Scoota was the head of a fittingly titled crew, YBS - Young Ballers Shining. He looked and sounded like them, and he was using his own talent to make a better life. With a checkered Louis Vuitton belt holding up expensive denim and his gold chains glistening in the sun, Scoota represented what so many young and poor Baltimoreans dream of - a way out. It explains his king-like status among students around the city. Scoota was a product of his harsh West Baltimore environment, and his music completely reflected it, for better and worse. Authenticity is not always pretty.Īnd yet, sainthood should never be a requirement of the artist. Scoota was a street rapper through and through - you won't find any head-scratching reaches for the pop charts in his discography - so he rapped as the streets talk.
His biggest hit "Bird Flu (Remix)" is a cheery-sounding ode to the potency of Scoota's "scramble, coke and smack." Too often, women in his songs are used as faceless symbols of success, and rarely in respectful terms.
His lyrics were boastful, at times threatening. rapper Shy Glizzy's video for "Cut It," Scoota is the only empty-handed figure surrounded by many looking ready for war), he was flawed, just like countless other artists of all genres before and surely after him. While Scoota refrained from holding guns in videos (in D.C. The work was paying off, as seen on The Game's Instagram, where the Los Angeles rapper acknowledged Scoota's behind-the-scenes contributions to his album, "The Documentary 2."
With each new song - including May's "Swear to God," the last single he would release - Scoota showed he was continuously refining his craft, polishing his hooks and tightening his verses for maximum effect.
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