After his parents, a Muslim father from Oyo State, Nigeria and a Christian mother from the United States, separated in his early teenage years, Chamillionaire settled into a notoriously dangerous inner-city neighborhood in North Houston called Acres Homes, which he elaborated upon during an interview with Houston's 104.9 KPTY on October 3. Rap and other forms of secular music, which his parents had highly opposed in their household, became very appealing to the young Hakeem Seriki. Inspired by local rap acts such as The Geto Boys, 8 Ball & MJG, and UGK, as well as other national acts such as N.W.A. and Public Enemy, Chamillionaire began to compose his own ponies.
At a young age, Chamillionaire along with fellow rap music artist and childhood friend Paul Wall, had decided to make music their careers. One day while promoting themselves at a Texas event, Paul Wall and Chamillionaire ran into Michael 5000 Watts, a popular mixtape DJ from the Northside. After proposing to do promotions for Watts' company, the Swishahouse, Chamillionaire and Paul Wall came to Watts' studio and convinced Watts to allow them freestyle on an intro to Watts' radio show on Houston’s 97.9 The Box. Watts, who himself was convinced to rap on the record, enjoyed the freestyle so much that he put the verses on one of his mixtapes. The freestyle became so popular in the streets that Chamillionaire and Paul Wall became regular staples on Houston's mixtape circuit, appeared on several of Watts' mixtapes, and became permanent members of Swishahouse.
Although Paul Wall and Chamillionaire were making much noise in the streets by rapping on Watts' mixtapes, they, along with several other members of the Swishahouse, became frustrated with the lack of money they were receiving from the mixtapes. After fellow member Slim Thug left the label, Chamillionaire and Paul Wall followed and started their own mixtape group known as The Color Changin' Click. Each successive mixtape released by The Color Changin' Click led to more business opportunities; the most notable of which being a contract to do a full album for Paid in Full Records. A one album contract was then negotiated between the Color Changin' Click and Paid in Full's label head, DJ Madd Hatta from 97.9 The Box, and the CCC's first album, Get Ya Mind Correct, would go on to sell over 100,000 copies.
The sale of all these albums without the backing of a major deal caught the attention of several major labels wanting to sign Chamillionaire and Paul. Chamillionaire and his labelmates decided to remain independent, however, until the right deal came along. While working on his second album with the Color Changin' Click, Chamillionaire began to have creative differences with Paul Wall, so much so that it was decided that the two emcees should each release solo albums that would be packaged together. When Chamillionaire became dissatisfied with how things were being resolved, he left Paid in Full and his almost complete album after fulfilling his contractual obligations to focus on promoting his mixtape label Chamillitary instead. As a kid, Chamillionaire was a big fan of MANKind, also known as Big June.
Chamillionaire's Myspace
This kid from Houston, Texas has some nerve. That's what came to mind as you watched an MTV special in early 2005 showcasing H-Town's commercial and artistic re-emergence on the rap scene. Following his brazen freestyle, the focused and much-heralded MC known as Chamillionaire faced a national audience and launched a swagger-filled proclamation on camera: "I'm the truth from Texas..." While such boasting may seem par-for-the-course in the prideful 25-year-plus history of hip-hop, the latter ambitious statement aptly describes Chamillionaire. It's the reason why he earned the lofty alias "The Mixtape Messiah," a title Cham was crowned after independently selling over 100,000 copies of the Get Ya Mind Correct album, and by selling thousands of his numerous mix tapes. It's why the former member of Houston's legendary mix-tape power Swisha House garnered coverage in such major hip-hop publications as Source and XXL without the backing of a major deal. When the Houston lyricist set off a major label bidding war to distribute his Chamillitary Records, it became abundantly clear throughout the 'hood and the music industry Chamillionaire is indeed the truth.
With his major-label debut The Sound Of Revenge set for release on Universal Records, Chamillionaire is poised to take his place among Houston's current hip-hop elite, including the new generation of rhyme-spitters such as Lil' Flip, Slim Thug, Mike Jones and Paul Wall, as well respected vets UGK and Scarface. "You call out a lot of rappers and ask them why they are the best and they are going to tell you everything but the music," Cham laughs. "They will tell you that they are the best because they have some nice rims, a chain, and a mansion." He then adds in a straight-no-chaser tone, "You've heard all the hype about Chamillionaire; that he's sick with the lyrics, sings hooks, and represents the streets and the clubs. But I just want to come as close as possible to living up to my reputation."
Chamillionaire recruits an impressive list of talent on his debut effort, including Lil' Flip, Bun B, Scarface, and Krayzie Bone, as well as in-demand producers Scott Storch (50 Cent), Mannie Fresh (Lil' Wayne, Baby, Juvenile) and Cool & Dre (The Game). But, it's his work with Atlanta studio kings The Beat Bullies (1Big Boi/OutKast) that sets the tone for much of The Sound Of Revenge's diverse platform. "They understand me," Cham says of the in-house producers. "There are a lot of producers that have dope beats, but they don't know me as an artist. [The Beat Bullies] being from Atlanta, can take it to the strip clubs, the streets and to the radio."
The name Chamillionaire represents the unique style that defines the talented urban artist, and his ability to change and adapt on the fly, forcing people to respect the true breadth of his talent. And just as this MC moniker exemplifies, Chamillionaire is anything but predictable and most certainly versatile. "Picture Perfect" featuring Bun B comes off as a lyrical nod to the classic 'hood swagger of UGK, while the Beat Bullies'-anchored "Radio Interruption" showcases Cham's prowess for walking the blurred line between street praise and mass appeal. The storytelling brilliance of "No Snitching" (Cool & Dre), finds Cham detailing the unwritten laws of 'hood politics. On the Scott Storch produced "Turn It Up," Cham tag-teams with freestyle king Lil' Flip as they spit over an infectious track that is Houston's answer to a summer club banger. And the soulful "Here Comes The Rain" finds Chamillionaire exploring the daily struggles of life with heartfelt lyricism and ghetto angst.
"It's a very personal song and the title says it all," Cham says of the revealing track. "In a person's life the rain symbolizes the struggles we all go through. Whether you are dealing with losing a loved one or your rent is due on the 1st, but it's the 3rd and you don't have it. I'm just talking about surviving the tough times."
Chamillionaire has definitely seen his share of struggles on his road to redemption. Born to a Muslim father and Christian mother, secular music was banned in his household. Chamillionaire was barely a teenager when he moved to a low-income neighborhood in the notorious North Side of Houston, following the separation of his parents. By the early '90s, however, rap rebels such as NWA, Public Enemy, as well as hometown heroes The Geto Boys, 8-Ball & MJG and UGK would inspire a young Hakeem to write his own rhymes.
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Chamillionaire's Myspace
Naked Man
Chamillionaire Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
This here is Leo Devlin
I'm callin on the behalf of Sackerson Corporation
We run the corporate complaints for the Allegasco
Down there in Alabama you're an Allegasco employee correct?
(Right) Yes sir well I'm tryin to call to follow up with you
On the incident that occurred, when you (Maaaaaan)
(Fuck you and that motherfucker what told you that)
The person you called is no longer on the l
(Uh-huh whatever) what I'm calling to offer you
(Man I don't get ay let me tell you one thang)
(I don't care what you wanna)
(Okay ask me what what you wanna know)
Thank you now
The complaint form I have here says that
We have received reports that you had gotten into
An altercation with a naked customer
Whom's gas you was tryin to cut off a couple of months ago
Now well in exchange for savin yo' job
We're willing to offer you (That must been your punk ass)
(Who gas I was cutting off and you was naked)
I would never strip (That's what you tryin to do)
(Ain't you ain't you one of them uhh what you call em)
(What you call them thangs ahh
You a BE-ITCH)
A what (A BE-ITCH) A be-itch (Yeah)
Ay ay why would you say something like that sir
(The same reason you would call and ask me)
(Some stupid ass shit like that sir) look look
All I did was ask you whether or not
You got into a fight with a naked man now is that true or not
(And ah dat musta been you I got into a fight with)
I wouldn't fight yo' ass naked (You was that bitch I dealt with)
(With a G-string and a halter top on one)
I'm tryin to get you I'm tryin to save your job
(Motherfucker you can't save shit for me)
I'm tryin to save your job and you wanna
That's the problem with black folks (Maaaaan fuck you)
That's the problem that's the problem (That's the problem)
Hold on (Niggaz like you)
Boy I'll come to Birmingham and whup that ass two times
Scabba scabba (Bitch you come to Birmingham)
(Make me get a case for your motherfucking ass)
You already well you bout to get one now from this naked nigga
Who you got into a fight with
You probably wouldn't be actin like this
If you knew who your real daddy was
Is that the problem (I'm your motherfucking daddy hell)
I woulda been your daddy
But I only have to be with your momma
On Mondays and Thursdays and
(Man let me tell you one thang
You wasting my motherfucking minutes)
(I ain't got time to talk to you)
You probably ain't got but for minutes left on your daytime minutes
(Where I'm at now probably ain't got but two times yo' bitch ass)
Hangs up the phone
The lyrics of Chamillionaire's song "Naked Man" depict a phone conversation between the artist and a representative from Allegasco, a corporate complaints department. The conversation starts off with the representative introducing himself and trying to follow up on an incident that occurred involving the artist. However, Chamillionaire interrupts with frustration and anger, cursing at the representative and dismissing their attempts to communicate.
The tension arises from a complaint made against the artist, stating that he was involved in an altercation with a naked customer while trying to cut off their gas supply. The representative offers a resolution to save Chamillionaire's job, but he angrily denies the accusations, suggesting that the person on the phone was the naked person he fought with. The conversation spirals into insults and threats, with both parties arguing over each other.
The lyrics reveal a sense of frustration, animosity, and defiance from Chamillionaire. The contentious exchange between him and the representative highlights a breakdown in communication and a refusal to accept responsibility for the alleged altercation. The song sheds light on the artist's reluctance to conform to authority and his willingness to stand up for himself, even in the face of potential consequences.
Line by Line Meaning
(Hello) yeah yeah good morning (Good morning)
Leo Devlin from Sackerson Corporation is calling to follow up with an Allegasco employee in Alabama
This here is Leo Devlin
Leo Devlin is introducing himself
I'm callin on the behalf of Sackerson Corporation
Leo Devlin is calling on behalf of Sackerson Corporation
We run the corporate complaints for the Allegasco
Sackerson Corporation handles corporate complaints for Allegasco
Down there in Alabama you're an Allegasco employee correct?
Leo Devlin confirms if the person is an Allegasco employee in Alabama
(Right) Yes sir well I'm tryin to call to follow up with you
The person confirms and Leo Devlin explains the purpose of the call
On the incident that occurred, when you (Maaaaaan)
Leo Devlin refers to an incident involving the person
(Fuck you and that motherfucker what told you that)
The person responds disrespectfully and questions the source of the information
What you said
Leo Devlin asks the person to repeat what was said
The person you called is no longer on the l
Leo Devlin mentions that the person he called is no longer on the line
(Uh-huh whatever) what I'm calling to offer you
The person dismisses Leo Devlin's previous statement and Leo Devlin explains the purpose of the call again
(Man I don't get ay let me tell you one thang)
The person expresses frustration and wants to convey a point
(I don't care what you wanna)
The person implies that they don't care about Leo Devlin's intentions
(Okay ask me what what you wanna know)
The person challenges Leo Devlin to ask the question he wants to ask
Thank you now
Leo Devlin expresses gratitude and continues the conversation
The complaint form I have here says that
Leo Devlin mentions a complaint form he has
We have received reports that you had gotten into
Leo Devlin informs the person that there are reports of an altercation
An altercation with a naked customer
Leo Devlin specifies that the altercation was with a naked customer
Whom's gas you was tryin to cut off a couple of months ago
Leo Devlin refers to an incident a few months ago where the person attempted to cut off gas
Now well in exchange for savin yo' job
Leo Devlin offers to save the person's job
We're willing to offer you (That must been your punk ass)
The person interrupts and accuses Leo Devlin of being involved in the incident
(Who gas I was cutting off and you was naked)
The person implies that Leo Devlin was the naked customer whose gas they were trying to cut off
I would never strip (That's what you tryin to do)
Leo Devlin denies being the naked customer and accuses the person of trying to manipulate the situation
(Ain't you ain't you one of them uhh what you call em)
The person tries to recall a term or reference for Leo Devlin
(What you call them thangs ahh
You a BE-ITCH)
The person insults Leo Devlin by calling him a derogatory term
A what (A BE-ITCH) A be-itch (Yeah)
Leo Devlin seeks clarification on the derogatory term used
Ay ay why would you say something like that sir
Leo Devlin questions the reason for the person's offensive statement
(The same reason you would call and ask me)
The person responds sarcastically, implying that Leo Devlin asked offensive questions as well
(Some stupid ass shit like that sir) look look
The person dismisses Leo Devlin's inquiry and emphasizes the stupidity of the situation
All I did was ask you whether or not
Leo Devlin defends his question, saying he was simply seeking information
You got into a fight with a naked man now is that true or not
Leo Devlin reiterates his original question about the altercation
(And ah dat musta been you I got into a fight with)
The person claims that Leo Devlin was the naked man they fought with
I wouldn't fight yo' ass naked (You was that bitch I dealt with)
Leo Devlin denies being the person they fought with and insults the person back
(With a G-string and a halter top on one)
The person further mocks Leo Devlin's alleged attire during the altercation
I'm tryin to get you I'm tryin to save your job
Leo Devlin clarifies his intention to help and protect the person's job
(Motherfucker you can't save shit for me)
The person rejects Leo Devlin's assistance and expresses self-sufficiency
I'm tryin to save your job and you wanna
Leo Devlin emphasizes his desire to save the person's job despite their resistance
That's the problem with black folks (Maaaaan fuck you)
Leo Devlin makes a racial generalization and the person responds disrespectfully
That's the problem that's the problem (That's the problem)
The person agrees sarcastically, mocking Leo Devlin's statement
Hold on (Niggaz like you)
Leo Devlin interrupts the person's remark and makes a derogatory comment
Boy I'll come to Birmingham and whup that ass two times
Leo Devlin threatens to physically harm the person if he comes to Birmingham
Scabba scabba (Bitch you come to Birmingham)
The person responds with mocking gibberish and challenges Leo Devlin to come to Birmingham
(Make me get a case for your motherfucking ass)
The person threatens Leo Devlin and implies legal action against him
You already well you bout to get one now from this naked nigga
The person implies that they will physically harm Leo Devlin, just like the previous altercation with the naked customer
Who you got into a fight with
Leo Devlin seeks confirmation of the person's involvement in the altercation
You probably wouldn't be actin like this
Leo Devlin suggests that the person's behavior would be different if they knew their biological father
If you knew who your real daddy was
Leo Devlin implies that the person has uncertainty about their paternal lineage
Is that the problem (I'm your motherfucking daddy hell)
The person suggests that Leo Devlin is their biological father and responds antagonistically
I woulda been your daddy
Leo Devlin implies a hypothetical situation where he could have been the person's father
But I only have to be with your momma
Leo Devlin explains that he had a limited relationship with the person's mother
On Mondays and Thursdays and
Leo Devlin specifies the days when he was involved with the person's mother
(Man let me tell you one thang
You wasting my motherfucking minutes)
The person interrupts and accuses Leo Devlin of wasting their time and phone minutes
(I ain't got time to talk to you)
The person states that they don't have time to talk to Leo Devlin
You probably ain't got but for minutes left on your daytime minutes
Leo Devlin suggests that the person has limited remaining minutes for their phone plan
(Where I'm at now probably ain't got but two times yo' bitch ass)
The person implies that their current location has a negative influence and insults Leo Devlin again
Hangs up the phone
The person abruptly ends the call
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind