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How Rappers Like “Sexyy Red” Show Us That Modern Black Culture Is Just African Culture

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Time and time again, I’ve often heard all varieties of liberals, centrists and many conservatives say that black culture in America (and everywhere else) has been on a downward trend because of fatherlessness, poor education, fewer opportunities and/or over-exposure to lead paint in urban areas — there seems to be no end to the excuses made for blacks. If only these same negro-apologists just knew how hopelessly depraved black (African) culture really is; and even when they do, they still insist that the problem is just the culture in order to stay within this dogma that race is nothing but skin color. They’ll blame everything under the sun in order to avoid any and all discussion of biological race and its consequences. Within Western civilization, black culture only appears to be to be getting worse, but the reason why is simple: White cultural hegemony has been on a downward trend. It can’t be said enough: Culture is downstream from biological race, and as White cultural hegemony declines, the true nature and sensibilities of other races will surface. New rappers like “Sexxy Red” show us that black people are just returning to their African roots as White cultural standards begin to rapidly disappear with the decline of the White race.

Who is “Sexyy Red’?

Sexyy Redd
Just imagine your daughter looking up to this.

I don’t put any effort into knowing what’s going on in pop music, much less the negro music industry, but unfortunately the you-know-who-merchants that control the entertainment want African culture and its twerking “phat” booties to reign supreme, casting an STD-riddled shadow over what’s left of Western civilization. So that means I have to tell you about Sexyy Red and “who dat be.” Originally from St. Louis, Missouri, Sexyy Red is the new popular female rapper in our current year, 2024. Billboard.com declared her “one of the biggest breakout artists of summer 2023” and her sexually explicit song “SkeeYee ranked No. 1 on the inaugural TikTok Billboard Top 50 chart.” So to say that Sexyy Red is just some new female rapper in the rotating-door of the hip hop scene is a serious understatement: She is one of the top new female rappers making the biggest waves in 2024, setting a new standard in the general Africanization of pop culture. From the pavement jungles of the hood to university parties and gym locker rooms, her music (if we can even call it music) is what many young people are blasting nowadays. One of her recent, most popular music videos is appropriately titled Pound Town.

“I’m out of town, thuggin’ with my rounds. My coochie pink, my booty-hole brown.” – Sexyy Red from Pound Town

I’m sure some of you reading this will think, “wait a minute, hip hop has always been ghetto and hyper-sexual, ever heard of groups like 2 Live Crew from way back in the 80s? How is this Sexyy Red rapper really any different?” I’m no hip hop history expert, but to anyone with a pair of ears and eyes, this generation of hip hop and black culture is intensely more ghetto, violent and retarded than ever before. Back in the 80s and 90s, hip hop music that glorified gangbanging, thuggery and blind-promiscuity wasn’t as mainstream as it is today, and it had real shock value despite being goofy. Now, it’s the norm and its serious: just an ordinary depiction of everyday life in blackistan, where negroes are increasingly left to their own devices, even freer from White cultural hegemony. More rap videos than ever feature drugs, guns, hoes, and gangs throwing middle fingers, with lyrics that are noticeably less intelligible than the hip hop of the 80s and 90s. Rappers like Kodak Black and NBA YoungBoy have helped set a new standard through sheer, abject negro ghetto-ness, which is being pushed even further by rappers like Sexyy Red.

A new kind of female rapper

Like other celebrities, rappers often have side hustles, like promoting a brand of liquor, clothing or headphones, but Sexyy Red is different. She’s been outspoken on her plan to release a line of lip gloss named after sexually transmitted diseases, like “gonorrhea,” “booty hole brown” and “yellow discharge.” If you think she’s just joking, think again: just like in her super raunchy rap videos, she has no problem glamorizing a lifestyle of open, animalistic promiscuity, which obviously entails sexually transmitted diseases. It is well known that sexually transmitted diseases are an exceptionally huge problem in Africa, in part because of it’s non-monogamous culture.1

Another thing that makes Sexyy Red different is her over the top “ratchet” persona as a female rapper, which goes a step above the typical hoochie-hoodrat dollar-store aesthetic of bright colored wigs, facial tattoos and fat, twerking asses. Sexyy Red often features pregnant stomachs (her own and that of her hoochi mama friends) as a symbol of their absolute “ratchetness.” She even raps about carrying the baby of her “baby daddy” who is, apparently very likely, in prison in real life. You couldn’t make this up even if you were trying to depict blacks as repulsive, sub-human gremlins; leave them to their own devices and they will make fools of themselves, openly showing the world what they really are without a shred of shame, every single time.

Lyrics from Sexyy Red’s recent music video “Free My N***a”
Sorry Christians, but this is why I kinda support abortion.

Why are rappers like Sexyy Red so popular?

What makes this modern, more ghetto iteration of hip hop from rappers like Sexyy Red and NBA YoungBoy even bigger than the negro music of the past is that it has greater appeal to both White and Negro audiences — but obviously for different reasons. Negro music has been popular with White audiences for a very long time, but the negro music of today is a far cry from the negro jazz and soul music of the 1950s, 60s and 70s. I’d argue that modern hip hop is the real negro music, because it’s a more unrestrained expression of the collective negro mind-soul (or bio-spirit); and unfortunately, White audiences probably enjoy it more than their grandparents enjoyed the negro Jazz and Soul of the pre-hip-hop era. The negro tunes of the pre-hip-hop era at least resembled actual music with actual instruments — due to White cultural hegemony — whereas today’s negro music is just this sort of vulgar minstrel show of morbidly entertaining stupidity combined with hard bass, hard beats (thanks to White music producers and computer technology) and an aggressive attitude that gives a cheap pump of energy to the listener. This is why I believe modern hip hop is so popular among young White people, especially athletes, partygoers and those with an extra rebellious nature.

In addition to more White listeners, Negroes find this modern, super-ghetto form of hip hop to be more relatable to them than the more white-washed negro music of the past. Modern hip hop from rappers like Sexxy Red offers something that is more African and speaks directly to their African racial-sensibilities.

“But what about the internet and social media’s influence on black culture?”

Some may object to my racial theory on these cultural trends, preferring to put more of the blame on technology. The internet not only gives audiences a greater opportunity to access what they really want to listen to, it also creates this hyper-competitive environment where both artists and listeners constantly interact with each other, peer pressuring each other, which can certainly accelerate cultural trends. However, these cultural trends are inevitable, based on the changing racial demographics of Western civilization. Therefore, the internet is merely speeding up inevitable cultural trends rather than directly influencing the direction of culture. In other words, music and culture are like a train, and biological race is like the train tracks: the internet is just making the train go faster.

Early 80s Funk or “Jheri Curl music” represents the last peak of White cultural hegemony over black music: the artists played actual instruments, the lyrics weren’t retarded or unintelligible gibberish, and just as importantly, there were no ratchet hoochie mamas twerking their fat ass.

As Western culture declines, real African culture rises.

The thesis of this post is that Whites becoming a minority had led to a decline in White/Western cultural hegemony, which in turn has already allowed the true cultural nature of non-White races to increase in prevalence. This is why rappers like “Sexyy Red” epitomize modern black culture in the West. But to really prove this point we have to look into African culture in countries where White-Western culture has had minimal influence and account for the similarities. This post is by no means an exhaustive, comprehensive list of all traditional African cultural practices and its ancestral-connection to hip hop in the West, but a small amount of research online is enough to provide us with compelling evidence to prove this thesis.

In a racially Whiter time, the four pillars of hip hop were once DJing, MCing, Graffiting and Breakdancing2 but now its gang violence, ass worship, wealth/status flaunting and this sort of x-factor of sub-Saharan simian-ness.

Twerking is a traditional African cultural practice

Africans didn’t learn how to twerk from watching hip hop music videos.

When researching the origins of twerking, a few articles kept coming up about a traditional West African dance called Mapouka3 that involves a lot of booty shaking. I tried looking for more documented evidence of butt shaking in traditional African culture, and not much else came up except tons of random videos from all over Africa of black women shaking their fat asses. Even though Africans never kept written records of much of anything, I think it’s safe to assume what we know as “twerking” has been a part of black African culture for as long as blacks have existed in Africa.

An ancient depiction of twerking hoochie mamas from a South African cave.

Given the natural shape of black women and the innate penchant that black men universally have for big asses4, it seems hard to deny that big ass booties were at least partially the result of thousands and thousands of years of sexual selection pressures within sub-Saharan African populations.5 Therefore, all the degenerate twerking seen in modern rap videos cannot be explained away by some sudden change in black culture itself, because black culture isn’t what changed; but rather, it’s just being “decolonized” via the decline of White cultural influence and power.

Diving deeper into the issue

This culture of ass worship originally evolved over thousands of years of competitive polygyny in Sub-Saharan Africa, inevitably creating a gender imbalance that always favored the reproductive success of women.6 Matt Forney touched on this many years ago for Return of Kings, showing that there’s a correlation between ass-worship, twerking and modern feminism that dominates over universal male sensibilities. It seems that traditional Sub-Saharan African culture (pre-slavery and pre-Islam/Christianity) was never monogamous enough (if at all) for long enough, to have had any significant impact on the genetic appearance and behavior (evolutionary psychology) of racially black-African people. Within non-monogamous cultures, it’s only a minority of men that have any reproductive success at the expense of the majority of men, which is an observable social pattern within black culture and music. This explain why black culture and music promotes promiscuity, thuggish gang violence, wealth-flaunting and ass worship — all of these things are deeply interconnected and correlated phenomena that actually make sense a part of an evolutionary strategy within a tropical sub-Saharan environment.

https://psycnet.apa.org/fulltext/2010-01935-003.pdf

Conclusion

If Saartjie (Sarah) Baartman were alive today, she’d probably be twerking in a rap video.

There are now many rappers like Sexyy Red rising up in the black music industry, including GloRilla — sounds like gorilla, and that may have been intentional. Like I said early in this article, I do not go out of my way to consume black culture, but when I look at black music videos made within the past five years, I sometimes wonder if I’m looking at videos from Africa. Is there really much difference between black gangbangers in Chicago rapping in front of their dilapidated neighborhood, with their poorly maintained guns VS pictures of militant gangs from Liberia or Haiti posing with their busted up AKs in front of some African shanty town? And the same goes for black female rappers shaking their asses while singing about being whores, promoting promiscuity and condoning the spread of STDs. It really is just a mirror image of African culture, and of course it is, because it’s coming from racially African people.

  1. https://www.ajol.info/index.php/ajrh/article/view/203721 ↩︎
  2. https://dailyrapfacts.com/16270/the-4-elements-of-hip-hop/ ↩︎
  3. https://www.theafricareport.com/144303/african-origins-from-new-orleans-to-abidjan-the-roots-of-twerking/ ↩︎
  4. https://www.emilkirkegaard.com/p/new-study-intelligence-and-group ↩︎
  5. https://psycnet.apa.org/fulltext/2010-01935-003.pdf ↩︎
  6. https://psycnet.apa.org/fulltext/2010-01935-003.pdf ↩︎

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I think something you should also address is most of the people who play hard rock and classical music also have backgrounds and Science and Mathematics
Brian May for example has a PHD in astrophysics and worked with NASA
Gloryham was former frontman is a lawyer
Because being in a band that requires some level of talent a thought put into music requires a higher level intelligence than just pound town you give me some random black guy and about 4 days and I will give you a top 20 rap album
F*** my b**** in the ass
F*** my b**** in the ass
Yo I just f***** my b**** in the booty hole

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