The Contemporary Devil isn't Real.

“This is what the devil plays before he goes to sleep”, says Tyler, The Creator in his 2009 song “Bastard”. He is often linked to rumors of worshipping the devil and selling his soul, and is just one of many rap artists to face similar allegations. Several other artists, such as Kanye West and Playboi Carti, have been denounced for usage of devilish symbolism and hinting towards themes of satanism in their music, as well. This pattern of accusations can be traced as far back into the early 20th century, where the first blues musicians, like Robert Johnson and Clara Smith, were criticized for similar customs. However, the connection here is much more logical than it seems. Considering that blues music laid the foundation for contemporary rap, there seems to be countless overlaps between the two genres’ allegedly devilish manners. Various reasons exist as to why these genres have been rebuked by both God-fearing religious groups and individuals who simply dislike the music produced, but one can observe the most prevalent motives being cultural discrimination and social commentary in lyrics.

Blues music, having deep roots in African American culture and exploring divergent emotions and religious values for that time period, was labelled as the “devil’s music”. This formed a sense of fear within conservative communities, both Black and white, which led to a certain dislike towards the genre. Prevalent examples of devilish ways appear in the lyrics of blues musicians like Robert Johnson. His song, “Me and the Devil Blues”, gained traction long after his death for its songwriting which normalizes the view of devils as neutral or positive figures. Johnson sings “Me and the Devil, ooh / was walkin’ side by side…” (1937) and goes on in the track to speak of beating his female partners and death. Other blues figures like Clara Smith received much of the same treatment as Johnson. Her song, “Done Sold My Soul to the Devil”, released in 1924, created much controversy during the time of its release. As stated in the thesis essay titled “Searching for Satan in the Pre-War Devil Blues” by Kyle Mahoney, Smith’s track is known to be “the first commercial blues recording which referenced the devil by name” (2). As two of the most well-known blues figures, the backlash they received from audiences all over America was quite common. However, blues lyrics were not obligated to have mentions of the devil to be accused of such ways.

Alongside the cultural factors of Blues music, including African American folklore and tradition, prevalent themes like hardship, sensuality, and revolution established its infamous title as devil’s music. These themes are significantly abundant in many songs by blues artists like Ida Cox, Margaret Carter, and Lucille Bogan. In the 1924 blues song “Wild Women Don’t Have The Blues” by Ida Cox, she sings “When my man starts kicking I let him find another home / I get full of good liquor, walk the streets all night”. The remainder of the song speaks of letting oneself go and becoming a “wild woman”, unwilling to settle for a quiet life. A swift analysis of her lyrics will prove that the devil is not mentioned once throughout the song; however, this does not cease any accusations of the devil’s involvement. Jake Rossen additionally states in his article, “Parental Advisory: When Tipper Gore Took on ‘80s Rock Music”, that blues was considered a sinful parade for being a “corrupting influence” (2023) on younger audiences. Blues was often considered seductive, harmful, and encouraging disobedience, further advancing its reputation as devilish. Margaret Carter, in her 1927 song “I Want Plenty Grease In My Frying Pan”, sings about suggestive relationships and romance. Lucille Bogan faces similar accusations after her 1935 song “B.D. Woman’s Blues”, which speaks of lesbian relationships. However, these songs have deeper meaning to them than the corrupt devil’s music they have been painted as. In “The Historical Roots of Blues Music” by Lamont Pearley Sr., published by the African American Intellectual History Society, the reality of the genre is brought to light. Pearley states that, contrary to popular belief, blues music is an “expression of their experiences as freed Black men and women”, not the music of slaves (2018). These songs conveyed a newfound freedom for African American citizens.

Although it may not be for the same reasons any longer, we continue to see instances of similar devilish references in today’s contemporary rap. The impact of modern rap on American culture and society compared to blues music is much more revolved around societal symbolism and shock value. Examples of these contemporary devil references are viewed in many popular pieces of music media, such as Kanye West’s “Devil In a New Dress” track and Playboi Carti’s “Whole Lotta Red” album. These two artists use devilish patterns in their songs for two separate uses, but are still interconnected by the history of blues. In his song, West uses religious symbolism and metaphors to explore themes of temptation, desire, and lust. These are themes that are observably prevalent in early 20th century blues music, and seem to fall into the same category of devil’s music. Kanye incorporates lyrics within the song like “the way you look should be a sin, you my sensation, uh” and “we ain't married, but tonight I need some consummation” to create a bridge between religious and devilish imagery (2010). On the other hand, Playboi Carti’s album uses satanic symbolism to increase shock value in his music. He sings out the music in a voice like a “threatening stage whisper”, as expressed by Paul A. Thompson in an analysis of the album on Pitchfork (2021). The album includes lyrics involving homicide, satan, and female companions. It is largely a very overexaggerated version of the types of metaphors and allegories that were used by blues musicians in the early 1900s.

As blues music evolved from its catchy melodies to become influential on genres like controversial contemporary rap, there is no doubt that satanic imagery and “devil’s music” persists in popular culture today. Similarly to musicians like Robert Johnson, who used devilish references to paint stories about his personal journey, modern artists like Kanye West and Tyler, The Creator do the same. Their usage of the devil has much more depth and meaning than they are recognized for. In contrast, the influence of devil imagery can be purely for shock value, as Playboi Carti has proved throughout his musical career. Despite this, Playboi Carti’s albums still harness that feeling of rebelliousness and freedom that original blues music was meant for. The two genres’ significant impact on American society is, among all else, an indicator of how contemporary rap has carried on the “devilish ways” of early blues and not let criticism undermine the imagery that has been a staple in popular music for generations.

Works Cited

Wilcock, Don. “The Devil Didn’t Make Him Do It: Debunking the Robert Johnson Myth.” American Blues Scene, 16 Aug. 2022, www.americanbluesscene.com/2022/08/devil-didnt-make-him-debunking-robert-johnson-myth-3dw/.

“Me and the Devil Blues - Robert Johnson Blues Foundation.” Robert Johnson Blues Foundation, 11 May 2023, www.robertjohnsonbluesfoundation.org/track/me-and-the-devil-blues/.

Mahoney, Kyle. Searching for Satan in the Pre-War Devil Blues. 2023, scholarworks.wm.edu/cgi/viewcontent.cgi?article=2990&context=honorstheses.

“Parental Advisory: When Tipper Gore Took on ‘80s Rock Music.” Mental Floss, 14 Sept. 2023, www.mentalfloss.com/posts/tipper-gore-fought-against-80s-rock-music-parental-advisory.

Pearley Sr., Lamont. “The Historical Roots of Blues Music – AAIHS.” Aaihs.org, 9 May 2018, www.aaihs.org/the-historical-roots-of-blues-music/.

“Devil in a New Dress.” Genius, 22 Nov. 2010, genius.com/Kanye-west-devil-in-a-new-dress-lyrics.

Thompson, Paul. “Playboi Carti: Whole Lotta Red.” Pitchfork, 5 Jan. 2021, pitchfork.com/reviews/albums/playboi-carti-whole-lotta-red/.