How are children supposed to listen to this shit?

(http://www.autoadmit.com/thread.php?thread_id=3858358&forum_id=2#35147428)

ALL pop music is now saturated and synonymous with 'blackness.' the whole vocabulary (musically/verbally) is thuggish, hyper-sexuality, urban/ghetto, 'in the Club' music.

imagine a 'white' sounding song like Katrina and The Waves' 'Walking on Sunshine' becoming a top 10 record today. unthinkable.

it's cultural rot.

(http://www.autoadmit.com/thread.php?thread_id=3858358&forum_id=2#35147475)

ur insane if you think can raise your children in secular american society

(http://www.autoadmit.com/thread.php?thread_id=3858358&forum_id=2#35147796)

can we get some moral outrage going in this shithold world

(http://www.autoadmit.com/thread.php?thread_id=3858358&forum_id=2#35150851)

so, meh.

(http://www.autoadmit.com/thread.php?thread_id=3858358&forum_id=2#35148049)

(http://www.autoadmit.com/thread.php?thread_id=3858358&forum_id=2#35148110)

Inspired to get graphic by Khia’s "My Neck, My Back," CukcakKe makes music that isn’t for prudes or moralists. Her fans affectionately call themselves “slurpers.” While most of her songs can be classified as erotica, they aren’t solely about pleasure and satisfaction. Many cover trauma and abuse, black femininity and power dynamics. Harris has a fixation with bodies—their functions and fluids, what they represent as objects in sexual and political contexts. Whether giving a peep show or going bone-deep, her frankness is uncompromising and cathartic. Nothing is off limits.

Below, find six highlights from across CupcakKe’s catalogue. Consider them doors to her sex-positive universe.

“Mistress” (Audacious)

So many of CupcakKe’s best raps are about reclaiming power. "Mistress" is a cool take on the paramour archetype: She isn’t jilted, needy, or lonely, just clearly over it. “Why should I get intimate with a nigga who ignorant?” she asks. “Why should I worry ‘bout you when guys pop up out the blue?” She’s great at flipping scripts, and here, in a role typically without agency, she uses her commanding voice to take control of the narrative.

“CPR” (Queen Elizabitch)

CupcakKe’s more foul-mouthed songs are powered by illustrative one-liners, but giving a dick CPR to "save it," as it were, is among her most extraordinary setups. Over glossy, whine-friendly production, she unleashes quotable after quotable, comparing her “hotbox” to a fortune cookie and naming it Becky with the good hair. There’s no shame in her game and it feels liberating. “Pubic hairs all in my mouth, not again/So when I suck yo dick now I use bobby pins,” she avows. Lines like these capture some of what makes her a great rapper: so off-color it’s charming, so candid it’s genuine, so outrageous it’s funny.

“Pedophile” (Cum Cake)

CupcakKe can just as easily be devastating. Among her most sobering songs, "Pedophile" recounts her sexual abuse at the hands of a much older man when she was a teenager. The raps are breathless and gripping, exposing a fucked-up power dynamic from the inside: the ways older men victimize, condition, and damage young girls.

“LGBT” (Audacious)

There are so few active supporters of queer and trans rights in rap, and even fewer rappers committed to making LGBT anthems. CupcakKe has multiple. A precursor to Ephorize’s more detail-oriented "Crayons," “LGBT” is a trop-house banger that makes the most of its breezy flute and strutting rhythms. CupcakKe’s takes on sex and gender politics come out a little rough around the edges, but the messages behind them are empowering, important. When she raps, “And if you in the closet, shorty, you ain’t gotta hide/Gotta make these bitches sick when they see you,” it feels genuinely freeing. Be yourself, she insists, both for your own sake and as an affront to the haters.

“Exceptions” (Cum Cake)

CupcakKe’s hyper-specific, hyper-sexual one-liners might grab the most attention, but she’s got other clever writing signatures, like her ability to meticulously set a scene. "Exceptions" takes listeners inside a lover’s quarrel, where she bounces back and forth between telling off a good-for-nothing boyfriend and wondering if she’s doing the right thing. She wrestles with the nuances of loving a cheater, but ultimately she will not be played. “I’m just saying I need more niceness and effort,” she says, “Cause I’m a good bitch/I can get a man that look like Tyson Beckford.”

“Scraps” (Queen Elizabitch)

While CupcakKe’s recent songs have skewed closer to electro and hip house, much of her earlier music channeled her bellowing voice and aggressive flows into Chicago drill-inspired jams. "Scraps" brings that same energy with a little extra polish, as she presents some of her finest and hardest flows on poverty, consumerism, and colorism. The images are vivid: sharing clothes with friends because she couldn’t afford new ones, mothers spending money for baby milk on fill ins, losing loved ones and grappling with the finality of death. The song also captures the heart of the CupcakKe ethos: “Brought out the ghetto, now tryna be elegant.”

(http://www.autoadmit.com/thread.php?thread_id=3858358&forum_id=2#35148074)