reply to post by TheStev
You're saying that I'm implying that I'm somehow better than everyone. I'm saying that you're mistaken.
My opinion stands for my opinion alone and is based upon my own experiences in and exposure to the music industry spanning decades.
Poetry is not Music. That is the entire point I'm making.
I'm saying it usually is played lout to compensate for its many failings--because, again, it's not technically Music.
But if you really want me to act "better than everyone" let me get into the sophisticated lecture mode:
Rap "Music" is not music but it is a cleverly marketed euphemism disguised to give the obnoxious noise societal legitimacy. Describing the
(disenchanting) chanting of "Rap Music" as singing or as music is indeed (in either case) a capitol misnomer. Real Music is the careful arrangement
of organized sounds in the form of notes that then result in a smooth blend of rhythm, tone, and pitch that when united, is quite pleasing to the ear.
Rap is not music. The unpleasant-sounding horror is chaotic dissonance and certainly not elegant consonance. Rap is veritable noise pollution that is
tastelessly amplified from a cumbersome boom box. Generally speaking, unlike Black soul music and traditional Black rhythm and blues, Rap is both
heartless and soulless. Standard love songs show respect and consideration for a member of the opposite gender but most contemporary Rap lyrics
promote a hedonistic "me first" ghetto survival theme that is cruelly perpetuated upon its afflicted listening audience. When Rap "songs" first
appeared I believed that the clamorous nonsense would be another fad phenomena...but unfortunately the dunce-like Rap lyrics herald the worst elements
of society and the brazen inflammatory words glamorize sex, drugs, random and deliberate violence--and gang intimidation themes that
through-and-through reek with sexism, racism and the glorification of the ghetto mentality. In most Rap song themes the dysfunctional dregs of the
inner city are elevated to hero status while the "entertainers" sound like disgruntled grunting angry contemporary cavemen who are advocating the
downfall of "White America" with vitriolic words expressing rage, rebellion and social revolution. This expansion of the "easy-money
anti-establishment ghetto mentality" is fueling resentment and hostility among "disenfranchised" inner city youth as well as contaminating the
gullible and vulnerable minds of suburban teens. But the entire reprehensible "in progress" brainwashing technique that Rap "Music" demonstrably
utilizes is both a sham and a canard that
is trafficking affected teens down a treacherous One-Way-Street that leads only to a permanent lackluster socio-economic cul-de-sac. What a pathetic
and ignoble social disaster!
In the ‘50s and early ‘60s black rhythm and blues imaginatively captured the hopes, the dreams, the ideals and the aspirations of both white and
black teens as portrayed in the quality music of Chuck Berry and Fats Domino. Early black music was a unifying force in America. True, Little
Richard’s music was a tad rebellious but it was not downright dirty, immoral or degrading like modern rap is. The early ‘50s black artists’
songs paralleled the dreams of both white and black America and the entire country was basically on the same musical wavelength.
And then this constructive and positive racial parallelism continued into the early ‘60s with the establishment of Detroit’s Motown where both
black and white society shared a common interest in radio renditions of the ideal boyfriend, the ideal girlfriend, the ideal teen relationship and the
music beneficially emphasized the stability that typical teenage romance provided. The Temptations, the Supremes, the Shirelles, the Marvelettes,
Stevie Wonder, Lionel Richie, Mary Wells, Smokey Robinson, The Four Tops and Martha and the Vandellas all espoused “civilized relationships”
between males and females and their songs genuinely advanced the perpetuation of commonalities in our great American culture.
Ironically white performers were very instrumental in contributing to the origins of “Rap Music.” Certainly Blondie’s Debbie Harry’s classic
rendition of “Rapture” and the Beastie Boys’ amusing “Fight For the Right To Party” preceded the appearance of more radical rappers like
Vanilla Ice and Eminem. And M.C. Hammer’s unique song “Can’t Touch This!” gave Rap a happy monicker and the lively tune showed both
versatility and great potential for the development of new sounds in the recording industry. But then Run DMC, Public Enemy, Ludacris (Whatever
happened to standard spelling?), 50 Cent (Whatever happened to the idea of plural usage in English grammar? I mean, I’ve heard of one cent!) and oh
yes, Eminem and other rappers gradually emerged and began shouting and ranting words that featured intimidation, class conflict, hatred of authority