If you’re a music lover on the perpetual pursuit of meaningful music, and you’ve never come across this artist named Freedom on iTunes, consider yourself as mighty unfortunate. His nine-track album Liberation 1804 for one, is one of the deepest song collections I’ve ever encountered on that platform.

Soulful and gospel-tinged, each track is more spectacular than the other. There’s some excessive flag waving, but there’s depth, and plenty of allusions to Haiti’s history that you may have read on Haiti-related Wikipedia entries, or perhaps came across in the Latin American Studies section of your school’s library. There’s this song “Manman” (Ma) that’s squeezed among the track listings. It’s like a pomegranate in a barrel full of mangoes—totally unexpected, but welcomed. From the spoken intro, backed by light guitar, and the singer-rapper’s fluttering voice. When I was scouring Youtube for mother-themed songs in Creole when I first started this website, it had to have its place on the Haitian mom musical tribute countdown. Truly, that song is everything and then some more.

The profound lyrics and the hard-hitting melodies on Liberation 1804 are what makes the record. Then there’s the voice of this Freedom person. There’s something to be noted about it. I don’t know. The voice sounds pained, like he’s vocally unearthing a couple of decades of pain, but is trying to remain calm about it. One of the best showcases for it is “Sove Peyi Mwen”, where one is treated to nearly four minutes of Solomon Burke-like vocal acrobatics. Next up, is “Ayibobo”, a drum-and-clap-driven track that cries for a miracle and unity. The song conveys the rapper’s exasperation with how things are–-Olye ou priye pou mwen/Ou ta renmen’m detwi—You ought to be prayin’ for me/Instead you’re clammoring for my demise. “Twou Bwa Kayiman” has an almost this techno rock sound to it, with Haitian roots music doing some meddling. The title, is of course, a reference to the meeting place where the 1791 slave uprising was planned out.

I thought to myself that if this Freedom dude can do this with these songs, I wonder what he’s capable of he were to sing some love songs, as those tracks were truly amazing. Actually…mouth-droppingly amazing.

This Liberation 1804 is practically Haiti’s answer to Janet Jackson’s Rhythm Nation 1814—methinks. The musical critic and writer David Ritz and others have written about how—in the 1990s—Rhythm Nation brought music and social consciousness to young urbanites. I can’t help but think that Liberation 1804 has done the same for Haitian folks discovering it.

Kreyolicious: Your real name is Christopher Laroche. Are you, like, related to Joseph Laroche the Haitian dude on the Titanic?

Yes. I am related to him.

Kreyolicious: At which point were you told that you were related to him?

When the Titanic article came out is when I found out about it, and I was surprised and also felt like that was very cool. The story…not the fact that he pretty much ended like [Leonardo] Dicaprio in the movie–but that many people say the story from that movie is directly based on the accounts of his wife.

Kreyolicious: How’d you feel about it?

Guess he went out like a real honorable person.

Kreyolicious: You were born in Haiti. What memories do you have of it?

Everything I remember from growing up is in Haiti. I grew up in Cap Haitien and Port Au Prince and have never stopped going back. So, my most profound memories will always be based in Haiti.

Kreyolicious: How’d you get the name Freedom?

I got the name Freedom from the fact that Haiti is the first country to get out of slavery. I got the name from the fact that I like to make one type of song today, and another the next day. And I have a big vocal range and work driven by vibes and energy. I try to make all types of different songs because experimenting always helps me create an original sound for every track. In other words, it all comes from my heart and soul—and that means freedom to me.

Kreyolicious: What was the first song that you heard that had a profound influence on you?

I would say as far as Kreyol songs, it was “Lèm Pa Wè Soley La”. As far as English songs, it was tracks like “Redemption Song” and “Ain’t No Sunshine”.

Kreyolicious: And your first performance ever?

It was in Cap Haitien and I was about thirteen-years-old with my brother Fos. Back then, I was a radio DJ, so we set up a show at a local venue. We sold out the show and had over a thousand people attend—making it a huge success back then.

Kreyolicious: I’ve listened to a lot of your songs and I absolutely love the gospel-R&B blend to them.

When it comes to music, it’s like some people choose music, but I feel like music chose me. It’s my therapy when I write a song. My music’s poetry. I don’t make it just to be commercial. I make my music just because I love making music, and it’s the only way I know how to truly express myself, so I try to make it timeless.

Kreyolicious: How did you decide on the creative direction for your album Liberation 1804.

Well, I was in the hospital at that point of time. I was in an accident [and] ended up there and it was a life-changing experience. I spoke to God and promised that I would do something for Haiti. Having gone through what I had just gone through, I felt like my Haitian brothers and sisters were the only people that could relate to what I felt. So, I had to build strength to become the voice of a forgotten people and make a Kreyol album for my people in order to have an effect on the system. And when I did that [censored expletive], things went crazy quick because I took my original freedom formula and flipped it to Kreyol and we created a new sound that was undeniably one of the most original things ever.

Kreyolicious: What usually comes first to you…the lyrics to a song, or the melody?

It depends…usually the melody though, and then I see a vision for the lyrics. But then, if I start with a purpose in my mind it might start lyric-driven.

Kreyolicious: What goes into creating a beat for a track?

It depends on who I’m working with. Sometimes, I go in and do my own tracks, but usually I like collaborating with people I’ve cultivated relationships with and have locked in the formula of how I make my sound to push it to the limit, and make bigger hits every time. I can say I’ve worked with some of the greatest producers in the world and it is a blessing every time.

Kreyolicious: There’s a lyric line in one of your songs, where you go: “Mwen fimen pou mwen fè tèt mwen poze”, talking about how you be lighting it up, to get your head all cleared. Um, please tell me those lyrics were just for the sake of rhyme.

I would have never written that for the sake of rhyme. In the history of man kind, no one would have the courage to sing those words if they didn’t mean them. [Laughter] And from your choice of words when you asked that question, I know you turn up…[laughs] so next time you roll one, throw some Freedom on for me.

Kreyolicious: Sorry, but I don’t roll. Don’t you think that Illuminati forces can get in your head when you smoke?

You should learn how to roll or buy a roller…not trying to preach bad things but anyone who attempts to drink would realize the urb is better for you than the liquor. It goes well with the mind of a true rebel. Illuminati? [Laughter] That is the funniest question I have ever answered. Definitely not. There is a forcefield of positive energy around me. I trust it, and just live. I don’t complicate much or judge things that most of the world can’t understand anyways.

Kreyolicious: And how do you parents feel about that? Or do you think that because they’re not around, you can do whatever you want?

My parents always respect my decisions—and trust—I will follow my heart regardless. They are a huge inspiration to me and have always supported my dreams—whether they liked it or not. I was taught to stand on my own feet and be proud of the way I choose to live.

Kreyolicious: What do you wish you had known before you entered the music business?

Not to enter the music business.

Kreyolicious: You regret you ever entered the music business? How come?

It was me being funny…I wouldn’t trade it for the world. It is just not for the faint at heart. So if one decides to pursue a career in music, you must feel like you have something truly unique to give the world and be partially crazy and lost in art…I do feel that way. So, the movement continues until the end of time. Been working with everyone from Jayz and Beyonce to Snoop Dogg, so I guess I’m just grateful to be blessed with the path God has placed me on. Am excited about new music coming in the near future.

Kreyolicious: You have your own record label Freedom Recordz. Is it hard running your own label?

Yes. The music industry is complicated. It takes a lot of energy, resources, and dedication from your team. Everything great takes a lot of work.

Kreyolicious: Any tips to artists and those who would like to establish their own?

Never give up. Just keep your head up. Make your music, do what you got to do. Pay dues. Know that you’re working in an industry that consists of many crazy people—a lot of very prideful people. Focus on you. The art comes first. Don’t get tangled in the web.

Kreyolicious: Do you feel some sort of responsibility towards youths who look up to you?

Of course I do. When I started making this music, I said I wanted to make songs that inspire children to grow up and believe they can change the world. Never stopped.

Kreyolicious: What do you think of women’s images in hip-hop videos?

I feel like there is tasteful art, but I also feel there is a condescending side to women that is a cause for concern to a certain extent. I honestly never think about that though, and I’m not the person to tell the difference between art and excess.

Kreyolicious: You can tell a lot about an artist by his songs. In Liberation 1804, you come across as a history-freak, and a militant, who just happens to love his mom. Is that an accurate picture?

Yes. I have always been truly passionate about our culture. Everything I do is for Haiti.

Stay tuned for Part 2 of this interview. When available, it will be AVAILABLE BY CLICKING THIS LINK.

CLICK HERE TO PURCHASE FREEDOM’S TRACKS ON iTunes | FREEDOM ON FACEBOOK| FREEDOM ON REVERB NATION| CLICK TO VISIT FREEDOM’S SOUNDCLOUD STREAM|

Rapper-singer Freedom dropped “Tanbou” this week, through his record label Freedom Recordz, in association with another label Diyosa. Could his long-promised all-Creole album be not far behind?

The song carries the Freedom signature, with the gospel-inflected delivery, and the inspirational-socially conscious messages that he’s all too well-known for.

On practically every song he drops, he always sounds like he’s going under emotional duress. There’s this urgency that’s present in his timber. With “Tanbou” (the Creole word for drum), he’s not singing the praise of the instrument. The instrument is a reference to Haiti and its heritage. Freedom uses the drum as a symbol to urge other to stay “woke”, as we say in the hood these days. Drums can make you dance, but they can also wake you up from indolent slumber.

The artist promised some love songs on the new album, so fans can look forward to a whole lot more variety.

This track is fresh though. Let’s see what else he’ll come up with.

You can listen to it below!

There you have it folks, Freedom Recordz Tanbou.

CLICK HERE TO READ A PREVIOUS INTERVIEW WITH THE RAPPER

CLICK HERE TO FOLLOW FREEDOM’S JOURNEY ON INSTAGRAM

Florida-based rapper Young Slay raps about overcoming adversity. He could spit rhymes on twelve albums about conquering tough times, and he’d still have material left. On the song “Manman”, he raps passionately about losing his mother. Laced between the bridges of the song are audio recordings his mother used to send to his father, when the latter immigrated to the United States. His voice shakes with unbridled emotion, as if he had lost his mother the night before. He raps:

Mwen sonje’w manman…
Zantray mwen ap rache…rache….rache…rachhhhhe
Si se pat pou move chans, mwen santi mwen pa tap gen chans…
Lèzòm tèlman enferyè
Yo koz ou antre anba tè
Anva li te lè’w

Even though I rarely talk about it
My insides are tearing, tearing, tearing, tearing up
If it wasn’t for bad luck, I wouldn’t be lucky
Folks are so wicked
They caused you to go six feet under
When it wasn’t even your time

The theme of forced separation and alienation are themes that permeate a great number of his songs. The song “Engra” (Ingrate) is practically a phone conversation between a nephew and an aunt who are separated by immigration. She lives in Haiti, and he’s abroad. She was his primary caretaker when he was little, but since immigrating to the United States they’ve gotten alienated. He seldom calls, and when a conversation finally ensues between the two of them, there’s so many wounds to nurse, so many things that should have been left unsaid.

Kreyolicious: So, how’d get the name Young Slay?
The name resulted from a sense of urgency. I was transitioning from a rap group to solo artist, and I needed a moniker. At that time, I was known as “Skinny”—close friends still call me that. However, the moniker was not marketable. I loved a Death Metal band known as Slayer, and since friends thought I usually “killed” tracks, I figured I’d call myself “Slay”. Then, I added the “Young” to it since it was the cool thing to do. I honestly hated it for a while until I justified it as, “To verbally kill, or literally die”.

Kreyolicious: What attracted you to hip-hop?
I was always into music. I knew that I wanted to be a rapper, and that was mainly due to the lavish lifestyle that was portrayed on TV. I grew up in a country of sheer destitution. I wanted more. I excelled at writing poetry, so the transition was not so hard. However, I made a genuine connection with music following an unsuccessful retinal surgery that left me blind in the left eye. At that time, I discovered the true therapeutic value of music. It was my main coping mechanism.

Kreyolicious: Wow…Is it easy coming up with your rhymes?
To level with you, it depends. I am a prolific writer and an avaricious reader so most of the time I can write with ease. However, there are times I experience writer’s block and I can’t come up with anything. Nada. Zip. [Laughter]

Kreyolicious: What does your family think about your career choice?
My family is very accepting with reservations of course (smile). In the Haitian culture, we know even some of the most successful musicians die penniless like Mozart. So, artistry is not really valued. It’s more like a hobby. We pride ourselves on social training—education. That being said, since I will be getting my Masters degree on Dec 13—-same day I will be releasing GKNM: Granmoun Ki Nom M—they are more accepting. They know I have a solid plan B that could easily be a plan A.

Kreyolicious: Do you tend to censor yourself a lot when you’re writing?
When I wrote the album Faces Got No Race, I did just that on every song. I did it again in R2KM: Rèd Kon Ke Makak [Stiff Like a Monkey’s Tail] on some tracks as well because I was walking on eggshells as to not offend too many listeners. But no human growth comes from that. I think the listeners can take care of themselves emotionally, so I refrain from doing that to a certain degree. It’s raw and uncut as to stimulate the mind. You can’t please everyone.

Kreyolicious: Out of all the songs you’ve written, which one do you feel capture the essence of you as an artist?
I think the track “Manman”—featuring Mona Jean Pierre—encapsulated me not only as an artist, but also as a sentient being. It symbolizes personal growth and finding closure with my mother’s demise. I shunned writing that song for years, because it was so intimate. It was tough deciding to put my mother’s voice on it. Luckily, when I released it, it resonated in the hearts of many individuals.

Kreyolicious: Sorry about your mom…What’s next for the youngin who slays?
There are many artistic avenues that I would like to explore in the near future. However, right now my priority is to release GKNM: Granmoun Ki Nom M on December 13. I am really excited about this project. I would like to thank you Kreyolicious for your time and the opportunity to do this interview. Please continue to promote our rich culture. Thank you.

Click the video below to listen to Young Slay’s song “Manman”.

CHECK OUT YOUNG SLAY ON YOUTUBE | YOUNG SLAY’S WEBSITE YOUNG SLAY ON CD BABY | YOUNG SLAY ON FACEBOOK

Jersey MC Bleszt is readying to drop his seventh #GoalDigger mixtape. Some of his latest drops include a remix of Justin Bieber’s Sorry. Bleszt dispatches his inner vulnerability in the lyrics:

When you lose what you need
You will bleed ’til you have it

I’m sorry I made you frown
But I promise Imma hold it down
Love never fails
No failure above
If there’s a failure, then it wasn’t love

CLICK HERE TO LISTEN TO SORRY BY BLESZT.

In “Ain’t No N__”, it’s the brick bandit in him all over the track, as he makes it clear that no one will cross him—in case you forgot. On that track he is joined by Average Kid and DJ Swift.

CLICK HERE TO LISTEN TO THIS SONG.

He collaborates with Sevyn Streeter’s remake about a man’s indecisiveness in a romantic relationship. Just how many other women are there, she wants to know. He assures her that all the talk she’s been hearing is jus that. Then, he goes into a little monologue in his deceptively sweet voice:

You know I love you
I love what we got…You keep tripping over…[things you hear]
It’s not going no room to built…no room to breathe
If I can’t breathe, I get uncomfortable
When I get uncomfortable I leave.

“Show it…prove it,” he says, before blowing a series of kisses.

CLICK HERE TO LISTEN TO THE “SAY IT” REMIX.

The seventh edition of #GoalDigger will drop later on this month. Be sure to watch out for it.

Meanwhile, be sure to keep with Newark’s very own Bleszt…

BLESZT ON SOUNDCLOUD| BLESZT ON TWITTER| BLESZT ON FACEBOOK| BLESZT ON YOUTUBE | BLESZT ON INSTAGRAM

AND CLICK HERE TO READ AN INTERVIEW WITH THE RAPPER.

Abojah Da Godman is a hip-hop artist whose base is primarily Haiti (he goes back and forth between Miami and Port-au-Prince). With a patch on his left-eye, he looks almost pirate-like, but he doesn’t make anyone walk the plank. Hip-hop is his cause, and is a huge part of his life. In his raps, he speaks about life in the slums of Haiti. The song “Move rèv” (Bad Dream), for instance, depicts the dissatisfaction of of living in an environment with just a glimmer of hope on the horizon. Another song “Nouvo Fenomèn” (New Phenomenon) has the rapper spitting out about his credibility in the streets and on the mic.

Tell us about yourself.

That’s usually the hardest question to answer because I think life is a perpetual search for self and humans, being miniature universes do not make that question any easier for me so you can understand my dilemma. But I’m Haiti- bred, lived there most of my life, more precisely in Simon Pele—SP. Easy-going—complex at times, pretty regular really.

Where did this penchant for hip-hop come from?

I was in high school in Haiti—and a friend introduced me to Haitian rap, although I used to listen to American rap, I didn’t understand a word they were saying at the time but it resonated with me beyond the mere lyrical aspect of it because it didn’t musically fit with the status quo, and I was the same way kind of an oddball—-if you may.

Who gave you your stage name?

I came up with it. I must say that it has evolved to what it is now through time.

Can you recall your first-ever performance?

Yes—clearly.

What was it like?

It was a small venue. At the time, rap in Haiti was a mixture of rap and ragga, and me and a couple of friends, namely the Freedom Force performed. I remember being congratulated on a superb performance.

Hip-hop has always been popular, especially with school-aged kids. Knowing that, do you think that rappers bear a certain responsibility in terms of lyrical content?

Young people from ghettos and slums looking for a way out, found in hip-hop a[n outlet] to express their true feelings, that being said, the language used in hip-hop is usually one of rage and rebelliousness and may be more explicit than most because it expresses frustration and anger. But in Haiti, it was the other way around. When it started, the message was very positive and not profane at all—aside from one or two suggestive songs. The rappers who are conscious and caring of who their target audience—that is school-aged kids—will go through the effort of making the lyrical content of their songs as “clean” as possible, but sometimes a profane word or phrase is just part of the expressiveness and creativity of an artist, and I must admit, I personally don’t always do away with explicit lyrical content.

Speaking about lyrical content, how involved are you in the creative process of your records?

Musically sometimes, I’m involved in the creative process, producers closer to me—like Episode for instance— would listen to my ideas and create something from that. As far as writing goes, I’m responsible for all my lyrics and lyrical arrangements.

Can you describe your overall creative process?

My start-up point could be anything, from an idea for a whole concept of a song to a simple sentence, or even a word. I would look for a rhyme sometimes and a whole song ensues from that. On the other hand, if someone has his or her own concept for a project I would ask for the details of it—so I don’t stray away from their visions.

What are the elements that make a rapper a great MC?

To go from rapper to MC, one must transcend the genre and become an artist, arriving at a point where the style can fit any genre without sounding falsified as to appear as something being forcibly done. Rapping is easy. It is just words on a particular music at a certain rhythm or flow. MC-ing involves the crowd, the attitude, the artistry—the moment of truth that may make or break a moment. Once someone achieves true comfort with him or herself, along with the mastery of the chosen craft, he or she is on the path to become a great MC—or any type of artist for that matter.

Now, what do you like most about being a rapper?

To quote the French rapper Kery James: “La banlieue a une voix, je ne suis qu’un de ses haut-parleurs”—the neighborhood has a voice, and I’m just one of its speakers—I like the louder voice that it allows me to have.

Do your parents support your career as a hip-hop artist?

I always had the support of my family as long as it is something positive this is of the many blessings I have.

I was surprised once to read this interview with this rapper, in which he cited a gospel-R&B artist as one of his influences. Who has been pretty influential in shaping you as an artist, that if people knew, they’d be surprised?

With my dad, I listened to a lot of different kinds of music ranging from Meridional, Tropicana, Toto Necessité, Rodrigue Millien etc. I remember they used to have this contest in Haiti sponsored by American Airlines. These songs still rang so deeply with me. I’m a mixture of this era and the new one—balled into one. Hip-hop and Rap became my favorite kinds of music because I fitted in with the outcasts. But as far as influences go, if I start naming them, we’ll be here awhile. You will find me listening to Maurice Sixto with a grin on my face, or “Pelen Tèt” by Frank Etienne with the same grin, the artistry behind these masterpieces remain timeless, anything with that feature influenced me greatly.

Busta Rhymes once said in an interview: “Hip-hop reflects the truth, and the problem is that hip-hop exposes a lot of the negative truth that society tries to conceal. It’s a platform where we could offer information, but it’s also an escape.” What are your thoughts on this?

Hip-hop remains a contemporary sociological mine containing inside the depth of its lyrical contents the trends of the era, the habits of a particular ethnicity, style and language of the day. It’s a medi[um] on its own terms, making it a very powerful vehicle for truth expressions. I must agree with Busta Rhymes—one of my favorite MCs by the way—that it is also an escape, because I use it many times as just that.

Do you personally set out to pass on social messages in your own compositions?

I always try even when I’m ego-tripping to say something positive [so] that the younger generation that may be listening to me can take away with them as a life lesson. I’m conscious of what power hip-hop holds and what it can do to or for a young and easily impressed mind.

If you could go back in time and give yourself some advice about your artistic journey to come, based on all the things you know now, what would you say to that younger version of yourself?

I wouldn’t [say anything]. I am this version of myself with faults and flaws because I’ve been the young version of myself. Changing anything [would] change the [current version of me]. I wouldn’t want to change that.

What are some of the things you’re hoping to accomplish over the course of your career?

Beside songs, albums, videos, shows, I would like to leave a legacy of true expression of self—in the words of Bruce Lee—and create a platform where young artists can showcase their talents.

Miami’s very own rapper Zoey Dollaz will debut his song “Port-au-Prince” on the fourth of July at 5:09 p.m., a nod to Haiti’s area code. The song will feature ATL’s Future, Lil Durk, and Casey Veggies.

In an interview with the radio show “The Breakfast Club” earlier this year, the rapper spoke about being born in Miami, and being shipped off to Haiti during his early years, only to be sent for by his family during his childhood.

On the cover of the “Port-au-Prince” mixtape, Zoey Dollaz sits starring defiantly at his voyeurs. He’s wearing a stylish jacket and behind him are a stack of vintage television screens showing images from Haiti’s past.

One of the hottest breakout rappers of the year, Zoey Dollaz is on the Freebandz record label (Future’s label via Epic Records). After he blew up with his track “Blow a Check”, industry pundits were looking left and right to see who would snatch him first, and Future beat out everybody and got his boy…quick!

Check out the preview video of “Port-au-Prince”, in which the rapper spits in Haitian Creole and English.

Video via HipHopDX

In which…in which I continue my conversation with the rapper-producer-songwriter-music mogul Christopher “Freedom” Laroche. If you missed the first part of this interview, CLICK HERE.

Kreyolicious: I was reading that you have a deal with Universal. That’s every rapper’s dream…to be signed to a record label of that caliber. How did that happen?

We’ve had a situation with Universal for quite some time now and [we] are excited for the many new opportunities that are coming towards us as we speak. We can’t discuss everything yet, but just know that new Freedom is coming very soon—and will be everywhere.

Kreyolicious: What makes your heart beat with the most pride?

To see people appreciate something I started with nothing but a dream perseverance and my God-given talent. To make music with a purpose and give people strength with the message.

Kreyolicious: There’s a song that you have called “Manman” that I honestly can’t get over. It’s about a son’s relationship with his mother. Did the lyrics come easily to you?

Those lyrics came so naturally because I have a priceless relationship with my mother. That’s that real unconditional love. If anybody appreciates Freedom music, it’s because of the way she raised me.

Kreyolicious: As a rapper, do you struggle with and find yourself torn between creating meaningful songs that can move people’s hearts and souls, or songs that move their bodies, but not much else? Especially since people who do the latter tend to get ahead faster?

When people hear my records, they have to be able to connect to them—so I try to stay as real as I can be.

Kreyolicious: On your next album, will your fans get to hear more love songs from you?

They actually will. I really didn’t want them to ever hear any love songs when I started. I was like, “Nah, dawg. No love songs, fam”. Then I realized that love is part of the revolution. Love is part of that and it might be the biggest part of it. Back then, it was me trying paint light. Now, I realize that light consists of a lot of things and we have to harvest these things and bring them together to create that. This is a movement.

Kreyolicious: Those love songs will have lots of begging and pleading?

I write my love songs from the soul. Not really into begging and pleading for anything, so I guess they sound like a real love movie should look. You can expect all aspects of true love in those songs.

Kreyolicious: What else is next for you?

I’m making theme songs for change, and I wanna remain what I am which is the voice of the people, But not “a people”, “the people worldwide”. Focusing on making every aspect of Freedom global and feel like a real pioneer with our approach. Were bringing realness back! Real music, real soul, real messages, real life. I live this. It’s not just a song—ever.

Also, definitely before end of 2015, the new Kreyol album will be out. I have just been so focused on making sure everything is ready. International songs start dropping before summer. We have so many exciting records and features to share with the world…that I am excited!

Kreyolicious: What if the year ends, and you don’t keep your promise about releasing a new album. What then?

Then Kreyolicious and a long line of Haitian people are going to kick me, and I like to stay clean so I’m gonna do my best to keep that promise.

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