DMX - Prayer II / Ready To Meet Him Lyrics | misjon.info
Lyrics to 'Ready to Meet Him' by DMX. / I'm ready to meet him / We're I'm living ain 't right / Black hate white / White hate black / It's right back / To the. He has sold over 30 million records worldwide, making him one of the best- selling hip-hop artists of all time. .. But I'm hoping I can meet someone like you. Celebrity Quotes/Lyrics♥ QUOTATION - Image: As the quote says - Description Dmx Sharing DMX says he's ready to be more professional about his career. "Who Shot Ya?" is a controversial gangsta rap song by The Notorious B.I.G., a B- side to his hit single, "Big Poppa". The track was later released on the posthumous album Born Again, the remastered edition of Ready to Die, and The Greatest Hits. Philips blamed the Times editors for forcing him to rely on the fake FBI.
Wallace and Sean Combs have asserted that the song was recorded months earlier, with Biggie exclaiming in a Vibe magazine interview: But Puff said it was too hard.
Because of the song's controversial nature and ambiguous target, XXL magazine.
Response from 2Pac[ edit ] After the song was released, Shakur felt that the song was directed at him, raising suspicions that Biggie did in fact have prior knowledge about the shooting. Shakur called the timing of the song's release "tasteless" in a Vibe Magazine interview. In a separate interview with Vibe, he defended his attacks against Bad Boy: They know in their hearts-that's why they're in hell now. That's why they're telling all the reporters and all the people, 'Why they doing this?
They fucking up hip hop and blah-blah-blah, 'cause they in hell. They can't make money, they can't go anywhere. They can't look at themselves, 'cause they know the prodigal son has returned. You're just as good as your competition around you You know when someone else pushes you to really step your game up? Like I said, I'm a fan of hip-hop.
People know that about me. He brought it to me on th Street [in Harlem] like it was a drug deal: He jumps in my car, looks around, puts in 'Who Shot Ya' and then he gets out and says, 'You keep that.
Gangsta rap is still predominantly materialistic, violent, and misogynistic—all characteristics which run counter to the message and practices of organized religion. Gangsta rap in fact looks upon organized religion with strong suspicion, which will be discussed later in the article. Thus, for gangsta rappers, identifying with Jesus is not trivial or simply a storytelling trope, it in fact seems to be an important piece of many of their identities and the identities of many inner city minorities.
This identification, though, seems to stop at the doors of the church. Their focus on Jesus is less religious and more meaningful, practical, and identity showing and telling.
DMX - Ready To Meet Him Lyrics | MetroLyrics
These contexts for those that produce and strongly connect to gangsta rap include the potent presence of cultural, economic, social, historical, and ideological struggle and marginalization.
This is not surprising considering that a vast majority of this music, and the gangsta rap ethos, is created by poor racial minorities, especially African Americans and Latinos . These individuals, especially those who actually write the song lyrics, are members of groups who have been socially and economically marginalized by a historical process of racialization.
This process is connected to economic, sociological, political, and ideological developments Hall and is constituted by racial projects that work within the web of cultural hegemony Omi and Winant. These complex and complicated circumstances have led to the creation of a genre with a textual and visual rhetorical output that both understands and perpetuates the experience of marginalization. And because of this marginalization, those individuals accept the notion that God deeply understands their historical context.
This visual rhetoric is often displayed by rappers on large necklaces and has adorned the necks of some of gangsta raps most popular and influential artists: The notion that Jesus understands the suffering of these individuals and the community they look to represent—poor minorities—is the reason that the crucifix plays such an important role in many rappers telling of their life experiences.
And while it cannot be ignored that gangsta rap includes numerous references to drug use, misplaced violence, and misogyny—which tends to be the only focus of many social pundits—much of the focus of gangsta rap music is actually on the social circumstances of poor minorities in the United States. It is not only possible; it is in fact true.
Because these circumstances have created a marginalized group, it is not surprising that they use one of their most powerful discursive mediums—Hip Hop—to express the experience of economic and social marginalization and that this medium often highlights the life of the suffering Jesus Christ.
Beyond the crucifix being displayed on jewelry, some gangsta rappers have directly integrated the image of the crucified Jesus with their own image on album covers and in music videos.
These rappers, like many in their community, not only feel solidarity with the suffering Jesus but actually see themselves as Jesus-figures in that they encounter suffering, injustice, and persecution by an unjust society.
While the merits of this connection can be argued at length and may be found by many to be inaccurate or blasphemous, the fact that gangsta rap embraces and perpetuates this suffering identity in lyrical stories and images, and the fact that this identity is born out of real-life social and historical circumstances, is undeniable. The visual rhetoric of rappers-as-Jesus-figures is powerful and telling and because it represents real people and their real-life struggles it moves rappers beyond any simplified view of the use of the Jesus trope for story-telling purposes.
Not only are narratives formulated and followed, and attitudes shaped, from the religious images espoused by gangsta rappers but these images are formed from specific social circumstances. A recursive cycle of image formation and image influence is at work. These narratives also, along with textual rhetoric, display the religious ethos espoused by gangsta rap. Jones states about the power of stories to convey and form religious identity: They are about people seeking to find faithful ways of being and doing in the world.
Sometimes they struggle; sometimes they succeed; sometimes they just hang on. Often they do this in an environment that is hostile. Often they are uncertain about what God is up to. Interestingly, they simultaneously see themselves as suffering figures and triumphant figures. They are looking at their particular social context, understanding that struggle is a big part of that context, and embracing a figure they feel understands their situation and provides meaning.
This leads to textual and visual rhetoric that finds solidarity with the figure of Christ. Physical strength and spiritual strength, in the form of a mental and emotional solidarity with Christ, carry them through life.
The most telling lines are delivered in the first section of the song: The focus on Jesus-as-sufferer is not necessarily spiritual but meaningful and practical. For privileged non-minorities, the death of a rapper who often rapped about sex, drugs, and violence was nothing important and happened simply because he chose to live a life, and follow a career path, that was surrounded by those very things he often rapped about.
While not every disadvantaged minority would rush to label Biggie a Jesus-figure, there is an understanding by disadvantaged urban communities, especially by those who strongly connect to gangsta rap, of how a gunned-down rapper could be equated to the suffering Christ. Conversely, this occurrence would, at best, be labeled as misguided by many in the dominant culture and, at worst, disrespectful and sacrilegious. Once again, solidarity with Christ is created and displayed through the discourse of gangsta rap and highlights a religious identity that focuses on the martyrdom of Christ.
This same sense of struggle, marginalization, and meaning-in-suffering can be seen in numerous lyrics by gangsta rappers: The rappers pull God in to their situations and theology from the realm of theory into the space of their lives.
It was an entire life lived in the shadow of the Cross This is made apparent in an interview with Tupac Shakur, one of gangsta raps most prominent voices. Tupac often used religious imagery in his music and was displayed as a crucified figure on the cover of his album Makaveli, his final album release before he was gunned down in I got shot five times.
We turn words into money. What greater gift can there be? So I believe God blessed us. This religious discourse by a central gangsta rap figure points to the complicated religious identity embraced and espoused by many who see gangstra rap as the soundtrack to their lives.
They see blessings mixed in with suffering, and they see themselves walking in the footsteps of Christ. Tupac and many other gangsta rappers often see their suffering in connection to the evil present in society.
"Prayer II / Ready To Meet Him" lyrics
Poverty, an unjust legal system, racism, decrepit social conditions, the media, and political pundits are just a few of the reasons, according to rappers, why individuals and communities are marginalized. Theologically, rappers are rhetorically expressing the fact that, like Jesus, they and their communities are bearing the sin of the whole human race; a sentiment that moves their identification with Jesus beyond a simple artistic trope.
They suffer mostly not out of individual choices or decisions, but because the world is structured in a way that marginalizes poor racial minorities.
The link between economic poverty and racial marginalization is made by Stuart Hall who writes that modern capitalist production has produced a classed and racialized work force—one that has perpetuated black laboring classes and a class system that is structured in race Thus, the realities of economics and race form communities that understandable produce discourse—in this case gangsta rap—which carries a message of suffering at the hands of an unjust social order.
From individuals who forsake them, to an unforgiving society they are born in to, to an unjust legal system  and death at the hands of society, there are parallels made and romanticized by gangsta rappers who use Jesus and His suffering to find meaning and forge a religious identity. Not surprisingly, Tupac, in the same interview, expresses notions of heaven and hell in very down-to-earth terms.
This is not suprising considering gangsta rappers produce religious discourse that sees suffering in the context of real-life situations. Where the wolves at? Y'all niggaz is homeless KATO Where the hood at?
You cats play games that dog ain't with Suck my dick, behind my back dog ain't shit Well this is it, from now on if you ain't out the camp We out to clamp, put 'em up against the champ You bitch And the dog is out, arf arf arf arf And the dog is out, arf arf arf arf And the dog is out, arf arf arf arf It's just D And the dog is out, c'mon c'mon [DMX] I don't think you cats see too clearly If it ain't that you must be deaf, cause y'all niggaz don't hear me But I know I got you scared to death How many other niggaz you know when you see 'em make you hold your breath?
All a nigga did was take a pause Did a couple of movies and you thought this whole rap shit was yours? Stop being greedy, when was the last time you gave to the needy Believe me, I run through niggaz like hallways with the cops behind Give it to a nigga all day cause I pops the nine Man listen, if you don't wanna see your man missin, man listen I get dough like a nigga in a up north flick And still roll like a nigga on some up north shit The way dog flip out, cats'll never understand Niggaz be like "X I thought I was your man!
This is dedicated to, this is dedicated to The streets, this is dedicated to [DMX] My dogs is dogs that love to brawl Bring as many as you got cause we gon fuck 'em all Dicksucked in the hall The same shorty thats puttin any work on her knees I'm duckin her call A dog is a dog is a dog for life, dog been a dog, dog in your wife I got kids this age But let 'em keep talkin slick and I'm gon put somethin hot up in his ribcage [Chorus] When the dog is out, bitch ass niggaz get bit or fucked One or the two, and I'm not Ja Rule Feel me?
We don't give a what what!! You don't wanna party then your ass gotta go WHAT?!
You don't wanna party then your ass gotta go C'MON!