WEBVTT - Adult Content

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<v Speaker 1>You're listening to it waiting our reparations a production of

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<v Speaker 1>I Heart Radio. Yeah yeah yeah, waiting our reparations, Yeah yeah, yeo.

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<v Speaker 1>I'm like, oh, that's what I was hoping, And here

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<v Speaker 1>you look like nobody took the time to choke you

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<v Speaker 1>in years. I hope you're prepared. It's been a minute.

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<v Speaker 1>I'm out of practice, kind of flastered until you and

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<v Speaker 1>dressing that it was time to wax this factors. Usually

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<v Speaker 1>you're moderate, trying not to be obvious. Nice guys times

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<v Speaker 1>like this. You like it when I'm doming it. Hold

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<v Speaker 1>me in your hands again, be stiffer than the mannequin.

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<v Speaker 1>Look me in the yard. Don't move until I jam

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<v Speaker 1>it in. I don't want to hold you, just want

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<v Speaker 1>to hold you down to your squirt and then I

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<v Speaker 1>drowned like the funk I'm told to. Since you left

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<v Speaker 1>has been some kinky sexs have been exposed to. So

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<v Speaker 1>I hope you cool. If I got ship, I'm trying

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<v Speaker 1>to show you a little disgusting like fruitcake. Hey leave

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<v Speaker 1>them struggling with two when I write on Nigglas like

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<v Speaker 1>they kind of pillars in the shallow river. Cool rain,

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<v Speaker 1>ain't miss me with that group things. I'm sitting home

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<v Speaker 1>every Tuesday, I'm pissing off of the power dealers and

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<v Speaker 1>kissing on all those the cute gigs she's had, And

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<v Speaker 1>what an average figure. I'm a shower witter? Is that

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<v Speaker 1>bad to consider it? Is it in the drag that

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<v Speaker 1>your girls in my lap? Again? Like she a napkin

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<v Speaker 1>and dinner. She was a capitalist unattracted to women until

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<v Speaker 1>I came mckin on Twitter. Now she likes Jacobin and

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<v Speaker 1>dropping banners from Brendain's and dunking on fashionst but glitter.

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<v Speaker 1>So yo, I don't think I heard that one. Okay,

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<v Speaker 1>I'm dope, knife, I'm Lingua franca. We are waiting on reparations.

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<v Speaker 1>Hurry up. So how are you doing. I'm fine. You

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<v Speaker 1>had a little adventure this weekend. I always have an adventure,

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<v Speaker 1>just having an adventure. So I drove down to Stone

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<v Speaker 1>Mountain where white supremacists were gathering to defend the Confederate

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<v Speaker 1>monument Hard in the Face of Stone Mountain, the largest

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<v Speaker 1>basil based relief sculpture in the world or something like that.

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<v Speaker 1>I saw that on like Twitter, like it was kind

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<v Speaker 1>of crazy. There was so we showed up. Um there

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<v Speaker 1>was a coalition of I think like thirty different organizations

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<v Speaker 1>around the southeast from as far as the way it

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<v Speaker 1>is like Birmingham, I think they're actually worth some anti

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<v Speaker 1>fascists that came down who flew in from Portland to

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<v Speaker 1>take part um, to resist the gathering of white supremacists there,

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<v Speaker 1>to defend the Confederate monument and to call for the

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<v Speaker 1>sin blasting of Stone Mountain. So what went down because like,

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<v Speaker 1>as far as it looked like from if you were

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<v Speaker 1>just you know, sitting on your ass at home watching

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<v Speaker 1>you know, TV and seeing it's you know, on your

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<v Speaker 1>Twitter feed, it seemed like it was a full on

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<v Speaker 1>clash of like different groups and stuff like that. So

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<v Speaker 1>the white supremacists were not issued a permit for their protest,

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<v Speaker 1>and so they actually ended up locking down Stone Mountain

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<v Speaker 1>Park to prevent them from gathering there. But they were

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<v Speaker 1>showing up nonetheless. So we were gonna show up nonetheless,

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<v Speaker 1>um and just make it known to them that you know,

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<v Speaker 1>you weren't going to stand for it. I can stand

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<v Speaker 1>for that ship. So was there a protesting Stone Mountain

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<v Speaker 1>earlier in the summer? In the earlier the summer might

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<v Speaker 1>have been, Oh yeah, So it's back then, not sucking around.

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<v Speaker 1>Coalition gathered in Stone Mountains. Yeah, like a couple of hundred,

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<v Speaker 1>maybe even a thousand people deep. But what really happened

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<v Speaker 1>maybe two blocks away there was another gathering and there

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<v Speaker 1>was like a big Confederate flag kind of waving back

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<v Speaker 1>and forth above the gathering, and all these people dressed

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<v Speaker 1>in black. So people just started going over there. They're like,

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<v Speaker 1>fucking funk here, Kendrick Lamar, We're gonna be all right,

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<v Speaker 1>Like we're gonna go fucking take it to them right now.

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<v Speaker 1>And I was kind of nervous because it seemed like

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<v Speaker 1>a similarly sized gathering as the anti fascist gathering that

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<v Speaker 1>we're all part of. That. I got over there and

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<v Speaker 1>what discovered is that all the people clad in black,

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<v Speaker 1>we're also antifa um. And there was only like eleven

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<v Speaker 1>like white supremacists with all of their guns and their camo, etcetera.

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<v Speaker 1>But once the huge group started rolling up on them,

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<v Speaker 1>we just like very quickly surrounded them, started like getting

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<v Speaker 1>them to back up, started back away. You're channing, go home, racists,

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<v Speaker 1>go home. Would you say the demographic was of like

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<v Speaker 1>the antifa um? It was mixed. I mean a lot

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<v Speaker 1>of different ages and races. I'd say probably mostly white people,

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<v Speaker 1>but um, because I've noticed that there's been especially since um,

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<v Speaker 1>in the months since the process has kind of calmed down,

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<v Speaker 1>I've noticed that just in terms of like the corporate

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<v Speaker 1>media narrative, there seems to be kind of like a

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<v Speaker 1>painting of progressivism in general or just leftists thinking in

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<v Speaker 1>general is like being a white thing, and they're trying

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<v Speaker 1>to like painted as cases like these when white supremacists

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<v Speaker 1>are showing up with tons of guns. Uh, Like, it

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<v Speaker 1>makes more sense to me for white folks to put

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<v Speaker 1>their bodies on the line to push back because like,

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<v Speaker 1>of course they're going to pull the trigger more easy

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<v Speaker 1>if it's like a bunch of up. Yeah, And there

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<v Speaker 1>were you know, like there were like a lot of

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<v Speaker 1>black people. There also a lot of people from Stone

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<v Speaker 1>Mountain that came and joined us, And so that was

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<v Speaker 1>the early part. And then later on we did a

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<v Speaker 1>march around the block and encountered some more groups. I

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<v Speaker 1>guess the white supremacist sort of consolidated. There's only like

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<v Speaker 1>twenty of them versus like a hundred to two hundred

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<v Speaker 1>of us, and so we were like I didn't I

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<v Speaker 1>was not participant in this part, but I watched with

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<v Speaker 1>glee as their you know, Confederate flags were getting snatched

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<v Speaker 1>and burned other sorts of altercations. Unfortunately, they eventually fought

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<v Speaker 1>back and one of the white supremacists started spraying raid

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<v Speaker 1>in the faces of the Antifa folks. Um and then

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<v Speaker 1>the cops showed up, and that's when me and my

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<v Speaker 1>contention like, yeah, They're like, there's no like concrete demands

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<v Speaker 1>to get arrested over. That's what's gonna ye guess to jail.

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<v Speaker 1>Who knows where they're gonna take us to jail where

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<v Speaker 1>from appens. I'm not trying to get locked up in

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<v Speaker 1>Fulton County or something. So we split, but um Hall

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<v Speaker 1>and all. We humiliated them, and it felt really good. Yeah,

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<v Speaker 1>I mean there they should be used to els by

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<v Speaker 1>this point. Yeah, you know I was. I was kind

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<v Speaker 1>of shocked when you came back, because, you know, when

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<v Speaker 1>I brought up possibly what we wanted to do the

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<v Speaker 1>episode about, and you were kind of aware of what

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<v Speaker 1>was going on. I was shocked, as busy as you

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<v Speaker 1>are that you know that you even reached your radar.

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<v Speaker 1>But this whole situation with the Cardi B and Meg

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<v Speaker 1>the Stallion song how do you I would pronounce it? Whatp?

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<v Speaker 1>How would you pronounce it? Like? Well, I mean it

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<v Speaker 1>started a bunch of discussion and got you know, both

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<v Speaker 1>of us thinking. This episode, we're going to be discussing

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<v Speaker 1>the history of abscenity law in the United States and

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<v Speaker 1>it's implications for the conversations that have come up surrounding

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<v Speaker 1>Cardi B and mag The Stallions song Wow concerning uh

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<v Speaker 1>primarily you know, sexually explicit lyrics and in particular, you know,

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<v Speaker 1>hip hop and society at largest reaction towards women taking

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<v Speaker 1>control of the subject of sexuality. So on August seven,

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<v Speaker 1>rappers Cardi B and Meg the Stallion caused the mini

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<v Speaker 1>uproar with the release of their song Whop, which is

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<v Speaker 1>an acronym for wet ass, pussy, raunchy and explicit club

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<v Speaker 1>banger with the ladies. You know, they run down a

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<v Speaker 1>checklist of their sexual wants, needs, exploits, and abilities. You know.

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<v Speaker 1>It's it's it's got funny innuendo, punchlines, trap bat it's

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<v Speaker 1>standard ship, you know what I mean. It's like typical

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<v Speaker 1>club banger. It's got a dope sample from that nineties

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<v Speaker 1>dance song. There's some Whars in this House by Frank Ski.

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<v Speaker 1>You know there's some wres in this house. There's some

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<v Speaker 1>more you heard this ship? Yeah, but could it be

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<v Speaker 1>considered obscene? My immediate answer would be no, And I'm

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<v Speaker 1>not really sure that it is considered obscene? What do

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<v Speaker 1>you think? I mean, I think, having done some research

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<v Speaker 1>into how obscenity is legally defined, and we'll get more

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<v Speaker 1>into that in a second, I would say no because

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<v Speaker 1>it does have artistic merit, but we'll come back to that.

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<v Speaker 1>But culturally, what do you think? When I talk with

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<v Speaker 1>a lot of friends that my age where always we

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<v Speaker 1>always talk about where the generation that's old enough to

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<v Speaker 1>have known life before the Internet was crazy all over

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<v Speaker 1>the place. But we're young enough to have grown up

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<v Speaker 1>a little bit in the Internet age. And I find

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<v Speaker 1>kids these days are exposed to a lot more quicker

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<v Speaker 1>and just culturally compared to when I was a kid,

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<v Speaker 1>Just like sexuality and sexual expression is much more accepted

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<v Speaker 1>than it was even ten years ago. A little bit

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<v Speaker 1>about the trailblazers that made that possible. Within music, I

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<v Speaker 1>feel that's gotten lost in some of the the conversation

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<v Speaker 1>around the song. Is you know you obviously you have

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<v Speaker 1>the people who are grand standing on like some moral

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<v Speaker 1>basis and it's like, oh my god, I can't believe

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<v Speaker 1>that there's a song where they're talking about us pussy,

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<v Speaker 1>you know. And then you've got uh the hotels who

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<v Speaker 1>are like, oh, women shouldn't talk about these things and

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<v Speaker 1>she should were children. Yeah, it's like, I don't even

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<v Speaker 1>know why we're entertaining what these people think. But obviously

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<v Speaker 1>those voices are out there. But the reason that in

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<v Speaker 1>that that's not like the dominating opinion is because of

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<v Speaker 1>people who Blaze put that work and made those songs

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<v Speaker 1>and made those statements so that there's people who walked

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<v Speaker 1>on glass and hot coal, so that Cardi B and

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<v Speaker 1>Meg the Stallion could gallop in the field and we're

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<v Speaker 1>gonna we're gonna pay some homage to them today. I

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<v Speaker 1>feel like the song is definitely growing on me. If

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<v Speaker 1>I weren't for COVID, i'd definitely be the answer to

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<v Speaker 1>this at church Bar every Saturday. First, on the topic

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<v Speaker 1>of it being obscene, because since there's so many people

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<v Speaker 1>that are pearl clutching, you know, like they've never heard

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<v Speaker 1>something like this before, why don't we break down a

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<v Speaker 1>little bit of what obscenity actually is and how it's

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<v Speaker 1>been dealt with in the American legal So, the first

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<v Speaker 1>ever federal law restricting the distribution of obscene materials came

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<v Speaker 1>out came about in eighteen seventy three, largely thanks to

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<v Speaker 1>the efforts of anti advice activists and total kill joy

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<v Speaker 1>Anthony Comstock, who famous anarchists Emma Goldman referred to in

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<v Speaker 1>her autobiography as the leader of America's moral unis. The

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<v Speaker 1>Comstock Act prohibited sexually explicit material to be distributed through

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<v Speaker 1>the mail, which included information about birth control and abortion,

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<v Speaker 1>which I think is an important fact. Sneak those certain

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<v Speaker 1>things in there, don't they? Right? It's all I mean,

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<v Speaker 1>like it's about it. And I think this history is

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<v Speaker 1>important because it shows how laws restricting freedom or speech

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<v Speaker 1>when it comes to sexuality and the ways that that

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<v Speaker 1>trickles down into the culture have always been about controlling

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<v Speaker 1>women and controlling women can do and what women can say. However,

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<v Speaker 1>the legislation UH did not define obscenity, and they said

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<v Speaker 1>left it to the court determined on a case by

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<v Speaker 1>case basis, and us um obscenity law is actually unusual

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<v Speaker 1>in this aspect. And that there's no uniform national standard um.

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<v Speaker 1>There's an explicit legal precedent, the Miller tests, which we'll

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<v Speaker 1>talk about in a second UM, that allows something which

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<v Speaker 1>is legally obscene in one jurisdiction to be legally fine

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<v Speaker 1>in another. UM. There doesn't exist as specific listing of

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<v Speaker 1>a which exact acts are to be classified as obscene

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<v Speaker 1>on like a national all scale. Now, preceding the Miller tests,

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<v Speaker 1>there were several standards historically by which something could be

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<v Speaker 1>deemed legally obscene. In eight the case a Rosen versus

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<v Speaker 1>the United States, the Supreme Court adopted the same obscenity

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<v Speaker 1>standard as had been articulated in the famous British case

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<v Speaker 1>Regina versus Hicklin eighteen sixty eight. The Hicklin tests defined

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<v Speaker 1>material as obscene if intended to deprave or corrupt the

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<v Speaker 1>minds of those who are open as such immoral influences,

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<v Speaker 1>you know, people whose hands a publication of the Stork

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<v Speaker 1>could fall into, which I think is interesting because it's like,

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<v Speaker 1>what is depravity? What is corruption? Because on the other hand,

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<v Speaker 1>you might consider, and many do and are considering, a

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<v Speaker 1>song like WAPs to be very sexually empowering because they're

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<v Speaker 1>talking about what they want, talking about what they can do,

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<v Speaker 1>they're talking about what their standards are in articulating for themselves.

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<v Speaker 1>They're like agent, they're sexual agents rather than being like

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<v Speaker 1>sexual objects acted upon. And in that sense actually h

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<v Speaker 1>like bolstering, like confidence bolstering. But I don't know, I mean, like,

0:13:06.160 --> 0:13:09.000
<v Speaker 1>on the other hand, it sounds like a very fancy

0:13:09.000 --> 0:13:13.800
<v Speaker 1>way of saying people who were maybe frightened by their

0:13:13.840 --> 0:13:17.520
<v Speaker 1>own directions came up with these laws. That's the Yeah, Okay,

0:13:17.600 --> 0:13:20.520
<v Speaker 1>So this got thrown out in the mid nineteen fifties

0:13:20.640 --> 0:13:24.080
<v Speaker 1>the Hickland test, and then it was supplanted by the

0:13:24.160 --> 0:13:27.200
<v Speaker 1>Rath test, which said that something is obscene if to

0:13:27.240 --> 0:13:31.280
<v Speaker 1>the average person applying contemporary community standards, the dominant theme

0:13:31.320 --> 0:13:34.040
<v Speaker 1>of the material, taken as a whole, appeals to the

0:13:34.120 --> 0:13:37.320
<v Speaker 1>prurian interest. So if it makes you feel a little

0:13:39.000 --> 0:13:43.760
<v Speaker 1>if you feel at a little tingly, that makes you

0:13:43.800 --> 0:13:45.880
<v Speaker 1>a little uncomfortable. Yeah, if you're if you get a

0:13:45.920 --> 0:13:48.319
<v Speaker 1>boner and you're scared. But yeah, it's like, oh my god,

0:13:48.440 --> 0:13:52.000
<v Speaker 1>and you're an average person applying contemporary community standard. And

0:13:52.000 --> 0:13:55.720
<v Speaker 1>then also you rewind ship by like two hundred and

0:13:55.760 --> 0:13:58.800
<v Speaker 1>fifty years you know what I'm saying, like ankles and

0:13:58.920 --> 0:14:03.400
<v Speaker 1>collar balls, Like oh or not? What's happening to you? Mom? Uh?

0:14:03.440 --> 0:14:06.280
<v Speaker 1>There you go. The test got another upgrade in nineteen

0:14:06.400 --> 0:14:10.160
<v Speaker 1>seventy three with the court case Miller versus California, which

0:14:10.240 --> 0:14:13.760
<v Speaker 1>established the Miller test as the new metric for obscenity

0:14:13.840 --> 0:14:16.640
<v Speaker 1>that we still use today. Um and with it, you know,

0:14:16.800 --> 0:14:21.080
<v Speaker 1>determining whether or not materialist protected by the First Amendment.

0:14:21.440 --> 0:14:26.720
<v Speaker 1>So the Miller test, also called the three pronged obscenity test, says, UM,

0:14:26.880 --> 0:14:31.360
<v Speaker 1>whether the average person applying contemporary community standards would find

0:14:31.440 --> 0:14:35.080
<v Speaker 1>that the work taken as a whole arouses some kind

0:14:35.120 --> 0:14:39.280
<v Speaker 1>of sexual desire anxiety, Whether the work depicts or describes

0:14:39.720 --> 0:14:43.960
<v Speaker 1>in a patently offensive ways actual conduct or expratory functions.

0:14:44.000 --> 0:14:49.360
<v Speaker 1>It's actually interesting how those are looping together, um, specifically

0:14:49.480 --> 0:14:52.800
<v Speaker 1>defined by applicable state law. And then the last was

0:14:53.120 --> 0:14:57.520
<v Speaker 1>whether the work taken as a whole lack serious literary, artistic, political,

0:14:57.600 --> 0:15:00.960
<v Speaker 1>or scientific value, which is it's last because it's the

0:15:01.040 --> 0:15:04.680
<v Speaker 1>last line of defense. So it's like if if they

0:15:04.800 --> 0:15:06.800
<v Speaker 1>if none of the other stuff could be proven, then

0:15:06.800 --> 0:15:09.360
<v Speaker 1>it's like that last bit, it's like, I don't like this,

0:15:10.040 --> 0:15:12.760
<v Speaker 1>what's the thing. If all three conditions are satisfied by

0:15:12.760 --> 0:15:15.720
<v Speaker 1>the texting question, the work is considered an obscene. So

0:15:15.760 --> 0:15:19.680
<v Speaker 1>it can't just be talking about an excrittory function. It

0:15:19.760 --> 0:15:22.400
<v Speaker 1>can't just be whether or not you get a scared

0:15:22.520 --> 0:15:25.840
<v Speaker 1>boner when you listen to it. It has to be

0:15:25.920 --> 0:15:28.400
<v Speaker 1>all of these things together. Okay, so let's go down,

0:15:28.600 --> 0:15:31.120
<v Speaker 1>let's let's try to let's let's put it to the test.

0:15:31.120 --> 0:15:36.880
<v Speaker 1>Then does whop past the Miller tests? So depends on

0:15:36.880 --> 0:15:39.840
<v Speaker 1>how you to find the apples person applying contemporary community

0:15:39.880 --> 0:15:43.040
<v Speaker 1>standards because, like you said at the top, a lot

0:15:43.080 --> 0:15:45.520
<v Speaker 1>a lot of teams today grew up in the wild

0:15:45.560 --> 0:15:48.520
<v Speaker 1>west of the Internet. It's really when I was a kid,

0:15:49.480 --> 0:15:54.080
<v Speaker 1>let's say when I was like thirteen twelve, I'd say,

0:15:54.320 --> 0:15:56.640
<v Speaker 1>is around when I personally think I don't know what

0:15:57.000 --> 0:15:59.720
<v Speaker 1>my parents think, but like around the age when I

0:15:59.760 --> 0:16:02.200
<v Speaker 1>think my mom probably would have like been like, you're

0:16:02.240 --> 0:16:08.360
<v Speaker 1>listening to what you know? So let's say that age, Yeah,

0:16:08.400 --> 0:16:10.240
<v Speaker 1>I would have had to go into a record store

0:16:10.320 --> 0:16:12.760
<v Speaker 1>to buy you know what, I mean, to get ahold

0:16:12.800 --> 0:16:14.600
<v Speaker 1>of it because they probably wouldn't have played this on

0:16:14.640 --> 0:16:16.760
<v Speaker 1>the radio, and there was no Internet where I could

0:16:16.800 --> 0:16:19.560
<v Speaker 1>just hear it uncensored, so that would it's the average

0:16:19.560 --> 0:16:23.920
<v Speaker 1>person of my day, not like a kid or anything

0:16:23.960 --> 0:16:26.760
<v Speaker 1>like that. I guess would have been in their late teens,

0:16:26.880 --> 0:16:30.920
<v Speaker 1>early twenties. Right, Okay, now the average person that's gonna

0:16:31.040 --> 0:16:35.040
<v Speaker 1>be exposed to it, just keeping it a buck, right,

0:16:35.560 --> 0:16:38.600
<v Speaker 1>we're talking like eight year old. Yeah, that's a good point,

0:16:38.680 --> 0:16:40.200
<v Speaker 1>you know what I'm saying. That's just if we're keeping

0:16:40.200 --> 0:16:45.320
<v Speaker 1>it like honest, eight year old has the time to

0:16:45.440 --> 0:16:50.480
<v Speaker 1>like stream one song twenty seven times on Spotify, you know,

0:16:51.040 --> 0:16:56.200
<v Speaker 1>Like that's not like with like bills and responsibilities. Well,

0:16:56.320 --> 0:17:02.160
<v Speaker 1>I think the work does depict in patently partently offensive

0:17:02.480 --> 0:17:04.719
<v Speaker 1>sexual contact. They talk up the other like you know,

0:17:04.800 --> 0:17:09.000
<v Speaker 1>I wouldn't say patently offensive. Cultural standards have changed, just

0:17:09.000 --> 0:17:14.480
<v Speaker 1>just to go back if we're talking about then yeah,

0:17:14.960 --> 0:17:18.040
<v Speaker 1>you know I can I can totally understand. We've got

0:17:18.040 --> 0:17:21.960
<v Speaker 1>this dynamic of the Christian right and all that sort

0:17:22.000 --> 0:17:25.760
<v Speaker 1>of ship that doesn't exist at all. Like there literally

0:17:25.920 --> 0:17:28.440
<v Speaker 1>is no one that has any sort of moral high

0:17:28.480 --> 0:17:31.480
<v Speaker 1>ground to like get mad at a sexually explicit song.

0:17:32.920 --> 0:17:34.640
<v Speaker 1>I just don't. I don't think so there's there's no

0:17:34.680 --> 0:17:36.600
<v Speaker 1>one that's living up to that. We're all I think

0:17:36.600 --> 0:17:39.920
<v Speaker 1>at this point we all kind of under I think

0:17:39.920 --> 0:17:44.560
<v Speaker 1>at this point it's just patently hypocritical to think that

0:17:44.600 --> 0:17:48.119
<v Speaker 1>anything in the song is patently offensive. Yeah, but then

0:17:48.160 --> 0:17:51.240
<v Speaker 1>there's the third point whether the work taken as a

0:17:51.240 --> 0:17:55.800
<v Speaker 1>whole lax serious literary, artistic, political, or scientific value. So

0:17:55.840 --> 0:17:58.680
<v Speaker 1>I think with this what I mean, you can I

0:17:58.960 --> 0:18:00.639
<v Speaker 1>do think the song has our two sick merritt. I

0:18:00.680 --> 0:18:04.400
<v Speaker 1>do think Meg's cadence, her flow is pretty dope. I mean,

0:18:04.440 --> 0:18:07.280
<v Speaker 1>and I'm not a super fan of Cardi B's like

0:18:07.359 --> 0:18:14.280
<v Speaker 1>flow is um pretty standard for her. But political value,

0:18:14.880 --> 0:18:19.800
<v Speaker 1>I think it has unintended political value, you know, kind

0:18:19.800 --> 0:18:22.720
<v Speaker 1>of kind of like what we were we talked about

0:18:22.720 --> 0:18:26.720
<v Speaker 1>on a few episodes ago about people's intent, and it's

0:18:26.800 --> 0:18:28.719
<v Speaker 1>kind of one of those things where I don't think

0:18:29.359 --> 0:18:34.919
<v Speaker 1>that it was intended to be that statement, but just

0:18:35.080 --> 0:18:37.600
<v Speaker 1>in the midst of the uproar about it, it's kind

0:18:37.640 --> 0:18:41.080
<v Speaker 1>of I don't like Cardi B is pretty smart. I

0:18:41.080 --> 0:18:43.440
<v Speaker 1>wish you understand. Not really a question of whether or

0:18:43.480 --> 0:18:46.720
<v Speaker 1>not Cardi B is smart or Cardi B like, it's

0:18:46.720 --> 0:18:50.560
<v Speaker 1>not about her capabilities a matter of fact, she is like,

0:18:50.680 --> 0:18:54.000
<v Speaker 1>you know, on record recently, amiss all of this, like

0:18:54.040 --> 0:18:55.920
<v Speaker 1>pretty much putting that out there. That was like, Hey,

0:18:56.000 --> 0:18:59.000
<v Speaker 1>I tried to make a serious song before nobody streamed it.

0:18:59.000 --> 0:19:00.880
<v Speaker 1>People streamed when I talk about my pussy, So I'm

0:19:00.880 --> 0:19:03.000
<v Speaker 1>gonna talk about my pussy. She's like, you guys should

0:19:03.000 --> 0:19:05.560
<v Speaker 1>stream she She's like, you guys should stream the female

0:19:05.600 --> 0:19:07.960
<v Speaker 1>rappers that don't talk about their pussy. That was pretty

0:19:08.000 --> 0:19:11.119
<v Speaker 1>much her her argument for it, which, hey, you know,

0:19:11.160 --> 0:19:15.840
<v Speaker 1>it's like, do you think I get it? It's just

0:19:16.280 --> 0:19:19.960
<v Speaker 1>she's done songs like this before, so I don't understand

0:19:20.000 --> 0:19:26.440
<v Speaker 1>why this one unless her whole entire rap stick is like,

0:19:26.720 --> 0:19:32.359
<v Speaker 1>this whole thing is for the purpose of sexual expression

0:19:32.400 --> 0:19:34.879
<v Speaker 1>and empowerment. And I get that that makes sense, and

0:19:34.880 --> 0:19:37.160
<v Speaker 1>it very well might be the case, but I don't

0:19:37.200 --> 0:19:40.159
<v Speaker 1>know why this song would be the song that is

0:19:40.280 --> 0:19:44.000
<v Speaker 1>chosen to make that statement when the City Girls Torque

0:19:44.040 --> 0:19:46.600
<v Speaker 1>song that she did just last summer was pretty much

0:19:46.640 --> 0:19:49.040
<v Speaker 1>the same song with a better beat in my opinion.

0:19:49.440 --> 0:19:52.119
<v Speaker 1>So in the nineties seventies we kind of developed the

0:19:52.160 --> 0:19:55.920
<v Speaker 1>standards for obscenity that are still while they used today,

0:19:55.960 --> 0:19:58.399
<v Speaker 1>but the battle over obscenity and music really ramped up

0:19:58.400 --> 0:20:01.560
<v Speaker 1>in the eighties with the Parents Music Resource Center p

0:20:01.720 --> 0:20:08.840
<v Speaker 1>M MARC list of songs deemed unsuitable content and levying

0:20:09.000 --> 0:20:13.840
<v Speaker 1>particularly heavy criticism against Princes Darling Nikki after co founder

0:20:13.840 --> 0:20:16.960
<v Speaker 1>of Tipperacre heard her eleven year old daughter saying the lyrics,

0:20:16.960 --> 0:20:20.760
<v Speaker 1>which included an explicit mention of masturbation. Let's uh, let's

0:20:21.280 --> 0:20:25.400
<v Speaker 1>backtrack and check out those um fifteen songs. We've got

0:20:25.480 --> 0:20:30.120
<v Speaker 1>Princess Darling Nicki, We've got a Sheena, Eastern Sugar Walls,

0:20:31.119 --> 0:20:38.879
<v Speaker 1>Judas Priests, Eat Me Alive, Vanity strap On, Robbie Baby, Motley,

0:20:38.920 --> 0:20:42.959
<v Speaker 1>Crew Bastard a C d C. Let me put my

0:20:43.080 --> 0:20:49.480
<v Speaker 1>love into you. Twisted Sisters, We're not gonna take it. Yeah,

0:20:49.560 --> 0:20:52.280
<v Speaker 1>So Twisted Sisters were not gonna take it. Got put

0:20:52.320 --> 0:20:57.560
<v Speaker 1>on there for violence, and I remember being a real

0:20:57.640 --> 0:21:00.320
<v Speaker 1>little kid that like they were actually were, you know,

0:21:00.400 --> 0:21:03.399
<v Speaker 1>in the halls of Congress, actually testifying, you know, towards

0:21:03.400 --> 0:21:07.679
<v Speaker 1>the whole entire situation. Yeah. Yeah, so um. The Record

0:21:07.680 --> 0:21:11.800
<v Speaker 1>Industry Association of America responded to this complaint by introducing

0:21:11.840 --> 0:21:14.720
<v Speaker 1>an earlier version of their content warning label, and then

0:21:14.760 --> 0:21:18.560
<v Speaker 1>PRMC pushed back and proposed that a music rating system

0:21:18.600 --> 0:21:22.520
<v Speaker 1>work more similarly to the Motion Picture Association in America's

0:21:22.720 --> 0:21:26.399
<v Speaker 1>film rating system from movies. The r I a A.

0:21:26.800 --> 0:21:31.320
<v Speaker 1>The Record Folks alternatively suggested using a warning label reading

0:21:31.400 --> 0:21:35.200
<v Speaker 1>parental guidance explicit lyrics, and after a continued conflict between

0:21:35.200 --> 0:21:40.200
<v Speaker 1>the organizations, the matter came up in a September hearing

0:21:40.960 --> 0:21:44.280
<v Speaker 1>of the United States Senate Committee on Commerce, Science, and Transportation.

0:21:45.400 --> 0:21:48.520
<v Speaker 1>Uh and so as you were saying. Notable musicians Frank Zapp,

0:21:49.359 --> 0:21:53.040
<v Speaker 1>John Denver, the Snyder each testified at the hearing was

0:21:53.119 --> 0:21:55.720
<v Speaker 1>strong opposition to the p m r c S warning

0:21:55.760 --> 0:21:59.760
<v Speaker 1>label system and censorship in general. Approximately two months after

0:21:59.800 --> 0:22:02.720
<v Speaker 1>the hearing, the organization agreed on a settlement in which

0:22:02.760 --> 0:22:06.440
<v Speaker 1>audio recordings were to either be affixed with the warning

0:22:06.520 --> 0:22:10.919
<v Speaker 1>label reading explicit lyrics parental advisory, or have its lyrics

0:22:10.920 --> 0:22:13.399
<v Speaker 1>attached to the back side of the packaging. So you know,

0:22:13.440 --> 0:22:16.840
<v Speaker 1>we all know the parental advisory sticker. It's really funny.

0:22:16.960 --> 0:22:18.880
<v Speaker 1>It's really like I remember saying that as a kid

0:22:18.880 --> 0:22:21.639
<v Speaker 1>and being like, I want that record, mommy. Well you

0:22:21.680 --> 0:22:24.200
<v Speaker 1>know what the you know how like I'm a huge

0:22:24.359 --> 0:22:27.040
<v Speaker 1>Iced Tea fan, right. Iced Tea was one of the

0:22:27.160 --> 0:22:29.879
<v Speaker 1>artists that was like mired in this and at the

0:22:29.960 --> 0:22:34.480
<v Speaker 1>forefront of it. So it was a huge backdrop to

0:22:34.520 --> 0:22:36.320
<v Speaker 1>a lot of his early albums, Like he had a

0:22:36.320 --> 0:22:39.240
<v Speaker 1>song called freedom of Speech that was literally the story

0:22:39.280 --> 0:22:41.199
<v Speaker 1>of this whole thing. And he had a rhyme that

0:22:41.320 --> 0:22:46.480
<v Speaker 1>was um Pio Marcy, you stupid fucking asshole. The stickers

0:22:46.520 --> 0:22:48.560
<v Speaker 1>on the record. That's what makes it sell gold. Can't

0:22:48.640 --> 0:22:51.359
<v Speaker 1>see you, alcoholic idiots. The more you try to suppress us,

0:22:51.400 --> 0:22:53.879
<v Speaker 1>the larger we get. I can't believe. I just remember that.

0:22:54.480 --> 0:22:56.399
<v Speaker 1>It's one of those things where it's like when a

0:22:56.480 --> 0:22:59.920
<v Speaker 1>song comes out like wop or any any sort of song,

0:23:00.280 --> 0:23:04.040
<v Speaker 1>and people who are fans of it because hey, everybody's

0:23:04.080 --> 0:23:06.840
<v Speaker 1>got a reason a night like something. And I make

0:23:06.960 --> 0:23:09.760
<v Speaker 1>music too, I don't make it with any sort of

0:23:10.520 --> 0:23:13.880
<v Speaker 1>expectation that everybody's gonna like it. So hey, everybody has

0:23:13.920 --> 0:23:17.160
<v Speaker 1>their reason, and everybody's reason can be legit to them.

0:23:17.240 --> 0:23:22.000
<v Speaker 1>But when fans of a certain artist feel that criticism

0:23:22.040 --> 0:23:25.800
<v Speaker 1>against that artist for something, it's like persecution or oh

0:23:25.880 --> 0:23:28.959
<v Speaker 1>why you guys going against you know, It's like Yo,

0:23:29.000 --> 0:23:33.880
<v Speaker 1>At a certain point in time, artists were really being persecuted,

0:23:34.080 --> 0:23:37.359
<v Speaker 1>like by the government, not Twitter comments and ship yea.

0:23:38.480 --> 0:23:42.600
<v Speaker 1>Broward County, Florida Sheriff Nick Navarro arrested and charged recoistaurant

0:23:42.640 --> 0:23:45.679
<v Speaker 1>owners who sold the rap group to lab Cruise album

0:23:45.720 --> 0:23:48.520
<v Speaker 1>as Nasty if they want to be to literally getting

0:23:48.560 --> 0:23:52.959
<v Speaker 1>persecuted by the government for like the circulation of obscene materials.

0:23:53.560 --> 0:23:55.520
<v Speaker 1>There was a case of it being sold to a

0:23:55.560 --> 0:24:00.560
<v Speaker 1>fourteen year old girl. Um, and yeah, I mean it

0:24:00.600 --> 0:24:03.840
<v Speaker 1>was if you haven't heard Nasty as you want to be,

0:24:04.040 --> 0:24:08.360
<v Speaker 1>you know, it's it's got the famous single Misa Horny,

0:24:08.640 --> 0:24:11.160
<v Speaker 1>you know, so it's, uh, it's what you would expect.

0:24:11.280 --> 0:24:14.560
<v Speaker 1>So Navarro believe the album comes constituted obscenity, and then

0:24:14.640 --> 0:24:17.720
<v Speaker 1>they ended up going to court over and now Skywalker Records,

0:24:17.760 --> 0:24:20.159
<v Speaker 1>which was the company that put out the album, and

0:24:20.200 --> 0:24:23.120
<v Speaker 1>two Life Cruise lead performer Luther Campbell and the four

0:24:23.160 --> 0:24:25.600
<v Speaker 1>members of the group filed a lawsuit in federal court

0:24:25.680 --> 0:24:29.359
<v Speaker 1>seeking a judicial declaration that their album was not obscene

0:24:29.640 --> 0:24:33.440
<v Speaker 1>and the actions of Navarro imposed an unconstitutional prior restraint

0:24:33.480 --> 0:24:37.160
<v Speaker 1>on expression. A federal District court judge declared the record

0:24:37.200 --> 0:24:42.480
<v Speaker 1>obscene in Skywalker Records Versus Navarro, applying the Miller test

0:24:42.560 --> 0:24:46.560
<v Speaker 1>from Supreme Court decision Miller versus California. They didn't think

0:24:46.600 --> 0:24:51.440
<v Speaker 1>that missa Horney had like political value wait for it. However,

0:24:51.600 --> 0:24:54.760
<v Speaker 1>the plaintiffs appealed to the leaventh Us Circuit Court of Appeals,

0:24:54.880 --> 0:24:58.679
<v Speaker 1>which reversed in Luke Records versus Navarro Nity two. The

0:24:58.720 --> 0:25:03.439
<v Speaker 1>appeals court explained the plaintiffs had submitted expert testimony that

0:25:03.560 --> 0:25:09.440
<v Speaker 1>the album contains serious artistic value, a contingent not refuted

0:25:09.440 --> 0:25:12.560
<v Speaker 1>by the sheriff through any expert testament other than you know,

0:25:12.680 --> 0:25:14.760
<v Speaker 1>he just submitted a tape recording of the album. And

0:25:14.760 --> 0:25:18.000
<v Speaker 1>I was like, can you believe this? Yeah? And this

0:25:18.080 --> 0:25:21.720
<v Speaker 1>is all from David L. Hudson Jr. Who's a law

0:25:21.720 --> 0:25:26.160
<v Speaker 1>professor at Belmont who publishes widely on the First Amendment topics. Now,

0:25:26.200 --> 0:25:28.919
<v Speaker 1>many other rappers have been threatened through the years with

0:25:29.000 --> 0:25:32.679
<v Speaker 1>obscenity charges and just different types of censorship. Like I

0:25:32.720 --> 0:25:35.119
<v Speaker 1>was saying before, Ice T was a pioneer of this

0:25:35.320 --> 0:25:38.960
<v Speaker 1>too short just come under fire for his lyrics. A

0:25:39.080 --> 0:25:41.200
<v Speaker 1>rap lyrics became the subject of the U. S. Supreme

0:25:41.200 --> 0:25:45.000
<v Speaker 1>Court case A Loneus versus the United States two thousand fifteen,

0:25:45.080 --> 0:25:48.439
<v Speaker 1>when the court evaluated whether a man committed a true

0:25:48.480 --> 0:25:51.560
<v Speaker 1>threat when he posted rap lyrics that allegedly threatened his

0:25:51.600 --> 0:25:55.879
<v Speaker 1>ex wife and others. Now, can rap music make people violent?

0:25:56.960 --> 0:25:59.639
<v Speaker 1>That was the essence of the argument filed by attorneys

0:25:59.720 --> 0:26:02.679
<v Speaker 1>for three family members of the slain Texas State Trooper

0:26:03.119 --> 0:26:07.800
<v Speaker 1>Davison versus Time Warner. Now, the state trooper was killed

0:26:07.880 --> 0:26:11.280
<v Speaker 1>by Ronald Howard, who was listening to the Tupac album

0:26:11.320 --> 0:26:14.000
<v Speaker 1>to Apocalypse Now at the time. But that's a whole

0:26:14.000 --> 0:26:16.800
<v Speaker 1>other issue for another episode in itself. So let's stick

0:26:16.840 --> 0:26:27.480
<v Speaker 1>to talking about the sex stuff. Alright, sex stuff now,

0:26:27.640 --> 0:26:31.360
<v Speaker 1>music discussion. We've been talking about this Whop song, and

0:26:32.040 --> 0:26:33.399
<v Speaker 1>you know, I don't want to I don't want to

0:26:33.400 --> 0:26:36.920
<v Speaker 1>get two Insideryhannes. So let's not just assume that everybody

0:26:36.920 --> 0:26:38.360
<v Speaker 1>has heard it, and let's just listen to a little

0:26:38.359 --> 0:26:40.680
<v Speaker 1>bit of it right now my mouth, pick my eyes

0:26:40.520 --> 0:26:46.639
<v Speaker 1>to sign in the wave of everyone having their takes

0:26:46.680 --> 0:26:49.439
<v Speaker 1>on the song. From what I've been seeing, there's a

0:26:49.440 --> 0:26:52.760
<v Speaker 1>lot of the sentiment of finally, women in hip hop

0:26:52.840 --> 0:26:55.560
<v Speaker 1>are expressing themselves in this way, or you know, in

0:26:55.560 --> 0:26:59.800
<v Speaker 1>in people's effort to dunk on the trolls who are

0:27:00.040 --> 0:27:03.359
<v Speaker 1>been out and having something negative to say, I feel

0:27:03.359 --> 0:27:05.919
<v Speaker 1>that to give Cardi and Megan props for putting out

0:27:05.960 --> 0:27:07.879
<v Speaker 1>a song like this, I feel that people are serving

0:27:07.880 --> 0:27:10.000
<v Speaker 1>a blind eye to the type of artists who have

0:27:10.119 --> 0:27:12.280
<v Speaker 1>come out before and put out songs like this before.

0:27:12.560 --> 0:27:15.760
<v Speaker 1>Sexually explicit lyrics and hip hop aren't a new thing,

0:27:16.960 --> 0:27:21.960
<v Speaker 1>vibe any any stretch of the imagination obviously, you know.

0:27:22.119 --> 0:27:24.360
<v Speaker 1>With with that is the issue of the double standard

0:27:24.400 --> 0:27:27.240
<v Speaker 1>between when men make sexually explicit songs and or have

0:27:27.320 --> 0:27:30.880
<v Speaker 1>sexually explicit lyrics and when women do. I mean, it's

0:27:31.000 --> 0:27:36.880
<v Speaker 1>mirror as much of contemporary life. So uh, I think

0:27:36.960 --> 0:27:39.359
<v Speaker 1>that why why do you think that is though? For

0:27:39.400 --> 0:27:43.520
<v Speaker 1>the men who do like what? Because because there's still

0:27:43.520 --> 0:27:46.359
<v Speaker 1>a prevailing notion that women are sexual objects and not

0:27:46.440 --> 0:27:50.160
<v Speaker 1>sexual agents. Like it's you know, you see a girl,

0:27:50.160 --> 0:27:52.800
<v Speaker 1>what a fatass? You like? Damn girl? Try to get

0:27:52.840 --> 0:27:56.680
<v Speaker 1>your number? Uh? Like talk to like bragging on his

0:27:56.800 --> 0:27:59.879
<v Speaker 1>sexual exploits. It's like a it's it's like a really

0:28:00.440 --> 0:28:07.520
<v Speaker 1>uh pernicious but like pervasive aspect of like masculinity. Uh.

0:28:07.600 --> 0:28:12.920
<v Speaker 1>And so it's like just horrific and totally subversive, not

0:28:13.000 --> 0:28:17.200
<v Speaker 1>groundbreaking anymore, but still really challenges the prevailing to paradigm

0:28:17.240 --> 0:28:20.320
<v Speaker 1>one whip and claimed for sexual agency and talk about

0:28:20.400 --> 0:28:24.760
<v Speaker 1>like if it don't hang, you can't bang. A common

0:28:24.800 --> 0:28:27.840
<v Speaker 1>critique of just hip hop in general is how a

0:28:27.840 --> 0:28:30.480
<v Speaker 1>lot of it's kind of like, you know, somebody finds

0:28:30.520 --> 0:28:33.080
<v Speaker 1>something that's dope and that works, and that catches on,

0:28:33.160 --> 0:28:35.480
<v Speaker 1>and then a trend follows, and then for everyone rapper

0:28:35.480 --> 0:28:38.760
<v Speaker 1>who's doing their thing, got like fifteen cats who are

0:28:38.800 --> 0:28:41.320
<v Speaker 1>like bite right, So that's like a common thing to

0:28:41.360 --> 0:28:44.440
<v Speaker 1>begin with, right, So do you think that there's any

0:28:44.560 --> 0:28:48.800
<v Speaker 1>room for perhaps the critique that with some of the

0:28:48.840 --> 0:28:52.760
<v Speaker 1>trail blazing female hip hop artists who have blazed that trail.

0:28:52.920 --> 0:28:55.200
<v Speaker 1>You know, I can tackle the subject and be in

0:28:55.240 --> 0:28:58.840
<v Speaker 1>control of sexuality and I can be just as sexually

0:28:58.840 --> 0:29:01.200
<v Speaker 1>aggressive as like a man and rapping about the topic

0:29:01.280 --> 0:29:04.640
<v Speaker 1>and ship like that. Do you feel with the artists

0:29:04.680 --> 0:29:07.440
<v Speaker 1>who kind of found success with that that that perhaps

0:29:07.440 --> 0:29:12.000
<v Speaker 1>has started a trend that maybe has lasted to create.

0:29:12.040 --> 0:29:16.280
<v Speaker 1>It's created a profitable lane. Like you said at the beginning, Uh,

0:29:16.440 --> 0:29:18.720
<v Speaker 1>Cardi is talking about like I put out songs that

0:29:18.800 --> 0:29:22.000
<v Speaker 1>were smart. Yeah you know my listen to them, but

0:29:22.040 --> 0:29:24.479
<v Speaker 1>I make millions off of talking about my pussy. So

0:29:24.520 --> 0:29:27.120
<v Speaker 1>I'm going to talk there's until there's a there's an

0:29:27.120 --> 0:29:30.520
<v Speaker 1>incentive motive. There's nothing inherently wrong with that. I just

0:29:31.000 --> 0:29:33.800
<v Speaker 1>for me, I'm not shocked when like people who I

0:29:33.880 --> 0:29:36.680
<v Speaker 1>know who are like a bit snobbish about their music

0:29:36.720 --> 0:29:39.360
<v Speaker 1>taste don't funk with stuff like this, because it's like, yeah,

0:29:39.440 --> 0:29:43.640
<v Speaker 1>I mean, why would you, you know, Like something like

0:29:43.680 --> 0:29:46.800
<v Speaker 1>this doesn't strike me as it being necessarily made for

0:29:46.840 --> 0:29:50.200
<v Speaker 1>someone who's thinking really that deeply about the music that

0:29:50.200 --> 0:29:53.920
<v Speaker 1>they're listening to. I mean, I think like getting linguistically

0:29:54.000 --> 0:29:57.880
<v Speaker 1>imaginative and the way you're describing sexual scenarios, there's a

0:29:57.880 --> 0:30:01.880
<v Speaker 1>lot of room to grow. Still, like, uh, Cardian Meg

0:30:01.960 --> 0:30:05.280
<v Speaker 1>aren't talking about it in the same way that Little

0:30:05.360 --> 0:30:09.760
<v Speaker 1>Kim Dead back at Night WHOA Well, I would I

0:30:09.800 --> 0:30:14.040
<v Speaker 1>would have to, I would have to um, I would

0:30:14.040 --> 0:30:18.080
<v Speaker 1>have to disagree. I think that it could definitely be

0:30:18.240 --> 0:30:22.400
<v Speaker 1>argued that perhaps the Little Kim's of the world were

0:30:22.520 --> 0:30:25.360
<v Speaker 1>more explicit than I mean, first of all, we don't

0:30:25.360 --> 0:30:27.640
<v Speaker 1>even have to take it back to card We can

0:30:27.640 --> 0:30:31.680
<v Speaker 1>talk about contemporaries right now. There is a contemporary. I mean,

0:30:31.800 --> 0:30:34.920
<v Speaker 1>have you heard of cupcakes? We reviewed cupcake songs on

0:30:34.960 --> 0:30:39.400
<v Speaker 1>an episode before Cupcake, Who is Cupcakes not like an

0:30:39.440 --> 0:30:45.480
<v Speaker 1>international I'm filling up stadium. But Cupcake is by no

0:30:45.600 --> 0:30:50.120
<v Speaker 1>means a small artist. In Cupcake, I would say on

0:30:50.160 --> 0:30:52.760
<v Speaker 1>a song by song basis you know me, I'm want,

0:30:52.880 --> 0:30:55.800
<v Speaker 1>I'm I'm a rap file. I listened to rap just

0:30:56.080 --> 0:31:01.600
<v Speaker 1>constantly all the time. Cupcake is I mean Cupcakes team

0:31:01.640 --> 0:31:06.880
<v Speaker 1>ship is like worse than what for real, for real,

0:31:06.920 --> 0:31:09.120
<v Speaker 1>And I'm not I'm not even exaggerating about that. As

0:31:09.160 --> 0:31:11.000
<v Speaker 1>a matter of fact, I pulled up a Cupcake song

0:31:11.400 --> 0:31:13.720
<v Speaker 1>or further on our music discussion that we can check out.

0:31:13.760 --> 0:31:16.400
<v Speaker 1>But yeah, like Cupcake really goes in. So even amongst

0:31:16.400 --> 0:31:21.520
<v Speaker 1>her contemporaries, I don't think that this classifies as like

0:31:22.840 --> 0:31:26.160
<v Speaker 1>super bad. I think we're really getting people is just

0:31:26.200 --> 0:31:30.400
<v Speaker 1>the hook, just the wet ass pussy aspect of the hook.

0:31:30.600 --> 0:31:33.920
<v Speaker 1>And that is a common theme with people's rejection of

0:31:34.000 --> 0:31:37.760
<v Speaker 1>certain dirty quote unquote dirty rap songs. But let's first

0:31:37.800 --> 0:31:42.560
<v Speaker 1>talk about the sub genre of porner rap slash dirty rap. Okay,

0:31:42.560 --> 0:31:45.719
<v Speaker 1>so the genre has been around since this nineteen seventies

0:31:45.760 --> 0:31:50.400
<v Speaker 1>with Blowfly in his rap Dirty album. We we talked

0:31:50.400 --> 0:31:54.000
<v Speaker 1>about blow Fly when we talked about how Chuck D

0:31:54.200 --> 0:31:56.600
<v Speaker 1>was inspired by his lyrics for a line in the

0:31:56.600 --> 0:31:59.880
<v Speaker 1>song fight the Power. It wasn't until the nineteen eighties

0:32:00.000 --> 0:32:02.440
<v Speaker 1>an Oakland rapper Too Short release the nineteen eighty three

0:32:02.440 --> 0:32:07.400
<v Speaker 1>album Don't Stop Rapping, containing multiple dirty sex subjects, that

0:32:07.520 --> 0:32:11.120
<v Speaker 1>sex became the central focus to life. Crew garnered much

0:32:11.160 --> 0:32:15.240
<v Speaker 1>negative publicity, however, and it wasn't until their ninety nine

0:32:15.280 --> 0:32:18.040
<v Speaker 1>album As Nasty As They Want to Be that dirty

0:32:18.120 --> 0:32:21.080
<v Speaker 1>rap became a legitimate subgenre in itself. You Got so

0:32:21.160 --> 0:32:24.640
<v Speaker 1>it makes a lot cool, Keith Nelly, I've been saying

0:32:24.640 --> 0:32:29.560
<v Speaker 1>that wrong. Nobody corrected me, and this all time contributed

0:32:29.600 --> 0:32:31.560
<v Speaker 1>along the way with songs like what It Didn't you Know?

0:32:32.800 --> 0:32:36.960
<v Speaker 1>And the album Sex Style but One Woman, We Feel

0:32:38.000 --> 0:32:41.320
<v Speaker 1>really took the style of being sexually explicit and wrapped

0:32:41.360 --> 0:32:44.160
<v Speaker 1>and harnessed it and brought it into the mainstream. And

0:32:44.240 --> 0:32:48.520
<v Speaker 1>that is low Kim. I mean, I want to say

0:32:48.640 --> 0:32:51.640
<v Speaker 1>we feel, but I think it's kind of at the

0:32:51.760 --> 0:32:54.400
<v Speaker 1>end of the day, when especially when we're talking about

0:32:54.400 --> 0:32:57.400
<v Speaker 1>the music stuff. We're fans, and you know a lot

0:32:57.440 --> 0:33:00.400
<v Speaker 1>of this is our opinion, but I think with this

0:33:00.520 --> 0:33:04.120
<v Speaker 1>particular issue, it might be safe to say the little

0:33:04.240 --> 0:33:07.240
<v Speaker 1>Kim is the mother of this mainstream sex rap ship

0:33:07.600 --> 0:33:12.360
<v Speaker 1>and all these bitches as her sun. But um, just

0:33:12.680 --> 0:33:17.280
<v Speaker 1>HARKing back to just memory. It's like, it's not to

0:33:17.360 --> 0:33:22.600
<v Speaker 1>say that few women artists didn't reference sex or talk

0:33:22.640 --> 0:33:25.440
<v Speaker 1>about sex as as you're gonna hear, I mean salt

0:33:25.480 --> 0:33:27.920
<v Speaker 1>and peppers. Let's talk about sex. Precedes Little Kim by

0:33:28.560 --> 0:33:31.040
<v Speaker 1>once a decade and a half ye shoots by at

0:33:31.120 --> 0:33:33.520
<v Speaker 1>least like you know, five, three or four years you

0:33:33.520 --> 0:33:38.800
<v Speaker 1>know before a Little Kim But just the uh making

0:33:38.840 --> 0:33:41.880
<v Speaker 1>that like the part of the identity to the extent

0:33:41.960 --> 0:33:45.000
<v Speaker 1>of how it was too Shorts identity because, for example,

0:33:45.160 --> 0:33:48.000
<v Speaker 1>a rapper like Too Short his first album had a

0:33:48.000 --> 0:33:51.720
<v Speaker 1>couple of sex songs on it. People dug those sex songs, right.

0:33:52.520 --> 0:33:55.640
<v Speaker 1>I ied T had a similar thing where every album

0:33:55.680 --> 0:33:58.080
<v Speaker 1>that he released he had a sex song on it,

0:33:58.400 --> 0:34:00.240
<v Speaker 1>and people dug those songs. It was like than you

0:34:00.320 --> 0:34:02.719
<v Speaker 1>expected when you like listen to I C albums, like, oh,

0:34:02.720 --> 0:34:05.880
<v Speaker 1>he always has one song that's like graphically like sexual,

0:34:06.640 --> 0:34:09.719
<v Speaker 1>but the thing is too Short adopted that as his

0:34:09.840 --> 0:34:12.840
<v Speaker 1>like rap given where he was like, okay, I'm the

0:34:12.880 --> 0:34:15.880
<v Speaker 1>rapper who makes sex songs, and that became the defining

0:34:16.600 --> 0:34:18.600
<v Speaker 1>element of two shorts music. You know what I'm saying.

0:34:18.800 --> 0:34:21.239
<v Speaker 1>I s T didn't go that route. There have been

0:34:22.320 --> 0:34:24.360
<v Speaker 1>other like you know, female rappers who have done the

0:34:24.400 --> 0:34:25.960
<v Speaker 1>same thing, who have made their music and it's like, oh,

0:34:26.000 --> 0:34:28.399
<v Speaker 1>they'll have a reference, they'll have a shoot, or they'll

0:34:28.400 --> 0:34:30.319
<v Speaker 1>have a let's talk about sex. But that's not like

0:34:31.800 --> 0:34:35.479
<v Speaker 1>to define their like their overall rap character. Little Kim

0:34:35.600 --> 0:34:38.760
<v Speaker 1>took that on and said, no, this is my rap character.

0:34:39.239 --> 0:34:44.480
<v Speaker 1>The name of my first album is hardcore. We're going in. Yeah. Literally,

0:34:45.239 --> 0:34:49.799
<v Speaker 1>So she completely reversed the roles of sexual objectification and rap.

0:34:50.840 --> 0:34:53.240
<v Speaker 1>It's every bit as wrong she and explicit as anything

0:34:53.280 --> 0:34:56.400
<v Speaker 1>an email artists had done before or was doing. And

0:34:56.440 --> 0:35:01.040
<v Speaker 1>it was like aggressive and the aggressive expression from a

0:35:01.040 --> 0:35:04.880
<v Speaker 1>woman in hip hop on a record. Um and people,

0:35:05.360 --> 0:35:07.839
<v Speaker 1>I mean I was. I feel like I was. I

0:35:07.880 --> 0:35:10.960
<v Speaker 1>was probably I was like how old were you in

0:35:11.000 --> 0:35:14.719
<v Speaker 1>like two thousand nine nine? Yeah, So when Little Kim

0:35:14.760 --> 0:35:17.879
<v Speaker 1>was at her peak and popular, I feel yeah, that's

0:35:17.960 --> 0:35:21.759
<v Speaker 1>that's when you were nine. That's yeah, little when Little

0:35:21.760 --> 0:35:24.480
<v Speaker 1>when Little Kim, when Little Kim had out like a

0:35:24.640 --> 0:35:29.080
<v Speaker 1>song that was like on TRL yeah it which is

0:35:29.200 --> 0:35:31.200
<v Speaker 1>this is another thing that kind of irks me out

0:35:31.239 --> 0:35:33.840
<v Speaker 1>about a lot of this discourse about the Cardi b

0:35:34.440 --> 0:35:38.200
<v Speaker 1>in Mega Stallion song. It's like Little Kim had a

0:35:38.239 --> 0:35:42.200
<v Speaker 1>song called how Many Licks Does It Take? That was

0:35:42.280 --> 0:35:47.400
<v Speaker 1>like a hit song feature in Thong song Cisco that

0:35:47.560 --> 0:35:49.600
<v Speaker 1>was like on TRL like number one, number one, you

0:35:49.640 --> 0:35:51.880
<v Speaker 1>know what I mean. It was like Britney Spears Eminem

0:35:51.960 --> 0:35:55.200
<v Speaker 1>in sync Little Kim, how Many Licks does It? I

0:35:55.239 --> 0:35:58.560
<v Speaker 1>will never forget. I will never forget accidentally finding that

0:35:58.600 --> 0:36:03.200
<v Speaker 1>song on Napster and being like scared my parents are

0:36:03.239 --> 0:36:06.600
<v Speaker 1>gonna hear that I heard it, and also getting like

0:36:06.719 --> 0:36:11.120
<v Speaker 1>weird feelings like that. The beginning of my sexual awakening

0:36:11.360 --> 0:36:15.719
<v Speaker 1>was how many Like smile Kim. There was a there's

0:36:15.760 --> 0:36:19.759
<v Speaker 1>a little passage that I found in a article with

0:36:19.880 --> 0:36:26.960
<v Speaker 1>Dave's magazine. It's an article by um context Okay, so

0:36:27.000 --> 0:36:29.279
<v Speaker 1>this is this is a quote uh Tim Hall in

0:36:29.280 --> 0:36:33.120
<v Speaker 1>the article Contextually. We live in a world which just

0:36:33.200 --> 0:36:36.000
<v Speaker 1>saw one of the most powerful countries elect the president

0:36:36.080 --> 0:36:39.479
<v Speaker 1>accused of rape. Despite claiming to use his power to

0:36:39.560 --> 0:36:42.839
<v Speaker 1>grab women by the pussy, Donald Trump has succeeded in

0:36:42.920 --> 0:36:46.520
<v Speaker 1>his bid to one of the world's most influential titles,

0:36:46.640 --> 0:36:49.839
<v Speaker 1>and as a result, looks set to threaten the rights

0:36:49.840 --> 0:36:54.200
<v Speaker 1>of women and minorities across America. Elsewhere, a rise in

0:36:54.320 --> 0:36:57.400
<v Speaker 1>queer and female led porn has sparked a new sexual

0:36:57.520 --> 0:37:01.439
<v Speaker 1>revolution of sorts. Sites including Ache Love Not Porn looked

0:37:01.440 --> 0:37:04.480
<v Speaker 1>at to pick the more realistic portrayal of sex that

0:37:04.560 --> 0:37:07.920
<v Speaker 1>actually appeals to the desires of women. Yet the truth

0:37:07.960 --> 0:37:11.480
<v Speaker 1>remains that promiscuous women and sex workers are still routinely

0:37:11.520 --> 0:37:15.759
<v Speaker 1>and institutionally discriminated against. Events such as slut Walk may

0:37:15.760 --> 0:37:20.480
<v Speaker 1>be challenging prejudices towards promiscuous women, yet women's rights continue

0:37:20.480 --> 0:37:25.560
<v Speaker 1>to be threatened and undermined. Ultimately, Hall continues the all

0:37:25.680 --> 0:37:29.879
<v Speaker 1>encompassing message of hardcore is not rooted in any one

0:37:29.920 --> 0:37:33.839
<v Speaker 1>time period. Twenty years later, Kim remains an anomaly due

0:37:33.840 --> 0:37:36.239
<v Speaker 1>to her willingness to flaunt her sexuality and flip the

0:37:36.239 --> 0:37:40.040
<v Speaker 1>script on men with raw, sexually explicit lyrics. She may

0:37:40.080 --> 0:37:43.480
<v Speaker 1>have been sexualized, but she was never unaware. She was

0:37:43.560 --> 0:37:46.120
<v Speaker 1>more than willing to strip down, sex up and dare

0:37:46.200 --> 0:37:48.799
<v Speaker 1>men to desire her. By doing so, she set an

0:37:48.840 --> 0:37:51.800
<v Speaker 1>example for women. Restructed by conservative values that tell women

0:37:52.040 --> 0:37:54.720
<v Speaker 1>they can either be smart or sexy, but really both,

0:37:55.239 --> 0:37:58.040
<v Speaker 1>women are taught that to exploit their sexuality is to

0:37:58.239 --> 0:38:01.920
<v Speaker 1>value their mind. Kim's stuck two fingers up at this,

0:38:02.000 --> 0:38:06.279
<v Speaker 1>achieving unprecedented success and critical acclaim while simultaneously flaw and

0:38:06.320 --> 0:38:08.919
<v Speaker 1>take her beauty and starting men to fuck her as

0:38:08.960 --> 0:38:12.640
<v Speaker 1>she wanted to be fucked. That's putting it perfectly. And

0:38:12.680 --> 0:38:16.560
<v Speaker 1>I mean, just like looking back at it, it's like,

0:38:16.719 --> 0:38:21.480
<v Speaker 1>you know, it's almost like she took the the caricature.

0:38:21.480 --> 0:38:23.719
<v Speaker 1>It's like we've we've had the same issues for so long.

0:38:23.760 --> 0:38:28.040
<v Speaker 1>But it's like, I remember when the video Vixen was

0:38:28.160 --> 0:38:32.040
<v Speaker 1>like there was just a point in hip hop when

0:38:32.640 --> 0:38:35.800
<v Speaker 1>just there was a lot more awareness, and it seems

0:38:35.840 --> 0:38:37.840
<v Speaker 1>to me that it was like, hey, you know, women

0:38:37.840 --> 0:38:40.920
<v Speaker 1>are depicted really fucked up because it's like the old,

0:38:41.000 --> 0:38:43.200
<v Speaker 1>the biggest, you know, we we have our female mcs

0:38:43.239 --> 0:38:45.919
<v Speaker 1>that are out there, but it's not like there's enough

0:38:45.960 --> 0:38:48.680
<v Speaker 1>of them. And then the depiction that we see of

0:38:48.719 --> 0:38:54.760
<v Speaker 1>women after that is the video Vixen, scanally clad, emotionless

0:38:54.960 --> 0:38:58.560
<v Speaker 1>in most cases, girl just standing there staring either at

0:38:58.560 --> 0:39:01.759
<v Speaker 1>the rapper or at the camera, like no expression, just

0:39:01.960 --> 0:39:04.680
<v Speaker 1>I'm here, I'm part of the set, I'm a problem,

0:39:04.719 --> 0:39:10.880
<v Speaker 1>And it's almost like little Kim took that caricature. It

0:39:11.080 --> 0:39:14.120
<v Speaker 1>was like, that's gonna be my rap character. Like what

0:39:14.239 --> 0:39:16.759
<v Speaker 1>happens with the video Vixen can rap. You get to

0:39:16.760 --> 0:39:19.200
<v Speaker 1>hear what the funk she's thinking. So and I feel

0:39:19.239 --> 0:39:23.240
<v Speaker 1>that it created like a lame and even a sub

0:39:23.320 --> 0:39:25.719
<v Speaker 1>sub genre in itself that I feel the likes of

0:39:25.840 --> 0:39:28.359
<v Speaker 1>Nicki Minaj and Cardi B and Megdal Stallion are kind

0:39:28.360 --> 0:39:30.719
<v Speaker 1>of following in that tradition, you know, of of that

0:39:30.880 --> 0:39:34.160
<v Speaker 1>sort of I guess you can call a style, right

0:39:34.360 --> 0:39:38.400
<v Speaker 1>rap style. It's hard to really put it into context.

0:39:38.440 --> 0:39:42.120
<v Speaker 1>But in a pre Internet age, Little Kim was like

0:39:42.320 --> 0:39:46.719
<v Speaker 1>the hip hop pin up God is sex symbol that

0:39:46.760 --> 0:39:48.480
<v Speaker 1>whole thing. At the end of the day, let's just

0:39:48.680 --> 0:39:52.360
<v Speaker 1>not let's just not just act like we've been here before,

0:39:52.400 --> 0:39:54.319
<v Speaker 1>you know what I'm saying, Like this, we can like

0:39:54.400 --> 0:39:59.240
<v Speaker 1>our ship and we can elevate ship without forgetting about ship.

0:39:59.280 --> 0:40:01.359
<v Speaker 1>You know what I'm saying, Just if something happened before

0:40:01.400 --> 0:40:04.120
<v Speaker 1>some of us were born, doesn't mean that it no matter,

0:40:04.680 --> 0:40:07.839
<v Speaker 1>no longer has any sort of relevancy or anything like that.

0:40:07.920 --> 0:40:18.359
<v Speaker 1>You know. So let's talk about some music. So let's

0:40:18.360 --> 0:40:21.480
<v Speaker 1>talk about sex released to Night to ninety one on

0:40:21.719 --> 0:40:26.319
<v Speaker 1>their Black Magic's album Salt and Pepper. Sample here, I'll

0:40:26.360 --> 0:40:28.799
<v Speaker 1>take you there by the staple singers and hip hop

0:40:28.880 --> 0:40:32.000
<v Speaker 1>history is made. But let's talk about dick. But now

0:40:32.120 --> 0:40:35.280
<v Speaker 1>the people at home were to crowd keeps coming up. Anyhow,

0:40:35.960 --> 0:40:40.120
<v Speaker 1>they discussed the song was rolling stone. It's not a

0:40:40.200 --> 0:40:43.920
<v Speaker 1>song about sex. It's a song about talking about sex.

0:40:44.280 --> 0:40:46.560
<v Speaker 1>But as we kind of touched on earlier with the

0:40:46.640 --> 0:40:51.440
<v Speaker 1>title wet ass pussy um, even the mention alone um

0:40:51.480 --> 0:40:53.600
<v Speaker 1>of getting it on was enough to turn heads. And

0:40:53.640 --> 0:40:56.640
<v Speaker 1>so the fact that this tong was titled let's talk

0:40:56.640 --> 0:40:59.799
<v Speaker 1>about sex, like had people really fucked up. Salt recounts

0:40:59.800 --> 0:41:01.759
<v Speaker 1>somebody saying to her dad, I used to love your

0:41:01.840 --> 0:41:04.520
<v Speaker 1>daughter's music, but now she's going too far, and her

0:41:04.560 --> 0:41:06.920
<v Speaker 1>dad said to him, have you listened to the song?

0:41:07.400 --> 0:41:11.200
<v Speaker 1>And then he the man came back later after listening

0:41:11.200 --> 0:41:14.799
<v Speaker 1>to the song and apologized for writing it off as

0:41:15.080 --> 0:41:18.319
<v Speaker 1>sexually explicit, and really it's really not sexual explicit at all,

0:41:18.320 --> 0:41:21.160
<v Speaker 1>but it's really about sexual communications, which is so important.

0:41:21.520 --> 0:41:24.319
<v Speaker 1>One thing I will say is that this song is

0:41:24.360 --> 0:41:30.719
<v Speaker 1>surprisingly long, Like I mean, the verses are short, but

0:41:30.800 --> 0:41:33.560
<v Speaker 1>there's a lot of the song where it's just minutes

0:41:33.680 --> 0:41:36.560
<v Speaker 1>of them saying let's talk about sex baby over and

0:41:36.600 --> 0:41:40.760
<v Speaker 1>over again and nothing else. That's you get points deductive

0:41:40.800 --> 0:41:45.319
<v Speaker 1>for that ship to jump ahead in time a little bit. Um,

0:41:45.440 --> 0:41:50.560
<v Speaker 1>when we talk about Shawna's getting some head? What year

0:41:50.680 --> 0:41:54.080
<v Speaker 1>was that to the and shaunas two thousand and eight?

0:41:54.120 --> 0:42:02.359
<v Speaker 1>Getting some head chokes me And the hook is really

0:42:02.400 --> 0:42:04.880
<v Speaker 1>the most salacious part of the whole song. The lyrics

0:42:04.920 --> 0:42:08.080
<v Speaker 1>themselves are pretty standard you know, street ship, except for

0:42:08.120 --> 0:42:10.360
<v Speaker 1>when she says, Hey, little Mama, can you give me

0:42:10.400 --> 0:42:13.640
<v Speaker 1>a sec I got something some about as big as

0:42:13.680 --> 0:42:17.480
<v Speaker 1>your next Yeah, And then um, it's cool that she

0:42:17.600 --> 0:42:19.680
<v Speaker 1>sampled for that hook to get in some head. That's

0:42:19.719 --> 0:42:22.400
<v Speaker 1>two shorts voice that she sampled, so it's like she

0:42:22.520 --> 0:42:26.080
<v Speaker 1>sampled in like the notorious sex rapper too short to

0:42:26.160 --> 0:42:28.640
<v Speaker 1>like say, getting some head In the hook of the song,

0:42:28.960 --> 0:42:31.680
<v Speaker 1>I'm going back to salt and pepper. They later on

0:42:31.760 --> 0:42:36.120
<v Speaker 1>would go on to release another famous song, women Singing

0:42:36.080 --> 0:42:40.480
<v Speaker 1>at Every wedding that happens in America. Shoot not fully

0:42:43.800 --> 0:42:47.359
<v Speaker 1>when I get what I finally interesting about this song,

0:42:48.280 --> 0:42:50.640
<v Speaker 1>and I think it's really telling for the time because

0:42:50.640 --> 0:42:54.359
<v Speaker 1>it's just like kind of prel comb big Twins verse

0:42:54.480 --> 0:42:58.600
<v Speaker 1>on is the raunchiest verse on the and so it

0:42:58.680 --> 0:43:02.120
<v Speaker 1>sort of speaks to what people were allowed to say then,

0:43:02.760 --> 0:43:06.080
<v Speaker 1>like you know, Salton Pepper had to be like very

0:43:06.120 --> 0:43:10.279
<v Speaker 1>you know, like metaphoric and like oh I want to

0:43:10.360 --> 0:43:15.799
<v Speaker 1>shoot uh. And he's in there like this Nike is

0:43:15.840 --> 0:43:18.640
<v Speaker 1>coming in like I'm hitting skins for the hell of it,

0:43:18.880 --> 0:43:22.399
<v Speaker 1>just for the yell I get for the smell of it,

0:43:23.040 --> 0:43:24.600
<v Speaker 1>I mean, and the and the thing is, it's like

0:43:24.719 --> 0:43:27.880
<v Speaker 1>you gotta remember too at a time that this is happening.

0:43:28.600 --> 0:43:32.640
<v Speaker 1>There is in a way a sort of sexual revolution

0:43:33.719 --> 0:43:36.400
<v Speaker 1>kind of going on in hip hop at the time

0:43:36.480 --> 0:43:41.080
<v Speaker 1>where just rappers across the board or like more openly

0:43:41.360 --> 0:43:43.560
<v Speaker 1>and just you know what I mean a matter of fact,

0:43:43.640 --> 0:43:46.600
<v Speaker 1>he's talking about sex. It's just on the men's part.

0:43:46.960 --> 0:43:50.239
<v Speaker 1>It's manifesting itself in bitches, ain't ship of Homes and

0:43:50.280 --> 0:43:53.080
<v Speaker 1>Tricks and Salt and Pepper are doing stuff like this,

0:43:54.680 --> 0:43:58.560
<v Speaker 1>which I would argue is more creative. So up next,

0:43:58.560 --> 0:44:00.640
<v Speaker 1>we're gonna take it back to Little Him with her

0:44:00.760 --> 0:44:04.480
<v Speaker 1>song how many licks from down South you should like

0:44:04.560 --> 0:44:07.719
<v Speaker 1>me to spank it? Comments? Now I think there's I

0:44:07.760 --> 0:44:10.640
<v Speaker 1>feel like this is a sub genre of sexual song

0:44:11.120 --> 0:44:13.960
<v Speaker 1>where they go through a list of all the national

0:44:14.040 --> 0:44:17.200
<v Speaker 1>nationalities and different types of people they fucked. Is it

0:44:17.360 --> 0:44:20.359
<v Speaker 1>just me or like it's like Cold Party five by

0:44:20.400 --> 0:44:24.239
<v Speaker 1>Afroman That is the like it's like a thing. It's

0:44:24.280 --> 0:44:28.560
<v Speaker 1>like the nationality or the racial makeup of the sexual

0:44:28.560 --> 0:44:32.799
<v Speaker 1>conquest is definitely, uh, it's like a style of doing it.

0:44:32.960 --> 0:44:37.800
<v Speaker 1>But the straight up song presented as each verse is

0:44:37.840 --> 0:44:41.120
<v Speaker 1>a list of sexual you know what I mean endeavors.

0:44:41.719 --> 0:44:45.680
<v Speaker 1>That is the basic structure of most like porno rap

0:44:45.840 --> 0:44:48.400
<v Speaker 1>sex rap songs. I knew what chick name this, I

0:44:48.480 --> 0:44:50.600
<v Speaker 1>did this, I knew a god name this? You know

0:44:50.680 --> 0:44:52.480
<v Speaker 1>I mean, like, that's pretty much how they set all

0:44:52.520 --> 0:44:57.400
<v Speaker 1>of it up. So even if you listen to uh what,

0:44:57.800 --> 0:44:59.640
<v Speaker 1>it follows that same sort of structure. It is like,

0:45:00.040 --> 0:45:02.120
<v Speaker 1>know this, I wanted that, I wanted this, I know

0:45:02.120 --> 0:45:04.200
<v Speaker 1>what that I'm doing this. It's just it's just that

0:45:04.239 --> 0:45:06.440
<v Speaker 1>that's the format for it. And then up next we

0:45:06.520 --> 0:45:23.440
<v Speaker 1>had Little Kim's Not Tonight, Come On Not Tonight. At

0:45:23.480 --> 0:45:26.080
<v Speaker 1>the time that this song came out and got I'm

0:45:26.120 --> 0:45:28.600
<v Speaker 1>aging myself so much on this guy Damn podcast. But

0:45:28.680 --> 0:45:31.160
<v Speaker 1>like at the time that this song came out, like

0:45:31.280 --> 0:45:35.200
<v Speaker 1>for whatever reason, there was like a movement in hip

0:45:35.280 --> 0:45:39.879
<v Speaker 1>hop that motherfucker's were really trying to start that was like, Yo,

0:45:40.920 --> 0:45:48.680
<v Speaker 1>real niggas don't eat pussy, We're nigga what. Yeah. I

0:45:48.719 --> 0:45:51.239
<v Speaker 1>don't know this for certain, but I feel that this

0:45:51.320 --> 0:45:54.719
<v Speaker 1>song isn't defined to that whole ship. No totally. Had

0:45:54.760 --> 0:45:57.160
<v Speaker 1>you heard the song before this episode? No? I had?

0:45:57.239 --> 0:46:00.439
<v Speaker 1>Actually yeah, yeah, yeah, I mean what I love about

0:46:00.440 --> 0:46:02.800
<v Speaker 1>the song. It's gonna it's gonna very classic R and B,

0:46:02.920 --> 0:46:07.399
<v Speaker 1>slow dam type vibe. And they're like, oh yeah, what's

0:46:07.400 --> 0:46:09.640
<v Speaker 1>that The bottle of the wine got the candles lit.

0:46:10.600 --> 0:46:14.719
<v Speaker 1>And then she's like, I'm kicked about the because because

0:46:14.719 --> 0:46:18.680
<v Speaker 1>he wouldn't eat my pussy. Like it's just like what

0:46:19.640 --> 0:46:23.440
<v Speaker 1>oh this this one, this next one, I personally feel

0:46:23.680 --> 0:46:29.560
<v Speaker 1>is the best objective songs. This was one of my

0:46:29.640 --> 0:46:33.280
<v Speaker 1>favors when I was when it first came out, Classic

0:46:33.320 --> 0:46:45.920
<v Speaker 1>Timberland production, Oops oh my by tweet featuring Yeah totally

0:46:45.920 --> 0:46:51.880
<v Speaker 1>about masturbation. But it's again like the like, shoot, it's subtle,

0:46:52.600 --> 0:46:55.080
<v Speaker 1>and it's not the subtle. It's not the subtlety of

0:46:55.120 --> 0:46:57.200
<v Speaker 1>it because I don't want to be misinterpreted. I don't

0:46:57.200 --> 0:47:00.239
<v Speaker 1>think the subtlety of it is what makes it. It's

0:47:00.280 --> 0:47:03.400
<v Speaker 1>like the point, it's like it's like lyrical ingerie, and

0:47:03.400 --> 0:47:07.200
<v Speaker 1>that it leaves something to be desired. I mean, trust

0:47:07.360 --> 0:47:09.919
<v Speaker 1>trust me, I know that there's a double standard. I'm

0:47:09.920 --> 0:47:12.680
<v Speaker 1>not denying the double standard. All I'm saying is that

0:47:14.719 --> 0:47:19.120
<v Speaker 1>generally amongst rappers, like if a rapper is gonna make

0:47:19.200 --> 0:47:23.840
<v Speaker 1>like a penis reference and it's like the most creative

0:47:23.880 --> 0:47:27.239
<v Speaker 1>thing they can think of is big, you know, I

0:47:27.239 --> 0:47:30.160
<v Speaker 1>don't there's there's there's not like a contingency in hip

0:47:30.239 --> 0:47:33.920
<v Speaker 1>hop that matters and that's like fun. Yeah, Like I

0:47:33.960 --> 0:47:36.440
<v Speaker 1>think most people would be like you couldn't think of

0:47:36.480 --> 0:47:38.839
<v Speaker 1>any flyer away to say that, you know what I mean,

0:47:38.960 --> 0:47:42.080
<v Speaker 1>like like that's there's no other way, Like like we

0:47:42.160 --> 0:47:45.160
<v Speaker 1>haven't heard that before millions of times before. So I

0:47:45.200 --> 0:47:49.400
<v Speaker 1>think that, you know, argument, just just an argument can

0:47:49.440 --> 0:47:55.880
<v Speaker 1>be made that the bluntness isn't necessarily a creative place

0:47:55.960 --> 0:47:58.319
<v Speaker 1>that the song could go. In some cases, it is

0:47:58.320 --> 0:48:01.280
<v Speaker 1>not even necessarily what sounds the best. You know, sometimes

0:48:01.360 --> 0:48:05.280
<v Speaker 1>less is more like for example, a part in wop

0:48:05.400 --> 0:48:07.120
<v Speaker 1>that has that For me, I'm sorry, I know we're

0:48:07.120 --> 0:48:08.480
<v Speaker 1>about to talk about tweet, but I just want to

0:48:08.480 --> 0:48:10.160
<v Speaker 1>go back to this apart in what that has that

0:48:10.320 --> 0:48:14.120
<v Speaker 1>for me is there's a part where she says, I

0:48:14.239 --> 0:48:16.480
<v Speaker 1>want you to hit that dangly thing in the back

0:48:16.520 --> 0:48:19.160
<v Speaker 1>of my neck. See that's what I like. That was

0:48:19.239 --> 0:48:22.760
<v Speaker 1>creative to me. I was like, yeah, I dig the exactly.

0:48:22.800 --> 0:48:27.359
<v Speaker 1>That's what I'm talking about. If if wapp was like

0:48:27.400 --> 0:48:30.880
<v Speaker 1>a bunch of lines like that on an MC level,

0:48:30.960 --> 0:48:32.560
<v Speaker 1>I think I could funk with it a lot more

0:48:32.600 --> 0:48:34.479
<v Speaker 1>and be like, oh yeah, they were going in though,

0:48:34.560 --> 0:48:36.200
<v Speaker 1>you know what I'm saying, Like some of those metaphors

0:48:36.200 --> 0:48:39.920
<v Speaker 1>were like real, real good. Sorry anyway, Tweet, she was

0:48:40.000 --> 0:48:42.279
<v Speaker 1>kind of a one hit wonder with this one kind

0:48:42.320 --> 0:48:45.000
<v Speaker 1>of yeah, I mean no, it's not even any kind

0:48:45.000 --> 0:48:47.200
<v Speaker 1>of about it. I think Tweet definitely. I can't think

0:48:47.239 --> 0:48:50.480
<v Speaker 1>of another Tweet song. But if you're gonna have one hit,

0:48:50.680 --> 0:48:53.279
<v Speaker 1>this is a hit. And I remember the summer that

0:48:53.400 --> 0:48:55.759
<v Speaker 1>this came out. This came out the same summer as

0:48:55.800 --> 0:48:57.879
<v Speaker 1>another song that we have on the list, But there

0:48:57.960 --> 0:49:01.200
<v Speaker 1>was a lot of female leisurement going on the summer

0:49:01.320 --> 0:49:04.400
<v Speaker 1>two thousand two, I'm telling and you tweet led the

0:49:04.440 --> 0:49:08.520
<v Speaker 1>forefront with this. This was one of those songs where everybody,

0:49:09.280 --> 0:49:11.080
<v Speaker 1>like when it was one of the songs where somebody

0:49:11.120 --> 0:49:14.279
<v Speaker 1>would tell you that it was about masturbation and you

0:49:14.280 --> 0:49:18.000
<v Speaker 1>would be like, and then you would listen to it's like,

0:49:18.239 --> 0:49:21.000
<v Speaker 1>oh ship, because it sounds like a standard R and

0:49:21.000 --> 0:49:24.239
<v Speaker 1>B song. If you're just kind of passively listening to it,

0:49:25.000 --> 0:49:27.200
<v Speaker 1>you know, it sounds like you know, you baby, it

0:49:27.239 --> 0:49:30.360
<v Speaker 1>sounds like you know, R and B swooning, crooning fair.

0:49:30.760 --> 0:49:33.480
<v Speaker 1>But when you like really listen to it, and it's like, Yo,

0:49:33.640 --> 0:49:38.040
<v Speaker 1>this is explicitly about masturbation. It's just that's like a

0:49:38.680 --> 0:49:41.480
<v Speaker 1>that's something that's hard to pull off as a songwriter.

0:49:41.600 --> 0:49:44.120
<v Speaker 1>So very well, it's on tweet wherever you are now, Yeah,

0:49:44.160 --> 0:49:48.839
<v Speaker 1>please you'll make make a sequel or something show why

0:49:48.920 --> 0:49:53.480
<v Speaker 1>are you? Next song is My Neck My Back by Kia,

0:49:53.640 --> 0:49:58.080
<v Speaker 1>which NPR in two eighteen ranked as number one four

0:49:58.239 --> 0:50:04.799
<v Speaker 1>on their song Century Women. I agree, I mean, like,

0:50:04.960 --> 0:50:07.000
<v Speaker 1>I mean, who am I to agree? But yeah, I

0:50:07.160 --> 0:50:11.799
<v Speaker 1>would say it's definitely one of the most important rap

0:50:11.920 --> 0:50:15.200
<v Speaker 1>songs because again, I'm only I'm trying to be as

0:50:15.239 --> 0:50:18.239
<v Speaker 1>objective as I can, and I always approach all the

0:50:18.320 --> 0:50:22.680
<v Speaker 1>music stuff from a rapper lens, and this is that

0:50:22.719 --> 0:50:28.080
<v Speaker 1>It's like the song is about oral sex, and up

0:50:28.080 --> 0:50:31.640
<v Speaker 1>to this point, the way that she's going in about

0:50:31.680 --> 0:50:35.000
<v Speaker 1>the subject, Little Kim didn't do it like that, you

0:50:35.040 --> 0:50:38.760
<v Speaker 1>know what I'm saying. She picks a single sexual act

0:50:39.400 --> 0:50:43.680
<v Speaker 1>and describes it in every detail that you possibly can

0:50:43.840 --> 0:50:47.040
<v Speaker 1>throughout the entire song, Like every rhyme in the song

0:50:47.360 --> 0:50:50.960
<v Speaker 1>is like related to whereas this is other sub genre.

0:50:51.040 --> 0:50:54.479
<v Speaker 1>That's like I met up with Mary Jane and we fuck,

0:50:54.600 --> 0:50:56.759
<v Speaker 1>and I met up with Mary Beth and wait fun

0:50:56.880 --> 0:50:59.879
<v Speaker 1>he's She's like, I'm gonna talk about the next the

0:51:00.280 --> 0:51:03.440
<v Speaker 1>six hours of my day. Yeah, and I mean in

0:51:03.680 --> 0:51:06.120
<v Speaker 1>micro details. So you have the macro level, you've got

0:51:06.120 --> 0:51:08.960
<v Speaker 1>the micro level. And just to just to let you

0:51:08.960 --> 0:51:12.120
<v Speaker 1>guys all know that everything is full circle, trust me,

0:51:12.280 --> 0:51:15.200
<v Speaker 1>there was a whole contingency of the fucker's that were like,

0:51:16.239 --> 0:51:18.040
<v Speaker 1>I don't think a woman should be rapping about that,

0:51:18.200 --> 0:51:20.719
<v Speaker 1>and people had to point out, Oh, but um, what

0:51:20.800 --> 0:51:24.480
<v Speaker 1>about the n w A song She's swallowed it. Yeah,

0:51:24.480 --> 0:51:25.959
<v Speaker 1>you ain't got nothing to say now, all right, shut

0:51:25.960 --> 0:51:30.440
<v Speaker 1>the funk up, you know. So the tradition continues today.

0:51:31.200 --> 0:51:33.239
<v Speaker 1>The last song that I put on here and you

0:51:33.239 --> 0:51:37.000
<v Speaker 1>haven't heard this yet, is uh this Cupcake song and

0:51:37.040 --> 0:51:39.120
<v Speaker 1>I wanted to I want you to check it out

0:51:39.160 --> 0:51:42.920
<v Speaker 1>because this is a contemporary who, again, like we said before,

0:51:43.040 --> 0:51:46.800
<v Speaker 1>is not like a small artist. So here what she's doing,

0:51:46.840 --> 0:51:49.759
<v Speaker 1>and compare this to even WAP. This is Cupcake with

0:51:49.880 --> 0:52:02.120
<v Speaker 1>black Jack and she's just going in with bars like

0:52:02.200 --> 0:52:06.400
<v Speaker 1>that throughout the song. The video is her disheveled in

0:52:06.440 --> 0:52:08.960
<v Speaker 1>a room with a bunch of half naked guys like

0:52:09.000 --> 0:52:12.640
<v Speaker 1>they all just had a fucking orgy. And ships have

0:52:12.680 --> 0:52:16.240
<v Speaker 1>any creative metaphors exactly, And that's that's all I ask.

0:52:16.360 --> 0:52:19.160
<v Speaker 1>It's just go in, you know, like you can do

0:52:19.280 --> 0:52:21.880
<v Speaker 1>so much with rap and you can be so creative

0:52:21.920 --> 0:52:24.600
<v Speaker 1>with it. We both obviously know this with the topics

0:52:24.600 --> 0:52:28.359
<v Speaker 1>that we choose to talk about. So it's like, you know,

0:52:28.640 --> 0:52:31.520
<v Speaker 1>nobody likes some fucking pretentious motherfucker who's like, oh, you

0:52:31.560 --> 0:52:33.839
<v Speaker 1>should rap about this or what this is? What this

0:52:33.960 --> 0:52:37.839
<v Speaker 1>rap about isn't important or whatever whatever those dudes. Yeah,

0:52:38.120 --> 0:52:42.040
<v Speaker 1>but there is something to be said about if it

0:52:42.160 --> 0:52:44.920
<v Speaker 1>took you like five minutes to write some ship, it's

0:52:44.920 --> 0:52:47.080
<v Speaker 1>gonna sound like it took you five minutes to write

0:52:47.120 --> 0:52:49.480
<v Speaker 1>that ship. And there's no reason that why when you're

0:52:49.520 --> 0:52:53.160
<v Speaker 1>rapping about wet ass pussy. You know I'm saying that

0:52:53.200 --> 0:52:55.920
<v Speaker 1>you don't go as in on your rhymes. Put some

0:52:56.080 --> 0:52:57.959
<v Speaker 1>put some sank on it. Yeah, you know what I'm saying.

0:52:58.000 --> 0:53:00.279
<v Speaker 1>Just hell, grease in that ship. You know me? Come

0:53:00.320 --> 0:53:01.799
<v Speaker 1>on with a metaphor. You heard what she said? She

0:53:01.840 --> 0:53:03.920
<v Speaker 1>said you in that till it's looking like a hula?

0:53:03.960 --> 0:53:07.839
<v Speaker 1>Who what? Well? What you got in terms of bars? Oh?

0:53:07.960 --> 0:53:10.279
<v Speaker 1>I got you know. I told you I'm my iced

0:53:10.280 --> 0:53:12.560
<v Speaker 1>tea fans, So I try to keep up my my

0:53:12.640 --> 0:53:16.080
<v Speaker 1>one sex song album tradition going. So I got some

0:53:16.120 --> 0:53:18.640
<v Speaker 1>sex verses. Let's hear you here. Okay, let's let's do

0:53:18.719 --> 0:53:22.160
<v Speaker 1>some sex verses. All right? Yeah, look we get a beat?

0:53:25.080 --> 0:53:26.759
<v Speaker 1>Oh shit, you know what? You know what? We don't

0:53:26.760 --> 0:53:31.520
<v Speaker 1>do enough? Me and Lingua Franca are pretty good at

0:53:31.520 --> 0:53:34.000
<v Speaker 1>this rap thing. You guys should go check out our

0:53:34.120 --> 0:53:41.000
<v Speaker 1>music online. You know what I'm saying. We get busy.

0:53:42.040 --> 0:53:50.120
<v Speaker 1>You got a first Uh, we're waiting on reparations, were

0:53:50.280 --> 0:53:56.040
<v Speaker 1>waiting on reparations. Hurry hurriya. Number heard that I was

0:53:56.080 --> 0:53:58.360
<v Speaker 1>a charmer and he wasn't wrong, but he hadn't heard that.

0:53:58.760 --> 0:54:02.000
<v Speaker 1>He ever got that. I'm fond of violet paranas and

0:54:02.000 --> 0:54:04.520
<v Speaker 1>shipdn't mount Ronie Beach like the lines of performers, so

0:54:05.239 --> 0:54:08.160
<v Speaker 1>little buy me drinks of talk. Next no one on

0:54:08.280 --> 0:54:11.120
<v Speaker 1>top and he's hardest rocks gotten don't stop. Told him

0:54:11.360 --> 0:54:13.440
<v Speaker 1>me like you hate me because luft of power struggle

0:54:13.480 --> 0:54:14.879
<v Speaker 1>and then when you don't get out of my house,

0:54:15.400 --> 0:54:18.080
<v Speaker 1>we ain't seen it yet, coastes feeling next fucking eating

0:54:18.120 --> 0:54:20.440
<v Speaker 1>flash secrets, Campus of best to pats. Don't want to

0:54:20.520 --> 0:54:22.800
<v Speaker 1>keep a check, keep it wet with the fucking freaks.

0:54:22.800 --> 0:54:25.160
<v Speaker 1>Wouldn't even guests need to rest some so fucking be

0:54:25.320 --> 0:54:28.200
<v Speaker 1>from this convenience. Sex Yo, dog got me hanging in

0:54:28.239 --> 0:54:30.680
<v Speaker 1>the net, tell me I ain't ship with a hands

0:54:30.719 --> 0:54:32.960
<v Speaker 1>around my neck. Get sick of the work. I want

0:54:32.960 --> 0:54:34.759
<v Speaker 1>to go out and play because when I get you

0:54:34.800 --> 0:54:38.319
<v Speaker 1>all alone, I don't know what to sakes. So my

0:54:38.400 --> 0:54:41.600
<v Speaker 1>name's Dope knife baby, I'm Lingua Franca and we are

0:54:41.680 --> 0:54:47.680
<v Speaker 1>waiting on reparation. See you next week. Waiting on Reparations

0:54:47.680 --> 0:54:51.120
<v Speaker 1>as a production of iHeart Radio. Listen to Waiting on

0:54:51.200 --> 0:54:54.600
<v Speaker 1>Reparations on the I Heart Radio app, Apple Podcasts, or

0:54:54.640 --> 0:54:56.080
<v Speaker 1>wherever you get your podcasts.