Sorry, this ish is too funny for the wrong reasons… lol
This was written quite some time ago, but a friend of mine asked to put it out again. The material itself is based on some dated music, but I enjoyed writing it.. lol..
If Mims, is in fact hot based on the realization that his adversaries are not, then what becomes of that “hotness” when it is a shared experience? Is the hotness transferable? Can one be hot, while someone too, is hot? If so, what does that say about the value of the aforementioned hotness? Can I be hot? Can I be hot? Can I be hot in the same spot?
The Paradox of Mims. Mims mechanics, as it were. Mims Laws of Hotness. 1. An object in hotness will remain in hotness unless acted upon by someone who is not. 2. Hotness equals commercial appeal multiplied by limited lyricism . 3. For every “hot” there has to exist a comparable “not. I would reason that if no external hotness acts on an existing not, then the originating hotness retains its hotness, as the “not” does change its molecular structure and does not become “hot”, the “not” reasons that to become “hot” it must resemble that which is hot. Thus, the one who deemed “hot”, that is to say, the one who has exhibited the traits of hotness and is obedient to the three laws of Mims Hotness, can exert a degree of superiority referenced in the text, “I’m hot ‘cause I’m fly, you ain’t cause you not.” Here, Mims does not imply that he is hot because you are not, rather, you exist in a complete state of “not” that supersedes your ability to be “hot.”
It can be also called the “Law of Reciprocal Hotness.” For every “Hot” there is an equal, but opposite “Not.” Whatever “Not” that presses against the “Hot” is as much drawn by the “Hot” as they are repulsed by their own sense of “Not.” The concept of Mims is introduced then in the words “reciprocally proportional to the Hotness” which are now traditionally added as inversely proportional to the “not” of a proposed adversary. Now, that we have established Mims Mechanics, i.e. Three Mims Laws of Hotness, we know move into the Jeezy Invariance or Jeezy Relativity. That is a principle of relativity which states the fundamental laws of ad-libbing are similar, at least in part, to varying degrees of Hotness. Ad-libs traveling at constant speed, i.e. the “Ha-haaaaaaaaaaa” and “Yeeeeeeeaaaaaaah” without interruption would not be discernible as ad-libs, but mistaken for the lyrical quota necessary to fill a particular “Hip Hop Jam”, as it were. Each ad-lib is of infinite size (that is, it covers the width and breadth of any given moment), and consists of many, if not infinite, inertial frames. Any two ad-libs spoken in the same breadth, however, can cause a problematic reaction as they are slave to the rule of hotness, and can not exist in the same space at the same time.
The philosophy of hotness is one that seeks to understand the nature and justification of true hotness and its almost ethical implications. It has proven difficult in the past to provide a definitive work of lyrical prowess of the hotness method that can decisively serve to distinguish “the hot” from “those that are not.”
Despite popular impressions of Mims, and his hotness approach, it is not his to answer all questions concerning those that are “not”, those that exist in a perpetual state of “not”. The goal of the Mim’s Paradox, and by extension Jeezy Invariance is to answer only those questions concerning what is acceptable with what pertains to the almost “hot”, the more so “not” and the remedy between the two existences.
Part II of my exploration:
The first object of dissection was the carefully constructed hymn, “This is Why I’m Hot”, by lyrical virtuoso, Mims. Through an exploration of the very nature of hotness we were able to gather that the philosophy of hotness is one that seeks to understand the nature and justification of true hotness and its almost ethical implications. It has proven difficult in the past to provide a definitive work of lyrical prowess of the hotness method that can decisively serve to distinguish “the hot” from “those that are not.” During that discussion we also introduced the “Jeezy Invariance” or “Jeezy Relativity.” That is a principle of relativity which states the fundamental laws of ad-libbing are similar, at least in part, to varying degrees of Hotness. Ad-libs traveling at constant speed, i.e. the “Ha-haaaaaaaaaaa” and “Yeeeeeeeaaaaaaah” without interruption would not be discernible as ad-libs, but mistaken for the lyrical quota necessary to fill a particular “Hip Hop Jam”, as it were. Each ad-lib is of infinite size (that is, it covers the width and breadth of any given moment), and consists of many, if not infinite, inertial frames. Any two ad-libs spoken in the same breadth, however, can cause a problematic reaction as they are slave to the rule of hotness, and can not exist in the same space at the same time.
Now, however, as times have changed, so too must our focus in the exploring the relationship between masterful lyrical ability and the inevitable connection to philosophy. Our goals for this particular endeavor is to reveal the secrets of Soulja Boy’s opus, “Crank That”, and enjoy the savory nuggets tucked within.
Now, most would be quick to write off this monumental musical moment in our history as a passing fad, or perhaps even the result of a child dropped on their head too much and can not retain a sense of balance leading to the formation of this dance. However, only when one decided to look deeper, beyond the veil, can the truest nature, the base essence of “Crank That” be understood. That Soulja Boy is actually campaigning for the creation and maintenance of a society governed by religious communism. Let us then, as intrepid explorers of the written word, delve deep and drink richly from the well of the Soulja’s knowledge. The hymn begins as such:
Soulja Boy Off In This Hoe
Watch Me Crank It
Watch Me Roll
Watch Me Crank Dat Soulja Boy
Then Super Man Dat Hoe
Now Watch Me Do
(Crank Dat Soulja Boy)
Now Watch Me Do
(Crank Dat Soulja Boy)
Now Watch Me Do
(Crank Dat Soulja Boy)
Now Watch Me Do
(Crank Dat Soulja Boy)
Religious communism is a form of communism centered on religious principles and usually refers to a number of egalitarian and utopian religious societies practicing the voluntary dissolution of private property, so that society’s benefits are distributed according to a person’s needs, and every person performs labor according to their abilities. As Soulja Boy stirs the listener with a rallying cry, he invites them to “watch him do” (with an extended stress on the last word). To “watch him do” is to understand the unifying nature of “cranking”. It is an inclusive activity governed by tribal movements that seek to brink a community on one accord. After establishing this hive mindset, Soulja Boy is then able to give a glimpse of a utopian society where all will seek to “watch him do” and “crank dat”, verily. The combination of Soulja Boy’s unique ideals in the face of religious communism, however, does beg for the introduction of new terminology that will take place alongside the “Paradox of Mims”, and the “Jeezy Invariance.” This is called “Crank Dat Communism.” This is the initial revelation. Further still however, because of the encouragement of interpersonal “cranking” and the commercial appeal of the hymn (that is coupled with an understanding of class in terms of differing economic relations of production, and as a particular position within such relations), it also tends to lean with (and rock with, selah), the stapled thought of Marxism. This calls for a revision of the terminology, growing now into “Crank Dat Communism (Marxisize Dat Ho).”
Let us continue our investigation with the next stanza:
Soulja Boy Off In This Hoe
Watch Me Lean And Watch Me Rock
Super Man Dat Hoe
Then Watch Me Crank Dat Robocop
Super Fresh, Now Watch Me Jock
Jocking On Them Haterz Man
When I Do Dat Soulja Boy
I Lean To The Left And Crank Dat Dance
(Now You)
I’m Jocking On Yo B****H A**
And If We Get The Fightin
Then I’m Cocking On Your B****H
You Catch Me At Yo Local Party
Yes I Crank It Everyday
Haterz Get Mad Cuz
“I Got Me Some Bathin Apes”
Soulja Boy is perhaps many things, but a fool is not one of them. He knows the dangers of a belief that people’s consciousness of the conditions of their lives reflects these material conditions and relations, and that a sympathy for the working or proleteriat can prove to be disastrous in a world not ready for it. So, in lieu of that he wishes to “Superman Dat Ho” (though in some renditions, the lesser known, but equally respected “Aquaman-ing” of the Ho, has been utilized). Superman, the idea of the man who rises above all men, is the embodiement of the class consciousness (class consciousness refers to the self-awareness of a social class and its capacity to act in its own rational interests). Thereby “Superman-ing” the Ho, is forming a joint consciousness to debate and fully overcome the doubts to the Marxist structure. After an additional cranking from the perspective of Robocop, he makes note of his almost abnormal level of sheer freshness. Let’s pause here and reflect on the introduction of the Robocop persona.
Robocop deals with the Marxist ideas on alienation. Marx refers to the alienation of people from aspects of their “human nature” (usually translated as ‘species-essence’ or ‘species-being’). Alienation describes objective features of a person’s situation in capitalism - it isn’t necessary for them to believe or feel that they are alienated. He believes that alienation is a systematic result of capitalism. Robocop is the alienation of the people, as the character was once human and then transformed into a cyborg dedicated to law enforcement and merchandising. It is the stoic and stale nature of capitalism given tangible form.
I still plan on doing a few more, namely:
Feelin’ On Yo Butt, What: Biological Determinism
from: “Blame It” by Jamie Foxx & T-Pain
We On Da Phone Like Da Da Da Dadaism: The Rejection of Prevailing Standards in Art
from: “Kiss Me Thru The Phone” by Soulja Boy Tell’Em & Sammie
Gwappin Pockets Extra Sloppy: Ain’t I Believin’ In Democratic Revolutionary Socialism?
from: “Ain’t I?” by Yung LA feat. Young Dro and T.I
The Lonely Stoner Be Destroying Congenital Mental Barriers: Transhumanism at Nite, at.. at.. at Nite
from: “Day ‘n’ Nite” by Kid CuDi
Dialectical Materialism is So Icy (Burrr)
from: pretty much anything Gucci Mane has ever said
This Ain’t For iTunes, And Yet It Is: Autotuned Paraconsistent Logic
from: “Death of Autotune” by Jay-Z
Wayne Feels He’s the Prettiest, He Hopes That You Don’t Take it Wrong.. Besides I Think He Wants to be the Prom Queen.. Where’s Baby?: Discussions from Sociological Gender Studies
from: “Best I Ever Had”, by Drake & “Prom Queen”, by Lil’ Wayne
It’s always more fun doing it with hip-hop.
