Sublimation compels the artist to beauty. Even the worker trafficking in ugly does so because they find the truth of the unattractive to be most gorgeous of all. As kindness becomes antiquated and paranoia the normal operating procedure, an art form as indulgent as rap can seem tasteless. Rap requires electricity, speakers, cables, stands, a table, lights, protection from the elements, an audience with at least one dollar. Rap grew with excess and is built from sampling buffet plates of perfection. The styles no longer ring free. R.A.P. Ferreira takes the high road. His ambitions are an ever widening vocabulary, a full gas tank, the next tour’s itinerary. The rapper is evolving as you doomscroll. The years go by and he is becoming more bluesman, less Redman. Ferreira’s sound on slide guitar is gaining renown. Taking the high road, he ventures through the American South in support of his brand new album with Kenny Segal, “the Night Green Side of It”. The record is a reflection of 14 years relentless touring and releasing, researching and developing on the edges of the underground sound. These engagements promise to be a master class of 100 years of Black American music. From country blues to jazz rap, Ferreira is hitting targets no other artist alive sees.