Meaning And Intension Of Slang Terms In American Rap Music
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Meaning and Intension of Slang Terms in American Rap Music by Melanie W. Pdf
Studienarbeit aus dem Jahr 2012 im Fachbereich Anglistik - Linguistik, Note: 1,7, Ernst-Moritz-Arndt-Universität Greifswald, Sprache: Deutsch, Abstract: In this term paper, a part of a song by the African American rapper 50 Cent will be analyzed with regard to the use of slang words. Importance will receive the questions what these slang words mean, where they come from and why they are used. It is to find out to whom the rapper speaks and why he does it in this way. Slang is a crucial part of every language. It is used by different groups to send a social signal, to indicate informality, irreverence or defiance, to add humor or to mark someone’s inclusion in, admiration for or identification with a social group which is often non-mainstream. A slang word cannot be identified by its pronunciation or construction due to the fact that a word is often just differently used to create a new sense through metaphor, metonymy, irony etc. or part of existing words are differently mixed together. Slang is mostly used by the youth so that it is also an important part in the music scene especially in the genre of Hip Hop and Rap Music. The language used in Rap Music in the United States of America is highly influenced by the African American culture so that a lot of slang words came from the African American language.
The bumpin’ book for hip-hop disciples (a.k.a. fiends), songwriters, all other writers, pop culture fans, linguists, and parents who are just trying to figure out what their kids are saying. The inventive sounds of hip-hop (which became America’s number two music genre in 2001, outselling country) have echoed far from their Bronx beginnings of twenty years ago. Making its way from Compton sidewalks to suburban malls, garnering commentary from The Wall Street Journal alongside Vibe, hip-hop by definition delivers its messages in the most creative language possible. Celebrating hip-hop’s boon to the realm of self-expression, Hip Hoptionary™ translates dozens of phrases like “marinating in the rizzi with your road dawg” (relaxing in your car with your friend), including: • Big bodies: SUVs or luxury vehicles • Government handle: registered birth name • 411: the latest scoop or information • Bling-bling: diamonds, big money, flash and cash • Brick City: Newark, New Jersey • 1812: war, fight (as in War of 1812) In addition to the lexicon of idioms and beeper codes, Hip Hoptionary™ also features lists of hip-hop fashion labels, books, mixed drinks, and brief bios of America’s famous rappers, making this the ultimate guide for a Double H (hip-hop) nation.
Entertaining, highly readable book pulses with the vernacular of young Americans from the end of the 19th century to the present. Alphabetical listings for each decade, plus fascinating sidebars about language and culture.
The Official & Essential Hip-Hop Dictionary. eBook version. Rap Dictionary: An A-Z guide to Rap/Hip-Hop (eBook) slang and terms. This is the first edition of Rap Dictionary, a book which includes slang, terms, numbers, phrases, ad-libs, idioms, expressions, currencies & symbols, weed measurements AND more. Featuring the most used slangs in Hip-Hop & Rap music, the physical copy of Rap Dictionary makes a wonderful gift for a hip-hop head.
With Over 40,000 words including slang and hip-hop terms, the Hip-Hop Rhyming Dictionary is the perfect resource to help you find the right rhyme-every time. The book includes helpful writing tips to inspire creative lyrics as well as a brief history of rap and the artists who sent hip-hop to the top of the charts.
A 2 Z by Lois Stavsky,Isaac Mozeson,Dani Reyes Mozeson Pdf
Rap fans and word lovers can enjoy this alphabetized collection of today's most current terms used in "the poetry of the streets". From ace to base, buddah to zooted, this book not only provides definitions, but offers examples and sources. Includes a discography of classic rap albums and a bibliography of source material.
The bumpin’ book for hip-hop disciples (a.k.a. fiends), songwriters, all other writers, pop culture fans, linguists, and parents who are just trying to figure out what their kids are saying. The inventive sounds of hip-hop (which became America’s number two music genre in 2001, outselling country) have echoed far from their Bronx beginnings of twenty years ago. Making its way from Compton sidewalks to suburban malls, garnering commentary from The Wall Street Journal alongside Vibe, hip-hop by definition delivers its messages in the most creative language possible. Celebrating hip-hop’s boon to the realm of self-expression, Hip Hoptionary™ translates dozens of phrases like “marinating in the rizzi with your road dawg” (relaxing in your car with your friend), including: • Big bodies: SUVs or luxury vehicles • Government handle: registered birth name • 411: the latest scoop or information • Bling-bling: diamonds, big money, flash and cash • Brick City: Newark, New Jersey • 1812: war, fight (as in War of 1812) In addition to the lexicon of idioms and beeper codes, Hip Hoptionary™ also features lists of hip-hop fashion labels, books, mixed drinks, and brief bios of America’s famous rappers, making this the ultimate guide for a Double H (hip-hop) nation.
The Variety in the Lexicon of Rap and Gospel by Kim Vahnenbruck Pdf
Seminar paper from the year 2010 in the subject English Language and Literature Studies - Linguistics, grade: 1,0, University of Wuppertal, course: Varieties of English, language: English, abstract: At first sight, Rap and Gospel music do not seem to have much in common. That is why I attempt to analyze whether there are any similarities or just discrepancies. The topic deals with The Variety in the Lexicon of Rap and Gospel and therefore, the aim of this paper is the linguistic description of the special lexicon. The foundation of this paper is provided by the presentation held on the 13th of July 2010 in the seminar "Varieties of English". I have chosen this topic, because the two styles of music have a similar history, but developed into opposite directions and they are, furthermore, both mostly sung by people of African American descent. Another reason for my choice is that I want to know if the images of Rap and Gospel I have in mind are really true or just prejudices: Are Rap lyrics full of swear words? Is Gospel by some means or other related to Rap? One of the images I have in mind, are the lexicons of Rap and Gospel, because when you listen to two typical song you will clearly hear the differences in speaking and in the choice of words. For my analysis I chose two representative songs: Only God Can Judge Me by the ’gangster rapper’ Tupac Shakur (1971-1996) and Judge Me Not by the baptist preacher Timothy Wright (1947-2009). I will start with a general overview of Rap and Gospel, give a short history of their development, so that the same roots of the styles of music become more obvious. In the following, I will present the results of the analyzed domains of register, commencing with the use of swear words and the application to the five types of linguistic forms of swearwords. Then I will go on with the use of slang, and especially the phonological representation of the features of African American Vernacular English, due to the descent of the two singers. Finally, I will summarize my results in a conclusion at the end of this paper.
Dictionary of Contemporary Slang by Tony Thorne Pdf
With more than 7,000 definitions, this book provides a definitive guide to the use of slang today. It deals with drugs, sport and contemporary society, as well as favourite slang topics such as sex and bodily functions. In this convenient paperback edition of the highly acclaimed Dictionary of Contemporary Slang, language and culture expert Tony Thorne explores the ever-changing underworld of the English language, bringing back intriguing examples of eccentricity and irreverence from the linguistic front-line. "Thorne is a kind of slang detective, going down the streets where other lexicographers fear to tread." Daily Telegraph
American English(es) by Anna Belladelli,Roberto Cagliero Pdf
American English(es) focuses on the manifold nature of a macro-regional variety of English which is better described in the plural form, thus enhancing the endless contribution of most diverse ethnic groups, such as those kidnapped from Africa to be employed as slaves, survivors of native American tribes systematically exterminated in the past, and, later on, European Jews escaping from pogroms, Europeans and Asians escaping from poverty, and, more recently, Central and South Americans, mostly Spanish speakers, emigrating to the USA in search of supposedly better living conditions. By tackling the notions of “minority”, “variety”, and “dialect”, this book singles out three language-related phenomena which are currently relevant to the academic and cultural debate concerning US society, namely the obsolescent representation of minority vs hegemonic varieties of English, the latest developments of the Spanish vs English controversy, and the increasing exposure of slang in public contexts. The multiple points of view on American Englishes, offered by the essays included in the present volume, draw on diverse and often contrasting approaches, ranging from corpus linguistics to cultural studies, from lexicography/lexicology to discourse analysis.
African-American Vernacular English within American ‘Gangsta Rap’ by Jan Skordos Pdf
Seminar paper from the year 2009 in the subject American Studies - Linguistics, grade: 2,7, University of Münster (Anglistik/Amerikanistik), course: Proseminar American English, language: English, abstract: This abstract shall give another piece of the puzzle to what is considered to be African-American Vernacular English. With scientific aid of well-known concepts by linguists such as Green in particular but also Wolfram, Schilling-Estes, Mufwene and Poplack we want to focus on specific grammatical features of AAVE and to what extend these can be recovered in the Hip-Hop subgenre of American West Coast Gangsta Rap. A small but significant text corpus of four representative songs (added to the appendix in the shape of lyrics) cover the source for a quantitative and qualitative evaluation. The given text shall give a short overview about the origin and different theories on AAVE first and will further on primarily adapt the characteristic linguistic features L. Green and Wolfram & Schilling-Estes worked out and apply them to our little song text corpus.
Slang is often seen as a lesser form of language, one that is simply not as meaningful or important as its 'regular' counterpart. Connie Eble refutes this notion as she reveals the sources, poetry, symbolism, and subtlety of informal slang expressions. In Slang and Sociability, Eble explores the words and phrases that American college students use casually among themselves. Based on more than 10,000 examples submitted by Eble's students at the University of North Carolina at Chapel Hill over the last twenty years, the book shows that slang is dynamic vocabulary that cannot be dismissed as deviant or marginal. Like more formal words and phrases, slang is created, modified, and transmitted by its users to serve their own purposes. In the case of college students, these purposes include cementing group identity and opposing authority. The book includes a glossary of the more than 1,000 slang words and phrases discussed in the text, as well as a list of the 40 most enduring terms since 1972. Examples from the glossary: group gropes -- encounter groups squirrel kisser -- environmentalist Goth -- student who dresses in black and listens to avant-garde music bad bongos -- situation in which things do not go well triangle -- person who is stupid or not up on the latest za -- pizza smoke -- to perform well dead soldier -- empty beer container toast -- in big trouble, the victim of misfortune parental units -- parents
"Riding the Beats of the New Decade: The Hip Hop to Trap Voyage" *** Author of "Rapper's Delight" essay currently archived at the Library of Congress *** *** Guest speaker of BBC2 Radio "Rapper's Delight 40th Anniversary" by DJ Trevor Nelson - September 2019 *** Join Eric Reese as he decodes the last decade of hip-hop in "The History of Hip Hop: Volume 5". The 2010s witnessed the genre's relentless surge, exploring new frontiers and cementing its place in the annals of global music. Trace the journey from the lyrical prowess of Kendrick Lamar's Compton-inspired narratives to the hard-hitting trap anthems of Migos. Follow the emergence of powerful female voices, like Cardi B and Nicki Minaj, who shattered the glass ceiling in a male-dominated industry. Witness the rise of young mavericks, like Tyler, The Creator, who broke the mold with their creative audacity. Beyond music, Reese expertly weaves the social, political, and cultural shifts that influenced and were shaped by hip-hop. The genre's growing activism, the influence of streaming services, and the advent of "SoundCloud rappers" are all explored in this deep-dive into the 2010s. This essential guide provides insights on: The Streaming Revolution: Impact of Spotify, SoundCloud, and Tidal on hip-hop Social Consciousness: The role of hip-hop in movements like Black Lives Matter Gender Dynamics: The rise and influence of female artists in the genre Innovation & Diversity: The growth of sub-genres and fusion styles Hip-Hop Moguls: The entrepreneurial pursuits of artists like Jay-Z and Kanye West The Generation Z Influence: The arrival of young artists and their unique impact "The History of Hip Hop: Volume 5" chronicles a time when hip-hop was not just a genre but a mirror reflecting society's triumphs, struggles, and evolution. It was a decade that resonated with the rhythmic complexity of trap beats and the lyrical depth of conscious rap. Experience the last decade of hip-hop in its unfiltered glory and discover the beats that made the world listen. Explore the rhythm of a decade that will resonate in the echoes of hip-hop for years to come. 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White Hip Hoppers, Language and Identity in Post-Modern America by Cecelia Cutler Pdf
This book examines language and identity among White American middle and upper-middle class youth who affiliate with Hip Hop culture. Hip Hop youth engage in practices that range from the consumption of rap music and fashion to practices like MC-ing (writing and performing raps or "rhymes"), DJ-ing (mixing records to produce a beat for the MC), graffiti tagging, and break-dancing. Cutler explores the way in which these young people stylize their speech using linguistic resources drawn from African American English and Hip Hop slang terms. She also looks at the way they construct their identities in discussions with their friends, and how they talk about and use language to construct themselves as authentic within Hip Hop. Cutler considers the possibility that young people experimenting with AAVE-styled speech may improve the status of AAVE in the broader society. She also addresses the need for educators to be aware of the linguistic patterns found in AAVE and Hip Hop language, and ways to build on Hip Hop skills like rhyming and rapping in order to motivate students and promote literacy.