The Use of Contracted Forms in the Hip Hop Song Lyrics
THE USE OF CONTRACTED FORMS IN THE HIP HOP SONG LYRICS
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters
By
AGUSTINA IKE WIRANTARI
Student Number: 034214130
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008
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A Sarjana Sastra Undergraduate Thesis ii
THE USE OF CONTRACTED FORMS IN THE HIP HOP SONG LYRICS
By
AGUSTINA IKE WIRANTARI
Student Number: 034214130
Defended before the Board of Examiners on January 21, 2008 and Declared Acceptable
BOARD OF EXAMINERS
Name Signature
Chairman :
Secretary :
Member :
Member :
Member :
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ACKNOWLEDGEMENTS
I would like to address all my thanks and praise to God for all His kindness, love, patience and etc. I feel that I just nothing compared with His Greatness. He is always accompanying me and giving me power to face all the obstacles in front of me. I owe so much thanks to my advisor Dr. Fr. B. Alip, M.Pd., M.A., for all his advise so I can finish my thesis, and also for my co-advisor Dr.B.Ria Lestari, M.S. for her ideas and supports in making my thesis. Thanking is also given for Ms. Sri Mulyani, for her ideas and the sources that can support my thesis, and for all the English Letters Department staffs for all their help in our study. I would never forget to address my gratitude, love, and thanks for all the supports to my family especially for my Dad, I Ketut S.W., my Mom, Lestari, and my lovely sister, Putri. Thank you very much for all of your pray for me, so I can finish my thesis. Finally, my true love and happiness are also given to all my friends in English Letters Department 2003 especially for my best friends Maya, Sondang, Csil, Agnes, Dean, Abit and Tyo. Thanks, guys, for making my days so colorful and meaningful. My warm love and true happiness are also addressed to my friends in Bromo 2B especially for Tuta, Entin, Wulan, Nunung, Novi, Kak Bertha and kak Hota. For my friends, Ivan and Hendri, I want to thank so much in supporting me.
Agustina Ike Wirantari
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TABLE OF CONTENTS
TITLE PAGE……………………………………………………………………. i APPROVAL PAGE…………………………………………………………….. ii ACCEPTANCE PAGE………………………………………………………. ...iii LEMBAR PERNYATAAN……………………………………………………..iv MOTTO PAGES………………………………………………………………....v DEDICATION PAGES………………………………………………………....vi ACKNOWLEDGEMENTS………………………………………………….. .vii TABLE OF CONTENTS…………………………………………………….. viii ABSTRACT……………………………………………………………………...ix ABSTRAK……………………………………………………………………...... x
CHAPTER I: INTRODUCTION…………………………………………….....1 A. Background of the Study……………………………………………….1 B. Problem Formulation…………………………………………………...3 C. Objectives of the Study………………………………………………...3 D. Definition of Terms…………………………………………………….4
CHAPTER II: REVIEW OF LITERATURE…………………………………8 A. Review of Related Theories……………………………………………8 1. Contracted Forms in Standard English…………………………8 2. Contracted Forms in Black English…………………………...11 3. Hip-Hop Lyrics………………………………………………..15 4. Contracted Forms in Hip-Hop Lyrics…………………………19 5. Phonological Processes………………………………………..19 B. Theoretical Framework……………………………………………….22
CHAPTER III: METHODOLOGY…………………………………………...24 A. Object of the Study……………………………………………………24 B. Approach of the Study………………………………………………...25 C. Method of the Study…………………………………………………..25
CHAPTER IV: ANALYSIS…………………………………………………....25 A. The Contracted Forms in the Lyrics…………………………………..27 B. The Influence of The Fans…………………………………………….49
CHAPTER V: CONCLUSION………………………………………………...56
BIBLIOGRAPHY………………………………………………………………58
APPENDICES…………………………………………………………..………60
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ABSTRACT
AGUSTINA IKE WIRANTARI. The Use of Contracted Forms in Hip Hop Song Lyrics. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2007.
This research is aimed to find out the kinds of the contracted forms in the hip hop song lyrics and formulate the formulation of English contracted forms. The lyrics of the hip hop songs usually use sentences without subjects and only verbs phrases. The uses of contracted forms are also found in hip hop lyrics. The problems that will be discussed are what kinds of contracted forms, and what are the influences of the fans toward the use of the contracted forms in hip-hop song lyrics. The kind of the research is a library study or a desk research and some of the data for this research comes from the internet research. After the researcher found the data then, the data are ready to be analyzed. The steps in analyzing the study areselecting the data, transcribing the data, identifying the data, classifying the data and finding the factors that influence the use of the contracted forms in hip-hop song lyrics. Based on the research result, several conclusions can be drawn as follows : (1) The kinds of the contracted forms that are used in the hip hop lyrics are the the contracted forms of the operators, the contracted forms of negations, wanna contraction, the contracted forms of gemination, the contracted forms of aphesis, the contracted forms of the consonant sounds [r] and [l], and the contracted form of let’s, y’all and c’mon and (2) The factors that influence the use of the contracted forms in the hip-hop lyrics are the fans’ social class, the fans’ personality, the fans’ cultural background and the fans’ sex.
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ABSTRAK
AGUSTINA IKE WIRANTARI. The Use of Contracted Forms in Hip Hop Song Lyrics. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2007.
Penelitian ini bertujuan untuk mengetahui jenis-jenis penyingkatan di lirik lagu-lagu hip hop dan memformulasikan struktur dari penyingkatan-penyingkatan Bahasa Inggris. Biasanya bentuk lirik lagu hip hop menggunakan kalimat-kalimat tanpa subyek dan kata kerja. Penggunaan penyingkatan dapat ditemukan lebih banyak di lirik lagu-lagu hip hop. Masalah-masalah yang akan dibahas antara lain: macam-macam bentuk penyingkatan dan pengaruh fans terhadap penggunaan penyingkatan dalam lirik lagu hip-hop. Jenis dari penelitian ini adalah studi perpustakaan atau penelitian di atas meja dan beberapa data dari penelitian ini berasal dari internet. Setelah si peneliti menemukan data dan data siap untuk digunakan. Cara-cara menganalisa thesis dengan menyeleksi data, menyalin data, mengidentifikasi data, mengklasifikasikan data dan mencari faktor-faktor yang mempengaruhi penggunaan penyingkatan dalam lirik lagu hip-hop. Berdasarkan hasil penelitian, beberapa kesimpulan dapat diambil sebagai berikut: Jenis- jenis penyingkatan dalam lirik hip hop adalah (1) Penyingkatan kata kerja bantu, penyingkatan negatif, penyingkatan wanna, penyingkatan geminasi, penyingkatan aphesis, penyingkatan konsonan [r] dan [l] dan pennyingkatan let’s, y’all dan c’mon dan (2) faktor-faktor yang mempengaruhi penggunaan penyingkatan dalam lirik lagu hip-hop adalah kelas sosial fans, kepribadian fans, latar budaya fans, dan jenis kelamin fans.
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You’re so precious in My eyes, I love you and I had chosen you as My
children. I had given to you My greatest wealth, My Son, so that you
can live.
Love you always,
Jesus Christ
When I feel afraid, think I lost my way, still You there right besides me, nothing will I fear as long as You are near,please be near me to the
end.
(Thy word is a Lamp)
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I dedicated this for my Love,
Jesus Christ for all His Blessing and Love,
and also for my parents and my sister
for their support and love.
For all my friends that always accompany me.
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x CHAPTER I INTRODUCTION
A. BACKGROUND OF THE STUDY
As a means of communication, language makes the process of interaction among the people easier to do. By having language, an understanding and the peace among people can be created because each people can express his/her feeling. People from different countries can be united also if there is a similarity that can bind them together, for example the use of English as an international language. Language eases people to share their ideas or feelings by providing them many referents which explain the things. Because of this reason, language is also dealing with the other fields such as arts, politics, economics, music, and many more. In the process of the use of the language in those fields, language can be divided into two kinds, formal language and non-formal language. Formal language is usually used in the governmental office especially in official situations, business letters and etc. On the other hand, the non-formal language is used in colloquial, informal situation and many more. The non-formal language contains slang words, contracted forms, and etc.
Music is one of the ways to communicate feeling, beauty, idea and sympathy. As an entertainment for people, music has been developed all around the world whether in its form and in its variety such as classic, pop, rock, reggae,
R&B, hip-hop, and etc. However, music also reflects the condition of the society.
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For example, in the globalization era, the condition of the society is changed to be more dynamic, free, individual, independent, creative, innovative, and rebels for the static condition. People try to find music which can express those things, and hip-hop is the best choice for them. Hip-hop is the music that combines rapping, dancing and the music itself. Hip-hop also can promote the spirit of life. Hip-hop is popularized by West African and African American people. The hip hop music for the first time is introduced by Kool DJ Herc and Grandmaster Flash, who create more “danceable” music in 1970’s in New York. Today, hip-hop has been combined with rock music, reggae, techno and other music styles. The example of hip-hop music which is combined with rock music is Run-D.M.C. collaborates with rock band Aerosmith, and etc. (http://www.jam2dis.com/j2dhiphopdef.htm).
As a rap core, the lyrics of hip-hop get a great influence from the African
American language as the origin of the hip-hop music. Rap core also takes part in making the hip-hop more alive and so do the other parts. In rap core, the rapper usually uses the contracted form to make it more stylish , cool and also to show to the people the identity or the culture of African as the place where the hip-hop music was originated. The contracted form is one of the style of hip-hop lyrics as the part of the music hip-hop itself.The example of the use of the contracted forms are the use of the wanna contractions i.e. gonna, wanna, and etc, the reduced or lost r such as do’, and the deletion such as ‘cos, ‘bout and etc.
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B. PROBLEM FORMULATION
In this research, there are two problems that will be discussed. Those are:
1. What contracted forms are found in the hip hop lyrics?
2. What are the influences of the fans toward the use of the contracted forms
in the hip-hop lyrics?
C. OBJECTIVES OF THE STUDY
The study about the use of the contracted forms in the hip-hop lyrics are to find out what contracted forms that are usually used in the hip-hop lyrics and what are the influence of the fans toward the use of the contracted forms. The first is to find out the contracted forms in the lyrics means to find out what the function and structure of the contracted forms that are found in the hip-hop lyrics. It includes the research about the characteristics of the contracted forms.
The second is to identify the influence of the fans toward the use of the contracted forms in hip-hop music. The fans of hip-hop have great influence towards the choice of words especially the use of the contracted forms in hip-hop music as long as the aim of making the hip-hop is to entertain people.
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D. DEFINITION OF TERMS
In this part, the researcher explains first about each definition that is very important for the topic that the researcher is going to be discussed. The definitions are:
1.Contracted Forms
They are shortening word or words of which one or more letters have been omitted. There are many examples of the contracted forms that are mostly used such as I’ve, she’d, we’ll, they’ve, can’t, he’d, won’t and etc. Swan (1995:132) in his book entitled Practical English Usage explained that contractions are common and correct in informal writing and usually they represent the pronunciation of the informal speech. In relations with black dialects, Wolfram and Christian (1989:
40) explained further in their book entitled Dialects and Education: Issues and
Answers. They describe Black English as a variety of English that has combined a number of the nonstandard English forms in a unique way and the contracted forms belong to the nonstandard English. The contracted forms that can be found are consonant blends such as lil’ for little, and the reduced or lost of r such as ca’ol for carol.
2. Music
It is the language of emotions. By having music, human can express their feeling freely. Through music as the universal language, people can understand each other’s feelings or conditions. Machlis (1955: 8) in his book entitled The 5
Enjoyment of Music says that a song is the most natural form of music. Machlis explains that singing has been the most widespread and spontaneous way of making music. Actually, a song is the brief composition written or adapted for singing which also contains music and lyrics and the definitions of the lyrics themselves are the words of a song.
3. Hip-hop
According to Davey D, hip-hop songs are the songs that include the act of
DJ –ing (cuttin’& scratchin’), emceeing/rapping, break dancing and grafitti art.
(http://www.jam2dis.com/j2dhiphopdef.htm). Hip-hop is also defined as a lifestyle with its own language, style of dress, music and mind set. Hip-hop has become the culture that can not be separated from the hip-hop music itself including the activities of break dancing, which started with b-boying with little dance steps and then develop with “popping”, “locking”, “freezing”, and
“spinning”; graffiti art, which is usually done by spraying painted hip-hop on walls and subway cars; the use of slang, which is famous as international hip-hop slang and it is affected by regional slang; and “bling-bling” lifestyle as the symbols of wealth and status such as money, jewelry, cars, and etc.
(http://www.answers.com/topic/hip-hop) The hip-hop lyrics covers the lyrics about political issues, the social changes, the life and the culture of the rappers’ himself.
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4. Stylistics
The use of the contracted forms in hip-hop lyrics may have several effects from the stylistics. According to Verdonk (2002:4) in his book entitled Stylistics, stylistics is the analysis of distinctive expression in language and the description of its purpose and effect. Stylistics as a study of style is also dealing with the use of the language in any different types of text such as prose, poetry, novel, newspaper and etc. Music is also the field that stylistics is dealing with. Lyric in the music has similarities as poems in its characteristics. In hip-hop, rap takes an important role besides the music itself, the break-dance, and the graffiti art. In relations with stylistics, rap has some elements that can be observed further such as word choices, slang words, rhyme styles, metaphors, similes, prosody, enunciation and wordplay. The form that mostly used in hip-hop lyrics is the contracted forms. From the word choices, rap uses contracted forms because the form of rap is just the same as the everyday conversation which uses contracted forms, slang words, and many more. The examples are the use of the words wanna, gonna, ‘coz, and etc. From the explanation above, it can be seen that the lyrics of the hip-hop is just the same as the poems which has rhyme styles, and word choices.
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CHAPTER II THE REVIEWS OF LITERATURE
In this chapter, the researcher will discuss the following: the review of the related theories, and the theoretical framework. The related theories will discuss about the theory of contracted forms and the hip hop itself. Finally, the theoretical framework will discuss about the use of the theories in answering all the problems.
A. Review of Related Theories
1.Contracted Forms in Standard English a. Definition of Standard English
The definition about Standard English has brought so many contra versions in defining the Standard English itself. Peter Trudgill in Bex and Watts
(1999) Standard English will make it clearer by explaining first one by one about the definitions about Standard English.
1. Standard English is not a language
Standard English is one of the variety of English Language not the
English language itself. Standard English is a variety used in writing, a
variety associated with the education system in all the English speaking
countries, a variety spoken by those who are referred to as “educated
people”, and a variety taught to non-native learners. ( Ibid, 1999:118)
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2. Standard English is not an accent
Standard English has nothing to do with pronunciation. In British
perspective, Received Pronunciation (RP) is a high status and widely
described accent but actually it is purely social accent which is associated
with speakers in all parts of the country or at least in England from upper
class and upper middle class background. RP is a standardized accent of
English and not Standard English itself. ( Ibid, 1999: 118)
3. Standard English is not a style
The definitions of styles are varieties of language which can be
arranged on a continuum ranging from very formal to very informal.
Formal styles are employed in social situations which are formal, and
informal styles are employed in social situations which are informal.
Trudgill explains further that speakers of Standard English have a full
range of styles open to them, just as speakers of other varieties do, and can
swear and use slang just like anybody else. It means that there is no need
for speakers of non-standard varieties to switch into Standard English in
order to gain the formal styles. ( Ibid, 1999:119-121).
4. Standard English is not a register
The register here has a relation with the matter of lexis especially
in education system. It is regarded as having one of its tasks as the
transmission of particular registers to pupils- those academic, technical or
scientific registers. They are not likely to have had contact with outside 9
education system and it is important for the study which acquires the
registers. Actually there is no necessary connection between Standard
English and the technical registers. ( Ibid, 1999: 121-123)
From the above explanation, it can be concluded that actually Standard
English is not a language, not an accent, not a style and not a register. Trudgill explains that Standard English is a social dialect or a sub-variety of English which is distinguished from other dialects of the language by its grammatical forms.
( Ibid, 1999:123-125)
b. The Contracted Forms in Standard English
Contracted forms are squeezing word or words of which one or more letters have been omitted. Contracted forms usually happen in the non-standard written representation of spoken forms and in the casual speech. According to
Swan (1995: 143) in his book entitled Practical English Usage, the contractions are common and correct in informal writing and not generally used in a formal style. He also explains about the kinds of contracted forms such as I’ve, hasn’t, didn’t and many more. Based on the Standard English as a dialect, the contracted forms that are included in the Standard English are those which are grammatically correct but they are used in the informal situations. The contracted forms are:
1. The contracted forms of the operators such as be, the modals and have.
The examples are I’m, she’s, they’ll, where’s, how’s, that’s, there’s and
many more. (Ibid, 1995: 143) 10
2. The contracted forms of negation such as didn’t, doesn’t, don’t, hadn’t,
haven’t, and wasn’t for the primary verbs and can’t, couldn’t, shouldn’t,
won’t and wouldn’t for the modals. (Ibid, 1995: 144- 145)
2. Contracted forms in Black English a. Definitions of Black English
Black English has a very great role in the hip-hop music especially because the hip-hop for the first time appears amongst the Black People. Black
English also attracts so much controversy in defining its definition. Some of the definitions will be explained by Wardaugh, Bough and Cable, Christian and
Wolfram, and Lesley Milroy.
1. Black English
According to Ronald Wardaugh (1986) in his book entitled An
Introduction to Sociolinguistics, there are three definitions about Black English.
First, Black English is another dialect of American English. When Black speakers produce greater quantities of certain non-standard usage, it is simply a peculiarity of the style of speaking they have adopted. (Ibid, 1986: 325).
Second, Black English is a creolized variety of English and its speakers use it in a post-creole continuum. The Black English has features that are the same type as creole, certainly the zero copula, some residual Africanism and certain styles of speaking ( such as rapping, sounding, signifying, rifting and fancy talk), which look back to an African origin.( Ibid, 1986: 325). 11
Lastly, Black English is a variety of English related systematically to all other varieties of English. Black English is just the same as the other varieties of
English which have their special rules to produce their unique varieties.( Ibid,
1986: 326).
Wolfram and Christian (1989) in their book entitled Dialects and
Education: Issues and Answers explain that Black English is a variety of English that has combined a number of the nonstandard English forms in a unique way.
They also explain about the history of the Black English which is a creole (mixed) language of Carribean at that time.
Now, Black English is not a creole but still has its creole past combined with many features of Southern English. Black English as dialect is an important ethnic dimensions that combined with the social class parameter characterizing those who spoke this variety. They underline that not all Blacks speak Black
English.
2. African American Vernacular English (AAVE)
Bough and Cable (2002) in their book entitled The History of The English
Language explain about the Black English which is also called as African
American Vernacular English (AAVE). The variety here is not a geographical dialect and also not the dialect of all African Americans. The term vernacular refers to non-standard features of variety. 12
The term African American does serve to identify a coherent linguistic situation on the west coast of Africa and in the Carribean during the days of the slave trade. Some phonological features of African American Vernacular English are the reduction of final consonant clusters such as lis’ for list, the loss of post vocalic r for example ca’ for car, deletion before a vowel such as lif’ up for lift up, deletion of a word-final single consonant after a vowel like ma’ for man, and etc.( Ibid, 2002: 382-384)
According to Lesley Milroy in Bex and Watts’(1999) Standard English , the African American Vernacular English based on the race and ethnicity is essentially a working class black variety and the speakers of the African American
Vernacular English comes from the bitter economic, political and social cleavages created by slavery and the Civil War.( Ibid, 1999: 178, 196)
From those explanations, it can be concluded that Black English is another variety of English and also a kind of dialects. The speakers of Black English are not Blacks only because not all Blacks speak Black English and many whites can speak Black English.
b. The Contracted Forms in Black English
As the definition of contraction says that the contracted forms are the squeezing word or words of which one or more letters have been omitted, the
Black English have so much contracted forms. The contracted forms in the Black
English have so much influence from the phonological variation in the Black 13
English as a dialect. Wolfram and Chistian (1989: 31) in their book entitled The
Dialects and Education: Issues and Answers explain that pronunciation differences are the major key to the Black English. In addition, pronunciation is related to the phonological forms. Most of the contracted forms in Black English are related to the phonology. Bough and Cable (2002:384) in their book entitled
The History of The English Language give further explanation that in AAVE, the phonological and morphological features occur almost exclusively. Some of the examples are:
1. The gemination such as in the words gimmie for give me, and lemme for let
me .
2. The Aphesis as seen in the words ‘cause for because, ‘round for around ,
‘fore for before, ‘head for ahead and many more.
3. r and l contracted forms for example fo’ for for, mo’ for more, yo’ for
your, do’ for door and coup’ for couple.
4. The contracted forms of the words let’s for let us, y’all for you all and
c’mon for come on.
5. The wanna contraction as seen in the words wanna for want to, gonna for
going to, gotta for got to, usedta for used to, oughtta for ought to, and
hafta for have to can be found in Murcia and Freeman (1983:87) in their
book entitled The Grammar Book.
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3. Hip Hop Lyrics
a. Definition
Hip-hop music is derived from the acts of hip-hopping on the turntables from one turntable to another to create “The Breaks”. In hip hop music, the performers usually begin to speak (rap) in rhyming with the beats.
The performers also must have ability to make the stressed words in the lyrics sounds rhyming with the beats of the percussion. The Hip-hop music depends on the performers’ ability to deliver the raps. In addition, hip-hop is not only talking about the music itself but also talking about the culture that it brings.
(www.wikipedia.com)
b. Characteristics
Hip-hop music is divided into four elements that cannot be separated from each other which developed as the characteristics of hip-hop culture. The five elements are the DJ-ing, B-boying (break-dancing), the MC-ing, the graffiti art and beatboxing. The first element is DJ-ing. DJ (Disc Jockey) is the strange sounds that are produced by the manipulation of a record over a certain groove.
DJ is usually found in the night club as someone who influences the mood of the audience with his skills in music.
The second element is the b-boying or break-dancing. Break-dancing is an innovative and acrobatic style of dance. The kinds of the movements in break- dancing are headspins, backspins, popping, locking, freezing, spinning, tickling and boogaloo. The “b” stands for break-boy (or girl). Usually the break dancing is 15
showed in the break section of the song and then the b-boy will get in front of the audience to dance.
The third element is MC-ing. MC stands for Mic Controller. The MC in the hip-hop music is also called as a rapper. An MC or a rapper should match the stressed words with the beat of the percussion to make the rhyming sound more musical. Some factors that the rapper should master are the vocal presence, enunciation and breath control. Vocal presence is the uniqueness of the rapper’s voice on record. Enunciation is also known as the articulation which is needed to flow the rap and to exaggerate the artistic effects. Breath control which takes in air without interrupting one’s delivery is very significant to master by the rapper.
The fourth element is graffiti art. The art of making graffiti that usually masters the rapper. It is considered as the additional skill of the rapper. The graffiti art is usually made in the public properties in America, but now the graffitti art spreads widely in many countries. The fifth element is beat boxing.
Beat boxing is an art of creating beats, rhythms, and melodies using the human mouth. Usually beat boxing is used to replace the music instruments. c. The Hip-hop
The old school hip-hop was started in 1970 to 1985. One of the first rappers of hip-hop was also the first Hip-hop’s DJ, Kool Herc. He is a Jamaican immigrant in the South Bronx who started delivering simple raps at his party in the early 1970’s. (http://en.wikipedia.org/wiki/Hip_hop_culture)
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Hip-hop spreads widely in New York in the end of 1970s and the rappers try to mix the rap with the pop music. One of the rap innovators is Melle Mel. Hip hop music at that time is influenced by the funk , soul, R&B, and disco music. In
1980s, hip-hop begins to diversify and develop into more complex form. The techniques in music develops also including scratching and electronic recording.
Hip-hop musicians try to collaborate with rock bands for example Run
DMC collaborates with rock bands, Aerosmith in the song “Walk This Way” in the album Raising Hell. The kinds of hip-hop are also developed into conscious hip-hop, jazz-rap and gangsta-rap.
The golden age of hip-hop era begins in 1985 to 1993. Rap changes in direction especially in the style of rapping. In 80s, the rap has verses which constrained straight forward structures and rhyme scheme but in 90s, the rapper try to explore the basic form to more free-flowing in lyrics, more fluid and complex in the style and the like. The style of rap at that time differenciates between the West Coast with its funky and smooth rap and the East Coast with its aggressive rap. Both groups compete each other and it causes the prolonged confrontation. d. Functions and Significance
The function of the hip hop music for the first time is as a medium to reduce the gang violence by channeling their anger and aggressions in the shape of art, and then it has developed until now as the opportunity for the young urban to express themselves freely. Boyd in his book entitled Am I Black enough for 17
you? says that rap or hip-hop has become big business that attracts the young people to create more hip-hop to succeed in business as it is stated bellows:
The venue of rap serves as a means of upward mobility and social legitimation, allowing Biggie Smalls to describe the dismal choices faced by those who attempt to rise up out of the ghetto….Thus basketball and rap become the primary vehicles for the articulation of an underclass aesthetic here associated with the nigga. (1997: 34)
The hip hop music is an entertainment for the people who loves the freestyle music and as a medium where the creative and dynamic person can explore their skills and potentials. e. The Hip Hop Lyrics
Hip-hop music includes the music itself and the lyrics. The music in hip-hop contains the beats, the tempo, sounds of instruments of music and many more.
The lyrics in hip-hop involve word choices, slang words, rhyme styles, metaphors, similes, prosody, enunciation and wordplay.The theme of the hip-hop song includes political issues, crime, religion, culture, and love. The shape of rap is almost the same as poetry especially classical poetry such as having consonance such as in The story untold, about to unfold , assonance such as in Get up on my booty, tutti-fruiti on the rooty, slant rhyme such as in Yeah, you need to worry, like Jason, it gets scary , internal rhymes such as in Lay another finger on this big bad one miss lady rap singer, and also complex and lengthy rhymes for example:
Paul, 'the way you make me feel' with these calls You should really take a look at the 'man in the mirror' And tell him to 'beat it' because I 'won't stop till I get enough' Do you 'remember the time' we were watching the 'Billy Jean' video?
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Well he'll always be that Michael to me And it doesn't matter if he's 'black or white' Because I 'can't stop loving him' and I hate plastic surgeons (Em Calls Paul- Eminem)
The rap uses the elements of the poetry in its lyrics such as alliterations, wordplays, similes and metaphors for example for the use of the word honey, pussy and etc. Besides that, hip-hop has its own vocabularies from the international hip-hop slang to the local or regional slang.
4. Contracted Forms in Hip Hop Music
The contracted forms that are commonly use in writing a lyric are the contracted forms that are included to the informal Standard English for example don’t, it’s, you’re, and can’t. The example is:
They don’t always happen when you ask And it’s easy to give in to your fear But when you’re blinded by your pain Can’t see you way safe through the rain Thought of a still resilient voice Says love is very near. (When You Believe by Mariah Carey feat Whitney )
It is clearly seen that pop songs, rock songs and the likes still use the standard forms of English. On the other hand, hip-hop song lyrics use Black
English. Many reasons can be uttered in relation to the use of Black English. One of them is the origins of the hip-hop in the West-African and African American.
The Africans want to show to the world about their existence and to rebel from the
Western colonialism, and the African Americans are also proud of their own languages. The hip-hop music uses the contracted forms of the Black English. It can be seen from the word choices, and the contracted forms itself. From the 19
contracted forms, the rapper prefers to use the gemination such as gimmie or lemme. The example is:
[Missy] Yo, come here baby, lemme kiss ya Lemme see what cha' bout when I'm witcha Lemme see what cha' talkin' bout big shot If you got that dough, can I get some Lemme see that Benz, can I drive, dude Can I have when I ride right beside you Oh, side by side, I got my crew…(Dat’s What I’m Lookin’ For- Da Brat)
By using such kind of gemination, hip-hop song seems cool and attractive.
The rapper also likes to use the ‘Black’ contracted forms such as the word what you becomes what’chu, old becomes ol’, because becomes ‘cos, you all becomes y’al and etc. All these kinds of contracted forms are mostly found in hip-hop music and those will enrich the variety of the English dialect especially Black
English.
5. Phonological Processes
Wolfram and Johnson (1982: 88), in their book entitled Phonological
Analysis: Focus on American English, define phonology as the system that can be changed in its units when they contact with the other units in the system. Those changes are called phonological processes.
Most of the contracted forms in the hip-hop lyrics are affected by the phonological processes. The phonological processes that are mostly found are assimilation for example gimme, deletion such as he’s, can’t, what’s and here’s, and aphesis for example ‘round, and ‘cause.
20
a. Deletion
Wolfram and Johnson (1982: 95) explains that in the phonological process of deletion, units which occur in some contexts are lost in others. The deletion process changes the syllable structure of words. Some cases in the contracted forms that have this kind of process are:
1. Deletion of the modals, have and be.
According to Murphy (1985: 279) and Quirk (1990: 35), the
principal processes of the deletion of modals, have and be is to delete the
first vowel sound and the preceding consonant sound before the first
vowel sounds and then add aposthrope ( ’ ) to replace the missing letter.
For examples: I’m, she’s, they’re, I’ve, they’ll, it’s and many more.
2. Deletion of the negations.
Quirk (1990: 36-39) explains about the deletion of negative not
when squeeze with be, have and do. The process is the deletion of the
vowel sound in the word not and then replace it with aposthrope (’) such
as in isn’t, don’t, haven’t and many more. Quirk (1990: 37) also explains
about the word ain’t which commonly used in American English to
replace the negation am not, is not, are not, has not and have not.
Greenbaum and Quirk (1990: 39) tell that the deletion of negations in
modals also has the same pattern as the deletion of negations in be, have
and do, for example couldn’t, mustn’t, oughtn’t and the like. Some 21
exceptions happen in the word can’t and won’t which not only get the
deletion in negatives not but also have the changes in its sounds.
3. Deletion in Aphesis
Wolfram and Johnson (1982: 97) explains that aphesis is the loss
of an unstressed initial vowel or syllable. Usually it is used in the casual
styles of English. The examples are ‘round for around, ‘bout for about,
‘cause for because and many more.
4. Deletion in the words let’s, y’all and c’mon.
The deletion in the word let’s happen in the word us by deleting
the vowel sound and then replace it with aposthrope (’). It can be seen in
Swan (1995: 306). Wolfram and Christian (1989: 141) explain about the
deletion in the words y’all and c’mon which have the deletion in the first
words you and come. Both of them have the deletion in the vowel sounds
but for the word come, the consonant sound after the vowel is still used.
5. Deletion of consonants r and l
According to Wolfram and Christian (1982 : 133), the deletion of
the r happens when the words are preceded by a round vowel and the
deletion of the consonant l happens when the words are preceded by
bilabial sounds.The kind of deletion that is mostly found in the African
American Vernacular English are the deletion of r and l for example in
the words fo’ for for, mo’ for more, coup’ for couple and etc.
22
b. Assimilation
Assimilation is a process in which a sound takes on the characteristics of a neighboring sound as it is said by Wolfram and Johnson (1982:88). There are so many kinds of assimilation, but the kinds of assimilation that are mostly found are wanna contraction and gemination.
1. Wanna
Haegemann and Gueron ( 1999: 281) give explanation that the
wanna contraction happens when the infinitival marker to is contracted to
the preceding verbs. For example: wanna for want to, gonna for going to
and gotta for got to.
2. Gemination
Wolfram and Johnson (1982: 92) say that the gemination is the
assimilation process result in contiguous identical consonants. The process
of gemination assimilates the last consonant sound of the first word with
the first consonant sound of the second word. The examples are gimme for
give me and lemme for let me.
B. Theoretical Framework
The theoretical framework aims to solve the problems in the problem formulation by using supporting theories. The problems are about the kind of the contracted forms that are found in hip-hop lyrics and the influences of fans toward the use of the contracted forms in hip-hop song lyrics. The first problem can be 23
answered by using theory by Wolfram and Christian. The theory is chosen because it explains about the phonological forms of the contracted forms in the
Black English. Most of the hip-hoppers are Blacks and the hip-hop itself originated from the African American, so most of the hip-hop lyrics have so much influence from the Black English. Wolfram and Christian will explain about the variety of the contracted forms especially in the phonological forms in the Black
English, as one of the dialects in America. They also explain that the contracted forms are quite prominent in vernacular Black English. They also give examples in each phonological form of the contracted forms.
The second problem is about what influences of the fans toward the use of the contracted forms in hip-hop. It can be answered by using the theories in
Wardaugh’s (1986) book entitled The Introduction of Sociolinguistics. There are several factors from the fans that influence the use of the contracted forms in hip hop. They are the fans’ cultural background, the fans’ sex, the fans’ social class, and the fans’ personality.
To sum up, the use of the contracted forms in hip-hop is related to the fans’ background reasons to support the rapper in creating the songs and loving the hip-hop music.
24
CHAPTER III
METHODOLOGY
The object of the study, approach of the study and the method of the study will be discussed further in this chapter. First, the object of the study will focus on the data of the study and the general idea about the work. Second, the approach of the study will discuss about the approach that will be used in the work and the reasons why the approach is chosen. The last, the method of the study will explain further about the steps in analyzing the work.
A. Object of the Study
The object of the study is related to the data that will be analyzed in the analysis. The object of this study is the contracted forms in hip-hop song lyrics.
The contracted forms are the forms of the words that contracts in its letters. The contracted forms in the hip-hop lyrics are related also to the Black English and the
Standard English where the contracted forms are mostly used.
The data are taken from the internet research because the hip-hop lyrics were seldom found in the lyrics book. The lyrics that will be analyzed are 45 song lyrics from the hip-hop artists such as Eminem, 50 Cent, Ludacris, Missy Eliott,
Da Brat, and many more.
24 25
B. Approach of the Study
The approach used in analyzing the work is a phonological approach.
Phonology is the closest and the observable theory to answer problems. In this approach, the contracted forms are distinguished based on the pronunciation and sources of the sounds. A phonological approach can analyze the contracted forms as the part of the phonology and not as the part of grammar. By having a phonological approach, the use of the contracted forms can be analyzed further because the contracted forms in the lyrics of the hip-hop have relationship with the pronunciation of the Black people’s everyday language.
C. Method of the Study
The research was both an empirical research and a library research. The empirical research was used in finding the data of this research, hip-hop lyrics, because the hip-hop lyrics were difficult to find in the public market especially in music books. Besides that, it saved the time and was effective in use. The library research was used in searching for the approach of the study and the theory of the study.
Some steps were taken in making the analysis in order to answer the problems. To answer the first problem about the kinds of contracted forms, there were some steps which were taken. The first step, the contracted forms were selected from the hip-hop lyrics. In the second step, the selected contracted forms were transcribed to the other paper. The third step, the selected contracted forms 26
were identified whether it has the same forms or not. In the fourth step, the environments of the contracted forms were analyzed to get the formula of the contracted forms and the general formula for each kind was made. The second problem about the influence of the fans toward the use of the contracted forms was answered by analyzing the background reasons of the fans. First, the social and life background of the fans were found out by searching from the library research. Lastly, the data would be used in finding the factors of the fans which are really influence the use of the contracted forms in the hip-hop lyrics.
27
CHAPTER IV
ANALYSIS
This chapter will analyze further about the use of the contracted forms in hip-hop lyrics by answering the questions in the problem formulation about the kinds of contracted forms that can be found in hip-hop lyrics and how the sociological factors influence the use of the contracted forms in hip-hop lyrics.
A. The Kinds of Contracted Forms in Hip-Hop Lyrics
1. The Operators
The operators here are divided into two parts, be such as is, am, are, was, and were and modals and have such as will, would, can, could, might, may, must, ought, shall, should, have, has, and had.
a. Be
Be consists of some verbs such as am, is, are, was and were. Usually such verbs follow pronouns and nouns. The pronouns with be are mostly found in the hip-hop lyrics.
27 28
Songs titles and Singers I’m You’re He’s She’s It’s We’re They’re You’s I’mma 1 Em Calls Paul- Eminem 1 2 1 2 Hit Em Wit Da Hee-MissyEliott 1 1 3 For My People-Missy Eliott 7 1 4 So Addictive – Missy Eliott 2 5 Izzy Izzy Ah- Missy Eliott 3 3 6 Ladies Night – Lil’Kimf/ Missy Eliott 3 5 7 Can’t Let U Go- Usher 9 1 2 8 Can U Help Me- Usher 3 3 1 9 Help Me- Usher 1 2 1 10 How We do It OverHere-Busta Rhymes 7 2 1 11 That’s crazy- P. Daddy 6 21 6 12 Is That Yo’ Bitch?-Jay Z 5 3 2 13 Ultimate Rush- Notorious B.I.G 10 1 1 14 CatchUp-Ludacris 6 5 2 15 Da Game Got Switched – Ludacris 3 1 16 U and Dat-E-40 6 2 1 1 3 17 GoodOl’ Ghetto -Usher 6 2 2 2 18 Gettin’JiggyWit It- Will Smith 1 1 19 Gangsta Shit- P. Daddy 4 1 12 2 20 I Love You Baby –P. Daddy 3 1 6 21 Real Niggas – P. Daddy 2 22 Slap! Slap!Slap!- Missy Eliott f/ Da Brat 7 2 23 Pump It Up- Nelly f/ Eliott 3 1 2 24 All N My Grill- Missy Eliott 5 1 1 25 That’s What I’m Lookin’ For – Da Brat 16 4 1 26 Get Ur Freak On- Missy Eliott 4 27 Whatcha Gon’ Do- Timbaland 10 1 28 Stickin’Chickens –Aaliyah f/ Eliott 5 3 29 Checkin’For You -Lil’Kim f/ Eliott 2 1 1 30 Can’t Leave ‘Em Alone-Ciara f/ 50 cent 6 6 4 2 31 U Got It Bad- Usher 5 13 2 32 Get Me Bodied- Beyonce 9 1 2 33 Work it Out- Usher 3 4 2 1 34 1stand10 -Ludacris 5 4 35 Act A Fool- Ludacris 8 3 36 Bad Boys- Ludacris 2 37 Cry Babies- Ludacris 10 1 2 38 On and On- Pharrel f/ Eliott 9 1 1 Dats What I’m Talkin’ Bout- Missy 39 Eliott 21 2 3 3 40 Joy- Missy Eliott 10 41 We Run This – Missy Eliott 3 4 3 1 42 Hot Boys- Missy Eliott 3 2 43 Ain’tThat Funny- Missy Eliott 1 44 For MyMan- Missy Eliott 3 2 1 45 FunkyFreshDressed-Missy Eliott 6 5 1 TOTAL 237 38 10 3 107 7 2 3 36
Table 1.a. The Contraction of be forms with pronouns.
29
From the data above, it can be seen that the contracted forms of be are used a lot in the hip-hop lyrics. The contracted forms of be have the phonological process of deletion. Most of be have this phonological process when they contact with the pronoun such as I, she, they, and many more.
For example: I [ai]+ am [æm] = I’m [а m]
She [ i]+ is [Iz] = she’s [ iz]
They [ð ei] + are [ə:(r)] = they’re [ ð eər]
From the example above, it can be explained that the pronoun I, when squeezes with the operators am, have the phonological process of deletion in the sound [ ]of the operator am and the missing sound is substituted by the aposthrope (’), but in the pronoun she and they, when they contract with the operators is and are, the phonological process of deletion happen in the operators by deleting the vowel sounds and add aposthrope (’) to replace the missing sounds.
Usually the contracted forms of be are used in the informal written English and spoken English. The example from the lyrics is as seen below:
When I'm gone, you're alone You stickin' them chickens ‘til I get home When I'm home, you're wit' me Kissin' on my ass, tryna be wit' me Well it's done, this I know Seen it for myself, I'ma let you know You don't play, games wit' me But before I go, betta leave my dough …( Stickin’ Chickens –Missy Eliott f/ Aaliyah) The contractions of be forms are not only for the verbs that follow pronouns but also for the verbs that follow wh- questions such as what, who, how 30
and where and also that, there, here. It can be seen from the table 1.b. and table
1.c.
Songs titles and singers Who’s What’s Where’s 1 Em Calls Paul- Eminem 1 2 Hit‘EmWitDaHee-MissyEliott 1 DaGameGotSwitched- 3 Ludacris 3 4 Good Ol’ Ghetto-Usher 1 Gettin’ Jiggy Wit It-Will 5 Smith 1 6 Gangsta Shit – Puff Daddy 2 7 All N My Grill- Missy Eliott 1 6 That’sWhatI’mLookin’ For – 8 Da Brat 2 9 Get Ur Freak On- Missy Eliott 1 10 U Got It Bad- Usher 1 11 Work It Out- Usher 1 12 1st and 10 - Ludacris 1 13 Joy – Missy Eliott 1 14 Hot Boys- Missy Eliott 1 TOTAL 5 13 6
Table 1.b. The contraction of be forms with WH words
The example of the lyrics contains the contracted forms of question words with be as seen below:
If you want me, where's my dough? Give me money, buy me clothes No need for talking, have my dough Where's my money? Where's my clothes?...( All N My Grill- Missy Eliott)
31
Song Titles and Singers That’s There’s Here’s 1 For My People-Missy Eliott 1 2 Ladies Night –Lil’ Kim f/ Eliott 1 3 Can’t Let U Go- Usher 1 How We Do It Over Here- Busta 4 Rhymes 7 5 That’s Crazy- Puff Daddy 9 6 Is That Yo’ Bitch- Jay Z 8 1 7 Catch Up- Ludacris 1 8 Da Game Got Switched- Ludacris 1 9 Good Ol’ Ghetto- Usher 1 10 Gettin’ Jiggy Wit It- Will smith 2 11 Gangsta Shit- Puff Daddy 4 12 I Love U Baby-Puff Daddy 1 13 Real Niggas-Puff Daddy 1 Slap!Slap!Slap!-Missy Eliott f/ Da 14 Brat 1 15 That’sI’mLookin’ For- Da Brat 11 16 Whatcha Gon’ Do-Missy Eliott 3 17 Stickin’Chickens- Aaliyah f/ Eliott 1 1 Checkin’ For You- Lil Kim f/ Missy 18 Eliott 3 19 Can’t Leave Em-Ciara f/ 50 Cent 1 20 Work It Out- Usher 1 21 Act A Fool- Ludacris 2 22 Cry Babies - Ludacris 1 Dat’s What I’m Talkin’ Bout- Missy 23 Eliott 1 24 Joy- Missy Eliott 1 25 For My Man- Missy Eliott 2 26 Funky Fresh Dressed- Missy Eliott 2 TOTAL 61 7 2
Table 1.c. The contraction of be forms with there, that, and here.
The example of the lyrics using the contraction of be forms with that, there and here is as follows:
Down to do it all night See that there, is the type of bitch I like [ALL: That's what I'm lookin for]….( That’s What I’m Lookin’ For- DaBrat f/ Missy Eliott, Jermaine Dupri)
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b. The Modals and Have
The modals consists of will, would, shall, should, and have includes the verbs such as have, has and had.
Song titles and Singers I’ve I’ll I’d You’ll He’ll He’d We've They’ll It’ll 1 EmCallsPaul-Eminem 1 1 2 Hit Em Wit Da Hee- Eliott 1 3 CanUHelpMe -Usher 3 4 HelpMe - Usher 1 5 CatchUp-Ludacris 1 6 Is That Yo’Bitch-Jay Z 1 DaGameGotSwitched- 7 Ludacris 1 8 Uand Dat- E-40 2 1 9 Good Ol’Ghetto-Usher 1 10 I Love U Baby-Puff Daddy 4 1 Pump It Up- Nelly f/ Missy 11 Eliott 1 That’sWhatI’mLookin’ For- 12 Da Brat 2 Stickin’Chickens-Aaliyah f/ 13 Eliott 2 Checkin’ForYou- Lil’Kim f/ 14 Eliott 3 15 U Got It Bad – Usher 2 16 GetMeBodied-Beyonce 1 17 Work It Out-Usher 1 4 18 1st and 10-Ludacris 1 1 19 ActAFool-Ludacris 1 1 20 Cry Babies- Ludacris 3 1 1 On and On- Pharrel f Missy 21 Eliott 2 DatsWhatI’mTalkin’ Bout- 22 Eliott 1 23 HotBoys-Missy Eliott 1 24 Ain’tThat Funny-Missy Eliott 1 25 For My Man-Eliott 2 1 1 FunkyFreshDressed-Missy 26 Eliott 1 TOTAL 5 28 4 4 3 1 1 1 7
Table 1.d. The contracted forms of have and modals.
The data show the use of the contracted form of modals and have such as
have, has, will, would, had, shall and should. The contracted forms of modals and
have have the phonological process of deletion. It only happens when they
contract with pronouns such as I, you, we, they, he, and the like. 33
For example : I [ai] + have [ hæv] = I’ve [aiv]
They [ ð ei] + will [ wil] = they’ll [ ð eil]
From the example, it can be seen that the operators have when contracts with the pronoun I has the phonological process of deletion in the operator have by deleting the vowel sound and the consonant sound before the vowel sound and also with the operator will which has the phonological process of deletion in the vowel sound and the consonant sound before the vowel sound. The aposthrope (’) is added in the elided sounds in both.
It can be seen also in the lyrics as follows:
My black ass is so hungry I'll take a bite out of crime And it'll hurt if I swallow, but even more if I choke Neighbors called the fire station off the blunt that I smoke You see I crush cowards, funerals I'll send flowers And I'm on the overpass flick pennies at rush hour…(Cry Babies by Ludacris)
2. Negations
The negations involve some primary verbs and modals in its contraction process. The primary verbs include be, have, and do and the modals (can, could, may, might, shall, should, will, would and must).
a. Verbs of be, have and do.
The verbs consists of be, have, and do such as am, is, are, was, were, have, has, had, do, does and did. Usually the verbs have the contracted negatives 34
but in the hip-hop lyrics, the alternative and nonstandard forms of ain’t is mostly used.
Song titles and singers Didn’t Doesn’t Don’t Hadn’t Haven’t Wasn’t Ain’t 1 Em Calls Paul- Eminem 1 1 2 HitEmWit Da Hee- Eliott 1 1 2 3 For My People- Eliott 2 2 4 So Addictive-Missy Eliott 1 1 5 Izzy Izzy ahh- Eliott 1 6 Ladies Night-Lil’ Kim f/ Eliott 1 6 7 Can’t Let UGo -Usher 5 3 8 Can U HelpMe – Usher 2 9 Help Me-Usher 4 10 How We Do It Over Here- Busta Rhymes 5 6 11 That’s Crazy- Puff Daddy 1 8 1 5 12 Is That Yo’ Bitch- Jay Z 12 1 13 Ultimate Rush- Notorious BIG 1 4 14 Catch Up- Ludacris 5 15 Da Game Got Switched- Ludacris 1 16 U and Dat-E-40 3 2 17 GoodOl’Ghetto- Usher 1 1 8 18 Gettin’ Jiggy Wit It- Will Smith 1 3 19 Gangsta Shit- Puff Daddy 10 1 13 20 I Love U Baby-P. Daddy 1 3 21 Real Niggas- P. Daddy 5 1 22 Slap!Slap!Slap!- Eliott f/ Da Brat 6 2 23 Pump It up- Eliott 2 1 24 All N MyGrill-Missy Eliott 4 3 25 That’s What I’m Lookin’ For- Da Brat 3 1 26 Get Ur Freak On- Eliott 1 1 27 Whatcha Gon’ Do- Eliott 2 28 Stickin’Chickens-Aaliyah f/ Eliott 3 2 29 Checkin’ For You- Lil Kim 7 3 30 Can’t Leave ‘Em Alone-Ciara f/ 50Cent 1 3 31 U Got It Bad-Usher 5 32 Get Me Bodied- Beyonce 3 7 33 Work It Out- Usher 2 2 34 1st and10- Ludacris 3 2 35 Act a Fool- Ludacris 1 36 Bad Boys- Ludacris 1 1 37 Cry Babies- Ludacris 1 38 On and On- Pharrel f/ Eliott 1 1 3 39 Dats What I’m talkin’ Bout- Missy Eliott 3 40 Joy- Missy Eliott 4 41 We Run This- Missy Eliott 13 2 42 Hot Boys- Missy Eliott 2 43 Ain’t That Funny- Eliott 2 2 44 For My Man-Missy Eliott 1 45 Funky Fresh Dressed- Missy Eliott 4 2 TOTAL 5 1 147 1 1 3 92
Table 2.a. The contraction of negations in primary verbs.
35
The table above shows that most of the song lyrics that are analyzed use the contracted negations don’t and ain’t. The contracted forms of negatives in the verbs of be, have and do have the phonological process of deletion.
For example : is [iz] + not [n t] = isn’t [iznt]
Do [du] + not [n t] = don’t [dont]
Have [h v] + not [n t] = haven’t [h vnt]
From the examples above, it can be seen that the contracted forms of negatives for the verbs be, have and do have the phonological process of deletion.
The deletion happens in the negative not by deleting the vowel sound and replace it with the aposthrope (’) such as in the words isn’t, don’t and haven’t.
The example from the lyrics is can be seen below :
Uh, yo don't get mad at me I don't love 'em I fuck 'em I don't chase 'em I duck 'em I replace 'em with another one You had to see she keep calling me BIG And my name is Jay-Z She be all on my dick Gradually I'm taking over your bitch Coming over your shit…(Is That Yo’ Bitch- Jay Z)
The word ain’t [eint] which are commonly used in American English to replace the negation am not, is not, are not, has not, and have not
The example from the lyrics is:
Appreciate my presence, while I shine wit' a barrel I came up wit' cut diamonds, obscure in a rare blue Shorty ain't checkin for you, step to the way I do Super senile, I ain't the one to compare to Now she was sayin.....( How We Do It Over Here- Busta Rhymes)
36
b. Modals The modals consist of can, could, should, will, and would. The data below gives the contracted forms of modals which is mostly used by the song lyrics.
Song Titles and Singers Can’t Couldn’t Shouldn’t Won’t Wouldn’t 1 Em Calls Paul- Eminem 2 1 2 For My People- Missy Eliott 4 3 Ladies Night- Lil’ Kim f/ Missy Eliott 1 4 Can’t U Let Go-Usher 7 1 5 Can U Help Me-Usher 3 1 6 Help Me- Usher 1 7 That’s Crazy- P. Daddy 1 1 1 8 Is That Yo’ Bitch-Jay Z 1 9 U and Dat- E-40 2 1 10 Good Ol’ Ghetto- Usher 1 1 11 Gettin’ Jiggy Wit It- Will Smith 1 12 Gangsta Shit-P. Daddy 1 13 I Love U Baby- P. Daddy 1 14 Slap!Slap!Slap!-Missy Eliott f/ Da Brat 1 15 Pump It Up-Missy Eliott f/ Nelly 1 That’s What I’m Lookin’ For- Da Brat f/ J. 16 Dupri 1 1 17 Get Ur Freak On- Eliott 2 18 Stickin’ Chickens- Aaliyah f/ Missy Eliott 2 2 19 Checkin’ For You- Lil Kim f/ Missy Eliott 1 20 Can’t Leave Em alone- Ciara f/ 50 Cent 11 1 1 1 21 U Got It Bad- Usher 1 22 Get Me Bodied- Beyonce 4 23 Work It Out-Usher 1 24 1st and 10-Ludacris 3 25 Bad Boys- Ludacris 1 26 Cry Babies- Ludacris 1 1 27 Dats What I’m Talkin’ Bout- Missy Eliott 2 1 28 Joy- Missy Eliott 2 29 We Run This- Eliott 2 30 Hot Boys- Missy Eliott 3 31 For My Man- Eliott 3 3 32 Real Niggas- P. Daddy 2 TOTAL 57 5 1 21 4
Table 2.b. The contraction of negations in the modals.
The modals that are mostly found in the contracted forms of negatives are can’t and won’t as seen from the table above. Most of the modals can be squeezed with the negatives not, but in the usage, not all the contracted forms of modals are used both in informal English and in formal English such as mayn’t 37
and shan’t. The contracted forms of the negatives of the modals have the phonological process of deletion.
For example: could [k d]+ not [n t] = couldn’t [k dnt]
Must [m st] + not [n t] = mustn’t [m snt]
From the example above, it shows that in the modals could and must, when they squeeze with the negatives not, the deletion still happens in the negatives not by deleting the vowel sound and replace it with the aposthrope (’).
Exception happens in modals will and can which have some changes when contracted with the negatives not [n t]. The contracted forms of negatives of modals will and can have phonological process of deletion and the changes in some sounds.
For example : will [wil] + not [n t] = won’t [wə nt]
Can [k n] + not [n t] = can’t [kа:nt]
The lyric that uses the contracted forms of modals is:
You should really take a look at the 'man in the mirror' And tell him to 'beat it' because I 'won't stop till I get enough' Do you 'remember the time' we were watching the 'Billy Jean' video? …(Em Calls Paul- Eminem)
When my gunshot peel, that’s a one shot kill I’m so far ahead y’all can’t touch my land spread Cause most of y’all is misled and underfed…(Gangsta Shit-Puff Daddy)
3. Wanna Contraction
38
Wanna contraction is the contracted forms that mostly found in verbs which are followed by preposition to. The table below shows the use of contracted forms of wanna in the lyrics.
Song Titles and Singers Gotta Wanna Gonna 1 Em Calls Paul- Eminem 1 2 Hit Em Wit Da Hee- Eliott 2 3 For My People- Missy Eliott 3 4 So Addictive- Missy Eliott 1 5 Izzy Izzy Ahh- Missy Eliott 1 6 Ladies Night- Lil Kim f/ Missy Eliott 1 1 1 7 Can’t Let U Go- Usher 2 10 2 8 Can U Help Me-Usher 1 9 Help Me- Usher 1 4 How We Do It Over Here- Busta 10 Rhymes 2 11 Is That Yo’ Bitch- Jay Z 1 1 12 Ultimate Rush- Notorious BIG 5 13 Da Game Got Switched - Ludacris 1 14 U and Dat- E-40 1 1 15 Good Ol’ Ghetto- Usher 1 16 Gettin’ Jiggy wit It- Will Smith 2 1 17 Gangsta Shit- P. Daddy 2 1 18 I Love U Baby- P. Daddy 1 1 19 Real Niggas- P. Daddy 3 20 Slap!Slap!Slap!-Da Brat 1 4 21 Pump It Up- Missy Eliott 1 2 22 All N My Grill- Missy Eliott 4 That’s What I’m Lookin’ For- Da 23 Brat 2 4 1 24 Get Ur Freak On- Missy Eliott 1 25 Whatcha Gon’ Do- Eliott 1 9 26 Stickin’ Chickens- Aaliyah f/ Eliott 2 27 Checkin’ For You- Lil’ Kim f/ Eliott 3 4 Can’t Leave Em Alone- Ciara f/ 50 28 Cent 2 29 U Got It Bad- Usher 4 1 30 Get Me Bodied- Beyonce 4 16 31 Work It Out- Usher 1 1 2 32 1st and 10- Ludacris 1 33 Act A Fool- Ludacris 3 16 34 On and On- Pharrel f/ Missy Eliott 2 Dats What I’m Talkin’ Bout- Missy 35 Eliott 3 1 36 We Run This- Missy Eliott 3 37 Ain’t That Funny- Missy Eliott 1 1 38 For My Man- Missy Eliott 2 TOTAL 31 87 40
Table 3. Wanna contraction. 39
From the data above, it can be seen that most of the song lyrics are used the wanna contraction such as wanna, gotta and gonna. The contracted forms of wanna contraction have the phonological process of assimilation.
For example: Got [g t] + to [tu:] = gotta [g tə ]
From the example, it can be seen that when the verb got contracts with the infinitival marker to, the change happens in the last vowel which is changed from the vowel sound [u:] to [ə]. In some cases such as in the word gonna and wanna, the phonological process that happens not only the change in the last vowel but also in the verbs themselves which have the deletion of consonant sound t for want and for the verb, going, the deletion of the sounds after the consonant sound g and replace it with the vowel sound [ ].
For example:want [w nt] + to [tu:]] = wanna [w nə]
Going [gə i ]+ to[ tu:] =gonna[g nə]
The example from the lyrics below will make the explanation clearer:
You just came home from doing a bid Tell me what you gonna do? Act a fool Somebody broke in and cleaned out your crib Boy whatcha gonna do? Act a fool Just bought a new pair and they scuffed your shoes Tell me what you gonna do? Act a fool Now them cops tryna throw you in them county blues Boy whatcha gonna do? Act a fool….( Act A Fool - Ludacris)
It can be found also that there is a contracted form of to be especially am with the preposition to. Usually rather than saying I am to, the rapper prefers to use the contracted form I’mma. The deletion of the pronunciation of I [ai] becomes the criteria for the contracted forms of I am to. 40
For example: I [ai] + am [aem] + to [tu] = I’mma / I’ma [æmə ]
In the lyrics, it can be seen from the example below:
I'mma get my niggaz niggaz go and get ya hoes flows to come so natural I'mma take a stroll role this high droll I'mma take my ass to Pazzaz and Essoh slow oh down diggy diggy doh…( Izzy Izzy Ahh by Missy Eliott )
4. Gemination
The forms of this contraction can be found much in the hip hop lyrics. The table below shows the list of the words which have the gemination.
Songs titles and Singers Gimme Lemme 1 Get ur freak on – Missy Eliott 42 2 Slap! Slap!Slap!- Missy Eliott f/ Da Brat 1 3 Ladies Night – Lil’Kimf/ Missy Eliott 1 4 Da Game Got Switched – Ludacris 11 5 That’s What I’m Lookin’ For – Da Brat 4 6 Act A Fool- Ludacris 2 7 We Run This – Missy Eliott 1 8 Hot Boys- Missy Eliott 1 9 Ain’tThat Funny- Missy Eliott 2 Total 11 9 Table 4. The gemination.
From the table above, it can be seen that the gemination such as gimmie and lemme can be found much in hip-hop lyrics. The contracted forms of gemination have the phonological process of assimilation.
For example : Give me [giv mi] = Gimmie [ gimi ]
Let me [let mi ] = Lemme [l mi]
The examples above shows that the phonological process of assimilation happens in the words give me and let me by deleting the last consonant sound of 41
the verbs, give and let, and the consonant sound of the word me will be contiguous identical in consonant with the next sound to replace the lost sound.
The example from the song is
Headbanger.. hit me, hit me, hit me, hit me Yeah.. gimme some new shit Yeah.. gimme some new shit Yeah.. gimme some new shit Yeah.. gimme some new shit…(Get ur Freak On- Missy Eliott)
5. Aphesis
Wolfram and Johnson (1982: 97 ), explain about aphesis which is the loss of an unstressed initial vowel or syllable and usually it is used in informal speech styles and also in African American Vernacular English or Black English.
The aphesis can be seen clear in the data below.
42
Song Titles and Singers ‘cause ‘em ‘round ‘till ‘fore ‘head ‘bout ‘stead ‘pose 1 Hit Em Wit Da Hee- Eliott 19 2 For My People-Eliott 1 1 1 3 So addictive-Eliott 1 4 Ladies Night- Lil Kim 2 2 1 1 5 Can’t Let U Go- Usher 1 6 Can U Help Me-Usher 3 7 Help Me-Usher 2 How We Do It Over Here- Busta 8 Rhymes 1 4 9 That’s Crazy-P. Daddy 4 5 10 Is That Yo’ Bitch -Jay Z 8 8 11 Ultimate Rush- Notorious BIG 1 4 1 12 Catch Up -Ludacris 1 13 Da Game Got Switched-Ludacris 1 14 U and Dat-E-40 2 15 Good Ol’ Ghetto-Usher 8 3 16 Gettin’ Jiggy Wit It-Will Smith 1 6 17 Gangsta Shit- P.Daddy 2 3 18 I Love U Baby- P. Daddy 1 19 Real Niggas- P. Daddy 2 1 20 Slap!Slap! Slap!- Da Brat 1 4 1 21 Pump It Up- Eliott 1 22 All N My Grill- Eliott 2 That’s What I’m Lookin’ For- Da 23 Brat 5 1 2 1 24 Whatcha Gon’ Do-Eliott 2 25 Stickin’ Chickens-Aaliyah 3 1 26 Checkin’ For You-Eliott 3 27 Can’t Leave Em Alone- Ciara 3 8 1 28 U Got It Bad- Usher 1 1 3 29 Get Me Bodied- Beyonce 2 2 30 Work It Out- Usher 1 1 31 1st and 10-Ludacris 1 32 Act a Fool-Ludacris 4 1 33 Bad Boys-Ludacris 1 1 34 Cry Babies-Ludacris 2 5 35 On and On- Pharrel 2 2 36 Dat’s What I’m Talkin’ Bout-Eliott 5 2 2 20 37 Joy- Eliott 2 12 1 1 38 We Run This- Eliott 1 1 1 39 Hot Boys- Eliott 5 1 40 Ain’t That Funny- Eliott 1 41 For My Man- Eliott 3 3 2 1 42 Funky Fresh Dressed-Eliott 5 1 2 TOTAL 85 91 10 9 3 5 34 1 5
Table 5. The aphesis.
The data above show that mostly the hip-hop lyrics use the contracted forms of aphesis ‘cause or ‘cuz and ‘em. The contracted forms of aphesis have the phonological process of deletion.
For examples : Because [bi’k :z] = ‘ cause or ‘ coz or ‘ cuz [k :z] 43
Around [ə‘rа nd] = ‘round [ra nd]
About [ə‘ba t] = ‘ bout [ba t]
Those examples show that the contracted forms of the aphesis have the phonological process of deletion by deleting the unstressed initial vowel or syllable. In the word because, the consonant sound [b] and the vowel sound [ e] are unstressed, so both are deleted and the aposthrope (’) is added to replace the elided sounds. In the words around and about, the initial vowel in both of them are unstressed, so those vowel sounds are deleted and add the aposthrope (’) to substitute the lost sounds.
The example of the contracted forms of aphesis is:
You make the freak come up out me Dats what I'm talkin' bout Go 'head like it's my birthday Dat-dats what I'm talking bout You make me say oooaa! 'til I can't speak Dats what I'm talkin' bout Baby dat-dats what I'm talking bout Dat-dats what I'm talkin' bout…(Dats What I’m Talkin’ Bout- Missy Eliott)
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6. R and L
The consonant sounds that have the contracted forms when they follow
vowel sounds are r and l. The data below shows some words that have the contracted forms of r and l.
Song Titles and Singers Fo’ Mo’ Yo’ Do’ Coup’ Ladies Night- Lil Kim f/ Missy 1 Eliott 1 How We Do It Over Here- Busta 2 Rhymes 1 3 Is That Yo’ Bitch-Jay Z 13 4 Ultimate Rush- Notorious BIG 2 2 5 Da Game Got Switched-Ludacris 6 6 U and Dat- E-40 1 7 Good Ol’ Ghetto- Usher 1 1 8 Pump It Up- Nelly f/ Missy Eliott 1 1 9 All N My Grill- Eliott 1 Stickin’ Chickens- Aaliyah f/ 10 Missy Eliott 1 11 Get Me Bodied- Beyonce 1 12 Bad Boys- Ludacris 1 Dat’s What I’m Talkin’ Bout – 13 Missy Eliott 1 14 Joy- Missy Eliott 1 1 15 We Run This- Missy Eliott 2 1 16 Hot Boys- Missy Eliott 2 17 Ain’t That Funny- Missy Eliott 3 2 That’s What I’m Lookin’ For- Da 18 Brat 1 19 Get Ur Freak On- Missy Eliott 2 TOTAL 5 7 35 2 1
Table 6. The contracted forms of [r] and [l ].
From the data above, the contracted forms of r and l that mostly used in
the hip- hop lyrics is yo’. The contracted forms of the consonant sounds r and l have the phonological process of deletion.
The examples are: For [f : ( r )] = fo’ [f :]
More [m : ( r)] = mo’ [m :] 45
Door [d : ( r )] = do’ [d :]
Couple [k pl] = coup’ [k p]
From the examples above, it can be seen that the contracted forms of the consonant sounds r and l have the phonological process of deletion. The consonant sound of r is lost when it precedes with vowel sounds such as in the word for, more and door which are preceded by vowel sound [ ]. For the word couple, the consonant sound l is lost when it is followed the consonant sound p.
The hip-hop lyrics also use the contracted forms of r and l as follows:
I'll be the one you runnin to when yo’ pockets is low And you outta cash flow And the chicks don't want you no mo'….(Ain’t That Funny – Missy Eliott)
They recognized pimpin when I stepped in the do' Higher than a satellite, full of that 'dro Holla at a player when you're ready to go… ( U and Dat - E-40)
You know, Down South chicks got big asses and we a little heavy sometime, but when you're from the South, we don't call that "fat". We call that "big-boned". Fo' sho ( Pump It Up- Missy Eliott f/ Nelly)
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7. Let’s, Y’all and C’mon
The words that are usually used by the rappers in their hip-hop lyrics
which is mostly found in hip hop are the words let’s, y’all and c’mon. The
following data shows the use of the contracted forms of let’s, y’all and c’mon.
Song Titles and Singers Let’s Y’all C’mon 1 Hit Em Wit Da Hee- Missy Eliott 4 1 8 2 For My People- Missy Eliott 1 3 So Addictive- Missy Eliott 2 2 4 Izzy Izzy Ahh- Missy Eliott 2 5 Ladies Night- Lil Kim 3 6 That’s Crazy- P. Daddy 1 1 7 Ultimate Rush- Notorious BIG 1 8 Da Game Got Switched- Ludacris 4 9 Good Ol’ Ghetto- Usher 1 10 Gettin’ Jiggy Wit It- Will Smith 2 1 11 Gangsta Shit- P. Daddy 6 1 12 I Love U Baby-P. Daddy 5 13 Real Niggas- P. Daddy 7 14 Slap!Slap! Slap!- Da Brat 1 2 15 Pump It Up- Nelly f/ Missy Eliott 1 5 16 That’s What I’m Lookin’ For-Da Brat 4 17 Get Ur Freak On- Missy Eliott 5 18 Checkin’ For You- Missy Eliott 4 19 U Got It Bad- Usher 1 20 Get Me Bodied- Beyonce 1 2 21 Work It Out- Usher 9 22 1st and 10- Ludacris 1 23 Act A Fool- Ludacris 1 1 24 Bad Boys- Ludacris 1 1 25 Cry Babies - Ludacris 1 26 On and On- Pharrel f/ Missy Eliott 3 27 Joy- Missy Eliott 6 28 We Run This- Missy Eliott 5 29 Hot Boys- Missy Eliott 4 30 For My Man- Missy Eliott 1 31 Funky Fresh Dressed- Missy Eliott 5 10 TOTAL 21 83 24
Table 7. The contracted forms y'all, c'mon, and let's.
From the data above, it can be seen that the contracted forms of y’all is mostly used in the hip-hop lyrics. The three forms of the contracted forms above are those which are mostly used in the hip-hop lyrics and usually are used in the 47
informal English. The explanation about those contracted forms will be started first with the contracted form of let’s. According to Swan (1995 : 316), the contracted form of let’s is usually used to point to the word let us. The contracted form of the word let’s has the phonological process of deletion.
For example : Let [let] + us [ s] = Let’s [lets]
The example above shows that the phonological process of deletion happens to the word let’s by deleting the vowel sound of the word us and then replace it with aposthrope (’).
The example from the lyric is
Tworkin' it out Laying in the cut Kissing rubbing and making sweet love Damn the club tonight Let’s twork it out It'll be just me on u from 11 to 6 in the morning I know u like it when i do u like that Let's twork it out…( Work It Out- Usher)
The contracted forms of y’all and c’mon have the phonological process of deletion, too. Usually both contracted forms happen in the informal English and spoken English.
For Example: you [ju:] + all [ l] = y’ all [j l]
From the example above, it can be seen that the phonological process of deletion happens in the word you that is lost its vowel sound and still the aposthrope (’) substitutes the lost sound.
The example from the lyrics is:
48
Y’all ain’t good in bed like me And y’all don’t give head like me Plus your crew don’t break bread like me Think about it, this a one shot deal Y’all got one shot still When my gunshot peel, that’s a one shot kill I’m so far ahead y’all can’t touch my land spread Cause most of y’all is misled and underfed Hey, what can I say, I’m a little vain Now all aboard if you ridin’ my train….(Gangsta Shit – Puff Daddy)
The process of contracted forms of c’ mon is almost the same as the contracted forms of y’all, the word come [k m] has its vowel to be deleted and the aposthrope (’) is added to mark the missing vowel.
For example : come [k m] + on [ n] = c’mon [km n]
The example from the lyric is:
This is for my people, my party people This is for my people, my motherfucking people C'mon, c'mon, get down, get, get on down C'mon, c'mon, get down, get, get on down This is for my people, my party people C'mon, c'mon, get down, get on down C'mon, c'mon, get down, get, get on down…( For My People- Missy Eliott)
As a conclusion, most of the hip-hop lyrics use the contracted forms which show that those are made to be spoken and more informal rather than the other kind of music. The contracted forms that are used in the hip-hop lyrics are the operators, the negations, the wanna contraction, gemination, aphesis, r and l, and also let’s, y’all and c’mon. By using the contracted forms, it makes the songs more attractive to see and to hear.
49
B. The Influences of the Fans toward the Use of Contracted Forms
The contracted forms that are found in the hip-hop lyrics are related to the people who love the hip-hop music. In the research, the researcher finds that many factors influence the use of the contracted forms especially in the hip-hop lyrics. It is mentioned above that hip-hop music is a way to reduce the gang violence and as a media for the people to channel their anger and to express themselves. Some influences of the fans are:
1. Fans’ Social Class
The fans social class also takes part in the use of the nonstandard form of
English such as the contracted forms. Wardhaugh in the book entitled An
Introduction to Sociolinguistics explains also about the use of the in’ forms rather than -ing forms among the working class speakers as follows:
For example, middle middle-class speakers always avoid in’ more in casual style. Upper working class speakers appear to show a very –ing styles. Lower-working class speakers make no real distinction between the two speaking styles and use in’ pronunciations almost exclusively in both. (1986: 165)
The social class also affects the use of the language whether using standard or nonstandard form. One of the reasons why there are differences between upper and lower working class is that lower working class is uneducated.
Most of the fans of hip-hop music come from the lower class because most of the lyrics are made in non-standard language and use too much slang language. It makes the hip-hop sounded uneducated and just for the lower class people. It can be seen from the lyrics below: 50
Aight, uh Why you all in my grill? I'm thinkin' it's time to chill Yeah, but you on a drill, though I couldn't even step out the baby blue Bonneville Cuz you be tryin' to kill my hoe, my girlfriend And people around me is tellin' me that you's a stalker Like Darth Vader takes a Skywalker I told you I was the street talker It ain't my fault you dirty your Victoria's Secret's And your Frederick's You wanted the Waldorf Astoria But instead I took you to Cedrick's, to entertain you To give you to the "G", and never claim you Me and Missy, we get it straight pissin' Oh yeah, we puffin' on one of them thangs too You blamin' who? You namin' who? I know you ain't bringin' that lame crew Big Boi, they the phat sacks She pretty D, all they same, boo But I'm backed by the Dungeon Family So you can go 'head wit' all that stabbin' me Cuz I will jab thee, and slam thee And Bobby Boochet yo' ass, G Yeah, yeah…( All N My Grill- Missy Eliott)
From the example above, it can be seen the choice of words are fitted with the words that are usually used by the lower class people. Most of the fans of the hip-hop comes from the lower class and maybe the songs are made for the lower class people so the choice of words are based on the words that are used by lower class people. The example of the choice of words is the use of the contracted forms such as I’m, it’s, ain’t, couldn’t, cuz, you’s, ‘head, wit’, and yo’.
Those words are only found in the informal English and non-standard English.
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2. Fans’ Personality
One’s personality affects the use of the language especially the choices of words and form of the language. Fischer as stated in An Introduction to
Sociolinguistics (Wardaugh, 1986: 156), mentions that the ‘model’ boy who is described as being popular, thoughtful, and considerate in school is one who uses
-ing form mostly rather than in’ form as the latter is used by the ‘typical’ boy who is described as being strong, mischievous, and apparently unafraid of being caught doing something he should not be doing. It shows that personality also takes part in human mind in choosing their language. Some of the hip-hop lyrics have harsh words in the lyrics and much of the themes of the songs are about crime, sex, rape and etc. It really influences the kind of fans of the hip-hop music which are rude, full of anger, love sex much, full of crime, and etc. The example of the hip-hop lyrics is:
I got a whip like miricle Ludacris lyrical Boom We dirty south Shut yo mouth We rock jewels No holds barred but obey da block rules C*ck tools Put clorine in recker pools Is there any one like ya H*ll naw I treat humans like students fail y'all So turns ya books ta page 69 and start suckin Orginize drop da track and start duckin When Ludacris get in da bed start f*ckin You wanna be startin somthin Get out da booth And let me tell y'all da truth 52
We kicks down doors Save all da H2O For front row Live in da bank and watch for stank hoes Stay chromed out and dat's out da off road If you know what I mean Proceed to state clean Light skinded n*gga turn red but get green Inhale some o dat drol and blow steam Love tha combination big *ss in tight jeans!...( Da Game Got Switched- Ludacris)
The choice of words of the songs above shows that personality also influences what kind of fans that loves the music too. From the lyrics, it can be seen that the theme of the songs is about the sex lesson in the rude words and that kind of songs are really loved by sexaholic, rude people, and the like. The contracted forms that are used most to show how bad that songs are yo’, ya’, y’all, wanna, and dat’s.
3. Fans’ Cultural Background
According to Wolfram and Christian (1989), Black English is made not only for the Blacks but also for the whites. It can be seen from their statement that:
“…The ethnic designation should never be misinterpreted for racial one, however: not all Blacks use this dialect, and whites who learn their language in the context of a black-working class community may use it….”.( Ibid, 1989: 42)
The hip-hop lyrics use Black English as their choice of language and slang words as their choice of words. The cultural here means of or involving culture. Hip-hop which has its origin in West African and African American wants to show to the 53
world about its existence by involving their cultures in the shape of the music itself and from their style of language. Boyd (1997) states that:
“…Rap is obviously an extension of the Black oral tradition and the legacy of Black music and its relationship to the cultural landscape of America…”(Ibid, 1997:34)
“…Rap music is the most visible form of African American cultural expression in contemporary society. With its emergence we have also seen a change in African American popular culture specific to the late 1980s and early 1990s..”(Ibid, 1997: 38)
From those statements, it can be seen that rap or hip-hop music has become the popular culture amongst the African American and for people who loves the hip-hop songs. The fans of the hip-hop music come from many different cultural background but they really loves the culture of the Black people that can be seen from the choice of words that really reflect the Black culture. The rappers wants to show to the world the culture of Black people and to attract their generation to join with them in developing the hip-hop music. It can be seen from this song:
Minks draggin on the floor – bangin on your whore Suckin the croissant just examine it for flaws Pour the Cristal on the way to trial, RICO law got a nigga head hurtin squirtin til they pull the curtain Let the money drip dry, hundred dollar bills wipe the tears from my eyes, no love Fuck y'all niggaz, hope you die a slow death as I coke-test and see the lawyers talk of protest Can't fuck with you weak rap niggaz, witcha gay raps Runnin 'round talkin this and talkin that See me in the streets, tried to give me dap Andrew Cunanan ass niggaz My two cannons blast niggaz, ass niggaz Got me fucked up in the game, get your shirt stained Keep your five mics nigga, give me the 'caine 54
Do the shit to clean my money dummies, gleamed the wrist out Cop the pist-al, nigga, talk shit now, uh …( Bad Boyz – Ludacris)
From that song lyric, the rappers use so many words which show their existence and their power as the songwriter of the songs by using the word nigga or niggaz. It shows that they really wants to gain the attention of the Young Black generation to love hip-hop much and try to join with them to keep the existence of the Black toward the hip-hop music. The use of the contracted forms such as
‘round, y’all, ‘caine, and can’t are very important to support the impression of the
Black English in the hip-hop songs.
4. Fans’ sex
Wardaugh in his book entitled An Introduction to Sociolinguistics explains
commonly about the differences between men and women in using the
language. He states:
Men have more power and maybe more assertive; women tend to be kept ‘in their place’ but aspire quite often to a different and ‘better’ place….On the other hand, men have power, even lower- class men. They are less influenced linguistically by others and, in the case of the lower working class, may seek solidarity through the ‘toughness’ that nonstandard varieties of the language seem to indicate….women may not find appropriate the kinds of solidarity that men seek through the use of a particular language or certain kinds of language. (1986:312)
Fischer (1958) in Wardaugh’s book (1986: 155) An Introduction to
Sociolinguistics finds boys used more in’ forms than girls in the most formal situation in the words huntin’, shootin’, and fishin’. From these examples, it can be concluded that boys prefer to use nonstandard forms of English rather than 55
girls. In the hip-hop music, although the singer is a woman, the lyrics of the songs are very rude, nasty, and etc, so it is not a surprised anymore when most of the hip-hop fans are men. The example is taken from Missy Eliott’s song lyrics as follows:
[Verse 1 - Missy Elliott] Down South girls got them real BIG BUTTS Real big butts make ya man wanna look (OH!) Back it up, flip it up, skinny girls - eugh! Love my guts, so fuck a tummy tuck (Oh yeaaah?) Yeah! I shakes my butt I shakes my gut like "yeah, bitch what?" Yeah I likes it rough, tough Ask your man how I'm good in handcuffs Me and Nelly came to rock the club Pack the place, don't push or shove Out of the club, straight to the crib I'll let you know if the sex was good…(Pump It Up- Missy Eliott)
The sex of the fans also affects the people to choose the hip-hop music as their favorites. The example of lyrics above is taken from the hip-hop lyrics which is made by a woman, Missy Eliott who has a man’s perspectives in making the lyrics. The contracted forms are still the best choices to show how informal the words, the words are ya’, wanna, I’m, don’t and I’ll.
It can be concluded that the choice of words and the themes of the hip-hop lyrics are really influenced by the kind of fans that love the songs. For the hip-hop music, the factors that influenced the use of the contracted forms is related to the kinds of fans that the song is for. The Influence of the fans toward the use of the contracted forms are the fans’ personality, the fans’ social class, the fans’ cultural background and the fans’ sex. 56
CHAPTER V
CONCLUSION
In this chapter, the writer will conclude everything that has been discussed in the previous chapters. The sources of this analysis are taken from the internet research and most of theories are taken from the library research. The sources of the analysis are 45 hip-hop song lyrics. The hip-hop song lyrics are used because this kind of songs is originated from the Black People or African American people. The problems that are used in this analysis are about the kinds of contracted forms that are found in the hip-hop song lyrics and the influences of the fans toward the use of the contracted forms in hip-hop song lyrics.
The first problem is about the kinds of contracted forms in the hip-hop song lyrics. The contracted forms are the contracted forms of the operators, the contracted forms of negations, wanna contraction, the contracted forms of gemination, the contracted forms of aphesis, the contracted forms of the consonant sounds [r] and [l], and the contracted form of let’s, y’all and c’mon. Those kinds of contracted forms are mostly found in the hip-hop song lyrics.
The second problem is about the influence of the fans toward the use of the contracted forms in hip-hop song lyrics. One of the factors that influence the using of the contracted forms in hip-hop lyrics is the fans of the hip-hop itself.
Without fans, the hip-hop music is not as popular as today. The hip-hop music is made to entertain people especially the fans of the hip-hop music. The
56 57
sociological factors that influence the use of the contracted forms are the fans’ social class, the fans’ personality, the fans’ cultural background and the fans’ sex.
As a conclusion, the kinds of the contracted forms make the hip-hop music sounds great and cool and usually the contracted forms that are used in hip-hop music are mostly used in everyday language which is nonstandard and simple.
The factors such as the fans background really influence the hip-hop music both in the music and the lyrics especially in the choice of words.
58
BIBLIOGRAPHY
Bex, Tony and Richard J. Watts. Standard English : The Widening Debate. London: Routledge,1999.
Bough, Albert C. and Thomas Cable. A History of English Language. Fifth edition. Philadelphia: Pearson Education Inc., 2002.
Boyd, Todd. Am I Black Enough For You. Indianapolis: Indiana University Press, 1997.
Fasold, Ralph W. and Jeff Connor- Linton. An Introduction to Language and Linguistics. Cambridge: Cambridge University Press, 2006.
Freeborn, Dennis, Peter French and David Langford. Varieties of English: An Introduction to the Study of English. New York: Palgrave, 1993.
Haegeman, Liliane and Jacqueline Gueron. English Grammar : A Generative Perspective. Malden: Blackwell Publishing, Ltd., 1999.
Machlis, Joseph. The Enjoyment of Music. New York : W.W. Norton & Company Ltd., 1955.
Murcia, Maria C. and Diane L. Freeman. The Grammar Book. Boston: Newbury House Publisher, 1983.
Murphy, Raymond. English Grammar in Use. Cambridge: Cambridge University Press, 1985.
Quirk, Randolph and Sidney Greenbaum. A Students Grammar of the English Language.Philadelphia: Pearson Education Limited, 1990.
Strang, Barbara M. H. A History of English. London: Methuen & Co, Ltd., 1970.
Swan, Michael. Practical English Usage. Oxford : Oxford University Press, 1995.
Verdonk, Peter. Stylistics. Oxford: Oxford University Press, 2002.
Wardaugh, Ronald. An Introduction to Sociolinguistics. Oxford: Basil Blackwell Ltd.,1986.
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Wolfram, Walt and Donna Christian. Dialects and Education: Issues and Answers. Philadelphia: Prentice Hall Regents, 1989.
Wolfram, Walt and Robert Johnson. Phonological Analysis: Focus on American English . Philadelphia: Prentice Hall Regents, 1982.
The lyrics of the hip-hop songs: www.thelyrics.com (June 17, 2006)
The definition of hip-hop: http://en.wikipedia.org/wiki/Hip-Hop (March 22,2007)
The history of hip-hop: http://www.jam2dis.com/j2dhiphopdef.htm (March 22, 2007)
The additional information of hip-hop: http://www.answers.com/topic/hip-hop( March 22, 2007)
The lyrics of hip-hop songs by Missy Eliott: http://www.ohhla.com/YFA_missy.html (July 24, 2006)
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APPENDICES
The list of the songs and the singers are:
Songs titles and Singers 1 Em Calls Paul- Eminem 2 Hit Em Wit Da Hee-MissyEliott 3 For My People-Missy Eliott 4 So Addictive – Missy Eliott 5 Izzy Izzy Ah- Missy Eliott 6 Ladies Night – Lil’Kimf/ Missy Eliott 7 Can’t Let U Go- Usher 8 Can U Help Me- Usher 9 Help Me- Usher How We do It OverHere-Busta 10 Rhymes 11 That’s crazy- P. Daddy 12 Is That Yo’ Bitch?-Jay Z 13 Ultimate Rush- Notorious B.I.G 14 CatchUp-Ludacris 15 Da Game Got Switched – Ludacris 16 U and Dat-E-40 17 GoodOl’ Ghetto -Usher 18 Gettin’JiggyWit It- Will Smith 19 Gangsta Shit- P. Daddy 20 I Love You Baby –P. Daddy 21 Real Niggas – P. Daddy Slap! Slap!Slap!- Missy Eliott f/ Da 22 Brat 23 Pump It Up- Nelly f/ Eliott 24 All N My Grill- Missy Eliott That’s What I’m Lookin’ For – Da 25 Brat 26 Get Ur Freak On- Missy Eliott 27 Whatcha Gon’ Do- Timbaland 28 Stickin’Chickens –Aaliyah f/ Eliott 29 Checkin’For You -Lil’Kim f/ Eliott Can’t Leave ‘Em Alone-Ciara f/ 50 30 cent 31 U Got It Bad- Usher 32 Get Me Bodied- Beyonce 33 Work it Out- Usher
60 61
34 1st and10 -Ludacris 35 Act A Fool- Ludacris 36 Bad Boys- Ludacris 37 Cry Babies- Ludacris 38 On and On- Pharrel f/ Eliott Dats What I’m Talkin’ Bout- Missy 39 Eliott 40 Joy- Missy Eliott 41 We Run This – Missy Eliott 42 Hot Boys- Missy Eliott 43 Ain’tThat Funny- Missy Eliott 44 For MyMan- Missy Eliott 45 FunkyFreshDressed-Missy Eliott
1.The Contracted forms I’m
Songs Numbers I’m 1 1 Excuse me, I'm taking a shit 2 2 You know what I'm sayin', we about to be out like this • Yo I'm on FIRE!!!!! • Boy I wanna kiss you, but I'm just too shy • I'm at the bar now • I'm buying drinks • I'm bout to score • I'm look him right in his face and say dance with me 3 3 • Know I'm tryin to shake my ass all night long • get my clothes taylored like I'm Liz • I'm commin' for your ass in a min,seconds or hours 4 5 • I cruse these beets like I'm drivin' Eddie Bauer • I'm the rookie on this all-star team • Aiyyo Kim, heheh, yaknowhatI'msayin ? 5 6 • Heh I'm out he, ooh • yo I’m sick of this man • and u know what I’m sayin • u know wat I’m sayin I just cant let you go • time and time i say I’m gonna leave • I’m sick of all this shit man • see wat I’m saying • got me thinkin` bout her while I’m watching a flick • got me talkin to myself I’m hating this 6 7 • got me wanting to wild out like I’m jadakiss • I'm confused • And I'm going crazy 7 8 • I'm just left here to die 8 9 • i'm confused • See how I'm drillin 'em baby? • I'm killin 'em crazy • I'm spillin the gravy • I'm lovin ya hairdo • I'm back with the re-up • I love the way she in all over the girls when I'm teaming up 9 10 • I'm bangin in the truck 62
• I'm like, dad, can you get my freak on? • I'm like boy • don't you know I'm addictive? • I need to find out if ya feel what I'm saying • But yet, I'm supposed to be so calm? 10 11 • I'm on the run from the law • Gradually I'm taking over your bitch • In fact I diss her I'm a bolder man • I'm just playing the cards choosenly • Gone while I'm leanin' smoking 11 12 • I'm whip it in the stomach
• Don't you know I'm the ultimate? • People stop when I'm walkin in • I'm twist-in twistin 'em • I'm talkin 'bout like when Mase come back again • I'm mackin yo slackin • I'm mo' better than gold diggers with figures • So I guess you think I'm slippin cause I ain't flippin • Baby, I'm Big Poppa, ain't no need to be trippin • I ain't trippin nor flippin, I'm just liquor sippin 12 13 • Nigga, I don't jump in cars, I'm a super star • Cause I'm that crazy nigga Luda • And I'm steady smoking buddah • Bitch I'm hit • Then I put my middle finger up when I'm ridin' by • But I'm a writer with a twist of Amaretta 13 14 • Fuck po-po's I'm blowin' dro out the Ac Legend
• I'm on da right page but what's my format • Man I'm da gift of change 14 15 • Cause I'm a baller can't nobody hustle harder than me • Whisper in your ear while I'm holdin my dick • I'm tryin to dip later on, me and you momma • Poppin my P's cause I'm laced with game • You know the women love me, I'm the 40-Water! 15 16
• I told my man I'm having a barbecue • Cause I'm thinking 'bout how good you used to feel • Let me tell you what I'm talking about • Cause I'm thinking 'bout how good you used to feel • But I must admit I'm tempted and startin' to not care, cause... 16 17 • But I must admit I'm tempted and startin' to reminisce, cause
17 18 • met Ali he told me I'm the greatest • they say I’m wrong • I’m a hard face to track • I’m so far ahead y’all can’t touch my land spread • Hey, what can I say, I’m a little vain 18 19
• I’m not wit none of that 19 21 • yo fuck that, I’m gon’ check these nigga’s
• Fell the rhythm, I'm bout to kill em • I'm bout to kill em • I'm a prostitute, I gotta a lot of loot • What I'm post to do, starve for you • So what I'm bitchy • I'm the M-S-J-A-D-E 20 22 • Toes and lows , bling like I'm B.G. 63
• Ask your man how I'm good in handcuffs • I'm a thick chick, skinny girls act snooty 21 23 • I get a little freaky when I'm in my yammy
• I'm the best thing in history • I'm thinkin' it's time to chill • But I'm backed by the Dungeon Family • Cuz I know I'm in control 22 24 • See Trix are for kids, and boo I'm too old 25 • Cause I'm that bitch with the six shots • I'm gon' get y'all • That's what I'm lookin' for • I'm lookin' for a bitch that'll switch that thang • That's what I'm lookin' for • I'm talkin' bout a bitch that'll • That's what I'm lookin' for • That's what I'm lookin' for • That's what I'm lookin' for • That's what I'm lookin' for • What I'm lookin' for • I'm like an athletic down to sweat • [ALL: That's what I'm lookin for] • [ALL: That's what I'm lookin' for] • [ALL: That's what I'm lookin' for] 23 • That's what I'm lookin' for
• Missy be puttin it down, I'm the hottest round • Listen to me now, I'm lastin twenty rounds • People here I come, now sweat me when I'm done 24 26 • Cause I'm the best around (YES) with this crazy style
• I'm in the back • I'm over capac'y when it come to makin them beats • when I'm in my ride • It's official I'm a pimp, cause my name glows • I'm back to the Yugos • When I'm in the club, RRR, comin for you • I'm just a smooth motherfucker • When I'm in the club, RRR, and comin for you • I'm just a smooth motherfucker 25 27 • So I beat that ass to the ground like I'm the cops • When I'm gone, you're alone • When I'm home, you're wit' me • Now I'm out the door and you cant claim me no more • How you gonna slumber wit' a bitch I'm supposed to be cool wit' 26 28 • When I'm flyin' out, she flyin' in
• You know what I'm saying 27 29 • I'm the Queen Bee-itch
• I'm focused man • You should know what I'm bout • But I'm tellin’ them baby bye fall back • I cant help it I'm hood • And be happy your my girl cause I'm happy 28 30 • I'm ya man • Said I'm fortunate to have you girl • Tell her I'm your man • I'm gonna tell it to the whole wide world • Ladies say I'm your girl 29 31 • I do it just cause I'm 64
• I'm the one tonight gettin bodied • I’m the only one tonight gettin bodied • I’m the only one tonight gettin bodied • I’m the only one tonight gettin bodied • I’m the only one tonight gettin bodied • I’m the only one tonight gettin bodied • I'm kinda tight • I'm feelin right I'd like to see somebody 30 32 • All I'm with tonight is gettin bodied
• Ooh baby, u sure love to know what i'm sayin' • I'm gonna twork u out 31 33 • Tonight i'm takin' u all the way
• Bitch I'm Ten Times Two On A Scale Of One To Ten • I'm Fixin' To Show You What For • In These Streets I'm A Murderer • I'm Three Times Insane • I'm Packing Two Twenty Twos And Twice The Ammunition • I'm A Two Timer With A Couple Of Twins 32 34 • I'm Numero Uno With One More Before I Go
• I'm super-charged with the hide-away licence plate • They'll only get 1 finger while I'm shifting gears • Let's take it to the street cause I'm ready to cruise • I'm about to take off, F what you heard • See, I'm off that anti-freeze and my car is tipsy • So girls hold ya weaves while I'm weaving through traffic • I'm about to blow this whole shit up to smithereens 33 35 • I’m to fast for y'all
• I'm bout to send two to his dome • I'm doctor love • You see I'm ambidextrous I slap ass with both hands • But I'm at the shooting range just 'cause practice makes perferct • And I'm on the overpass flick pennies at rush hour • Bok bok bok I'm shakin your tale feathers • I'm a sac king like chris webber • You see I'm from a small town called "fresh out a cop's ass" • A drug dealer's dream, so fresh and I'm so clean 34 37 • I'm a grown ass man and you're sweeter than sixteen
• Let me grab the microphone and I'm gone take it away • I'm srtaight off the heater rippin needles off the meter • It's a must cause I'm dangerous • Let me tell you what I'm all about • When I say I'm tight as wife beaters • Lookin like I'm finna cock a nine millimeter • Licking my lips like I'm takin him home • Teasing and teasing I'm fakin the funk 35 38 • Bend over slow then I tell him I'm gone 65
• Dats what I'm talkin' bout • Dat-dats what I'm talking bout • Dats what I'm talkin' bout • Baby dat-dats what I'm talking bout • Dat-dats what I'm talkin' bout • Dats what I'm talkin' bout • When I'm rocking, slow dance with you • Dat-dats what I'm talking bout • Dats what I'm talkin' bout • Baby that-that's what I'm talking bout • Dat-dats what I'm talking bout • Dats what I'm talkin' bout • Dat-dats what I'm talking bout • Dats what I'm talkin' bout • Baby dat-dats what I'm talking bout • Dat-dats what I'm talking bout • When I'm rocking, slow dance with you • Dat-dats what I'm talking bout • Dats what I'm talkin' bout • Baby dat-dats what I'm talking bout 36 39 • Dat-dats what I'm talkin' bout • On how I'm spittin over beats the way I move • My attitude is super cool like I'm subdued • Whoever doubted that I'm 'bout it check the news • I'm slowin, the track down, so you don't miss the shit • See I'm a pimp that's on my grind • I'm "Supa Dupa Fly" like Missy Missy • But now I'm on top • I'm hot I can't stop • I'm trill like U.G.K 37 40 • I'm who, Mike Jones, WHO? Mike Jones • Whattup, I'm to' up, sho' nuff • Aiy boy you know I'm yo' type 38 41 • I'm enough to go around so people don't push • These diamonds I’m needin’ • What’s your name, cause I’m impressed 39 42 • Hot boyz, hot boyz (I'm out)
• I'm never insecure when we not together • I'm from a new era and I bring terror 40 44 • I ride for my nigga and I'm happy with the trigger
• And now I'm lovin' Larry, but Larry go with Terri • In your Kenwoods, I'm bumpin' sumthin' in ya trunk'n • You can say I'm buggin' • That's why y'all be discussin' who I like and who I'm fuckin' • Drink til' I'm nice and uh, uh-uh, on'n 41 45 • I'm bad luck, y'all mad cuz y'all suck
2. Contracted forms of you’re
Song Numbers you're
• See if you're ridin down the street 1 4 • and you're bout to roll that shit up
2 7 but you`re not gonna fight me 66
• 'Cause you're all I got • Now you're not around 3 8 • You're in love for long
• life's a prison when you're in love alone 4 9 • and now you're not around
5 13 • The ultimate rush, you're drugs baby
• Suckers hella jealous cause you're diggin me 6 16 • Holla at a player when you're ready to go
7 19 • You’re all a bunch of fuckin’ assholes
8 23 • you're from the South, we don't call that • Said you act like you're ready • If you're touched by the words in this song • When you're on the phone • You know you got it bad when you're stuck in the house • U got it bad when you're out with someone • Tell her I'm your man, you're my girl • Ladies say I'm your girl, you're my man • When you're on the phone • You know you got it bad when you're stuck in the house • U got it bad when you're out with someone • When you're on the phone • You know you got it bad when you're stuck in the house 9 31 • U got it bad when you're out with someone • And i know you're gonna like it • The way you're making me feel • The way you're tworkin' is oh so sexy • The way you're tworkin' is oh so sexy 10 33
11 37 • I'm a grown ass man and you're sweeter than sixteen
12 38 • Beware, you're now listening to the sounds
• And baby, everyone gonna say you're a pimp 13 39 • And I want to see if you're into it
• It don't matter where you're • from it's where you're at • It don't matter where you're 14 41 • from it's where you're at
3. Contracted forms of He’s
Song Numbers He's
• And I know that he's not 'thrilled' about the video 1 1 • And it doesn't matter if he's 'black or white' 2 16 • Girl he's simpin, simpin
• He’s so good and he knows how to love me • But so hood and he’s so heavy in the streets • He’s my dude and you better get used to things • That he’s gonna hurt me • He's so fly that he knows how to carry me 3 30 • That he’s gonna hurt me 4 43 • he's out lookin cute 67
4. Contracted Forms of She’s
Song Numbers She's
• Now she's asking me to take her 1 17 • But I got a girl now and yo she's right upstairs 2 29 • Say "She's a BITCH!!!!"
5. Contracted Forms of It’s
Song Numbers It's 1 1 • Aye yo Paul, It's Em
2 2 • Uhh, it's the Q to the B to the double E, spittin' lovely 3 3 And I got this feeling, and it's all over me • It's ladies night what, it must be Angie on the mic • So if you say it's on • then it's on • It's the rap Mae West to Q-B • If it's, too hot then get the fuck up out the kitchen 4 6
• it’s me and my girl 5 7 • it’s how i feel when u think everything is real • It's Bus-a-Bus back bitch 6 10 • The way ya clothes skimpy, so it's easy to tear through • Plus it's jumpin off up in the spot (OH THAT'S CRAZY) • it's on • Man it's alright, hold tight • It's crazy • Man it's alright, hold tight • It's crazy • it's on • They even called the office to say it's a bomb (OH THAT'S CRAZY) • From now on, it's no Puff, just Diddy (OH THAT'S CRAZY) • Shit, it's hard to get one red cent (OH THAT'S CRAZY) • Man it's alright, hold tight • It's crazy • it's on • it's on • Man it's alright, hold tight • It's crazy • It's a G from the streets (OH THAT'S CRAZY) • It's a slizzel nizzel fa shizzel (OH THAT'S CRAZY) • Cause it's all in the motherfucking family (OH THAT'S CRAZY) • Man it's alright, hold tight 7 11 • It's crazy
• It's over man • It's over man 8 12 • It's over man
9 13 • It seems like it's a waiste of time 68
• And say hi to plenty liquors and I know it's a sin • Sippin' Courvousier watchin' hoes drop it like it's Hot • Live it up young nigga cause it's gon' catch up • Ey yo it's 2-0 I'm Eastside's King 10 14 • If it's hoes out I show out
11 15 • Even if it's cigars o dat purple colored dank
12 16 • it's the hood in me
• It's that way she used to go 13 17 • It's what I need to do 14 18 it's for the look I don't light it
• It’s like this right here • It’s that, gangsta gangsta, gangsta shit • It’s that, gangsta gangsta, gangsta shit • It’s that, gangsta gangsta, gangsta shit • It’s that, gangsta gangsta, gangsta shit • It’s that, gangsta gangsta, gangsta shit • It’s that, gangsta gangsta, gangsta shit • It’s that, gangsta gangsta, gangsta shit • It’s that, gangsta gangsta, gangsta shit • It’s less than a small few like us • It’s no being better off than us 15 19 • Therefore, it’s all free reign, who’s domain
• It’s all about the benjamins • Funny how it’s a small world, baby girl 16 20 • Just like that she was gone, now it’s over
• It's like freakin wit your lova tryin bust his rubba 17 22 • Oh Shit, It's gettin kinda hot in here • Me? I got the gadget stick, it's like "Go, go, gadget dick" 18 23 • It's Nelly, felony, and Missy Misdemeanor 19 24 • I'm thinkin' it's time to chill
• But when she do her thang it's ghetto style • With a thong, it's on when I hit y'all • When it's time to go down, they ain't scared to freak 20 25 • It's a party, move yo body, come on 21 27 • It's official I'm a pimp, cause my name glows
• Well it's done, this I know • You don't need it, beat it, it's mine 22 28 • Heartbreak Hotel no not Faith, Kelly, and Whitney, no it's Brat, Aaliyah and 29 23 • See it's two types of bitches in the world
• It's just that he knows what I want • It's just that he knows what I want • It's another DarkChild classic man 24 30 • It's just that he knows what I want
• It's all you think about 25 31 • It's all you think about
• It's way too real 26 33 • It's way too real 69
• It's Blistering From Cops Tryna Stop These Rocks From Distributing • It's Street Justice Now • It's Six Hole In Your Casket 27 34 • Now It's Dtp For Life For Better Or Worse • It's 911 please call the doctor • It's my car's birthday so we blowin' them candles 28 35 • It's 1 mission, 2 clips and some triple beams
• Bling bling, it's a Bad Boy thing 29 36 • It's a G thang, me and Puff in St. Bart's set it off
30 38 • It's a must cause I'm dangerous • Go 'head like it's my birthday • It's like fresh up out the kitchen 31 39 • Go 'head like it's my birthday
• It don't matter where you're from it's where you're at • It's a fact the freaks love to get slapped 32 41 • It don't matter where you're from it's where you're at
• It's just me and my man 33 44 • I say my man, it's just me and my man
• It's very necessary, on the contray • And Terri is a freak, but it's his baby she will carry • And yes, it's necessary, so hurry, nigga, hurry • It's about get so ugly, and I'ma keep y'all runnin' 34 45 • Watch y'all huskey, it's about that time
6. The Contracted Forms of We’re
Songs Numbers We're
1 8 • Now we're not together
2 9 • and now we're not together
• Cause together, we’re hard to break 3 19 • Together we’re too hard to stop
4 32 • While we're conversating we can skip small talk let's cut right to the chase
5 33 • I know that we're spent but
7. The Contracted Forms of They’re
Song Numbers They're
• I kick niggas in they're ass reboot 'em like laptops 1 37 • And women give me face until they're face turns blue
70
8. The Contracted Forms of You’s
Song Numbers You's
1 20 • You’s about to get, fuck with no jail
2 24 • And people around me is tellin' me that you's a stalker
3 41 • If you’s a pimp lemme see you party hard - HELL YEAH
9. The Contracted Forms of I’mma
Song Numbers I'mma
• I'ma get my niggaz • I'ma take a stroll role this high droll 1 5 • I'ma take my ass to Pazzaz and Essoh
2 10 • over there 'cause over here, see I'ma show ya how we do 11 • I'ma put it where it 'pose to be at • I'ma put it where it 'pose to be at • So I'ma snake his little freak on a date (OH THAT'S CRAZY) • I'ma put it where it 'pose to be at • I'ma put it where it 'pose to be at 3 • I'ma put it where it 'pose to be at • I'mma pimp her, it's over man 4 12 • Cause I'mma hot black, how in the hell can you stop that
• I'mma sit you down 5 14 • So when I get old I'mma rock, roll, shake, and shiver
• I'ma leave you with my number you should holla at me • Girl I'ma call ya, call ya 6 16 • I'ma put my bend in and tell you somethin slick • I'mma bring y'al back to the good ol' good ol days 7 17 • I'mma be right back in it cause yo
• In the worst way, I’ma show em how black play • I’ma rock that ass to sleep before I strike • I’ma sit back and watch this cake finish bakin • Nah kill it, I’ma flip the script on you 8 20 • Same thing you did to me, I’ma do it to you
9 25 • I'ma need to ride find (What I'm lookin' for) • I'ma hustler baby I provide by any means 10 30 • I’ma bring conversations • I’ma put this on 11 32 • When he see me in this dress I'ma get me some
• Girl I'ma wanna go another round, yea • I'ma hit from the back, and the front, then the side, then bounce it up 12 39 • Cause I'ma have ya walking with a limp
• Yo, I’mma dig in yo' pockets 13 42 • I’mma fly girl, and I like those
14 45 • It's about get so ugly, and I'ma keep y'all runnin' 71
10. The Contracted Forms of Who’s
Song Numbers Who's
1 1 • Well I'll show him who's really 'bad'
2 18 • who's the kid in the drop
• Don’t know who’s who like us (who dat? ) 3 19 • Therefore, it’s all free reign, who’s domain
4 26 • WHO'S THAT BIIIIITCH? People you don't know?
11. The Contracted Forms of What’s
Song Numbers What's
1 2 • What's up star? we know who you are
• What's da remedy • Man what'z dat smell proboly yo upper lip 2 15 • I'm on da right page but what's my format
3 17 • Cause I know what's this is leading to 24 4 • I don't know what's wrong with me
• What's up? 5 25 • What's my name (Brat)
6 31 • All my people who know what's going on
7 33 • I bet u know what's comin' next
8 34 • What's Up Now Superstition
9 40 • I speak what's on my mind
10 42 • What’s your name, cause I’m impressed
12. The Contracted Forms of Where’s
Song Numbers Where's • If you want me, where's my dough? • Where's my money? • Where's my clothes? • If you want me, where's my dough? • Where's my money? 1 24 • Where's my clothes?
72
13. The Contracted Forms of That’s
Song Numbers That’s
1 7 • that’s how i felt
• that's how we do it over here • That's if we toss bottles • that's how we do it over here (over here) • that's how we do it over here nigga • that's how we do it over here • that's how we do it over here 2 10 • that's how we do it over here
• And that's non-stop and party-hoppin, it's on • Oh, man ya know that's crazy • And that's non-stop and party-hoppin, it's on • That's how it is when you in the game so long • And that's non-stop and party-hoppin, it's on • Yo, how Dep ain't on, that's crazy • And that's non-stop and party-hoppin, it's on • And that's non-stop and party-hoppin, it's on 3 11 • Catch BR on the cover of Spin (OH THAT'S CRAZY) • Cause that's Jay and them, bitch • Got your home, but that's not your bitch • Cause that's Jay and them bitch • Cause that's Jay and them bitch • Cause that's Jay and them bitch • Cause that's Jay and them bitch • Cause that's Jay and them bitch 4 12 • Cause that's Jay and them bitch
5 17 • Never had somebody that's as bad • ooh that's it 6 18 • would you like to bounce with the brother that's platinum
• And say that’s the bad guy • that’s the question, you feel me? • Thorough niggas that’s hard to top 7 19 • When my gunshot peel, that’s a one shot kill 8 20 • You drive me crazy that’s right 9 22 • That's impossible • That's what I'm lookin' for • That's the type of nigga I like • [All: That's what I'm lookin' for] • That's what I'm lookin' for • That's what I'm lookin' for • That's what I'm lookin' for • [All: That's what I'm lookin' for] • [All: That's what I'm lookin' for] • That's what I'm lookin' for • [All: That's what I'm lookin' for] 10 25 • [All: That's what I'm lookin' for] • That's only cause we drop a bunch of heat • That's whatcha gonna expect, comin from my crew 11 27 • I know that's too much for you to handle dude
12 28 • That's why us bitches gonna stick together
• That's right • What, that's right you see 13 29 • That's right motherfucker what 73
• And yeah, we blow trees and bees, that's fantastic 14 35 • Man, that ain't sticky, that's just sticks and steams
15 37 • You run with niggas that's more chicken then pot pies
16 39 • And that's on the rizzle, ooooo
17 40 • See I'm a pimp that's on my grind
• You gotta let her know that's a no-no, slap her real slow 18 44 • That's my man.. yes it is.. this love..
• that's why you have no money 19 45 • That's why y'all be discussin' who I like and who I'm fuckin'
14. The Contracted Forms of There’s
Song Numbers There's 1 12 • There's no respect at all
2 14 • There's no doubt I love my life
3 15 • I hate it when there's
4 21 • Just remember there’s a gun to your dome
5 28 • You wasted my valuable time there's money to make
6 30 • The more I get the more my ambition tell me there’s more
7 33 • There's nothing that i'd rather do than spend this time with u
15. The Contracted Forms of Here’s
Song Numbers Here's
1 3 • Here's a glass of orange juice, let's go X it out
2 6 • Uhh, here's another one, and another one
16. The Contracted Forms of I’ve
Song Numbers I've
1 2 • Cause I've got my own ride and a trunk full of tunes (tunes) • Girl I've been shakin, stickin and movin 2 16 • Girl I've been shakin and mackin the donkey
• I've been there, done it, fucked around 3 31 • See I've been there, done it, fucked around
74
17. The Contracted Forms of I’ll
Song Numbers I'll
1 1 • Well I'll show him who's really 'bad'
• Girl, I'll put your love • I'll do anything 2 8 • Girl I'll never stop
3 9 • i'll do anything for your love 14 4 • And if ya tell me stop drinking I'll just do it again
5 15 • If you take me for a fool I'll take you for a joke
6 16 • Fuck around with me I'll beat the brakes off that pussy • I’ll always be there for you • I’ll never betray you • I’ll get you back 7 20 • I’ll never betray thee uhh
8 23 • I'll let you know if the sex was good
• I think I'll pass on you (yea) 9 28 • I'll just keep the keys to the 20 inch rim ride with the TVs in it • My black ass is so hungry I'll take a bite out of crime • You see I crush cowards, funerals I'll send flowers • Delete your first steps, but I'll save the last dance 10 37
• I ain't about talkin I'll lay 'em down slow 11 38 • I'll be a hassle on the busta call me angeldust
12 39 • Don't get alarmed cause I'll put ice just to chill the night
13 42 • I cook boy, I’ll give you more
14 43 • I'll be the one you runnin to
• For my man, I'll do whatever 15 44 • For my man, I'll last forever
18. Contracted Forms of I’d
Song Numbers I'd
• I gotta know I'd like to know if I can get me bodied 1 32 • I'm feelin right I'd like to see somebody
2 33 • There's nothing that i'd rather do than spend this time with u
3 34 • I'd Add More But I Had To Subtract One From Five Bars
4 44 • Who would ever think that I'd be givin up the goodies
75
19. Contracted Forms of You’ll
Song Numbers You'll
1 34 • And Add A Foot For Good Measure You'll Be Seven Feet Deep
2 35 • You'll be like Lil' John Q and get a change of heart
3 37 • And you'll be at home picking your bougars and flicking 'em
4 45 • Repeat, you'll lose your teeth and I would hate to call you gummy
20. Contracted Forms of He’ll
Song Numbers He'll
1 1 • Well he'll always be that Michael to me
• He'll stop a nigga from breathin' cause he lives for me 2 25 • And it tastes so good he'll never forget
21. Contracted Forms of He’d
Song Numbers He'd 1 20 • He’d explain how his whole crew was slappin honey
22. Contracted Forms of We’ve
Song Numbers We've
1 44 • Up all night like we've been on that ecstasy (YES!)
23. Contracted Forms of They’ll
Song Numbers They'll
1 35 • They'll only get 1 finger while I'm shifting gears
24. Contracted Forms of It’ll
Song Numbers It'll
1 12 • It'll make 'em sick that his favorite chick 76
• It'll be just me on u from 11 to 6 in the morning • It'll be just me on u from 11 to 6 in the morning • It'll be just me on u from 11 to 6 in the morning 2 33 • It'll be just me on u from 11 to 6 in the morning
3 37 • And it'll hurt if I swallow, but even more if I choke
25. Contracted Forms of Didn’t
Song Numbers Didn't
1 11 • Didn't sit there and call the cops
2 17 • She didn't really give a damn, stop
3 18 • but I didn't
4 30 • So when I had a good guy he didn’t do that much for me
5 38 • I talk shit di, didn't stutter
26. Contracted Forms of Doesn’t
Song Numbers Doesn't
1 1 • And it doesn't matter if he's 'black or white'
27. Contracted Forms of Don’t
Song Numbers Don't 1 1 • No I don't have a new gun [click] (goddamn it) 2 2 • And it don't stop, rocks shine through my tank top
• I don't even know her and she all up in my light 3 3 • I don't give a fuck he aint gon' take away my fun 4 4 • You don't need drugs or weed
5 6 • To the top and it don't stop
• u don’t even understand wat this is doing to me • i don’t want to leave you • i tell myself that i don’t want you no more • i don’t wanna leave ya 6 7 • i don’t play that • I don't want to be alone 7 8 • I don't want to be • i don't wanna be alone • don't wanna be on the outside looking in • please stay don't go 8 9 • i don't want it to be over 77
• See we don't really care about the niggaz who came through • See it don't matter what ya doin over there • See it don't matter what ya doin over there 9 10 • Walk around lookin like our shit don't stink • Don't hold back • I'm like boy, don't you know I'm addictive? • Don't hold back • Don't hold back • Don't hold back • And I don't even know her name, dogg • Don't bring that fool around me no more 10 11 • Don't hold back
• Uh, yo don't get mad at me • I don't love 'em I fuck 'em • I don't chase 'em I duck 'em • don't let 'em hear daddy Earl • Don't you know that man kill? • Don't you know that man kill? • The game don't stop • Don't you know that man kill? • Don't you know that man kill? • Don't you know that man kill? • Don't you know that man kill? 11 12 • Don't you know that man kill?
12 13 • Don't you know I'm the ultimate? • But some niggaz just really don't give a fuck • But some niggaz just relly don't give a fuck • But some bitches just really don't give a fuck • But some bitches just really don't give a fuck 13 14 • The ballin' don't stop
14 15 • See I love ta walk around like my sh*t don't stank
• I don't mean no harm, it's the hood in me • I don't think you know what to dooooo with this pussy 15 16 • But I don't think you can hannnnnndle this pussy 16 17 • And I got a girl now and I don't get down like this, huh
• ah yes yes y'all ya don't stop • don't be silly 17 18 • it's for the look I don't light it • You don’t have the guts to be what you wanna be • They don’t move like us • They don’t have the right to choose like us • They don’t fit the shoe like us • Don’t know who’s who like us (who dat? ) • You don’t wanna double cross us • You don’t wanna floss with us • They don’t hold the four fifth like me • And y’all don’t give head like me 18 19 • Plus your crew don’t break bread like me 19 20 • I love you baby no you don’t • hangin’ with the nigga’s don’t pay the bills • Blew his brains out cause witnesses we don’t need • You too, motherfucker if I don’t see no bricks • See, I flips when I don’t see no chips 20 21 • Yeah, nigga, I know you in pain, I don’t care nigga 78
• Tryin act bigga don't yall get the picture • You don't wanna get smacked right quick • I don't give a fuck • if you don't like this • It don't conser me, when nigga talk shit 21 22 • I don't know nigga help, shit, I write my own • Pack the place, don't push or shove 22 23 • you're from the South, we don't call that 24 • Don't explain, you never change • Tell it to her, don't say it to me • Don't ever come back to me again 23 • I don't know what's wrong with me
• Claim they don't love you • Don't stop, got nothin' but hot releases 24 25 • Claim they don't love you 25 26 • People you don't know?
• You don't wanna end up in the cemeTARRRRY 26 27 • AHH, what they gon' say, AHH, don't wan' play
• You don't play, games wit' me • Stop accusin' me of that dumb shit I don't even participate in 27 28 • You don't need it, beat it, it's mine
• You damn motherfuckin' I don't nigga laying under me • I don't give a fuck • I don't give a • I don't give a • I don't give a fuck • I don't give a 28 29 • I don't give a
• My girlfriends tellin’ me I don't know how to act • And I don't care what you say about me 29 30 • but they don't know me
• But you don't really know • You don't wanna have fun • Everything that used to matter, don't matter no more • You don't wanna have fun 30 31 • You don't wanna have fun • Don't you see my body • Don't you see my body 31 32 • Don’t stop just come closer to me • So why don't we just chill and make a cold cold sexy, u know 32 33 • Morning is coming and i don't want to let u go • So Don't Start The Fucking Game • So Don't Start The Fucking Game 33 34 • So Don't Start The Fucking Game
34 36 • Don't hate me, hate Nicky Barnes for hittin my moms 35 38 • I be the best don't second guess • Don't get alarmed cause I'll put ice just to chill the night • You don't know just what you do, yea 36 39 • You don't know just what you do, yea
• I'm slowin, the track down, so you don't miss the shit • Cause I don't play dat • you know I don't play dat 37 40 • If you wear a size 10, don't cram yo' shit up in a size 6 ladies 79
• You don't want me have to SHOW ya • It don't matter where you're from it's where you're at • Y'ALL DON'T WANT IT, CAUSE MY COAST RUN IT • I don't come to do it, I just wanna be touched • I'm enough to go around so people don't push • Don't push - when I run that tush in the bush • Don't my diamonds look real good • Y'all superstars, y'all don't need no bodyguards - HELL YEAH • Don't, start • You don't want beef • don't take it that far with a superstar • Misdemeanor too much and I don't give a fuck 38 41 • It don't matter where you're from it's where you're at • don’t dis me 39 42 • don’t trick me
• And the chicks don't want you no mo' 40 43 • And the chicks don't want you no mo'
41 44 • Don't say you won't, never say you won't
• The words that I spit don't fit in that category • I don't care • if you don't love me 42 45 • Don't try to come before me
28. Contracted Forms of Hadn’t
Song Numbers Hadn't
1 2 • Shit, no shit I thought you hadn't noticed
29. Contracted Forms of Haven’t
Song Numbers Haven't
1 19 • Haven’t you heard how many guy they lost with us
30. Contracted Forms of Wasn’t
Song Numbers Wasn't • It wasn't your car that had me all in love with you (you) • It wasn't your money that had me all sprung out 1 2
2 11 • Yeah, looked like there wasn't nothin' wrong
80
31. Contracted Forms of Ain’t
Song Numbers Ain't 3 • Can't stand when it ain’t jumpin like I want 1 • I don't give a fuck he ain’t gon' take away my fun 2 4 • Oh nah you ain't smokin that stank shit up in my car 3 5 • none of y'all fools ain't got shit on me
• And toke this, I ain't lye-in • Ain't no stoppin me ladies from club hoppin gets my rock on • Lady pimp ain't havin that shit • If you ain't got the cash to stash, suck my dick hoes • I ain't even gon' leave without sayin sun'un on this track 4 6 • You ain't gonna use me to just be singin hooks • man u ain’t even gotta wait till in the mornin man • u ain’t even gotta like me 5 7 • but it really ain’t • Party over here, ain't shit over there! • Shorty ain't checkin for you, step to the way I do • Super senile, I ain't the one to compare to • The hotel ain’t far, meet me there and if you • You frowning on your girl, like you ain't willing to share boo 6 10 • Party over here, ain't shit over there! • Y'all ain't ready • Now how you ain't gon change the locks? • And ain't a threat in my family, dogg • And they ain't care if my name Sean John? 7 11 • Yo, how Dep ain't on, that's crazy 8 12 • Ain't saving it, unfaithful bitch • So I guess you think I'm slippin cause I ain't flippin • Baby, I'm Big Poppa, ain't no need to be trippin • I ain't trippin nor flippin 9 13 • you ain't got enough dough to pay me • I ain't turnin down nuttin but my collar ya see 10 16 • I ain't tryin to let that pass me tonight • Ain't nothing like some good ol' ghetto • Ain't nothing like some good ol' ghetto • Ain't nothing like some good ol' ghetto • Ain't nothing like some good ol' ghetto • Ain't nothing like some good ol' ghetto • Ain't nothing like some good ol' ghetto • Ain't nothing like some good ol' ghetto 11 17 • Ain't nothing like some good ol' ghetto • Ain’t another crew like us • They ain’t true like us • And they ain’t pay dues like us • Or get mad cause they ain’t grew like us • They ain’t on cue like us • Strangers, ain’t aware of the danger • Ain’t nobody boss but us • And ain’t a hotter source than us • And these streets ain’t divorcing us • We ain’t got no remorse in us • Ain’t a bitch like me that can spit like me • Ain’t a hit like me 12 19 • Y’all ain’t good in bed like me • The ones who stand firm like ain’t, nuttin shook • Runnin, and I ain’t lookin back for shit 13 20 • I ain’t know the real deal until last night 14 21 • I shoulda known y’all ain’t wanted with these three time losers 81
• Ain't nothing better than these favorite buttas 15 22 • This ain't ??, I can't crawl for you 16 23 • I ain't talkin' about the records that they buyin' • It ain't my fault you dirty your Victoria's Secret's 17 24 • I know you ain't bringin' that lame crew 18 25 • When it's time to go down, they ain't scared to freak 19 26 • Ain't no stoppin me 20 28 • I thought you ain't have no flaws • A motherfucker ain't taking my title • He ain't checkin' for you 21 29 • He ain't checkin' for you • I ain’t worried doing me tonight • I ain’t worried doing me tonight • Ain’t no worries no • Ain’t no worries no • Aint no shame cuz I gotta get mine • A little sweat ain’t never hurt nobody 22 32 • A little sweat ain’t never hurt nobody 33 • We ain’t gotta wild out just chill 23 • 'cause i ain’t tryin' to throw my money away (in the streets) • If You Think I Ain't The One Bitch You Too Slow 24 34 • And All You Zero Ass Niggas Ain't Nothin' To Me 25 35 • Man, that ain't sticky, that's just sticks and steams 26 36 • Y'all niggaz ain't sayin nothin, like a mime 27 37 • I just bought some new guns my mama said "it ain't worth it" • Ain’t nobody here that can tear the track up • And naw I ain't done rappin so shut the hell up 28 38 • I ain't about talkin I'll lay 'em down slow • Ain't scared to take it out, tell the freak to take it off 29 41 • How a freak bitch act when I ain't SO-ber • Ain't it funny 30 43 • Ain't it funny • You ain't sayin' nothin' • Music biz only reason I ain't jackin fools 31 45
32. Contracted Forms of Can’t
Song Numbers Can't 1 • Because I 'can't stop loving him' and I hate plastic surgeons 1 • I want to touch him but I can't • Can't stand when a nigga fuckin up my plans • Can't stand when a bitch all in my side • Can't stand when a DJ fuckin up the song 2 3 • Can't stand when it aint jumpin like I want
3 6 • Niggaz can't see us from Elektra to Undeas • i can’t even take no more • but i cant let you go • u see i cant let u go • but i cant let you go • u can’t even walk away 4 7 • u know wat I’m sayin I just can’t let you go
• Can't you see? • Why I can't be your man 5 8 • I can't go one day 6 9 • can't you see it
7 11 • Can't picture NY without no Diddy 82
8 12 • Can't help it if she yellin' with a ridah • Cause I'm a baller can't nobody hustle harder than me 9 16 • can't fit in the Gucci 10 17 • Even though you can't 11 18 • just can't sit • can’t live life slingin’ rocks and smokin’ blunts 12 21 • what you said? Speak up, I can’t hear ya 13 22 • I can't crawl for you 14 23 • Nelly, can't no-one EVER TOP THAT • And y'all can't come 15 26 • y'all can't stop me now • Cuz you're the reason I can't eat or sleep (yea) 16 28 • you can’t claim me no more • That I can't do for me • what I can't do for my motherfuckin' self 17 29 • I can’t leave ‘em alone • So bad, I love that, I can’t leave ‘em alone • I can’t leave ‘em alone • So bad, I love that, I can’t leave ‘em alone • My intentions are good, I cant help it I'm hood • I can’t leave ‘em alone • So bad, I love that, I can’t leave ‘em alone • I can’t leave ‘em alone • So bad, I love that, I can’t leave ‘em alone • I can’t lose you yeah 18 30 • Boy I just can’t leave you alone 19 31 • It's too bad that you can't see 20 36 • Can't fuck with you weak rap niggaz, witcha gay raps 21 37 • They can't breathe, dick to mouth recessatation • You make me say oooaa! 'til I can't speak 22 39 • You make me say oooaa! 'til I can't speak 40 • I'm hot I can't stop 23 • I can't be cloned • My style can't be duplicated or recycled 24 41 • Back to back, and can't even keep track • Yeah my nigga into me, I can't say it simply • If I can't find his ass then his ass out of gas 25 44
33. Contracted Forms of Couldn’t
Song Numbers Couldn't
1 11 • Cause he couldn't last one minute long
2 25 • Yeah, we couldn't let it go without doin' a remix • And you couldn't do no wrong in my eyes 3 28 • couldn't pay me to believe you hit it • But couldn’t matter when other guy was staring at me 4 30
83
34. Contracted Forms of Shouldn’t
Song Numbers Shouldn't
1 30 • you shouldn’t tell me I should
35. Contracted Forms of Won’t
Song Numbers Won't
1 1 • And tell him to 'beat it' because I 'won't stop till I get enough' 2 7 • people screaming it won’t work • And the world won't 3 8
4 16 • TV's in the dash, rims just won't stop
5 17 • So grab some folks and won't you slide right through
6 25 • Drop tops and shit just won't stop • Won't you get me bodied • Won't you get me bodied • Won't you get me bodied 7 32 • Won't you get me bodied
8 33 • Won’t stop until U scream my name • If You Won't Settle The Score • If You Won't Settle The Score 9 34 • If You Won't Settle The Score
10 39 • You won't even know what day it is • I won’t settle for less • Won’t you really come and satisfy me 11 42 • Won’t you really come and satisfy me • Cause what I feel, this love, it won't never change • Don't say you won't • never say you won't 12 44
36. Contracted Forms of Wouldn’t
Song Numbers Wouldn't
1 11 • Man, I wouldn't miss this if ya paid me
2 20 • And wouldn’t have, if his gun had left me hit up
3 30 • I wouldn’t change if I could
4 37 • And they wouldn't even box if I gave 'em a flat top
84
37. Contracted Forms of Gotta
Song Numbers Gotta 1 6 • I gotta catch a flight • man u ain’t even gotta wait till in the mornin man 2 7 • u ain’t even gotta like me 3 9 • i gotta have you girl 4 12 • All dem hoes like damn I gotta have this nigga 5 16 • So that means we gotta make it work • gotta get jiggy wit it 6 18 • you gotta Prada bag with alotta stuff in it 7 20 • Gotta pause, and think about honey no doubt • pressed to the limit, gotta rob me a nigga • whispered in his ear, this is what we gotta do g 8 21 • so what we gotta do is creep and see a sweet vic 9 22 • I'm a prostitute, I gotta a lot of loot 10 23 • Spend a little looty, you gotta WORK for the booty (Yup) • Cuz a chick gotta live • Cuz a chick gotta live • Cuz a chick gotta live 11 24 • Cuz a chick gotta live • She gotta be jazzy 12 25 • Cause he gotta get it • You gotta broke bitch • you gotta rich bitch 13 29 • Ya'll gotta problem wit' it come see me • Gotta make that call • Gotta check these chicks • I gotta know I'd like to know if I can get me bodied 14 32 • Aint no shame cuz I gotta get mine 15 33 • We ain’t gotta wild out just chill 16 43 • Gotta few chicks checkin for ya now, huh, you forgot about me • a few chicks you gotta beat • You gotta let her know that's a no-no, slap her real slow 17 44
38. Contracted Forms of Wanna
Song Numbers Wanna 1 1 • What does he 'wanna be startin' somethin'?' • girls wanna be my friend again 2 2 • none of them wanna fuck with us
• Boy I wanna kiss you • I wanna dance with you 3 3 • Givin me the side eye like she wanna fight 4 4 • Oh yeah you wanna get krunk though? 5 5 • niggaz wanna step well um UHH take 6 6 • cause the thug in me wanna sell drugs and push keys
• I never ever wanna hurt ya • i just wanna love you • i just wanna sex u up • i wanna Give u everything you need • i just wanna keep you • now u wanna be real insensitive 7 7 • i dont wanna leave ya 85
• she wanna say • wat she wanna • she wanna constantly bring up shit from way back 8 8 • Why you wanna leave? • tell me why u wanna leave • i don't wanna be alone • don't wanna be on the outside looking in 9 9 • i wanna be your man • Wanna touch my nookie baby? 10 10 • Wanna touch my nookie baby? • All I wanna do is touch ya • Sent amilia, all you wanna do is sniff me • Sent amilia, all you wanna do is sniff me • What is it with you, all you wanna do is lay around 11 13 • Tuesday I saw you on the zee, but you still wanna get wit me 12 15 • You wanna be startin somthin 13 16 • Tell your friends and I bet they all wanna do me 14 17 • That'll choose, make you wanna leave the one you with 15 18 • what you wanna ball with the kid • You don’t have the guts to be what you wanna be 16 19 • You don’t wanna double cross us 17 20 • Babe bro told him,’you wanna get money, see black • Fan's takin flick's wanna get my picture • Strange muthafucka's wanna be my nigga • You don't wanna get smacked right quick 18 22 • They just wanna learn me • Real big butts make ya man wanna look 19 23 • I make her wanna press pause and shit • Wanna rock your • Make you wanna take to meet cha' mother • Wanna have wild sex just 20 25 • How to throw it and make him not wanna leave 21 26 • If you wanna battle me then (NIGGA) lemme know 22 27 • You don't wanna end up in the cemeTARRRRY 29 • I just wanna take him home • Call me anything they wanna name • I just wanna take him home 23 • Call me anything they wanna name • you wanna let it go • You don't wanna have fun • You don't wanna have fun 24 31 • You don't wanna have fun • I wanna be myself tonight • I wanna be myself tonight • I wanna let it out tonight • Wanna party • wanna dance • wanna be myself tonight • I wanna be myself tonight • Wanna party • wanna dance • wanna be myself tonight • I wanna be myself tonight • I wanna let it out tonight • I wanna let it out tonight • Wanna party • wanna dance 25 32 • wanna be myself tonight 26 33 • U make me wanna cha, cha, cha, ah, cha, cha • Since everybody wanna piece of me, we gon split ya wigs • It seems they wanna finger print me and gimmie some years 27 35 • Now all you wanna do is get drunk and pout 86
• If you wanna battle me then playa say so 28 38 • Shaking my titties like I wanna bone • With you I might wanna spend my life • Now all I wanna do is, baby 29 39 • Girl I'ma wanna go another round, yea • WICKED! Wanna pull my hair, break my back • I don't come to do it, I just wanna be touched 30 41 • I wanna know can you handle my mic • And then ya got doe, and decide ya wanna leave 31 43
39. Contracted Forms of Gonna
Song Numbers Gonna 1 6 • You ain't gonna use me to just be singin hooks • time and time i say im gonna leave 2 7 • but you`re not gonna fight me 3 12 • When I come in the party with J we gonna do it to death 4 19 • Last time you gonna see a bad guy like this again 5 25 • If anybody gonna shake the club • That's whatcha gonna expect, comin from my crew • Whatcha gonna do? • Whatcha gonna do? • Whatcha gonna do? • Whatcha gonna do? • Whatcha gonna do? • Whatcha gonna do? • Whatcha gonna do? • Whatcha gonna do?
6 27 • How you gonna slumber wit' a bitch I'm supposed to be cool wit' 7 28 • That's why us bitches gonna stick together • That he’s gonna hurt me 8 30 • That he’s gonna hurt me 9 31 • I'm gonna tell it to the whole wide world • And i know you're gonna like it 10 33 • I'm gonna twork u out • Tell me what you gonna do? Act a fool • Boy whatcha gonna do? Act a fool • Tell me what you gonna do? Act a fool • Boy whatcha gonna do? Act a fool • Tell me what you gonna do? Act a fool • Boy whatcha gonna do? Act a fool • Tell me what you gonna do? Act a fool • Boy whatcha gonna do? Act a fool • Man whatcha gonna do? Act a fool • Say whatcha gonna do? Act a fool • Boy whatcha gonna do? Act a fool • Tell me what you gonna do? Act a fool • Tell me what you gonna do? Act a fool • Boy whatcha gonna do? Act a fool • Ladies whatcha gonna do? Act a fool 11 35 • Boy whatcha gonna do? Act a fool • And baby, everyone gonna say you're a pimp 12 39
87
40. Contracted Forms of Gimme
Song Numbers Gimme 1 15 • Electric stores gon gimmie da keys ta da Range 2 22 • Just gimme a beat and a muthafuckin microphone • Yeah.. gimme some new shit • Yeah.. gimme some new shit • Yeah.. gimme some new shit 3 26 • Yeah.. gimme some new shit • You think you gon catch me, gimmie a break 4 35 • It seems they wanna finger print me and gimmie some years 5 42 • Come get me, gimmie, don’t dis me, don’t trick me • "loan me this, loan me that, now gimme • gimme and then ya got doe, and decide ya wanna leave 6 43
41. Contracted Forms of Lemme
Song Numbers Lemme 1 6 Lemme see ya do tha bankhead if ya richest 2 15 • And lemme tell y'all da truth • Yo, come here baby, lemme kiss ya • Lemme see what cha' bout when I'm witcha • Lemme see what cha' talkin' bout big shot 3 25 • Lemme see that Benz, can I drive, dude • If you wanna battle me then (NIGGA) lemme know • Lemme throw you some.. 4 26 • If you’s a pimp lemme see you party hard 5 41
42. Contracted Forms of ‘cause
Song Numbers ‘cause 1 3 • Cuz I see the man I want • Cause the rhythm I kick, puzzle them like arithe-ma-tic 2 6 • cause the thug in me wanna sell drugs and push keys • 'Cause I tried • 'Cause I hurt you 3 8 • 'Cause you're all I got • cause i try to give u the best of me 4 9 • cause i hurt u too many times 5 10 • over there 'cause over here • Cause I found out he was a One Minute Man • Cause he couldn't last one minute long • Cause I been waiting too damn long 6 11 • Cause it's all in the motherfucking family • Cause that's Jay and them, bitch • Cause I'mma hot black, how in the hell can you stop that • Cause that's Jay and them, bitch • Cause that's Jay and them, bitch • Cause that's Jay and them, bitch • Cause that's Jay and them, bitch 7 12 • Cause that's Jay and them, bitch 88
• Cause that's Jay and them, bitch 8 13 • So I guess you think I'm slippin cause I ain't flippin 9 14 • Cause I'm that crazy nigga Luda 10 15 • I wave ta da ocean cause I'm where shore's at • Cause I'm a baller can't nobody hustle harder than me 11 16 • Suckers hella jealous cause you're diggin me • Tell you come on cause my mother's gone • Cause I'm thinking 'bout how good you used to feel • Cause I'm thinking 'bout how good you used to feel • Cause you know how good it is • Cause I know what's this is leading to • I'mma be right back in it cause yo • But I must admit I'm tempted and startin' to not care, cause... 12 17 • But I must admit I'm tempted and startin' to reminisce, cause 13 18 • mad cause I got floor seats at the Lakers • Or get mad cause they ain’t grew like us 14 19 • Cause together, we’re hard to break • cause baby mama screamin’, your daughter twelve months 15 21 • Blew his brains out cause witnesses we don’t need • Cause Bonnie should have pay me 16 22 • Cause I do my thing, knots in a pocket 17 23 • 'Cause we gon' tear the roof off the club • Cause I'm that bitch with the six shots • A thug by my side cause I need em' • He'll stop a nigga from breathin' cause he lives for me • Cause he gotta get it 18 25 • Cut, split it and wet it, servin' me cause he love to get it • Cuz you're the reason I can't eat or sleep (yea) • Scared to set foot in another relationship cuz of the heartache 19 28 • Missy You miss me cuz we finished • Cause I am what he wants 20 30 • Cause I am what he wants 21 31 • I do it just cause I'm. • Cuz you know they gon block when I take these flicks 22 32 • Aint no shame cuz I gotta get mine 23 33 • 'cause i ain’t tryin' to throw my money away (in the streets) • Let's take it to the street cause I'm ready to cruise • Cause the women love the paintin they can see their reflection • Cause my folk ridin' shotgun with a shotgun 24 35 • Plus your new name is fabio cause we stomped you out • But I'm at the shooting range just 'cause practice makes perferct 25 37 • I got a wheel of fortune 'cause I flipped o's like vanna white • It's a must cause I'm dangerous 26 38 • Cause you gone need more protection than a magnum rubber • Come on baby, strap up, cause it might get serious (uh ooaaa!) • Don't get alarmed cause I'll put ice just to chill the night • Cause you put chills on my arm when we kiss, yea • Cause after I come from downtown 27 39 • Cause I'ma have ya walking with a limp • Cause I will bruise, my loose screws is like ooh 28 40 • Cause I don't play dat, you know I don't play dat 29 41 • Step back cause I might put it ON ya • What’s your name, cause I’m impressed • See cuz y'all be drivin’ Lexus jeeps • See cuz y'all be drivin’ Jaguars • See cuz y'all be drivin’ Lexus jeeps • See cuz y'all be drivin’ Jaguars 30 42 • Cause what I feel, this love, it make me do thangs • Cause what I feel, this love, it won't never change • Cause they disrespect (disrespect 31 44 89
• My attitude is bitchy, cuz my period is heavy • Cuz when this album drops, you whack MC's will all get burried • Hiding from me, cuz you know you are weak • You can say I'm buggin', cuz when I come out bustin' 32 45 • I'm bad luck, y'all mad cuz y'all suck
43. Contracted Forms of ‘em
Song Numbers ‘em • And I hit 'em with • I hit 'em with the hee • I hit 'em with the • I stop 'em with the haaa • I stop 'em with the haaa • I hit 'em with the hee • I hit 'em with the • I stop 'em with the haaa • I stop 'em with the haaa • I hit em with the heee • I hit em with the haaaa • I hit em with the hee • I hit em with the haa • I stop em with the haaa (hee hee ha) • I hit em with the heee • I hit em with the haaaa • I hit em with the hee • I hit em with the haa 1 2 • I stop 'em with the haaa • Pack em call the roadie with the chips in the wrists 2 6 • Fillin em with, sluggers off the nine milli luger click • See how I'm drillin 'em baby? • It's Bus-a-Bus back bitch, I'm killin 'em crazy • Tipsy in the club, nigga buyin 'em drinks 3 10 • Ice by my neck so bright, watch 'em blink • I don't love 'em • I fuck 'em • I don't chase 'em • I duck 'em • I replace 'em with another one • You share that girl, don't let 'em hear daddy Earl • It'll make 'em sick that his favorite chick 4 12 • Tha Jigga and Twista got 'em screaming • I'm twist-in twistin 'em • Now Biggie Smalls is not the type to fall in love with 'em • Hit 'em and • forget 'em and go handle my business 5 13 • bought my hits and watch 'em go off a go off • gettin jiggy wit 'em • cream to the maximum I be askin' 'em • never see Will attackin' 'em • flatten 'em 6 18 • gettin jiggy wit 'em • That knock ’em back, they get the axe • We flip ’em on they backs, like that 7 19 • I tried to warn ’em 8 20 • In the worst way, I’ma show em how black play • Burnin em wit the heat • Slap! em right across the melon • Fell the rhythm, I'm bout to kill em • Fell the rhythm, I'm bout to kill em 9 22 90
10 25 • A thug by my side cause I need em' • RRR, get 'em in the club, AHH, smokin on hay, HEY 11 27 • I be gettin in girls clothes, make 'em buy my whole wardrobe • Fix your lips, put 'em together nicely and say • And turn 'em him 12 29 • And turn 'em him • I cant leave ‘em alone • So bad, I love that, I can’t leave ‘em alone • I cant leave ‘em alone • So bad, I love that, I can’t leave ‘em alone • I cant leave ‘em alone • So bad, I love that, I can’t leave ‘em alone • I cant leave ‘em alone 13 30 • So bad, I love that, I can’t leave ‘em alone 14 31 • When you say that you love 'em • Drop a couple hundreds tell'em leave it at the door 15 32 • Tell'em get the bottles poppin when they play my song • I kick niggas in they're ass reboot 'em like laptops • And they wouldn't even box if I gave 'em a flat top • Now they all lost for words like I beat 'em in scrabble • Then you can catch me in rome maggots in brauds and sticking 'em 16 37 • And you'll be at home picking your bougars and flicking 'em 38 • I ain't about talkin I'll lay 'em down slow 17 • Misdemeanor got 'em by the neck low • I rule the streets I break 'em down with no tools • I break 'em off somethin, • break 'em off somethin • I break 'em off somethin, • break 'em off somethin • I keep 'em knee deep, need me, be me • I break 'em off somethin, • break 'em off somethin • I break 'em off somethin, • break 'em off somethin • I break 'em off somethin, • break 'em off somethin 18 40 19 42 • Hot boyz, I like ‘em like that
• Yank 'em, • point blank 'em, 20 44 • top rank 'em
44. Contracted Forms of ‘round
Song Numbers ‘round
1 6 • Aheheh, ‘round three and shit
2 36 • Runnin 'round talkin this and talkin that
3 40 • Hold up, I see a lot of folks in here sittin 'round like your shoes too tight
4 41 • I'm enough to go ’round so people don't push
5 43 • I never had to worry about you fuckin 'round • Walkin 'round naked in a pair of pink footies (HA!) 6 44 • Old ladies 'round the coast-es
7 45 • Gettin' ready for the club 'round quarter til' nine 91
45. Contracted Forms of ‘til
Song Numbers ‘til 1 3 • Sweat ‘till I catch a fever 2 21 • With the all black hood, he beat a nigga ‘till he hurl • Sex me rough ‘till I beg to get up nigga 3 25 • And I can fuck all night ‘till the break of dawn 4 28 • You stickin' them chickens ‘til I get home 5 34 • I Got One Motto Get Dough ‘Till Your Gone 6 36 • got a nigga head hurtin squirtin ‘til they pull the curtain • Gettin' ready for the club 'round quarter til' nine • Drink til' I'm nice and uh, uh-uh, on'n 7 45
46. Contracted Forms of ‘fore
Song Numbers ‘fore
1 3 • High 'fore I got there, now my shit is blown
2 41 • Know how to act 'fore you step your two feet in the do' 3 44 • You better get focuses 'fore you ever try to approacheth
47. Contracted Forms of ‘head
Song Numbers ‘head
1 3 • People go ‘head and drink up • Go 'head, with your games 2 24 • So you can go 'head wit' all that stabbin' me • Go 'head like it's my birthday • Go 'head like it's my birthday 3 39
48. Contracted Forms of ‘bout
Song Numbers ‘bout
1 7 • got me thinkin` bout her while im watching a flick
2 13 • Back on ten, I'm talkin 'bout like when Mase come back again
• Cause I'm thinking 'bout how good you used to feel • Cause I'm thinking 'bout how good you used to feel 3 17 • If I keep on thinkin' bout that back
4 22 • Fell the rhythm, I'm ‘bout to kill em
5 25 • Lemme see what cha' bout when I'm witcha
6 30 • You should know what I'm’ bout 92
• But you keep on thinkin' bout somebody else • But you keep on thinkin' bout somebody else 7 31 • But you keep on thinkin' bout somebody else
8 33 • How 'bout a nigger fix u something to eat
9 35 • Ya peeps talkin' 'bout what kinds of shits he on • Dats what I'm talkin' bout • Dat-dats what I'm talking bout • Baby dat-dats what I'm talking bout • Dat-dats what I'm talkin' bout • Dats what I'm talkin' bout • Dat-dats what I'm talking bout • Dats what I'm talkin' bout • Baby that-that's what I'm talking bout • Dat-dats what I'm talking bout.. • Dats what I'm talkin' bout • Dats what I'm talkin' bout • Dat-dats what I'm talking bout • Baby dat-dats what I'm talking bout • Dat-dats what I'm talkin' bout • Dats what I'm talkin' bout • Dat-dats what I'm talking bout • Dats what I'm talkin' bout • Baby that-that's what I'm talking bout • Dat-dats what I'm talking bout.. 10 39 • Dats what I'm talkin' bout • Whoever doubted that I'm 'bout it check the news 11 40
49. Contracted Forms of ‘stead
Song Numbers ‘stead
1 6 • You should be like Missy 'stead of bein like Mike
50. Contracted Forms of ‘pose
Song Numbers ‘pose • I'ma put it where it 'pose to be at • I'ma put it where it 'pose to be at • I'ma put it where it 'pose to be at • I'ma put it where it 'pose to be at • I'ma put it where it 'pose to be at 1 11
51. Contracted Forms of Fo’
Song Numbers fo' 1 17 • And after that baby it was on fo' sure
2 23 • "fat". We call that "big-boned". Fo' sho
3 32 • Let me fix my hair up fo' I go inside 93
4 39 • Yea, Fo’ shizzle my nizzle
5 40 • 2-8-1, 3-3-oh, 8-zero-zero-fo'
52. Contracted Forms of Mo’
Song Numbers mo' 1 6 • Need to get me mo' of deez, VV's and M3's • I'm mo' better than gold diggers with figures 2 13 • Mo' bigger than Jigga's and even Paris Hilton's
3 17 • The memory will make you want some mo' • And the chicks don't want you no mo' • When you got no mo' gas • And the chicks don't see you no mo' 4 43
53. Contracted Forms of Yo’
Song Numbers Yo'
1 10 • Pop yo' collars like this • Is that yo’ bitch? • Oh is that yo’ bitch • Is that yo’ bitch? • Oh is that yo’ bitch • Is that yo’ bitch? • Oh is that yo’ bitch • Is that yo’ bitch? • Oh is that yo’ bitch • Is that yo’ bitch? • Oh is that yo’ bitch • Is that yo’ bitch? • Oh is that yo’ bitch • Hot boy like Jigga man scorch yo’ bitch
2 12 13 • I flow just like sprinklers, give yo’ ass the middle finger 3 • Yo’ ex girl was a fly, but now lucked up on a dime, nigga
• Shut yo’ mouth • Man what'z dat smell proboly yo’ upper lip • Put dis in yo’ jaw like weeners and beef franks! • Da bomb-threatin dude dats on yo’ same flight 4 15 • Boy you o lost yo’ mind
5 24 • And Bobby Boochet yo' ass, G
6 25 • It's a party, move yo body, come on
• QUIET!!!!!!! Sssshhhhhh, hush yo' mouth 7 26 • in yo' face
8 28 • Keep yo’ dick in they jaws, Peter shoulda stayed in his draws
9 36 • Fuck yo' point is? My point is double fours at your fuckin jaws 94
• If you wear a size 10, don't cram yo' shit up in a size 6 ladies 10 40 • Be proud of yo' big-ass feet
• Aiy boy you know I'm yo' type 11 41 • Ohhhh strippers take yo' clothes off - HELL YEAH • Yo, I’mma dig in yo' pockets 12 42 • Dig in yo' wallets • I remember when yo’ ass was broke, so in love wit me • when yo’ pockets is low 13 43
54. Contracted Forms of Do’
Song Numbers Do'
1 16 • They recognized pimpin when I stepped in the do' • Know how to act 'fore you step your two feet in the do' 2 41
55. Contracted Forms of Coup’
Song Numbers Coup'
1 23 • I struggle on which Coup' to ride in
56. Contracted Forms of Let’s
Song Numbers Let’s • Let's drink to you and me, • let's drink to you and me • Let's drink to you and me, 1 2 • let's drink to you and me
2 3 • Here's a glass of orange juice, let's go X it out 11 3 • Over-respect due to "Let's Get It" • on your mark ready set let's go 4 18 • give it to your friend let's spin
5 23 • Let's make it hot for the clubs
6 32 • While we're conversating we can skip small talk let's cut right to the chase • Let's twork it out • Let's just lay here in this bed of red rose petals • Let's twork it out • Let's twork it out • Let's twork it out • Let's twork it out • Let's twork it out • Let's twork it out 7 33 • Let's twork it out
8 35 • Let's take it to the street cause I'm ready to cruise 95
57. Contracted Forms of Y’all
Song Numbers Y'all 1 2 • Lil' Kim, none of ya'll, none of them wanna fuck with us • I know some of y'all sick of songs 2 4 • y'all be hearin on the radio- • drivin' Eddie Bauer,some of ya'll mc's mad I got the power,I hit you 3 5 • none of y'all fools ain't got shit on me • Y'all missin the buck, with the fuck • Like a penny with a hole in it, y'all just hopeless 4 6 • Y'all see, how these bogus niggaz try not to notice the dopest bitches 5 11 • Y'all ain't ready 6 13 • I'm mackin yo slackin, reaction makes ya'll dicks grin • So all y'all can suck my di-ak • I treat humans like students fail y'all • And lemme tell y'all da truth 7 15 • Y'all just got hip 8 17 • I'mma bring y'al back to the good ol' good ol days 9 18 • ah yes yes y'all ya don't stop
• Y’all ain’t good in bed like me • And y’all don’t give head like me • Y’all got one shot still • I’m so far ahead y’all can’t touch my land spread 10 19 • Cause most of y’all is misled and underfed
• I shoulda known y’all ain’t wanted with these three time losers • Mama bitch squeeze the life out of y’all nigga’s • Screw barkin’, I take bites out of y’all nigga’s • Put a contract out and stop y’all lungs 11 20 • I wanna see all y’all niggaz d.i.e. • If anybody gonna shake the club, y'all know who, ya know • Y'all flop when Miss drop, I rock • I'm gon' get y'all 12 25 • With a thong, it's on when I hit y'all
• I told y'all mother • y'all can't stop me now • Y'all do it, sloppily 13 26 • And y'all can't come, close to me (YES • But ya'll know what the fuck I mean • Ya'll gotta problem wit' it come see me • So when ya'll see me in the street 14 29 • This is what I want ya'll to do 15 31 • Everyone of y'all are just like me • While ya'll standin on the wall 16 32 • While ya'll standin on the wall 17 35 • Im to fast for y'all 18 36 • Fuck y'all niggaz, hope you die a slow death 19 37 • Y'all not playin with full decks as if I jacked out ya jacks and left fifty cards • Missy be the name and y'all should already know • Y'all just rookies, virgins, and nookies 20 38 • And for show y'all know • This year y'all gon' all lose sleep • This year y'all gon' all lose sleep • This year y'all gon' all lose sleep, when I • This year y'all gon' all lose sleep • This year y'all gon' all lose sleep 21 40 • This year y'all gon' all lose sleep, when I 96
• Look at how y'all makin me blush • Any hustlers in the party y'all • Y'all superstars 22 41 • y'all don't need no bodyguards • See cuz y'all be drivin’ Lexus jeeps • See cuz y'all be drivin’ Jaguars • See cuz y'all be drivin’ Lexus jeeps 23 42 • See cuz y'all be drivin’ Jaguars 24 44 • Damn right, I hope y'all felt this • It's about get so ugly, and I'ma keep y'all runnin' • That's why y'all be discussin' who I like and who I'm fuckin' • Watch y'all huskey, it's about that time • I'm bad luck, y'all mad 25 45 • cuz y'all suck
58. Contracted Forms of C’mon
Song Numbers C'mon
• C'mon, • c'mon, • C'mon, • c'mon, get down, • C'mon, • c'mon, get down • C'mon, 1 3 • c'mon, get down, get, • C'mon get krunk with me 2 4 • C'mon get krunk with me 19 3 • ha ha, c’mon 4 23 • Niggaz we came to rock the club (C'mon!)
5 36 • Or do you get the point bitch? C'mon • C'mon, • c'mon • C'mon • c'mon • C'mon, • c'mon • C'mon • c'mon • C'mon, • c'mon
6 45