It’s a couple of years since our last fuck shit stack of sweary songs, and almost five since we began this series at the Rotten Cocksuckers’ Ball. So it’s about fucking time we posted some more bawdy blues and mothercussin’ melodies.
Much of the audio below is NSFW, if that still means anything, but it straddles the range from super-profane to merely suggestive. Genre-wise it’s cheerfully all over the place, so if you don’t like one, try the next.
LaVern Baker and Jackie Wilson clearly enjoyed this party version of ‘Think Twice’:
I said you better think twice, Jackie
Before you call me a dirty ho
I’ve got news for you, little boy
Don’t fuck with me no mo’
This is a guest post by David Morris, a sub-editor and former English language teacher who holds a master’s degree in applied linguistics. David has written a few posts for Strong Language and writes about language at his blog Never Pure and Rarely Simple.
I stumbled across a website called Shit My Students Write,* on which teachers – it’s not specified what level – anonymously submit examples of their students’ writing. Most are of the type that used to be called “schoolboy howlers”. Sometimes the student’s intention is clear: “Hitler was a facetious dictator.” But I couldn’t figure out what was intended by the student who wrote:
My grandmother, when she was alive, was quite the grammar ho.
We like ass at Strong Language, and it’s an impressively productive piece of vocabulary. Recently I came across a whole new use of it – new to me, that is – in Jay Dobyns’s undercover-biker memoir No Angel. That use is unass, and it turns out to have more than one meaning.
Here it is in Dobyns’s book:
1. About a hundred miles in, we pulled off at Cordes Junction to gas up. We stopped at a Mobil and unassed. My legs and shoulders were killing me.
At Strong Language we love creative swearing. But sometimes being creative means avoiding swearwords. When John Boorman and his team were filming Deliverance in rural southeast US, they faced difficulties not only in handling the unforgiving location but also in making certain scenes suitable for eventual TV broadcasting.
One scene in particular proved a challenge: Jon Voight and Ned Beatty’s brutal encounter with two sadistic locals in the woods. According to Boorman, the film’s producers suggested that he shoot the scene two different ways, so that there’d be a version suitable for TV. This meant, among other things, toning down the language in the working script.
With Joe Pesci back in the spotlight thanks to The Irishman, and Christmas just around the corner, I’ve been remembering one of his finest performances – as hapless burglar Harry Lyme in Home Alone. It’s easy to forget how against-type this role was for Pesci, best known for playing menacing, foul-mouthed criminals in gangster films like Casino:
(Don’t miss the TV version, with its fancy hecking swear-avoidance.)
When Pesci was sent the script for Home Alone, he ‘saw he could do something with it’, according to executive producer Mark Levinson. But the filmmakers knew that Harry Lyme would be a challenge for Pesci. In a behind-the-scenes featurette on the DVD, director of photography Julio Macat says: