The New Yorker Labels Rick Ross A Con Man Who Might Have Put The Last Nail In The Coffin For Rappers

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 02-06-2012, 05:08 PM         #1
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ajeana 
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The New Yorker Labels Rick Ross A Con Man Who Might Have Put The Last Nail In The Coffin For Rappers
 

 
Rapper Rick Ross' career has been fueled by the cocaine dealing he often refers to in his lyrics. In his song "Hustlin'" off of his debut album Port of Miami he rapped that he knew former Panamanian dictator/drug kingpin Manuel Noriega.

"I know Pablo, Noriega.The real Noriega, he owe me a hundred favors," he rapped.

In a subsequent interview with AllHipHop, Ross admitted he didn't actually know Noriega.

AllHipHop.com: What did you mean when you said “Noriega owes me favors”? [Manuel "Manolo" Noriega, the Panamanian military leader who was tried and convicted for drug trafficking. He resides in a Miami federal prison]? What does that mean?

Rick Ross: Noriega owe a hundred favors, you know what I’m sayin’? It’s just like, you know, I kick it with [Pablo] Escobar nephew. He live down here. That’s my n*ggas, you know what I’m sayin’? So I just meant like, you know, real ties with real n*ggas. That’s what that meant. I don’t know Noriega personally, but I know n*ggas who have met Noriega. I know n*ggas who was in federal prison two, three cells down from Noriega. You know what I’m sayin’? And when I talk to them, I let ‘em know you know that’s something I meant to ‘em in the movies. I’m into sh*t like that. So I’m gonna stand to that. That’s all that means.

So began the rapper's mantra of fake it until you make it that has worked for him thus far.

In a just published article titled 'The Sound Of Success: Rick Ross’s Confidence Game,' writer Sasha Frere-Jones of the New Yorker places the blame on the Miami rapper's shoulders for making it acceptable for rappers to embellish what they say in their lyrics to the point that the motto "keeping it real" has all but left the genre.

Check out an excerpt from the article below.

A central motif in contemporary hip-hop is rapping about drug dealing by artists who may not actually sell narcotics. Among others, Jay-Z, Clipse, and Young Jeezy have rhymed about a past or present involvement in the trade on the street. It’s typically impossible to determine whether they are telling the truth about themselves or simply the truth about their environment, and it’s never been clear whether listeners care. The Miami rapper Rick Ross, who is both physically and culturally very large, talks endlessly about extensive work in the cocaine trade. His involvement with drugs remains a mystery, but, in 2008, the Smoking Gun published documents revealing that Ross—who named himself after the Los Angeles drug dealer Freeway Ricky Ross—was once a Florida corrections officer with a perfect attendance record. He has become more popular, critically and commercially, since the revelation, and has modified his stories of drug selling only slightly. So rap fans must be either very poor listeners or fairly sophisticated ones—much more likely the latter.

Ross’s success in mimicking drug lords has brought him the ability to live like one of them. Profiles have documented his large homes, his fleet of cars, his shopping sprees at watch stores, his solicitous entourage and flexible schedule. Ross may represent the final abandonment of hip-hop’s mandate to “keep it real,” a concept that goes by different names now but has not gone away. Perhaps listeners know that this is a version of “Miami Vice,” a show that Ross claims to have been inspired by. The appeal is less some kind of documentary thrill than Ross’s ability to transmit the confidence that comes from blithely running up roaming fees while driving a Rolls-Royce through Samoa.

Frere-Jones's article reminded me of a conversation I had with a friend recently who asked me if I watched reality tv. (I do not). He explained that even though people know shows like "Keeping Up with the Kardashians" are totally scripted and anything but "real" some people can't stop watching them.

Has rap become the new reality tv? And if so is Ross it's leading actor?

To read all of Sasha Frere-Jones' article head over to the New Yorker.

Originally spotted at HipHopWired



[pic - click to view]

 http://www.thisis50.com/p .. t-have-put-the

104 comments for "The New Yorker Labels Rick Ross A Con Man Who Might Have Put The Last Nail In The Coffin For Rappers"

 6 years ago '12        #2
44wade 296 heat pts296
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That first part in that post isn't in the article
 02-06-2012, 05:44 PM         #3
Graftedgenes  OP
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1.) The link is from "THISIS50.Com".



2.) This is the same white boy that called Barack Obama a terrorist


[pic - click to view]




[pic - click to view]



3.) If a geeky white boy from Detroit named Emenim can make racist rap songs and pretend to be a serial-killer in his raps then Hiphop is already dead.


4.) No racist white fa99it from the New Yorker can tell us sh*t about HipHop
 02-06-2012, 06:18 PM         #4
TeddiGramz  OP
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 Graftedgenes said:
1.) The link is from "THISIS50.Com".



2.) This is the same white boy that called Barack Obama a terrorist


[pic - click to view]




[pic - click to view]



3.) If a geeky white boy from Detroit named Emenim can make racist rap songs and pretend to be a serial-killer in his raps then Hiphop is already dead.


4.) No racist white fa99it from the New Yorker can tell us sh*t about HipHop
I respect you man... You got knowledge about hip hop, but can you stop the Eminem hate.. If you hate Eminem keep that sh*t to yourself....
 6 years ago '11        #5
I KILL TREES 15 heat pts15
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 TeddiGramz said:
I respect you man... You got knowledge about hip hop, but can you stop the Eminem hate.. If you hate Eminem keep that sh*t to yourself....
with ya picture on my wall

whata stan
 02-06-2012, 07:48 PM         #6
TeddiGramz  OP
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 I k!ll TREES said:
with ya picture on my wall

whata stan
Stan? :nasmad: n*gga what you talkin bout?
 6 years ago '10        #7
trex 16 heat pts16
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It was actually a really good article. Here's the full article from the New Yorker:

The Sound of Success
Rick Ross’s confidence game.
by Sasha Frere-Jones


[pic - click to view]



A central motif in contemporary hip-hop is rapping about drug dealing by artists who may not actually sell narcotics. Among others, Jay-Z, Clipse, and Young Jeezy have rhymed about a past or present involvement in the trade on the street. It’s typically impossible to determine whether they are telling the truth about themselves or simply the truth about their environment, and it’s never been clear whether listeners care. The Miami rapper Rick Ross, who is both physically and culturally very large, talks endlessly about extensive work in the cocaine trade. His involvement with drugs remains a mystery, but, in 2008, the Smoking Gun published documents revealing that Ross—who named himself after the Los Angeles drug dealer Freeway Ricky Ross—was once a Florida corrections officer with a perfect attendance record. He has become more popular, critically and commercially, since the revelation, and has modified his stories of drug selling only slightly. So rap fans must be either very poor listeners or fairly sophisticated ones—much more likely the latter.

What matters is not the rap sheet but the rhyme, and the spin the m.c. can give to the trade. Nas generally paints a grim picture of it; Clipse offer a cynical endorsement of dealing; Jeezy sounds both thrilled and scared by the amount of power that drug dealers have. Ross has become a respected rapper by depicting the life style of a boss, or a don, two words that he loves. He never cares to unpack the morals of the drug trade—what he revels in is the security and relief of being fabulously wealthy. This is what his voice sells, the way Sinatra once sold an implacable but supple kind of confidence.

Ross’s success in mimicking drug lords has brought him the ability to live like one of them. Profiles have documented his large homes, his fleet of cars, his shopping sprees at watch stores, his solicitous entourage and flexible schedule. Ross may represent the final abandonment of hip-hop’s mandate to “keep it real,” a concept that goes by different names now but has not gone away. Perhaps listeners know that this is a version of “Miami Vice,” a show that Ross claims to have been inspired by. The appeal is less some kind of documentary thrill than Ross’s ability to transmit the confidence that comes from blithely running up roaming fees while driving a Rolls-Royce through Samoa.

When Ross strays from the formula, the results can be inconsistent. Take “Triple Beam Dreams,” from “Rich Forever,” the solid and focussed free mixtape that Ross released in January. The triple beam is a kind of scale often used to weigh cocaine, and the song is mostly about drug dealing. Produced by the J.U.S.T.I.C.E. League, and with a guest appearance by Nas, the track begins with a distorted, flanging synthesizer chord (as if the title sequence read “Opening scene: Beneath bridge”). Ross says rather than raps, “It’s time to take it to the other side, the side you gotta watch A&E cable television for, homie, but we live this sh*t.” It’s telling that he invokes watching television before relating an allegedly personal story.

Nas is nimble and concrete in his memories: “My junior high school class, wish I stayed there / Illegal entrepreneur, I got my grades there.” By contrast, Ross sounds uncomfortable; his standard drawl, which is both booming and restrained, is rushed, and his lyrics are a little, well, filmic: “Before you sell dope, there’s sh*t you gotta learn, n*gga / Home invasions, duct tape.”

To hear Ross’s strengths on full display, try “fu*k ’Em,” another track full of menacing synthesizers and minimal, deadweight beats. (Ross rarely bothers to speed up his beats or invest in productions that vary from the brushed-steel and superhero sounds that exemplify his work.) Here Ross embraces signal, though minor, innovation: he simply brags without variation, sticking to a pose of invincibility. “Cars just like sneakers, just got me ten pair / Dubai, I been there, but fu*k that, we in here / Roll up and inhale, I live next to Denzel / Alonzo, my condo cost three mil’, this sh*t real.” A different version of the real, then, and a more convincing one. The combination of enthusiastically documented personal accumulation and an unworried tilt in cadence is what makes Ross Ross. He sounds like the boss he alleges he is, and if the details are unwholesome it’s not particularly worrying, because it’s a movie. Everybody can love Tony Montana; it’s much trickier to love Pablo Escobar.

Ross’s popularity can be understood as a matter of tone and character. What was once called style is now more likely to be called brand. Previously, rappers were evaluated for their nimble rhymes and sly wit, but Ross refuses to engage in such a contest. As has been widely noted, he sees no problem rhyming a word with itself. His breakthrough hit, “Hustlin’,” from 2006, rhymed “Atlantic” with “Atlantic.”

His last full-length album, “Teflon Don,” from 2010, was a disciplined, relatively short affair that captured a sense of invincibility. “MC Hammer” is perhaps the ultimate Rick Ross song, a combination of doomy music and a series of rhymes that reassure you that, no matter how dark the surroundings, sheer chutzpah is all you need. It’s a bold move to name a song after MC Hammer, who is not exactly a legend among m.c.s. Hammer is remembered now less for his rhyming prowess than for the enormous, and fleeting, success that he enjoyed in the early nineties. Ross uses this scenario as an opportunity for a joke—“I got thirty cars, whole lot of dancers / I take them everywhere, I’m MC Hammer.” Landing unvaryingly on the beat, he continues, “Black Batmobile, it’s only the new Ferrari / It’s called Scaglietti, one button like an Atari.” With Ross’s self-assurance, what could be a dull plod becomes a triumphal march.

“I Love My bi*ches” is a recent single reported to be on his forthcoming album, “God Forgives, I Don’t.” The production, by Just Blaze, a vigorous blend of live drum sounds and vocal samples, is a departure from the style of beats that Ross prefers (dark synthesizers and slow drums), but it suits his kind of exulting. The chorus is the title, repeated with a lazy joy, and the whole song is yet another recapitulation of how good it feels to be the king. Other artists would find a way to extend this story, but Ross is dedicated to uncomplicating the pleasures of power in a warm, chesty voice that rarely rises or falls. He’s also growing as a writer, adding more wit and phonetic play to his self-affirmations. “Am I really just a narcissist, ’cause I wake up to a bowl of lobster bisque?” he wonders. Money and women and alliteration please him, as do luxury cars (his record label, Maybach Music, is named after a style of Mercedes). Ross’s confidence can transfer easily to anyone’s inner life, with a little suspended disbelief, and that makes him a kind of motivational speaker. Feel as much like Ross as he does, and you become your own boss.

Ross’s new album has been delayed on account of a health scare. In October, on two consecutive flights to Memphis, Ross suffered seizures. The official report, several days later, was that he was fine and hadn’t been sleeping enough. Admitting that he was vulnerable was probably the scariest thing Ross has ever done. ♦
 6 years ago '05        #8
DaViLLe726 3 heat pts
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 Graftedgenes said:
1.) The link is from "THISIS50.Com".



2.) This is the same white boy that called Barack Obama a terrorist


[pic - click to view]




[pic - click to view]



3.) If a geeky white boy from Detroit named Emenim can make racist rap songs and pretend to be a serial-killer in his raps then Hiphop is already dead.


4.) No racist white fa99it from the New Yorker can tell us sh*t about HipHop
What are you a black panther speaking at a rally lol
You nerd.
Things change...hip hop changed get over it.




and eminem could prob beat you up along with my 9 year old nephew lol
 02-06-2012, 10:11 PM         #9
Hiphopnetwork  OP
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I would say ne rapper who's talkin about flippin kis is lyin they may have seen kis but I doubt ne have ever touch over a ounce to a qp
 6 years ago '09        #10
TriniSoldier 69 heat pts69
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 TeddiGramz said:
I respect you man... You got knowledge about hip hop, but can you stop the Eminem hate.. If you hate Eminem keep that sh*t to yourself....


Wow
 6 years ago '11        #11
SugaHillRomello 1 heat pts
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Another white hiphop "journalist" speaking outta turn...... The sad thing is he believes his words hold weight with anyone besides white boys.....
 6 years ago '05        #12
JayThunder 
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Officer rickyyyyyyy
 6 years ago '04        #13
Javon23 287 heat pts287
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so we defending fraud rappers now?
 6 years ago '04        #14
SpyDa 180 heat pts180
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have to agree with graft...



[video - click to view]




when i heard that sh*t and he got a pass
 6 years ago '07        #15
MOTTAFOOKAH 4 heat pts
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Says a lot about these f*ggots that support Ross
 6 years ago '10        #16
Jinusean 5 heat pts
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It would seem T/S's New Years Resolution wasn't posting news that's actually credible
 02-06-2012, 11:37 PM         #17
Graftedgenes  OP
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 DaViLLe726 said:
What are you a black panther speaking at a rally lol
You nerd.
Things change...hip hop changed get over it.




and eminem could prob beat you up along with my 9 year old nephew lol
What are you a white Klansmen speaking at a rally?


bi*ch I'm a member of the HipHop community and I don't need some white Hipster publication who called Barack Obama and his wife terrorists to tell me anything about my culture.


If a fraud-rapper like Emeinm can make racist rap songs and then rap about being a rapist and a serial-killer while letting nekkid men sit on his face do you honestly think a normal person cares about coke rhymes?


It gets old hearing these corny clueless cracka's talking about sh*t they know nothing about and clearly don't understand.
 6 years ago '04        #18
miamisports 13 heat pts13
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This guy probably knows and understands more about hip hop than most of the recent generations
 6 years ago '05        #19
DaViLLe726 3 heat pts
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 Graftedgenes said:
What are you a white Klansmen speaking at a rally?


bi*ch I'm a member of the HipHop community and I don't need some white Hipster publication who called Barack Obama and his wife terrorists to tell me anything about my culture.


If a fraud-rapper like Emeinm can make racist rap songs and then rap about being a rapist and a serial-killer while letting nekkid men sit on his face do you honestly think a normal person cares about coke rhymes?


It gets old hearing these corny clueless cracka's talking about sh*t they know nothing about and clearly don't understand.
You sit here and talk about "racist rap songs" like you got a real problem with racist white people and you are using words like cracka in the same sentence.
Your full of hatred towards the white man.
I understand that because judging by your ignorant rants, you aren't as successful as you aspire to be and blame everything on the white man keeping you down.
Keep on keepin on darkie...


Last edited by DaViLLe726; 02-07-2012 at 12:07 AM..
 02-07-2012, 12:18 AM         #20
Graftedgenes  OP
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 DaViLLe726 said:
You sit here and talk about "racist rap songs" like you got a real problem with racist white people and you are using words like cracka in the same sentence.
Your full of hatred towards the white man.
I understand that because judging by your ignorant rants, you aren't as successful as you aspire to be and blame everything on the white man keeping you down.
Keep on keepin on darkie...
A cracker is an edible food item you can buy at a grocery store, if you find the word offensive then you need to start a campaign to censor it in in grocery stores and restaurants.

I'd be so offended if a white person called me "Chocolate" GTFOH.

you are full of hatred for the Black man which is why you defend racism and catch feelings when people point out your hypocrisy for worshipping a racist rapper pretending to be a k!ller when we all know he's a gay weakling.


I understand you are a wannabe who listens to Black music and puts cute little pics of Black men in your Internet avatar and calls people "darkie" from the safe confines of anonymity.


A Craker can't keep a Black man down fool you too busy worshipping us for that.
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