The year 1990 marked not only the dawn of a new decade but also a significant turning point for multiculturalism, which found its expression through alternative media. In the urban culture scene, a captivating soundtrack called Swingbeat emerged, characterized by its architects as “organized noise.” This genre, a fusion of R&B, Hip Hop, and Funk, had firmly taken root several years prior and was now at its pinnacle, poised to become the influential multimedia force known as New Jack Swing. Its commercial impact on music, television, and film was undeniable, captivating audiences across various mediums.
Numerous artists within the New Jack Swing genre experienced groundbreaking success, transcending boundaries into acting and fashion while enjoying enduring careers. However, amidst the triumphs, there were also stories of tragedy and stars whose brilliance was cut short. One such luminary was LaTasha Sheron Rogers, better known as MC Trouble. At a mere 18 years old, she became Motown Record’s first female rapper, showing immense promise and artistic merit.
In 1990, MC Trouble released her debut and unfortunately, her only album titled “Gotta Get a Grip.” This album was undeniably a product of its time, reflecting the essence of the era while showcasing Trouble’s exceptional talent. Notably absent from the album was the dominating west coast sound that would come to define the early ’90s, despite Trouble herself being a native of Los Angeles. Regardless, her artistic versatility and prowess were evident throughout the album.
Trouble’s abilities as an entertainer were unmatched. She possessed the skills to rap, sing, and dance, setting her apart as a consummate performer. Notably, she took on the responsibilities of writing, arranging, producing, and often co-producing her own songs. The liner notes of the album revealed that she was also associated with a production company named “Rogers Connection,” of which she seemed to be an owner or co-owner, alongside her father and manager, Charles Rogers. However, it was her lyrical prowess that truly captivated audiences. Trouble’s lyrics were sharp, aggressive, and distinguished her from her contemporaries. This led to collaborations with renowned hip hop collective Rhyme $yndicate, which had ties to the esteemed rapper and actor Ice-T. Trouble’s talent was further showcased in her collaboration with actor Malcolm Jamal Warner, who directed the politically-charged music video for the album’s title track, “Gotta Get a Grip.”
It is worth noting that “Gotta Get a Grip” was not Trouble’s only contribution to the music scene. Prior to the album’s release, her track “Highroller’s Girl” had gained local success in Los Angeles during the fall of 1989. The song, along with another titled “Can’t Get Enough,” was included on the Motown compilation album “What Does It All Mean” in collaboration with Greg Mack, a notable figure from KDAY 1580. Additionally, Trouble made impressive guest appearances, including an EP/12″ single entitled “Highroller’s Girl” and a standout performance on Jazzie Redd’s album “Spice of Life,” on the track “Think.”
Unfortunately, MC Trouble’s ascent to stardom was tragically cut short by an inoperable brain tumor. On June 4, 1991, she suffered a fatal epileptic seizure while asleep. The news of her untimely passing sent shockwaves through the Hip Hop community, prompting an outpouring of tributes. The Sisters in the Name of Rap concert in 1991 featured a poignant segment by Nikki Kixx, Trouble’s younger sister, and Nefertiti, paying homage to the fallen artist. At the time of her passing, Trouble had been working on her sophomore album, reportedly titled “Trouble in Paradise,” which remained unfinished, forever serving as a poignant reminder of her unrealized potential.
It is easy to speculate on what could have been had Trouble lived to further develop as an artist. With her exceptional talents, she would have undoubtedly found herself among the elite in the realm of Hip Hop. Comparing her potential success to that of her contemporaries such as Queen Latifah, MC Lyte, and Sister Souljah, the speculation becomes almost a certainty. However, some critics argue that while Motown looked to Trouble to enhance their credibility in the Hip Hop genre, her debut album achieved only minor success, falling short of expectations.
Indeed, critique becomes an integral part of MC Trouble’s narrative, mirroring the era in which she emerged. Both Trouble and the New Jack Swing movement were transient, reaching their zenith within a few years of a decade that would witness the advent of the MP3 and the World Wide Web. Both were representative of alternative and multimedia expressions that left an indelible impact on urban culture. The enduring legacy of MC Trouble lies in her contribution to the amalgamation of Hip Hop and R&B, shaping the multifaceted artistry we celebrate today.
Undoubtedly, MC Trouble holds a significant place in the history of urban music. Her talent, spirit, and untimely departure serve as a reminder of the fleeting nature of fame and the profound impact a pioneering artist can leave behind. As we appreciate the ongoing evolution of music and its diverse influences, we owe a debt of gratitude to the era that birthed MC Trouble and the indomitable New Jack Swing movement.
