Let’s talk 👋 Don’t hesitate to reach out with the contact information below, or send a message using the form.
Get in Touch
3701-A South Harvard Avenue #145
Tulsa, OK 74135
“HIP-HOP ARTISTS: INFORMATION CAMPAIGNS, A PEDESTRIAN AWARENESS THING.” By Terence Morris, author and founder PACE TULSA NETWORK. Thursday, September 10, 2020. 4;11 P.M.
Hip-Hop artists through vocal and visual thematic songwriting, as well as, cinematic representations have systemized “pedestrian awareness cross-cultural information campaigns.”
The phrase “pedestrian” according to STANDS4 LLC, as of May 23, 2020, has been referenced in over 300 artist discography records for over a decade. Hip-Hop artists, have “lit’ the Pedestrian Awareness Crosswalk Education Movement.” Sparking listener interests subliminally while authoring social commentary about public safety issues that often go unnoticed on the streets.
Pedestrian Awareness thematic anthems convey through music “intellectual breakthroughs” advamcing the Hip-Hop genre. Pedestrian awareness presented as a “musical street-wise doctrine” based on three fundamental laws of logic ( (1) the law of contradiction, (2) the law of excluded middle (or third), and (3) the principles of identity.
According to the National Transportation Highway Safety Association (2011-16) “Pedestrians involved in collisions are nine times more likely to be killed or seriously injured than someone in a car.” The correlation: American families impacted by pedestrian crosswalk intersection accidents are included in national media center databases. Hip-Hop Artists are sharing the public safety information campaigns by making our PACE TULSA “pedestrian awareness crosswalk education” message vocal. “A Pedestrian Awareness Thing.” is now part-of “being awake.” Awake as it relates to all forms of “shady, grimy, underhanded disrespect. Awake as it relates to “pedestrian crosswalk intersection law.” Awake as it relates to social accountability.
One artist, “Dewayne Micheal Carter Jr. as we know him, Lil Wayne, at nine years old joined Cash money Records. One of the youngest ever to label. Only five years later he was in the group Hot Boys. Weezies, lyrical commentary by 1999 made him a platinum lyricist. In Lil’ Waynes song Bank Account, he says, “25 million on a mansion, so precious B, be careful where you’re bringin’ your besties Satin sheets, I ain’t got time for no messes. That exorcist told me my wifey possessive. Adderall, just so we can go restless. We f*’ all, all night long, no breakfast. No confessions, no questions, we both professionals. Now ride me like an open road, no pedestrians.
Lil’ Wayne’s is talking about living as a target in his own community. “Big money accounts” and “evil intentions” is a lethal combination. Poor people that have nothing, but still respect psychotic street-doping; sabotage and systemized hatred. Reality doesn’t even exist.”
Lil’ Wayne’ videographic, cinema and musical representations, have transformed urban thought and public transportation policy. His visual discourse has entertained curious masses and generated support for domestic awareness. Within organized travel circles Lil’ Wayne is shing light into “the darkness of pessimistic separation.” What else is dividing our communities? Can we be any closer to knowledge bankruptcy?
Hop-Hop artists such as Gunna says in his song, “Pedestrian, “I can’t be a regular pedestrian. I got on my grind, ain’t no more stressing. Can’t nobody stop me from my blessings. Find the finest, got designer on my headband.”
Gunna’s call to action” is urban thought bait. The reminiscent sub-conscience brambling mindscopes decision-makers ability to “know the law” but to “act normal.” The Municode Library cites § 32-455. – When pedestrians must yield right-of-way. “Every pedestrian crossing a roadway at any point other than within a marked crosswalk or within an unmarked crosswalk at an intersection shall yield the right-of-way to vehicles upon the roadway.” For an entire decade “Hip-Hop” artists “good-citizen ego” is the subliminally atopic bridge which also hints of HOPE, in a hopeless society filled with legalized drugs, sex and murder.
Remembering at some point while intoxicated and high on marijuana or worse affects judgement and body function. Often the way we listen to music changes. “Culturally aware” audiences guage their listener role’s on clarity, volume, pitch, tone, synchonisity, and parallelism. The pedestrian public transportation awareness and policy message is an extension of a platform.
In 2005 in the British medical journal BMJ—report researchers discovered that talking on the cell phone while driving increases your risk of being in an accident fourfold—an alarming statistic given that 84 percent of Americans own cell phones, according to the Cellular Telecommunications and Internet Association. Instead being on your phone notice what’s happening all around you. Ask your peers how can we generate additional support from district commissioner’s in our local community? All leaders should understand why addressing systemic equity issues is important.
What Gunna and “other” Hip-Hop artists help us to see through provacative instrumentation encompasses mental alertness and keeps us actively watching while passionately overcoming distracted texting behaviors.
Every song on this list has addressed “urban renaissance” and “pedestrian awareness.” These artists songs touch on topics such as: sustainable energy; affordable housing.; planning,; population control; density; building contracts, green management; security and Infrastructure. Here is a list:
Drip Season 3, Gunna;
Ronnie Drake, SZA & Isaiah Rashad;
Built My Legacy, Kodak Black;
Black & Chinese, Travis Scott;
Bank Account, Lil’ Wayne;
Older God’s, Wu Tang Clan;
Big Amount, Drake;
Go Hard, Nikki Minaj;
Birthday, Rick Ross;
Lay Up, Future;
Da Rumble, E-40;
Roo, The Big Day;
Get Down, Busta Rhymes;
Groove Line, School Boy Q;
Easy, Chris Brown & Danileigh;
Oh No, Tech Nine;
Dad’s Letter, Tyga;
Pain & Torture, Jadakiss;
Revolution, Grace Jones**
Part of the Pain, Swizz Beats;
Gladiator, Bun B;
Set Up Shop, Marley.
Hip-Hop artists have re-energized American policy-makers, of all races. And the “crosswalk educational awakening” has started to root urban renaissance.
Mixed geographic segmented urban district’s where disadvantaged and compromised populatioms co- habitat, a disproportionate number of crumbling streets, bridges, and buildings are left unattended. Homeless poverty-rates are doubled.or tripled. Reduced inter-urban capital expansion means more “food deserts; “dimenishing real estate values; “entrenched attitudinal prejudice”; and “heighten cultural stigmatization in mixed disadvantaged communities.
One such commentary is from Aubrey Graham, a.k.a. Drake. Our policy-makers and decision-makers just ain’t gonna get it. They don’t feel the average American dilemma. Moreover, they are the problems keeping us down; blackballing us; destroying us; and killing us.
In Drake’s video, “God’s Plan,” Drake the rapper gives away almost $1 million to the Miami community, “The budget for this video was $996,631.90.” This money was supposed to be an affirmation about Miami’s commitment to it’s disadvantaged and disproportionately impacted populations, that “God is listening to the needs of Miami’s urban communities.” Also serving as a challenge to “other” Hip-Hop artists for increasing time and finances aimed at “pedestrian causes.”
Drake, in his song “Big Amount” wrote…Tryna avoid all the pat downs. Tryna avoid all the lame h***. Weirdos in the background. Black out when I back out. Blow the horn for a pedestrian. Shawty ride like an equestrian.
“Big Amounts,” end imagery is about a ghost assailant riding away valliantly on a prize stallion, without answering to any crimes against humanity. The corrupt villain unwilling to share the wealth from “stolen dreams.”
Generation Z full of unspent energy and unique academic “think-learn” modularity feel being created without authority is just as meaningful as chaotic organization. Dealing with “mass school shootings and everyday “gun-violence,” minimalizes traditional terroristic ideologue rhetoric. Expression is more than action, it is also nihlist anarchism. How should “the rules” take on “enforceable meaning” next class period if Billy get his Glock out of his lunch bag and shoots someone in the face?
Kodak Black is another popular Hip-Hop artist,. Kodak Blacks look inside his mind and inside the mind of his peer is very interesting.
Kodak talks about “pedestrian awareness” and the Generation Z. Just “walk and operate” knowimg we ain’t the same demon. There is a line in Kodaks song, “Built My Legacy… I won’t text the b* just sex the b* We young and reckless, Pull up with TECS and s* kill pedestrians I’m on P* and I’m on l* and I’m on bars. Pull up, TECS and s, start wettin’ s out the car How you go big on big my n*”, I’m extra large.
Kodak Black’s social dialogue is about Generation Z being enveloped in poverty-drug-gun cycles. Ain’t no “civil engagement” when weapons are involved. If you don’t engage your enemy with authority your only “life choices” are plainly destructive to the world. Extreme viability efforts have become compromised in poverty-drug-gun violence plagued neighborhoods. No one understands the Covid-19 Pandemic, however, it shares alternating media-space with mobilzation efforts aimed at increased funding solutions for public transportation policy and infrastructure rebuilding. Pedestrian awareness should always be part of “actively listening.”
Hip-Hop artists efforts to challenge equitable transportation policy solutions, and to mitigate the social impact stemming from decreased planning; income stigmatizion; and deprived development opportunities have not gone unchallenged.
Major reductions in public funding and charitible contributions has all but crippled some cities trying to rebuild. Whether the transportation policy equity topic is addressed publicly or privately, deprived communities where funding is inadequate or non-existent, means that very little commercial, retail or private growth occurs in “deficient areas” in U.S. cities.
Jay z, Shawn Corey Carter, a rapper whose net worthis +/- $500 million… in his song “Smile,” says, “Look, you a pedestrian. Don’t ever question the security. I provided you. Oh y’all thought I was washed? Huh.”
Petitoning respondents were offered “the same standard shrug-off grievance letter” loosely based on political efficacy (government financial inefficiencies). Effectually, Carter mentions class-based stigma in his verse..”You’re only a pedestrian, a foot soldier; a walker.”. In a way, Jay Z is speaking on “gang-levels.”. Or “unified militant sub-culture.” Only the upper leadership can afford to pay to protect your turf. Only the upper leadership came go speak to the district commissioners on your behalf for your development and growth.
Finally, Jay Z marks the “pedestrian awareness movement” narrative by stating he personally has escaped “passive ineffectual rumination. With increased recognition and recommendations for more money, the “money holders” can help smaller communities maintain better infrastructure and transportation systems. “Oh y’all thought I was washed? Huh…”
Hip-Hop artists have advanced the pedestrian awareness crosswalk education narrative in very meaningful ways. Average Americans without the fame or fortune wouldn’t be able to reach variant audiences. Vision 2020 realized by every American advances ur public transportation policy goals while improving public transportation policy decisions. Social-equity explained is a benefit for “sensitive and disadvantaged communities” in the United States.