Scaring The Hoes by JPEGMAFIA Lyrics Meaning – Unpacking the Contemporary Music Industry Critique


You can view the lyrics, alternate interprations and sheet music for JPEGMAFIA's Scaring The Hoes at Lyrics.org.
Article Contents:
  1. Music Video
  2. Lyrics
  3. Song Meaning

Lyrics

Let me see some
Every time (you think you know me)
Every time

Stop scarin’ the hoes
Play that shit that’ll have them touch they toes
We don’t wanna hear that weird shit no more
What the fuck is that? Give me back my aux cord (yeah)
Stop scarin’ the hoes
Play that shit that’ll have them touch they toes
We don’t wanna hear that weird shit no more
What the fuck is that? Give me back my aux cord

Play somethin’ for the bitches
How the fuck we s’posed to make money of this shit?
You wanna be a MC?
What the fuck you think, it’s 1993?

Welcome to the big league, this a young man’s sport
Fuck that hip-hop and that old man flow
Where the autotune at? Give a fuck about that trap (scarin’ the hoes)
‘Cause it’s all about the scams, catch up, old man
Say it ain’t about the bars ’cause it’s all about the brand (black)
Say it ain’t about the art (heels)
‘Cause it all about them bands (legs)
Give a fuck about a fan (legs)
Put the money in my hand (I see you workin’ it)
‘Bout to buy a new chain
Give a fuck about land (I see you workin’ it)
Go vroom, vroom, vroom in that brand new Lamb’ (work it)
‘Bout to go to the beach (work it)
Bring my own sand (work it)
I’m a business man (woo)
You a rapper like Chance
Now work that shit, woo

Stop scarin’ the hoes
Play that shit that’ll have them touch they toes
We don’t wanna hear that weird shit no more
What the fuck is that? Give me back my aux cord
Stop scarin’ the hoes
Play that shit that’ll have them touch they toes
We don’t wanna hear that weird shit no more
What the fuck is that? Give me back my aux cord

Play somethin’ for the bitches
How the fuck we s’posed to make money of this shit?
You wanna be a MC?
What the fuck you think, it’s 1993?

Stop scarin’ the hoes
Playing that shit, have them touchin’ they toes
“We don’t wanna hear that weird shit no more”
“What the fuck is that? Give me that aux cord”
Stop scarin’ the hoes
Playing that shit, have them touchin’ they toes
“We don’t wanna hear that weird shit no more”
“What the fuck is that? Give me that aux cord”

Black
Heels
Legs, legs
I see you workin’ it
I see you workin’ it
Work it, work it, work it, woo
Now work that shit

Full Lyrics

In the intricate expanse of hip-hop, JPEGMAFIA stands as a divergent voice, artfully blending sarcasm with critique. His work often acts as a mirror, reflecting the absurdity veiled within the music industry and societal expectations. This reflection reaches a piercing crescendo in his provocative track ‘Scaring The Hoes,’ a song that does more than just echo through the speakers—it challenges and converses with its listeners.

‘Scaring The Hoes’ is a sonic canvas splashed with irony, targeting the rhetoric surrounding mainstream music and artist authenticity. Its razor-sharp lyrics cut through the smoke and mirrors of industry norms, forcing us to confront the uncomfortable realities of cultural commodification. As one peels back the layers of JPEGMAFIA’s verses, an intricate satire of the music industry’s formulaic expectations is revealed—a narrative where artistry is often overshadowed by marketability.

Touching Toes and Scaring Souls: The Satirical Hook

A hook can often define a song, and in ‘Scaring The Hoes,’ JPEGMAFIA utilises repetition to embed a poignant point. The line ‘Play that shit that’ll have them touch they toes’ repeats like a mantra, its overt meaning dovetailing party anthems that dominate airwaves. This catchy, superficial surface conceals a deeper, biting commentary on how music is often dumbed down to simplistic and primal elements to ensure mass appeal.

The phrase ‘Stop scarin’ the hoes’ acts as both criticism and self-aware humor. It lampoons the industry’s fear of alienating potential consumers with ‘weird,’ non-conformist music, while simultaneously acknowledging JPEGMAFIA’s own unorthodox position within the industry, a constant balancing act between staying true to his art and playing the game.

Navigating the Autotune Era: The Old School vs The New Wave

JPEGMAFIA reflects on the generational divide in hip-hop, pitting ‘old man flow’ against the prevailing trends of modern music, marked by autotune and brand-centric identity. As the song progresses, he toys with voices, including those who dismiss lyrical proficiency in favor of marketable personality ‘brands’, reflecting the shift from skill-based MCing to a more holistic, and often superficial, entertainment package.

This is more than nostalgia for a bygone era; it’s a critique of the shallow commodification of music where ‘bars’ have surrendered to ‘brands’, and ‘art’ to ‘bands’—a materialistic perspective that prizes financial success above creative expression. JPEGMAFIA’s inclusion of these industry expectations functions as a mirror to the internal conflict of modern artists torn between integrity and profitability.

Unveiling the Hidden Commentary on Artistic Sacrifice

Beneath the surface of seemingly braggadocious lines lies a trenchant dissection of the sacrifices artists make in the altar of success. Lyrics like ‘Give a fuck about a fan’ and ‘Put the money in my hand’ encapsulate the cynical reality where fandom and artistic passion are often sidelined for monetary gain, a disturbing revelation about the industry’s hierarchy of values.

JPEGMAFIA simultaneously mocks and mourns the loss of genuine connection between artist and audience, painting a picture of an environment where artistry is less about expression and more about exhibitionism. Through this, ‘Scaring The Hoes’ becomes an anthem of resistance against this dynamic, privileging the true voice of the artist over the demands of the market.

Memorable Lines: The Clever Juxtaposition

Amidst the volley of satire, certain lines stand out for their plays on words and references. ‘You a rapper like Chance’ doubles as both a nod to Chance The Rapper and a comparison of JPEGMAFIA to his peers, suggesting a deviation from the traditional notion of what a rapper should be. Lines such as ‘I’m a business man’ echo Jay-Z’s ‘I’m not a businessman; I’m a business, man’, drawing parallels between hip-hop moguls and Fortune 500 CEOs.

These memorable lines are not just catchy; they are loaded with nuanced insinuations. They question industry mechanics and expose the often-unspoken rulebook that artists are expected to follow. Clever and provocative, these lines serve as the cornerstone of JPEGMAFIA’s auditory incursion into the paradoxes of musical success.

The Cultural Lexicon of ‘Black Heels Legs’: Imagery in Repetition

In the closing echoes of the track, JPEGMAFIA peppers the soundscape with simple yet evocative words: ‘Black, Heels, Legs.’ This minimalistic trio of terms becomes emblematic, illustrating how stark imagery can be woven into the fabric of a song, creating a motif that listeners latch onto. It’s a nod to the often reductionist portrayal of women in music, while also alluding to superficiality in the portrayal of success and beauty.

The repetition of these words remarks on the hypnotic, often reductive nature of popular music that captures attention not through complexity but through the repetition of easily digestible symbols. In doing so, JPEGMAFIA forces us to question what resonates with us in music, and why, completion not only to the rhythm but to the layers beneath it.

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