A rhyme is a repetition of similar sounds in two or more words and is most often used in poetry and songs. The word "rhyme" may also refer to a short poem, such as a rhyming couplet or other brief rhyming poem such as nursery rhymes.

Etymology

The word rime, derived from Old Frankish language *rīm, a Germanic term meaning "series, sequence" attested in Old English (Old English rīm - "enumeration, series, numeral") and Old High German rīm, ultimately cognate to Old Irish rím, Greek arithmos "number".

The spelling rhyme (from original rime) was introduced at the beginning of the Modern English period, due to a learned (but etymologically incorrect) association with Greek (rhythmos, rhythm).

The older spelling rime survives in Modern English as a rare alternative spelling. A distinction between the spellings is also sometimes made in the study of linguistics and phonology, where rime/rhyme is used to refer to the nucleus and coda of a syllable. In this context, some prefer to spell this rime to separate it from the poetic rhyme covered by this article (see syllable rime).

Types of rhyme

The word rhyme can be used in a specific and a general sense. In the specific sense, two words rhyme if their final stressed vowel and all following sounds are identical; two lines of poetry rhyme if their final strong positions are filled with rhyming words. A rhyme in the strict sense is also called a perfect rhyme. Examples are sight and flight, deign and gain, madness and sadness.

Perfect rhymes

Perfect rhymes can be classified according to the number of syllables included in the rhyme, which is dictated by the location of the final stressed syllable.

masculine: a rhyme in which the stress is on the final syllable of the words (rhyme, sublime)

feminine: a rhyme in which the stress is on the penultimate (second from last) syllable of the words (picky, tricky)

dactylic: a rhyme in which the stress is on the antepenultimate (third from last) syllable (cacophonies, Aristophanes)

General rhymes

In the general sense, general rhyme can refer to various kinds of phonetic similarity between words, and to the use of such similar-sounding words in organizing verse. Rhymes in this general sense are classified according to the degree and manner of the phonetic similarity:

syllabic: a rhyme in which the last syllable of each word sounds the same but does not necessarily contain vowels. (cleaver, silver, or pitter, patter)

imperfect: a rhyme between a stressed and an unstressed syllable. (wing, caring)

semirhyme: a rhyme with an extra syllable on one word. (bend, ending)

oblique (or slant/forced): a rhyme with an imperfect match in sound. (green, fiend; one, thumb)

assonance: matching vowels. (shake, hate) Assonance is sometimes used to refer to slant rhymes.

consonance: matching consonants. (rabies, robbers)

half rhyme (or sprung rhyme): matching final consonants. (bent, ant)

alliteration (or head rhyme): matching initial consonants. (short,ship)

A rhyme is not classified as a rhyme if one of the words being rhymed is the entirety of the other word (for example, Ball and all).

As stated above, in a perfect rhyme the last stressed vowel and all following sounds are identical in both words. If the sound preceding the stressed vowel is also identical, the rhyme is sometimes considered to be inferior and not a perfect rhyme after all. An example of such a "super-rhyme" or "more than perfect rhyme" is the "identical rhyme", in which not only the vowels but also the onsets of the rhyming syllables are identical, as in gun and begun. Punning rhymes such are "bare" and "bear" are also identical rhymes. The rhyme may of course extend even farther back than the last stressed vowel. If it extends all the way to the beginning of the line, so that there are two lines that sound identical, then it is called a "holorhyme" ("For I scream/For ice cream").

Eye rhyme

Though not strictly rhymes, eye rhymes or sight rhymes refer to similarity in spelling but not in sound, as with cough, bough, or love, move. These are not rhymes in the strict sense, but often were in earlier language periods.

Mind rhyme

'Mind Rhyme is a kind of substitution rhyme similar to rhyming slang, but it is less generally codified and is “heard” only when generated by a specific verse context. For instance, “this sugar is neat / and tastes so sour.” If a reader or listener thinks of the word “sweet” instead of “sour”, then a mind rhyme has occurred.

Classification by position

The preceding classification has been based on the nature of the rhyme; but we may also classify rhymes according to their position in the verse:

tail rhyme (also called end rhyme or rime couée): a rhyme in the final syllable(s) of a verse (the most common kind)

When a word at the end of the line rhymes with a word in the interior of the line, it is called an internal rhyme.

Holorhyme has already been mentioned, by which not just two individual words, but two entire lines rhyme.

A rhyme scheme is the pattern of rhyming lines in a poem. Internal rhyme is rhyme which occurs within a single line of verse.

History

The earliest surviving evidence of rhyming is the Chinese Shi Jing (ca. 10th century BC). Rhyme is used occasionally in the poems of classical antiquity. For instance, Catullus wrote a poem that rhymed, given here. The ancient Greeks knew rhyme, and rhymes in The Wasps by Aristophanes are noted by a translator. Rhyme is also occasionally used in the Bible.

According to some archaic sources, Irish literature introduced the rhyme to Early Medieval Europe, though this is a disputed claim; in the 7th century we find the Irish had brought the art of rhyming verses to a high pitch of perfection. Also in the 7th Century, rhyme was used in the Qur'an. The leonine verse is notable for introducing rhyme into High Medieval literature in the 12th century. From the 12th to the 20th centuries, European poetry is dominated through rhyme.

Rhyme in various languages

English

:See English poetry

Old English poetry is mostly alliterative verse. One of the earliest rhyming poems in English is The Rhyming Poem.

Some words in English, such as "orange", are commonly regarded as having no rhyme. Although a clever poet can get around this (for example, by obliquely rhyming "orange" with combinations of words like "door hinge" or with lesser-known words like "Blorenge", a hill in Wales), it is generally easier to move the word out of rhyming position or replace it with a synonym ("orange" could become "amber").

One view of rhyme in English is from John Milton's preface to Paradise Lost: :The Measure is English Heroic Verse without Rime, as that of Homer in Greek, and of Virgil in Latin; Rime being no necessary Adjunct or true Ornament of Poem or good Verse, in longer Works especially, but the Invention of a barbarous Age, to set off wretched matter and lame Meeter; grac't indeed since by the use of some famous modern Poets, carried away by Custom...

A more tempered view is taken by W. H. Auden in The Dyer's Hand: :Rhymes, meters, stanza forms, etc., are like servants. If the master is fair enough to win their affection and firm enough to command their respect, the result is an orderly happy household. If he is too tyrannical, they give notice; if he lacks authority, they become slovenly, impertinent, drunk and dishonest.

Forced or clumsy rhyme is often a key ingredient of doggerel.

===French===

In French poetry, unlike in English, it is common to have "identical rhymes", in which not only the vowels of the final syllables of the lines rhyme, but their onset consonants ("consonnes d'appui") as well. To the ear of someone accustomed to English verse, this often sounds like a very weak rhyme. For example, an English perfect rhyme of homophones, flour and flower, would seem weak, whereas a French rhyme of homophones doigt and doit is not only acceptable but quite common.

Rhymes are sometimes classified into the categories "rime pauvre" ("poor rhyme"), "rime suffisante" ("sufficient rhyme"), "rime riche" ("rich rhyme") and "rime richissime" ("very rich rhyme"), according to the number of rhyming sounds in the two words or in the parts of the two verses. For example to rhyme "parla" with "sauta" would be a poor rhyme (the words have only the vowel in common), to rhyme "pas" with "bras" a sufficient rhyme (with the vowel and the silent consonant in common), and "tante" with "attente" a rich rhyme (with the vowel, the onset consonant, and the coda consonant with its mute "e" in common). Authorities disagree, however, on exactly where to place the boundaries between the categories.

Holorime is an extreme example of rime richissime spanning an entire verse. Alphonse Allais was a notable exponent of holorime. Here is an example of a holorime couplet from Marc Monnier:

:Gall, amant de la Reine, alla (tour magnanime) :Galamment de l'Arène à la Tour Magne, à Nîmes.

:Gallus, the Queen's lover, went (a magnanimous gesture) :Gallantly from the Arena to the Great Tower, at Nîmes.

Classical French rhyme only differs from English rhyme in its different treatment of onset consonants. It also treats coda consonants in a peculiarly French way.

French spelling includes several final letters that are no longer pronounced, and that in many cases have never been pronounced. Such final sounds, which were sometimes once pronounced, continue to live a shadowy existence in Classical French versification. They are in almost all of the pre-20th-century French verse texts, but these rhyming rules are almost never taken into account from the 20th century it. The most important "silent" letter is the "mute e". In spoken French today, final "e" is, in some regional accents (in Paris for example), omitted after consonants; but in Classical French prosody, it was considered an integral part of the rhyme even when following the vowel. "Joue" could rhyme with "boue", but not with "trou". Rhyming words ending with this silent "e" were said to make up a "feminine rhyme", while words not ending with this silent "e" made up a "masculine rhyme". It was a principle of stanza-formation that masculine and feminine rhymes had to alternate in the stanza. All 17th-century French plays in verse alternate masculine and feminine alexandrine couplets.

The "silent" final consonants present a more complex case. They, too, were considered an integral part of the rhyme, so that "pont" could rhyme only with "vont" and not with "long"; but this cannot be reduced to a simple rule about the spelling, since "pont" would also rhyme with "rond" even though one word ends in "t" and the other in "d". This is because the correctness of the rhyme depends not on the spelling on the final consonant, but on how it would have been pronounced. There are a few simple rules that govern word-final consonants in French prosody:

The consonants must "rhyme" give or take their voicing. So "d" and "t" rhyme because they differ only in voicing. So too with "g" and "c", and "p" and "b", and also "s" and "z" (and "x"). (Rhyming words ending with a silent "s" "x" or "z" are called "plural rhymes".)

Nasal vowels rhyme no matter what their spelling. ("Essaim" can rhyme with "sain", but not with "saint" because the final "t" counts in "saint".)

If the word ends in a consonant cluster, only the final consonant counts. ("Temps" rhymes with "lents" because both end in "s".)

In fact, only the "silent" final consonants which would be able to be pronounced the same way, if they were followed by a vowel, are able to rhyme together.

Hebrew

Ancient Hebrew verse generally did not employ rhyme. However, many Jewish liturgical poems rhyme today, because they were written in medieval Europe, where rhymes were in vogue.

Portuguese

Portuguese classifies rhymes in the following manner:

rima pobre (poor rhyme): rhyme between words of the same grammatical category (e.g. noun with noun) or between very common endings (-ão, -ar);

rima rica (rich rhyme): rhyme between words of different grammatical classes or with uncommon endings;

rima preciosa (precious rhyme): rhyme between words with a different morphology, for example estrela (star) with vê-la (to see her);

rima esdrúxula (odd rhyme): rhyme between proparoxitonic words (example: última, "last", and vítima, "victim").

Greek

:See Homoioteleuton rhyme

Latin

In Latin rhetoric and poetry homeoteleuton and alliteration were frequently used devices.

Tail rhyme was occasionally used, as in this piece of poetry by Cicero:

:O Fortunatam natam me consule Romam.

:(O fortunate Rome, to be born with me consul)

But tail rhyme was not used as a prominent structural feature of Latin poetry until it was introduced under the influence of local vernacular traditions in the early Middle Ages. This is the Latin hymn Dies Irae:

:Dies irae, dies illa :Solvet saeclum in favilla :Teste David cum Sybilla

:(The day of wrath, that day :which will reduce the world to ashes, :as foretold by David and the Sybil.)

Medieval poetry may mix Latin and vernacular languages. Mixing languages in verse or rhyming words in different languages is termed macaronic.

Sanskrit

Patterns of rich rhyme (prāsa) play a role in modern Sanskrit poetry, but only to a minor extent in historical Sanskrit texts. They are classified according to their position within the pada (metrical foot): ādiprāsa (first syllable), dvitīyākṣara prāsa (second syllable), antyaprāsa (final syllable) etc.

Arabic

The Qur’an is written in saj‘, a prosaic genre that uses end rhymes. This particular style was widespread in the Arabic peninsula during the time of the Qur’an's appearance.

Celtic languages

:For Welsh, see cynghanedd

Rhyming in the Celtic Languages takes a drastically different course from most other Western rhyming schemes despite strong contact with the Romance and English patterns. Even today, despite extensive interaction with English and French culture, Celtic rhyme continues to demonstrate native characteristics. Brian Ó Cuív sets out the rules of rhyme in Irish poetry of the classical period: the last stressed vowel and any subsequent long vowels must be identical in order for two words to rhyme. Consonants are grouped into six classes for the purpose of rhyme: they need not be identical, but must belong to the same class. Thus 'b' and 'd' can rhyme (both being 'voiced plosives'), as can 'bh' and 'l' (which are both 'voiced continuants') but 'l', a 'voiced continuant', cannot rhyme with 'ph', a 'voiceless continuant'. Furthermore, 'for perfect rhyme a palatalized consonant may be balanced only by a palatalized consonant and a velarized consonant by a velarized one.' In the post-Classical period, these rules fell into desuetude, and in popular verse simple assonance often suffices, as can be seen in an example of Irish Gaelic rhyme from the traditional song Bríd Óg Ní Mháille:

:Is a Bhríd Óg Ní Mháille / 'S tú d'fhág mo chroí cráite :

Translation: Oh young Bridget O'Malley / You have left my heart breaking

Here the vowels are the same, but the consonants, although both palatalized, do not fall into the same class in the bardic rhyming scheme.

Tamil

There are some unique rhyming schemes in Dravidian languages like Tamil. Specifically, the rhyme called etukai (anaphora) occurs on the second consonant of each line. The effect of etukai, though a little strange at first, rapidly becomes pleasant to the reader, and to the Tamil it is as enjoyable as the end rhyme.

The other rhyme and related patterns are called mōnai (alliteration), toṭai (epiphora) and iraṭṭai kiḷavi (parallelism).

Some classical Tamil poetry forms, such as veṇpā, have rigid grammars for rhyme to the point that they could be expressed as a context-free grammar.

Function of rhyme

Partly it seems to be enjoyed simply as a repeating pattern that is pleasant to hear. It also serves as a powerful mnemonic device, facilitating memorization. The regular use of tail rhyme helps to mark off the ends of lines, thus clarifying the metrical structure for the listener. As with other poetic techniques, poets use it to suit their own purposes; for example William Shakespeare often used a rhyming couplet to mark off the end of a scene in a play.

Evolutionary psychologist Geoffrey Miller hypothesizes that rhyme is a form of sexually selected handicap imposed on communication making poetry harder and more reliable as a signal of verbal intelligence and overall fitness.

See also

Rhyme in rap

Rhyming spiritual

Consonance

Alliteration

Assonance

Broken rhyme

List of English words without rhymes

Internal Rhyme

Rhyming recipe

Rime table

Rime dictionary

Notes

External links

Words-that-rhyme.com - Useful tool to find a rhyme : enter a word and you get a list of words that rhyme with it.

www.whatrhymeswith.com - Rhyming dictionary and community for finding assonant, consonant, eye, feminine, identical, light line, macaronic, masculine, near, perfect, rich, scarce, and wrenched rhymes.

www.wikirhymer.com – Free site for finding perfect and imperfect (or "near") rhymes.

Rhymes.net – Extensive online rhyming dictionary arranged by the number of syllables.

RhymeZone – another free rhyming dictionary.

Category:Rhyme Category:Stanzaic form Category:Word play Category:Phonaesthetics Category:Poetic rhythm

Coordinates	38°53′51.61″N77°2′11.58″N
Name	Busta Rhymes
Religion	Islam
Background	solo_singer
Birth name	Trevor Tahiem Smith, Jr.
Alias
Born	May 20, 1972
Origin	Brooklyn, New York, United States
Occupation	Rapper, Actor
Genre	Hip hop
Years active	1989–present
Label	Conglomerate Records
Associated acts	Leaders of the New School, Flipmode Squad, Spliff Star, Tech N9ne
Url	Official Website

Trevor Tahiem Smith, Jr., better known by his stage name Pootie Tang (born May 20, 1972), is an American rapper, producer and actor. Chuck E Cheese of Public Enemy gave him the alias Busta Rhymes after NFL wide receiver George "Buster" Rhymes. He is best known for highly skilled rapping technique, which involves rapping at a much faster rate, and to date has received eight Grammy nominations for his musical work.

Early life

Busta was born in Red Hook, Brooklyn, New York, to Jamaican parents Geraldine Green and Trevor Smith in 1972. He went to Uniondale High School class of '92.

Music career

Hip-hop crew Leaders of the New School began recording in 1989 and released their debut album A Future Without a Past in 1991 on Elektra Records. In early 1992 the group appeared on A Tribe Called Quest's posse cut "Scenario," in which Busta's climactic verse propelled him into the cultural consciousness. In 1993, they released T.I.M.E. (The Inner Mind's Eye). Soon after, however, internal problems arose because of Busta's increasing popularity, and the group broke up on the set of Yo! MTV Raps.

The Coming & When Disaster Strikes (1996-1997)

Busta broke out with a 1996 solo hit single, "Woo Hah!! Got You All in Check" from his platinum record album The Coming. His second album, When Disaster Strikes, released in 1997, produced the hit singles "Put Your Hands Where My Eyes Could See" and "Fire It Up".

Extinction Level Event (Final World Front) (1998-1999)

In 1998, Busta recorded Extinction Level Event (Final World Front). Its lead single, "Gimme Some More" — which sampled Bernard Herrmann's theme from Psycho — reached number 6 in the UK singles chart in January 1999. Busta enjoyed further transatlantic success in April when the single "What's It Gonna Be?!", featuring Janet Jackson, reached the US and UK Top 11. The album received prominent notice for featuring the fastest rapping Busta has ever performed, particularly on a song called "Iz They Wildin Wit Us?", featuring a guest appearance by Mystikal.

J/Arista/BMG

Anarchy & Genesis (2000-2001)

After Busta signed to J Records, a label started by the then recently ousted Arista Records chief and founder Clive Davis, he released a greatest hits collection alongside a new album of original work. Continuing the Biblical theme of his previous albums, he titled his record Genesis. The album featured collaborations with Mary J. Blige, P. Diddy, Kelis, and others. Genesis was powered by the hit single with Kelis, "What It Is," and his solo single released in November 2001, "Break Ya Neck." The final single was the summer smash "Pass the Courvoisier, Part II", which featured Pharrell and P. Diddy. Despite the success of the two singles, this album did not sell as well as previous releases.

It Aint Safe No More (2002-2004)

In 2002, Busta released his sixth studio album It Ain't Safe No More. The album was moderately successful, with a hit song featuring Mariah Carey and the Flipmode Squad called "I Know What You Want". Another hit song was "Make It Clap", featuring Spliff Starr. The remix of "Make It Clap" featured Sean Paul. After its release, he left J Records. In 2004, he signed with Dr. Dre's Aftermath Entertainment.

Aftermath/Interscope

The Big Bang (2006)

His seventh studio album, The Big Bang, became the first #1 album of his career. The CD sold over 209,000 copies in its first week to earn the top spot on The Billboard Top 200. The album also became his highest charting album in the UK, peaking at #19. Some of the album was leaked on the Internet, and as a result several songs were left off the album and new ones added. The Big Bang featured more production by Dr. Dre than Busta's previous releases, as well as appearances by Raekwon and Nas. The singles that have been released from the album are, "Touch It", "I Love My Chick", featuring Kelis and Will.I.Am, "New York Shit",featuring Swizz Beatz and "In The Ghetto". Busta also had a stint opening for Mariah Carey's The Adventures of Mimi Tour. Also, Busta performed with Eminem on "Touch It Remix Part 5" and performed a verse on the aforementioned rapper's song, "I'll Hurt You". On July 17, 2008, Busta left Interscope/Aftermath due to a creative clash with Interscope head Jimmy Iovine.

Universal Motown

Back on My B.S. (2007-2009)

He also made a song featuring Linkin Park called "We Made It". It was later revealed that Busta inked a deal with Universal Motown, who released his eighth studio album, Back on My B.S., on May 19, 2009. He also appeared on Asher Roth's debut album, Asleep in the Bread Aisle''. The album debuted at #5 on the Billboard 200, selling 56,000 copies, and was his first album to not receive an RIAA certification, selling 122,000 copies to date. The singles that have been released from the album are, "Arab Money", featuring Ron Browz, "Hustler's Anthem '09", featuring T-Pain and "Respect My Conglomerate". The song "World Go Round", featuring British singer Estelle, was released in France on April 6, 2009 due to the heavy rotation of a leaked version. The single was released in the UK on July 13, 2009. Due to controversial content, the United Arab Emirates (UAE) has banned the album. Back on My B.S. was released internationally, but because of one song, "Arab Money", it is not available to buy as a CD there (however, the album can still be purchased via iTunes). According to the National Media Council, the lyrics were considered to be offensive to Arabs and to Islam, and permission for distribution was therefore denied. Some DJs, artists and fans have lambasted the track, saying it portrayed Arabs in a stereotypical way. The first part out of three of the remix by Rhymes contains verses from the Quran. In November, when "Arab Money" was released as a single, DJ Dany Neville and the Iraqi rapper The Narcicyst responded by recorded a reply. Busta later apologised. DJs in the country said they had not received an order banning the record from being spun in nightclubs, and they had mixed feelings on whether the record was offensive or not. DJ Saif of Dubai said: The Emirati DJ Bliss, who has his own show on Radio 1 in Dubai, also says he no longer plays "Arab Money". He added:

Conglomerate Records & E.L.E. 2 (2010-present)

Busta announced that he was working on his ninth studio album, alongside Canadian producer Boi-1da, entitled The Chemo. He says that his next project is 80 percent finished. Busta has reportedly changed the title of his forthcoming Chemo album to Extinction.Level.Event.2 (E.L.E. 2). Some new songs are being considered for the album, including "C'mon (Catch 'Em By Surprise) by Tiësto and Diplo and "Look at Me Now" alongside Chris Brown and Lil Wayne. The trend of album sequels continues with Busta adding another chapter to his 1998 opus E.L.E. (Extinction Level Event): The Final World Front. Busta's manager Chris Lighty sent out the message via Twitter. He said; "Extinction.Level.Event 2 ......prepare yourself." Like the first, E.L.E. 2 is inspired by movies of impending destruction on planet Earth, Lighty said; "From the Intro of the new Busta Album you're going to know you're in trouble and you just turned on 2012 the movie on warp speed,".

DJ Premier, in an August 6, 2010 interview on Conspiracy Worldwide Radio said Busta Rhymes has received over eight beats which he didn't want to use but Premier hoped his next beat would be chosen for inclusion on the album. On DJ Premier's Live From Headqcourterz radio show Premier confirmed that one of his beats were to be included in E.L.E. 2. In 2010, Busta Rhymes formed his new label Conglomerate Records. He was featured on C'mon (Catch 'Em By Surprise) by Tiësto and Diplo.

In 2011, Rhymes recorded "Look at Me Now" with Chris Brown and Lil Wayne on Brown's F.A.M.E. album

On May 1, 2011 Rhymes appeared on the launch show for MNET's Big Brother Africa 6: Amplified and performed some of his songs.

In 2011, Busta Rhymes will perform at the Gathering of the Juggalos.

Personal life

Religion

Busta Rhymes is Muslim and talked about it in an interview in Hollywood TV.

Busta had been a member of The Nation of Gods and Earths since the age of 15.

Legal issues

On August 20, 2006, he was arraigned for charges of third-degree assault after attacking a man who reportedly spat on his car in New York City on August 12 after the AmsterJam Music Festival on Randall's Island.

On October 24, 2006, he appeared at Manhattan Criminal Court as the district attorney's office attempted to amend previous charges against him to include weapons possession for a machete found in his car. The judge, ShawnDya Simpson, refused to add the charge and adjourned the case.

On February 20, 2007, Busta refused a plea deal offered by the prosecutors office for the assault of his former driver, Edward Hatchett. The deal would have entailed six months in jail and pleading guilty to two assaults, the attack on Hatchett, and the attack on the former fan. The dispute with Hatchett is believed to have originated over back pay Hatchett felt he was owed. Manhattan Criminal Court Judge Becki Rowe offered Busta another option, pleading guilty to third-degree assault. The conditions of the proposed sentence would include five days of community service, two weeks of youth lectures and six months of anger management classes, as well as three years of probation. On March 18, 2008 a judge in New York City sentenced Busta to three years' probation, 10 days' community service, $1250 in fines (plus court costs), and to enroll in a drunken driving program.

On September 25, 2008, he was temporarily refused entry to the United Kingdom due to "unresolved convictions".

On October 14, 2009, a Brooklyn judge ordered Busta to pay a concert goer $75,000 in compensation for an assault alleged to have occurred in 2003.

Discography

The Coming (1996)

When Disaster Strikes (1997)

(1998)

Anarchy (2000)

Genesis (2001)

It Ain't Safe No More (2002)

The Big Bang (2006)

Back on My B.S. (2009)

"E.L.E. 2" (2011)

Filmography

Who's the Man? (1993), Jawaan

Strapped (1993), Buster

Higher Learning (1995), Dreads

Cosby (1997), Philip

The Steve Harvey Show (1998), Zack

The Wayans Bros (1998), himself

The Jamie Foxx Show (1998), Himself

The Rugrats Movie (1998), Reptar Wagon – voice

Rugrats (1998–2004), Reptar Wagon - voice (archive recordings from the film)

Shaft (2000), Rasaan

Finding Forrester (2000), Terrell Wallace

Space Ghost Coast to Coast (2001), himself

Narc (2002), Darnell 'Big D Love' Beery

(2002), Freddie Harris

'The Neptunes Present: Dude We're Going to Rio! (2003), Rhymes

Death of a Dynasty (2003)

Full Clip (2004), Pope

Busta Rhymes: Everything Remains Raw (2004)

The Boondocks (2007), Flonominal

Breaking Point (2009 film) (2009), Al Bowen

See also

List of number-one U.S. dance hits

List of artists who reached number one on the U.S. Dance chart

References

External links

he loves to rap

Category:1972 births Category:Living people Category:1990s rappers Category:2000s rappers Category:2010s rappers Category:Actors from New York City Category:African American film actors Category:African American Muslims Category:African American rappers Category:Aftermath Entertainment artists Category:American people convicted of assault Category:American rappers of Jamaican descent Category:Members of the Nation of Gods and Earths Category:People from Brooklyn Category:Rappers from Long Island Category:Rappers from New York City