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[link]

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 ἀριθμός 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 ῥυθμός (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[link]

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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[link]

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[link]

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 (or near): a rhyme between a stressed and an unstressed syllable. (wing, caring)
• weak (or unaccented): a rhyme between two sets of one or more unstressed syllables. (hammer, carpenter)
• semirhyme: a rhyme with an extra syllable on one word. (bend, ending)
• forced (or oblique): 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 slant rhyme): matching final consonants. (bent, ant)
• pararhyme: all consonants match. (tell, tall)
• 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.^[1][2] 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").

Mirror rhymes[link]

Though homophones and homonyms satisfy the first condition for rhyming—that is, that the stressed vowel sound is the same—they do not satisfy the second: that the preceding consonant be different.

In poetics these would be considered identity, rather than rhyme. For example: "Jacob"/"Jacob", though having the same stressed vowel sound, do not contain a different preceding consonant, and so would be considered an identity.

Eye rhyme[link]

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. Some early written poetry appears to contain these, but in many cases the words used rhymed at the time of writing, and subsequent changes in pronunciation have meant that the rhyme is now lost.

Mind rhyme[link]

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[link]

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.

History[link]

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.^[3] The ancient Greeks knew rhyme, and rhymes in The Wasps by Aristophanes are noted by a translator.^[4] Rhyme is also occasionally used in the Bible.^[5]

According to some archaic sources, Irish literature introduced the rhyme to Early Medieval Europe, though this is a disputed claim;^[6] 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[link]

English[link]

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 writer 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[link]

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[link]

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[link]

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[link]

See Homoioteleuton rhyme

Latin[link]

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[link]

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[link]

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[link]

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."^[7] 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

[is ə vrʲiːdʲ oːɡ nʲiː wɒːlʲə / stuː dɒːɡ mə xriː krɒːtʲə]

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[link]

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 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[link]

Rhyme partly 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.^[8]

See also[link]

• Alliteration
• Assonance
• Broken rhyme
• Internal rhyme
• List of English words without rhymes
• Consonance
• Rhyme in rap
• Rhyme Genie - dynamic rhyming dictionary with 30 different rhyme types
• Rhyming recipe
• Rhyming spiritual
• Rime dictionary - ancient type of Chinese dictionary
• Rime table - syllable chart of the Chinese language

Notes[link]

External links[link]

Look up Category:English rhymes or Category:Rhymes in Wiktionary, the free dictionary.

A black sheep stands out from the flock

The Black Sheep, from a 1901 edition of Mother Goose by William Wallace Denslow.

A black sheep (Hebridean)

In the English language, black sheep is an idiom used to describe an odd or disreputable member of a group, especially within a family. The term has typically been given negative implications, implying waywardness.^[1] It derived from the atypical and unwanted presence of other black individuals in flocks of white sheep.

In psychology, the black sheep effect refers to the tendency of group members to judge likeable ingroup members more positively and deviant ingroup member more negatively than comparable outgroup members.^[2]

Idiomatic usage[link]

The term originated from the occasional black sheep which are born into a flock of white sheep due to a genetic process of recessive traits. Black wool was considered commercially undesirable because it could not be dyed.^[1] In 18th and 19th century England, the black color of the sheep was seen as the mark of the devil.^[3] In modern usage, the expression has lost some of its negative connotations, though the term is usually given to the member of a group who has certain characteristics or lack thereof deemed undesirable by that group.^[4]

The idiom is also found in other languages, e.g., French, Serbian, Bulgarian, Hebrew, Portuguese, Bosnian, Greek, Turkish, Dutch, Afrikaans, Swedish, Danish, Spanish, Czech, Slovak, Romanian and Polish. The same concept is illustrated in some other languages by the phrase "white crow": for example belaya vorona (белая ворона) in Russian and kalag-e sefid (کلاغ سفید) in Persian. A variant form of black sheep, "the red sheep of the family", was used by Jessica Mitford to describe herself, a communist in a family of aristocratic fascists.^[5]

Biological origin[link]

In sheep, a white fleece is not albinism but a dominant gene that actively switches color production off, thus obscuring any other color that may be present.^{[citation needed]} As a result, a black fleece in most sheep is recessive, so if a white ram and a white ewe are each heterozygous for black, in about 25% of cases they will produce a black lamb. In fact in most white sheep breeds only a few white sheep are heterozygous for black, so black lambs are usually much rarer than this. Some breeds of sheep (such as the Hebridean, Ouessant, Black Welsh Mountain and Karakul) are normally black.

Black sheep effect (Psychology)[link]

Overview[link]

In 1988, Marques, Yzerbyt and Leyens^[2] conducted an experiment where Belgian students rated the following groups according to trait-descriptors (e.g., sociable, polite, violent, cold): unlikeable Belgian students, unlikeable North African students, likeable Belgian students, and likeable North African students. The results provided support that the favourability is the highest for likeable ingroup members and the lowest for unlikeable ingroup members, whereas the favourability of unlikeable and likeable outgroup members is between the both former ones. These extreme judgements of likeable and unlikeable (i.e., deviant) ingroup members, relatively to comparable outgroup members is called “black sheep effect”. This effect has been shown in various intergroup contexts and under a variety of conditions, and in many experiments manipulating likeability and norm deviance (e.g., Branscombe, Wann, Noel, & Coleman, 1993;^[6] Coull, Yzerbyt, Castano, Paladino, & Leemans, 2001;^[7] Khan & Lambert, 1998;^[8] Pinto, Marques, Levine, & Abrams, 2010).^[9]

Explanations[link]

A prominent explanation of the black sheep effect derives from the social identity approach (see social identity theory, Tajfel & Turner, 1979;^[10] and self-categorization theory, Turner, Hogg, Oakes, Reicher, & Wetherell, 1987).^[11] Group members are motivated to sustain a positive and distinctice social identity and, as a consequence, group members emphasize likeable members and evaluate them more positve than outgroup members, bolstering the positive image of their ingroup (see ingroup bias). Furthermore, the positive social identity may be threatened by group members who deviate from a relevant group norm. To protect the positive group image, ingroup members derogate ingroup deviants more harshly than deviants of an outgroup (Marques, Abrams, Páez, & Hogg, 2001).^[12] In addition, Eidelman and Biernat (2003)^[13] have shown that personal identities are also threatened through deviant ingroup members. They argue that devaluation of deviant members is an individual response of interpersonal differentiation. Khan and Lambert (1998)^[8] suggest that cognitive processes like assimilation and contrast, which may underline the effect, should be examined.

Limitations[link]

Even though there is widely support for the black sheep effect, the opposite pattern has been found, for example, that White participants judge unqualified Black targets more negative than comparable White targets (e.g., Feldman, 1972;^[14] Linville & Jones, 1980).^[15] Consequentely, there are several factors which influence the black sheep effect. For instance, the higher the identification with the ingroup, and the higher the entitativity of the ingroup, the more the black sheep effect emerges (e.g., Castano, Paladino, Coull, & Yzerbyt, 2002;^[16] Lewis & Sherman, 2010).^[17] Even situational factors explaining the deviance have an influence whether the black sheep effect occurs (De Cremer & Vanbeselaere, 1999).^[18]

See also[link]

Look up black sheep in Wiktionary, the free dictionary.

• Black swan theory
• Glossary of sheep husbandry: see entry for "black wool".
• Scapegoat
• The Ugly Duckling

References[link]

External links[link]

• Exploration of the etymology of the phrase "black sheep of the family"
• "The black sheep effect: Judgmental extremity towards ingroup members in inter-and intra-group situations". European Journal of Social Psychology (Science Direct) 18 (3): 287–292. DOI:10.1002/ejsp.2420180308. http://www.sciencedirect.com/science/journal/00221031. Retrieved 2008-01-04. 

Kool Savas
Kool Savas in 2010
Background information
Birth name	Savaş Yurderi
Also known as	King Kool Savas (KKS), Juks, Jux, Essah
Born	(1975-02-10) February 10, 1975 (age 37) Aachen, North Rhine-Westphalia, Germany
Origin	Turkey
Genres	German hip hop
Labels	Essah Entertainment
Associated acts	M.O.R., Azad, Samy Deluxe, Lumidee, 40 Glocc, Ying Yang Twins
Website	Official website

Savas Yurderi (born 10 February 1975) also known as Kool Savas (or as well King Kool Savas), is a German rapper and hip hop artist. Savas is mostly referred to as "King of Rap" or "King of German Rap".^[1]

"Savaş" is the Turkish word for "war".

Biography[link]

Born in Aachen, Germany to a German mother and a Turkish father, Savas' family moved back to Turkey when he was one year old. His father, who is from Çorum, Turkey, was arrested because of his political posture against the government in Turkey, and as a result of his father's arrest, his mother was forced to return to Aachen with Savas.^[2] By 1987, his father was released and the entire family was reunited and relocated to Berlin. It was in Berlin where Savas first came across Hip Hop music.^{[citation needed]}

Savas lived with his girlfriend, Melbeatz, in Berlin for an extended amount of time. As a result, the majority of Savas' beats were produced by her. Although Savas and his girlfriend are no longer together, they remain close friends.^{[citation needed]}

Although Savas is popularly called a "Berlin rapper," he resides in Heidelberg. He is also a vegetarian.^{[citation needed]}

Career[link]

2000: Early career[link]

Savas started his rap career with the EP Warum rappst du, containing rather provocative lyrics in songs such as "L.M.S.", "Schwule Rapper" and "Pimplegionär". He first started under the name Juks and rapped mostly in English. He became successful through the groups Masters of Rap (M.O.R.) and Westberlin Maskulin.

In 2001, he and all of M.O.R. left former label Put Da Needle To Da Records, because of personal and artistic differences. They released a diss track against former label CEO Peter Sreckovic titled "Track gegen Peter" where Savas gave reason for his exit.

Beginning in 2002, he founded his own label, Optik Records, where he released his first solo album titled Der beste Tag meines Lebens, for which he won a Comet award. For the album, Savas worked together with several domestic and foreign musicians including Azad, Samy Deluxe, Kurupt, 40 Glocc, Dem Franchize Boyz, Lumidee, RZA, Moses Pelham, J-Luv, Bligg, Jadakiss, Royce da 5'9", Xavier Naidoo, Mobb Deep, Ying Yang Twins and Illmatic. The album sold over 90,000 copies worldwide.

With his record label, Savas tried to build up other artists. He discovered Eko Fresh and signed many upcoming artists such as DJ Nicon, Melbeatz, Ercandize, Caput, Amar, Sinan and Moe Mitchell.

In 2004, Savas released his first mixtape, "Kool Savas goes Hollywood" which was later made available as free online download.

Since early 2005, Savas has been supporting the efforts of his younger brother Sinan, his cousin Dimi and his brother-in-law Igor in their blooming rap careers.

In 2005, he released his mixtape titled "Die John Bello Story". It was the most successful mixtape in Europe in 2005 and also Savas' best to date at over 60,000 sold copies. In the same year he produced the album "One", together with Azad. The hit single "All 4 One" peaked at 4 in the German Top 100 Singles.

In 2006, Savas released the label sampler "Optik Takeover", a collaboration with several other artists signed to Optik Records. Also in 2006, he released an album with Optik Schweiz, the Swiss counterpart of Optik Records, titled "Wer Hatz Erfunden".

His second solo album, Tot oder Lebendig (eng. Dead or Alive), was released in 2007 and proved to be successful at 50,000 sold copies.

Savas released the sequel mixtape "Die John Bello Story 2" in 2008. He then went on to release an updated version labeled the "Brainwash Edition".

In 2009, he released the EP "Was hat S.A.V da vor" with the Hip Hop Magazine Juice. The same year saw the release of a collaboration album with Optik Russia which was called "New Russian Standard".

On March 12, 2010, Savas released "Die John Bello Story 3" which sold roughly 50,000 copies. The album featured fellow rappers Azad, Curse, Ying Yang Twins, Olli Banjo, Ercandize, Moe Mitchell, Amar, Franky Kubrick, Kaas, Mo Trip, Sinan, Tua, Vega, Kitty Kat, Laas Unltd. and more.

His 2011 album Aura included a single with the same name and a song featuring Xavier Naidoo, titled LMS 2012.

Controversy[link]

Eko Fresh[link]

In 2002 Eko Fresh and Savas began to dispute. Eko Fresh left the label and continued his career without his colleague. He released "Die Abrechnung", a song which spoke out against Kool Savas and other German rappers. Savas replied with "Das Urteil", which also became a hit song.

Discography[link]

• 2002: Der beste Tag meines Lebens
• 2004: Die besten Tage sind gezählt
• 2007: Tot oder Lebendig
• 2011: Aura

References[link]

External links[link]

Wikimedia Commons has media related to: Kool Savas

• YouTube
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