A number-one on the Billboard R&B chart from 1946. Apparently, this phrase originated in the early 1900s as a racist joke about a slave stealing chickens. An excerpt here from ‘Everybody’s Magazine’ from 1908: A Southerner, hearing a great commotion in his chicken-house one dark night, took his revolver and went to investigate. “Who’s there?” he sternly demanded, open the door. No answer. “Who’s there? Answer, or I’ll shoot!” A trembling voice from the farthest corner: “’Deed, sah, dey ain’t nobody hyah ’ceptin’ us chickens.” So, yeah: pretty racist and awful! In a radio show excerpt that I listened to (https://www.waywordradio.org/us-chickens/), the hosts suggest that by the time it had been turned into a hit song in 1946, it had lost all of that context. I think that’s an awfully convenient assertion for two white people to make over a hundred years later!

Thanks to Twitter, the hashtag has become an important linguistic shortcut. But while everyone from Robin Thicke to Beyoncé has used the symbol as part of their art, only a few have truly taken advantage of its culture-jamming possibilities.

But when we are talking about a marginalized group that isn’t even offered the same legal rights as the rest of the population in America and is still discriminated against in psychologically and physically horrible ways worldwide, there’s me who will absolutely moralize against the use of the word “faggot” the way Tyler, the Creator uses it. That’s when.

How native-language subtitled music videos dramatically increased literacy in rural India. And there's a local professor here promoting the same SLS ('Same-language Subtitles') idea. Would be nice to talk to him.

"When these rappers say 'no homo,' it can seem a bit like a gentleman's agreement, nodding to the status quo while smuggling in a fuller, less hamstrung notion of masculinity. This is still a concession to homophobia, but one that enables a less rigid definition of the hip-hop self than we've seen before. It's far from a coup, but, in a way, it's progress."

Impressive quadralingual freestyling.

Song featured on "Lost in Translation" soundtrack