“As social phenomena, languages are tied up in world of unequal power relations, gaining or losing status not based on technical linguistic grounds but on social judgement, biases, and stereotypes that are based on the status of their speakers. As such, we argue that white America's love-hate relationship with black modes of communication can only be interpreted within a framework that considers language a primary site of cultural contestation. It should be clear by now that it's about more than a mothafucka, right? Our analysis of Black Language forms that the dominant culture considers inflammatory, controversial, or stigmatized allows us to make several observations. First, building off what anthropologist and linguist Arthur Spears noted in his discussion of uncensored speech, Black verbal culture, like all cultures is "a complex network of predispositions, values, behaviors, expectations and routines." Language practices, in their varying sociocultural contexts, can only be understood if read within the full range of the community's speech activities, and that requires rigorous ethnographic search and analysis. Second the community's beliefs and ideas about language- it's language ideologies- should be the primary point of departure for investigation and interpretation.”

“As with outlaw figures, in diverse musical and oral cultures throughout the world- Mexican corridos and Egyptian shaabi music, for example- Hip Hop's irreverence toward dominant values and noncompliance with the status quo creates alternative, counterhegemonic spaces.”

“1. Close Friend, someone who got yo back, yo "main nigga." 2. Rooted in blackness and the Black experience. From a middle-aged social worker: "That Brotha ain like dem ol e-lights, he real, he a shonuff nigga" 3. Generic, neutral refrence to African Americans. From a 30 something college educated Sista: "The party was live, it was wall to wall niggaz there"4. A sista's man/lover/partner. from the beauty shop. "Guess we ain gon be seein too much of girlfriend no mo since she got herself a new nigga" From Hip Hop artist Foxy brown, "Ain no nigga like the on I got." 5. Rebellious, fearless unconventional, in-yo-face Black man. From former NBA superstar Charles Barkley, "Nineties niggas... The DailyNews, The Inquirer has been on my back... They want their Black Athletes to be Uncle Tom. I told you white boys you've never heard of a 90s nigga. We do what we want to do" quoted in The Source, December 1992). 6. Vulgar, disrespectful Black Person, antisocial, conforming to negative sterotype of African Americans. From former Hip Hop group Arrested Development, in their best-selling song, "People Everyday" 1992: A black man actin like a nigga... got stomped by an African" 7. A cool, down person, rooted in Hip Hop and black culture, regardless of race, used today by non-blacks to refer to other non-Blacks. 8. Anyone engaged in inappropriate, negative behavior; in this sense, Blacks may even apply the term to White folk. According to African American scholar Clarence Major's From Juba to Jive, Queen Latifah was quoted in Newsweek as criticizing the US government with these words. "Those niggers don't know what the fuck they doing”

“Black folk etymological theory posits that motherfucker was a term developed by the children of enslaved Africans in the United States. According to this theory, the neoligism was invented by these children as the best way to refer to white slavemasters, who enacted a particularly savage form of physical and sexual abuse on the bodies and spirits of Black women. To make if painfully plain : It was used to describe the White men who raped your mother in order to break the black family down, physically and pyschologically, as a means to avoid calling your slavemaster your "father.”

“Language could be used as an instrument of control, a way of establishing hierarchies that suggest one set of people is better or more special than another. Through language, one automatically identifies one's place within a social and cultural hierarchy and we all carry with us illogical attitudes about the bearers of particular language, based on our own cultural background and continued exposure to local political ideals.”

“Oh, those lapses, darling. So many of us walk around letting fly with “errors.” We could do better, but we’re so slovenly, so rushed amid the hurly-burly of modern life, so imprinted by the “let it all hang out” ethos of the sixties, that we don’t bother to observe the “rules” of “correct” grammar. To a linguist, if I may share, these “rules” occupy the exact same place as the notion of astrology, alchemy, and medicine being based on the four humors. The “rules” make no logical sense in terms of the history of our language, or what languages around the world are like. Nota bene: linguists savor articulateness in speech and fine composition in writing as much as anyone else. Our position is not—I repeat, not—that we should chuck standards of graceful composition. All of us are agreed that there is usefulness in a standard variety of a language, whose artful and effective usage requires tutelage. No argument there. The argument is about what constitutes artful and effective usage. Quite a few notions that get around out there have nothing to do with grace or clarity, and are just based on misconceptions about how languages work. Yet, in my experience, to try to get these things across to laymen often results in the person’s verging on anger. There is a sense that these “rules” just must be right, and that linguists’ purported expertise on language must be somehow flawed on this score. We are, it is said, permissive—perhaps along the lines of the notorious leftist tilt among academics, or maybe as an outgrowth of the roots of linguistics in anthropology, which teaches that all cultures are equal. In any case, we are wrong. Maybe we have a point here and there, but only that.”

“I maintain that cultural sensitivity should be replaced by cultural awareness. Awareness implies research, consideration, thought, and judiciousness....Sensitivity denies equal access to language. It segregates and censors based on the background of the writer rather than the content of the story. No society can embrace cultural sensitivity and retain full capacity for freedom of speech.”