Every few months, a new anthem comes along, one that is near universally recognizable among the youth. These songs are omnipresent; pervading online discourse, high school and college parties and every car with a decent sound system. For much of the autumn months of 2016, Rae Sremmurd's banger "
Black Beatles" held the distinction of being the preferred track of young people, especially with the popularity of the
Mannequin Challenge. With the coming of the winter months, "Black Beatles" has been surpassed by the Migos' tour de force "
Bad and Boujee", with the first two lines "rain drop, drop top" becoming the hottest new meme on Twitter and Instagram.
"Bad and Boujee" is essentially a testimonial by the Migos'
enforcer Offset to the bourgeois mentality and attractiveness of his female partner as well the ruthlessness of his male companions. Offset is backed up in his claims in the second and third verses by fellow Migos member Quavo and Philadelphia rapper Lil Uzi Vert respectively, with renowned producer Metro Boomin providing the backing instrumentals.
The premise of the song is brilliantly dichotomous, illustrating the double-lives of young black men who came up in rags-to-riches circumstances. Offset makes this clear in the opening seconds of the song, asserting, "
You know, so we never really had no old money, we gotta whole lotta new money though." He goes on to start the hook with vivid imagery, describing himself
hot-boxing a convertible with
high end marijuana in the rain.This line uses quintessential hip-hop braggadocio to the point of incorporating magic realism, since having an enclosed area for smoke to gather is one of the basic requirement of a hot-box. However, for Offset, the laws of nature are just tiny obstacles standing in the way of him making timeless classics. He continues the hook rapping about his swashbuckling ways, including bragging about having sex with the listener's female partner, calling the aforementioned female partner a
thot, cooking crack in a Crock-Pot, acknowledging his rags-to-riches background, declaring his distrust for everybody, announcing he has a plethora of high-capacity magazines and of course asserting that his female partners are "bad and boujee" while his male companions are ruthless savages.
Almost every part of the song contains contrasting imagery between wealth and poverty, high-class and low-class, ruthless and sensitive. This starts with the first few lines of the song, with Offset flipping the idea of the hot-box, something traditionally done by cash-trapped teenagers packed in a hooptie to get high as possible with a limited amount of weed (
word to Barry O) on its head by describing himself hot-boxing a luxury convertible. The contrast continues,especially when Offset talks about his female interests versus when he talks about himself and his male friends. The male figures in the song are almost exclusively described as "savage", "ruthless", distrusting and so on, while female figures are described attractive,"bad" and high class,"boujee". Such is inline with traditional gender roles around the world, even mirroring the Chinese concept of
yin and yang, where yin, the feminine energy,is passive,while yang, the male energy,is active. However, rigid social expectations come with costs, which is evident in Offset's lyrics; he raps a line where he says "I tell that bitch to come comfort me" followed by a line where he describes his general distrust of society and uses his material success as a crutch, "I swear these niggas is under me,they hate and the devil keep jumpin' me, bankrolls on me keep me company...". It's clear that the pressures of growing up as a disadvantaged black male in an unforgiving environment has taken a toll on Offset, which he tries to counteract with the quintessential measure of success in America: material wealth. Nevertheless, material wealth cannot take the place of basic human needs, which is evident in Offset's call for comfort as quoted previously.
Hyper-masculine attitudes such as those described above are common throughout history as an imperfect coping mechanism in areas suffering from abject poverty and violent conflict, be it in Medieval Europe, present-day Yemen (worthy to note that
the United States government plays a huge role in perpetuating violence in Yemen),parts of present-day of Central America and South Asia, or in the case of the Migos, the slums of metropolitan Atlanta. This isn't to say that such hyper-masculine attitudes are inherent in the aforementioned areas or peoples, but rather, these attitudes are the by-products of living in feudal and scarce environments. One of the great lessons of history is that no situation will remain static; the world is an ever-changing, dynamic entity. For example, both Japan and Western Europe were two of the most feudal societies of the past thousand years,with constant internal warfare and strict social hierarchies. However, by attaining social stability,generating wealth for most sectors of the population and instituting a social outlook based on reason and rationality, these societies have developed into some of the advanced in the world. It is important to point out that both Western Europe and Japan civilized their own societies while simultaneously engaging in some of the most barbaric acts in human history during their quest for resources in the Global South. Still, it is not a necessity to engage in such rampant barbarism to civilize a society, it is possible to distribute wealth to undeserved sectors of the population without extreme bloodshed as shown by the recent developments in
Ecuador and
Nicaragua.
Similar to how traditional gender roles are evident in "Bad and Boujee", the lack of class consciousness in American society can also be identified throughout the song. Historian Ronald Wright paraphrased American novelist John Steinbeck by writing,"Socialism never took root in America because the poor see themselves not as an exploited proletariat but rather temporarily embarrassed millionaires." In the case of the Migos, the part about being temporarily embarrassed millionaires does hold true, as the group has accumulated a
vast fortune through its musical success. Nonetheless, for the vast majority of people in poor, black communities across the United States, the obstacles for upward mobility remain greater in comparison to any other demographic group. This means being
disproportionately targeted by the police, having
less access to good education,
being less likely to get job offers despite having competent resumes, and so on. The experience of the people residing in these predominantly low-income, black communities can roughly be compared to the gladiator duels that took place in the stadia of Ancient Rome. In both cases, the most marginalized groups of the respective societies have to duel it out with the others from the same socio-economic status for the enjoyment of the masses while getting fed crumbs by those in power. Like the Migos, there were numerous gladiator champions who were able to fight their way to freedom and glory, however, this could only happen by brutally competing against and eliminating their peers in their journey to the top. Yet in the case of the Migos, some remnants of class solidarity are still evident, especially in the imagery shown in the
music video, which only adds to the ongoing dichotomy in the song. Such imagery starts from the opening seconds of the video, where Offset and two female video models, all wearing high-end designer clothing and jewelry, are juxtaposed with low-income housing visible in the background. This continues, with scenes of the group eating out of takeout Chinese boxes that have designer logos painted over them. Next the group heads over to a greasy spoon diner, now joined by fellow Migos band mates Quavo and Takeoff, where they are simultaneously popping bottles of gold plated champagne while eating instant cup-noodles and fried chicken buckets. The video then alternates with the group buying alcohol from a hood liquor store with credit cards (if you've never been to a hood liquor store, the vast majority of transactions are cash-based) and ends with Lil Uzi Vert joining them riding quads and dirt bikes through open streets, a tradition popular in the urban core of Uzi's home city of Philadelphia. All of this shows the dual lives of those straddling two distinct identities, something inherent in those whose identities may deviate from what is acceptable or common in mainstream society.
As the way history is subject to change through time, the same is true of people. For example, the founder of the Black Panther Party Huey P. Newton led a
life of crime in his teenage years before teaching himself how to read in jail and later obtaining a college degree. Through his formation of the Black Panther Party, Newton was able to organize an entity that provided much needed
social services such as
free breakfast for inner-city youth and
armed patrols against police brutality. Which is to say, it's entirely possible that groups like the Migos can be develop stronger class solidarity in the coming years, similar to how
Spartacus led the gladiators against the the repression of the Roman Republic in the Third Servile War. Despite many of the problematic parts of "Bad and Boujee", it is still impossible not to like the song (unless you're a swaggerless clowncake) and root for the Migos' success, which why the song is currently
topping the charts. These are three men who beat all the odds, displaying their brilliant, staccato-ed rap delivery and eccentric ad-libs; it's as if a Horatio Alger novel was recreated with a modern setting and more a diverse cast. With all the nuance in the positive and negative aspects of the song, it is possible to take away many lessons on solidarity from all that is discussed above; solidarity does not mean agreeing with every single aspect of another person or group's values but rather showing unity in the face of a common struggle.