Feddi - Live And Die In Da A

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Live and die the A
Live and die the A
Live and die the A
Live and die the A

Live and die the A
Live and die the A
Live and die the A
Live and die the A

Come from a place where all the women’s asses fake
It’s like we live in adams garden
How my doggie just turned snake
He ate the fruit

Thеy might get mad at me
For what’s said in this booth I tell thе truth
Before you mad at me
Go be mad at yourself and what you do

Remember hitting detour on Saturday
Heard that yeet-yeet better duck
Get out the way it’s gone be casualties
And can’t forget bout Thursday night

That figure eight meet me on Cambleton
Cambleton Cambleton road
Head back to the ville hit 30 deep to get my clothes
Use to see a opp we spot em now he out of here
Had so many soldiers
Got the rich kids out here tryna be my partner them
I really hate that shit for thug
I pray he bounce back

And I’m proud as hell at Baby
Use to play games sitting on Lucille
But we don’t announce that
MDC we back in the club blowing racks (ooohhyyeeah)

Shout out gooch and long love Rudy forever
Shout out parlay doing his thang
And keeping Bankhead together
I reside on the Westside

You know this shit here forever
Ralo just came home he getting his shit back together
Just showed me blueprints of his storefront
Swear I salute looked in his eyes and said you on one

He said the truth is he be damn if he don’t own some
Cause coming up see I black family’s ain’t own nun
Go place to place just tryna find us somewhere safe
Design our mind before we buy it go and sign for section eight

Then telling me I can’t be violent
When it’s killing everyday
Westside
Live and die the A
Live and die the A
Live and die the A
Live and die the A

Release Date: May 08, 2024

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The meaning of the song

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"Live And Die In Da A" by Feddi is a powerful and introspective song that pays homage to the city of Atlanta. The lyrics paint a vivid picture of life in the A, from the fake asses of the women to the struggles and triumphs of the community. The song touches on themes of loyalty, resilience, and the importance of staying true to oneself in the face of adversity. Feddi's raw and honest delivery adds depth and emotion to the track, making it a compelling anthem for those who call Atlanta home. With shoutouts to fellow artists and reflections on personal experiences, "Live And Die In Da A" is a testament to the strength and unity of the city's residents.

Biography

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Feddi, born Demetrius Robbins, has a story to tell. It’s punctuated by pain, bound by betrayal, and has as much family drama as a Shakespearean play. But the setting isn’t some far-flung European city ruled by kings and nobility. Feddi is from Zone 1, Westside, Atlanta. An infamous neighborhood where life is a gamble, and even if you play your cards right, you can still lose it all. This is the hood that raised him, nurtured his love of music, and where he made his name in the streets. Feddi’s life story is worthy of a feature film–but his music has a documentary quality. And his story doesn’t just represent him. It also describes the voiceless people that grew up in neighborhoods like Zone 1 all over the world.
Tragedy struck Feddi’s family when he was just in second grade. In a story so gruesome that it was depicted on the TV show ATL Homicides, Feddi’s father was kidnapped, tortured, and ultimately murdered by his own cousins. “I stayed outta school for two years,” he recalls. “Like a whole two years, I didn’t go to school. APD sitting outside my house. Cause ain’t nobody locked up. Don’t nobody know what’s going on.”
Feddi’s dad, known affectionately as Deke the Freak from Cairo Street, was a well-known and respected figure in the neighborhood. So even though he was tragically killed, that respect and love extended to his son after his passing. “I had to live up to the name. But just being his son, it had me being taken care of. That led to me not ever having to worry about where I’m sleeping at. Where I’m gonna eat at. It wasn’t not one house in the neighborhood I couldn’t walk into. If I’m hungry, man, I’m finna to eat. It might be a different house every night,” he recalls.
Even having experienced something so heinous as a kid, Feddi never sought traditional therapy. Instead, he used music as an outlet to release his pain. “I cry the most when I’m making my songs. I might think of a line or something, and my voice might get to shaking while I’m trying to record. Cause I’m talking to myself as I’m going,” says the Atlanta native. “This is my outlet. I’m gonna probably do this for the rest of my life. Even if I’m not putting that out. Just so I can hear myself talk to myself.”
His earliest experience with music was born out of the ingenuity that comes from having to make do with whatever you have. “My friend down the street had a little radio boom box that you was able to press a button to record what you were saying,” remembers Feddi.” We had some instrumentals on the old, old, Xbox. Like the first Xbox ever made.We turned the TV up loud, played the instrumentals off the TV, and put the radio close to the TV so it could pick up the beat and pick up our voice.”
This was one of the first songs he ever made, and even though it wasn’t recorded in a professional studio, it was Feddi’s first clue that he had natural talent. He gained comfort performing in front of larger audiences at school talent shows. He was also surrounded by music in his own home, his mother was an accomplished singer, and his sister tried her hand at rap at a young age, too.
What further solidified the possibility of actually making his musical dreams come true was seeing someone else from his hood behind to make it big a few years later–1017 Records/ Famerica signee Ralo. “I knew it was real when I seen my brother Ralo actually get himself known to be a rapper,” says Feddi. “Me and him grew up together. That’s my brother. Both of us Muslim. And we from the same spot.”
That inspiration didn’t immediately lead to his own success, though. While more and more people began to recognize Feddi as an up-and-coming talent from Atlanta, he ran into
obstacles that kept his music from reaching a larger audience. “I’ve been lied to a million times. Supposed to have been signed a million times. And I turned down a couple offers too.”
Now he’s decided to take his future into his own hands. Along with his family, he started Cairo Street Records, a nod to the hood that raised him. “I’m doing all this shit with all these other folk. Helping them build their thing up. I’m like, let me go back to my own hood and start my own shit. I think I done learned enough and been through enough to know what to do now.”
And through it all, he’s still here. Still rapping. Still hustling. Still putting his pain into his music. Still speaking for those who can’t speak for themselves