The lyrics of the song ‘R.A.P. Music’ use the linguistic features of, “non-standard English, varieties of English, language play and creativity, religious rhetoric and allusions to identity” (The Open University, 2016, p. 31). In turn, this essay will explore these features and through analysis of the language used show that the text is an anti-religious protest and that conscious hip-hop has life-changing powers.
Non-standard English is used in the lyrics of the song ‘R.A.P Music’. The variety of English is a generic urban dialect, a descriptive use of language. In contrast, commenting on the song, Killer Mike, part of hip-hop’s community of practice adopts diction intended for a wider audience. Using non-standard English can be viewed as a non-violent protest against religion’s failure to engage with
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Music’, using the pronoun I, Mike is the subject cast in the role of a preacher; an example of status of speaker. The refrain uses persuasive language, end rhyme and repetition of significant words to protest that conscious hip-hop offers an alternative to negative hip-hop and religion, “This is church; front, pew, amen, pulpit what my people need is the opposite of bullshit” Killer Mike (cited in The Open University, 2016, Assessment Guide p. 30). ‘R.A.P Music’ makes reference to higher authority with the lyrics, “that glory in the sky” and, “the good lord call me home” Killer Mike (cited in The Open University, 2016, Assessment Guide p. 30). Intertextuality also features in the quotes, “That Sade, that love is king, that Coltrane, that love supreme” and, “That Miles Davies, that Bitches Brew, that “beeyatch” said by Playboy too” Killer Mike (cited in The Open University, 2016, Assessment Guide p. 30). The first quote alludes to the theme of love being universal as well as Christian. The second quote is difficult to interpret and may refer to a link between pornography and accusations of misogyny within negative