You think I won't beat that trick whoop that trickGot me acting buck and shitHoes telling me to calm down but I'm like fuck that shitI'm already on that Hypnotiq and that Grey GooseA couple shots of Hen that just gave me another boostI'm feeling electrified you can see it in my eyesShirt soaking wet looking like I just got baptizedSloppy drunk like a wino at a liquor storeBut crunk like some sanctified folks catchin' the Holy GhostI don't think you understand this one right here might get bannedSetting off a riot like we living in a battlestandBut this the dirty dirty and that's the way it goSecurity be the main ones acting like some hoesBut you den fucked up you better call the the lawI'ma break this Moet bottle cross your fucking jawAnd that's for anyone that's for everyone disrespected DWatch out boy cause you bout to get your ass beat With this understanding of the power of art, Howard imbues his character with an honesty and emotion that makes Hustle endearing.I'ma make these suckers recognize I ain't playin' hoeIf you violate off the top trick you gotta goI den held in a lot of shit and I'm bout to flipNow I think it's time to show you bitches who you fuckin' withDJay that's the name and I came to bring the painAna on my chest got me bustin' at you lemon lamesYou ain't know you fuckin' with a street niggaFrom the gutta pimp tight slash drug dealerBorn and raised in the "M" Memphis TennesseeBefore it's said and done you bitches gon remember meThis only the beginning I got a lot to sayIt's been a long time and you got hell to payAin't no love hoe just bring it the doorI'm bar none let my nuts hang to the floorSo if you want some this is your death wishBetter come correct cause I came to break you off hoe Similarly, he is a fan of the spirit of hip hop music and its ability to serve as voice for a generation. But Howard offers the perspective that DJay's efforts are not meant to demean anyone and that art has to be respected, whatever the context. Some might suggest that a film where a hard-luck guy capitalizes on his prostitution-funded income to create music with such brash lyrics as "Whoop That Trick" is hardly sending a family-friendly message. Rather, it's the story of "a human being who has lost his way" and now has a second chance at a different life. Howard insists Hustle is not about a pimp. The premise of a pimp trying to become a rap star could easily fall victim to rash of tasteless stereotypes and frustrating humor, but Howard's performance and the film's progression maintains a realism and freshness that sustains the movie.
The story unfolds as bass-heavy, crunked-out music reveals the vulnerabilities and savvy of a motley group of dreamers. With the help of his choir-directing crony Key (Anthony Anderson) and his amped-up assistant Shelby (DJ Qualls) DJay cobbles together a makeshift home studio and manages to drop an intense collection of tracks that chronicle his swagger, style and struggles as a street pimp. But crippled by sparse finances and even less knowledge of the recording process, DJay taps into the latent talents and skills of his women and friends who all assume vital roles in realizing a collective dream. rap artist Ludacris), DJay lunges for a chance at stardom by recording a hip hop demo. Motivated by a chance opportunity to meet a rising rap star (played by Chris Bridges, a.k.a. Wearing a stinging yet syrupy southern drawl, Howard portrays DJay, a struggling Memphis hustler. crime drama Crash, Howard's ready to take over with this summer's Hustle & Flow. With a busy 2005 season that has included a role in the acclaimed L.A. But, hypnotic gaze aside, Howard is finally getting mainstream recognition after electric performances in such films as 2000's The Best Man and last year's Ray. It's the same eyes, mischievous smile and passionate fervor with which he's captivated audiences in a range of roles from pick-up artist to band geek. The kind of eyes that make female interviewers fumble around aimlessly for interesting and provocative questions only to receive Howard's curious glances.
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