The Rapsody Poetic

Don’t blink or they’ll be gone. It’s an epidemic that’s been plaguing us for quite a while. We sometimes forget about it but I’d like to draw your attention to a new development, a possible solution to the problem.

What’s the problem?

An endangered species

A species whose numbers are so few, or are declining so quickly, that the animal, plant, or other organism may soon become extinct.

Female rappers were, for a while, in that number. I’m not so stupid to say that deforestation or not enough food is the reason for it.

It has been mostly because the industry has been dominated by the male of the species, an ever changing landscape, and females being pigeonholed into just rapping about sex and suggestive things. For a long while I believed they were a hair’s breath away from extinction.

Then, almost as if by osmosis, they returned.

Nicki Minaj, Kreayshawn, Jean Grae. They were women on the rise hoping to bring it back into the court of the ladies.

Another member of that movement is the North Carolina rapper Rapsody.



Rapsody was born Marlanna Evans on January 21. She is currently signed to 9th Wonder’s Jamla Records imprint under his It’s A Wonderful World Music Group (IWWMG).

She began her career as a member of North Carolina based hip-hop group Kooley High. Rapsody then embarked on a solo career in 2008.

Despite the fact that she’s only been active about three to four years the artists she has worked with reads like a who’s who of amazing talent.

Thus far she’s worked with Erykah Badu, Mac Miller, Estelle, Jean Grae, Phonte, Marsha Ambrosius, Raekwon, Murs, Geechi Suede (of Camp Lo), Big Daddy Kane, Rah Digga, Buckshot, Big K.R.I.T., Kendrick Lamar, Freeway, Statik Selektah, DJ Premier, and super producer Nottz.

Quite a list.

Rapsody’s first significant career breakthrough came with the release of her mixtape Return Of The B-Girl. She continued to build up a fan base with the release of Thank H.E.R. Now. This mixtape displayed her storytelling skills as she drew from personal experiences.

Her next project was For Everything, released on November 15, 2011.

Rapsody’s style tends to favor intricate rhyming patterns, metaphors, and wordplay. She cites not only 9th Wonder but Jay-Z, Mos Def, Lauryn Hill, and MC Lyte as the biggest influences on her music.

As with so many her debut studio album is coming this year. This young woman is a part of the movement that’s bringing women back to the forefront of hip-hop.

Let the Rapsody continue…

THE INCREDIBLE…David Banner

I have favorite rappers like you’d have favorite sports teams.

My favorite baseball team? I don’t have one.

Favorite football team(s)? Firstly I am a New England Patriot to my heart, followed by the Atlanta Falcons and Philadelphia Eagles.

Favorite basketball team? The Boston Celtics.

As far as rappers go I have numerous rappers that I really like. OutKast, T.I., Curren$y, Rick Ross, 2 Chainz, Cyhi Da Prynce, Big K.R.I.T. and many others. But the rapper I have loved consistently is Lavell Crump.

He is the rapper/producer known as David Banner.



Ever since Mississippi: The Album I have been on the bandwagon. As with anyone who followed his career after this point it was “Like A Pimp”, a collaboration with Houston, TX rapper Lil’ Flip that opened the door. That track was addictive back then. The beginning drums always seemed to catch your ear and put your body in motion.

Of all his studio albums I loved MTA2: Baptized In Dirty Water. That one was something that made my head nod with each repeated playing.

“Crank It Up” was excitement forced into a short amount of time with the late Static Major lending his voice to the chorus and every so often in the song. This song displayed Banner’s reckless and wild delivery, the Mississippi heavy in every syllable.

“Gots To Go” is the sort of rap song that speaks of the road and its effect on women who the rappers featured might encounter, be it the mother of someone’s child or just a random groupie. It is without a doubt misogynistic but it is so well done that I can look past that.

“Lil’ Jones” is my favorite on the entire album. Atlanta native Bonecrusher and Banner pass the verses back and forth with their particular Southern drawls heavy in the rhymes. It plays like a perfect volley that I scarcely wanted to end.

After this album came Certified and The Greatest Story Ever Told. Beautiful projects as well.

Another favorite was Banner’s collaboration with 9th Wonder called Death Of A Pop Star. Both were admittedly passionate about it and that made me anxious to hear it.

I heard it and loved it.

“Slow Down” was my jam.

I woke up in Heaven with my baby…

Between trying to get his Master’s degree and championing hip-hop he is prepping MTA3: The Trinity Movement.

I cannot wait for another CD from Banner, my first favorite rapper.

Memories Museum (3)

I am the child of memory. Those things that you remember are often amazing and surprising sometimes. For example I remember riding in the back of my mom’s ‘piece of crap’ (her words, not mine) Oldsmobile listening to Michael Bolton tapes and Anita Baker heavily. I think that where I first learned to love everything and everyone in music. It might even surprise you that I know the words to Fleetwood Mac songs as well as rap lyrics.

This was her way, although she’d never said it, of making us (that is, my sister and I) eclectic people. I like to be so bold as to think that it works.

But music has always been tied to memory. You tend to remember the good albums.

Case in point…

School days were interesting. In elementary the school was right around the corner. Except for the days where it was raining my sister and I walked to Francis Bartow Elementary without fail. And in the same way we walked home, weather permitting.

Middle school was a bit different.

I had to catch the bus to George W. DeRenne Middle School, waking up at about six in the morning. The bus ride there was a silent affair because I doubt anyone of us on the bus were morning people.

The ride back was a totally different affair.

We shared the bus with high school students from Alfred E. Beach High School. They brought the bus to life in the afternoon.

Them and the radio.

The radio stayed on the local hip-hop radio station in Savannah.

E93 or 93.1

It was there that I started to get my hip-hop education. I heard the greats like 2Pac and Biggie. I mean, you cannot have a hip-hop station without them. Then I got introduced to the regions and their differences.

My first Southern hip-hop from Georgia was OutKast.

That was quickly followed up by YoungBloodz.

The song that I heard was “85”. Something about the beat just invaded me as if they’d walked into my cerebellum. It was amazing, everything about it. The chorus and Cutty’s voice on it.

I know you’re waiting for Daddy/It won’t be long, shorty/Be patient ‘cause he’s coming for you/Dirty on 85...

Big Boi’s feature just seemed to accentuate things so perfectly. Seeing him outside of OutKast was weird to me at first but I loved it all the same.

My favorite part was this one:

Now I’m scraping the wall/ Shorty ain’t got on no drawers/Now I’m breaking the law/ Trying to get with this broad/I don’t know what it is/But shorty fine as hell/The slum type that I like/Straight from ATL/Shorty yeah

Humming it now makes me smile to this day….

Memories Museum (1)

I am the child of memory. Those things that you remember are often amazing and surprising sometimes. For example I remember riding in the back of my mom’s ‘piece of crap’ (her words, not mine) Oldsmobile listening to Michael Bolton tapes and Anita Baker heavily. I think that’s where I first learned to love everything and everyone in music. It might even surprise you that I know the words to Fleetwood Mac songs as well as rap lyrics.

This was her way, although she’d never said it, of making us (that is, my sister and I) eclectic people. I like to be so bold as to think that it worked.

But music has always been tied to memory. You tend to remember the good albums.

Case in point…

I think I saw one of those twelve CD deals for penny flyers in the back of an EBONY magazine. Being younger and being a kid I filled it out with a fraudulent name and sent off for them.

Lucius B. Kennedy was the alias back then.

I had completely forgotten about them until my mom had shown me the package. It was pretty foolish for me to even attempt to say it wasn’t me. Hell, I was the only in the house whose name started with an L. So I was honest about it.

She didn’t strike me as angry. She was willing to laugh it off.

This was until she opened the box.

Dammit.

The discs in the box were: Ludacris, Beyonce, Steely Dan, Barry White, OutKast, Sean Paul, Incubus, U2, R. Kelly, Jaheim, and some others that elude me.

She let my sister keep the music I’d promised her, despite the parental advisory labels. I guess she figured that Sean Paul’s accent made him unintelligible enough that any profanity he used would be overlooked. The R. Kelly thing may have been a mistake given her age. But that’s neither here nor there.

Mom gladly took the Barry White and the Steely Dan since she a was lifelong fan. She’d even grown to like Jaheim due to radio airplay and the distance she had to drive to work.

The Incubus and U2 were given over without much argument. Same with the Beyonce CD. When we reached Luda and OutKast she immediately took them.

“I don’t want you listening to that rap crap…”

Eventually I found them and I was singing the lyrics to Word Of Mouf and Stankonia religiously.

(Quietly, of course…)

This was until Mom caught me and soundly thrashed me.

Ahh, wonderful memories…

Memories Museum (2)

I am the child of memory. Those things that you remember are often amazing and surprising sometimes. For example I remember riding in the back of my mom’s ‘piece of crap’ (her words, not mine) Oldsmobile listening to Michael Bolton tapes and Anita Baker heavily. I think that where I first learned to love everything and everyone in music. It might even surprise you that I know the words to Fleetwood Mac songs as well as rap lyrics.

This was her way, although she’d never said it, of making us (that is, my sister and I) eclectic people. I like to be so bold as to think that it works.

But music has always been tied to memory. You tend to remember the good albums.

Case in point…

I went to high school in Savannah, GA. Being that most people who read this might know what or where Herschel V. Jenkins High School is I say it for the sake of just highlighting a place where I spent four wonderful years. Around sophomore year after I’d gotten most of the delinquency out of my system I joined NJROTC (Naval Junior Reserve Officer Training Corps for those who do not know). Suffice to say I fit in rather well. I was active on a few teams and eventually made officer (my rank being ensign) at the beginning of my senior year.

Being that graduation was fast approaching we had an end of the year trip. By luck of the draw I ended up in a room with a bunch of my fellow officers. One had his iPod and the dock so we had music. At one point a bestial track pumped through the room.

I had to know what it was.

I looked at the iPod and smiled.

“Top Back” by T.I.

I had previously been in love with “Rubberband Man” and “Do It”.

This song, this KING album just reinforced what I already knew. As the trip went on I found myself with one line from that song on perpetual repeat in my head.

The line?

It’s Pimp Squad Click/I know y’all heard about us/Young niggas filthy rich/And we ain’t worried ‘bout much/On this Glock I clutch/In God I trust/If a fuck nigga start/Then his heart I’ll bust

That line was what really made me go out and actually purchase the album.

The only regret I have is that I bought it from Wal-Mart.

More good memories…

The Volume In The ‘Echoes’

His praises have been sung by MTV, BET, Rolling Stone, XXL, The Source, and 2DopeBoyz. They have all dubbed him the "Songbird of his Generation", as well as the "best musical talent since Michael Jackson" (John Norris, MTV).

I quoted this rave review in a previous story. A ‘Weeknd’ Warrior was the title. When I read the review I was a bit skeptical of that outlandish statement. My thinking was pretty short sided. In my mind to compare anyone to the late (still hard to write that) Michael Jackson, The King Of Pop, is tantamount to the basest form of blasphemy. But as a writer I had to look at this from a neutral standpoint. I needed to put my previous notions aside to really listen and digest The Weeknd’s album.

So I started with Echoes Of Silence.

The first song on the nine track album?

“D.D.”

When I heard what the song was there was a certain level of providence. “D.D.” was “Dirty Diana”. I loved the Michael Jackson version but I was going to give The Weeknd’s version a fair shake.

So I listened.

I am glad that I did.

“D.D.” takes a Michael Jackson standard and somehow manages to pay homage to our greatest musical legend while staying true to The Weeknd’s eclectic and unique style. When you listen to the original “Dirty Diana” you are caught up in the slow building of that story about treacherous Diana. Somehow Weend borrows and perfectly emulates the vibe while making it a contemporary piece.

Aristotle once said that all art is imitation. Here we see that The Weeknd does not try to trace MJ’s work, rather looks at it and freehand draws a wonderful interpretation.

That hooked me.

“Initiation” was a favorite. The voice changes blends so well and so flawlessly it is almost not noticeable. Here there is no need for guest features or transplanted verses. This is all him in his eerily haunting delivery of purest beauty. It is a vocal kaleidoscope that plays with elements of DJ Screw’s wildest codeine induced fantasies.

“Next” is the final song I will feature. This is a track that causes a chain reaction within you. It moves from your head, down to your shoulders. It has a haunting quality despite the heartbreaking theme of it. And like any good haunt it refuses to let you go. As with all the songs he needs very little music to capture you perfectly. People often forget that the voice is the most amazing instrument but The Weeknd keeps his tuned and playing flawlessly.

Maybe they were right about him, readers.

I’ll reserve the final judgment until after I listen to House Of Balloons and Thursday. I will say that he’s making me a believer.

Rapper, Teacher, Actor, Father

Tinker, Tailor, Soldier Spy is a 1974 British spy novel by John le Carre, featuring George Smiley. Smiley is a middle-aged, taciturn, perspicacious intelligence expert in forced retirement. He is recalled to hunt down a Soviet mole in the “Circus”, the highest echelon of the Secret Intelligence Service (SIS). In keeping with le Carre’s work, the narrative begins in media res (Latin phrase meaning “into the middle of things“) with the repatriation of a captured British spy. The background is supplied through a series of flashbacks.

I reference this to make a point.

And to borrow the theme of le Carre’s I will start in the middle.

We find Bernard Freeman relaxing with wife Angela Walls and his two stepchildren at home. At home he’s Dad or honey.

To us he’s Bun B.



But he’s more than that.

Bun B is firstly a rapper, one half of the legendary Southern hip-hop group UGK with the late Chad Butler (Pimp C). This group is responsible or a lager part of defining what the iconic Southern hip-hop subgenre sounds like. He also enjoys a successful solo career, began during Pimp C’s incarceration and continued after his tragic passing. In both walks in hip-hop stardom he has given us hits that we will also carry with us.

As a part of UGK we were given “The Game Belongs To Me” and “One Day” to name a few.

In his solo career we were gifted with “You’re Everything” and “Get Throwed”.

He is also a teacher as well. Starting in the spring semester of 2011, Bun B joined the faculty of Rice University as a Distinguished Lecturer. He taught a course in the School of the Humanities on Hip-Hop and Religion.

There are also credits as an actor. He acted in the straight-to-DVD movie “Ghetto Stories: The Movie”. At current it is unknown as to whether he is still pursuing an active acting career.

And of course he is a father and a husband. It can be also noted that one of his stepsons is American rapper Young B, who is currently a member of the rap group Youngest N Charge. The group currently serves as Bun B’s opening act.

A legend wears many hats. Nowhere is this truer than in this Port Arthur, Texas native. I love the fact that despite his already impressive credentials he hasn’t gotten too comfortable or too lazy.

K.R.I.T.’s Construction

To build up anything it starts with a very strong foundation. A structure or anything built upon unsteady footing, unsteady ground runs the large risk of falling.

With that logic in mind let me tell you a story.



There is a young man from Meridian, Mississippi by the name of Justin Scott. In the music world he went by the name Big K.R.I.T. As fate would have it the name K.R.I.T. is an acronym for King Remembered In Time. This, however, is irrelevant to the story at hand.

He releases mixtapes that are usually received with stellar reviews. One such is K.R.I.T. Wuz Here, released in May 2010. He also guest stars on other mixtapes, further adding to the foundations of something greater to come. But the best of his mixtapes was to come…

Let us list some of those mixtapes that served at the beginning, the catalyst for his most acclaimed work to date:

-See Me At The Top-Released July 20, 2005
-See Me At The Top II-Released December 21, 2005
-Hood Fame-Released August 11, 2006
-See Me At The Top III-December 10, 2008
-The Last King-Released May 15, 2009
-K.R.I.T. Wuz Here-Released May 4, 2010

In 2011 he was featured as XXL Top Eleven Freshmen of 2011 alongside others such as Meek Mill, Cyhi Da Prince, Lil’ Twist, Yelawolf, Fred The Godson, Mac Miller, YG, Lil’ B, Kendrick Lamar, and Diggy Simmons.

March 2011 also saw the release of the highly anticipated Return of 4eva. The mixtape was acclaimed by rap critics across the board.

William Ketchum of HipHopDX called it “emotive, conceptual music” and said that Big K.R.I.T. has given fans a “free album”-the magazine’s highest praise for a mixtape.

Matthew Cole of Slant Magazine highlighted Return of 4eva in his mixtape review column as “the best mixtape of the month”, going on in a separate review to call it “the rap album to beat in 2011”.

Both go so far as to say that Big K.R.I.T.’s production skill is amazing as well as his lyrics and flow, each naming him the likely successor to Southern rap legends UGK, Scarface, and OutKast.

And the foundation has been set.

All that is left is to build upon it.

This year marks the release of K.R.I.T.’s debut studio album entitled Live From The Underground.

With a strong foundation built and no big bad wolves around to blow the house down, he may build it and live happily ever after.

The end.

The Understanding

If given the opportunity anything can become more than what it was originally thought to be. A seed only when nurtured has the chance to become a flower or a tree. This process often takes a mere bit of patience and a bit more understanding.

Sometimes I feel the same sort of logic should be applied to other things.

The example of which I speak applies to, as with many of my articles, a certain musical composition.

In this case Kanye West.



On November 10, 2007 West’s mother Donda died of complications from cosmetic surgery involving abdominoplasty and breast augmentation. This procedure was discouraged by Beverly Hills surgeon Andre Aboolian due to Donda West having heart problems. Another surgeon, Jan Adams, performed the procedure. She was fifty-eight years old.

(Being a man who is close to his mother I understand the pain of this loss as great as Kanye did.)

As a result of this loss and many other emotions, Kanye West released 808s And Heartbreak as a way of releasing all these sentiments.

The reception for this effort is, or rather was, mixed. The thoughts here ranged from anticipation to bewilderment and indifference. The unveiling of the lead single “Love Lockdown” at the 2008 MTV Music Video Awards. Music audiences were taken aback by the uncharacteristic production style and the presence of Auto-Tune. This negative sentiment increased when he revealed that the entire album would be mainly sung with the Auto-Tune effect as opposed to his usual rapping and it focused mostly on themes of love and heartbreak.

Numerous hip-hop fans and certain rappers mocked West for being “sappy” while others deemed the upcoming LP a throwaway experimental album that was below their notice.

This is where a lack of patience and understanding come into play.

Being that I still have the presence of my mother in my life I cannot say what I would do if put into the same situation. Kanye West wrote what it was he felt as a way of exorcising his personal demons.

It would behoove fans and artists alike to remember that rappers are still ARTISTS. As such they make music for us but they make music for themselves as well. I respect the fact that West forgoes the norm to make something new and original. It’s very rare that artists are willing to do that anymore.

Why?

Because most are too hung up on sales and an image.

Plus they know that the larger consensus of fans won’t (or can’t) understand.

Cole, Diamonds, And Gold

Every road starts with the steps we take. That first one tends to be the hardest one more often than not. I myself remember that first step I made in college. I shook like a leaf on a tree but somehow I made that first one. After that the second was difficult but nowhere near as difficult as the first. All the steps following were easier but took something of me.

For a rapper this is no different.

You make the steps, unsure of what the next one will entail despite that uncertainty that you get. But you press on. Sometimes it yields wonderful fruit.

These are the fruits of his work.

Signing to The Roc.

The Come-Up.

The Warm-Up.

Friday Night Lights.

“Who Dat”

Cole World: A Sideline Story.

These are the steps which North Carolina rapping phenom J. Cole has been taking towards his success. Each of his mixtapes touts impressive content as well as songs that tend to stick in your consciousness very well.

My favorite thus far has been The Warm-Up.

“Losing My Balance” is a personal favorite, along with “Dreams”, “A Dollar And A Dream“, and “I Get Up”.

Friday Night Lights brought us that Drake assisted “In The Morning”.

Two of the above mentioned songs (“A Dollar And A Dream“ and “In The Morning”) made it onto his debut album along with countless other wonderful tracks. I was truly feeling his big studio debut with an immensity of excitement I haven’t had in a while. It was a fire akin to the one I felt when I purchased both Untitled by Nas and Tha Carter III by Lil’ Wayne.

As he basks in the moment, the ‘flashing lights’ that label affiliate Kanye West once described playing all around him I wonder does he ponder over the next steps.

I once wrote a story about the follow-up curse and how it often hits artists. As J. Cole languishes in his current successes I pray that he ponders over such things. Personally I am of the mind that this talented soul will be above that sort of nonsense. As always I allow for the fact that I, being human, can be wrong as anyone.

So we come to an impasse, a fork in the road where we cannot tell what is to come.

Either the next step will be glorious or it he will truly live in a Cole world.

A New Kid On The Block

“That nigga Lex Luger…”



No, I don’t mean the wrestler of WWF/E and WCW fame.

I am of course referring to the producer who has been putting in a lot of work within the hip-hop community. His production trademark (that is, that little blurb this article began with) appealed to me but his sound and his production skills was what made me want to learn about the guy.

Here’s what I got…

Born Lexus Arnel Lewis, Luger was born on March 6, 1991 in Suffolk, VA. At current he is signed to the 1017 Brick Squad label. He started his career playing drums and learning the basics such as beats, measures, and bars. He then began experimenting with an MPC 2000 that he purchased from his uncle only to later begin using the PC-based digital audio workstation Fruity Loops.

He still uses it to this day.

The beginning, your first major production is always the best. With Luger there is no exception.

Waka Flocka Flame’s “Hard In The Paint” was his first instrumental to hit the radio airwaves. Luger was in Atlanta when he first heard the song playing.

Also while in Atlanta he received a phone call from Kanye West, unaware of who he was talking to for at least thirty minutes. Upon realizing to who he was speaking he enthusiastically agreed to fly to New York City to work with West. He eventually created eight backing beats for Kanye to use, including the beat for the single “H.A.M.”

Not too shabby, right?

He has produced tracks for Drake, Slim Thug, Ace Hood, and of course Waka Flocka Flame.

To me his most impressive credit is this one:

Lex Luger is responsible for production of Rick Ross’ juggernaut “BMF (Blowin’ Money Fast)”. For someone only two years in the industry this is a major coup.

As it currently stands Lex Luger touts an impressive catalogue of production credits. The last two years have been blessed.

Moreover he is getting to work with other artists such as Juicy J, Snoop Dogg, Wiz Khalifa, Soulja Boy, Lil’ Wyte, and many others.

Greatness never comes without the work and it is obvious to me that Lex Luger, despite his short time in the game, is putting in the work necessary. As 2012 begins to pick up and we head slowly into a new month I am left to wonder what we can expect next from this young man. If his past work is any indication, nothing short of amazing things are coming.

A Jet’s Life

You have to respect a man who can stand on his own two feet and take the chance to do things for himself. That particular statement can apply to any man (or women for the sake of not being gender biased) who steps out on faith and strength of character.

In this particular instance I am talking about a man.

The man?

Shante Scott Franklin. You’d probably know him as Curren$y.

The New Orleans born rapper started his music career in 2002 signed to Master P’s now defunct No Limit Records as a member of the 504 Boyz. Curren$y appeared on at least five tracks on Master P’s Good Side, Bad Side album in 2004. As impressive as this is this isn’t what made me admire the guy.

We’re getting there.

In late 2004 he signed with Cash Money Records and Lil’ Wayne’s Young Money Entertainment. He would remain there until 2007. He released the single “Where Da Cash At”, a song that was to serve as the lead single for his Young Money debut, Music To Fly To. But in the face of several delays and lack of promotion Curren$y decided to leave the label, venturing off to do business on his own.

THAT is what impressed me about Curren$y. Young Money is rather big at the moment and the idea of walking away from the label seems ludicrous. But he persevered.

In 2008 he released a series of mixtapes. And despite the growing hype in major publications major labels still overlooked him. His milestone came when his video for “Address” was played on MTV as well as the Mos Def produced “Breakfast”. Soon after taking on the industry on his terms he gained notoriety for his work with Wiz Khalifa on the How Fly mixtape. His fan base expands constantly due to his original, laid-back flow often coupled with soothing, spacey beats.

Amalgam Digital made his debut album possible, an effort called This Ain’t No Mixtape.

Six albums and numerous mixtapes later and Curren$y hasn’t come down yet. Three more albums are forthcoming.

Through a label deal with Warner Bros. Records he started his own imprint, Jet Life Recordings. Here he has signed such artists as Young Roddy, Smoke DZA, Sir Michael Rocks (of The Cool Kids), and Trademark Da Skydiver.

This is a true story of one man’s desire to succeed and how he did it on his own terms and without the support of a major label.

This Jet looks to never come down after an initial rough takeoff.

The Comeback Kid?

Opportunity knocks.

The stars align somehow.

Whatever the reason some people are given, rather blessed, with success by God. When I say that I mean that God allows us the chance. It is up to us to be willing to step out on faith and grasp it. A sure way to do that is to be featured in a major publication. XXL is the one of which I speak of now.

Every year like clockwork the magazine publishes the hip-hop freshman of that particular year. In the year 2009 they named four people for this prestigious honor: B.o.B., Asher Roth, Wale, and Charles Hamilton. Of these four three are most active.

What of Charles Hamilton?



I began digging his sound after my first hearing “Brooklyn Girls”. Based on the fact that each of his fellows have albums out I was expecting Hamilton to make it a perfect square. Disappointment ensued when it wasn’t to be.

But when you really look at what was going on with his life, you can sympathize with his struggle.

In 2009 Hamilton was prepping his studio debut entitled This Perfect Life, released through Interscope Records. Digitally it was to be released on June 23, 2009 and the physical copy would be in stores August 25, 2009. He looked to be on the way to greatness.

But controversy came in the form of J. Dilla. The album covers named the deceased producer as an executive producer. A group of Dilla’s close friends began speaking out against Hamilton’s use of the name and its connection to his music. J. Dilla’s name was later removed due to legal reasons. Months of speculation pass and the album was shelved due to Hamilton being released from Interscope on September 19, 2009 for reasons unknown. It was however leaked digitally to many websites.

Mixtapes kept coming but no studio album was forthcoming for Hamilton. There was an arrest and a rehab stint. As of September 22, 2011 he was discharged from rehab.

I am unsure of what happens next with Charles Hamilton. In an ideal world he would be seen as the pure talent that he is and be picked up by a major label. But this world is just flawed enough for him to fall through the cracks. The simple fact that this is a possibility hurts me to no end.

The only thing we can do now is watch, wait, and hope. Maybe Charles Hamilton will prove himself a comeback kid. Only time will tell on that one.

Once In A Lifetime…

Notoriety is an interesting sort of balm. On one hand it is wonderful to be known for something that you’ve done. Somehow I feel that despite their desire to change something or make particular situations better inventors subconsciously crave notoriety. This can be said of anyone who does anything for any reason.

Even myself.

I write these articles not only for the love of a culture or for money. Everything is written out of a need for someone to know who I am. It’d be interesting and a huge ego boost to hear someone say “Oh my God. I love your articles…”

The dark side of notoriety is usually called infamy. December 7th is a day that FDR once said “will live in infamy”. Criminals are infamous but often immortalized in film or in writing, Jesse James and Frank Lucas being the examples my mind first stumbles upon.

A less substantial level of that would be being known for one thing, one act.

Most murders have that dubious honor.

One hit wonders have the same.

I know there have been many hip-hop artists we’ve seen with a one popular record only for them to fade into the backdrop. It’s a sad fact but it’s a part of the fickle nature of the industry.

Sometimes the song is a novelty song like “Lookin’ Boy”. The song was funny but we all silently knew that there was no happy ending for a group that pointed out “Raz B lookin’” boys or “Mike Vick lookin’” boys. It was probably only destined for them to have that one hit.



Sometimes it’s the one song that they know you for and you try so hard not to get lost in the dying lights of your career. DJ Unk will forever be known as the man who brought us “Walk It Out”, a take on the Atlanta dance called the Pool Palace. The success with the other songs was marginal. We may have like “2 Step” a bit, maybe even enjoyed the remix for its features. But everyone knows Unk for his debut single. And through no fault of his own that will never change.

“Tatted Up” and “Party Like A Rockstar” join this list as well.

Despite the stigma the phrase ‘one hit wonder’ brings I have found a silver lining, albeit a smaller one:

At least you can say that you had one hit. It’s a Pyrrhic victory truly but a victory all the same.

Whose Line Is It Anyway?

The culture of hip-hop has grown to include so many things. Chains have always been a part of the culture, a symbol of affluence and money. Money has had the same sort of grasp on the genre.

Diamonds, fancy cars, snappy punch lines, and good clothes.

Another part that I have been really been digging as of late are the ad libs. You know, the sounds rappers do before they start rapping. It’s sort of like a signature or a fingerprint that is unique to them. These are fun so I wanted to point out a few if that’s OK. Here we go, readers.

The ad lib I think I dig the most would have to be a three way tie. First one I’d like to mention would be that guttural grunt that Rick Ross does. That in and of itself is fun to do. Try it. I think that would be the reason it has such a grip on me. Another favorite would be Cyhi The Prynce’s statement of his name.

“Cy-Hi…”

It loses something in translation but it’s a definitely cool thing. The last would be when Tity Boi exclaims “TWO CHAINZ!!” He’s one of my favorite rappers right now so that’s why I love that so much. Plus it hits well sonically.

It was a recent thing, me actually paying real attention to these ad libs but subconsciously I guess we all pay attention.

That little ugly laugh Jadakiss does at the beginning of a rap is ingrained in your memory whether you know it or not. You come to expect it every time he raps. On the same token when fellow D Block member Styles P is about to rap he says some variation of the statement “SP the Ghost…”

Ludacris tends to keep it simple by just screaming “Luda!”. The simplicity has been working for him this long so why should he change it. I don’t like the bird call thing that Birdman tends to do but it’s him so I cannot knock it too much. Lil’ Wayne’s ad libs are a bit more dubious to tie down. It varies from that weird little gremlin laugh he does to “Young Moolah, baby…”, “Young Weezy, baby…”, “Weezy F.”, or “Tunechi”. You just have to take as it lies there. Usher Raymond does it simple too. “Yeah, man…”

The annoying end of the ad lib spectrum has Big Sean saying “Boy…” which for a while I thought was a grown man saying “Boing…”. My mistake for misunderstanding the mumbling. To date the most annoying ad lib belongs to Trey Songz. He annoys me with “Yupp!!” and the almost stalker like “C‘mere…”.

Ad libs are hip-hop culture and yet another way an artist distinguishes themselves. Maybe I should get myself an ad lib. I just hope it’s well received.

Lil’ Jon?! What? Okay!

There’s a void in the hip-hop community. It’s a niche that is desperate need of filling. Some try their hardest to fit in but it’s not the same. I speak of course of the missing crunk element in hip-hop. Its creator, its master Lil’ Jon is absent on the scene.

I say often that thoughtful hip-hop is good but hip-hop is more than just that. It is bass, fun, contemplative, and so many other things.

For want of a better term hip-hop has schizophrenia, maybe a multiple personality disorder.

For a large expanse of time Lil’ Jon and his Eastside Boyz hyped the club up with heavy bass and songs that infiltrated the body and made everyone dance around in an aggressive but at the same time generally fun way.

The songs that always did it for me was “Throw It Up” and “Grand Finale”

There’s that and his ad libs. It always struck me as amazing how yelling certain one or two syllable words seemed to manifest so much emotion.

“Yeah!”

“What?”

“Okay!”

If you were to be completely honest with yourself right now, when you saw Lil’ Jon’s name as the subject of this article you made one or all of those sounds. Come on, be real. Hell, you’re probably doing now.

Lil’ Jon is also responsible for bringing us new talent (Lil’ Scrappy was once affiliated with him), fun music, and club bangers.

“Get Low”, anyone? I remember when everyone felt it important to point from the window all the way over to the adjacent wall. I was a perpetrator as well…and I loved it. Still do when it’s played.

Other club classics he was involve with was “Yeah!”, “Salt Shaker”, and many more.

To me it feels like DJ Khaled is trying his damnedest to be the new Lil’ Jon. To me it will never work.

Granted both are associated with good songs but Khaled is highly annoying. Lil’ Jon’s yells and ad libs somehow prepare your mind and your body for the sheer energy that the next track will be giving you.

Another is the way in which they’re mocked. Khaled’s ridicule is regaled to YouTube videos and random conversations. Lil’ Jon’s was made iconic by Dave Chappelle’s portrayal of him, the same thing he did for the late Rick James.

(You’re probably doing the Rick James thing now, right?)

My point here is rather simple: we need another Lil’ Jon and the Eastside Boyz effort. What? Okay!

Sonic Saviors In Savannah

Georgia.

My home state and the blood that runs through my veins. As such I have a love for Atlanta hip-hop. But as I watch the number of Atlanta rappers, producers, and other artists grow I have a nagging question that bothers me from time to time.

When will the next Savannah rapper rise?

If you know me personally you know that I was born and raised in Savannah, GA. Because of that strong connection I love everything about my city except the small hip-hop contribution we have. Granted OutKast member Big Boi grew up in West Savannah before he moved to Atlanta. Although I appreciate Big Boi and his ode to his roots (“West Savannah”) I need something more.

The last hope we had of a breakout Savannah artist was lost to the violence that is typical of my birthplace.



Jason Johnson (stage name Camoflauge) was Savannah’s own bright star and local celebrity. We all knew him and we all loved him. In Savannah if you didn’t know the words to his classic track “Cut Friends” you couldn’t really be counted as a true resident. That was the kind of influence he had on us. And as with many rappers he lived the street life that he often brought to his lyrics. It threatened to take his career in true T.I. style when he went to jail surrounding the circumstances of what seemed to be a gang murder.

He returned and so did his music.

Around about the time of his third album Keepin It Real he did a track called “Laying My Stunt Down” with Cash Money founder Baby. Just based on that I thought that this signaled that Camoflauge had broken through and was preparing to sign with Cash Money at one point.

But it wasn’t to be.

My mother often says that you should be careful that your sins do not find you out. This was one of those times.

Camoflauge was gunned down outside of the studio where he recorded while he held his son. He was rushed to the hospital where he died. And in a way the entire city died a bit too.

This is not told as a sad story but as a working example.

Savannah needs rappers.

I write and I sing but my rapping has cobwebs all over it, honestly. But I’d gladly dust it off if there was a force, a contingent of us who were willing to make Savannah at least half of what Atlanta is hip-hop wise.

That is my appeal.

With Regards To Lonnie

Iconic samples are what make hip-hop exactly what it is. I am always amazed at the level to which these beats take the originals. Right now as I type this I ponder over an old Harvey Mason song called “Never Give You Up”. With the help of Atlanta born producer Drumma Boy that song became or rather transformed into “What Up, What's Haapnin”, a personal favorite from T.I. Almost as soon as I think of that song I must honor Kanye West and his samples. He does so many that I really must give you a quick top ten there.

1. “Blame Game”-samples Aphex Twin’s “Avril 15th”
2. “Champion”-samples Steely Dan’s “Kid Charlemagne”
3. “Big Brother”-samples Prince’s “It’s Gonna Be Lonely”
4. “Spaceship”-samples Marvin Gaye’s “Distant Lover”
5. “Diamonds From Sierra Leone”-samples Shirley Bassey’s “Diamonds Are Forever”
6. “Good Life”-samples Michael Jackson’s “P.Y.T. (Pretty Young Thing)”
7. “Stronger”-samples Daft Punk’s “Stronger, Better, Faster, Harder”
8. “Gold Digger”-samples Ray Charles’ “I Got A Woman”
9. “Good Morning”-samples Elton John’s “Someone Saved My Life Tonight”
10. “Flashing Lights”-samples Curtis Mayfield’s “Little Child Running Wild”

And before I get to the point here I must name two more amazing samples from two legends. 2Pac’s “Dear Mama” samples Joe Sample’s “In All My Wildest Dreams” and The Notorious B.I.G.’s “Juicy” is sampled from Mtume’s “Juicy Fruit”.

But above all these samples one stands out most of all.

No, it’s not The Isley Brothers’ “For The Love Of You”…

…or “Between The Sheets”.

…or “Footsteps In The Dark”.

I speak of the legendary Lonnie Liston Smith.



Before I did the research I had no idea who he was but afterwards I listened to his sounds and I was in love. But I still think some of you are still wondering what his claim to hip-hop fame is. I’ll tell you.

Jay-Z’s debut album was the classic Reasonable Doubt. To me that album was made by one song. That song was “Dead Presidents”. You’re humming it right now, aren’t you?

From Lonnie’s album Dreams Of Tomorrow producer Ski Beatz took Lonnie’s “A Garden Of Peace” and made or rather transformed it into “Dead Presidents”.

The song was a great song in its own right but hip-hop made it legendary. Lonnie’s song was also sampled for Mary J. Blige’s “Take Me As I Am”, a track that Lonnie himself called the best use of his song that he’d heard. That’s high praise right there.

With regards to you, Lonnie. Thank you for your musicianship.

A Gender Bender

Tolerance, at its core, is encouraged in everyday life. Granted we are not totally there for many obvious reasons but I like to believe that the day may come one day soon. All this leads me towards a certain question that was posed on the Adult Swim show The Boondocks.

The question?

Is hip-hop ready for an openly gay rapper?



That is hard one to really answer. In theory what or who a rapper chooses to love shouldn’t have any bearing on how it is they rap. But this isn’t a perfect world, is it? We are all caught up by our own particular hang-ups.

Hip-hop has been built up as this playground for thugs and gangstas, a culture where being hard, prison life, drugs, and not snitching is the norm. This is probably why any change to that status quo is met with such opposition. Drake, however popular, has taken a bunch of heat for his crooning and being ‘soft’. Rappers like New Boyz or Lil’ Twist tend to encounter a lot of the same because they make hip-hop that tends to be more dance oriented.

Hip-hop is different than modern life and other genres due to the fact that free speech and certain things are never allowed. Free speech, saying whatever you want is never a good idea here. Being outside of what the consensus sees as typical is all but discouraged.

So what if a male rapper loves men? Will that particular proclivity make him any less as far as a rhyme maker?

In a hypothetical world if a rapper was gay I am sure that he’d govern himself accordingly. I severely doubt his album covers would be overtly homoerotic or his video praise sodomy or fellatio (even if his heterosexual counterparts have carte blanche for that type of nonsense). Even still…

I am by no means perfect. I, like all of you, have my prejudices. But I haven’t ever been that low on homosexuals. I understand of course how the Bible condemns the act of homosexuality (see Sodom and Gomorrah). But at the same time Jesus told us to love everyone as we’d love ourselves. In that particular choice or set of choice these men (and women) have a hard enough time just being. So why would a genre predominately dominated by African-Americans, one of the poster children for discrimination be so willing to discriminate against homosexuality?

I don’t know. Do you?

Not Money, Not Power…RESPECT

Respect is in the heart/And that’s where Imma start…



It’s an interesting issue that often times comes up.

Respect for the game. That, like any ambiguous statement, has a dubious sort of answer. How is respect for anything disseminated? I imagine the best place to start would be with a simple definition.

Esteem; a feeling or attitude of admiration or deference towards somebody or something.

The state of being admired.

Thoughtfulness; consideration

An individual characteristic or point.

But which would apply here? The first definition has promise.

The issue you often hear from the older heads in hip-hop is that the younger generation of up-and-coming hip-hop artists have “no respect for the game”. I have regularly found both truth and fault with that particular statement.

Why or how can I be divided? I’ll tell you now.

The truth part stems from the fact that nowadays some rappers would rather rely on profanity, airborne wads of currency, and beautiful women with bubble butts and little else to make the point or sell their songs. That aspect shows a little less than reverence for what they first set out on. Granted hip-hop has always been mostly misogynistic when it came to women but there was a bit more cleverness in it in previous generations. These days ‘bitch’ and ‘ho’ have all but become synonymous with a woman. That would be part of the disrespect.

My deference comes from this point. Those same older heads are critical of how the new generation does certain things. As I once said hip-hop must evolve if it is to continue existing. In that respect new blood is showing a certain level of respect by walking new paths with a decades old genre. You cannot in good faith expect hip-hop to stay exactly the same as it was at its inception. An infusion of that old school now and then wouldn’t go awry. But for the most part anything new that can be added while still honoring the sentiment of true hip-hop is usually a great thing.

Look, it’s an issue and an issue can be argued either way. I don’t claim to have the right answer for this sort of thing. All I have is my humble opinion. I can hope that maybe when you read this you can see the points and maybe understand what it is I’m saying.

Respect is there, either way you look at it.

I Am Not A Rapper

Before I go any further with this review I would like to give you this disclaimer of sorts:

I understand the album and/or mixtape that will be reviewed here is not of the hip-hop or rap genre but it is my hope that by opening the eyes of the masses to it, maybe it will inspire further creativity. That is my sincerest hope here.

I have made a very constant stream of references to Coldplay as of late. As the disclaimer has previously and so eloquently proclaimed, the band cannot be considered hip-hop but you cannot rightly deny that Chris Martin (Coldplay front man) hasn’t made his mark in this community.

Think about it for a second.

Swizz Beatz’ “Part Of The Plan” and “That Oprah”

Jay-Z’s “Beach Chair”

And of course Kanye West’s “Homecoming” can be added to this list.

Because of the influence he has I felt it prudent and rather necessary to review Coldplay’s newest album. Their newest effort, Mylo Xyloto, is the subject of this review. The title has the strange gift of throwing you off if only for the briefest of seconds. It threw me when I first heard about it. It wasn’t until I listened to it that I saw that this album is just as wonderful as the others before it.

The sound explodes without killing you. More to the point it enters your spirit and makes it soar. Flowery and wordy, I know. But give the album a listen and tell me that I’m wrong.

These are a few of the standout tracks:

-“Us Against The World”-The slow ease here is perfect for the subject matter here. It is a lovesick anthem told with an aching that is pure sadness and at the same time beautiful. The acoustic guitar is wonderfully crisp and the music isn’t rushed. Martin and crew take their time here to tell an amazing story.

-“Major Minus”-I couldn’t tell you why but this one plays like a Southern rock ballad to me. There’s a menacing something about it that reminds me of that genre. The guitar screams perfection towards the end that I love beyond all compare.

-“Princess Of China”-My personal favorite, actually. Rihanna assists the guys on this throbbing and eclectic track. It is a brokenhearted anthem that seems at odds with the swell of the music itself. Rihanna’s vocals are different here, somehow clearer and more emotive. All and all, a great listen

The title makes not a drop of sense to me personally but the music makes all the sense in the world to me sonically. Chris, you and the guys are on point. This makes me anxious for your next foray into hip-hop.

A Memory: Words And Sounds…

It’s funny how your mind can take you back. All it took for me to travel back a little was a simple, unassuming night out with some really good people. One of the friends drove and has something that really impressed me-an extensive catalogue of great music. As she drove I played DJ and set the vibe of the car. On the way back from a lovely evening I was back at that particular task. As I was perusing the amazing depths of her iPod I found a mixtape that I hadn’t heard in a about four or five months-Royal Flush 2 by Cyhi The Prynce.

It transported me back to the moment I downloaded it.

It was a late afternoon at my cousin’s place. I was working on some poetry and I downloaded it as I sat working and bending those words.

I was in love with it like I am now.

Don’t you just love that? It’s always been amazing how really good hip-hop transports you back to certain moments in time. Either that or you can be given certain feelings.

In the case of Cyhi’s mixtape many of the songs are built upon an old school sample. “Sunday Morning” (one of my favorite tracks) is a direct sample of Lionel Richie’s “Easy Like Sunday Morning”. The original song reminds me of long car trips with my mother and my little sister.

Juvenile’s “Slow Motion” has the effect of bringing back those moments. All I think of when I hear that song is the summer it came out and how hard the song hit despite (or because of) Soulja Slim’s death.

Maybe these reasons were the reasons for a lot of the things I do. Maybe it’s the reason I write as many songs as I do. Or it may be the influence behind my writing for an online hip-hop magazine.

What inspired a quiet, intelligent person like me to do these things?

The answer is simple, really.

Words and sounds.

They bind us without much effort. Their beauty often intertwines itself around our thoughts and our feelings so flawlessly that we scarcely know how we survived without it. It is the perfect symbiotic relationship, one that feeds both as either draws from the other.

Words and sounds.

Without them, we are not the same. We are not ourselves, merely just shallow shells of men and women. I thank God for hip-hop and all music, the perfect combination of words and sounds.

The Curious Case Of Andre Benjamin

There are so many questions in this world that are without answer or are supposed to be beyond a simple answer. One would be the eternal question of “Which came first, the chicken or the egg?” Then there are the questions that have a more philosophical implication: “If God is omnipotent, why doesn’t he destroy evil?” It’s these types of questions that learned individuals have been trying to decipher forever. I myself, although nowhere near as intellectual, have a question that I am sure that everyone has been wondering…

When is Andre 3000 coming back for real?


It’s highly annoying the current state of things.

Early 1990s we were blessed with OutKast and I have been in love since ATLiens. And everything that followed that has been epic. To me the highest points would have to be two of my favorite OutKast albums: Stankonia and Speakerboxxx/The Love Below. Two juggernauts as far as albums go. I can name at least twenty songs that I like from all of them. But I won’t. I just say that to make a point.

Around about the time of Idlewild (both the album and the movie), the acting bug hit 3 Stacks and we saw him play wonderfully in a few films, the foremost amongst those being Four Brothers. I applauded his versatility and appreciated him for being another musical artist to seamlessly fall into acting. But I still wanted to hear him rhyme.

And he did…occasionally.

You’d hear him come through and completely wreck a remix or do magic on a feature.

The two most recent?

Beyonce’s “Party” on her 4 album and Young Jeezy’s “I Do” from the Thug Motivation 103: Hustlerz Ambition album.

Granted I am always happy to hear a fellow Georgian do what he is best at but the sporadic nature of it is growing to be too annoying to keep quiet about. I need more from him.

In light of the fact that Cee Lo and the boys have reconciled and promised us a new Goodie Mob album, I want a new OutKast album. Or even a solo album from Andre, at least.

Big Boi is carrying the OutKast banner alone these days. His solo album was beastly and I need the same from his partner in crime in short order.

Look, I understand that Andre 3000 has children and interests that he seeks to pursue but you have fans as well. You wouldn’t be able to do any of these things without us first loving you enough to make you famous. So please come back to us.

No more hit and run features, please.

A Soulja’s Story

I can admit things about myself, things that most people find it hard to say out loud. For the most part I can say I am a decent human being but, essentially, I am flawed. Despite being extremely patient about most things I have something of a short temper. I’ve been known to be inconsistent at times and generally sullen at certain occasions. But these character flaws aren’t the ones to which I refer.

I am a man of personal biases. As a writer you strive to move past those but more often than not they find their way into your writing or your thoughts. If you’ve been paying attention you’ve seen my general dislike for Beyonce Knowles as well as Future more recently. Yet there another who raises my ire in the music world.

That person is Soulja Boy.

I can be fair enough to say how impressed I was to see a young man come up from the nearly defunct MySpace, create a hit dance, and invade the hip-hop culture. After that I can’t say much else in the way of good things.

Granted I was in love with his song “Gucci Bandana” for a good expanse of time but that time has all but passed. I truly doubt that I could thank him for thrusting the phrase “Superman that ho” onto us but it was catchy and got repeated to exhaustion.

Three albums under his belt show me that despite whatever my insignificant opinion counts for people somewhere appreciate him and his music. His longevity is a bit impressive. That as well as twenty-nine mixtapes is quite the feat.

Hell, he’s already got two out right now: 50/13 and Mario & Domo vs. the World.

Then there’s the upcoming album entitled Promise. Who really knows to expect from it.

Despite my bias I am willing to try something out here.

Since this is a new year I think this would be the moment for a resolution. Given the fact that it is my job to report and tell you all about current, mainstream and underground hip-hop I resolve this: I will put my preconceived notions of Soulja Boy behind me and honestly give the new album a chance. After all I have nothing to lose but the time it takes me to listen to it and love it or throw it into oncoming traffic. So I’m going to wait and see how this Soulja’s story is going to play out.

Limitations And Boundaries

I’m a writer. I am very good with words. When given the opportunity I bend them to my will and make magic with every syllable. And when I say I write I pretty much write everything. Poems, articles, papers, songs, books, etc. All this is said to say this: I stay in my wheelhouse. That’s not to say I won’t try to do anything new but I know my limitations. You’ll never catch me trying to juggle, sing opera (despite the fact that I actually can sing), or even try to paint a masterpiece. That’s usually the safest bet you can make, honestly.

But what happens when someone steps outside their wheelhouse?

Sometimes you get interesting results.

Sometimes good, sometimes bad.

For example when Cee Lo Green stretched out and started singing it turned out really well. It gave us Gnarls Barkley and great songs like the most famous Gnarls Barkley effort “Crazy” or his solo hit “Fool For You”. That song just goes in every time you hear it. Really and truly.

Then there are times where it goes completely sideways.

Case in point, singers rapping.

It’s a novel idea, at best. I mean, I could maybe see the thought process that they are working under here. Singing can’t be as difficult as rapping, can it? So they venture out to try it. As with anything you have highs and lows.

Chris Brown scores points for his rhymes on “Look At Me Now”. But on the other side of it I feel like he had no place amongst the rest of the rappers on the BET Hip-Hop Awards Cypher. Kudos for trying and an E for effort but it didn’t do it for me.

The same can be said of Trey Songz. I fell in love with a few tracks that he rapped on, one being “Top Of The World”. As of yet I cannot see a downside because he seems to keep to the subject matter he knows as opposed to being tough like Mr. Brown does. So maybe he’s the exception to the rule here.

Then there’s Justin Beiber. I can halfway accept his sway over young girls. But I cannot believe him as a rapper. I think the fact that Asher Roth is a close friend has him believing that rapping is something for him to be doing. I’m not saying he can’t rap but he should stick to his day job. Listen to a track from Chris Brown’s Boy In Detention mixtape if you don’t believe me. (The track is called “Ladies Love Me”)

The thing is everyone should know their limitations. As such rapping should (in most cases) be left to real rappers.