I started my set off with "What More Can I Say" and I ended the night with "December 4th," the song I named for my birthday. I ended the concert by "retiring" myself, sending a giant jersey with my name on it up to the rafters. As it was making its way to top of the Garden, I looked into the crowd and saw a girl in the audience crying, real tears streaming down her face. It was all I could do to stop looking at her and focus on the person next to her. My songs are my stories, but they take on their own life in the minds of people listening. The connection that creates is sometimes overwhelming.
DECEMBER 4TH.
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[Jay-Z's mom] / Shawn Carter was born December 4th / Weighing in at 10 pounds 8 ounces / He was the last of my four children / The only one who didn't give me any pain when I gave birth to him / And that's how I knew that he was a special child / Shawn Carter was born December 4th / Weighing in at 10 pounds 8 ounces / He was the last of my four children / The only one who didn't give me any pain when I gave birth to him / And that's how I knew that he was a special child1 / / [ [Jay-Z] / They say "they never really miss you till you dead or you gone" dead or you gone"2 / So on that note I'm leaving after the song / So you ain't gotta feel no way about Jay so long / At least let me tell you why I'm this way, Hold on / I was conceived by Gloria Carter and Adnis Reeves / Who made love under the sycamore tree / Which makes me / / So on that note I'm leaving after the song / So you ain't gotta feel no way about Jay so long / At least let me tell you why I'm this way, Hold on / I was conceived by Gloria Carter and Adnis Reeves / Who made love under the sycamore tree / Which makes me / A more sicker MC, A more sicker MC,3 my momma would claim / At 10 pounds when I was born I didn't give her no pain / Although through the years I gave her her fair share / I gave her her first real scare / my momma would claim / At 10 pounds when I was born I didn't give her no pain / Although through the years I gave her her fair share / I gave her her first real scare / I made up for birth when I got here I made up for birth when I got here4 / / She knows my purpose wasn't purpose She knows my purpose wasn't purpose5 / I ain't perfect I care / But I feel worthless cause my shirts wasn't matchin my gear / Now I'm just scratchin the surface cause what's buried under there / / I ain't perfect I care / But I feel worthless cause my shirts wasn't matchin my gear / Now I'm just scratchin the surface cause what's buried under there / Was a kid torn apart once his pop disappeared Was a kid torn apart once his pop disappeared6 / I went to school got good grades could behave when I wanted / But I had demons deep inside that would raise when confronted / Hold on / [ / I went to school got good grades could behave when I wanted / But I had demons deep inside that would raise when confronted / Hold on / [Jay-Z's mom] Shawn was a very shy child growing up / He was into sports / And a funny story is / At four he taught himself how to ride a bike / A two-wheeler at that / Isn't that special? / But I noticed a change in him when me and my husband broke up Shawn was a very shy child growing up / He was into sports / And a funny story is / At four he taught himself how to ride a bike / A two-wheeler at that / Isn't that special? / But I noticed a change in him when me and my husband broke up / [ / [Jay-Z] Now all the teachers couldn't reach me / And my momma couldn't beat me / Hard enough to match the pain of my pop not seeing me, Hard enough to match the pain of my pop not seeing me,7 SO / SO / With that disdain in my membrane With that disdain in my membrane8 / Got on my pimp game / Fuck the world my defense came / Then DeHaven introduced me to the game / Spanish Jose introduced me to cane / I'm a hustler now / / Got on my pimp game / Fuck the world my defense came / Then DeHaven introduced me to the game / Spanish Jose introduced me to cane / I'm a hustler now / My gear is in My gear is in9 and I'm in the in crowd / And all the wavy light-skinned girls is lovin me now / and I'm in the in crowd / And all the wavy light-skinned girls is lovin me now / My self-esteem went through the roof man I got my swag My self-esteem went through the roof man I got my swag10 / Got a Volvo from this girl when her man got bagged / Plus I hit my momma with cash from a show that I had / / Got a Volvo from this girl when her man got bagged / Plus I hit my momma with cash from a show that I had / Supposedly knowin nobody paid Jaz wack ass Supposedly knowin nobody paid Jaz wack ass11 / I'm getting ahead of myself, by the way, I could rap / That came second to me moving this crack / Gimme a second I swear / / I'm getting ahead of myself, by the way, I could rap / That came second to me moving this crack / Gimme a second I swear / I will say about my rap career I will say about my rap career / / Till '96 Till '9612 came niggas I'm here / Goodbye / [ came niggas I'm here / Goodbye / [Jay-Z's mom] Shawn used to be in the kitchen / Beating on the table and rapping / And um, until the wee hours of the morning / And then I bought him a boom box / And his sisters and brothers said that he would drive them nuts / But that was my way to keep him close to me and out of trouble / Shawn used to be in the kitchen / Beating on the table and rapping / And um, until the wee hours of the morning / And then I bought him a boom box / And his sisters and brothers said that he would drive them nuts / But that was my way to keep him close to me and out of trouble / [ [Jay-Z] Goodbye to the game all the spoils, the adrenaline rush / Your blood boils you in a spot knowing cops could rush Your blood boils you in a spot knowing cops could rush13 / / And you in a drop you're so easy to touch And you in a drop you're so easy to touch14 / No two days are alike / / No two days are alike / Except the first and fifteenth pretty much Except the first and fifteenth pretty much15 / And "trust" is a word you seldom hear from us / / And "trust" is a word you seldom hear from us / Hustlers we don't sleep we rest one eye up Hustlers we don't sleep we rest one eye up16 / And a drought can define a man, when the well dries up / / And a drought can define a man, when the well dries up / You learn the worth of water without work you thirst till you die You learn the worth of water without work you thirst till you die17 / YUP / And niggas get tied up for product / / YUP / And niggas get tied up for product / And little brothers ring fingers get cut up And little brothers ring fingers get cut up18 / To show mothers they really got em / And this was the stress I live with till I decided / To try this rap shit for a livin / I pray I'm forgiven / For every bad decision I made / / To show mothers they really got em / And this was the stress I live with till I decided / To try this rap shit for a livin / I pray I'm forgiven / For every bad decision I made / Every sister I played Every sister I played19 / Cause I'm still paranoid to this day / And it's nobody fault I made the decisions I made / / Cause I'm still paranoid to this day / And it's nobody fault I made the decisions I made / This is the life I chose or rather the life that chose me This is the life I chose or rather the life that chose me20 / If you can't respect that your whole perspective is wack / Maybe you'll love me when I fade to black / If you can't respect that your whole perspective is wack / Maybe you'll love me when I fade to black / If you can't respect that your whole perspective is wack / Maybe you'll love me when I fade to black / If you can't respect that your whole perspective is wack / Maybe you'll love me when I fade to black
HISTORY1 / FEATURING CEE-LO / FEATURING CEE-LO.
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By the Third Time They Were Singing Along. (1:10) Now that all the smoke is gone / (Lighter) / And the battle's finally won / (Gimme a lighter) / Victory (Lighters up) is finally ours / (Lighters up) / History so long so long / So long so long / In search of Victory In search of Victory2 she keeps eluding me she keeps eluding me3 / If only we could be together momentarily / / If only we could be together momentarily / We can make love and make History We can make love and make History4 / Why won't you visit me? until she visit me / I'll be stuck with her sister her name is Defeat / She gives me agony so much agony / She brings me so much pain so much misery / Like missing your last shot and falling to your knees / / Why won't you visit me? until she visit me / I'll be stuck with her sister her name is Defeat / She gives me agony so much agony / She brings me so much pain so much misery / Like missing your last shot and falling to your knees / As the crowd screams for the other team As the crowd screams for the other team5 / I practice so hard for this moment Victory don't leave / I know what this means I'm stuck in this routine / / I practice so hard for this moment Victory don't leave / I know what this means I'm stuck in this routine / Whole new different day same old thing Whole new different day same old thing6 / All I got is dreams nobody else can see / / All I got is dreams nobody else can see / Nobody else believes nobody else but me Nobody else believes nobody else but me7 / Where are you Victory? I need you desperately / Not just for the moment to make History / Now that all the smoke is gone / (Lighters) / And the battle's finally won / (Lighters) / Victory is finally ours / (Yeah) / History (yeah) so long so long / So long so long / So now I'm flirting with Death / Where are you Victory? I need you desperately / Not just for the moment to make History / Now that all the smoke is gone / (Lighters) / And the battle's finally won / (Lighters) / Victory is finally ours / (Yeah) / History (yeah) so long so long / So long so long / So now I'm flirting with Death hustling like a G hustling like a G8 / While Victory wasn't watching took chances repeatedly / As a teenage boy before acne before / While Victory wasn't watching took chances repeatedly / As a teenage boy before acne before I got proactive I got proactive9 I couldn't face she / I just threw on my hoodie and headed to the street / That's where I met Success we'd live together shortly / I couldn't face she / I just threw on my hoodie and headed to the street / That's where I met Success we'd live together shortly / Now Success is like lust she's good to the touch Now Success is like lust she's good to the touch10 / She's good for the moment but she's never enough / / She's good for the moment but she's never enough / Everybody's had her she's nothing like V Everybody's had her she's nothing like V11 / But Success is all I got unfortunately / But I'm burning down the block hoppin' in and out of V / But something tells me that there's much more to see / / But Success is all I got unfortunately / But I'm burning down the block hoppin' in and out of V / But something tells me that there's much more to see / Before I get killed because I can't get robbed Before I get killed because I can't get robbed12 / / So before me Success and Death menage So before me Success and Death menage13 / I gotta get lost I gotta find V / We gotta be together to make History / Now that all the smoke is gone / (Lighters. Up.) / And the battle's finally won / (Lighters. Up.) / Victory is finally ours / (Lighters. Up.) / History so long so long / So long so long / Now Victory is mine it tastes so sweet / She's my trophy wife / I gotta get lost I gotta find V / We gotta be together to make History / Now that all the smoke is gone / (Lighters. Up.) / And the battle's finally won / (Lighters. Up.) / Victory is finally ours / (Lighters. Up.) / History so long so long / So long so long / Now Victory is mine it tastes so sweet / She's my trophy wife you're coming with me you're coming with me14 / We'll have a baby who / We'll have a baby who stutters repeatedly stutters repeatedly15 / We'll name him History he'll repeat after me / He's my legacy son of my hard work / / We'll name him History he'll repeat after me / He's my legacy son of my hard work / Future of my past he'll explain who I be Future of my past he'll explain who I be16 / Rank me amongst the greats either one two or three / If I ain't number one then I failed you Victory / Ain't in it for the fame that dies within weeks / Ain't in it for the money can't take it when you leave / I wanna be remembered long after you grieve / Long after I'm gone long after I breathe / / Rank me amongst the greats either one two or three / If I ain't number one then I failed you Victory / Ain't in it for the fame that dies within weeks / Ain't in it for the money can't take it when you leave / I wanna be remembered long after you grieve / Long after I'm gone long after I breathe / I leave all I am in the hands of History I leave all I am in the hands of History17 / / That's my last will and testimony That's my last will and testimony18 / This is much more than a song it's a baby shower / / This is much more than a song it's a baby shower / I've been waiting for this hour History I've been waiting for this hour History19 you ours / Now that all the smoke is gone / And the battle's finally won / Victory is finally ours / History so long so long / So long so long you ours / Now that all the smoke is gone / And the battle's finally won / Victory is finally ours / History so long so long / So long so long
Bonus Video
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Evolution of My Style. (2:29)
EPILOGUE.
I was over at L.A. Reid's house in New York for a dinner party a couple of years ago when I first met Oprah Winfrey. I've met a lot of powerful people, but Oprah, as everyone knows, is in her own stratosphere. She's also someone who's been vocally skeptical about hip-hop for a long time because of the violence and rawness of a lot of the imagery and language, particularly the use of what she'd call the "n-word." It's ironic that she's also been a champion of other kinds of writing-from poets like Maya Angelou to novelists like Toni Morrison-that also use violent and raw images and language (including the dreaded n-word!) to get at true emotions and experiences. But for her, rap was different, and dangerous, in a way that other forms of art weren't.
Oprah and I ended up talking for a while at that dinner. Somehow, it came up that I'd read The Seat of the Soul The Seat of the Soul, a book that really affected the way I think about life-the book is about karma and what it means to do the right thing and the power of intention. It turns out that the author, Gary Zukav, had been a guest on Oprah's show on multiple occasions, and Oprah expressed surprise that I was also a fan of his work. She didn't expect that of a rapper. I could tell that the way she saw me shifted in that moment; I wasn't exactly who she thought I was.
Oprah and I have since gone on to become friendly acquaintances, after having only observed each other warily from a distance. But it was a fascinating moment to me. Rap, as I said at the beginning of the book, is at heart an art form that gave voice to a specific experience, but, like every art, is ultimately about the most common human experiences: joy, pain, fear, desire, uncertainty, hope, anger, love-love of crew, love of family, even romantic love (put on "The Miseducation of Lauryn Hill" some time and tell me rap can't be romantic-or if you want to keep it street, put on Mary J. Blige and Method Man's "I'll Be There for You/You're All I Need to Get By"). Of course, in the end, it may not be the art form for you. Oprah, for instance, still can't get past the n-word issue (or the nigga nigga issue, with all apologies to Ms. Winfrey). I can respect her position. To her, it's a matter of acknowledging the deep and painful history of the word. To me, it's just a word, a word whose power is owned by the user and his or her intention. People give words power, so banning a word is futile, really. "Nigga" becomes "porch monkey" becomes "coon" and so on if that's what's in a person's heart. The key is to change the person. And we change people through conversation, not through censorship. That's why I want people to understand what the words we use-and the stories we tell-are really about. issue, with all apologies to Ms. Winfrey). I can respect her position. To her, it's a matter of acknowledging the deep and painful history of the word. To me, it's just a word, a word whose power is owned by the user and his or her intention. People give words power, so banning a word is futile, really. "Nigga" becomes "porch monkey" becomes "coon" and so on if that's what's in a person's heart. The key is to change the person. And we change people through conversation, not through censorship. That's why I want people to understand what the words we use-and the stories we tell-are really about.
And that's why I wrote this book. I love writing rhymes. There's probably nothing that gives me as much pleasure. There have been times in my life when I've tried to put it to the side-when I was a kid, so I could focus on hustling in the streets, and when I was an adult, so I could focus on hustling in the boardroom-but the words kept coming. They're still coming and will probably never stop. That's my story. But the story of the larger culture is a story of a million MCs all over the world who are looking out their windows or standing on street corners or riding in their cars through their cities or suburbs or small towns and inside of them the words are coming, too, the words they need to make sense of the world they see around them. The words are witty and blunt, abstract and linear, sober and fucked up. And when we decode that torrent of words-by which I mean really listen listen to them with our minds and hearts open-we can understand their world better. And ours, too. It's the same world. to them with our minds and hearts open-we can understand their world better. And ours, too. It's the same world.
ACKNOWLEDGMENTS.
First and foremost I'd like to acknowledge Dream Hampton. How can I thank you enough? You've lived my words and life for so long that you might need therapy to get back to yours (sorry, Nina). Dream, thanks again for suffering for my art (I mean, you were in Martha's Vineyard but still, ha). You are a GODSEND.
Chris Jackson for your dedication, appreciation of detail, and your tireless work-even following me around Coachella (and missing your flight home).
I'd also like to thank all of the people at Spiegel & Grau, Random House, and Rodrigo Corral Design who worked themselves ragged to produce this beautiful book, including Julie Grau, Mya Spalter, Greg Mollica, Evan Camfield, Richard Elman, Penelope Haynes, Rodrigo Corral, Rachel Bergman, Steve Attardo, Laurie Carkeet, Deb Wood, Dean Nicastro, and Sally Berman.
PERMISSIONS ACKNOWLEDGMENTS.
99 ProblemsWords and music by Shawn Carter, Norman Landsberg, John Ventura, Leslie Weinstein, Felix Pappalardi, William Squire, Alphonso Henderson, and Tracy MarrowCopyright 2003 Universal Music-MGB Songs, Universal Music-Careers, Songs of the Knight, WB Music Corp., Ammo Dump Music, Carrumba Music, Bridgeport Music, Inc., Universal-Polygram International Publishing, Inc., and Rhyme Syndicate MusicAll rights for Songs of the Knight controlled and administered by Spirit Two Music, Inc.All rights for Ammo Dump Music and Carrumba Music controlled and administered by WB Music Corp.Used by permission from Alfred Music Publishing Co., Inc., and Hal Leonard CorporationAll rights reserved. Used by permission. Contains elements of "The Big Beat," "Long Red," "99 Problems," and "Straight Outta Compton"American Dreamin'Words and music by Shawn Carter, Sean Combs, Mario Winans, Marvin Gaye, Arthur Ross, Leon Ware, Levar Coppin, and Deleno MatthewsCopyright 2007 EMI April Music Inc., Carter Boys Music, Justin Combs Publishing Co., EMI Blackwood Music, Inc., Janice Combs Publishing, Inc., Marsky Music, Jobete Music Co., Inc., FCG Music, NMG Music, MGIII Music, Steady on the Grind (BMI), Wait That's Mine Music, For My Son Publishing, and Tenyor MusicAll rights for Carter Boys Music, Justin Combs Publishing Co., Jobete Music Co., Inc., FCG Music, NMG Music, and MGIII Music controlled and administered by EMI April Music Inc.All rights for Janice Combs Publishing, Inc., and Marsky Music controlled and administered by EMI Blackwood Music, Inc.All rights for For My Son Publishing and Tenyor Music controlled and administered by The Royalty NetworkAll rights reserved. International copyright secured. Used by permission.Contains elements of "Soon I'll Be Loving You Again"Beach ChairWords and music by Shawn Carter and Chris MartinCopyright 2006 EMI April Music, Inc., Carter Boys Music, and Universal Music Publishing MGB Ltd.All rights for Carter Boys Music controlled and administered by EMI April Music, Inc.All rights for Universal Music Publishing MGB Ltd. in the United States and Canada administered by Universal Music-MGB SongsAll rights reserved. International copyright secured. Used by permission.BewareWords and music by Rajinder Rai, Glen Larson, and Stuart PhillipsCopyright 2003 EMI Music Publishing Ltd. and Songs of Universal, Inc.All rights for EMI Music Publishing Ltd. in the U.S. and Canada controlled and administered by EMI Blackwood Music, Inc.All rights reserved. International copyright secured. Used by permission.Big Pimpin'Words and music by Shawn Carter, Tim Mosley, and Kyambo JoshuaCopyright 1999 EMI Blackwood Music, Inc., Lil Lulu Publishing, Virginia Beach Music, and I Love KJ MusicAll rights for Lil Lulu Publishing controlled and administered by EMI Blackwood Music, Inc.All rights for I Love KJ Music controlled and administered by Kobalt Music Publishing, Inc.All rights reserved. International copyright secured. Used by permission.Blue MagicWords and music by Shawn Carter, Pharrell Williams, Denzil Foster, Thomas McElroy, Terry Ellis, Cindy Herron, Maxine Jones, Dawn Robinson, and Bernhard KaunCopyright 2007 EMI April Music, Inc., Carter Boys Music, EMI Blackwood Music, Inc., Waters of Nazareth, Inc., Two Tuff-E-Nuff Publishing, and USI A Music PublishingAll rights for Carter Boys Music controlled and administered by EMI April Music, Inc.All rights for Waters of Nazareth, Inc., and Two Tuff-E-Nuff Publishing controlled and administered by EMI Blackwood Music, Inc.All rights for USI A Music Publishing controlled and administered by Universal Music Corp.All rights reserved. International copyright secured. Used by permission.Contains elements of "Hold On"; also contains excerpt from the motion picture Frankenstein FrankensteinBreathe Easy (Lyrical Exercise)Words and music by Shawn Carter, Stanley Clarke, Gerald Brown, Michael Garson, Raymond Gomez, August Moon, and William ThomasCopyright 2001 EMI Blackwood Music, Inc., Lil Lulu Publishing, Clarkee Music, August Moon Music, and Harlem Music, Inc.All rights for Lil Lulu Publishing controlled and administered by EMI Blackwood Music, Inc.All rights for Clarkee Music controlled and administered by Songs of Universal, Inc.All rights reserved. International copyright secured. Used by permission.Contains elements of "Got to Find My Own Place" and "Seven Minutes of Funk"Can I Live?Words and music by Burt Bacharach, Hal Davis, Shawn Carter, and Irving LorenzoCopyright 1996 Colgems-EMI Music, Inc., EMI Blackwood Music, Inc., Lil Lulu Publishing, Ensign Music Corporation, Sony/ATV Music Publishing LLC, and DJ Irv PublishingAll rights for Lil Lulu Publishing controlled and administered by EMI Blackwood Music, Inc.All rights for Sony/ATV Music Publishing LLC and DJ Irv Publishing controlled and administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203All rights reserved. International copyright secured. Used by permission.Contains elements of "The Look of Love" (Bacharach/David) 1967 (renewed 1995) Colgems-EMI MusicComing of AgeWords and music by Shawn Carter, Rodolfo Franklin, and James MtumeCopyright 1996 EMI Blackwood Music, Inc., Lil Lulu Publishing, Clark's True Funk Music, and Mtume MusicAll rights for Lil Lulu Publishing controlled and administered by EMI Blackwood Music, Inc.All rights reserved. International copyright secured. Used by permission.Contains elements of "Inside You"Coming of Age (Da Sequel)Words and music by Shawn Carter and Dean KasseemCopyright 1998 EMI April Music, Inc., Dead Game Publishing, EMI Blackwood Music, Inc., Lil Lulu Publishing, Universal Music Corp., and Swizz BeatzAll rights for Dead Game Publishing controlled and administered by EMI April Music, Inc.All rights for Lil Lulu Publishing controlled and administered by EMI Blackwood Music, Inc.All rights for Swizz Beatz controlled and administered by Universal Music Corp.All rights reserved. International copyright secured. Used by permission.December 4thWords and music by Shawn Carter, Elijah Powell, and Walter BoydCopyright 2003 EMI April Music, Inc., Carter Boys Music, and Oceans Blue Music Ltd.All rights for Carter Boys Music controlled and administered EMI April Music Inc.All rights for Oceans Blue Music Ltd. controlled and administered by Songs of Universal, Inc.All rights reserved. International copyright secured. Used by permission.Contains elements of "That's How Long"D'evilsWords and Music by Shawn Carter and Chris MartinCopyright 1996 EMI Blackwood Music, Inc., Lil Lulu Publishing, EMI April Music, Inc., and Gifted Pearl MusicAll rights for Lil Lulu Publishing controlled and administered by EMI Blackwood Music, Inc.All rights for Gifted Pearl Music controlled and administered by EMI April Music, Inc.All rights reserved. International copyright secured. Used by permission.Dynasty (Intro)Words and music by Shawn Carter and Woodrow Cunningham, Jr.Copyright 2000 EMI Blackwood Music, Inc., Lil Lulu Publishing, H&R Lastrada Music, ASCAP/Sony ATV Tunes LLC, and Stonseee MusicAll rights for Lil Lulu Publishing controlled and administered by EMI Blackwood Music, Inc.All rights reserved. International copyright secured. Used by permission.Early This MorningWords by Shawn CarterCopyright EMI April Music, Inc., Carter Boys MusicAll rights for Carter Boys Music controlled and administered by EMI April Music, Inc.Fallin'Words and music by Shawn Carter, Jermaine Dupri, and Anthony HesterCopyright 2007 EMI April Music, Inc., Carter Boys Music, Shaniah Cymone Music, and EMI Longitude MusicAll rights for Carter Boys Music and Shaniah Cymone Music controlled and administered by EMI April Music, Inc.All rights reserved. International copyright secured. Used by permission.Contains elements of "Fell for You"Hell Yeah (Pimp the System)Words and music by Shawn Carter, Laurent Alfred, Lavonne Alford, E. Franklin, Clayton Gavin, and Vijay IyerCopyright 2004 EMI April Music, Inc., Carter Boys Music, Ernest Franklin, The War of Art Music, Walk Like a Warrior Music, and I Grade MusicAll rights for Carter Boys Music controlled and administered by EMI April Music, Inc.All rights reserved. International copyright secured. Used by permission.HistoryWords and music by Shawn Carter, Tony Williams, and Veronica SansonCopyright 2009 EMI April Music, Inc., Carter Boys Music, Tony Williams Publishing Designee, and Veronica Sanson Publishing DesigneeAll rights for Carter Boys Music and Bovina Music, Inc., controlled and administered by EMI April Music, Inc.All rights reserved. International copyright secured. Used by permission.Ignorant ShitWords and music by Shawn Carter, Ernest Isley, Marvin Isley, O'Kelly Isley, Ronald Isley, Rudolph Isley, Christopher Jasper, and Dwight GrantCopyright 2007 EMI April Music, Inc., Carter Boys Music, Bovina Music, Inc., Bug Music-Music of Windswept, Hitco South, and Shakur Al Din MusicAll rights for Carter Boys Music and Bovina Music, Inc., controlled and administered by EMI April Music, Inc.All rights for Hitco South and Shakur Al Din Music controlled and administered by Bug Music-Music of WindsweptAll rights reserved. International copyright secured. Used by permission.Contains elements of "Between the Sheets"Meet the ParentsWords and music by Shawn Carter and Justin SmithCopyright 2002 EMI April Music, Inc., Carter Boys Music, and F.O.B. Music PublishingAll rights for Carter Boys Music controlled and administered by EMI April Music, Inc.All rights reserved. International copyright secured. Used by permission.Minority ReportWords and music by Shawn Carter, Shaffer Smith, Mark Batson, Andre Young, and Dawaun ParkerCopyright 2006 EMI April Music, Inc., Carter Boys Music, Universal Music-Z Songs, Super Sayin Publishing, Songs of Universal, Inc., Bat Future Music, WB Music Corp., Ain't Nothing But Funkin' Music, Warner-Tamerlane Publishing Corp., Psalm 144 Verse 1 Music, and Alien Status MusicAll rights for Carter Boys Music controlled and administered by EMI April Music, Inc.All rights for Super Sayin Publishing controlled and administered by Universal Music-Z SongsAll rights for Bat Future Music controlled and administered by Songs of Universal, Inc.All rights for Ain't Nothing But Funkin' Music controlled and administered by WB Music Corp.All rights for Psalm 144 Verse 1 Music and Alien Status Music controlled and administered by Warner-Tamerlane Publishing Corp.Used by permission from Alfred Music Publishing Co., Inc., and Hal Leonard CorporationAll rights reserved. International copyright secured. Used by permission.Contains elements of "Non Ti Scordar Di Me" (DeCurtis/Furno)Moment of ClarityWords and music by Shawn Carter and Marshall MathersCopyright 2003 Carter Boys Music and Eight Mile StyleAll rights for Carter Boys Music controlled and administered by EMI April Music, Inc.All rights reserved. International copyright secured. Used by permission.Most KingsWords by Shawn CarterCopyright EMI April Music, Inc., Carter Boys MusicAll rights for Carter Boys Music controlled and administered by EMI April Music, Inc.My 1st SongWords and music by Shawn Carter and Germain de la FuenteCopyright 2003 EMI April Music, Inc., Carter Boys Music, and EMI Music Publishing ChileAll rights for Carter Boys Music controlled and administered by EMI April Music, Inc.All rights for EMI Music Publishing Chile in the United States and Canada controlled and administered by Beechwood Music Corp.All rights reserved. International copyright secured. Used by permission.Contains elements of "Tu y Tu Mirar...Yo y Mi Cancion"My President Is BlackWords and music by Justin Henderson, Christopher Whitacre, Jay Jenkins, and Nasir JonesCopyright 2008 Songs of Universal, Inc., Nappypub Music, Henderworks Publishing Co., Universal Music Corp., Nappy Boy Publishing, West Coast Livin' Publishing, Universal Music-Z Tunes, Universal Music-Z Songs, EMI Blackwood Music, Inc., and Young Jeezy Music, Inc.All rights for Nappypub Music and Henderworks Publishing Co. controlled and administered by Songs of Universal, Inc.All rights for Nappy Boy Publishing and West Coast Livin' Publishing controlled and administered by Universal Music Corp.All rights for Young Jeezy Music, Inc., controlled and administered by EMI Blackwood Music, Inc.All rights reserved. Used by permission.Operation Corporate TakeoverWords by Shawn CarterCopyright EMI April Music, Inc., Carter Boys MusicAll rights for Carter Boys Music controlled and administered by EMI April Music, Inc.Public Service AnnouncementWords and music by Shawn Carter and Raymond LevinCopyright 2003 EMI April Music, Inc., Carter Boys Music and Edgewater MusicAll rights for Carter Boys Music controlled and administered by EMI April Music, Inc.All rights reserved. International copyright secured. Used by permission.Contains elements of "Seed of Love"RegretsWords and music by Shawn Carter and Peter PottingerCopyright 1996 EMI Blackwood Music, Inc., Lil Lulu Publishing, and Mansion and the Yacht PublishingAll rights for Lil Lulu Publishing controlled and administered by EMI Blackwood Music, Inc.All rights reserved. International copyright secured. Used by permission.Contains elements of "It's So Easy Loving You"RenegadeWords and music by Shawn Carter, Marshall Mathers, and Luis RestoCopyright 2001 EMI Blackwood Music, Inc., Lil Lulu Publishing, Eight Mile Style LLC, Martin Affiliated LLC, Marshall B Mathers, Inc., and Jaceff MusicAll rights for Lil Lulu Publishing controlled and administered by EMI Blackwood Music, Inc.All rights for Eight Mile Style LLC, Martin Affiliated LLC, Marshal B Mathers, Inc., and Jaceff Music controlled and administered by Kobalt Music PublishingAll rights reserved. International copyright secured. Used by permission.Soon You'll UnderstandWords and Music by Shawn Carter and Al KooperCopyright 2000 EMI Blackwood Music, Inc., Lil Lulu Publishing, and EMI Unart Catalog, Inc.All rights for Lil Lulu Publishing controlled and administered by EMI Blackwood Music, Inc.All rights reserved. International copyright secured. Used by permission.Streets Is WatchingWords and music by Shawn Carter, Labi Siffre, and David WillisCopyright 1997 EMI Blackwood Music, Inc., Lil Lulu Publishing, M.A.M (Music Publishing) Corp., Universal-Songs of Polygram International, Inc., and Biggie MusicAll rights for Lil Lulu Publishing controlled and administered by EMI Blackwood Music, Inc.All rights for M.A.M. (Music Publishing) Corp. in the United States and Canada controlled and administered by Chrysalis MusicAll rights for Biggie Music controlled and administered by Universal-Songs of Polygram International, Inc.All rights reserved. International copyright secured. Used by permission.Contains elements of "I Got The"SuccessWords and music by Shawn Carter, Ernest Wilson, Nasir Jones, and Larry EllisCopyright 2007 EMI April Music, Inc., Carter Boys Music, Chrysalis Songs, No ID Music, Universal Music-Z Tunes LLC, Ill Will Music, Inc., and Larry Ellis Publishing DesigneeAll rights for Carter Boys Music controlled and administered by EMI April Music, Inc.All rights for No ID Music controlled and administered by Chrysalis SongsAll rights for Ill Will Music, Inc., controlled and administered by Universal Music-Z Tunes LLCAll rights reserved. International copyright secured. Used by permission.Contains elements of "Funky Thing Pt. 1"This Can't Be LifeWords and music by Shawn Carter, Kanye West, Dwight Grant, Brad Jordan, Leon Huff, and Kenneth GambleCopyright 2000 EMI Blackwood Music, Inc., Lil Lulu Publishing, EMI April Music, Inc., Ye Olde World Music, Bug Music-Music of Windswept, Hitco South, Shakur Al Din Music, BB Ski the Chump (ASCAP), and Warner-Tamerlane Publishing Corp.All rights for Lil Lulu Publishing controlled and administered by EMI Blackwood Music, Inc.All rights for Ye Olde World Music controlled and administered by EMI April Music, Inc.All rights for Hitco South and Shakur Al Din Music controlled and administered by Bug Music-Music of WindsweptUsed by permission from Alfred Music Publishing Co., Inc., and Hal Leonard CorporationAll rights reserved. International copyright secured. Used by permission.Contains elements of "I Miss You"This Life ForeverWords and music by Shawn Carter, Eva Darby, Billy Jackson, and Tyrone FyffeCopyright 1999 EMI Jemaxal Music, Inc., EMI Blackwoood Music, Inc., Lil Lulu Publishing, R.L. August Music Co., Twin Girl Music, Songs of Lastrada, BMI/R2M Music, and U-Von MusicAll rights for Lil Lulu Publishing controlled and administered by EMI Blackwood Music, Inc.All rights reserved. International copyright secured. Used by permission.Contains elements of "Are You Lookin'" by Eva Darby and William Jackson, 1973 (renewed 2001) EMI Jexamal Music, Inc., R.L. August Music Co., Twin Girl Music, and U-Von MusicWhere I'm FromWords and music by Shawn Carter, Deric Angelettie, Norman Whitfield, and Ronald LawrenceCopyright 1997 EMI Blackwood Music, Inc., Lil Lulu Publishing, Deric Angelettie Music, Stone Diamond Music Corp., Universal Music-Careers, and Ausar MusicAll rights for Lil Lulu Publishing, Deric Angelettie Music, and Stone Diamond Music Corp. controlled and administered by EMI Blackwood Music, Inc.All rights for Ausar Music controlled and administered by Universal Music-CareersAll rights reserved. International copyright secured. Used by permission.Contains elements of "Let Your Hair Down"Young Gifted and BlackWords and music by Shawn Carter, Antonie Hardy, and Marlon Lu Ree WilliamsCopyright OAK Music Publishing, Inc, EMI April Music, Inc., Carter Boys MusicAll rights for Carter Boys Music controlled and administered by EMI April Music, Inc.Contains elements of "Young Gifted and Black."
ILLUSTRATION CREDITS.
Endpapers: Myriam Babin/Rodrigo Corral DesignDecoded front matter, letters: Simon Lee/Rodrigo Corral Designp1.1 One Eye Open, Myriam Babin/Rodrigo Corral Design; Union Square, Myriam Babin/Rodrigo Corral Design One Eye Open, Myriam Babin/Rodrigo Corral Design; Union Square, Myriam Babin/Rodrigo Corral Designp1.2 boom box, Thomas Mulsow boom box, Thomas Mulsowp1.3 tape recorder, Simon Lee/Rodrigo Corral Design tape recorder, Simon Lee/Rodrigo Corral Designp1.4 Marcy House beneath paper bag, Myriam Babin/Rodrigo Corral Design Marcy House beneath paper bag, Myriam Babin/Rodrigo Corral Designp1.5 Run-DMC, george- dubose.com Run-DMC, george- dubose.comp1.6 Run- DMC album cover, Simon Lee/Rodrigo Corral Design Run- DMC album cover, Simon Lee/Rodrigo Corral Designp1.7 train tracks, Myriam Babin/Rodrigo Corral Design train tracks, Myriam Babin/Rodrigo Corral Designp1.8 KRS- One: Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Janette Beckman/Getty Images KRS- One: Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Janette Beckman/Getty Imagesp1.9 cracked ground, Alessandro Rizzi/Gallery Stock cracked ground, Alessandro Rizzi/Gallery Stock1.1 The Revolutionary T- shirt, illustration Bonnie Clas/Rodrigo Corral Design; posters on wall, Myriam Babin/Rodrigo Corral Design The Revolutionary T- shirt, illustration Bonnie Clas/Rodrigo Corral Design; posters on wall, Myriam Babin/Rodrigo Corral Design1.2 Jay-Z, Jay-Z, MTV Unplugged MTV Unplugged album cover, Def Jam album cover, Def Jam1.3 Notorious B.I.G., Bonnie Clas/Rodrigo Corral Design, illustration based on a photograph by Butch Belair/Michael Ginsburg and Associates Notorious B.I.G., Bonnie Clas/Rodrigo Corral Design, illustration based on a photograph by Butch Belair/Michael Ginsburg and Associatesnts.1 The D.O.C., The D.O.C., No One Can Do It Better No One Can Do It Better album cover, Ruthless album cover, Ruthlessnts.2 Jesus pendant, Simon Lee/Rodrigo Corral Design Jesus pendant, Simon Lee/Rodrigo Corral Designnts.3 Malcolm X, Matt Buck/Rodrigo Corral Design, illustration based on a photograph MPI/Getty Images Malcolm X, Matt Buck/Rodrigo Corral Design, illustration based on a photograph MPI/Getty Imagesnts.4 Marvin Gaye, Matt Buck/Rodrigo Corral Design, illustration based on a photograph Detroit Free Press/MCT/Landov Marvin Gaye, Matt Buck/Rodrigo Corral Design, illustration based on a photograph Detroit Free Press/MCT/Landovnts.5 money in shoe box, Simon Lee/Rodrigo Corral Design money in shoe box, Simon Lee/Rodrigo Corral Design2.1 clouds, Steve Satushek/Workbook Stock/Getty Images; clouds, Steve Satushek/Workbook Stock/Getty Images; Boy with June Bug Boy with June Bug, 1963, photograph by Gordon Parks, copyright the Gordon Parks Foundation. Reprinted with permission.2.2 Memphis Bleek, Ben Baker/REDUX Memphis Bleek, Ben Baker/REDUXnts.6 diamond studs, Simon Lee/Rodrigo Corral Design diamond studs, Simon Lee/Rodrigo Corral Designnts.7 building, Myriam Babin/Rodrigo Corral Design building, Myriam Babin/Rodrigo Corral Designnts.8 broken heart, Rodrigo Corral Design broken heart, Rodrigo Corral Designnts.9 Marcy building, Myriam Babin/Rodrigo Corral Design Marcy building, Myriam Babin/Rodrigo Corral Design3.1 water, Andreas Ackerup/Gallery Stock; Negative Space album art, Rodrigo Corral Design; view from bridge, Myriam Babin/Rodrigo Corral Design water, Andreas Ackerup/Gallery Stock; Negative Space album art, Rodrigo Corral Design; view from bridge, Myriam Babin/Rodrigo Corral Design3.2 bricks, Simon Lee/Rodrigo Corral Design bricks, Simon Lee/Rodrigo Corral Designnts.10 German shepherd, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Steve Marsel/Photonica/Getty Images German shepherd, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Steve Marsel/Photonica/Getty Imagesnts.11 white 1994 Nissan Maxima, 2010 Nissan. Nissan, Nissan model names, and the Nissan logo are registered trademarks of Nissan. white 1994 Nissan Maxima, 2010 Nissan. Nissan, Nissan model names, and the Nissan logo are registered trademarks of Nissan.nts.12 Spike Lee, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Jesse D. Garrabrant/National Basketball Association/Getty Images Spike Lee, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Jesse D. Garrabrant/National Basketball Association/Getty Imagesnts.13 Sprewell, Davin Blak Spinner Series- Onyx Sprewell, Davin Blak Spinner Series- Onyxp2.1 I Will Not Lose, Myriam Babin/Rodrigo Corral Design I Will Not Lose, Myriam Babin/Rodrigo Corral Designp2.2 Quincy Jones, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Ben Baker/Redux Quincy Jones, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Ben Baker/Reduxp2.3 Bono, Carraro Mauro/Corbis Sygma Bono, Carraro Mauro/Corbis Sygmap2.4 Kanye West, Kanye West, Graduation Graduation album cover, Def Jam album cover, Def Jamp2.5 Curtis, Curtis, 50 Cent 50 Cent album cover, Aftermath album cover, Aftermathp2.6 New York New York Daily News Daily News, Tupac, New York Daily News Daily News/Getty Imagesp2.7 New York New York Daily News Daily News, Biggie, New York Daily News Daily News/Getty Imagesp2.8 London Bridge, E. O. Hoppe/Corbis London Bridge, E. O. Hoppe/Corbisp2.9 Russell Simmons, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Michael Benabib/Retna Russell Simmons, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Michael Benabib/Retnap2.10 Muhammad Ali, London, 1970, photograph by Gordon Parks. Copyright the Gordon Parks Foundation. Reprinted with permission. Muhammad Ali, London, 1970, photograph by Gordon Parks. Copyright the Gordon Parks Foundation. Reprinted with permission.p2.11 RocaWear embroidery, needles, Simon Lee/Rodrigo Corral Design RocaWear embroidery, needles, Simon Lee/Rodrigo Corral Designp2.12 Basquiat portrait, The Andy Warhol Foundation/Corbis Basquiat portrait, The Andy Warhol Foundation/Corbis4.1 Basquiat art, Basquiat art, Charles the First Charles the First, 1982, 2010 The Estate of Jean- Michel Basquiat/ADAGP, Paris/ARS, New York, photograph by Banque d'Images, ADAGP/Art Resource, N.Y.4.2 Portrait of the Artist as a Young Star album art, Rodrigo Corral Design Portrait of the Artist as a Young Star album art, Rodrigo Corral Design4.3 Jean- Michel Basquiat writing on the set of Jean- Michel Basquiat writing on the set of Downtown Downtown 81, Edo Bertoglio, courtesy and copyright New York Beat Films, used by permission of The Estate of Jean- Michel Basquiat. All rights reserved. 81, Edo Bertoglio, courtesy and copyright New York Beat Films, used by permission of The Estate of Jean- Michel Basquiat. All rights reserved.nts.14 Basquiat art, Basquiat art, Charles the First Charles the First, 1982, 2010 The Estate of Jean- Michel Basquiat/ADAGP, Paris/ARS, New York, photograph by Banque d'Images, ADAGP/Art Resource, N.Y.nts.15 Lorraine Hotel, Joseph Louw/TIME & LIFE Images/Getty Images Lorraine Hotel, Joseph Louw/TIME & LIFE Images/Getty Imagesnts.16 Kurt Cobain, Charles Peterson/Retna Kurt Cobain, Charles Peterson/Retnants.17 cutlery, Simon Lee/Rodrigo Corral Design cutlery, Simon Lee/Rodrigo Corral Designnts.18 Buddha, Rachel Bergman/Rodrigo Corral Design Buddha, Rachel Bergman/Rodrigo Corral Design4.4 view from bridge, Myriam Babin/Rodrigo Corral Design view from bridge, Myriam Babin/Rodrigo Corral Design5.1 handcuffs, Simon Lee/Rodrigo Corral Design handcuffs, Simon Lee/Rodrigo Corral Design5.2 buildings with Empire State Building in background, Myriam Babin/Rodrigo Corral Design buildings with Empire State Building in background, Myriam Babin/Rodrigo Corral Designnts.19 Dizzy Gillespie, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Herb Ritts/Lime Foto Dizzy Gillespie, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Herb Ritts/Lime Fotonts.20 Atlas holding globe, Matt Buck/Rodrigo Corral Design Atlas holding globe, Matt Buck/Rodrigo Corral Designnts.21 golden handcuffs, Simon Lee/Rodrigo Corral Design golden handcuffs, Simon Lee/Rodrigo Corral Designnts.22 Pimp C, Nicolas Wagner/Corbis Outline Pimp C, Nicolas Wagner/Corbis Outlinents.23 surveillance cameras, Christoph Wilhelm/Taxi/Getty Images surveillance cameras, Christoph Wilhelm/Taxi/Getty Images5.3 City Hall, New York City, Sami Siva/REDUX; Lady Justice, Ian Nicholson/PA Wire/AP Images City Hall, New York City, Sami Siva/REDUX; Lady Justice, Ian Nicholson/PA Wire/AP Imagesnts.24 record company folders, Rodrigo Corral Design record company folders, Rodrigo Corral Designnts.25 funeral home at 1 Troy Ave., Laurie Carkeet/Rodrigo Corral Design funeral home at 1 Troy Ave., Laurie Carkeet/Rodrigo Corral Designnts.26 geometric shapes, Simon Lee/Rodrigo Corral Design geometric shapes, Simon Lee/Rodrigo Corral Design7.1 sky, Steve Satushek/Workbook Stock/Getty Images; Jay- Z concert, OG/LUXURY MINDZ sky, Steve Satushek/Workbook Stock/Getty Images; Jay- Z concert, OG/LUXURY MINDZ7.2 Madison Square Garden, Bettmann/Corbis Madison Square Garden, Bettmann/Corbisnts.27 Apollo Theater sign, Rudy Sulgan/Corbis Apollo Theater sign, Rudy Sulgan/Corbisnts.28 Shaquille O'Neal and Kobe Bryant, Andrew D. Bernstein/National Basketball Association/Getty Images Shaquille O'Neal and Kobe Bryant, Andrew D. Bernstein/National Basketball Association/Getty Imagesnts.29 Jay- Z, Jay- Z, In My Lifetime In My Lifetime album cover, Simon Lee/Rodrigo Corral Design album cover, Simon Lee/Rodrigo Corral Designp3.1 Politics As Usual, Myriam Babin/Rodrigo Corral Design Politics As Usual, Myriam Babin/Rodrigo Corral Designp3.2 American fl ag, Willie Stark ONE/MILLION American fl ag, Willie Stark ONE/MILLIONp3.4 Marcus Garvey, Corbis Marcus Garvey, Corbisp3.5 Marcus Garvey's Golden Rule, Renee Cox, 1993 Marcus Garvey's Golden Rule, Renee Cox, 1993p3.6 arrest photo, New York arrest photo, New York Daily News Daily News/Getty Imagesp3.7 video screen prior to Jay- Z's performance on the pyramid stage during day two of the Glastonbury Festival, Somerset, PA Photos/Landov video screen prior to Jay- Z's performance on the pyramid stage during day two of the Glastonbury Festival, Somerset, PA Photos/Landovp3.8 kid on bike in Marcy, Jonathan Mannion kid on bike in Marcy, Jonathan Mannionp3.9 The New York Times The New York Times, Simon Lee/Rodrigo Corral Designp3.10 Obama inauguration, POOL/Reuters/Corbis Obama inauguration, POOL/Reuters/Corbis8.1 White America, Simon Lee/Rodrigo Corral Design White America, Simon Lee/Rodrigo Corral Design8.2 Rick Rubin, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Michael Muller/Contour by Getty Images Rick Rubin, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Michael Muller/Contour by Getty Images8.3 Beastie Boys, Laura Levine/Corbis Beastie Boys, Laura Levine/Corbis8.4 Black Panthers, New York Times Co./Getty Images Black Panthers, New York Times Co./Getty Imagesnts.30 Louis Farrakhan, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Don Emmert/AFP/Getty Images; NYPD vehicle, Jonathan Mannion Louis Farrakhan, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Don Emmert/AFP/Getty Images; NYPD vehicle, Jonathan Mannionnts.31 Vietnam, Larry Burrows LB Collection Vietnam, Larry Burrows LB Collection9.1 Hurricane Katrina, AP Photo/NASA Hurricane Katrina, AP Photo/NASA9.2 soldier in Iraq, Warrick Page/Getty Images soldier in Iraq, Warrick Page/Getty Imagesnts.32 flag of India, Steve Allen/Brand X Pictures/Getty Images flag of India, Steve Allen/Brand X Pictures/Getty Imagesnts.33 Osama Bin Laden, AP Photo/File; Ronald Reagan, Silver Screen Collection/Getty Images Osama Bin Laden, AP Photo/File; Ronald Reagan, Silver Screen Collection/Getty Imagesnts.34 360 waves, Matt Buck/Rodrigo Corral Design 360 waves, Matt Buck/Rodrigo Corral Design9.3 Young and the Fearless Young and the Fearless, 2004 (boy with toy gun), Arif Mahmood; Cautionary Tales, Rodrigo Corral Design10.1 Black Panther pin, David J. and Janice L. Frent Collection/Corbis Black Panther pin, David J. and Janice L. Frent Collection/Corbis10.2 Paul Robeson, Jonathan Mannion Paul Robeson, Jonathan Mannionnts.35 Black Gangster Black Gangster, by Donald Goines, Rodrigo Corral Design; lighter, Simon Lee/Rodrigo Corral Designnts.36 Public Enemy logo Public Enemy logonts.37 thumbprint and handprint, Rodrigo Corral Design thumbprint and handprint, Rodrigo Corral Designnts.38 basketball hoop, Myriam Babin/Rodrigo Corral Design basketball hoop, Myriam Babin/Rodrigo Corral Designnts.39 hand scale, Simon Lee/Rodrigo Corral Design; dice, Simon Lee/Rodrigo Corral Design hand scale, Simon Lee/Rodrigo Corral Design; dice, Simon Lee/Rodrigo Corral Design11.1 Katrina aerial shot, Vincent Laforet/Pool/Reuters/Corbis; Funeral Parade album art, Rodrigo Corral Design; funeral photograph, Luca Tronci/Gallery Stock Katrina aerial shot, Vincent Laforet/Pool/Reuters/Corbis; Funeral Parade album art, Rodrigo Corral Design; funeral photograph, Luca Tronci/Gallery Stock11.2 houses destroyed by Katrina, David Howells/Corbis houses destroyed by Katrina, David Howells/Corbisnts.40 Katrina survivors on roof, David J. Phillip/Pool/Reuters/Corbis Katrina survivors on roof, David J. Phillip/Pool/Reuters/Corbisnts.41 black orchid, Simon Lee/Rodrigo Corral Design black orchid, Simon Lee/Rodrigo Corral Designnts.42 Stevie Wonder, Stevie Wonder, Songs in the Key of Life Songs in the Key of Life album cover, Motown album cover, Motownnts.43 black nationalist fl ag, Simon Lee/Rodrigo Corral Design black nationalist fl ag, Simon Lee/Rodrigo Corral Designp4.1 Come and Get Me, Myriam Babin/Rodrigo Corral Design Come and Get Me, Myriam Babin/Rodrigo Corral Designp4.2 University of Hip- Hop, Myriam Babin/Rodrigo Corral Design University of Hip- Hop, Myriam Babin/Rodrigo Corral Designp4.3 Little Orphan Annie, and 2010, Tribune Media Services, Inc. All rights reserved. Little Orphan Annie, and 2010, Tribune Media Services, Inc. All rights reserved.p4.4 three card monte, Simon Lee/Rodrigo Corral Design three card monte, Simon Lee/Rodrigo Corral Designp4.5 Rakim, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Carol Friedman/Corbis Rakim, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by Carol Friedman/Corbisp4.6 city buildings, Myriam Babin/Rodrigo Corral Design city buildings, Myriam Babin/Rodrigo Corral Designp4.7 Notorious B.I.G., Dana Lixenberg/Corbis Outline Notorious B.I.G., Dana Lixenberg/Corbis Outlinep4.8 The Voice In Your Head Is Right album art, Myriam Babin/Rodrigo Corral Design The Voice In Your Head Is Right album art, Myriam Babin/Rodrigo Corral Design12.1 Slick Rick, Janette Beckman Slick Rick, Janette Beckmannts.44 man with shadow, Rodrigo Corral Design man with shadow, Rodrigo Corral Designnts.45 Pieta, Alinari/Art Resource, N.Y. Pieta, Alinari/Art Resource, N.Y.nts.46 puddle refl ection, Margaret Murphy Photography puddle refl ection, Margaret Murphy Photographynts.47 Scarface, Grant Delin/Corbis Outline Scarface, Grant Delin/Corbis Outlinents.48 Al Pacino as Tony Montana, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by UNIVERSAL PICTURES/Album/Newscom Al Pacino as Tony Montana, Matt Buck/Rodrigo Corral Design, illustration based on a photograph by UNIVERSAL PICTURES/Album/Newscom13.1 Christ the Redeemer, Bert Kohlgraf/Flickr/Getty Images; Instant Karma album artwork, Rodrigo Corral Design; water, Nadav Kander/Gallery Stock Christ the Redeemer, Bert Kohlgraf/Flickr/Getty Images; Instant Karma album artwork, Rodrigo Corral Design; water, Nadav Kander/Gallery Stock13.2 ocean, Andreas Ren/Gallery Stock ocean, Andreas Ren/Gallery Stock13.3 cross mural, Myriam Babin/Rodrigo Corral Design cross mural, Myriam Babin/Rodrigo Corral Design13.4 bible mural, Myriam Babin/Rodrigo Corral Design bible mural, Myriam Babin/Rodrigo Corral Designnts.49 beach/dunes, Alex Telfer/Gallery Stock beach/dunes, Alex Telfer/Gallery Stocknts.50 compass, Rodrigo Corral Design compass, Rodrigo Corral Designnts.51 rosary, Simon Lee/Rodrigo Corral Design rosary, Simon Lee/Rodrigo Corral Designnts.52 fallen angel, engraving by Gustave Dore, photograph by Hulton Archive/Getty Images fallen angel, engraving by Gustave Dore, photograph by Hulton Archive/Getty Images14.1 clouds, Kim Ripley; Our Life album artwork, Rodrigo Corral Design; buildings, Myriam Babin/Rodrigo Corral Design clouds, Kim Ripley; Our Life album artwork, Rodrigo Corral Design; buildings, Myriam Babin/Rodrigo Corral Design14.2 Lauryn Hill, Everett Collection/Rex USA Lauryn Hill, Everett Collection/Rex USAnts.53 Maya Angelou, Aaron Rapoport/Corbis Maya Angelou, Aaron Rapoport/Corbisnts.54 Chi- Lites, Michael Ochs Archives/Getty Images Chi- Lites, Michael Ochs Archives/Getty Imagesnts.55 CBS logo, and 2010 CBS Broadcasting Inc. All rights reserved. CBS logo, and 2010 CBS Broadcasting Inc. All rights reserved.nts.56 Jay- Z fans, Ben Watts/Corbis Outline Jay- Z fans, Ben Watts/Corbis Outline
Notes on Lyrics PUBLIC SERVICE ANNOUNCEMENT.
Back to Lyrics 1. This is Just Blaze's voice, although he recorded it in a way that made it sound older, like a political speech from the Black Power era captured on a distant tape recorder. This is Just Blaze's voice, although he recorded it in a way that made it sound older, like a political speech from the Black Power era captured on a distant tape recorder.2. A simple double entendre of "Roc-A-Fella," our company, which we call the Roc, and "rock," common slang for crack because of the way the coke crystallizes when you cook it. I drop the "frying pan" into the next line to keep the comparison going. In the line after that I complete the connection between selling rock and selling the Roc, supplying the streets and supplying the music biz. Both take ruthlessness. In fact, the music industry is the fire to the crack game's frying pan. A simple double entendre of "Roc-A-Fella," our company, which we call the Roc, and "rock," common slang for crack because of the way the coke crystallizes when you cook it. I drop the "frying pan" into the next line to keep the comparison going. In the line after that I complete the connection between selling rock and selling the Roc, supplying the streets and supplying the music biz. Both take ruthlessness. In fact, the music industry is the fire to the crack game's frying pan.3. The The flier/flyer flier/flyer homonym also carries the momentum of the homonym also carries the momentum of the fire/supplier fire/supplier rhyme for one more line. rhyme for one more line.4. The D.O.C.'s "No One Can Do It Better" was an early classic of the West Coast's golden age. The D.O.C.'s "No One Can Do It Better" was an early classic of the West Coast's golden age.
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5. This line combines two separate pieces of slang-"check" means to collect, "cheddar" means money-to create a third piece of new slang-"a food inspector"-that only makes sense if you decode the first two phrases. "Check cheddar" is an alliteration that adds force to the image. This line combines two separate pieces of slang-"check" means to collect, "cheddar" means money-to create a third piece of new slang-"a food inspector"-that only makes sense if you decode the first two phrases. "Check cheddar" is an alliteration that adds force to the image.6. My friend Strict uses the phrase "finish your breakfast" as a way of saying that you need to finish your job up strong. My friend Strict uses the phrase "finish your breakfast" as a way of saying that you need to finish your job up strong.7. In these four lines I use five different variations on "do" and "dude" (plus "jewels," whose hard "j" sounds almost like a "d") to create a percussive rhythm within the beat. In these four lines I use five different variations on "do" and "dude" (plus "jewels," whose hard "j" sounds almost like a "d") to create a percussive rhythm within the beat.8. "Jay-Z sported a white T emblazoned with Che's image, perhaps a case of game recognizing game ..." -Elizabeth Mendez Berry, "The Last Hustle," "Jay-Z sported a white T emblazoned with Che's image, perhaps a case of game recognizing game ..." -Elizabeth Mendez Berry, "The Last Hustle," The Village Voice, The Village Voice, November 25, 2003. November 25, 2003.
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9. Just to amplify the connection I'm trying to make between revolutionaries and hustlers, I invoke Malcolm's famous "By Any Means Necessary" slogan. Just to amplify the connection I'm trying to make between revolutionaries and hustlers, I invoke Malcolm's famous "By Any Means Necessary" slogan.
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10. A drought in the game is when the supply or demand starts to dry up-and that's when resourceful hustlers have to start getting creative. If that means getting violent, the "brainstorming" might just lead to someone getting wet, as in bloody, which is why you need to get your umbrella out, for protection. It's a dramatic, violent image to convey the way desperation and hunger can explode. A drought in the game is when the supply or demand starts to dry up-and that's when resourceful hustlers have to start getting creative. If that means getting violent, the "brainstorming" might just lead to someone getting wet, as in bloody, which is why you need to get your umbrella out, for protection. It's a dramatic, violent image to convey the way desperation and hunger can explode.11. Here's where life gets "complex." I'm innocent because I didn't invent the game; the game came to the hood via a bunch of people from the outside: the big drug suppliers, the gun merchants, the corrupt officials who, at best, let it happen, or, at worst, were actively involved. And we-the hustlers at the street level-definitely didn't invent the poverty and hopelessness that drove a generation of desperate kids to start selling drugs. But then there's a point where I'm not so innocent anymore. It's when I "do it twice." The second time is not out of desperation to survive or to resist the status quo, but out of greed for the spoils of the game. Here's where life gets "complex." I'm innocent because I didn't invent the game; the game came to the hood via a bunch of people from the outside: the big drug suppliers, the gun merchants, the corrupt officials who, at best, let it happen, or, at worst, were actively involved. And we-the hustlers at the street level-definitely didn't invent the poverty and hopelessness that drove a generation of desperate kids to start selling drugs. But then there's a point where I'm not so innocent anymore. It's when I "do it twice." The second time is not out of desperation to survive or to resist the status quo, but out of greed for the spoils of the game.12. And it's not just the material spoils that keep you going: You start getting addicted to the thrill of it, the adrenaline rush of going to see your connect in a small building in Harlem in a lobby that you've never been in, where you go in with a bag of money and come out with a bag of work. Or the feeling when you come around the corner back home and all eyes turn to you because everyone knows who you are-you represent something successful and free and dangerous, all at once. You have the best car, the best jewelry, the whole package. You taste a strange kind of fame. It's as addictive as the shit you're selling, and just as deadly. And it's not just the material spoils that keep you going: You start getting addicted to the thrill of it, the adrenaline rush of going to see your connect in a small building in Harlem in a lobby that you've never been in, where you go in with a bag of money and come out with a bag of work. Or the feeling when you come around the corner back home and all eyes turn to you because everyone knows who you are-you represent something successful and free and dangerous, all at once. You have the best car, the best jewelry, the whole package. You taste a strange kind of fame. It's as addictive as the shit you're selling, and just as deadly.13. "The ghetto people knew I never left the ghetto in spirit." -Malcolm X "The ghetto people knew I never left the ghetto in spirit." -Malcolm X14. You can put a new shirt on your back, slide a fresh chain around your neck, and accumulate all the money and power in the world, but at the end of the day those are just layers. Money and power don't change you, they just further expose your true self. You can put a new shirt on your back, slide a fresh chain around your neck, and accumulate all the money and power in the world, but at the end of the day those are just layers. Money and power don't change you, they just further expose your true self.15. Elizabeth Mendez Berry wrote in her essay: "Squint and you see a revolutionary. But open your eyes to the platinum chain around his neck: Jay-Z is a hustler." No doubt. It's a simple truth, but complex, too. Identity isn't a prison you can never escape, but the way to redeem your past is not to run from it, but to try to understand it, and use it as a foundation to grow. Elizabeth Mendez Berry wrote in her essay: "Squint and you see a revolutionary. But open your eyes to the platinum chain around his neck: Jay-Z is a hustler." No doubt. It's a simple truth, but complex, too. Identity isn't a prison you can never escape, but the way to redeem your past is not to run from it, but to try to understand it, and use it as a foundation to grow.
AMERICAN DREAMIN'
Back to Lyrics 1. This is really where it begins, in a room with your feet up with your dudes. Too young to shave, dreaming about the big body Benzes you're gonna push. Obviously for me, it's in Marcy, but this could be anywhere-a basement in the midwest, a backyard in Cali, an Oldsmobile somewhere down South. The danger is that it's just talk; then again, the danger is that it's not. I believe you can speak things into existence. This is really where it begins, in a room with your feet up with your dudes. Too young to shave, dreaming about the big body Benzes you're gonna push. Obviously for me, it's in Marcy, but this could be anywhere-a basement in the midwest, a backyard in Cali, an Oldsmobile somewhere down South. The danger is that it's just talk; then again, the danger is that it's not. I believe you can speak things into existence.2. "Pitch" was slang for a hustle. Hustlers hoped to take a "mound" of work and turn it into a mountain of money. A mound is also the place you pitch from-which is why "we need a town." "Pitch" was slang for a hustle. Hustlers hoped to take a "mound" of work and turn it into a mountain of money. A mound is also the place you pitch from-which is why "we need a town."3. This song samples Marvin Gaye's "Soon I'll Be Loving You Again," a track that transports you to a blue-lit room in the seventies; you can practically smell the smoke from a joint coming out of the speakers. This song samples Marvin Gaye's "Soon I'll Be Loving You Again," a track that transports you to a blue-lit room in the seventies; you can practically smell the smoke from a joint coming out of the speakers.
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4. Our aim is the same as everyone, shooting for the American dream of success and wealth, but the target is a little different: Instead of trying to land in college or in a good job, I'm trying to get rich in the streets. Our aim is the same as everyone, shooting for the American dream of success and wealth, but the target is a little different: Instead of trying to land in college or in a good job, I'm trying to get rich in the streets.5. The image of bags of coke the size of pillows connects with the image of a kid dreaming. The image of bags of coke the size of pillows connects with the image of a kid dreaming.6. In this verse I jump from it being about starving, a real and literal need, to desiring a 600-series Benz. It happens that quickly in the Life, too, in the real-life equivalent of two bars. In this verse I jump from it being about starving, a real and literal need, to desiring a 600-series Benz. It happens that quickly in the Life, too, in the real-life equivalent of two bars.7. Initially the decision to hustle is freestyled. These kids in the cipher, the ones with their feet up and the dreams of foreign cars, have absolutely no idea how to go into business, even one that surrounds them like the drug game. Do they know where to go to cop the work? No. Do they have a drug connect? No. They're like anyone starting out in business; they need someone to give them the plan. Initially the decision to hustle is freestyled. These kids in the cipher, the ones with their feet up and the dreams of foreign cars, have absolutely no idea how to go into business, even one that surrounds them like the drug game. Do they know where to go to cop the work? No. Do they have a drug connect? No. They're like anyone starting out in business; they need someone to give them the plan.8. A reference to Depeche Mode's "Personal Jesus." A reference to Depeche Mode's "Personal Jesus."9. Tony La Russa is the manager of the St. Louis Cardinals, often called the Cards. Tony La Russa is the manager of the St. Louis Cardinals, often called the Cards.10. The "irony" refers back to the song's wordplay and is itself a play on words: The "iron" in "ironies" also refers to the "bars" in the next line, the iron bars of a penitentiary. The "irony" refers back to the song's wordplay and is itself a play on words: The "iron" in "ironies" also refers to the "bars" in the next line, the iron bars of a penitentiary.11. As with anything, you begin locally, in your own projects. The trip from Brooklyn to upper Manhattan once seemed as great a distance as going down South, or to a foreign country, with a foreign language. Repeat trips mean more money, familiarity with Papi, better relationships and credit. But credit is a vice, debt, a door-knocker. As with anything, you begin locally, in your own projects. The trip from Brooklyn to upper Manhattan once seemed as great a distance as going down South, or to a foreign country, with a foreign language. Repeat trips mean more money, familiarity with Papi, better relationships and credit. But credit is a vice, debt, a door-knocker.12. The repeated lines are just me creating an echo chamber. The well is a literal place to store and draw water. So I'm wishing my fellow hustlers the foresight to stash, to be resourceful, to see droughts and setbacks and attacks before they come, to have a plan from which to draw. The repeated lines are just me creating an echo chamber. The well is a literal place to store and draw water. So I'm wishing my fellow hustlers the foresight to stash, to be resourceful, to see droughts and setbacks and attacks before they come, to have a plan from which to draw.13. The "insight" is a play on words-I'm not just wishing you insight, but sight in, the ability to see beyond what's visible, to see even within your own soul. The "insight" is a play on words-I'm not just wishing you insight, but sight in, the ability to see beyond what's visible, to see even within your own soul.14. This series-about seeing the signs, seeing the scheming jackers, seeing inside the minds of the cops so you know when they're coming-is meant to show how impossible it is for anyone to have the level of vision you'd need to make the dream of the hustler really come true. There are too many threats, too many hazards; even the smartest, most discerning hustler can't anticipate it all. This song is like the blues; it's about the inevitable tragedy of the hustler's life, the inevitable piercing of the hustler's dream. It's about a wish that can't come true. Can it? This series-about seeing the signs, seeing the scheming jackers, seeing inside the minds of the cops so you know when they're coming-is meant to show how impossible it is for anyone to have the level of vision you'd need to make the dream of the hustler really come true. There are too many threats, too many hazards; even the smartest, most discerning hustler can't anticipate it all. This song is like the blues; it's about the inevitable tragedy of the hustler's life, the inevitable piercing of the hustler's dream. It's about a wish that can't come true. Can it?
EARLY THIS MORNING.
Back to Lyrics 1. The shoe box tells us from the first line that this is a low-level hustler. The shoe box tells us from the first line that this is a low-level hustler.
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2. This song is about the true nature of the work. You get up early. You wear the same clothes. This song is about the true nature of the work. You get up early. You wear the same clothes.3. You obsess over making money. The work doesn't have a social value. It's not like you can motivate yourself by thinking about all the good you're doing for the world. You start off doing it for all kinds of dumb reasons-because it's cool, because you get to hang out with your friends all day-but the only thing you get out of it is money. And the money becomes your obsession. You obsess over making money. The work doesn't have a social value. It's not like you can motivate yourself by thinking about all the good you're doing for the world. You start off doing it for all kinds of dumb reasons-because it's cool, because you get to hang out with your friends all day-but the only thing you get out of it is money. And the money becomes your obsession.4. They came to us suffering for more of that shit. We relieved them and then cleaned up whatever money they had. This line is meant somewhat ironically in the song, but the truth is that drug addicts have a disease. It only takes a short time in the streets to realize that out-of-control addiction is a medical problem, not a form of recreational or criminal behavior. And the more society treats drug addiction as a crime, the more money drug dealers will make "relieving" the suffering of the addicts. They came to us suffering for more of that shit. We relieved them and then cleaned up whatever money they had. This line is meant somewhat ironically in the song, but the truth is that drug addicts have a disease. It only takes a short time in the streets to realize that out-of-control addiction is a medical problem, not a form of recreational or criminal behavior. And the more society treats drug addiction as a crime, the more money drug dealers will make "relieving" the suffering of the addicts.5. "Hundred dollars a week" is not a lot of money for a cat waking up early in the morning, working all day dealing drugs to "fiends." The narrator here is still dreaming of big money, not making it. This is the reality of the low rungs of the drug game. But the ambition is still clear, not just in the scheming but in the work he's doing to get what he wants, waking up early, throwing on yesterday's clothes, and hitting the block hard. "Hundred dollars a week" is not a lot of money for a cat waking up early in the morning, working all day dealing drugs to "fiends." The narrator here is still dreaming of big money, not making it. This is the reality of the low rungs of the drug game. But the ambition is still clear, not just in the scheming but in the work he's doing to get what he wants, waking up early, throwing on yesterday's clothes, and hitting the block hard.6. This is This is the best of times and worst of times, the best of times and worst of times, but it's also the best and worst of who we are and what we can be. The narrator is caught up in a crazy system, one that treats addicts like criminals and forces the young and ambitious into a life that might end with him shot up or locked up. To me, there's something moving about the kid who goes to sleep dreaming about plans to make money, wakes up early with a Colgate smile, buries his work in the dirt, and fills his small pocket with crack rocks ( but it's also the best and worst of who we are and what we can be. The narrator is caught up in a crazy system, one that treats addicts like criminals and forces the young and ambitious into a life that might end with him shot up or locked up. To me, there's something moving about the kid who goes to sleep dreaming about plans to make money, wakes up early with a Colgate smile, buries his work in the dirt, and fills his small pocket with crack rocks (pockets full of hope, I call them in "Renegade"). When he's swarmed by fiends, lost souls driven by addiction, it's hard to know if we should be happy for him because he's unloading his work, getting closer to his dream, or if we should feel fucked up because we know the shit is so hopeless. I like leaving the listener without an easy answer. I call them in "Renegade"). When he's swarmed by fiends, lost souls driven by addiction, it's hard to know if we should be happy for him because he's unloading his work, getting closer to his dream, or if we should feel fucked up because we know the shit is so hopeless. I like leaving the listener without an easy answer.
COMING OF AGE / FEATURING MEMPHIS BLEEK.
Back to Lyrics 1. Rocks here refer to jewelry, diamonds specifically; shorties can refer to girls or to any kid, which is how I'm using it here. Rocks here refer to jewelry, diamonds specifically; shorties can refer to girls or to any kid, which is how I'm using it here.
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2. "In reality, we from the same building. He was the guy coming through with the fine women, fly cars...I was always the young guy looking up." -Memphis Bleek, "In reality, we from the same building. He was the guy coming through with the fine women, fly cars...I was always the young guy looking up." -Memphis Bleek, Making of Reasonable Doubt Making of Reasonable Doubt documentary. documentary.3. The "hunger pains" refer to being hungry with ambition or literally hungry, because he's broke. Feeding someone makes him loyal, at least in the short term. The "hunger pains" refer to being hungry with ambition or literally hungry, because he's broke. Feeding someone makes him loyal, at least in the short term.4. He's making just enough money to get more supply-"re-up"-and get a little gear, but he's still in the minor leagues, looking for a promotion. He's making just enough money to get more supply-"re-up"-and get a little gear, but he's still in the minor leagues, looking for a promotion.5. This refers to the old "be like Mike" commercials. The guys who didn't have the stomach for this life bounced from it. This refers to the old "be like Mike" commercials. The guys who didn't have the stomach for this life bounced from it.6. Slingin Slingin is slang for selling drugs. I like the way it makes you think of reckless Old West outlaws, gunslingers, which makes it work well with "bringin the drama." is slang for selling drugs. I like the way it makes you think of reckless Old West outlaws, gunslingers, which makes it work well with "bringin the drama."7. Servin Servin is also slang for selling drugs. While "slingin" feels cocky and aggressive, "servin" feels more workmanlike and submissive, which works with the lyrics here-"life could be better." is also slang for selling drugs. While "slingin" feels cocky and aggressive, "servin" feels more workmanlike and submissive, which works with the lyrics here-"life could be better."8. This is the glamorous life of the young hustler. It wasn't always a simple transaction-you might find yourself doing crazy things to get paid, holding people's welfare cards hostage, literally chasing people down the streets, staying up all night and watching the sun come up on the corner. But you do it for the possibility that one day someone will pick you as the one to step up to the next level. This is the glamorous life of the young hustler. It wasn't always a simple transaction-you might find yourself doing crazy things to get paid, holding people's welfare cards hostage, literally chasing people down the streets, staying up all night and watching the sun come up on the corner. But you do it for the possibility that one day someone will pick you as the one to step up to the next level.
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9. A little play on words that's meant to keep the listener's mind on how deep this conversation really is: If Bleek gets "the word" and gets deeper in the game, he's not just going to get the Vettes and diamonds, he's also going to have more serious consequences to pay if he fucks up-his life, in fact. A little play on words that's meant to keep the listener's mind on how deep this conversation really is: If Bleek gets "the word" and gets deeper in the game, he's not just going to get the Vettes and diamonds, he's also going to have more serious consequences to pay if he fucks up-his life, in fact.10. This conversation starts casually then turns into an interview and then a test. This conversation starts casually then turns into an interview and then a test.11. These are the key lines in the song. It's about loyalty, but it's also a little heartbreaking how much this little nigga wants to get down. In our live shows around this time, I used to literally hand Bleek a stack of bills when we hit this line, and he would toss it out to the crowd. Dramatic shit. These are the key lines in the song. It's about loyalty, but it's also a little heartbreaking how much this little nigga wants to get down. In our live shows around this time, I used to literally hand Bleek a stack of bills when we hit this line, and he would toss it out to the crowd. Dramatic shit.12. This is a classic piece of OG advice. It's amazing how few people actually stick to it. This is a classic piece of OG advice. It's amazing how few people actually stick to it.13. "All I have in this world is my balls and my word, and I don't break them for no one." -Tony Montana, "All I have in this world is my balls and my word, and I don't break them for no one." -Tony Montana, Scarface Scarface14. The word "resume" makes it sound like the end of any other job interview, but then Bleek ends with a blood vow, "until death do us part," which reminds us that the stakes are higher than a nine to five. The word "resume" makes it sound like the end of any other job interview, but then Bleek ends with a blood vow, "until death do us part," which reminds us that the stakes are higher than a nine to five.
COMING OF AGE (DA SEQUEL) / FEATURING MEMPHIS BLEEK.
Back to Lyrics 1. Keenan Ivory Wayans hosted a late-night talk show that ran at the same time as Keenan Ivory Wayans hosted a late-night talk show that ran at the same time as Vibe Vibe's late-night talk show, a rare moment when two late-night shows hosted by black people ran at the same time. They competed against each other, which is why Keenan was trying to "pick up on the vibe."2. These details are meant to show that I'm no longer living in the same neighborhood. Instead I'm driving in from the suburbs, wearing a polo shirt, looking like the good life has made me softer than my new neighbors, who are themselves wealthy professionals, not gangsters. These details are meant to show that I'm no longer living in the same neighborhood. Instead I'm driving in from the suburbs, wearing a polo shirt, looking like the good life has made me softer than my new neighbors, who are themselves wealthy professionals, not gangsters.3. All of these lyrics are internal, unspoken thoughts as the two men walk toward each other. The only lines spoken aloud are the last lines in the first two verses. All of these lyrics are internal, unspoken thoughts as the two men walk toward each other. The only lines spoken aloud are the last lines in the first two verses.4. It's always the one who knows the least who is the first to start trying to tell someone what to do. The farther outside the circle someone is, it seems, the more they want to stir up resentment, mostly because they don't know better, or they're bored and have nothing better to do. It's always the one who knows the least who is the first to start trying to tell someone what to do. The farther outside the circle someone is, it seems, the more they want to stir up resentment, mostly because they don't know better, or they're bored and have nothing better to do.5. While in the first "Coming of Age" Bleek's character was almost casual about "until death do us part," now he realizes how serious it is to have real responsibility and actually put your life on the line. While in the first "Coming of Age" Bleek's character was almost casual about "until death do us part," now he realizes how serious it is to have real responsibility and actually put your life on the line.6. Tools Tools is obviously slang for a gun. I like that word here because it lets you know how at the end of the day I'm a professional, and even something as personal as this can be handled as coldly and impersonally as taking a hammer to a piece of defective machinery. At the same time the rhyme here- is obviously slang for a gun. I like that word here because it lets you know how at the end of the day I'm a professional, and even something as personal as this can be handled as coldly and impersonally as taking a hammer to a piece of defective machinery. At the same time the rhyme here-breaking my heart/break him apart-lets you know it's still more complicated than that for me.7. The shift in slang-from talking about guns as tools that break things to talking about shooting as The shift in slang-from talking about guns as tools that break things to talking about shooting as blazing blazing-matches the shift in tone, from cold and professional to hot and emotional. In the streets we had as many words for guns and shooting as Eskimos had for snow. A single act had a million variations in emotion and intent.8. All of this back and forth is happening with no actual words exchanged, but perceptive observers can see it all. The only spoken words occur at the end of each verse. All of this back and forth is happening with no actual words exchanged, but perceptive observers can see it all. The only spoken words occur at the end of each verse.9. I wasn't trying to make some kind of anti-weed public service announcement, but the truth is even a minor slip can expose you. No matter how comfortable you feel, it's best to keep your mind clear. I wasn't trying to make some kind of anti-weed public service announcement, but the truth is even a minor slip can expose you. No matter how comfortable you feel, it's best to keep your mind clear.10. This is a reference to the first "Coming of Age" and is the beginning of a change in tone in the song. He goes from bold to scared to humbled. This is a reference to the first "Coming of Age" and is the beginning of a change in tone in the song. He goes from bold to scared to humbled.11. This is the key line in this verse. The bond they share isn't just that they "wilded out" in Vegas together, it's that they're both, ultimately, outcasts-unloved-who can depend only on each other. It's more than the money, it's a sense of brotherhood that bonds them. This is the key line in this verse. The bond they share isn't just that they "wilded out" in Vegas together, it's that they're both, ultimately, outcasts-unloved-who can depend only on each other. It's more than the money, it's a sense of brotherhood that bonds them.12. Another reference to the original "Coming of Age," but this time it's my character repeating Bleek's vow from the first song: Another reference to the original "Coming of Age," but this time it's my character repeating Bleek's vow from the first song: until death. until death.13. This third verse, which is spoken aloud, is about loyalty that goes deep-not just two guys who came together to make money and move on, but a relationship that's closer to kinship. You don't make these kinds of declarations of loyalty to just anyone you happen to hustle with. This third verse, which is spoken aloud, is about loyalty that goes deep-not just two guys who came together to make money and move on, but a relationship that's closer to kinship. You don't make these kinds of declarations of loyalty to just anyone you happen to hustle with.
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14. In the end, I bring it back to music-and to the actual relationship between me and Bleek. In the end, I bring it back to music-and to the actual relationship between me and Bleek.
D'EVILS Back to Lyrics 1. "Coming of Age" and "D'Evils" are two songs on the same basic theme. They're both about being in the game and they both deal with competition and friendship. But the "Coming of Age" songs are about a boss dealing with the rise of someone younger, while "D'Evils" is about the relationship between peers, two people who grew up together. "Coming of Age" and "D'Evils" are two songs on the same basic theme. They're both about being in the game and they both deal with competition and friendship. But the "Coming of Age" songs are about a boss dealing with the rise of someone younger, while "D'Evils" is about the relationship between peers, two people who grew up together.2. The "mechanics" here aren't about the technical details of the business, but the psychological and emotional machinery that's always working under the surface. The "mechanics" here aren't about the technical details of the business, but the psychological and emotional machinery that's always working under the surface.3. The first defense of a lot of people who take the criminal route is that they had no choice, which is almost true: Most of us had choices, but the choices were bleak. The street life was tough and morally compromised and sometimes ugly, but a dead-end nine-to-five job at permanent entry level wasn't all that attractive, either. The righteous seed in a hustler's mentality was this: He wanted something more for himself. The first defense of a lot of people who take the criminal route is that they had no choice, which is almost true: Most of us had choices, but the choices were bleak. The street life was tough and morally compromised and sometimes ugly, but a dead-end nine-to-five job at permanent entry level wasn't all that attractive, either. The righteous seed in a hustler's mentality was this: He wanted something more for himself.4. This reflects the way I actually thought: I ignored my god-given ability, never believing that someone from where I came from could make it out. This reflects the way I actually thought: I ignored my god-given ability, never believing that someone from where I came from could make it out.5. The whole idea of "D'Evils" is that the narrator is no longer just expressing his ambition to live a full life-he's been poisoned somehow, possessed with a desire for money, alienated from all that's good, and focused on the underworld, here represented by Mafia references. The whole idea of "D'Evils" is that the narrator is no longer just expressing his ambition to live a full life-he's been poisoned somehow, possessed with a desire for money, alienated from all that's good, and focused on the underworld, here represented by Mafia references.6. The narrator isn't thinking about redemption or turning back-he's totally focused on making money, "ends." The narrator isn't thinking about redemption or turning back-he's totally focused on making money, "ends."7. "D'Evils"-this obsession with getting paid-is something the narrator picks up after he "breaks bread with the late heads," who school him in ruthlessness. "D'Evils"-this obsession with getting paid-is something the narrator picks up after he "breaks bread with the late heads," who school him in ruthlessness.
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8. I'm describing childhood friends, who went from fighting for those blocks with ABCs on them to fighting to control buildings where they can move crack and "make a killing." I'm describing childhood friends, who went from fighting for those blocks with ABCs on them to fighting to control buildings where they can move crack and "make a killing."9. Here's where the song takes a sudden turn from a general analysis and reminiscences to a clear narrative. I tried to convey a lot of information in one line: that we were friends so close that we learned basic sex ed at the same time; that he "never learned," which sets him up as someone sloppier, less calculating and cunning than me; that he had a child as a result, and "a baby's mother"; and that I kidnapped her, which shows how profoundly "blackhearted" I had become, violently exploiting any opening-even the innocent mother of his child. The line goes from the innocence of two dumb kids learning to use condoms together, bypasses any happiness or joy about the birth of a child, and ends in a truly dark place. It's the poison of "D'Evils" sketched out in a few words. Here's where the song takes a sudden turn from a general analysis and reminiscences to a clear narrative. I tried to convey a lot of information in one line: that we were friends so close that we learned basic sex ed at the same time; that he "never learned," which sets him up as someone sloppier, less calculating and cunning than me; that he had a child as a result, and "a baby's mother"; and that I kidnapped her, which shows how profoundly "blackhearted" I had become, violently exploiting any opening-even the innocent mother of his child. The line goes from the innocence of two dumb kids learning to use condoms together, bypasses any happiness or joy about the birth of a child, and ends in a truly dark place. It's the poison of "D'Evils" sketched out in a few words.10. The "cheese" is money, which I'm feeding her to try to get her to rat out the location of her man. The "cheese" is money, which I'm feeding her to try to get her to rat out the location of her man.11. Extending the money-as-food metaphor, I keep feeding her larger bills till she shits out some information, the dollars breaking down to cents/sense as she digests them. Extending the money-as-food metaphor, I keep feeding her larger bills till she shits out some information, the dollars breaking down to cents/sense as she digests them.12. This reflects another movement from innocence to violence, from slumber parties to putting her to sleep forever. This reflects another movement from innocence to violence, from slumber parties to putting her to sleep forever.13. In the end, I get her to do what I want, but it's a grim victory. Not only will blood be shed based on the information she's given me-hers and his-but the last vision of her, tears like a veil over her eyes, begging for both of their lives, is going to haunt me. Her miseries become mine. In the end, I get her to do what I want, but it's a grim victory. Not only will blood be shed based on the information she's given me-hers and his-but the last vision of her, tears like a veil over her eyes, begging for both of their lives, is going to haunt me. Her miseries become mine.14. Another quick scene: Possessed by material lust, the narrator sticks up random people. The quick line of dialogue is meant to show someone completely blinded by desire, reckless and aggressive, but also haunted, the kind of character who talks to his vics as he's robbing them, making jokes and justifying himself by saying the whole world has done him wrong, so now everyone owes him. This could be the same character from the opening verses; driven over the edge by the killing of his best childhood friend, now he's just a raging psychopath. Another quick scene: Possessed by material lust, the narrator sticks up random people. The quick line of dialogue is meant to show someone completely blinded by desire, reckless and aggressive, but also haunted, the kind of character who talks to his vics as he's robbing them, making jokes and justifying himself by saying the whole world has done him wrong, so now everyone owes him. This could be the same character from the opening verses; driven over the edge by the killing of his best childhood friend, now he's just a raging psychopath.15. The song ends with a dizzying carousel of conversations: First the narrator addresses his mother, then his girl ("boo"), and finally a last victim. The narrator is completely lost to the "D'Evils." He taunts his victims, defends himself, brags about how low he gets down, invites niggas to try to come get him, like George Bush saying "bring 'em on" to the terrorists. The final two lines, contrasting the demons in his head with a God he thinks is powerless, show how deeply he's fallen into a moral vacuum. The song isn't about literal demonic possession, of course, even if some sloppy listeners claim that it is; the truth is you don't need some external demon to take control of you to turn you into a raging, money-obsessed sociopath, you only need to let loose the demons you already have inside of you. The song ends with a dizzying carousel of conversations: First the narrator addresses his mother, then his girl ("boo"), and finally a last victim. The narrator is completely lost to the "D'Evils." He taunts his victims, defends himself, brags about how low he gets down, invites niggas to try to come get him, like George Bush saying "bring 'em on" to the terrorists. The final two lines, contrasting the demons in his head with a God he thinks is powerless, show how deeply he's fallen into a moral vacuum. The song isn't about literal demonic possession, of course, even if some sloppy listeners claim that it is; the truth is you don't need some external demon to take control of you to turn you into a raging, money-obsessed sociopath, you only need to let loose the demons you already have inside of you.
99 PROBLEMS (VERSE 2).
Back to Lyrics 1. This is based on a true story, but ultimately it's fictional. Our hero here is riding dirty, road-tripping down the turnpike from somewhere farther north, which is how things worked back in the eighties and early nineties. New York guys had better connects and opened up drug markets down the I-95 corridor. It was one of the factors that made coke money so thick in New York during that period, and the competition turned the game bloody from Brooklyn to Baltimore to D.C. to the Carolinas. This is based on a true story, but ultimately it's fictional. Our hero here is riding dirty, road-tripping down the turnpike from somewhere farther north, which is how things worked back in the eighties and early nineties. New York guys had better connects and opened up drug markets down the I-95 corridor. It was one of the factors that made coke money so thick in New York during that period, and the competition turned the game bloody from Brooklyn to Baltimore to D.C. to the Carolinas.2. The car might've been a Maxima, which were big on the streets in '94. In the real-life version of this story, the trunk wasn't raw, it was a compartment in the sunroof that doubled as a "stash." The car might've been a Maxima, which were big on the streets in '94. In the real-life version of this story, the trunk wasn't raw, it was a compartment in the sunroof that doubled as a "stash."
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3. Jake is one of a million words for the boys in blue, but it's particularly dismissive and used mostly in New York, so it works as a way of establishing the character of the narrator. He's a slick New York kid. Jake is one of a million words for the boys in blue, but it's particularly dismissive and used mostly in New York, so it works as a way of establishing the character of the narrator. He's a slick New York kid.4. "Driving while black" was usually a sufficient reason for the police to stop us. The first offense wasn't the crack in the ride but the color of the driver. "Driving while black" was usually a sufficient reason for the police to stop us. The first offense wasn't the crack in the ride but the color of the driver.5. When we did work out of state, we would have everything planned down to the finest detail-but then get caught by a cop for no good reason, like "driving fifty-five in a fifty-four." Of course, the sarcasm in the speed limit being fifty-four is another way of saying that we're being pulled over for no good reason. When we did work out of state, we would have everything planned down to the finest detail-but then get caught by a cop for no good reason, like "driving fifty-five in a fifty-four." Of course, the sarcasm in the speed limit being fifty-four is another way of saying that we're being pulled over for no good reason.6. "A lot of you are" is another statement with racial undertones that he and I are both aware of. "A lot of you are" is another statement with racial undertones that he and I are both aware of.7. This dialogue is about the tension between a cop who knows that This dialogue is about the tension between a cop who knows that legally legally he's dead wrong for stopping someone with no probable cause other than race, and a narrator who knows that legally he's dead wrong for moving the crack. But legality aside, they both think they're justified-and the fact is they're both used to getting away with it. So they're playing this cat-and-mouse game, taking sarcastic shots at each other, arguing over the law. The confrontation is casual and consequential all at once and shows how slippery language is, depending on which side of the conversation you're on. he's dead wrong for stopping someone with no probable cause other than race, and a narrator who knows that legally he's dead wrong for moving the crack. But legality aside, they both think they're justified-and the fact is they're both used to getting away with it. So they're playing this cat-and-mouse game, taking sarcastic shots at each other, arguing over the law. The confrontation is casual and consequential all at once and shows how slippery language is, depending on which side of the conversation you're on.8. In every verse of the song I use the word "bitch" in a different way. In this verse, the bitch is a female dog, the K-9 cop coming to sniff the ride. When I was living my version of this story, we got away-the K-9 was late, and the cop let me go. We were back on the road again, hearts pounding, crack still tucked untouched in the stash, when I saw the K-9 unit screaming up the highway, going in the opposite direction. It would've changed my life if that dog had been a few seconds faster. We had a strange kind of luck, some kind of rogue angel watching over us. But in the song I left the outcome ambiguous-does he get away or not? That's the writer in me. I like ambiguous endings, like Shane staggering off into the sunset at the end of the movie. Does he die or does he live? And the larger question: Should he die or live? I leave it to the listener to decide. In every verse of the song I use the word "bitch" in a different way. In this verse, the bitch is a female dog, the K-9 cop coming to sniff the ride. When I was living my version of this story, we got away-the K-9 was late, and the cop let me go. We were back on the road again, hearts pounding, crack still tucked untouched in the stash, when I saw the K-9 unit screaming up the highway, going in the opposite direction. It would've changed my life if that dog had been a few seconds faster. We had a strange kind of luck, some kind of rogue angel watching over us. But in the song I left the outcome ambiguous-does he get away or not? That's the writer in me. I like ambiguous endings, like Shane staggering off into the sunset at the end of the movie. Does he die or does he live? And the larger question: Should he die or live? I leave it to the listener to decide.
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IGNORANT SHIT / FEATURING BEANIE SIGEL.
Back to Lyrics 1. This is a slight exaggeration. This is a slight exaggeration.2. In the opening four lines of the song, I made sure to include the big four "ignorant" subjects: chicks taking off their clothes, guns popping, drugs getting sold, and spending money. The rest of the song follows from there. In the opening four lines of the song, I made sure to include the big four "ignorant" subjects: chicks taking off their clothes, guns popping, drugs getting sold, and spending money. The rest of the song follows from there.3. The first block is a block of coke; the second is the actual city block. The first block is a block of coke; the second is the actual city block.4. The television show The television show CHiPs CHiPs ran from 1977 to 1983. Truthfully, I wasn't doing this since I was eight, but close. ran from 1977 to 1983. Truthfully, I wasn't doing this since I was eight, but close.5. There are a lot of motel references in my songs. Motels are where a lot of our work got done, where we bagged our powder. There are a lot of motel references in my songs. Motels are where a lot of our work got done, where we bagged our powder.6. In Spike Lee's movie, the 25th hour was the moment right before the main character went to prison. Every hour is the 25th hour when you're on the streets; it can end at any moment. In Spike Lee's movie, the 25th hour was the moment right before the main character went to prison. Every hour is the 25th hour when you're on the streets; it can end at any moment.7. "Spike Lees" are slang for the best seats in the house-in this case, whether it's at the arena or in the jet. "Spike Lees" are slang for the best seats in the house-in this case, whether it's at the arena or in the jet.
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8. Sprewells are custom rims that have an internal disk that spins when the car stops, named after Latrell Sprewell, who started selling them in his custom shop. Fun for kids, but for grown-ups, a sign that you might be trying too hard. Sprewells are custom rims that have an internal disk that spins when the car stops, named after Latrell Sprewell, who started selling them in his custom shop. Fun for kids, but for grown-ups, a sign that you might be trying too hard.
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9. A satisfying list of ignorant words-childish and adult at the same time, like a rapper with Tourette's. A satisfying list of ignorant words-childish and adult at the same time, like a rapper with Tourette's.10. A bilingual list of ignorant words, just to make sure everyone's included. A bilingual list of ignorant words, just to make sure everyone's included.11. When I say that rappers are actors, I mean it in two ways: First, a lot of them are pretending to be something they're not outside the booth; second, it also means that even rappers who are being real often use a core reality as the basis for a great fantasy, the way a great method actor like DeNiro does. When I say that rappers are actors, I mean it in two ways: First, a lot of them are pretending to be something they're not outside the booth; second, it also means that even rappers who are being real often use a core reality as the basis for a great fantasy, the way a great method actor like DeNiro does.12. They're standing in the "mirror backwards" because they can't face themselves. No matter how convincing you are to the rest of the world, you still know the truth, and in a private moment it shames you enough to turn away from your own reflection. I bring back the idea a few lines later, when I say that what they're saying in their rhymes is as backward as their posture in the mirror. They're standing in the "mirror backwards" because they can't face themselves. No matter how convincing you are to the rest of the world, you still know the truth, and in a private moment it shames you enough to turn away from your own reflection. I bring back the idea a few lines later, when I say that what they're saying in their rhymes is as backward as their posture in the mirror.13. This Marvin Gaye reference also makes the point that even an honest rapper has the liberty to make things up, because it's entertainment. This Marvin Gaye reference also makes the point that even an honest rapper has the liberty to make things up, because it's entertainment.14. The concept of this song was a license to go completely over the top. But there's a serious point in the end. The concept of this song was a license to go completely over the top. But there's a serious point in the end.15. Imus called the Rutgers women's basketball team a "bunch of nappy-headed hoes," and the debate over his dismissal somehow got turned into a debate about the language used in rap. Imus called the Rutgers women's basketball team a "bunch of nappy-headed hoes," and the debate over his dismissal somehow got turned into a debate about the language used in rap.16. We give violent movies a pass but come down hard on a rapper like Scarface, who is ultimately a storyteller just like Brian de Palma. And neither of them is responsible for the poverty and violence that really do shape people's lives-not to mention their individual choices. We give violent movies a pass but come down hard on a rapper like Scarface, who is ultimately a storyteller just like Brian de Palma. And neither of them is responsible for the poverty and violence that really do shape people's lives-not to mention their individual choices.