Izdashit (With Footnotes)

<a href="http://professorrex.bandcamp.com/album/core-nerd-mixtape">Core Nerd Mixtape by Professor Rex</a>

Here is the eighth in my series of lyrical examinations of the songs of my debut mixtape, "Core Nerd!"

As I say in the song Liquid Thunder, "My rhymes are so dense you're gonna need footnotes." Here they are...

This time, for the song "Izdashit."

The premise of this song is one of the simplest on the album, just a list of things that I find really cool. The only caveat is that I didn't want it to always be too obvious. The repeated "izdashit" at the end of each line was the first thing I came up with and the idea was that it would be one of those sing-along parts of a song that would get a crowd involved in the song. I haven't fully performed it yet, but people did like it and sing along the one time I attempted it.

1, 2...izdashit

3, 4...izdashit

Professor Rex...izdashit

The name of this song...izdashit

I wanted an intro here so people could see what the pattern was before the song got started, that way they could sing along.

Chuck D...izdashit

Being free...izdashit

Chuck is, of course, the lead MC of Public Enemy, and my all-time favorite MC.

KRS-One...izdashit

My second-favorite MC is KRS-One, originally of Boogie Down Productions, but long since a solo artists.

All o' my sons...izdashit

I have three songs, Carlin, Jack and Miles.

Scooby doo...izdashit

Spongebob, too...izdashit

These are the two shows that my sons have watched that I liked the most. They watch shows over and over and over again and most of them became really annoying. Except Spongebob and Scooby Doo.

Walking dead...izdashit

My favorite TV show and comic at the time I wrote the song.

Lizz Winstead...izdashit

Lizz is a stand-up comedian and helped create the Daily Show. She isn't nearly as famous as she should be.

Rum and DP...izdashit

DP here is Dr. Pepper. Rum and DP was the drink of choice for me and my crew the year I wrote this.

No more CDs...izdashit

Vintage vinyl...izdashit

I never got heavily into CDs, I basically went from cassettes (had a collection that was at the end over 10k) to digital, skipping over CDs. I have very fond memories of vinyl, though, from back in the day and particularly love that little crackle that comes out of the speakers when you first drop the needle on the record. I've since started collecting vinyl pretty heavily again.

NBA Finals...izdashit

My favorite sport nowadays is basketball. I used to be more into football, but it's much harder to play that as an amateur in any way that resembles the real game. Basketball is easy to play, even if you're alone. When I was younger, baseball was my sport, but steroids drove me away from that sport.

Lee Camp...izdashit

Lee is a stand-up comedian and political activist but isn't that famous, although he's getting more so.

11 on my amp...izdashit

A reference to "Spinal Tap."

Elon James White...izdashit

Elon is a stand-up comedian, political activist, and online radio host who started "This Week in Blackness."

Saturday night...izdashit

This one is a double reference, to both the actual night, which is the most common party night in most towns, and Saturday Night Live.

Garofalo...izdashit

Janeane is a stand-up comedian and political activist.

Playing in the snow...izdashit

Just a little personal thing that isn't particularly important, but fits.

Pirate bay...izdashit

Torrents rule!

Cassius Clay...izdashit

Cassius, a.k.a. Muhammad Ali, is one of my idols.

I have a little time

To bust a few rhymes

It's not a crime

Ain't payin no fine

Ain't doin no time

This shit's all mine

This is the way

We like to flow

This is the way

To save my soul

This is the way

We like to do it

The name o' this song...izdashit

They key thing I wanted for the chorus was for it to be much faster than the rest of the song in order to break up the potential monotony of the repeated "izdashits." They key part tying it into the rest of the song is "this is the way to save my soul," since the things in the song are the things that feed my soul.

Pulp Fiction...izdashit

One of my favorite movies of all time and one that changed how I understood film, pop culture, and myself.

Starting a little friction...izdashit

Rubbing her hips...izdashit

Licking her lips...izdashit

I generally stay away from sex in my songs (for a variety of reasons), but I wanted to hint at it a little bit here. Notice, of course, the potential double entendre.

Dark Tower...izdashit

My favorite series of novels, by Stephen King.

People power...izdashit

Both a reference to the grassroots power in politics and Howard Dean, one of my favorite Democratic leaders.

Purple rain...izdashit

Prince was a huge part of my life and "Purple Rain" isn't just his best album, it's one of the best albums ever.

Bring the pain...izdashit

This is a reference to a Chris Rock stand-up comedy special that I thought was brilliant.

Blazing saddles...izdashit

Mel Brooks, the director of this comedy milestone, was hugely influential on my sense of humor.

Zombie battles...izdashit

I'm a fanatic for anything post-apocalyptic and particularly anything with zombies.

Thirstbuster...izdashit

Circle K used to have a 75-cent fountain drink that was called the Thirstbuster (and you could get it in a 44 oz. size). We used that to mix our rum and DPs and other things. Then they changed the name of the drink to the much less cool "polar pop."

Spicy mustard...izdashit

This one was strictly in here as a joke, because why the fuck would I be rapping about mustard? In a literal sense? But numerous people have pointed this out as their favorite line in the song.

The X-Men...izdashit

All my friends...izdashit

X-Men comics are a powerful influence on who I am, and my biggest fans are my friends.

Gravity bong...izdashit

This fucking song...izdashit

Both things you can get high off of?

Helter skelter...izdashit

An obvious Beatles reference.

Fucking bomb shelter...izdashit

The early bar that I did most of my early performances in and typically spent two nights a week singing karaoke at for more than a year was called, at the time, Bomb Shelter.

Off the Wall...izdashit

I've always been a big Michael Jackson fan, particularly his pre-HIStory stuff.

All a y'all...izdashit

Why not end with a shout out to the crowd, especially if they've been singing along.

I have a little time

To bust a few rhymes

It's not a crime

Ain't payin no fine

Ain't doin no time

This shit's all mine

This is the way

We like to flow

This is the way

To save my soul

This is the way

We like to do it

The name o' this song...izdashit

The chorus again.

"N.W.A. and the Posee" (HHES Review)

Most people's introduction to N.W.A. was "Straight Outta Compton," but for me and my friends, that was the third N.W.A album, after Eazy-E's solo album and "N.W.A. and the Posee." We were Southern white boys, but this one of a few albums that really shook us to the core and made us see the world in a different way. There is no album I've purchased more times than this one, with it being played so many times that the cassette broke more than once. Or people stole it. Either way, none of us could have a car that didn't have a copy of this in it. We didn't differentiate, either, between the N.W.A. tracks and the songs by others, it was all one big shot of lightning to us. We played this nonstop, getting dirty looks, racist comments and getting ignored by the girls who couldn't believe what we were listening to.

Eazy-E - "Boyz-n-the-Hood": One of several perfect songs on the album, I still know every word to this song today. The album starts off with tremendous production from Dr. Dre and never lets up. Even if the words and messages on some of these songs are terrible in retrospect, it was hard to care about that when they sounded so good. This one was my introduction to gangsta rap and what street life was like in places like Compton. The lyrics are just plain genius, so good that even Easy-E's subpar rhyme skills can't mess them up. His signature voice, though, remains one of the most original sounds to ever hit my ears.

N.W.A. - "8 Ball": Another perfect song, sonically, from the evil gremlin voice of Eazy-E to Dre's amazing beat that showed already that he was one of the best and that he was willing to use good sounds to make his songs, even if they seemed inappropriate, such as the Beastie Boys samples here. This is one of the few songs in history that specifically made me buy a product. We drank a LOT of 8 Ball because of this song.

Fila Fresh Crew - "Dunk the Funk": The first misstep on the album isn't Dre's fault, his beat is still dope. And it's not D.O.C.'s fault, he's tight. The rest of the Crew, though, just can't hang and they really seem out of place on an album with Ice Cube. This song is a throwaway and we used to hit fast forward here a lot.

Rappinstine - "Scream": This one was always a bit better than "Dunk the Funk," but we usually fast forwarded through it as well (until they took it off the album for the reissue). It's not terrible, but lyrically and delivery-wise, it just doesn't belong on this album.

Fila Fresh Crew - "Drink It Up": This one is the highlight of the Fila Fresh Crew tracks. It's a silly song, but damn if we didn't laugh our asses off and sing along with it over and over and over again.

N.W.A. - "Panic Zone": One of the flaws of this album was that there wasn't enough Arabian Prince. His voice is amazing and this is a perfect vehicle for him and another great slice of the gangsta life.

Eazy-E and Ron-De-Vu - "L.A. Is the Place": While Ron-De-Vu isn't on Eazy's level, this song is kind of the early gangsta rulebook. It's not in the top five songs on the album, but is just below them.

N.W.A. - "Dope Man": Perfection. This ridiculously awesome introduction to Ice Cube made me a hip hop fan for life. No matter how many crappy family movies he makes, Cube gets a lifetime pass from me because of this song, which still remains the best explanation of drug dealers and their lifestyle ever written.

Fila Fresh Crew - "Tuffest Man Alive": The biggest problem with Fila is that anyone who isn't D.O.C. sounds like they are rapping in 1981, as if they never learned the smoothness of flow that later rappers have. Stilted and awkward and less rhythmically valid. Another throwaway song.

Eazy-E and Ron-De-Vu - "Fat Girl": Even then I knew this song was horrible, but it hit hard and as teenage boys we thought it was funny and we hadn't figured out women yet, so we had a lot of that virginal anti-woman stuff running through our heads.

Fila Fresh Crew - "3 the Hard Way": The best of Fila's straight ahead songs is propelled by an amazing beat and hardcore rhymes from D.O.C. It's a little light lyrically speaking, and the jokes in it are kinda stale and weren't that funny then, but it definitely belonged on the album. The inclusion of the band members doing the dozens at the end is also an important document and was really funny at the time (even if it's less funny to me as an adult).

N.W.A. - "A Bitch Iz a Bitch": This replacement song was added to get more Cube out there and it improved the album. It was this song that helped make it clear to me that rappers are fictional characters and their words shouldn't always be taken literally. Cube makes it clear that he's not calling all women bitches, he's describing a particular type of woman that is materialistic and out to exploit a musician. N.W.A. even gave women the chance to jump on the track and argue back, which was quite entertaining.

Overall Analysis

Flow: 8. Cube, Arabian Prince and D.O.C. are amazing, Eazy's solid, Ron-De-Vu is passable and the rest are kinda weak.

Lyrics: 9. While a lot of the non-N.W.A. tracks are weak lyrically, the N.W.A. stuff is so important and powerful that it makes things better.

Message: 7. A lot of misogyny, fat hatred, and homophobia run through the album, which are obviously problems, but the album is a great opening document for what became known as the "CNN of the streets." As a description of a lifestyle and historical document, it's important.

Technical: 7. The same guys I mentioned who were good on flow are good here, but the rest are subpar.

Production: 10. Near perfect. Dre already knew what he was doing and his use of samples and beats to compliment the raps is unparalleled even 25 years later.

Versatility: 10. Again, look at the list of performers that came out of this album and see how different they are. The topics aren't super varied, but the voices and delivery styles are.

Collaborators: 9. A couple of rappers probably didn't belong on this album, but this is damned near a supergroup album.

History: 8. Music history is very well mined here and this is an important historical document about L.A. street life in the 80s.

References: 9. Many of them are musical or samples, but there are a lot of them and they are well-chosen and well-placed.

Originality: 10. This album didn't just change my life, it changed popular music. Cube and Dre alone are responsible for the majority of what hits the charts these days. There was some gangsta stuff before this, but everything became more gangsta after this, to the point where Miley Cyrus is giving shout-outs to Jay-Z.

Total Score: 87. It's far from perfect, particularly the Fila Fresh Crew songs, but this album changed my life. And much of it still stands the test of time and it set the table for so much that it's hard to ignore the importance of this one.

Against the 80s (With Footnotes)

<a href="http://professorrex.bandcamp.com/album/core-nerd">Core Nerd by Professor Rex</a>

Here is the seventh in my series of lyrical examinations of the songs of my debut mixtape, "Core Nerd!"

As I say in the song Liquid Thunder, "My rhymes are so dense you're gonna need footnotes." Here they are...

This time, for the song "Against the 80s."

This is an answer song, not in a negative way, as if I'm trying to battle someone, but in that it's a song that I agree with and I'm extending that conversation. Punk bassist Mike Watt did a solo album in the early 1990s that had a series of guest singers, including a song with Eddie Vedder of Pearl Jam called "Against the 70s." The basic point of the song was summed up by the chorus: "The kids of today should defend themselves against the 70s/It's not reality/just someone else's sentimentality." They were protesting the fact that 70s nostalgia had become a big business that was being foisted on teenagers as a marketing ploy. I agreed with that and by the time I wrote this song, which was the second full song I ever wrote, I also thought it was true of the 1980s. Hence the song.

The kids of today should defend themselves against the 1980s

It's not reality, just mass-marketed sentimentality

The hook comes directly from the Mike Watt song, with minor adjustments to the lyrics to fit this song.

Flipping through the channels and I'm almost done

Find I love the fucking 80s on Vh1

VH1 and their 70s and 80s nostalgia shows are one of the key drivers of this problem.

Sweet like honey-dripped triple chocolate cake

Bullshit nostalgia, served up nice and fake

This maybe my favorite simile I've ever come up with. It's a great image and it flows well.

What they don't tell you is the movies sucked

Try expanding your mind and your ass was fucked

This is one of my big problems with nostalgia, people remember the great stuff and forget the bad stuff and act like things used to be better, when that's rarely true. 80s movies were particularly notable for their lack of intellectual content most of the time.

What they don't tell you is the music sucked

A few good artists, a whole lot of junk

Whitney Houston, Phil Collins, some kind of curse

Same problem with music and looking back at it retroactively, most 80s music was terrible, particularly the more popular stuff.

What they don't tell you was the tv was worse

Superstation reruns of Gomer Pyle and Ralph Malph

Even most of the good shows from the 80s haven't held up well, but with cable being limited back then, you ended up watching a lot of reruns of older shows.

Stupid, racist and that little guy Alf...wait, I liked Alf

I love the way the music drops out here so I can respond to this line. I'll repeat it later.

Gordon Gekko said that greed is good

On the backs of the poor his followers stood

The movie "Wall Street" was widely lauded but many people took it the wrong way and embraced its villain, and the 80s were the time of evil corporate tycoons who screwed over the economy and the average person.

That Wendy's lady said where is the beef

A b movie actor was commander in chief

Even a lot of things we remember fondly from the 80s, such as the "where's the beef" lady are pretty terrible. And, of course, Ronald Reagan was one of our worst presidents, something I'll come back to several times in the song, since it's one of the most important factors in the 80s sucking.

Wax on, wax off, I'll be back

Like, oh my god, Grody to the max

So much of the pop culture of the 80s was shallow and vapid, from "Karate Kid," to Arnold Schwarzeneggar, to valley girl slang.

Nancy Reagan said just say no

No to the broke, no to the low

Seriously, in 1981 the Reagan USDA declared that ketchup and pickle relish were vegetables for the purposes of cutting nutrition in the school lunch program

The "just say no" campaign was really one of the dumbest things I remember from growing up and the overall war on drugs is a nightmare. The Reagans were also very strong champions of screwing over poor people. I love this part of the song ending in this little rant, too, which is totally accurate.

The kids of today should defend themselves against the 1980s

It's not reality, just pre-packaged sentimentality

The chorus again, but with a little change in what type of sentimentality it refers to. This has a payoff later.

They bombed Honduras, bomb, bombed Grenada

The format of the next section is based on a John McCain quote where he said "bomb, bomb, bomb, bomb Iran" to the tune of the Beach Boys "Barbara Ann," which was a horrible thing to joke about. The series of countries listed here were all places where we had military interventions and this section was to show how warlike the 80s were.

Sold us crack, the smack came later

We learned that the government played a role in the distribution of hardcore drugs in the inner cities, in particular.

They bombed Libya, bomb, bombed Iran

I think the bombing of Libya was my first memory of watching a U.S. military intervention in realtime. At the time I was opposed to Qaddafi and supported the campaign. Then I grew up. The fact that Reagan played both sides in the Iran-Iraq war was a pretty significant war crime and help set the stage for al Qaeda's rise and attack on us.

Ignored AIDS, Bush was the man

Reagan's ignoring of the rise of the AIDS epidemic was just another in his long list of crimes. Reagan begat Bush, of course, whose mediocre presidency would later lead do his son's horrible presidency.

They bombed Panama, bomb, bombed Iraq

I was obviously no fan of Noreaga or Hussein, but we killed civilians and interfered in the sovereignty of so many countries in the 80s.

Made us all afraid of a nuclear attack

Those who naively say that terrorism is the worst threat we've ever faced don't remember how pervasive our fear of total annihilation via nuclear weapons was.

They bombed the media, bomb, bombed the airwaves

Tried to turn us all into mental slaves

The 80s also was a pure assault on the media, news, accuracy, fairness and the like. It was also the real rise of the horrible marketing industry.

They killed John Lennon, Marvin Gaye dead

The next section goes down a list of personal icons who died in the 1980s. Lennon was of course the musician who most influenced me early on. Gaye's death by gunshot from his own father was one of the first times I realized how fucked up the world is.

They killed Andy Kaufman, John Belushi dead

Kaufman is one of my favorites in any field of performance and I always think of his tactics when I'm writing. Belushi's movies were huge in my development, as was Saturday Night Live.

They killed Bob Marley, Ian Curtis dead

Marley's "Three Little Birds" is one of my all-time favorite songs and he was obviously my introduction to reggae. Curtis was the lead singer of Joy Division, and I not only was a big fan of his music, but he was one of my first introductions to alternative/indie rock, which remains one of my favorites.

They killed television, radio is dead

They killed the movies, art is dead

I was a big fan of TV, radio and movies when I was younger, not surprisingly, but the tactics introduced in these industries, as well as the commercialization of art, pushed all of these things in worse directions.

They killed D Boon, Phil Lynott dead

D Boon was the singer for the Minutemen, a band that Mike Watt was also in. Lynott did some amazing things with Thin Lizzy.

They killed Gilda Radner, Andy Warhol dead

Radner was one of my first female comedic icons (along with Carol Burnett and Lucille Ball). I've always been fascinated with Warhol and the web of connections and artists he kept around himself. I do a milder version of that now.

They killed Alfred Hitchcock, they let Ronald Reagan live? Seriously?

Hitchock's movies and TV show were some of the first scary stuff I got into, which is something which later became a major part of my life. After all of Reagan's sins, some of which were listed in the song, he obviously deserved death more than anyone else on this list, yet he was merely wounded in the assassination attempt against him.

The adults of today should defend themselves against the 1980s

VH1's not reality, just mother fucking sentimentality

It won't work for you, it didn't work for us

A little bit of shiny, and a whole lot of rust

The chorus slightly tweaked again. Then another line from Vedder's vocals, coupled with a metaphor that I really like.

The kids of today should defend themselves against the 1980s

It's not reality, just

mass-marketed

pre-packaged

mother-fucking

freeze-dried

vacuum-packed

state-of-the-art

high-concept

super-sized

cutting-edge

long-lasting

fast-acting

oven-ready

ready-to-wear

built-to-last

user-friendly

toll-free

bite-sized

fully-equipped

order now

don't delay

act now or forever rest in pieces

...sentimentality

This is meant to emulate the fast-talking spokesman of the MicroMachines toys and several other ads and also to allude to the rise of the MTV-style quick editing that greatly contributed to our declining attention spans. The terms here are mostly marketing terms from commercials, but quite a few come by way of George Carlin's bit "Modern Man," which I'm turning into a song. Also, the first three go back to the earlier choruses, repeating the changed adjective before sentimentality for each one of them. Theoretically if there were more choruses, they would continue to go down this list in order.

Help me, I've fallen and I can't get up

Another line from an 80s commercial, the ubiquitous MedicAlert bracelets that were unintentionally funny (and sad).

Alter Ego (With Footnotes)

<a href="http://professorrex.bandcamp.com/album/core-nerd">Core Nerd by Professor Rex</a>

Here is the sixth in my series of lyrical examinations of the songs of my debut mixtape, "Core Nerd!"

As I say in the song Liquid Thunder, "My rhymes are so dense you're gonna need footnotes." Here they are...

This time, for the song "Alter Ego."

This is another song with a simple premise. It's a straight ahead rap boast song, but all the metaphors are based on comic book superheroes, but only using their alter ego names, not their superhero names.

Like Peter Parker, it's time to swing

You can't comprehend the misery I bring

Parker is Spider-man, of course, known for swinging around on webs. The second line is a bit of a call-out to the lyrics to my song "Charlie Sheen."

Like Bruce fucking banner, it's time to smash

My words go boom, my words go crash

Banner is the Hulk and his catchphrase is "Hulk smash!" The second line is a reference to something, but I can't remember what, I want to say it's meant to evoke KRS-One.

I can see through your shit, like you were Sue Storm

You ain't got style, you ain't got form

Storm is the Invisible Woman.

Like Ororo Munroe, I ride the wind

Weak-ass rappers? You started that trend

Munroe is Storm of the X-Men, who flies by riding the wind.

Like Johnny Storm, it's time to flame on

In the game of life you're just a pawn

Storm is the Human Torch, whose catchphrase is "flame on."

Bringing down the hammer like I was Don Blake

Your soul I'll steal, your spirit I'll break

In the early days, Thor had a human alter ego, Don Blake, who was a handicapped doctor. Thor's weapon, of course, is his hammer.

As if you were Reed Richards, stretchin the truth

Your fans go bye, your friends go poof

Richards is Mr. Fantastic whose powers involve being able to stretch his body to extreme lengths.

My rhymes fly over your head like Norrin Radd

I don't hate your flow, it just makes me sad

Radd is the Silver Surfer who flies around on a cosmic surfboard.

Bigger, faster, stronger, more

You already lost when you walked through the door

Smarter, wiser, better, best

You think you're the shit, but you're just like the rest

The chorus was probably the first thing I came up with on the song. The "bigger, faster, stronger" part was marketing language that I can't remember where I first got it from. On some level, it's probably a reference to the title of the South Park movie title, "Bigger, Longer and Uncut." There is also a documentary about steroid use--"Bigger, Faster, Stronger"--that I had seen that probably influenced it as well, but it's almost certainly a combination of factors.

It's clobberin' time like my name was Ben Grimm

You need to hit the track, you need to hit the gym

Grimm is the Thing, rounding out the Fantastic Four references. His catchphrase is "It's clobberin' time."

I'ma make you start drinkin like Tony Stark

Gonna lose your ass like Indy lost the ark

Stark is Iron Man. One of the most famous storylines he's in is where he's an alcoholic. The second line is a reference to the end of "Raiders of the Lost Ark," where Indiana Jones who has found the Ark of the Covenant, but has it taken away, first by the Nazis, and then by the U.S. government.

Coming back from the dead like I was Jean Grey

You're stepping on stage like it's casual Friday

Grey is Marvel Girl or the Phoenix from the X-Men. She's known for repeatedly coming back from the dead.

Fists like Danny Rand, skin like Luke Cage

You're growing any anger, you're growing my rage

Rand is Iron Fist and Cage is Power Man, the two are the Heroes for Hire. One of Cage's powers is his impervious skin.

Like Bruce Wayne, I'm make your night dark

Blowin up your world like Kent to the Clark

Here at the midpoint of the song's verses, I make the switch from Marvel Comics characters to DC characters. Wayne is obviously Batman, also known as the Dark Knight. Clark Kent is Superman, whose origin story involves this homeworld, Krypton, exploding.

Like Dick Grayson, you never get the spotlight

You're hiding back stage, crying with stage fright

Grayson was the original Robin, the world's most famous sidekick and always in Batman's shadow.

Like Barbara Gordon, you got no legs

Eatin green ham, eatin green eggs

Gordon is Batgirl and was formerly known as Oracle after she was shot by the Joker and bound to a wheelchair for many years because of her injuries. The second line makes absolutely no sense in any context, but it popped into my head when I was writing this and it made me laugh my ass off, so I decided to keep it.

All ladies treat you like they were Kate Kane

Your love life is circlin the drain

Kane is Batwoman and she is a lesbian.

Bigger, faster, stronger, more

You already lost when you walked through the door

Smarter, wiser, better, best

You think you're the shit, but you're just like the rest

The chorus again.

I'ma make you tell the truth like Diana Prince

Who loves me more? Your own fucking parents

Prince is Wonder Woman, whose magic lasso makes people tell the truth.

Like Barry Allen, I'm running past your ass

You can't Punch Out even fucking Joe Glass

Allen is the Flash. Punch Out was a popular boxing simulation game for the original Nintendo. Your first, and weakest, opponent was Joe Glass, as in he had a glass jaw and was easy to beat.

I'm Hal Jordan, this is my space

Get out of my face, get out of my place

Jordan is the Green Lantern, effectively a space cop who serves as the guardian of Earth and its surrounding space.

You got no power, you got no wish

Like Arthur Curry, you can talk to fish

Curry is Aquaman. He has long been a punchline because of his power set, which people falsely limit to "talking to fish."

As if you were Alec Holland, sleepin in the muck

You're all outta time, you're all outta luck

Holland is the Swamp Thing.

Like Ted Kord, you're about to get capped

Your own fuckin friends stab you in the back

Kord was the Blue Beetle, who was shot and killed by his supposed friend, Max Lord.

Using acronyms like Billy Batson

I'm H.A.M., T.R.O.Y., what son?

Batson is Captain Marvel a.k.a. Shazam. Shazam is an acronym which is made up of the names of seven ancient heroes who he draws his powers from. The H.A.M. acronym comes from the Kanye West song of the same name and stands for "hard as a motherfucker." T.R.O.Y. is from the Pete Rock and CL Smooth song and means "they reminisce over you."

Like Oliver Queen, I'm hitting bullseyes

Your rhymes are so shitty, they're covered with flies

Queen is Green Arrow.

Bigger, faster, stronger, more

You already lost when you walked through the door

Smarter, wiser, better, best

You think you're the shit, but you're just like the rest

The chorus again.

"good kid, m.A.A.d city," Kendrick Lamar (HHES Review)

Here's my review of Kendrick Lamar's album "good kid, m.A.A.d city," using the Hip Hop Evaluation System (HHES).

The first song, "Sherane" isn't a great start to the album. It isn't a bad song, but it's not my type of song, kind of a slower, getting laid type of jam. It's better than most songs like this, but that's not a high bar. The transition to the next song is great, with the recording of Kendrick's parents being fun and entertaining.

"Bitch, Don't Kill My Vibe" is a much better song. I had to hear it a few times for it to sink in, and I don't love the title, but the rest of the lyrics are just plain poetry and Kendrick is opening up about his internal thoughts and feelings like few rappers do.

The next song is one of my favorite songs of 2012. "Backseat Freestyle" bangs harder than just about any song in the last 10 years. The production is perfect and while the lyrics don't exactly tear the world up, Kendrick's delivery is complicated, varied and just plain amazing.

"The Art of Peer Pressure" is the N.W.A. song written by the smart, quiet member of the gang. The guy that's the opposite in attitude of Ice Cube. It's totally some "CNN of the Streets" type shit and it's an impressive song, even if the production is a little more subdued that I would like. It matches Kendrick's vocal style, but he's so low-key at times, you underestimate him.

If anything on the album jumps in your head and sticks, it's the repeated "ya bish," on "Money Trees," another downtempo song that continues the ongoing story that effectively makes the album a "hip hopera." It's a song that grows on you over time and is hard to get out of your head once it gets in.

I'm a big fan of conceptual puns and the next song, "Poetic Justice," is built on a pretty good one, with a Janet Jackson sample being the driving force of the track. Janet played "Justice" in the John Singleton film with the same name as the song. It's catchy, but it's far from my favorite song on the album, lyrically speaking, as it revisits the themes of "Sherane."

"Good Kid" is a bit jarring at times, because Kendrick's speed, which is impressive, frequently outpaces the beat and the hook. The lyrics are are pretty thoughtful examination of gang life and, again, are more personally revealing than most songs of the same genre.

"m.A.A.d city" probably has the best production on the album aside from "Backseat Freestyle." I get the brilliance of having laid back, downtempo tracks matched up with Kendrick's very fast and diverse delivery, but I'd like more of hearing him work with faster, harder beats. This is one of those times and it stands out. MC Eiht adds a great guest appearance to an album that doesn't have many of them.

On "Swimming Pools (Drank)," you probably have the most successful example of the slower beat/faster flow phenomenon I just explained. This song also has one of the better hooks on the album. It's also a good enough rumination on addiction that it would've been at home on a Macklemore album.

The next track "Sing About Me, I'm Dying of Thirst," is loaded with lyrics that continue the album's ongoing story well enough, but the hook is so jarring it turns me off. The production here is amongst the best on the album, but Kendrick's delivery is starting to get a little repetitive by this time on the album and it doesn't help that this song is 12 minutes long.

"Real" improves upon the previous track quite a bit, except for another inexplicably bad hook. "Compton" is another song held back by the "hook," although the rest of the song is pretty good, and an appearance by Dr. Dre gives a nice vocal contrast to Kendrick's voice, which after this point is losing its originality and novelty.

Overall Analysis

Flow: 10. Kendrick has a great voice and he has a lot of range and changes up his style frequently enough that it stays exciting.

Lyrics: 10. Kendrick is a poet with a strong voice, and an honest open writing style.

Message: 8. The messages here are pretty loud and clear, although I'm not sure I love the concept behind the concept album.

Technical: 9. Kendrick does a lot of complicated things on this album and most of them work.

Production: 7. The beats here are mostly very original, but too many of them are downtempo and sometimes jarring.

Versatility: 8. Starts off very strong, but gets into a little bit of a rut by the end.

Collaborators: 8. There aren't many, but most of them are strong, particularly MC Eiht and Dr. Dre. I didn't even notice Drake on "Poetic Justice," which is probably a good thing.

History: 9. This album is all about personal and real world history and it tells a good story. It's lighter on music history, but that's okay, it's not really about that kind of thing, so the absence is valid.

References: 8. Because of the heavy emphasis on the story and ongoing theme, there aren't as many obvious references here as you might find on other albums. But the references that are here are usually pretty good and smarter than your average rapper.

Originality: 10. There aren't other albums like this.

Total Score: 87. Great album, and a higher score than albums like "Yeezus" or "Magna Carta...Holy Grail," that I reviewed recently. If Kendrick can improve upon this on his next joint, he'll have a pretty good case for being at or near the top of the rap game.

Twisted (With Footnotes)

<a href="http://professorrex.bandcamp.com/album/core-nerd">Core Nerd by Professor Rex</a>

Here is the fifth in my series of lyrical examinations of the songs of my debut mixtape, "Core Nerd!"

As I say in the song Liquid Thunder, "My rhymes are so dense you're gonna need footnotes." Here they are...

This time, for the song "Twisted."

The premise of "Twisted" is very straightforward--team up childhood tongue twisters with hardcore drug references. The idea was to do something that would be provocative by its very nature, but would also be the most technically difficult song to rap. The song is not an endorsement of drug use, more a depiction of it. But it's also NOT an anti-drug song. The idea is that drugs, like most other things, are a topic that is loaded with misinformation and paranoid propaganda and that the subject needs to be demystified in order to lead us to a better place. Casual responsible drug use can be a very good thing, particularly in a situation where drugs are regulated and safe. They can expand one's mind, in particularly in getting one outside their own myopic ways of thinking about things and they can increase sympathy and empathy, things that our society sorely needs more of. They are, of course, also very dangerous, not only for those who abuse them, but for those who take them when their are interactions with other medications or medical conditions that individuals have. My take is that prohibition is EXACTLY the worst way of dealing with the problems associated with drugs. That's the context behind the song, but the song itself is a humorous song and is not meant to be a serious examination of the issue, but something that makes people dance and laugh.

The title refers to three things: 1. The tongue twisters, 2. The narrator is high or "twisted," 3. How fucked up it is that someone is rapping about drugs and kids rhymes.

A to the B to the C to the D to the E to the F to the G

To the 1, 2, 3, you and me, he and she

One of the things that people on drugs do is talk nonsense. I wanted to give a taste of that here at the beginning, by having the narrator just start rapping the alphabet. I wanted it to go on long enough to just start to annoy the listener or make them question what the hell they were listening to right before I switched and moved on.

Her and him, Jane & Jim, Jack & Jill

Bill & Hill, let's get ill

In addition to the nonsense references throughout the song, another drug-related idea is the stream-of-consciousness style thinking that high people engage in, where they jump from topic to topic, often with little connection or with connections that only they perceive, based on the drug they are using. "Jane & Jim" here is also a little play, as it refers to the "Dick and Jane" books that kids used to be taught to read with, but, as is often the case with people who are high, the narrator gets the names wrong. Most people won't get that reference, but they will get the next one, which is the first obvious reference to children's lit. As the narrator is already high, he randomly jumps to the Clintons with the next couple, probably only because of the rhyme. The last part of this one, the word "ill" has multiple meanings, primarily that the song is about to get sick and twisted, lyrically speaking, but also that it's also going to be some difficult technical rapping that most people couldn't do.

Peter Piper picked a pack of pickled rolling papers

Down at the corner store

Peter Piper is probably the most famous of these tongue twisters, at least it was when and where I was growing up, so I led with it. I don't know what pickled rolling papers are, but I'm pretty sure you can't get them at the corner store.

Dime bag, zig zag, Phillie blunt

More fucking more fucking more

The first part is total free association with weed-related terms. The second line is a typical drug reaction, that you want more and more of whatever drug it is, as the euphoric feeling declines and the addictiveness goes up.

Rubber baby buggy bumpers

Flubber baby snuggy dumpers

Pretty baby tourist humpers

Shitty baby forrest gumpers

"Rubber baby buggy bumpers" is another really famous one, and the idea here was to try to make the four lines here rhyme as much as possible (also making them more difficult to memorize). "Flubber" was an obvious rhyme and cultural reference. "Snuggy dumpers" was specifically a baby reference and goes along with "shitty baby." The Forrest Gump reference made me laugh outside when I first thought of it, so I had to include it.

Squier like Billy, Steve like Perry

AC to the DC in Washington D.C.

This song was written well before I moved to D.C., but I've always been a fan of the city. The rest of this section is an inside joke for people who know me. Journey, AC/DC and Billy Squier rank among my least favorite musical artists ever, thus I'd have to be high to want to listen to them or reference them.

My mammoth is wooly, my jacket is fleecy

When I was a kid I knew Ryan Creecy

"Fleecy" rhymed with "D.C.," and "wooly" related to jackets as well, thus the reference, but still part of the scrambled drug train of thought. I did know a guy named Ryan Creecy when I was a kid and I've never heard a word that rhymed with Creecy and not thought of his name, so I figured it fit well here.

I saw Susie sitting in a shoe shine shop

Where she sits, she hits

When she hits, she shines

When she shines, she dreams

When she dreams, she screams

I wasn't as familiar with this rhyme, although I had heard it before. I figured in the context of the song, why would she just be sitting in a shoe shine shop if she wasn't high. There is also a hint here that her trip started to go bad at the end.

It's not about morality, it's all about reality

The chorus begins with a line that I took from an NWA song "Gangsta Gangsta," because NWA also did "Dopeman." The original sample comes from Boogie Down Productions' song "My Philosophy," which was the inspiration for my first song, "The Lesson." Two references to hip hop artist who heavily influenced me and another subtle drug reference as well.

Leavin shit behind, bustin out my mind

Steppin over the line, snortin the line

A string of getting high references culminates in stepping over the line, but line, of course, has a strong drug connotation, so I couldn't let it go by without making this reference, which made me laugh out loud when I wrote it.

Swinging on vines, be kind rewind

Steppin on land mines, feeling fine

Being blind, outta wine

Outta my mind, outta time

Outta my mind, out of time

A string of random references here showing the effects of the drugs on the narrator. Also a reference to the movie "Be Kind Rewind," which stars another of my favorite rappers, Mos Def, and the fact that I'm guessing that movie's biggest audience is stoners.

Next is the next is the next is the E

Floggy Molly is just a hobby holly

MDMA got you feeling like a champion

Getting super ill like King's Charles Campion

This might be my favorite section in the whole song. The lines here revolve around the drug MDMA, which is also frequently referred to as "molly," "ecstasy" and "E" (in its various forms) The first line is from a Moby song, with Moby being the type of artist you might find playing at a rave or other place where you might find widespread use of MDMA. The second line takes the band name Flogging Molly and turns it into a synonym for using the drug. Also in the narrator's claim that he doesn't do that much molly, he makes the "hobby holly" reference, which is a song title from the band Casiotone for the Painfully Alone, which I'm guessing, is NOT a band that a lot of molly users would be into. The narrator of the song, however, has more eclectic tastes than most, partially as evidenced by the next line, which is a direct quote from Jay-Z's "Empire State of Mind." The last reference is to the first named character in Stephen King's "The Stand," Charles Campion, who is effectively patient zero in superflu outbreak that takes out most of the world population, and is also among the first to die in the novel. But "ill" also has two other meanings here, one is a reference to being very high, the other is to being a dope rhymer, which in and of itself is a reference back to the drugs in the song. Layers upon layers in this song.

To sit in solemn silence in a dull dark dock

In a pestilential prison with a life long lock

I will admit that this one was new to me when I looked up tongue twisters for this song, but I liked it so much that I had to include it. I figured that it would be really difficult to memorize, but it turns out it wasn't. The line comes from Gilbert and Sullivan's "Mikado" and obviously fits the tough tongue twister mold, but it could just as easily be taken as a drug addiction reference.

I scream, you scream, we all scream for nice dreams

The childhood ice cream quote is twisted here to match up with the Cheech and Chong movie "Nice Dreams," wherein the stoners sold weed out of an ice cream truck.

I cream, you cream, we all cream for tight genes

The rhyme here was pretty obvious to me, with the sexual innuendo being legit because many drugs make people horny. But I also went with the double reference that people would only get if they read the lyrics. "Tight jeans" are obviously a turnon, but so would be an attractive person who has "tight genes."

She sells seashells down by the seashore

She sells crack out the back of the seashell store

Don't come before 10 o'clock, do the special knock

She gotta glock, she got rock in stock

Another really famous one here and I immediately thought that if "she" were going to sell anything, it would probably be crack, so the famous seashell store became a front for a drug dealer, who has her rules about when users can come by and buy things, her code for announcing that you were a buyer (and not of seashells), the weapon she uses to protect her stash, and her product of choice.

She's a fox in some socks, ants in her pants

She'll make a little love, she'll do a little dance

When tweedle beetles battle in a bottle with a paddle

It's a tweedle beetle paddle puddle bottle battle

Ever since I first read "Fox in Socks" to my kids, I thought the part with the tweedle beetles needed to be in a hip hop song, it was just too much like rap not to be. That thought was probably the original germination of the idea of this song. The first, third and fourth lines come directly from the Dr. Seuss book and the third one, added in for the rhyme, comes from KC and the Sunshine Band's "Get Down Tonight," with "getting down" being a synonym for getting high. Also, as a disco song, KC's music was heavily played in drug-fueled nightclubs of the 1970s like Studio 54.

It's not about morality, it's all about reality

Leavin shit behind, bustin out my mind

Steppin over the line, snortin the line

Swinging on vines, be kind rewind

Steppin on land mines, feeling fine

Being blind, outta wine

Outta my mind, outta time

Outta my mind, out of time

The chorus again.

Can you can a can as a canner can

Can a can?

My dealer is a woman, yours is a man

Bills, bills, bills, wham bam thank you man

I really liked the heavy use of alliteration in the canner line and the woman/man lines here brought in the same type of rhyme repetition. The use of the Destiny's Child song title also reinforced that repetition/alliteration pattern. The final part is a pun on the old saying that Urban Dictionary suggests in a crude way is about a sexual quickie.

Snorting weed, smoking lines, dropping tabs, getting pissed

Some might think that the lines are messed up when I perform this live, but the idea is the narrator is getting high enough now that his speech is getting messed up. I purposely switch the ingestion methods of coke and weed here to get that across.

Fuck you Harris, I do exist

Watching stand up comedy while high is a very common activity in some circles. This line is a quote from Aziz Ansari's first comedy special, which is hilarious, and also seems like something a high person would say.

My agent said my moneys in Security First and National Trust

But I can't pay attention cuz I'm on that dust

The second line here was added first and is a reference to both "Slow Ride," by the Beastie Boys, and "Same As It Ever Was," by House of Pain. The other line was added because of the rhyme. When singing these lines, I always space out as if I'm not paying attention, an obvious verbal version of the second line.

What the shit am I talking about

My brain is on walkabout

The next few lines are one of the most obvious sequences of the narrator's stream-of-consciousness ranting because he's high. He says his brain is on walkabout and then proceeds to verbally go on walkabout, with a stream of unrelated references.

I got 99 for my Klout

The social media influence site measures your influence on a scale of 1-100, with 99 obviously being really good.

Shout, shout, let it all out

Tears for Fears, "Shout."

Shout, shout, heavyweight bout, got no doubt

Continuing the Tears for Fears reference with two unrelated rhymes.

Gwen Stefani, jam on it, ride the pony, Mony Mony

Continuing the "no doubt" line above with the lead singer of the band No Doubt, then an old school rap reference to the famous song by Newcleus, then a R&B reference to the Ginuine song and ending the line with the Tommy James/Billy Idol hit.

Hey, hey what, get laid get fucked

Back when we were young and the song "Mony Mony" came on, there are these long pauses in the lyrics that we as teenagers had learned to fill in with this chant.

This song izdashit, check out my gravel pit

The first part is a reference to one of my other songs on this same mixtape. The second is a Wu-Tang Clan song.

It's not about morality, it's all about reality

Leavin shit behind, bustin out my mind

Steppin over the line, snortin the line

Swinging on vines, be kind rewind

Steppin on land mines, feeling fine

Being blind, outta wine

Outta my mind, outta time

Outta my mind, out of time

The chorus again.

How much pot could a pot roast toast

If a pot roast could get roasted

How much toast could a toastmaster toast

If a toastmaster could get toasted

These two were pretty easy to repurpose as drug references, since "roast" and "toast" are words often associated with getting high and/or drunk.

How can a clan cram in a clean cream can

Stuck in another one with really great alliteration, which I continue in the next few lines.

How can the Klan konklave in the cream corn

Total nonsense, but meant to poke fun at the KKK

How can Kimberly Kane profit off of web porn

Kimberly Kane is a real porn star and this was meant to represent the idea that people who are high have really deep thoughts and ask big questions about completely pointless topics.

How can I get a crest on my head like Michael Dorn (he played Worff on Star Trek)

And really stupid questions about pointless topics, too.

How much woodchuck could a woodchuck drink

If a woodchuck could drink woodchuck fuck

Bringing back the toastmaster/pot roast rhymes from above, this time with the more famous woodchuck rhyme, which was easy to pair with the cider drink of the same name.

How many boards could the Mongols hoard

If the Mongol hordes got bored

Another tongue twister, this one being one that people seem to love the most when they hear the song.

Mushroom mountain, chocolate fountain

Tip drill, road kill, Beverly Hills, purple pills

I've been to the motherfucking mountaintop

Watching panties drop, escapin the cops, using visine eye drops

Another stream-of-consciousness rant, this time with references to: psychedelic mushrooms/the drug song "Purple Pills" by D12, the gross chocolate fountain at Golden Corral, the even more gross song by Nelly, dead animals on the road, the Weezer song, D12 again, a reference tying in Martin Luther King's "I Have A Dream Speech"/the D12 song/really subtle commentary on the freedom from the war on drugs, sex, and measures to avoid getting in trouble for using drugs.

It's not about morality, it's all about reality

Leavin shit behind, bustin out my mind

Steppin over the line, snortin the line

Swinging on vines, be kind rewind

Steppin on land mines, feeling fine

Being blind, outta wine

Outta my mind, outta time

Outta my mind, out of time

The chorus again. I noticed that, unlike a lot of rappers and singers, I don't do a lot of the off-the-cuff stuff at the end of songs, so I wanted to add that in here, but I don't really do much in the way of adlibbing or freestyling, so I wrote them into the song.

Time, time, time, time

Twisted, twisted, twisted, twisted

The continuation of the last line of the chorus and then the name of the song.

Sister, sister, sister, sister

Brother, brother, brother, brother

Father, father, father, father

Mother, mother, mother, mother

Fucker, fucker, fucker, fucker

The first line was meant to tie in with the previous line and reference the 80s hair metal band. Then it went through the whole family so it could end on "mother fucker."

Uh ah, uh uh ah

Uh ah, uh uh ah

These seemingly random sounds are actually a reference to an old Kid N Play song, "Funhouse."

Yeah, yeah, yeah, yeah

I've been to the motherfucking mountain top

I've been to the motherfucking mountain top

I've been to the motherfucking mountain top

I've been to the motherfucking mountain top

Yeah, yeah, yeah, yeah

Ending up with a reference back to the mushroom mountain/MLK reference in the last verse, which seemed like a great place to end the song.

The Response to Kendrick Lamar's "Control" Verse

The Twitter is ablaze with talk of Kendrick Lamar's new verse on the Big Sean track "Control," which throws down the gauntlet for pretty much every young rapper in the game, quite a few of them explicitly. Kendrick is bold in calling himself the "King of NY" and for telling pretty much every other rapper that they should just give up. While none of the rappers named in the song have dropped response tracks yet, quite a few others have.

First, though, let's take a look at Kendrick's verse:

Miscellaneous minds are never explainin' their minds

Devilish grin for my alias aliens to respond

Peddlin' sin, thinkin' maybe when you get old you realize

I'm not gonna fold or demise

B*tch, everything I rap is a quarter piece to your melon

So if you have a relapse, just relax and pop in my disc

Don't pop me no fucking pill, I'mma a pop you and give you this

Tell Flex to drop a bomb on this shit

So many bombs, ring the alarm like Vietnam on this shit

So many bombs, make Farrakhan think that Saddam in this b*tch

One at a time, I line em up and bomb on they mom while she watching the kids

I'm in a destruction mode if the gold exists

I'm important like the Pope, I'm a Muslim on pork

I'm Makaveli's offspring, I'm the king of New York

King of the Coast, one hand, I juggle them both

The juggernaut's all in your jugular, you take me for jokes

Live in the basement, church pews and funeral faces

Cartier bracelets for my women friends I'm in Vegas

Who the fuck y'all thought it's supposed to be?

If Phil Jackson came back, still no coachin' me

I'm uncoachable, I'm unsociable

Fuck y'all clubs, fuck y'all pictures, your Instagram can gobble these nuts

Gobble dick up til you hiccup, my big homie Kurupt

This the same flow that put the rap game on a crutch

I've seen n*ggas transform like villain Decepticons

Mollies'll prolly turn these n*ggas to fucking Lindsay Lohan

A bunch of rich ass white girls looking for parties

Playing with Barbies, wreck the Porsche before you give em the car key

Judgement to the monarchy, blessings to Paul McCartney

You called me a black Beatle, I'm either that or a Marley

I'm dressed in all black, this is not for the fan of Elvis

I'm aimin' straight for your pelvis, you can't stomach me

You plan on stumpin' me? B*tch I’ve been jumped before you put a gun on me

B*tch I put one on yours, I'm Sean Connery

James Bonding with none of you n*ggas, climbing 100 mil in front of me

And I'm gonna get it even if you're in the way

And if you're in it, better run for Pete's sake

I heard the barbershops spittin' great debates all the time

Bout who's the best MC? Kendrick, Jigga and Nas

Eminem, Andre 3000, the rest of y'all

New nggas just new nggas, don't get involved

And I ain't rockin no more designer shit

White T’s and Nike Cortez, this is red Corvettes anonymous

I'm usually homeboys with the same n*ggas I'm rhymin' wit

But this is hip-hop and them n*ggas should know what time it is

And that goes for Jermaine Cole, Big KRIT, Wale

Pusha T, Meek Millz, A$AP Rocky, Drake

Big Sean, Jay Electron', Tyler, Mac Miller

I got love for you all but I'm tryna murder you n*ggas

Tryna make sure your core fans never heard of you n*ggas

They dont wanna hear not one more noun or verb from you n*ggas

What is competition? I'm tryna raise the bar high

Who tryna jump and get it? You better off tryna skydive

Out the exit window of 5 G5’s with 5 grand

With your granddad as the pilot he drunk as fuck tryna land

With the hand full of arthritis and popping prosthetic leg

Bumpin Pac in the cockpit so the shit that pops in his head

Is an option of violence, someone heard the stewardess said

That your parachute is a latex condom hooked to a dread

I'll say this first, I like Kendrick and he had one of the best albums of 2012, but he isn't quite the king of anything yet. He might get there, but he hasn't put in the time and earned it and he pretty much knows that and says it by pointing out that Jay-Z and Nas are at his level or higher, making it obvious one of them is more the king of NY than he is.

But I like what he did here. When's the last time there was the last time that you saw this much talk about a newly released song? Particularly a song that wasn't being criticized for dumb-ass references to Emmett Till, sexual assault or equating gold chains with slavery? Probably Kanye when he dropped "New Slaves," and before that not much. And I can't see any of those other songs inspiring so many responses, not only including the ones that are already out, but the many more to come.

Let's take a look a look at those that have come out so far...

Artist: KR
Song: "Lost Control"
Originality?: I guess, it doesn't sound like the other responses or what you hear on the radio, but it doesn't grab me.
Does it come hard?: Mostly, KR goes after a number of additional rappers that Kendrick didn't.
Best line: Doesn't really have any standout lines.
Verdict: I probably wouldn't listen to this again and it doesn't make me want to listen to any of his other stuff.

Artist: Cassidy
Song:
"Control Freestyle"
Originality?: Mostly, there are some tired lines, but most of it is stuff I haven't heard before.
Does it come hard?: Yeah, despite his voice, which is a little squeaky.
Best line: "Even if your flow is sick/I disinfect you/I'm special/if you're plugged in I disconnect you."
Verdict: This is one of the better responses, I'll check out more of his stuff and will probably listen to this again.

Artist: Lupe Fiasco
Song:
"SLR 2"
Originality?: Yes. Some of the dopest lyrics on any of these tracks and a wide variety of delivery styles that show that he isn't playing.
Does it come hard?: Yes, not just lyrically, but in the intellectual weight of the lyrics and the ability to copy. Kendrick's style and other people's styles, as if there isn't anything anyone else can do that he can't do
Best line: "Team me is like meat eating animals meeting a meteor/Dinosaurs, I'm fine with all kinds of wars/Knives and swords, lions, tigers bitin' boars."
Verdict: Lupe is my favorite rapper of this group and this just adds to that.

Artist: Mickey Factz
Song:
"South Park"
Originality?: Yeah, he seems to have put more thought into the lyrics and metaphors than most of this gang, particularly with the series of puns on various other young rappers names. Very nice.
Does it come hard?: Yeah, not as hard as some of the others, he says he's having fun, but it's hard enough to get the point across.
Best line: "I'd rather battle Picasso and Dali in the gardens of Garvey/Shadowbox with Ali, postin up Barkley."
Verdict: Enough to make me a fan.

Artist: Astro
Song:
"KONY"
Originality?: Yes, very good backing track and funny and intelligent lyrics dripping with references.
Does it come hard?: Pretty much. It's not 2Pac hard, but it's Jay-Z hard.
Best line: "Let's battle, it's nothing, you weak, I feel like you're bluffing/You the king? Oh my bad, boy, I feel like you puffin'."
Verdict: Good stuff. I'd listen to this and Astro again.

Artist: B.o.B
Song:
"How to Rap"
Originality?: Musically yes, lyrically, not at all.
Does it come hard?: Not really. He defends himself by making a poppy song and by playing guitar.
Best line: "25 million singles worldwide, I'll guess I'll take another hit/Matter of fact I find this rap shit boring, man I'm over it/Give me my guitar pick, I'll show you shit."
Verdict: Better than most of what I've heard from B.o.B, but he isn't convincing anybody that he belongs in this conversation.

Artist: Los
Song:
"Control (Freestyle)"
Originality?: Maybe, it's hard to figure out what the hell he's talking about. The track jumps all over the place and doesn't really address what Kendrick is talking about.
Does it come hard?: No. It tries to for a few seconds in the middle, between talking about Facebook and Twitter and saying how much he likes Kendrick and everyone Kendrick mentions.
Best line: "They gone have to have me shackled and tackled at tabernacles/While havin my adams apple detached in a baptist chapel."
Verdict: Nope. Probably the worst of all the tracks. Doesn't sound terrible, but the words just don't make any sense.

Artist: Fred the Godson
Song:
"Say My Name"
Originality?: Not at all. I've heard these rhymes before, some of them today.
Does it come hard?: A little bit. He's trying to come hard, but the boringness of the lyrics undercuts it. And when the lyrics come hard, he doesn't.
Best line: "You got New York sick so you the cancer/It's like Philly '96 draft, I'm the answer."
Verdict: The backing track is tight, but this is mostly worthless.

Artist: Joell Ortiz
Song:
"Outta Control"
Originality?: Lyrically, it's pretty good after the first few bars, which seem pretty typical. His flow, though, doesn't engage me that much.
Does it come hard?: Not as hard as he thinks it does, but it's not horrible.
Best line: "I'm Optimus Prime trucking your boulevard, just wishin'/That a star screams so I can go on a bombing mission."
Verdict: Not feeling his style, although he did have some pretty good lines.

Artist: Iman Shumpert
Song:
"Dear Kendrick"
Originality?: Yeah, the only one of these tracks with a sense of humor and one of the few with a variety of deliveries within the song.
Does it come hard?: Not quite as hard as some of the others, but that's because Shumpert has a sense of humor.
Best line: "Got dammit/you could tell that I planned it/Them X-Men come help me take over the planet"
Verdict: Probably my favorite flow of any of these rappers, most of whom I never heard of before. I'll be checking him out more.

Artist: Mysonne
Song: "Uncontrollable"
Originality?: Pretty much, some very good rhymes, metaphors and flow.
Does it come hard?: Yep, although he makes the same "NY is mine" claim that Kendrick made, and it belongs to neither of them.
Best line: "Jewish, Christians, Baptists, Muslims/Scholars, hippies, trappers, hoodlums/I ball with any being, believing in authenticity/This money shit these rappers be screaming don't mean shit to me."
Verdict: Good shit, I'll check out more of his stuff and this is probably the best of these tracks that uses the original song's beat.

Artist: Da Youngfellaz
Song: "Turn Down That Sound"
Originality?: Not particularly.
Does it come hard?: No, they don't go directly after Kendrick and a lot of the lyrics its kinda like, how is this a response?
Best line: "We spit crack here/the way that he rap rare/Like rhyming with black hair."
Verdict: I like some of the lyrics, but the beat and the hook put me to sleep. May listen to some of their other stuff, but that'd be despite this, not because of it.

My favorite response, though, has got to be Kevin Hart's parody, which you can watch at Vibe.

Lots of good Tweets about the verse, too, which you can check out at AllHipHop.com.

My favorite is from Big Daddy Kane, who said: "ATTENTION M.C.'S: Complaining about @kendricklamar verse on twitter is Gossip. Getting in the studio trying to write a better one is Hip Hop"

Update: Two more responses have come in, so I'm adding them below. I'll continue to add new responses as they come out, although anybody who has waited this long has waited too long and whatever they come up with will be weaker just based on its lack of timeliness. Where are the guys Kendrick called out? Where are people like Fabolous, who tweeted about finding a studio that day? Still nothing?

Artist: Riff Raff
Song: "Ballin' Outta Control (The Neon Response)"
Originality?: Yep, the lyrics are poetic and lofty and really unlike any of the other rappers that have done responses.
Does it come hard?: Unless its ironic, not at all. He loves everybody.
Best line: "Still I wish success on everybody, never had a carbon-copy/I hope you have a beautiful family and your label is successful, financially."
Verdict: Once you get past the really annoying and repetitive intro, it's not bad. It's light on material and it's a little hard to understand what he's saying, but it at least tries to do something different.

Artist: Papoose
Song:
"Control (Freestyle)"
Originality?: Nah, not really. The same kind of homophobic and anti-woman insults we hear all the time.
Does it come hard?: Hell yeah, hits harder than any of the previous responses.
Best line: "Singing like a lady/you get away with murder/you George Zimmerman."
Verdict: I already liked Papoose, and this doesn't change that much. I don't agree with everything he says in this verse, but it's a strong one that should help him elevate his name a bit.

Update: Joe Budden jumps in the mix
Song: "Lost Control" (Freestyle)
Originality?: Pretty good, the sound isn't super original, but the lyrics are better than most of the previous responses.
Does it come hard?: Yeah, although it doesn't seem like he's filled with rage or hate .
Best line: "I state facts, not to say it's wack but check the playback/Outrhyming A$AP ain't showing me where your weight at."
Verdict: Don't know much about Budden, but this will make me pay attention in the future.

"The Heist," Macklemore & Ryan Lewis (HHES Review)

Here's my review of the Macklemore and Ryan Lewis album "The Heist," using the Hip Hop Evaluation System (HHES).

From the beginning of the album, Ryan Lewis' production is top-notch. These beats don't sound like anything else I can think of, yet, at the same time, they don't sound alien. They sound familiar without sounding derivative or stale, which is one of the best sets of feelings a group of beats can evoke, I think. Add to that the complexity and original style that Macklemore delivers on each track, and you're in for something good.

The first song, "Ten Thousand Hours," is a perfect lead off track for a hip hop album. It doesn't cover much new territory, it's about making it in the game and the hard work and new ideas that Macklemore is bringing, but the fact is that he IS bringing new ideas, so the song gives a fresh take on the familiar.

Saying that "Can't Hold Us" is my least favorite single off the album isn't to say that I don't like it, just to say that I don't think it's as good as the other singles, as good as it is. And keep in mind that a lot of people disagreed with me, since they sent this song to #1. In terms of the album, it really just builds off of the first track, continuing those themes, but taking it up a level in terms of the rhetoric, as if this song was written quite a while after the lead track.

There isn't much to say about "Thrift Shop" that hasn't already been said. It's a perfect single, seeming like it's a gimmick song, but not really being a gimmick, since it's credible and its not just making fun of its subject, it's embracing it in a way that no one thought of first, yet in a way that so many people identify with. That's what great writing should do and there are few songs that do it as well as this in recent years.

"Thin Line," is, once again, a surprisingly original take on a well-worn subject in hip hop (and music in general for that matter), the battle that the performer faces in trying to balance the career of an artist with relationships that have normal expectations about what someone is supposed to contribute to that relationship. Again, nothing really original in the topic, but it all sounds original in Macklemore's voice and lyrics.

"Same Love" is most notable not because it's a pro-gay hip hop song, it's most notable for the very personal and accessible way that it tries to convince people of its key message. It isn't preachy and it doesn't talk down to the listener, something that is easy to mess up with such an important topic.

By the time we get to "Make the Money," the topics start to get a bit redundant on "The Heist," with yet another song about the game. Not much is added here that we didn't already hear in "Ten Thousand Hours" or "Can't Hold Us." Going in a new direction, for this album, at least, is "Neon Cathedral," which gives Macklemore's story of his own personal fight against addiction. And, again, the words here are more creative and original than most rappers these days, giving a new take on an old topic. "BomBom" is an odd instrumental interlude that shows that Ryan Lewis' compositions work better with Macklemore's voice than they do on their own.

"White Walls" is an odd interlude on the album, not only because of the guest appearance by Schoolboy Q, but because it's the only song on the album up to this point that engages in misogyny (mostly because of Schoolboy). The guest rap isn't poorly performed, it's just that the lyrics don't make a lot of sense in the context of the rest of the album or with Macklemore's overall image.

At this point in the album, "Jimmy Iovine" leads one to wonder why, if Macklemore is so good at writing the individual lines in the songs--and his lyrics are some of the best I've seen in years--why he's so bad at coming up with original song topics. "The Heist" almost seems to have a checklist of "official rap topics" that it is checking off. As noted above, most of these songs are better than most of the songs they follow in topicality, but wouldn't it be more interesting to write interesting takes on new topics, not just the same old stuff rappers have been talking about for decades? Another case in point is the next track, "Wings," which is one of the best shoe-related songs I've ever heard, but it's still yet another rap track about shoes, so we once again have an artist who really could help move the game forward taking a path that minimizes his ability to do so. And yes, I know that "Wings" is deeper than just being about "shoes," but shoes are the centerpiece of the song, so my point is still valid, I think.

The self-examination is a key to "A Wake," where Macklemore takes a look at his place in the national conversation on race as a white rapper. And, it seems, his reflection is not only a good look at his internal struggle, but a good look at the struggle that artists who care about issues that they aren't personally harmed by. As with "Same Love," Macklemore comes out on the right side of the issue and he does so in a way that should give quite a few others room to think and improve themselves as well.

The extended "Gold" metaphors on the next track are interesting and explore both materialism and the ideal world of the average rapper, but ultimately, the message of the song isn't exactly clear. I'm left wondering what the point is. "Starting Over" is exactly the opposite, where the message of recovery, relapse, rebirth, falling off the wagon and how one individual, even if he gets famous, doesn't have all the answers, no matter how much fans want them to, is not just clear, but powerful.

"Cowboy Boots" is a great closer, and one of my favorite songs on the album. I was originally pulled in by the "PBR" chorus, but the powerful nostalgia, not only of a certain time in life, but with a part of Seattle I visited a few times when I was working there, was what really kept me on board. This is a great song, one of quite a few on this album.

Overall Analysis

Flow: 10. Mackelmore has an original voice that is amplified by the fact that he takes a very original approach to delivering his lyrics.

Lyrics: 10. His lyrics are some of the most creative and original rap lyrics of all time, even when he's talking about tired topics.

Message: 9. On most of the songs on this album, it's clear what Macklemore is talking about, but he doesn't do all the thinking for you, he lets you come to your own conclusions.

Technical: 9. If you've tried to sing along to any of these songs and even remotely get close to Macklemore's delivery, you've probably failed a lot.

Production: 9. I don't think Ryan Lewis' stuff is the greatest in the world, but it's certainly better than most of what's on the radio and it matches up very well with Macklemore's flow.

Versatility: 6. There is some repetitiveness on this album that is forestalled a bit by the originality of the lyrics.

Collaborators: 10. While this group is mostly underground an unknown, Macklemore and Lewis did an amazing job of choosing people that complimented the songs. A lot of these people will go on to be more famous.

History: 10. These songs are dripping with history on many levels -- Macklemore's personal history, hip hop and music history, broader history. This is an artist with something to say and he's saying it well.

References: 9. Another area that Macklemore excels at is weaving historical and cultural references into his songs. There are so many of them in some of these songs that you have to have Rap Genius up to know what the hell he's talking about.

Originality: 10. Total originality. It won't be long till we see a bunch of imitators of this, since there isn't really anything like it already in existence, there's a lot of room for biters to copy it without being too derivative.

Total Score: 92. This really is an original statement and something new in hip hop, which is relatively rare these days when it comes to radio-friendly albums. One of the best of the last decade and beyond.

Kanye West - Yeezus (HHES Review)

Here's my review of the new Kanye West album "Yeezus," using the Hip Hop Evaluation System (HHES).

First up I'll say that I'm really impressed by the overall new direction of this album, which is one of the more exciting directions I've seen a rapper go in for a while. Second, I like that it's short and no-frills in terms of packaging, since the focus really should be on how original the music is.

"On Sight" starts the album off in a brilliant way. The first few sounds out of the speakers give you a very clear indication that this isn't what you've heard before, this is something new. At least from a sonic standpoint. Once the lyrics kick in, you see that this isn't the song where Kanye is going to challenge you with his words, although it does have quite a few good puns and references in it. They key is the production, though, which is possibly the strongest part of not only this song, but the album.

"Black Skinhead" kicks it up a notch. Or several notches. Not only does the song have one of the best backing tracks on the album, one that hits so hard you feel it physically, it's one of the strongest tracks Kanye has ever dropped lyrically. It's not even the best on the album, though, but lyrically it's a very good take on racism and haters that you are likely to hear on anyone's album. Ever.

"I Am a God" isn't quite as great lyrically as the songs that surround it, but it's an interesting response to a critic, particularly in defining how strange a person Kanye is and how big his ego is. The only bigger statement that "I am a god," would be "I am the god." That'll be on the next album. The production continues the theme of the other early songs on the album and continues to be radically different than most things other rappers have done.

"New Slaves" may be the best song Kanye has ever made. It has probably the most intelligent and hard-hitting criticism of the racism in the system by a popular artist since "Straight Outta Compton." It goes off the rails a little with the misogyny at the end of the second verse, but that can't take away from the power of the hard-hitting backing track and the attack on privately-owned prisons and the revival of the prison-lease system. The outro, sung by Kanye and Frank Ocean, adds a beautiful end to a great song.

What had been a near-perfect album up to this point starts to lose it a bit when "Hold My Liquor" comes on. Chief Keef adds nothing to the song which doesn't seem to have much of a point, other than continued quality production. The lyrics are a bit inane, really. The lyrics aren't much better on "I'm In It," which really isn't about much more than getting laid, and is quite a bit sexist.

"Blood On The Leaves" brings the socially conscious part of the album back, if not in Kanye's lyrics, which are about relationships, but in the Nina Simone sample. This isn't the first time on the album where Kanye compares or couples something non-political and seemingly inconsequential beyond his life with political or social content, but this is the place where it works best. The production continues to be epic and most of the songs on the album to this point could easily be part of a soundtrack for a large-budget movie that combines violence and strong emotion, like "Black Hawk Down." That's a compliment. The songs sound good enough that they'd be a great compliment to a scene about life and death.

"Guilt Trip" is far from the best song on the album, but the Chewbacca reference is probably the best line on the album. The song itself is a bit of filler, but it isn't harmed by the Kid Cudi interlude at the end.

"Send It Up" is the best use of guests on the album. King Louie is pretty good, but Beenie Man's outro is one of the emotional high points of the album. The noisiness of the backing track is perfect.

"Bound 2" is another song where the lyrics are pretty pointless, like many of Kanye's previous albums. But sound-wise it's the first song on the album that has a hopeful sound and it's a bit of a palate-cleanser that you need after the hardcore noise and darkness of the rest of the album's sounds (and that's not to downplay how powerful those tracks are, just stating that factually).

Overall Analysis

Flow: 8. Kanye has never had the best flow in the world, but he does keep getting better. This is the best he's done and on songs like "Black Skinhead" and "New Slaves," he's damned-near perfect and totally original.

Lyrics: 7. This may be the best collection of lyrics that Kanye has written, another thing that is not his strong point. There are a lot of clever turns of phrase on these songs and

Message: 8. While the message is a little messy at times and a sense of humor is largely absent except in spots here and there, the important messages are not lost. There are few better explanations of the reality of institutional racism than "New Slaves." Much of the rest of the album is the same message that Kanye always sends: I like getting laid, I'm awesome, I'm rich, I work harder than you do, my critics are stupid, etc., but there are enough touches of serious thoughts throughout the album to make you not worry too much about the repetitiveness of the messages from earlier records.

Technical: 8. Vocally, Kanye tries a lot of things here and they pretty much all work. In particular, the punk rap that he does on the first half of the album is amazing and not many other rappers could pull it off without sounding kinda dumb.

Production: 10. This has got to be one of my favorite albums, production-wise of the last 10 years. It is not only adventurous, it's ground-breaking. There might be some other rappers who have had albums with this kind of music behind the vocals, but you've probably never heard of them. And neither have I. This stuff will be around for a long time.

Versatility: 9. The album is too short to offer much chance for versatility, and yet it manages to do it not only well, but better than most hip hop records. The hardcore industrial of the early songs, the sample-led songs like "Blood on the Leaves" and "Bound 2" that totally change the style, the reggae vocals and judicious use of autotune offer a wide range of choices for any current rapper, but especially in 40 minutes.

Collaborators: 8. Vocal collaborators on the album are few and far between, but considering the vision that Kanye is putting forth here, that's legit. Having too many other people voicing these words wouldn't make sense and the songs that have the most additional vocals on them come off the weakest. There are some well-placed verses and samples here and there that are great and the producers on this are just plain amazing, so it seems like most of the choices in this area are very wise.

History: 9. The album shows an amazing mastery of the knowledge of music and rap history in the production and samples. Then it goes into songs like "New Slaves" that give a concise and important look at things like the prison industrial complex. If you don't learn something from this album, you aren't paying attention.

References: 9. The audio references are the most diverse and entertaining, but Kanye has just enough pop culture and rap references to keep the peeps at Rap Genus busy. This is the perfect mix of such things, I think.

Originality: 10. This is not only the most original album Kanye's put out, which is saying something, it's likely the most original album by a popular artist, in any genre, that 2013 will produce. It's hard to imagine anything that will be more surprising and out of left-field than this coming from other rappers. Or anyone else for that matter.

Total Score: 86. A total classic and likely the best thing Kanye will ever produce.

Liquid Thunder (With Footnotes)

One thing I wanted to do is to give the story and explain the references in the songs I write and produce. I wanted to do "Liquid Thunder" first because it contains the line "my rhymes are so dense, you're gonna need footnotes," which is actually the line that inspired this series of posts. So lets take a closer look at "Liquid Thunder."

As an individual song, it came together while I was sitting at open mic night at the Warehouse. I had some verses that I had written for some Cap City Mob songs that I liked, but since the other members of the band weren't performing at that point, I didn't want them to go to waste, so I came up with this song as a place to house those other lyrics for solo stage shows. So to bring them all together, I sat down and wrote a chorus that would make it clear that this song was a freestyle song -- not the way most people use the word now -- but the way it was used in the old school, where it meant a song that didn't have any particular binding theme, that it was just a series of cool rhymes. The name of the song, which is nonsensical, but references the first two verses and the later beer line, was meant to reinforce that freestyle nature of the song kinda the way "Rapper's Delight" doesn't tell you anything about the lyrics of that song.

The earliest version of the song had a couple of verses that were written by Kane Gruber of Cap City Mob, but when we parted ways, I ditched those lyrics and added a newer verse that I had written for a song with Cap City that never developed. At this point, everything in the song was written by me, although there is some possibility some line or phrase here or there was influenced by something Kane said or wrote. The first version of the song was done a capella at the Warehouse once or twice. The final version, with the below lyrics, was debuted at my first solo show and was part of the set at the frist H20 show and is scheduled for the Gaines Street Fest later this month.

The first 16 lines were written while driving in a car back from Marianna, Fla., where I had been teaching college classes. It was an hour-long drive and I did quite a bit of writing on those drives. This is one of the earliest things I wrote, shortly after songs like "The Lesson" and "Slave." The idea was simple, to write a series of metaphors and similies that revolved around lighting and thunder. These first 16 lines originally appeared in the Cap City Mob song "Pantheon," which was performed live a number of times.

I came to drop some thunder like the Tampa Bay Lightning

When the song was written, the Lightning had won either the previous Stanley Cup or the one right before that, so they were one of the top hockey teams in the world.

My rhymes are kinda scary and my rhymes are kind of frightning

You'll pull out your strap, you'll pull out your chrome

You know you can't survive in my verbal thunderdome

And obvious reference to the third movie in the Mad Max series.

I'll hit you with a hammer like a god named Thor

I was always a big reader of Marvel comics and liked the Thor character a bit when I was younger, so this reference was obvious.

I'm gonna make you stammer like a fool on the Repor(t)

A reference to the Colbert Report starring Stephen Colbert. In the early days of the show, people who came on the show unsure of what he was doing were often left stammering in the wake of his sharp wit.

I step on the stage you're gonna get wary then

I'll slice you up like Thundarr the Barbarian

One of my favorite cartoons when I was a kid, even if it was a rip-off of Star Wars and He-Man. Thundarr, of course, had the equivalent of a lightsaber.

Boom, boom, boom, the sound of your heart breaking

Boom, boom, boom, your foundation is quaking

The "boom boom boom" line was something that I had a memory of from another song at the time, but I can't currently remember where it came from.

Dead as a ghost if ya stepping up to me

Your girl can't put her arms around a memory

"Can't Put Your Arms Around A Memory" is a song by punk rocker Johnny Thunders that I first learned about from the Guns N Roses punk cover album "The Spaghetti Incident."

Thunder, all through the night

You pray to see Jesus in the morning light

A direct lyrical tribute to the Prince song "Thunder," off the "Diamonds and Pearls" album.

Pray as hard as you can, pray as hard as you might

Even he can't save you from the pain you earned tonight

A continuation of the Jesus reference from the Prince song, I had to figure out a way to make the reference not imply that I was a believer, but that the target of the song was willing to try anything to get out of the conflict.

This is a song, all about how

I'm talking shit and getting on down

I know you don't believe a word I've said

I told you step up to my face and you'll be dead

The chorus, again meant to imply that the song isn't really about anything, but also to give an ironic boast, since I'm totally non-violent.

The next section was originally featured in the song "Cap City," which was originally an intro song for Cap City Mob with four different guys rapping. It was a good song and I really liked these lyrics, so I had to make sure I could re-use them. These are the first lyrics I ever wrote. Kane invited everybody over for a recording session, even though I had never done anything like that before, and this was the result.

My name is T. Rex, I love freaky sex

I'ma fuck your mama and your sister's next

My dick is hard and my back is week

I'm gonna need a nurse to be my freak

The first four lines was specifically meant to be a ironic parody of a 2 Live Crew song. I have never had sex with someone's mother and her sister. My back isn't really weak, either.

We can step on the court and I'm gonna blast

Like Bill Laimbeer, I'ma bust ya ass

I've always loved playing basketball and I was playing a lot at the time I wrote this. My style of playing has changed a lot since then. At that time, I wasn't a good shooter or scorer, but was a good rebounder and defender and played a lot of rough street ball, hence the reference to Bill Laimbeer, once of the rough-and-tumble "Bad Boy" Detroit Pistons of the late 80s early 90s.

Eating szechuan, drinking Union Pabst Brew

Do what you wanna do, I'll do what I wanna do

The original line here referenced being part of Cap City Mob and after that was no longer true, I felt like I had to change it. "Brew" was the first word that came to mind and since my favorite beer is PBR, that was a natural fit. It was also a direct Beastie Boys reference to the line "Eating Colonel's Chicken, Drinking Heinken Brew" from "Slow Ride." Since I don't really eat KFC, I switched the line to something I do eat. The "do what I wanna do" line, which has a different rhythm from the rest of the original "Cap City" lyrics, and is repeated below, I was always very pround of, since I love the way it sounds.

My rhymes are so dense, you're gonna need footnotes

You're gonna memorize very word I wrote

I'll write your ass into a corner

Once you hear me, you're gonna need a coroner

I really loved the "dense" line when I wrote it and that line more than any is why I came up with "Liquid Thunder" as a way to keep these lyrics alive.

The people of Tally all call me the prof

I give 'em all an F and tell em fuck off

As an actual professor, this line was written as a mildly exaggerated complaint about bad students.

And if you don't like it, then motherfuck you

Do what you wanna do, I'll do what I gotta do

This is a song, all about how

I'm talking shit and getting on down

I know you don't believe a word I've said

I told you step up to my face and you'll be dead

The repeat of the best vocal part of the song and the chorus again.

The next verse was written many years later than the first two parts of the song. The first two verses were written in maybe 2007 give or take a few months. The next verse was written in late 2011 or early 2012. Kane originally had an idea about writing a song that was about how we were older guys, but we were still kicking ass. This was my contribution to that idea. I don't think that Kane ever did anything more with the song idea.

Derailing your dreams like I was Super 8

Obvious reference to the train crash that sets off the drama in the Stephen Spielberg/JJ Abrams monster movie.

Fucking with your future like Jon and Kate

When I was married, I was forced to watch a whole lot of the show "Jon and Kate Plus 8," which was a horrible "reality" show about how these two self-absorbed and annoying people had to raise eight kids, which can't possibly be a good thing. They've since divorced.

I'm old like fire, older than dirt

Still got your girlie pulling up her skirt

Another Beastie Boys reference, this time referring to the line "I told her some rhymes and she pulled up her skirt," from "The New Style," one of my favorite Beastie Boys songs.

The girls the girls they love me

This one is directly from Heavy D "The girls, the girls they love me/I'm the overweight lover Heavy D," from "Gyrlz."

You shackle 'em and I set them free

I take 'em to heights you'll never even try

This couplet is an homage to LL Cool J's "I'm That Type of Guy," where LL explains how he's so much better than other guys at how he treats women.

I don't believe I can, I know I can fly

Kicking R. Kelly's "I Believe I Can Fly" up a level.

Yeah I'm vintage, yeah I'm old school

That means I know a lot more than you do

I forgot more things than you'll ever know

The way I say "you'll ever know" here is another Beastie Boys reference, this time to "There's more to me than you'll ever know," from "Hey Ladies."

Every word I write minimizes your flow

I write metaphors that blow your simple mind

I kinda liked Simple Minds in the 80s and their name fit well into this line.

You can't grok what I rock when I tick and I tock sock

Pretty sure this is the only rap line ever written to combine Robert Heinlein and Dr. Dre. I loved the concept of "grokking" something from Heinlein's "Stranger in A Strange Land," and "Nothing But A G Thang" is one of my karaoke staples, combining them in a technically difficult line seemed natural to me.

Tearing down the system like an SLC Punk!

The final line of the movie SLC Punk is one of my guiding philosophies, so I had to give it a shout out.

No junk in my trunk, your girl's still bitin' my chunk

Another reference to the LL Cool J song "I'm That Type of Guy."

This is a song, all about how

I'm talking shit and getting on down

I know you don't believe a word I've said

I told you step up to my face and you'll be dead

Final chorus.

The first two times I performed this song, it was a capella. The current beat I use for it was one that I was trying to use for "The Lesson," but I realized it worked better for this song, so I transferred it over.

Go (With Footnotes)

Here is the second in my series of lyrical examinations of the songs of my debut mixtape, "Core Nerd!"

As I say in the song Liquid Thunder, "My rhymes are so dense you're gonna need footnotes."  Here they are...

This time, for the song "Go."

The origin of the song are in two other songs.  The first was the one that is now "Liquid Thunder."  There is a line in that song where thunder goes "boom boom boom," and I really liked that line and thought it would be good to rhyme again.  That line became the first line of the song.  The concept also was influenced by a song from the band I used to be in "Cap City Mob," which had a couple of lines in that repeated the same word at the end of the line and I really liked that part of it and though there should be a song with more of that.  So between those ideas, I though, what if I did a song that had a repetitive word at the end of each line, with rhymes and as a poetic trick, I would use that as the through-line of the song and not have a chorus.

The theme was pretty straight forward, I wanted a song where it was just about partying and having fun.  I had written mostly political songs to that point and I wanted to show that I wasn't always serious. My other songs were almost all Chuck D and I wanted a little Flavor Flav.

I walk in the room, go boom boom boom

The aforementioned reference to "Liquid Thunder" and the establishment of the premise that the partying is about to begin.

Jump in my car, go zoom zoom zoom

What else would a car do?  A specific reference to the massive Mazda "zoom zoom zoom" ad campaign.

Call you on the phone say yo yo yo

I get to your house time to go go go

Time to hit the party say yes yes yes

Are we ever gonna sleep say no no no

No real direct references in these lines, but the idea was to contrast the "yes" and "no" here.

Looking at your face, say what what what

Kiss you on the lips, smack your butt butt butt

At this point in my writing career, I had almost no sexual references in my songs, so I decided to add one here.

Hand me my drink time to say say say

Reference to the old Michael Jackson/Paul McCartney song "Say Say Say."  The idea was starting to be that I wanted to reference any thrice repeated one syllable pop culture reference, as long as it wasn't something I hated.  I liked Jackson and McCartney.

No time to work, time to play play play

Don't wanna play golf, no putt putt putt

As teenagers, we always ended up drinking and going to play Putt Putt golf.  To contrast that, since this is an adult song, so no more of that kind of entertainment.

Feel like I gotta bust a nut nut nut

Feel like Santa yelling ho ho ho

I couldn't think of two more disparate lines to follow each other.  I laughed out loud when I came up with this.  The Santa line makes no sense.

Just got paid, spending dough dough dough

References to two other popular party songs, "Just Got Paid," by Johnny Kemp, and a vague reference to "I Got a Feeling," by Black Eyed Peas.

It's after 10 o'clock, hit the club club club

Before we do that, hit the pub pub pub

No references here, but these things often happened when I was in Tallahassee, so they made it into the song.

Getting kinda ready to fly fly fly

Singing Johnny Gill kinda my my my

This song has a few more R&B references than I usually have, but I was a Gill fan back in the day, both as part of New Edition and solo.

Getting low, taking shots, shots, shots

Reference to two Lil' Jon party songs, "Get Low" and his collaboration with LMFAO, "Shots." Also a reference to the fact that the "shots shots shots" thing was something that me and my friends were saying constantly in 2012.

Don't wanna see no cops cops cops

Obviously, cops add little to the party.

Feelin good, need more shots shots shots

Quit partying? Probably not not not

On the agenda tonight: fun fun fun

Definitely a Beach Boys reference in the "fun fun fun" line.

Party until the world is done done done

Party like its one nine nine nine

I'm fascinated by anything apocalyptic and this couplet reaches into one of my favorite songs by one of my favorite artists, where Prince asked us to party like it's "1999."

The fun in the world is all mine mine mine

Tomorrow its back to work work work

This line points to the fact that most of my partying is done on week nights, not weekends.  

On the floor doing cool jerk jerk jerk

I was always a fan of the song "Cool Jerk," by the Capitols (and more importantly the Go-Go's cover).

Dropping all the bills bills bills

I was never a fan of Destiny's Child or "Bills, Bills, Bills," but it was too good a rhyme and too appropriate for the song to leave out.

Popping all the pills pills pills

Drinking all the drinks drinks drinks

Enjoying all the hijinks jinks jinks

These lines are pretty obvious.

Get out there bust a move move move

Shout out to Young MC, who I'm still a fan of.

In my heart is the groove groove groove

I also really, really like the Deee-Lite song "Groove Is In the Heart."

It's time of the day to be free free free

Finally, the real message of the song...

Too many drinks gotta pee pee pee

...followed immediately by the most juvenile joke of the song.

Club's clearing out, get some food food food

Not ready to kill my mood mood mood

This is always the way I feel after dancing/partying

The night's almost at an end end end

Get some sleep, get up, do it again gain gain

This describes how I felt in much of 2012 and 2013.  Never wanting the party to end and have to go back to real responsibilities, but realizing that there will soon be another party...

All My Neighbors Went to Afroman (with Footnotes)

Here is the third in my series of lyrical examinations of the songs of my debut mixtape, "Core Nerd!"

As I say in the song Liquid Thunder, "My rhymes are so dense you're gonna need footnotes." Here they are...

This time, for the song "All My Neighbors Went to Afroman."

This is the newest song on the mixtape, I probably only completed writing it a few weeks before the album was released. The original idea for it goes back months earlier, though, to when I was still living in Tallahassee. One night I went to a club to see Afroman. He was really, really late. Late enough, in fact, that I didn't get to see him. When I drove back to my apartment with my friend Sarah, I noticed that the entire parking lot was empty. I turned to her and said "all my neighbors went to Afroman." The phrase struck me as awesome, so I wrote it down. I had no idea for a song at that point, just the phrase. The rest of the song was written in Washington, D.C., mostly while riding the bus and metro to and from work.

All my neighbors went to Afroman

They didn't take me, not part of the plan

The chorus begins with the title and refers to the fact that I didn't actually get to see the Afroman show.

Fuck that shit, cuz I ain't the one

A line taken directly from N.W.A.'s "Straight Outta Compton."

Let's get high and make our own fun

And, back to Afroman, because what would Afroman do if he wasn't going to get to go to a show? He'd get high.

1, 2, 3 and to the four

Indo, four beers, out the door

A shout-out to Snoop and Dre's "Nuthin But A G Thang," one of my signature karaoke songs.  I've probably done this song live more than any other.  Coupled with a reference to Snoop's "Gin and Juice," another one of my most common karaoke tracks.

Feeling funny, looking for the metro

Here you can tell that the song definitely shifts to D.C., since there is no metro in Florida.

This shit's not rap, it's electro

And then a zombie reference, directly relating to a line Ed says in "Shaun of the Dead."

Mulatto, albino, mosquito, libido

Han shot first, down goes Greedo

Roll to the church in your new tuxedo

These lines bring in the third city in which the song was written in.  I was living in the Seattle area for a job and, not surprisingly I was soaking up a lot of Nirvana and listening to a lot of their music.  I was listening specifically to "Smells Like Teen Spirit," when I realized that Star Wars' Greedo would easily fit into that rhyme scheme, so I made a reference to one of the movie's biggest controversies.  I liked the repetitive rhyme here enough that I wanted it to continue, so the idea of "Bust a Move," by Young MC popped into my head and that stuck.

Lookin like Borat in a fuckin speedo

This part was added in D.C. because I needed one more rhyme.  Obviously a reference to the movie by Sascha Baron Cohen.

Fritos, Funyons, pizza no onions

Cutting shit down like I was Paul Bunyan

Pretty straight-forward references here.  Part of the idea with the song is for there to be a lot of non-sequiturs,  both because I find them fun AND because the narrator is getting high, and therefore might say a lot of random unconnected things.

Jamming on the one

Reference to an old "Cosby Show" episode where the Huxtables visit a recording studio and Theo says this line, which is then put in a song.

I ain't done with the fun, hun

Son hand me all those sticky buns

Not a dry run, I'm not a hired gun

Getting my tan in the midnight sun

No real specific references here, but a continuation of the previous randomness of the song.

My shit's so heavy, it weighs a metric fuckton

In a number of of online circles that I run in, "a metric fuckton," is the preferred reference to "a lot" of anything.

All my neighbors went to Afroman

They didn't take me, not part of the plan

Fuck that shit, cuz I ain't the one

Let's get high and make our own fun

This is a fun chorus to sing.

I'm not an alcoholic, I just drink a lot

To me, this is a reference to the song "Development," by Dan Le Sac vs. Scroobius Pip.  I think it's a wonderful bit of irony.  Apparently, though, it comes from a Pitbull song I've never heard. I thought that the irony was awesome and the lyrical presentation was great, so I spun it off into a rapidfire group of similar lines.

I'm not a drug addict, I just smoke a lot

I'm not a sex addict, I just fuck a lot

I'm not a fat rhymer, I just scheme a lot

I'm not a Sandman, I just dream a lot

Most directly, this last line is a reference to Neal Gaiman's Sandman, but it applies to other similar characters, as well. 

I'm not Limp Bizkit, I just rock a lot

I'm not machine, I just rage a lot

I only mildly have any interest in or admiration of the music of Limp Bizkit, but when Wes Borland is playing with them, they certainly do rock.  I love Rage Against the Machine either way.

It's not a revolution, I just fuck shit up

The last line in the eight bars is an ironic line in a list of ironic lines.  I think that "fucking shit up" is revolutionary and does lead to revolution.

Like Afroman, we're about to get high

A reference to Afroman's biggest hit, "Because I Got High," and his 80-90 other songs about getting high.

Like R. Kelly, we believe we can fly

Double reference here, one to getting high and one to the R. Kelly song most well-known by pop fans.

Like Ben Grimm, we're about to get stoned

Another double reference, one to getting high and the other to the Thing of Marvel's Fantastic Four, who is made of orange rock.

Like Skeletor, we're about to get boned

A sexual pun directed at the He-Man villain whose face is a skull.

Like Amy Winehouse, we're about to get drunk

Only a single reference on this one, to one of the most famous people in the world in the last few years for being publicly drunk.

Like the Clash, we're about to get punk

A reference to one my two or three most favorite punk bands and the idea that punk artists both like to party and like to engage in revolution.

Like Ron Jeremy, we're about to get fucked

Another sexual reference, this one about the ubiquitous everyman porn star.

Like a black hole, we're about to get sucked

One last sexual pun, referring both to oral sex and the "sucking" power of gravity from a black hole.

All my neighbors went to Afroman

They didn't take me, not part of the plan

Fuck that shit, cuz I ain't the one

Let's get high and make our own fun

The chorus again.

Don't laugh at me, come laugh with me

Then I'll turn it around and have you thinking

The idea of many of my songs is for me to say a bunch of silly, ridiculous stuff and mix it in with serious stuff.  So you are laughing or saying "I can't believe he just said that," and then you are thinking about the political or social commentary in the other lines or songs.

Then I'll turn it around and have you drinking

Also, that I want to party with you.

Then I'll turn it around and have the ladies winking

Also, that I love women.  On multiple levels.

Then I'll turn it around and have you lip syncing

Typical rap boast about how much listeners are going to like my music.

Then I'll turn it around and have you rethinking

But, then again, the point of the songs is not the laughter or getting women or anything like that, it's to have the listeners think about the things I'm rapping about.

Then I'll turn it around and have your ego shrinking

A boast about my rap prowess and how few others rap like me.

Then I'll make you shit your pants and you'll be stinking

This one works on two levels. The first is about other rappers, following in the vein of the previous line.  The other is about those who don't use their minds much and don't think much.  They won't have a choice after listening to my rhymes.

Don't scoff at me, come drink with me

The idea, though, is not that I'm trying to elevate myself above others.  If someone doesn't like me or doesn't like what I'm saying, I'd rather sit down and talk with them about my ideas and theirs than get in a fight with them.

The last bit of the song takes the partying aspect further.  Early in the night I like to talk politics and music and all that, and as the night goes on, I like to move on to other pursuits.  These are local to the D.C. area, for the most part.

Then we'll go to Black Cat and start dancing

One of my favorite clubs to see shows or dance at.

Then we'll find food trucks and start eating

Partying always makes me hungry.  Food trucks are big in D.C.

Then we'll find some brats and commence to beating

A reference to another one of my favorite punk bands, the Ramones and their song "Beat on the Brat."

We'll get Michael Cera and start tiny prancing

A reference to one of, to me, the funniest memes on the Internet, the Michael Cera "Tiny Prancer" one.   Also, again, showing the distractedness and non-sequitur nature of being high, which the narrator obviously is by this point.

Then we'll go to Quarry House and keep on drinking

A bar in Silver Spring, Maryland, that I go to about once a week.

Then we'll go to Japone and start singing

One of my favorite karaoke bars, a place in the Dupont Circle area of D.C.

Then we'll go to Cloisters and start fucking

The name of my apartment complex at the time of the song.  Any good night of partying is best capped off by a bit of lovemaking.

All my neighbors went to Afroman

They didn't take me, not part of the plan

Fuck that shit, cuz I ain't the one

Let's get high and make our own fun

The chorus, one more time.  With feeling.

Charlie Sheen (With Footnotes)

<a href="http://professorrex.bandcamp.com/album/core-nerd">Core Nerd by Professor Rex</a>

Here is the fourth in my series of lyrical examinations of the songs of my debut mixtape, "Core Nerd!"

As I say in the song Liquid Thunder, "My rhymes are so dense you're gonna need footnotes." Here they are...

This time, for the song "Charlie Sheen."

The basic idea on this one was to take a lot of the crazy things that Charlie Sheen had been saying in the media at the time and turn them into lyrics. Almost every line in the song is based on a Sheen quote. Somehow in compiling the words in that way, it turned into some kind of empowerment anthem, which is very strange and was unintentional, but totally embraced after the fact.  After each song excerpt is the original Sheen quote that inspired it and explanation, if necessary.

A disease is what you said I had I cured it with my brain, man, I ain't dead


"I have a disease? Bullshit! I cured it with my brain, with my mind." The idea here is that there are some things that society says are "illnesses" that some people can handle or that some people can fix on their own, without the confines of programs like AA, which Sheen was sent to.

Who I am you just don't know


This one isn't a specific quote, but is related to numerous things Sheen said with the basic premise "you don't know me." It's kind of representative of things that most haters do, come to conclusions about people without knowing anything about them.

I'm battle-tested bayonets, bro



“I am battle-tested bayonets, bro.”  The idea that one can handle pretty much anything that comes at you because you've already been through so much that you can handle anything.

I'm tired of pretending that I'm not winning

I'm tired of pretending that I'm not bitchin


"I’m tired, I’m so tired of pretending like my life isn’t perfect and bitchin and just winning every second and I’m not perfect and bitchin and just delivering the goods at every frikin turn..." People are expected to be humble in any situation, no matter how successful they get.  Sometimes, though, being humble is self-denigration and shouldn't be done.

This shit ain't ending,

I'm breaking down the bars


I can't find where these lines came from, but I assume that they come from a Sheen quote. The reference here is that no matter how much shit is thrown at the song's narrator, he/she continues to move forward and break out of his/her own prison and the prison that society has put him/her in.

I'm a total bitchin rock star from motherfucking mars


"I’m tired of pretending I’m not a total bitchin’ rock star from Mars." What could be a more awesome job title than this one?

Banging seven gram rocks cuz that's how I roll

I got one speed, one gear, that shit says go 


"I was banging seven-gram rocks, because that’s how I roll.  I have one speed, I have one gear: Go." Some people have a much higher tolerance for drugs and debauchery than others.  Some people live life at a faster rate than the rest of us.

You can't understand me with a normal human brain

You can't comprehend me when I bring down the reign


"You can't process me with a normal brain."  Pretty straightforward: I'm not like you and you can't even understand me.

Look what I'm dealing with, fools and trolls


"Look what I'm dealing with, man. I'm dealing with fools and trolls."A diminishing of critics who the narrator doesn't feel are worthy of criticizing him/her.

Drop McDonalds, TMZ, your Us Weekly blues 


"So just shut your traps and put down your McDonald’s, your magazines, your TMZ and the rest of it and focus on something that matters." Clearly these things, which are important to a lot of people, shouldn't be important.

I'm on the 6 o'clock, 7 o'clock, 11 o'clock news


Not a direct quote on this one, but considering how much Sheen was on TV at the time, totally appropriate.

I got no time for this, bring me Dr. Clown Shoes 


"Bring me Dr. Clown shoes." Pretty unfathomable, yet entertaining, name to anoint a critic with.

You just don't believe in me I'm still winning

You don't see me, feel me I'm still winning

You don't know where I'm from I'm still winning

The game is almost over I'm still winning


The lead-in to the chorus isn't a direct quote, but tries to encapsulate the Sheen spirit.  He constantly talks about how people don't understand what he's dealing with and that he's "winning" despite their dislike for him.  This is meant to reinforce that concept.

I am on a drug

It's called Charlie Sheen

I am on a drug

I said it's called Charlie Sheen


"I am on a drug. It’s called Charlie Sheen. It’s not available. If you try it once, you will die. Your face will melt off and your children will weep over your exploded body."  Maybe one of the greatest quotes in town.

A new sheriff in town with an army of assassins


"There's a new sheriff in town. And he has an army of assassins." This is one of my favorite Sheen quotes.  A new sheriff in town means that the old ways of doing things aren't going to work anymore.  A change has come.  The army of assassins is the group of friends, family and allies who support the person making the changes.

You have the right to kill me, but no right to judge me 


"You have the right to kill me, but you do not have the right to judge me." Put your money where your mouth is, don't just talk shit, confront the person rather than talk about them behind their back.

I'm gonna alter time, teleport off this rock 


"When friends asked me, Can we help? I'd say, Not unless you can alter time, speed up the harvest or teleport me off this rock." My take on the quote gives the narrator power.

I got 37 goddesses riding on my cock


Sheen calls his girlfriends "goddesses."  The other reference here is a Kevin Smith allusion to the 37 men that Dante's girlfriend in Clerks had gone down on. The premise here is that no matter what you do or say about me, I'll still be winning and still attract the ladies.

I've got magic and poetry in my fingertips And most of the time, this includes naps


"I'm sorry, man, but I've got magic. I've got poetry in my fingertips. Most of the time — and this includes naps — I'm an F-18, bro." The narrator is a creator, not just someone who passively accepts life.  Even when he/she is taking a nap, they're more creative than the average person.

This song is a work of magic warlock art 


"I'll make this a work of magic warlock art." The song is bragging that it is in the tradition of the "magic warlock art" that Sheen creates.

I got tiger blood flowing through my motherfucking heart


“I have Tiger Blood running through my veins.” The narrator is not like everyone else.  He/she has the strength of a tiger because he/she is infused with tiger blood.

That's life, that's nobility, it's crystal and it's pure 


"That’s life, there’s nobility in that, there’s focus, it’s genuine, it’s crystal and it’s pure and its available to everybody." The pursuit for art and hedonism and fun is more noble and pure than the other pursuits that people go after.

Dying's for fools, dying's for amateurs


"Dying's for fools, dying's for amateurs." One with tiger blood would naturally live longer than others and could figure out how to defeat even death.

My adonis DNA dominates any room


"I will not believe that if I do something then I have to follow a certain path because it was written for normal people, people who aren't special, people who don't have tiger blood and Adonis DNA." What's more powerful than a tiger?  A god.  What god would you want to be?  Maybe the god of beauty?

That's the whole movie, that's life, boom


"Boom, that’s the whole movie, that’s life." Everyone else is complicating their lives too much and pursuing the wrong things.  The narrator is saying that his/her take on life is simple and a better way of doing things.

I got volumes on how not to behave

I got more info than guy should at my age


"I've got volumes on how not to behave. I've got more information now than a guy should have at my age." Tiger blood has allowed the narrator to survive things that others couldn't and has given he/she a wisdom that most others can't obtain.

If at first you don't succeed, then fucking what


"If at first you don't succeed, try, try again. If at first you succeed, then what?" Don't give up if you fail, but if you have tiger blood, you don't fail that often.  You get things right the first time.  If you do, what happens next?

Boom, crush, night losers, winning, duh


"Boom, crush. Night, losers. Winning, duh." How else would you end such a speech? 

You just don't believe in me I'm still winning

You don't see me, feel me I'm still winning

You don't know where I'm from I'm still winning

This game is fucking over And I won


Same lead-in to the hook as before, but now the game is over and the narrator is no longer "winning," but has won.

I am on a drug

It's called Charlie Sheen

I am on a drug

I said it's called Charlie Sheen

I am on a drug

It's called Charlie Sheen

I am on a drug

It's fucking called Charlie Sheen


Repeat of the earlier chorus.

Jay-Z - Magna Carta...Holy Grail (HHES Review)

This is the first album review using my new Hip Hop Evaluation System (HHES), Jay-Z's "Magna Carta...Holy Grail."

The first song on the album, "Holy Grail," is probably the best overall track.  It starts off with Justin Timberlake at his best.  The lyrics on the song seem to be examining the rigors of success, family and the challenges of fame.  Not the most profound song ever, but pretty good.  And the Nirvana reference is pretty awesome.

The next track, "Picasso Baby," is maybe the best stuff, lyrically speaking, that Jay has ever written.  It seems a bit more complex that his usual work and the thickness of the art-related references is kind of mind-boggling coming from a popular rapper.  You'd expect this type of stuff from a underground rapper, but this is the King.

And then he follows it up with a fashion mogul check on "Tom Ford," that is good enough lyrically, but has an amazing backing track that sounds damn near Nintendocore.  Yeah, a Jay-Z song about fashion set over a Nintendo beat.  That happened.

The album was going so good and along comes Rick Ross to fuck it up on "FuckWithMeYouKnowIGotIt."  The song isn't terrible, but the performance by Ross wastes what is a pretty good backing track and makes Jay-Z's verse a bit worse because he adopts Ross's lazy style for part of his verse.  He ramps it up after that, but closes out with the same kind of lazy shit Ross brings.

On "Oceans," Frank Ocean helps bring it back to the good shit.  So far this is the deepest song on the album, once again with great production and a very good hook from Ocean.  The song touches on the journey from slavery to rich black men riding luxury boats on the same oceans that the slaves traveled in slave ships.  And it does it in a way that isn't preachy or disrespectful of the topic the way that LL Cool J's recent "Accidental Racist" fiasco was.

The next three tracks, "FUTW," "Somewhereinamerica," and "Crown" are pretty standard Jay-Z album tracks.  Which is to say that they aren't spectacular and they pretty much say the same things he's already said a bunch of times.  The production is pretty good, but not as good as the earlier tracks.

"Heaven" steps things up quite a bit.  The production isn't the greatest thing ever, but is a step up over the last three tracks.  But the lyrics are pretty heady stuff for someone in Jay's position.  From dropping R.E.M. lines to telling listeners to question religion, existence and pretty much everything else is pretty impressive for a popular musician.  This is doubly emphasized by a Timberlake hook.  when Jay-Z and JT are telling you to step up your critical thinking, something good is happening.

Too bad "Versus" is only 52 seconds long.  It may be the best 52 seconds of the album.  It sounds amazing and the lyrics are pretty hard-hitting.  They're typical rap boasts, but very good typical rap boasts.

At times I really like what Beyonce brings to a song.  "Part II (On the Run)" is not one of those times.  Jay's raps here are pretty good, better than on many of the other songs on the second half of the album, but they are interrupted by weak Beyonce performances.

"Beach Is Better" is probably only worth its 56 seconds.  It's not bad, but it seems like an undeveloped idea and probably could've been left off the album.

Next up is "BBC" and in his verse, Nas has the verse of the album.  He brings it as strong as he's ever brought it and just a few minutes after listening to Rick Ross, I can't see how Ross even calls himself a rapper when people like Nas bring it.  Jay seems to work with the level of the guests on whichever track he's on.  Ross brought him down, where Nas brings him up.  This has probably the best hook outside of the first track and definitely has the best production of the album.  If this song isn't a big hit, there's a problem with how we choose hits in this country.

The next three tracks are mostly filler.  "Jay Z Blue" probably means a lot to Jay and Beyonce, but doesn't grab me like it should.  "La Familia" is a tried-and-true, but played out hip hop topic song.  "Nickels and Dimes" is most notable for a pretty strong beef with Harry Belafonte that is entertaining and a few other references that are entertaining.  None of these are terrible, but they don't carry much weight, despite good production.

Overall Analysis

Flow: 9. Jay is one of the best (if not most technically competent) of the popular rappers and this is one of his better albums in terms of consistent flow. 

Lyrics: 8. Creative and original for Jay-Z, but at times they seem to go off the rails or get a bit repetitive.

Message: 7. The album starts off with really good songs with strong messages, but comes and goes a bit after that.

Technical: 6. Jay doesn't do the most technically difficult raps, but he does do some creative things from time to time on this album, although there isn't anything here that other above average rappers couldn't do pretty easily.

Production: 8. Probably the best production Jay has had in a while, particularly on the stronger first half of the album.

Versatility: 5. Jay isn't known for his versatility and he doesn't attempt to stretch beyond his normal vocals here, although what he does is far from terrible.

Collaborators: 7. This is mostly a Jay-Z album and the collaborators aren't that vocally present except in a few songs.  Rick Ross and Beyonce are bad, but Frank Ocean, Nas, and the guest producers add a lot to the album.

History: 8. Jay knows his hip hop history and lets that come through in quite a few places.  In several songs he takes on broader history, particularly on "Oceans," and does it well, if not often enough.

References: 8. Some great references on some of the songs, particularly the first few songs, but a lot of bland or repetitive references come in later that drag it down a bit.

Originality: 7. Most original album that Jay has done I think, which is to say that it isn't groundbreaking, but it's different than most of what you hear on the radio.

Total Score: 73. Which means it's a quality album, but not quite a masterpiece.  The album starts off really strong with 4 of the first 5 songs being great before hitting a lull in the middle that it only sometimes recovers from.

First Draft of Hip Hop Evaluation System (HHES)

So after a conversation on Facebook about who the GOAT was in hip hop, I came to the conclusion that I didn't have a conclusion.  There's so much music in hip hop history that it's difficult to pin down that one artist is better than the others.  And as the scientific type, I'm not one to just throw out a wrong answer.  So I said I was going to come up with a better system for evaluating MCs and hip hop artists to determine, eventually, who the real GOAT is. 

I'm throwing this out for discussion and I'll adjust the system before I start actually evaluating artists, but here's what I came up with.  I've got 10 categories, where each artist can be rated on a scale of 1-10 in terms of how good an artist is, giving them a score of 10-100.  These can be done for an individual song, for an album, or for a career.  In terms of a career, however, quantity should also be a factor, so I would add a category for that as well (also on a 1-10 scale), but that factor isn't strictly about just the number of songs, but the number of good songs, so for the quantity, I'll award 1 point for every 10 songs that get a rating of above 70 on the scale listed below.  Thus if you put out 10 albums with 10 quality songs, you'd have a perfect score on the quantity scale for your career.

Anyways, the categories and what they mean:

  • Flow: Does it sound good when they spit?

  • Lyrics: Are the words they spit creative?  Original?  Do they make sense (or purposefully avoid making sense)?

  • Message: Are they really serious?  Are they funny?  What's the point of the song?

  • Technical: Is what they are rapping easy to do or hard to do?  Is the rest of the song good enough that an easy flow doesn't detract from it?

  • Production: The tracks they rap over, whether they made them or someone else did, are they good, original and add to the vocals?

  • Versatility: Do they do the same thing over and over again or do they try to do something new?

  • Collaborators: Do they choose good people to work with?  Do they do it all themselves?

  • History: Do they show an awareness of hip hop history?  Do they show an awareness of broader history?

  • References: A variety of references to politics, music, sports, etc.  Are the references clever, different, appropriate?

  • Originality: Does their stuff sound just like somebody else or do they do something new?

One of the goals with this system was to allow for people who have different styles and approaches.  Humor, for instance, is common in hip hop, but not every MC is a jokester, so I put funny and serious in the same category so that two MCs with different approaches could be compared on what they were actually trying to do and not just on an arbitrary division of categories.

All right, what do you think?  Does this look good or should it be revised?

Fiction: "Clever" by Kenneth Quinnell

I'm a mediocre person with aspirations towards greatness.  I'm above average, but average isn't that great.  I could accomplish great things, but I won't.  I could do great things, but I don't.  I do good enough that people always tell me I do great things.  But they've always been wrong.

Until yesterday.

Yesterday is when I saved the world.

You're welcome.

I've always been a smart guy.  A clever guy.  The problem is that nobody likes clever guys.  Most people hate us.  They think we're arrogant and smarmy and other words that are less friendly.  And they've got a bit of a point.  I was always arrogant.  Not in an aggressive way, but in the way where I always knew the answer to the question.  I always took charge when someone needed to take charge.  I rarely made the big mistakes and when I did, I always knew exactly what to do to fix them and make things better.

People hate you for that kind of thing.

Part of it is jealousy.  Part of it is feelings of inadequacy.  Part of it is fear.  Whatever it is, they always seem to be rubbed the wrong way by me.  I never really developed too many close friends.  And I was almost always a better friend to them than they were to me.  Everyone else always had this casual ease with which they made friends and had fun and interacted with each other.  I never had that. 

I soon figured out that people didn't like me because I was too clever.  That stung.  But I wasn't going to give anyone the satisfaction of knowing it and I wasn't going to dumb myself down.  So I just didn't make too many friends.

And sooner or later, every friend I had abandoned me.  It was always something that they found surprisingly easy to do.  I can't say as I didn't make it easy for them, since I was never the type to try to force someone to hang out with me who didn't want to.  If they wanted to go, let them go.  Good riddance.

So then it becomes easier not to make new friends.  If they all abandon you in the end, anyway, why try.  If they all become so easily offended, why offend them.

It's easy to offend people when you are clever.  You make a comment they don't understand.  You make a cultural reference they don't know.  You point out that they have some basic fact wrong.  You remember things a little better than they do.  You know things they never knew.

And dating wasn't much easier.  The same problem that existed with friends existed with lovers.  Finding lovers was never too hard.  Keeping lovers was never too hard.  When you are clever out of bed, you are clever in bed.  But connecting to those same lovers on a level out of bed that keeps them around once the sex loses its newness is much harder.  It's where that cleverness loses its handiness.

And to be honest, who wants a lover or a friend who isn't clever, who doesn't have a thirst for knowledge and experience, who doesn't want to actually live life and not just survive it.

Certainly not me.

But all that time alone can give you the freedom to learn about all kinds of things.  Including how to save the world.

Oh yeah, I was telling you about how I saved the world yesterday.

That's a funny story.  Not funny like a joke, but funny like something that isn't funny at all.

But who gets to save the world?  I mean, unless you wear tights and work for Stan Lee, it's not something that comes up a whole lot.  Or ever.

And I only was able to save the world because I'm clever.

But, boy do I have a story for you.  It'll be something you can write home about.

And nobody ever tells you a story you can write home about.

So how does one go about saving the world?  It's not something you really have much coursework in.  It's not something that there's an instruction manual for.  Oh, sure, you can read a lot of books, watch a lot of movies, play a bunch of video games.  But despite what the average geek will tell you, saving the real world is not something you can prepare for by leveling up and finding another health pack.

No, this is something you kinda have to figure out on the fly.

But I sense that you are wondering now what exactly it was I saved the world from.  Good question, astute reader.

Well, what could one save the world from?  Let's take a look at the options...

Maybe there was a giant asteroid that was going to hit the earth and I was the first to spot it with my little backyard telescope.  I told someone about it and they sent up Bruce Willis and Ben Affleck and they blew it up and saved the day. 

Nope, that wasn't it.

More realistically, maybe it was some new virus, that if it made the leap over from the monkey world to the human world, it would become a supervirus and it would wipe out the entire human population.  And I discovered it and came up with a cure.

Only problem was that I never went to med school and have no idea how to spot a virus.

Alien invasion?  I've read enough "Science of Star Wars" books to know how unlikely that is.

Nuclear war?  What am I, some kind of diplomat?

The machines becoming sentient and taking over?  I failed auto shop.

Vampires figuring out how to somehow, all of a sudden, survive in the daylight?  What is this, some kind of Twilight bullcrap?

Superhurricanes?  Nope, Al Gore hasn't taken us all out yet.

No, the reality of it all is that I stopped every fanboy's dream apocalypse -- I stopped the zombies from taking over.

Now before you get into all that crap about how zombies aren't real and there's no way they scientifically could come to life and exist, I already told you, I don't know anything about medical science.  Just because I'm clever doesn't mean that I know everything.  I always thought what you thought.  I thought zombies were sci fi.  I thought they were unrealistic.  I thought we had more chance of being taken out by sharks with laser beams strapped to their heads than being taken out by the walking dead.

But I was wrong.

And so were you. 

I can't explain it, so don't ask.  I'm sure when I go on Oprah, she'll ask.  I won't know.  And I doubt the government will let anybody tell me or you or Oprah.  But I'm already telling you my story, so they won't be able to stop it from getting out.  It's already out.  It's not like they started the whole thing, you know, so I don't know why they would want to stop it from getting out, but they always try to stop it from getting out, right?  I mean, I guess we could go with the whole "they don't want the public to panic nonsense," right?  But are you buying that?  I'm not.  They thrive off the public panicking.  That's how they get elected and stay in power, right? 

The reality, of course, is that the "invisible hand" of the free market is what led to zombies and what led to all of us almost being taken out by them.  If it weren't for me, that is.

Again, you're welcome.  It was the least I could do.

I can tell you this much, the zombie "ground zero" was at a lab in rural Kansas that was testing some corn-related stuff for a certain mega-corporation whose name I can't say for "legal" reasons, but we'll just say it rhymes with "Blonsanto."  I think their goal was that by 2050, everything in America would be made from genetically-modified corn.  Corn-based sugar.  Corn-based plastic.  Corn-based gas.  Corn-based alcohol.  Corn-based cell phones.  Corn-based wheat.  You name it, they were working on a corn version.  Or Corn Version 2.0. 

So, I don't know how they did it, but they somehow came up with ethanol zombies.  At least that's what we called them.

How do I know?  Well, I worked for "Blonsanto," of course.  I managed the network for their labs and plants and offices in Kansas.  Good money, too.  Particularly since I didn't have a degree.  But it's still early enough in the game that if you can do the work, you don't need a degree.  Give it ten years or so and you'll need a degree to change passwords for dorks who work in the secretarial pool.

Anyway, I work mainly out of their Lawrence office, but I have to drive around to various offices and labs and factories and such around the state when there are networking problems or the lab geeks can't figure out how to back up their data on the mainframe.  Seriously, in 2011?  Still?

So I was on a call to this little lab in some rural area.  I'd tell you where it was, but then I'd have to kill you.  And let me say, I've had a lot of practice killing people of late, so don't test me on that one.

I arrived at the place to do my service call.  It's a small lab, so usually less than ten people worked there.  I knew the secretary at the front desk.  She's hot.  Beautiful blonde hair.  Way out of my league.  I like to flirt with her, and, to her credit, she always flirted back.  But I knew it doesn't mean anything.  She's not the type that's into nerdy guys.  Very glamorous type.  Lots of make-up.  The kind of girl you'd see in a night club and never ask to dance.  Her name is Shelly. 

Shelly was there when I got there.  She's always there.  Never misses a day.  I probably didn't have to make the service call since I think I could've walked the staff through the fix over the phone, but, you know, Shelly's there, so I told my boss it's a road trip I have to make.  He doesn't question it.  He could care less.  I.T. is not his thing.

I did the usually chit chat with Shelly.  I asked her about some local bar that I once went to.  She said she goes there all the time.  I said I do, too.  She said she never sees me there.  I said I see her there all the time.  Then I realized how creepy that sounded and quickly asked her about the problem with the mainframe. 

If she noticed my creepiness, she didn't say anything.  That was very nice of her.  She could very easily have reported me for sexual harassment or something and I would have had no defense.  I was relieved that she was either very, very nice or she was a complete moron and didn't understand in the first place.  Either way, I was okay with it at the moment, as I envisioned trying to comply with the state's extensive unemployment compensation paperwork.

Funny thing was that she had absolutely no idea what was going on behind her in the restricted areas behind her desk.  It was early enough in the day that I'm guessing she hadn't even gone back behind the protected doors at that point.  Right next to her desk was one door, with a glass window in the middle, which could only be accessed if you had a key card.  I didn't have one, but she did.  Next to the door was the "break glass in case of emergency" box with the fire axe in it.  Beyond that and her desk, there was nothing in the front room except a couple of uncomfortable chairs.  The first time I flirted with Shelly was because I remembered those chairs from the previous visit and had no interest in sitting on them.

Shelly buzzed me back.  I kind of wish she hadn't, but if I think about it, if she hadn't, we'd all probably be dead right now.  I'm sure that Dr. Dole or Dr. Wyden would've come up to the glass window in the door at some point -- completely infected -- and she would've let them out.  Then she would've gotten infected.  And then they would've gone out into the cool Kansas afternoon and started an apocalypse.

Luckily for the world, Shelly buzzed me back.

Luckily for Shelly, I remembered there was an axe in the fire safety box next to the door she sat beside.

Luckily for the employees of "Blonsanto's" secret lab in "If I Tell You I Have to Kill You," Kansas, only three scientists were working that day.  The aforementioned doctors Dole and Wyden were there.  Also on hand was some kind of technician whose name was Woodring or something like that.  In addition to Shelly, those were the only employees on hand that day at the lab. 

I guess you'd probably have to count their test subjects in the count of people on hand.  There were a man and a woman whose names I'll probably never know that were also in the lab that day. Sort of.  It's hard to say whether or not you should count people who were dead when they came to the lab as being part of the body count or not.  This was my first time staving off a zombie apocalypse, so I'm a little sketchy on the statistical analysis of such things.

Now I knew that this particular lab was designated solely as a lab for testing corn-based fuel for cars and such.  Most of the labs they had in the state were single-subject.  Or so I thought at that point.  It turns out that this lab certainly had a bit more going on that what was revealed to the average employee, much less to the public. 

Later, I looked up the doctors who worked there online and it turned out that Dr. Wyden was a medical doctor and he apparently was from some strange unaccredited school that no one I've ever met has ever heard of.  He certainly wasn't qualified to work on ethanol or any kind of fuel, which makes sense considering the other project it turned out this lab was working on.

I should've known something was wrong when I walked through the doors and nobody was there to greet me.  One of the doctors was always there to greet me before then.  They usually quickly escorted me directly to the workstation and watched over me like a hawk.  They never let me wander around or use the restroom or anything.  It's get in, get the job done and get out.  They were never rude, but you could tell I was an unwelcome intrusion.

But no one showed up to escort me.

That should've been enough.  But it wasn't.

I'd been there enough times that I knew where the workstation was.  I knew what they wanted me to do and I knew they didn't like me to wander or to stay very long.  So I made my way down the hall to the only room I had been in except for the one where Shelly sits.  Or sat.  She doesn't work there anymore.

As I walked back, I realized that I was going to have some trouble if someone didn't show up soon.  The room I worked in was always locked.  All of the rooms in this place were always locked.  And without a key card, I wasn't going to get in.  I was just thinking about that when I saw that the door was open.  Something was propping it open.  As I looked, I realized it was a shoe.  A black and white Chuck Taylor.  And it was attached to a foot.  A human foot.  That was still on a body.

Times like that are when you really find out who a person is.  A less clever person would've panicked and probably would've caused the destruction of the world.  I didn't know I was saving the world at that moment, but that's what I was doing.  Rather than running out of the place, I went to check on the Chuck Taylor.  And the foot.

I worked my way around the body and through the door so I could get near the head.  And it was clear that this guy was dead.  Blood was everywhere.  His blood.  It was all coming from a wound on his neck.  A fresh wound.  The blood was still wet and hadn't even begun to congeal.  I was able to figure out pretty quick that it was Dr. Wyden.  Or it had been Dr. Wyden.

I looked around the room.  I saw the workstation that I wasn't meant to get to that day.  I saw a bookshelf loaded with books that only a few people on the planet have ever read.  I saw a few extra chairs gathered around the workstation, as if people were gathered around to look at something on the screen.  I saw coffee cups with steam still coming out of them. I saw a fire extinguisher against the back wall.  I saw a poster with a "hang in there" kitten on it.

Then I heard the gurgling sound.  The gurgling sound that still wakes me up in the middle of the night from time to time.  At first I couldn't tell what it was.  After Dr. Wyden stood up, I realized it was the sound of blood coming up through his esophagus.  Blood that was dripping down his face and onto the floor.  As he looked at me.

This is the part where the clever guy with lots of free time realizes that he's facing a zombie.

I had to quickly figure out what kind of zombie it was.  The different kinds of zombies all have different tactics with which one has to use on them.  I did a quick hop, skip and a leap to the opposite side of the room, testing his reflexes and speed.  He couldn't keep up with how fast I moved.  His head slowly turned as I went, arriving at my new location long after I did.

Okay, so that meant he wasn't a Danny Boyle-type zombie.  That was good.  I'm not that fast.

The next determination I had to make was if he was a Night of the Living Dead-style zombie or a Return of the Living Dead-style zombie.  If he was a Return zombie, there was little I'd be able to do about it in such a confined space.  I'd be trapped in the room with no way to get past him.  And judging by the bite on his neck, he had friends.  There was a good chance they'd be here soon, once the commotion began.

I had previously planned my hop, skip and jump to deposit me right next to the fire extinguisher, the only item in the room that could be wielded as a weapon.  I grabbed it as Dr. Wyden began slowly coming my direction.

This was the first moment of truth.  Could I kill someone?  Well, not someone, but something.  Could I kill a zombie?

And I don't mean that in a "do I have the guts to do it" or a "will my normal pacifism stop me from hurting someone" type of manner, I meant it in an "am I strong enough" kind of way.  I raised the extinguisher over my head and brought it down with all my strength on his head.  Has to be a head shot, right?

The first thing I noticed was that it hurt like hell.  Not him.  Me.  The jarring of the extinguisher hitting his hard skull shook me all the way to the elbow.  It hurt horribly and I almost dropped the extinguisher. 

The second thing I noticed was his skull giving in under the blow.

The third thing I noticed was the squishy sound all his parts made after they initially crunched together.

The fourth thing I noticed was him falling to the floor, apparently dead once again.

I hit him in the head again.  Double tap.

Time to go.  After he stood up, the door had closed behind him and locked itself.  No problem, I grabbed his key card, swiped it and pulled the door towards me.

And that's when Dr. Dole grabbed my shoulder.  Well, what was left of Dr. Dole's hand grabbed my shoulder.  It appeared, when I looked at the hand later that his zombification was based on a bite to the hand.  A bite that took off two fingers and about half his palm.

Of course when Dr. Dole grabbed me, I dropped the fire extinguisher and it skidded down the hall past Dr. Dole and the technician, Woodring, who had also joined the festivities. 

So I was unarmed and alone in the hallway with two zombies, one of whom was holding on to my shirt at the shoulder. 

Don't panic.  Best. Advice. Ever.

I figured pretty quickly that I was strong enough to break the grasp of old-Three Finger Brown there, so I did and ran back towards the entrance.  Luckily for me, I now had a key card. 

A key card I had also dropped when Dr. Dole grabbed me.

I scanned around for it and saw that it was now beyond him down the hall.  No way I was getting it now.  He was coming in my direction, slowly followed by Woodring.

I was starting to panic a little bit at that point, but I did the only thing I could.  I ran to the end of the hall and started banging on the glass window in the door like my life depended on it.  Which it did.

Unluckily, Shelly wasn't at her desk.  Also unluckily, the hall was a pretty short one.

I banged harder and started yelling.  I looked back and realized that if Shelly wasn't back in less than a minute, I would be engaged in fisticuffs with the undead.  Great band name; horrible situation to be in.

Luckily, although barely, Shelly had been outside having a smoke and she was done.  She came back through the door and saw my panicked face and heard me banging and screaming.  It actually worked and she actually quickly came over and swiped her card to let me out.

It didn't work.

She looked at the card and then facepalmed herself.  She had the card backwards in the excitement.  I banged on the glass harder and yelled for her to hurry.  She complied, but she was asking me what was happening.  It was a good thing they hadn't informed her about what kinds of things that were going on in the back of the lab and an even better thing that this lab didn't have higher security measures than it did.  If it did, I'd be dead.  And so would you.

The door opened just in time.  Dr. Dole was about to grab me as I pushed the door back hard enough that Shelly was knocked down.

I turned to shut the door behind me, but I wasn't quick enough.  I slammed it hard towards the door frame, but it didn't shut the way it was supposed to.  It hit Dr. Dole's head hard enough to make a loud thunk.  It didn't hit him hard enough to kill him, though, and it didn't hit him hard enough to knock him back. 

I tried pushing the door harder, but it was no use.  There was no way I was getting that door shut with Dr. Dole still coming after me.  I just wasn't strong enough.  I called for Shelly to help me, but her slight frame didn't bring much to the door-pushing, Dr. Dole-crushing party.

That's when I had to make a decision.  That's when I had to be really clever.

So I was.

Like I said, I'd been to this place a number of times and I remembered the one tool left in this office that would help me save the world.  The fire emergency box with the axe in it.  What better weapon to take out zombies than an axe?  If I had let go of the door, though, then Dr. Dole would've gotten through and taken me out.  And Woodring was almost to the door as well and I doubt I could've held them both off.  So I needed Shelly's help.

I told her this definitely was an emergency and that I needed her to break the glass and get me the axe.  Luckily for the rest of the state of Kansas, Shelly was way smarter and more together than I ever gave her credit for.  She quickly and calmly went to the emergency box, busted the glass with that little metal thing on the chain and carefully took the axe out and brought it to me.  I told her to get out of the building and lock the door behind her.  She started to head in that direction.

I told her she needed run and get away if things didn't go well.  My plan, which I hatched in mere moments, was to let go of the door and take out Dr. Dole the second I did, that way Woodring would be blocked long enough, I hoped, for me to pull the axe out of Dr. Dole and be ready to take Woodring out before he could get to me.  I had to be quick or they'd take me out.  I had to be strong or it wouldn't be enough.  I had to be perfect.

And that's exactly how that shit went down.

I let go of the door, drew the axe above my head and split Dr. Dole's skull like a Ginsu knife cuts a soda can.  The fact that I split it so wide made it easy to pull the axe back out.  I hit his head hard enough that if I were at the carnival using that hammer to hit the strong man game, I would've rung the bell and won a stuffed animal.  That meant that I had enough time to be ready for Woodring, who moved towards me mindlessly.  I lined the axe up like Alex Rodriguez and swung for the fences.  Woodring's head rolled down the hallway like a bowling ball about to pick up a 7-10 split.

I quickly pulled the bodies out of the doorway and shut the door. I took a few moments and relieved Dr. Dole of his head as well.  I've always been a "better safe than sorry" kind of guy.

Next I went over to Shelly and asked her if anyone else was in the building and she said that Dr. Wyden was the only other person that came in today.  I told her that was good news and that we were in the clear because Dr. Wyden was already taken care of. 

Then I remembered the bite marks.  Dr. Dole and his missing fingers and Dr. Wyden and his missing esophagus.  Someone or something had bitten them.  That's how they became zombies.  They didn't bite each other and although I never saw a bite on Woodring, I guessed -- correctly it turned out -- that he wasn't patient zero, either.

I asked Shelly to unlock the door and give me her swipe card.  She did.  I told her to lock me in again and go call the cops.  She didn't understand so I told her I thought there was at least one more zombie in the back and I was going to take care of it before it escaped and did any more damage.  She looked skeptical and then walked off dialing a number on her cell phone.

I wanted to see what I was dealing with, so after I swiped the card and opened the door, I yelled out down the hallway to see if anybody was home.  I yelled out three times, each time louder than the previous. After the second yell, I thought I heard something and after the third it was obvious I had.  At the end of the hall, past the room where I first found Dr. Wyden, a really crusty zombie in a hospital gown slowly came out of a doorway and headed my direction.  This guy was pretty intact and had no visible bite marks, so I was guessing he was patient Zero.  I decided then and there this guy's name was Zed and I proceeded to use my axe to make sure that Zed was dead. 

After decapitating my third zombie of the day, I called out again to make sure Zed was the last.  I heard a moaning coming from the same room Zed exited.  I got the axe ready and waited for the next confrontation.

And nothing happened.

I heard the moaning again, but no other sounds came from the room.  At a minimum, I expected to hear a foot dragging or the sounds that zombies make when they exit lab rooms in rural corporate zombietoriums. 

Nothing.

So I walked on down the hall.  And I came to the door.  I went inside and saw what turned out to be the last zombie.  Or at least half of the last zombie. 

Whatever this thing used to be, I couldn't really tell anymore, although it appeared to have once been female.  It was laying on a metal table and it had no legs or lower body.  What was left of its upper body was made of what appeared to be rotting meat.  I don't know to this day if she was something they found in the wild -- she certainly looked like she could be -- or if Dr. Wyden and Dr. Dole had been doing some Dr. Herbert West-style experimentation on this poor sucker. 

Either way I didn't want to hear any more of the moaning, so I engaged in the next-to-last decapitation I ever hope to participate in.  I quickly went back and made sure that Dr. Wyden would sneak up on me in the final scene by removing his dead, crushed zombie face from his dead uncrushed zombie body.

I went around the building and checked every room I could for anything else, but there was nothing.  The bastards must have kept all their ethanol zombie experiments confined to the one room.  They were all gone and I was ready to get the heck out of Dodge.  And that's what I did.

The police came and the media came and I asked Shelly out and we went out and got married and had three babies and lived happily ever after.  Well, the police and the media came, but I haven't really seen Shelly since.

So, that's the story of how I saved the world.  By being clever.

So now I'm still clever, but I'm famous as that guy who saved the world.

I guess this clever thing is working out for me after all.

Fiction: "Visibility," by Kenneth Quinnell

Nobody should be out on a night like tonight. Nobody.

There's no moon and no stars. But it doesn't really matter. Even if there were, you couldn't see them. The fog is so thick that you'd have to have x-ray vision in order to see anything.

If I didn't know this mile-long stretch of road like the back of my hand, I wouldn't be out either. But you have to get home sometimes. Like when you have to get up at seven a.m. for work.

You can say that maybe I shouldn't have gone out tonight, what with the heavy fog. Or you could say that I shouldn't have walked. But how often foes FSU play on Thursday night? And should I really be attempting to drive a car on a foggy night after the beers I drank? I lost count around my seventh or eighth beer. I mean, when the game was that tight and we end up losing at the end, who still counts their beers?

So I'm being responsible. I didn't need to drive a mile on a night when its incredibly foggy, I've been drinking, Coach's is only a mile from my house and I know the way, even in my sleep. No, walking is the right choice. The visibility on the road is bad enough for a sober person, much less someone a little on the tipsy side.

That's why I ain't seen a single person on the road. Haven't heard a single engine or seen a single headlight. At least not since I turned off Main Street onto Route 19. But that ain't surprising a bit. There aren't any businesses on the Route between Main Street and my house and they're only a few houses. Nice respectable people who were in bed a long time ago, football game or no.

The only thing along this stretch of road of any interest -- except the dirt road to Carol Jones's old house. Well, her parents still lived there and she was named Carol Parker now and lived off in Tallahassee or something like that. Ironic, huh? Man I used to have a huge crush on her. I can't tell you how many drunken nights I walked by her house. Nothing on this stretch of road of any interest except Carol's old house and the edge of the Goethe State Forest. Man, they're ain't a place on earth I spent more time drinking than in the forest. I couldn't count the number of beer cans me and the boys lost out in them woods.

Walking on the edge of the forest thinking about having one of them beers was when I heard the engine. I turned and looked south, the only other way the road went, but I couldn't see nothing yet. It was only a few minutes before I could see the headlights -- certainly this guy had his brights on, otherwise how could I seem them in this fog.

Not surprisingly, he was swerving. He was probably drunk and he was certainly driving too fast for this road with this visibility. Hell, this was the most dangerous highway in America on regular occasions, much less nights like tonight. So I was wary.

I figured the best thing to do was to get far enough off the road to get out of his way. I figured I was safe anyway, but why mess with it? I stumbled a little bit since I could see the incline in the shoulder, but I made it pretty close to the tree line and continued looking south. I figured he'd stay on the road just fine -- drunk drivers tend to know what they're doing I always say. If you're drunk and you think you can drive on a night like this, you either can or your dead in the first few minutes. But my momma didn't raise me to be no fool, so I got out of his way and was going to watch him until he was safely past me.

Which was only about a minute later, since he was going so fast. He continued to swerve as he came at me, but, hell, whose to say he was even drunk? He could've been swerving just because of the thickness of the fog and the fact that the road was starting to turn west. Sober people have missed that turn before. More likely than not, if he didn't know where he was going, he'd miss the curve highway and veer off on my fork in the road.

But he made it. I watched him veer off to the northwest and after he was safely past me, I turned to continue northward towards my house. That's when I saw it.

About three feet away from me was the ugliest thing I had ever seen, except for maybe Carol Jones's momma -- how a girl that pretty could come from a woman that ugly was beyond me. At first I thought it might be a dog, but it was too big. It could've been a bear, but no, this wasn't a bear. Not by a long shot. This was something that came out of the forest. Something that didn't belong there or here or anywhere.

It had no eyes that I could see. It had an almost greenish skin that kinda glowed like those fish that you see that live at the bottom of the ocean on the nature channel. The kind that have never seen light until some geek in a submarine or something shines on it for the first time. This thing looked like one of them. And its skin must've kept some of the light from the car, since it was brightly lit when I first saw it, but it started to fade. Sort of like one of those glow-in-the-dark toys kids have. The kind where you bring it in a brightly-lit bathroom and then you turn off the light and it holds the light for a while before going black. That's what was happening here.

The thing that stood out about this thing, though, was the teeth. And it wasn't three feet away anymore, either. I hadn't seen it move, but it was certainly closer. Beneath where the eyes should've been and weren't was the biggest mouth area I think I've ever seen. The teeth were way too big for the mouth. They were so big that it couldn't possibly shut its mouth. The teeth were each at least a foot long -- top and bottom. The damn thing's mouth was two feet across! And the teeth were sharp, pointed and gnarled. And a ooze just kind of dripped off of them, running down it's non-chin and falling into a glowing green puddle in the dirt. And I’m certain that it was closer now. No more than two feet. And I still never saw it move.

I only saw it move once. When it leapt at me. I put up my arm to shield myself from those awful teeth, but that did nothing more than make sure that it bit my arm first. The teeth clamped into my arm right below my shoulder on both the top and bottom. I don't care what women say, some things are more painful than childbirth. Like when razor-sharp demon-teeth slice right through your skin and muscle and bone and rip your arm right off. I may have heard it growl or snarl or something like that, but I was starting to lose track of what was happening at that point.

I turned to run, but before I took two steps, I heard some kind of whistling sound and something knocked me right off my feet. I don't know if it were a tail or leg or arm or whatever, but the thing swept me off my feet -- and not in the good way -- making me crash to the ground. I'm pretty sure my nose broke when I landed, but I was kind've unsure since pain no longer had any definition at this point. That's when it ripped off my right leg below mid-calf. I'm sure I heard smacking sounds as it had a midnight snack.

I guess it had finished its appetizer at that point and was ready for the main course. There was an audible thud as it plopped down behind me. I tried to crawl away, but you'd be amazed and how tough it is to crawl with one arm and one leg missing. All of a sudden, it had grabbed ahold of my remaining leg and I jerked back.

It didn't rip this one off, though, although, it certainly began to swallow it. The teeth weren't being used anymore to tear me apart, they were being used to pull me bit by bit into the creature's mouth. I felt it on my knee, my thigh, my crotch. By then, it was using its claws to pull me into its mouth. Who knew it had claws? It certainly didn't need them, the teeth were more than enough, something I realized a bit more with they sunk into my waist and I felt the top ones touch the bottom ones somewhere in the middle of my stomach.

Needless to say, I didn't make it into work the next morning.

Fiction: "Zombie Death," by Kenneth Quinnell

And then one day, everyone was gone.

I woke up and I was alone. I looked and I looked around, but I couldn't find anyone. I thought that was strange.

At first I thought it was the terrorists. I figured they finally got us. But that didn't make any sense. How could they get everyone else, but not get me?

Then I thought it was the Rapture. I knew I wasn't going to Heaven, but maybe most other people were. That didn't make any sense, either. Most of the people I knew weren't going to Heaven, either, and all of them were gone, too.

I thought it might be some kind of disease. Maybe it was that bird flu I've always heard so much about. Or maybe SARS. Or that disease that killed all those people in that Stephen King novel. But if that were the case, how come there weren't any bodies? And how come the hospitals weren't flooded?

Maybe it was one of those George Romero-kind of things. But where were the living dead? And why weren’t there a bunch of people hanging out at the mall?

Another thing that occurred to me was the idea that I was dreaming. Or in a coma. Or in some kind of government mind-control facility or something like that. I couldn't rule one of those out, except for the dream thing. I knew I wasn't dreaming, because I never woke up. If I were asleep and didn't wake up, then I would be in a coma. If I were in a coma or some kind of Matrix-style mind control thing, I never figured it out. At least not before I died.

* * *

There isn't really much to tell. I actually lasted only about four hours in the brave new world.

I woke up and tooled around the house for a few hours listening to music, eating, shitting, shaving, showering and getting ready.

I was only on the road for about two minutes before I figured out that something was going on. I noticed not one single car on the road, not one pedestrian on the sidewalk and not one animal in the sky or in the grass.

What else was I going to do? I went to work.

Nobody was there. Or so I thought.

I checked Mary's desk, but she wasn't there, obviously. I stopped by to see Steve and Jimmie. Ditto. Then I went by Wilson's office. That's saying something. I hate Wilson. I wouldn't stop by his office if it were the end of the world. Well, maybe in that situation, since that's what happened. But no other time. It really would have to be the end of the world for me to stop by Wilson's office. I did it. He wasn't there, either.

What the heck, I figured, I might as well go down and check in on the maintenance people. If they weren't there, I figured I might as well take the day off. If they weren't there, that meant that nobody was there. They never got the day off. Hell, I think they were forced to work on Christmas. So I figured I'd go see if anyone was home. That was the last bad idea I'd ever have.

* * *

The elevator worked fine. I don't know why I thought it wouldn't work. Everything else had worked that day. The elevator did, too.

I got off and walked into the subbasement. This was a place I had never ventured before. Hell, I'm a mid-level executive with a Fortune 500 company, what would I be doing hanging out with the maintenance people?

I looked around and didn't see much. I went into the break room, the supervisor's office, the bathroom. Nothing.

The last stop was the warehouse. When I opened the door, I almost immediately heard something crash to the ground. Sort of like a lead pipe falling to the concrete floor or something like that.

"Hello? Is anyone there?"

The minute I said it, I felt like an idiot. It was such a cliché thing to say. The exact same thing every victim said in every horror movie.

I did what you might expect. Like all those horror movie victims, I walked cautiously toward the sound. I should've run the other way and got the heck out of there. Since I've been dead, I learned that I would've been right to run away. I'd have still been alive. At least for a little while longer.

Truthfully, I was never really someone who was good in a crisis. I might've made it out of the office building, but I'm sure one of the other things out there would've gotten me sooner or later. I usually freeze like a deer in headlights.

That's pretty much what I did when the thing came at me. I might've screamed. I don't really remember. You'd think that when you were dead, you'd get to remember everything you forgot in life, but it doesn't work that way. If you forgot it, you forgot it. Maybe if I were in Heaven. But it doesn't really seem like they were telling us the truth on that one, either.

So, I rounded the corner to the aisle where I heard the noise. The row was filled with boxes and boxes of pipes and plastic pipes and connectors and the like. I guess this is where they got stuff any time the plumbing had problems anywhere in the building.

The problem was that the thing waiting in the pipe aisle had heard me right before I had heard it. It was slow, but it had the complete drop on me. I was surprised and I froze.

Right after I turned the corner, it was standing right there. I don't know how to describe it. It looked sort of like one of those things from one of the Romero movies, but the make-up was much better. Maybe it was more like something from 28 Days Later or Resident Evil. Either way, it was ugly, bloody and it stuck to high hell.

Then it grabbed me. That's when I knew this wasn't something from a movie and I knew I wasn't asleep. The second it touched me, my skin began to burn. Not like acid, either, this burn was like I was on fire. At the same time, it was like the coldest thing I'd ever felt.

One thing that was like the movies was that the next thing it did was bite me. And it didn't just latch on, it bit me and held tight. And then it ripped the muscle in my left shoulder right off of my body.

Really, you think you know the meaning of pain. You've sprained your ankle. You've broken your arm. You've had kidney stones. You've had something you got from some girl at a Portland convention that made your piss burn. But you've never known anything like the combination of your skin burning and a muscle being ripped from your body. I don't know what you would've done, but I pissed myself. At least that didn't burn.

Everything else burned. The thing let go of my arms, where it grabbed me at first, and grabbed me by the head. Then it bit my nose off. I’m pretty sure I screamed again.

Tears rolled down my face and I shit myself. I'd feel embarrassed about it, but who really gives a fuck how you look when you are being eaten alive. The good news was that when it came back to take a bite out of the side of my head that ripped off most of my right cheek and ear, I passed out.

I never woke up after that, but I continued to feel pain for a while. Then I died.

* * *

You'd think that my story would be over at this point, since the thing won and I'm no longer part of your world. You'd be wrong.

I'm dead, but I'm not really gone.

I don’t know how to explain it, but I know why I haven't moved on. My job now is to warn others. I haven't figured it out yet, but at some point, I will. I did not die in vain, and I will do whatever I can to make sure that others don't follow in my footsteps.

Fiction: "Something in the Water," by Kenneth Quinnell

Let me tell you about the time my brother died.

My name is Stephen Lucas. My parents died when I was 17. That's a story for a different day. Since then, I have been raising my younger siblings George and Carrie. This story took place about six years ago. George was 4 and Carrie was 6. I was 22.

We were living in Tallahassee, Florida, where we grew up. We don't live there anymore. We left after Carrie started seeing things.

It started that summer. I used to take George and Carrie to this public pool on John Knox road. They had a kids area and a big pool for the older kids. We used to go all the time. One time, I noticed that Carrie was sitting over by the side of the kids area. It looked like she was talking to the lifeguard, sitting up in his chair. But the lifeguard wasn't taking any notice of her. He didn't look at her. He wasn't talking to her.

So I thought maybe she was nagging him. I walked over and took her hand. We went over to the other side of the shallow pool. I asked her what she was doing.

"Talking."

Duh. I knew that. I asked her what she was talking about.

"Nothing."

Right. I asked her why she was nagging that lifeguard.

"Gross! I wasn't talkin' to him."

That one puzzled me. There wasn't anybody else over there. And she had been looking up when she was talking. I wondered if our parents' death was finally getting to her. I asked her who she was talking to.

"A boy."

After she said it, she got this scared look on her face. I looked over by the lifeguard stand and there weren't any boys anywhere near the place. I asked her what boy.

"Nobody. I'm not supposed to say."

I said that she damned sure was supposed to say when she was talking to me.

"He told me I'd get in trouble if I told anyone."

I said that she was going to get in trouble if she didn't told me. I asked her if that lifeguard had been saying things. Had he been saying things that he shouldn't be saying?

"No! I told you it wasn't him."

Then who was it, I said, there's nobody else over there.

"Yes there is, he's next to the lifeguard."

I look over at the lifeguard stand. No one was there. I looked back at Carrie. She was as scared as I'd ever seen her.

Just then, I felt a light breeze hit me in the back. That was strange, I thought, since behind me was a building. Not a place for a breeze to come from. Then there was a ripple in the water. Next thing I knew Carrie lifted up out of the water about three feet and flew halfway across the kid's area. She splashed down again in the foot deep water with a scream.

"Hey, you can't throw kids like that in this area. Someone's gonna get hurt." The lifeguards and a number of parents were staring at me. They must've thought I was Ted Bundy or something the way they looked at me.

I ran over to check on Carrie. She was okay. She said her butt hurt from where she landed. She said she wanted to leave. The way the parents and lifeguards were still looking at me, I thought she had a good idea. I grabbed George and Carrie and we got out of there.

Later that night, I gave Carrie a bath. That's when I noticed the marks. They were on both of her arms, about midway between the shoulder and the elbow. They looked like someone had grabbed ahold of her real hard. Both arms had finger marks. They were bruises. It was like someone had picked her up and thrown her. We never back to that pool.

But things didn't get better. A few weeks later, Carrie saw the boy in the bathtub. We were out of there that day. We never went back to that house. But she saw the boy at the motel room we were staying at, too. George didn't know why, but I quit my job that day and we left Tallahassee. We never went back.

Moving around didn't help a whole lot. Every time Carrie saw the boy again, we moved again. I went wherever I could find work. Perry. Twoegg. Brooksville. Yeehaw Junction.

After about a year of moving around, it happened. By this time, we had left Florida. We were living in Macon, Georgia. All this time, Carrie never said anything about the boy other than to let me know, "It's happening again." That's all she said. I think she was afraid. I sure was. If I asked any more about it, he might get mad again. She didn't say anything. I didn't ask. Nothing dangerous ever happened. We sure were scared a lot, though.

When we were in Georgia for a while, we thought everything was okay. We talked about it a little bit. The boy was always in the water. He talked a little bit. Most of the time he was quiet. He used to tell Carrie stories. They were all stories about dead children. Carrie was scared. When she started talking to me about it, I was scared.

I went to the library and tried to do some reading on ghosts. Most of the books weren't real helpful. There wasn't much about ghosts that followed people. I felt kind of stupid for reading about ghosts. I wasn't a kid. But I had seen what had happened. And I had heard what Carrie told me. It's hard to fake that kind of scared.

I also did some searching on the Internet. There wasn't a whole lot of help there, either. Best I could come up with was a demon. Ghosts weren't supposed to do the things this thing was doing. But demons sometimes did. And demons could be associated with water. So I figured it must have been a water-demon. There were all kinds of stories about water-demons. But most of them didn't follow people around. I thought maybe that meant that the thing wouldn't follow us this far. Yeah, I know all that stuff sounds crazy. I didn't really believe it, either. Not really.

When I got back from the library, I was feeding Carrie and George. Carrie told me that George had been asking why we moved so much. I told her I hope you didn't tell him.

"Why not"?

I said it was probably nothing. But George was young and didn't need to be hearing about such things.

"Sorry."

I asked her why she was sorry.

"I told him."

I was angry at her. I wished she hadn't done that. I looked at George. He was scared. He started to cry because I was yelling. He ran out of the room. I followed him. He kept running from me, though. He ran past the living room. He almost knocked over the fish tank running away from me so fast. He ran past the bathroom without out stopping. He did look in the bathroom, though. He ran into the kitchen. I had some water boiling there for macaroni and cheese. He screamed.

Carrie was already there. She was screaming. I finally got into the room. Directly across from the boiling pot, George was lying against the front of the dishwasher. A thin trickle of blood was falling from the edge of George's mouth. Carrie grabbed my hand.

"He's here!"

I asked her if she meant the boy.

"Yes! He's in the boiling water! He keeps saying the same thing!"

I asked her what the boy was saying.

"He keeps saying 'Kill the boy! Kill the boy! Kill the boy!'"

I grabbed Carrie. We got the hell out of there. We never went back. Not even to get our stuff. Or even to see George again.

I did see myself again. In the newspaper. And on TV. I was wanted for questioning. I didn't have any answers. And I had more important things to run from.

We've been on the run ever since. I'm wanted by the police. And that boy. No matter where we go, he shows up. He's always in the water. You'd be amazed how hard it is to get away from the water in this country. Oh well, best we can do is keep running. It always takes him a while to catch up. He always does, though.

Since George died, we've lived in 13 different states. None of them for very long. Every time the boy catches up, we move on. Every once in a while, I hear about some dead kid. I wonder if the boy did it. I wonder if there is anything I can do about it. I find whatever work I can. Carrie's starting to get older. Before long, she'll be working, too. Then we'll be a little better off. For a while.

Fiction: "Installers, Inc.," by Kenneth Quinnell

Charlie Walters read the ad:

Can You Put Stuff Together?

Installers, Inc.

We Pay Hourly Rates

Our Customers Pay Us To Put Things Together For Them

Call: Phil and Jenny

555-8407

It sounded a little strange, but, hell, he needed the money. Charlie dialed the number.

“Hello, Installers, Inc. How may I help you?” A pleasant-sounding woman answered the phone.

“Uh . . . yeah. I’m calling about your ad in the paper. About putting stuff together.”

“Great. Let me put you on hold.”

Charlie heard the phone clunk down on a table. The woman yelled “Phil!!!! We got a live one!”

A few seconds later a gruff-sounding man came on the line. Charlie thought he sort of sounded like Walter Cronkite.

“Can you put stuff together?”

“I’m . . . sorry?” Charlie stammered.

“I said, can you put stuff together. That’s what we do. We put stuff together. I ran the ad so that I could get more people who put stuff together. That’s how I make money. Now, can you put stuff together?”

“Uhhhh . . . sure.”

“Yeah, I’ll be the judge of that. What you need to do is get your ass on down here and go through what you call your interview process. If you can handle that, maybe we got some work for ya.”

“Okay. Where do I go?”

“I thought you’d never ask. Get on down to 4125 Grantwood Street.”

The line went dead.

“I don’t know about this,” Charlie said to himself. “This guy sounds like a real prick. I guess it’s work, though.” He hung up the phone and walked out the door.

* * *

Thirty minutes, Charlie pulled onto Grantwood Street, driving slowly so as not to miss the street addresses.

“Let me see . . .” He looked down at a crumpled sheet of paper on the seat beside him. “I’m looking for 4125. And this is . . . 4005. Just a little further.” Charlie slowed even more. He sat with his left arm hanging out the window, fiddling with the cracked mirror. Charlie was sweating in the heat. His air conditioner didn’t work.

“Now that’s odd. It goes from 4123 to 4127. Where the hell is 4125. And who the hell has a business in the middle of a residential area. I don’t know about this.”

He circled back around. This time he noticed a narrow dirt road between 4123 and 4127.

“Now where the hell was that the first time I drove by?” He turned onto the dirt road. “I guess this must be the place.”

Driving about five miles an hour, Charlie pulled down the road, wincing as each tree limb scraped the side of his car. “I ought to make this bastard pay for a new paint job.” The road curved away from Grantwood Street and went deep into a wooded area.

“I didn’t know there was this much wooded area behind these houses. It sure looks a lot bigger back here than it does from the street.”

After driving for several minutes, Charlie entered a clearing. In front of him was a large, two-story house. It had an overall run-down look, as if it wasn’t kept up. Shutters hung from the hinges, cobwebs connected the porch swing to the splintered oaken railing, weeds grew cluttered up the yard and fell flat as he pushed the car up to the edge of the porch.

“I don’t know about this.”

Charlie looked around and didn’t see any other vehicles around, not even a beat-up old pickup truck. An old house like this just cried out for a beat-up old pickup truck. He noticed that there weren’t any lights on in the house and he couldn’t hear any sounds, either from the house or from the surrounding woods. He almost turned around and left, but out of the corner of his eye, he saw a sign on the front door. It read:

Installers Inc.

4125 Grantwood

Charlie turned off his car and put it in park. He walked up to the front door. Before he even had a chance to knock, the door opened. It didn't squeak like he expected it to. The door opened quietly. A woman who appeared to be in her mid- to late-fifties appeared in the doorway.

"You must be that young fella what Phil talked to on the phone?"

"That'd be me."

"Well come on in and have a lemonade!" She said with a huge grin. Charlie wasn't sure, but he thought he saw a spot of blood on one of the teeth in the left side of her mouth.

"I don't know about this," he muttered to himself.

* * *

A cloud of dust rose from the couch as he sat down. There were more cigarette burn holes on it than original buttons. Jenny sat in a brown wicker rocking chair after pouring Charlie a glassful of pulpy lemonade. Phil sat in a faded navy blue recliner staring at his house guest.

"So you say you can put stuff together?" Phil asked.

"Uhh...yeah."

"What stuff have you put together?"

"Oh, Phil, let the boy rest for a while, he just got here. So, Charlie, is it...?"

Charlie nodded.

"Where are you from?"

"I'm from here."

"Oh, really? Where did you go to school?"

"I went to Washington High. Graduated last year."

"That's great! Do you have a lot of family here?"

"Not really. My parents are both dead, and we weren't ever really close with the rest of the family."

"I'm so sorry to hear about your parents. So I guess you're an only child?"

"Yeah."

Charlie broke in. "So they taught you to put stuff together in that high school of yours?"

"Oh, Phil! Just you ignore him. He's got a one-track mind."

"Damn straight," Phil muttered.

"It's okay," Charlie answered.

"Oh, I'm sure it is, sweetheart. But I guess we better get down to business. Are you good at putting 'stuff' together, as my dear old husband has so often said?"

"I guess I am."

"Well, what have you put together in the past, boy?" Phil asked.

"I don't know. The usual. I put together an entertainment center and some bookshelves."

"That it?"

"No. I used to help my girlfriend's mom sometimes. She worked at an office supply company and had to put desks and shelves and stuff together. Sometimes I'd help her for a few bucks."

"Oh, so you've got a girlfriend?"

"Sure do, ma'am."

"That's so sweet. How long have you young lovers been together?"

"Not too long. About six months."

"Oh, that's not too long at all, is it."

"I guess not."

"Anyway, dear, let me ask the boy about his qualifications. So, you think you could work for us. You know, putting stuff together."

"I guess so...I don't see why not."

"Don't sound to confident, do you."

"No...of course I can work for you. I wouldn't have driven all the way out here if I couldn't.

"Now that's more like it. Let's see if you can back up that big talk." Phil stood up and motioned for Charlie to follow him. "Come into the workroom with me. Jenny, you get the pot boiling."

"Yes, dear."

Phil walked down a hallway that led to the back of the house and into a large workroom. Charlie followed.

"Well, let's see what you can do." Phil pointed at a opened cardboard box that sat on the floor. The side read "Computer Desk."

"You just want me to put this thing together."

"Yep."

Charlie opened up the box and pulled out a sheet of paper. Phil leaned against the wall and rested his hand on a sledgehammer. Charlie looked at the instruction sheet and reached for a Phillip's head screwdriver that sat on the workbench nearby. Phil lifted the sledgehammer and brought it crashing down on the back of Charlie's head.

"Supper's on, mama!"

* * *

Mitchell Gorman read the ad:

Can You Put Stuff Together?

Installers, Inc.

We Pay Hourly Rates

Our Customers Pay Us To Put Things Together For Them

Call: Phil and Jenny

555-8407

It sounded a little strange, but, hell, he needed the money.