A Few Small Bruises

Maria Mena

Out here on the ledge
I'm not far away from stepping off
I've finally picked out my cloud
It's the one over there
Surrounded by all that air

You reached out your hand
And said I understand
So why not come down

Well except for a few small bruises, cuts, and scars well I'm fine
Except for a few small bruises, cuts, and scars well I'm fine

Thank you for asking
I'm so glad we had this moment here
I know they think I'm crazy
But everything I am is what I was taught to be

You reached out your hand
And said I understand
So why not come down

And as you read my words out loud
Make me sound genius
Make me sound special
And maybe I'll come down

And as you read my words out loud
Make me sound genuis
Make me sound special
And maybe I'll come down

Fonte: https://www.letras.mus.br/mariamena/acesso em: 06 de out. 2023.

Contemporary Culture.

In contemporary black popular culture, rap music has become one of the spaces where black vernacular speech is used in a manner that invites dominant mainstream culture to listen — to hear — and, to some extent, be transformed. However, one of the risks of this attempt at cultural translation is that it will trivialize black vernacular speech.

When young white kids imitate this speech in ways that suggest it is the speech of those who are stupid or who are only interested in entertaining or being funny, then the subversive power of this speech is undermined.

Fonte: HOOKS, B. Teaching to Transgress. New York: Routledge, 1994. Acesso em: 07 de out. 2023.

Contemporary Culture.

In contemporary black popular culture, rap music has become one of the spaces where black vernacular speech is used in a manner that invites dominant mainstream culture to listen — to hear — and, to some extent, be transformed. However, one of the risks of this attempt at cultural translation is that it will trivialize black vernacular speech.

When young white kids imitate this speech in ways that suggest it is the speech of those who are stupid or who are only interested in entertaining or being funny, then the subversive power of this speech is undermined.

Fonte: HOOKS, B. Teaching to Transgress. New York: Routledge, 1994. Acesso em: 07 de out. 2023.

Contemporary Culture.

In contemporary black popular culture, rap music has become one of the spaces where black vernacular speech is used in a manner that invites dominant mainstream culture to listen — to hear — and, to some extent, be transformed. However, one of the risks of this attempt at cultural translation is that it will trivialize black vernacular speech.

When young white kids imitate this speech in ways that suggest it is the speech of those who are stupid or who are only interested in entertaining or being funny, then the subversive power of this speech is undermined.

Fonte: HOOKS, B. Teaching to Transgress. New York: Routledge, 1994. Acesso em: 07 de out. 2023.

Contemporary Culture.

In contemporary black popular culture, rap music has become one of the spaces where black vernacular speech is used in a manner that invites dominant mainstream culture to listen — to hear — and, to some extent, be transformed. However, one of the risks of this attempt at cultural translation is that it will trivialize black vernacular speech.

When young white kids imitate this speech in ways that suggest it is the speech of those who are stupid or who are only interested in entertaining or being funny, then the subversive power of this speech is undermined.

Fonte: HOOKS, B. Teaching to Transgress. New York: Routledge, 1994. Acesso em: 07 de out. 2023.