Short term Benefits vs. Long term Costs: A progressive look into the utility of the early adopter theorem in “Games” by Big L

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Weighing Diverse Disutilities: The value of various negative subgroups and conduct in "99 Problems" by Jay-Z

Mr. Carter has been referred to as the “king of the rap game,” as the “greatest that ever did it” or more speculatively the “best rapper dead or alive.” In order to truly speak to this greatness, we find it imperative to critique one of Mr. Carter’s most famous economic analyses, “99 Problems.”

If you're havin' girl problems i feel bad for you son
I got 99 problems but a bitch ain't one

Mr. Carter begins the journey by creating a comparative analysis. He states that he feels bad for those who have girl problems, despite the fact that he has 99 different problems of his own. Logic would dictate that a man that has 99 problems of any sort would not compare himself favorably to someone who has one girl problem; however Mr. Carter seems to find so much disutility in girl problems that he operates in a world where the marginal rate of substitution of girl problems relative to all other problems is strangely high. This means for every introduction of 1 unit of girl problems there are an exponentially larger amount of units of negative externalities not normally associated with the larger subset known as “general” problems. In essence, these girl problems are a unique animal that operate under different rules than the normal "general" problem, where a large number of normal problems are more desirable to Mr. Carter than a smaller set of girl problems, even though both provide quantifiable disutilities. We know this because Mr. Carter seems to be speaking to the entire universe (there are no qualifiers in the description of those he is addressing), which undoubtedly includes those who only have one female problem. The listener can draw TWO conclusions from this analysis:

(1) Mr. Carter finds greater relative utility in having 99 problems (none of which are related to women), than having one girl problem. It is clear, under this interpretation of his treatise, in regards to overall utility; where A = (problems of every sort, except those relating to girls) and N = (problems of many sorts, but all relating to girls) that (A)×(∞) < (N)×(1). [∞ being the symbol for infinity and × being the symbol for multiplication] Now even under this interpretation we may find that Mr. Carter only intended for 99 A-related problems to be the threshold equivalent for 1 N-related problem. To avoid the potential for exaggeration, and to proceed with the assumption that Mr. Carter will not throw out excessively large numbers to no practical value, we will assume that Mr. Carter truly meant; {(99)×(A) ‹ (1)×(N), but (100)×(A) ≥ (1)×(N).} -------------------------------------------------------------- OR ---------------------------------------------- (2) Despite his vagueness, Mr. Carter did not intend to speak to those who only have one girl problem at all (as is evidenced by the use of the plural, “girl problems”), but instead merely is seeking to speak to those who have an unidentified threshold number of female problems. In this scenario, Mr. Carter finds greater relative utility in having 99 problems (none of which are related to women or bitches), than having ⁿ girl problems. [ⁿ being the unidentified number of female problems required to create equilibrium in the problems market] Yet, under either scenario, the listener must infer that 1 female problem is not equal to 1 general problem. One truism is clear; there is greater disutility created per unit of female problems than is created per unit of general problems. We will proceed with this more general assertion, a consolidation of the prior two conclusions as to simplify our critique from here on out. Let us delve deeper into the piece to determine whether Mr. Carter better explains the rationale behind his alleged disutility analysis.
I got the rap patrol on the gat patrol
Foes that wanna make sure my casket's closed
Rap critics they say he's "Money Cash Hoes"
I'm from the hood stupid, what type of facts are those

Mr. Carter begins by illustrating for us 2 of his 99 problems. In this first stanza, Mr. Carter details with great clarity that there is an unidentified unit of people collectively referred to by the colloquialism “rap patrol,” and that this group actually covets his death. This group is not given any defining characteristics, nor do they need have them. In fact, Mr. Carter is merely impressing upon us the different types of problems that constitute what we previously defined as (A) problems of the non-bitch nature. It is from this categorization we must assume that the group labeled “rap patrol” is a gender specific group closed to women.
In the second part to this stanza we are told that he is criticized for the extent that he brings up the topics of money and women in his rhymes, but Mr. Carter fires back questioning the journalistic integrity of those who condemn his subject matter. We are not given any evidence that these criticisms have actually occurred, nor are we told who has been giving these critiques. However, these questions are irrelevant to his analysis, for Mr. Carter is merely trying to illustrate the vastly diverse types of conduct and scenarios that are to be classified as an (A) problem. His committment to laying the foundation to his later argument is admirable. However, this is assuming that this foundation eventually leads to an explanation of his calculation of the various disutilities present in his two groups of problems.

If you don't like my lyrics you can press fast forward
I got beef with radio if i don't play they show
They don't play my hits i don't give a shit SO
Rap mags try and use my black ass
So advertisers can give 'em more cash for ads, fuckers

Furthermore, Mr. Carter goes on to show that his critics do in fact create some unidentified amount of measurable disutility. Utilizing the bravado that he most definitely gained from the streets, he makes such statements as “I don’t give a shit” and “you can press fast forward” to create the implication that he is unaffected by their onslaughts, however a disciplined listener can read underneath actual meaning of these words to uncover their true meaning. Mr. Carter is not stating that these acts have a neglible effect on his happiness or personal utility; he is saying that he is a resilient actor and that these attacks on his character will be conquered by his strength of self-assurance. It is here again, that Mr. Carter gives us a glimpse of the real value that (A) problems have in relation to creating disutility.

Now once upon a time not too long ago
A nigga like myself had to strong arm a hoe
This is not a hoe in the sense of havin a pussy
But a pussy havin no God Damn sense, try and push me

Here, Mr. Carter gives us our first glimpse of why he places so much marginal disutility in (N) bitch-related problems. We are given from the text that in the past, Mr. Carter did himself have bitch-related problems, as is evidenced by his need to “strong arm” hoes in an apparent to attempt to offset the costs associated with dealing with these bitches.
In the next line we are thrown a monkey wrench, however. We are told that the definition we have been using all along for girl, bitch and hoe is inaccurate for his analysis. He tells us that by hoe, he is not referring to the definition meaning female member of the species, but instead he is referring to a much larger bi-gender group characterized by their hoe nature and tendency for lack of mental awareness.
We must make a dramatic halt to our critique and return to his original thesis statement to incorporate this unforeseen nuance.

If you're havin' girl problems i feel bad for you son
I got 99 problems but a bitch ain't one

It has become clear from our deeper analysis that Mr. Carter is not concerned with the female species at all in his analysis. This means that we must refine several assertions that were overzealously adopted prior to our true understanding:
(1) the “rap patrol” previously determined to be consisted exclusively of men, now may be assumed to be a coed organization.
(2) “girl problems,” which were previously assumed to fall under the traditional definition of problems relating to: “a female child from birth to adulthood” (source Merriam Webster) must be refined to mean problems relating to any individual exhibiting female characteristics and lacking basic comprehension (see “havin no goddamn sense”).
(3) marginal disutility is found with problems associated with this newly defined subgroup and not, as was previously assumed, with the female race.
Now that we have made these essential clarifications, we may resume our analysis and venture deeper into his intellectual cavern to find more about this group that he cryptically refers to as girls, bitches and hoes.

You know the type loud as a motor bike
But wouldn't bust a grape in a fruit fight
The only thing that's gonna happen is I'ma get to clappin
He and his boys gon be yappin to the captain

Ahhhh! Mr. Carter has made us wait until the near end for clarity, but gives it to us in very concise and descriptive terms. We may now revise our analysis to read that (N) related problems are problems associated with individuals that exhibit the faux pas characteristics of acting like a bitch, not having common sense, talking loudly while being incapable of turning those words into action and being prone to snitching.
At this point in the opus we have identified three important features that deserve reiterating;

(1) problems associated with group (N) create marginal disutility for Mr. Carter.
(2) Mr. Carter at one time did, but no longer has (N) related problems.
(3) The absolute value of (N) related problems is some exponential degree greater than (A) related problems.

We are left with two unanswered questions: specifically, what is Mr. Carter doing now that allows him to avoid (N) related problems that had escaped him prior and why do (N) related problems create such distinctively larger disutility than (A) related problems. Unfortunately for the listener, these questions go unanswered. We are left to ponder the reasons for his personal aversion to (N) related problems and wonder why our own utility structures do not share such an unqualified distortion. We are left puzzled to say the least, wandering aimlessly in the donjons of Mr. Carter’s unqualified conundrum.

This author finds himself more confused now than before he opened up Mr. Carter’s work. I find his self-appointed title as “best rapper” is not supported by the evidence, as his argument lacks several important features, most significantly a qualifying rationale for his entire assertion. Let’s hope analysis of his future songs will not leave us so unfulfilled.

Argument Presentation: D+

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Saying Too Much - When Incentive Structures Break Down: "Turn My Swag On" - Soulja Boy

In a tribute to arguably the worst "rapper" in the market, we would would be remissed if we did not take the opportunity to exam his most popular jingle "Turn My Swag On" that seems to have taken off in the market.

Hopped up off tha bed
Turn ma swag on
Took a look in tha mirror said wassup (wassup)
Yeeeeea I'm gettin money (ohh)

DeAndre Ramone Way, better known to his followers as "Soulja Boy" (an abriged version of his full stage name "Soulja Boy Tell 'Em") opens up this "song" by telling us that he has just "hopped" off of his bed. This implies a sense of excitement. Rather than just rising from bed, DeAndre "hops" out of his bed. Unless DeAndre posses some unknown physical abilities, it is physically impossible to hop (jump lightly) while laying down. This must imply that DeAndre is in a standing position on his bed. DeAndre is excited and standing on his bed, prepared to hop. The scene is now set for our analysis. DeAndre then, "turns his swag on", then proceeds to look in the mirror to speak to himself - in fact, he says "wassup" to himself as if seeing himself for the first time. The event that occurs in between him hopping out of bed and speaking to himself in the mirror, "turn my swag on", is the event we need to analyze for it is the thesis to his song.
It is not immediately clear what DeAndre means by "swag", and what exactly he is turning on. There is no known machine that is referred to as the "swag", so he must be referring to a figuritive element which he has the power turn on or off. He leaves it to us to find the answer to these nagging questions. Merriam-Webster defines "swag" as a noun meaning :
1. a. An ornamental drapery or curtain draped in a curve between two points.
b. An ornamental festoon of flowers or fruit.
c. A carving or plaster molding of such an ornament.
2. Promotional items, especially when given for free, considered as a group.
3. Slang Stolen property; loot.
4. Australian The pack or bundle containing the personal belongings of a swagman.
5. Slang Herbal tea in a plastic sandwich bag sold as marijuana to an unsuspecting customer

One could argue definition 2 or 3 may imply that he has either stolen a radio or an electric razor or has been given it as part of a promotion, and is now in use of such stolen or free property. It is not immediately clear that he is speaking of an actual physical item though. Maybe if he claimed "I'm about to shave, turn my swag on", then one could argue that he is about to use a physical object. His definition seems to reside in the realm of the intagibles. To get at the true definition, we must use non-traditional sources to understand what he speaks of. I believe most sociologists would not disagree with the use of the Urban Dictionary so we can extract the relevant meanings in this cultural piece. According to the Urban Dictionary, "swag" is defined as:
1. the way one carries their self
2. The thing that makes everyone in a room stop what they are doing and pay attention to you. Everyone has a swag, the
only problem is finding it. Swag can also be refered to as "Pimp Juice".

Of the 123 definitions I found, I believe these two carry much weight. Definition 2 especially ties the entire first verse together. Once DeAndre turns his swag on, even he cannot resist it, and must look in the mirror and say "wassup" to himself. Extraordinary! DeAndre carries such a "swag", that not even his own "swag" can resist to but acknowledge itself. Philosophically, I do not immediately know what this means, that the "swag" can exist outside of the carrier, but that analysis is far beyond the scope of this analysis.
Let us continue to see if we can extract any further information to understand his motive behind making this piece. We will attempt to answer whether or not DeAndre has some economic rationale in this song. What is he attempting to say?

Turn ma swag on,
It's ma turn now turn it up
Yeeeeea, yeeeeea
I put my team on, and ma theme song
Now it's time to turn it up
Yeeeeea, yeeeea soulja boy tell em

This verse fails to clarify the where he got this "swag" from, what the nature of his specific "swag" is, and how it effects those around him, namely, the externalities associated with having such a strong "swag". Public policy officials clearly need to know how much of a threat DeAndre's "swag" presents. Clearly, it is so powerful, that he cannot resist it himself. If it presents an externality, should it be subject to regulation by the proper authorities (we concede that we do not even know what authorities could regulate this "swag"). But clearly, DeAndre has the ability to turn his "swag" up. Some questions arise after this statement. How high can this "swag" go? Should his "swag" be turned to a point where it affects the public? These are normative questions of economics; namely what is the correct amount of "swag" a person should have. Free-marketers would be against such regulation, but it seems that "swag" is not an ordinary good like a widget.
Clearly his "swag" gives him the ability to "put his team on." DeAndre's "swag" allows him to employ others, but it is not immediately clear what role his team serves. Does DeAndre put his team on simply so they are employed and share in the riches that his "swag" creates? This seems to be the case! DeAndre is following a Communist form of resource allocation. His team does not contribute to any production. If they did, we would see his team attempting to create value with their own skills. But these laborers in the service of DeAndre add no value, yet he continues to keep them on.

I got a question why they hattin on me,
I got a question why they hattin on me
I aint did nuthin to em, but count this money
And put my team on, now my whole clic stunnin for watz up
Boy wassup, yeeeea
Boy wassup, yeeeea

DeAndre asks a simple question. Given his "swag", people are hating on him, but why? Clearly, DeAndre needs to understand a phenomenon taking place here. "Swag" is inversely proportional to "hat(ing)". So as the amount of "swag" increases, its marginal value at some point actually decreases utility. There is a backward-bending supply curve of "swag." I am sure there is a reasonable amount of "swag" that allows people to gain prominence, but past that, the utility associated with "swag" decreases for others (and for himself). There is an externality associated with "swag." So DeAndre is using too much of this "swag" that he has, and the case can be made for regulation. So when he says that he hasn't done anything but "count his money", he ignores the amount of "swag" that he is expending. The line, "And put my team on, now my whole clic stunnin for watz up" makes no sense. We shall move on to the next session.

When I was 9 years old, I put it in ma head
Ima die for this gold
Soulja boy tellem
Boy wassup, yeeeea

DeAndre's priorities, 10 years ago (in 1999) was to die for "this" gold. This means DeAndre values his life in terms of gold, but it is unclear how much gold. This is important because if we find how much he values his life in gold, we can extrapolate the value of this "swag", and create a market for it (theoretically of course, there would be some logistical issues with selling "swag"), so the person who values "swag" the most could get it. We must find out how much gold (or expected amount of gold to be had over his lifetime) he has, then place a value on his life. Some may find this heartless and cold, calculating a man's life through gold, but remember, it is DeAndre who opened the door, we just happened to peek through it. The last line is also strange. Is DeAndre still speaking to himself?


I'm back again,
I know a lot of yall thought I was coming back
Yeeeeea, yeeeea
I had to prove them wrong,
Got back in the studio and came up with another hit
Yeeeeea, yeeeea
I told the world my story, the world where I'm from
SouljaboyXL.com, boy wassup
Yeeeeea, yeeeea

DeAndre says that he has returned. He doesn't say where he went, nor was it apparent to anyone that he actually left. DeAndre has contradicted his orginal statement! If it wasn't apparent to anyone that he left, then his "swag" must not be as powerful as we once thought. What did DeAndre do to be able to control his swag. Again, his absence (if he was absent in the first place) is puzzling. Maybe this is his rationale for turning up his "swag." At low levels of exposure, "swag" is hard to detect, but at high levels, we can see the "swag" has effects, even on the origin of the "swag."
DeAndre says he must prove "them" wrong. This is an apparent strawman argument because he doesn't name who he has to prove wrong, nor the arguments that they made. He implies that their argument is that he could not make another hit. Again, that is not clear. It is only implied. DeAndre would be wise to state the arguments of the "them" he speaks of, and exactly who they are. DeAndre is then satisfied that he has told the world "his story." Sadly, he is unsuccessful in adding anymore relevant facts about his origins. All we know at this verse is 1. in the morning, he stands on his bed and jumps lighlty, 2. he is supplying too much "swag" that cause disutilities and externalities and 3. at 9 years old, the valuation of his life was in some unspecified amount of gold. If this is all he wants us to know, then this is quite an uninteresting story indeed. He then lists a reference where we can find more information. I politely will decline his request. Is he still talking to himself?

Now everytime you see me spit
Every time you hear me rhyme
Everytime you see me in your state of town
Say wassup
Yeeeeea, yeeeea

His last appeal is that whenever you see him rhyme or "spit" (which in the vernacular of the hood, his statement is quite redundant), or if we see him in our "state of town", to say hello. What is a "state of town"? (We understand this may be a transcription error) Clearly he means "state or town." He doesn't provide the means to contact him. So if we are watching tv in Philadelphia, and we see him in Pittsburgh, he would like us to say hello. A rational person would not say hello to a television. So he must mean, we must incur some cost to travel and say hello, send a text, or make a call. Let's say the cost of a text message is $0.10 and the likely method of communication. DeAndre believes that his presence, for those not in his vicinity, to be worth at least 10 cents for each viewing, just to say hello. I believe he has mispriced the equilibrium of the market to say hello to Soulja Boy. I would pay nothing to say hello to him. I actually do not want to speak to him at all. If we aggregate over the entire population, I think we would find the price to be closer to zero than DeAndre thinks.
DeAndre makes no direct threats, but makes an indirect one. He will turn up his "swag" to provide disincentives to both himself and his "haters." DeAndre does not care what effect turning the "swag" up is on himself. He is not acting rationally. He values his life with unknown amounts of gold. He is a madman. But this should have been apparent, because he acts as a central planner employing his "team" which adds no value to his production. DeAndre's incentives would have been an A+, due to his disregard for his own life and irrational behavior, but he undercuts his own argument because no one noticed he left, so his "swag" wasn't powerful to begin with.
Incentive Grade: F