[the song is included at the bottom for reference]
"Move *****" is possibly the greatest piece of lyrical poetry ever written, reminiscient of Shakespeare's beautiful sonnets. The poem is an example of allegory, in that it has two levels: the base, literal level, and the deeper, metaphorical level. Taken literally, the poem is simply the classic tale of a man and his *****, who happens to be in the way at this time, thus the speaker would appreciate it if she moved.
But the meaning runs much deeper than that. Just who is this *****? What is her tale? Although the poet never says so explicitly, it can be reasonably inferred that the ***** that is the center of the poem is not a woman at all. Rather, "she" represents all that is wrong with modern-day African American society: racism handed upon its members, the subjugation and objectification of women, materialism, rampant drug use, etc. The speaker would like all of this to "move" out of existence, for the betterment of his fellow African Americans and humanity in general.
Interestingly, with his repetition of the warning of "Watch out," Mystikal represents something of a Christ figure; this is certainly fitting for his name. He is able to advise us to "watch out" due to his rather omniscient quality, and he has come to save us from our sins.
I-20 is also quite a noble figure, in that he is willing to do manual labor for the common good. "We heard there's hoes out, so we brought the cars out," he says. In other words, he has noticed there are gardening tools dispersed nearby, and he brought cars to transport the necessary goods for some serious yard work. However, the man is not all good, as he wishes to "disrespect" D.T.P. This shows that he still has teenage, angst-like qualities. He is thus a flawed, and thus all the more interesting, character.
Speaking of Disturbin Tha Peace, this represents a great cultural revolution aimed at bringing an end to any of the remnants of the gilded age of 50s America, which unnecessarily repressed people, especially teens, from their true desires. The movement can be summed up with the credo, "Go out there and get what you want!" Assuming one limits himself by not infringing on others' rights, which the poet himself clearly wants us to do, what with his constant but subtle references to John Locke (namely via the vehicles that threaten to run over people---these represent coercive governments whose subjects have the right to rebel against), indeed this is a noble cause.
Ludacris's "Move *****" is a fascinating and multi-layered piece of art. And quite frankly, it will go down as one of the greatest pieces of lyrical poetry of all time.
For reference:
"Move *****"
(feat. I-20, Mystikal)
[whistling]
[Chorus 2x: Ludacris]
Move *****, get out the way
Get out the way *****, get out the way
Move *****, get out the way
Get out the way *****, get out the way
[Ludacris]
OH NO! The fight's out
I'ma 'bout to punch yo...lights out
Get the **** back, guard ya grill
There's somethin' wrong, we can't stay still
I've been drankin' and bustin' two
and I been thankin' of bustin' you
Upside ya mother****in' forehead
And if your friends jump in, "Ohhh gurrlll", they'll be mo' dead
Causin' confusion, Disturbin Tha Peace
It's not an illusion, we runnin the streets
So bye-bye to all you groupies and golddiggers
Is there a bumper on your ass? NO *****!
I'm doin' a hundred on the highway
So if you do the speed limit, get the **** outta my way
I'm D.U.I., hardly ever caught sober
and you about to get ran the **** over
[Chorus]
[Mystikal over second chorus]
*****! Watch out, watch out, watch out
*****! Watch out, watch out, watch out, move
Here I come, here I go
UH OH! Don't jump *****, move
You see them headlights? You hear that ****in' crowd?
Start that goddamn show, I'm comin' through
Hit the stage and knock the curtains down
I **** the crowd up - that's what I do
Young and successful - a sex symbol
The *****es want me to **** - true true
Hold up wait up, shorty
"Oh wazzzupp, get my dick sucked, what are yoouu doin'?"
Sidelinin' my ****in' bussiness
Tryin' to get my baby child support soon
Give me that truck and take that rental back
Who bought these ****in' T.V.'s and jewelry *****, tell me that?
No, I ain't bitter, I don't give a ****
But i'ma tell you like this *****
You better not walk in front of my tour bus
[Chorus]
[I-20 over second chorus]
Bring it, get 'em
Too bad I'm on the right track
Beef, got the right mack
Hit the trunk, grab the pump pump, I'll be right back
We buyin' bars out, showin' scars out
We heard there's hoes out, so we brought the cars out
Grab the pills cuz we poppin tonight,
Beat the **** outta security for stoppin' tha fight
I got a fifth of the remy, **** the Belve and 'cris
I'm sellin' **** up in the club like I work in the *****
**** the dress codes, it's street clothes, we all street niggaz
We on the dance floor, throwin' bows, beatin' up niggaz
I'm from the D.E.C., tryin' to disrespect D.T.P.
And watch the bottles start flyin' from the V.I.P.
**** this rap ****, we clap *****, two in your body
Grab ya four, start a fight dog, ruin the party
So move *****, get out the way hoe
All you ****** mother****ers make way for 2-0
So...
[Chorus]
[whistling]
"Move *****" is possibly the greatest piece of lyrical poetry ever written, reminiscient of Shakespeare's beautiful sonnets. The poem is an example of allegory, in that it has two levels: the base, literal level, and the deeper, metaphorical level. Taken literally, the poem is simply the classic tale of a man and his *****, who happens to be in the way at this time, thus the speaker would appreciate it if she moved.
But the meaning runs much deeper than that. Just who is this *****? What is her tale? Although the poet never says so explicitly, it can be reasonably inferred that the ***** that is the center of the poem is not a woman at all. Rather, "she" represents all that is wrong with modern-day African American society: racism handed upon its members, the subjugation and objectification of women, materialism, rampant drug use, etc. The speaker would like all of this to "move" out of existence, for the betterment of his fellow African Americans and humanity in general.
Interestingly, with his repetition of the warning of "Watch out," Mystikal represents something of a Christ figure; this is certainly fitting for his name. He is able to advise us to "watch out" due to his rather omniscient quality, and he has come to save us from our sins.
I-20 is also quite a noble figure, in that he is willing to do manual labor for the common good. "We heard there's hoes out, so we brought the cars out," he says. In other words, he has noticed there are gardening tools dispersed nearby, and he brought cars to transport the necessary goods for some serious yard work. However, the man is not all good, as he wishes to "disrespect" D.T.P. This shows that he still has teenage, angst-like qualities. He is thus a flawed, and thus all the more interesting, character.
Speaking of Disturbin Tha Peace, this represents a great cultural revolution aimed at bringing an end to any of the remnants of the gilded age of 50s America, which unnecessarily repressed people, especially teens, from their true desires. The movement can be summed up with the credo, "Go out there and get what you want!" Assuming one limits himself by not infringing on others' rights, which the poet himself clearly wants us to do, what with his constant but subtle references to John Locke (namely via the vehicles that threaten to run over people---these represent coercive governments whose subjects have the right to rebel against), indeed this is a noble cause.
Ludacris's "Move *****" is a fascinating and multi-layered piece of art. And quite frankly, it will go down as one of the greatest pieces of lyrical poetry of all time.
For reference:
"Move *****"
(feat. I-20, Mystikal)
[whistling]
[Chorus 2x: Ludacris]
Move *****, get out the way
Get out the way *****, get out the way
Move *****, get out the way
Get out the way *****, get out the way
[Ludacris]
OH NO! The fight's out
I'ma 'bout to punch yo...lights out
Get the **** back, guard ya grill
There's somethin' wrong, we can't stay still
I've been drankin' and bustin' two
and I been thankin' of bustin' you
Upside ya mother****in' forehead
And if your friends jump in, "Ohhh gurrlll", they'll be mo' dead
Causin' confusion, Disturbin Tha Peace
It's not an illusion, we runnin the streets
So bye-bye to all you groupies and golddiggers
Is there a bumper on your ass? NO *****!
I'm doin' a hundred on the highway
So if you do the speed limit, get the **** outta my way
I'm D.U.I., hardly ever caught sober
and you about to get ran the **** over
[Chorus]
[Mystikal over second chorus]
*****! Watch out, watch out, watch out
*****! Watch out, watch out, watch out, move
Here I come, here I go
UH OH! Don't jump *****, move
You see them headlights? You hear that ****in' crowd?
Start that goddamn show, I'm comin' through
Hit the stage and knock the curtains down
I **** the crowd up - that's what I do
Young and successful - a sex symbol
The *****es want me to **** - true true
Hold up wait up, shorty
"Oh wazzzupp, get my dick sucked, what are yoouu doin'?"
Sidelinin' my ****in' bussiness
Tryin' to get my baby child support soon
Give me that truck and take that rental back
Who bought these ****in' T.V.'s and jewelry *****, tell me that?
No, I ain't bitter, I don't give a ****
But i'ma tell you like this *****
You better not walk in front of my tour bus
[Chorus]
[I-20 over second chorus]
Bring it, get 'em
Too bad I'm on the right track
Beef, got the right mack
Hit the trunk, grab the pump pump, I'll be right back
We buyin' bars out, showin' scars out
We heard there's hoes out, so we brought the cars out
Grab the pills cuz we poppin tonight,
Beat the **** outta security for stoppin' tha fight
I got a fifth of the remy, **** the Belve and 'cris
I'm sellin' **** up in the club like I work in the *****
**** the dress codes, it's street clothes, we all street niggaz
We on the dance floor, throwin' bows, beatin' up niggaz
I'm from the D.E.C., tryin' to disrespect D.T.P.
And watch the bottles start flyin' from the V.I.P.
**** this rap ****, we clap *****, two in your body
Grab ya four, start a fight dog, ruin the party
So move *****, get out the way hoe
All you ****** mother****ers make way for 2-0
So...
[Chorus]
[whistling]
