artists like DC Scorpio and DJ Kool on TV. It let me know that you didn’t have to be from NY or LA to make it. Those brothers and sisters made me believe in myself as an MC from this area. That is why I’ll do a project like 89 to 09. I will always give back to the foundation. It’s similar to paying tithe at church. I know that I owe the old school for having a shot at going down in history.
What’s on deck for K-Beta?
I’m in the studio everyday. I have an album on deck called FTC. I have production from just about every dope producer in the area on it. I can’t give you a solid drop date for it, but the first single will be out very soon. I’m also working on an album produced entirely by Team Demo. That’s a special project for me, because TD were the first cats specifically out of VA to make noise on the DC side. There’s more too. 2010 is going to be a very big year for us.
Where can fans find you and your music?
Right now, fans in the area can catch me on the Capitol City Music Tour with Kingpen Slim and XO. My first album, Nigger: An Audiobiography by K-Beta, is available on iTunes and CDBaby. The 89 to 09 mixtape can be downloaded for free at www.innerloopuncut.com.
I recently sat down with one of NYC’s finest up and coming MCs, Homeboy Sandman, to discuss his music and history, the state of the NYC scene, the hip hop scene as a whole and what it means for the up and coming artist.
Introduce yourself to the readers, tell them a bit about your history, how you came up, etc.
Peace ya’ll my name is Homeboy Sandman. I came up in Queens. I had not much, more than enough, a purebred sort of a mutt. Growing up I always listened to the nicest cats. Everyone from the Fresh Prince to Black Thought to Redman to Big Pun to Eminem to Andre 3000. I never got caught up in the people everybody talked about who weren’t actually nice, of which there were many.
Since we all are creations of our influences How would you describe your sound and how do you feel they come across in the music you create?I would describe my sound as lyrics so sharp I don’t even need flows and flows so sharp I don’t even need lyrics. The gentlemen I mentioned in my first answer come across in the music I create because they set the bar that I must rise to then go beyond. They inspire me to do things that have never been done before. Find flows never flowed before. Melodies never used, experimentation with wordplay and subject matter, and finally to boldly go where no emcee has gone before. John Coltrane, Charlie Parker, The Dave Bruebeck Quartet, and Spyro Gyra are also among my melodic influences and Billie Joel is one of my favorite lyricists of all time as well.
What is your creative process writing and recording?
I Begin with the beat. Two questions come from that. First, how does this beat make me feel? What’s the mood? What’s the tone? That’s what I’m going to talk about. Something somber. Something happy. Something pure, once I have that I’m ready to go in. Secondly, what should rhymes over this sound like? What melody compliments this music. THIS IS MUSIC. Find that melody. Fit the words into that melody like putty into a crack. God does the majority of the work throughout this process.
There is the idea that the NYC scene is over, I see a bit of a resurgance going on right now, Time out New York even did a piece on all of the open mics and weekly showcases that are going on. What are your feelings on the scene, where it’s been, where it is and where it’s going?
That’s ridiculous. The scene is flourishing mightily. I come across emcees every day, from professionals like Tanya Morgan and Pack FM, to open mic up and comers like YC the Cynic and Top $ Raz, who are making phenomenal music and putting on phenomenal performances. We’re getting stronger every day. It’s going forward towards the creation of hip hop that will be looked at as music first and foremost.Who are some of the up and coming NYC artists that should be on people’s radar?
YC the Cynic and Top $ Raz I mentioned earlier. J Monopoly and The OISD Crew. Kalae AllDay. Brown Bag All Stars. Fresh Daily. P.SO. Jersey cats but always in NYC 8TH W1 and Brokn Englsh, just to name a few.
Hip hop seems to be taking a bit of a back seat to rock on a popular music level, much like metal and rock did when rap took over in the mid 90s. Obviously there will always be rap music around and being created, as an up and coming artist how do you think rap no longer being the cash cow for the music industry will affect the music, on a personal level and a macro level?
This ties into my last answer a bit. As more and more hip hop that is actually music becomes widely available people who love music will check for it. People who love music aren’t checking for this gimmicky nonmusical hip hop byproduct that’s being widely popularized. Why would they? It’s not music. People’s increasing immunity to garbage hip hop will affect the music because people will take note that the age of garbage is behind us, finally. Hip hop has finally matured to an art form where it’s artists say to themselves “oh he/she did that?! Well then I have to go even further and do this, or take another direction and do this,” rather than “oh he/she did that? Well then I have to do that too.”
I first learned of you when I would see colorful photocopies with these amazing stanzas written on them signed “Homeboy Sandman” posted all over the trains. To me it seemed like it was a calling card to, for lack of a better term, real heads and MCs. It wasn’t necessarily something the average Joe or casual fan would understand as far as the patterns and the cleverness of the lines. What was the thinking behind that and what kind of results did that campaign yield.
That’s exactly what that campaign was all about. I’ll get the masses later. Right now let me do something to let all the people that know what nice is know that I’m nice. The lines, the emcees I mentioned, was all geared towards people that really know this art recognizing that I really know it too, thus becoming interested in checking for me. The thinking behind the whole thing was “I’m nice, now all I need is for people to know it.” I’ve always been an outside the box thinker and a do it yourselfer. The results that campaign yielded were a citywide notoriety that allowed me to warp various levels in regards to my visibility, marketability, and my entire career. Companies pay millions of dollars for that type of promotion. Seriously.
So what’s coming up for Homeboy Sandman? What is the ultimate goal?
My third album, The Good Sun is dropping in February. Look for that. Look for The Good Sun art campaign before that, it will be everywhere your eyes can see. If you thought that train idea popped off wait until you see this! My ultimate goal is to be the real life Wyld Stallyons (from Bill and Ted’s Excellent Adventure) and make the world a better place with my music. A much, much better place.
Finally, any shows or projects you want to promote?THE GOOD SUN RISES THIS FEBRUARY. OPEN YOUR EARS AND LET THE SUN SHINE IN. And come through Sputnik in BK on November 14th and watch me put in work with PseudoSlang and Loki Da Trixa. And if you’re not in NYC check out the website for road dates ’cause we be putting in road work sun.
As election season nears I have decided I can no long sit idly by and watch the major decisions that affect the things I love be made by someone else who is most likely inferior in every way to myself. Thus I have decided to throw my hat into the ring and run for the Attorney General of Rap. I feel I have the experience, the know-how, and the ability to take kick backs under the table that my opponent just lacks.
While I have been out of the public eye for a little over two years now, I have been able to use this time wisely, and from what I’ve gathered we need a complete overhaul of the system. Granted it is a monumental task, but I think I am up to it. Why, you may ask? Well because I am white and in my mid-thirties. If that doesn’t uniquely qualify me for a position of power in America I don’t know what does.
I have assembled a crack staff of crack heads, racists, homophobes, dullards and un-hirables the likes of which the world has never seen. We have spent many a sleepless night devouring the research and we have come up with the following 5 point plan. A plan that we feel will save rap music from itself, our plan is as follows.
1. Race – We have broken rappers across racial lines and decided that only certain members of each race make contribution of quality to the art. Going forward only artists that fit into the criteria will be allowed to make rap music. The criteria are as follows:
Blacks – as long as you are a natural born or naturalized US citizen from one of the approved regions you will be permitted to make rap.
Latinos – Only Puerto Ricans and Dominicans. Sorry Mexicans and others, if we allow you to rap eventually you make shit like Reggaeton and I will not have that under my watch.
Whites – Only the Irish and the Italians. Because these groups hate black people so much that the hate seems to have emboldened them to bring back a proud minstrel tradition that all white trash/jugaloos can be proud. Plus they are super fun to laugh at.
Asians – Only Filipinos because of they’re great contributions to the art of turntablism.
Any attempts to make music by those that fall out of the accepted ethnic zone will result in an immediate extradition to Queens.
2. Religion – No religions will be allowed to make rap music:
It’s science fact that religion has a long history of fucking up rap music and every group is responsible for it. How so you ask? Well let’s take a look:
Muslims: after All for One nobody wanted to hear your mumbo-jumbo.
Christians: you guys fuck up whatever music you touch, look at metal and hardcore, plus you have country on lock.
Jews: You are responsible for MC Serch and Matisyahu, nuff said. Plus we have already let in the Italians and we don’t need two groups that try to pass themselves off as Puerto Ricans.
Buddhists, Atheists and other new agey types: Def Jux and Rhymesayers artists are established enough that they don’t need any local openers so you are done here.
Should any of you attempt to rap you will be forced to march in gay pride parades and for you new agey types you will be forced to each beef.
3. Regions/States – We have decided that only certain areas of the country have made acceptable contributions to the art and therefore they are the only ones allowed to continue to do so. These regions/states are as follows:
East Coast
New York (Tri-state only meaning New York City and parts of Jersey)
Pennsylvania (Philadelphia only)
Georgia (Atlanta only)
If you are not from one of these areas or have not lived there for more than 10 years you will not be allowed to make rap music, any attempts to do so will be punishable by a punch in the dick and a life public school teacher in the “bad” part of town.
4. Women – No women, sorry. Any attempt by a woman to rap will immediately be deemed unacceptable for reproduction or marriage.
5. Foreigners – If the events of 9/11 taught us anything it is this; WE MUST protect our borders at all costs. Luckily, due to the great work by the shadow government and raci….I mean minutemen we have not had another terrorist attack. However our ears have been assaulted with a barrage of sounds from north, south, east and west of the borders and as far as I’m concerned that is just unacceptable. If you elect me, on my first day in office I will enact laws that will keep our stores and airwaves free of this inferior and laughable product. Anyone caught listening to, selling, enjoying or inactively listening to rap that is not American made will be subject to re-education in a class room designed specifically for them, the retarded.
If we can institute my policies I think we can make the world of rap better. I hope that come Election Day I can count on your support and start to make rap a better and slightly less embarrassing place to be.
My Five Point Plan to Save Rap Music
Friday, October 16th, 2009As election season nears I have decided I can no long sit idly by and watch the major decisions that affect the things I love be made by someone else who is most likely inferior in every way to myself. Thus I have decided to throw my hat into the ring and run for the Attorney General of Rap. I feel I have the experience, the know-how, and the ability to take kick backs under the table that my opponent just lacks.
While I have been out of the public eye for a little over two years now, I have been able to use this time wisely, and from what I’ve gathered we need a complete overhaul of the system. Granted it is a monumental task, but I think I am up to it. Why, you may ask? Well because I am white and in my mid-thirties. If that doesn’t uniquely qualify me for a position of power in America I don’t know what does.
I have assembled a crack staff of crack heads, racists, homophobes, dullards and un-hirables the likes of which the world has never seen. We have spent many a sleepless night devouring the research and we have come up with the following 5 point plan. A plan that we feel will save rap music from itself, our plan is as follows.
1. Race – We have broken rappers across racial lines and decided that only certain members of each race make contribution of quality to the art. Going forward only artists that fit into the criteria will be allowed to make rap music. The criteria are as follows:
Any attempts to make music by those that fall out of the accepted ethnic zone will result in an immediate extradition to Queens.
2. Religion – No religions will be allowed to make rap music:
It’s science fact that religion has a long history of fucking up rap music and every group is responsible for it. How so you ask? Well let’s take a look:
Should any of you attempt to rap you will be forced to march in gay pride parades and for you new agey types you will be forced to each beef.
3. Regions/States – We have decided that only certain areas of the country have made acceptable contributions to the art and therefore they are the only ones allowed to continue to do so. These regions/states are as follows:
New York (Tri-state only meaning New York City and parts of Jersey)
Pennsylvania (Philadelphia only)
Georgia (Atlanta only)
Illinois (Chicago only)
Minnesota (Minneapolis only)
Texas (Houston only)
California (Los Angeles and Oakland only)
If you are not from one of these areas or have not lived there for more than 10 years you will not be allowed to make rap music, any attempts to do so will be punishable by a punch in the dick and a life public school teacher in the “bad” part of town.
4. Women – No women, sorry. Any attempt by a woman to rap will immediately be deemed unacceptable for reproduction or marriage.
5. Foreigners – If the events of 9/11 taught us anything it is this; WE MUST protect our borders at all costs. Luckily, due to the great work by the shadow government and raci….I mean minutemen we have not had another terrorist attack. However our ears have been assaulted with a barrage of sounds from north, south, east and west of the borders and as far as I’m concerned that is just unacceptable. If you elect me, on my first day in office I will enact laws that will keep our stores and airwaves free of this inferior and laughable product. Anyone caught listening to, selling, enjoying or inactively listening to rap that is not American made will be subject to re-education in a class room designed specifically for them, the retarded.
If we can institute my policies I think we can make the world of rap better. I hope that come Election Day I can count on your support and start to make rap a better and slightly less embarrassing place to be.
Tags: Alaska, Comedy, commentary, Def Jux, hip hop, indie hip hop, Philaflava, politics, rap, Rhymesayers, rse, satire, Steady Bloggin'
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