Doo Wop (That Thing) by Lauryn Hill Lyrics Meaning – Unpacking Feminism and Accountability in Hip-Hop
Lyrics
“Wooo… wooo… wooo…”
Yo, yo, my men and my women, don’t forget about the ding
This is not the muster king
It’s about a thing
Yo, yo, yo, if you feel real good, lift your hands up in the air
And lick two shots in the atmosphere”
Yeah, yeah
Yeah, yeah, yeah, yeah
Yeah, yeah, yeah, yeah
It’s been three weeks since you were looking for your friend
The one you let hit it and never called you again
‘Member when he told you he was about the benjamins?
You act like you and him
Then give him a little trim
To begin
How you think you really goin’ to pretend
Like you wasn’t down and you called him again?
Plus when
You give it up so easy you ain’t even foolin’ him
If you did it then, then you’d probably do it again
Talking out your neck, saying you’re a Christian
A Muslim sleeping with the gin
Now that was the sin
That did Jezebel in
Who’re you going to tell
When the repercussions spin?
Showing off your ass ’cause you’re thinking it’s a trend
Girlfriend
Let me break it down for you again
You know I only say it ’cause I’m truly genuine
Don’t be a hard rock, when you really are a gem
Baby girl, respect is just a minimum
Nigga’s fucked up and you still defending him
Now, Lauryn is only human
Don’t think I haven’t been through the same predicament
Let it sit inside your head like a million women in Philly, Penn
It’s silly when girls sell their souls because of sin
Look at what you be in
Hair weaves like Europeans
Fake nails done by Koreans
Come again
Yo! A-When when come again! (Yeah-Yeah!)
When when come again!! (Yeah-Yeah!)
My friend come again!!! (Yeah-Yeah!)
Guys you know you’d better, watch out (Watch out!)
Some girls, some girls are only, about (About!)
That thing, that thing, that thing! (Thing!)
That thing, that thing, that thing! (Thing!)
The second verse is dedicated to the men
More concerned with his rims and his Tim’s than his women
Him and his men, come in the club like hooligans
Don’t care who they offend
Popping yin (Like you got Yen)
Let’s stop pretend, the ones that pack pistols by the waist men
Cristall by the case men, still living in his Mother’s basement
The pretty face men claiming that they be the “big men.”
Need to take care of their three and four kids
But they face a court case when the child support’s late
Money taking and heart breaking
Now you wonder why women hate men
The sneaky silent men
The punk domestic violence men
Quick to shoot the semen, stop acting like boys and be men!
How you gonna win, when you ain’t right within?!
How you gonna win, when you ain’t right within?!
How you gonna win, when you ain’t right within?!
Unh-Unhh Come Again!
Yo-Yo Come Again!
bredrin come again!
Sit straight come again!
Watch out, watch out
Look out, look out
Watch out, watch out
Look out, look out
Watch out, watch out
Look out, look out
Watch out, watch out
Look out, look out
Girls you know you’d better, watch out (Watch out!)
Some guys, some guys are only about (About!)
That thing, that thing, that thing! (Thing!)
That thing, that thing, that thing! (Thing!)
Guys you know you’d better, watch out (Watch out!)
Some girls, some girls are only, about (About!)
That thing, that thing, that thing! (Thing!)
That thing, that thing, that thing! (Thing!)
Seismic shifts in music can often be traced back to single moments, single tracks, that encapsulate more than just sounds and rhythms, but societal movements and cultural introspection. Lauryn Hill’s ‘Doo Wop (That Thing)’ is one such phenomenon, a harmonic beacon in the landscape of 1990s hip-hop and R&B that does much more than just lay down a smooth beat and catchy hook.
The track is not only a soulful retrospective of golden-age harmonies but also a profound commentary on the gender politics, respect, and self-worth that dominated—and still permeate—urban lifestyle and relations. ‘Doo Wop (That Thing)’ swings not only with a groove but with the intent to open ears and minds.
The Melodic Call to Social Consciousness
Amidst the rolls of snare and the backdrop of the ‘doo-wop’ harmonies, Lauryn Hill launches into a narrative both deeply personal and universally recognizable. ‘It’s been three weeks…’ begins the tale, a timeless story of mistreatment and the transactional lens through which intimacy is often seen.
In the repeating ‘yeah, yeah’ that punctuates the melody, there echoes an affirmation, a note to listeners to wake up, tune in, and recognize the patterns and pitfalls of chasing ‘that thing’ as the only goal in male-female relations.
Dissecting ‘That Thing’: The Hook’s Hook
The chorus is infectious, yet beneath its surface lies the crux of the message: being aware and critical of superficial intentions in relationships. Each ‘that thing, that thing, that thing!’ serves as a pointed jab at the objectification and commodification inherent in the dating world, questioning the values society places on physical allure and material status.
Hill’s repetition gains strength as it goes, a mantra for the discerning, urging them to look deeper than the facades of rims, riches, or beauty tricks. It’s a call to preserve the genuine essence in a world that’s often too willing to trade it for flashy nothings.
The Hidden Power Play in ‘Doo Wop (That Thing)’
Beyond surface-level scrutiny, Hill delves into power dynamics in relationships, leading us to wonder, who holds the power when it comes to ‘that thing’? With women showing off and men with their ‘cristall by the case’, the song points out the mirroring vices and the cyclical nature of exploitation and vulnerability.
Hill’s narrative is not one-sided; she places accountability on both genders to step away from the charade. The true power, she implies, comes from self-respect and inward correctness, not from the approval or possessions one might gain.
A Resonance Beyond the Rhyme: Lauryn’s Lyrical Realness
The personal candor of Lauryn Hill vibrates throughout the song, as she reveals her own entanglements with these societal snares. ‘Don’t think I haven’t been through the same predicament,’ she confides, blending a personal touch with the universality of her message.
The inclusion of her experiences solidifies Hill as not only an observer but also a participant in this discourse, embodying the very gem she encourages others to recognize in themselves. It’s her authentic voice that transforms the track from mere observation to a lived manifesto.
Echoes That Won’t Fade: The Song’s Most Memorable Lines
Certain lyrics etch themselves into the collective consciousness, ringing out truths that become catchphrases for the movement they inspire. Lines like ‘Don’t be a hard rock, when you really are a gem,’ and ‘How you gonna win, when you ain’t right within?’ resonate with a timeless relevance, calling for integrity and self-worth over outward bravado and easy temptation.
Lauryn Hill crafts these phrases with the finesse of a poet, embedding within the song a message that continues to challenge, comfort, and inspire audiences. They are calls to both reflection and action, enduring as pillars in her musical legacy and the dialogue they champion.
