Over the weekend, I watched the first portion of The Carter, an unauthorized documentary on Lil Wayne released on the Internet last year. The Carter was originally undertaken with Lil Wayne's blessing, but the rapper later withdrew his support for the film (and sued the filmmakers), ostensibly due to its depictions of Wayne's heavy drug use. But the film shows more than just Wayne sippin' on sizzurp, a topic that the rapper himself has covered in many of his own songs.

In the middle of The Carter, an obviously high Lil Wayne jokes openly about being raped at the age of 11 with the encouragement of his surrogate father, Baby—and informs Lil Twist, a 15-year-old member of Wayne's record label Young Money, that Wayne is going to help him get raped, too.

The scene comes in the second section of the documentary on YouTube (where the film migrated after failing to secure a theatrical release). While reclining on a couch in the dark with a group of friends, Wayne confronts Twist about the teen's sexual history: "You sucking clits over there?" he asks.

"How old are you, Twist?" Wayne continues. "Fifteen," Twist responds. Lil Wayne can't believe that a 15-year-old boy may be a virgin.

"You ain't fuckin' yet? . . . I was fuckin' at eleven!" Wayne tells him. Wayne explains that Twist needs to get laid, because that's the way things work in Young Money. "It ain't 'cause you're a male, it ain't 'cause you're 15, it's because you're Young Money. You're supposed to," he says.

"I got raped when I was eleven, Twist," Wayne tells him. "I loved it."

Wayne describes how it happened. "I'll never forget that day. They was all in the kitchen, I was scared, it was good . . . I'll never forget their words: 'Suck Lil Wayne's little dick! Girl, you know you're such a good dick sucker . . . Suck Lil Wayne's little dick!,'" he says. "I'm sitting there like, Shorty! I ain't never had this shit happen!" Wayne tells Twist that Baby, Wayne's father figure, was one of the men encouraging the woman to perform oral sex on him. "I'm a do you like Baby and them did me," Wayne informs him.

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After the documentary was filmed, Lil' Wayne spoke about his childhood sexual assault again, in an appearance on Jimmy Kimmel's show. Kimmel goaded Wayne into talking about "losing his virginity" at the age of 11. Then, Kimmel—along with, oddly, Charlie Gibson, who was also a guest on the show that night—teamed up to tease Wayne over the incident, which they presented as an impressive display of Wayne's manhood. Except that this time, Wayne was no longer up for joking about the matter, and he finally explained to Kimmel that the experience was a negative one. It was also revealed that the woman who was being encouraged to "suck little Wayne's little dick" was 14 years old.

After the Kimmel segment aired, Cara at the Curvature wrote an excellent piece about the cultural tendency to respond to sexual assaults against males by recasting the assault as a positive sexual experience for the victim:

In the majority of sexual assault cases, where a woman is the victim of a man’s violence, rape apology is rooted primarily not in the denial that male violence exists, but in the denial that male violence means something and needs to be stopped. Conversely, in cases where a man is the victim of a woman’s violence, rape apologism is strongly rooted in the denial that women’s actions can count as violence at all—and especially that their actions can count as sexual violence against men, who are routinely construed as incapable of being victims.

In light of Wayne's account of the incident in The Carter, it's obvious that Wayne's sexual assault was not only recast as a positive after-the-fact, but actually orchestrated beforehand by an adult who was responsible for raising Wayne. The fact that the girl chosen to carry out this sexual assault was 14 years old shows that both Wayne and the girl are victims of that man's actions. When sexual assault against males is excused as a joke or even held up as a badge of honor, that doesn't just work to erase victims after the fact. This attitude directly causes sexual assaults. Twist is told he needs to have sex whether he wants to or not, just like Wayne did before him. As Wayne tells Twist, "It ain't 'cause you're a male, it ain't 'cause you're 15, it's because you're Young Money. You're supposed to."

EUPHEMISM: "Bedrock."

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DEFINING MOMENT: Young Money's "BedRock," in which Lloyd announces, "Call me Mr. Flinstone, I can make your bed rock." (Thanks to Heartless Doll for the tip).

LITERALLY: "Bedrock" has several classic associations. According to Wikipedia, bedrock is the stratigraphic term for "the native consolidated rock underlying the surface of a terrestrial planet, usually the Earth." Bedrock, when employed as a proper noun, is also home to animated prehistoric family The Flinstones. It is this definition which the Young Money lyrics favor.

UNDERLYING MEANING: Has there ever been a weaker sexual euphemism? According to Urban Dictionary, the phenomenon of bedrock—the sexy kind—occurs "when two are enjoying intercourse & the man shakes the bed." Obviously. "Bedrock" is mostly pun at this point, but if Young Money's track takes off, we may see this term come into its own as a bonafide euphemism. On the other hand, for a song filled with references like "Call me Red Bull / we can fly away" and "I be stuck to her / Like glue, baby," I'm not betting on this track's lyrical stylings enduring.

I spent part of Washington's snowed-in weekend sipping bourbon, building an igloo, and listening to one anonymous woman's horrific karaoke rendition of Deborah Cox's 1998 power ballad, "Nobody's Supposed to Be Here." At one break in the snow shelter action, a friend popped in a cassette tape containing the butchering of Cox's song, which he claims to have found laying on the ground at a Six Flags theme park.

Being unfamiliar with Cox's work, we hopped onto YouTube to listen to the original track, a resounding tribute to the man who made Deborah Cox love again. Beneath the video, a Cox fan had filed the following comment: "man she can sing so gud man i love her no homo she is now my idol like 4 real my gaol is too sing like her cuz she is truly amazing."

No homo? Seriously? I always thought the homophobic "no homo" declaration was a product of hip-hop's aggressive masculinity. Now, girls, too, are invoking "no homo" to clarify that they want to be able to belt maudlin R&B ballads about falling in love with men without being perceived as lesbians? What's going on here?

Earlier this year, Slate's Jonah Weiner argued that "no homo" represented a step forward for hip-hop, as it allowed male rappers to step outside the bounds of traditional masculinity and explore their feminine sides without being perceived as gay. "No homo" is blatant homophobia, Weiner argued, but at least it's blatant homophobia that allows rappers to kiss each other on the lips, take an interest in fashion, and engage in such homoerotic displays as "giddily dous[ing] each other" in champagne—as long as they're not actually gay.

But does "no homo" hold any similar gender-role liberation for women in hip-hop?

"No homo" hasn't caught on among lady MC's like it has with male rappers like Cam'ron, Lil' Wayne, and Kanye West. But back in 1995, Lil' Kim used the "no homo" tactic in order to spit some man-hating sentiments without being pigeonholed as a lesbian. In her verse on Junior M.A.F.I.A. track "Get Money," Kim announced, "I ain't gay, this ain't no lesbo flow."

"No lesbo" is clearly homophobic, but there's a hint of transgression here, as well. The anti-gay sentiment works to excuse the rest of Kim's verse, which directs a stream of hate at lying, cheating men. On the track, Kim ridicules men's penises, rejects men who want to play her "like a chicken," and insists that listeners "eat my pussy." It's a female version of Biggie's verse on the same track—a verbal take-down of lying, cheating "bitches." The only difference? There's no "no homo" caveat to Biggie's misogyny, because straight men are expected to hate women. Lil' Kim, on the other hand, must temper her misandry with a "no lesbo," as women who rail against male behavior are immediately assumed to be man-hating lesbians.

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"No lesbo" helped Lil' Kim to speak out against men without being labeled a lesbian. It also allowed her to flaunt her sexuality in an aggressive, raunchy, self-serving way that had previously been reserved for male rappers. At one point in "Get Money," she flips the traditional sex script when she demands that her sex partner "get me open while Im cummin down your throat." But for the most part, female displays of sexuality in hip-hop are used exclusively to facilitate male pleasure and domination. That's another reason why "no lesbo" has failed to liberate women from traditional gender roles in the way "no homo" has for men—in male-dominated hip-hop, lesbianism is hot.

The sentiment that lesbians are sexual candy for straight men is coming from the same rappers who sprinkle "no homo" in their lyrics to avoid being labeled as gay themselves. On Kanye West's 2007 track "Stronger," he announced that he "would do anything for a blonde dyke." And in Lil' Wayne's Drake's recent contribution to "We Like Her," the "no homo"-loving rapper asked, "Are any of y'all into girls like I am, lesbi-honest?"

But as with the male homosocial displays made safe by the "no homo" disclaimer, lesbianism in hip-hop is only acceptable if it's not truly gay.

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Consider Gucci Mane's "Girls Kissing Girls," featuring rumored lesbian hip-hop artist Nicki Minaj. In the song, Gucci lays out some pornographic verses about girls doin' it before laying out his cautionary tale: Just don't hook up with real lesbians, or they'll steal your girlfriend: "Told her last time she can bring her other friend / Then I lost her number never seen again / The best brain in the world, do her thing with a girl / But don't call her yo girl, or let her hang with yo girl."

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The sentiment that lesbianism is okay as long as it's a performance for men isn't confined to hip-hop, of course. Katy Perry's pop anthem "I Kissed a Girl" is the "no homo" anthem that never dared to say "no homo." The lyrics—"I kissed a girl and I liked it / Hope my boyfriend don't mind it"—reinforce the idea that girls should be free to kiss each other as long as they go home to their heterosexual relationships at the end of the day (and let their boyfriends watch).

"No homo" allows male hip-hop artists to explore their femininity. The new "no lesbo" sentiment, on the contrary, keeps women on an even shorter gender-role leash—they are allowed to explore their sexuality, as long as that sexuality is still controlled and consumed by men. Men are allowed to get manicures, wear purple fur coats, and geek out over fashion shows as long as they tack a "no homo" on their activities. Meanwhile, the "no lesbo" sentiment only helps women to continue to act sexy for men, not to claim their sexuality in the spirit of Lil' Kim. Despite the genre's fascination with token lesbianism, Bitch's Natalie Stein notes that mainstream hip-hop still discourages lesbian hip-hop artists from coming out.

"No homo" doesn't carry with it any more freedom for women to defy gender roles. Nevertheless, some female hip-hop fans are still eager to invoke "no homo" alongside their male counterparts. What else explains applying "no homo" to otherwise sexual-orientation-neutral activities, like being able to sing like Deborah Cox? On Urban Dictionary, "no lesbo" is defined as:

said after something potentially "lebian" has been said. Also used to state something does not have a lesbian connotation, even though it sounds that way

1.That's my bitch, no lesbo.
2.That ass is huge, no lesbo.

In most cases, "no homo" and "no lesbo" function not as a way to escape traditional gender norms, but as turns-of-phrase which help build community through conversation markers. Once boys are using "no homo," their female friends are going to want to use it, too—even if it doesn't make much sense, or help them to claim any transgressive power. When extended to women, "no homo" isn't what Jonah Weiner calls "progress"—it's just more casual homophobia coupled with some good, old-fashioned objectification of women.

When I wrote my piece parsing the feminist and misogynist undertones in the works of Lil Wayne, I overlooked one verse from "We Like Her," Wayne's ode to wanting to "fuck every girl in the world":

This verse comes courtesy of Mack Maine, president of Weezy's Young Money Entertainment:

For free suites, I'd give Paris Hilton all-nighters
In about 3 years, holla at me Miley Cyrus
I don't discriminate, no not at all
Kit Kat a midget if that ass soft I break her off
I exchange V-Cards with the retards
And get behind the Christian like Dior

So . . . Mack Maine is interested in having sex with celebrity socialites, girls who will reach the age of consent sometime in the future, Christians, women affected by dwarfism (with soft asses), and virgins with developmental disabilities. But don't worry, he does not discriminate as to which female vessel he achieves sexual release in.

I've heard this song on the radio dozens of times, but I must have blocked this verse out in order to avoid that special combination of offensive terminology and sexual assault overtones. Last night, my boyfriend called to confirm that he had actually heard the line, "V-Cards with the retards," broadcast over the radio. He did. Hey, as long as it's not "no homo," it's okay by them.

When Mack Maine says he'll have sex with Paris Hilton in exchange for free hotel rooms, he is dreaming. When he says he will "exchange" V-cards—I doubt Mack Maine is still holding on to his, but you never know—with developmentally disabled virgins, he is actually frightening me. It's also one of the more pathetic attempts at swagger I've ever come across. But good for him, he made something rhyme.

First up: "A Milli," a track off Tha Carter III:

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Relevant Lyrics: "The Bible told us every girl was sour / Don't play in her garden and don't smell her flower / Call me Mr. Carter or Mr. Lawnmower"

Feminist: Weezy's lawnmower is here to destroy all those antiquated ideas about female sexuality.

Misogynist: A man's lawnmower chopping up a woman's flower is not exactly the most sex-positive imagery.

—

"Mrs. Officer," a song about a sexy cop.

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Relevant Lyrics: "Doin a buck in the latest drop/ I got stopped by a lady cop/ She got me thinking I can date a cop/ Cause her uniform pants are so tight . . . And I know she the law, and she know I'm the boss / And she know I can hide above the law / And she know I'm raw, she know it from the street / And all she want me to do is fuck the police."

Feminist: He's attracted to women in positions of power!

Misogynist: . . . as long as their pants are tight, and he can neutralize their authority by pulling out his wang.

—

"We Like Her," a song about wanting to fuck every girl in the world. Every single one!

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Relevant Lyrics: "Open up her legs then filet mignon that pussy / I'm a get in and on that pussy / If she let me in I'm a own that pussy / Go'n throw it back and bust it open like you 'posed to / Girl I got that dope dick / Now come here let me dope you / You gon' be a dope fiend / Your friends should call you dopey"

Feminist: Every woman is beautiful.

Misogynist: Just beautiful enough for Wayne to declare ownership of her genitals and describe their courtship in sexual assault terms.

—

"Lollipop," a song about oral sex.

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Relevant Lyrics: "I get her on top / She drop it like it's hot / And when I'm at the bottom / She Hilary Rodham."

Feminist: He just name-checked Hilary Rodham. In a positive way! And without the Clinton, even!

Misogynist: I'm not sure that riding Weezy is exactly the type of women's liberation Hil is working for.

—

"Prostitute Flange," a song about not caring if your lady previously turned tricks.

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Relevant Lyrics: I wouldn't care if you were prostitutin' / That you hit every man that you ever knew / See it wouldn't make a difference / If that was way before me and you girl.

Feminist: An anti-slut-shaming anthem: Her sexual history is not an issue, even if she had sex with every man she has ever met. That's pretty progressive!

Misogynist: Well, the history is unimportant as long as it's ancient—"way before me and you"—and as long as she's now only his forever: "Three letters: I do."

—

"Project Bitch," a track from Lil Wayne's Hot Boys days.

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Relevant Lyrics: Wayne's contribution to this track is devoted to the ladies who " be puttin' they mouth on it / and they suck everything out of it / and they catch it and swallow it. . . . When I come through in a Rolls Royce / I leave them with no choice / but to hop up in it an just let me make they throat moist."

Feminist: Hmm.

Misogynist: Yeah.

It's hard out there for a rap star trying to come out with the next big sexual euphemism. Armed only with weather patterns ("make it rain"), child-friendly sweets ("lick it like a lollipop") and whimsy ("superman that ho"), today's hip-hop stars struggle to coin a sex term as eternal as LL Cool J's ultimate rap sex euphemism: "doin' it." These are their stories.

RAP SEXUAL EUPHEMISM: "Wipe me down"

DEFINING MOMENT: Lil' Boosie’s “Wipe Me Down"

UNDERLYING MEANING: There's no true consensus on what the fuck "wipe me down" actually means. But in the tradition of Lil' Wayne's "Walk It Off," Boosie's "Wipe Me Down" carries both sexual and non-sexual connotations. Most innocently, the phrase implies that one is "clean," "fresh," or otherwise "fly." In entreating another to "wipe me down"—as one would wipe down a newly washed car in the final stage of cleaning—the speaker indicates that she has reached the pinnacle of freshness.

The alternate meanings of "wipe me down" concern various acts associated with blow jobs: "to suck a man or boys dick or prick," suggests one Urban Dictionary user. Others consider a wiping down oral sex by proxy: "to give a guy a handjob by licking your hands and 'wiping' him down." Still others present a more ambiguous, but clearly sexual meaning: "To be used when things go extremely well with someone or something, for example, with someone of romantic interest. To wipe him or her down is a very good time indeed."

SHELF LIFE: Will never make it through the winter. Song kinda sucks, too.

10. "Lollipop"

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DEFINING MOMENT: Lil' Wayne's "Lick it Like a Lollipop"

UNDERLYING MEANING: Sexual infantilization ahead. "It's basically a cock. As in lick the lollipop. Refering to blowjobs. Lil Wayne made a song called Lollipop about this topic."

SEE ALSO: 50 Cent's "Candy Shop"

—

9. "Ridin' My Pony"

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DEFINING MOMENT: Ginuwine's "My Pony"

UNDERLYING MEANING: Ginuwine's pony, obviously, is his cock. One commenter commends Ginuwine for invoking a diminuitive horse as opposed to a more sizeable stallion; I'm just impressed he manages to carry the analogy throughout the song. His saddle is waiting, ladies.

—

8. "The Nappy Dug Out"

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DEFINING MOMENT: Ice Cube's "Givin Up the Nappy Dug Out"

UNDERLYING MEANING: All this means is vagina, but points for originality.

—

7. "Milkshake"

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DEFINING MOMENT: Kelis' "Milkshake"

UNDERLYING MEANING: I always assumed "milkshake" stood for "blowjob." In the context of the song, that interpretation would have Kelis performing mass outdoor yard blowjobs for all the boys. Kelis had this to say about the true meaning of the frothy drink: "Milkshake is just that thing that makes a woman stand out from everyone else. It's a thing that makes you sensual and warm and maternal. It could be about breasts but I don't have huge tits so you gotta work with what you got."

—

6. "Skeet"

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DEFINING MOMENT: Lil' John's "Get Low"

UNDERLYING MEANING: Ejaculating; "To shoot your man juice up on ur bitch."

—

5. "Make it Rain"

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DEFINING MOMENT: Fat Joe's "Make It Rain"

UNDERLYING MEANING: Urban Dictionary identifies two levels of euphemism in this rap standard: "In strip clubs, it is when you throw stacks of money all over women (this is the "edited" definition)"; "When a man ejaculates all over a woman (this is the "explicit" definition)."

SEE ALSO: Lil' Wayne's "Rain Man (Strip Club Anthem)"

—

4. "Superman That Ho"

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DEFINING MOMENT: Soulja Boy's "Crank That (Soulja Boy)"

UNDERLYING MEANING: Is it not intuitive? "When you cum on a girls back and then stick the sheets to her, so when she wakes up in the morning she has a cape."

—

3. "Wild Thing"

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DEFINING MOMENT: Tone Loc's "Wild Thing"

UNDERLYING MEANING: Dropped in 1989, this song is one of the original examples of hip-hop sex euphemism. Now, "doin' the wild thing" is so intimately associated with having sex that it's hard to believe it was once ambiguous.

—

2. "O.P.P."

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DEFINING MOMENT: Naughty By Nature's "O.P.P."

UNDERLYING MEANING: "Other People's Property," generally. Throughout the song, "O.P.P." is made to signify both "Other People's Penis" and "Other People's Pussy." According to Wikipedia, "when the song asks the listener if they're 'Down with O.P.P.,' it is asking the listener if he/she is willing to have sexual relations with a person who is known to already have a significant other." The enthusiastic call-and-response that generally accompanies this song suggests that we're all a bunch of cheaters. Or we have no fucking idea what Naughty by Nature is talking about.

—

1. "Doin' It"

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DEFINING MOMENT: LL Cool J's "Doin' It"

UNDERLYING MEANING: Sex.

So, R. Kelly has pulled the vocoder out of the closet and recorded a remix to Lil' Wayne's "Every Girl." The original track declares, "I wish I could fuck every girl in the world." Wayne doesn't get into the logistics, but that's gotta be a scenario that involves some nonconsensual sex. The original song, at least, sidesteps outright rape by inserting "in about 3 years" before the line "holla at me, Miley Cyrus."

But now that the lyrics have been taken from Wayne's mouth and into the hands of noted teen enthusiast R. Kelly, the use of the world "girl" seems a whole lot fuckin' creepier. Let's recap:

1995: R. Kelly, 27, marries 15-year-old Aaliyah while working with her on her debut album titled, strangely enough, "Age Ain't Nothing But A Number."

2002: R. Kelly, 35, is "indicted on 21 counts of having sexual intercourse with a minor." He is later acquitted.

2008: R. Kelly, 41, tells BET:

BET: Let me ask you something real that millions of Americans are thinking about and wondering about you. Do you like teenage girls?

Kelly: When you say teenage, how old are we talking?

BET: Girls who are teenagers.

Kelly: 19?

BET: 19 and younger.

Kelly: I have some 19-year-old friends, but I don’t like anybody illegal if that’s what we’re talking about, underage.

2009: R. Kelly, 42, releases a song in which he declares, "I want to fuck every girl in the world." Among them: a girl, her friend, her sister, her cousin, her mom, and "the Statue of Liberty."

I suppose this song could be good PR for R. Kelly. See, he likes older women too—the Statue of Liberty is like over 100 years old! But I have to believe that the repetition, over and over, of wanting to fuck girls  can't be doing him any favors. Add to that the fact that this song is absolutely terrible, and we might havethe—but can it be true? Hath the Gods of Nonconsensual Sex Tracks finally revealed to us the most worthless date rape jam ever: A song that sounds completely terribly, and is also super sexually creepy? I think we've got him!

Katie Couric fell into some pretty serious mom jeans territory last night in her pre-Grammy interview with Lil' Wayne. How nerdy does Couric look compared to Weezy? Let me count the ways:

1. Why wait? Go on, date yourself immediately. Couric intro: "He's got the teeth, the 'tats . . . and the 'tude."

2. Minutes later, Couric manages the impossible: She makes amateur bowlers look cool when she hits the lanes with Lil' Wayne (conceivably, before they head over to the local malt shop to chill with the kids). When Weezy bowls a gutter ball, Couric calls out, "Don't worry, we'll edit that one out!" But she was totally lying!

3. "By the way what do I call you: 'Wayne'? 'Weezy'? 'Lil'?"

4. Way to emphasize the final "R" in the question, "What does it mean when you say you're a gangster?"

5. "Tell me about this drink, Wayne, that you like, called 'syrup.' It's ... prescription cough medicine?"

6. After Weezy talks about his "syrup" habit ("It's what you take when you have a very, very bad cough, a flu or somethin'," he explains) and his marijuana use (it's "medicinal"), Couric gets on his back about being a "role model" to the "kids" (including his 10-year-old and two-month-old children). Weezy, as always, is ready with the perfect response: "If you need an example for how to live, then you shouldn't have even been born."

7. Nothing makes you sound quite as lame as haveing your serious journalist voice layered over Lil' Wayne's "Lollipop."

Where have you been during all this, Weezy? T.I.'s here. Jay-Z's here. Young Jeezy' s here. Diddy's here. But whither Weezy? And don't say "I've been hustlin'"!