Speaker 1: You're listening to it waiting our reparations a production of
Speaker 1: I Heart Radio. Yeah yeah yeah, waiting our reparations, Yeah yeah, yeo.
Speaker 1: I'm like, oh, that's what I was hoping, And here
Speaker 1: you look like nobody took the time to choke you
Speaker 1: in years. I hope you're prepared. It's been a minute.
Speaker 1: I'm out of practice, kind of flastered until you and
Speaker 1: dressing that it was time to wax this factors. Usually
Speaker 1: you're moderate, trying not to be obvious. Nice guys times
Speaker 1: like this. You like it when I'm doming it. Hold
Speaker 1: me in your hands again, be stiffer than the mannequin.
Speaker 1: Look me in the yard. Don't move until I jam
Speaker 1: it in. I don't want to hold you, just want
Speaker 1: to hold you down to your squirt and then I
Speaker 1: drowned like the funk I'm told to. Since you left
Speaker 1: has been some kinky sexs have been exposed to. So
Speaker 1: I hope you cool. If I got ship, I'm trying
Speaker 1: to show you a little disgusting like fruitcake. Hey leave
Speaker 1: them struggling with two when I write on Nigglas like
Speaker 1: they kind of pillars in the shallow river. Cool rain,
Speaker 1: ain't miss me with that group things. I'm sitting home
Speaker 1: every Tuesday, I'm pissing off of the power dealers and
Speaker 1: kissing on all those the cute gigs she's had, And
Speaker 1: what an average figure. I'm a shower witter? Is that
Speaker 1: bad to consider it? Is it in the drag that
Speaker 1: your girls in my lap? Again? Like she a napkin
Speaker 1: and dinner. She was a capitalist unattracted to women until
Speaker 1: I came mckin on Twitter. Now she likes Jacobin and
Speaker 1: dropping banners from Brendain's and dunking on fashionst but glitter.
Speaker 1: So yo, I don't think I heard that one. Okay,
Speaker 1: I'm dope, knife, I'm Lingua franca. We are waiting on reparations.
Speaker 1: Hurry up. So how are you doing. I'm fine. You
Speaker 1: had a little adventure this weekend. I always have an adventure,
Speaker 1: just having an adventure. So I drove down to Stone
Speaker 1: Mountain where white supremacists were gathering to defend the Confederate
Speaker 1: monument Hard in the Face of Stone Mountain, the largest
Speaker 1: basil based relief sculpture in the world or something like that.
Speaker 1: I saw that on like Twitter, like it was kind
Speaker 1: of crazy. There was so we showed up. Um there
Speaker 1: was a coalition of I think like thirty different organizations
Speaker 1: around the southeast from as far as the way it
Speaker 1: is like Birmingham, I think they're actually worth some anti
Speaker 1: fascists that came down who flew in from Portland to
Speaker 1: take part um, to resist the gathering of white supremacists there,
Speaker 1: to defend the Confederate monument and to call for the
Speaker 1: sin blasting of Stone Mountain. So what went down because like,
Speaker 1: as far as it looked like from if you were
Speaker 1: just you know, sitting on your ass at home watching
Speaker 1: you know, TV and seeing it's you know, on your
Speaker 1: Twitter feed, it seemed like it was a full on
Speaker 1: clash of like different groups and stuff like that. So
Speaker 1: the white supremacists were not issued a permit for their protest,
Speaker 1: and so they actually ended up locking down Stone Mountain
Speaker 1: Park to prevent them from gathering there. But they were
Speaker 1: showing up nonetheless. So we were gonna show up nonetheless,
Speaker 1: um and just make it known to them that you know,
Speaker 1: you weren't going to stand for it. I can stand
Speaker 1: for that ship. So was there a protesting Stone Mountain
Speaker 1: earlier in the summer? In the earlier the summer might
Speaker 1: have been, Oh yeah, So it's back then, not sucking around.
Speaker 1: Coalition gathered in Stone Mountains. Yeah, like a couple of hundred,
Speaker 1: maybe even a thousand people deep. But what really happened
Speaker 1: maybe two blocks away there was another gathering and there
Speaker 1: was like a big Confederate flag kind of waving back
Speaker 1: and forth above the gathering, and all these people dressed
Speaker 1: in black. So people just started going over there. They're like,
Speaker 1: fucking funk here, Kendrick Lamar, We're gonna be all right,
Speaker 1: Like we're gonna go fucking take it to them right now.
Speaker 1: And I was kind of nervous because it seemed like
Speaker 1: a similarly sized gathering as the anti fascist gathering that
Speaker 1: we're all part of. That. I got over there and
Speaker 1: what discovered is that all the people clad in black,
Speaker 1: we're also antifa um. And there was only like eleven
Speaker 1: like white supremacists with all of their guns and their camo, etcetera.
Speaker 1: But once the huge group started rolling up on them,
Speaker 1: we just like very quickly surrounded them, started like getting
Speaker 1: them to back up, started back away. You're channing, go home, racists,
Speaker 1: go home. Would you say the demographic was of like
Speaker 1: the antifa um? It was mixed. I mean a lot
Speaker 1: of different ages and races. I'd say probably mostly white people,
Speaker 1: but um, because I've noticed that there's been especially since um,
Speaker 1: in the months since the process has kind of calmed down,
Speaker 1: I've noticed that just in terms of like the corporate
Speaker 1: media narrative, there seems to be kind of like a
Speaker 1: painting of progressivism in general or just leftists thinking in
Speaker 1: general is like being a white thing, and they're trying
Speaker 1: to like painted as cases like these when white supremacists
Speaker 1: are showing up with tons of guns. Uh, Like, it
Speaker 1: makes more sense to me for white folks to put
Speaker 1: their bodies on the line to push back because like,
Speaker 1: of course they're going to pull the trigger more easy
Speaker 1: if it's like a bunch of up. Yeah, And there
Speaker 1: were you know, like there were like a lot of
Speaker 1: black people. There also a lot of people from Stone
Speaker 1: Mountain that came and joined us, And so that was
Speaker 1: the early part. And then later on we did a
Speaker 1: march around the block and encountered some more groups. I
Speaker 1: guess the white supremacist sort of consolidated. There's only like
Speaker 1: twenty of them versus like a hundred to two hundred
Speaker 1: of us, and so we were like I didn't I
Speaker 1: was not participant in this part, but I watched with
Speaker 1: glee as their you know, Confederate flags were getting snatched
Speaker 1: and burned other sorts of altercations. Unfortunately, they eventually fought
Speaker 1: back and one of the white supremacists started spraying raid
Speaker 1: in the faces of the Antifa folks. Um and then
Speaker 1: the cops showed up, and that's when me and my
Speaker 1: contention like, yeah, They're like, there's no like concrete demands
Speaker 1: to get arrested over. That's what's gonna ye guess to jail.
Speaker 1: Who knows where they're gonna take us to jail where
Speaker 1: from appens. I'm not trying to get locked up in
Speaker 1: Fulton County or something. So we split, but um Hall
Speaker 1: and all. We humiliated them, and it felt really good. Yeah,
Speaker 1: I mean there they should be used to els by
Speaker 1: this point. Yeah, you know I was. I was kind
Speaker 1: of shocked when you came back, because, you know, when
Speaker 1: I brought up possibly what we wanted to do the
Speaker 1: episode about, and you were kind of aware of what
Speaker 1: was going on. I was shocked, as busy as you
Speaker 1: are that you know that you even reached your radar.
Speaker 1: But this whole situation with the Cardi B and Meg
Speaker 1: the Stallion song how do you I would pronounce it? Whatp?
Speaker 1: How would you pronounce it? Like? Well, I mean it
Speaker 1: started a bunch of discussion and got you know, both
Speaker 1: of us thinking. This episode, we're going to be discussing
Speaker 1: the history of abscenity law in the United States and
Speaker 1: it's implications for the conversations that have come up surrounding
Speaker 1: Cardi B and mag The Stallions song Wow concerning uh
Speaker 1: primarily you know, sexually explicit lyrics and in particular, you know,
Speaker 1: hip hop and society at largest reaction towards women taking
Speaker 1: control of the subject of sexuality. So on August seven,
Speaker 1: rappers Cardi B and Meg the Stallion caused the mini
Speaker 1: uproar with the release of their song Whop, which is
Speaker 1: an acronym for wet ass, pussy, raunchy and explicit club
Speaker 1: banger with the ladies. You know, they run down a
Speaker 1: checklist of their sexual wants, needs, exploits, and abilities. You know.
Speaker 1: It's it's it's got funny innuendo, punchlines, trap bat it's
Speaker 1: standard ship, you know what I mean. It's like typical
Speaker 1: club banger. It's got a dope sample from that nineties
Speaker 1: dance song. There's some Whars in this House by Frank Ski.
Speaker 1: You know there's some wres in this house. There's some
Speaker 1: more you heard this ship? Yeah, but could it be
Speaker 1: considered obscene? My immediate answer would be no, And I'm
Speaker 1: not really sure that it is considered obscene? What do
Speaker 1: you think? I mean, I think, having done some research
Speaker 1: into how obscenity is legally defined, and we'll get more
Speaker 1: into that in a second, I would say no because
Speaker 1: it does have artistic merit, but we'll come back to that.
Speaker 1: But culturally, what do you think? When I talk with
Speaker 1: a lot of friends that my age where always we
Speaker 1: always talk about where the generation that's old enough to
Speaker 1: have known life before the Internet was crazy all over
Speaker 1: the place. But we're young enough to have grown up
Speaker 1: a little bit in the Internet age. And I find
Speaker 1: kids these days are exposed to a lot more quicker
Speaker 1: and just culturally compared to when I was a kid,
Speaker 1: Just like sexuality and sexual expression is much more accepted
Speaker 1: than it was even ten years ago. A little bit
Speaker 1: about the trailblazers that made that possible. Within music, I
Speaker 1: feel that's gotten lost in some of the the conversation
Speaker 1: around the song. Is you know you obviously you have
Speaker 1: the people who are grand standing on like some moral
Speaker 1: basis and it's like, oh my god, I can't believe
Speaker 1: that there's a song where they're talking about us pussy,
Speaker 1: you know. And then you've got uh the hotels who
Speaker 1: are like, oh, women shouldn't talk about these things and
Speaker 1: she should were children. Yeah, it's like, I don't even
Speaker 1: know why we're entertaining what these people think. But obviously
Speaker 1: those voices are out there. But the reason that in
Speaker 1: that that's not like the dominating opinion is because of
Speaker 1: people who Blaze put that work and made those songs
Speaker 1: and made those statements so that there's people who walked
Speaker 1: on glass and hot coal, so that Cardi B and
Speaker 1: Meg the Stallion could gallop in the field and we're
Speaker 1: gonna we're gonna pay some homage to them today. I
Speaker 1: feel like the song is definitely growing on me. If
Speaker 1: I weren't for COVID, i'd definitely be the answer to
Speaker 1: this at church Bar every Saturday. First, on the topic
Speaker 1: of it being obscene, because since there's so many people
Speaker 1: that are pearl clutching, you know, like they've never heard
Speaker 1: something like this before, why don't we break down a
Speaker 1: little bit of what obscenity actually is and how it's
Speaker 1: been dealt with in the American legal So, the first
Speaker 1: ever federal law restricting the distribution of obscene materials came
Speaker 1: out came about in eighteen seventy three, largely thanks to
Speaker 1: the efforts of anti advice activists and total kill joy
Speaker 1: Anthony Comstock, who famous anarchists Emma Goldman referred to in
Speaker 1: her autobiography as the leader of America's moral unis. The
Speaker 1: Comstock Act prohibited sexually explicit material to be distributed through
Speaker 1: the mail, which included information about birth control and abortion,
Speaker 1: which I think is an important fact. Sneak those certain
Speaker 1: things in there, don't they? Right? It's all I mean,
Speaker 1: like it's about it. And I think this history is
Speaker 1: important because it shows how laws restricting freedom or speech
Speaker 1: when it comes to sexuality and the ways that that
Speaker 1: trickles down into the culture have always been about controlling
Speaker 1: women and controlling women can do and what women can say. However,
Speaker 1: the legislation UH did not define obscenity, and they said
Speaker 1: left it to the court determined on a case by
Speaker 1: case basis, and us um obscenity law is actually unusual
Speaker 1: in this aspect. And that there's no uniform national standard um.
Speaker 1: There's an explicit legal precedent, the Miller tests, which we'll
Speaker 1: talk about in a second UM, that allows something which
Speaker 1: is legally obscene in one jurisdiction to be legally fine
Speaker 1: in another. UM. There doesn't exist as specific listing of
Speaker 1: a which exact acts are to be classified as obscene
Speaker 1: on like a national all scale. Now, preceding the Miller tests,
Speaker 1: there were several standards historically by which something could be
Speaker 1: deemed legally obscene. In eight the case a Rosen versus
Speaker 1: the United States, the Supreme Court adopted the same obscenity
Speaker 1: standard as had been articulated in the famous British case
Speaker 1: Regina versus Hicklin eighteen sixty eight. The Hicklin tests defined
Speaker 1: material as obscene if intended to deprave or corrupt the
Speaker 1: minds of those who are open as such immoral influences,
Speaker 1: you know, people whose hands a publication of the Stork
Speaker 1: could fall into, which I think is interesting because it's like,
Speaker 1: what is depravity? What is corruption? Because on the other hand,
Speaker 1: you might consider, and many do and are considering, a
Speaker 1: song like WAPs to be very sexually empowering because they're
Speaker 1: talking about what they want, talking about what they can do,
Speaker 1: they're talking about what their standards are in articulating for themselves.
Speaker 1: They're like agent, they're sexual agents rather than being like
Speaker 1: sexual objects acted upon. And in that sense actually h
Speaker 1: like bolstering, like confidence bolstering. But I don't know, I mean, like,
Speaker 1: on the other hand, it sounds like a very fancy
Speaker 1: way of saying people who were maybe frightened by their
Speaker 1: own directions came up with these laws. That's the Yeah, Okay,
Speaker 1: So this got thrown out in the mid nineteen fifties
Speaker 1: the Hickland test, and then it was supplanted by the
Speaker 1: Rath test, which said that something is obscene if to
Speaker 1: the average person applying contemporary community standards, the dominant theme
Speaker 1: of the material, taken as a whole, appeals to the
Speaker 1: prurian interest. So if it makes you feel a little
Speaker 1: if you feel at a little tingly, that makes you
Speaker 1: a little uncomfortable. Yeah, if you're if you get a
Speaker 1: boner and you're scared. But yeah, it's like, oh my god,
Speaker 1: and you're an average person applying contemporary community standard. And
Speaker 1: then also you rewind ship by like two hundred and
Speaker 1: fifty years you know what I'm saying, like ankles and
Speaker 1: collar balls, Like oh or not? What's happening to you? Mom? Uh?
Speaker 1: There you go. The test got another upgrade in nineteen
Speaker 1: seventy three with the court case Miller versus California, which
Speaker 1: established the Miller test as the new metric for obscenity
Speaker 1: that we still use today. Um and with it, you know,
Speaker 1: determining whether or not materialist protected by the First Amendment.
Speaker 1: So the Miller test, also called the three pronged obscenity test, says, UM,
Speaker 1: whether the average person applying contemporary community standards would find
Speaker 1: that the work taken as a whole arouses some kind
Speaker 1: of sexual desire anxiety, Whether the work depicts or describes
Speaker 1: in a patently offensive ways actual conduct or expratory functions.
Speaker 1: It's actually interesting how those are looping together, um, specifically
Speaker 1: defined by applicable state law. And then the last was
Speaker 1: whether the work taken as a whole lack serious literary, artistic, political,
Speaker 1: or scientific value, which is it's last because it's the
Speaker 1: last line of defense. So it's like if if they
Speaker 1: if none of the other stuff could be proven, then
Speaker 1: it's like that last bit, it's like, I don't like this,
Speaker 1: what's the thing. If all three conditions are satisfied by
Speaker 1: the texting question, the work is considered an obscene. So
Speaker 1: it can't just be talking about an excrittory function. It
Speaker 1: can't just be whether or not you get a scared
Speaker 1: boner when you listen to it. It has to be
Speaker 1: all of these things together. Okay, so let's go down,
Speaker 1: let's let's try to let's let's put it to the test.
Speaker 1: Then does whop past the Miller tests? So depends on
Speaker 1: how you to find the apples person applying contemporary community
Speaker 1: standards because, like you said at the top, a lot
Speaker 1: a lot of teams today grew up in the wild
Speaker 1: west of the Internet. It's really when I was a kid,
Speaker 1: let's say when I was like thirteen twelve, I'd say,
Speaker 1: is around when I personally think I don't know what
Speaker 1: my parents think, but like around the age when I
Speaker 1: think my mom probably would have like been like, you're
Speaker 1: listening to what you know? So let's say that age, Yeah,
Speaker 1: I would have had to go into a record store
Speaker 1: to buy you know what, I mean, to get ahold
Speaker 1: of it because they probably wouldn't have played this on
Speaker 1: the radio, and there was no Internet where I could
Speaker 1: just hear it uncensored, so that would it's the average
Speaker 1: person of my day, not like a kid or anything
Speaker 1: like that. I guess would have been in their late teens,
Speaker 1: early twenties. Right, Okay, now the average person that's gonna
Speaker 1: be exposed to it, just keeping it a buck, right,
Speaker 1: we're talking like eight year old. Yeah, that's a good point,
Speaker 1: you know what I'm saying. That's just if we're keeping
Speaker 1: it like honest, eight year old has the time to
Speaker 1: like stream one song twenty seven times on Spotify, you know,
Speaker 1: Like that's not like with like bills and responsibilities. Well,
Speaker 1: I think the work does depict in patently partently offensive
Speaker 1: sexual contact. They talk up the other like you know,
Speaker 1: I wouldn't say patently offensive. Cultural standards have changed, just
Speaker 1: just to go back if we're talking about then yeah,
Speaker 1: you know I can I can totally understand. We've got
Speaker 1: this dynamic of the Christian right and all that sort
Speaker 1: of ship that doesn't exist at all. Like there literally
Speaker 1: is no one that has any sort of moral high
Speaker 1: ground to like get mad at a sexually explicit song.
Speaker 1: I just don't. I don't think so there's there's no
Speaker 1: one that's living up to that. We're all I think
Speaker 1: at this point we all kind of under I think
Speaker 1: at this point it's just patently hypocritical to think that
Speaker 1: anything in the song is patently offensive. Yeah, but then
Speaker 1: there's the third point whether the work taken as a
Speaker 1: whole lax serious literary, artistic, political, or scientific value. So
Speaker 1: I think with this what I mean, you can I
Speaker 1: do think the song has our two sick merritt. I
Speaker 1: do think Meg's cadence, her flow is pretty dope. I mean,
Speaker 1: and I'm not a super fan of Cardi B's like
Speaker 1: flow is um pretty standard for her. But political value,
Speaker 1: I think it has unintended political value, you know, kind
Speaker 1: of kind of like what we were we talked about
Speaker 1: on a few episodes ago about people's intent, and it's
Speaker 1: kind of one of those things where I don't think
Speaker 1: that it was intended to be that statement, but just
Speaker 1: in the midst of the uproar about it, it's kind
Speaker 1: of I don't like Cardi B is pretty smart. I
Speaker 1: wish you understand. Not really a question of whether or
Speaker 1: not Cardi B is smart or Cardi B like, it's
Speaker 1: not about her capabilities a matter of fact, she is like,
Speaker 1: you know, on record recently, amiss all of this, like
Speaker 1: pretty much putting that out there. That was like, Hey,
Speaker 1: I tried to make a serious song before nobody streamed it.
Speaker 1: People streamed when I talk about my pussy, So I'm
Speaker 1: gonna talk about my pussy. She's like, you guys should
Speaker 1: stream she She's like, you guys should stream the female
Speaker 1: rappers that don't talk about their pussy. That was pretty
Speaker 1: much her her argument for it, which, hey, you know,
Speaker 1: it's like, do you think I get it? It's just
Speaker 1: she's done songs like this before, so I don't understand
Speaker 1: why this one unless her whole entire rap stick is like,
Speaker 1: this whole thing is for the purpose of sexual expression
Speaker 1: and empowerment. And I get that that makes sense, and
Speaker 1: it very well might be the case, but I don't
Speaker 1: know why this song would be the song that is
Speaker 1: chosen to make that statement when the City Girls Torque
Speaker 1: song that she did just last summer was pretty much
Speaker 1: the same song with a better beat in my opinion.
Speaker 1: So in the nineties seventies we kind of developed the
Speaker 1: standards for obscenity that are still while they used today,
Speaker 1: but the battle over obscenity and music really ramped up
Speaker 1: in the eighties with the Parents Music Resource Center p
Speaker 1: M MARC list of songs deemed unsuitable content and levying
Speaker 1: particularly heavy criticism against Princes Darling Nikki after co founder
Speaker 1: of Tipperacre heard her eleven year old daughter saying the lyrics,
Speaker 1: which included an explicit mention of masturbation. Let's uh, let's
Speaker 1: backtrack and check out those um fifteen songs. We've got
Speaker 1: Princess Darling Nicki, We've got a Sheena, Eastern Sugar Walls,
Speaker 1: Judas Priests, Eat Me Alive, Vanity strap On, Robbie Baby, Motley,
Speaker 1: Crew Bastard a C d C. Let me put my
Speaker 1: love into you. Twisted Sisters, We're not gonna take it. Yeah,
Speaker 1: So Twisted Sisters were not gonna take it. Got put
Speaker 1: on there for violence, and I remember being a real
Speaker 1: little kid that like they were actually were, you know,
Speaker 1: in the halls of Congress, actually testifying, you know, towards
Speaker 1: the whole entire situation. Yeah. Yeah, so um. The Record
Speaker 1: Industry Association of America responded to this complaint by introducing
Speaker 1: an earlier version of their content warning label, and then
Speaker 1: PRMC pushed back and proposed that a music rating system
Speaker 1: work more similarly to the Motion Picture Association in America's
Speaker 1: film rating system from movies. The r I a A.
Speaker 1: The Record Folks alternatively suggested using a warning label reading
Speaker 1: parental guidance explicit lyrics, and after a continued conflict between
Speaker 1: the organizations, the matter came up in a September hearing
Speaker 1: of the United States Senate Committee on Commerce, Science, and Transportation.
Speaker 1: Uh and so as you were saying. Notable musicians Frank Zapp,
Speaker 1: John Denver, the Snyder each testified at the hearing was
Speaker 1: strong opposition to the p m r c S warning
Speaker 1: label system and censorship in general. Approximately two months after
Speaker 1: the hearing, the organization agreed on a settlement in which
Speaker 1: audio recordings were to either be affixed with the warning
Speaker 1: label reading explicit lyrics parental advisory, or have its lyrics
Speaker 1: attached to the back side of the packaging. So you know,
Speaker 1: we all know the parental advisory sticker. It's really funny.
Speaker 1: It's really like I remember saying that as a kid
Speaker 1: and being like, I want that record, mommy. Well you
Speaker 1: know what the you know how like I'm a huge
Speaker 1: Iced Tea fan, right. Iced Tea was one of the
Speaker 1: artists that was like mired in this and at the
Speaker 1: forefront of it. So it was a huge backdrop to
Speaker 1: a lot of his early albums, Like he had a
Speaker 1: song called freedom of Speech that was literally the story
Speaker 1: of this whole thing. And he had a rhyme that
Speaker 1: was um Pio Marcy, you stupid fucking asshole. The stickers
Speaker 1: on the record. That's what makes it sell gold. Can't
Speaker 1: see you, alcoholic idiots. The more you try to suppress us,
Speaker 1: the larger we get. I can't believe. I just remember that.
Speaker 1: It's one of those things where it's like when a
Speaker 1: song comes out like wop or any any sort of song,
Speaker 1: and people who are fans of it because hey, everybody's
Speaker 1: got a reason a night like something. And I make
Speaker 1: music too, I don't make it with any sort of
Speaker 1: expectation that everybody's gonna like it. So hey, everybody has
Speaker 1: their reason, and everybody's reason can be legit to them.
Speaker 1: But when fans of a certain artist feel that criticism
Speaker 1: against that artist for something, it's like persecution or oh
Speaker 1: why you guys going against you know, It's like Yo,
Speaker 1: At a certain point in time, artists were really being persecuted,
Speaker 1: like by the government, not Twitter comments and ship yea.
Speaker 1: Broward County, Florida Sheriff Nick Navarro arrested and charged recoistaurant
Speaker 1: owners who sold the rap group to lab Cruise album
Speaker 1: as Nasty if they want to be to literally getting
Speaker 1: persecuted by the government for like the circulation of obscene materials.
Speaker 1: There was a case of it being sold to a
Speaker 1: fourteen year old girl. Um, and yeah, I mean it
Speaker 1: was if you haven't heard Nasty as you want to be,
Speaker 1: you know, it's it's got the famous single Misa Horny,
Speaker 1: you know, so it's, uh, it's what you would expect.
Speaker 1: So Navarro believe the album comes constituted obscenity, and then
Speaker 1: they ended up going to court over and now Skywalker Records,
Speaker 1: which was the company that put out the album, and
Speaker 1: two Life Cruise lead performer Luther Campbell and the four
Speaker 1: members of the group filed a lawsuit in federal court
Speaker 1: seeking a judicial declaration that their album was not obscene
Speaker 1: and the actions of Navarro imposed an unconstitutional prior restraint
Speaker 1: on expression. A federal District court judge declared the record
Speaker 1: obscene in Skywalker Records Versus Navarro, applying the Miller test
Speaker 1: from Supreme Court decision Miller versus California. They didn't think
Speaker 1: that missa Horney had like political value wait for it. However,
Speaker 1: the plaintiffs appealed to the leaventh Us Circuit Court of Appeals,
Speaker 1: which reversed in Luke Records versus Navarro Nity two. The
Speaker 1: appeals court explained the plaintiffs had submitted expert testimony that
Speaker 1: the album contains serious artistic value, a contingent not refuted
Speaker 1: by the sheriff through any expert testament other than you know,
Speaker 1: he just submitted a tape recording of the album. And
Speaker 1: I was like, can you believe this? Yeah? And this
Speaker 1: is all from David L. Hudson Jr. Who's a law
Speaker 1: professor at Belmont who publishes widely on the First Amendment topics. Now,
Speaker 1: many other rappers have been threatened through the years with
Speaker 1: obscenity charges and just different types of censorship. Like I
Speaker 1: was saying before, Ice T was a pioneer of this
Speaker 1: too short just come under fire for his lyrics. A
Speaker 1: rap lyrics became the subject of the U. S. Supreme
Speaker 1: Court case A Loneus versus the United States two thousand fifteen,
Speaker 1: when the court evaluated whether a man committed a true
Speaker 1: threat when he posted rap lyrics that allegedly threatened his
Speaker 1: ex wife and others. Now, can rap music make people violent?
Speaker 1: That was the essence of the argument filed by attorneys
Speaker 1: for three family members of the slain Texas State Trooper
Speaker 1: Davison versus Time Warner. Now, the state trooper was killed
Speaker 1: by Ronald Howard, who was listening to the Tupac album
Speaker 1: to Apocalypse Now at the time. But that's a whole
Speaker 1: other issue for another episode in itself. So let's stick
Speaker 1: to talking about the sex stuff. Alright, sex stuff now,
Speaker 1: music discussion. We've been talking about this Whop song, and
Speaker 1: you know, I don't want to I don't want to
Speaker 1: get two Insideryhannes. So let's not just assume that everybody
Speaker 1: has heard it, and let's just listen to a little
Speaker 1: bit of it right now my mouth, pick my eyes
Speaker 1: to sign in the wave of everyone having their takes
Speaker 1: on the song. From what I've been seeing, there's a
Speaker 1: lot of the sentiment of finally, women in hip hop
Speaker 1: are expressing themselves in this way, or you know, in
Speaker 1: in people's effort to dunk on the trolls who are
Speaker 1: been out and having something negative to say, I feel
Speaker 1: that to give Cardi and Megan props for putting out
Speaker 1: a song like this, I feel that people are serving
Speaker 1: a blind eye to the type of artists who have
Speaker 1: come out before and put out songs like this before.
Speaker 1: Sexually explicit lyrics and hip hop aren't a new thing,
Speaker 1: vibe any any stretch of the imagination obviously, you know.
Speaker 1: With with that is the issue of the double standard
Speaker 1: between when men make sexually explicit songs and or have
Speaker 1: sexually explicit lyrics and when women do. I mean, it's
Speaker 1: mirror as much of contemporary life. So uh, I think
Speaker 1: that why why do you think that is though? For
Speaker 1: the men who do like what? Because because there's still
Speaker 1: a prevailing notion that women are sexual objects and not
Speaker 1: sexual agents. Like it's you know, you see a girl,
Speaker 1: what a fatass? You like? Damn girl? Try to get
Speaker 1: your number? Uh? Like talk to like bragging on his
Speaker 1: sexual exploits. It's like a it's it's like a really
Speaker 1: uh pernicious but like pervasive aspect of like masculinity. Uh.
Speaker 1: And so it's like just horrific and totally subversive, not
Speaker 1: groundbreaking anymore, but still really challenges the prevailing to paradigm
Speaker 1: one whip and claimed for sexual agency and talk about
Speaker 1: like if it don't hang, you can't bang. A common
Speaker 1: critique of just hip hop in general is how a
Speaker 1: lot of it's kind of like, you know, somebody finds
Speaker 1: something that's dope and that works, and that catches on,
Speaker 1: and then a trend follows, and then for everyone rapper
Speaker 1: who's doing their thing, got like fifteen cats who are
Speaker 1: like bite right, So that's like a common thing to
Speaker 1: begin with, right, So do you think that there's any
Speaker 1: room for perhaps the critique that with some of the
Speaker 1: trail blazing female hip hop artists who have blazed that trail.
Speaker 1: You know, I can tackle the subject and be in
Speaker 1: control of sexuality and I can be just as sexually
Speaker 1: aggressive as like a man and rapping about the topic
Speaker 1: and ship like that. Do you feel with the artists
Speaker 1: who kind of found success with that that that perhaps
Speaker 1: has started a trend that maybe has lasted to create.
Speaker 1: It's created a profitable lane. Like you said at the beginning, Uh,
Speaker 1: Cardi is talking about like I put out songs that
Speaker 1: were smart. Yeah you know my listen to them, but
Speaker 1: I make millions off of talking about my pussy. So
Speaker 1: I'm going to talk there's until there's a there's an
Speaker 1: incentive motive. There's nothing inherently wrong with that. I just
Speaker 1: for me, I'm not shocked when like people who I
Speaker 1: know who are like a bit snobbish about their music
Speaker 1: taste don't funk with stuff like this, because it's like, yeah,
Speaker 1: I mean, why would you, you know, Like something like
Speaker 1: this doesn't strike me as it being necessarily made for
Speaker 1: someone who's thinking really that deeply about the music that
Speaker 1: they're listening to. I mean, I think like getting linguistically
Speaker 1: imaginative and the way you're describing sexual scenarios, there's a
Speaker 1: lot of room to grow. Still, like, uh, Cardian Meg
Speaker 1: aren't talking about it in the same way that Little
Speaker 1: Kim Dead back at Night WHOA Well, I would I
Speaker 1: would have to, I would have to um, I would
Speaker 1: have to disagree. I think that it could definitely be
Speaker 1: argued that perhaps the Little Kim's of the world were
Speaker 1: more explicit than I mean, first of all, we don't
Speaker 1: even have to take it back to card We can
Speaker 1: talk about contemporaries right now. There is a contemporary. I mean,
Speaker 1: have you heard of cupcakes? We reviewed cupcake songs on
Speaker 1: an episode before Cupcake, Who is Cupcakes not like an
Speaker 1: international I'm filling up stadium. But Cupcake is by no
Speaker 1: means a small artist. In Cupcake, I would say on
Speaker 1: a song by song basis you know me, I'm want,
Speaker 1: I'm I'm a rap file. I listened to rap just
Speaker 1: constantly all the time. Cupcake is I mean Cupcakes team
Speaker 1: ship is like worse than what for real, for real,
Speaker 1: And I'm not I'm not even exaggerating about that. As
Speaker 1: a matter of fact, I pulled up a Cupcake song
Speaker 1: or further on our music discussion that we can check out.
Speaker 1: But yeah, like Cupcake really goes in. So even amongst
Speaker 1: her contemporaries, I don't think that this classifies as like
Speaker 1: super bad. I think we're really getting people is just
Speaker 1: the hook, just the wet ass pussy aspect of the hook.
Speaker 1: And that is a common theme with people's rejection of
Speaker 1: certain dirty quote unquote dirty rap songs. But let's first
Speaker 1: talk about the sub genre of porner rap slash dirty rap. Okay,
Speaker 1: so the genre has been around since this nineteen seventies
Speaker 1: with Blowfly in his rap Dirty album. We we talked
Speaker 1: about blow Fly when we talked about how Chuck D
Speaker 1: was inspired by his lyrics for a line in the
Speaker 1: song fight the Power. It wasn't until the nineteen eighties
Speaker 1: an Oakland rapper Too Short release the nineteen eighty three
Speaker 1: album Don't Stop Rapping, containing multiple dirty sex subjects, that
Speaker 1: sex became the central focus to life. Crew garnered much
Speaker 1: negative publicity, however, and it wasn't until their ninety nine
Speaker 1: album As Nasty As They Want to Be that dirty
Speaker 1: rap became a legitimate subgenre in itself. You Got so
Speaker 1: it makes a lot cool, Keith Nelly, I've been saying
Speaker 1: that wrong. Nobody corrected me, and this all time contributed
Speaker 1: along the way with songs like what It Didn't you Know?
Speaker 1: And the album Sex Style but One Woman, We Feel
Speaker 1: really took the style of being sexually explicit and wrapped
Speaker 1: and harnessed it and brought it into the mainstream. And
Speaker 1: that is low Kim. I mean, I want to say
Speaker 1: we feel, but I think it's kind of at the
Speaker 1: end of the day, when especially when we're talking about
Speaker 1: the music stuff. We're fans, and you know a lot
Speaker 1: of this is our opinion, but I think with this
Speaker 1: particular issue, it might be safe to say the little
Speaker 1: Kim is the mother of this mainstream sex rap ship
Speaker 1: and all these bitches as her sun. But um, just
Speaker 1: HARKing back to just memory. It's like, it's not to
Speaker 1: say that few women artists didn't reference sex or talk
Speaker 1: about sex as as you're gonna hear, I mean salt
Speaker 1: and peppers. Let's talk about sex. Precedes Little Kim by
Speaker 1: once a decade and a half ye shoots by at
Speaker 1: least like you know, five, three or four years you
Speaker 1: know before a Little Kim But just the uh making
Speaker 1: that like the part of the identity to the extent
Speaker 1: of how it was too Shorts identity because, for example,
Speaker 1: a rapper like Too Short his first album had a
Speaker 1: couple of sex songs on it. People dug those sex songs, right.
Speaker 1: I ied T had a similar thing where every album
Speaker 1: that he released he had a sex song on it,
Speaker 1: and people dug those songs. It was like than you
Speaker 1: expected when you like listen to I C albums, like, oh,
Speaker 1: he always has one song that's like graphically like sexual,
Speaker 1: but the thing is too Short adopted that as his
Speaker 1: like rap given where he was like, okay, I'm the
Speaker 1: rapper who makes sex songs, and that became the defining
Speaker 1: element of two shorts music. You know what I'm saying.
Speaker 1: I s T didn't go that route. There have been
Speaker 1: other like you know, female rappers who have done the
Speaker 1: same thing, who have made their music and it's like, oh,
Speaker 1: they'll have a reference, they'll have a shoot, or they'll
Speaker 1: have a let's talk about sex. But that's not like
Speaker 1: to define their like their overall rap character. Little Kim
Speaker 1: took that on and said, no, this is my rap character.
Speaker 1: The name of my first album is hardcore. We're going in. Yeah. Literally,
Speaker 1: So she completely reversed the roles of sexual objectification and rap.
Speaker 1: It's every bit as wrong she and explicit as anything
Speaker 1: an email artists had done before or was doing. And
Speaker 1: it was like aggressive and the aggressive expression from a
Speaker 1: woman in hip hop on a record. Um and people,
Speaker 1: I mean I was. I feel like I was. I
Speaker 1: was probably I was like how old were you in
Speaker 1: like two thousand nine nine? Yeah, So when Little Kim
Speaker 1: was at her peak and popular, I feel yeah, that's
Speaker 1: that's when you were nine. That's yeah, little when Little
Speaker 1: when Little Kim, when Little Kim had out like a
Speaker 1: song that was like on TRL yeah it which is
Speaker 1: this is another thing that kind of irks me out
Speaker 1: about a lot of this discourse about the Cardi b
Speaker 1: in Mega Stallion song. It's like Little Kim had a
Speaker 1: song called how Many Licks Does It Take? That was
Speaker 1: like a hit song feature in Thong song Cisco that
Speaker 1: was like on TRL like number one, number one, you
Speaker 1: know what I mean. It was like Britney Spears Eminem
Speaker 1: in sync Little Kim, how Many Licks does It? I
Speaker 1: will never forget. I will never forget accidentally finding that
Speaker 1: song on Napster and being like scared my parents are
Speaker 1: gonna hear that I heard it, and also getting like
Speaker 1: weird feelings like that. The beginning of my sexual awakening
Speaker 1: was how many Like smile Kim. There was a there's
Speaker 1: a little passage that I found in a article with
Speaker 1: Dave's magazine. It's an article by um context Okay, so
Speaker 1: this is this is a quote uh Tim Hall in
Speaker 1: the article Contextually. We live in a world which just
Speaker 1: saw one of the most powerful countries elect the president
Speaker 1: accused of rape. Despite claiming to use his power to
Speaker 1: grab women by the pussy, Donald Trump has succeeded in
Speaker 1: his bid to one of the world's most influential titles,
Speaker 1: and as a result, looks set to threaten the rights
Speaker 1: of women and minorities across America. Elsewhere, a rise in
Speaker 1: queer and female led porn has sparked a new sexual
Speaker 1: revolution of sorts. Sites including Ache Love Not Porn looked
Speaker 1: at to pick the more realistic portrayal of sex that
Speaker 1: actually appeals to the desires of women. Yet the truth
Speaker 1: remains that promiscuous women and sex workers are still routinely
Speaker 1: and institutionally discriminated against. Events such as slut Walk may
Speaker 1: be challenging prejudices towards promiscuous women, yet women's rights continue
Speaker 1: to be threatened and undermined. Ultimately, Hall continues the all
Speaker 1: encompassing message of hardcore is not rooted in any one
Speaker 1: time period. Twenty years later, Kim remains an anomaly due
Speaker 1: to her willingness to flaunt her sexuality and flip the
Speaker 1: script on men with raw, sexually explicit lyrics. She may
Speaker 1: have been sexualized, but she was never unaware. She was
Speaker 1: more than willing to strip down, sex up and dare
Speaker 1: men to desire her. By doing so, she set an
Speaker 1: example for women. Restructed by conservative values that tell women
Speaker 1: they can either be smart or sexy, but really both,
Speaker 1: women are taught that to exploit their sexuality is to
Speaker 1: value their mind. Kim's stuck two fingers up at this,
Speaker 1: achieving unprecedented success and critical acclaim while simultaneously flaw and
Speaker 1: take her beauty and starting men to fuck her as
Speaker 1: she wanted to be fucked. That's putting it perfectly. And
Speaker 1: I mean, just like looking back at it, it's like,
Speaker 1: you know, it's almost like she took the the caricature.
Speaker 1: It's like we've we've had the same issues for so long.
Speaker 1: But it's like, I remember when the video Vixen was
Speaker 1: like there was just a point in hip hop when
Speaker 1: just there was a lot more awareness, and it seems
Speaker 1: to me that it was like, hey, you know, women
Speaker 1: are depicted really fucked up because it's like the old,
Speaker 1: the biggest, you know, we we have our female mcs
Speaker 1: that are out there, but it's not like there's enough
Speaker 1: of them. And then the depiction that we see of
Speaker 1: women after that is the video Vixen, scanally clad, emotionless
Speaker 1: in most cases, girl just standing there staring either at
Speaker 1: the rapper or at the camera, like no expression, just
Speaker 1: I'm here, I'm part of the set, I'm a problem,
Speaker 1: And it's almost like little Kim took that caricature. It
Speaker 1: was like, that's gonna be my rap character. Like what
Speaker 1: happens with the video Vixen can rap. You get to
Speaker 1: hear what the funk she's thinking. So and I feel
Speaker 1: that it created like a lame and even a sub
Speaker 1: sub genre in itself that I feel the likes of
Speaker 1: Nicki Minaj and Cardi B and Megdal Stallion are kind
Speaker 1: of following in that tradition, you know, of of that
Speaker 1: sort of I guess you can call a style, right
Speaker 1: rap style. It's hard to really put it into context.
Speaker 1: But in a pre Internet age, Little Kim was like
Speaker 1: the hip hop pin up God is sex symbol that
Speaker 1: whole thing. At the end of the day, let's just
Speaker 1: not let's just not just act like we've been here before,
Speaker 1: you know what I'm saying, Like this, we can like
Speaker 1: our ship and we can elevate ship without forgetting about ship.
Speaker 1: You know what I'm saying, Just if something happened before
Speaker 1: some of us were born, doesn't mean that it no matter,
Speaker 1: no longer has any sort of relevancy or anything like that.
Speaker 1: You know. So let's talk about some music. So let's
Speaker 1: talk about sex released to Night to ninety one on
Speaker 1: their Black Magic's album Salt and Pepper. Sample here, I'll
Speaker 1: take you there by the staple singers and hip hop
Speaker 1: history is made. But let's talk about dick. But now
Speaker 1: the people at home were to crowd keeps coming up. Anyhow,
Speaker 1: they discussed the song was rolling stone. It's not a
Speaker 1: song about sex. It's a song about talking about sex.
Speaker 1: But as we kind of touched on earlier with the
Speaker 1: title wet ass pussy um, even the mention alone um
Speaker 1: of getting it on was enough to turn heads. And
Speaker 1: so the fact that this tong was titled let's talk
Speaker 1: about sex, like had people really fucked up. Salt recounts
Speaker 1: somebody saying to her dad, I used to love your
Speaker 1: daughter's music, but now she's going too far, and her
Speaker 1: dad said to him, have you listened to the song?
Speaker 1: And then he the man came back later after listening
Speaker 1: to the song and apologized for writing it off as
Speaker 1: sexually explicit, and really it's really not sexual explicit at all,
Speaker 1: but it's really about sexual communications, which is so important.
Speaker 1: One thing I will say is that this song is
Speaker 1: surprisingly long, Like I mean, the verses are short, but
Speaker 1: there's a lot of the song where it's just minutes
Speaker 1: of them saying let's talk about sex baby over and
Speaker 1: over again and nothing else. That's you get points deductive
Speaker 1: for that ship to jump ahead in time a little bit. Um,
Speaker 1: when we talk about Shawna's getting some head? What year
Speaker 1: was that to the and shaunas two thousand and eight?
Speaker 1: Getting some head chokes me And the hook is really
Speaker 1: the most salacious part of the whole song. The lyrics
Speaker 1: themselves are pretty standard you know, street ship, except for
Speaker 1: when she says, Hey, little Mama, can you give me
Speaker 1: a sec I got something some about as big as
Speaker 1: your next Yeah, And then um, it's cool that she
Speaker 1: sampled for that hook to get in some head. That's
Speaker 1: two shorts voice that she sampled, so it's like she
Speaker 1: sampled in like the notorious sex rapper too short to
Speaker 1: like say, getting some head In the hook of the song,
Speaker 1: I'm going back to salt and pepper. They later on
Speaker 1: would go on to release another famous song, women Singing
Speaker 1: at Every wedding that happens in America. Shoot not fully
Speaker 1: when I get what I finally interesting about this song,
Speaker 1: and I think it's really telling for the time because
Speaker 1: it's just like kind of prel comb big Twins verse
Speaker 1: on is the raunchiest verse on the and so it
Speaker 1: sort of speaks to what people were allowed to say then,
Speaker 1: like you know, Salton Pepper had to be like very
Speaker 1: you know, like metaphoric and like oh I want to
Speaker 1: shoot uh. And he's in there like this Nike is
Speaker 1: coming in like I'm hitting skins for the hell of it,
Speaker 1: just for the yell I get for the smell of it,
Speaker 1: I mean, and the and the thing is, it's like
Speaker 1: you gotta remember too at a time that this is happening.
Speaker 1: There is in a way a sort of sexual revolution
Speaker 1: kind of going on in hip hop at the time
Speaker 1: where just rappers across the board or like more openly
Speaker 1: and just you know what I mean a matter of fact,
Speaker 1: he's talking about sex. It's just on the men's part.
Speaker 1: It's manifesting itself in bitches, ain't ship of Homes and
Speaker 1: Tricks and Salt and Pepper are doing stuff like this,
Speaker 1: which I would argue is more creative. So up next,
Speaker 1: we're gonna take it back to Little Him with her
Speaker 1: song how many licks from down South you should like
Speaker 1: me to spank it? Comments? Now I think there's I
Speaker 1: feel like this is a sub genre of sexual song
Speaker 1: where they go through a list of all the national
Speaker 1: nationalities and different types of people they fucked. Is it
Speaker 1: just me or like it's like Cold Party five by
Speaker 1: Afroman That is the like it's like a thing. It's
Speaker 1: like the nationality or the racial makeup of the sexual
Speaker 1: conquest is definitely, uh, it's like a style of doing it.
Speaker 1: But the straight up song presented as each verse is
Speaker 1: a list of sexual you know what I mean endeavors.
Speaker 1: That is the basic structure of most like porno rap
Speaker 1: sex rap songs. I knew what chick name this, I
Speaker 1: did this, I knew a god name this? You know
Speaker 1: I mean, like, that's pretty much how they set all
Speaker 1: of it up. So even if you listen to uh what,
Speaker 1: it follows that same sort of structure. It is like,
Speaker 1: know this, I wanted that, I wanted this, I know
Speaker 1: what that I'm doing this. It's just it's just that
Speaker 1: that's the format for it. And then up next we
Speaker 1: had Little Kim's Not Tonight, Come On Not Tonight. At
Speaker 1: the time that this song came out and got I'm
Speaker 1: aging myself so much on this guy Damn podcast. But
Speaker 1: like at the time that this song came out, like
Speaker 1: for whatever reason, there was like a movement in hip
Speaker 1: hop that motherfucker's were really trying to start that was like, Yo,
Speaker 1: real niggas don't eat pussy, We're nigga what. Yeah. I
Speaker 1: don't know this for certain, but I feel that this
Speaker 1: song isn't defined to that whole ship. No totally. Had
Speaker 1: you heard the song before this episode? No? I had?
Speaker 1: Actually yeah, yeah, yeah, I mean what I love about
Speaker 1: the song. It's gonna it's gonna very classic R and B,
Speaker 1: slow dam type vibe. And they're like, oh yeah, what's
Speaker 1: that The bottle of the wine got the candles lit.
Speaker 1: And then she's like, I'm kicked about the because because
Speaker 1: he wouldn't eat my pussy. Like it's just like what
Speaker 1: oh this this one, this next one, I personally feel
Speaker 1: is the best objective songs. This was one of my
Speaker 1: favors when I was when it first came out, Classic
Speaker 1: Timberland production, Oops oh my by tweet featuring Yeah totally
Speaker 1: about masturbation. But it's again like the like, shoot, it's subtle,
Speaker 1: and it's not the subtle. It's not the subtlety of
Speaker 1: it because I don't want to be misinterpreted. I don't
Speaker 1: think the subtlety of it is what makes it. It's
Speaker 1: like the point, it's like it's like lyrical ingerie, and
Speaker 1: that it leaves something to be desired. I mean, trust
Speaker 1: trust me, I know that there's a double standard. I'm
Speaker 1: not denying the double standard. All I'm saying is that
Speaker 1: generally amongst rappers, like if a rapper is gonna make
Speaker 1: like a penis reference and it's like the most creative
Speaker 1: thing they can think of is big, you know, I
Speaker 1: don't there's there's there's not like a contingency in hip
Speaker 1: hop that matters and that's like fun. Yeah, Like I
Speaker 1: think most people would be like you couldn't think of
Speaker 1: any flyer away to say that, you know what I mean,
Speaker 1: like like that's there's no other way, Like like we
Speaker 1: haven't heard that before millions of times before. So I
Speaker 1: think that, you know, argument, just just an argument can
Speaker 1: be made that the bluntness isn't necessarily a creative place
Speaker 1: that the song could go. In some cases, it is
Speaker 1: not even necessarily what sounds the best. You know, sometimes
Speaker 1: less is more like for example, a part in wop
Speaker 1: that has that For me, I'm sorry, I know we're
Speaker 1: about to talk about tweet, but I just want to
Speaker 1: go back to this apart in what that has that
Speaker 1: for me is there's a part where she says, I
Speaker 1: want you to hit that dangly thing in the back
Speaker 1: of my neck. See that's what I like. That was
Speaker 1: creative to me. I was like, yeah, I dig the exactly.
Speaker 1: That's what I'm talking about. If if wapp was like
Speaker 1: a bunch of lines like that on an MC level,
Speaker 1: I think I could funk with it a lot more
Speaker 1: and be like, oh yeah, they were going in though,
Speaker 1: you know what I'm saying, Like some of those metaphors
Speaker 1: were like real, real good. Sorry anyway, Tweet, she was
Speaker 1: kind of a one hit wonder with this one kind
Speaker 1: of yeah, I mean no, it's not even any kind
Speaker 1: of about it. I think Tweet definitely. I can't think
Speaker 1: of another Tweet song. But if you're gonna have one hit,
Speaker 1: this is a hit. And I remember the summer that
Speaker 1: this came out. This came out the same summer as
Speaker 1: another song that we have on the list, But there
Speaker 1: was a lot of female leisurement going on the summer
Speaker 1: two thousand two, I'm telling and you tweet led the
Speaker 1: forefront with this. This was one of those songs where everybody,
Speaker 1: like when it was one of the songs where somebody
Speaker 1: would tell you that it was about masturbation and you
Speaker 1: would be like, and then you would listen to it's like,
Speaker 1: oh ship, because it sounds like a standard R and
Speaker 1: B song. If you're just kind of passively listening to it,
Speaker 1: you know, it sounds like you know, you baby, it
Speaker 1: sounds like you know, R and B swooning, crooning fair.
Speaker 1: But when you like really listen to it, and it's like, Yo,
Speaker 1: this is explicitly about masturbation. It's just that's like a
Speaker 1: that's something that's hard to pull off as a songwriter.
Speaker 1: So very well, it's on tweet wherever you are now, Yeah,
Speaker 1: please you'll make make a sequel or something show why
Speaker 1: are you? Next song is My Neck My Back by Kia,
Speaker 1: which NPR in two eighteen ranked as number one four
Speaker 1: on their song Century Women. I agree, I mean, like,
Speaker 1: I mean, who am I to agree? But yeah, I
Speaker 1: would say it's definitely one of the most important rap
Speaker 1: songs because again, I'm only I'm trying to be as
Speaker 1: objective as I can, and I always approach all the
Speaker 1: music stuff from a rapper lens, and this is that
Speaker 1: It's like the song is about oral sex, and up
Speaker 1: to this point, the way that she's going in about
Speaker 1: the subject, Little Kim didn't do it like that, you
Speaker 1: know what I'm saying. She picks a single sexual act
Speaker 1: and describes it in every detail that you possibly can
Speaker 1: throughout the entire song, Like every rhyme in the song
Speaker 1: is like related to whereas this is other sub genre.
Speaker 1: That's like I met up with Mary Jane and we fuck,
Speaker 1: and I met up with Mary Beth and wait fun
Speaker 1: he's She's like, I'm gonna talk about the next the
Speaker 1: six hours of my day. Yeah, and I mean in
Speaker 1: micro details. So you have the macro level, you've got
Speaker 1: the micro level. And just to just to let you
Speaker 1: guys all know that everything is full circle, trust me,
Speaker 1: there was a whole contingency of the fucker's that were like,
Speaker 1: I don't think a woman should be rapping about that,
Speaker 1: and people had to point out, Oh, but um, what
Speaker 1: about the n w A song She's swallowed it. Yeah,
Speaker 1: you ain't got nothing to say now, all right, shut
Speaker 1: the funk up, you know. So the tradition continues today.
Speaker 1: The last song that I put on here and you
Speaker 1: haven't heard this yet, is uh this Cupcake song and
Speaker 1: I wanted to I want you to check it out
Speaker 1: because this is a contemporary who, again, like we said before,
Speaker 1: is not like a small artist. So here what she's doing,
Speaker 1: and compare this to even WAP. This is Cupcake with
Speaker 1: black Jack and she's just going in with bars like
Speaker 1: that throughout the song. The video is her disheveled in
Speaker 1: a room with a bunch of half naked guys like
Speaker 1: they all just had a fucking orgy. And ships have
Speaker 1: any creative metaphors exactly, And that's that's all I ask.
Speaker 1: It's just go in, you know, like you can do
Speaker 1: so much with rap and you can be so creative
Speaker 1: with it. We both obviously know this with the topics
Speaker 1: that we choose to talk about. So it's like, you know,
Speaker 1: nobody likes some fucking pretentious motherfucker who's like, oh, you
Speaker 1: should rap about this or what this is? What this
Speaker 1: rap about isn't important or whatever whatever those dudes. Yeah,
Speaker 1: but there is something to be said about if it
Speaker 1: took you like five minutes to write some ship, it's
Speaker 1: gonna sound like it took you five minutes to write
Speaker 1: that ship. And there's no reason that why when you're
Speaker 1: rapping about wet ass pussy. You know I'm saying that
Speaker 1: you don't go as in on your rhymes. Put some
Speaker 1: put some sank on it. Yeah, you know what I'm saying.
Speaker 1: Just hell, grease in that ship. You know me? Come
Speaker 1: on with a metaphor. You heard what she said? She
Speaker 1: said you in that till it's looking like a hula?
Speaker 1: Who what? Well? What you got in terms of bars? Oh?
Speaker 1: I got you know. I told you I'm my iced
Speaker 1: tea fans, So I try to keep up my my
Speaker 1: one sex song album tradition going. So I got some
Speaker 1: sex verses. Let's hear you here. Okay, let's let's do
Speaker 1: some sex verses. All right? Yeah, look we get a beat?
Speaker 1: Oh shit, you know what? You know what? We don't
Speaker 1: do enough? Me and Lingua Franca are pretty good at
Speaker 1: this rap thing. You guys should go check out our
Speaker 1: music online. You know what I'm saying. We get busy.
Speaker 1: You got a first Uh, we're waiting on reparations, were
Speaker 1: waiting on reparations. Hurry hurriya. Number heard that I was
Speaker 1: a charmer and he wasn't wrong, but he hadn't heard that.
Speaker 1: He ever got that. I'm fond of violet paranas and
Speaker 1: shipdn't mount Ronie Beach like the lines of performers, so
Speaker 1: little buy me drinks of talk. Next no one on
Speaker 1: top and he's hardest rocks gotten don't stop. Told him
Speaker 1: me like you hate me because luft of power struggle
Speaker 1: and then when you don't get out of my house,
Speaker 1: we ain't seen it yet, coastes feeling next fucking eating
Speaker 1: flash secrets, Campus of best to pats. Don't want to
Speaker 1: keep a check, keep it wet with the fucking freaks.
Speaker 1: Wouldn't even guests need to rest some so fucking be
Speaker 1: from this convenience. Sex Yo, dog got me hanging in
Speaker 1: the net, tell me I ain't ship with a hands
Speaker 1: around my neck. Get sick of the work. I want
Speaker 1: to go out and play because when I get you
Speaker 1: all alone, I don't know what to sakes. So my
Speaker 1: name's Dope knife baby, I'm Lingua Franca and we are
Speaker 1: waiting on reparation. See you next week. Waiting on Reparations
Speaker 1: as a production of iHeart Radio. Listen to Waiting on
Speaker 1: Reparations on the I Heart Radio app, Apple Podcasts, or
Speaker 1: wherever you get your podcasts.