Tag: Gangsta rap

“The Realness” By Cormega

Posted on by Make New York Grimey Again

“Life is a interlude to death, son. You ever thought about that?” – Cormega

The New York City borough of Queens is home to a historical lineage of talented lyricists who have helped raise their hometown to prominence. LL Cool J, Run DMC, and Roxanne Shante are just a few figures that helped pioneer rap with contributions that gained Queens recognition with the rise of Hip Hop. Within the borough of Queens is a public housing complex known as Queensbridge Houses, that would transform into a breeding ground for numerous influential and iconic rappers who would eventually shape the genre. The realities of living in Queensbridge spurred the young writers to tackle themes of economic hardship and the ills that stemmed from it, such as crime, violence, and loss. Over aggressive production, these harrowing tales captured the ears of listeners globally that were able to experience what it was like to be a Queensbridge resident. Other listeners were able to relate as they experienced their very own Queensbridge. While Nas and Mobb Deep served as influential pillars for the neighborhood, one lyricist would emerge to leave an indelible mark on its rap scene with his debut album, The Realness.

Cormega was born Cory McKay on April 26, 1970 in Brooklyn, New York. From a very young age, Cormega experienced tragedy when he witnessed his mother’s murder with his own eyes. He eventually had to adapt to several changes within his family dynamic and home-life. Cormega was raised by his father and step-mother alongside his sister in various neighborhoods throughout New York City. He described his happiest time as a child in the Bronx’s Co-Op City, while he learned to toughen up when he moved to the rough Queens neighborhood of Far Rockaway. He was introduced to street life during his short time in Crown Heights, Brooklyn, and eventually settled in Queensbridge Houses. In Queensbridge, Cormega became fully immersed in the street-life, which eventually landed him in incarceration in 1991 at Midstate Correctional Facility.

Cormega’s rap career began in the late 1980s with him getting noticed by several producers and DJs. With his name growing popular amongst New York City DJs, he received the opportunity to open up for Eric B & Rakim at the Apollo Theater. He was featured on DJ Hot Day’s album Its My Turn on the track “It’s Going Up.” Cormega featured on another song with Queensbridge rapper, Poet, and DJ Hot Day titled “Set It Off” for the Without Warning album in 1991. He was unfortunately sentenced that same year, which cost him the opportunity to sign a record deal facilitated by DJ Marley Marl to Pendulum Records. Cormega was released from Midstate Correctional Facility in 1995 and was determined to continue his rap career. He went straight to work as he began recording his would-be debut album The Testament for Violator/Def Jam Records. He worked with producers such as Havoc, Sha Money XL, DJ Hot Day, and included features from Mobb Deep and Hussein Fatal. Cormega released mixtapes to continue his street-buzz and eventually collaborated with his neighborhood friend, Nas.

Cormega was featured on “Affirmative Action” for Nas’ It Was Written album, alongside AZ and Foxy Brown. This song eventually launched The Firm, a rap supergroup composed of Nas, AZ, Cormega, and Foxy Brown. Cormega’s time in The Firm was short-lived as he was ousted from the group due to contract disputes with Nas’ manager, Steve Stoute, as well as artistic differences and personal tensions that grew between him and Nas. Cormega was replaced by friend and fellow Queensbridge rapper, Nature. The fall-out from The Firm led to Cormega’s feud with Nas and Nature. Cormega finished recording The Testament by 1998 and took a two-year hiatus from music. His relationship with his manager at Violator Records, Chris Lighty, grew sour and eventually led The Testament to be shelved. By 2000, Cormega was released from Def Jam Records and went on to found his own independent record company, Legal Hustle Records. Cormega lost a very close friend within the same year, Blue. Before Blue’s passing, he left Cormega with an inspirational message: “Mega, don’t forget you’re a rapper.” The loss of his friend inspired him to silence the doubters and begin work on his debut album The Realness.

The Realness was released on July 24, 2001 through Legal Hustle/Landspeed Records to critical acclaim. Cormega enlisted a variety of respected producers such as Havoc, J-Love, Jae Supreme, Alchemist and Sha Money XL to assist him. It features guest appearances from Prodigy of Mobb Deep and Tragedy Khadafi. The Realness reached number 4 on the US Billboard Independent Albums chart, number 24 on the Top R&B/Hip Hop Albums chart, number 111 on the Billboard 200 Albums chart, and number 1 on the Heatseekers Albums chart. The success and critical reception of the album established Cormega as an independent artist and solidified his reputation as a skilled lyricist. The Realness was released during a time when East-Coast Hip Hop saw a resurgence, with the album identified as a pivotal contribution to this movement.

Cormega’s greatest strength is his introspective and gritty storytelling, which is put on full-display on The Realness. He delves into street-life, navigation of the music industry, grief and personal redemption informed by his lived-experience. His writing and delivery paired with complementary production, provides a raw, candid, and authentic experience for his listeners, hence the album title. The album begins with a powerful statement from Cormega on “Dramatic Entrance”: “A man is condemned or exalted by his words. Exalt me.” This statement is a direct reference to the Bible verse, Matthew 12:37. Cormega acknowledges the anticipation for the album and commands his listeners to hold his words in high regards, as he finally delivers. He vents about the setbacks of the music industry and those that pretend they’ve given him his spot. Cormega is not arrogant, but he has a chip on his shoulder. Cormega is a man that has always stood on his own two-feet and is in control of his own life story.

“American Beauty” is an ode to Cormega’s love for Hip Hop, inspired by Common’s “I Used To Love Her.” The track is produced by Cormega himself and is backed by a sample of “I Been Watchin’ You” by Southside Movement. He personifies Hip-Hop as a woman and speaks about its transformation over the years. He addresses the loss of substance within the music and New York’s lost spot as Hip Hop’s center.

She had class now she sellin’ it all for cash
When Marley had her, her face was more pure body fatter
Primo treated her good, made her the queen in my hood
She used to be out in Queens with DMC
And on the rooftop with Big, Fritz, and R.P
She was fly she kept her shit tight
Yo if he didn’t go to jail dun, she mighta been Slick Rick’s wife

Produced by Havoc, “Thun & Kicko” is a collaboration with rapper Prodigy. According to Prodigy, his verse was recorded way before Cormega purchased the beat from Havoc. Cormega recorded his verse elsewhere and the song was placed on The Realness. Cormega and Nas’ feud persisted after he was ousted from The Firm, which is apparent on “Thun & Kicko.” Cormega’s verse takes sharp aim at Nas with his supposed questionable street-credibility as the main theme of his verse:

Whose tale you tellin’? Are you frail or felon?
Were you makin’ sales or watchin’ niggas sellin’?
You exploit niggas lives in your rhymes and then avoid ’em
You never felt the moisture in the air of coke boilin’
You never felt the razor scrapin’ your plate
Your hands achin’ yet you keep choppin’ cause there’s paper to make

Prodigy’s verse on “Thun & Kicko,” has long been cited as a Nas diss, but he addressed the rumor during an interview with Complex:

In his verse, Mega is taking shots at Nas. When Nas listened to it, it may have seemed like anything I’m saying is talking about him too. But I didn’t know Mega was going to do that. He did that on his own. Nas took a offense to that and got mad at me. Through the grapevine I heard that was the reason why [Nas] made ‘Destroy & Rebuild’ about me.

Released as a single, “R U My Nigga” explores the themes of loyalty and betrayal. Over Jae Supreme’s production, Cormega reasonably questions whether his closest friends would betray him for their own self-interest. Cormega understands this is the reality associated with street-life. He expresses distrusts of others and the fear of being betrayed:

Can you accept the consequences of life, of livin trife
And take yours with honor, if a real nigga strike
Or would you fall weak and help a courtroom indict
And live with dishonor for the rest of your life
Only bitches deal with emotion
Yo son, how many snitches are still in the ocean

“Fallen Soldiers” is a poignant tribute to Cormega’s loved ones who have lost their lives, especially to the harsh realities of street life. He reminisces on times with his lost friends to help process his grief and promises to keep their memories alive through his writing. His close friend, Yammy, and his cousin, Bam, are memorialized, alongside several other friends.

To my cousin Bam
You my fuckin man, I find it hard to understand
You gone—your physical form is dormant
I’m lost like the Bulls without Jordan
Tell my man J.B. from Edgemere I said peace
Son, I live a thug life, I clutch mics
With the same intensity that I used to crush white
G-Fresh was at your funeral (Word), son I felt it
And if I start cryin when I rhyme I can’t help it

The album is equipped with other stellar songs, such as “Glory Days,” a track that documents the history of the hustlers Cormega rubbed shoulders with in New York City: “The feds estimated Fat Cat was gettin’ millions. Black Ratti was the richest nigga in my building.” The album’s lead single “Get Out My Way,” is a declaration of Cormega’s resilience to his struggles in the music industry and a message to doubters.

The Realness was well-received by audiences, which boosted Cormega’s momentum, as he went on to release several albums after, most recently its sequel, The Realness II, in 2022. Cormega continues to receive praise for his work as a successful independent artist, with many citing the album as a classic and speaking to his consistency. Cormega demanded and earned his respect, despite the setbacks that plagued his career in its early days. He displayed his talent for writing authentic, vivid narratives with intricate rhymes. The Realness not only showcased his immense talent, but became a testament to Cormega’s ability to overcome adversity; a true underdog story.


Long Island’s Hip Hop Titans

Posted on by Make New York Grimey Again

Positioned at the southeastern part of New York State is an island that is home to many Hip Hop greats. Long Island is divided into four counties: Kings, Queens, Nassau, and Suffolk. Kings County and Queens County represent the New York City boroughs of Brooklyn and Queens, respectively. Brooklyn and Queens were officially annexed from Long Island and consolidated into the “City of New York,” in 1898. While Brooklyn and Queens are physically located on Long Island, Long Island itself only refers to Nassau County and Suffolk County. The boroughs of New York City, specifically the Bronx, are heralded for the creation of Hip Hop. New York City has also been regarded as the Hip Hop capital, known for gifted lyricists that told stories about street life and gritty upbringings. What’s often left out of the history of New York’s contributions to the genre is the many gifted, influential lyricists that came out of Nassau and Suffolk County. 

The hamlet of Wyandanch is the birthplace and origin of arguably the most influential rapper of all time, Rakim. Rakim is oftentimes regarded as “your favorite rapper’s favorite rapper,” and “the God MC,” with good reason as he’s cited as major influences on rap juggernauts like Nas, Jay-Z, Notorious BIG, as well as later generation greats such as J Cole and Kendrick Lamar. Rakim’s influence spans decades since his start during Hip Hop’s Golden Age, but what exactly made Rakim so great? Prior to Rakim’s emergence, rap sounded completely different. From the late 1970s to early 1980s, rappers used simplistic rhyme patterns and schemes, which lacked consonant clusters. Rappers of that era also employed highly energetic deliveries to ensure that their lyrics hit hard.  In 1986, Rakim’s debut as part of the duo Eric B & Rakim, ushered in the evolution of rap techniques. On Eric B & Rakim’s critically-acclaimed debut album “Paid In Full,” Rakim introduced the usage of internal rhymes and multi-syllable rhyme patterns, which was a clear deviation from the rappers of previous years. Rakim’s lyrics highlighted an emphasis on intentional writing with the usage of metaphors and wit. 

Rakim is basically the inventor of flow. We were not even using the word flow until Rakim came along. It was called rhyming, it was called cadence, but it wasn’t called flow. Rakim created flow.

Kool Moe Dee

Alongside the elevated level of lyricism that Rakim displayed, he introduced an entirely new way to deliver his slick lines which showcased yet another revolutionary rap technique. Rakim is credited with the invention of “flow,” the rhythms in how a rapper delivers their rhymes. His slow, relaxed and melodic delivery controlled the beat with unorthodox candences, unlike others that may have struggled to keep up with beat pockets. Rakim credits his jazz background as a saxophone player in high school and an affinity for John Coltrane as direct influences for his smooth delivery; a full circle moment as Black American musical genres such as funk, soul, and jazz were the foundations for Hip Hop. With the duo’s follow-up releases such as “Follow The Leader,” and other subsequent solo releases, Rakim continued to command listeners and force rappers to work on their craft. Rakim is heralded as one of the most transformative figures in rap, as his influence extends across generations as his disciples expanded on his contributions to influence even more torch-bearers. 

Rakim speaks on John Coltrane and Thelonious Monk

Roosevelt, a hamlet in the town of Hempstead in Nassau County, gave rise to one of the most prolific and politically charged voices in Hip Hop. Chuck D is the iconic front-man and leader of the revolutionary Hip Hop group, Public Enemy. Chuck D has influenced many rap heavyweights such as Ice Cube, KRS-One, Lupe Fiasco, Dead Prez, Nas and Eminem. Public Enemy’s line-up underwent several changes over the years, but the most known and consistent members would be Chuck D, Flavor Flav and DJ Terminator X. Prior to Public Enemy’s emergence onto the rap scene, the content and subject matter in rap music centered around feel-good, party anthems. In 1987, Public Enemy’s debut shook the world with strong political themes delivered over powerful production with a captivating voice that spearheaded it. On the critically-acclaimed debut album “Yo! Bum Rush The Show,” Public Enemy solidified themselves as a group that advocated for Black militancy, while the pro-Black themes and messages made several white critics uncomfortable. On the following albums “It Takes a Nation of Millions to Hold Us Back” and “Fear Of A Black Planet,” Chuck D’s lyrical content expanded on the oppression of Black people over hard-hitting samples produced by the Bomb Squad.

Chuck D’s ability to empower the Black American community, criticize white supremacy and institutional racism through his lyrics in a confrontational manner, helped to establish and pioneer the use of Hip Hop as a platform for social commentary during rap’s Golden Age. In its very infancy, Hip Hop was dismissed as simply a fad by mainstream white America, despite its creation as a development from poverty-stricken Black communities in New York City. Public Enemy reignited a wave of Black American consciousness through their music during a turbulent time in US politics and South African apartheid. Public Enemy’s success influenced a wave of Black militancy and Afrocentricity seen in acts such as X-Clan and Native Tongues.

The village of Amityville is well known in pop culture for the gruesome family murder committed by Ronald DeFeo, which was depicted in novels and a film series. Amityville is also the origin place of one of Hip Hop’s most innovative groups to emerge; De La Soul. Composed of Trugoy the Dove, Posdnuos, and Maseo, De La Soul carved out a lane during the Golden Age of Hip Hop that was in contrast to their peers. Gangsta rap began to dominate the mainstream sound of Hip Hop with the tough guy persona in full effect, paired with lyrical content about violence and materialism. In 1989, De La Soul’s critically-acclaimed debut album “3 Feet High And Rising” helped to usher in a fresh, funky alternative to the hardcore mainstream sound. The group utilized eclectic samples that deviated from the usual drum breaks and bass lines, while instead leaned on quirky, unexpected sounds, such as jazzy horns, movie dialogue, doo-wop, psychedelic rock, and cartoon snippets. The album’s lyrical content was full of witty humor and playful wordplay that was just as unlikely as their sample choices, but socially conscious and delivered in a positive light. With their debut album, De La Soul stamped themselves as a creative and revolutionary force within the genre.

De La Soul went on to continue to release albums with 1991’s “De La Soul Is Dead.” The album showed a more dark, cynical side of the group as the content addressed more serious themes such as sexual abuse, drug addiction, and the music industry. The group’s continuity of the use of eclectic samples remained with their second installment, but the group departed with their lighthearted image. The group’s next installments continued to display their multifacetedness and attempts to grapple with the overpowering force that was hardcore and gangsta rap. The juxtaposition of gangsta rap and alternative rap has remained a constant throughout Hip Hop. De La Soul’s influence has spanned generations of Hip Hop through artists Pharcyde, Outkast, Arrested Development, Common, Little Brother, Kanye West and Mos Def. In 2023, rap aficionados and listeners alike, were devastated by the news of Trugoy the Dove’s passing. With the untimely passing of Trugoy, label conflicts, and the lack of creativity of Hip Hop, De La Soul’s legacy is imprinted across generations. 

Although born in London, England, this MC moved to Long Island at a young age. Daniel Dumile started his career under the moniker, Zev Love X. Zev Love X was a member of KMD, graffiti crew turned rap group, between the years of 1988 to 1994. The group disbanded when member and Dumile’s brother, DJ Subroc passed away. Dumile would go on to deal with the ills of homelessness and grief of his brother’s death. Dumile re-emerged at the Nuyorican Poets Cafe in the Lower East Side of Manhattan, where he performed unannounced and in disguise with stockings to hide his face. This appearance marked the beginning of MF Doom, where his disguise would be traded for metal mask as homage to Marvel villain, Dr. Doom.

In 1999, MF Doom released his critically-acclaimed debut album, “Operation: Doomsday.” Heralded as one of the most groundbreaking underground Hip Hop albums, MF Doom established himself as a gifted producer and an insanely talented lyricist. The album’s production saw lo-fi paired with 1980s soul, jazz, and cartoon samples. MF Doom impressed listeners with his usage of complex rhyme schemes that ranged from internal, external, imperfect, and multi syllabic.

MF Doom went on to releases solo albums “MM..Food,” “Born Like This,” and several collaborative albums such as “Madvillainy” with producer Madlib, “The Mouse and The Mask” with producer Dangermouse. His untimely death was announced by his wife, Jasmine Dumile on December 31, 2020. MF Doom has remained as one of the kings of underground Hip Hop and has received praise from the likes of Q-Tip, Ghostface Killah, Mos Def, ROC Mariano, Del The Funky Homosapien, and a slew of others.

20 Years of Foxy Brown’s “Broken Silence”

Posted on by Make New York Grimey Again
Foxy Brown wearing the iconic Christian Dior denim bikini for the “Broken Silence” album cover

Since the establishment of Hip Hop, the amount of female rappers that have been able to thrive in the mainstream music industry, have been relatively little in comparison to their male counterparts. Women such as Roxanne Shante, MC Lyte, Lil Kim, Queen Latifah, Eve, Trina, Salt-N-Pepa, Monie Love, Da Brat are all recognized and heralded as the earliest pioneers in female rap. Each woman named brought talent, skill level, creativity, and groundbreaking archetypes that resonated with Hip Hop lovers. One particular woman became a household name with her striking looks, designer fashions, sultry deep voice, distinctive flow, delivery, and sharp Mafioso-influenced lyricism drenched in sexuality.

Inga DeCarlo Fung Marchand was born in Brooklyn, New York on September 6, 1978. Marchand was only 17-years-old when she became known to the world as Foxy Brown, as a feature on LL Cool J’s “I Shot Ya” Remix alongside Fat Joe, Prodigy and Keith Murray in 1995. The following year, Foxy Brown signed to Def Jam and delivered verses on two classic albums: Jay-Z’s Reasonable Doubt on “Ain’t No Nigga,” and Nas’ It Was Written on “Affirmative Action,’ arguably her most critically-acclaimed verse. In the same year, Brown released her critically-acclaimed debut album, “Ill Na Na.” “Ill Na Na” featured Method Man, Havoc, Kid Capri, and Jay-Z with his feature on “I’ll Be,” her debut single. Foxy Brown flaunted her sexuality and her cut-throat lyricism on her debut album. In just a year, Foxy Brown proved that she could hang with Hip Hop’s male heavyweights at the tender age of 18.

 In 1997, she would build upon her short yet impressive resume by joining The Firm, a group composed of Nas, AZ, and Cormega (later replaced by Nature.) The Firm’s only release was their debut album titled “The Album.” On “The Album,” Foxy continued to exhibit her ability to rap with her male peers. In 1999, Foxy Brown followed up with her sophomore album, “Chyna Doll.” “Chyna Doll” built on similar themes of her debut, but showcased her versatility with numerous East Coast, Southern and West Coast rap features such as Gangsta Boo, Mia X, Tha Dogg Pound, 8 Ball & MJG, DMX, Juvenile, Too Short, Jay-Z, Memphis Bleek, and Beanie Sigel. In just four years, Foxy made her unforgettable mark on the Hip-Hop industry.

By the turn of the millennium, Foxy Brown began working on her third album “Broken Silence.” The album would mark a period of transformation in her artistry, and a side of Foxy Brown listeners had not been exposed to. Foxy Brown’s Trinidadian heritage would become one of the most paramount influences of her third album, as well as a street-oriented approach that would differ greatly from her first two efforts.

The first leading single, “Oh Yeah,” featuring Spragga Benz was released on May 4, 2001. The song was produced by Eddie Scoresazy and sampled the reggae classic, “54-46 That’s My Number,” by Toots And The Maytals. Foxy Brown floated on the dancehall production and spit some of her most iconic bars, “Dark skinned Christian Dior poster girl,” and “You a industry bitch, I’m a ‘in the streets’ bitch.” “Oh Yeah” was the perfect introduction to what would become Foxy’s most influential album, as she easily floated on the dancehall production with street-oriented lyrics. The video for “Oh Yeah,” was also shot in Jamaica.

Foxy Brown released “BK Anthem,” as her second single and the B-Side to “Oh Yeah.” “BK Anthem” was produced by Robert “Shim” Kirkland and featured vocals from Foxy’s younger brother, Young Gavin. All three verses detailed the lifestyle and activities that residents of some of the roughest neighborhoods in Brooklyn were engaged in:

BK, the home of Biggie and Jay
Where niggas got Will Smith chips, get jiggy all day
Bitches that boost in the city all day
Heckle’ and Koch, crack spots, federal watch
I grew up here, sipped Mo’, threw up here
Yo, the feds snatched two up here in BK”

“BK Anthem” is amongst several songs released by Brooklyn lyricists that celebrate the borough, and is arguably one of the best made.

“Broken Silence” was released on July 17, 2001, with production from The Neptunes, Nokio, DJ Clue, Young Gavin, Dave Kelly, Robert Kirkland, and others.

“Broken Silence” album cover

The intro to “Broken Silence,”  starts with clips from news reports about several plights that Foxy Brown dealt with throughout her career prior to the release of the album.Over EZ Elpee production,  Foxy foreshadows her introspection throughout the album as she rapped: “Everybody wanna know my side of the story. Well here it is, the whole truth, plain and simple. This’ll finally explain all the pain I’ve been through.”

On “Fallin,” produced by Young Gavin, Foxy boasts about her luxurious lifestyle, aims at her haters and boasts about her skills over a sample of “Kol De Esh3at” by Samira Said. Over the street track, Foxy spits:

If I was to die, it be too many cowards alive

Fox Brown, Bonnie minus the Clyde
And today I’ma make this one promise to God
Even if I go wood, I’ma keep it so hood
And I got chills when I signed my deal
And I shed tears when Biggie and Pac got killed
It’s only one other broad that really got skills
She’s alright, but she’s not real.”

Ron Isley lends his vocals on “The Letter,” as Foxy addresses her mother and two brothers, Gavin and Anton. In the introspective track produced by Ski, Foxy addresses personal situations between her mother and two brothers, as all three verses are directed to each one individually. Aimed at her mother, Foxy raps: “And when the media said Foxy’s ill. You was there when this fame almost got me killed. When I was in the hospital, could not be still. Only you knew the reasons why I popped these pills.”

Foxy Brown acknowledges her reputation of being short-tempered on “730.” “730” is street-slang for someone who is crazy. On the track produced by Lofey, Foxy talks greasy to rivals:

I’m never ducking dames
Y’all know just where to find me
I would’ve killed her but it just wouldn’t be fair to mommie
Imagine me doing time, Foxy behind bars
Not me the crime star
Y’all bitches ain’t worth it.

The Neptunes produced song “Candy,” is the third single released from the album. The song featured Kelis on the hook. “Candy” is the only song on “Broken Silence” that is solely about sex, which contrasts from the introspective content on the rest of the album. The song is about a man desiring to perform oral sex on the rapper. On the song, Foxy also boasts about how her sex appeal and looks entice many male admirers, as she affirms her confidence:

You should see me in them jeans
It’s hard to describe and
Being cocky is just a part of the vibe
I might stop and holla and pop my collar
Maybe a little conceited but that’s always needed
Love attention when I’m passin’ by
See I show a little cleavage then I catch his eye

“Tables Will Turn” featuring Baby Cham was Foxy’s choice for a third single, although the label pushed for “Candy.” Produced by Dave Kelly, this song would go on to become a Hip Hop/dancehall classic alongside “Oh Yeah.” On the first verse, Foxy coins the term for dancehall/Hip Hop clashes as “Yard Hip Hop:” Me and Cham do that Yard-Hip Hop and,

Y’all can’t fuck with us, We keep niggas boppin’.” On the second verse, Foxy switches between her Brooklyn accent to Jamaican patois to end it out.

On “Hood Scriptures,” Foxy lays down hard verses for a real New York aura. Produced by Livin Proof and Young Gavin, Foxy is able to add on another track to her caliber for the streets.

Foxy Brown and Baby Cham link up for another dancehall smash on “Run Dem,” produced by Dave Kelly. Foxy Brown effortlessly switches between her signature Brooklyn accent to speaking Jamaican patois in each verse. She also accuses other female rappers of stealing her style of fusing Jamaican patois into their verses:

Who the fuck told bitches they could do what I do
And all of a sudden all y’all bitches got accents too
Bad gyal, bitches can’t do the shit that I do
Sometime a gal fi get kuff (hoo hoo hoo hoo)
Whoa, I tell a motherfucker this
Some niggas nowadays move worse than a bitch
And as for this chick, me love bum flick on bad man dick so
Got the pussy I got the lie fo’
I’m a grown ass bitch with my own ass shit
Now hear dis, una wan’ chat? Me a go bust una secret
Ya a big battyman, ya love look man bottom
Pussy watchman, you a trace gyal pattern
Fuck who, niggas wish they could fuck me
Like they never seen a hot gal act like we
Big bumboclaat star, push hot car
Big hood, me love back way all day”

Cham’s additions with the hook make for another “Yard Hip Hop” classic.

Alongside Mystikal, Foxy makes another song for her Southern audience. “Bout My Paper” is full of Foxy spitting about her ambition to get money and avoiding anything that’s not about it.

Foxy enlists Capone-N-Noreaga for a stick-up anthem properly titled “Run Yo Shit,” produced by Nokio. Foxy holds no punches with gritty bars: “We want that straight raw, ante up my nigga. Snatch ya ye, steal your base like Derek Jeter.”

“Nana Be Like” is a return to the Yard Hip Hop subgenre on the album. Foxy Brown makes another effortless switch to Jamaican patois on the hook and in between verses.  Foxy comes out swinging with very braggadocious, tough bars:

E’rybody wan’ chop 6 rock ’bout wrist, woah
I’ve done this, spit hotness
Na Na tote big fifth, fuck’s my name? Na Na, woah
And my pussy niggas wan’ lick
And my big tits una wan’ come kiss
And me, una see, when them want truthness
And you, una ‘ear come spit bullshit, woah
I might care, but I won’t go there
I might rock this, but I wan’ come stick, woah.

On “Gangsta Boogie,” the Neptunes produce a track that is in stark contrast with “Candy,” also produced by the duo. Pharrell and Chad help to arouse the street aura Foxy carries throughout the album, which shines truly on this song: Nigga, it’s not a game on the mic I’m insane. Snatch back my lane I’m a Vince Carter this. Brown pimp the game and still reign. Since the days of Kane numb ’em like cocaine.”

Foxy Brown and Kori both express their “don’t give a fuck” mentality on “I Don’t Care,” produced by Live Wire and Young Gavin.

Foxy Brown returns to her dancehall roots and patois, with the help of her brother Young Gavin on the hook. She exudes confidence on each verse as she details why men are so enticed by her and women want to be her.

Original don gargon bitch. I’m the reason bitches ride dick
I’m the reason why dem like cock stiff
Fox is the only reason
Why them bitch wan’ run gwan’ buy fake tits like
Who the fuck is y’all aimin’ for?
If it’s Fox, fuck you ain’t name me for?

On the second to last track, Foxy remakes her own version of the dancehall classic, “Saddest Day,” originally sung by Wayne Wonder. Wayne Wonder joins her on the song to deliver the hooks. On “Saddest Day,” Foxy expresses contempt for a lover that betrayed her trust, by stepping out with another woman. She talks about distrust of men and heartbreak she faced from the situation. “How would you feel if I fucked another nigga. And told you that that motherfucker made me cum quicker? You’d probably grab the gat and put two in my back. One in my face, nigga but it’s one in my waist.”

The album’s title track ends the album perfectly with Foxy’s introspective lyrics and passionate voice. She speaks about her feelings towards all of the struggles she’s faced while in the industry, personal and professional:

Feel like I’ve got this black cloud hangin’ over me
It’s like this pain is takin’ control of me
Every move I make, determines my fate
Feel like I’m dying slow, and that’s the shit I hate
The constant pressure, the bullshit rumors
The outcast, I’m the one they love to badge
When the records stop sellin’
And the crowds stop yellin’
All I have is me

The legacy of Foxy Brown’s “Broken Silence” is understated. Not only was Foxy able to create a body of work staunchly different from her first two solo efforts, she was able to synthesize a subgenre of Hip Hop that exploded in the mainstream of the 2000s. Prior to “Broken Silence,” we saw several rappers of Caribbean descent dip into dancehall effortlessly such as Shyne, Notorious BIG, Busta Rhymes and KRS-One, but none of them were able to produce a body of work that continuously based itself around the dancehall genre. “Broken Silence” pushed the bounds that helped usher in a new dancehall andHip Hop renaissance that saw a crossover of dancehall artists into mainstream. Sean Paul and Elephant Man soared through the 2000s and joined Busta Rhymes, Lil Jon, Young Bloodz, Twista, and others to create anthems. 

Foxy positioned herself as a raw street MC and a versatile artist. With her being able to spit with West Coast and Southern lyricists on “Chyna Doll,” Foxy pushed the doors open when she showed her ability to keep it street and be able to run the dancehall.

“Broken Silence” was named as the best female Hip Hop album ever created by Lupe Fiasco, back in December 2020. Such a compliment from one of the most prolific lyricists cannot be understated:

Foxy Brown’s “Broken Silence” also paved the way for the woman that has ran Hip Hop since she got her foot in the door: Nicki Minaj. Nicki Minaj has shown herself as an advanced lyricist with a wide array of deliveries and flows; as well as the ability to outrap men and hang with Hip Hop’s heavy hitters. Nicki Minaj has since knocked down the doors for women in the game by revolutionizing the “female rapper.” Nicki Minaj’s emergence has allowed women in rap to stand alone without being pushed by a male rapper.

Since Nicki Minaj’s emergence in the underground to mainstream superstardom, she always stated Foxy Brown as one of the reasons she began, with “Broken Silence” as the album that heavily influenced her. With Minaj and Brown both being of Trinidadian descent, it’s not hard to imagine the magnitude of said influence.  During a show in 2012, Nicki sang her praises:

Broken Silence changed my fuckin’ life,” Nicki told the crowd. “I always loved Foxy but when she put out Broken Silence I knew she was an innovator, an intelligent, beautiful, feisty, crazy sometimes, but ahead of your time. Foxy, I want to thank you for being one of my biggest influences in the game. And a lot of times we don’t really [thank] you like we should. There isn’t a female rapper that opened more doors for me than you. You and Lauryn, thank you.

While Foxy may not receive the praises she ultimately deserves, Foxy Brown’s influence remains apparent.