Sample Text 1: Language and Identity - Surfing Subculture and
Australia
Australia is seen on a global scale as a surfing nature. Most of the population is situated on the coast,
all of which is home to some of the world’s most famous and beautiful beaches as well as a plethora
of famous surf spots. The nation embraces this stereotype and projects it on the world in terms of
fashion and tourism campaigns but how much of the nation could be included in the in-group of
surfers and how much of it is just a farce, and mainstream adoption of dominant ideologies?
Surfing does have its own language; much of it can be attributed to the need to describe various
aspects of the environment in which the sport takes place. The nomenclature use to categorise
different types of waves, currents, winds and break type all have a range of names that are shared
throughout the global surfing community. However, as with most regional dialects there is a
vocabulary that is unique to Australian surfers, some of which is borrowed from traditional
Australian slang and aspects that find have their roots in Valspeak dialect of Southern California, the
home of surfing popular culture.
Valspeak is the kind of non-standard English found in movies such as Clueless, Wayne’s World
and Point Break. I would describe it more generally as the really lame, outdated, generic surfer and
skater slang commonly found in portrayals of surfers in film and television. It also includes the
common non-standard use of the word ‘like’.
Up speak, high rising terminal and Australian Questioning Intonation (AQI) are aspects of
Australian dialect which, although not limited to surfing forms of non-standard English maybe be
exaggerated in these groups. AQI or high-rising terminal is the rising intonation at the end of
sentences. This dialect makes everything seem as though it is being framed as a question. One web
page stated:
In Sydney, it is used three times as often by young people as by older people, especially
women. It has been suggested that the HRT has a facilitative function in conversation
(i.e., it encourages the addressee to participate in the conversation), and women more
often use such functions. It also subtly indicates that the speaker is "not finished yet",
thus perhaps discouraging interruption. (Http://www.spiritus-temporis.com/high-risingterminal/)
This is hard for me to gauge because I live so close to Sydney and am apart of this in-group but it
seems to be common amongst many native English speakers, particularly young people.
Over the past decade surfing culture in Australia has grown from a low culture, lower socioeconomic
past time, to an informed and aware community involved in big business and environmental
awareness and conservation. The language use however remains much the same. The degree of
vulgarity throughout speech would indicate what particular part of surfing community and in-group
you belong to.
The vocabulary of the surfing subculture particularly in Australia gives almost reversed
connotations of words. As we see in other subcultures the word ‘sick’ is used in a similar way as
‘rad’, it generally means that something was really good. In the Australian surfing community this
trait is extended to words such as ‘bullshit’ and ‘filth (y)’. The spelling and grammar of this language
is often ore reflective of the way they are actual said in an Australian accent. For example, the word
‘fuck’ is commonly spelt ‘fark’, with numerous ‘r’s depending on the context and emphasis. This
kind of non-standard spelling is often reproduced on a large scale through surfing magazines, a pop
culture medium that is available to the general population. This therefore promotes, and gives access
to this sub cultural language far beyond the in-group.
1
These days the more outdated surf terms and Valspeak of the 70’s and 80’s such as ‘radical’ and
‘Gnarly’ have made a comeback. Surfers have reclaimed these from their very ‘uncool’ use by
parents, media and people generally outside the core in-group of surfers. These words are still
devalued when used outside the in-group; they hold a cultural capital that is significantly less outside
the surfing/skating community. Similar to the use of derogatory race or sexual orientation words by a
particular in-group, but obviously devoid of emotional charge.
A short surfing glossary:
Aggro: Aggressive attitude in the water. Having a bad attitude.
Amped: Getting excited while surfing or really looking forward to a surf.
Barrel: A barrel is where the wave is hollow when it is breaking. For some surfers it's the be all and
end all of surfing. Sometimes called a Tube.
Close Out: Where a wave breaks along its length all at once.
Drop In: Dropping in is a crime in the surf world. A drop-in is where a surfer catches a wave where
he / she does not have priority, i.e. There is already a surfer on the wave.
Dude: A man. Or a versatile exclamation for any emotion
Firing: The same as Going Off - where the surf is really good and the waves are breaking really
nicely.
Grom: a young surfer
Heavy: has a couple of meanings. When used as in 'Heavy Waves' it means big, gnarly, waves.
Teahupoo, Mavericks and Pipeline are three waves that would have to be described as heavy. The
same term can be used to describe the locals at a spot, or a generally intense situation.
Kook: A beginner or someone who is not very good at surfing.
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Sample text 2: Geek language: Identity and Popular Culture
1. Introduction
Often described as outsiders, in a group of their own, geeks are rarely considered to be a part of
mainstream popular activities. Attributes ascribed to this group include high IQ, shyness, sloppy
physical appearances and awkward interaction with the opposite sex. Indeed, the first association
when hearing the word geek is not the subculture’s language – even though it can be a vital brick in
the formation of identity. This essay investigates the main features of language used by geeks, how
important these features are in connection to identity formation and to which extent the language
aims to distance the group from popular culture.
2. Material
The material used consists of media resources. The scope of this investigation is divided into two
parts; written and spoken language. For the written language, geek blogs and a computer chat room,
both available online, have been used. For the spoken language, three episodes of the television series
The Big Bang Theory have been compared to two episodes of the reality television series The Beauty
and the Geek. The usage of the Big Bang Theory is to see how we expect geeks to speak and by
comparing this to the real geeks in The Beauty and the Geek it is possible to see how real our
expectations are.
3. Hypothesis
Before commencing this investigation, the hypothesis is that the language found will be tainted by
comprised sentences (for example deleted verbs or pronouns) in order to be efficient. This is based on
the assumption that geeks will leave out “unnecessary” information, i.e. information that can be
assumed or deducted from the surrounding text. Other findings such as complex words and
abbreviations or acronyms are likewise expected for the same reason. Standard pronunciation is also
hypothesized on the basis that geeks are intelligent and know what is “correct pronunciation”. The
reason for these linguistic choices is probably to show group affiliation.
4. Results and discussion: Written language
Throughout the investigated blogs the written language is fairly consistent to the extent that the same
characteristics appear in most of them. The hypothesis that the language should consist of short
sentences has partly been proven false. Certainly, there are several short passages such as Choose
devices or no installation required but enough such entries to form a pattern different from other
types of blogs were not found. In the computer chat room, similar results were found and nonstandard fragments such as site only for psp’s, need help with UNIX and anybody know about dvd+rw
were abundant. That this should be different from other chat rooms is again not convincing.
Furthermore, even though the language in the blogs and the chat room is mostly grammatically
correct with subject and verbs, this does not mean that the average person will understand it.
Sentences such as HADR Active-Active for read only or HAST has been committed to FreeBSD
require specific technological knowledge and thereby excludes people who do not understand.
Agreeing with the hypothesis, the vocabulary, for the blogs as well as the chat room, largely
consists of complicated words, many of which are shortened into an acronym. Acronyms are mainly
used for nouns (GPS, USB, HDMI), adjectives (Wi-Fi) or whole sentences (brb, LOL, FTW, NSFW,
TLDR). The complex words can be chosen to show off knowledge, as a clear statement of
intellectuality. Using a complex acronym equals a statement of understanding something. Not
understanding the acronym efficiently excludes you from the conversation.
Verbs also make up an interesting section in the written language, as old verbs have been given
new meaning or new verbs have been introduced to fill the need to describe the technological world,
3
for instance to surf or to hack. These words were often first used by geeks but have today gained
mainstream understanding and are not necessarily geek-exclusive anymore, for example to google.
To summarize what can be said about the written language used by geeks is that it is the
vocabulary that is posing the largest obstacle for gaining entry to the in-group. The grammar is fairly
easy and ordinary. Up until now, the hypothesis formed has proven to be right in some respects as
well as wrong in others. This means that there certainly were some stereotypical prejudices involved
in the hypothesis. By looking at the language used in the Big Bang Theory, we might comprehend
where these stereotypes origin.
5. Results and discussion: Spoken language – the depicted geek
The Big Bang Theory is a soap opera about a group of highly intelligent university students and their
beautiful girl neighbour. The geeks are described as pale, weak and at times, shy. Combined, they
possess all the attributes a geek should have. The language is a vital part of the geek impression.
The language used by the geek characters in the Big Bang Theory is varied and, at times, really
complex. Sentences are often long and words or sentences that could have been constructed as simple
are expressed as complex entities, where each sentence often has more than one intricate word, as
exemplified in measurable enhancement, organizational paradigm or pictographic representation.
Other vocabulary choices include for example elude, predicate, resolve and immaculate. These
relatively complicated words are contrasted with the more simple language used by the girl
neighbour, Penny. This makes visible the gap between the geeks and a more average person.
Furthermore, Sheldon, who is depicted as the smartest of the group, often makes use of formal
transitional words such as interestingly, granted or certainly in the beginning of a sentence. This
provides the language with an even more academic tone and, once more, induces the concept of
intelligence and hence, geek.
Another notable characteristics used in the series is the frequent use of similies or metaphors,
many of which refer to history, for example just as when […] Hannibal crossed the alps or as to be
trapped in the body of a sultan.
In spite of all these advanced and standard characteristics present in the series, several nonstandard forms appear as well; easy-peasy, homies, oh boy and ass-kicking are some of the nonstandard, not necessarily geek related, words or expressions found. That is to say that the geeks do
know plenty of non-standard features, but it is their choice to use the complex wording.
To sum up, the features a geek’s language should have, according to the Big Bang Theory,
include, more than anything else, a rich vocabulary. Other characteristics are similies and long or
complex sentence structure. To show off intelligence and also to distance themselves from others,
language plays an important function.
6. Results and Discussion: Spoken language – the real geek
Moving on from the depicted geek in a television series, language of real life geeks participating in
the reality show the Beauty and the Geek has been investigated. For this show, the producers have
supposedly collected a small group of people who they think are good representatives of stereotypical
geeks.
The geeks introduced in the show come from all over the US and they have various dialects.
This means that there is no prominent in-group exclusive pronunciation. Pronunciation is thereby not
an essential feature to show identity when it comes to geeks. Consequently, there are undoubtedly
other features used to show in-group orientation.
When it comes to vocabulary, the geeks have tendencies to use a more varied and Standard
English language than the participating beauties. The language is also a bit more complicated as it
uses words as explicable, frivolous, complacent, deploy and emphasize. It was also found that the
geeks, similar to the geeks in the Big Bang Theory, were keen to convert ordinary words into
scientific words to vent their new impressions, exemplified in hotness-spectrum.
4
Grammatical differences between geeks and beauties were not prominent, and there are no
instances of deletion of verbs or pronouns or attempts at comprising sentences as was expected in the
hypothesis. Instead, similar to the Big Bang Theory, usage of non-standard forms that are not geek
specific is abundant. Contracted forms such as can’t, I’ve and hadn’t are more common, as it is in
major parts of the English speaking world. Non-standard words such as kick ass are ventilated as
well.
However, there is an interesting scene where one of the beauties says to one for the geeks that
she is “going to spoon” him later. The video camera immediately switches to a later interview where
the geek questioningly asks the interviewer if the beauty intended to feed him. Evidently, a
communicative mishap has occurred because the language of the beauty and the geek, that most often
overlaps, was ultimately not the same.
To sum up the impressions from the two episodes of the Beauty and the Geek it should be noted
that there was a great deal of variation in dialect and hence, pronunciation. The vocabulary was
different from the beauties. When considering the geeks in the Big Bang Theory, it is obvious that the
representation was exaggerated but mostly accurate. Complicated words are used by geeks, but not
complicated to the same extent as used in the Big Bang Theory. The usage of non-standard variation
has also been proven, but similes and transition words are mostly absent or at least not used as
frequently as can be expected from watching the Big Bang Theory.
6. Summary and conclusion
This essay has investigated usage of language by the subcultural group geeks. It was hypothesized
that the language used by geeks should be grammatically reduced. This was shown not to be the case.
Grammatical variation cannot be deduced as a trait of the in-group. Nor can pronunciation be said to
be group-specific. In short, neither grammar nor pronunciation is a prominent feature of geek
identity. What is a feature is vocabulary and to some extent, sentence structure. Both in written and
spoken language there is evidence of group-specific word choices. In this respect, the hypothesis was
correct. To gain access to the geek in-group you are forced to learn new language. As seen in the
written language, the words you have to learn are mostly acronyms, but as seen in spoken language,
the task involves learning alternative, more complicated, words for ordinary items and actions.
The difference between mainstream popular culture and its geek subculture is not as big as first
imagined. In its linguistic sense it differs mainly in vocabulary. By using a more complicated, refined
and/or academic vocabulary, geeks try to influence people around them and make them know how
smart they are. However, sometimes the wording invented by geeks is embraced by other groups and
taken up into the non-standard, and, eventually, the standard language. At the same time, geeks also
use standard forms and phrases that do not at all belong solely to geek culture. In this sense, the geeks
do try to be a part of popular culture – the elite part. Had they been questing for total groupexclusiveness, they would have created a totally new language, such as the 1337 Elite language1.
To conclude this discussion about geek language and their part of popular culture, geeks do get
heavily influenced by popular culture as they use several non-standard forms, and they equally
influence popular culture with acronyms and new words that are taken up by mainstream society. In
this sense, it cannot be concluded that geeks try to distance themselves from popular culture.
1Languagethatusesnumbersand/orsymbolsinsteadofletters.
5
References
Computer World. Top 15 geek blog sites. Available online
URL:http://www.computerworld.com/s/article/9018260/Top_15_geek_blog_sites
Most recently updated May 1st 2007. Most recently visited Feb 28 2010.
Parrish, Kyle. Computer Chat! 4-lane-Computing. Available online
URL:www.4-lane.com/computerchat Most recently visited Feb 28 2010.
The Big Bang Theory
Season 1
1:1 Pilot
1:2 The Big Bran Hypothesis
1:3 The Fuzzy Boots Corollary
The Beauty and the Geek
Season 1
1:1 Episode 101
1:2 Episode 102
The Urban Dictionary. Available online URL: http://urbandictionary.com/define.php?term=1337
Most recently visited March 9 2010.
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Sample Text 3: Language and Identity in Hip-Hop
Having been a huge fan of rap music when I was younger, there was no doubt regarding what to
choose as the topic for this journal assignment – namely: language and identity in Hip-Hop. In this
journal assignment, then, I will examine the language used in rap lyrics and from this discuss how
these linguistic differences – in relation to Standard English (SE) – reflect the subculture (i.e. HipHop, and thus rap) in general; in other words, what do these words and grammatical features used in
rap texts tell us about the subculture in question, and – moreover – what does this language use tell us
as regards the subculture’s relationship to, so-called, “mainstream” culture? The rap text that I have
chosen for this purpose is Bitches Ain’t Shit2 (feat. Snoop Dogg, Dat Nigga Daz, Kurupt and Jewel).
If we examine the vocabulary in Bitches Ain’t Shit, we find words such as (1) bitches (lines 1, 2,
39 etc.), (2) bitch (lines 6, 13, 14, 18 etc.) and (3) hoes (lines 1, 2, 7, 23, 24, 25 etc.) – most of them
(except for line 6, where the meaning is roughly: ‘homie’) roughly meaning: ‘whore’, i.e. ‘a woman
engaging in sexual acts for hire’. Furthermore, we find words such as (4) ain’t (lines 1, 2, 17, 63, 74
etc.) – being a non-standard contraction used for ‘am not’, ‘is not’, ‘are not’, ‘has not’ or ‘have not’;
(5) nuts (lines 3, 39, and the last line) – meaning ‘testicles’; (6) fuck (lines 4, 7, 13 etc.); (7) tight (line
8) – meaning ‘cool’ (List of slang used in hip-hop music, p 4); (8) ballin’ (line 9) – referring to
someone who is doing very well for himself in terms of money (List of slang used in hip-hop music,
p 6); (9) roll around (line 7) – roughly meaning ‘hang out’; (10) clockin’ dough (line 23) – meaning,
I think, ‘earning money’; (11) flip flop (line 24) – referring to, I guess, ‘a role reversal between two
people during a (single) sexual encounter’; (12) nigga(z) (lines 22, 30, 50, 54 etc.) – referring, in this
case as an informal slang, to ‘black people’; (13) gotta (lines 63, 81, 82 etc.) – being a relaxed pronunciation of ‘got to’; (14) ding-a-lang (line 89) – referring to the male sex organ etc. The lack of
space has forced me to limit myself to the words that I consider to be of most significance.
If we look at the grammar-use in this rap text, we find some examples of non-standard grammaruse. For example, we find: (1) I’m hangin’ with Death Row like it ain’t no thing (line 74), …she
wasn’t no good (line 52), …didn’t mean nothin’ (line 16) – which are examples of multiple negatives
(Some characteristics of non-standard, urban American dialects (especially NYC) p 1; hence referred
to as “SCoNUAD”); (2) …we was ballin’ on the… (line 9), Long as my motherfucking pockets was
fat (line 12) – which are examples of leveling of were to was (SCoNUAD p 2); (3) …doin’ the shit
she do (line 14) – which is an example of the auxiliary form do, rather than does, being used together
with a third-person singular personal pronoun: she; (4) …’cause the shit she be has been doin’ ain’t
shit (line 17) – which is an example of the temporal auxiliary have being omitted (SCoNUAD p 1);
But we don’t love them hoes… (line 25, 27, 40 etc.) – which is an – interesting – example of a thirdperson plural personal pronoun, them, being used together with the word which it is supposed to be a
substitute for, namely hoes. These are the grammatical features that I have found to be most
prominent and interesting.
If we look at these examples of vocabulary and grammar-use in the rap text, we see that most of
them are considered to be non-standard in relation to Standard English. As Linda Thomas makes
clear in Language, society and power: An introduction, Standard English “is the dialect of
institutions such as government and the law; it is the dialect of literacy and education; it is the dialect
taught as ‘English’ to foreign learners; and it is the dialect of higher social classes” (2004:174).
Moreover, she explains that “part of the ideology of standard English is that it is the ‘correct’ form of
the language and that other varieties are ‘incorrect’ (2004:174). Consequently, she clarifies that
“some well-established English usages which don’t happen to belong to the standard, such as
multiple negation and the use of ‘ain’t’ in I ain’t got none, are therefore stigmatised” (2004:174). As
a result, she explains, people using non-standard forms may suffer discrimination from teachers and
employers (2004:187f).
2See”Appendix1”attheend.
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In relation to the prescriptive grammar of Standard English, most of the vocabulary (except the
words bitch, bitches and tight (tight is used having a meaning different to that in Standard English))
and grammar-use in the rap text are non-standard. To mention a few: ain’t should be ‘am not/is
not/are not/has not/have not’; clockin’ dough should be ‘earning money’; gotta should be ‘got to’;
like it ain’t no thing should be ‘like it is not anything’; we was… should be ‘we were…’ etc.
However, rap artists know that their language use is considered as non-standard – and that is the(ir)
very point – keeping in mind that (most) rap artists know how to use language “properly”. In other
words, the deviating language is deliberate.
As Alim explains in Hip-Hop Nation, the language of Hip-Hop is vital to the Hip-Hop Nation
(i.e. “the ‘borderless’ composite of hip hop communities world-wide” (p 1)). Additionally, he makes
clear that “much of the distinctiveness of HHNL Hip Hop Nation Language comes from its
inventiveness with vocabulary” (p 1) – adding that “HHNL is a language with its own grammar,
lexicon and phonology…”, which, except for the phonology part, is partly illustrated by my analysis
of the rap text Bitches Ain’t Shit. As Joanna Thornborrow (2004:159) clarifies in Language, society
and power: An introduction, we create our so-called “linguistic identity” not only by using one
dialect (or code) rather than another, or one accent rather than another one, but also by how we use
language to communicate with others. Put differently, the linguistic identity of rappers – and thus
Hip-Hop – includes the peculiar vocabulary as well as grammar-use, this since both are part of the
way language is used for communication. Furthermore, Thornborrow makes clear that:
Being able to show that you can use linguistic terms appropriately according to the norms
associated with a particular group helps to establish your membership of it, both to other members of
the group, the ingroup, and those outside it, the outgroup (2004:165).
Keeping this in mind, there are some quotes in Hip-Hop Nation that are consistent with what
Thornborrow explains. For example, the rapper JT the Bigga Figga explains:
“All the slavemasters gave our people straight chittlins and greens/…/stuff that they wasn’t
eating. But we made it into a delicacy. Same thing with the language. It is the exact same
formula/…/So this is the voice from the ghetto. The rap come from the voice of the ghetto…Hip hop and the streets damn near is one” (p 2).
And, additionally, the rapper known as Scarface puts in plain words that “by making up your own
words/…/you are freeing yourself from linguistic colonization” (p 7). So, in connection with this, as
well as with what Thornborrow explains, it seems to be the case – I think – that rap artists, by using
non-standard vocabulary and grammar, make efforts to create their own linguistic identity. By using
certain non-standard words as well as grammatical features when rapping, rap artists create norms
associated with their particular group (i.e. Hip-Hop and, thus, rap) as to which words and
grammatical features that are appropriate to use according to these norms. This, as Thornborrow
makes clear, helps to establish the linguistic identity of the group, as well as “membership of it, both
to other members of the group, the ingroup, and those outside it, the outgroup” (2004: 165). So, rap
artists have – in this way – created a linguistic identity of their own (i.e. made the language into a
“delicacy” by using particular vocabulary and grammar as the rapper JT the Bigga Figga put it),
signalling that Hip-Hop and thus rap is a certain group with certain norms, and that those who do not
follow these norms are considered to not be members of the group (i.e. are an outgroup). As JT the
Bigga Figga put it: “The rap come from the voice of the ghetto… Hip hop and the streets damn near
is one” (p 2).
If we look at the rap text Bitches Ain’t Shit, we see that rather lots of things remind us of the
streets. For example, in line nine the text goes as follows: “And we was ballin’ on the motherfucking
Compton streets”; in line eighteen as follows: “Bitch can’t hang with the streets…” etc. This, then,
makes us see that the streets as well as the culture associated with them is vital in order to fully
understand the rap text (and other rap texts as well). Moreover, the vocabulary is quite “tough” – and
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what I term as “Street Style” – having lots of patronizing and non-“mainstream” words (e.g. bitch,
hoes, fuck, nuts etc.) as well as grammar-use (e.g. ain’t, gotta, leveling of were to was etc.).
Furthermore, this particular rap text – Bitches Ain’t Shit – goes against so-called “mainstream”
culture, because, in the text, women are devalued by being referred to as hoes and shit not being good
for anything other than pleasing the man. However, I would say, most rap texts are in congruence
with mainstream culture – not devaluing women, being against injustice, war, poverty etc. For
instance, a Serbian rapper named Sanjo is writing rap texts against war (see YouTube), which
indicates the strength of Hip-Hop and rap, as well as its grand breakthrough throughout the world.
List of References
Hip-Hop Nation by Samy Alim
(Available at: http://www.pbs.org/speak/words/sezwho/hiphop/reprint)
List of slang used in hip-hop music from the Internet resource ‘Brainy Encyclopedia’
(Available at: http://www.brainyencyclopedia.com/encyclopedia/h/hi/hip_hop_slant.html)
Some characteristics of non-standard, urban American dialects (especially NYC)
(On the course portal as ‘trotta_urbanAM_dialect.pdf’)
Wareing, Thomas, L., S.; Singh, I., Peccei, J.S., Thornborrow, J., & Jones, J (Eds.). (2004)
Language, society and power: An introduction (2nd revised ed.). London: Routhledge.
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Appendix 1
“Bitches Ain’t Shit”
(feat. Snoop Dogg, Dat Nigga Daz, Kurupt, Jewel)
[Snoop] Bitches ain't shit but hoes and tricks...
[Chorus (Snoop (2X):]
Bitches ain't shit but hoes and tricks
Lick on these nuts and suck the dick
Get the fuck out after you're done
And I hope in my ride to make a quick run...
[Dr. Dre]
I used to know a bitch named Eric Wright
We used to roll around and fuck the hoes at night
Tight than a motherfucker with the gangsta beats
And we was ballin' on the motherfucking Compton streets
Peep, the shit got deep and it was on
Number one song after number one song
Long as my motherfucking pockets was fat
I didn't give a fuck where the bitch was at
But she was hangin' with a white bitch doin' the shit she do
Suckin' on his dick just to get a buck or two
And the few ends she got didn't mean nothin'
Now she's suing 'cause the shit she be doin' ain't shit
Bitch can't hang with the streets, she found herself short
So now she's takin' me to court
It's real conversation for your ass
So recognize and pass to Daz
[Dat Nigga Daz]
Now as I'm rollin' with my nigga Dre and Eastwood
Fuckin' hoes, clockin' dough up to no good
We flip flop and serve hoes like flap jacks
([Snoop:] But we don't love them hoes) Bitch, and it's like that
This is what you look for in a ho who got cash flow
You run up in them hoes and grab the cash
And get your dash on
While you're chillin', with your homies and shit
And how my niggaz kick the anthem like this
[Snoop] Bitch!!
[Chorus]
[Kurupt]
...To the store, to get me a 4-0
Snoop Doggy Dogg paged, that must mean more hoes
So I head down the street to long beach
10
Just so I could meet, a freak
To lick me from my head to my feet
And I'm here, now I'm ready to be done up
Nothin' but homies around so I put my gun up
Bitches on my nuts like clothes
But I'm from the pound and we don't love them hoes
How could you trust a hoe? [Snoop:] Why? [echoed 3X]
'cause a hoe's a trick
We don't love them tricks [Snoop:] Why? [echoed 3X]
'cause a trick's a bitch
And my dick's constantly in her mouth
And turnin' them trick ass hoes the fuck out
Now...
[Snoop Doggy Dogg]
I once had a bitch named Mandy May
Used to be up in them guts like everyday
The pussy was the bomb, had a nigga on sprung
I was in love like a motherfucker lickin' the pearl tongue
The homies used to tell me that she wasn't no good
But I'm the maniac in black, Mr. Snoop Eastwood
So I figure niggaz wouldn't trip with mine
Guess what? Got gaffled by one time
I'm back to the motherfucking' county jail
6 months on my chest, now it's time to bail
I get released on a hot sunny day
My nigga D.O.C. and my homey Dr Dre
Scooped in a coupe, Snoop we got news
Your girl was trickin' while you was draped in your county blues
I ain't been out a second
And already gotta do some motherfucking chin checking
Move up the block as we groove down the block
See my girl's house, Dre, pass the glock
Kick in the door, I look on the floor
It's my little cousin Daz and he's fuckin' my hoe, yo
(Bitches ain't shit)
I uncocked my shit... I'm heart-broken but I'm still locked
Man, fuck a bitch!
[Chorus]
[Jewell]
[Dr. Dre in background "Bitches ain't shit"]
I don't give a fuck about a bitch
But I and her know that they can't fade this
'cause I'm doin my own thingdown with the swang
I'm hangin' with Death Row like it ain't no thing
I say you know can't deal
'cause I'm a bitch that's real
Motherfucker need to step back, hell yeah
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They need to chill
Because I don't give a fuck
And I don't give a fuck [x3]
And now I gotta do some...
And now I gotta do some shit that's clean
But when I'm on a dick, hell yeah, I get real mean
Like a washing machine
I can wash the clothes
All the hoes knows
That I'm on the floor ho
But they can't hang with my type on swang
I ain't tryin' to say I suck every ding-a-lang
But just the juicy ones
With he tip of the tongue
And then their sprung
With the nuts hung
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