Decoded. Part 8

MOST KINGS.

Back to Lyrics 1. This is no shot at Big or Pac. The truth is that you can't compare us; Big only did two alb.u.ms before he was killed, and Pac was still going through metamorphosis; who knows where he would've ended up. So when people make the comparison-as they always do-they're comparing my work not just with the work of Big and Pac, but with what they could've been-should've been-and what their lives and deaths represented to the entire culture. Their shadows still loom over all of us who were their peers. This is no shot at Big or Pac. The truth is that you can't compare us; Big only did two alb.u.ms before he was killed, and Pac was still going through metamorphosis; who knows where he would've ended up. So when people make the comparison-as they always do-they're comparing my work not just with the work of Big and Pac, but with what they could've been-should've been-and what their lives and deaths represented to the entire culture. Their shadows still loom over all of us who were their peers.

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2. I wanted to conjure an image here: someone kneeling, first to accept the honor of being knighted, and then being beheaded with the same sword, the posture of honor transformed to one of execution. I wanted to conjure an image here: someone kneeling, first to accept the honor of being knighted, and then being beheaded with the same sword, the posture of honor transformed to one of execution.3. I wrote this before MJ died, and his death only proves my point: When he was alive, the King of Pop, people were tireless in taking him down, accepting as truth every accusation people made against him, a.s.suming the worst until they drove him away. When he died, suddenly he was beloved again-people realized that the charges against him might really have been bogus, and that the skin lightening was really caused by a disease, and that his weirdness was part of his artistry. But when he was alive and on top, they couldn't wait to bring him down. (In my opinion sharing sleeping quarters with other people's kids is inappropriate, to keep it real.) I wrote this before MJ died, and his death only proves my point: When he was alive, the King of Pop, people were tireless in taking him down, accepting as truth every accusation people made against him, a.s.suming the worst until they drove him away. When he died, suddenly he was beloved again-people realized that the charges against him might really have been bogus, and that the skin lightening was really caused by a disease, and that his weirdness was part of his artistry. But when he was alive and on top, they couldn't wait to bring him down. (In my opinion sharing sleeping quarters with other people's kids is inappropriate, to keep it real.) [image]

4. Jesus and Caesar were both killed by people close to them, traitors. Jesus and Caesar were both killed by people close to them, traitors.5. A reference to KRS-One and Just-Ice's eighties cla.s.sic "Mos.h.i.tup." A reference to KRS-One and Just-Ice's eighties cla.s.sic "Mos.h.i.tup." Buddy-bye-bye! Buddy-bye-bye!6. Bobby then was a young star when he was known for his. .h.i.t record "Every Little Step"; Bobby now is better known for the hit reality series, Bobby then was a young star when he was known for his. .h.i.t record "Every Little Step"; Bobby now is better known for the hit reality series, Being Bobby Brown, Being Bobby Brown, a cautionary tale about how it can all slip away. a cautionary tale about how it can all slip away.7. Shout-out to Alfred, Lord Tennyson: "'Tis better to have loved and lost, than to never have loved at all." Shout-out to Alfred, Lord Tennyson: "'Tis better to have loved and lost, than to never have loved at all."8. Here I'm playing with "king" and King-Martin Luther King, who was a.s.sa.s.sinated on the balcony of the Lorraine Motel. Here I'm playing with "king" and King-Martin Luther King, who was a.s.sa.s.sinated on the balcony of the Lorraine Motel.9. Malcolm was distracted by screams before he was shot-a man shouted, "n.i.g.g.e.r get your hands outta my pockets," and then the fatal shots rang out. Malcolm was distracted by screams before he was shot-a man shouted, "n.i.g.g.e.r get your hands outta my pockets," and then the fatal shots rang out.10. Kurt Cobain OD'd on heroin before committing suicide, but he also OD'd on fame. Cobain was like Basquiat: They both wanted to be famous, and were brilliant enough to make it happen. But then what? Drug addicts kill themselves trying to get that feeling they got from their first high, looking for an experience they'll never get again. In his suicide note, Cobain asked himself, "Why don't you just enjoy it?" and then answered, "I don't know!" It's amazing how much of a mindf.u.c.k success can be. Kurt Cobain OD'd on heroin before committing suicide, but he also OD'd on fame. Cobain was like Basquiat: They both wanted to be famous, and were brilliant enough to make it happen. But then what? Drug addicts kill themselves trying to get that feeling they got from their first high, looking for an experience they'll never get again. In his suicide note, Cobain asked himself, "Why don't you just enjoy it?" and then answered, "I don't know!" It's amazing how much of a mindf.u.c.k success can be.

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11. You have to lift the drawbridge of your life once you get famous to keep outsiders outside-whether they're new hangers-on just trying to exploit you, or, like in the streets, they might literally wake you up with a gun to your nose, trying to take your s.h.i.t. But the "inner sanctum" isn't just your physical home, it's the inner chamber of your life and ident.i.ty, the place where you protect your essential self. If invaders break in there, you're finished. You have to lift the drawbridge of your life once you get famous to keep outsiders outside-whether they're new hangers-on just trying to exploit you, or, like in the streets, they might literally wake you up with a gun to your nose, trying to take your s.h.i.t. But the "inner sanctum" isn't just your physical home, it's the inner chamber of your life and ident.i.ty, the place where you protect your essential self. If invaders break in there, you're finished.

SUCCESS / FEATURING NAS.

Back to Lyrics 1. This is a reference to Eminem's "I'm Back": This is a reference to Eminem's "I'm Back": What do I think of success? It sucks too much press I'm stressed. What do I think of success? It sucks too much press I'm stressed.2. This refers to old friends on the street and in the rap game who still think of me as their sidekick or protege, or the little n.i.g.g.a they put on. At one point that's maybe who I was-but then my nuts dropped and I became my own man. And that happened a long time ago. This refers to old friends on the street and in the rap game who still think of me as their sidekick or protege, or the little n.i.g.g.a they put on. At one point that's maybe who I was-but then my nuts dropped and I became my own man. And that happened a long time ago.3. Another reference to finishing breakfast, as in "Public Service Announcement," which connects with the "appet.i.te for destruction" and "small fry" in the next line. Another reference to finishing breakfast, as in "Public Service Announcement," which connects with the "appet.i.te for destruction" and "small fry" in the next line.

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4. I went to such a visceral image here because I was trying to make a point: In America-and in hip-hop-success is supposed to be about acc.u.mulation and consumption. But the finest meal ends up as s.h.i.t, which is a great metaphor for the fact that consumption's flip side is decay and waste, and what's left behind is emptiness. Empty apartments, empty stomach, unused objects. Which isn't to say I don't like buying things and eating nice meals as much as the next person (okay, maybe even more), but success has to mean something beyond that. I went to such a visceral image here because I was trying to make a point: In America-and in hip-hop-success is supposed to be about acc.u.mulation and consumption. But the finest meal ends up as s.h.i.t, which is a great metaphor for the fact that consumption's flip side is decay and waste, and what's left behind is emptiness. Empty apartments, empty stomach, unused objects. Which isn't to say I don't like buying things and eating nice meals as much as the next person (okay, maybe even more), but success has to mean something beyond that.

RENEGADE / FEATURING EMINEM.

Back to Lyrics 1. Eminem produced this song and came up with the concept, which was to attack the mistaken perceptions people had of him. By the time I got my hands on it, he'd already recorded his verse, which is absolutely f.u.c.king brilliant, in his lyrical concepts and rhyme schemes- Eminem produced this song and came up with the concept, which was to attack the mistaken perceptions people had of him. By the time I got my hands on it, he'd already recorded his verse, which is absolutely f.u.c.king brilliant, in his lyrical concepts and rhyme schemes-go to war with the Mormons, take a bath with the Catholics / in holy water it's no wonder they try to hold me under longer-and in his ridiculous flow-now I'm debated disputed hated and viewed in America / as a motherf.u.c.kin drug addict, like you didn't experiment. "Renegade" appeared on the "Renegade" appeared on the Blueprint Blueprint alb.u.m, which I intended to be spare and personal and soulful; Em's verses here are the only guest appearance on the alb.u.m. alb.u.m, which I intended to be spare and personal and soulful; Em's verses here are the only guest appearance on the alb.u.m.2. This is directed at critics who only listen to the songs that fulfill their preconceived expectations-the "bling bling" in the background summarizes their usual complaint about my music. This is directed at critics who only listen to the songs that fulfill their preconceived expectations-the "bling bling" in the background summarizes their usual complaint about my music.3. This is one of the things that makes me-and all serious rappers-renegades: When we report the news, it doesn't sound the same as when you hear it from CNN. Most of us come from communities where people were just supposed to stay in their corners quietly, live and die without disturbing the master narrative of American society. Simply speaking our truths, which flew in the face of the American myth, made us rebels. This is one of the things that makes me-and all serious rappers-renegades: When we report the news, it doesn't sound the same as when you hear it from CNN. Most of us come from communities where people were just supposed to stay in their corners quietly, live and die without disturbing the master narrative of American society. Simply speaking our truths, which flew in the face of the American myth, made us rebels.4. The image of n.i.g.g.as "crouched over" is mean to show the other side of the usual street story-what happens when s.h.i.t goes bad, the gun gets dropped, and you're the one on your knees. The image of n.i.g.g.as "crouched over" is mean to show the other side of the usual street story-what happens when s.h.i.t goes bad, the gun gets dropped, and you're the one on your knees.5. Again, I'm talking about the flip side of the "Money, Cash, Hoes" type songs. s.e.x can knock you up and knock you down. Again, I'm talking about the flip side of the "Money, Cash, Hoes" type songs. s.e.x can knock you up and knock you down.6. The "jot it down" line is meant to show that I'm talking to a reporter, giving him my "ghetto point of view." The "jot it down" line is meant to show that I'm talking to a reporter, giving him my "ghetto point of view."

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7. Magazines, even hip-hop magazines, would reduce a song to a rating, a number of mics or stars or some other system. But I always wondered how they could try to pin down and attach a rating to music that was really helping people understand their own lives. I always thought that critics should factor in the truthfulness of the rhyme. Truth is a constraint. It's easy to make up a complete fantasy in a song. Trying to rhyme and be clever and witty and tell a coherent story or talk about a coherent concept and stick to something true about life is difficult. But it's that element of truth that makes the songs deeper than just entertainment, that make the music a light that can help people see their way through a hard life. Magazines, even hip-hop magazines, would reduce a song to a rating, a number of mics or stars or some other system. But I always wondered how they could try to pin down and attach a rating to music that was really helping people understand their own lives. I always thought that critics should factor in the truthfulness of the rhyme. Truth is a constraint. It's easy to make up a complete fantasy in a song. Trying to rhyme and be clever and witty and tell a coherent story or talk about a coherent concept and stick to something true about life is difficult. But it's that element of truth that makes the songs deeper than just entertainment, that make the music a light that can help people see their way through a hard life.8. This is meant both literally and figuratively-the critic I'm imagining here is a suit-and-tie sort of guy, who literally doesn't dress like me. But he also can't wear the life I've worn, and if he tried to step in my shoes, walk the streets I walked, he'd lose that tie and shirt, not just his clothes but the smug att.i.tude they represent. This is meant both literally and figuratively-the critic I'm imagining here is a suit-and-tie sort of guy, who literally doesn't dress like me. But he also can't wear the life I've worn, and if he tried to step in my shoes, walk the streets I walked, he'd lose that tie and shirt, not just his clothes but the smug att.i.tude they represent.9. Here's the dark side of hustling-actually, not the dark side, which has its own glamour, but the pathetic side of the young hustler's life: ashy knuckles, pockets full of lint, broke, can't pay rent. Here's the dark side of hustling-actually, not the dark side, which has its own glamour, but the pathetic side of the young hustler's life: ashy knuckles, pockets full of lint, broke, can't pay rent.10. It's when you take the hustler down a notch that you can start to relate to him, even if it's still complicated. The pocket that was once filled with lint is now filled with "hope"-which is what the crack is to this kid. It's contraband to the law and poisonous salvation to the crackhead, but to the hustler, it's a way out. It's when you take the hustler down a notch that you can start to relate to him, even if it's still complicated. The pocket that was once filled with lint is now filled with "hope"-which is what the crack is to this kid. It's contraband to the law and poisonous salvation to the crackhead, but to the hustler, it's a way out.11. Southpaw boxers are dangerous because they seem awkward to people used to boxing righthanders. It's a great metaphor for the way those of us from the hood were able to take on the world. We came at s.h.i.t from a different angle, snuck up on people, surprised them. We turned the thing that made us outcasts into our advantage. Southpaw boxers are dangerous because they seem awkward to people used to boxing righthanders. It's a great metaphor for the way those of us from the hood were able to take on the world. We came at s.h.i.t from a different angle, snuck up on people, surprised them. We turned the thing that made us outcasts into our advantage.12. Of course, my mother didn't want me on the streets, but it was hard to argue with a young kid who's actually contributing to a household that's stretched thin, even if he's into some dangerous s.h.i.t to do it. Of course, my mother didn't want me on the streets, but it was hard to argue with a young kid who's actually contributing to a household that's stretched thin, even if he's into some dangerous s.h.i.t to do it.13. I didn't have much of a childhood. By the time I was a teenager, I was living in another city, far from home, working. I didn't have much of a childhood. By the time I was a teenager, I was living in another city, far from home, working.14. After so much of the song is about stripping the life of any sense of glamour and pointing out the real life of the kid in the ghetto, I turn it around to a defiant, triumphant note with this series of raises: raising green up (making money), raising my middle finger to the critics who don't get it, and raising my face to the sky to talk to my n.i.g.g.a Big. After so much of the song is about stripping the life of any sense of glamour and pointing out the real life of the kid in the ghetto, I turn it around to a defiant, triumphant note with this series of raises: raising green up (making money), raising my middle finger to the critics who don't get it, and raising my face to the sky to talk to my n.i.g.g.a Big.15. This was a conversation Big and I had many times before he died. He wanted for me to see what it was like to be at the multiplatinum level, performing in big arenas. The promise appeared in a song I did with him called "Young G's": This was a conversation Big and I had many times before he died. He wanted for me to see what it was like to be at the multiplatinum level, performing in big arenas. The promise appeared in a song I did with him called "Young G's": And I told my n.i.g.g.a Big I'd be multi before I die / It's gonna happen whether rappin or clappin have it your way. And I told my n.i.g.g.a Big I'd be multi before I die / It's gonna happen whether rappin or clappin have it your way.16. I love this concept: Instead of being forced into a f.u.c.ked up choice where you lose either way, choose your own path. The fork in the road I was presented with was either having those pockets full of lint, or pockets full of dope. I went straight-stopped selling drugs-but I also didn't accept the false choice between poverty and breaking the law. I found my own way through and with my music, I try to help others see their way through it, too. I love this concept: Instead of being forced into a f.u.c.ked up choice where you lose either way, choose your own path. The fork in the road I was presented with was either having those pockets full of lint, or pockets full of dope. I went straight-stopped selling drugs-but I also didn't accept the false choice between poverty and breaking the law. I found my own way through and with my music, I try to help others see their way through it, too.

CAN I LIVE?.

Back to Lyrics 1. Hopelessness and desperation is what you're supposed to feel in poverty. The drive to escape that hopelessness is, for the hustler, the same thing that drives a drug addict to get high-a need to escape. So here, and in other rhymes, I'm identifying with addicts. An addict doubles down on his pain, and like the hustler feels death or jail couldn't be much worse than the pain of poverty. So when we come to the table to gamble, it's with our very lives. Hopelessness and desperation is what you're supposed to feel in poverty. The drive to escape that hopelessness is, for the hustler, the same thing that drives a drug addict to get high-a need to escape. So here, and in other rhymes, I'm identifying with addicts. An addict doubles down on his pain, and like the hustler feels death or jail couldn't be much worse than the pain of poverty. So when we come to the table to gamble, it's with our very lives.2. In this line I turn a noun, In this line I turn a noun, bread bread (meaning "money"), into a verb, (meaning "money"), into a verb, toast toast (meaning "shoot"), which draws out the relationship between money and danger. (meaning "shoot"), which draws out the relationship between money and danger.3. Sleeplessness, weariness, and adrenaline are symptoms of paranoia, of engaging in illegal activity in plain sight. "Four fiends away" indicates the distance between me and the street-level action. The implication is that I'm a boss, to some degree buffered from low-level workers who can be easily urged to cooperate with authorities. Sleeplessness, weariness, and adrenaline are symptoms of paranoia, of engaging in illegal activity in plain sight. "Four fiends away" indicates the distance between me and the street-level action. The implication is that I'm a boss, to some degree buffered from low-level workers who can be easily urged to cooperate with authorities.4. The pain of a drug addict is visible. You may or may not have sympathy for him, but he's wearing his pain. The hustler has armor-money, ambition-that makes his pain less visible, less "quick to see." But just like a drug addict's "brain on drugs" the hustler's brain is similarly fried, preparing for inevitable rainy days (precipitation), planning takeovers, stacking and climbing. The "hardly" is an admission that while the intention is to stack, the reality is often the spending. The pain of a drug addict is visible. You may or may not have sympathy for him, but he's wearing his pain. The hustler has armor-money, ambition-that makes his pain less visible, less "quick to see." But just like a drug addict's "brain on drugs" the hustler's brain is similarly fried, preparing for inevitable rainy days (precipitation), planning takeovers, stacking and climbing. The "hardly" is an admission that while the intention is to stack, the reality is often the spending.5. Rayful Edmond was a major hustler who appeared on the news coming out of his own helicopter. Rayful Edmond was a major hustler who appeared on the news coming out of his own helicopter.6. This line, "I'd rather die enormous than live dormant," resonates deeply with my listeners. It's a take on the "Live Free or Die Trying," "Liberty or Death" spirit that's woven into the fabric of what it means to be American. But it's also about great ambition, and the alternative, which is stagnation. The risk is death, so the reward should have equal gravity, a life lived to the fullest. This line, "I'd rather die enormous than live dormant," resonates deeply with my listeners. It's a take on the "Live Free or Die Trying," "Liberty or Death" spirit that's woven into the fabric of what it means to be American. But it's also about great ambition, and the alternative, which is stagnation. The risk is death, so the reward should have equal gravity, a life lived to the fullest.7. "The main event" refers to the reward, the spoils, and, literally, a fight in Vegas. But main event could mean life as much as it means a staged fight. Presidential suites is that Big w.i.l.l.y all grown up-call him William. "The main event" refers to the reward, the spoils, and, literally, a fight in Vegas. But main event could mean life as much as it means a staged fight. Presidential suites is that Big w.i.l.l.y all grown up-call him William.8. "Sick thoughts that circle" is about the interior of my mind. Constantly checking thoughts, separating what's real from what's fear and paranoia, what's a part of the plan and what's reckless. Before I learned the Law of Attraction I was aware of the power of my thoughts, staying focused, weeding out thoughts that sabotage. "Sick thoughts that circle" is about the interior of my mind. Constantly checking thoughts, separating what's real from what's fear and paranoia, what's a part of the plan and what's reckless. Before I learned the Law of Attraction I was aware of the power of my thoughts, staying focused, weeding out thoughts that sabotage.9. "Immunity" is a shot at white-collar criminals who are as outside of the law as my crew, but it's also about taking reckless risks that lead to material acquisitions, which were also reckless. Advising to buy a car rather than lease one speaks to my naivete at the time. Cars lose value the minute they leave the lot. "Immunity" is a shot at white-collar criminals who are as outside of the law as my crew, but it's also about taking reckless risks that lead to material acquisitions, which were also reckless. Advising to buy a car rather than lease one speaks to my naivete at the time. Cars lose value the minute they leave the lot.10. The Buddhist reference is about stillness, a break from the spending and buying, a retreat to reveal my ultimate goals. The Buddhist reference is about stillness, a break from the spending and buying, a retreat to reveal my ultimate goals.

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11. The CBS television network's logo is a single open eye. The CBS television network's logo is a single open eye.

FALLIN' / FEATURING BILAL Back to Lyrics 1. "That" is ambiguous here. The context shows that it refers to the drug game, and of course this is on the "That" is ambiguous here. The context shows that it refers to the drug game, and of course this is on the American Gangster American Gangster alb.u.m, which was inspired by Frank Lucas's rise and fall as a drug kingpin. But it can refer to anything we do that we know, even while we're doing it, will end badly. alb.u.m, which was inspired by Frank Lucas's rise and fall as a drug kingpin. But it can refer to anything we do that we know, even while we're doing it, will end badly.2. A brick is a serious entry-level weight, a nice score, but not necessarily a lifetime commitment to the Game. A brick is a serious entry-level weight, a nice score, but not necessarily a lifetime commitment to the Game.3. This is the kind of bogus negotiation people normally a.s.sociate with drug This is the kind of bogus negotiation people normally a.s.sociate with drug addicts, addicts, not drug dealers. The theme of this song is the similarity between the users and sellers; they're on opposite ends of the transaction, but are both addicted to a fix that they know will destroy them. not drug dealers. The theme of this song is the similarity between the users and sellers; they're on opposite ends of the transaction, but are both addicted to a fix that they know will destroy them.4. "Whips" are fast, expensive cars. It might seem redundant to say "new cars, new whips" but "whips" adds a layer of meaning and suggestion. For instance, you can make the connection between the word "whip" and the way l.u.s.t for material items has become almost a slavemaster to the song's narrator, pushing him forward against his own better judgment. Or the way "whip" makes you feel the speed with which the narrator's game is rising. "Whips" are fast, expensive cars. It might seem redundant to say "new cars, new whips" but "whips" adds a layer of meaning and suggestion. For instance, you can make the connection between the word "whip" and the way l.u.s.t for material items has become almost a slavemaster to the song's narrator, pushing him forward against his own better judgment. Or the way "whip" makes you feel the speed with which the narrator's game is rising.5. This is a play on the similarity between "ruthless" and "roofless," as in convertible. This is a play on the similarity between "ruthless" and "roofless," as in convertible.6. This is about how clear his view of the fight is, but also about how he sees the larger picture of life much clearer now, or thinks he does. This is about how clear his view of the fight is, but also about how he sees the larger picture of life much clearer now, or thinks he does.7. Reference to Nice & Smooth's "Funky for You": Reference to Nice & Smooth's "Funky for You": Dizzy Gillespie plays the sax / Me myself I love to max / Redbone booties I'm out to wax / Stick-up kids is out to tax. Dizzy Gillespie plays the sax / Me myself I love to max / Redbone booties I'm out to wax / Stick-up kids is out to tax. Dizzy Gillespie played the trumpet, but f.u.c.k it, it's a great rhyme. Premier sampled the line for the chorus of another hip-hop cla.s.sic, Gang Starr's "Just to Get a Rep." Dizzy Gillespie played the trumpet, but f.u.c.k it, it's a great rhyme. Premier sampled the line for the chorus of another hip-hop cla.s.sic, Gang Starr's "Just to Get a Rep."

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8. First, this conjures the image of agents in the back of an FBI van looking at their surveillance screen and applauding because you f.u.c.ked up, and then morphs into the image of a crowd at a movie, yelling at the character on the screen who is about to f.u.c.k up. First, this conjures the image of agents in the back of an FBI van looking at their surveillance screen and applauding because you f.u.c.ked up, and then morphs into the image of a crowd at a movie, yelling at the character on the screen who is about to f.u.c.k up.9. "Can't blow too hard" means you can't show off too much, or your whole life can tumble. "Can't blow too hard" means you can't show off too much, or your whole life can tumble.10. January is the coldest, darkest month of the year, which mirrors the hopeless feeling of being locked down and forgotten by the people on the outside. January is the coldest, darkest month of the year, which mirrors the hopeless feeling of being locked down and forgotten by the people on the outside.11. Commissary is the prison "store" where prisoners can buy basic items using an account that gets filled by people outside of prison. Commissary is the prison "store" where prisoners can buy basic items using an account that gets filled by people outside of prison.12. The prisoner's routine is heavy on exercises whose names are like a cruel joke. The prisoner's routine is heavy on exercises whose names are like a cruel joke.13. The cycle continues. The cycle continues.14. The implication is that the narrator dumped a good, self-sufficient woman-now getting a college degree-for "arm candy" that gets sweet on whoever's hot. The implication is that the narrator dumped a good, self-sufficient woman-now getting a college degree-for "arm candy" that gets sweet on whoever's hot.15. Now he's out of jail, but all he has to fall back on is empty boasting about his old life-problem is, no one gives a s.h.i.t. It's like the old ballplayer telling the young boys about how nice he used to be, how he could've been a contender-but if you blew it, no one cares. Now he's out of jail, but all he has to fall back on is empty boasting about his old life-problem is, no one gives a s.h.i.t. It's like the old ballplayer telling the young boys about how nice he used to be, how he could've been a contender-but if you blew it, no one cares.

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BIG PIMPIN' (EXTENDED) / FEATURING UGK Back to Lyrics 1. This is my take on a cla.s.sic piece of pimpology, Pretty Tony's riff in the movie This is my take on a cla.s.sic piece of pimpology, Pretty Tony's riff in the movie The Mack: The Mack: "Just like my hoes, I keep 'em broke. They wake up one morning with some money, they subject to go crazy. I keep 'em looking good, pretty and all that, but no dough." These lines have been referred to a lot in hip-hop-they were sampled completely by Ghostface Killah-but it's not meant to endorse actual pimping, that was never my thing. Pretty Tony's delivery is so slick, the slang is so dead-on, the exaggeration so outrageous, and the sentiment so pure and distilled, that as ridiculous as the words are, it still comes off real. It's f.u.c.ked up and mesmerizing. It's also comedy. I was trying to get some of that feeling in this song. "Just like my hoes, I keep 'em broke. They wake up one morning with some money, they subject to go crazy. I keep 'em looking good, pretty and all that, but no dough." These lines have been referred to a lot in hip-hop-they were sampled completely by Ghostface Killah-but it's not meant to endorse actual pimping, that was never my thing. Pretty Tony's delivery is so slick, the slang is so dead-on, the exaggeration so outrageous, and the sentiment so pure and distilled, that as ridiculous as the words are, it still comes off real. It's f.u.c.ked up and mesmerizing. It's also comedy. I was trying to get some of that feeling in this song.2. Here are two of the most selfish, least romantic ways to describe s.e.x you can imagine: "need a nut" and "beat the guts." I was intentionally pushing it-the song is meant to be about pimpin, which is, by definition, selfish and unromantic-but this was also where my head was when I recorded the song. The truth is that when you reach a certain level of success, relationships between men and women can get really f.u.c.ked up and start feeling like a raw transaction, with high levels of suspicion on both sides. Here are two of the most selfish, least romantic ways to describe s.e.x you can imagine: "need a nut" and "beat the guts." I was intentionally pushing it-the song is meant to be about pimpin, which is, by definition, selfish and unromantic-but this was also where my head was when I recorded the song. The truth is that when you reach a certain level of success, relationships between men and women can get really f.u.c.ked up and start feeling like a raw transaction, with high levels of suspicion on both sides.3. I like the way "fists in cuffs" sounds like "fisticuffs." It shows exactly how the song's narrator sees commitment, almost as an a.s.sault. I like the way "fists in cuffs" sounds like "fisticuffs." It shows exactly how the song's narrator sees commitment, almost as an a.s.sault.

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4. The irony here, of course, is that like most n.i.g.g.as who throw on the pimp act, I'd eventually give my heart to a woman. The irony here, of course, is that like most n.i.g.g.as who throw on the pimp act, I'd eventually give my heart to a woman.5. Another Another The Mack The Mack reference. reference.6. I was a longtime fan of UGK, and they killed their verses on this song. After Pimp C died, Bun B and I performed his verse together (along with about fifteen thousand people in the audience) at a show in Houston, their hometown. His short verse was a perfect eulogy for Pimp C-it was funny, outrageous, smart, and bouncey, and he didn't waste a single word: I was a longtime fan of UGK, and they killed their verses on this song. After Pimp C died, Bun B and I performed his verse together (along with about fifteen thousand people in the audience) at a show in Houston, their hometown. His short verse was a perfect eulogy for Pimp C-it was funny, outrageous, smart, and bouncey, and he didn't waste a single word: if I wasn't rapping baby / I would still be ridin Mercedes / coming down and sippin daily / no rest till whitey pay me. if I wasn't rapping baby / I would still be ridin Mercedes / coming down and sippin daily / no rest till whitey pay me.

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7. Blades = B.L.A.D.'s = rims. Blades = B.L.A.D.'s = rims.8. Even in a song about pushing pleasure to the limit, I can't help but make the connection between the "big pimpin" and the work that makes it possible-which takes us from the cars, women, and the alcohol, the sun, the mansion, and Carnival-and brings us back to the streets, the corner of the block, the c.o.ke, and the potential for a long prison bid hanging over me like a cloud. The recklessness of the pleasure-the selfish craziness of pimping-matches the recklessness of the work. Even in a song about pushing pleasure to the limit, I can't help but make the connection between the "big pimpin" and the work that makes it possible-which takes us from the cars, women, and the alcohol, the sun, the mansion, and Carnival-and brings us back to the streets, the corner of the block, the c.o.ke, and the potential for a long prison bid hanging over me like a cloud. The recklessness of the pleasure-the selfish craziness of pimping-matches the recklessness of the work.9. The girls bring us back from the grim reminder about the work, but not all the way. I've already made it clear that these are not girls that I'll have a relationship with, these are girls that I'll "thug, f.u.c.k, love, and leave," and these same girls, "laughin it up," are definitely not going to be holding me down if I do get caught out there. One way or another, in real life, the laughter is going to end. But not in this song. Here, the laughter is the last thing you hear, because this is a song about that moment of pleasure, not about consequences and regrets. But the tension of what comes next also lingers. The girls bring us back from the grim reminder about the work, but not all the way. I've already made it clear that these are not girls that I'll have a relationship with, these are girls that I'll "thug, f.u.c.k, love, and leave," and these same girls, "laughin it up," are definitely not going to be holding me down if I do get caught out there. One way or another, in real life, the laughter is going to end. But not in this song. Here, the laughter is the last thing you hear, because this is a song about that moment of pleasure, not about consequences and regrets. But the tension of what comes next also lingers.

STREETS IS WATCHING.

Back to Lyrics 1. This is one of my most often repeated lines. I'm describing asymmetrical warfare, where one side has much more to lose than the other side and it applies to all kinds of situations. This is one of my most often repeated lines. I'm describing asymmetrical warfare, where one side has much more to lose than the other side and it applies to all kinds of situations.2. This is a song all about paranoia. To be watched by the streets themselves, clocked by the block, means you're being watched by everyone and everything all the time, all looking for the slightest opening to come at you. This is a song all about paranoia. To be watched by the streets themselves, clocked by the block, means you're being watched by everyone and everything all the time, all looking for the slightest opening to come at you.

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3. To ignore the predatory streets is a quick way to get extorted-but in this case, I mean extorted for your time, your life, with a long prison sentence. To ignore the predatory streets is a quick way to get extorted-but in this case, I mean extorted for your time, your life, with a long prison sentence.4. "One in the drop" = one in the chamber. "One in the drop" = one in the chamber.5. Arms are frozen from "ice" (ice = diamonds, in this case, on a watch or bracelet), ironically the ice means I "can't chill." Arms are frozen from "ice" (ice = diamonds, in this case, on a watch or bracelet), ironically the ice means I "can't chill."6. The warm gun follows the frozen arms, and both mean that the gun is no longer being used-"you gotta keep your heat up." The warm gun follows the frozen arms, and both mean that the gun is no longer being used-"you gotta keep your heat up."7. A hazard in any successful business is that the one at the top gets relaxed-"feet up"-and becomes addicted to the sweet life, which marks him as weak to all the sharks circling below him. The funny thing about this is that even bullies-the ones who reach the top-can be soft and weak. As soon as they get exposed, it's a wrap. A hazard in any successful business is that the one at the top gets relaxed-"feet up"-and becomes addicted to the sweet life, which marks him as weak to all the sharks circling below him. The funny thing about this is that even bullies-the ones who reach the top-can be soft and weak. As soon as they get exposed, it's a wrap.8. A couple of deadly children's games. Getting tagged here is like a permanent game of freeze tag. And when they play "follow the leader," it's not out of obedience, but more like a predator tracking prey. A couple of deadly children's games. Getting tagged here is like a permanent game of freeze tag. And when they play "follow the leader," it's not out of obedience, but more like a predator tracking prey.9. More dangerous than the cats who want to kidnap you for dough are the killers just trying to make their reputations, because those are the ones you can't negotiate with; it's kill or be killed. More dangerous than the cats who want to kidnap you for dough are the killers just trying to make their reputations, because those are the ones you can't negotiate with; it's kill or be killed.10. The line really means that no matter if I'm actually on the streets or not, my mentality-"hustle harder"-is the same. The narrator of the song is the sort of high-level drug dealer who has to prove that he isn't sweet, even though he's not literally on the streets-he has to prove his street mentality to keep his credibility on the block. The line really means that no matter if I'm actually on the streets or not, my mentality-"hustle harder"-is the same. The narrator of the song is the sort of high-level drug dealer who has to prove that he isn't sweet, even though he's not literally on the streets-he has to prove his street mentality to keep his credibility on the block.11. This is a regular theme in gangster narratives, especially in hood stories. There have always been smart guys in the game who wanted to just focus on making money-to put all the gorilla s.h.i.t to the side, all the thugging and stupid rivalries, and work together, because all the rest, the violence and animosity, actually hurt your money and create unnecessary collateral damage. These are the guys who thought you could run a criminal operation like a Fortune 500 company on some Stringer Bell s.h.i.t. When I was in the streets, I was all about making money. I wasn't in it for the violence or making a rep and all that. But in the end, between the cops, the crazies, and the poison product, it's a f.u.c.ked-up game, and it's hard to play it clean. This is a regular theme in gangster narratives, especially in hood stories. There have always been smart guys in the game who wanted to just focus on making money-to put all the gorilla s.h.i.t to the side, all the thugging and stupid rivalries, and work together, because all the rest, the violence and animosity, actually hurt your money and create unnecessary collateral damage. These are the guys who thought you could run a criminal operation like a Fortune 500 company on some Stringer Bell s.h.i.t. When I was in the streets, I was all about making money. I wasn't in it for the violence or making a rep and all that. But in the end, between the cops, the crazies, and the poison product, it's a f.u.c.ked-up game, and it's hard to play it clean.12. The language tells the story: Even though I call my crew "staff," like it's a regular company, most staffs aren't made up of criminal defendants and corpses. The language tells the story: Even though I call my crew "staff," like it's a regular company, most staffs aren't made up of criminal defendants and corpses.13. Even when you find some "success," the paranoia and guilt tighten around you like a noose. Even when you find some "success," the paranoia and guilt tighten around you like a noose.14. I switch up here from a moment of conscience back to the practical details of the work. It's like the work has such a hold on me that it interrupts every other thought. I switch up here from a moment of conscience back to the practical details of the work. It's like the work has such a hold on me that it interrupts every other thought.15. This is based in reality. The last crew I worked with was largely incarcerated in a sweep that happened after I'd started moving into the rap game. This is based in reality. The last crew I worked with was largely incarcerated in a sweep that happened after I'd started moving into the rap game.16. It's a small thing, but it's rare that you'll hear a rhyme in the whole "crack rap" genre where the narrator acknowledges the damage to innocent people that occurs in the game. It's a small thing, but it's rare that you'll hear a rhyme in the whole "crack rap" genre where the narrator acknowledges the damage to innocent people that occurs in the game.17. In the end, I make it even more autobiographical by talking about my own transition from someone living the life to someone telling its stories in rhyme, where disagreements don't lead to death. In the end, I make it even more autobiographical by talking about my own transition from someone living the life to someone telling its stories in rhyme, where disagreements don't lead to death.

OPERATION CORPORATE TAKEOVER.

Back to Lyrics 1. Edgar Bronfmann is CEO of Warner Music Group, Doug Morris is CEO of Universal Music Group, Jimmy Iovine is head of Interscope, and Lyor Cohen, CEO of Recorded Music at Warner. Edgar Bronfmann is CEO of Warner Music Group, Doug Morris is CEO of Universal Music Group, Jimmy Iovine is head of Interscope, and Lyor Cohen, CEO of Recorded Music at Warner.

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2. When I did this freestyle, I was president of Def Jam, a gig I landed after being courted by Universal and Warner. The "makeover" wasn't just about rearranging the chairs. It was about changing the orientation and spirit of the business. That's what hip-hop has tried to do whenever it gets into the boardroom. It's not about sitting behind the same desks and doing work the same way as the people that preceded us. Our goal is to take what we've learned about the world from our lives-and what we've learned about integrity and success and fairness and compet.i.tion-and use it to remake the corporate world. When I did this freestyle, I was president of Def Jam, a gig I landed after being courted by Universal and Warner. The "makeover" wasn't just about rearranging the chairs. It was about changing the orientation and spirit of the business. That's what hip-hop has tried to do whenever it gets into the boardroom. It's not about sitting behind the same desks and doing work the same way as the people that preceded us. Our goal is to take what we've learned about the world from our lives-and what we've learned about integrity and success and fairness and compet.i.tion-and use it to remake the corporate world.3. "Superst.i.tion" is the Stevie Wonder cla.s.sic, of course; "Superst.i.tion" is the Stevie Wonder cla.s.sic, of course; The Writing's on the Wall The Writing's on the Wall was the name of the record alb.u.m from Destiny's Child. was the name of the record alb.u.m from Destiny's Child.4. In the song I keep talking about seeing it all before and it's true-not that I was prophetic, but that I always used visualization the way athletes do, to conjure reality. In the song I keep talking about seeing it all before and it's true-not that I was prophetic, but that I always used visualization the way athletes do, to conjure reality.5. "Face to the ceiling" and "knees on the floor" creates a simultaneous image of straining ambition and humble prayer and forces your mind to reconcile that contradiction. "Face to the ceiling" and "knees on the floor" creates a simultaneous image of straining ambition and humble prayer and forces your mind to reconcile that contradiction.6. This refers to the biblical verse about the meek inheriting the earth. If I'm Gordon Gekko in this life, do I sacrifice my place in heaven? This refers to the biblical verse about the meek inheriting the earth. If I'm Gordon Gekko in this life, do I sacrifice my place in heaven?7. I'm close to the cover physically-it's on the floor, just out of arm's reach-but also close to the cover in the sense of being nearly successful enough to be on the cover of the magazine. I'm close to the cover physically-it's on the floor, just out of arm's reach-but also close to the cover in the sense of being nearly successful enough to be on the cover of the magazine.8. Time Time had me in their "most influential" issue with builders and t.i.tans and "people you never heard of," the kind of wealthy industrialists who don't get on the covers of magazines but quietly run the world. had me in their "most influential" issue with builders and t.i.tans and "people you never heard of," the kind of wealthy industrialists who don't get on the covers of magazines but quietly run the world.9. Lots of business lingo piles up here. I'm turning the business world's terminology into the raw material for the rhyme. Lots of business lingo piles up here. I'm turning the business world's terminology into the raw material for the rhyme.10. This is an aggressive final image to make the point that I'm like a lot of people that came out of hip-hop-our ambition was never to just fit into the corporate mold, it was to take it over and remake that world in our image. This is an aggressive final image to make the point that I'm like a lot of people that came out of hip-hop-our ambition was never to just fit into the corporate mold, it was to take it over and remake that world in our image.

MOMENT OF CLARITY.

Back to Lyrics 1. The most famous lines in this song are about my philosophy of music and the tension between my commercial instincts and my instincts as an artist. But the first verse is all about my father. The most famous lines in this song are about my philosophy of music and the tension between my commercial instincts and my instincts as an artist. But the first verse is all about my father.2. After After Reasonable Doubt, Reasonable Doubt, my next three alb.u.ms were called my next three alb.u.ms were called Vol. 1, Vol. 2, Vol. 1, Vol. 2, and and Vol. 3, Vol. 3, with subt.i.tles- with subt.i.tles-In My Lifetime, Hard Knock Life, and and Life and Times of S. Carter. Life and Times of S. Carter. The The Volume Volume series was meant to emphasize the connection between the alb.u.ms, that each was a continuation and expansion of the same basic story. series was meant to emphasize the connection between the alb.u.ms, that each was a continuation and expansion of the same basic story.3. This sounds cold, but the truth is that my father left my family for good when I was young and didn't reenter my life until I was an adult. Three months after we had our first conversation in twenty years, he died. My mother had pushed for the meeting because she knew he didn't have long and she didn't want him to die with our issues still unresolved. So at the funeral I was more intrigued than devastated. This sounds cold, but the truth is that my father left my family for good when I was young and didn't reenter my life until I was an adult. Three months after we had our first conversation in twenty years, he died. My mother had pushed for the meeting because she knew he didn't have long and she didn't want him to die with our issues still unresolved. So at the funeral I was more intrigued than devastated.

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4. When I did finally see my father again and we stood face-to-face, it was like looking in a mirror. It made me wonder how someone could abandon a child who looked just like him. When I did finally see my father again and we stood face-to-face, it was like looking in a mirror. It made me wonder how someone could abandon a child who looked just like him.5. My father and I didn't have a lot of deep conversations before he died, but we did have one important one. When I first reconnected with him, I hit him with questions and he came back with answers until I realized nothing he could ever say would satisfy me or make sense of all the feelings I'd had since he turned his back on us. In the end, he broke down and apologized. And, somewhat to my surprise, I forgave him. My father and I didn't have a lot of deep conversations before he died, but we did have one important one. When I first reconnected with him, I hit him with questions and he came back with answers until I realized nothing he could ever say would satisfy me or make sense of all the feelings I'd had since he turned his back on us. In the end, he broke down and apologized. And, somewhat to my surprise, I forgave him.6. The death of my father's brother, my uncle Ray, changed everything for my pops. Ray was murdered outside of a crowded Brooklyn bar and everyone knew who did it, but the police didn't do anything about it. My dad swore revenge and became obsessed with hunting down Uncle Ray's killer. The tragedy-compounded by the injustice-drove him crazy, sent him to the bottle, and ultimately became a factor in the unraveling of my parents' marriage. As a kid, I didn't know all this. I had no idea that it was the death of his brother that undid my dad. When I found this out I realized that yeah, of course every father that bounced had a reason. I didn't excuse him for leaving his kids, but I started to understand. The death of my father's brother, my uncle Ray, changed everything for my pops. Ray was murdered outside of a crowded Brooklyn bar and everyone knew who did it, but the police didn't do anything about it. My dad swore revenge and became obsessed with hunting down Uncle Ray's killer. The tragedy-compounded by the injustice-drove him crazy, sent him to the bottle, and ultimately became a factor in the unraveling of my parents' marriage. As a kid, I didn't know all this. I had no idea that it was the death of his brother that undid my dad. When I found this out I realized that yeah, of course every father that bounced had a reason. I didn't excuse him for leaving his kids, but I started to understand.7. Although this verse starts off on a cold note-I seem indifferent and even smirking about his death-that's only me being honest. I didn't cry. I didn't know him that well. But at the same time, it was so important that we did meet up before he died. It was important for me to hear him say he was sorry and for me to hear myself say, "I forgive you." It changed my life, really. I wish every kid who grew up like me could have the same chance to confront the fathers who left them, not just so they can lay out their anger, but so they can, in the end, let that anger go. That anger still stunts so many of us. Although this verse starts off on a cold note-I seem indifferent and even smirking about his death-that's only me being honest. I didn't cry. I didn't know him that well. But at the same time, it was so important that we did meet up before he died. It was important for me to hear him say he was sorry and for me to hear myself say, "I forgive you." It changed my life, really. I wish every kid who grew up like me could have the same chance to confront the fathers who left them, not just so they can lay out their anger, but so they can, in the end, let that anger go. That anger still stunts so many of us.8. I was lucky in some ways to have come into the game on my own two feet-along with my partners Biggs and Dame-and not because the industry wanted to make me the flavor of the month and then throw me away. I was lucky in some ways to have come into the game on my own two feet-along with my partners Biggs and Dame-and not because the industry wanted to make me the flavor of the month and then throw me away.9. I love that this has become such a popular line for people to riff off of in hip-hop-Lupe Fiasco did a great song called "Dumb It Down" that brought the whole thing full circle, for example-since the point of the line was to provoke conversation. I love that this has become such a popular line for people to riff off of in hip-hop-Lupe Fiasco did a great song called "Dumb It Down" that brought the whole thing full circle, for example-since the point of the line was to provoke conversation.10. Kweli is a great MC-as is Common-and they've both carved out impressive careers without big records. They're great technical MCs, but there is a difference between being a great technician and a great songwriter. I deeply respect their craft, but even the most dazzling lyrical display won't translate to a wide audience unless it's matched with a big song. Kweli is a great MC-as is Common-and they've both carved out impressive careers without big records. They're great technical MCs, but there is a difference between being a great technician and a great songwriter. I deeply respect their craft, but even the most dazzling lyrical display won't translate to a wide audience unless it's matched with a big song.11. This whole lyric is overstated-and I love Common-but I'm trying to make a point. I didn't come into the rap game just to enjoy my own rhymes; I could've done that by myself in my house with my tape recorder. I came into the music business to reach as many people as possible-and to get paid. This whole lyric is overstated-and I love Common-but I'm trying to make a point. I didn't come into the rap game just to enjoy my own rhymes; I could've done that by myself in my house with my tape recorder. I came into the music business to reach as many people as possible-and to get paid.12. I use "sense" or "since" six times in the preceding nine lines, alternating between them, a technical flourish that works as its own commentary. I use "sense" or "since" six times in the preceding nine lines, alternating between them, a technical flourish that works as its own commentary.13. Ultimately, every artist has to make a choice about what makes the most sense for them, and I'm not mad at whatever they decide. To honor the art of lyrical rhyming on one hand, and try to reach a wide audience on the other, is an art form in itself. It's not easy, but that's just another challenge that I love to take on. Ultimately, every artist has to make a choice about what makes the most sense for them, and I'm not mad at whatever they decide. To honor the art of lyrical rhyming on one hand, and try to reach a wide audience on the other, is an art form in itself. It's not easy, but that's just another challenge that I love to take on.14. The h.o.m.onym of tiers and tears connects prison tiers with crying-but you can't cry in prison (at least not out in the open). The h.o.m.onym of tiers and tears connects prison tiers with crying-but you can't cry in prison (at least not out in the open).15. This geometric series-block/square, ball/circle, and then triangle-is the kind of unnecessary technical challenge I like to drop into songs just to give the lines extra energy and resonance. The "triangles on our wall" refer to platinum plaques; This geometric series-block/square, ball/circle, and then triangle-is the kind of unnecessary technical challenge I like to drop into songs just to give the lines extra energy and resonance. The "triangles on our wall" refer to platinum plaques; Billboard Billboard magazine's symbol for platinum sales is a triangle. magazine's symbol for platinum sales is a triangle.

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16. Even though earlier I made the point about doubling my dollars, here I'm being clear that the rapping isn't just for sales, because I've already sold millions-so there's still something deeper at work. Even though earlier I made the point about doubling my dollars, here I'm being clear that the rapping isn't just for sales, because I've already sold millions-so there's still something deeper at work.17. A play on Abraham Lincoln's Gettysburg Address-except instead of his "four score and seven years ago," my "four scores" are four number one alb.u.ms, and "seven years ago" goes back to the beginning of my career. A play on Abraham Lincoln's Gettysburg Address-except instead of his "four score and seven years ago," my "four scores" are four number one alb.u.ms, and "seven years ago" goes back to the beginning of my career.18. This is about not having fear: "Scars'll scab" means that even if you injure me, I'll recover; "I can dodge and jab" means that swinging on me won't stop me; and even "three shots couldn't touch me." The whole point of the "moment of clarity" is that after I confront my own demons, I'm left with nothing but "my b.a.l.l.s and my word," which makes me untouchable. This is about not having fear: "Scars'll scab" means that even if you injure me, I'll recover; "I can dodge and jab" means that swinging on me won't stop me; and even "three shots couldn't touch me." The whole point of the "moment of clarity" is that after I confront my own demons, I'm left with nothing but "my b.a.l.l.s and my word," which makes me untouchable.19. Biggie was huge, arguably the greatest of all time. Carrying him on my back means taking the weight of all he represented. But the image of Biggie-who wasn't skinny-on my back reinforces how hard it is to do. Biggie was huge, arguably the greatest of all time. Carrying him on my back means taking the weight of all he represented. But the image of Biggie-who wasn't skinny-on my back reinforces how hard it is to do.

BREATHE EASY (LYRICAL EXERCISE).

Back to Lyrics 1. I developed that habit of holding rhymes in my head from working so hard on the streets. When I was still a teenager I might be on the corner when a rhyme came to me. I would have to run to the corner store, buy something, then find a pen to write it on the back of the brown paper bag till I got home to put it in my notebook. I couldn't keep doing that because I had to concentrate on work, not on scheming to get my hands on brown paper bags. So I created little corners in my head where I stored rhymes. Once I got good at it, I actually preferred it as a technique. I'm not sure it's better than writing s.h.i.t down, but it's the only way I know. When I was working on the I developed that habit of holding rhymes in my head from working so hard on the streets. When I was still a teenager I might be on the corner when a rhyme came to me. I would have to run to the corner store, buy something, then find a pen to write it on the back of the brown paper bag till I got home to put it in my notebook. I couldn't keep doing that because I had to concentrate on work, not on scheming to get my hands on brown paper bags. So I created little corners in my head where I stored rhymes. Once I got good at it, I actually preferred it as a technique. I'm not sure it's better than writing s.h.i.t down, but it's the only way I know. When I was working on the Kingdom Come Kingdom Come alb.u.m, I tried to sit down and actually write my rhymes, but it just doesn't work that way for me. alb.u.m, I tried to sit down and actually write my rhymes, but it just doesn't work that way for me.2. "Spar in the ring" referred to performing at the Apollo in Harlem. Malcolm was a.s.sa.s.sinated at the Audubon Ballroom, a couple miles away. "Spar in the ring" referred to performing at the Apollo in Harlem. Malcolm was a.s.sa.s.sinated at the Audubon Ballroom, a couple miles away.

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3. "Spring train in the winter" refers to the fact that most of my alb.u.ms dropped in the fall or winter. The suicide drills refers to the drilling I get from doing press before the alb.u.m releases, which I find as tedious and uncomfortable as athletes find suicide drills. "Spring train in the winter" refers to the fact that most of my alb.u.ms dropped in the fall or winter. The suicide drills refers to the drilling I get from doing press before the alb.u.m releases, which I find as tedious and uncomfortable as athletes find suicide drills.4. Hova is, of course, short for Jay-Hova, which is a play on Jehovah-a piece of wordplay that irritates the f.u.c.k out of some religious people. They should just relax and listen to the next line. Hova is, of course, short for Jay-Hova, which is a play on Jehovah-a piece of wordplay that irritates the f.u.c.k out of some religious people. They should just relax and listen to the next line.5. These exercise metaphors describe the hustler's routine-running, pullups, and pushups. These exercise metaphors describe the hustler's routine-running, pullups, and pushups.6. Stretching c.o.ke means figuring out ways to cut it with baking soda so you have more than you originally purchased. You can only stretch the work if it's already premium quality. Stretching c.o.ke means figuring out ways to cut it with baking soda so you have more than you originally purchased. You can only stretch the work if it's already premium quality.7. More exercise imagery used to describe a hustler's threats: squats, sets, reps, and showers. This whole rhyme-a bonus track on the More exercise imagery used to describe a hustler's threats: squats, sets, reps, and showers. This whole rhyme-a bonus track on the Blueprint Blueprint alb.u.m-is really about technical rhyming, like the rhymes Jaz and I used to come up with just to challenge ourselves. In this case, the challenge is to create as many clever rhymes as possible using the exercise metaphor-I tried to fit one into every line, and nearly succeeded. The whole thing curves in on itself in this final double entendre in the first verse: The "lyrical exercise" is to compose alb.u.m-is really about technical rhyming, like the rhymes Jaz and I used to come up with just to challenge ourselves. In this case, the challenge is to create as many clever rhymes as possible using the exercise metaphor-I tried to fit one into every line, and nearly succeeded. The whole thing curves in on itself in this final double entendre in the first verse: The "lyrical exercise" is to compose lyrics lyrics about about exercise exercise.8. Again, my exercise in the song largely consists of lifting guns (an "eight" is a .38) and quant.i.ties of drugs. This also reminds me of a photo of Shaq lifting Kobe after the Lakers won their first championship in the Kobe/Shaq era. (One of Shaq's nicknames is "Diesel" and Kobe wears the number 8.) Again, my exercise in the song largely consists of lifting guns (an "eight" is a .38) and quant.i.ties of drugs. This also reminds me of a photo of Shaq lifting Kobe after the Lakers won their first championship in the Kobe/Shaq era. (One of Shaq's nicknames is "Diesel" and Kobe wears the number 8.) [image][image][image]

9. Felix Trinidad is a boxer who knew his way around the ring, and when your ring joins your watch, so will I. Felix Trinidad is a boxer who knew his way around the ring, and when your ring joins your watch, so will I.

MY 1ST SONG.

Back to Lyrics 1. "Chips" is slang for money, and champions