The Ridin’ rapper says he made the decision to ditch the ‘n’ word after hearing the audience use it at a concert.

“My DJ would try and be funny and he’d stop the song [Ridin’] right when I say the ‘n’ word on the mixtape, and I’d hear the whole crowd say it. I’m like, ‘Wow!’ the hip hop star says.

“I don’t wanna be teaching them how to say it, that’s not right, so this time around I don’t wanna be feel guilty, so I’m going to be taking it out… I’m not cursing and it’s not a big deal.”

Chamillionaire’s new album Ultimate Victory is out now in the US and is released in the UK next month.

OCTOBER 4 IS National Poetry Day, the annual celebration of rhyming (and not-rhyming) launched in 1994 by William Sieghart of the Forward Arts Foundation. In its 14-year existence, it has become a distinctive event – part carnival, part education, entirely a good thing.

This year’s NPD looks set to be one of the most interesting and fruitful yet. The organisers have teamed up with Sony BMG to commission an online secondary-schools project “to celebrate poetry through the lyrics of Bob Dylan’s legendary songs”.

It works like this. The theme of NPD is “Dreams”, and a range of Dylan songs on this subject will be used as the basis of Key Stage 3 and 4 lesson plans. Teachers will be able to download tracks and videos from the Dylan website (www.bobdylan.com); they will be able to request an 18-track sampler from the forthcoming three-CD retrospective compilation (called simply Dylan and out on October 1); they will have access to lesson plans on the NPD website (at www.nationalpoetryday.co.uk), and pupils can enter their own Dylan-in-spired poems for a competition (prizes include a limited-edition Dylan iPod, a Sony television set for their school, and a copy of the new album).

There’s plenty in it for everyone. Sony gets the chance to connect Dylan to an audience younger than those who usually go to his gigs or buy his records, and pupils (not to mention teachers) get a tonic. That’s to say by proving to band-loving children that Dylan’s words are a part of a spectrum of poetry that has formal, orthodox verse at one end, song-lyrics at the other, the project is a golden opportunity to satisfy the requirements of the national curriculum, while liberating it from some of the stuffiness which – sadly but truly – surrounds it for many in their teens.

The lesson plans sensibly don’t exaggerate the problems that they are designed to overcome. Their author Magi Gibson – a distinguished writer for children, and at present writer in residence at the Glasgow Gallery of Modern Art – has done her work with a happy mixture of rigour and relaxedness. She takes the various Dylan dream-songs, including Three Angels, I Dreamed I Saw Saint Augustine and A Hard Rain’s A-Gonna Fall, as an opportunity to encourage discussion about poetic form, traditional craft and about how pieces of writing often grow from one another ( Saint Augustine takes off from a poem by Alfred Hayes, I Dreamed I Saw Joe Hill Last Night written in the early 1930s, and adapted into a song).

In other words, she treats them as though they were written by the sort of poet who might more predictably appear in a classroom, inviting pupils to think of Dylan in the same way that they think about other stalwarts of the curriculum. But at the same time, she asks for word-rushes and fancy-flights, for connections with their own experience and ideas, in a way that emphasises the contemporary-personal and breaks free of school bounds.

Might it work better if the lyrics were by bands that pupils know better and listen to more readily? Arctic Monkeys, for example?

It’s difficult to say. On the one hand there would probably be a readier kind of association, and a stronger sense that the arc of poetry is longer than that represented by school anthologies. On the other hand, Dylan is Dylan, and you don’t have to be approximately of his age to see that his lyrics are simply better than those by most other songwriters – better because they are more concentrated, more allusive, more memorable (even without the melodies), more surprising, more risk-taking, more willing to engage with the whole range of human experience.

Earnest minds once used to ask “Keats or Dylan?”. There’s no “or” about it. It’s Keats and Dylan – not just because that formulation fits well into the diverse society that we inhabit, but because Dylan is good enough to be called the heir to (several) great traditions as well as an artist speaking about recognisably “modern times”.

“I consider myself a poet first and a musician second,” he once said. Quite so – even though it is virtually impossible to separate the two. Perhaps one of the unexpected achievements of his later middle-age will be to change our ideas about what is and is not fit to be part of our staple literary diet. If so, it can only encourage other lyricists to follow where he leads – as they have so often before.

Blunt and songwriter Amanda Ghost were once good friends and penned number one hit You’re Beautiful together.

But on new song Annie - taken from Blunt’s latest LP All Lost Souls - the former army officer sings “Annie, you had your dream on the bright lights/You’re just not going very far. Your dreams are crumbling”.

A music industry insider insists the lyrics are about Ghost.

The source said: “Amanda did once see herself as a pop star, but that was years ago and this seems like a mean-spirited attack on a woman to whom he owes a great deal, if not his whole career.”

When confronted with the possibility the song was aimed at her, Ghost hit back, saying: “I’d hardly have said my dreams were ‘crumbling’. James has had one number one hit, but I’ve since gone on to have two more.”

Ghost co-wrote Beyonc?nowles and Shakira’s worldwide smash Beautiful Liar.

A representative for Blunt has denied the song is a veiled swipe at his former friend, saying: “Annie has nothing to do with Miss Ghost. James makes it a rule never to disclose the inspiration for his music.”

The ‘Angry Mob’ rocker has claimed the US star is “crap” and that her music “stinks” during an angry tirade about her lyrics.

Rix told Yahoo Music: “She’s just crap. Fact is, Pink stinks. Take a look at that song ‘Dear Mr President’ - it’s just terrible. The lyrics are idiotic.”

The Pink tune concerned, ‘Dear Mr President’, opens with the lines: “Dear Mr President / Come take a walk with me / Let’s pretend we’re just two people and you’re not better than me.”

He added: “Pink is like a practical joke being played on the world. Can’t say I love the girl.”

“My statement about Christina Aguilera and Joss Stone was a reaction to an incident I care not to discuss in any forum and while I may have felt justified, I do own an apology to Christina, Joss and their families,” Contactmusic quoted him, as saying. “The comments I made were purely an act of retaliation, not of malice or cruel intent… I sincerely apologise as this is not my character nor should I have let anyone’s actions push me to this limit,” he added.

Aguilera, however did not comment on the producer’s statements and one of her representative, Cindy Guagenti says that she plans to take a legal action. “She’s not commenting on such ridiculous statements, and we are consulting a lawyer to explore her options,” said Guagenti.

The Grammy-winning music-producer in an interview with Rowdy TV had recently accused the singers of being so desperate to get him work on their albums, that they did not mind sleeping with him or his friends, including Aguilera’s now hubby Jordan Bratman. “Christina Aguilera, Joss Stone… all these bitches be f**kin’ for tracks,” he said at the time.

Video:

In between R-Kelly’s latest musical anecdote of stealing your girl while your head is turned, and the latest, uninspired club banger, composed of little more than a catch phrase, a snare drum, and several references to some gaudy, or ridiculous purchase, I heard music that expressed concern about the state of black America, particularly the youths of black America.

In Jay-Z’s new hit “30 Something,” he slyly attacks the social ills he believes are keeping many black youths from getting their piece of the rock: apathy, ignorance of the world outside of America, and bad financial decisions.

At the very beginning of the song, Jay-Z announces, “You ain’t got enough stamps in your passport to [explicative] with H-O…international.” Translated in metro Atlanta terms, he is telling folks to get out of the 285 loop and see what the world has to offer.

He goes on to say, “I’m young enough to know the right car to buy, yet grown enough not to put rims on it,” and “I don’t got the bright watch, I got the right watch, I don’t buy out the bar, I bought the night spot.”

In his own way, he is telling black youths to buy things that appreciate, such as real estate, instead of wasting money on things, such as rims, shiny watches, and alcohol. The hook even includes a reference to “good credit and such.”

Andre 3000 attacks the 5X white tee (plus-sized T-shirt) that has become so popular with black youths in recent years in the new remix to DJ UNK’s “Walk it Out.” Andre says “your white tee to me looks like a nightgown; make your mama proud and take that thing two sizes down.”

He goes on to say, “then you’ll look like the man that you are, or what you could be.”

Get a passport? Wear shirts and pants that fit? Have good credit? These lyrics are a 180-degree turn from earlier commands, such as “smoke weed everyday,” “drop it like it’s hot,” and “ride on spinners.” What’s with the change of heart (and lyrics)?

Frank Ski, one of the hosts of V-103’s “Frank and Wanda in the Morning” radio show, recently took calls from people who expressed their opinions on CNN anchor Paula Zahn’s recent report, titled “Hip-Hop: Art or Poison.”

Many callers said that hip-hop was, indeed, poisoning our society, but Frank Ski made the argument that hip-hop’s lyrics change when the tastes of the people change.

Rap lyrics are changing, but, is it because the public is demanding rap that will inspire it, or is it because the artists have seen the monster they helped create and are attempting to repent?

Whatever the reason, there appears to be a tinge of remorse in many of the rap lyrics of the day.

Perhaps the most remorseful lyrics to come out of rap in recent time is Lil’ Wayne’s 16 bars from Outkast’s song “Hollywood Divorce,” from the soundtrack of the movie “Idlewild.” In the song, Lil’ Wayne, the artist who coined the term “bling, bling,” laments over the term’s use and the importance people have given it in today’s society.

“Your grill’s glistenin’…spent a hundred thousand on mine to feel different..what’s the real sense of it?” Lil’ Wayne said.

The game has been created by Hollywood Gaming and given the totally uninspiring name, Lyric EMI, but will be distributed to mobile operators by Player X.

The game works a bit like ‘hangman’ where players have to guess who sang a particular lyric. The list of artists whose lyrics will appear in the game should appeal to old groovers since it includes Queen, Sting, the Rolling Stones plus numerous Motown bands.

“Lyrics are a powerful and emotive art form often evoking memories from the key moments in life,” said Jonathan Channon, a senior vp with EMI Music Publishing.

Yeah, right.

Sadly, lines like – Money, that’s what I want – won’t gert a hearing since EMI doesn’t have the rights to the Beatles’ songs.

Given that EMI stores are struggling to sell CDs, any new outlet for its stuff is a blessing. The games should start appearing in Q2 2007.

During Haiti’s carnival, the airwaves fill with songs lampooning the troubled Caribbean nation’s corrupt politicians and feckless police. But this year’s most popular target seems to be the UN force known by the acronym MINUSTAH for its formal name in French.

“MINUSTAH, you’re really just a tourista. You’re holding back my country,” the group Vwadezil sings in one popular and profanity-laced song. “You’re just lounging around so why don’t you get … out.”

Haiti’s government spent US$2 million (euro1.5 million) on this year’s carnival, hoping to use the event to lure tourists, especially Haitians living in the United States. The three-day event, which ends today, makes the bustling streets of downtown Port-au-Prince even more chaotic, with tens of thousands of rum-fuelled people dancing to live bands on floats.

Satirical songs known as “meringues” add a political dimension to the revellry, providing an opportunity for people to vent frustrations about the 9,000-strong UN force, which has recently become more aggressive in battling the gangs blamed for rampant kidnappings. On Sunday, UN troops patrolling the Cite Soleil slum captured a gang leader known as Ti Bazil.

Many Haitians feel the UN force, which combines soldiers and police from more than a dozen countries, has been too slow in restoring order to the country following the violent 2004 rebellion that toppled President Jean-Bertrand Aristide.
“MINUSTAH, you’ve invaded our country, you must make things better,” the popular group T-Vice warns in one of its meringues.

Other meringues accuse UN bureaucrats of spending more time dining in posh restaurants and sunning themselves on the beach than working to solve the poor country’s mountain of woes.
“Since the UN is now a part of our society, I touch upon it in my music,” the band Vwadezil’s lead singer, Fresh La, said in an interview. “They’re taking a long time to bring peace to the country, and that’s keeping us from moving forward.”

The former French colony has a long history of skewering public institutions during carnival, and the UN is not the only one on the rhetorical menu. Performers routinely grill crooked government officials, outgunned police and the kidnappers who prey on the impoverished population of eight million.

“We address every issue affecting the people, not just the US,” said Mass Power, the 28-year-old frontman of Show Off, a group calling for peacekeepers “to get out our country” in a song titled Forgetful Ingrates.
The UN mission takes the jabs in stride.
“I think it’s part of the Haitian tradition of carnival to make fun of things, even serious things,” said Edmond Mulet, the special UN representative to Haiti. “It’s a way of conveying some sentiments which are genuine and I don’t blame them for that. On the contrary, I think they should be welcomed.”

Some singers have caused problems for the UN, however.
At last year’s carnival, the group Demele performed a profanity-laced song that accused peacekeepers of stealing goats belonging to peasants. Despite denials by the UN mission, the accusation spread through the streets and became a common chant during anti-UN street protests.
“That song caused a lot of issues between MINUSTAH and the population,” said that group’s frontman, also known as Demele. He alleged that the offending lyric got him uninvited from this year’s carnival line-up.

UN officials and carnival organisers denied censoring any artistes.
“Musicians have the right to write any song they like,” said Yanick Louis, a member of the carnival’s artistic committee.
And despite the harsh tone of some songs, other artistes said they mean no offence.
“I ridicule the UN in the spirit of carnival, which is about having fun and letting go,” Vwadezil’s Fresh La said.

(1) From Billy Joel’s “My Life”:
Actual lyrics: “Got a call from an old friend. We used to be real close.”
What I heard: “Got a call from an old friend weast of the riv boat.”

(2) From the Black Crowes’ “Too Hard to Handle”:
Actual lyrics: “Mamma, I’m sure hard to handle now”
What I heard: “Mamma, I’m sure am da henda now”

(3) From the opening theme to Good Times:
Actual lyrics: “Easy credit ripoffs”
What I heard: “Easy crayda ripoffs”

Actual lyrics: “Hangin’ in a chow line”
What I heard: “Hangin’ and a jivin’”

(4) From the opening theme to All in the Family:
Actual lyrics: “Gee, our old LaSalle ran great”
What I heard: “Gee, our old LaSow rent rate”

(5) From the opening theme to The Flintstones:
Actual lyrics: “They’re the modern stone age family”
What I heard: “They’re a modern-storic family”

Actual lyrics: “From the town of Bedrock”
What I heard: “Wilma, down in Bedrock”

(6) From the opening and closing themes to Gilligan’s Island respectively:
Actual lyrics: “The ship took ground on the shore of this uncharted desert isle”
What I heard: “The ship sacrowned on the shore of this, a charted desert isle”

Actual lyrics: “No phones, no lights, no motor cars”
What I heard: “No phones, no lights, no motorguard”

(7) From Exile’s “Kiss You All Over”:
Actual lyrics: “Till the night closes in”
What I heard: “Till the night comes within”

(8) From Jackson Browne’s “Lawyers in Love”:
Actual lyrics: “As vacation land for lawyers in love”
What I heard: “As vacation land for liars in love”

(9) From Gordon Lightfoot’s “Carefree Highway”:
Actual lyrics: “Carefree Highway, let me slip away on you”
What I heard: “Every highway lets me slip away on you”

(10) From Paul McCartney’s “My Brave Face”:
Actual lyrics: “My brave, my brave, my brave face”
What I heard: “My great, my great, my great face”

(11) From America’s “Ventura Highway”:
Actual lyrics: “Ventura highway in the sunshine”
What I heard: “Venture a highway in the sunshine”

(12) From the Eagles’ “The Best of My Love”:
Actual lyrics: “Wastin’ our time on cheap talk and wine”
What I heard: “Wastin’ our time on cheap-talkin’ wine”

(13) From Elvis Presley’s “Don’t be Cruel”:
Actual lyrics: “Sittin’ home all alone”
What I heard: “Sittin’ on morning low”

Actual lyrics: “Don’t be cruel to a heart that’s true”
What I heard: “Don’t be cruel — true heart that’s true”

(14) From Earth Wind and Fire’s “Dancing in September”:
Actual lyrics: “Aaahh Ba de ya — Say do you remember”
What I heard: “On and on — Santa, you remember”

(15) From James Taylor’s “Fire and Rain”:
Actual lyrics: “I’ve seen fire and I’ve seen rain”
What I heard: “Obscene fire and obscene rain”