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This was taken from a Muhammad Ali quote, and then in turn quoted by Jay-Z and deemed the “unwritten law in rap”.

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There are a number of possible interpretations of this line:

  • A lot of science fiction takes place in outer space, so he could be literally over our heads in this way.

  • When something is “over your head” you don’t understand it. Steez is so complex and profound that all the shit he writes “goes over your head”

  • “Heads” could also be interpreted as “people” (ex: ‘There were mad heads at my homie’s house for his birthday’). When taken with the previous line, he used to struggle with writing rap but his rhymes have improved and he is now “above them” lyrically

-The setting of science fiction is often a dystopian future of some sort, Steez believed that he would be reincarnated in 2047 as a demigod, thus being elevated above all-(‘way over heads’)

STEEZ says “over head” and in the video makes an action with his hand as if he was projected over himself. STEEZ used to practice astral projection, which is mental state of meditation in which your soul leaves your body and can explore on the astral plane.

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“The rules” here likely alludes to a law of the streets that Jay-Z described very well. When dealing with Gs, what goes around comes around.

This track is an explosive reaction to his shooting in New York City among other things. Pac was convinced that Biggie was behind the shooting, hence why Pac has to now go at Biggie and his crew. You know the rules.

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“‘Puting” is short for “computing”. Many rappers might be content to claim that their lyrics are so clever that they “get you thinking”, but Cam’s are on a whole 'nother level: they get COMPUTERS thinking! And that’s, like, their job.

This line is actually mad prophetic because Cam’s lyrics sparked the creation of the number one hip-hop lyric explanation site a computer can possibly take you to, rapgenius.com. Before Cam, computers didn’t “‘pute” nearly this much about the meaning of rap lyrics (first song up on the site was “Killa Cam”.

Need I say more?

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First official video for the single “Check One” off of City Flow’s debut EP The First Taste

City Flow is Jake Eckhaus: a college rapper from New Jersey currently at Ithaca College.

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eXquire is interpolating a couple of lines from Nas' classic Illmatic track, “The Message”:

All he seen speed by was a brown Datsun
And yo, nobody in my hood got one

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On this, one of his realest cuts, eXquire provides whimsical narration of his life story. Its not hard to tell that he is deeply haunted by these regrets, which he at one point lists out.

The track paints a portrait of a deeply depressed young man who feels his youth slipping away. eXquire displays extremely poor self-image (his view of himself) characteristic of suicidal individuals.

It seems that he is happier since he was signed by Universal (check it out at 2:20 for why he signed to a major label)

eXquire flexes his singing voice on this track, belting out a passionate hook that pays homage to the Jay-Z song Regrets off his classic debut record ‘Reasonable Doubt’.

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There has been much discussion on this page over who and what this line is referencing, but hopefully this will clear things up:

eXquire is quoting a skit from Season 2 of Chappelle’s Show in which Dave Chappelle plays P. Diddy on an episode of Making the Band. Chappelle depicts Diddy as a demanding boss who likes to drink breast milk.

Chappelle’s “breast milk, you made my day” is a mocking variation of Diddy’s hype at the beginning of the famous Flava In Ya Ear Remix by Craig Mack, a posse cut known for helping launch the career of the Notorious B.I.G. In this, Diddy says, “Bad Boy, come out and play”, inviting the members of his record label Bad Boy Entertainment to come out and show off their lyrical skills.

#BUT HOL' UP

Diddy is also biting! “Bad Boy, come out and play” is an adaptation of the well-known line and sing-song voice associated with the 1979 Hollywood movie Warriors. In the movie, all of New York’s gangs have united against one: The Warriors. While driving around looking for the Warriors, a rival gang member calls out, in the same melody, “Warriors, come out and play”: an invitation for a fight.

Also worth mentioning is the obvious tribute to Craig Mack’s “Flava In Ya Ear” remix intro, which opts for the same line of “You know we had to do a remix, right?”

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2Pac and Suge’s blatant disrespect of Bad Boy has pushed Puff and Big over the “thin line between love and hate”. Puff can no longer afford to give in to his loving nature, but rather will adopt the same heartless, self-centered mindset he believes his enemies hold.

Although the tracks producer, RZA, admits that, while he was not in the studio when the verse was recorded, he could even imagine it was directed at his own group, the Wu-Tang Clan, or any other rappers that had gone at Biggie in the past.

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This is a very personal, honest introspection into the heart of Sean Combs. He is not, by nature, a playa hater, but rather, he fundamentally respects fellow talents in the rap industry.

Puff seems to imply by this that he did not initially want to beef with Death Row, a claim both he and Biggie made in interviews, but 2Pac consistently rejected. 2Pac believed that Biggie and Puff were so jealous of his success, they set him up for his 1994 shooting outside a New York City record studio, citing the Biggie song “Who Shot Ya?” as evidence of Bad Boy’s involvement.

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