Rotten’s critique of the crown is achieved through a kind of cynical cover of the traditional British anthem, “God Save the Queen [or King].”
More broadly, though, African American labor and ingenuity built modern America.
W.E.B. Du Bois expresses a similar concept nearly a century earlier in his chapter on slave spirituals from The Souls of Black Folk (1903):
Our song, our toil, our cheer, and warning have been given to this nation in blood-brotherhood. Are not these gifts worth the giving? Is not this work and striving? Would America have been America without her Negro people?
On the same black national consciousness tip, Bey’s debut album was titled “Black on Both Sides.”
He’s also playing on and reversing the meaning of the classic “Bud” commercials that offered, “This Bud’s for you”:
The song is a cover of the traditional British anthem, “God Save the Queen [or King].”
References to the Zulu Nation abound throughout the later history of hip hop as well, especially in the lyrics of the Native Tongues collective, as when Q-Tip raps on Tribe’s “Bugging Out”:
I would emphasize the work here rather than the author, providing only basic info to establish context.
In the long term, the William Carlos Williams “artist” page will have more in depth biographical info.
There is word play here “sheep” as well.
Counting “sheep” to go to “sleep,” as one does when they have insomnia.
Mainstream hip hop audiences who are like “sheep” in that they follow the shepherding of the music industry in their herd-instinct. Which makes them essentially “asleep,” unconscious listeners.
Given the above sexual metaphors, this line also likely plays on the double meaning of “deep,” as intellectually profound and sexually potent.