This economic exchange overlays the everyday negotiations of gendered power in relationships. Dancers receive some portion of the profit their labor generates, which is to say they are exploited within a capitalist system that keeps clubs, radio stations, promoters, rappers, the music industry at large and men's egos afloat. In this context, twerking is a kind of cyclical exchange in which songs are created to facilitate dancers', which facilitates clients', often men's, pleasure, power and profit. Music Features The South Is Rap's Past, Present And Future Everyone gets paid then, albeit unequally, in power, purse or pussy. In and out of the club, everyone wants to make the sound that makes the girls dance. Strip club music, which makes up most of the popular music landscape today - with its heavy bass, trap claps like ass claps and stable of Southern blues men emcees with just enough of a country accent to make "shake that ass, b****" sound just like "I respect you, I love you and I am proud of you and you only" - is one of the South's most widespread sonic exports. This process, in turn, shapes a wide swath of Southern hip-hop and an overwhelming majority of its dance music. Club dance floors clear rapidly if a beat is wrong likewise, dancers in the South's strip clubs determine which combinations of rhythm and words are the key to unlocking what they and/or their clients desire. The sound has to be right to communicate and document what is necessary: healing or rage, death or birth, and all things overlapping and in between.
To move requires the privilege of ability and skill as well as the permission and encouragement of the community. "Twerking," the word DJ Jubilee offered for the ecstatic booty-bouncing, popping, gyrating and shaking movements on New Orleans dance floors, carries within it a recognition of and reverence for the rigorous labor involved in the process.
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