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Gay Rap Lyrics: Wah / Wah, wah, wah wah / Wah / Yo / 3, 2 / I like it fast, right in my ass (Hehehe, heh!) / I like it right after I cut the grass / Because I'm sweaty, I don't like girls named. #digbarthealbum FOLLOW THE INSTAGRAM- Listen to Digbargayraps the Album by DigBar on Apple Music. 17 Songs. Duration: 48 minutes. Album · DigBar · · 17 songs. Here are 21 LGBTQ+ rappers who came out despite rap music’s non-inclusive reputation: 1.

Mista Strange. British drill rapper Mista Strange has spoken about the perils of underestimation that come from being a publicly gay rapper. Content warnings: bigotry, sexual abuse. PostPomoHomo: 'Post-post-modern homosexuals' A movement of black gay artists, which inspired the likes of Deep Dickollective. Intersectionality: the interconnected nature of social categorisations such as race, class, and gender, regarded as creating overlapping and interdependent systems of discrimination or disadvantage.

When talking about queerness and hip-hop, the conversation usually pivots between two very polarised time frames. With a number of charting hip-hop artists feeling safe enough to be open about their sexual orientations, there seems to have been some sort of turning point in the last ten years. Hodges decision that guaranteed same-sex couples the right to get married in the USA.

This perceptibly sudden change in the way the industry labels, charts, artists, distributors has viewed queerness can also be felt through the different forms of artistic activism musicians have engaged in over the years. However, many artists today, such as Ocean, Lil Uzi Vert, Lil Nas X, Nicki Minaj and more have successfully incorporated themes of sexuality either into their mainstream song writing or their public personalities.

It is a common belief that hip-hop as a whole has always been firmly anti-queer. Hip-hop is notorious for breaking down boundaries and being a revolutionary act of expression. Few art forms can channel righteous anger through easily accessible means as well as hip hop does. Kendrick Lamar, NWA, and Immortal Technique are but a few examples of politically engaged rappers that deliver punchy and radical lyrics.

Kanye West, as crass as his public statements are now, in called against the use of homophobic remarks in hip-hop. Sensational naming aside, this hip-hop group was founded upon postmodernist critique of heteronormativity and race theory. Their mission statement was to dismantle and reconstitute their intersectionality through lyricism that was often much more intellectual and engaging than what was played on hip-hop radio stations in the early s.

That their inspiration was drawn from niche political and poetic circles made no difference as they spoke to and for their own communities. West suffered from both depression and AIDS. He found he could not talk about his experiences the way he wanted to, due to the hate he felt from the hip-hop community as well as the conflation of queerness with whiteness in the bay area at the time.

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When Phillip Atiga Goff joined the group, name was coined initially as a joke, a form of lexical blending of dick and collective, but it also was a way to create an empowering space for self expression, the way they saw women discuss erotica at the spoken word performances with which they were familiar. The final member to join was Ralowe Ampu and he brought his own experience in Marxist theory that provided further depth and intersectionality to their lyrics.

Mark Wilson interviewed the group and analysed their lyrics, providing really important context for looking back at this group. Though the group only lasted eight years, they left an important blueprint and precedent behind, off which artists in the s built. This quote from Complex paints a desperately succinct picture of one of the most unique-sounding and chaotic musical acts in recent hip-hop history.

It has been over a year since the self-professed boyband broke up and if there was one thing that remained consistent over their year span, it was their radical approach to redefining hip-hop as queer. Their lyrics cover a broad range of themes and topics. And they can come and cut my hand off and, and my legs off and.

And I'ma still be a boss 'til my head gone, yeah. This refers to how he has faced discrimination both as a gay man in a homophobic society and as a rapper facing discrimination from the industry. There is a brutal contrast, particularly with the song's delivery in mind, between the slurs, which stresses the perceived uncanniness of gay rapping.

The palpable tension between the two words draws an unsightly picture of the effort it takes to reconcile the intersectional pushback from the oppressive world a black gay man faces. Abstract, however, does not get a mention, possibly due to his abnormal, anti-mainstream art and background. Each member brings something striking, something different to each track, sometimes bringing together disparate ideas such as very up-beat, flashy bars on wealth contrasted against a story of forlorn love.

It charted high and shows just how mainstream such an odd-ball group can be.