Spit ‘n’ Wit: MF DOOM as Satirist
Major
English – Literature
Second Major
Educational Studies
Submission Type
Oral Presentation
Area of Study or Work
English-Literature
Faculty Advisor
Michael Theune
Location
CNS E103
Start Date
4-13-2024 8:30 AM
End Date
4-13-2024 9:30 AM
Abstract
“Spit ‘n’ Wit” explores the dynamic interplay of sound and sense in the multifaceted craftsmanship of the enigmatic MF DOOM, a pioneering figure and the self-proclaimed “villain” of hip-hop. As numerous critics already have detected, DOOM's discography serves as a rich tapestry of puns, double entendres, and intricate rhyme schemes. However, these commentators often think that DOOM is only or just mostly flash; for example, a Pitchfork review of DOOM’s album Mm…Food? states that “most” of the raps on this album “sacrifice cohesion for maximum punch.” I maintain, though, that DOOM’s style also has substance: in DOOM’s art, clever wordplay and theatrics give body to social commentary, a critique of existing power dynamics, and a profound exploration of identity. In my brief presentation, I analyze two songs from Mm…Food?, “Deep Fried Frenz” and “One Beer,” in order to reveal the serious intent behind their much more obvious playfulness. I then go on to argue that DOOM’s positioning of himself as a satirical artist puts him in the league of Augustan wits and satirists such as Jonathan Swift and Alexander Pope, an additional complication to DOOM’s identity, but one that I believe he was long crafting. I believe this connection can help us better, more fully, hear DOOM’s music, and understand his messages.
Spit ‘n’ Wit: MF DOOM as Satirist
CNS E103
“Spit ‘n’ Wit” explores the dynamic interplay of sound and sense in the multifaceted craftsmanship of the enigmatic MF DOOM, a pioneering figure and the self-proclaimed “villain” of hip-hop. As numerous critics already have detected, DOOM's discography serves as a rich tapestry of puns, double entendres, and intricate rhyme schemes. However, these commentators often think that DOOM is only or just mostly flash; for example, a Pitchfork review of DOOM’s album Mm…Food? states that “most” of the raps on this album “sacrifice cohesion for maximum punch.” I maintain, though, that DOOM’s style also has substance: in DOOM’s art, clever wordplay and theatrics give body to social commentary, a critique of existing power dynamics, and a profound exploration of identity. In my brief presentation, I analyze two songs from Mm…Food?, “Deep Fried Frenz” and “One Beer,” in order to reveal the serious intent behind their much more obvious playfulness. I then go on to argue that DOOM’s positioning of himself as a satirical artist puts him in the league of Augustan wits and satirists such as Jonathan Swift and Alexander Pope, an additional complication to DOOM’s identity, but one that I believe he was long crafting. I believe this connection can help us better, more fully, hear DOOM’s music, and understand his messages.