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OhFortunae

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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

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"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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"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.]

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OhFortunae

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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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PostSubject: Re: C-RAP Fri Dec 05, 2014 1:49 pm

This C-rap is all about the racist White man; who must be massacred and their homes / farms burned down.
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PostSubject: Re: C-RAP Fri Dec 05, 2014 1:57 pm

Word.... afro

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PostSubject: Re: C-RAP Fri Dec 05, 2014 2:29 pm

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PostSubject: Re: C-RAP Fri Dec 05, 2014 2:35 pm

When da slave be given bling-bling he be tinkin' he like masta...all high and mighty and shiat.

When shorty be givn palice protection' she be all "I'm vicias, bitch!'

When little-man be protected from ghangstas he tink he strogner dan daddy.

Keepin' it real.

Dem dope raps, yo.

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PostSubject: Re: C-RAP Fri Dec 05, 2014 3:00 pm

Holla, boi. You be droppin' a knowledge bomb up in here.
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PostSubject: Re: C-RAP Fri Dec 12, 2014 5:41 pm







Very catchy
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PostSubject: Re: C-RAP Fri Dec 12, 2014 7:14 pm

Quote :

Rolling Stone Has Named ’808′s & Heartbreak’ The Most Ground-Breaking Album Of All-Time

Shortly after the performance, on November 24th, Kanye would release 808′s & Heartbreak, his first and only album not to feature rap as it’s primary genre. 808′s would go on to debut at #1, be certified platinum and garnered a Grammy nomination for his Young Jeezy collaboration, “Amazing.” 6 years later, 808′s is undoubtedly the drawing board for scores of artists today. From Kid Cudi to Drake, Kanye’s 4th LP has caused far-reaching ripples that will be remembered in Hip-Hop for decades to come. It was for this reason, upon several others, why Rolling Stone decided it is The Most Ground-Breaking Album Of All-Time.

According to RS:

   "But the album’s cavernous sound and exposed-soul lyrics confused even those who had been aware of West’s recent trials. Its core aesthetic was like nothing in Hip Hop: freshly butchered feelings enumerated in detail, but masked by digital processing; beds of spare synths used to balance a mix of singing and rapping. However, over time it served as a new template for up-and-comers in Hip Hop and R&B. Drake cited West as his budding sound’s ‘most influential person’ when he was hustling mixtapes, while artists like Future further tweaked the idea of using Auto-Tune as a way to convey emotions that evoke too much feeling when spoken of explicitly."

http://www.rollingstone.com/most-groundbreaking-albums-of-all-time

When being PC goes full retard...

Kanye West's "core aesthetics" and "exposed soul"(lol)...

Kanye West wrote:
I shoot the lights out
Until it's bright out
Oh, just another lonely night
Are you willing to sacrifice your life?

Bitch, I'm a monster, no-good blood sucker
Fat motherfucker, now looks who's in trouble
As you run through my jungle all you hear is rumbles
Kanye West samples, here's one for example

Gossip, gossip, nigga just stop it
Everybody know I'm a motherfuckin' monster
I'mma need to see your fuckin' hands at the concert
I'mma need to see your fuckin' hands at the concert

Profit, profit, nigga I got it
Everybody know I'm a motherfuckin' monster
I'mma need to see your fuckin' hands at the concert
I'mma need to see your fuckin' hands

The best living or dead, hands down, huh?
Less talk, more head right now, huh?
And my eyes more red than the devil is
And about to take it to another level, bitch
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PostSubject: Re: C-RAP Wed Jan 07, 2015 1:19 pm

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PostSubject: Re: C-RAP Mon Jan 19, 2015 4:52 pm

Niggers in presumably Amsterdam, Bijlmer (they have a more materialistic style in contrast with those in Hoogvliet [like Hef], although the texts are equally stupid and materialistic).



These nigs use constantly the words ''Wollah Meh'', Morrocan; though actual Berbers and Arabs look down upon them more so than European Whites. Lately there was a case were some Moroccan youth had beaten-up one of their own women and her partner for being with a negro, calling her a negerhoer (negro whore) - which had cost them her pregnant fruit (a mongrel baby).

If there is one thing I hate it are those who think that they speak a whole language by knowing a few words, such a case I have at my work with some Wigger.
I asked him why he talks negro, he said he talks ''Espanol'' (he couldn't even pronounce it), but it was Papiaments, a mix of Afro, Portugese and Spanish, he uses the words as negroes do - he is so proud on himself for having negro friends..



This specific text is ridiculously pathetic for a already ridiculous genre (''kut leven daarom moet ik in de lucht leven'' = shit life that's why I have to live in the air); but the most pathetic is that others buy such crap. His voice has no power, no strength, no emotion, no virility; nothing, just monotonously autistic. Not that it would matter for me if he would use more tones in his voice, it stays crap.
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PostSubject: Re: C-RAP Sun Feb 15, 2015 10:01 am

OhFortunae wrote:
Cocks, ballsacks, money, ejaculation, orgasms...Negroids being themselves, especially the jumping like monkeys i find extremely funny.

A outstanding reaction that I got upon my comment on this video of some time ago:



Translation:
Quote :
I too have problems with migration, but than
because of the many whom do not learn our language
and spit on our values and norms. That these boys
rap in our language is for me just really the
max. A interesting mix of English, Dutch
and the swagg of their musical background / roots.
If they express their artistry and themselves in
art in our language, then that makes me happy. Plus,
they are not lazy parasites. They work and
have ambition to make it, you can say about it
what you want, but making music is making
money is making economy, is a positive
input in the economic field next to the cultural.
A gain is this, IMHO. And the text is flat (vulgar/simple),
but is it not just fun man, a delicious
sex song. It does not have to be always intellectual
and complicated in life. Just nice
and fun and swagg is alright too man.
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PostSubject: Re: C-RAP Fri Aug 07, 2015 6:47 pm




The faces of these woman are as vile and expressive as are their celluite asses.
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PostSubject: Re: C-RAP Sat Aug 15, 2015 8:40 pm

A modestly pretentious church-slut seeking for the Modern pop-caricature's validation - the popgro (popular negro), he is universally appreciated wherever he roams among the ideals which are merely different in name but not in inclusivity / essence.
The popgro as a heroic-mascotte as to say ''we are open minded'' and to lure potential disciples to their ideology with saying right in your face ''we've got them too, the popgro, you won't miss out a thing by changing the ideals''. The popgro as some kind of caricature to have some feelings outside of the bubble, mistaking that every popgro has some kind of ghetto thug life history full of suffering from which they can take inspiration: ''look at him, he used to wear his pants below his ass and fucked (up) some not yet saved bitche...ladies; and now he wears his pants below his ass and raps about Jesus - these kind of feelings, so touched by the world outside our sheltering, is what we want to appreciate, the savage...,the youth who changed his life into civilized inspirational behaviour - I told you we can breed with them, they just need Jesus back into their lives!''



Derek talking about Jesus and how the world is so fucked up.
https://www.youtube.com/watch?v=e--oogfn9cU

Nice Southern tune in honour to Jesus and a popgro to give the swag which the fatwannabegro cannot fully copy
https://www.youtube.com/watch?v=52RiKjNTgV8

The negro seemingly has some unconscious confusion; the negro wants to praise Jesus and at the same time use Gspot-culture (Gangster culture touching the sacred G-spot of Modern man's current ego-frequency talking to them through C-rap) to sell it, or simply does not know how to emotionally express himself otherwise and it all beez good.




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PostSubject: Re: C-RAP Sat Aug 15, 2015 10:44 pm

OhFortunae wrote:



The faces of these woman are as vile and expressive as are their celluite asses.

As stupid as most rap music is, believe it or not, the video is even dumber looking when you watch it with the sound off.
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PostSubject: Re: C-RAP Wed Aug 19, 2015 12:57 am


_________________


"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.]

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PostSubject: Re: C-RAP Wed Aug 26, 2015 1:07 pm




A hoodrat with a blonde wig, a nose job, bleached skin and some black mongrel kid hanging on her neck and dancing on the chorus ''Pussy..pussy...pussy''.

Their emotional expression; alike to the consciousness of the animal kingdom.
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PostSubject: Re: C-RAP Mon Sep 07, 2015 5:16 pm

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PostSubject: Re: C-RAP Mon Sep 07, 2015 5:25 pm

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PostSubject: Re: C-RAP Thu Sep 17, 2015 8:24 am

Classic
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PostSubject: Re: C-RAP Thu Sep 17, 2015 12:33 pm

^^^ She got louisiana purchase.

she got louisiana purchase card.

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PostSubject: Re: C-RAP Wed Oct 21, 2015 5:29 pm

Brrraaaaahhh...

"I'm Ill…

(feat. Jay-Z & Fabolous)

[Chorus: Sample of "A Billi" by Jay-Z (Red Cafe)]
RAH, I'm Ill, I'm Ill, I'm Ill,
RAH, RAH, I'm Ill, (I'm Ill)
I'm Ill, I'm Ill, I'm Ill, (Red Cafe)
RAH, RAH, Motherfucker I'm Ill!
Motherfucker I'm Ill, Motherfucker I'm Ill
(Talk to 'em) RAH, RAH, (nigga) I'm Ill
I'm Ill, I'm Ill, I'm Ill, (I got this)
RAH, RAH!

[Verse 1: Red Cafe]
Pop deuce spot, kid latch off, still rep white, that Ash Roth
That uncut, that sushi, I'm too G, that's Gucci (WHAT ELSE!)
I'm bossed up, they washed up, e'ryday that Kush I cough up
By all cash, we don't rent out, I'm Ill, swag in the penthouse
Been a Konvict, ask Akon, had blocks locked, ask Avon
That's real talk, what's up B'Mo! (Yep!)
Bad Boy got Diddy on the T'Mo (WHAT ELSE!)
I'm Ill, make it look simple, DJ bring it back like a rental
Drinks don't stop, we party all night
And e'rywhere I go, I let it go like

[Chorus: Sample of "A Billi" by Jay-Z] (Red Cafe) {Fabolous}
RAH, I'm Ill, I'm Ill, I'm Ill,
RAH, RAH, I'm Ill, (I'm Ill)
I'm Ill, I'm Ill, I'm Ill, (Red Cafe)
RAH, RAH, Motherfucker I'm Ill!
Motherfucker I'm Ill, Motherfucker I'm Ill
RAH, RAH, (what else) {Loso}
I'm Ill, {I'm Ill in case you ain't know so! }
I'm Ill, I'm Ill, I'm Ill, {It's R} RAH, RAH!

[Verse 2: Fabolous]
If my name was Willis, they'll prol'ly call me Will
But I'm the illest so that's why they call me Ill!
EWWWW! You niggas disgust me
And they ain't talkin 'bout shit unless they discuss me
Funeral Fab, yeah I'm in the building y'all
All black on and I be killin y'all
So, the name speak for itself
You have a loser plus a lame that'll equal yourself
Live from Bedford-Stuyvesant, the livest ones
Still on my Grizzlies, no Iverson (Waddup A.I.)
You ain't no gangsta, you an off-duty cop
With ya fake ass, they should call you booty shots
Yankee game, better seats than Rudy got
Fruity pot has me with the eyes Matsui got (nice)
That nigga, that you are not
Red dot on ya head's the best tattoo you got
RAH!

[Chorus: Red Cafe]

[Verse 3: Red Cafe]
They trash, And I'm Ill,
I'm too hot how the fuck I'm 'gon chill
Laid back, Maybach, back seat
I'm BALLIN! Like a athlete
Talk is cheap, everyone could afford it
Shakedown here, now everyone applaud
Now it's showtime, time to camcorde
I'm in the buildin, and I'm the landlord
From the east, opposite of Kanye
No appetizers it's just en trees
Just four doors, maybe a couple Coupes
Everybody's eatin, no Cup A Soup's
General R, just showed up
Don't pass me nothin already rolled up
Drinks don't stop, party all night
And everywhere I go, I let it go like

[Chorus]"




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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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