Making friends with “cunt”

This is a guest post by Michael Adams, Professor of English at Indiana University Bloomington, past president of the Dictionary Society of North America, and author of several books on language. Michael previously wrote here about Donald Trump’s swearing, and will be joining Strong Language as a contributor in the coming months.

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In a recent review of my book, In Praise of Profanity, on Strong Language, Stan Carey notes that I’m guilty of an “occasional lapse, such as the Americocentric suggestion that it’s ‘hard to imagine’ when the word cunt isn’t face-threatening — it quite often isn’t in Australia, Ireland, and parts of the UK, particularly Scotland.” Our language attitudes tether us to a time and place, and I must own my parochialism.

As if parochialism weren’t bad enough, I may have been wrong about the American status of cunt, too. I’ve come across evidence of cunt’s re-appropriation as a term of endearment — not unalloyed BFF endearment but a grudging, competitive willingness to get along well supported by a word all the riskier because it’s used in unfriendly ways against women.

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Book review: ‘In Praise of Profanity’ by Michael Adams

Swearing has long been disreputable and in many ways still is. But it has never gone away, and (at the risk of confirmation bias) it seems more visible than ever. We see and hear it not just among friends, family and neighbours but at work, on the news, and in cultural media from billboard ads to high literature – albeit often euphemised. Are we living in a capital-A, fuckin’-A Age of Profanity?

Michael Adams, in his new book In Praise of Profanity (OUP, 2016) makes a persuasive case that we are. Though not a book about the history or science of profanity, it draws on both in aiming more immediately to examine and celebrate the swearing performance itself – the feeling, the experience, the phenomenon of profanity.

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7½ minutes of Sean Bean swearing

We’ve featured swearing montages from video games; now here’s one from TV.

Even if you’ve never seen Sharpe (I haven’t), that won’t stop you enjoying Sean Bean uttering oaths from it non-stop for 7½ minutes – mostly bastard, bloody, bugger and damn, with crap, arse, piss, prick and twat entering the fray near the end and culminating in this mighty outburst:

What an idiot. What a dirty little Dutch buffle-brained bastard. I’ll ram his poxed crown up his royal poxed arse. The blue-blooded twat.

Sean Bean Sharpe two fingers gesture

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When lyrics were clean, almost

The Greek philosopher Plato wrote, “Forms and rhythms in music are never altered without producing changes in the entire fabric of society.” He also said, “No evil can happen to a good man, either in life or after death,” so it’s better that we stick with his take on music. In twentieth-century America, ragtime, jazz, rock, and later punk and rap, all bristled against the accepted music of their times. Although the earliest indictments of these genres were aimed primarily at the music itself, it was not really until the 1950s that songs were being banned for their lyrical content. This content, though, was generally regarded for its subject matter and not necessarily for the language used in expressing the ideas. This is to say that although the songs were deemed vulgar or subversive, actual profanity—or “sweary” language, if you will—was still a rare bird. However anyone swore in real life, cussing, cursing, or just “potty-mouth talk” did not really begin to make its way into the recording booth until the late 1960s. Continue reading

Give my revamps to Broadway

 

When Stephen Sondheim was writing the lyrics for “Gee, Officer Krupke,” to be sung in the 1957 musical West Side Story, he was hoping to be the first person to use a serious four-letter obscenity in a Broadway show: “Gee, Officer Krupke—Fuck you!” This did not come to pass. Columbia records balked because obscenity laws would prohibit the recording from being shipped over state lines. In the end, the line was changed to “Krup you!”— Sondheim has since maintained that it may be the best lyric line in the show. Is there any doubt what the lyric would be if it were written today? In the fifty-plus years since West Side Story, the expletive is not only fully accepted in the theater, but roundly applauded. Continue reading