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The year is 1995. New York hip-hop is currently experiencing a massive boom in popularity and attention through albums such as Illmatic and Ready to Die. These albums are seen as landmarks in the East Coast rap scene due to their grimy and raw production style and evocative lyrics, giving life to a relatively new and creative musical expression. A certain level of toughness and honesty is expected from the artist as one listens to this music. If someone were to choose an album that encapsulates the ruggedness during this time, Mobb Deep’s The Infamous would almost certainly be at the top of the list for many fans of the East Coast hip hop style. On this project, the beat selection along with the vivid street-life rhymes from Havoc and Prodigy cleverly paint the terror both artists experienced in the Queensbridge projects.
Although the content of Mobb Deep’s lyrics are grim and straightforward with the audience about the chaos within this environment, their delivery of this information is often indirect, layered with phrases that are “easier” on the listener’s ear. Specifically, they use the euphemism to convey the constant danger that confronts them within Queensbridge. On the majority of the tracks off The Infamous, Havoc and Prodigy detail their involvement with guns, law enforcement, and enemies by replacing clear-cut violent expressions with vague descriptions of their brutal mindset. This rhetorical decision-making by both artists allows the reader to understand how violence was seen as “the norm” in their community. Mobb Deep’s implementation of the euphemism throughout The Infamous typifies their quick-witted mindset as they take the listener on a journey through their perilous surroundings.
Interaction With The Enemy
Havoc jumps straight into describing his actions against any opposition on the opening track “The Start of Your Ending (41st side),” using a simple and gloomy euphemism to accomplish this. During the first verse, Havoc effortlessly raps, “I choose givin’ crews the blues” (( Mobb Deep. “The Start of Your Ending (41st side).” The Infamous, 1995. )). Instead of merely stating the activity he engaged in against enemies he encountered in Queensbridge, such as gunfire or intimidation, Havoc lets the listener imagine any violent scenario through the vague assertion “givin’ crews the blues.” This phrase implies that something grim is taking place, though this bleakness is covered lyrically by a more gentle expression. The adjective, “blue,” in this case, serves an important role in characterizing the constant threat of violence while maintaining the lyrics’ approachability. Additionally, this repetitive chaos is supported by Havoc’s choice to commit these acts.
Prodigy continues this “language softening” in the song “Trife Life,” depicting what happens to enemies when they present a facade. His verse, filled with storytelling and imagery of violent occurrences, contains a euphemism that expresses how a potential enemy would be attacked in case Prodigy is threatened. In preparation for this event, he gathers his cohort of six people armed with guns and claims, “First n*gga fronting getting lifted off his f*cking feet” (( Mobb Deep. “Trife Life.” The Infamous, 1995. )). It is clear that Prodigy has no reservations when it comes to dealing with any opposition. However, using poetry as a vehicle of his communication, he decides to solely convey the physical position of the enemy once Prodigy “takes care of business.” The listener is unable to determine specifically how the opposition would get “lifted off his feet,” but one can infer, based on the treacherous context, that the action would be gruesome.
When Mobb Deep inserts a euphemism, they demonstrate a keen sense of observance, especially when discussing the enemies’ death. The ability to detail their criminal surroundings becomes especially astute on the track “Cradle to the Grave” when Havoc proclaims, “You never know, he didn’t even have to go / There unprepared, now he’s six below” (( Mobb Deep. “Cradle to the Grave.” The Infamous, 1995. )). Before this, Havoc narrates how he had “beef” with an adversary and desired to end his life. It was highly probable that Havoc caught the enemy off-guard, describing him as “unprepared.” The familiar substitute for death, “six below,” softens the severeness of the murder. Also, according to Havoc, the enemy could have avoided his fate. This assurance that the opponent failed to recognize imminent violence reveals an advanced ability to predict perpetual violence.
Interactions With Weapons
The violence that confronts Mobb Deep within Queensbridge would not have its lethality were it not for the presence of guns. Prodigy makes this very clear in the classic track “Survival of the Fittest.” Inserting a euphemism to convey his usage of a MAC-11, he assures the listener that he is prepared to fire this weapon in case any opponent goes after him: “Tryin’ to bag me and get rocked steady / By the MAC one-double, I touch you” (( Mobb Deep. “Survival of the Fittest.” The Infamous, 1995. )). Prodigy presents his gunfire in an almost considerate way, characterizing the violence through simple contact. Instead of addressing his shooting explicitly, he cleverly reverses the audience’s expectations through his “plain” language. This shrewdness is visible in Prodigy’s phrasing of MAC-11 and his writing in second person.
Prodigy’s alleviation of the potency of gun violence through his poetry remains on the following track, “Eye for a Eye.” In his verse, he depicts a scenario where his enemies are attempting to murder him in his car. Prodigy anticipates this and returns fire, “Stuck the heat through the window, rocked they ass to sleep” (( Mobb Deep. “Eye for a Eye.” The Infamous, 1995. )). This euphemism delivers the intensity of his situation while preserving accessibility for the listener; the listener can understand what is occurring without being distraught by the trauma that Prodigy experiences. There is also a strong contrast in tone between the ferocious “ass” and the more tranquil “sleep.” The dichotomy in this diction reinforces the reality of Prodigy’s criminal surroundings and the levelheadedness needed to survive it.
Havoc adds to this careful phrasing of Mobb Deep’s vicious operation when he discusses people who “front” within his community. Stating that there is no need to pretend being successful (which he describes as fakin’ jacks), Havoc simply affirms on “Give Up the Goods (Just Step),” “‘Cause brothers that fake jacks get laid on their backs / the streets is real, can’t roll without steel” (( Mobb Deep. “Give Up the Goods (Just Step).” The Infamous, 1995. )). There are two instances of euphemism in this example, in the enemy falling on their backs, and in the replacing of “gun” with “steel.” The intensity and the “propensity to pretend” in Havoc’s environment is so well-understood that a new phrase for “fronting” is created through “fakin’ jacks.” This lyrical creativity shows that the chaos within Queensbridge appears enough to render new forms of communication.
Displays Of Mischief
Although The Infamous is a rigorous display of villainy from Mobb Deep, there are instances of playful misbehavior. Prodigy demonstrates this kind of wickedly humorous behavior through his euphemisms, further solidifying his cleverness as a rapper. Once again, on “Eye for an Eye,” he delivers probably his most fierce bar on the entire album, “I might crack a smile but ain’t a damn thing funny” (( Mobb Deep. “Eye for an Eye.” The Infamous, 1995. )). It is evident that Prodigy has mastered an ability to trick his opponent into letting his guard down by feigning a light-hearted personality. This euphemism is vague yet telling; there are a variety of violent motivations that one can picture occupying Prodigy’s mind, but only Prodigy knows his true intentions. The humor is this instance is only temporary. His objectives are hidden behind language intended to confuse.
Prodigy’s playfulness takes a sexual turn on the track “Drink Away the Pain (Situations).” During his verse, Prodigy personifies his addiction to alcohol, describing his relationship to “Dainy” (alcohol) in a manner similar to how one would describe a relationship with a girl. At one point, he uses a euphemism to describe his “intercourse” with this “Dainy,” “I bust her cherry, took her virginity in ’91” (( Mobb Deep. “Drink Away the Pain (Situations).” The Infamous, 1995. )). Prodigy’s rhetorical arsenal is strong in this instance, implementing both personification and euphemism to temper the wildness of his stories in Queensbridge. The intercourse he recounts with the “Dainy” most likely refers to the first time he drank and subsequently became addicted to this liquor, which exhibiting his unruly way of life. The listener can determine that this lifestyle is constantly based on his effortless detailing of a complicated and chaotic life.
Characterizing Intensity
The Infamous would not have the impact that it has in hip hop were it not for the intensity Mobb Deep illustrates throughout the album. The track “Temperature’s Rising” perfectly encapsulates this ferocity. In the song, Havoc addresses his brother who was evading law enforcement; terror and paranoia fill his bars. A euphemism for this “heated” situation appears on the song’s hook, “The temperature’s rising, huh, ain’t nothing surprising” (( Mobb Deep. “Temperature’s Rising.” The Infamous, 1995. )). The chorus serves as a somewhat comforting “break” from the grim reality that Havoc depicts. Instead of inserting a direct description of the violence within the chorus, Mobb Deep chooses to figuratively portray the overall atmosphere through this euphemism. It is clear that this kind of situation is familiar for the group.
The most well-known song off The Infamous, and probably the most famous hip hop song of all time, “Shook Ones, Pt II,” is the focal point of Mobb Deep’s intense persona. Prodigy paints a highly vivid picture of his chaotic reality in the Queensbridge, ending his verse by substituting his expression of a near-death experience with a euphemism, “Getting closer to God in a tight situation now” (( Mobb Deep. “Shook Ones, Pt. II” The Infamous, 1995. )). The emotional resonance of Prodigy’s delivery is still maintained even with the euphemism concealing his direct experience. The appeal to a higher entity also demonstrates his recognition of death, though he does not address life and death directly. Prodigy’s sharp-witted lyricism is certain and well-defined as he grapples with the uncertainty that constantly surrounds him.
Interactions With Law Enforcement
Mobb Deep’s disdain for the police is evident in multiple tracks off The Infamous, and their implementation of the euphemism cleverly depicts this disapproval. On “Temperature’s Rising,” Prodigy mentions the reality of people who snitch to the police, which causes a significant amount of stress in his life. Despite facing this stress, he remains resolute in his decision not to be an informant as it aligns with his own values, “I never sang to the cops ’cause that shit ain’t right” (( Mobb Deep. “Temperature’s Rising.” The Infamous, 1995. )). Prodigy shrewdly replaces his description of “snitching” with “singing,” easing the harshness of the undesired action people take in his community. Furthermore, this lyrical choice may cause the listener to pause for a moment and contemplate the meaning of “sang” before finally determining the meaning based on the context. This term also implies a level of harmony one achieves with the police when he snitches, given the melodic orientation of words like “sang.”
The following track on the album, “Up North Trip,” has Havoc conveying the journey he takes to prison. If Havoc gets caught by the police, he is guaranteed to be transported to maximum state prison in northern New York. Instead of explicitly stating that he is being sent to prison, he merely describes how he will inevitably arrive “up north” once the police catch him, “And if I get caught, then my ass is up north / Straight on a course for upstate New York” (( Mobb Deep. “Up North Trip.” The Infamous, 1995. )). Havoc chooses not to name the specific location of the prison, allowing the audience to determine his eventual state. His choice of language softens the reality of his criminal situation; he simply desires to explain where he will be going. The constant occurrence of this kind of trip allows Havoc to detail the harshness of his environment in a highly efficient manner.
Describing Locations
It’s evident in Mobb Deep’s rhymes that they proudly represent their Queensbridge home to the fullest. Any opponent that tries to enter their territory while not paying the proper respect would be immediately handled by Havoc, “But swing that bullshit this way / And I’mma make your visit to the ‘Bridge a motherf****n’ short stay” (( Mobb Deep. “Right Back at You.” The Infamous, 1995. )). Using the duration of the visitor’s stay in Queensbridge, Havoc implies through the euphemism that those who disrespect the authority of his environment would be immediately killed or sent away. The confidence and bravado in his delivery is somewhat off-putting, a level of expertise in the notorious environment of Queensbridge manifests in his raps.
The Euphemism’s Role in The Infamous
No one can mistake the fierceness in Mobb Deep’s storytelling. The influence of violence, law enforcement, the enemy are all capture the feeling of living in the perilous environment with almost no alternative to escape. To express their creativity while staying true to their roots, Havoc and Prodigy find value in using euphemisms in instances where a direct explanation of their infamous actions would not be potent for the listener. Often, the value in the duo’s raps appear when there is some uncertainty in their storytelling, letting the audience think about their lingo later on and appreciate the rhymes even more on future listens.
