Line for Line: Oh No feat. Dudley Perkins & Georgia Anne Muldrow - T. Biggums

posted on Jul 30, 2006
by Sacha Orenstein

Oh No feat. Dudley Perkins & Georgia Anne Muldrow – T. Biggums mp3

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Crack’s social and personal impact is rarely tangible in modern day hip-hop music. With the infamous epidemic of the 80’s safely in the past and ready for nostalgic revival, legions of rappers spend their time bragging about everything from the drug’s conception to its distribution. Few care to speak of its consumption however: it’s easier on the ego to be lionized as a police-defying outlaw than to be demonized as a pusher of poison. While “Snowman” and “Rubber Band Man” don’t sound too far off from the people delivering mail or milk, the picture gets ugly when listeners are forced to think about those caught in the real “trap.” The crackhead’s existence is not a happy one and the root of his tragedy can ultimately be traced back to the man who supplied him that first hit. Even those who are willing to broach the subject keep a safe distance: The Clipse and Jay-Z may express regret for their customers but they’d never be willing to identify with them. The problem isn’t limited to emcees either: years of repressive lawmaking, America’s ever shrinking social safety nets and the drug’s almost unshakeable grip on its users have contributed to the harsh attitudes most people harbor towards the junkie. This makes it extremely difficult to portray the crackhead as a victim, as most now regard drug addicts as criminals and predators seeking to commit wrong on “the moral majority.” In part due to this status as a social pariah, the crackhead has long been exploited for his comedic value. Though most depictions have been insensitive and childish, a few comedians have used the fiend as a social critique and have dug beneath the superficial stereotypes to show the cause and effects of addiction in a more nuanced light. Dave Chappelle’s Tyrone Biggums character is one example. Tyrone forces the audience to confront society’s “collateral damage” by playing the addict’s single minded focus and disconnect for laughs. Chappelle’s crackhead isn’t malicious and his crimes are presented as laughable and petty, but there’s no doubt that he’s truly suffering from his addiction even as he appears to almost joyously chase his demons in search of his next hit. It’s this sad clown that simultaneously makes us laugh and squirm, revealing the tragicomic dichotomy inherent in the dopehead stereotype.

Dudley Perkins’ take on the character in “T. Biggums,” a tribute to the Chappelle skit, leans more towards the tragic side of the equation. A tender duet between Perkins (a.k.a. Declaime) and fellow Stones Throw artist Georgia Anne Muldrow, the two unorthodox singers play out an argument between a desperate mother and her addicted son Tyrone. Without insinuating that actual drug use might have been involved in the song’s creation, Perkins is without a doubt uniquely suited for the material. Singing in a trembling voice that’s halfway between Ol’ Dirty Bastard and Bootsy Collins, Perkins puts himself in the shoes of America’s hopeless, expressing pain and vulnerability that few rappers would even attempt to understand. Early on in his career, Perkins had written about marijuana in reverent tones, using his unique voice to accompany Madlib’s psychedelic escapades and send up his recreational stimulant of choice. “T. Biggums,” however exposes a serious side to the usually freewheeling Dudley Perkins character, a willingness to take on social issues also seen in such recent material as “Domestic Interlude” from the recent Expressions 2012 A.U. album. The interlude is a deadpan reading of a marital spat which bears a striking resemblance to “T. Biggums” in that it has Perkins dealing with and succumbing to a trapping of the ghetto. At the end of the interlude however, Perkins steps out of character to make a brief statement against domestic violence revealing himself to be wiser than the fool he played on record. It’s this duality between Perkins’ well-lived urban sage persona and the foolish victim role he plays which allows the singer to expound upon inner city life in a cautionary way. In “T. Biggums,” Perkins the streetwise artist sings about Tyrone the character, putting himself in the addict’s shoes to show examples of crack’s devastation.

Georgia Anne Muldrow, for her part, sings with a motherly wisdom beyond her years. Much has been made about the 22 year old’s instrumental prowess as Stones Throw promotes her as a serious creative force. What Muldrow brings to the song however is more than just her vocal chops or knowledge of chord changes; it’s the emotional depth and sincerity of her voice, embodying the part of a grieving and conflicted parent. Evoking the same chemistry with Perkins that Mary J. Blige had with Ghostface on “All That I Got Is You,” Muldrow character’s depleted, drained reaction to her son’s demands for money is neither harsh nor naïve. Rather, it’s the kind of tough love which is just as difficult for her as it is for Perkins, whose verse never stops to acknowledge the pain he’s caused her, his wife or his children. To her credit, Muldrow’s strength never comes off as overplayed or stereotypical: there’s toughness and experience to her words that belie her young age, leaving no doubt that she’s lived through some of the tough times she sings about, drawing on her own experiences to fit the song’s theme and story.

With so much of the track’s emotional content packed into the music and performances, it would be easy to ignore the lyrics. Perkins and Muldrow’s anxious demands however, reveal much about how society treats its addicts and how addiction can ruin relationships. “T. Biggums” works as a cautionary song, showing the flip side to the glamorized version of crack espoused by the rappers currently flooding BET. It may not sell any t-shirts or start any slang, but it can’t be faulted for telling the undisputed truth.

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Verse One: Dudley Perkins as Tyrone

Mama, can I hold some money?
Because I got bills to pay
Pay ya back on Tuesday

At first, Tyrone doesn’t seem to be anything more than a mooching family member trying to scam his mother out of some money, most likely for the umpteenth time. It’s clear from the get go that Tyrone won’t be able to pay back his mother on Tuesday, or any day.
Trust me, times are tough,
Can you spare enough,
So I can get something to eat?
The sympathy card is a strong one. However, it’s revealed later in the song that Tyrone’s mother lets him “live in the back rent-free” and has fed him in the past. He doesn’t have much credibility even as he looks in desperate need of a good meal and some help.
Ain’t been dopin a whole week!
Free from the caine, weed and wine
Tyrone’s claims that he’s been off drugs for a week wouldn’t even be impressive if they were true, but clearly he believes that this would be a huge, quasi-impossible step. The divide between what he regards as difficult and what his mother regards as necessary is a huge one and this ultimately resides at the heart of the conflict.
Knowing all well, I’m just lying
At this point, the song shifts from Tyrone talking to his mother to an inner monologue about Tyrone’s addiction where he offers a listener a chance to see his mind state.
In 10 minutes, my mind will be fried
Better run high like I’m flying
Tyrone intends to get high within 10 minutes of getting money from his mother. Clearly his mind is on one thing and one thing alone. He can’t even get through his lie without breaking down and admitting that he wants- no, NEEDS a hit.
I think it’s time to quit
Lord knows I’m trying to go legit
Tyrone claimes he’s trying to go legit, but a few lines earlier he was asking his mother for crack money. This half hearted attempt to convince himself that he should stop indicates that while he may regret his current lifestyle, he can’t come to grips with giving it up.
No girl, no job,
Sometimes have to rob dressed like a slob
Still, Tyrone admits that he has a problem. In a way, the song becomes his first step towards redemption as he comes to terms with how bad his life has become. Tyrone wants a girl, a job, and to lead a nice existence. The question is can he give up his habit in order to achieve those things.
Man, took that first hit
Is this line remorseful or nostalgic? The first hit of any drug is always the strongest and one’s initial experience goes a long way to determining if the user will get addicted or simply shrug it off. Tyrone doesn’t seem sure whether that first hit was a gift or a curse.
Now here I am, alone on the streets
Not giving a damn
Mr. Tyrone Biggums
Despite the mixed memory of that first hit however, the ensuing downward spiral in Tyrone’s life is clearly negative, ending in homelessness.
Broke down with a little Pookie
Slow down, got the shakes like Samuel Jackson
Perkins demonstrates some interesting wordplay as he strings together references to crackheads in popular culture. Pookie is Chris Rock’s recovering addict character from New Jack City. Actor Samuel L Jackson overcame his addiction to find fame in the world of cinema. Finally, the phrase “slow down” references the Brand Nubian song of the same name, in which Sadat X rebukes a woman whose crack use has left her ugly and depleted.
Cracked out and dancing
The ol’ soft shoe,
Crackhead dancing is a sad yet peculiar spectacle. The drug’s spastic high is both demeaning and uncomfortably humorous. Ironically, the exaggerated movements aren’t too far off from the racist parodies blackface entertainers performed earlier in the century. Chappelle’s version of Tyrone Biggums regularly demonstrates his “dancing skills”.
Had to leave my old lady cuz she’s dancing too
Barely supporting me, so what the hell would two?
So what’s a young brother like me supposed to do?
Tyrone can barely afford to pay for his own drugs, much less his spouse’s, so she left to (presumably) sell her body. In the end, Tyrone simply gives up. Drug addicts often feel like they’ve lost control, as if they have no free will. Tyrone doesn’t have a job, a wife or much hope left and his only satisfaction is crack cocaine. He’s asking the world if it’s truly worth it to give up his only remaining pleasure in life when he seemingly has nothing to look forward to.

Verse Two: Georgia Anne Muldrow as Tyrone’s Mother

My son, heads deviate from time to time but only from time to time

Tyrone’s mother doesn’t claim that occasional intoxication isn’t natural, but her son’s single minded search for crack has clearly become a problem. This is actually a pretty surprising statement considering the intolerance parents usually have for drugs of any sort. Perhaps Tyrone’s mother has experimented with drugs herself.
I think you’ve lost your mind trying to ask me for a dime!
If he thinks that she of all people is going to fund his drug habit, he’s sorely mistaken. One gets the impression that Tyrone has played this trick on his mother before and she’s not going to fall for it again, even if he appears to be completely and utterly desperate.
I was smoking cigarettes every day and to think they would cause you no harm
In a way, she blames herself for not being a better role model.
The streets must be out of my home, I’ve installed brand new car alarms
All my windows is barred
Now it just feels just like a prison
In an effort to keep Tyrone and other criminal elements out of her home, the mother has completely isolated herself from the outside world. Despite being free, her current situation has left her feeling just as hopeless as her son, as if she was incarcerated. This parallel between the drug addict and those who suffer at the hands of his addiction stands as one of the main reasons that crack has had such a destructive effect on the social fabric of poor black communities in America.
Where I raised you and your sister
While Tyrone tries to pray on his mother’s sympathy, she responds by using nostalgia and guilt to make him realize just how much he’s hurt her. It’s a dirty tactic, but for a good cause.
Can’t even air out the house like I used to and I miss it!
Tyrone isn’t the only crackhead in the neighborhood. The decline in quality of life brought on by the crack epidemic in the 80’s was substantial as previously safe neighborhoods turned into gang war zones and previously dangerous hoods got worse.
I fed you, I put clothes on your back
But I had no money to give you when you came at me with a gat (Give me the money Mama!)
This is possibly the saddest admission in the entire song. Tyrone has apparently gone so far as to rob his own mother at gun point to feed his habit. If there’s a single moment in this song which points to the depths that one can succumb to on drugs, this is it. This act is even worse when you consider that Muldrow’s character claims she’s continually tried to help him and has supported him even through adulthood.
I let you live in the back rent free at a grown age,
Why can’t you just turn the page?
Get off yourself and begin anew…
Getting “over” one’s addiction isn’t easy, certainly not as easy as just “turning a page”. Still, all that Tyrone’s mother wants is for her son to be clean, sober and productive so they can both move on with their lives.
Son I’m loving you from a distance…
Listen…listen…your mama she loves you
But you must understand…for my own safety and the grandkids…
She left you.
In the end, Tyrone’s mother had no choice but to abandon him to his demons for her own sake and that of his children (whom he didn’t even mention throughout the song). A crackhead can’t be counted on to support a family, and the violent antisocial mood swings associated with the drug can make even the most loving person a menace to his family. Muldrow’s character luckily has the resources to throw Tyrone out, but more often than not, it’s the family that ends up on the street while the crackhead burns through their investments..

Conclusion: The song is open ended, leaving Tyrone’s fate unanswered. While he runs a risk of jail or overdose, there’s also a chance that this final rejection by his mother could steer him on the right path and force him to get his life together. In extreme cases such as Tyrone’s, addicts must often hit rock bottom before they can muster the will to kick their habit and move on with their lives. Even then, most need substantial help and counseling in order to remain drug-free. Sadly, the American justice system puts a premium on incarceration rather than rehabilitation and there are very few options available for a poor man to get appropriate treatment. As for Muldrow’s character, like so many parents of drug addicts she’s forced to pick up the pieces of her life and soldier on while taking care of her grandchildren. The illegal drug market and the war on drugs have lead to the incarceration of millions and Tyrone’s family stands as an example how the current drug policy has failed those with addicted relatives. Until rehabilitation replaces incarceration and controlled legalization of certain drugs replaces the unregulated black market controlling the world’s demand for brain altering substances, tragedies such as Tyrone’s addiction and his mother’s suffering will continue unabated.

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Comments for "Line for Line: Oh No feat. Dudley Perkins & Georgia Anne Muldrow - T. Biggums"

  1. This song sounds a lot more hip-hop than I was imagining from reading the analysis.

    That is a dope beat.

    Good song.


    — David    Aug 3, 11:15 AM   

  2. This makes me miss that Old School Hip-Hop like The Message where people talked about being poor and not having anything…whereas now everyone is Bill Gates.


    — Amadeo    Aug 3, 01:56 PM   

  3. Brilliant work m’man. This track is fantastic—really looking forward to the full Oh No album (which this track will be on).


    — Noah    Aug 3, 03:28 PM   

  4. Funny thing about this is I already typed out four songs from this album but (1.) this wasn’t one of them and (2.) I haven’t posted them yet because the album’s still not in stores. :P


    — DJ Flash    Aug 4, 01:36 AM   

  5. This is what we need in hiphop… more real songs… not two words choruses and paragraphs of nothing… Thanks Dudley, Georgia and OhNo!!!


    — Slautah Almighty    Aug 4, 10:09 AM   

  6. your reading into this song too deeply. this article is whack. i dont like it. sure theres a message, but youre taking it too seriously. arrlay


    — doesitmatter    Aug 6, 05:15 AM   

  7. Well, it was well received by the people I’ve spoken to at Stones Throw so at the most basic level, the artists who made the song actually disagree with you.

    However, it is an an interpretation and you’re allowed to disagree with it. Unlike some other Dudley material I think this song is fairly serious and deserved a closer look though.


    — Sach    Aug 6, 12:52 PM   

  8. Mad beat, great sampling…its nice to hear a beat that isn’t highly recognisable of the producer such as the neptunes or lil john, this is bringing back the old days of fine sampling and plain old good beats…word


    — WhiteTiger2nv    Aug 11, 01:41 AM   

  9. Incredible production! Oh No is da bomb. The beats are crazy and Dudley and Georgia do their thing, fo sho.


    — Radiogirl    Aug 12, 01:49 AM   

  10. Nice… Good Hip Hop music…


    — Kas    Aug 13, 01:32 PM   

  11. wats that sample?


    — sune    Aug 25, 01:32 AM   

  12. I love this song T.Buggums look out Jill Scott its about Georgia Anne Muldrow, well the hole stone throw movement you guys are saving hip hop keep doing your thing and I will make sure Newark NJ got your back!!!!


    — Al Redfern    Oct 12, 08:42 PM   

  13. LOVE the song


    — nicole    Oct 17, 11:28 PM   

  14. very good analysis..

    i’m glad you wrote it..

    lots of artist dont want to be labeled as a “political” artist… that’s prolly why they down played it…

    i think the sad-clown is a good analogy


    — brandon    Nov 7, 06:41 PM   
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