It's unsurprising then that since his release in 2009 Freeway has not only joined the chorus of those out to discredit the rapper, he also took legal action in an attempt to win compensation for plagiarism. It's one that listeners keep coming back for. He plays a character, even if he's never out of character, in the ultimate hip-hop spectacle. He has a panache for the kind of cocaine decadence and Mafioso chest-beating that can only be make believe.
While some may beg to differ, few would argue that Roberts is talentless. In spite of an incriminating CV and allegedly taking another man's government name and likeness as his own, Roberts continues to rack up YouTube views, move units and push his MMG record label (which incidentally cribs carmaker Maybach's name and logo) like nothing ever happened.
But in a genre in which authenticity counts for everything and labels turn profits off of street credibility, Roberts is as famous for flouting the rulebook as he is for his music. In any other field of music a short stint as a rookie in the judiciary wouldn't matter. And he pressed on to become one of hip-hop's central figures. The rapper went quiet on the subject for a year before making an admission on “Valley of Death” from his third album, Deeper Than Rap. Next, graduation documents from the Florida Department of Corrections training academy with Roberts' social security number turned up.