Isabella Chaves, Amee Davis, Amanda Layfield, Anna Lytz, Nina Grilli
This study delves into the investigation of the intersection of gendered language, hegemonic masculinity, homophobia, and social class structures found in hip-hop lyrics. Inspired by the insights of linguistic anthropologist H. Samy Alim, we explore the manifestation of “lyrical freedom” as both oppressive and liberating within the genre. Our research analyzes data from live rap battles and pre-recorded songs which allows us to understand the strategic use of language used to dominate one’s opponent. We highlight examples such as 21 Savage’s controversial lyricism in the “XXL Freshmen Cypher ” and A$AP Rocky’s use of homophobia and classism in rap battles. Our research ultimately displays how the word choice and phrases used within these examples are misogynistic and homophobic, a routinely found element in hip-hop culture. We too discovered an emergence of classist language in these spaces. Through this interdisciplinary approach, we aimed to evaluate the complex interplay between linguistic expression, cultural identity, and social power dynamics within the hip-hop community.
Introduction and Background
Linguistic Anthropologist H. Samy Alim once stated, “Lyrical freedom is both oppressive and liberating” (Alim, 2023). Our research is inspired by Alim, whose work is centered on lyrical analysis with a specific focus on Black language and hip-hop culture. More specifically, we are inspired by his work on the cis-heteropatriarchy1. Our research centers around the use of words and phrases in hip-hop and their role in perpetuating oppressive language.
Our study employed a multifaceted approach to investigate the effects of hegemonic language2 in hip-hop culture. Firstly, we conducted an in-depth examination of impromptu rap battles, where we observed live performances to analyze the spontaneous use of language. This allowed us to capture the raw, unfiltered expressions of rappers in real-time settings, providing valuable insights into the prevalence and nature of hegemonic language. Secondly, we undertook a comprehensive analysis of contrived lyrics from pre-recorded hip-hop songs. By scrutinizing the choices made by rappers in their lyrics, we aimed to understand the patterns and trends in the use of misogynistic and homophobic language. Specifically, we focused on prominent examples such as the “XXL Freshman Cypher,” a renowned platform for emerging rap talents, to gather insights into the stylistic variations prevalent in hip-hop culture.
Within the landscape of hip-hop culture, one notable phenomenon is the cipher—a gathering where rappers engage in spontaneous performances over a shared beat, surrounded by other rappers. The cipher produces a unique call-and-response environment. The setting of ciphers as a performance both enables and protects rappers in perpetuating oppressive remarks, specifically sexism and homophobia. Sexism in lyricism is a rather common phenomenon used to be successful in the hip-hop community and involves “putting one’s opponent into a female passive role,” (Dundes et al. 1970). Our team proceeded to investigate different data sets of lyrics, both improvised and pre-recorded, to see how sexism and homophobia are weaponized.
Methods
In examining impromptu rap battles and contrived lyrics, we conducted a thorough literature review to contextualize our research findings. We synthesized insights from diverse sources, such as studies by linguistic anthropologists such as H. Samy Alim. His work on hip-hop cultures and language politics informed our theoretical framework. For instance, Alim’s study, “Global linguistic flows: Hip hop cultures, youth identities, and the politics of language” (2009), provided valuable perspectives on the cultural dynamics found within hip-hop language. Our data from impromptu rap battles, contrived lyrics, and scholarly literature, seeks to provide a nuanced understanding of the impact of hegemonic language in hip-hop culture.
Results and Analysis
First, the research focused on oppressive language within impromptu rap battles by analyzing, “XXL Freshmen Cypher”. These performances are notorious for hosting up-and-coming rappers to display their talent. In 2016, 21 Savage took to his part and freestyled, “Pulled up on your bitch, she suck my dick, and then you kiss her,” to which Lil Uzi Vert immediately reacts with “Goddamn” (XXL, 2016, 02:43). 21 Savage’s line appears to be a homophobic diss, mocking the woman’s partner for “technically” kissing 21 Savage’s genitals. The swift positive reactions from other rappers allowed 21 Savage to continue his verse, albeit without revisiting the subject of homophobia and inadvertently perpetuating misogyny.
Through further exploration of homophobic and misogynistic word use, this example provides us insight into the strategies used to be successful in a hip-hop battle: “Okay, let’s start out with Deray, ‘cause he’s gay. Fuck that. Let’s talk about his dreads. He got those on eBay” (D-Wreck, et. al., 2013, 16:51). We can see how Rocky utilizes strategies such as homophobia and classism to make his opponent inferior. A line as simple as “let’s start out with Deray, ‘cause he’s gay,” elicits a positive response from the audience highlighting the success of using oppressive language. Homophobia is consistently weaponized to put one into a superior position thus insinuating that being gay is inferior. Rocky’s comment regarding Deray getting his dreads on eBay also suggests an element of classism. It seems that buying a potentially second-hand or cheaper item is framed with negative connotations. Another lyrical device used in rap battles is the assimilation with expensive items and its association with dominance. Overall, we can see in this example how A$AP Rocky attempts to emasculate his opponent and reinforce his status through homophobic and classist language.
It is apparent that these themes are used in lyrical hip-hop just as often as in rap battles. Moreover, their use is employed purposefully in both cases: to boost their status as well as put others down. For example, a lyric from Lil Wayne’s aptly named “Gonorrhea” reads “Life’s a bitch, naw, better yet a dumb broad” (Wayne, L, 2010, 00:55). This line demonstrates misogynistic language, taking a common phrase and using it to demean women by stating, “dumb broad”. This is but one instance of a common pattern in hip hop in which word choice is key in the development and maintenance of an idea of one’s “higher status”. Ultimately, this device and use of gendered language found within lyrics about contracting a venereal disease from a woman is used to reinforce the notion that Lil Wayne is better than the peripheral women in his life.
Discussion and Conclusion
The prevalent use of oppressive language within hip-hop songs and impromptu freestyle battles suggests how artists can establish a sense of dominance through oppressive language. The language not only embodies a quest for victory but upholds existing power structures. In cases where gendered and homophobic language is weaponized, we are able to see the reinforcement of the cis-heteropatriarchy—functioning to frame femininity and homosexuality as non-normative behavior. With those who use hegemonic and oppressive language in these spaces generally being cisgender straight men, achieving dominance can be seen as authenticating one’s masculinity. Therefore, through our sample of data, we are able to see themes such as misogyny, homophobia, and classism present in hip-hop culture. These themes ultimately manifest in oppressive ways through the use of hegemonic language which uphold notions of existing hierarchies.
Footnotes
1 An ideological system that naturalizes normative views of what it means to ‘look’ and ‘act’ like a ‘straight’ man and marginalizes women, femininity, and all gender non-conforming bodies that challenge the gender binary, i.e., how cis-heteropatriarchal structures are formed and maintained (Alim 2018).
2 An umbrella term meant to encompass language that frames another individual as inferior, while reinforcing the others status in a social context e.g. sexist, homophobic, and classist language.
References
Alim, H. S., Ibrahim, A., & Pennycook, A. (2009). That’s All Concept; It’s Nothing Real: Reality and Lyrical Meaning in Rap. Global linguistic flows: Hip hop cultures, youth identities, and the politics of language. (pp. 195-212). Routledge.
Alim, H. S., Lee, J., Carris, L. M., & Williams, Q. E. (2018). Linguistic creativity and the production of cisheteropatriarchy: A comparative analysis of improvised rap battles in Los Angeles and Cape Town. Language Sciences, 65, 58–69. https://doi.org/10.1016/j.langsci.2017.02.004
Dundes, A., Leach, J. W., & Özkök, B. (1970). The Strategy of Turkish Boys’ Verbal Dueling Rhymes. The Journal of American Folklore, 83(329), 325–349. https://doi.org/10.2307/538809
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Wayne, L. (2010). Gonorrhea [Song]. On I Am Not A Human Being [Album]. Cash Money Records Inc. https://www.youtube.com/watch?v=XBQwlYWcUBc
XXL. (2016, July 6). Kodak Black, 21 Savage, Lil Uzi Vert, Lil Yachty & Denzel Curry’s 2016 XXL Freshmen Cypher [Video]. YouTube. https://www.youtube.com/watch?v=U_IbIMUbh-k