![]() ![]() Rap music is often called the ultimate evolution of poetry. The use of the term nigga, the presence of different terminology to refer to females in both corpora, and the explicit skin color references made by both rap groups creates an ethnic line that delimits their language uses and has particular relevance in the hip-hop context. This article pre- sents some significant results from processing our corpora through Wordsmith Tools, which both delimits and reinforces cultural differences in rap language usage. Our purpose is to explore how this data can potentially be used as a valuable source of information about these two interacting groups. While conducting a sociolinguistic research project on processes of language crossing in rap music, we came up with two independent corpora corresponding to more than 30 rap songs by each ethnic group (European American and African Amer- ican) studied. Authors such as Alim (2006), Beal (2009), Cutler (2010) and Fought (2006), among many others, have based some of their studies on music in order to describe linguistic patterns, explore cultural phenomena, or study the use of a particular language fea- ture. In the field of linguistics, music has become an increasingly important field of study. A special thanks goes to professor Patricia Irwin (Swarthmore) for their insight on language stigmatization models and her course LING 41 Dialects of American English, as well professor Jane Chandlee (Haverford), Clare Hanlon (Swarthmore), and Jackson Ramsey (Swarthmore) for their outstanding feedback over the course of this thesis S completion. Ultimately, the unfair stigmatization of these artists will be made clear. Additionally, I will question the importance of intelligibility in hip-hop music by offering different means of extracting semantic value from an utterance. By using language stigmatization models, explanations for the misguided usage of the term and the criticisms of naysayers will be offered. I will show that Mumble Rap is not used to describe any sort of linguistic property and that this perception of so-called mumbling is simply a phonetic phenomenon that is fairly common throughout any given language. In doing so, I will attempt to refute the unfair criticisms of those that do not care for this new wave of hip-hop. Watch the interview below.1 In this thesis I will argue that the term "Mumble Rap" fails to function as an accurate descriptor ofa new generation of mainstream American hip-hop artists, instead being used to mainly disparage its artists, sounds, and ideologies. Your video should match your girlfriend, you know? Everything is aesthetic, man.” And he ended the interview by gifting Noah with a pair of the new sneakers that he’ll apparently be putting out next month. He also talked about how rap regionalism has changed into “one big melting pot” and clarified that he likes some mumble-rappers but that the whole mumble-rap sound has gotten “oversaturated.” He’s not wrong!īut Rocky seemed the be there mostly to talk about his myserious new collective Awge, which he described, vaguely enough, as “a collective of young creatives, from artists to musical artists… being ahead of the curve and raising the bar.” Here’s how he laid out his whole philosophy: “Your sound should match your outfit. Rocky said that he put out his recent album Testing into a crowded rap marketplace because he wanted it to compete directly with all the other big stars’ albums. ![]() ![]() Rocky and Trevor Noah talked about rap a bit, which was interesting. He wore… I guess it was a bonnet? I mean, it was a yellow bandana, but he tied it like a bonnet? And Trevor Noah didn’t even comment on it? You could not wear a damn bonnet on the old Daily Show without Jon Stewart at least saying something. Last night on The Daily Show, Rocky got a chance to sit down and actually talk. A$AP Rocky has been on a whole lot of late-night talk shows, but as far as I know, he’s only been on there as a performer.
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