Black Lips are a punk band with a reputation for upholding the white race's ability to look down on other peoples (the offending video for "Noc-A-Homa" was scrubbed from the internet, except for here). In an interview for The A.V. Club's "Hatesong," guitarist and potential future Republican youth outreach ambassador Cole Alexander continued that sacred tradition.
He thinks Drake is fake because he prefers feeling superior to his rappers:
I grew up in a decent suburb in Atlanta, but I do think sometimes in hip-hop, you can hear it in his voice. He didn’t have that pain in his voice, but it’s a subtle nuance. I’m sure he has some struggles in his life like everyone does, but I just don’t like Drake. He seems kind of fake to me.
I like my rappers more ghetto and ratchet sounding. Personally, I like more melodramatic, ignorant rap where they’re talking about violence and anger and it’s just evil. I don’t like when it’s too conscious, I don’t like it when it’s too smart. To me, it’s just like a gangster movie. In a gangster movie, you don’t want to see polite guys; you want to see them do horrible shit. It’s a movie, it’s entertainment, and, at the end of the day, music is entertainment. It might reflect what has happened, but a lot of times it’s an art form of telling stories.
And in "Thrift Shop," Macklemore should've watched his language. Because reverse racism is a real thing the white man suffers through daily:
There’s that one line where they’re like, “That’s a cold-ass honky.” I really don’t like that line. First of all, it’s a racist word. I feel like white people, when someone says something racist against them, they’re not very offended. They’ve never had to deal with racism so it’s almost a kind of white guilt, or a subtle kind of action.
My problem isn’t the fact that he says “honky,” though. It’s that he puts “honky” in a black person’s mouth and they actually say it instead of him. He put a racist term into a black person’s mouth and had it thrown back at him to satiate his white guilt. That’s the way I look at it."
White folks needed to see Leadbelly in prison garb to feel they were getting the real thing. They need to be assured that rappers are "keeping it real," they need their Cuban musicians old and sweet, their Eastern and Asian artists "spiritual." The myths and clichés of national and cultural traits flourish in the marketing of music. There is the myth of the untutored, innocent savant whose rhymes contain funky Zen-like pearls of wisdom — the myth that exotic "traditional" music is more honest, more soulful and more in touch with a people's real and true feelings than the kid wearing jeans and the latest sports gear on Mexican television.
This honky knows what's up.