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Running at 26 minutes, this EP is like a nice snack. It's short enough to listen through on a half hour bus-ride, but long enough to still feel like an entire album. It features everything from the comical to the politi-comical. I truly enjoy this album
Undergrad Essay Series: "Goblin Pu$$y: Sex as Commodity and the Agency of Female Sexuality in Rossetti and Cupcakke"
Even today, female writers—and all writers for that matter—are writing under the totalizing discourse of a patriarchal society. While one might hope that writers of oppressed and underrepresented demographics would have the liberal views of liberal writers today, that is not always the case. The school of New Historicism discourages the condemnation of literary works containing sexism as purely sexist, encouraging readers to look on the flip side—depending on historical context—and see how a work subverts patriarchal roles and expectations. Published in 1862, Christina Georgina Rossetti’s poem “Goblin Market” has been met by critics with highly contrasting critical views, including back and forth debate on its feminism or lack thereof. Due to the poem’s two independent female lead characters, mystic and parable-esque qualities, among other things, many critics have defined “Goblin Market” as proto-feminist, while others have deemed it as reinforcing of the patriarchy. Albert D. Pionke, writing in 2012, even posits that discussion of “representations of gender” are “likely irresolvable” (897). I agree with critics’ classification of “Goblin Market” as a proto-feminist work, but wish to look further by contrasting the work with contemporary poetry with similar trends. In order to explore the extent to which Rossetti’s acclaimed proto-feminist values function in “Goblin Market,” I will analyze the themes of sex as commodity and the agency of female sexuality alongside the song “Pu$$y Market,” by Gumball Machine, featuring Cupcakke, released in 2016, and other works in Cupcakke’s growing discography.
The plot of “Goblin Market” is relatively simple, functioning like a fairy tale or parable, as many critics have noticed. Sisters and maids, Lizzie and Laura hear the regular cry of goblins from the titular market. Laura eats the fruit from the goblin men and begins to die. Lizzie saves Laura by braving the goblin market and returning to Laura, bruised, beaten, and covered in goblin fruit. On Lizzie’s command, Laura sucks the juices from Lizzie’s body and is cured.
“Pu$$y Market,” running just over three minutes long, has an equally simple plot. The speaker warns the auditor of an “economic crisis” (Gumball Machine 32). Due to a surplus in the commodity, “dicks [have] bottomed out,” and have lost all economic value (Gumball Machine 36). Because of this drop, the demand for the commodity of female sexuality has gone up: “[p]ussy’s always the most wanted / [d]ick’s as common as McDonalds” (Gumball Machine 25-26). This change in the economic playing field results in the titular “Pu$$y Market.” Between the accounts of the economic situation, the speaker makes repeated sexual requests and advances towards the auditor and a tertiary third person character referred to only by male pronouns. These intercalary verses suggest a more literal “Pu$$y Market,” one that either sells sex or sexuality, rather than the “Pu$$y Market” implied by the other versus, which potentially refers to a market trend, like a “Bull Market” or “Bear Market.”
The first and most obvious difference between the two works is that, on the surface level, there is no sex in “Goblin Market.” While the speaker in “Pu$$y Market” makes overt sexual advances towards her auditors, Rossetti’s work is relatively PG and takes textual interpretation to find sexual themes. Regardless, I am going to look at the elements and moments in “Goblin Market” that have brought upon the strongest response by most critics.
A commonly analyzed element of “Goblin Market” that points the poem in a proto-feminist direction is the depiction of female desire. Contrasting Christina Rossetti’s brother Michael Rossetti’s arguments that Christina Rossetti intended no “complex literary or ideological motives for the poem,” Kathleen Anderson and Hannah Thullbery, in their article “Ecofeminism in Christina Rossetti’s ‘Goblin Market,’” argue that “the question of female desire or appetite is a central feature of the poem” (63). Rather than desire as side-plot or desire on the terms of a man, “Goblin Market” puts female desire upfront. Alison Chapman notes this in her book The Afterlife of Christina Rossetti: “The sentimental tradition, seen in the nineteenth-century as the only properly feminine mode for women poets, insists that women’s poetry is confessional and personal,” (6). Rossetti takes advantage of this cultural loophole to discuss female desire in a manner passable as children’s literature.
Anderson and Thullbery go on to highlight that “[t]he female protagonists of ‘Goblin Market’ are not temptresses but tempted, a shift that gives the two sisters the power of choice,” (65). I agree that being the tempted gives Laura and Lizzie more sexual agency, and having the goblin men be the “temptresses,’ so to speak, is fascinating gender play, but this throws an interesting light on the “Pu$$y Market” speaker. The “Pu$$y Market” speaker is, at least to some degree, a temptress, but that diminish her sexual agency? Anderson and Thullbery’s dichotomy would suggest so, but I don’t believe the lines are so strict.
The “Pu$$y Market” speaker’s role as a temptress does not necessarily surrender her sexual agency because of her status as a businessperson. Anderson and Thullbery do not define or qualify what it means to be a “temptress,” but their discussion implies a woman reminiscent of the Great Whore of Babylon from Revelations: a symbolic one-dimensional evil woman who uses her sexuality to bring the downfall of men. The “Pu$$y Market” speaker aims to provide a commodity that is mutually beneficial for both parties. She emphasizes the pleasure of the consumer: “put that dick in my mouth / [j]ust like a mic on stage,” and of herself: “[g]et on your knees do yo deed / [y]ou need to make me cum faster” (Gumball Machine 3, 4, 12, 13). The “Pu$$y Market” speaker gets what she want, and the consumer does not lose anything. In addition, she regularly assigns herself power, identifying as a “master,” and a “CEO in these jeans,” (Gumball Machine 11, 23). An argument could be made that this ‘need to please’ attitude is a reinforcement of the patriarchy on the subconscious level, but psychoanalysis aside, the “Pu$$y Market” speaker has active agency in her choices just like Laura and Lizzie.
Laura’s trade of her “golden lock” for the goblin fruit has warranted mixed, but frequent response from critics (Rossetti 126). With poems like Pope’s “The Rape of the Lock,” hair as a synecdochic symbol of the woman it’s affixed to has become a motif in English poetry, especially when underneath a male’s gaze. In her article "The Price of Redemption in 'Goblin Market',” Jill Rappoport states that Laura’s “sexuality is seized through a curl of hair” and Laura “ultimately surrenders her body” through her act (854). For Rappoport, Laura’s act is one of submission and surrender. Dorothy Mermin in “Heroic Sisterhood in Goblin Market” looks at this scene as an act of curiosity. The poem, Mermin explains, “is about art as well as sex,” and that the Laura’s hijinks “[represent] the development of female autonomy in a largely female world” (107). The lock cutting scene is less of a submission for Mermin, and instead a “fantasy of feminine freedom” (108).
One thing that Mermin conveniently ignores in her analysis is the “tear more rare than pearl” that Laura drops, which most critics cite enthusiastically as an example of Laura giving up her sexual agency and proof of her “surrender” (Rossetti 127, Rappoport 854). The line drills in the connection between Laura’s flesh and value, but it consequently paints her as sad. Robin Sowards attempts to divorce the tear from consent regret in "Goblin Market's Localism.” He argues that Laura is not sad that she is selling herself, but rather that she is breaking the covenant between herself and Lizzie. Most other critics tie the tear to Laura’s submission.
I argue that the readiness in which Laura clips her hair moves her act into a more consenting direction, though I do not believe this reconciles the matter completely. Immediately after the goblins suggest she “[b]uy from [them] with a golden curl,” Laura “[clips] a precious golden lock” (Rossetti 125). There are no lines of contemplation, no lines of debate, and not even a narrative explanation of where the scissors might have come from, Rossetti juxtaposes the act immediately after the suggestion. The “tear” comes only after Laura acts independently, under her own desires, and with no threat described (Rossetti 127). Sexual consent in 2017 may run by different rules—Laura’s consent is neither vocal nor enthusiastic—but given that the sexual theme in “Goblin Market” is not acting in the literal, I argue that Laura’s speed in her clipping reinforces Mermin’s model of “feminine freedom” (108).
Conversely, the speaker in “Pu$$y Market” proudly likens herself to objects. The speaker compares herself to a consumable good at the end of the first verse, saying “I stay under his arms like deodorant” (Gumball Machine 15). In the music video, a servant of Cupcakke holds a silver platter bearing a can labeled “Pussy Stank Drank.” Several characters in the music video are seen drinking the contents of this can. While this is not a likening of Cupcakke herself, the can represents female sexuality as a literal consumable good.
At times the “Pu$$y Market” speaker appears to be giving herself away without receiving anything, while at other times there is an exchange: “take a nigga earnin’s” (Gumball Machine 54). The main two differences here are enthusiasm and agency. Laura cries post hair-clipping, but the “Pu$$y Market” speaker objectifies herself with glee. Laura submits to the goblin’s request for her hair while the “Pu$$y Market” speaker dominantly initiates any objectification.
On another side, Anderson and Thullbery cite Lona Packer’s 1958 article “Symbol and Reality in Christina Rossetti’s ‘Goblin Market’” in which they detail Packer’s argument as a drawing “a war between the sexes.” In this sense, even if Laura and Lizzie had absolutely no sexual agency at all, the fact that Rossetti devotes narrative space to her crying and that we as readers sympathize with the character, the work can be considered proto-feminist. Paraphrasing Packer, Anderson and Thullbery write, “[the poem] critiques men’s sexual abuse of women and decimation of their sense of selfhood” (67). If one is to interpret Laura’s first interaction with the goblin men as a rape of power, Rossetti’s focus on Laura and Laura’s ability to overcome the result point the poem again into a proto-feminist direction.
Possibly the greyest and most confusing area of “Goblin Market” is the scene in which Lizzie presents herself bruised and juice covered body to Laura:
Most critics read these lines in one of two ways: psychosexual or religious. It’s hard to ignore the sexual implications of “suck my juices,” while at the same time the scene parallels the Eucharist. The juices that once began to kill Laura now heal her, complicating things further. To make sense of this I will synthesized claims from Rappaport, Anderson and Thullbery, and Anna MacDonald in her article "Edible Women and Milk Markets: The Linguistic and Lactational Exchanges of Goblin Market." Each of them touch on the matter in a coordinating manner that I believe argue well harmoniously.
Anderson and Thullbery explain the healing powers of Lizzie’s juice arguing that “[n]ature offers sustenance that, although initially perverted by the goblins and used against the women, eventually offers them a chance at healing and renewal,” implying that since Lizzie is the one offering the commodity rather than the goblin men, the fruit now has the potential to heal (80). Rappoport has a similar take, arguing that the sheer act of giving alters the function of the juice, emphasizing the difference between “gift and market economies” (862). Rappoport argues that this is a critique of capitalism, and that in a market driven society, the proletariat consumers get burned. When individuals chose to share commodities freely, healing can occur. MacDonald brings into play the up and coming trend of analyzing “mid-century novelists’ troubling portrayals of lactation in popular novels as entry points into Victorian anxieties pertaining to classed and gendered embodiment,” arguing that the sucking in “Goblin Market” can be read along these lines (para 1). MacDonald argues that “[t]he sucking scenes evoke another food source—breastmilk,” unifying the juice with the other food imagery in Rossetti’s poem (para 3). While Lizzie is objectifying herself, the connotation is not negative. Her body is a gift.
This argument adds an interesting sideways connection to some of the messages Cupcakke instills in her music. While MacDonald uses the breastmilk metaphor to desexualize the “suck my juices” scene, Cupcakke sexualizes breastfeeding with lines directed at a lover: “come suck the milk out my fucking breast” (“Spider-Man Dick” 33). Is this sexualization? Is this nurturing? Is this Freudian? I believe Cupcakke’s hypersexual absurdity blurs these readings into obscurity. Given that she has sexualized everything from ramen noodles to the democratic process, I think it’s safe to keep that line as an unknown.
So can “Goblin Market” be classified as a proto-feminist poem? Sure. Can it be classified as a sexist poem? Also sure. There are a world of opinions on this special poem that are fascinatingly contrasting. As I have said, I would classify the poem as proto-feminist given the effective commentary on sexual agency and sex as commodity. Despite that, the poem is clearly imperfect. If Michael Rossetti is to be believed, this could be a consequence of a poet writing to entertain than to politicize. Regardless, the complexities of gender theory and feminism in a real world setting are equally imperfect with a world of voices likely more diverse than the opinions on “Goblin Market.” A contemporary work like “Pu$$y Market” goes to show that all works, in whatever time period, are made up of substance and holes. You can read the substance for moral or read the holes for filth, and it just goes to show how multifaceted poetry can be when politics are sublimated. Both “Goblin Market” and “Pu$$y Market” carry some interesting themes intersecting sex, religion, capitalism, and while they may have been written 155 years apart from one another, they both exemplify the controversies of the cultural spheres in which they were written.
 I am using the word ‘speaker’ here rather than ‘rap artist’ or ‘rapper’ for simplicity and convention. In addition, both Cupcakke and Gumball Machine rap in “Pu$$y Market’, but since there is not one line that Gumball Machine raps that Cupcakke does not double at some point, I will treat the lyrics of the poem as being spoken by one ‘speaker.’
 The heteronormativity here is in light of the literary tradition. If someone knows of hair-fetishizing lesbian erotic poetry, I would be thrilled to read it.
 Vocally, Cupcakke delivers these lines in her typical, joyful, hypersexual tone. In the official music video for the song she delivers the line while sitting in a throne surrounded by two scantily clad servants (one male presenting, one female presenting) and with a smile on her face.
 This could perhaps explain the dichotomy of selling versus giving in the intercalary verses of“ Pu$$y Market”
Anderson, Kathleen and Hannah Thullbery. "Ecofeminism in Christina Rossetti's 'Goblin Market'." Victorians: A Journal of Culture and Literature, vol. 126, 2014, pp. 63-87. Web.
Chapman, Alison. The Afterlife of Christina Rossetti. New York: St. Martin's Press, 2000. Print
Cupcakke. “Spider-Man Dick.” Audacious. Def Starz, 2016. MP3
Gumball Machine. “Pu$$y Market.” Ft. Cupcakke. Gumball Machine, 2016. MP3.
MacDonald, Anna E. "Edible Women and Milk Markets: The Linguistic and Lactational Exchanges of Goblin Market." Nineteenth-Century Gender Studies 11.3 (2015). Web.
Mermin, Dorothy. “Heroic Sisterhood in ‘Goblin Market.’” Victorian Poetry, vol. 21, no. 2, 1983, pp. 107–118. JSTOR, Web.
Pionke, Albert D. "The Spiritual Economy of 'Goblin Market'." SEL: Studies in English Literature, 1500-1900, vol. 52, no. 4, 2012, pp. 897-915. Web.
Rappoport, Jill. "The Price of Redemption in 'Goblin Market'." SEL: Studies in English Literature, 1500-1900, vol. 50, no. 4, 2010, pp. 853-875. Web.
Rossetti, Christina Georgina, and Arthur Rackham. Goblin Market. New York: F. Watts, 1969. Print.
Sowards, Robin J. "Goblin Market's Localism." Modern Philology: Critical and Historical Studies in Literature, Medieval Through Contemporary 110.1 (2012): 114-139. Web.
Intro: Why I love Cupcakke
I’m not original in how I found and fell in love with Cupcakke. Like many, I heard her hit single “Deepthroat” and was instantly enamored. The shameless turned-up-to-eleven sexuality of her lyrics was captivating, and it left me wanting more.
I quickly binged the rest of her discography leading me to a deeper appreciation for her music.
You see, an aesthetic attraction can only get you so far – if Cupcakke was only 3 minutes of choking-on-a-dick lyrics, I would probably lose interest quickly – but Cupcakke’s music gave me more than that.
If I were to detail specifically what it is about her music – which I will for sake of explanation, but do note that there is definitely more at play – I would say it's the poetry of her lines, her phenomenal ability to write multi-syllabic end rhymes, and the lyrical potency of her songs.
But Colin! You may be saying right now. Poetry? Cupcakke is just lyrical pornography! How does that compare to Dickenson, Frost, or Chaucer?
I see Cupcakke as a master of ‘poetry of the line.’ While she certainly succeeds at poetic construction of a song as a whole, and an album as a whole, she truly stands out with individual lines. There’s something so iconically memorable about the opening lines “hump me; fuck me; daddy better make me choke … my tunnel loves to deepthroat,” from “Deepthroat.” Her songs are littered with these moments. They’re shocking; they’re wild; and they’re certainly something I don’t find in other music. The pornographic territory Cupcakke treads in her lyricism opens up wide opportunities for original and refreshing poetry.
On a technical point, I’m obsessed with Cupcakke’s ability to employ multi-syllabic end rhymes. Any Randy on the street can rhyme “heart” with “art,” but Cupcakke goes so much further. Take for example, this line from “Spider-Man Dick,” Rub on my clit it's lit, oh yes my papi love this / I flip this pussy inside out I call that Gabby Douglas.” Cupcakke rhymes “papi love this” with “Gabby Douglas,” matching up four syllables of vowel sounds in slant rhyme. It’s fantastic.
Lastly – and I don’t know a better way to put this – her songs are so dense and compact with lyrics. Cupcakke doesn’t shy away from repetition and a verse chorus verse format, but I might argue that her style of song uses repetition drastically less than other artists. This is augmented by the fact that her choruses often employ fewer words with a slower flow, contrasted against her verses that flow faster with more words. The effect is a nonstop barrage of new lines in every second of the song that just keep topping the ones that came before it. There are rarely points where I find myself thinking “oh boy, another repeat. I’ve hear this too many times. This song should end.”
All in all I adore Cupcakke for artificial reasons and also genuine reasons. So when I learned (five days too late) that Cupcakke had released a new album, Ephorize, I immediately binged it and decided I wanted to detail my adoration for the album.
If you’re looking for a full album overview, please skip to the end of this post.
I will be reviewing this album chronologically. I’ve listened to the entire album once already for initial appreciation, and I will now detail my opinions on each song as I listen to them on second/third try. (I will admit here that I’ve listened to “Duck Duck Goose” at least four times already, and the latter half of the album I have not listened to without slight interruption.) At the end I will provide comment on the album as a whole.
Lastly before I dive into the album, I want to admit that I am not a regular consumer of rap. My personal listening doesn’t venture far from mainstream pop. I’ve dabbled with Nicki Minaj and Missy Elliot but not very far otherwise. Because of this, I can’t say with an educated opinion how Cupcakke compares to other rap. I cannot tell if she’s employing time old tricks that exhaust others or if her tactics are unheard of. What I will do is detail what she does that makes me smile and what she does that makes me not smile.
Track 1: “2 Minutes”
Starting out the album we have a more serious number. It’s not boppy; it’s not hyper-sexual; it’s more or less a ballad. It’s a ‘here’s where I’m from’ song.
This is far from a new tactic for Cupcakke, but it definitely enforces a new trend in her album construction. Her debut album Cum Cake opens with “Vagina,” and her sophomore album S.T.D. opens with “Best Dick Sucker.” These two songs are as sexual as their titles suggest. Audacious opens with “Homework Intro” which is more of a power ballad than a song of struggle, and her 2017 album Queen Elizabitch opens with “Scraps,” a song with a tone quite similar to “2 Minutes.”
While “2 Minutes” doesn’t strike me as particularly remarkable, it does a good job reinforcing the fact that Cupcakke is more than just her sex songs. Cupcakke is more than just a stunt or a gimmick. Cupcakke is a serious, multi-faceted artist capable of nuance. The album hints at this already from the toned down aesthetic of the artwork – featuring a headshot of Cupcakke in a winter cotton candy fantasy fur coat as opposed to her more explicit artwork on earlier albums – in addition to the title Ephorize. Choosing to open the album with “2 minutes” drills in the message deeper.
Album Artwork for Cupcakke's Ephorize (via Spin.com)
The song ends with the sound of a heart rate monitor flat lining. This makes sense within the context of the independent song, but as the first song in an album, it left a very odd feeling to me as a listener. I’ve listened to albums where the last song calls back to the first, wrapping up the album full circle, but for a first song to end with a sound so synonymous with finality, evokes something unsettling.
Track 2: “Cartoons”
If this song sounded suspiciously familiar, it may be because Cupcakke released it earlier in the year in November as a single.
I find it hard to treat the song as part of the album knowing of its pre-release. Coming right off “2 Minutes,” “Cartoons” is almost jarring. There’s a tonal disjunction, message disjunction, and a complete instrument set disjunction. But maybe that’s what the flat lining at the end of “2 Minutes" was preparing us for.
The song opens up with some pitched percussion reminiscent of old wind chimes that have gone long out of tune. Alternatively, I might describe them as “Exotic Sounding Percussion Track #4.” The draw of this song is the repeated, consistent, and impressively belligerent name drops and references to cartoon characters in every other line. I feel like this concept combats the back track, but at the same time if Cupcakke were to have sampled old Looney Toons soundtracks, it might have come across as too literal. I certainly don’t have an aesthetic issue with the sound, it fits well to the ear, but I don’t think it elevates the song either.
As for the lines, Cupcakke spits them out at an alarming and impressive rate. This might be her fastest number in the album. I definitely encourage listening multiple times because you will miss something on first listen, and you don’t want to miss out on anything. Cupcakke beautifully mixes the sacred and profane wither her songwriting. She evokes the childhood innocence of old and new cartoons, and in the same line she threatens murder. It’s wonderful.
Here are my favorite lines:
(I have the lines censored because I want readers to listen to the album first before spoiling the lines for themselves. There’s something special about hearing a quippy line for the first time, especially in its original context. Writing it out takes something away from it. Highlight white text below to reveal the lines.)
"No we can't kiss you, can't even kiss feet / With Spongebob Squarepants over your teeth / That yellow, yellow, yellow shit (brush that shit)."
"Fake hoes, we can't buy (nah) / Put the Glock in you like a tampon."
"I'm just in my bag, TSA can't even check this."
Track 3: Duck Duck Goose
So i've already admitted that i'm mildly obsessed with this song. It's probably my favorite track on the album. Here are a couple of reasons why.
The track opens with a fun little synth track and some claps. On next phrase repeat, the same synth track is doubled up a perfect fourth. Take a seat Bach, it's gonna be a fun ride (#VoiceLeadingHumor).
Right off the bat we have this great opening line that makes me wildly uncomfortable: "I thought I came, but I peed on the dick," followed up with an equally jarring, "pubic air got inches, that's weave on the dick." (note the clear use of epistrophe, Dr. Armstrong. One of these days I'll have you convinced that Cupcakke is poetry).
There are many instances in her discography of Cupcakke slanting her sexual lines into a place of disgusting, much like the tagline of Yekaterina Petrovna Zamolodchikova, "80 percent sexy; 20 percent disgusting." For Cupcakke though, it seems more like 30-70. This isn't Christina Aguilera's "Dirrty." This is next level disgusting.
I'm not sure if the amount the Pre-Chorus makes me uncomfortable is points towards the song or against the song, but I absolutely hate it.
(On a side note, Cupcakke uses the word "can" in the Pre-Chorus, but the affect she puts on is so strong that I initially thought she was using the word "can't" on the first few listens which drastically changes the song.)
I don't have much else to say other than this song is good fun. The track is fun, the lines are all fun, and it just makes me want to dance.
Here are my favorite lines, which is like, most of the song:
"Climbing on that dick, need a 10 feet ladder."
"My nudes in your phone, takin' up your data."
"Pussy on punishment if she miss a dick appointment."
"I only call you Captain, 'cause your dick is off the hook."
"Twat so wet, you could take a cruise on it."
"This that submarine pussy, Mr. Clean pussy / This that I'm 'bout to fuck you longer than the limousine pussy / High self-esteem pussy, it's a dream pussy / If you broke, then the pussy actin' funny like a meme pussy." Again Dr. Armstrong, note the epistrophe.
"Easy-Bake Oven, and this pussy so similar ... Nut in my pussy hair, that's deep conditioner."
"This pussy iconic, get moan with me."
"Coochie guaranteed to put you to sleep so damn soon / Ridin' on that dick, I'm readin' Goodnight Moon."
Track 4: Wisdom Teeth
This track opens with what I might describe as “Exotic Sounding Woodwind Synthesizer #7.” This is probably because, in American culture, the concept of 'wisdom' is often associated with the idea of an archetypal enlightened hermit guru sitting atop a mountain. In like, Nepal.
I don't think this vindicates the exoticism, but Cupcakke is clearly tapping into the trope.
So Cupcakke opens the track with this synth track and it sets the scene for what I assumed was going to be a fun little diddy coming off of "Duck Duck Goose." Maybe she's going to go literal with "Wisdom Teeth" like a sequel to "Deepthroat."
Nope. This song is aggressive.
Continuing with the trend of lines that shock me on first listen, Cupcakke opens "Wisdom Teeth" with the line "I bury a nigga before I bury the hatchet." This split-zeugma (are you buying it now, Dr. Armstrong?) sets up a theme of pride over forgiveness that Cupcakke doesn't really develop through out the rest of the track. She touches on it, but the 'here's where I'm from' theme' comes back and takes over with lines like, "Excuse my ratchet / I remember 20 degrees without no jacket."
On first listen I really enjoyed the Chorus of, "I'm real wise when I speak / I'm usin' my wisdom teeth." On second listen I thought it was really cheesy. On subsequent listens I became unsure. I'm not decided.
This definitely isn't a song that'd I'd casually seek out to listen, but it's also not a song I'd skip when listening through the album for another time.
Here are my favorite lines:
"Real talk, my voice would be hoarse if it was horseshit."
"Got these bitches on edge like got2b glue."
(I will be reviewing tracks 5-15 in due course. Stay tuned)