AN ANALYSIS of TABOO WORDS in Rnb SONGS in PITBULL's ALBUM

Home , Baddest Girl in Town, Before My Time, Bringing It Back, Chloe Angelides, Claudia Leitte, Crunk

AN ANALYSIS OF TABOO WORDS IN RnB SONGS IN PITBULL’S ALBUM “GLOBALIZATION”

A THESIS

SYAYU MUTIARA

REG.NO. 120705062

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2017

UNIVERSITAS SUMATERA UTARA AN ANALYSIS OF TABOO WORDS IN RnB SONGS IN PITBULL’S ALBUM “GLOBALIZATION”

A THESIS

SYAYU MUTIARA

REG. NO. 120705062

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2017

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Approved by the Department of English, Faculty of Cultural Studies

University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra

Examination.

Head, Secretary,

Dr. Deliana, M.Hum. Rahmadsyah Rangkuti, M.A., Ph.D

NIP. 19571117198303 2 002 NIP.19750209 200812 1 002

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Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan.

The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on April 6th, 2017.

Dean of Faculty of Cultural Studies

University of Sumatera Utara

Dr. Budi Agustono, M.S.

NIP. 19600805 198703 1 001

Board of Examiners

Dr. Deliana, M.Hum. ______

Rahmadsyah Rangkuti, M.A. Ph.D. ______

Prof. Dr. Syahron Lubis, M.A. ______

Dr. Ridwan Hanafiah, M.A. ______

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AUTHOR’S DECLARATION

I, SYAYU MUTIARA, DECLARE THAT I AM THE SOLE AUTHOR OF

THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT

OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL

PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART

FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED

ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED

WITHOUT DUE ACKNOWLEDGMENTS IN THE MAIN TEXT OF THIS

THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD

OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.

Signed : Syayu Mutiara

Date : April 6th, 2017

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NAME : SYAYU MUTIARA

TITLE OF THESIS : AN ANALYSIS OF TABOO WORDS IN RnB SONGS IN PITBULL’S ALBUM “GLOBALIZATION”

QUALIFICATION : S-1/SARJANA SASTRA

DEPARTMENT : ENGLISH

I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR

REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF

DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES,

UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING

THAT USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER

THE LAW OF THE REPUBLIC OF INDONESIA.

Signed : Syayu Mutiara

Date : April 6th, 2017

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ACKNOWLEDGEMENTS

Alhamdulillah, first of all I would like to thank Allah SWT and both of my parents as finally I was able to finish my thesis to complete my S1 study in English

Department. The title of my thesis is “An Analysis of Taboo Words in RnB Songs in Pitbull’s Album “Globalization””. This thesis is written to find out some taboo words which are used in RnB songs. And to help the readers or other people who like to listen to RnB songs to know the actual taboo words in the songs. So they will not sing the songs publicly again. This thesis had been written with much effort. Eventhough many problems happened while writing this thesis. Luckily, all the problems could be settled down and I was able to adapt properly and wisely.

Besides that, sincere thank I address to my supervisor Prof. Dr. Syahron

Lubis, M.A. and Drs. Chairul Husni, M.Ed. TESOL. because without their guidance my thesis can not be written properly. They used to give me a lot of advice and supports. They also guide how to write the thesis in purpose to produce a good outcome from the research that I did. I also want to thank Dr. Deliana,

M.Hum, Dr. Muhizar Muchtar, M.S. and Mr. Rahmadsyah Rangkuti, M.A,Ph.D. who would like to help me during the writing proccess.

Finally, I would like to express my thank to my beloved friend Wiratama that supports me all the time. Thank you to Danty and Ira that always become my nice and faithfull friends for more than 15 years. Thanks also to my seniors Rizqy

Aldilini Akbar S.S who has guided me in writing my thesis.

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Thanks also to Bank Indonesia and GenBI for giving me scholarship for two years. I also would like to thank Mr. Dadal Angkoro who always gives me advice,

Mrs. Citra Agustina, Mr. Abdurrachman (Bang Doel), Mrs. Elly Sariati and Mrs.

Vika. Thank you my beloved friend in GenBI Vanny, Fadly, Andre, Nugik, Billy,

Eric, Ihsan, Dhian, Taufik, Karin, Tami and the others. Thanks to Dini, Zara, Reffi,

Ossy, Elsa, Abel, Dimas, Wahyu, Kevin, Edo, Icung and Daud for being my friends during the studies in Faculty of Cultural Studies. Thank you for all my classmates,

Most FM crews, and thank you to everybody whose name can not be mentioned one by one.

Hopefully, this thesis can be useful for a further study to anyone who is interested in studying taboo words or RnB songs.

Medan, 6th April 2017

SYAYU MUTIARA

(120705062)

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ABSTRACT

Taboo words are commonly used in daily expression and in the songs lyrics. This is proved by the winning of many singer who always used taboo words in their songs. They win some trophies from music awards such as MTV Music Awards and Nickelodeon Kid’s Choice Awards. Many people sing songs which contain taboo words publicly. Taboo words are used in RnB songs. Especially in Pitbull’s album of “Globalization”. The present study analyzed all the lyrics in the RnB songs in Pitbull’s album of “Globalization” by applying descriptive qualitative method. There are four kinds of taboo words which are used in RnB songs in Pitbull’s Album “Globalization”, they are Offensive Slang, Profanity, Sexual Referent and Scatalogical. And in the Pitbull’s album of “Globalization,” the dominant kind taboo words which is used in all of the songs is sexual referent. The total of taboo words which found were 35 where offensive slang consisted of 11 words (31.43%), profanity consisted of 1 (2.86%), sexual referent consisted of 20 (57.14%), and scatological referent consisted of 3 (8.57%). In relation to the conclusion, it is suggested that the songs which contain taboo words should not be sung publicly, especially in front of children. And for singer or songs writer, it is better not to use taboo words. So that the songs will sound better and politely. Keywords : Taboo words, RnB, Pitbull, Offensive Slang, Profanity, Sexual Referent, Scatalogical.

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ABSTRAK

Kata-kata tabu umumnya digunakan dalam ekspresi sehari-hari dan dalam lirik lagu. Hal ini dibuktikan dengan menangnya banyak penyanyi yang selalu menggunakan kata-kata tabu dalam lagu mereka. Mereka memenangkan beberapa piala dari penghargaan musik seperti MTV Music Awards dan Nickelodeon Kids Choice Awards. Banyak orang yang menyanyikan lagu-lagu yang berisi kata-kata tabu secara umum. Kata tabu ini digunakan dalam lagu-lagu RnB. Khususnya di album Pitbull yang berjudul "Globalization Penelitian yang disajikan adalah menganalisis semua lirik lagu RnB yang ada di album Pitbull yang berjudul “Globalization” dengan menggunakan metode deskriptif kualitatif.. Ada empat jenis kata tabu yang digunakan dalam lagu RnB pada album Pitbull yang berjudul "Globalisasi", yaitu adalah Offensive Slang, Profanity, Sexual Referent dan Scatalogical Referent. Dan dalam album Pitbul yang "Globalisasi," kata tabu yang dominan digunakan dalam semua lagu-lagu adalahSexual Referent. Total dari kata- kata tabu yang ditemukan adalah 35 di mana kategori Offensive Slang terdiri dari 11 kata-kata (31.43%), Profanity terdiri dari 1 (2,86%), Sexual Referent terdiri atas 20 (57.14%), dan scatological referent terdiri dari 3 (8.57%). Dalam kaitannya dengan kesimpulan, disarankan, lagu-lagu yang berisi kata-kata tabu tidaklah dinyanyikan di depan umum, terutama di depan anak-anak. Dan untuk penyanyi atau penulis lagu, lebih baik untuk tidak menggunakan kata-kata tabu. Sehingga lagu-lagu akan terdengar lebih baik dan sopan. Kata Kunci: Taboo words, RnB, Pitbull, Offensive Slang, Profanity, Sexual Referent, Scatalogical.

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TABLE OF CONTENTS

AUTHOR’S DECLARATION...... v

ACKNOWLEDGEMENTS...... vii

ABSTRACT...... ix

ABSTRAK...... x

TABLE OF CONTENTS...... xi

CHAPTER I INTRODUCTION...... 1

1.1 Background of the Study...... 1 1.2 Problem of the Study...... 2 1.3 Objective of the Study...... 3 1.4 Scope of the Study...... 3 1.5 Significance of the Study...... 3

CHAPTER II REVIEW OF LITERATURE...... 4

2.1 Framework...... 4 2.1.1 Linguistics...... 4 2.1.2 Sociolinguistics...... 5 2.1.3 Taboo Words...... 8 2.1.3.1 Source of Taboo Words...... 10 2.1.3.2 Kinds of Taboo Words...... 13 2.1.3.3 Functions of Taboo Words...... 14 2.1.4 Linguistics Characteristics in Song Lyric...... 14 2.1.5 RnB Songs...... 15 2.1.6 Pitbull’s Biography...... 26 2.2 Relevant Studies...... 29 2.3 Conceptual Framework...... 29

CHAPTER III METHOD OF REASEARCH...... 30

3.1 Research Design...... 30

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3.2 Source of data...... 30 3.3 Data Collection...... 31 3.4 Data Analysis...... 31

CHAPTER IVANALYSIS AND FINDING...... 33

4.1 The Data...... 33 4.1.1 Taboo Words in RnB Songs in Pitbull’s Album “Globalization....33

4.1.1.1 Offensive Slang...... 33

4.1.1.2 Profanity...... 35

4.1.1.3 Sexual Referent...... 36

4.1.1.4 Scatological Referent...... 38

4.2 The Data Analysis ...... 40 4.3 Research Findings ...... 42

CHAPTER V CONCLUSION AND SUGGESTION...... 45

5.1 Conclusion...... 45 5.2 Suggestions...... 45

REFERENCES...... 47

APPENDICES...... xiii

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CHAPTER I

INTRODUCTION

1.1 Background of the Study

Music is an art form and cultural activity. Music is performed with a vast range of instruments and with vocal techniques ranging from singing to rapping, and there are solely instrumental pieces, solely vocal pieces and pieces that combine singing and instrumental.

Music can influence the emotion of people, being happy, being sad, being angry, being free, or being relax. So that’s why most of people in the world listen to music and love music, from kids to adult. Music relates to a song. And every song has lyrics that help listener to get the message or to know what the song is talking about. Lyrics related to the language.

Language is always changed during the time, because the development of language is smooth. There will influence a language to the society then the progress of society will influence the language itself. The language has the flexible character to receive everything from the society which related to sociolinguistics.

Sociolinguistics is study the relationship between language and society (Holmes,

2001: 1).

But unfortunately, there are songs which is inserted taboo words in the lyrics. Taboo words is proscription of behavior that affects everyday life (Allan and

Burridge, 2006: 1). Nowadays, taboo words is like universal language in this globalization era, the used of taboo words had been trade-mark of somebody to

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convey his emotional feeling. It is showed by many lyrics in some songs that contain of taboo words.

Song actually has many genres. Nowadays, the most popular genre of song is RnB. Many singer who concern with RnB genre because it has a fast beat of song that can burn up the spirits. This genre has been consuming for many societies. But some of the singers use taboo words in their song freely. People especially teenagers accept it as a trend in this present time and effect has included the children. Some of them know about the meaning but they still singing it, others do not know the meaning and singing it loudly.

That’s why the writer choose the title as The Analysis of Taboo Words in

RnB Songs in The Album of Pitbull “Globalization”. Because Pitbull is an international RnB singer who is popular with his braveness to use taboo words in his songs. His songs which contain the taboo words reflect moral value to us. The moral value in the songs relevance to the behavior, ethics, and also language which using in daily activities, when people do interaction each other. This study will help the readers and listeners to know everything relate to taboo words in this time.

1.2 Problem of the Study

In relation to the background, the problems are formulated as follows :

(1) What kinds of taboo words are used in RnB songs of Pitbull’s album

“Globalization” ?

(2) What is the dominant kind of taboo word used in RnB songs of Pitbull’s

album “Globalization” ?

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1.3 Objective of the Study

In line with the problems, the objectives of the study are :

(1) To find out the kinds of taboo words in RnB songs of Pitbull’s album

“Globalization”.

(2) To find out the dominant kind of taboo words used in RnB songs in the

album of Pitbull “Globalization”.

1.4 Scope of the Study

The study is related to sociolinguistics which is focused on taboo words. This study is limited to find out the kinds of taboo words in only one genre of song and one album of one singer. The study is focused in RnB songs in the album of Pitbull

“Globalization”

1.5 Significance of the Study

Findings of the study are expected to offer theoretical and practical significance.

(1) Theoretically, the findings will add up more horizons to theories of

sociolinguistics, particularly the use of taboo words. In addition, the

findings can influence for further studies.

(2) Practically, the findings can be useful for listeners in appreciating the songs.

The findings can be also useful for students, lecturers, and future researchers

to know more about taboo words and people who are interested in it.

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CHAPTER II

REVIEW OF LITERATURE

2.1 Theoretical Framework

By doing this research, there are some theories needed to give some

explanations of proofs. It is aimed to avoide the misunderstanding among the

writers, the readers, and also the listeners of the music.

2.1.1 Lingusitics

Lyons in Jindal, (2002:5) says that language is principal system of

conventional spoken or written symbols by means of which human beings, as

members of a social group and participants in its culture, communicate.

Language is a mediator used by people to transfer the information or the idea.

Linguistics is the scientific study of language. There are three aspects to this

study : Language form, language meaning, and language in context. Linguistics

also include the study of other aspects like influence of social, cultural,

historical, and political factors on language.

There are many sub-fields concerned with particular aspects of linguistics

structure, ranging from those focused primarily on form to those focused

primarily on meaning :

a. Phonetics is a study of the physical properties of speech production and

perception.

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b. Phonology is a study of sounds (or signs), abstract elements in the

speaker’s mind that distinguish meaning.

c. Morphology is a study of internal structure of words and how they can

be modified.

d. Syntax is a tudy of how words combine to form grammatical sentences.

e. Semantics is a study of the meaning of word (lexical semantics) and

fixed word combinations (phraseology), and how these combine to form

meaning of sentence.

f. Pragmatics is a study of how utterances are used in communicative acts,

and the role played by context and non-linguistic knowledge in the

transmission of meaning.

g. Discourse Analysis is an analysis of language use in text (spoken,

written, or signed).

2.1.2 Sociolinguistics

Holmes (2001:1) says that sociolinguistics studies the relationship between

language and society. It concerns about why people speak differently in

different social context, and identifies the social functions of language also the

way to convey social meaning. Therefore, Holmes (2000:1) says that

sociolinguistics is concerned with the relationship between language and the

context in which it is used.

Almost same, Jindal (2002: 21) defines that the branch of linguistics that deal with exploration of relation between language and society is known as sociolinguistics and the sociology of language. in addition, Fishman (in Chaer and

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Agustina 1995: 4) says sociolinguistics as the study of characteristics of their functions, change and change one another within a speech community.

Base on theories above, it concludes that sociolinguistics is the study of how language is shaped by social factors. This subdiscipline focuses on the synchornic approach of linguistics, and looks at how language in general, or a set of languages, display variation and varieties of language through dialects, registers, and ideolects can be tackled through a study of style, as well as through analysis of discourse.

Sociolinguists research on both style and discourse in language, and also study the theoretical factors that are at play between language and society. And in the other words, sociolinguistics is concerned with language in social and cultural context, especially how people with different social identities speak and how their speech changes in different situations.

2.1.3 Taboo Words

Taboo words can intensify what is said, but the taboo words can shock or give offence. The use of taboo words is quite common on speaking. We often hear and use it both in private and in public settings and in films, music, on television and on the radio.

The use of taboo expressions suggested that speakers have, or wish to have, a close personal relationship with others. We also use taboo expressions and swear words when express strong feelings, or when we wish to threaten or to be unpleasant to others.

Akmajian (2001: 289) says that “Taboo language is not limites to obscenity- sacred language can be also be taboo, that is, language to be avoided outside the

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context of sacred ritual. In many societies the language of religious or magical rites can only used by certain members of the society (priest or shamans). What counts as taboo language itself. There is nothing inherent in the sounds of the expression Shit!

That makes it “obscene”-it is simply that in our cultural history the word has come to be known and used as a “swear word”.

Jay (2009: 153) defines that taboo words are sactioned or restricted on both institutional and individual levels under the assumption that some harm will occur if a taboo word is spoken. Another, Allan and Burridge (2006: 1) say that taboo is prescription of behavior that affects everyday life. Taboo arise out of social constraints on the individual’s behavior where it can cause discomfort, harm or injury.

Trask (1997: 217) states all circumstances that taboo is a prohibition on the use of certain words or names in some all circumstances. There are five items in various societies, namely names of certain body parts, words pertaining, the sex of excretion, names of certain animal and names of God. So, a taboo word is a word that is forbidden reflect in the particular customs on point of view of the society.

Taboo words are considered as something that cannot be talked publicly, and freely based on the context of social rues in the middle of the society. Besides, vulgar words and taboo words different actually, because vulgar words related to only parts of body (sensitive anatomy) where taboo words are something more than that.

The English word “taboo” derives from the Tongan tabu, which came to notice towards the end of the eighteenth century. (Radcliffe-Brown 1939:5f) state that taboo in language of Polynesia means simply to forbid and can be applied to any sort of prohibition. Cook and Anderson use taboo to describe the behavior of

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Polynesians toward things that were not to be done, entered, seen or touched. For instance, there are food taboos in most societies. Some of food can be taboo to religion : the cow for Hindus, the pork for Islam, the proscription of meat on

Fridays among Roman Catholics.

2.1.3.1 Sources of Taboo Words

Nowadays, many people often use taboo words to express their feeling or their emotion to others. Some factors happened and be the reason why taboo words exist. Jay (2009:154) explains that 20th-21st century legal decisions created taboos on speech considered obscene or indecent and speech that constitutes sexual harassment or discrimination. On an institutional level, taboo words can examine and set by the media or schools, for example in movies or songs.

The second reason, taboo words can also observe the presence of euphemisms, which replace taboo counterparts. Euphemisms evidence the existence of problematic references to sexuality, death, illness, body products. For example, in polite company people say “shoot” or “sugar” instead of “shit.” As Jay notes,

“Swearing is like using the horn on your car, which can be used to signify a number of emotions (e.g., anger, frustration, joy, surprise).”

Akmajian (2001: 289) says that “Discussion of verbal insults invariably raises the question of obscenity, profanity, “cuss words,” and other forms of taboo language. Taboo words are those that are to be avoided entirely, or least avoided in “mixed company” or “polite company”. Typical examples involve common swear words such Damn! Or Shit! The latter is heard more and ore in

“polite company,” and both men and women use both words openly. Many,

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however, feel that the latter word is absolutely inappropriate in “polite” or formal contexts. In place of these words, certain euphamisms-that is, polite substitutes for taboo words-can be used, includingwords such as darn (a euphamism for damn), heck (a euphamism for hell), gee or jeez (a euphamism for exclamation

Jesus!), and so on. An amusing example is the current expression, the “F” word, which is a euphamism for notorious English word that many newspapers spell as f---.”

Taboo words can be used for a variety of reasons, including to achieve a specific reaction from others. Swearing injects a direct, succinct emotional component into the discussion, usually in order to express frustration, anger or surprise (up to two-thirds of our swearing is for just such expressions). These insulting swears can be name calling or wishing someone harm, so it’s no wonder they are often a defining feature of hate speech, verbal abuse, sexual harassment and obscene phone calls.

Jay (2009:154) still explains although there are hundreds of taboo words and phrases, the semantic range of referents that are considered taboo is limited in scope. Taboos in English are placed primarily on sexual references (blow job, cunt) and on those that are considered profane or blasphemous (goddamn, Jesus Christ).

Taboos extend to scatological referents and disgusting object (shit, crap, douche bag) ; some animal names (bitch, pig, ass) ; ethnic-racial-gender (nigger, fag, dago)

; insulting references to perceived psychological, physical, or social deviations

(retard,wimp, lard ass) ; ancestral allusions (son of bitch, bastard) ; substandard vulgar terms (fart face, on the rag) ; and offensive slang (cluster fuck, tit )

Allan and Burridge (2006: 1) say that taboo is not absolute. New taboo can emerge in especially in slang. Taboo words range from the mildly offensive (damn,

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fart) to the very offensive (cunt, nigger). Word offensiveness or appropriateness depend on contextual variables, and our sensitivity to the context has been demonstrated in numerous studies. Mabry in Jay (1974) asked subjects to rate a list of sexual terms to determine how likely they would use such words in a conversation. A factor analysis of the ratings produced five separate factors. Two factors are clearly exemplified by taboo words, Mabry labeled them sexual obscenities (cock, cunt) and personally defaming words (bastard, bitch). The other three factors can be used in polite company or mass media; they are technical expressions (penis, vagina). Latent sexual terms, and euphemistic expressions

(make love, go to bed). The ultimate offensiveness of words is determined entirely by pragmatic variables such as speaker-listener relationship and social-physical setting, as well as the words used and tone of voice (Jay & Janschewitz : 2007;

Locher &Watts : 2005).

2.1.3.2 Kinds of Taboo Words

Taboo language is a broad conception, Jay (2009:154-155) divided kinds of taboo words in several categories : Offensive Language, Profanity, Sexual Referent, and Scatological Referent

1) Offensive Slang

Offensive slang or insulting is various types of slurs. It

usually refers to race, ethnicity, gender, psychological, physical or

sexuality. Word offensiveness depends on contextual variables and

sensitivity to the context. Taboo words range from the mildly

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offensive to the very offensive. It related to lack of respect for others

on the part of the speaker.

Examples :

Table 2.1

Taboo Wordsof Offensive Slang

No Taboo Word Meaning

1 damn terkutuk

2 fuck persetan

3 wimp pengecut

4 bitch perempuan jalang

5 bastard bajingan

Source : (Oxford Dictionary)

2) Profanity

Profanity is religious related term. Jay (1996:10) writes that

profanity is based on the church’s distinction between Secular and

religious speech.

Examples :

Table 2.2

Taboo Words of Profanity

No Taboo word Meaning

1 o! jesus ! o! yesus !

2 oh my God ! oh Tuhan !

3 o ! crist ! o ! kristus !

Source : (Oxford Dictionary)

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3) Sexual Referent or Sexual Harassment

Sexual referent refers to unwanted sexual remarks, dirty

jokes, references to one’s appearance, or sexual behavior (Jay in

Ekstrom, 2008:8). Actually, this term is constantly changing in its

definition. It references to body parts and sex term.

Examples :

Table 2.3

Table of Sexual Referent

No Taboo Word Meaning

1 pussy alat reproduksi wanita

2 hole lubang (alat reprodusi wanita)

3 blow job aktivitas sex

4 cunt alat reproduksi wanita

Source : (Oxford Dictionary)

4) Scatological Referent

Scatological refers to disgusting object. it refers to the term

of human waste product or process. For easy, people used more

scatological referent that the scientific origin when they are in toilet.

Example : a grandmother said do-do to her grandchildren when it

means a faeces.

Examples :

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Table 2.4

Taboo words of Scatological Referent

No Taboo Word Meaning

1 shit makian, umpatan

2 crap omong kosong

3 piss buang air kecil

4 poop buang air besar

Source : (Oxford Dictionary)

2.1.3.3 Functions of Taboo Words

Jay (2009 :154) notes that taboo words can be included in offensive slang, profanity, sexual referent, scatological referent. Grohol (2009)writes in his article based on Jay’s theory, taboo words can be used for a variety of reasons, included to achieve a specific reaction from others. Swearing injects a direct, succinct emotional component into the discussion, usually in order to express frustration, anger or surprise. Meanwhile, according to Allan and Burridge (2006: 1) say that taboo was not absolute.

New taboo can emerged especially in slang, it depends on contextual variables, and our sensitivity to the context had been demonstrated in numerous studies. Taylor (2015) in his article Music, Meaning, and Emotion says that song had an expressive power of the word, image, and scene. Songs can be conveyed sense of logging, sad, anger, happy, or dissapointed. Taboo words in lyrics of the song can make a song more expreesive and more feeling. as example in social context, when you want to express your amazement to a party, you can say “this party is fucking awasome !” the addition of taboo words emphasize the emotional

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reaction we have. The same way happend in the song, producer and singer want to make a song more expressive, more feeling, and more power with the addition of taboo words. Thus, the use of taboo words in the songs is purposed to increase special feeling and emotional in the songs.

2.1.4 Linguistic Characteristics in Song Lyric

Guido (2011:18-20) explains that lyric of song refers to either poetry that has the form and musical quality of a song or usually short poem that expresses personal feelings.

There are some characteristics of song lyrics that Guido explained :

a. Forms

The most popular form of song lyrics is 14 lines sonnet and also a lyric appears in variety of forms. Ballads is other forms of the lyrics. In song, the refrain usually repeats throughout the poem, either exactly or slight variation.

b. Metrics

Many song lyrics depend on regular meter based on number syllables or unstressed. The most common meters are :

1) Limbic : two syllables with the long or unstressed syllable following the short

or unstressed syllable. Trochaic : two syllables with the short or unstressed

syllable following the long or stressed syllable.

2) Anapestic : three syllables with the first two short or unstressed and the last

long or stressed

3) Dactylic : three syllables with the first one long or stressed and other short or

unstressed.

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Based on the four types of metrics above, usually some forms have a

combination of meters and often used in the differences meter for the refrain.

c. Grammatical

The song lyric does not have a morphological forms or syntactic structures.

For example, ‘love em, cuz or coz’. The song lyrics also contains a special vocabulary and censored word such as ‘fuck’ and the lyrics commonly has a metaphorical meaning.

d. Repetitions

The song lyric is rarely found to be written completely. Rather, song lyric makes a repetition especially the chorus. The repetitions of the chorus have two or four lines repeated.

e. Meaning

The meaning of song lyric can be viewed based on pragmatic. For example:

It’s like candy, candy !

Get it how you want it

Whip it, twist it, pop your whip upon the corner.

Through this lyric, the meaning of candy which refers to marijuana.

2.1.5 RnB Song

In (Wikipedia/RnB Song), Rhythm and Blues, often abbreviated as R&B or RnB, is a genre of popular African-American music that originated in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when

"urbane, rocking, jazz based music with a heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s

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through the 1970s, the bands usually consisted of piano, one or two guitars, bass, drums, saxophone, and sometimes background vocalists.

R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy. Lyrics focus heavily on the themes of triumphs and failures in terms of relationships, freedom, economics, aspirations, and sex.

Rhythm and blues or RnB, a popular music genre combining jazz, gospel, and blues influences, is a musical term for post-war musical chart listings which mainly encompassed the rich and varied folk music of the African Americans as well as other Americans. First performed by African American artists, rhythm and blues became the biographical mirrors of work songs, ballads or lyrics from minstrel shows, church hymns and gospel music, and some of the secular music of

America in the 1900s.

The combination of rhythm and blues brought forth the manifestation of particular emotions by the singer or lead instrument in reflections of the very melodic and soulful "blues" with an accompaniment of "rhythmic" concentration and force.

Cultural Background

As rhythm and blues combined the elements of jazz, gospel music and the blues, it thus created a very personalized form of melody and rhythm which has become known as one of the outstanding styles of American music. From jazz and its combination of African black folk music blended with European folk and pop music, rhythm and blues incorporated the syncopated beats supported by colorful

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chordal combinations to mirror the emotions and experiences of the composer and singer/musician.

Such rhythm and blues sounds also derived from the religious music of the

African black churches, especially in the southern and midwestern regions of the

United States. As the ministers encouraged their church members to freely "testify" about their faiths, the spontaneity of such testimonies gave rise to the rhythm and blues lyrics and melodies which related the stories of very personal experiences in song.

Moreover, rhythm and blues sometimes imitated the black African folk songs using a "call" and "response" to organize the group work unit and to lighten their tasks by singing. As this vocal method grew in the United States, it evolved to a solo presentation and answer rather than using the many voices needed for the earlier "call" and "response" folk songs. Through all of this musical diversity, rhythm and blues has become one of the great musical achievements in American music.

The term was coined as a musical marketing term in the United States in

1949 by Jerry Wexler at Billboard magazine. It replaced the term race music (which was deemed offensive), and the Billboard category Harlem Hit Parade in June

1949. The term was initially used to identify the rocking style of music that combined the 12 bar blues format and boogie-woogie with a back beat, which later became a fundamental element of rock and roll. In 1948, RCA Victor was marketing black music under the name Blues and Rhythm.

The words were reversed by Wexler of Atlantic Records, the most aggressive and dominant label in the R&B field in the early years. By the 1970s,

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rhythm and blues was being used as a blanket term to describe soul and funk.

Today the acronym R&B is almost always used instead of the full rhythm and blues, and mainstream use of the term refers to a modern version of soul and funk- influenced pop music that originated at the demise of disco in 1980.

In its first manifestation, rhythm and blues was one of the predecessors to rock and roll. It was strongly influenced by jazz, jump blues and black gospel music. It also influenced jazz in return. Rhythm and blues, blues, and gospel combined with bebop to create hard bop. The first rock and roll hits consisted of rhythm and blues songs like Rocket 88 and Shake, Rattle and Roll, which appeared on popular music charts as well as R&B charts. Whole Lotta Shakin' Goin' On, the first hit by Jerry Lee Lewis, was an R&B cover song that reached #1 on pop, R&B and country and western charts.

Musicians paid little attention to the distinctions between jazz and rhythm and blues, and frequently recorded both genres. Numerous swing bands (i.e, Jay

McShann's, Tiny Bradshaw's, and Johnny Otis's) also recorded rhythm and blues.

Count Basie had a weekly live rhythm and blues broadcast from Harlem.

Even a bebop icon Tadd Dameron arranged music for Bull Moose Jackson and spent two years as Jackson's pianist after establishing himself in bebop. Most of the

R&B studio musicians were jazz musicians, and many of the musicians on Charlie

Mingus' breakthrough jazz recordings were R&B veterans. Lionel Hampton's big band of the early 1940s—which produced the classic recording Flying Home (tenor sax solo by Illinois Jacquet)—was the breeding ground for many of the bebop legends of the 1950s. Eddie "Cleanhead" Vinson was a one-man fusion; a bebop saxophonist and a blues shouter.

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The 1950s was the premier decade for classic rhythm and blues.

Overlapping with other genres such as jazz and rock and roll, R&B developed regional variations. A strong, distinct style straddling the border with blues came out of New Orleans, and was based on a rolling piano style first made famous by

Professor Longhair. In the late 1950s, Fats Domino hit the national charts with Blueberry Hill and Ain't That a Shame. Other artists who popularized this

Louisiana flavor of R&B included Clarence "Frogman" Henry, Frankie Ford, Irma

Thomas, The Neville Brothers and Dr. John.

At the start of their careers in the 1960s, British rock bands like The Rolling

Stones, The Yardbirds and the Spencer Davis Group were essentially R&B bands.

Contemporary R&B

It was not until the 1980s that the term "R&B" regained ordinary usage.

During that time, the soul music of James Brown and Sly & the Family Stone had adapted elements from psychedelic music and other styles through the work of performers like George Clinton. Funk also became a major part of disco, a kind of dance pop electronic music. By the early 1980s, however, funk and soul had become sultry and sexually-charged with the work of Prince and others. At that time, the modern style of contemporary R&B came to be a major part of American popular music.

R&B today defines a style of African-American music, originating after the demise of disco in 1980, that combines elements of soul music, funk music, pop music, and (after 1986) hip hop in the form known as contemporary R&B. In this context only the abbreviation "R&B" is used, not the full expression.

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Sometimes referred to as "urban contemporary" (the name of the radio format that plays hip hop and R&B music) or "urban pop," contemporary R&B is distinguished by a slick, electronic record production style, drum machine-backed rhythms, and a smooth, lush style of vocal arrangement. Uses of hip hop inspired beats are typical, although the roughness and grit inherent in hip hop are usually reduced and smoothed out.

HISTORY

With the transition from soul to R&B in the early to mid-1980s, solo singer

Luther Vandross and new stars like Prince (Purple Rain) and Michael Jackson (Off the Wall, Thriller) took over, and dominated the primary schools throughout the

1980s. Jackson's Thriller, which repopularized black music with pop audiences after a post-disco backlash among United States mainstream audiences, was the best-selling album of all time worldwide.

Female R&B singers like Whitney Houston and Janet Jackson gained great popularity during the last half of the decade; and Tina Turner, then in her 50s, came back with a series of hits with crossover appeal. Also popular was New Edition, a group of teenagers who served as the prototype for later boy bands such as the New

Kids on the Block, The Backstreet Boys, and others.

In 1986, Teddy Riley began producing R&B recordings that included influences from the increasingly popular genre of hip hop music. This combination of R&B style and hip-hop rhythms was termed new jack swing, and artists such as

Keith Sweat, Guy, Jodeci, and BellBivDeVoe (featuring former members of New

Edition) were featured. Another popular, but short-lived group, with more

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pronounced R&B roots was Levert, whose lead singer, Gerald Levert, was the son of O'Jays lead vocalist Eddie Levert.

In the early 1990s, R&B group Boyz II Men repopularized classic-soul inspired vocal harmony, and several similar groups (among them Shai, Soul for

Real, and Dru Hill) would follow in their footsteps. Boyz II Men, and several of their competitors, benefited from lush ballads from producers such as Babyface and

Jimmy Jam and Terry Lewis, who brought Michael Jackson's sister Janet Jackson to fame during the late 1980s and early 1990s. As a solo artist, Babyface and contemporaries such as Brian McKnight eschewed prominent hip hop influences, and recorded in a smooth, soft style of R&B termed quiet storm.

In the early 1990s, alternative rock, adult contemporary, and gangsta rap ruled the charts, and R&B artists began adding even more of a rap/hip hop sound to their work. New jack swing had its synthesizer-heavy rhythm tracks replaced by grittier East Coast hip hop inspired backing tracks, resulting in a genre labeled "hip hop soul" by Sean "Puffy" Combs, producer for Mary J. Blige. Blige and other hip hop soul artists such as R. Kelly, Montell Jordan, Brandy, and Aaliyah, more than their slicker new jack swing predecessors, brought hip hop slang, style, and attitudes to R&B music. The subgenre also includes a heavy gospel influence with vocal inflections and sounds. The style became less popular by the end of the

1990s, but later experienced a resurgence. The hip hop soul sound continues to be heard in the work of artists such as Jaheim, Ashanti, Amerie, and Keyshia Cole.

During the mid-1990s, highly successful artists such as Mariah Carey, girl group TLC and the aforementioned Boyz II Men brought contemporary R&B to the mainstream. Boyz II Men and Mariah Carey recorded several Billboard Hot 100

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number-one hits, including "One Sweet Day," a collaboration between both acts which became the longest-running number-one hit in Hot 100 history. In addition, both Boyz II Men and TLC released albums in 1994, II and Crazy Sexy

Cool, respectively, that sold over ten million copies, earning them diamond certification from the Recording Industry Association of America. Other top-selling

R&B artists from this era included singer Toni Braxton, singer/songwriter/producer

R. Kelly, and girl group En Vogue.

During the later part of the decade, neo soul, which added a 1970s soul music influence to the hip hop soul blend, arose, led by artists such as D'Angelo,

Lauryn Hill, and Maxwell. Several artists, most notably Missy Elliott, further blurred the line between R&B and hip hop by recording in both genres simultaneously.

During the late-1990s and early 2000s, the influence of pop on R&B could be heard in the work of several pop musicians, most notably Jennifer Lopez and the later recordings of *NSYNC and the early recordings of 98 Degrees. *NSYNC's lead singer Justin Timberlake went on to make several solo recordings that showed heavy influences from both R&B and hip hop music. Other pop stars who perform heavily R&B influenced pop music (sometimes referred to as "dirty pop," "urban pop," or a modern definition of "hip pop") include Britney Spears, Gwen Stefani, and Pink.

In the United Kingdom, R&B found its way into the UK garage subgenre of

2Step, typified by R&B-style singing accompanied by breakbeat/jungle rhythms.

Among the most notable 2Step artists is Craig David, who crossed over to

American R&B audiences in the early 2000s.

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R&B in the 2000s

By the 2000s, the cross-pollination between R&B and hip hop had increased to the point where, in most cases, the only prominent difference between a record being a hip hop record or an R&B record was whether its vocals were rapped or sung. Mainstream modern R&B has a sound based more on rhythm than hip hop soul had, and lacks the hardcore and soulful urban "grinding" feel on which hip-hop soul relied. That rhythmic element descends from new jack swing. R&B began to focus more on solo artists rather than groups as the 2000s progressed. As of 2005, the most prominent R&B artists include Usher, Beyoncé (formerly of Destiny's

Child), and Mariah Carey whose music often blurs the line between contemporary

R&B and pop.

Soulful R&B continues to be popular, with artists such as Alicia Keys, John

Legend, Toni Braxton and American Idol winner Fantasia showcasing classic influences in their work. Some R&B singers have used elements of Caribbean music in their work, especially dancehall and reggaeton.

Quiet storm, while still existent, is no longer a dominant presence on the pop charts, and is generally confined to urban adult contemporary radio. Most of the prominent quiet storm artists, including Babyface and Gerald Levert, began their careers in the 1980s and 1990s, although newer artists such as Kem also record in the quiet storm style. Its influence can still be seen in singles such as

Mariah Carey's "We Belong Together."

In addition, several producers have developed specialized styles of song production. Timbaland, for example, became notable for his hip hop and jungle based syncopated productions in the late-1990s, during which time he produced

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R&B hits for Aaliyah, Ginuwine, and singer/rapper Missy Elliott. By the end of the decade, Timbaland's influences had shifted R&B songs towards a sound that approximated his own, with slightly less of a hip hop feel. Lil' Jon became famous for a style he termed "crunk & B," deriving its influences from the Southern hip hop subclassification of crunk music. Jon gave his main R&B artist, Ciara, the title of "The First Lady of Crunk & B," and Brooke Valentine and Usher have also recorded R&B songs with strong crunk influences.

There are two kinds of RnB music based on (wikipedia/RnB Song) :

a) African-American :

African American music began incorporating Afro-Cuban rhythmic

motifs in the 1800s with the popularity of the Cuban contradanza (known

outside of Cuba as the habanera). The habanera rhythm can be thought of as

a combination of tresillo and the backbeat. For the more than quarter-

century in which the cakewalk, ragtime and proto-jazz were forming and

developing, the Cuban genre habanera exerted a constant presence in

African American popular music.

Jazz pioneer Jelly Roll Morton considered the tresillo / habanera

rhythm (which he called the Spanish tinge) to be an essential ingredient of

jazz. There are examples of tresillo-like rhythms in some African American

folk musics such as the hand clapping and foot stomping patterns in ring

shout, post-Civil War drum and fife music, and New Orleans second

line music. Wynton Marsalis considers tresillo to be the New Orleans

"clave" (although technically, the pattern is only half a clave).

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Tresillo is the most basic duple-pulse rhythmic cell in Sub-Saharan

African music traditions, and its use in African American music is one of

the clearest examples of African rhythmic retention in the United

States. The use of tresillo was continuously reinforced by the consecutive

waves of Cuban music, which were adopted into North American popular

culture.

b) British Rhythm and Blues :

British Rhythm and Blues developed in the early 1960s, largely as a

response to the recordings of American artists, often brought over by

African American servicemen stationed in Britain during the Cold War, or

merchant seamen visiting ports such as London, Liverpool,Newcastle on

Tyne and Belfast. Many bands, particularly in the developing London club

scene, tried to emulate black rhythm and blues performers, resulting in a

"rawer" or "grittier" sound than the more popular "beat groups".

Initially developing out of the trad jazz,skiffle and folk club scenes,

early artists tended to focus on major blues performers and standard forms,

particularly Alexis Korner, who acted as a mentor to members of The

Rolling Stones, The Yardbirds, Manfred Mann, The Graham Bond

Organisation and The Kinks. Although this "purist" interest in the blues

would influence major British rock musicians, including Eric Clapton, Jeff

Beck, Peter Green and Jimmy Page, other artists adopted an interest in a

wider range of rhythm and blues styles.

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Most successful were the Rolling Stones, whose first eponymously

titled album in 1964 largely consisted of rhythm and blues standards. They

soon established themselves as the second most popular UK band (after The

Beatles) and led a second wave of the "British Invasion" of the US pop

charts.

In addition to Chicago blues numbers, the Rolling Stones also

covered songs by Chuck Berry and Bobby and Shirley Womack, with the

latter's "It's All Over Now", giving them their first UK number one in

1964. Blues songs and influences continued to surface in the Rolling Stones'

music in later years. Other London-based bands included the Yardbirds, The

Kinks, Manfred Mann and The Pretty Things, beside more jazz-influenced

acts like the Graham Bond Organisation, Georgie Fame and Zoot Money.

Bands to emerge from other major British cities included The

Animals from Newcastle on Tyne, The Moody Blues and Spencer Davis

Group from Birmingham, and Them from Belfast. None of these bands

played exclusively rhythm and blues, but it remained at the core of their

early albums.

2.1.6 Pitbull’s Biography

Based on (wikipedia/Pitbull’s Biography), Armando Christian Pérez, (born

January 15, 1981) known professionally as Pitbull, is an American rapper. His first recorded mainstream performance was on a solo track from Lil Jon's 2002 album Kings of Crunk. In 2004, Pitbull released his debut album

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titled M.I.A.M.I. under TVT Records; the album included production producers Lil

Jon and Jim Jonsin.

Pitbull later released his second album El Mariel, in 2006 and his third, The

Boatlift, in 2007. His fourth album, Rebelution (2009), included the hit single "I

Know You Want Me (Calle Ocho)", which peaked at number two on the Billboard Hot 100. Pitbull's 2011 album Planet Pit, featured the single "Give

Me Everything", which was his first number-one single on the Billboard Hot 100.

The song reached number one worldwide. His 2013 global hit "Timber" featuring singer Ke$ha from his Meltdown EP reached number one in many countries and made it to number one on the Billboard Hot 100 and the UK Singles Chart for a total of 20 number-one positions worldwide.

He performed the song "We Are One (Ole Ola)" along with Jennifer

Lopez and Claudia Leitte, which served as the official theme of the 2014 FIFA

World Cup. Pitbull, Jennifer Lopez and Claudia Leitte performed the song "We Are

One" at the opening ceremony of the 2014 World Cup.

On February 25, 2014, Pitbull released a new single titled "Wild Wild Love" featuring American recording artist group G.R.L. It has peaked at number 30 on the Billboard Hot 100. On April 15, 2014, Pitbull released a single featuring Jennifer Lopez and Claudia Leitte called "We Are One (Ole Ola) from the compilation album for the FIFA 2014 World Cup One Love, One Rhythm.

In May 2014, it was announced that Pitbull would host and co-produce a live New Year's Eve concert special from Miami for Fox, Pitbull's New Year's

Revolution, on December 31, 2014. In June 2014, it was announced that Pitbull would be receiving a star on the Hollywood Walk of Fame. On July 8, 2014, Pitbull

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released a Spanish-language single titled "Como Yo Le Doy" featuring Don

Miguelo. On July 23, 2014, Pitbull released another single titled "Fireball", which features singer John Ryan Produced by Honua Music.

Around the same time, he announced his eighth studio album Globalization, which was released on November 24th, 2014. On October 18, 2014, Pitbull released another single titled "Celebrate" which was included on the Penguins of

Madagascar soundtrack and later included on the album Globalization. Globalization was released alongside single "Time of Our

Lives", which was Pitbull's first top ten hit since "Timber", peaking at #9 on the

Hot 100. It also topped the Hot Dance Club Songs, Hot Rap Songs, and Rhythmic charts.

On November 20, 2014, Pitbull released another Spanish-language single titled "Piensas (Dile la Verdad)" featuring Gente de Zona.

On April 21, 2015, Pitbull released his sixth single on the Globalization album titled "Fun" featuring Chris Brown and peaked at number 40 on the Hot 100. On

May 8, 2015, Pitbull released a teaser video on Twitter of his upcoming second

Spanish studio album and ninth studio album overall titled Dale. The album was officially released on July 17, 2015 and included the singles "Como Yo Le Doy",

"Piensas (Dile la Verdad)", and "Baddest Girl in Town". The album led to Pitbull winning his Grammy Award in the category of Best Latin Rock, Urban or

Alternative Album.

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2.2 Relevant Studies

In this part, the writer stated the relevant studies which were possible in adding the readers view about taboo words. There were some of research close to this study, even not exactly the same. Two researches that are close the same to this study were Sitorus in Taboo Words in Snoop Dogg’s Songs, and Silaban in An

Analysis on English Slang Used in Hello Magazine. Two researches above did researches to find out kinds of taboo words in lyrics from specific singer and editor based on their own expert theory.

2.3 Conceptual Framework

The study shows how taboo language influences the language of society from entertaiment media like songs. Some of the songs have vulgar lyrics as trend for people where they don’t know exactly the meaning. This thesis is focused on explanation of taboo words definition, function, and the kinds. The writer showed and explained taboo words in three popular genres of songs ; pop, rock, and hip hop. Here, the explanation divided into four kinds of taboo words in the lyrics of three popular genres. In the end of the research, the writer showed the most dominant kinds of taboo words in three popular genres, so that people had consideration of taboo words in three popular genres and not sang publicly.

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CHAPTER III

METHOD OF RESEARCH

3.1 Research Design

This study was conducted by using a descriptive qualitative method. Best &

Kahn (1993:105) say that descriptive method is concerned with condition or relationship that exist, opinions that are held, process that are going on, effects that are evident, or trends that are developing. So this method accounts for accumulation of the basic data. It means that this study does not intend to find out a new theory but this study was aimed to describe the theory.

3.2 Source of Data

This study used pitbull’s latest album in recent five years (2010-2015). The writer took the album of Globalization by Pitbull which was released on 2014.

The writer choose the songs which contain many vulgar words based on

(www.mtvchart.com) that this album had been available and is popular all around the world including Indonesia. And the data are all concerned with the taboo words in the songs of Pitbull’s album “Globalization”.

This table shows the songs in Pitbull’s album “Globalization” that writer took as the data for this thesis.

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Table 3.1

List of Songs

No Title

1 Ah Leke (feat Sean Paul) 2 Fun (feat Chris Brown) 3 Fireball (feat John Ryan) 4 Time of Our Lives (feat NeYo) 5 Celebrate 6 Sexy Beaches (feat Chloe Angelides) 7 Day Drinking (feat Heymous Molly) 8 Drives You Crazy (feat Jason Derulo and Juicy J) 9 Wild Wild Love (feat G. R . L) 10 This Is Not A Drill (feat Bebe Rexha) 11 We Are One (Ole Ola) (feat Jennifer Lopez and Claudia Leitte)

3.3 Data Collection

The data of this research were collected by reading all of the song lyrics of

Pitbull’s album “Globalization”. After that the writer identified the kinds of taboo words in Pitbull’s songs which meant the identification of the kinds of taboo words in RnB genre used the previous theory that explained in chapter two.

3.4 Data Analysis

After collecting the whole data of taboo words in Pitbull’s songs, the data analyzed. The techniques of analyzing data were as follows :

1. Identifying the taboo words into four kinds :

a) offensive slang,

b) profanity,

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c) sexual referents, and d) scatological referents

Table 3.2

Kinds of Taboo Words

No Kinds of Taboo Words

1 Offensive Slang 2 Profanity 3 Sexual Referents 4 Scatological Referents

The writer will use tables to classify the taboo words. e) Converted the occurences into proportion of percentages

퐹 푋 = X 100% 푁

Where : X = The Percentage of the obtained items

F = Frequency

N = The Total Number of Taboo Words from all variations. f) Finding out the dominant kinds of taboo words in the song lyrics. It meant

that the dominant kinds of taboo words in the song lyrics was taken by the

writer, after that they were calculated by using the formula above. g) Finding out the most dominant taboo words between the songs. It meant that

the dominant taboo words in RnB genre in the album of Pitbull were known

after the classification. It was aimed to draw a conclusion of taboo words

which were dominant for used in the song lyrics.

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CHAPTER IV

THE DATA AND DATA ANALYSIS

4.1 The Data

This chapter discussed and elucidated all examples of taboo words in RnB songs, in Pitbul’s Album named “Globalization”. The data were taken from eleven song’s lyrics of Pitbul’s Album “Globalization in 2012. The data were classified according to the kinds of taboo words based on Jay’s theory (2009:154-155). The kinds were : a) Offensive Slang, b) Profanity, c) Sexual Referent, d) Scatological

Referent.

4.1.1 Taboo Words in RnB Songs in Pitbull’s Album “Globalization”

The following table shows the occurrences of taboo words in four kinds, which were offensive slang, profanity, sexual referent, and scatological referent.

This table also shows the meaning and number of taboo words.

4.1.1.1 Offensive Slang

Table 4.1

Data of Offensive Slang in RnB Songs in Pitbull’s Album “Globalization”

No Titles Taboo Words Meaning Occurance 1. Ah Leke - - - 2 . Fun - - - 3. Fireball 1. Boogie 1. To refer to black 2 person. 2. Oogie 2. To refer to black 2

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person. 4. Time of Our Lives 1. Freaky 1. Weird, strange. 2 5. Celebrate - - - 6. Sexy Beaches 1. Freak 1. Weird, strange. 1 7. Day Drinking 1. Muthafuckers 1. Have sex (with). 1 2. Damn 2. Bad. 1 8. Drives You Crazy - - - 9. Wild Wild Love 1. Freaky 1. Weird, strange. 1 2. Bitty 2. Too small, tiny. 1 10. This is Not a Drill - - - 11. We are One - - -

TOTAL 11 Meaning source : Oxford Dictionary

Offensive slang or insulting is various types of slurs. It usually refers to race, ethnicity, gender, psychological, physical or sexuality. Word offensiveness depends on contextual variables and sensitivity to the context. Taboo words range from the mildly offensive to the very offensive. It related to lack of respect for others on the part of the speaker.

Based on the definition of offensive slang above, I make the list of the words which are included as offensive slang in the table above. The total number of taboo words of offensive slang in Pitbull’s Album “Globalization” songs are 11 words in occurance. They are Boogie, Oogie, Freaky, Freak, Muthafuckers, Damn,

Freaky and Bitty. Fireballs song has four offensive slang words, Time of Our Lives has two offensive slang words. Then, Sexy Beaches, Day Drinking, Wild Wild Love has one offensive slang word in each song. In the other hand, some songs such as

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Ah Leke, Fun, Celebrate, Drives You Crazy, This is Not a Drill and We are One don’t have offensive slang word.

4.1.1.2 Profanity

Table 4.2

Data of Profanity in Songs in Pitbull’s Album “Globalization”

No Titles Taboo Words Meaning Occurance

1. Ah Leke 1. Lord 1. God. 1 2 . Fun - - - 3. Fireball - - - 4. Time of Our Lives - - - 5. Celebrate - - - 6. Sexy Beaches - - - 7. Day Drinking - - - 8. Drives You Crazy - - - 9. Wild Wild Love - - - 10. This is Not a Drill - - - 11. We are One - - -

TOTAL 1

Meaning source : Oxford Dictionary

Profanity is religious related term. Jay (1996:10) writes that profanity is based on the church’s distinction between Secular and religious speech.

Based on the definition of profanity words, I wrote my finding into a table above, the total number of taboo words of profanity in Pitbull’s Album

“Globalization” were only one word. It is Lord in the lyric I’m Lord in Ah Leke song. And there is no other profanity word was found in Pitbull’s Album

“Globalization”.

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4.1.1.3 Sexual Referent

Table 4.3

Data of Sexual Referent in Songs in Pitbull’s Album “Globalization”

No Titles Taboo Words Meaning Occurance

1. Ah Leke 1. Pit 1. Hole 4 (Woman’s vagina’s hole).

2. Booty/Booeties 2. Buttocks, the vulva 2 and vagina, sexual intercouse, woman regarded as sex as objects.

3.Noogie 3. A light blow or jab, usually 1 to a person’s head, back, or upper arm and accompanied by a twisting motion, with the extended knuckle of the curled-up second or third finger: done as a gesture of affection or painfully as a prank

2. Fun - - -

3. Fireball 1. Booty 1.Buttocks, the vulva 3 and vagina, sexual intercouse, woman regarded as sex as objects.

2. Naked 2. Without any clothes, 1 sexual intercouse.

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3.Pat 3.To stroke or tap gently 2 with the palm or fingers as an expression of affection, approbation, etc.

4. Time of Our Lives 1. Ass 1. Buttocks 3

2. Booty 2. Buttocks, the vulva 1 and vagina, sexual intercouse, woman regarded as sex objects.

3.Lust 3. Intense sexual desire 1 or appetite.

5. Celebrate - - -

6. Sexy Beaches 1. Booty 1. Buttocks, the vulva 1 and vagina, sexual intercouse, woman regarded as sex as objects.

7. Day Drinking - - - 8. Drives You Crazy - - -

9. Wild Wild Love 1.Pet 1.To engage in kissing, 1 Caressing, and other sexual Activity with one’s partner, But not sexual intercourse.

10. This is Not a Drill - - - 11. We are One - - -

TOTAL 20 Meaning source : Oxford Dictionary

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Sexual referent refers to unwanted sexual remarks, dirty jokes, references to one’s appearance, or sexual behavior (Jay in Ekstrom, 2008:8). Actually, this term is constantly changing in its definition. It references to body parts and sex term.

So, based on the definition of sexual referent above, I wrote my findings into a table. The total number of taboo words sexual referent in RnB songs in

Pitbull’s Album “Globalization” were 20 words in occurance. There were seven sexual referent of taboo words in Ah Leke song. They are Pit, Booty/Booties and

Noogie. Six words in Fireball song. They are Booty, Naked and Pat. Five words in

The Time of Our Lives song. They are Ass, Booty and Lust. Sexy beaches only has one sexual referent taboo word, it is Booty. And Wild Wild Love song also only has one sexual referent taboo word, it is Pet. Then, there isn’t any taboo word of sexual referent which was found in the other songs such as Fun, Celebrate, Day Drinking,

Drives You Crazy, This is Not a Drill, and We are One. So, the sexual referent taboo words which was found in RnB songs in Pitbull’s Album “Globalization” were : Pit, booty/booties, noogie, naked, pat, ass, lust,and pet. And they are used 20 times in the whole album.

4.1.1.4 Scatological Referent

Scatological refers to disgusting object. it refers to the term of human waste product or process. For easy, people used more scatological referent that the scientific origin when they are in toilet. Example : a friend says “Shit” to his friend when it means a faeces.

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Based on the definition of scatological referent, I wrote my findings as follows.

Table 4.4

Data of Scatological Referent in Hip Hop Songs

No. Titles Taboo Words Meaning Occurance

1. Ah Leke 1. Spit 1. To express hatred, 1

contempt, etc., by or as if by

ejecting saliva from the mouth.

2. Shit 2. Feces/curse. 1

2 . Fun - - -

3. Fireball - - -

4. Time of Our Lives - - -

5. Celebrate - - -

6. Sexy Beaches - - -

7. Day Drinking - - -

8. Drives You Crazy - - -

9. Wild Wild Love - -

10. This is Not a Drill 1. Shit 1. Feces/curse. 1

11. We are One - - -

TOTAL 3

Meaning source : Oxford Dictionary

Based on table above, the total number of taboo words of scatological referent in RnB songs in Pitbull’s Album “Globalization” were only three words.

They were found in Ah Leke and This is Not a Drill songs. There were two words

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found in Ah Leke song. They are Spit and Shit. Then only one word in This is Not a

Drill song, and it is Shit.

The characteristic of RnB song had tendency to be harsh and rude lyrics, although not all of RnB songs, but mostly. Besides that, the theme of RnB songs are not limited to love, but also uncommonly theme like sex, crime or dark life. It was proved in this data, where the theme of RnB song which carried by Pitbull was about sex or making love and freedom. It was clear why I found so many taboo words inside of the lyrics, especially for offensive slang and sexual referent. The total number of taboo words appeared 35 times for all kinds of taboo words.

4.2 The Data Analysis

The whole data presented in the table above, it were found that the total number of taboo words were 35 words. They were divided into four kinds of taboo words based on Jay’s theory (2009:154-155). They were :

1) Offensive Slang,

2) profanity,

3) Sexual Referent,

4) Scatological Referent.

The following table shows the total number of taboo words which were found in RnB songs in Pitbull’s Album “Globalization” into 4 kinds of taboo words.

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Table 4.5

Total Number in Occurance

No Kinds of Taboo Words Occurance

1. Offensive slang 11

2. Profanity 1

3. Sexual referent 20

4. Scatological referent 3

TOTAL 35

The following table shows the percentage of four kinds taboo words in RnB songs of Pitbull’s Album “Globalization”.

Table 4.6

Percentage the Kinds of Taboo Words

RnB songs in Pitbull’s Album “Globalization”

No Kinds of Taboo Words Percentage (%)

1. Offensive slang 31.43%

2. Profanity 2.86%

3. Sexual referent 57.14%

4. Scatological referent 8.57%

TOTAL

From the table above, it is concluded that the most dominant kind’s of taboo words used in RnB songs in Pitbull’s Album “Globalization” was Sexual Referent

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where the percentage reached 57.14%. There were many of taboo words that RnB songs in Pitbull’s Album “Globalization”. The total number of offensive slang words were 11 words, for the total number of profanity were one word, the total number of sexual referent were 20 words, and the total number of scatological referent were three words. Through the elucidation of taboo words in RnB songs in

Pitbull’s Album “Globalization”, Sexual Referent was the most dominant kind with

20 words in 11 songs

4.3 Research Findings

After analyzing the data, some findings were found that the four kinds of taboo words used in RnB songs in Pitbull’s Album “Globalization”. The total of taboo words which were found were 35 where offensive slang were 11 words (31.43%), profanity were 1 (2.86%), sexual referent were 20 (57.14%), and scatological referent were 3 (8.57%).

The most dominant kind of taboo words used in RnB songs in Pitbull’s Album

“Globalization” was sexual referent. It had been known that all data (lyrics of songs) used this kind.

This research discussed about the kinds of taboo words in RnB songs in

Pitbull’s Album “Globalization”. The writer wanted to analyze the kinds of taboo words in lyrics of the songs that popular among people. The writer also found out the dominant kind of taboo words after analyzing kinds of taboo words in all the lyrics.

This research showed four kinds of taboo words; offensive slang, profanity, sexual referent, and scatological referent applied in RnB songs in Pitbull’s Album

“Globalization”. No absolute answered for the reason why the song writer who is

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also as the singer (Pitbull) used taboo words in his “Globalization” album. But the writer related to the characteristic of RnB song. RnB song had tendency unique theme’s lyrics, like againts the goverment, love or romance, social life, and lifestyle. In Pitbull’s album “Globalization”, the themes were love or romance, sexuality, social life and lifestyles. After analyzing all data, the writer found that sexual referent was dominantly in RnB songs in Pitbull’s Album “Globalization”.

The writer didn’t compare the most dominant taboo words among all the songs, but the writer wanted to find the dominant among four kinds of taboo words in RnB songs in Pitbull’s Album “Globalization” which were much consumed by society.

And the characteristic of Pitbull’s song in all of his albums is the using of sexual referent taboo words. And this characteristic makes Pitbull won some trophies from MTV Music Award, Nickelodeon Kid’s Choice Award.

(www.mtv.com)

In English, swearing which involves ‘religious’ taboo expressions is likely to be weaker than swearing that involves ‘parts of the body’ taboo expressions. The most common taboo expressions that involve ‘parts of the body’ are fuck (to have sexual intercourse – the word is used both as a noun and as a verb) and shit (bodily excrement – the word is used both as a noun and as an adjective).

When we swear, we commonly use interjections. These can be single words or short phrases or clauses. We most commonly use them to express strong feelings, especially feelings of anger.

There were some researches who were close with this thesis, Sitorus (2009) did research about taboo words in specific singer, Snoop Dogg’s song who lead

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RnB songs. His result of research is close to result’s of this thesis, that was applied four kinds of taboo words, and sexual referent were still most exist in Snoop

Dogg’s songs then offensive or profanity. The other researches are which are close to this thesis were Naini (2013) and Ekstrom (2010). They did research about taboo words in movie and internet chat room. They did analyze kinds of taboo words used their own expert’s theory. Naini’s data from the script of movie, and Ekstrom’s data from conversation between female and male in internet chat room. Their result correlated with this thesis. In movie and internet chat room, the words like ‘Booty,

Lord Damn, Shit, Motherfucker, Ass’ exist in these research. It meant these popular taboo words appeared whether in the songs, movie, even conversation in a chat room. The result showed also, “Ass and Booty” was mostly appeared.

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CHAPTER V

CONCLUSION AND SUGGESTION

5.1 Conclusion

After analyzing the data, some conclusions could be drawn as follows.

1. Four kinds of taboo words were used in the song lyrics .of RnB songs in

Pitbull’s Album “Globalization”. They are :

(1) offensive slang,

(2) profanity,

(3) sexual referent, and

(4) scatological referent.

2. The total number of all taboo words used in RnB songs in Pitbull’s Album

“Globalization” were 35 words where 11 for offensive slang, 1 for

profanity, 20 for sexual referent and 3 for scatological referent. The most

dominant kind of taboo words used in RnB songs in Pitbull’s Album

“Globalization” was Sexual Referent.

3. The characteristic of Pitbull’s song in all of his albums is the using of sexual

referent taboo words. And this characteristic makes Pitbull won some

trophies from MTV Music Award, Nickelodeon Kid’s Choice Award.

(www.mtv.com)

5.2 Suggestion

In relation to the conclusion, two suggestions were put forward as follows.

1. The students who learn linguistics and students who are interested in this

study should now understand about the kinds of taboo words and differentiate

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the four kinds of taboo words. This knowledge can be useful for students who

want to do research deeper about taboo words.

2. The listeners who love singing and listening to the songs especially the song

which is explained in this thesis should not sing publicly since it is not

recommended suggest for children. It is suggested that the songs should

reduce the use of taboo words so that they will sounds better and more

politely.

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REFFERENCES

Akmajian, A. 2001. An Introduction to Language and Communication. London :

Massachusetts Intitute of Technology

Allan, K and K.Burridge. 2006. Forbidden Word. New York : Cambridge

Brown. Radcliffe. 1939. Taboo. New York : Cambridge University Press

Chaer, A and L.Agustina. 1995. Sosiolinguistik. Jakarta : Rhineka Cipta

Ekstrom, A. 2008. Taboo Language in Sex and the City.Journal of Kristianstad

University

Ekstrom, A. 2010. Taboo Language on the Internet. Journal of Kristianstad

University.

Grohol, J. 2009. Why Do We Swear.

http://psychcentral.com/blog/archives/2009/03/30/why-do-we-swear/

Guido. 2011. Complete Poems. United Kingdom : Alma Classics Limited.

Jay, T, C. Caldwell Harris and K. King. 2008. Recalling Taboo and Non Taboo

Word.American Journal of Psycology vol. 121, no.1.

Jay, T & Janschewits, K. 2008. The Pragmatics of Swearing. Journal of Politeness

Research vol 4.

Jay, T. 2009. The Utility and Ubiquity of Taboo Word. North Adams.Massachusetts

College of Liberal Arts.

Jindal, S. 2002. An Introduction to Linguistics. London : PHI

Locher and Watts. 2005. Journal of Politeness Research. De Gruyter.

Naini, A. (2013). Taboo Expression Used in lived free or die hard 4 movie. Journal

STK Ilmu Pendidikan Persatuan Guru Indonesia, Jombang.

Pitbull. 2014. Globalization. United States : Mr. 305

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Silaban, Menty Maryance. 2009. An Analysis on English Slang Used in

Hello Magazine. Universitas Sumatera Utara, Medan, 2011.

Sitorus, R. 2009. Taboo Words in Snoop Dogg’s Songs. Universitas Negeri Medan,

Ekstrom, A. 2010

Tailor, K. “Music, Meaning, and Emotion”

http://philosophytalk.org/community/blog/ken-taylor/2015/04/music-

meaning-and-emotion

Trask, R.L.1997. A Student’s Dictionary of Language and Linguistics. New York :

Arnold.

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APPENDICES

"Ah Leke" [Refrain x3:] (feat. Sean Paul) All the ladies when you're ready let me let me know Ah le leke leke leke leke leke... Dancing, dancing, dancing, dancing, dancing It's Pit there, for sure Where she'd said she go? Now get down, get low Who's got Miami all night long It's that shit that defines me That's not a question, no more MBA came find me The world is my block Even if they did I'd sell for two The globe is my home billion, smiling (ha ha) It's a proof, in fact Mo lokey no sirens, grew up around But that chico got his own keys and violence Was taught to stay silent I don't spit it down, gotta live it Now silence Millions of dollars, go get it Billions of them [Refrain x3:] Now way, watch out All the ladies when you're ready let I don't call, now slim it me let me know When I blast the game Dancing, dancing, dancing, dancing, And I'm more like dancing "Yeah, kill it" Where she'd said she go? I'll be up all night Go ahead and be the realist

[Refrain x3:] All the ladies when you're ready let me let me know Dancing, dancing, dancing, dancing, dancing

Where she'd said she go?

Pit showed up and broke up On stage with two big booties Yo, like me, it's cool I'm lord of Pit, Pit's suma They count it, what school me Y'all fools, you can't fool me I'd never worried 'bout beef Because my brother is 6th Avenue I got that point out of my blood All I know is how to lead teams I grew up around, no kinda games from T.N. As IPs, HCs, BOBs, LPs, VIPs

So pale, shine oh, wide low,

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"Fun" undone (feat. Chris Brown) Loosen up your body till you come undone [Intro:] Loosen up your body baby come Chris Brown, you set it off undone Oh my my, looking like a good good [Chris Brown:] time Oh, feeling crazy Don't disguise The moon is up The way you wanna love tonight The night is hazy Oh my my, hook you with a brand Let's get lost in the shadows new high Somewhere we can go Don't be shy, I just wanna live tonight And no one else can find Live a little F.U.N. fun [Pitbull:] Loosen up your body till you come Co-headlining on tour with Enrique undone Often casa campo, who would've Loosen up your body baby come thought de que undone Down in Key Largo, you know I'm on Loosen up your body till you come that sticky undone Icky, icky, icky, icky Loosen up your body baby come Don't do it much, but when I do I'm undone gone Don't take it all off, keep your heels Oh my my, looking like a good good and thong time Ah Mami that turns me on, now just Don't disguise listen to the song and The way you wanna love tonight [Chris Brown:] Oh my my, hook you with a brand Loosen up your body till you come new high undone Don't be shy, I just wanna live tonight Loosen up your body baby come Live a little F.U.N. fun undone Loosen up your body till you come [Pitbull:] undone Fresh from Monaco Loosen up your body baby come Performing for Microsoft undone Miami to L.A., G4, we takin' off Oh my my, looking like a good good I'm a hard worker, I'm far from the time boss Don't disguise But when it's said and done, I'm The way you wanna love tonight owning it all Oh my my, hook you with a brand I know you think it's just rap new high Just this, just that, haha right Don't be shy, I just wanna live tonight Now baby, this my life Live a little F.U.N. fun Wanna have fun for a night? Come on Mami, you know what it is Then just Come on baby, you know what it is [Chris Brown:] I wanna uh, let's go to the crib Loosen up your body till you come And if you want you can bring your undone friends Loosen up your body baby come Come on Mami, you know what it is

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Come on baby, you know what it is liar I wanna uh, let's go to the crib While y'all slippin' he runnin' the And if you want you can bring your game friends Now big bang boogie And we can F.U.N. fun Get that kitty little noogie [Pitbull:] In a nice nice little shade Let's go! I gave Suzie a little pat up on the Let's ride! booty Let's show em how we do it in the And she turned around and said 305 Walk this way [Chris Brown:] Loosen up your body till you come [John Ryan:] undone I was born in a flame Loosen up your body baby come Mama said that everyone would know undone my name Loosen up your body till you come I'm the best (that's right) you've ever undone had (that's right) Loosen up your body baby come If you think I'm burning out, I never undone am I'm on fire I'm on fire I'm on fire "Fireball" I'm on fire (feat. John Ryan) Fireball Mr. Worldwide to infinity Fireball You know the roof on fire We gon' boogie oogie oogie, jiggle, Sticks and stones may break my wiggle and dance bones Like the roof on fire But I don't care what y'all say We gon' drink drinks and take shots 'Cause as the world turns, y'all boys until we fall out gonna learn Like the roof on fire That this chico right here don't play Now baby get your booty naked, take That boy's from the bottom, bottom of off all your clothes, the map And light the roof on fire M.I.A. U.S.A. Tell her, tell her baby baby baby baby I gave Suzie a little pat up on the baby baby baby baby baby booty I'm on fire And she turned around and said I tell her baby baby baby baby baby Walk this way baby baby baby baby I'm a fireball [John Ryan:] I was born in a flame Fireball Mama said that everyone would know my name I saw, I came, I conquered I'm the best (that's right) you've ever Or should I say, I saw, I conquered, I had (that's right) came If you think I'm burning out, I never They say the chico on fire and he no am

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I'm on fire We're bringing it back I'm on fire We're bringing it I'm on fire We're bringing it I'm on fire We're bringing it back

Fireball Fireball Fireball We're taking it We're taking it Tell her baby baby baby baby We're taking it down I'm on fire We're taking it I tell her baby baby baby We're taking it I'm a fireball We're taking it down We're taking it We're taking it We're taking it down We're taking it We're taking it We're taking it down We're taking it

We're taking it We're taking it down We're taking it We're taking it We're taking it down We're taking it We're taking it We're taking it down We're taking it We're taking it We're taking it down

Now we're bringing it We're bringing it We're bringing it back

We're bringing it We're bringing it We're bringing it back We're bringing it We're bringing it We're bringing it back We're bringing it We're bringing it We're bringing it back We're bringing it We're bringing it We're bringing it back We're bringing it We're bringing it

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Worldwide!) Oh baby Oooh give me the time of my life (Ne-Yo, let's get it!) Let's get it now

[Verse 1 - Pitbull:] This is the last $20 I got

But I'm a have a good time ballin' on that Tell the bartender line up some shots Cause I'm a get loose tonight She's on fire, she's so hot I'm no liar, she burned the spot Looked like Mariah, I took another shot Told her drop, drop, drop, drop it like it's hot Dirty talk, dirty dance She a freaky girl and I'm a freaky man She on the rebound, broke up with her ex And I'm like Rodman, ready on deck

I told her I wanna ride out, and she said yes We didn't go to church, but I got blessed

[Pre-Chorus - Ne-Yo:] I knew my rent was gon' be late about a week ago I worked my ass off, but I still can't pay it though But I got just enough "Time Of Our Lives" To get up in this club (feat. Ne-Yo) Hand me a good time, before my time is up [Ne-Yo:] Hey, let's get it now I knew my rent was gon' be late about a week ago [Chorus - Ne-Yo:] I worked my ass off, but I still can't Oooh I want the time of my life, pay it though yeah... But I got just enough Ohh baby To get off in this club Oooh give me the time of my life Hand me a good time, before my time Hey, hey, hey is up Let's get it now Hey, let's get it now [Verse 2 - Pitbull:] Oooh I want the time of my life (Mr. Tonight I'm a lose my mind

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Better get yours cause I'm gonna get mine [Verse 3 - Pitbull:] Party every night like my last This for anybody going through tough Mommy know the drill, shake that ass times Go ahead baby let me see what you Believe me, been there, done that got But everyday above ground is a great You know you got the biggest booty day, remember that in this spot [Pre-Chorus] And I just wanna see that thing drop [Chorus] From the back to the front to the top You know me I'm off in the cut Always like a Squirrel, looking for a nut This isn't for show I'm not talking 'bout luck I'm not talking 'bout love, I'm talking 'bout lust Now let's get loose, have some fun Forget about bills and the first of the month It's my night, your night, our night, let's turn it up

[Pre-Chorus]

[Chorus]

[Bridge - Ne-Yo:] Everybody going through something (Everybody going through something) I said, everybody going through something (Everybody going through something) So you might as well roll it up Pour it up, drink it up, throw it up tonight... ohhh, yeah I said, everybody going through something (Everybody going through something) Said, everybody going through something (Everybody going through something) So you might as well roll it up Pour it up, drink it up, throw it up tonight... ohhh, yeah

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"Celebrate"

Mr. Worldwide Let's celebrate

I just wanna celebrate I just wanna celebrate Tonight we're making history I just wanna celebrate

We've been around the world, say ain't so Work hard, play hard, all day long All the continents get jealous over me You can see me 3D overseas If you know me then you know where to find me Off to the Bahamas with the play room behind me Now live it up, live it up, live it up Baby pick it up, pick it up, pick it up And we gon' Boom boom around the world Boom boom no kidding girl Boom boom That's the way we like to play We gon' Boom boom around the world Boom boom no kidding girl Boom boom That's the way we like to play

I just wanna celebrate I just wanna celebrate Tonight we're making history I just wanna celebrate

Turn it up Turn it up

Well I've been patiently waiting for you to shake and shake it Make it or take it The point is we made it Quarter by the game, call us Tom

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Brady And it's not our fault that we have all the ladies But it's hard to see these ladies when your middle name's Equator All around the globe, matter fact see your later They're great, we're great at world "Sexy Beaches" war, dominators (feat. Chloe Angelides) And we're also some smooth operators, and we gon' I wanna go somewhere exotic

Let the summer search my body Boom boom around the world Meet a sexy stranger in the lobby Boom boom no kidding girl Hey, hey, hey, hey Boom boom

That's the way we like to play I wanna jump into the deep end We gon' Get lucky like the number 7 Boom boom around the world Treat every day like a vacation Boom boom no kidding girl Hey, hey, hey, hey Boom boom

That's the way we like to play I wanna see sexy beaches, hotels

I wanna see sexy beaches, hotels I just wanna celebrate

I just wanna celebrate Little mama wanna turn it up Tonight we're making history Little mama wanna burn it up I just wanna celebrate Little mama wanna live it up

Well, little mama better give it up Turn it up

Turn it up And the mama is like wow

And the booty's like bang, bang, bang Live it up (Live it up), don't let life I don't bring sand to the beach live you (Live you) Bring the beach to the sand It's a good time (Good time), so we give you (Give you) And I know what they want Now live it up, live it up, live it up And I know what they need What you wanna do? I just look'em in the eyes

And they're leaving with me I just wanna celebrate We will do all the wrong things I just wanna celebrate Wrong things you like Tonight we're making history Baby, better do it tonight I just wanna celebrate Let's ride

Turn it up I wanna go somewhere exotic Let's celebrate Let the summer search my body Turn it up Meet a sexy stranger in the lobby Let's celebrate Hey, hey, hey, hey

I wanna jump into the deep end Get lucky like the number 7

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Treat every day like a vacation Hey, hey, hey, hey

I wanna see sexy beaches, hotels I wanna see sexy beaches, hotels

You can't save me, babe, it's too late "Day Drinking" I'm looking for a freak, not a soulmate (feat. Heymous Molly) Sexy beaches, hotels Mirrors on the roof [Chorus - Heymous Molly:] Making more fun - ain't that the truth Day drinking Whose on the world are not mine Sun goes up and drink goes down I just aim that time Gonna pass another round And bring a girlfriend To you and me and all these crazy Cause she's so damn fan muthafuckers

And I know what they want [Verse 1 - Pitbull:] And I know what they need In Little Havana I just look'em in the eyes We be eatin' tore up from the floor And they're leaving with me up, gettin' hammered We will do all the wrong things Can you go down, down, baby, Wrong things you like "Country Grammar" Baby, better gonna do it tonight Sorry Miss Thang, pardon my Let's ride grammar But I got gifts and hoes, call me Santa I wanna go somewhere exotic Let the summer search my body [Pre-Chorus - Heymous Molly:] Meet a sexy stranger in the lobby We don't need no holiday Hey, hey, hey, hey No we don't We ain't even on Spring break I wanna jump into the deep end Cause I know Get lucky like the number 7 We can make our own va-cay Treat every day like a vacation And I can show you how we do it Hey, hey, hey, hey [Chorus - Heymous Molly] I wanna see sexy beaches, hotels I wanna see sexy beaches, hotels [Verse 2 - Pitbull:] Sexy beaches, hotels Yeah we like to party Sexy beaches, hotels And like to fuck to "Drunk In Love", Beyoncé Do ya thang, who cares what they all say Put your lips like a ring around my Woo! Now that's a fian-stay

[Pre-Chorus - Heymous Molly]

[Chorus - Heymous Molly]

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[Bridge x4 - Heymous Molly & Pitbull:] To the left, to the right To never waiting for the night

[Chorus - Heymous Molly]

"Drive You Crazy" (feat. Jason Derulo And Juicy J)

[Chorus - Jason Derulo:] Do you wanna ride baby Cause I don't mind driving you crazy I heard you like to go fast girl Cause no, I don't run out of gas girl So would you let me pull up to your bumper In my new black car Girl rev up your engine, I'll push start your ignition Pull up to your bumper

In my new black car Girl rev up your engine, I'll push start your ignition

And let's ride... baby While I drive... you crazy

Let's ride... baby While I drive... you crazy

[Verse 1 - Pitbull:] Catch me on New Year's Eve, on Fox Bringing that Miami Heat, white hot She's like "papi, why you work so hard", why not?

That's not what she says when I'm working that box Now ride baby, forget about the past and ride baby Once you give it up, you'll be mine baby Not on the first night, don't lie baby

[Pre-Chorus - Pitbull:]

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Cause girl I like it fast, you like it slow Where I'm gonna take you, you never been before Hit the gas until we lose control You in for a wild ride

[Chorus - Jason Derulo]

[Verse 2 - Juicy J:] Ride it like a first class seat on a plane Baby, go insane, make me remember your name As we go up and down, roller coaster ride Spread it open, let me go inside Let me slide in between and park my stretch limousine When I slap that ass, you soaking wet Tonights one night, that you won't forget "Wild Wild Love" We tryna get a bone, let's play fetch, (feat. G.R.L.) baby I'm on deck like an old cassette [Hook - GRL:] When I'm through, you gon' want you Oh-oh, this wild wild love of ours a souvenir It can't be tamed, no Stuff so good, make you shed a tear This wild wild love of ours With a smile on your face from ear- It can't be tamed, no to-ear For better or worse And a tattoo that say "Juicy J was A blessing or a curse here." Long live this wild wild love of ours Long live this wild wild love [Pre-Chorus - Jason Derulo] [Verse 1 - Pitbull:] [Chorus - Jason Derulo] Ladies and gentleman You're looking at the new playboy Who you? That's right, Armando Christian Perez And when it comes to that pretty little bitty kitty Don't stop get it get it baby let me pet it I got that wild love Love to get wild dirty freaky nasty, yeah I said it I'll make you lose your heart and your mind at the same time Don't believe me, bet it I'm obsessed with that wild love for

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sure You need it, you want it Even though it's a catch twenty-two All over your body It's a gift and curse for sure This loving I'm giving But baby you know that you love it It's worth more than money too, that's why You need it, you want it All over your body You need it, you want it I know that you want this All over your body Wild, wild, love This loving I'm giving It's worth more than money [Hook - GRL:] You need it, you want it Oh-oh, this wild wild love of ours All over your body It can't be tamed, no I know that you want this This wild wild love of ours Wild, wild, love It can't be tamed, no For better or worse [Hook - GRL:] A blessing or a curse Oh-oh, this wild wild love of ours Long live this wild wild love of ours It can't be tamed, no This wild wild love of ours All this wild wild love of ours It can't be tamed, no It can't be tamed, no For better or worse All this wild wild love of ours A blessing or a curse It can't be tamed, no Long live this wild wild love of ours For better or worse For better or worse A blessing or a curse A blessing or a curse Long live this wild wild love of ours Long live this wild wild love of ours [Outro:] [Verse 2 - Pitbull:] [Pitbull:] Not only am I a client, I'm the player Mr Worldwide president GRL The globe is my backyard, baby it's What better than five beautiful evident women When it comes to Miami, I always [GRL:] represent Yeah, yeah Read all about it, ladies and gents Long live this wild wild love of ours I'm the chico for the game I like my women yin I like my women yang I like my women fine I like them off the chain Take 'em all the world cup, Brazil, "Tudo bem?" You know I'll meet 'em, greet 'em, read 'em Treat 'em, always keep them feeling right I don't know if I can handle all five But baby we can try tonight, darlin'

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"This Is Not A Drill" (feat. Bebe Rexha)

[Intro x2 - Bebe Rexha:] This is not a drill This is not a false alarm This shit is for real Baby I'm a love you down

[Chorus - Bebe Rexha:] I-I-I don't wanna waste your time Big girls don't cry wolf when they cry Someone's gonna fall in love tonight Yeah we might fall in love tonight I-I-I don't wanna waste your time Pretty girls always tell pretty lies Someone's gonna fall in love tonight

This is not a drill This is not a drill This is not a drill, this is not a drill

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This is not a false alarm

[Verse 1 - Pitbull:] I got that sweet D, mami got that sweet pea When I get her, all she says is "ay papi, si, si" She give me that Road Runner, long neck, beep, beep And her tongue do a little more than just French kiss, wei-wei I'm talking them big numbers, Microsoft and DC's Bring a friend and a friend, Chicago Bulls, 3-Peat Mami got them looks that kill, yeah, she's real Take it all off, keep them heels, this is not a drill

[Chorus - Bebe Rexha]

[Verse 2 - Pitbull:]

Mami got that top off, mami got that low ride Mami got that big trunk, wet paint, that right Mami got that get down, she got that lock jaw She got that slip, she got that slide, that Pacquiao Mami's a knockout and that's for real "We Are One (Ole Ola)" Ring the fire alarm, this is not a drill (feat. Jennifer Lopez & Claudia Mami's a knockout and that's for real Leitte) Ring the fire alarm, this is not a drill Put your flags up in the sky (put them [Chorus - Bebe Rexha] in the sky) (jogue lá no alto) And wave them side to side (side to side) (lado a lado) Show the world where you're from (show them where you're from) (we

are one, baby) Show the world we are one (one love, life)

Ole, Ole, Ole, Ola [x4]

When the going gets tough The tough get going

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One love, one life, one world, one Força, força come and sing with me, fight, Hey, hey, hey Whole world, one night, one place, Allez, allez come shout aloud with Brazil, me Everybody put your flags in the sky Hey, hey, hey and do what you feel Come on now Hey, hey, hey It's your world, my world, our world Come on now today Hey, hey, hey And we invite the whole world, whole world to play Put your flags up in the sky (put them It's your world, my world, our world in the sky) (jogue lá no alto) today And wave them side to side (side to And we invite the whole world, side) (lado a lado) whole world to play Show the world where you're from (show them where you're from) (we Es mi mundo, tu mundo, el mundo de are one, baby) nosotros Show the world we are one (one love, Invitamos a todo el mundo a jugar life) con nosotros Ole, Ole, Ole, Ola [x4] Put your flags up in the sky (put them in the sky) (jogue lá no alto) Claudia Leitte, obrigado And wave them side to side (side to side) (lado a lado) É meu, é seu, hoje é tudo nosso Show the world where you're from Quando eu chamo o mundo inteiro (show them where you're from) (we pra jogar are one, baby) É pra mostrar que eu posso Show the world we are one (one love, Torcer, chorar, sorrir, gritar life) Não importa o resultado, vamos extravasar Ole, Ole, Ole, Ola [x4] Put your flags up in the sky (put them Jenny, dale! in the sky) (jogue lá no alto) And wave them side to side (side to One night watch the world unite side) (lado a lado) Two sides, one fight and a million Show the world where you're from eyes (show them where you're from) (we Full heart's gonna work so hard are one, baby) Shoot, fall, the stars Show the world we are one (one love, Fists raised up towards the sky life) Tonight watch the world unite, world unite, world unite Ole, Ole, Ole, Ola [x4] For the fight, fight, fight, one night Watch the world unite Two sides, one fight and a million eyes

Hey, hey, hey

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[Refrain x3:] All the ladies when you're ready let "Ah Leke" me let me know (feat. Sean Paul) Dancing, dancing, dancing, dancing, dancing Ah le leke leke leke leke leke... Where she'd said she go?

It's Pit there, for sure It's that shit that defines me Now get down, get low MBA came find me Who's got Miami all night long Even if they did I'd sell for two That's not a question, no more billion, smiling (ha ha) The world is my block Mo lokey no sirens, grew up around The globe is my home keys and violence It's a proof, in fact Was taught to stay silent But that chico got his own Now silence

I don't spit it down, gotta live it [Refrain x3:] Millions of dollars, go get it All the ladies when you're ready let Billions of them me let me know Now way, watch out Dancing, dancing, dancing, dancing, I don't call, now slim it dancing When I blast the game Where she'd said she go? And I'm more like "Yeah, kill it" I'll be up all night Go ahead and be the realist

[Refrain x3:] All the ladies when you're ready let me let me know Dancing, dancing, dancing, dancing, dancing

Where she'd said she go?

So pale, shine oh, wide low,

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I'm on fire We're bringing it back I'm on fire We're bringing it I'm on fire We're bringing it I'm on fire We're bringing it back

We're taking it We're taking it down We're taking it We're taking it We're taking it down We're taking it We're taking it We're taking it down We're taking it We're taking it We're taking it down

Now we're bringing it We're bringing it We're bringing it back

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Worldwide!) Oh baby Oooh give me the time of my life (Ne-Yo, let's get it!) Let's get it now

[Verse 1 - Pitbull:] This is the last $20 I got

And I'm like Rodman, ready on deck I told her I wanna ride out, and she said yes We didn't go to church, but I got blessed

[Pre-Chorus - Ne-Yo:] I knew my rent was gon' be late about a week ago I worked my ass off, but I still can't pay it though "Time Of Our Lives" But I got just enough (feat. Ne-Yo) To get up in this club Hand me a good time, before my time [Ne-Yo:] is up I knew my rent was gon' be late about Hey, let's get it now a week ago I worked my ass off, but I still can't [Chorus - Ne-Yo:] pay it though Oooh I want the time of my life, But I got just enough yeah... To get off in this club Ohh baby Hand me a good time, before my time Oooh give me the time of my life is up Hey, hey, hey Hey, let's get it now Let's get it now

Oooh I want the time of my life (Mr. [Verse 2 - Pitbull:]

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Tonight I'm a lose my mind tonight... ohhh, yeah Better get yours cause I'm gonna get mine [Verse 3 - Pitbull:] Party every night like my last This for anybody going through tough Mommy know the drill, shake that ass times Go ahead baby let me see what you Believe me, been there, done that got But everyday above ground is a great You know you got the biggest booty day, remember that in this spot [Pre-Chorus] And I just wanna see that thing drop [Chorus] From the back to the front to the top You know me I'm off in the cut Always like a Squirrel, looking for a nut This isn't for show I'm not talking 'bout luck I'm not talking 'bout love, I'm talking 'bout lust Now let's get loose, have some fun Forget about bills and the first of the month It's my night, your night, our night, let's turn it up

[Pre-Chorus]

[Chorus]

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"Celebrate"

Mr. Worldwide Let's celebrate

I just wanna celebrate I just wanna celebrate Tonight we're making history I just wanna celebrate

Turn it up Turn it up

Well I've been patiently waiting for you to shake and shake it Make it or take it The point is we made it

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Quarter by the game, call us Tom Brady And it's not our fault that we have all the ladies But it's hard to see these ladies when your middle name's Equator All around the globe, matter fact see your later

They're great, we're great at world war, dominators "Sexy Beaches" And we're also some smooth (feat. Chloe Angelides) operators, and we gon' I wanna go somewhere exotic Boom boom around the world Let the summer search my body Boom boom no kidding girl Meet a sexy stranger in the lobby Boom boom Hey, hey, hey, hey That's the way we like to play We gon' I wanna jump into the deep end Boom boom around the world Get lucky like the number 7 Boom boom no kidding girl Treat every day like a vacation Boom boom Hey, hey, hey, hey That's the way we like to play I wanna see sexy beaches, hotels I just wanna celebrate I wanna see sexy beaches, hotels I just wanna celebrate Tonight we're making history Little mama wanna turn it up I just wanna celebrate Little mama wanna burn it up Little mama wanna live it up Turn it up Well, little mama better give it up Turn it up And the mama is like wow Live it up (Live it up), don't let life And the booty's like bang, bang, bang live you (Live you) I don't bring sand to the beach It's a good time (Good time), so we Bring the beach to the sand give you (Give you) Now live it up, live it up, live it up And I know what they want What you wanna do? And I know what they need I just look'em in the eyes I just wanna celebrate And they're leaving with me I just wanna celebrate We will do all the wrong things Tonight we're making history Wrong things you like I just wanna celebrate Baby, better do it tonight Let's ride Turn it up Let's celebrate I wanna go somewhere exotic Turn it up Let the summer search my body Let's celebrate Meet a sexy stranger in the lobby Hey, hey, hey, hey

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I wanna jump into the deep end Get lucky like the number 7 Treat every day like a vacation Hey, hey, hey, hey

I wanna see sexy beaches, hotels I wanna see sexy beaches, hotels

You can't save me, babe, it's too late I'm looking for a freak, not a "Day Drinking" soulmate (feat. Heymous Molly) Sexy beaches, hotels Mirrors on the roof [Chorus - Heymous Molly:] Making more fun - ain't that the truth Day drinking Whose on the world are not mine Sun goes up and drink goes down I just aim that time Gonna pass another round And bring a girlfriend To you and me and all these crazy Cause she's so damn fan muthafuckers

say Put your lips like a ring around my Woo! Now that's a fian-stay

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[Pre-Chorus - Heymous Molly]

[Chorus - Heymous Molly]

[Bridge x4 - Heymous Molly & Pitbull:] To the left, to the right To never waiting for the night

[Chorus - Heymous Molly]

"Drive You Crazy" (feat. Jason Derulo And Juicy J)

And let's ride... baby While I drive... you crazy

Let's ride... baby While I drive... you crazy

[Verse 1 - Pitbull:] Catch me on New Year's Eve, on Fox Bringing that Miami Heat, white hot She's like "papi, why you work so hard", why not? That's not what she says when I'm working that box Now ride baby, forget about the past and ride baby

Once you give it up, you'll be mine

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baby Not on the first night, don't lie baby

[Pre-Chorus - Pitbull:] Cause girl I like it fast, you like it slow Where I'm gonna take you, you never been before

Hit the gas until we lose control You in for a wild ride

[Chorus - Jason Derulo]

When I slap that ass, you soaking wet Tonights one night, that you won't "Wild Wild Love" forget (feat. G.R.L.) We tryna get a bone, let's play fetch, baby [Hook - GRL:] I'm on deck like an old cassette Oh-oh, this wild wild love of ours When I'm through, you gon' want you It can't be tamed, no a souvenir This wild wild love of ours Stuff so good, make you shed a tear It can't be tamed, no With a smile on your face from ear- For better or worse to-ear A blessing or a curse And a tattoo that say "Juicy J was Long live this wild wild love of ours here." Long live this wild wild love

[Pre-Chorus - Jason Derulo] [Verse 1 - Pitbull:] Ladies and gentleman [Chorus - Jason Derulo] You're looking at the new playboy Who you? That's right, Armando Christian Perez

And when it comes to that pretty little bitty kitty Don't stop get it get it baby let me pet it I got that wild love Love to get wild dirty freaky nasty, yeah I said it

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I'll make you lose your heart and your right mind at the same time I don't know if I can handle all five Don't believe me, bet it But baby we can try tonight, darlin' I'm obsessed with that wild love for sure You need it, you want it Even though it's a catch twenty-two All over your body It's a gift and curse for sure This loving I'm giving But baby you know that you love it It's worth more than money too, that's why You need it, you want it All over your body You need it, you want it I know that you want this All over your body Wild, wild, love This loving I'm giving It's worth more than money [Hook - GRL:] You need it, you want it Oh-oh, this wild wild love of ours All over your body It can't be tamed, no I know that you want this This wild wild love of ours Wild, wild, love It can't be tamed, no For better or worse [Hook - GRL:] A blessing or a curse Oh-oh, this wild wild love of ours Long live this wild wild love of ours It can't be tamed, no This wild wild love of ours All this wild wild love of ours It can't be tamed, no It can't be tamed, no For better or worse All this wild wild love of ours A blessing or a curse It can't be tamed, no Long live this wild wild love of ours For better or worse For better or worse A blessing or a curse A blessing or a curse Long live this wild wild love of ours Long live this wild wild love of ours [Outro:] [Verse 2 - Pitbull:] [Pitbull:] Not only am I a client, I'm the player Mr Worldwide president GRL The globe is my backyard, baby it's What better than five beautiful evident women When it comes to Miami, I always [GRL:] represent Yeah, yeah Read all about it, ladies and gents Long live this wild wild love of ours I'm the chico for the game I like my women yin I like my women yang I like my women fine I like them off the chain Take 'em all the world cup, Brazil, "Tudo bem?" You know I'll meet 'em, greet 'em, read 'em Treat 'em, always keep them feeling

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"This Is Not A Drill" (feat. Bebe Rexha)

[Intro x2 - Bebe Rexha:] This is not a drill This is not a false alarm This shit is for real Baby I'm a love you down

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This is not a drill This is not a drill This is not a drill, this is not a drill This is not a false alarm

[Chorus - Bebe Rexha]

[Verse 2 - Pitbull:] Mami got that top off, mami got that low ride Mami got that big trunk, wet paint, that right Mami got that get down, she got that lock jaw She got that slip, she got that slide, that Pacquiao Mami's a knockout and that's for real "We Are One (Ole Ola)" Ring the fire alarm, this is not a drill (feat. Jennifer Lopez & Claudia Mami's a knockout and that's for real Leitte) Ring the fire alarm, this is not a drill Put your flags up in the sky (put them [Chorus - Bebe Rexha] in the sky) (jogue lá no alto) And wave them side to side (side to side) (lado a lado) Show the world where you're from (show them where you're from) (we are one, baby) Show the world we are one (one love, life)

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Ole, Ole, Ole, Ola [x4] Two sides, one fight and a million eyes When the going gets tough The tough get going Hey, hey, hey One love, one life, one world, one Força, força come and sing with me, fight, Hey, hey, hey Whole world, one night, one place, Allez, allez come shout aloud with Brazil, me Everybody put your flags in the sky Hey, hey, hey and do what you feel Come on now Hey, hey, hey It's your world, my world, our world Come on now today Hey, hey, hey And we invite the whole world, whole world to play Put your flags up in the sky (put them It's your world, my world, our world in the sky) (jogue lá no alto) today And wave them side to side (side to And we invite the whole world, side) (lado a lado) whole world to play Show the world where you're from (show them where you're from) (we Es mi mundo, tu mundo, el mundo de are one, baby) nosotros Show the world we are one (one love, Invitamos a todo el mundo a jugar life) con nosotros Ole, Ole, Ole, Ola [x4] Put your flags up in the sky (put them in the sky) (jogue lá no alto) Claudia Leitte, obrigado And wave them side to side (side to side) (lado a lado) É meu, é seu, hoje é tudo nosso Show the world where you're from Quando eu chamo o mundo inteiro (show them where you're from) (we pra jogar are one, baby) É pra mostrar que eu posso Show the world we are one (one love, Torcer, chorar, sorrir, gritar life) Não importa o resultado, vamos extravasar Ole, Ole, Ole, Ola [x4] Put your flags up in the sky (put them Jenny, dale! in the sky) (jogue lá no alto) And wave them side to side (side to One night watch the world unite side) (lado a lado) Two sides, one fight and a million Show the world where you're from eyes (show them where you're from) (we Full heart's gonna work so hard are one, baby) Shoot, fall, the stars Show the world we are one (one love, Fists raised up towards the sky life) Tonight watch the world unite, world unite, world unite Ole, Ole, Ole, Ola [x4] For the fight, fight, fight, one night Watch the world unite

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