one-hit wonder.

“Oh my God, Becky look at her butt.” These famous first words of Anthony Ray’s one-hit wonder, “Baby Got Back, stirred the hip-hop industry into a frenzy in the early 1990s. Ray, most commonly known as his adopted alias Sir Mix-A-Lot, was the first to water down the hardcore, thug life rappers at this time had commonly described to a fun and catchy song popular in the 80s. He appealed to many pop listeners, which was a feat at this time of rappers like Tupac and Notorious BIG.
Mix-A-Lot was born in 1963 in Seattle, Washington. He loved all kind of music and started rapping in the early 80s. He opened his own record label, Nastymix, with a Seattle DJ, Nasty Nes. From here, he wrote his own music and based it off life in Seattle, not New York like many other rappers in the industry had done. Before his hit, “Baby Got Back”, he was already a platinum-selling artist. He became a success story, a rapper from Seattle(which was unheard of at this time) who started his own record label, wrote his own music, and promoted himself successfully. He managed to mix old-school electro with modern hip-hop and created danceable music for fans in the hip-hop genre. It was not until he signed with Def American label that he became more mainstream. This along with a new pimped-out image helped carry him into success. In 1992, he set out his first album, Mack Daddy, debuting “Baby Got Back” as his second single. When this song was unveiled, it became not only a great hit which stayed on top of the Billboard charts for 5 weeks, but it was also accompanied by a sensitive issue: race and sex.
The video, which was banned off MTV for some time due to the content, starts off with two Caucasian females looking at a voluptuous black woman. “She looks like, one of those rap guys’ girlfriends. But, you know, who understands those rap guys?” They stereotype the body of a black woman, which Mix-A-Lot praises in his song. In an interview for VH1, he said he was giving appreciation for “women whose body types were rarely given positive cultural attention.” In the song, Mix-A-Lot goes on admiring this woman and her rather large derrière. “That when a girl walks in with an itty bitty waist/ and a round thing in your face/ you get sprung.” He makes a point of sharing his dislike for the women that were considered beautiful at this time. “I’m tired of magazines/ Sayin’ flat butts are the thing.” Fashion magazines in the late 80s praised a woman’s body that didn’t show too much skin and was somewhat of a classic beauty. Mix-A-Lot goes completely against this norm and instead, admires women of color. “So I'm lookin' at rock videos/ Knock-kneeded bimbos walkin' like hoes/You can have them bimbos/I'll keep my women like Flo Jo.” He prefers his women to be like Florence Griffith-Joyner, an Olympic gold medalist who is black and has the body he idolizes, rather than the women in rock videos at the time. “And I'd rather stay and play/'Cause I'm long, and I'm strong/And I'm down to get the friction on.” Mix-A-Lot became the king of double entendres in the hip-hop industry. In this one, he refers to his phallus and what he wants to engage in with the woman. “So Cosmo says you're fat/Well I ain't down with that!” Not only does he say he wants to get with this girl, but he defends her and brings out an important matter. The tabloids always said and say, even today, that if a woman isn’t a certain size, she’s obese, ugly, and won’t achieve anything if they don’t look like models. “Give me a sister, I can't resist her/Red beans and rice didn't miss her/Some knucklehead tried to dis.” Throughout the song, all he wants is a real woman, who in this case actually eats. He doesn’t care what other say, and thus, because of his exaggerated affection for these women, many thought he was either degrading black women or ignoring white women.
It’s up really up to listeners to chose what they think is his message. The success of “Baby Got Back” got Sir Mox-A-Lot a Grammy for Best Rap Solo Performance and millions of album sales. He accomplished so much more though. He helped establish the genre of hip-hop and helped give listeners more to listen to. He left the business because he was tired of the industry. He says, “Most cats that rap, they rap about bling bling, and just keep doing it. And, I mean, I cant knock it, since I was the king of it at one time, but that is why I don't like hip-hop these days . It's all about bling bling and really doesn't have substance." He was inspired by a variety of artists, including Gary Numan, founding father of synth pop; Funkadelic, an R & B artist; and The Accused, a Rock and Alternative band. He mixed his love for all genres and thus, made a name for himself. Rap artists, Lil Jon and Goldie Lookin’ Chain have looked to him for inspiration in their careers. He’s returned to hip-hop, but still finds something is missing. He says, “Thats why I love rock. I still dig hip-hop, I just think it could be better. Eminem is real. He may wear an expensive necklace, but he is real and doesnt rap about his $100,000 necklace like others do.” He believes hip-hop is a genre that always needs to challenge and evolve itself through those that call themselves hip-hop artists.
Whatever he believes, we know he started what today is appreciated by rap, R & B, and hip-hop music videos; the woman. However, he was the one that highlighted the female anatomy in a hysterical and good-humored way. “So ladies, if the butt is round,/And you want a triple X throw down,/Dial 1-900-MIXALOT/And kick them nasty thoughts/Baby got back!”





"Baby Got Back"

Oh, my, god. Becky, look at her butt.
It is so big. *scoff*
She looks like,one of those rap guys' girlfriends.
But, you know, who understands those rap guys? *scoff*
They only talk to her, because,she looks like a total prostitute, 'kay?
I mean, her butt, is just so big.
I can't believe it's just so round, it's like,out there, I mean - gross.
Look!She's just so ... black!
[Sir Mix-a-Lot]I like big butts and I can not lie
You other brothers can't deny
That when a girl walks in with an itty bitty waist
And a round thing in your face
You get sprung, wanna pull out your tough
'Cause you notice that butt was stuffed
Deep in the jeans she's wearing
I'm hooked and I can't stop staring
Oh baby, I wanna get with you
And take your picture
My homeboys tried to warn me
But that butt you got makes me so horny
Ooh, Rump-o'-smooth-skin
You say you wanna get in my Benz?
Well, use me, use me
'Cause you ain't that average groupie
I've seen them dancin'
To hell with romancin'
She's sweat, wet,
Got it goin' like a turbo 'Vette
I'm tired of magazines
Sayin' flat butts are the thing
Take the average black man and ask him that
She gotta pack much back
So, fellas! (Yeah!) Fellas! (Yeah!)
Has your girlfriend got the butt? (Hell yeah!)
Tell 'em to shake it! (Shake it!)
Shake it! (Shake it!)Shake that healthy butt!
Baby got back!(LA face with Oakland booty)

Baby got back![Sir Mix-a-Lot]
I like 'em round, and big
And when I'm throwin' a gig
I just can't help myself,
I'm actin' like an animal
Now here's my scandal
I wanna get you home
And ugh, double-up, ugh, ugh
I ain't talkin' bout Playboy
'Cause silicone parts are made for toys
I want 'em real thick and juicy
So find that juicy double
Mix-a-Lot's in trouble
Beggin' for a piece of that bubble
So I'm lookin' at rock videos
Knock-kneeded bimbos walkin' like hoes
You can have them bimbos
I'll keep my women like Flo Jo
A word to the thick soul sisters, I wanna get with ya
I won't cuss or hit ya
But I gotta be straight when I say I wanna *#%(&*
Till the break of dawn
Baby got it goin' on
A lot of simps won't like this song
'Cause them punks like to hit it and quit it
And I'd rather stay and play
'Cause I'm long, and I'm strong
And I'm down to get the friction on
So, ladies! {Yeah!} Ladies! {Yeah}
If you wanna roll in my Mercedes {Yeah!}
Then turn around! Stick it out!
Even white boys got to shout
Baby got back!Baby got back!
Yeah, baby ... when it comes to females,
Cosmo ain't got nothin' to do with my selection.
36-24-36? Ha ha, only if she's 5'3".

[Sir Mix-a-Lot]So your girlfriend rolls a Honda,
playin' workout tapes by Fonda
But Fonda ain't got a motor in the back of her Honda
My anaconda don't want none
Unless you've got buns, hun
You can do side bends or sit-ups,
But please don't lose that butt
Some brothers wanna play that "hard" role
And tell you that the butt ain't gold
So they toss it and leave it
And I pull up quick to retrieve it
So Cosmo says you're fat
Well I ain't down with that!
'Cause your waist is small and your curves are kickin'
And I'm thinkin' bout stickin'
To the beanpole dames in the magazines:You ain't it, Miss Thing!
Give me a sister, I can't resist her
Red beans and rice didn't miss her
Some knucklehead tried to dis
'Cause his girls are on my list
He had game but he chose to hit 'em
And I pull up quick to get wit 'em
So ladies, if the butt is round,
And you want a triple X throw down,
Dial 1-900-MIXALOT
And kick them nasty thoughts
Baby got back!
(Little in the middle but she got much back) [4x]

hypnopaedia.

In this world, we surround ourselves with things and people we love and care for. Unlike Brave New World, where people experience a false sense of happiness, in our world, we have a variety of things we can turn to when things go sour. As humans, we need others around us in order to sometimes feel complete or at least not feel completely alone in this world. In the end, our decisions are what determines if we die alone or full with memories of those you love.

soma holiday

Ineffective, cold, finite
No, that isn’t me.
I make up the human physique
In a world where man needs me
They lose all will and only are
“All the advantages of Christianity and alcohol,
None of their defects.”
Through me, you melt
Flushed cheeks and friendly smiles
Avoided days, blinded truths
I am your cloud in the sky
Suspended in your system
In your controlled society
Yes, Shakespeare can lend a lens to avoiding reality, too
But I’m like a flood
Controlling your gratifications, needs, religion
“Community, Identity, Stability.”
Opium, cannabis, hallucinogen
Too dozed to confront anything
Apathetic
Fascist state that promotes a utopia
Go ahead John
Watch as I’m distributed, those deltas
Enslaved under a spell
A prison of pleasure and entertainment
Oh if only you knew how artificial you were
Keep close to your mindless choices
Masses! I am your answer.
The way, the truth, and the light
To you though, happiness is better than the truth

college essay

Walking into my eighth grade classroom, I felt out of place, a swimming pool where I was suddenly drowning. It’s scary how moving two hours away, from Miami, Florida to Fort Myers, Florida, can make such a difference in a person’s life. I know this change, into one of the South’s most segregated cities, has deeply made a difference in all aspects of mine.

For the past five years, I have been one of the few brown people in schools with a large white student body. I felt like a crayon. And like a crayon, I was taken to a piece of paper where white suddenly surrounded and engulfed me. The only way I could overcome something like this was to make my own scribble. This is exactly what I did. In my school, workspace, and community, I have evolved into a unique brown scribble, placing my color out there for the world to see. Although I did conquer this task, it was a difficult journey with a variety of obstacles in the way.

My journey started when I left for three weeks to New Haven, Connecticut, during the summer of 2007. I engaged in a summer program at Yale University. For the first time in two years, I felt comfortable in my skin again. So comfortable, in fact, that I started referring to myself as “Brown”. Yale not only challenged me academically, but it also helped me learn more about myself and other cultures. Taking two classes, participating in a debate seminar at night, eating dinner at the campus’ dining hall, studying in the library, living in the dorms, and befriending people who were from every corner of the world helped me really value my roots. I felt at ease in my skin, like I was in a box with multicolored crayons. When I came back home, to Fort Myers, I brought my new alias along with me. I was tired of living a colorless life. I was not going to settle for assumptions that I am Mexican, Indian, or Cherokee. I was now a proud Peruvian hue of brown amidst this flood of white.

Although the color brown is often thought of as boring and unpredictable, I counteract this conjecture. I’ve learned I can add to the mix with not only my attitude, but with my culture as well. I often surprise my teachers, for one day I’m a serious student with books and the next, I replace books with a bottle of bubbles and a cup of coffee. Those who know find that all of this just fits my persona. Somehow, I manage to balance schoolwork with my creative mind. This balancing act bursts through the work I do as managing editor of my high school yearbook. As editor, it takes an immense amount of organization as well as creativity to put together a yearbook. A successful book includes taking exceptional pictures, writing attention-grabbing stories, making deadlines, and most importantly, capturing cherished memories. Throughout the three hundred sixty-eight pages, I display what truly makes me shine. Every project I involve myself in always comes together at the end; however, it puzzles onlookers how I manage to fuse my organizational talents with my creative mind.

Although I do enjoy thinking random thoughts, I still stay grounded, honest, and as down-to-earth as humanly possible. Like mud, dirt, and trees, the color brown allows for a path to connect with everything on this blue Earth. I’ve found that my “browness” has allowed me to connect with the people around me; thus, I’ve incorporated my culture into my attitude at school. One of the issues I have always had a problem with has been stereotyping in my community, especially in my school. I remember introducing myself in a series of icebreakers at my Freshman Retreat. Right after I informed my leaders and fellow freshman classmates of my name, age, and my favorite hobby, the question that followed was, “So are you like Indian or something?” Judging a book by its cover is one thing that I have struggled with ever since I moved here. Luckily, before I hit the edge of the paper, I’ve always had someone to scribble me in the different direction: my mom.

I know that when I hear the glass cups in the kitchen cabinets start shaking, she’s home. I suddenly remember where I’m from when my mom walks through the door. I know she’s one of the people in my life that has truly shared all her knowledge and experience with me. If it wasn’t for her, I would probably be completely Americanized and not know a pinch of Spanish. From a young age, she told me that I had to work hard to get to the finish line. She took me to Peru and showed me how hard the people worked. They were happy though because they worked to live simply and enjoy life to the fullest. I know that even today, this holds true. My mom, to me, is an extraordinarily hard working person. Juggling two jobs, keeping up the house, cooking everyday, taking my younger brother to karate or soccer, and still having time to spend with my brother and I just amazes me. She likes it though. I help her out with what I can. I take care of my brother when she’s working, drive him to school or practice, make breakfast, try to clean up, do laundry, and keep her up-to-date with my life. I do all of this, not only because I love her, but because I admire her and see her as an important role model in my life. She was the first in her family to leave Peru and made the decision to start a life in the United States. Sometimes I’m talking to her and it baffles me how exactly she is still functioning and still enjoying her life. She always tells me, “Hija, I can’t just stay home all day. I do this all for you and your brother. I want you guys to have the best life you can have.”

I’ve embraced all my experiences, my friends, family, and culture. I’m open to every person’s lifestyle but still stay true to mine. I still like to listen to Spanish music and dance merengue or salsa at family parties. I still watch romantic telenovelas on Telemundo when I can. I still eat and enjoy the funny food full of spices unheard of in this area of the state. I still think in Spanish when I do math, my favorite subject in school. I’ve learned my skin, my attitude, and my culture blend into a mélange that creates stability and adds warmth to a dull palette. For me, I am the everlasting tan person, coffee sister, russet daughter, brunette student, and the brown friend.

human part.

the clock rings at seven-fifty.
sitting with the dim light,
listening to beautifully articulated rhythms
spreading like a plague through the bone-colored room
drinking the yellow-looking energy stimulant,
the telephone rings, a body on both sides.
a disjunctive conversation instigates a flood of laughter
trapped between four walls.
he shakes and becomes stronger;
he becomes his own entity.
to some, he is known as larry.
he is quiet, but always on the lookout for a chuckle.
a secretive being, he comes alive with a “hoi”

LDJIN paper.

The use of autobiographical elements Eugene O’Neill employs in Long Day’s Journey Into Night serves as a vehicle to mirror his own life through the characters in the play. He directly focuses on the impact his eldest brother Jamie had on his life and that of his family’s. This struggle, both in the play and in the playwright’s life, helps give readers an insight into his internal strife with his brothers, Jamie and Edmund. By showing a perverse side of Jamie and using Edmund as his surrogate in the play, O’Neill helps memorialize his brother and provides an absolution for Jamie’s wasted life (Hinden).
Throughout the play, Jamie influenced Edmund’s life by shaping his attitudes toward sex, alcohol, and literature. Jamie alludes to Edmund as his “Frankenstein”. Jamie also played a part in the death of Eugene, Mary’s second child. He gives him the measles while she traveled with her husband, James Tyrone. This situation reflects a real-life occurrence in Eugene O’Neill’s life when his mother Ella traveled with her husband, and left Jamie and Eugene. This all reflects a jealousy Jamie experienced with his younger sibling. “Beware of that brother of yours, or he’ll poison life for you with his damned sneering serpent’s tongue.”(O’Neill 111) Jamie inundates his brother Edmund with his vices. Although Edmund did make faulty decisions, he did have a plan for the future, unlike Jamie. O’Neill, like Edmund, had a vision and knew his sea voyages would help him escape Jamie’s “poison”. After returning from the sanatorium, Edmund cut himself off from Jamie which is what Jamie himself had advised. By severing the bond between them and pretending that Jamie was dead, Edmund could save himself (Hinden). This estrangement the author had with his brother put Edmund on the right path.
Eugene O’Neill uses Edmund was a surrogate in the play to help communicate the compassion he felt for both his brothers. “Wanted you to fail. Always jealous of you. Mama’s baby, Papa’s pet.” Jamie’s jealousy and revenge brought guilt upon Eugene. This may have been a reason why the writer took Edmund’s name; he felt bad and wanted to express a wish in which he should never have been born. Another reason may have been to acknowledge his debt to Jamie and repay his brother for giving him ample warning to escape his clutched (Hinden). “Think of me as dead­­­—tell people, ‘I had a brother, but he’s dead.’” Jamie’s symbolic death was something Eugene felt guilty for and struggled accepting. And yet, another reason may well have been Eugene’s way of recognizing he played a part, like Jamie to Edmund, in his brother’s death. All of these reflect different feelings O’Neill felt about himself and about his brothers.
O’Neill’s writing conveys, although sometimes an unpleasant plot for readers, his life and his obstacles through his brother’s vicious ways and the replacement of his name with that of his late brother, Edmund. The struggles Mary Tyrone faced were similar to the ones Ella O’Neill had to embrace and accept. All their decisions, those of the Tyrone siblings, wife, and father were ones that came attached to consequences. Be it the death of Eugene, the symbolic death of Jamie, or the family itself, the results were ones that O’Neill experienced in his time period of the 1900s. His use of autobiographical elements gives readers a look into family life during this time. Due to the literal and symbolic deaths, the Tyrones and O’Neills were stuck in the past and unable to live in the present. Thus, these negative attitudes poisoned the play as well as the playwright’s life.

Bibliography
Hinden, Michael. “O’Neill and Jamie: a survivor’s tale.” Comparative Drama 35.3 (Fall 2001):
435(11). Academic OneFile. Gale. Lee County Library System. 21 Sept. 2008
<http://find.galegroup.com/ips/start,do?prodId=IPS>.

O'Neill, Eugene. Long Day's Journey Into Night. 2nd. USA: Yale University Press, 2002.

poem.

Utility knife: It’s like a pregnant knife.
I can be defined by something natural: color.
Listening to the noise in the background.
If only I could have one pure thought.
“Lysergic Bliss” playing in the grenade.
“Normal people don’t rape other people?”
Wall-E staring back at me, always helping me.
“Chhhhiiilllldren” she sings.
Economics, Pre-Calc, Yearbook, Lunch, All of the above and more, English.
Excitement, in my head.