Helen Keller
Cazwell Lyrics
Manila Luzon:
Yaaaaaassssss
Helen Keller!
I got pro nails
On my toe nails
With a weave cut down
To my coat tails
When the boat sails
Get ready
Steady
Where's my foundation?
I'm impatient
My rice gets sticky
When my man's on probation
I give him yellow fever
A believer
Hand on the stick
Of my pink
Two-seater
He can't get enough
Of this siamese
Kitty cat
He can't stick into an
Itty bitty jimmy hat
He's my Bruce Lee
Don't stop me
Get the fuck off me
Brew me
Some coffee
Let the by gones
Be my gones
Queen of Siagon
McQueen nylons
Face by Kryolan
Don't try me hunny
I'll go to jail
I got rail money
Cazwell:
I don't see her
Helen Keller
I don't see her
Helen Keller
I don't see her, I don't see her, I don't see her
Helen Keller
I don't see her
Helen Keller
I don't see her
Helen Keller
I don't see her, I don't see her, I don't see her
Helen Keller
Someone call Candy Finigan
My addictions
About to begin again
Got my balls slapin'
On your chin again
For longer than
Gone with the wind again
Then
Again
Called it quits
Chopped your head
Zipped you up in a space bag
Under my bed
Now I know
Where you are
When I need you
Break out the brail
Helen Keller
Gonna read you
I don't see her
I don't hear her either
I disapeared to the sun in Abiza
Layin' outside
Where
The tall palm trees
Are
Givin' y'all more
Dark marks
Where your knees are
Ya went from my green room
To the steam room
Kicked your ass
Out the house
'Cuz I need room
Now I got that bitch
Locked in the cellar
That's why I don't see her
Helen Keller
I don't see her
Helen Keller
I don't see her
Helen Keller
I don't see her, I don't see her, I don't see her
Helen Keller
I don't see her
Helen Keller
I don't see her
Helen Keller
I don't see her, I don't see her, I don't see her
Helen Keller
Manila Luzon:
Fuck it gets better
It gets gorgeous
Patience thin
Heart enormous
My girls in the club
Can't ignore us
Track just dropped
Learn the chorus
Champagne
For effervescence
F train
Under bright flourescents
Lipstick fuck anti depresents
Wash my hair with Herbal Essence
Don't see me
Outta luck boss
Layer this beat
Extra duck sauce
Get that lovin'
Spread that muffin
Heat the run
In an easy bake oven
Boys on my mind, coins on my mind
Annoyed by my grind
I'm one of a kind
Eye of the tiger
Leo my sign
Wanna sip this cider?
Get in line bitch!
Cazwell:
Rewind bitch
My time bitch
See me on twitter
Instagram and vine, bitch
Fuck with me?
That's a hella nope
You couldn't see me
With a telescope
The only dial you'll be gettin'
Is some yellow soap
To wash that rachet ass twice
I know I'm nice
(Listen)
I admit I'm a bit vain
That's 'cuz I'm in the shit
You a shit stain
Cheat twice then split
Ain't she changed
Caught the clap like that
Ain't shit strange
All I need is my name
I don't wanna clear it
All you want is fame
But ain't no where near it
Wanna play a love game
I don't wanna hear it
Plus you dead to me now
And I don't talk to spirits
Still trill
Ill will
Fresh on kilter
Picture that
Hashtag
No filter
I don't see her
Helen Keller
I don't see her
Helen Keller
I don't see her, I don't see her, I don't see her
Helen Keller
I don't see her
Helen Keller
I don't see her
Helen Keller
I don't see her, I don't see her, I don't see her
Helen Keller
[Manila Luzon:]
We're done
I don't see you
I don't hear you
We're through
I've helen kellered
Your ass
Buh-by!
Contributed by Maya E. Suggest a correction in the comments below.
To comment on specific lyrics, highlight them
Rapper Cazwell is one of the more colorful characters to arrive on the NYC club scene since the ’90s heyday of Deee-Lite and RuPaul. He fires off raunchy rhymes over bumping club-friendly beats, boasts a distinctive visual flair, and knows how to rock a crowd live. His wicked verbal dexterity has prompted some critics to compare him with another blond MC with a big gay following, but it’s hard to imagine Eminem dropping lines like "Take off the Read Full BioRapper Cazwell is one of the more colorful characters to arrive on the NYC club scene since the ’90s heyday of Deee-Lite and RuPaul. He fires off raunchy rhymes over bumping club-friendly beats, boasts a distinctive visual flair, and knows how to rock a crowd live. His wicked verbal dexterity has prompted some critics to compare him with another blond MC with a big gay following, but it’s hard to imagine Eminem dropping lines like "Take off the Speedo/I’ll eat you like a Cheeto/You knew I was a freak/Don’t look surprised/When your ankles end up behind your eyes" (from the Cazwell tune "Do You Wanna Break Up?"), or rhapsodizing about shooting his load on a Times Square hustler’s mug, as Cazwell does in "Is It All Over Your Face?"
That Cazwell is an openly queer artist making his mark in an infamously homophobic genre is extraordinary all by itself. That he began his career in Worcester puts his story somewhere near the twilight zone. From his point of view, his Worcester roots are by far the strangest part of the tale. "I don’t even care if I’m considered hip-hop," he says. But he shudders at the memory of a poll from the early ’90s that cited his home town as the nation’s second-ranked destination for retirees — right behind Miami. At that point, he realized Worcester offered two choices: grow up and get out, or grow old and give up.
"People moved to Worcester to settle, and to die. I felt trapped. I had to leave." Getting from Point A — rapping at skate-punk keg parties and staying closeted until he was 18 — to Point B in NYC took longer than he expected. Nevertheless, he’s now being courted by labels and is set to appear at Elton John’s Life Ball AIDS benefit in Vienna May 21. (Before that, on May 12, he’ll be performing in Cambridge at ManRay’s weekly gay night, "Campus.")
Cazwell cut his teeth rhyming with another Worcester native, lesbian rapper Crasta-Yo. Although that does conjure images of an East Coast My Own Private Idaho, he points out that they weren’t particularly politicized or very different from other artsy teens. "When we were kids, the Beastie Boys were really big. We always tried to be like them, because they were never dull." In between smoking pot and rapping about Converse sneakers and cheeseburgers, the duo befriended members of the Worcester Artists Group and started inching toward a musical career. In 1995, Cazwell enrolled at Boston College, and lining up local gigs for himself and Crasta — they performed together first as Wordsworth and later as Morplay — became a daunting task. "Everything in Boston is 10 times harder. And I was doing it all by myself. I didn’t know what a press kit was, or how to make phone calls. But I learned, and I built a foundation, and by the time I got to New York, I was so strong."
That’s not to suggest NYC embraced him straight off. A year before moving to Boston, Cazwell was making regular weekend jaunts to New York to palm off cassettes and rap for anyone who’d listen. One night, he met notorious DJ and promoter Larry Tee, whose credits include co-writing RuPaul’s 1993 hit "Supermodel" and spearheading the Electroclash craze. By 1999, when Cazwell moved to NYC, his skills had improved sufficiently for Tee to take notice. "Larry has a really intense, unique music collection," says the rapper, who lapped up every Kraftwerk and Schoolly D groove the DJ laid on him. And while Cazwell labored over lyrics, Tee drove home the importance of hanging rap rhymes on big musical hooks: "Larry taught me the importance of having your own sound." Tee also managed Morplay briefly, and he included "Check Your Pulse" — a cut that features the duo swapping rhymes in English, gibberish, and Pig Latin — on the now seminal 2001 compilation Electroclash.
Morplay broke up in 2002, whereupon Cazwell went solo. Former Deee-Lite manager Bill Coleman now oversees his career, and he’s poised to sign a deal with a large NYC-based indie label. In the meantime, five Cazwell tracks and two jaw-dropping videos are available at www.cazwell.com. He’s also collaborated with the pottymouth party girls Avenue D — he’s on the track "The Sex That I Need" on their Bootleg, which they released last year on their own Avenue Dreams label — and he’s been writing a concept album for nightlife icon Amanda Lepore.
Lepore will join Cazwell at ManRay, a gig he views as a triumph of sorts. "When I lived in Boston, I never got a gay gig. All I wanted was to go someplace where people go to dance, hop on stage, and keep the crowd dancing to my music. But it never happened. And now, five years later? They’re flying me up. I must be doing something right."
That Cazwell is an openly queer artist making his mark in an infamously homophobic genre is extraordinary all by itself. That he began his career in Worcester puts his story somewhere near the twilight zone. From his point of view, his Worcester roots are by far the strangest part of the tale. "I don’t even care if I’m considered hip-hop," he says. But he shudders at the memory of a poll from the early ’90s that cited his home town as the nation’s second-ranked destination for retirees — right behind Miami. At that point, he realized Worcester offered two choices: grow up and get out, or grow old and give up.
"People moved to Worcester to settle, and to die. I felt trapped. I had to leave." Getting from Point A — rapping at skate-punk keg parties and staying closeted until he was 18 — to Point B in NYC took longer than he expected. Nevertheless, he’s now being courted by labels and is set to appear at Elton John’s Life Ball AIDS benefit in Vienna May 21. (Before that, on May 12, he’ll be performing in Cambridge at ManRay’s weekly gay night, "Campus.")
Cazwell cut his teeth rhyming with another Worcester native, lesbian rapper Crasta-Yo. Although that does conjure images of an East Coast My Own Private Idaho, he points out that they weren’t particularly politicized or very different from other artsy teens. "When we were kids, the Beastie Boys were really big. We always tried to be like them, because they were never dull." In between smoking pot and rapping about Converse sneakers and cheeseburgers, the duo befriended members of the Worcester Artists Group and started inching toward a musical career. In 1995, Cazwell enrolled at Boston College, and lining up local gigs for himself and Crasta — they performed together first as Wordsworth and later as Morplay — became a daunting task. "Everything in Boston is 10 times harder. And I was doing it all by myself. I didn’t know what a press kit was, or how to make phone calls. But I learned, and I built a foundation, and by the time I got to New York, I was so strong."
That’s not to suggest NYC embraced him straight off. A year before moving to Boston, Cazwell was making regular weekend jaunts to New York to palm off cassettes and rap for anyone who’d listen. One night, he met notorious DJ and promoter Larry Tee, whose credits include co-writing RuPaul’s 1993 hit "Supermodel" and spearheading the Electroclash craze. By 1999, when Cazwell moved to NYC, his skills had improved sufficiently for Tee to take notice. "Larry has a really intense, unique music collection," says the rapper, who lapped up every Kraftwerk and Schoolly D groove the DJ laid on him. And while Cazwell labored over lyrics, Tee drove home the importance of hanging rap rhymes on big musical hooks: "Larry taught me the importance of having your own sound." Tee also managed Morplay briefly, and he included "Check Your Pulse" — a cut that features the duo swapping rhymes in English, gibberish, and Pig Latin — on the now seminal 2001 compilation Electroclash.
Morplay broke up in 2002, whereupon Cazwell went solo. Former Deee-Lite manager Bill Coleman now oversees his career, and he’s poised to sign a deal with a large NYC-based indie label. In the meantime, five Cazwell tracks and two jaw-dropping videos are available at www.cazwell.com. He’s also collaborated with the pottymouth party girls Avenue D — he’s on the track "The Sex That I Need" on their Bootleg, which they released last year on their own Avenue Dreams label — and he’s been writing a concept album for nightlife icon Amanda Lepore.
Lepore will join Cazwell at ManRay, a gig he views as a triumph of sorts. "When I lived in Boston, I never got a gay gig. All I wanted was to go someplace where people go to dance, hop on stage, and keep the crowd dancing to my music. But it never happened. And now, five years later? They’re flying me up. I must be doing something right."
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Sean Bateman
I really cannot watch this video or listen to this song enough. I love it!!! Manila is the shit and Cazwell is sexy as hell!!! Plus " You're dead to me now and I don't talk to spirits"...part of my everyday vocab. Really thank you to Cazwell and Manila for this collaboration. It makes me feel good everytime I hear it!!
Zay Nation
Cazwell is truly a talented artist
Ibuki Mioda.
OMG MANILA RAPING, MADE MY WIG FLY TO THE NORTH POLE.
Captain TAC
I think you mean rapping. Def not raping :/
Hen Dogg
RIP Roxy! You are so missed!!!
ebonieprincess1972
Now that....was a DRAG TRACK😎😎
Ellen Coleman
Roxy slayed!!!
Young Reptilian
really cool rap IMO and the beat is fresh
cinefastic
This should’ve been Manila’s talent on AS4
Saint Putch
here in pandemic 2020 returning from when this was first out. and only 57k?!? Naomi Snakes penance for Manila Luzon should be to watch this video until it reaches 1 million.