Post a “close-reading” of a selection of lyrics from one of the songs, or of a stand-out aspect of the music’s production. You may also describe how an element of a song related to one/both of our readings.
Prompt for August 30
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Throughout New York’s history, a turning point must certainly be marked with The Wu-Tang Clan’s breakthrough album, “Enter The 36 Chambers.” This album served as a model for hardcore hip hop in the 90s. One song that stood out to me was ‘Clan in Da Front.’ Produced by Wu-Tang’s notable leader, RZA, the song is riddled with his touches and displays of power in the group. One lyric, “Wu-Tang Killa Beez, we on a swarm,” is repeated four times at the beginning of the song. This repetition emphasizes the lyric, hypes up the song, and jumps out at the listener immediately. The lyric is shouted over the background buzz of bees, the bees being the members of Wu-Tang Clan and the beekeeper most certainly being RZA. It was the genius of RZA’s production that sent the album platinum and with the legacy of one of the best Hip Hop albums in history. He purposefully curated the sounds to enhance the values of Wu-Tang Clan with explicit and gritty but also entertaining and free lyrics. With these elements, the album perfectly captured the urban environment of New York City in the 90s.
In their song, “Da Mystery of Chessboxin’” Method Man raps, “My peoples are you with me, where you? In the front, in the back killer-bees on attack.” These lines display the brotherhood between the members of Wu Tang Clan and their affiliation with the name. “Killer-bees” refers to the original nine MC’s of the clan. Method Man continues with the hook, adding the line “Smoking meth hitting cats on the block with the gats.” The use of slang is prevalent in this line, like with most raps. The term “gat” means gun and as mentioned in “Introduction: The Anthology of Rap,” the term is more than a century old, deriving from the Gatling gun, and seizes to exist as new slang terms have surfaced.
Wu-Tang Clan’s “Clan To Da Front” definitely incorporates elements of all levels of rap rhyme scheme as mentioned in “Introduction: the Anthology of Rap.” The simple rhyme scheme of “Clan in da front, let your feet stomp… Now hoods on the right, wild for the night” evokes similar feelings to the work of Vanilla ice with his hit “Ice Ice Baby” — the flow is simple and easy to follow, making the song easy to bump and relate to. However, Wu-Tang also incorporates clear elements of complex alliteration and assonance in such lines as “Make way for the merge of traffic /Wu-Tang’s comin’ through with Full Metal Jackets /God squad that’s mad hard to serve /Come frontin’ hard, then Bernhard Goetz what he deserves .” The assonance of “traffic” and “jackets” and the rhyming of “hard” and “Goetz” in the last bar both create an effect more akin to the works of Big Pun in “Twinz.” This line requires the listener to be actively listening in order to fully comprehend, and the allusion to the Bernhard Goetz subway shooting only makes the rhyme more complex and difficult to understand. This makes Wu-Tang a group meant more to be analyzed in private than celebrated in a public setting.
“Yeah, my pops was a fiend since sixteen
Shootin’ that (that’s that shit!) in his blood stream
That’s the life of a crimey, real live crimey”
The lyrics above come from Wu-Tang Clan’s album, “Enter the 36 Chambers”. The song, “Can It Be All So Simple”, serves to portray and discuss the hardships that the artists face growing up and living in New York City. In “The Anthology of Rap”, an artists’ inner thoughts and struggles can be expressed to the world through the lyrics of a rap creation (which is evident in “Can It Be All So Simple”). The lyrics throughout Wu-Tang Clan’s song conveys their struggles. In the particular part above, they explicitly state that it is “normal” because of their life as a “crimey”. The father’s “evil spirit” and drug use can suggest the source of that struggle. Living in a difficult situation surrounded with drugs and crime, who wouldn’t wish for a normal and simple life?
In Nikesh Shukla’s review of David Foster Wallace’s “Signifying Rappers,” the author makes the criticism that “[the authors] spend too long telling you what it’s like to be two white guys… listening to a predominantly black music… There is too little interaction with the music on a visceral level.” I think I understand this criticism in that, as a white guy who grew up only hearing rap music when a friend listened to Eminem (another white guy), it is simply not possible for me to understand all of what rap means to the black artists who make this music and to the black communities it is made for. But the stories and feelings the music and the culture convey can be told in other ways, with the series “The Get Down” serving as my introduction to the history of rap. The show features Grandmaster Flash, who is mentioned in “The Anthology of Rap,” and a lead fictional character is inspired, like the Wu-Tang Clan, by kung-fu movies, adopting the name Shaolin fantastic (a reference to the sample used in “Bring Da Ruckus”). Essentially, the show tells the story of rap artists emerging from the “burning Bronx,” showing us a taste of the violent and impoverished reality the Wu-Tang Clan raps about.
Within Wu-Tang Clan’s song “Da mystery of Chessbox”, solely by reading the title, the audience is right away aware of the “slang” that will be prevalent throughout the verses which represent an integral focus of hip hop music.
Many words are cut off and shortened in a manner that symbolizes the easiness and flow of rhythm that the rappers encompass, because these artists don’t necessarily want their words to be perfect, but rather want it to be meaningful to their audience.
Two lines that stand out from the lyrics are “My hip-hop will rock and shock the nation, like the Emancipation Proclamation.” Not only is it a clever rhyme, but it is such a powerful statement.
Almost everybody who has been through school knows the impact that the Emancipation Proclamation had on the nation. Even though it didn’t free slaves initially, it was the largest step ever taken by a president to initiate the freedom of African Americans. This goes back to the “Introduction: The Anthology of Rap”, that speaks of the “unique and powerful unification of the rich culture” behind hip hop and rap. It’s as if these artists are not only speaking for their selves but for their ancestors as well.
One can also notice the sense of confidence the artist has within in the lyrics most especially by saying how the hip hop “will shock the nation”, along with the line “I’m makin’ devils cower to the Caucus Mountains.” The imagery is very vivid and allows the audience to envision the potency of the rapper. It’s almost overwhelming while listening to the song because of the music in the background along with the loud and assertive lyrics. This intimidating factor correlates again with the “Introduction: The Anthology of Rap” reading that describes hip hop as a “voice of the black and brown”. It’s much like a paradox: the loud rap music that emerged from the black voices who were silenced for so long by the whites earlier in history. This could also be a reason why rap is also heavy in profane language, in order to emphasize the rebellion and toughness that has been built within these artists hearts.
In Wu Tang Clan’s “C.R.E.A.M.,” the stand-out point of the song lies in Method Man’s hook, where the acronym “C.R.E.A.M.,” or “Cash Rules Everything Around Me” is consistently repeated. This hook has been heavily sampled and referenced numerous times by later artists although the meaning of the lyrics have varied from person to person. Given the theme of the song, the constant mention of money does not refer to greed but rather the need for it to survive. The composition of the song revolves around the hook, which mirrors how the childhoods and lives of these rappers revolved around the hustle and need for money in order to escape poverty.
In Raekwon’s verse, he raps of “Pullin’ out gats for fun.” Gats is a slang term whose origins derive from the Gatling gun, which is referenced in the “Anthology of Rap” by Adam Bradley. Slang is heavily prevalent throughout the entirety of Wu Tang’s album “36 Chambers” and it serves a purpose: to share a common language with the communities that understand it—one could say, those who grew up on “the crime side, the New York Times side” and “Shaolin land.” Slang and references generally unknown by the general public are also discussed in the “Anthology of Rap” where they develop as a result of “the desire for coded communication.” As Raekwon, Method Man, and Inspectah Deck rap of falling into a life of crime due to poverty, all these references definitely reach out to those that have been through similar times.
In “The Anthology of Rap,” the author conveys a positive image of the history of rap. Throughout the text, the author constantly reminds the audience that rap is a “poetic innovation” and goes on to emphasize the importance of recognizing rap as an art. Often, rap is considered to be simplistic and lacking in musical complexity. In “The Anthology of Rap,” however, the author is able to disprove this belief by demonstrating just how intricate and well thought out rap lyrics can be. Rather than simply being “couplets ending with heavy –handed, simplistic rhymes,” rap is profound poetry capable of portraying an array of ideas and messages. The most notable feature of rap lyrics is rhyme, but what many often overlook is that rap also makes use of many forms of figurative language. One such example is seen in Protect Ya Neck by Wu – Tang Clan, in which onomatopoeia is used in the verse that goes as follows:
I mean ohhh, yo, check out the flow
Like the Hudson or PCP when I’m dustin
Niggas off, because I’m hot like sauce
The smoke from the lyrical blunt make me (caugh)
When listening to this track, the artists actually coughs rather than saying the word to rhyme with “sauce.” There are many other forms of figurative language and rhetorical devices utilized in rap that we should learn to take note off.
“The Anthropology of Rap” displays rap in a light it rarely ever crosses; many refrain from deeming this specific genre of music as being reputable, and thus tarnish its inner motives through appraising it to be the quintessence of public squalor. This writing piece, however, exposes the very crucibles of what rap entails. It equates its chorals to lyric poem, carving impressionable depth into the seemingly shallow surface of essence, and giving reason to listen, for ‘listening’ to a rap song is vastly different from simply ‘hearing’ one. And having made a firm case in support of hip-hops societal influence, the anthology delves further into clarifying the aforementioned juxtaposition.
Just as any poetic piece, every word and syllable holds immense substance. Never does one line unravel to convey what it may have seemed to represent prior to further analysis and prodding. The piece noted that, “rap lyrics respond to transcription, explication and analysis as poetry”. This level of ambiguity in relation to possible context features in almost every rap song and “C.R.E.A.M” by Wu Tang Clan, is no exception; it states
Yo check yo yo, check the script
Me and the gods get it ripped
Blunts in the dip, forty dogs in my lip
Had a box, ‘Boom Boom’ the bass will blast
By simply reading these lyrics aloud, one will surely find difficulty in tapping into the artists mind primarily due to the apparent odd usage of terms, which, is also a prominent theme exposed in contemporary poetry. The comparison fails to seize at the point of misunderstanding; in the very same song, “crime side” refers to the stereotypical representation of blacks in modern media, “Shaolin Land” was written to mean Staten Island, and “Lo goose” meant a puffy down jacket made by Polo Ralph Lauren. To conjoin these apparently meager words to poetry, one will notice that using slang in this way is an attributed skill used in poetry for hundred of years, capable of being found in even Shakespeare. Shakespeare, the Father of Literature, using this very method discovered in rap, constructed new slang that aided dozens of words enter the English language. Relating a poetic figure such as Shakespeare to the culture of rap only bolsters the writing piece’s claim that rap holds more insight than it may seem.
In Wu-Tang’s song, “Protect Yo Neck”, Wu Tang raps;
The way I make the crowd go wild
Sit back relax..Go smile
Rae got it goin on pal
Call me tha Rap Asassinator
Rhymes rugged and built like Shwarcheneger
And I’m gonna get mad deep like a threat
Blow up your project then take all your assets
Cuz I came to shake your frame and have to put the coats that bomb
The element of “elevation of the self and denigration of the opponent” that the author of “The Anthology of Rap” describes is present. In “Signifying Rappers”, the author also writes that frequently the lyrics in rap are “self-referential” , and also attack rivals. Wu-Tang starts off with praising himself but then becomes aggressive towards his rivals and threatens them. The common themes in rap stem from the poverty, hardships, and violence that many rappers had come from, as KRS-one explains “Rap was the final conclusion of a generation of creative people oppressed with the reality of lack.”
I had never really listened to rap before so listening to Wu Tang Clan’s vanguard “36 Chambers” in conjunction with reading “Introduction: The Anthology of Rap”, was an eye opening experience. One song that particularly stood out to me for both its encompassing of many features described in The Anthology of Rap, as well as shocking lyrics, was “Method Man”. In this song, Method Man introduces himself. He also lists the other members of Wu Tang Clan: The RZA, the GZA, Ol’ Dirty Bastard, Inspectah Deck
Raekwon the Chef, U-God, and Ghostface Killah. All the members of Wu Tang Clan employ stage names, which the Anthology of Rap describes as “announcing certain defining qualities of the artist.” The names of Wu Tang Clan suggest aggression and violence, which listeners definitely receive in “Method Man.” Before the actual song begins there is a “skit” done by Method Man and Raekwon that can be a bit shocking to first time listeners, like myself. At the end of their skit Method Man says ” I’ll fuckin’ – I’ll fuckin’ sew your asshole closed, and keep feedin’ you and feedin’ you, and feedin’ you, and feedin’ you”. That line alone includes the profanity and aggression characteristic of rap. It provokes the listener and shocks him, while also exposing him to the rapper’s experience and perspective by using profanity and graphic imagery.
From the Wu-Tang Clan’s album, “Enter the 36 Chambers,” the title of the song ” Clan in Da Front” already gives the impression that the Clan is a renowned group that rightly have their place at the front of the crowd mostly due to their prowess in hip-hop. In the intro the line, “Wu-Tang Killa Beez, we on a swarm,” is repeated four times to emphasize the “danger” the clan poses since a swarm of bees are known for their stings in which case the Clan’s sting is from them hurting one’s pride as a hip-hop artist due to their own skill in the field. This is also portrayed when the song comes to the hook where the the members all start chanting “Wu, Wu, Wu…” their namesake in the background similar to the buzzing of bees to intimidate the crowd of their arrival to the scene. Throughout the song, it is clear that they are the cream of the crop and that they have the right to judge another for the capabilities as an artist, to look down on them should they fail to meet their expectations, and prove that the Clan is and always will be in a tier higher than them. Evident in the following lines,
“I throw the rhymes to the mic and I strike ’em out
So it really doesn’t matter on how you intrigue
You can’t fuck with those in the major leagues.”
The treatment given to those who fail by the Clan is standard in the hip-hop community as explained in “Introduction: The Anthology of Rap” where the judgement of one’s abilities in handling and crafting lyrics is severe and as a result of their shortcomings the artist will be booed at and taken off the stage.
Wu-Tang Clan’s Album Enter the 36 Chambers, encapsulates many of the poetic devices used in rap music including rhyme scheme, simile, metaphor, narrative, and a variety of voices. This album references white society several times throughout the album, among many other themes. The song “Da Mystery of Chessboxin,” references white society and demonstrates a key component of rap when it says, “I’m pushin’ force, my force you’re doubtin’ I’m makin’ devils cower to the caucus mountains.” One interpretation of these lines is that the people who doubt the force of what the speaker is saying is cowering back to white society. The caucus mountains can be seen as a symbol of white society because that is where caucasian people originally emerged. The symbolism behind the caucus mountains can be extended to white musical standards, not just white society in general. In addition, this highlights a key component of many rap songs which is “the elevation of self and the denigration of the opponent,” as mentioned in The Anthology of Rap. The speaker’s elevation can be seen in his confident diction by using words and phrases such as “pushin’ force,” and “makin’ devils cower.” The audience can see the denigration of the opponent because they run away, in fear and defeat, from the speaker and towards a representation of white society– the caucus mountains.
I had never really understood the dynamic between lyrics of a rap song and the instrumentals that accompany it until I listened to Wu Tang Clan’s “Enter the 36 Chambers.” Most rap/hip-hop songs in the present day have heavily synthesized and complex instrumentals that accompany the lyrics; I started listening expecting the same thing. However, I was shocked to learn that it was the complete opposite: virtually every single song consisted of nothing more than a drum beat, some piano, and a few other instruments (bass, brass instruments, etc…). It was almost a disappointment. However, by the time I got to “Clan in Da Front,” I realized how genius the simple instrumental was: by giving the listener very little in terms of musical accompaniment, it allows the artist to draw attention to lyrics rather than the music. It highlights the meaning of the lyrics and heightens the power of the verse.
Not only that, but the music can also be used to highlight changes in the lyrics as well. Most instrumentals in Enter the 36 Chambers follow a simple beat, but that beat is often changed once another member starts rapping or the subject of the rap changes: by having a simple, repeating beat and the suddenly breaking it, the continuity of the instrumental, the listener is lulled into a sort of trance by the uniformity of the song and then jolted awake when that uniformity is broken. Much like analyzing iambic pentameter in Shakespeare works, it serves to keep the audience focused and engaged on the matter at hand and turns something that would otherwise be viewed as mundane and forgettable into a beautiful piece of art