Reason First: Is Blueface the Truest Rapper Alive?

Like Morris Chestnut’s character Ricky Baker in the seminal film Boyz n the Hood (1991), Jonathan “Blueface” Porter possessed designs to play college football. Unlike Baker’s character, Porter actually spent a stint playing football for Fayetteville State University in North Carolina. Porter represents yet another hip-hop artist with an easy flow, laid-back persona, and intriguing presence, but can another gang-related rapper crossover to the mainstream? With lyrics like, “that boy got a necklace talking out his neck ‘til I leave him neckless” (emphasis mine), are testament to the gritty realism that continues to permeate through Porter’s work. His slim output, unlike the prodigious oeuvre of other California rappers like Earl “E-40” Stevens and Brandon “Lil’ B” McCartney, may grow and allow him the opportunity to excel at his craft.

What hinders the young man is what so many other hip-hop artists contend with: the law. In an apparent self-defense move, Porter fired shots from a firearm against a man who allegedly attempted to rob Porter. He shot at the would-be attacker’s occupied vehicle, which is a felonious act. That is what is so curious about young rappers in the street coming into the corporate structure of America. Once they come into some money, get the glint of the limelight in their eyes, then they turn around and show just how street-oriented they are. Now, while there is nothing inherently wrong with being from depressed locations, otherwise known as “the hood,” it is the mentality that trails rappers like a specter in the night. Porter’s creative efforts have highlighted his talent and his ability to control the flow and say whatever he wants onto a recording. Respect is due to him for challenging the idea of a young man whose idealism extends to running and owning businesses like a barber shop outside of music.

His ventures may one day rival the “side hustles” of the aforementioned Stevens and Ermias “Nipsey Hussle” Asghedom. The contributions to the hip-hop genre have catapulted Porter into the position of power with a few hot bars and witty lines, like in the song “Respect my Crypn”: “Hide the wet sign just to catch him slippin'.” Crammed into this gem of a bar are far too many syllables for the instrumentation. But Porter makes it work. It’s as if he is tempting the listener to pay more attention to the mood and atmosphere, rather than on lyrical heft. He has begun to master the dynamics that go into making a substantial rap record. With help from Belcalis “Cardi B” Almánzar and Keenon “YG” Jackson, Porter is poised to gain even more attention on the most powerful force on the planet: The Internet, AKA the Information Machine. From his days rocking high school crowds atop his Mercedes-Benz to planning a tour with Dominique “Lil’ Baby” Jones. Porter has already proven that he has potential in this game. It shows that he far out measures the expectations of those who say that he is just another offbeat rapper who has yet to rap about other subjects than gang life.

Porter’s nonchalance is akin to fellow Crip and rapper Calvin “Snoop Dogg” Broadus. He seems to be a hit with the ladies who appreciate his youthful appearance and an array of tattoos, including one of Benjamin Franklin on his cheek. With time, the rapper may pursue the upper echelons of rap stardom held by hip-hop acts like Quavious “Quavo” Marshall and Aubrey “Drake” Graham. Porter’s dedication to making a song is much like his serious level of play on the football field. He knows what he is doing. Just as he racked up touchdowns but eventually dropped out from college, it’s like his offbeat cadence. One can tell that he is focused on the track, but can still resign himself from going too hard. But he takes the rap game as a significant part of his life. The ball is in his hands. What he does with it is up to him.