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The Centurion Card, known informally as the black card, is only given to members when they reach a certain amount of money.

Joell prefers hard cash stacks. rubber bands

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Slaughterhouse’s Joell Ortiz own take on Kanye West’s Clique

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Being the ‘Bigger Person’ in an argument refers to leaving it and moving on. Tech is not that guy. Tech is also a short guy, but “big” in the sense of his confidence, as well as in his music. He will still fight you, even if he’s shorter than you are “in person.”

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They are both a handful, like trying to grab a pair of Double D’s (breasts for the socially unaware).

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Two meanings :
- Buffalo Bills are an NFL team.
- C.O.B aiming to live a rich life style.

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Intelligent wordplay here

  • By throwing his clock in the trash, he’s wasting time.
  • watch me wastetime, a wristwatch.

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Crazy group cypher from Crooked I’s label Circle of Bosses over Twista – Adrelaline Rush, Kendrick Lamar & Dre’s – The Recipe, Slaughterhouse’s – Microphone and finally E-40’s – Function.

Uncomplete lyrics as of now.

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Royce & Crooked go in on Kanye West’s – Cold formerly known as Theraflu.

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Earl’s use of assonance here is excellent and it creates a great sounding verse.

Close your eyes for what you can’t imagine; we are the xany gnashing, caddy smashing, bratty ass; he mad, he snatched his daddy’s Jag
And used the shit for batting practice, adamant and he thrashing
Purchasing crappy grams with half the hand of cash you handed
Panicking, patch me up; Pappy done latch keyed us
Toying with Raggy Anns and mammy done had enough
Brash as fuck, breaching all these aqueducts; don’t believe us
Treat us like we can’t erupt, yup

So much of that aaaa sound. His monotone still serves to convey the bored unimpressed mood that Frank depicts the super rich kids as having.

Earl was high and sick when he recorded this verse:

https://twitter.com/earlxsweat/status/222554131045416961

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General Song Overview:

“Pyramids” contains two distinct stories told from different perspectives, which take place in two different time periods (namely ancient Egypt and modern day America). The stories are connected by similar story elements, themes, and the Cleopatra motif.

The first part of the story is told by an Egyptian Pharaoh, whose Queen – the historically famous Egyptian ruler Cleopatra – has been reportedly kidnapped. As a response sends out all his powerful forces to get her back.

The first verse likely sees this ruler envisioning a great and powerful future with his strong black Queen – this thought may have occurred before or after Cleopatra went missing.

In the next verse the King has discovered that Cleopatra wasn’t taken against her will – she betrayed their kingdom and ran off with another man. This betrayal marks then end of Cleopatra’s life and of their once-powerful kingdom.

The present-day story then begins (along with a change in the beat), with a man awaking (this may imply that the first part of the song was a dream or at least that we are now in a new day).

He describes waking up to your girl, which connects him with the Cleopatra-stealing man of the first story. The way he describes the girl suggests that the Pyramid she’s working at tonight is a strip club or some kind of prostitution den.

He then describes his life, which shows him as a moderately successful pimp; Cleopatra is presumably one of his “workers”.

The present-day storyline then continues – but is told from the perspective of a pitiful man who has hired a prostitute. She makes him feel wanted, though he’s an unemployed loser that has to pay for her services. The final line of his story implies that they had a relationship previously, where she actually loved him and he didn’t have to pay for it – connecting him with the cuckolded man of the Ancient Egypt story.

The entire song as a whole spins a rich and complex web of imagery and motif that touches on many topics and themes. Among the most prevalent are betrayal, infidelity, exploitation, and loss of dignity.

It is likely that Frank is exploring the fall of African-American people – from powerful black Kings and Queens to lowly pimps and hookers – through exploitation (by society, the “white man”, etc.), and their own doing.

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