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Speaker 1: You're listening to it waiting our reparations a production of

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Speaker 1: I Heart Radio. Yeah yeah yeah, waiting our reparations, Yeah yeah, yeo.

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Speaker 1: I'm like, oh, that's what I was hoping, And here

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Speaker 1: you look like nobody took the time to choke you

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Speaker 1: in years. I hope you're prepared. It's been a minute.

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Speaker 1: I'm out of practice, kind of flastered until you and

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Speaker 1: dressing that it was time to wax this factors. Usually

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Speaker 1: you're moderate, trying not to be obvious. Nice guys times

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Speaker 1: like this. You like it when I'm doming it. Hold

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Speaker 1: me in your hands again, be stiffer than the mannequin.

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Speaker 1: Look me in the yard. Don't move until I jam

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Speaker 1: it in. I don't want to hold you, just want

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Speaker 1: to hold you down to your squirt and then I

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Speaker 1: drowned like the funk I'm told to. Since you left

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Speaker 1: has been some kinky sexs have been exposed to. So

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Speaker 1: I hope you cool. If I got ship, I'm trying

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Speaker 1: to show you a little disgusting like fruitcake. Hey leave

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Speaker 1: them struggling with two when I write on Nigglas like

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Speaker 1: they kind of pillars in the shallow river. Cool rain,

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Speaker 1: ain't miss me with that group things. I'm sitting home

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Speaker 1: every Tuesday, I'm pissing off of the power dealers and

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Speaker 1: kissing on all those the cute gigs she's had, And

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Speaker 1: what an average figure. I'm a shower witter? Is that

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Speaker 1: bad to consider it? Is it in the drag that

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Speaker 1: your girls in my lap? Again? Like she a napkin

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Speaker 1: and dinner. She was a capitalist unattracted to women until

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Speaker 1: I came mckin on Twitter. Now she likes Jacobin and

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Speaker 1: dropping banners from Brendain's and dunking on fashionst but glitter.

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Speaker 1: So yo, I don't think I heard that one. Okay,

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Speaker 1: I'm dope, knife, I'm Lingua franca. We are waiting on reparations.

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Speaker 1: Hurry up. So how are you doing. I'm fine. You

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Speaker 1: had a little adventure this weekend. I always have an adventure,

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Speaker 1: just having an adventure. So I drove down to Stone

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Speaker 1: Mountain where white supremacists were gathering to defend the Confederate

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Speaker 1: monument Hard in the Face of Stone Mountain, the largest

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Speaker 1: basil based relief sculpture in the world or something like that.

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Speaker 1: I saw that on like Twitter, like it was kind

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Speaker 1: of crazy. There was so we showed up. Um there

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Speaker 1: was a coalition of I think like thirty different organizations

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Speaker 1: around the southeast from as far as the way it

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Speaker 1: is like Birmingham, I think they're actually worth some anti

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Speaker 1: fascists that came down who flew in from Portland to

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Speaker 1: take part um, to resist the gathering of white supremacists there,

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Speaker 1: to defend the Confederate monument and to call for the

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Speaker 1: sin blasting of Stone Mountain. So what went down because like,

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Speaker 1: as far as it looked like from if you were

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Speaker 1: just you know, sitting on your ass at home watching

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Speaker 1: you know, TV and seeing it's you know, on your

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Speaker 1: Twitter feed, it seemed like it was a full on

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Speaker 1: clash of like different groups and stuff like that. So

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Speaker 1: the white supremacists were not issued a permit for their protest,

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Speaker 1: and so they actually ended up locking down Stone Mountain

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Speaker 1: Park to prevent them from gathering there. But they were

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Speaker 1: showing up nonetheless. So we were gonna show up nonetheless,

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Speaker 1: um and just make it known to them that you know,

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Speaker 1: you weren't going to stand for it. I can stand

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Speaker 1: for that ship. So was there a protesting Stone Mountain

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Speaker 1: earlier in the summer? In the earlier the summer might

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Speaker 1: have been, Oh yeah, So it's back then, not sucking around.

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Speaker 1: Coalition gathered in Stone Mountains. Yeah, like a couple of hundred,

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Speaker 1: maybe even a thousand people deep. But what really happened

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Speaker 1: maybe two blocks away there was another gathering and there

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Speaker 1: was like a big Confederate flag kind of waving back

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Speaker 1: and forth above the gathering, and all these people dressed

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Speaker 1: in black. So people just started going over there. They're like,

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Speaker 1: fucking funk here, Kendrick Lamar, We're gonna be all right,

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Speaker 1: Like we're gonna go fucking take it to them right now.

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Speaker 1: And I was kind of nervous because it seemed like

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Speaker 1: a similarly sized gathering as the anti fascist gathering that

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Speaker 1: we're all part of. That. I got over there and

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Speaker 1: what discovered is that all the people clad in black,

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Speaker 1: we're also antifa um. And there was only like eleven

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Speaker 1: like white supremacists with all of their guns and their camo, etcetera.

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Speaker 1: But once the huge group started rolling up on them,

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Speaker 1: we just like very quickly surrounded them, started like getting

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Speaker 1: them to back up, started back away. You're channing, go home, racists,

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Speaker 1: go home. Would you say the demographic was of like

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Speaker 1: the antifa um? It was mixed. I mean a lot

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Speaker 1: of different ages and races. I'd say probably mostly white people,

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Speaker 1: but um, because I've noticed that there's been especially since um,

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Speaker 1: in the months since the process has kind of calmed down,

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Speaker 1: I've noticed that just in terms of like the corporate

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Speaker 1: media narrative, there seems to be kind of like a

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Speaker 1: painting of progressivism in general or just leftists thinking in

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Speaker 1: general is like being a white thing, and they're trying

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Speaker 1: to like painted as cases like these when white supremacists

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Speaker 1: are showing up with tons of guns. Uh, Like, it

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Speaker 1: makes more sense to me for white folks to put

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Speaker 1: their bodies on the line to push back because like,

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Speaker 1: of course they're going to pull the trigger more easy

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Speaker 1: if it's like a bunch of up. Yeah, And there

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Speaker 1: were you know, like there were like a lot of

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Speaker 1: black people. There also a lot of people from Stone

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Speaker 1: Mountain that came and joined us, And so that was

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Speaker 1: the early part. And then later on we did a

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Speaker 1: march around the block and encountered some more groups. I

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Speaker 1: guess the white supremacist sort of consolidated. There's only like

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Speaker 1: twenty of them versus like a hundred to two hundred

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Speaker 1: of us, and so we were like I didn't I

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Speaker 1: was not participant in this part, but I watched with

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Speaker 1: glee as their you know, Confederate flags were getting snatched

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Speaker 1: and burned other sorts of altercations. Unfortunately, they eventually fought

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Speaker 1: back and one of the white supremacists started spraying raid

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Speaker 1: in the faces of the Antifa folks. Um and then

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Speaker 1: the cops showed up, and that's when me and my

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Speaker 1: contention like, yeah, They're like, there's no like concrete demands

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Speaker 1: to get arrested over. That's what's gonna ye guess to jail.

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Speaker 1: Who knows where they're gonna take us to jail where

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Speaker 1: from appens. I'm not trying to get locked up in

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Speaker 1: Fulton County or something. So we split, but um Hall

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Speaker 1: and all. We humiliated them, and it felt really good. Yeah,

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Speaker 1: I mean there they should be used to els by

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Speaker 1: this point. Yeah, you know I was. I was kind

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Speaker 1: of shocked when you came back, because, you know, when

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Speaker 1: I brought up possibly what we wanted to do the

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Speaker 1: episode about, and you were kind of aware of what

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Speaker 1: was going on. I was shocked, as busy as you

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Speaker 1: are that you know that you even reached your radar.

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Speaker 1: But this whole situation with the Cardi B and Meg

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Speaker 1: the Stallion song how do you I would pronounce it? Whatp?

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Speaker 1: How would you pronounce it? Like? Well, I mean it

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Speaker 1: started a bunch of discussion and got you know, both

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Speaker 1: of us thinking. This episode, we're going to be discussing

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Speaker 1: the history of abscenity law in the United States and

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Speaker 1: it's implications for the conversations that have come up surrounding

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Speaker 1: Cardi B and mag The Stallions song Wow concerning uh

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Speaker 1: primarily you know, sexually explicit lyrics and in particular, you know,

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Speaker 1: hip hop and society at largest reaction towards women taking

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Speaker 1: control of the subject of sexuality. So on August seven,

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Speaker 1: rappers Cardi B and Meg the Stallion caused the mini

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Speaker 1: uproar with the release of their song Whop, which is

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Speaker 1: an acronym for wet ass, pussy, raunchy and explicit club

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Speaker 1: banger with the ladies. You know, they run down a

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Speaker 1: checklist of their sexual wants, needs, exploits, and abilities. You know.

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Speaker 1: It's it's it's got funny innuendo, punchlines, trap bat it's

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Speaker 1: standard ship, you know what I mean. It's like typical

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Speaker 1: club banger. It's got a dope sample from that nineties

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Speaker 1: dance song. There's some Whars in this House by Frank Ski.

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Speaker 1: You know there's some wres in this house. There's some

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Speaker 1: more you heard this ship? Yeah, but could it be

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Speaker 1: considered obscene? My immediate answer would be no, And I'm

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Speaker 1: not really sure that it is considered obscene? What do

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Speaker 1: you think? I mean, I think, having done some research

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Speaker 1: into how obscenity is legally defined, and we'll get more

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Speaker 1: into that in a second, I would say no because

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Speaker 1: it does have artistic merit, but we'll come back to that.

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Speaker 1: But culturally, what do you think? When I talk with

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Speaker 1: a lot of friends that my age where always we

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Speaker 1: always talk about where the generation that's old enough to

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Speaker 1: have known life before the Internet was crazy all over

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Speaker 1: the place. But we're young enough to have grown up

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Speaker 1: a little bit in the Internet age. And I find

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Speaker 1: kids these days are exposed to a lot more quicker

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Speaker 1: and just culturally compared to when I was a kid,

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Speaker 1: Just like sexuality and sexual expression is much more accepted

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Speaker 1: than it was even ten years ago. A little bit

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Speaker 1: about the trailblazers that made that possible. Within music, I

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Speaker 1: feel that's gotten lost in some of the the conversation

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Speaker 1: around the song. Is you know you obviously you have

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Speaker 1: the people who are grand standing on like some moral

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Speaker 1: basis and it's like, oh my god, I can't believe

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Speaker 1: that there's a song where they're talking about us pussy,

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Speaker 1: you know. And then you've got uh the hotels who

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Speaker 1: are like, oh, women shouldn't talk about these things and

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Speaker 1: she should were children. Yeah, it's like, I don't even

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Speaker 1: know why we're entertaining what these people think. But obviously

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Speaker 1: those voices are out there. But the reason that in

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Speaker 1: that that's not like the dominating opinion is because of

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Speaker 1: people who Blaze put that work and made those songs

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Speaker 1: and made those statements so that there's people who walked

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Speaker 1: on glass and hot coal, so that Cardi B and

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Speaker 1: Meg the Stallion could gallop in the field and we're

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Speaker 1: gonna we're gonna pay some homage to them today. I

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Speaker 1: feel like the song is definitely growing on me. If

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Speaker 1: I weren't for COVID, i'd definitely be the answer to

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Speaker 1: this at church Bar every Saturday. First, on the topic

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Speaker 1: of it being obscene, because since there's so many people

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Speaker 1: that are pearl clutching, you know, like they've never heard

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Speaker 1: something like this before, why don't we break down a

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Speaker 1: little bit of what obscenity actually is and how it's

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Speaker 1: been dealt with in the American legal So, the first

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Speaker 1: ever federal law restricting the distribution of obscene materials came

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Speaker 1: out came about in eighteen seventy three, largely thanks to

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Speaker 1: the efforts of anti advice activists and total kill joy

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Speaker 1: Anthony Comstock, who famous anarchists Emma Goldman referred to in

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Speaker 1: her autobiography as the leader of America's moral unis. The

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Speaker 1: Comstock Act prohibited sexually explicit material to be distributed through

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Speaker 1: the mail, which included information about birth control and abortion,

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Speaker 1: which I think is an important fact. Sneak those certain

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Speaker 1: things in there, don't they? Right? It's all I mean,

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Speaker 1: like it's about it. And I think this history is

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Speaker 1: important because it shows how laws restricting freedom or speech

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Speaker 1: when it comes to sexuality and the ways that that

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Speaker 1: trickles down into the culture have always been about controlling

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Speaker 1: women and controlling women can do and what women can say. However,

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Speaker 1: the legislation UH did not define obscenity, and they said

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Speaker 1: left it to the court determined on a case by

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Speaker 1: case basis, and us um obscenity law is actually unusual

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Speaker 1: in this aspect. And that there's no uniform national standard um.

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Speaker 1: There's an explicit legal precedent, the Miller tests, which we'll

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Speaker 1: talk about in a second UM, that allows something which

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Speaker 1: is legally obscene in one jurisdiction to be legally fine

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Speaker 1: in another. UM. There doesn't exist as specific listing of

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Speaker 1: a which exact acts are to be classified as obscene

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Speaker 1: on like a national all scale. Now, preceding the Miller tests,

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Speaker 1: there were several standards historically by which something could be

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Speaker 1: deemed legally obscene. In eight the case a Rosen versus

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Speaker 1: the United States, the Supreme Court adopted the same obscenity

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Speaker 1: standard as had been articulated in the famous British case

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Speaker 1: Regina versus Hicklin eighteen sixty eight. The Hicklin tests defined

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Speaker 1: material as obscene if intended to deprave or corrupt the

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Speaker 1: minds of those who are open as such immoral influences,

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Speaker 1: you know, people whose hands a publication of the Stork

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Speaker 1: could fall into, which I think is interesting because it's like,

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Speaker 1: what is depravity? What is corruption? Because on the other hand,

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Speaker 1: you might consider, and many do and are considering, a

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Speaker 1: song like WAPs to be very sexually empowering because they're

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Speaker 1: talking about what they want, talking about what they can do,

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Speaker 1: they're talking about what their standards are in articulating for themselves.

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Speaker 1: They're like agent, they're sexual agents rather than being like

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Speaker 1: sexual objects acted upon. And in that sense actually h

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Speaker 1: like bolstering, like confidence bolstering. But I don't know, I mean, like,

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Speaker 1: on the other hand, it sounds like a very fancy

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Speaker 1: way of saying people who were maybe frightened by their

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Speaker 1: own directions came up with these laws. That's the Yeah, Okay,

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Speaker 1: So this got thrown out in the mid nineteen fifties

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Speaker 1: the Hickland test, and then it was supplanted by the

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Speaker 1: Rath test, which said that something is obscene if to

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Speaker 1: the average person applying contemporary community standards, the dominant theme

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Speaker 1: of the material, taken as a whole, appeals to the

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Speaker 1: prurian interest. So if it makes you feel a little

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Speaker 1: if you feel at a little tingly, that makes you

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Speaker 1: a little uncomfortable. Yeah, if you're if you get a

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Speaker 1: boner and you're scared. But yeah, it's like, oh my god,

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Speaker 1: and you're an average person applying contemporary community standard. And

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Speaker 1: then also you rewind ship by like two hundred and

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Speaker 1: fifty years you know what I'm saying, like ankles and

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Speaker 1: collar balls, Like oh or not? What's happening to you? Mom? Uh?

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Speaker 1: There you go. The test got another upgrade in nineteen

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Speaker 1: seventy three with the court case Miller versus California, which

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Speaker 1: established the Miller test as the new metric for obscenity

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Speaker 1: that we still use today. Um and with it, you know,

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Speaker 1: determining whether or not materialist protected by the First Amendment.

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Speaker 1: So the Miller test, also called the three pronged obscenity test, says, UM,

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Speaker 1: whether the average person applying contemporary community standards would find

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Speaker 1: that the work taken as a whole arouses some kind

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Speaker 1: of sexual desire anxiety, Whether the work depicts or describes

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Speaker 1: in a patently offensive ways actual conduct or expratory functions.

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Speaker 1: It's actually interesting how those are looping together, um, specifically

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Speaker 1: defined by applicable state law. And then the last was

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Speaker 1: whether the work taken as a whole lack serious literary, artistic, political,

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Speaker 1: or scientific value, which is it's last because it's the

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Speaker 1: last line of defense. So it's like if if they

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Speaker 1: if none of the other stuff could be proven, then

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Speaker 1: it's like that last bit, it's like, I don't like this,

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Speaker 1: what's the thing. If all three conditions are satisfied by

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Speaker 1: the texting question, the work is considered an obscene. So

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Speaker 1: it can't just be talking about an excrittory function. It

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Speaker 1: can't just be whether or not you get a scared

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Speaker 1: boner when you listen to it. It has to be

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Speaker 1: all of these things together. Okay, so let's go down,

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Speaker 1: let's let's try to let's let's put it to the test.

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Speaker 1: Then does whop past the Miller tests? So depends on

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Speaker 1: how you to find the apples person applying contemporary community

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Speaker 1: standards because, like you said at the top, a lot

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Speaker 1: a lot of teams today grew up in the wild

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Speaker 1: west of the Internet. It's really when I was a kid,

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Speaker 1: let's say when I was like thirteen twelve, I'd say,

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Speaker 1: is around when I personally think I don't know what

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Speaker 1: my parents think, but like around the age when I

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Speaker 1: think my mom probably would have like been like, you're

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Speaker 1: listening to what you know? So let's say that age, Yeah,

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Speaker 1: I would have had to go into a record store

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Speaker 1: to buy you know what, I mean, to get ahold

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Speaker 1: of it because they probably wouldn't have played this on

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Speaker 1: the radio, and there was no Internet where I could

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Speaker 1: just hear it uncensored, so that would it's the average

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Speaker 1: person of my day, not like a kid or anything

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Speaker 1: like that. I guess would have been in their late teens,

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Speaker 1: early twenties. Right, Okay, now the average person that's gonna

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Speaker 1: be exposed to it, just keeping it a buck, right,

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Speaker 1: we're talking like eight year old. Yeah, that's a good point,

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Speaker 1: you know what I'm saying. That's just if we're keeping

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Speaker 1: it like honest, eight year old has the time to

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Speaker 1: like stream one song twenty seven times on Spotify, you know,

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Speaker 1: Like that's not like with like bills and responsibilities. Well,

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Speaker 1: I think the work does depict in patently partently offensive

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Speaker 1: sexual contact. They talk up the other like you know,

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Speaker 1: I wouldn't say patently offensive. Cultural standards have changed, just

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Speaker 1: just to go back if we're talking about then yeah,

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Speaker 1: you know I can I can totally understand. We've got

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Speaker 1: this dynamic of the Christian right and all that sort

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Speaker 1: of ship that doesn't exist at all. Like there literally

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Speaker 1: is no one that has any sort of moral high

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Speaker 1: ground to like get mad at a sexually explicit song.

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Speaker 1: I just don't. I don't think so there's there's no

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Speaker 1: one that's living up to that. We're all I think

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Speaker 1: at this point we all kind of under I think

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Speaker 1: at this point it's just patently hypocritical to think that

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Speaker 1: anything in the song is patently offensive. Yeah, but then

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Speaker 1: there's the third point whether the work taken as a

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Speaker 1: whole lax serious literary, artistic, political, or scientific value. So

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Speaker 1: I think with this what I mean, you can I

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Speaker 1: do think the song has our two sick merritt. I

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Speaker 1: do think Meg's cadence, her flow is pretty dope. I mean,

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Speaker 1: and I'm not a super fan of Cardi B's like

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Speaker 1: flow is um pretty standard for her. But political value,

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Speaker 1: I think it has unintended political value, you know, kind

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Speaker 1: of kind of like what we were we talked about

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Speaker 1: on a few episodes ago about people's intent, and it's

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Speaker 1: kind of one of those things where I don't think

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Speaker 1: that it was intended to be that statement, but just

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Speaker 1: in the midst of the uproar about it, it's kind

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Speaker 1: of I don't like Cardi B is pretty smart. I

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Speaker 1: wish you understand. Not really a question of whether or

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Speaker 1: not Cardi B is smart or Cardi B like, it's

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Speaker 1: not about her capabilities a matter of fact, she is like,

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Speaker 1: you know, on record recently, amiss all of this, like

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Speaker 1: pretty much putting that out there. That was like, Hey,

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Speaker 1: I tried to make a serious song before nobody streamed it.

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Speaker 1: People streamed when I talk about my pussy, So I'm

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Speaker 1: gonna talk about my pussy. She's like, you guys should

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Speaker 1: stream she She's like, you guys should stream the female

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Speaker 1: rappers that don't talk about their pussy. That was pretty

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Speaker 1: much her her argument for it, which, hey, you know,

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Speaker 1: it's like, do you think I get it? It's just

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Speaker 1: she's done songs like this before, so I don't understand

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Speaker 1: why this one unless her whole entire rap stick is like,

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Speaker 1: this whole thing is for the purpose of sexual expression

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Speaker 1: and empowerment. And I get that that makes sense, and

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Speaker 1: it very well might be the case, but I don't

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Speaker 1: know why this song would be the song that is

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Speaker 1: chosen to make that statement when the City Girls Torque

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Speaker 1: song that she did just last summer was pretty much

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Speaker 1: the same song with a better beat in my opinion.

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Speaker 1: So in the nineties seventies we kind of developed the

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Speaker 1: standards for obscenity that are still while they used today,

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Speaker 1: but the battle over obscenity and music really ramped up

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Speaker 1: in the eighties with the Parents Music Resource Center p

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Speaker 1: M MARC list of songs deemed unsuitable content and levying

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Speaker 1: particularly heavy criticism against Princes Darling Nikki after co founder

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Speaker 1: of Tipperacre heard her eleven year old daughter saying the lyrics,

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Speaker 1: which included an explicit mention of masturbation. Let's uh, let's

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Speaker 1: backtrack and check out those um fifteen songs. We've got

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Speaker 1: Princess Darling Nicki, We've got a Sheena, Eastern Sugar Walls,

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Speaker 1: Judas Priests, Eat Me Alive, Vanity strap On, Robbie Baby, Motley,

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Speaker 1: Crew Bastard a C d C. Let me put my

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Speaker 1: love into you. Twisted Sisters, We're not gonna take it. Yeah,

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Speaker 1: So Twisted Sisters were not gonna take it. Got put

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Speaker 1: on there for violence, and I remember being a real

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Speaker 1: little kid that like they were actually were, you know,

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Speaker 1: in the halls of Congress, actually testifying, you know, towards

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Speaker 1: the whole entire situation. Yeah. Yeah, so um. The Record

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Speaker 1: Industry Association of America responded to this complaint by introducing

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Speaker 1: an earlier version of their content warning label, and then

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Speaker 1: PRMC pushed back and proposed that a music rating system

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Speaker 1: work more similarly to the Motion Picture Association in America's

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Speaker 1: film rating system from movies. The r I a A.

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Speaker 1: The Record Folks alternatively suggested using a warning label reading

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Speaker 1: parental guidance explicit lyrics, and after a continued conflict between

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Speaker 1: the organizations, the matter came up in a September hearing

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Speaker 1: of the United States Senate Committee on Commerce, Science, and Transportation.

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Speaker 1: Uh and so as you were saying. Notable musicians Frank Zapp,

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Speaker 1: John Denver, the Snyder each testified at the hearing was

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Speaker 1: strong opposition to the p m r c S warning

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Speaker 1: label system and censorship in general. Approximately two months after

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Speaker 1: the hearing, the organization agreed on a settlement in which

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Speaker 1: audio recordings were to either be affixed with the warning

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Speaker 1: label reading explicit lyrics parental advisory, or have its lyrics

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Speaker 1: attached to the back side of the packaging. So you know,

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Speaker 1: we all know the parental advisory sticker. It's really funny.

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Speaker 1: It's really like I remember saying that as a kid

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Speaker 1: and being like, I want that record, mommy. Well you

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Speaker 1: know what the you know how like I'm a huge

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Speaker 1: Iced Tea fan, right. Iced Tea was one of the

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Speaker 1: artists that was like mired in this and at the

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Speaker 1: forefront of it. So it was a huge backdrop to

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Speaker 1: a lot of his early albums, Like he had a

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Speaker 1: song called freedom of Speech that was literally the story

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Speaker 1: of this whole thing. And he had a rhyme that

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Speaker 1: was um Pio Marcy, you stupid fucking asshole. The stickers

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Speaker 1: on the record. That's what makes it sell gold. Can't

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Speaker 1: see you, alcoholic idiots. The more you try to suppress us,

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Speaker 1: the larger we get. I can't believe. I just remember that.

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Speaker 1: It's one of those things where it's like when a

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Speaker 1: song comes out like wop or any any sort of song,

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Speaker 1: and people who are fans of it because hey, everybody's

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Speaker 1: got a reason a night like something. And I make

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Speaker 1: music too, I don't make it with any sort of

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Speaker 1: expectation that everybody's gonna like it. So hey, everybody has

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Speaker 1: their reason, and everybody's reason can be legit to them.

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Speaker 1: But when fans of a certain artist feel that criticism

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Speaker 1: against that artist for something, it's like persecution or oh

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Speaker 1: why you guys going against you know, It's like Yo,

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Speaker 1: At a certain point in time, artists were really being persecuted,

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Speaker 1: like by the government, not Twitter comments and ship yea.

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Speaker 1: Broward County, Florida Sheriff Nick Navarro arrested and charged recoistaurant

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Speaker 1: owners who sold the rap group to lab Cruise album

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Speaker 1: as Nasty if they want to be to literally getting

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Speaker 1: persecuted by the government for like the circulation of obscene materials.

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Speaker 1: There was a case of it being sold to a

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Speaker 1: fourteen year old girl. Um, and yeah, I mean it

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Speaker 1: was if you haven't heard Nasty as you want to be,

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Speaker 1: you know, it's it's got the famous single Misa Horny,

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Speaker 1: you know, so it's, uh, it's what you would expect.

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Speaker 1: So Navarro believe the album comes constituted obscenity, and then

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Speaker 1: they ended up going to court over and now Skywalker Records,

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Speaker 1: which was the company that put out the album, and

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Speaker 1: two Life Cruise lead performer Luther Campbell and the four

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Speaker 1: members of the group filed a lawsuit in federal court

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Speaker 1: seeking a judicial declaration that their album was not obscene

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Speaker 1: and the actions of Navarro imposed an unconstitutional prior restraint

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Speaker 1: on expression. A federal District court judge declared the record

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Speaker 1: obscene in Skywalker Records Versus Navarro, applying the Miller test

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Speaker 1: from Supreme Court decision Miller versus California. They didn't think

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Speaker 1: that missa Horney had like political value wait for it. However,

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Speaker 1: the plaintiffs appealed to the leaventh Us Circuit Court of Appeals,

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Speaker 1: which reversed in Luke Records versus Navarro Nity two. The

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Speaker 1: appeals court explained the plaintiffs had submitted expert testimony that

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Speaker 1: the album contains serious artistic value, a contingent not refuted

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Speaker 1: by the sheriff through any expert testament other than you know,

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Speaker 1: he just submitted a tape recording of the album. And

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Speaker 1: I was like, can you believe this? Yeah? And this

424
00:25:18,080 --> 00:25:21,720
Speaker 1: is all from David L. Hudson Jr. Who's a law

425
00:25:21,720 --> 00:25:26,160
Speaker 1: professor at Belmont who publishes widely on the First Amendment topics. Now,

426
00:25:26,200 --> 00:25:28,919
Speaker 1: many other rappers have been threatened through the years with

427
00:25:29,000 --> 00:25:32,679
Speaker 1: obscenity charges and just different types of censorship. Like I

428
00:25:32,720 --> 00:25:35,119
Speaker 1: was saying before, Ice T was a pioneer of this

429
00:25:35,320 --> 00:25:38,960
Speaker 1: too short just come under fire for his lyrics. A

430
00:25:39,080 --> 00:25:41,200
Speaker 1: rap lyrics became the subject of the U. S. Supreme

431
00:25:41,200 --> 00:25:45,000
Speaker 1: Court case A Loneus versus the United States two thousand fifteen,

432
00:25:45,080 --> 00:25:48,439
Speaker 1: when the court evaluated whether a man committed a true

433
00:25:48,480 --> 00:25:51,560
Speaker 1: threat when he posted rap lyrics that allegedly threatened his

434
00:25:51,600 --> 00:25:55,879
Speaker 1: ex wife and others. Now, can rap music make people violent?

435
00:25:56,960 --> 00:25:59,639
Speaker 1: That was the essence of the argument filed by attorneys

436
00:25:59,720 --> 00:26:02,679
Speaker 1: for three family members of the slain Texas State Trooper

437
00:26:03,119 --> 00:26:07,800
Speaker 1: Davison versus Time Warner. Now, the state trooper was killed

438
00:26:07,880 --> 00:26:11,280
Speaker 1: by Ronald Howard, who was listening to the Tupac album

439
00:26:11,320 --> 00:26:14,000
Speaker 1: to Apocalypse Now at the time. But that's a whole

440
00:26:14,000 --> 00:26:16,800
Speaker 1: other issue for another episode in itself. So let's stick

441
00:26:16,840 --> 00:26:27,480
Speaker 1: to talking about the sex stuff. Alright, sex stuff now,

442
00:26:27,640 --> 00:26:31,360
Speaker 1: music discussion. We've been talking about this Whop song, and

443
00:26:32,040 --> 00:26:33,399
Speaker 1: you know, I don't want to I don't want to

444
00:26:33,400 --> 00:26:36,920
Speaker 1: get two Insideryhannes. So let's not just assume that everybody

445
00:26:36,920 --> 00:26:38,360
Speaker 1: has heard it, and let's just listen to a little

446
00:26:38,359 --> 00:26:40,680
Speaker 1: bit of it right now my mouth, pick my eyes

447
00:26:40,520 --> 00:26:46,639
Speaker 1: to sign in the wave of everyone having their takes

448
00:26:46,680 --> 00:26:49,439
Speaker 1: on the song. From what I've been seeing, there's a

449
00:26:49,440 --> 00:26:52,760
Speaker 1: lot of the sentiment of finally, women in hip hop

450
00:26:52,840 --> 00:26:55,560
Speaker 1: are expressing themselves in this way, or you know, in

451
00:26:55,560 --> 00:26:59,800
Speaker 1: in people's effort to dunk on the trolls who are

452
00:27:00,040 --> 00:27:03,359
Speaker 1: been out and having something negative to say, I feel

453
00:27:03,359 --> 00:27:05,919
Speaker 1: that to give Cardi and Megan props for putting out

454
00:27:05,960 --> 00:27:07,879
Speaker 1: a song like this, I feel that people are serving

455
00:27:07,880 --> 00:27:10,000
Speaker 1: a blind eye to the type of artists who have

456
00:27:10,119 --> 00:27:12,280
Speaker 1: come out before and put out songs like this before.

457
00:27:12,560 --> 00:27:15,760
Speaker 1: Sexually explicit lyrics and hip hop aren't a new thing,

458
00:27:16,960 --> 00:27:21,960
Speaker 1: vibe any any stretch of the imagination obviously, you know.

459
00:27:22,119 --> 00:27:24,360
Speaker 1: With with that is the issue of the double standard

460
00:27:24,400 --> 00:27:27,240
Speaker 1: between when men make sexually explicit songs and or have

461
00:27:27,320 --> 00:27:30,880
Speaker 1: sexually explicit lyrics and when women do. I mean, it's

462
00:27:31,000 --> 00:27:36,880
Speaker 1: mirror as much of contemporary life. So uh, I think

463
00:27:36,960 --> 00:27:39,359
Speaker 1: that why why do you think that is though? For

464
00:27:39,400 --> 00:27:43,520
Speaker 1: the men who do like what? Because because there's still

465
00:27:43,520 --> 00:27:46,359
Speaker 1: a prevailing notion that women are sexual objects and not

466
00:27:46,440 --> 00:27:50,160
Speaker 1: sexual agents. Like it's you know, you see a girl,

467
00:27:50,160 --> 00:27:52,800
Speaker 1: what a fatass? You like? Damn girl? Try to get

468
00:27:52,840 --> 00:27:56,680
Speaker 1: your number? Uh? Like talk to like bragging on his

469
00:27:56,800 --> 00:27:59,879
Speaker 1: sexual exploits. It's like a it's it's like a really

470
00:28:00,440 --> 00:28:07,520
Speaker 1: uh pernicious but like pervasive aspect of like masculinity. Uh.

471
00:28:07,600 --> 00:28:12,920
Speaker 1: And so it's like just horrific and totally subversive, not

472
00:28:13,000 --> 00:28:17,200
Speaker 1: groundbreaking anymore, but still really challenges the prevailing to paradigm

473
00:28:17,240 --> 00:28:20,320
Speaker 1: one whip and claimed for sexual agency and talk about

474
00:28:20,400 --> 00:28:24,760
Speaker 1: like if it don't hang, you can't bang. A common

475
00:28:24,800 --> 00:28:27,840
Speaker 1: critique of just hip hop in general is how a

476
00:28:27,840 --> 00:28:30,480
Speaker 1: lot of it's kind of like, you know, somebody finds

477
00:28:30,520 --> 00:28:33,080
Speaker 1: something that's dope and that works, and that catches on,

478
00:28:33,160 --> 00:28:35,480
Speaker 1: and then a trend follows, and then for everyone rapper

479
00:28:35,480 --> 00:28:38,760
Speaker 1: who's doing their thing, got like fifteen cats who are

480
00:28:38,800 --> 00:28:41,320
Speaker 1: like bite right, So that's like a common thing to

481
00:28:41,360 --> 00:28:44,440
Speaker 1: begin with, right, So do you think that there's any

482
00:28:44,560 --> 00:28:48,800
Speaker 1: room for perhaps the critique that with some of the

483
00:28:48,840 --> 00:28:52,760
Speaker 1: trail blazing female hip hop artists who have blazed that trail.

484
00:28:52,920 --> 00:28:55,200
Speaker 1: You know, I can tackle the subject and be in

485
00:28:55,240 --> 00:28:58,840
Speaker 1: control of sexuality and I can be just as sexually

486
00:28:58,840 --> 00:29:01,200
Speaker 1: aggressive as like a man and rapping about the topic

487
00:29:01,280 --> 00:29:04,640
Speaker 1: and ship like that. Do you feel with the artists

488
00:29:04,680 --> 00:29:07,440
Speaker 1: who kind of found success with that that that perhaps

489
00:29:07,440 --> 00:29:12,000
Speaker 1: has started a trend that maybe has lasted to create.

490
00:29:12,040 --> 00:29:16,280
Speaker 1: It's created a profitable lane. Like you said at the beginning, Uh,

491
00:29:16,440 --> 00:29:18,720
Speaker 1: Cardi is talking about like I put out songs that

492
00:29:18,800 --> 00:29:22,000
Speaker 1: were smart. Yeah you know my listen to them, but

493
00:29:22,040 --> 00:29:24,479
Speaker 1: I make millions off of talking about my pussy. So

494
00:29:24,520 --> 00:29:27,120
Speaker 1: I'm going to talk there's until there's a there's an

495
00:29:27,120 --> 00:29:30,520
Speaker 1: incentive motive. There's nothing inherently wrong with that. I just

496
00:29:31,000 --> 00:29:33,800
Speaker 1: for me, I'm not shocked when like people who I

497
00:29:33,880 --> 00:29:36,680
Speaker 1: know who are like a bit snobbish about their music

498
00:29:36,720 --> 00:29:39,360
Speaker 1: taste don't funk with stuff like this, because it's like, yeah,

499
00:29:39,440 --> 00:29:43,640
Speaker 1: I mean, why would you, you know, Like something like

500
00:29:43,680 --> 00:29:46,800
Speaker 1: this doesn't strike me as it being necessarily made for

501
00:29:46,840 --> 00:29:50,200
Speaker 1: someone who's thinking really that deeply about the music that

502
00:29:50,200 --> 00:29:53,920
Speaker 1: they're listening to. I mean, I think like getting linguistically

503
00:29:54,000 --> 00:29:57,880
Speaker 1: imaginative and the way you're describing sexual scenarios, there's a

504
00:29:57,880 --> 00:30:01,880
Speaker 1: lot of room to grow. Still, like, uh, Cardian Meg

505
00:30:01,960 --> 00:30:05,280
Speaker 1: aren't talking about it in the same way that Little

506
00:30:05,360 --> 00:30:09,760
Speaker 1: Kim Dead back at Night WHOA Well, I would I

507
00:30:09,800 --> 00:30:14,040
Speaker 1: would have to, I would have to um, I would

508
00:30:14,040 --> 00:30:18,080
Speaker 1: have to disagree. I think that it could definitely be

509
00:30:18,240 --> 00:30:22,400
Speaker 1: argued that perhaps the Little Kim's of the world were

510
00:30:22,520 --> 00:30:25,360
Speaker 1: more explicit than I mean, first of all, we don't

511
00:30:25,360 --> 00:30:27,640
Speaker 1: even have to take it back to card We can

512
00:30:27,640 --> 00:30:31,680
Speaker 1: talk about contemporaries right now. There is a contemporary. I mean,

513
00:30:31,800 --> 00:30:34,920
Speaker 1: have you heard of cupcakes? We reviewed cupcake songs on

514
00:30:34,960 --> 00:30:39,400
Speaker 1: an episode before Cupcake, Who is Cupcakes not like an

515
00:30:39,440 --> 00:30:45,480
Speaker 1: international I'm filling up stadium. But Cupcake is by no

516
00:30:45,600 --> 00:30:50,120
Speaker 1: means a small artist. In Cupcake, I would say on

517
00:30:50,160 --> 00:30:52,760
Speaker 1: a song by song basis you know me, I'm want,

518
00:30:52,880 --> 00:30:55,800
Speaker 1: I'm I'm a rap file. I listened to rap just

519
00:30:56,080 --> 00:31:01,600
Speaker 1: constantly all the time. Cupcake is I mean Cupcakes team

520
00:31:01,640 --> 00:31:06,880
Speaker 1: ship is like worse than what for real, for real,

521
00:31:06,920 --> 00:31:09,120
Speaker 1: And I'm not I'm not even exaggerating about that. As

522
00:31:09,160 --> 00:31:11,000
Speaker 1: a matter of fact, I pulled up a Cupcake song

523
00:31:11,400 --> 00:31:13,720
Speaker 1: or further on our music discussion that we can check out.

524
00:31:13,760 --> 00:31:16,400
Speaker 1: But yeah, like Cupcake really goes in. So even amongst

525
00:31:16,400 --> 00:31:21,520
Speaker 1: her contemporaries, I don't think that this classifies as like

526
00:31:22,840 --> 00:31:26,160
Speaker 1: super bad. I think we're really getting people is just

527
00:31:26,200 --> 00:31:30,400
Speaker 1: the hook, just the wet ass pussy aspect of the hook.

528
00:31:30,600 --> 00:31:33,920
Speaker 1: And that is a common theme with people's rejection of

529
00:31:34,000 --> 00:31:37,760
Speaker 1: certain dirty quote unquote dirty rap songs. But let's first

530
00:31:37,800 --> 00:31:42,560
Speaker 1: talk about the sub genre of porner rap slash dirty rap. Okay,

531
00:31:42,560 --> 00:31:45,719
Speaker 1: so the genre has been around since this nineteen seventies

532
00:31:45,760 --> 00:31:50,400
Speaker 1: with Blowfly in his rap Dirty album. We we talked

533
00:31:50,400 --> 00:31:54,000
Speaker 1: about blow Fly when we talked about how Chuck D

534
00:31:54,200 --> 00:31:56,600
Speaker 1: was inspired by his lyrics for a line in the

535
00:31:56,600 --> 00:31:59,880
Speaker 1: song fight the Power. It wasn't until the nineteen eighties

536
00:32:00,000 --> 00:32:02,440
Speaker 1: an Oakland rapper Too Short release the nineteen eighty three

537
00:32:02,440 --> 00:32:07,400
Speaker 1: album Don't Stop Rapping, containing multiple dirty sex subjects, that

538
00:32:07,520 --> 00:32:11,120
Speaker 1: sex became the central focus to life. Crew garnered much

539
00:32:11,160 --> 00:32:15,240
Speaker 1: negative publicity, however, and it wasn't until their ninety nine

540
00:32:15,280 --> 00:32:18,040
Speaker 1: album As Nasty As They Want to Be that dirty

541
00:32:18,120 --> 00:32:21,080
Speaker 1: rap became a legitimate subgenre in itself. You Got so

542
00:32:21,160 --> 00:32:24,640
Speaker 1: it makes a lot cool, Keith Nelly, I've been saying

543
00:32:24,640 --> 00:32:29,560
Speaker 1: that wrong. Nobody corrected me, and this all time contributed

544
00:32:29,600 --> 00:32:31,560
Speaker 1: along the way with songs like what It Didn't you Know?

545
00:32:32,800 --> 00:32:36,960
Speaker 1: And the album Sex Style but One Woman, We Feel

546
00:32:38,000 --> 00:32:41,320
Speaker 1: really took the style of being sexually explicit and wrapped

547
00:32:41,360 --> 00:32:44,160
Speaker 1: and harnessed it and brought it into the mainstream. And

548
00:32:44,240 --> 00:32:48,520
Speaker 1: that is low Kim. I mean, I want to say

549
00:32:48,640 --> 00:32:51,640
Speaker 1: we feel, but I think it's kind of at the

550
00:32:51,760 --> 00:32:54,400
Speaker 1: end of the day, when especially when we're talking about

551
00:32:54,400 --> 00:32:57,400
Speaker 1: the music stuff. We're fans, and you know a lot

552
00:32:57,440 --> 00:33:00,400
Speaker 1: of this is our opinion, but I think with this

553
00:33:00,520 --> 00:33:04,120
Speaker 1: particular issue, it might be safe to say the little

554
00:33:04,240 --> 00:33:07,240
Speaker 1: Kim is the mother of this mainstream sex rap ship

555
00:33:07,600 --> 00:33:12,360
Speaker 1: and all these bitches as her sun. But um, just

556
00:33:12,680 --> 00:33:17,280
Speaker 1: HARKing back to just memory. It's like, it's not to

557
00:33:17,360 --> 00:33:22,600
Speaker 1: say that few women artists didn't reference sex or talk

558
00:33:22,640 --> 00:33:25,440
Speaker 1: about sex as as you're gonna hear, I mean salt

559
00:33:25,480 --> 00:33:27,920
Speaker 1: and peppers. Let's talk about sex. Precedes Little Kim by

560
00:33:28,560 --> 00:33:31,040
Speaker 1: once a decade and a half ye shoots by at

561
00:33:31,120 --> 00:33:33,520
Speaker 1: least like you know, five, three or four years you

562
00:33:33,520 --> 00:33:38,800
Speaker 1: know before a Little Kim But just the uh making

563
00:33:38,840 --> 00:33:41,880
Speaker 1: that like the part of the identity to the extent

564
00:33:41,960 --> 00:33:45,000
Speaker 1: of how it was too Shorts identity because, for example,

565
00:33:45,160 --> 00:33:48,000
Speaker 1: a rapper like Too Short his first album had a

566
00:33:48,000 --> 00:33:51,720
Speaker 1: couple of sex songs on it. People dug those sex songs, right.

567
00:33:52,520 --> 00:33:55,640
Speaker 1: I ied T had a similar thing where every album

568
00:33:55,680 --> 00:33:58,080
Speaker 1: that he released he had a sex song on it,

569
00:33:58,400 --> 00:34:00,240
Speaker 1: and people dug those songs. It was like than you

570
00:34:00,320 --> 00:34:02,719
Speaker 1: expected when you like listen to I C albums, like, oh,

571
00:34:02,720 --> 00:34:05,880
Speaker 1: he always has one song that's like graphically like sexual,

572
00:34:06,640 --> 00:34:09,719
Speaker 1: but the thing is too Short adopted that as his

573
00:34:09,840 --> 00:34:12,840
Speaker 1: like rap given where he was like, okay, I'm the

574
00:34:12,880 --> 00:34:15,880
Speaker 1: rapper who makes sex songs, and that became the defining

575
00:34:16,600 --> 00:34:18,600
Speaker 1: element of two shorts music. You know what I'm saying.

576
00:34:18,800 --> 00:34:21,239
Speaker 1: I s T didn't go that route. There have been

577
00:34:22,320 --> 00:34:24,360
Speaker 1: other like you know, female rappers who have done the

578
00:34:24,400 --> 00:34:25,960
Speaker 1: same thing, who have made their music and it's like, oh,

579
00:34:26,000 --> 00:34:28,399
Speaker 1: they'll have a reference, they'll have a shoot, or they'll

580
00:34:28,400 --> 00:34:30,319
Speaker 1: have a let's talk about sex. But that's not like

581
00:34:31,800 --> 00:34:35,479
Speaker 1: to define their like their overall rap character. Little Kim

582
00:34:35,600 --> 00:34:38,760
Speaker 1: took that on and said, no, this is my rap character.

583
00:34:39,239 --> 00:34:44,480
Speaker 1: The name of my first album is hardcore. We're going in. Yeah. Literally,

584
00:34:45,239 --> 00:34:49,799
Speaker 1: So she completely reversed the roles of sexual objectification and rap.

585
00:34:50,840 --> 00:34:53,240
Speaker 1: It's every bit as wrong she and explicit as anything

586
00:34:53,280 --> 00:34:56,400
Speaker 1: an email artists had done before or was doing. And

587
00:34:56,440 --> 00:35:01,040
Speaker 1: it was like aggressive and the aggressive expression from a

588
00:35:01,040 --> 00:35:04,880
Speaker 1: woman in hip hop on a record. Um and people,

589
00:35:05,360 --> 00:35:07,839
Speaker 1: I mean I was. I feel like I was. I

590
00:35:07,880 --> 00:35:10,960
Speaker 1: was probably I was like how old were you in

591
00:35:11,000 --> 00:35:14,719
Speaker 1: like two thousand nine nine? Yeah, So when Little Kim

592
00:35:14,760 --> 00:35:17,879
Speaker 1: was at her peak and popular, I feel yeah, that's

593
00:35:17,960 --> 00:35:21,759
Speaker 1: that's when you were nine. That's yeah, little when Little

594
00:35:21,760 --> 00:35:24,480
Speaker 1: when Little Kim, when Little Kim had out like a

595
00:35:24,640 --> 00:35:29,080
Speaker 1: song that was like on TRL yeah it which is

596
00:35:29,200 --> 00:35:31,200
Speaker 1: this is another thing that kind of irks me out

597
00:35:31,239 --> 00:35:33,840
Speaker 1: about a lot of this discourse about the Cardi b

598
00:35:34,440 --> 00:35:38,200
Speaker 1: in Mega Stallion song. It's like Little Kim had a

599
00:35:38,239 --> 00:35:42,200
Speaker 1: song called how Many Licks Does It Take? That was

600
00:35:42,280 --> 00:35:47,400
Speaker 1: like a hit song feature in Thong song Cisco that

601
00:35:47,560 --> 00:35:49,600
Speaker 1: was like on TRL like number one, number one, you

602
00:35:49,640 --> 00:35:51,880
Speaker 1: know what I mean. It was like Britney Spears Eminem

603
00:35:51,960 --> 00:35:55,200
Speaker 1: in sync Little Kim, how Many Licks does It? I

604
00:35:55,239 --> 00:35:58,560
Speaker 1: will never forget. I will never forget accidentally finding that

605
00:35:58,600 --> 00:36:03,200
Speaker 1: song on Napster and being like scared my parents are

606
00:36:03,239 --> 00:36:06,600
Speaker 1: gonna hear that I heard it, and also getting like

607
00:36:06,719 --> 00:36:11,120
Speaker 1: weird feelings like that. The beginning of my sexual awakening

608
00:36:11,360 --> 00:36:15,719
Speaker 1: was how many Like smile Kim. There was a there's

609
00:36:15,760 --> 00:36:19,759
Speaker 1: a little passage that I found in a article with

610
00:36:19,880 --> 00:36:26,960
Speaker 1: Dave's magazine. It's an article by um context Okay, so

611
00:36:27,000 --> 00:36:29,279
Speaker 1: this is this is a quote uh Tim Hall in

612
00:36:29,280 --> 00:36:33,120
Speaker 1: the article Contextually. We live in a world which just

613
00:36:33,200 --> 00:36:36,000
Speaker 1: saw one of the most powerful countries elect the president

614
00:36:36,080 --> 00:36:39,479
Speaker 1: accused of rape. Despite claiming to use his power to

615
00:36:39,560 --> 00:36:42,839
Speaker 1: grab women by the pussy, Donald Trump has succeeded in

616
00:36:42,920 --> 00:36:46,520
Speaker 1: his bid to one of the world's most influential titles,

617
00:36:46,640 --> 00:36:49,839
Speaker 1: and as a result, looks set to threaten the rights

618
00:36:49,840 --> 00:36:54,200
Speaker 1: of women and minorities across America. Elsewhere, a rise in

619
00:36:54,320 --> 00:36:57,400
Speaker 1: queer and female led porn has sparked a new sexual

620
00:36:57,520 --> 00:37:01,439
Speaker 1: revolution of sorts. Sites including Ache Love Not Porn looked

621
00:37:01,440 --> 00:37:04,480
Speaker 1: at to pick the more realistic portrayal of sex that

622
00:37:04,560 --> 00:37:07,920
Speaker 1: actually appeals to the desires of women. Yet the truth

623
00:37:07,960 --> 00:37:11,480
Speaker 1: remains that promiscuous women and sex workers are still routinely

624
00:37:11,520 --> 00:37:15,759
Speaker 1: and institutionally discriminated against. Events such as slut Walk may

625
00:37:15,760 --> 00:37:20,480
Speaker 1: be challenging prejudices towards promiscuous women, yet women's rights continue

626
00:37:20,480 --> 00:37:25,560
Speaker 1: to be threatened and undermined. Ultimately, Hall continues the all

627
00:37:25,680 --> 00:37:29,879
Speaker 1: encompassing message of hardcore is not rooted in any one

628
00:37:29,920 --> 00:37:33,839
Speaker 1: time period. Twenty years later, Kim remains an anomaly due

629
00:37:33,840 --> 00:37:36,239
Speaker 1: to her willingness to flaunt her sexuality and flip the

630
00:37:36,239 --> 00:37:40,040
Speaker 1: script on men with raw, sexually explicit lyrics. She may

631
00:37:40,080 --> 00:37:43,480
Speaker 1: have been sexualized, but she was never unaware. She was

632
00:37:43,560 --> 00:37:46,120
Speaker 1: more than willing to strip down, sex up and dare

633
00:37:46,200 --> 00:37:48,799
Speaker 1: men to desire her. By doing so, she set an

634
00:37:48,840 --> 00:37:51,800
Speaker 1: example for women. Restructed by conservative values that tell women

635
00:37:52,040 --> 00:37:54,720
Speaker 1: they can either be smart or sexy, but really both,

636
00:37:55,239 --> 00:37:58,040
Speaker 1: women are taught that to exploit their sexuality is to

637
00:37:58,239 --> 00:38:01,920
Speaker 1: value their mind. Kim's stuck two fingers up at this,

638
00:38:02,000 --> 00:38:06,279
Speaker 1: achieving unprecedented success and critical acclaim while simultaneously flaw and

639
00:38:06,320 --> 00:38:08,919
Speaker 1: take her beauty and starting men to fuck her as

640
00:38:08,960 --> 00:38:12,640
Speaker 1: she wanted to be fucked. That's putting it perfectly. And

641
00:38:12,680 --> 00:38:16,560
Speaker 1: I mean, just like looking back at it, it's like,

642
00:38:16,719 --> 00:38:21,480
Speaker 1: you know, it's almost like she took the the caricature.

643
00:38:21,480 --> 00:38:23,719
Speaker 1: It's like we've we've had the same issues for so long.

644
00:38:23,760 --> 00:38:28,040
Speaker 1: But it's like, I remember when the video Vixen was

645
00:38:28,160 --> 00:38:32,040
Speaker 1: like there was just a point in hip hop when

646
00:38:32,640 --> 00:38:35,800
Speaker 1: just there was a lot more awareness, and it seems

647
00:38:35,840 --> 00:38:37,840
Speaker 1: to me that it was like, hey, you know, women

648
00:38:37,840 --> 00:38:40,920
Speaker 1: are depicted really fucked up because it's like the old,

649
00:38:41,000 --> 00:38:43,200
Speaker 1: the biggest, you know, we we have our female mcs

650
00:38:43,239 --> 00:38:45,919
Speaker 1: that are out there, but it's not like there's enough

651
00:38:45,960 --> 00:38:48,680
Speaker 1: of them. And then the depiction that we see of

652
00:38:48,719 --> 00:38:54,760
Speaker 1: women after that is the video Vixen, scanally clad, emotionless

653
00:38:54,960 --> 00:38:58,560
Speaker 1: in most cases, girl just standing there staring either at

654
00:38:58,560 --> 00:39:01,759
Speaker 1: the rapper or at the camera, like no expression, just

655
00:39:01,960 --> 00:39:04,680
Speaker 1: I'm here, I'm part of the set, I'm a problem,

656
00:39:04,719 --> 00:39:10,880
Speaker 1: And it's almost like little Kim took that caricature. It

657
00:39:11,080 --> 00:39:14,120
Speaker 1: was like, that's gonna be my rap character. Like what

658
00:39:14,239 --> 00:39:16,759
Speaker 1: happens with the video Vixen can rap. You get to

659
00:39:16,760 --> 00:39:19,200
Speaker 1: hear what the funk she's thinking. So and I feel

660
00:39:19,239 --> 00:39:23,240
Speaker 1: that it created like a lame and even a sub

661
00:39:23,320 --> 00:39:25,719
Speaker 1: sub genre in itself that I feel the likes of

662
00:39:25,840 --> 00:39:28,359
Speaker 1: Nicki Minaj and Cardi B and Megdal Stallion are kind

663
00:39:28,360 --> 00:39:30,719
Speaker 1: of following in that tradition, you know, of of that

664
00:39:30,880 --> 00:39:34,160
Speaker 1: sort of I guess you can call a style, right

665
00:39:34,360 --> 00:39:38,400
Speaker 1: rap style. It's hard to really put it into context.

666
00:39:38,440 --> 00:39:42,120
Speaker 1: But in a pre Internet age, Little Kim was like

667
00:39:42,320 --> 00:39:46,719
Speaker 1: the hip hop pin up God is sex symbol that

668
00:39:46,760 --> 00:39:48,480
Speaker 1: whole thing. At the end of the day, let's just

669
00:39:48,680 --> 00:39:52,360
Speaker 1: not let's just not just act like we've been here before,

670
00:39:52,400 --> 00:39:54,319
Speaker 1: you know what I'm saying, Like this, we can like

671
00:39:54,400 --> 00:39:59,240
Speaker 1: our ship and we can elevate ship without forgetting about ship.

672
00:39:59,280 --> 00:40:01,359
Speaker 1: You know what I'm saying, Just if something happened before

673
00:40:01,400 --> 00:40:04,120
Speaker 1: some of us were born, doesn't mean that it no matter,

674
00:40:04,680 --> 00:40:07,839
Speaker 1: no longer has any sort of relevancy or anything like that.

675
00:40:07,920 --> 00:40:18,359
Speaker 1: You know. So let's talk about some music. So let's

676
00:40:18,360 --> 00:40:21,480
Speaker 1: talk about sex released to Night to ninety one on

677
00:40:21,719 --> 00:40:26,319
Speaker 1: their Black Magic's album Salt and Pepper. Sample here, I'll

678
00:40:26,360 --> 00:40:28,799
Speaker 1: take you there by the staple singers and hip hop

679
00:40:28,880 --> 00:40:32,000
Speaker 1: history is made. But let's talk about dick. But now

680
00:40:32,120 --> 00:40:35,280
Speaker 1: the people at home were to crowd keeps coming up. Anyhow,

681
00:40:35,960 --> 00:40:40,120
Speaker 1: they discussed the song was rolling stone. It's not a

682
00:40:40,200 --> 00:40:43,920
Speaker 1: song about sex. It's a song about talking about sex.

683
00:40:44,280 --> 00:40:46,560
Speaker 1: But as we kind of touched on earlier with the

684
00:40:46,640 --> 00:40:51,440
Speaker 1: title wet ass pussy um, even the mention alone um

685
00:40:51,480 --> 00:40:53,600
Speaker 1: of getting it on was enough to turn heads. And

686
00:40:53,640 --> 00:40:56,640
Speaker 1: so the fact that this tong was titled let's talk

687
00:40:56,640 --> 00:40:59,799
Speaker 1: about sex, like had people really fucked up. Salt recounts

688
00:40:59,800 --> 00:41:01,759
Speaker 1: somebody saying to her dad, I used to love your

689
00:41:01,840 --> 00:41:04,520
Speaker 1: daughter's music, but now she's going too far, and her

690
00:41:04,560 --> 00:41:06,920
Speaker 1: dad said to him, have you listened to the song?

691
00:41:07,400 --> 00:41:11,200
Speaker 1: And then he the man came back later after listening

692
00:41:11,200 --> 00:41:14,799
Speaker 1: to the song and apologized for writing it off as

693
00:41:15,080 --> 00:41:18,319
Speaker 1: sexually explicit, and really it's really not sexual explicit at all,

694
00:41:18,320 --> 00:41:21,160
Speaker 1: but it's really about sexual communications, which is so important.

695
00:41:21,520 --> 00:41:24,319
Speaker 1: One thing I will say is that this song is

696
00:41:24,360 --> 00:41:30,719
Speaker 1: surprisingly long, Like I mean, the verses are short, but

697
00:41:30,800 --> 00:41:33,560
Speaker 1: there's a lot of the song where it's just minutes

698
00:41:33,680 --> 00:41:36,560
Speaker 1: of them saying let's talk about sex baby over and

699
00:41:36,600 --> 00:41:40,760
Speaker 1: over again and nothing else. That's you get points deductive

700
00:41:40,800 --> 00:41:45,319
Speaker 1: for that ship to jump ahead in time a little bit. Um,

701
00:41:45,440 --> 00:41:50,560
Speaker 1: when we talk about Shawna's getting some head? What year

702
00:41:50,680 --> 00:41:54,080
Speaker 1: was that to the and shaunas two thousand and eight?

703
00:41:54,120 --> 00:42:02,359
Speaker 1: Getting some head chokes me And the hook is really

704
00:42:02,400 --> 00:42:04,880
Speaker 1: the most salacious part of the whole song. The lyrics

705
00:42:04,920 --> 00:42:08,080
Speaker 1: themselves are pretty standard you know, street ship, except for

706
00:42:08,120 --> 00:42:10,360
Speaker 1: when she says, Hey, little Mama, can you give me

707
00:42:10,400 --> 00:42:13,640
Speaker 1: a sec I got something some about as big as

708
00:42:13,680 --> 00:42:17,480
Speaker 1: your next Yeah, And then um, it's cool that she

709
00:42:17,600 --> 00:42:19,680
Speaker 1: sampled for that hook to get in some head. That's

710
00:42:19,719 --> 00:42:22,400
Speaker 1: two shorts voice that she sampled, so it's like she

711
00:42:22,520 --> 00:42:26,080
Speaker 1: sampled in like the notorious sex rapper too short to

712
00:42:26,160 --> 00:42:28,640
Speaker 1: like say, getting some head In the hook of the song,

713
00:42:28,960 --> 00:42:31,680
Speaker 1: I'm going back to salt and pepper. They later on

714
00:42:31,760 --> 00:42:36,120
Speaker 1: would go on to release another famous song, women Singing

715
00:42:36,080 --> 00:42:40,480
Speaker 1: at Every wedding that happens in America. Shoot not fully

716
00:42:43,800 --> 00:42:47,359
Speaker 1: when I get what I finally interesting about this song,

717
00:42:48,280 --> 00:42:50,640
Speaker 1: and I think it's really telling for the time because

718
00:42:50,640 --> 00:42:54,359
Speaker 1: it's just like kind of prel comb big Twins verse

719
00:42:54,480 --> 00:42:58,600
Speaker 1: on is the raunchiest verse on the and so it

720
00:42:58,680 --> 00:43:02,120
Speaker 1: sort of speaks to what people were allowed to say then,

721
00:43:02,760 --> 00:43:06,080
Speaker 1: like you know, Salton Pepper had to be like very

722
00:43:06,120 --> 00:43:10,279
Speaker 1: you know, like metaphoric and like oh I want to

723
00:43:10,360 --> 00:43:15,799
Speaker 1: shoot uh. And he's in there like this Nike is

724
00:43:15,840 --> 00:43:18,640
Speaker 1: coming in like I'm hitting skins for the hell of it,

725
00:43:18,880 --> 00:43:22,399
Speaker 1: just for the yell I get for the smell of it,

726
00:43:23,040 --> 00:43:24,600
Speaker 1: I mean, and the and the thing is, it's like

727
00:43:24,719 --> 00:43:27,880
Speaker 1: you gotta remember too at a time that this is happening.

728
00:43:28,600 --> 00:43:32,640
Speaker 1: There is in a way a sort of sexual revolution

729
00:43:33,719 --> 00:43:36,400
Speaker 1: kind of going on in hip hop at the time

730
00:43:36,480 --> 00:43:41,080
Speaker 1: where just rappers across the board or like more openly

731
00:43:41,360 --> 00:43:43,560
Speaker 1: and just you know what I mean a matter of fact,

732
00:43:43,640 --> 00:43:46,600
Speaker 1: he's talking about sex. It's just on the men's part.

733
00:43:46,960 --> 00:43:50,239
Speaker 1: It's manifesting itself in bitches, ain't ship of Homes and

734
00:43:50,280 --> 00:43:53,080
Speaker 1: Tricks and Salt and Pepper are doing stuff like this,

735
00:43:54,680 --> 00:43:58,560
Speaker 1: which I would argue is more creative. So up next,

736
00:43:58,560 --> 00:44:00,640
Speaker 1: we're gonna take it back to Little Him with her

737
00:44:00,760 --> 00:44:04,480
Speaker 1: song how many licks from down South you should like

738
00:44:04,560 --> 00:44:07,719
Speaker 1: me to spank it? Comments? Now I think there's I

739
00:44:07,760 --> 00:44:10,640
Speaker 1: feel like this is a sub genre of sexual song

740
00:44:11,120 --> 00:44:13,960
Speaker 1: where they go through a list of all the national

741
00:44:14,040 --> 00:44:17,200
Speaker 1: nationalities and different types of people they fucked. Is it

742
00:44:17,360 --> 00:44:20,359
Speaker 1: just me or like it's like Cold Party five by

743
00:44:20,400 --> 00:44:24,239
Speaker 1: Afroman That is the like it's like a thing. It's

744
00:44:24,280 --> 00:44:28,560
Speaker 1: like the nationality or the racial makeup of the sexual

745
00:44:28,560 --> 00:44:32,799
Speaker 1: conquest is definitely, uh, it's like a style of doing it.

746
00:44:32,960 --> 00:44:37,800
Speaker 1: But the straight up song presented as each verse is

747
00:44:37,840 --> 00:44:41,120
Speaker 1: a list of sexual you know what I mean endeavors.

748
00:44:41,719 --> 00:44:45,680
Speaker 1: That is the basic structure of most like porno rap

749
00:44:45,840 --> 00:44:48,400
Speaker 1: sex rap songs. I knew what chick name this, I

750
00:44:48,480 --> 00:44:50,600
Speaker 1: did this, I knew a god name this? You know

751
00:44:50,680 --> 00:44:52,480
Speaker 1: I mean, like, that's pretty much how they set all

752
00:44:52,520 --> 00:44:57,400
Speaker 1: of it up. So even if you listen to uh what,

753
00:44:57,800 --> 00:44:59,640
Speaker 1: it follows that same sort of structure. It is like,

754
00:45:00,040 --> 00:45:02,120
Speaker 1: know this, I wanted that, I wanted this, I know

755
00:45:02,120 --> 00:45:04,200
Speaker 1: what that I'm doing this. It's just it's just that

756
00:45:04,239 --> 00:45:06,440
Speaker 1: that's the format for it. And then up next we

757
00:45:06,520 --> 00:45:23,440
Speaker 1: had Little Kim's Not Tonight, Come On Not Tonight. At

758
00:45:23,480 --> 00:45:26,080
Speaker 1: the time that this song came out and got I'm

759
00:45:26,120 --> 00:45:28,600
Speaker 1: aging myself so much on this guy Damn podcast. But

760
00:45:28,680 --> 00:45:31,160
Speaker 1: like at the time that this song came out, like

761
00:45:31,280 --> 00:45:35,200
Speaker 1: for whatever reason, there was like a movement in hip

762
00:45:35,280 --> 00:45:39,879
Speaker 1: hop that motherfucker's were really trying to start that was like, Yo,

763
00:45:40,920 --> 00:45:48,680
Speaker 1: real niggas don't eat pussy, We're nigga what. Yeah. I

764
00:45:48,719 --> 00:45:51,239
Speaker 1: don't know this for certain, but I feel that this

765
00:45:51,320 --> 00:45:54,719
Speaker 1: song isn't defined to that whole ship. No totally. Had

766
00:45:54,760 --> 00:45:57,160
Speaker 1: you heard the song before this episode? No? I had?

767
00:45:57,239 --> 00:46:00,439
Speaker 1: Actually yeah, yeah, yeah, I mean what I love about

768
00:46:00,440 --> 00:46:02,800
Speaker 1: the song. It's gonna it's gonna very classic R and B,

769
00:46:02,920 --> 00:46:07,399
Speaker 1: slow dam type vibe. And they're like, oh yeah, what's

770
00:46:07,400 --> 00:46:09,640
Speaker 1: that The bottle of the wine got the candles lit.

771
00:46:10,600 --> 00:46:14,719
Speaker 1: And then she's like, I'm kicked about the because because

772
00:46:14,719 --> 00:46:18,680
Speaker 1: he wouldn't eat my pussy. Like it's just like what

773
00:46:19,640 --> 00:46:23,440
Speaker 1: oh this this one, this next one, I personally feel

774
00:46:23,680 --> 00:46:29,560
Speaker 1: is the best objective songs. This was one of my

775
00:46:29,640 --> 00:46:33,280
Speaker 1: favors when I was when it first came out, Classic

776
00:46:33,320 --> 00:46:45,920
Speaker 1: Timberland production, Oops oh my by tweet featuring Yeah totally

777
00:46:45,920 --> 00:46:51,880
Speaker 1: about masturbation. But it's again like the like, shoot, it's subtle,

778
00:46:52,600 --> 00:46:55,080
Speaker 1: and it's not the subtle. It's not the subtlety of

779
00:46:55,120 --> 00:46:57,200
Speaker 1: it because I don't want to be misinterpreted. I don't

780
00:46:57,200 --> 00:47:00,239
Speaker 1: think the subtlety of it is what makes it. It's

781
00:47:00,280 --> 00:47:03,400
Speaker 1: like the point, it's like it's like lyrical ingerie, and

782
00:47:03,400 --> 00:47:07,200
Speaker 1: that it leaves something to be desired. I mean, trust

783
00:47:07,360 --> 00:47:09,919
Speaker 1: trust me, I know that there's a double standard. I'm

784
00:47:09,920 --> 00:47:12,680
Speaker 1: not denying the double standard. All I'm saying is that

785
00:47:14,719 --> 00:47:19,120
Speaker 1: generally amongst rappers, like if a rapper is gonna make

786
00:47:19,200 --> 00:47:23,840
Speaker 1: like a penis reference and it's like the most creative

787
00:47:23,880 --> 00:47:27,239
Speaker 1: thing they can think of is big, you know, I

788
00:47:27,239 --> 00:47:30,160
Speaker 1: don't there's there's there's not like a contingency in hip

789
00:47:30,239 --> 00:47:33,920
Speaker 1: hop that matters and that's like fun. Yeah, Like I

790
00:47:33,960 --> 00:47:36,440
Speaker 1: think most people would be like you couldn't think of

791
00:47:36,480 --> 00:47:38,839
Speaker 1: any flyer away to say that, you know what I mean,

792
00:47:38,960 --> 00:47:42,080
Speaker 1: like like that's there's no other way, Like like we

793
00:47:42,160 --> 00:47:45,160
Speaker 1: haven't heard that before millions of times before. So I

794
00:47:45,200 --> 00:47:49,400
Speaker 1: think that, you know, argument, just just an argument can

795
00:47:49,440 --> 00:47:55,880
Speaker 1: be made that the bluntness isn't necessarily a creative place

796
00:47:55,960 --> 00:47:58,319
Speaker 1: that the song could go. In some cases, it is

797
00:47:58,320 --> 00:48:01,280
Speaker 1: not even necessarily what sounds the best. You know, sometimes

798
00:48:01,360 --> 00:48:05,280
Speaker 1: less is more like for example, a part in wop

799
00:48:05,400 --> 00:48:07,120
Speaker 1: that has that For me, I'm sorry, I know we're

800
00:48:07,120 --> 00:48:08,480
Speaker 1: about to talk about tweet, but I just want to

801
00:48:08,480 --> 00:48:10,160
Speaker 1: go back to this apart in what that has that

802
00:48:10,320 --> 00:48:14,120
Speaker 1: for me is there's a part where she says, I

803
00:48:14,239 --> 00:48:16,480
Speaker 1: want you to hit that dangly thing in the back

804
00:48:16,520 --> 00:48:19,160
Speaker 1: of my neck. See that's what I like. That was

805
00:48:19,239 --> 00:48:22,760
Speaker 1: creative to me. I was like, yeah, I dig the exactly.

806
00:48:22,800 --> 00:48:27,359
Speaker 1: That's what I'm talking about. If if wapp was like

807
00:48:27,400 --> 00:48:30,880
Speaker 1: a bunch of lines like that on an MC level,

808
00:48:30,960 --> 00:48:32,560
Speaker 1: I think I could funk with it a lot more

809
00:48:32,600 --> 00:48:34,479
Speaker 1: and be like, oh yeah, they were going in though,

810
00:48:34,560 --> 00:48:36,200
Speaker 1: you know what I'm saying, Like some of those metaphors

811
00:48:36,200 --> 00:48:39,920
Speaker 1: were like real, real good. Sorry anyway, Tweet, she was

812
00:48:40,000 --> 00:48:42,279
Speaker 1: kind of a one hit wonder with this one kind

813
00:48:42,320 --> 00:48:45,000
Speaker 1: of yeah, I mean no, it's not even any kind

814
00:48:45,000 --> 00:48:47,200
Speaker 1: of about it. I think Tweet definitely. I can't think

815
00:48:47,239 --> 00:48:50,480
Speaker 1: of another Tweet song. But if you're gonna have one hit,

816
00:48:50,680 --> 00:48:53,279
Speaker 1: this is a hit. And I remember the summer that

817
00:48:53,400 --> 00:48:55,759
Speaker 1: this came out. This came out the same summer as

818
00:48:55,800 --> 00:48:57,879
Speaker 1: another song that we have on the list, But there

819
00:48:57,960 --> 00:49:01,200
Speaker 1: was a lot of female leisurement going on the summer

820
00:49:01,320 --> 00:49:04,400
Speaker 1: two thousand two, I'm telling and you tweet led the

821
00:49:04,440 --> 00:49:08,520
Speaker 1: forefront with this. This was one of those songs where everybody,

822
00:49:09,280 --> 00:49:11,080
Speaker 1: like when it was one of the songs where somebody

823
00:49:11,120 --> 00:49:14,279
Speaker 1: would tell you that it was about masturbation and you

824
00:49:14,280 --> 00:49:18,000
Speaker 1: would be like, and then you would listen to it's like,

825
00:49:18,239 --> 00:49:21,000
Speaker 1: oh ship, because it sounds like a standard R and

826
00:49:21,000 --> 00:49:24,239
Speaker 1: B song. If you're just kind of passively listening to it,

827
00:49:25,000 --> 00:49:27,200
Speaker 1: you know, it sounds like you know, you baby, it

828
00:49:27,239 --> 00:49:30,360
Speaker 1: sounds like you know, R and B swooning, crooning fair.

829
00:49:30,760 --> 00:49:33,480
Speaker 1: But when you like really listen to it, and it's like, Yo,

830
00:49:33,640 --> 00:49:38,040
Speaker 1: this is explicitly about masturbation. It's just that's like a

831
00:49:38,680 --> 00:49:41,480
Speaker 1: that's something that's hard to pull off as a songwriter.

832
00:49:41,600 --> 00:49:44,120
Speaker 1: So very well, it's on tweet wherever you are now, Yeah,

833
00:49:44,160 --> 00:49:48,839
Speaker 1: please you'll make make a sequel or something show why

834
00:49:48,920 --> 00:49:53,480
Speaker 1: are you? Next song is My Neck My Back by Kia,

835
00:49:53,640 --> 00:49:58,080
Speaker 1: which NPR in two eighteen ranked as number one four

836
00:49:58,239 --> 00:50:04,799
Speaker 1: on their song Century Women. I agree, I mean, like,

837
00:50:04,960 --> 00:50:07,000
Speaker 1: I mean, who am I to agree? But yeah, I

838
00:50:07,160 --> 00:50:11,799
Speaker 1: would say it's definitely one of the most important rap

839
00:50:11,920 --> 00:50:15,200
Speaker 1: songs because again, I'm only I'm trying to be as

840
00:50:15,239 --> 00:50:18,239
Speaker 1: objective as I can, and I always approach all the

841
00:50:18,320 --> 00:50:22,680
Speaker 1: music stuff from a rapper lens, and this is that

842
00:50:22,719 --> 00:50:28,080
Speaker 1: It's like the song is about oral sex, and up

843
00:50:28,080 --> 00:50:31,640
Speaker 1: to this point, the way that she's going in about

844
00:50:31,680 --> 00:50:35,000
Speaker 1: the subject, Little Kim didn't do it like that, you

845
00:50:35,040 --> 00:50:38,760
Speaker 1: know what I'm saying. She picks a single sexual act

846
00:50:39,400 --> 00:50:43,680
Speaker 1: and describes it in every detail that you possibly can

847
00:50:43,840 --> 00:50:47,040
Speaker 1: throughout the entire song, Like every rhyme in the song

848
00:50:47,360 --> 00:50:50,960
Speaker 1: is like related to whereas this is other sub genre.

849
00:50:51,040 --> 00:50:54,479
Speaker 1: That's like I met up with Mary Jane and we fuck,

850
00:50:54,600 --> 00:50:56,759
Speaker 1: and I met up with Mary Beth and wait fun

851
00:50:56,880 --> 00:50:59,879
Speaker 1: he's She's like, I'm gonna talk about the next the

852
00:51:00,280 --> 00:51:03,440
Speaker 1: six hours of my day. Yeah, and I mean in

853
00:51:03,680 --> 00:51:06,120
Speaker 1: micro details. So you have the macro level, you've got

854
00:51:06,120 --> 00:51:08,960
Speaker 1: the micro level. And just to just to let you

855
00:51:08,960 --> 00:51:12,120
Speaker 1: guys all know that everything is full circle, trust me,

856
00:51:12,280 --> 00:51:15,200
Speaker 1: there was a whole contingency of the fucker's that were like,

857
00:51:16,239 --> 00:51:18,040
Speaker 1: I don't think a woman should be rapping about that,

858
00:51:18,200 --> 00:51:20,719
Speaker 1: and people had to point out, Oh, but um, what

859
00:51:20,800 --> 00:51:24,480
Speaker 1: about the n w A song She's swallowed it. Yeah,

860
00:51:24,480 --> 00:51:25,959
Speaker 1: you ain't got nothing to say now, all right, shut

861
00:51:25,960 --> 00:51:30,440
Speaker 1: the funk up, you know. So the tradition continues today.

862
00:51:31,200 --> 00:51:33,239
Speaker 1: The last song that I put on here and you

863
00:51:33,239 --> 00:51:37,000
Speaker 1: haven't heard this yet, is uh this Cupcake song and

864
00:51:37,040 --> 00:51:39,120
Speaker 1: I wanted to I want you to check it out

865
00:51:39,160 --> 00:51:42,920
Speaker 1: because this is a contemporary who, again, like we said before,

866
00:51:43,040 --> 00:51:46,800
Speaker 1: is not like a small artist. So here what she's doing,

867
00:51:46,840 --> 00:51:49,759
Speaker 1: and compare this to even WAP. This is Cupcake with

868
00:51:49,880 --> 00:52:02,120
Speaker 1: black Jack and she's just going in with bars like

869
00:52:02,200 --> 00:52:06,400
Speaker 1: that throughout the song. The video is her disheveled in

870
00:52:06,440 --> 00:52:08,960
Speaker 1: a room with a bunch of half naked guys like

871
00:52:09,000 --> 00:52:12,640
Speaker 1: they all just had a fucking orgy. And ships have

872
00:52:12,680 --> 00:52:16,240
Speaker 1: any creative metaphors exactly, And that's that's all I ask.

873
00:52:16,360 --> 00:52:19,160
Speaker 1: It's just go in, you know, like you can do

874
00:52:19,280 --> 00:52:21,880
Speaker 1: so much with rap and you can be so creative

875
00:52:21,920 --> 00:52:24,600
Speaker 1: with it. We both obviously know this with the topics

876
00:52:24,600 --> 00:52:28,359
Speaker 1: that we choose to talk about. So it's like, you know,

877
00:52:28,640 --> 00:52:31,520
Speaker 1: nobody likes some fucking pretentious motherfucker who's like, oh, you

878
00:52:31,560 --> 00:52:33,839
Speaker 1: should rap about this or what this is? What this

879
00:52:33,960 --> 00:52:37,839
Speaker 1: rap about isn't important or whatever whatever those dudes. Yeah,

880
00:52:38,120 --> 00:52:42,040
Speaker 1: but there is something to be said about if it

881
00:52:42,160 --> 00:52:44,920
Speaker 1: took you like five minutes to write some ship, it's

882
00:52:44,920 --> 00:52:47,080
Speaker 1: gonna sound like it took you five minutes to write

883
00:52:47,120 --> 00:52:49,480
Speaker 1: that ship. And there's no reason that why when you're

884
00:52:49,520 --> 00:52:53,160
Speaker 1: rapping about wet ass pussy. You know I'm saying that

885
00:52:53,200 --> 00:52:55,920
Speaker 1: you don't go as in on your rhymes. Put some

886
00:52:56,080 --> 00:52:57,959
Speaker 1: put some sank on it. Yeah, you know what I'm saying.

887
00:52:58,000 --> 00:53:00,279
Speaker 1: Just hell, grease in that ship. You know me? Come

888
00:53:00,320 --> 00:53:01,799
Speaker 1: on with a metaphor. You heard what she said? She

889
00:53:01,840 --> 00:53:03,920
Speaker 1: said you in that till it's looking like a hula?

890
00:53:03,960 --> 00:53:07,839
Speaker 1: Who what? Well? What you got in terms of bars? Oh?

891
00:53:07,960 --> 00:53:10,279
Speaker 1: I got you know. I told you I'm my iced

892
00:53:10,280 --> 00:53:12,560
Speaker 1: tea fans, So I try to keep up my my

893
00:53:12,640 --> 00:53:16,080
Speaker 1: one sex song album tradition going. So I got some

894
00:53:16,120 --> 00:53:18,640
Speaker 1: sex verses. Let's hear you here. Okay, let's let's do

895
00:53:18,719 --> 00:53:22,160
Speaker 1: some sex verses. All right? Yeah, look we get a beat?

896
00:53:25,080 --> 00:53:26,759
Speaker 1: Oh shit, you know what? You know what? We don't

897
00:53:26,760 --> 00:53:31,520
Speaker 1: do enough? Me and Lingua Franca are pretty good at

898
00:53:31,520 --> 00:53:34,000
Speaker 1: this rap thing. You guys should go check out our

899
00:53:34,120 --> 00:53:41,000
Speaker 1: music online. You know what I'm saying. We get busy.

900
00:53:42,040 --> 00:53:50,120
Speaker 1: You got a first Uh, we're waiting on reparations, were

901
00:53:50,280 --> 00:53:56,040
Speaker 1: waiting on reparations. Hurry hurriya. Number heard that I was

902
00:53:56,080 --> 00:53:58,360
Speaker 1: a charmer and he wasn't wrong, but he hadn't heard that.

903
00:53:58,760 --> 00:54:02,000
Speaker 1: He ever got that. I'm fond of violet paranas and

904
00:54:02,000 --> 00:54:04,520
Speaker 1: shipdn't mount Ronie Beach like the lines of performers, so

905
00:54:05,239 --> 00:54:08,160
Speaker 1: little buy me drinks of talk. Next no one on

906
00:54:08,280 --> 00:54:11,120
Speaker 1: top and he's hardest rocks gotten don't stop. Told him

907
00:54:11,360 --> 00:54:13,440
Speaker 1: me like you hate me because luft of power struggle

908
00:54:13,480 --> 00:54:14,879
Speaker 1: and then when you don't get out of my house,

909
00:54:15,400 --> 00:54:18,080
Speaker 1: we ain't seen it yet, coastes feeling next fucking eating

910
00:54:18,120 --> 00:54:20,440
Speaker 1: flash secrets, Campus of best to pats. Don't want to

911
00:54:20,520 --> 00:54:22,800
Speaker 1: keep a check, keep it wet with the fucking freaks.

912
00:54:22,800 --> 00:54:25,160
Speaker 1: Wouldn't even guests need to rest some so fucking be

913
00:54:25,320 --> 00:54:28,200
Speaker 1: from this convenience. Sex Yo, dog got me hanging in

914
00:54:28,239 --> 00:54:30,680
Speaker 1: the net, tell me I ain't ship with a hands

915
00:54:30,719 --> 00:54:32,960
Speaker 1: around my neck. Get sick of the work. I want

916
00:54:32,960 --> 00:54:34,759
Speaker 1: to go out and play because when I get you

917
00:54:34,800 --> 00:54:38,319
Speaker 1: all alone, I don't know what to sakes. So my

918
00:54:38,400 --> 00:54:41,600
Speaker 1: name's Dope knife baby, I'm Lingua Franca and we are

919
00:54:41,680 --> 00:54:47,680
Speaker 1: waiting on reparation. See you next week. Waiting on Reparations

920
00:54:47,680 --> 00:54:51,120
Speaker 1: as a production of iHeart Radio. Listen to Waiting on

921
00:54:51,200 --> 00:54:54,600
Speaker 1: Reparations on the I Heart Radio app, Apple Podcasts, or

922
00:54:54,640 --> 00:54:56,080
Speaker 1: wherever you get your podcasts.