Effects of Rap Music on the Self-Esteem of Girls

A Research Paper

ABSTRACT
This paper is designed to investigate whether rap music has an effect on the self-esteem of girls. This paper is likewise intended to examine whether repeated exposure to rap music that depicts women as sex objects engenders in girls a longing to be “sexy”. The ultimate objective of this said thinking would be to gain men’s desire and truly be considered a “woman”.
This study involves girls listening to rap music in three groups. The first group of girls will first listen to rap songs with lyrics. The second group will hear neutral pop music. Finally, the control group will not hear any music. Then, they will be permitted to “go out” and there they shall experience negative treatment from boys. They will be observed and all kinds of their reactions to the disrespect of boys shall be inconspicuously observed and recorded.

INTRODUCTION
When rock and roll music emerged in the 1950’s, there were many admonitions as to how its lyrics and beats would adversely affect its listeners, particularly teenagers. Now, what appear more potent are two genres that have emerged over the decades: heavy metal and rap music. Rock music seems to represent the ubiquitous “adolescent themes of rebellion and autonomy”. Meanwhile, rap music is “infamous for its inflammatory remarks towards women”.
This proposal would focus on rap music. Of the two, rap seems to cause more concern to society. Rock music, is said to symbolize the emotions (e.g. angst and rebellion) of teenagers. On the other hand, rap music is seen as a perpetuator of evil, particularly in the treatment of women.
Hip hop is a cultural movement started by inner-city youth in New York City during the 1970s. Rap or hip hop music is one of its ingredients. Rap music consists of rhythmic lyrics and uses techniques like assonance, alliteration, and rhymes.
Together with its complementary slang, fashion, and other elements, hip hop music has been received by many countries worldwide. Hip hop has also popularized the so-called “bling-bling” lifestyle, which glorified material wealth and social status, much to the horror of society.
Of all forms of popular music in the past decades, hip hop is the most censored because of its excessive use of expletives. It is also seen as an anti-establishment; many of its songs portray coup d’etats and even wars. After censorship, sometimes songs are left completely unintelligible for hearing. A famous parody of this was displayed in “Austin Powers in Goldmember”, in which a character’s entire verse was blanked out.
However, the influence of “bling-bling” and the pervasiveness of its expletives are not all of hip hop’s faults. There appear much more pressing matters than these.
A concerned Black citizen, Ife Oshun, reminisces how almost 50 years have passed since Dr. Kenneth Clark has proven in a test how “African-American children suffered from low self-esteem as a result of internalized racism”. Oshun asks how now, a seven-minute high school’s documentary has proven that things have not much changed. He concludes that the “popular culture” is part of the problem. He refers to the rappers and singers who “routinely spit… ‘bitch’”. They, Oshun believes, uphold power to “affect the minds of people” and either “negate racial stereotypes or perpetuate them”.
Bryon Hurt, a 36-year-old filmmaker and fan of hip-hop, claims that over time, he “began to become very conflicted about the music [he loves].” In his new documentary which was aired as part of a PBS Series in February 2007, he “questions the violence, degradation of women and homophobia in much of rap music.” His intended audiences were “young fans, hip-hop artists and… executives who profit from the… music… that “glorify swagger and luxury, portray women as sex objects, and imply… that education and hard work are for suckers and sissies.”
What hurts Hurt and other scholars most is the “domination of the hip-hop market by more violent and sexually demeaning songs and videos.” Many of today’s popular artists (e.g. Rolling Stones, Kid Rock, and Snoop Dog) “have capitalized on blatantly misogynistic lyrics, making the objectification of women as much a part of their acts as electric guitars or heavy bass”.
Ronald Ferguson, a Black education expert at Harvard University, states that the success of hip-hop produced “positive influences on the self-esteem of black youths”. However, he fears that children who become hooked may adopt hip hop’s themes “as their lens for viewing the world.” Today’s successful gangsta rap and their music videos often depict men as “extravagant thugs” and women, as mere sex toys.
“Misogyny and sexism are big… in American culture,” points out Michael Dyson, professor at the University of Pennsylvania. “The degrading of women is from time and memorial” and “is visualized and vocalized “in a very violent fashion” through hip hop.
In August 2006, RAND, a nonprofit think tank, found in a study that teenagers “start having sex sooner if their preferred music has sexually degrading lyrics.” Through telephone interviews, RAND gathered a sample of 1,242 kids, between 12 and 17 years old. After receiving parental consent, the teenagers were asked about their sexual behavior. They were interviewed one and three years after. Teens were also asked how they listened to 16 popular music albums of that time, of which the “most likely to contain degrading lyrics were from the rap… genre.”
"Lyrics classified as degrading depicted sexually insatiable men pursuing women valued only as sex objects," RANS researcher Steven Martino and colleagues said. The RAND researchers suggest degrading music offers teens a "script" dictating how to behave in “ambiguous situations”. RAND claims how this repeated exposure to such scripts may gradually cause teens to “act out these stereotyped gender roles”. Girls may gradually “expect to take a submissive role in their sexual relationships and to be treated with disrespect by their partners," Martino and colleagues write. Meanwhile, boys may come to “interpret reckless male sexual behavior as 'boys being boys' and dismiss girls' sexual preferences and desires as inconsequential," they say.
Videos of these rap songs could only be worse. Morgan Crooks, a 16-year-old high-school student from New Jersey “watches music videos with the devotion most record companies long for.” She says, “Mostly, in videos, the women are there to serve the men.”

METHOD
Participants:
120 girls between 13 and 17 years of age were randomly selected for this experiment. They were from six different schools representing six different states. Two of these states are classified as urban, another two semi-urban, and the last two rural. This was done to observe the difference between the acceptance of rap music in different states.

Materials:
The Beck Depression Inventory (BDI) and the State-trait Anxiety Inventory (STAI) were administered in a pre-test and a post-test. The BDI is a 26-question survey that rates feelings of depression on a scale from zero to three. A higher score indicates a higher level of depression. Feelings of self-dislike and amount of crying are also included in its headings. STAI is a test used to measure “anxiety proneness and the current level of tension and apprehension state.”

Songs:
The rap songs used were Ice Cube’s “No Vaseline”, Tupac Shakur’s “Hit’em Up”, and Eminem’s “Kim.” All these contain denigrating lyrics (see Appendix C). The pop songs to be used are M2M’s “Pretty Boy”, The Corrs’ “Summer Sunshine”, and Westlife’s “Evergreen”.
Equipment:
Three soundproof rooms in three different schools were provided. This provided more room for the experiment. All of these rooms were equipped with tables, chairs, and proper music equipment. Outside the rooms, along the hallways, and outside the building, hidden cameras and microphones were installed. Pens and papers were provided to the assigned boys.

PROCEDURE
Parents’ consent were provided before the experiment (see Appendix A). Questionnaires were administered to the girls and their parents/guardians. The questionnaire for the girls focused on demographics, music preferences, music listening habits, perception of men, and psychosocial functioning. The questionnaire for the parents covered past and current psychosocial functioning of their children and themselves, family demographics, music preferences and listening habits.
The questionnaires have no identifying mark, except for each family bearing the same number, and were answered separately. Then, they were sealed and tallied. The girls were told beforehand that they will participate in a study of teenage girls’ ability in memorizing popular song lyrics.
Participants in room one listened to rap music with misogynistic lyrics. Subjects in room two listened to pop music with romantic lyrics. Room three will be free of any music. The decibel level in rooms one and two were identical and remained constant. The six songs (three rap and three pop) lasted approximately four minutes each. The two sets were looped for five times, and played for approximately 60 minutes. This repetition or cycle of songs was explained to “enhance assimilation and comprehension of the songs’ lyrics for the two sets of participants”.
While in the separate rooms, the teenagers were pre-tested with the BDI and STAI questionnaires. Then, they were left alone to concentrate on memorizing the songs they will hear. After one hour, both sets of music stopped, the experiment administrator returned and announced that snacks are provided outside the building. Each girl can leave the room only after five minutes since the preceding girl has come out. Each is allowed to pass by the restroom. The remaining girls were provided paper in which they must write all lyrics they remembered.
As each girl came out of the room, she encountered negative treatments from boys. (Boys were carefully chosen and briefed before the experiment.) First, a boy accidentally bumped each girl in the hallway. The boy shrugged and didn’t say or act “sorry”. At the end of the hallway, a group of boys smirked and lewdly asked for each girl’s name. Outside the building, a boy asked each girl for a kiss in exchange of her snacks. All of the girls’ verbal and non-verbal reactions were recorded using pre-installed video and audio recording equipment (e.g. hidden cameras and microphones in the hallway, by the mirror in the restroom, and by the snacks table) and tallied. Whether the girl “prettified” herself in the mirror at the restroom was also be noted. The assigned boys were also be provided with paper and pen in which they noted the expressions and reactions of each girl that they encountered. These were kept out of the girls’ sight.
After getting their snacks, the girls immediately returned to the room and were seated in the front. They ate their snacks in the classroom and remained silent (or continued writing down lyrics) until everyone returned. BDI and STAI post-tests were administered to pin point discrepancies in the scoring. Once all subjects have completed the experiment they will be given a debriefing (see Appendix B) that would explain the true nature and purpose of the experiment.

RESULTS
All of the 120 girls were available and present during the entire duration of the experiment. The complete tallied tables listing all the recorded observations of the girls based on the hidden cameras and notes of the boys are available in Appendix C.

CONCLUSIONS
From the results of this experiment, it is evident that rap music (particularly misogynistic ones, which characterize almost all) has an effect on the self esteem of girls and also engenders in them a desire to be “sexy” to please boys.
From Table 1, we see that all the girls who listened to rap music took the administrator’s suggestion and passed by the restroom. All of them, except one, spent minutes in “prettifying”. An astonishing 34 spent more than five minutes in preparing to go out and face the boys. Only 28 from the girls who listened to pop music spent more than five minutes in front of the mirror. From the third group, only nine did the same. Also, from the third group, five opted to not pass by the restroom at all.
From Table 2, we see that the self-esteem of Group 1 girls has somewhat lowered after listening to misogynistic rap music. Of 40, 32 kept silent after colliding with the boy (with the boy shrugging at the most), while no one retorted at all. On the extreme are girls from Group 3. Of them, no one kept silent. Moreover, 35 shouted to the boy and demanded for a “Sorry” and declared light insults.
When a group of boys whistled at Group 1 girls, no one dared to say anything, while 27 acted as if she can’t see or hear at all. On the other hand, 19 of the girls from Group 3 and 16 from Group 2 bravely confronted the boys.
Finally, when asked for an undeserved kiss, nine from Group 1 readily gave the boy one, while not one from Group 3 did the same. On the opposite are 11 girls from Group 3 who had the guts to either say that they were offended or to attempt to hurt the harasser.
This experiment can serve as a mirror to the effect of listening to rap music to girls. We can conclude that listening to misogynistic lyrics of hip hop music can make girls feel less because they are viewed in rap music as mere sex toys for boys. This thinking eats up their self-esteem and causes them to be less aggressive and thus, more submissive to the threats of men and their domination of women.

References: (APA style of citation)

Steinem, Gloria. (2005). Microsoft Encarta Online Encyclopedia 2005 [CD-ROM].
Redmond, WA: Microsoft Corporation.

King, S., McConnell, J., Orr, M., Schreiber, T., Chase, T., Thornberg, S., Wolfe, J. (n.d.).
Effects of Rap and Heavy Metal Music Lyrics on Adolescent Behaviors. Retrieved April 4, 2007, from West Chester University Web site: http://clearinghouse.missouriwestern.edu/manuscripts/325.asp

Hip hop music. (2007.) Wikipedia. Wikimedia Foundation, Inc., US.

4. Oshun, I. (2006). Assorted Rants. Retrieved April 4, 2007, from Rants, Observations and
Musings from Ifè Oshun Web site: http://blogs.hiphoprnbsoul.com/ifeoshun/2007/01/19/does-rap-music-help-destroy-kids-self-worth/

Eckholm, Erik. (2006, December 24). Fan asks hard questions about rap music.
International Herald Tribune Americas. Retrieved April 4, 2007 from http://www.iht.com/articles/2006/12/24/america/web.1224hiphop.php and http://www.iht.com/articles/2006/12/24/america/web.1224hiphop.php?page=2

Musoke-Nteyafas, J. (2007, March 1). Help! My Teenager Wants to Be a Video Girl.
Culture Shox Media. Retrieved April 4, 2007 from http://www.afrotoronto.com/Articles/Feb07/Videogirl1.html

Amber, J. (n.d.). Dirty Dancing. Essence Communications Inc. Retrieved April 4, 2007
from http://www.essence.com/essence/takebackthemusic/dirtydancing.html

Williams, D. (2003, August 12). BEYOND RAP: Musical Misogyny. Tolerance.org.
Retrieved April 4, 2007 from http://www.tolerance.org/news/article_tol.jsp?id=831


APPENDIX A
Consent Application

I understand that my daughter has been asked to participate in a research project designed to test the short-term memory of girls regarding popular music lyrics. The number of participants in this study is 120. The girls come from six schools representing six states. The subjects range in age from 13 to 17. The study is being conducted to see how well girls in this age group remember popular song lyrics played within an hour. They will be given different types of written scales and assessments to complete before and after the study. These surveys will enable us to determine the students’ state of mind before and after listening to popular music. The entire study will be under video surveillance. Rest assured that the records will be kept completely confidential.
There will be minimal risk to the subjects that partake in the study. They will be listening to music with negative and/or explicit lyrics. There are no foreseeable long-term effects from participating in this study, but the youths will be listening to popular music that some find objectionable, but is played on area radio stations and MTV. There will be test administrators on hand to make sure any possible problem will be settled immediately. There will be no charge for participation in the study.
I understand that any information pertaining to me and/or my child obtained from this research will be kept strictly confidential. It has been explained to me that my identity will not be revealed in any description or publication of this research. Therefore, I consent to publication for scientific purposes. “An exception to confidentiality is information on child abuse or neglect that is obtained during this research. The information will be reported to the appropriate local or state agency in accordance with Pennsylvania law”.
I understand that I have the right to refuse to participate in this study or withdrawal at any time. I also understand that I may be withdrawn from the study at any time.

Signature of Legal Guardian _____________________________Date _____________
Signature of School Principle_____________________________Date______________

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APPENDIX B
Debriefing

Thank you for taking part in this study. The nature of this study was not to test the short-term memory of girls regarding popular music lyrics, but rather to examine the effect of rap music to the self-esteem of girls and to their ideation that they must be “sexy” to please men. The study was conducted to see if there is any change in behavior and or mood after listening to rap music that contains misogynistic lyrics. During the session some participants listened to rap music with negative lyrics, some listened to pop music that contained neutral lyrics, and the rest did not listen to music at all. Students were also given different types of written scales and assessments to complete, before and after the study. These allowed us to analysed their state of mind before and after the experiment.
Through this study, and others like it, we hope to gain a better understanding of the effect of rap music on girls’ self-esteem and beliefs. There are no foreseeable long-term effects for the girls who took part in this experiment. The subjects were never in grave physical danger.
Thank you for your time and if you have any questions, feel free to contact us.

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APPENDIX C
Tables of Result:

Table 1: Results when each girl who goes to get her snacks was allowed to pass by the restroom to “freshen up” since many school boys were seen around. In the x-axis are the reactions; in the y-axis are the groups.

Group
Spent at least five minutes in front of the restroom’s mirror in “prettifying”
Spent some time prettifying but less than five minutes
Passed by the restroom but only peed
Did not pass by the restroom at all
Group 1 (with misogynistic rap music)
34
5
1
0
Group 2 (with neutral pop music)
28
9
3
0
Group 3 (with no music at all)
9
5
21
5
TOTAL
73
20
25
2

Table 2: When boy bumps girl in the corridor and does not say sorry.

Group
Stared at boy; kept silent
Opened mouth as if to say something but seemed to change mind
Said “I’m sorry” to the boy
No reaction
Glared at/after the boy
Told/shouted at the boy to “Say sorry!”, “Hey! You bumped me.”, “Are you blind?!”, etc.
Group 1 (with misogynistic rap music)
32
2
5
0
1
0
Group 2 (with neutral pop music)
4
2
3
2
2
27
Group 3 (with no music at all)
0
2
0
0
3
35
TOTAL
36
6
8
2
6
62


Table 3: When a pack of boys whistle at and ask for a girl’s name while she’s passing by.

Group
Avoided looking at the boys; acted as if she didn’t see or hear anything
Looked at boys but didn’t say anything
Looked at the boys; hurried walking
Slowed pace of walking and said her name to the boys
Glared at the boys but didn’t say anything
Glared at the boys and asked “Why are you whistling at me?”, “I’m not a dog”, etc.
Group 1 (with misogynistic rap music)
27
11
0
0
2
0
Group 2 (with neutral pop music)
14
3
2
3
17
1
Group 3 (with no music at all)
6
8
1
4
5
16
TOTAL
47
22
3
7
22
19


Table 4: When a boy asks for a kiss from the girl in exchange for the snacks.

Group
Willingly gave the boy a kiss on the first time he asked
Gave the boy a kiss on the second, third, and so on time he asked
Tried to compromise (e.g. instead of a kiss, a hug instead, etc.)
Told the boy that she’ll return to the room and complain to the administrator if he still doesn’t give her snacks
Showed signs of aggression (e.g. put her hands on her hips, said “Will you give my snacks or not?”, etc.)
Shouted, “Give my snacks now!”, “How dare you ask for a kiss!”, attempted to punch/kick the boy, etc.
Group 1 (with misogynistic rap music)
9
16
10
5
0
0
Group 2 (with neutral pop music)
4
7
15
7
5
2
Group 3 (with no music at all)
0
2
8
10
9
11
TOTAL
47
22
3
7
22
19

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APPENDIX D
Lyrics:

Ice Cube’s “No Vaseline” (from http://www.azlyrics.com/lyrics/icecube/novaseline.html)

Got damn, I'm glad ya'll set it off.Used to be hard, now you're just wet and soft.First you was down with the AK,and now I see you on a video with Michel'le?Lookin' like straight bozos.I saw it comin', that's why I went solo.And kept on stompin', when ya'll mothafuckers moved straight outta Compton.Livin' with the whites, one big house,and not another nigga in site.I started off with too much cargo,dropped four niggas now I'm makin' all the dough.White man just rulin'.The Niggas With Attitudes -- who ya foolin'?Ya'll niggas just phony,I put that on my mama and my dead homeys.Yella Boy's on your team, so you're losin';Ay yo Dre, stick to producin'.Callin' me Arnold, but you Been-a-dick;Eazy E saw your ass and went in it quick.You got jealous when I got my own company,but I'm a man, and ain't nobody helpin' me.Tryin' to sound like Amerikkka's Most,you could yell all day but you don't come close.Cuz you know I'm the one that flown,ya done run 100 miles, but you still got one to go.With the L-E-N-C-H M-O-B, and ya'll disgrace the C-P-T.Cuz you're gettin' fucked out your green by a white boy,with no vaseline...[Refrain] [L.L. sample:] "Now you're gettin' done without vaseline..." [3x][Biz Markie sample:] "Damn, it feels good to see people...on it"The bigger the cap, the bigger the peelin',who gives a fuck about a punk-ass villain?You're gettin' fucked real quick, and Eazy's dick, is smellin' like MC Ren's shit.Tried to tell you a year ago,but Willie D told me to let a hoe be a hoe, soI couldn't stop you from gettin' ganked,now let's play big-bank-take-little-bank.Tried to dis Ice Cube, it wasn't worth itcuz the broomstick fit your ass so perfect.Cut my hair and I'll cut them balls,cuz I heard you're, like, givin' up the drawers.Gang-banged by your manager, fella, gettin' money out your ass, like a mothafuckin' Ready Teller.Givin' up the dollar bills,now they got the Villain with a purse and high-heels.So don't believe what Ren say,cuz he's goin' out like Kunte Kinte,but I got a whip for ya Toby;used to be my homey, now you act like you don't know me.It's a case of divide-and-conquer,cuz you let a Jew break up my crew.House nigga gotta run and hide,yellin' Compton, but you moved to Riverside.So don't front, MC Ren, cuz I remember when you drove a B 2-10.Broke as a mothafuckin' joke.Let you on the scene to back up the Verse Team.It ain't my fault, one nigga got smart,and they rippin' your asshole apart.By takin' your green, oh yeah,the Villain does get fucked with no vaseline.[Refrain scratched] I never have dinner with the President.I never have dinner with the President.I never have dinner with the President.And when I see your ass again, I'll be hesitant.Now I think you a snitch,throw a house nigga in a ditch.Half-pint bitch, fuckin' your homeboys.You little maggot; Eazy E turned faggot.With your manager, fella,fuckin' MC Ren, Dr. Dre, and Yella.But if they were smart as me,Eazy E would be hangin' from a tree.With no vaseline, just a match and a little bit of gasoline.Light 'em up, burn 'em up, flame on...till that Jheri curl is gone.On a permanent vacation, off the Massa plantation.Heard you both got the same bank account,dumb nigga, what you thinkin' bout?Get rid of that Devil real simple, put a bullet in his temple.Cuz you can't be the Nigga 4 Life crew with a white Jew tellin' you what to do.Pullin' wools with your scams, now I gotta play the Silence of the Lambs.With a midget who's a punk too,tryin' to fuck me, but I'd rather fuck you.Eric Wright, punk, always into somethin', gettin' fucked at night.By Mista Shitpacker, bend over for the gotdamn cracker, no vaseline...

Tupac Shakur’s “Hit’em Up” (from www.azlyrics.com/lyrics/2pac/hitemup.html)

I ain't got no mutha fuckin friendsThats why I fucked your bitchYou fat mutha-fucka {Take Money}West SideBad Boy Killers {Take Money}You know who the realist isniggas we bring it to {Take Money}(ha ha, that's alright)First off, fuck your bitchAnd the click you claimWest side when we rideCome equipped with gameYou claim to be a playaBut, I fucked your wifeWe bust on Bad Boysniggas fuck for LifePlus Puffy tryin' to see me weakHearts I ripBiggie Smalls and Junior MafiaSome mark ass bitchesWe keep on comingWhile we running for yah jewelsSteady gunningKeep on busting at them foolsYou know the rulesLittle Ceasar go ask you homieHow i'll leave yahCut your young ass upSee yah in piecesNow be deceasedLittle Kim,Don't fuck around with real G'sQuick to snatch your ugly ass, off the streetsSo fuck peaceI'll let them niggas knowIt's on for LifeDon't let the west sideRide the night (ha ha)Bad Boys murdered on Wax and killfuck with meAnd get your caps peeledYou know, See[Chorus]Grab your glocks when you see 2pacCall the cops when you see 2pac, UhhWho shot me,But, your punks didn't finishNow, you 'bout to feel the wrath of a menacenigga, I hit 'em upCheck this outYou mutha-fuckas know what time it isI don't know why I'm even on this trackY'all niggas ain't even on my levelI'm going to let my little homiesRide on yahbitch made ass Bad Boys bitches{ahh yo, yo, hold the fuck up}Get out the way yoGet out the way yoBiggie Smalls just got droppedLittle move pa*s the macAnd let me hit 'em in his backFrank White needs to get spanked rightFor setting up trapsLittle accident murderersAnd I ain't never heard of yahPoise less gats attack when I'm serving yahSpank the shankYour whole style when I gankGuard your rankCause I'm a slam your ass in a pangPuffy weaker than a fuckin' blockI'm running through niggaAnd I'm smoking Junior MafiaIn front of yah niggaWith the ready powerTucked in my GuessUnder my Eddie BowerYour clout petty sourI push packages ever hourI hit 'em up[Chorus]Grab your glocks when you see 2pacCall the cops when you see 2pac, UhhWho shot me,But, your punks didn't finishNow, you 'bout to feel the wrath of a menacenigga, We hit 'em upPeep how we do itKeep it realIts penitentiary steelThis ain't no freestyle battleAll you niggas getting killedWith your mouths openTryin' to come up off of meYou and the clouds hopingSmoking dopeIt's like a Shermineniggas think they learned to flyBut they burn mutha-fucka you deserve to dieTalking about you Getting MoneyBut its funny to meAll you niggas living bummyWhile you fucking with me?I'm a self made MillionaireThug livin', out of prisonPistols in the Air {Air} (Ha Ha)Biggie remember when I use to let you sleep on the couchAnd beg the bitch to let you sleep in the houseNow its all about versaceYou copied my styleFive shots couldn't drop meI took it and smiledNow I'm back to set the record straightWith my A-KI'm still the thug that you love to hateMutha-fucka I'll Hit 'Em UpI'm from N E W Jers.Where plenty of murder occursNo points to comeWe bring drama to all you herdsNow go check the scenerioLittle Ceas'I'll bring you fake G's to yah kneesCopin' pleas with theseLittle Kim is yahCoked up or doped upGet your little Junior Whopper click smoked upWhat the fuck?Is you stupid?I take money,crash and mash through BrooklynWith my click looting, shooting, and polluting your blockWith fifteen shot,Cocked glock to your knotOutlaw Mafia click moving up another notchAnd your Pop stars popped and get dropped and moppedAnd all your fake ass east coast propsBrainstormed and lockedYou'se a beat biterPac style takerI'll tell you to face, you ain't nothing shit but a fakerSo fill the Alize with a chaser'bout to get murdered for the paperE.d.i I mean post the scene of the caperLike a loc, with little Ceas' in a choke (uhh)Toting smoke, we ain't no mutha-fuckin' jokeThug Life, niggas better be knownBe approachingIn the wide open, gun smokingNo need for hopingIt's a battle lostI gottem crossed as soon as the funk is bopping offnigga, I hit 'em upNow you tell me who wonI see them, they run (ha ha)They don't wanna see usWhole Junior Mafia clickDressing up to be usHow the fuck they gonna be the Mob?When we always on out jobWe millionaire'sKilling ain't fairBut somebody got to do itOh yah Mobb Deep (uhh)You wanna fuck with usYou Little young ass mutha-fuckasDon't one of you niggas got sickle-cell or somethingYou fucking with me, nigga ?You fuck around and catch a seizure or a heart-attackYou better back the fuck upBefore you get smacked the fuck upThis is how we do it on our sideAny of you niggas from New York that want to bring it,Bring it.But we ain't singing,We bringing dramafuck you and your mother fucking mama.We gonna kill all you mother fuckers.Now when I came out, I told you it was just about biggie.Then everybody had to open their mouth with a mother fuckin opinionWell this is how we gon' do this:fuck Mobb Deep,fuck Biggie,fuck Bad Boy as a staff, record label, and as a mother fuckin crew.And if you want to be down with Bad Boy,Then fuck you too.Chino XL, fuck you too.All you mother fuckers,fuck you too.(take money, take money)All of y'all mother fuckers,fuck you, die slow mother fucker.My fo' fo' (.44 magnum) make sure all yo' kids don't grow.You mother fuckers can't be us or see us.We mother fuckin' Thug Life riders.West Side till' we die.Out here in California, niggaWe warned ya'We'll bomb on you mother fuckers.We do our job.You think you the mob, nigga, we the mother fuckin' mobAin't nuttin' but killersAnd the real niggas, all you mother fuckers feel us.Our shit goes triple and four quadrupleYou niggas laugh cuz our staff got guns under they mother fuckin' beltsYou know how it is and we drop records they feltYou niggas can't feel itWe the realistfuck 'em.We Bad Boy killas.

Eminem’s “Kim” (from www.azlyrics.com/lyrics/eminem/kim.html)

[Eminem]Aww look at daddy's baby girlThat's daddy babyLittle sleepy headYesterday I changed your diaperWiped you and powdered you.How did you get so big?Can't believe it now your twoBaby you're so preciousDaddy's so proud of youSit down bitchIf you move again I'll beat the shit out of you[Eminem](Eminem as Kim)(Okay)Don't make me wake this babyShe don't need to see what I'm about to doQuit crying bitch, why do you always make me shout at you?How could you?Just leave me and love him out the blueOh, what's a matter Kim?Am I too loud for you?Too bad bitch, your gonna finally hear me out this timeAt first, I'm like all rightYou wanna throw me out? That's fine!But not for him to take my place, are you out you're mind?This couch, this TV, this whole house is mine!How could you let him sleep in our bed?Look at KimLook at your husband now!(No!)I said look at him!He ain't so hot now is he?Little punk!(Why are you doing this?)Shut the fuck up!(You're drunk! You're never going to get away at this!)You think I give a fuck!Come on we're going for a ride bitch(No!)Sit up front(Well I can't just leave Haley alone, what if she wakes up?)We'll be right backWell I will you'll be in the trunk[1] - So long, bitch you did me so wrongI don't wanna go onLiving in this world without you[Repeat 1]You really fucked me KimYou really did a number on meNever knew me cheating on you would come back to haunt meBut we was kids then Kim, I was only 18That was years agoI thought we wiped the slate cleanThat's fucked up!(I love you!)Oh God my brain is racing(I love you!)What are you doing?Change the station I hate this song!Does this look like a big joke?(No!)There's a four year old boy lyin' dead with a slit throatIn your living room, ha-haWhat you think I'm kiddin' you?You loved him didn't you?(No!)Bullshit you bitch don't fucking lie to meWhat the fuck's this guy's problem on the side of me?Fuck you asshole, yeah bite meKim, KIM!Why don't you like me?You think I'm ugly don't you(It's not that!)No you think I'm ugly(Baby)Get the fuck away from me, don't touch meI HATE YOU! I HATE YOU!I SWEAR TO GOD I HATE YOUOH MY GOD I LOVE YOUHow the fuck could you do this to me?(Sorry!)How the fuck could you do this to me?[Repeat 1 (2x)]Come on get out(I can't I'm scared)I said get out bitch!(Let go of my hair, please don't do this baby)(Please I love you, look we can just take Haley and leave)Fuck you, you did this to usYou did it, it's your faultOh my God I'm crackin' upGet a grip MarshallHey remember the time we went to Brian's party?And you were like so drunk that you threw up all over ArchieThat was funny wasn't it?(Yes!)That was funny wasn't it?(Yes!)See it all makes sense, doesn't it?You and your husband have a fightOne of you tries to grab a knifeAnd during the struggle he accidentally gets his Adam's apple sliced(No!)And while this is goin' onHis son just woke up and he just walks inShe panics and he gets his throat cut(Oh my God!)So now they both dead and you slash your own throatSo now it's double homicide and suicide with no noteI should have known better when you started to act weirdWe could've...HEY! Where you going? Get back here!You can't run from me KimIt's just us, nobody else!You're only making this harder on yourselfHa! Ha! Got'cha!(Ahh!)Ha! Go ahead yell!Here I'll scream with you!AH SOMEBODY HELP!Don't you get it bitch, no one can hear you?Now shut the fuck up and get what's comin to youYou were supposed to love me{*Kim choking*}NOW BLEED! BITCH BLEED!BLEED! BITCH BLEED! BLEED![Repeat 1 (2x)]

M2M’s “Pretty Boy” (from http://www.lyrics007.com/M2M%20Lyrics/Pretty%20Boy%20Lyrics.html)

Verse 1I lie awake at nightSee things in black and whiteI’ve only got you inside my mindYou know you have made me blindVerse 2I lie awake and prayThat you will look my wayI have all this longing in my heartI knew it right from the startChorusOh my pretty pretty boy I love youLike I never ever loved no one before youPretty pretty boy of mineJust tell me you love me tooOh my pretty pretty boyI need youOh my pretty pretty boy I doLet me insideMake me stay right beside youVerse 3I used to write your nameAnd put it in a frameAnd sometime I think I hear you callRight from my bedroom wallVerse 4You stay a little whileAnd touch me with your smileAnd what can I say to make you mineTo reach out for you in timeChorusBridgeOh pretty boySay you love me tooChorus

The Corrs’ “Summer Sunshine” (from www.lyricstop.com/s/summersunshine-thecorrs.html)

Everyone's changing, I stay the same I'm... a solo cello outside a chor-us I've got a secret, It's time for me to tell that you've been keeping me warm Just sweet beginnings and bitter en-dings In coffee city, we borrowed hea-ven Don't give it back, I've never felt so wanted Are you taking me home? You tell me you have to go... [chorus]In the heat of summer sunshine I miss you like nobody else In the heat of summer sunshine I kiss you, and nobody needs to know Now that you've left me, there's no retur-ning I keep comparing, you're always win-ning I try to be strong but you'll never be more wanted Will you make me at home? Don't tell me you have to go... [chorus]In the heat of summer sunshine I miss you like nobody else In the heat of summer sunshine I kiss you, and nobody needs to know Ya da... ya da... ya da To sweet beginnings and bitter en-dings In coffee city, we borrowed hea-ven Don't give it back Winter is coming and I need to stay warm The heat..... [chorus]In the heat of summer sunshine I miss you like nobody else In the heat of summer sunshine I kiss you, and nobody knows [chorus]In the heat of summer sunshine I miss you like nobody else In the heat of summer sunshine I kiss you, and nobody needs to know

Westlife’s “Evergreen” (from http://www.sing365.com/music/lyric.nsf/Evergreen-lyrics-Westlife/BF1E28353E5F8B4D48256AFC00256787)

Eyes Like a sunrise Like a rainfall Down my soul And I wonder I wonder why you look at me like that What you're thinking What's behind Don't tell me But it feels like love ChorusI'm gonna take this moment And make it last forever I'm gonna give my heart away And pray we'll stay together Cause you're the one good reason You're the only girl that I need Cause you're more beautiful than I have ever seen I'm gonna take this night And make it evergreen Touch Like an angel Like velvet to my skin And I wonder Wonder why you wanna stay the night What you're dreaming What's behind Don't tell me But it feels like love Chorus(Oh yeah don't tell me But it feels like love) I'm gonna take this moment And make it last forever I'm gonna give my heart away And pray we'll stay together Cause you're the one good reason You're the only girl that I need Cause you're more beautiful than I have ever seen I'm gonna take this night And make it evergreen