Mind-Fucked: Rap, Rape and the Mental Collapse of Women


“Fuckin’ hoes since I was ten/Puttin in, pullin out and then I do it again/bitches touching me like I’m Case, make ’em feel so good like Mase and 3 days later, I’m talkin shit to their face…”


–from the rap “One Life to Live” written by Sasha (13 yrs old)


It’s no surprise that music and it’s lyrics become the moniker for how many live out their lives. Music is the banner by which many take up their personas, unmethodically assuming characters expressed by the vocalist and the images projected through their lyrics. We live these designs through our mind and eventually, they become manifested in our day to day lives.

The concept of rape (physically, spiritually and mentally) has been indoctrinated from youth.

When I was thirteen, rappers in 1998 had expressed themselves to a level where there was a no-holds bar construct and “keeping it real can never go wrong.” The lyricist within the mainstream sect of rap music, by this time, had assumed personalities of Italian-mafia druglords, spending money from ill-gotten gain and enjoying the pleasures of the best alcohol, women and weed. And with parents who threw out my CDs at every purchase, it was my desire to listen to this music out of straight rebellion.


The rhyme shared above was just a sliver of lyrics from a two-page rap that I wrote at the age of thirteen, pretending that I was a ghostwriter for a male lyricist. In my head, I composed what I thought a man who was in the “rap-game” at the current time would say and that people would like. From the “fuck bitches” to “gettin’ money” to “shootin’ niggas” M.O. that ran rampant in that era of popular rap, I thought that’s what would garner the most listeners. Subconsciously, my personality adopted this mindset as a young girl and I soon took on both the male and female identities presented in the music: aggressively dominant and sexually submissive.



In a male-dominated society, the authority presented in rap lyrics that present such concepts puts its listeners at the helm of making a decision about how they choose to conduct themselves. If we were to analyze this thought, we’d see that people were/are choosing to conduct themselves by way of the lifestyles presented. Though claimed to be entertainment and projections of fantasy, the people who are expressing these ideas are real and the materials accumulated from these ideas are real. At 17, I found myself desiring the “thug-life” and the men that lived this lifestyle; my boyfriend at the time was a drug-dealer who allotted me the experience of enjoying the gains from his “work.” It was only a matter of time before things got too real and a good friend was killed, one of my homegirl’s chose the game over college and I slowly watched my little brothers take on the personas of the men that were beginning to turn me off.


Sadly, this reality was formed by decisions of fantasy, embedded in the mind of a girl who chose to embrace the role of a woman through the depiction by popular rap music instead of what her mother was showing her. It was this very reason why my father threw out my CDs until he just got tired of fighting me (plus Napster had found its way into our home and I knew he wasn’t going to throw the computer out.) It cannot be denied that there is a program being projected through lyrics that only garners mainstream appeal when demoralizing a woman while outlining her purpose to be that of arm candy or sexual pleasure. This “mindfuck” has been occurring for a long time, even before rap, and the mental rape of women through rhymes of conditioning them to accept the idea that their mind, body and soul belongs to anyone who chooses her sets the precedent for a physical rape that even then, has the potential to be excused by both the woman and the assailant.


The concept of rape (physically, spiritually and mentally) has been indoctrinated from youth. Will it end? Who knows. In my eyes, it’ll be either when the Father comes or I die and unfortunately, that’s the program that many women live with all of their lives. As for a solution, encouraging music that projects different images are vital to a healthy mentality about the woman would be vital for both the male and female construct, thus potentially planting seeds for healthier relationships between them. The question is: do we want to hear music that exalts a cultural perspective different from the one we’ve established or is that just too far-fetched for this society?


the questions.

Rap & Rape Culture: Rick Ross

So, over a month ago to date, I was trolling my Twitter timeline and came across an update by @Hollywoodheat that contained a link to the latest(at that time) release by Rocco featuring Rick Ross entitled”U.O.E.N.O.”. As I am always, more than not, known to give any song a shot, I played the hypnotic bass line and witty hook laden track. I was nodding along until I heard Rick Ross state, “Put molly all in her champagne/She ain’t even know it/I took her home and I enjoyed that/She ain’t even know it.” I was completely swamped in a wave of incredulity. I immediately made updates to Twitter and told Bri(@BShariseMoore) about the lyrics. It would take over a month before most of the Black blogosphere and celebrated academic figures would strum up enough attention to the statements for Rick Ross to feel the need to reply.



it is never acceptable to drug a woman and have sex with her while unconscious.
My initial reaction to the lyrics is mainly informed by an understanding that no matter the legal ramifications involved, it is never acceptable to drug a woman and have sex with her while unconscious. I have read the defense of Rick Ross that “mollies” are not depressants, but my rebuttal is that Rick Ross is a salesperson that is selling an image laced with whatever verbiage the listener can presently relate to. His use of the term “molly” is not so much important as him stating in his story line that the woman he is discussing does not know he has drugged her, and his implication that he has “enjoyed” this woman, that by implication of the drugging, is too intoxicated, or unconscious, to know she is being “enjoyed”. These are Ricky Ross’ words, not mine. This is the story line, regardless of whatever loose interpreted contradictions might be interjected with respect to the effects of a “molly”. The damn “molly” is not important. The idea of cowardly drugging a woman without her knowing and “enjoying” her without her knowing based on the degree of her intoxication per the lyrics is what is salient here.



The second argument is from the guy known affectionately as ‘Officer Ricky Ross’ him Self. According to the interview, he states that he did not use the term “rape”. This is, fundamentally, one of the overall concerns addressed in the discussions built to attack rape culture. The idea is that most men, and more importantly, young men that one day will grow into older men, do not have an understanding of what rape consists of outside of an overtly aggressive physical use of force. For more than too many of us men, Rick Ross does not appear to showing (as opposed to telling) us a rape scene via his lyrics, and yet, this is exactly what he has done.
Rape is any act whereby there is a party that has not consented.
Rape is any act whereby there is a party that has not consented. “Consent” is not just stating a “yes” or even looking as though one might be going along. A significant other that refuses to have sex, but is coerced into the act for fear of whichever reason a significant other might be manipulated by. In the same vein that many endure the most vehement forms of domestic violence, a person can be raped by a significant other, or spouse. There Is never a justification for rape. The debate that I eschew the most is the one where I have to concede that there is a posture that even Black men have to accept as privilege when we imbibe the Western White aggressive culture that says “sex is a form of conquer” and that “men are entitled to sex from women”. And these thoughts appear not just in underground rap culture, but also in the thinking of middle class USA.



Rick Ross paints the picture of status possessing, entertainer “enjoying” the night-life where any woman that he wants to “enjoy” is mere item in a vending machine. He pops in the coins, and she swirls out for his disposal. The manner in which he “pops in coins” is that he intoxicates the woman without her knowing. In this same manner, high school age males dragged, carried, and swung the intoxicated body of a sixteen year old girl throughout their town, delivering her in what should have been tried as a kidnapping from place to place to be raped and violated. This incident is no different than what Rick Ross depicts in his lyrics. A rape committed by intentionally getting a woman intoxicated and “enjoying” her while she is too inebriated to know. The overall question is not whether Rick Ross “needs” to rape a woman or not, it is why we have allowed a culture that Jay-Z calls its “white hot” demographic 15 year olds to be so callous that Rick Ross feels no compunction painting an image with him Self as main agent raping a woman.