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Satyr
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PostSubject: C-RAP Sun Feb 23, 2014 10:57 am

F-Art

...and other Modern pop-cultural feces...

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PostSubject: Re: C-RAP Sun Feb 23, 2014 11:02 am

Selling image, hypocrisy, hyper-masculine lies, to the degenerates.
Negroes exploiting Negroes, and, at the same time attracting those lost souls, those fatherless, cultural-less, mind-less men-children from other races...the Whiggers.



Once culture has been destroyed, ridiculed, the past forgotten, the individual trained to detach from nature (past), because there he feels ashamed...buying into the immediate, the fashionable, the current, the trending....tapping into the animalistic, superficiality of the reptilian brain, then the individual falls victim to the Nihilistic Modern.

Seek the fatherless, the ones with no family, no sense of identity, no knowledge of their own culture - usually coming from mixed racial backgrounds (mutts), the needy, the retarded in development, the obsessed with materialism and hedonism...and there you'll find the target audience of pop-culture.


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PostSubject: Re: C-RAP Sun Feb 23, 2014 3:25 pm

To be "hip"..."cool"...gangsta, use whatever word is popular in your time and place, is to remain updated to the latest artistic decay.

Hyper-Masculinity, from an ex-slave, who uses whatever power he attains on trinkets, displays, bling-bling and rotating rims on bouncing cars....toys for infantile boys.
the successful modern male is the one exploiting feminization...feeding the emasculating monster with a dose of , mind-numbing hyperbole.

The "playas", the "hustlers" are the Modern Age
"geniuses" - those who do not discover, create, expand, but who manipulate, market and exploit.

They take the lie and market it to brain-dead imbeciles, and needy whores, desperate for relief...and then they squander what they gain in the same bullshit they've sold - eventually buying into the lie themselves.

White-Trash, the byproduct of modern sheltering, fin in the primal, animalistic messages, a vehicle towards self-validation. Through the ex-slave, selling his primitive, regurgitated, wisdom, they rediscover a culture they never came into contact with, which was originally their own, and in the inflated language and imagery their decadent state becomes less shameful.
The Caucasian, and the Asian, finds identity in regressing to the base, through the population group still allowed to display a caricature of what was lost, and they never attained.
It is allowed because this population group, being the intellectual equivalent of a chimpanzee, cannot pose a threat to a system they pretend to fight against and yet serve.

Watch the Grammy Awards to see rich hustlers, systemic pets, selling a superficial rebellion to brain-dead masses, and then basking in systemic acknowledgment, under the grace of God.
Behind them the corporations with their wealthy patrons, smiling as their pockets are lined with gold.

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PostSubject: Re: C-RAP Sun Feb 23, 2014 8:30 pm

For the degenerate, Modern, Nihilist, "easy come, easy go".
He is so empty of substance, of qualities, so void, so rotting inside, and so desperate, that he is preoccupied with the animalistic: money, sex, food, trips to popular party destinations, bragging turning into displays...fronting.

They are so dumb they don't know what to do with money.
They splurge, trying to fill that inner void, trying to live-up to some popular lifestyle, some image, because they have no sense of self, no identity beyond the immediate, the shallow, the current.

They ape the ideal life, what they are supposed to be like, what they feel innately they are: manimals.

And the poor fucks out there, who become seduced by the lie, play along, like clowns.
we've met them, with their pants half-way down their butts, or bragging, prancing, dancing, pretending, flashing, trying to convince others, and through others themselves, that they are living the 'good life'.
And because everything is a lie, in them and for them, they think this is so for everyone...they mistake their own lies, their empty words, for the 'game'.

Surrounded by imbeciles, like them, their bullshit reality is validated constantly.

They begin to believe that their emptiness, their stupidity, their baseness cannot be seen. they've tricked the average Modern moron, the majority, and so they begin to think everyone cannot see.
They become arrogant, in time buying into their own lies.
They think they are clever because they can hustle the dumbed-down mediocre Modern....the average American.
They've convinced others and themselves ot such a degree, suing words void of substance, that they think all words are toys, and using them a game of manipulation.

This fits into the Modern conception of code, of words, of language and symbols, as covering for reality.
Words do not have to refer to anything real, anything of quality, anything perceived....but only be convincing, seductive....the symbolism of words must only refer to the symbolism of bling-bling, and cribs, and suped-up rides, and hos.

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PostSubject: Re: C-RAP Sun Feb 23, 2014 8:36 pm

Once the first hit makes some money, by selling some superficial c-rap, full of simplistic lyrics - derived from regurgitation form writers and poets - and a jungle-beat, for the promiscuous, simpletons of the world...out from everywhere emerge the helpers to watch them how to invest their cash, how to multiply it, how to speak a new kind of lingo: Wall street lingo...a new RAP.

They do it for a fee, and the C-Rapper better hope he's not fleeced.

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PostSubject: Re: C-RAP Mon Feb 24, 2014 5:04 am

I cant help but laugh at rap videos now, its like watching a blinged up chihuahua bark.

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PostSubject: Re: C-RAP Mon Feb 24, 2014 7:11 am

Impulso Oscuro wrote:
I cant help but laugh at rap videos now, its like watching a blinged up chihuahua bark.

That was funny.


Rhyming is art...kindergarten shit I now cool.
Have you listened to the "lyrics"?

Me, me, me, me....money, money....whores, whores, trinkets, shiny things, look at me and how great I am...all strung in a rhyming word-association.
It's funny how the only C-Rapper to break free form that recipe, is a Caucasian one...MnM.
He went into his own psychoanalysis.

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PostSubject: Re: C-RAP Mon Feb 24, 2014 7:34 am

The only ones allowed to comment, in a negative way, about a population group, are members who belong to it.

Everyone can back European males...but only women can speak honestly about feminism and women in general, only blacks can speak honestly about blacks, only homosexuals about homosexual lifestyles, and only Jews can expose Jews.

Reasons:

1- One must be guilty of the negativity he is to describe.
Guilt, shame must be shared.

2- The critic must present himself as the exception to the negative rule he is describing, so as to allow the listener the way out, by offering him the possibility that he too is part of those who are the exception.
Change must be implied....the preservation of hope. What is described must be something that can be changed with proper training, edumacation.

3- To know something you must be it. One cannot know from a detached perspective...a big mistake.
A human can know a dog more than a dog can ever know itself.
Detachment actually offers clarity.

Some examples:


A bisexual female can be more tolerable than a male saying the same things.
A male would be attacked in the same way one is attacked in the Barn Board - Barn is what I will be calling ILP from now on, Barn for short.
The usual: sexual frustrated, small penis, misogynist, obsessive ...



On the Jews...


Finkelstein is not only a Jew, of the secular kind, but a son of a Holocaust survivor...and still he suffers the costs.


Another secular Jew commenting on the assault upon Finkelstein perpetrated by another Jew Dershowitz.


A glimpse into how censorship works in modern times...but also into the internal conflict between elements of the same Nihilistic paradigm.
A continuation of the Cold War dynamics.
Marxism confronting the Judeo-Christian meme, was the Cold War, and a n internal Jewish affair.

Finally here is a black man commenting on Blackness in the only way permissible, even for one of their own: humor.


Negros still the entertainers, the servers.
What do they do with money, these newly rich C-Rappers?
Bling-Bling, spinning rims, bouncing cars, mansions.

Same shit with the White Trash Caucasians.
The self-hating, lost ones.

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PostSubject: Re: C-RAP Mon Feb 24, 2014 10:04 am

I wonder what your thoughts are on heavy metal music, Satyr? Not soft metal like Iron Maiden, but the real psycho-shit like death metal that have dark, gory themes of butchery and brutality. I would be highly interested in reading your dissection of that genre of music.

Example:

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PostSubject: Re: C-RAP Mon Feb 24, 2014 10:37 am

White man's rage...appealing to the young, still sexually virile, energetic, seeking to express a repressed libido.
The pressure grows, wanting to be released.

The connection between feeding and copulation, or lust and love, emerges by expressing the testosterone aspect, rejected and suppressed in a feminized world - testosterone being responsible for both male and female lust.

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PostSubject: Re: C-RAP Mon Feb 24, 2014 3:53 pm



My nigga, yo yo we are lethargic negroes - we are interesting, the White man will listen to our superiority in tongue and body language; we all have, without exception, neurotic voices. We are dyspeptic from all this c-rap we shout out.

Yo yo, my dithyrambic bitches like these nigga's; bitch nigga; my niggers, i have plastic in my ass - the White man aint no man compared to these nigga's, lets become baby momma's.
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PostSubject: Re: C-RAP Mon Feb 24, 2014 5:10 pm



 Rolling Eyes 
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PostSubject: Re: C-RAP Mon Feb 24, 2014 7:04 pm

African Americans have no sense of self, beyond the shallow.
The furthest they can trace their ancestry is back to the slave trade.
This is their shared reference point. Their present is always in relation to this pivotal, for them, point in space/time.
Before that it's all lost in vagueness.
They all merge as Africans, African Americans, and then realize that there's not much there to draw pride from.
No culture, no art, no civilization worth speaking of – nothing comparable to the one that cause their current predicament. They resent it, and, at the same time, are bound by it… completely dependent upon it: master/slave relationship.

Their color, their appearance, their look/image, is their only source of identification – it reveals a shared ancestry, traceable to some unknown place in sub-Saharan Africa.
Ironically, they then deny the relevance of appearances, of skin pigmentation, and racial features.
They are caught in a conundrum, just as the Jews are; homeless, cultureless, within an alien, adopted, home, and culture.
On the one hand they need to let go of the past, of appearances, of nature, emancipate themselves from its weight, so as to become integrated into modernity, but, in the meantime, they must hold onto the very markers they can use to find some sense of self with.
Modernity, being fashionable, popular, in the now, is their obsession.
The forward looking ones, the progressives, strive to liberate themselves from this shared historical past, and the traits that expose it.
The liberal, enlightened (Americanised) one, belonging to another race, is their passport into this present, this here/now, of Modern culture of no-culture.
Liberalism, Secular-Humanism is their only way to emancipate themselves from nature, and the historical contexts they are now bound by, not only memetically but genetically.

Letting go of this past, short-sighted as it might be, attaches them to the immediate, the current: materialism, and hedonism.
They take to it easily, as they have no genetic qualities to resist, and no other alternative suffices.
They enslave themselves to the meme they found when they were forcefully taken out of the jungles of Africa... sold to slave-traders, originally, by other Negroes.
[Some have claimed the slave-trade of that period was controlled by Jews, but I have no solid evidence to argue in deference of its validity]
European culture reshaped their own African memories, birthing elements of the current American sub-cultures, now made mainstream by appealing to the increasing numbers of Caucasians, and Asians, who are being detached from their own sense of self, their own inheritance, due to ongoing steamroller power of Globalization/Feminization.



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PostSubject: Re: C-RAP Fri Mar 07, 2014 3:13 pm

Vulgar Jewess Sarah Silverman has basically built a whole career on her various bodily functions. The following are the infantile lyrics from a song she sings called The Poop Song:

It was brown and it had raisins


This is what your daughters have to look up to.

And we flushed it for that reason

This is a poop song

This is a poop song

I was walking through the mall

And I had to make a poop

This is a poop song

This is a poop song

We pooped at the mall today

We pooped at the mall

Another example of disgusting, fecal-laden lyrics comes from degenerate Jewish “Beat” poet Allen Ginsberg. Ginsberg was an open pedophile and founding member of NAMBLA, which stands for the North American Man/Boy Love Association. His writings were made popular by his Jewish brethren in the media and consist of the most depraved Jewish filth that one could ever imagine. I hesitate to even reprint anything that this abominable creature had to say but for the sake of getting the full story, I will quote one short passage.

This is from a poem that he wrote about his sick and dying mother (in which he at one point contemplates having sex with) called Kaddish:

Quote :
“One night, sudden attack—her noise in the bathroom—like croaking up her soul—convulsions and red vomit coming out of her mouth—diarrhea water exploding from her behind—on all fours in front of the toilet—urine running between her legs—left retching on the tile floor smeared with her black feces—unfainted—“(7)

The fecal fixation of the chosen ones

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*Become clean, my friends.*
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PostSubject: Re: C-RAP Mon Mar 17, 2014 7:16 pm



Apaosha, avert thine eyes and ears...

Fair representation of "Irish pride" in America though... Almost embarrassing to watch honestly, being half Irish...
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PostSubject: Re: C-RAP Tue Mar 18, 2014 2:19 pm

perpetualburn wrote:


Apaosha, avert thine eyes and ears...

Fair representation of "Irish pride" in America though... Almost embarrassing to watch honestly, being half Irish...
That was embarressing. Look at the way the idiot feels the need to throw his arms around, mimicking an ape. Beastial behaviors have become the norm.
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PostSubject: Re: C-RAP Tue Mar 18, 2014 3:01 pm



Idiots.. There is some truth in this for many spoiled brats however.
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PostSubject: Re: C-RAP Wed Mar 19, 2014 9:13 pm



'




So much more Alpha. An authentic personal touch whilst speaking more to the individual. Imagine this was just two decades ago. I primarily blame the internet, turned the whole world into one giant feminine gossip center. Now whatever people think the idiots around them will find cool, becomes fucking cool. Not much more I dislike in this world than the self fulfilling prophecy, attributes to such decay. I can actually see how women would find such display of essence attractive, and male will to imitate such mood. More healthy I guess is what I'm trying to say.



For instance who actually finds this funny?

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PostSubject: Re: C-RAP Sat Mar 22, 2014 7:16 pm

Matzah C-Rap




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PostSubject: Re: C-RAP Mon Mar 31, 2014 8:12 pm



Perfect example of word-association, rotating around a "look at how great I am" theme.
And according to Kovacs we are not supposed to be able to differentiate between this cRAP and quality lyricism and poetics.
This is how degenerate, non-judgmental, we're supposed to become in the New World Order...the culture of no culture.

cRAP about him cRAPPING.


Modern Schizophrenia and Narcissism raised to the level of fART...


He's currently the "best" cRapper, they say.
Even here the European surpasses the Negro.

For comparison something from a Negro cRAPPER


I remind you this is "art", which is the equal to any other.
We cannot tell the difference....that would be rude.


The booming computer generated beat, sexual lyrics full of narcissistic displays...a hint at a sampled melody as a backdrop.
Primal....primitive.

Pure genius.

The second best cRapper...

This time the recycled melody is eastern....very innovative.

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PostSubject: Re: C-RAP Thu Apr 03, 2014 11:02 am



Negroids are a uniform race; they are hard to distinct as individuals as well as ethnicities, from each other - regarding outer appearance (phenotype and their clothing), low intellectual capacity, (musical) interests, behavior (lethargic/ victimhood/ ''gangsta'', big-shiny objects), crime, use of language (childish; ''nigger'', ''2pac'', naaah/ya/yo/bro/biatch), ideology (or the lack of), low impulse control, Manimalistic ''dances'' etc.
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PostSubject: Re: C-RAP Sun Apr 06, 2014 5:22 pm







All the genetic excrement throughout the Netherlands gather here:
https://www.youtube.com/user/ZonamoUnderground/videos
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PostSubject: Re: C-RAP Fri Apr 11, 2014 2:56 pm

Cocks, ballsacks, money, ejaculation, orgasms...Negroids being themselves, especially the jumping like monkeys i find extremely funny.
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PostSubject: Re: C-RAP Fri Apr 11, 2014 3:24 pm

That's what chimps do.
When you know, it stops affecting you, as much.

Stay away from where chimps live...and if you have to go amongst them adjust your demeanor accordingly.

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PostSubject: Re: C-RAP Fri Apr 11, 2014 3:48 pm

I am forced to be amongst them (bus, metro etc.), and time to time, to work "with" them. They are very lethargic and interesting to observe, often hilarious.

I do not adjust to them, i tell them to raise their pants. Sometimes it results in confrontation, but they are very easy manipulated.
Often, those negroids are honest, out of stupidity.
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PostSubject: Re: C-RAP Fri Apr 11, 2014 3:53 pm

The ladies love them.

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PostSubject: Re: C-RAP Fri Apr 11, 2014 4:12 pm

Only the inferior ones, easily affected by the images presented in the media.
I often can recognise a Dutch kaffer (nigger) whore by merely looking at the face, patterns i can see and connect.
My work gives me an great insight in human behaviour and to recognise certain individuals and their emotional well being.
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PostSubject: Re: C-RAP Fri Apr 11, 2014 4:17 pm

OhFortunae wrote:
Only the inferior ones, easily affected by the images presented in the media.
I often can recognise a Dutch kaffer (nigger) whore by merely looking at the face, patterns i can see and connect.
My work gives me an great insight in human behaviour and to recognise certain individuals and their emotional well being.
Yes...the face.
The lines around the moth...the blank eyes.

A gorilla fucker is recognizable.

A libidinal excess.
She'll fuck anything...even an ape.

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PostSubject: Re: C-RAP Fri Apr 11, 2014 4:49 pm

The thing i do not get however, is, when i see a kaffer whore, the nigger often has a huge nose (for a negro); so many niggers too choose, but the ones with the biggest stomped noses are most often seen with a kaffer whore.
The more it resembles an actual ape, the better.
However, they still have some shame within them, if you give them "the eye" (and to its mongrel child), with a smirk on your face, they start staring at the ground.
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PostSubject: Re: C-RAP Fri Apr 11, 2014 4:55 pm

Simple...
The primal is attracted by the primal.
The primitive sees in the other's docility, towards it, a end in itself.
A big nose means BIG dick....a gorilla lover is all about the hedonism...the pleasure itself.

No other consideration troubles her.
She sees only a straight line between wanting to be fucked and the fucker.
The rest is excessive.

The END is all that matter: pleasure.

I applaud such females, and males, for finally finding their nature.
I ant to promote more of this activity.


like the great sage Moooo said, if you fuck a chimp, who knows, a great man might come about....quite by accident....just because.
Actually he never said so....not in so many words.
No words, in fact.

More like hooting and hollering....or "why" strings with only one possible outcome.
Do not resist.

Let your females fuck gorillas, apes, dogs, bulls, whatever.
Only the betterment of mankind will be the outcome.

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PostSubject: Re: C-RAP Fri Apr 11, 2014 5:19 pm

Who will, but the degenerates.
Even such an event as (promoted) miscegenation is a form of genetic filtering; the genetic excrement, by free-will (need / orgasmic non-existance), will put an end to themselves. Your offspring is a continuation of self; by cutting off your past with mongrel offspring, you put and end to your self.
Only impulsive Manimals have no past awareness; the inferior beings never were so easy to recognise as in today's Western society, with an untrained eye.
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PostSubject: Re: C-RAP Fri Apr 11, 2014 7:49 pm

OhFortunae wrote:
Negroids are a uniform race; they are hard to distinct as individuals as well as ethnicities, from each other

It's their biological homogeneity that gives them the rhythm they are famous for. One can compare it to the physical synchronicity found in other homogenous species, such as birds when flocking or schools of fish.

Blacks achieve this rhythm effortlessly. It's part of their nature. Whereas with other races it takes much more effort to replicate this phenomena. I often laugh when watching white people attempting to dance like blacks, because of all the extra energy they have to expend to do it.






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PostSubject: Re: C-RAP Sun Apr 27, 2014 11:04 am

Always the caps.. They touch it, move it in a certain manner and put a specific look on their face.. as telling others ''I am cool, the alpha, the G''.. And they actually believe that by merely touching the cap and moving it on a certain way, they are wanted, hot, great. Just like those idiots walking with a can of 'energy drink' in their hands, with 4 fingertips (the pinky is not cool enough) holding the can from above and have the emblem directed towards the public - as if they want to tell everybody ''yeah, look at me, i have energy drink, i am cool, i am THE man!''.

Ridiculous!

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PostSubject: Re: C-RAP Mon May 05, 2014 6:49 pm



Part of the allure of cRap to liberals, was that it represents an element of negro culture that is "distinctly theirs".

So what happens when a white does it...or does it better?
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PostSubject: Re: C-RAP Wed Aug 27, 2014 1:40 pm

Quote :
"Rap music has inspired me because I know that when Chuck D tells you to "bring the noise," he's telling you that it's hard. And when you hear the tribal beat and the drums, they are the same drums of the African past that draws the community to war. The drum beats are just faster, because the condition is accelerating so they've got to beat faster. And when your feet are jumping, dancing . . . it's the spirit attempting to escape the entrapment. When you feel that the children have gone mad, if you don't feel it, and when you look at the dances you don't see it and when you listen to the music and you don't hear a call, then you missed the jam." [Sister Souljah]

""The sound" I tell them, that's the final answer to any question in musicthe sound." [Max Roach]


Rap's rhythms"the most perceptible, yet least material elements"-are its most powerful effect. Rap's primary force is sonic, and the distinctive, systematic use of rhythm and sound, especially the use of repetition and musical breaks, are part of a rich history of New World black traditions and practices.

Unlike the complexity of Western classical music, which is primarily represented in its melodic and harmonic structures, the complexity of rap music, like many Afrodiasporic musics, is in the rhythmic and percussive density and organization.7 "Harmony" versus "rhythm" is an oft-sited reduction of the primary distinctions between Western classical and African and African-derived musics. Still, these terms represent significant differences in sound organization and perhaps even disparate approaches to ways of perception, as it were. The outstanding technical feature of the Western classical music tradition is tonal functional harmony. Tonal functional harmony is based on clear, definite pitches and logical relations between them; on the forward drive toward resolution of a musical sequence that leads to a final resolution: the final perfect cadence. The development of tonal harmony critically confined the range of possible tones to twelve tones within each octave arranged in only one of two possible ways, major or minor. It also restricted the rhythmic complexity of European music. In place of freedom with respect to accent and measure, European music focused rhythmic activity onto strong and weak beats in order to prepare and resolve harmonic dissonance. Furthermore, as Christopher Small has argued, Western classical tonal harmony is structurally less tolerant of "acoustically illogical and unclear sounds, sound not susceptible to total control." Other critical features of classical music, such as the notion system and the written scorethe medium through which the act of composition takes placeseparate the composer from both the audience and the performer and sets limits on composition and performance. This classical music tradition, like all major musical and cultural developments, emerged as part of a larger historical shift in European consciousness:

[We see] changes in European consciousness that we call the Renaissance having its effect in music, with the personal, humanistic viewpoint substituted for the theocratic, universalistic viewpoint of the Middle Ages, expressed in technical terms by a great interest in chords and their effects in juxtaposition, and specifically in the perfect cadence and the suspended dissonance, rather than in polyphony and the independent life of the individual voice.

Rhythm and polyrhythmic layering is to African and African-derived musics what harmony and the harmonic triad is to Western classical music. Dense configurations of independent, but closely related, rhythms, harmonic and nonharmonic percussive sounds, especially drum sounds, are critical priorities in many African and Afrodiasporic musical practices. The voice is also an important expressive instrument. A wide range of vocal sounds intimately connected to tonal speech patterns, "strong differences between the various registers of the voice, even emphasizing the breaks between them," are deliberately cultivated in African and African-influenced musics. Treatment, or "versioning," is highly valued. Consequently, the instrument is not simply an object or vehicle for displaying one's talents, it is a "colleague in the creation." And, most important for this discussion, African melodic phrases "tend to be short and repetition is common; in fact, repetition is one of the characteristics of African music." Christopher Small elaborates:

A call-and-response sequence may go on for several hours, with apparently monotonous repetition of the same short phrase sung by a leader and answered by the chorus, but in fact subtle variations are going on all the time, not only in the melodic lines themselves but also in their relation to the complex cross-rhythms in the accompanying drumming or hand clapping. . . . The repetitions of African music have a function in time which is the reverse of (Western classical) musicto dissolve the past and the future into one eternal present, in which the passing of time is no longer noticed.

Rhythmic complexity, repetition with subtle variations, the significance of the drum, melodic interest in the bass frequencies, and breaks in pitch and time (e.g., suspensions of the beat for a bar or two) are also consistently recognized features of African-American musical practices. In describing black New World approaches to rhythm, Ben Sidran refers to Rudi Blesh's notion of "suspended rhythm" and Andre Hodier's description of "swing" as rhythmic tension over stated or implied meter. Time suspension via rhythmic breakspoints at which the bass lines are isolated and suspendedare important clues in explaining sources of pleasure in black musics.

Approaches to sound, rhythm, and repetition in rap music exhibit virtually all of these traits. Rap music techniques, particularly the use of sampling technology, involve the repetition and reconfiguration of rhythmic elements in ways that illustrate a heightened attention to rhythmic patterns and movement between such patterns via breaks and points of musical rupture. Multiple rhythmic forces are set in motion and then suspended, selectively. Rap producers construct loops of sounds and then build in critical moments, where the established rhythm is manipulated and suspended. Then, rhythmic lines reemerge at key relief points. One of the clearest examples of this practice is demonstrated in "Rock Dis Funky Joint" by the Poor Righteous Teachers. The music and the vocal rapping style of Culture Freedom has multiple and complicated time suspensions and rhythmic ruptures of the musical and lyrical passages. Busta Rhymes from Leaders of the New School, reggae rapper Shabba Ranks, British rapper Monie Love, Treach from Naughty by Nature, BReal from Cypress Hill, and Das Eric are known especially for using their voices as percussive instruments, bending words, racing through phrases, pausing and stuttering through complicated verbal rhythms.

These features are not merely stylistic effects, they are aural manifestations of philosophical approaches to social environments." [Tricia Rose, Black Noise: Rap Music and Black Culture]

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PostSubject: Re: C-RAP Wed Aug 27, 2014 1:41 pm

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"The rhythmic instinction to yield to travel beyond existing forces of life. Basically, that's tribal and if you wanna get the rhythm, then you have to join a tribe.

The outstanding fact of late-twentieth-century European culture is its ongoing reconciliation with black culture. The mystery may be that it took so long to discern the elements of black culture already there in latent form, and to realize that the separation between the cultures was perhaps all along not one of nature, but of force.

Snead suggests that the vast body of literature devoted to mapping the cultural differences between European-and African-derived cultures, which has characterized differences between European and black cultures as a part of "nature," are in fact differences in force; differences in cultural responses to the inevitability of repetition. Snead argues that repetition is an important and telling element in culture, a means by which a sense of continuity, security, and identification are maintained. This sense of security can be understood as, in fact, a kind of "coverage," both as insurance against sudden ruptures and as a way of hiding and masking undesired or unpleasant facts or conditions. Snead argues quite convincingly that all cukures provide coverage against loss of identity, repression, assimilation, or attack. Where they "differ among one another primarily [is] in the tenacity with which the 'cover-up' is maintained . . . grafting leeway to those ruptures in the illusion of growth which most often occur in the déjà vus of exact repetition." He suggests that when we view repetition in cukural forms we are not viewing the same thing repeated, but its transformation, "repetition is not just a formal ploy, but often the willed grafting onto culture of an essentially philosophical insight about the shape of time and history. . . . One may readily classify cultural forms based on whether they tend to admit or cover up these repeating constituencies within them."

Snead claims that European culture "secrets" repetition, categorizing it as progression or regression, assigning accumulation and growth or stagnation to motion, whereas black cultures highlight the observance of repetition, perceiving it as circulation, equilibrium. In a fashion resembling Small, Snead argues that Western classical music uses rhythm mainly as "an aid in the construction of a sense of progression to a harmonic cadence (and) repetition has been suppressed in favor of the fulfillment of the goal of harmonic resolution." Similarly, musicologist Susan McClary points out that "tonal music" (referring to the Western classical tradition) is "narratively conceived at least to the extent that the original key areathe tonicalso serves as the final goal. Tonal structures are organized teleologically, with the illusion of unitiary identity promised at the end of each piece."

To the contrary, Snead claims that black cultures highlight the observance of repetition, perceiving it as circulation and equilibrium, rather than as a regulated force that facilitates the achievement of a final harmonic goal. Drawing on examples in literature, religion, philosophy, and music, Snead elaborates on the uses and manifestations of repetition in black culture.

For our purposes, his analysis of the meaning of repetition in black music is most relevant, specifically his description of rhythmic repetition and its relationship to the "cut":

"In black culture, repetition means that the thing circulates, there in an equilibrium. . . . In European culture, repetition must be seen to be not just circulation and flow, but accumulation and growth. In black cukure, the thing (the ritual, the dance, the beat) is there for you to pick up when you come back to get it." If there is a goal . . . it is always deferred; it continually "cuts" back to the start, in the musical meaning of a "cut" as an abrupt, seemingly unmotivated break (an accidental da capo) with a series already in progress and a willed return to a prior series. . . . Black culture, in the "cut," "builds" accidents into its coverage, almost as if to control their unpredictability."

Deliberately "repetitive" in force, black musics (especially those genres associated with dance) use the "cut" to emphasize the repetitive nature of the music by "skipping back to another beginning which we have already heard," making room for accidents and ruptures inside the music itself. In this formulation, repetition and rupture work within and against each other, building multiple circular musical lines that are broken and then absorbed or managed in the reestablishment of rhythmic lines.

Rap music uses repetition and rupture in new and complex ways, building on long-standing black cultural forces. Advances in technology have facilitated an increase in the scope of break beat deconstruction and reconstruction and have made complex uses of repetition more accessible. Now, the desired bass line or drum kick can be copied into a sampler, along with other desired sounds, and programmed to loop in any desired tempo or order. Rap music relies on the loop, on the circularity of rhythm and on the "cut" or the "break beat" that systematically ruptures equilibrium. Yet, in rap, the "break beat" itself is looped-repositioned as repetition, as equilibrium inside the rupture. Rap music highlights points of rupture as it equalizes them.

Snead calls James Brown "an example of a brilliant American practitioner of the 'cut'" and describes the relationship between established rhythmic patterns and the hiatus of the cut in Brown's work as a rupture that affirms the rhythmic pattern while it interrupts it." [Tricia Rose, Black Noise: Rap Music and Black Culture]

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"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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PostSubject: Re: C-RAP Fri Dec 05, 2014 1:18 pm

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PostSubject: Re: C-RAP Fri Dec 05, 2014 1:26 pm

Now THAT, my friend, is art....
Subjectively speaking I cannot judge superior from inferior...it's all the same.

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PostSubject: Re: C-RAP Fri Dec 05, 2014 1:40 pm

Contains Explicit Lyrics so NSFW


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PostSubject: Re: C-RAP Fri Dec 05, 2014 1:46 pm

Satyr wrote:
Now THAT, my friend, is art....
Subjectively speaking I cannot judge superior from inferior...it's all the same.

I take it that you can't judge inferior C-rap from superior C-rap?
I think this specific C-rap is more solid regarding the expression of the true negro embracing his ancestors, all flow. You know what I am saying?
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