#poetic-niggaz

[cyarskaren52]

REGULATORS: THE 25 DOPEST G-FUNK SONGS

By Stereo Williams

Published Mon, February 7, 2022 at 12:00 AM EST

West Coast Hip-Hop was already becoming a force. 

In the late 1980s, artists like Ice-T, Too $hort, King Tee and N.W.A. were putting California on the Hip-Hop map and by the dawn of the 1990s, New York City's grip on the rap industry was no longer a given. Producers like Above The Law's Cold 187Um (aka Big Hutch), DJ Quik and most famously, Dr. Dre, began melding their love of the bass-heavy grooves of Parliament/Funkadelic and other bands like Zapp and the Ohio Players, into Hip-Hop beats. The sound that emerged came to be known as G-Funk, and after 1992, it took over the West Coast.

And, in turn, the West Coast would take over Hip-Hop, commercially. After Dr. Dre took G-funk to the mainstream with the success of his solo debut The Chronic, the sound was virtually everywhere. With the Super Bowl Halftime Show putting everyone in a West Coast spirit, we decided to rank the 25 Dopest G-Funk songs. 

#26

"YOUR LOVE IS A 1.8.7." - THE WHITEHEAD BROS [BONUS SONG]

G-Funk was so big in 1993/1994, that it started to influence R&B. One of the most obvious examples was this single from The Whitehead Bros. With its squealing synths and references to murder and automatic weapons, it's a gangstafied love song. 

#25

"SUMMERTIME IN THE LBC" - THE DOVE SHACK

One of the most criminally overshadowed groups of the era, The Dove Shack came out swinging with this breezy ode to Long Beach in the summer. 

#24

"GETTIN' IT" - TOO $HORT W/PARLIAMENT-FUNKADELIC

"We gon' do it like this...on the last album," $hort Dog mournfully announced on this Parliament-assisted banger. Of course, we all know Too $hort was far from finished, but he delivered one of the most prominent latter entries in the G-Funk canon. 

#23

"AIN'T NO FUN" SNOOP DOGGY DOGG FEAT. WARREN G, NATE DOGG AND KURUPT

Yes, it's one of the most problematic songs of all time. But what a banger! Daz ghost-produced this G-funk staple. 

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#22

"DEEZ NUUUTZ" - DR. DRE FEAT. DAT NIGGAZ DAZ, NATE DOGG

Another classic from "The Chronic," and a song that spawned 30 years of eighth grader jokes, the Nate Dogg outro is just perfection. 

#21

"ALWAYZ INTO SOMETHIN'" - N.W.A.

Probably the clearest indicator on N.W.A.'s notorious sophomore album "Niggaz4Life" of where Dr. Dre was about to take things with "The Chronic" a year later. 

#20

"REAL MUTHAPHUCKKIN G'S" - EAZY-E FEAT. B.G. KNOCC OUT AND DRESTA

Eazy-E's diss aimed squarely at Dr. Dre and Death Row, this track was one of the best examples of Ruthless Records' brand of G-Funk, a sound the label rarely gets acknowledgment for. 

#19

"INDO SMOKE" - MISTA GRIMM

A weed theme song for stoners circa 1993, this banger from the "Poetic Justice" soundtrack gave an indication of where Warren G was going to go production-wise. It also memorably provided an intro snippet on Snoop's "Doggy Style" a few months later.

#18

"DUSTED 'N' DISGUSTED" - E-40 FEAT. MAC MALL, SPICE 1, ANT BANKS, 2PAC

E-40 pulls together a who's-who of Bay Area legends for one of the most beloved singles in his catalog. 

#17

"BLACK SUPERMAN" - ABOVE THE LAW

ATL's G-Funk legacy has always been overshadowed by the behemoth that is Death Row, but know that Cold 187um got there first and Ruthless sustained the sound alongside more high-profile camps. 

#16

"LET'S PLAY HOUSE" - THA DOGG POUND FEAT. MICHEL'LE AND NATE DOGG

A song that would become a West Coast backyard boogie staple for years to come, it's Daz in top form, production-wise. But everyone brings their A game here. 

#15

"DOLLAZ & SENSE" - DJ QUIK

Quik takes no prisoners on this infamous MC Eiht diss. Their feud would be one of West Coast Hip-Hop's most notorious, and this track is a classic entry. 

#14

"AFRO PUFFS" - LADY OF RAGE FEAT. SNOOP DOGGY DOGG

The First Lady of Death Row came with it on this hit single from "Above The Rim," an ode to natural hair, gangsta shit and keepin' it funky. 

#13

"DOGGY DOGG WORLD" - SNOOP DOGGY DOGG FEAT. THA DOGG POUND, THE DRAMATICS AND WARREN G

The pimptastic video is one of the most memorable of the 90s; and the groove is pure 70s funk, highlighting how deeply indebted to that era G-funk had been. 

#12

"YOU KNOW HOW WE DO IT" - ICE CUBE

Cube's first album was Bomb Squad bombast and his second outing was looser, but still hard. After enjoying mainstream success with singles like "It Was A Good Day" and "Check Yo' Self," Cube dropped his most obviously G-Funk-leaning single in this West Coast classic. 

#11

"LET ME RIDE" - DR. DRE FEAT. SNOOP DOGGY DOGG AND JEWELL

Dre's love of P-Funk was never more evident than on this Sunday driving anthem. The flip of "Mothership Connection (Star Child)" is perfect and it gave "The Chronic" another hit single. 

#10

"THIS D.J."

Sure, the Nate Dogg-assisted "Regulate" is way more famous. But this follow-up single best sums up the sunny vibe of Warren G's particular brand of G-Funk. He kept it street, but also gave a more laid-back alternative to what was coming out of Death Row at the time. And this is a great summer song.

#9

"CALIFORNIA LOVE" [REMIX] - 2PAC W/DR. DRE FEAT. ROGER TROUTMAN

The original may be more famous, but it's the remix that's pure G-Funk. From that wobbly bassline to those squealy synths and the presence of an electro-funk legend in Roger Troutman himself. 

#8

"WHO AM I? (WHAT'S MY NAME)" - SNOOP DOGGY DOGG

It's so P-Funk-like, it's like you can hear George Clinton sitting in the room. Nobody would ever have trouble remembering his name again. Shoutout to "Atomic Dog." 

#7

"CALL IT WHAT YOU WANT" - ABOVE THE LAW FEAT. 2PAC AND MONEY B

Big Hutch (Cold 187Um) is one of the most underrated producers of all time. It's so funky and Pac and Money B bring some of that freewheeling D.U. energy to the proceedings. 

#6

"BIG PIMPIN'" - THA DOGG POUND FEAT. SNOOP DOGGY DOGG

Daz's spin on G-Funk is so distinct. He goes deep into those bass grooves and this is one of his rubbery best. From the classic "Above The Rim" soundtrack, it helped announce that Tha Dogg Pound was up next. 

#5

"DRE DAY" - DR. DRE W/SNOOP DOGGY DOGG

From that opening thump; you can feel Parliament's influence. This hit from "The Chronic" was the culmination of his sound up that point--and yes, a scorching diss of Dre's former bandmate Eazy-E (and Luke and Tim Dog). 

#4

"REGULATE" - WARREN G FEAT. NATE DOGG

Where the G-Child proved to any late comers that he was more than just Dre's brother. The Long Beach product crafted his own uniquely melodic brand of G-Funk, and this classic epitomized it. 

#3

"TONITE" - DJ QUIK

Another example of G-Funk before Death Row and "The Chronic," DJ Quik's breakout hit wasn't necessarily called "G-Funk" at the time, but when you listen to it now, it's clear that he's pointing towards where so much mainstream West Coast Hip-Hop was headed. 

#2

"GIN AND JUICE" - SNOOP DOGGY DOGG

Another ode to getting drunk as hell, Snoop's second single cemented him as the most unique new voice in the game back in 1994. All these years later, it's a staple of the sound and era, a true G-Funk classic. 

#1

"NUTHIN' BUT A 'G' THANG" DR. DRE FEAT. SNOOP DOGGY DOGG

"Deep Cover" obviously came first, but this was Death Row's first smash and the song that pushed G Funk into the mainstream. Snoop and Dre's chemistry was on fire, and the groove launched a thousand imitators.

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[writemarcus]

“We Can’t Lose the Funk”: Roger Q. Mason’s Mission to Protect Black TGNC Playwrights When Commercial Theaters Come Calling

By Marcus Scott

This spring, National Queer Theater—in partnership with the Dramatists Guild—launched the New Visions Fellowship, a milestone and innovative year-long professional development initiative aimed at spotlighting Black trans and gender non-conforming (TGNC) playwrights who have largely been excluded from the American theater. This chef-d’oeuvre is largely thanks to playwright Roger Q. Mason (along with Project Manager Jordan Stovall), whose imperative to uplift underrepresented voices is as mighty as the labor instilled in their crackling plays. With the help of Mason’s keen eyes and ears, this year’s recipients are Nick Hadikwa Mwaluko (he/they) and Ayla Xuan Chi Sullivan (they/them), each of whom will be awarded 5,000 dollars to develop a play, musical, or performance experience of their design and choosing, and will be given a five-year complimentary membership to The Dramatists Guild. That last part is major because typically, associate and legacy playwrights pay between 90 and 125 dollars annually. Throughout the year, fellows will audit various master classes taught by a cadre of celebrated playwrights and musical theatre dramatists like Tony Award winner Lisa Kron and Pulitzer Prize winner Doug Wright.

Ayla Xuan Chi Sullivan. Photo: A Strong Photography.

“I am most excited that there is an opportunity to share our love and support for one another with real people when we showcase our work in February,” said Sullivan, whose latest project, titled for coloured niggaz or: who gon beat my ass? (you won’t, I’m too scary), seeks to interrogate how to make theater truly for and by the People, namely Black queer and trans people in an unapologetic space. “I don’t think I had a choice but to create and write during this era of upheaval, uprising, and upset. And even still, this year called me to submit in the spiritual sense because I was asked to grieve and heal to the edges of my capacity and then some. The only reason I could stay true to myself and this work is by taking the time to rest, recover, and further commit to my craft by committing to the people.”

Mwaluko is currently working on Silence Is A Sound, about intimate partner abuse between a Black trans femme and her/hir/hyr partner, a cis het Black man, the exploration of healing in racist and transphobic world and interrogation of “those primal queer screams that are silenced because of #cistemic oppression.”

“Audiences will be reminded of what it means to be a human being,” Mwaluko said. “Audiences will witness collective power through queer community. Audiences will see the center at the margins where there is room enough for everyone, all of humankind: outsiders, freaks, geniuses, straight folx, queerdos, etc. Audiences will celebrate the margins as Universal or Queer Abundance.”

Speaking from a landline phone in their family kitchen overlooking the sunshiny beachfront vistas of Santa Monica, California, Mason, who is quickly becoming one of the most significant playwrights of the decade with their poetic explorations of Black TGNC life, spoke with the Brooklyn Rail about the creation of the fellowship, its importance in the political climate, and the crux of Black TGNC storytelling that could pivot the next wave of American Theater into a full-blown revolution. Born Roger Quincy Santiago Mason, the self-described Black, Filipinx, plus-sized, gender non-conforming, queer artist of color also notes that this is only just the beginning of their full-scale attack on traditional theater in their Rube Goldberg machine-esque plan for world domination. Get ready.

Roger Q. Mason. Photo: Abdullah Helwani.

Marcus Scott (Rail): It’s a pleasure to make your acquaintance. We run in similar circles, but have yet to officially meet until now. So, let’s break the ice: you’ve had quite a successful career as a writer and now you’ve graduated to the role of mentor. What, to you, is the role of playwright in modern day?

Roger Q. Mason: In other words, you learn to do by doing. Our craft is an extraordinary experiential education. The only way we learn about our voices as playwrights is by exercising those voices in real time and space, bravely, vulnerably, and out loud before our peers. We have to remember that the script is not God but rather a prayer, it is a suggestion of how an event can be manifested, not in third-dimensional space but four-dimensional space, because the fourth dimension is the sublime. We return to the stars. We look and reach up and through the story that we tell, we pray for change, for joy, for freedom, for hope, for illumination, for inspiration. Thus, the tongue is a freedom song, but it is just a blueprint. And so, the playwright has to both be very sure of themself and yet so generous, generative, and open to change and new knowledge and inspiration from their community, because we are not an island unto ourselves. We as playwrights learn from other playwrights, directors, actors, from designers, from hecklers on the bus, from scenes of lovemaking enacted under midnight haze while we’re walking back from bars alone again. That’s how we playwrights learn, and all of those elements find their way, consciously or subconsciously, back into our work if we are humble enough to listen. We are not just in the business of writing; we are in the listening business. Our job is to sit quietly, with heart chakra open, sternum up, ready to receive the piercing inspiration of human truth. That’s our job. Did that answer your first question?

Rail: Yes. Yes, you did. That was thorough! My follow-up would be why this fellowship and why now?

Mason: I have been a victim of dramaturgical myopia. We need to teach readers of plays how to read again! Really, we need to teach them how to dream again. If a script is a two-dimensional prayer for three- or four-dimensional ritual, we need to teach people how to read the plays for their potentiality, not for just what’s on the page but what the page is suggesting, pining for, and indicating through stage direction, through physicality, through scenography, through silence. We possess at this time, in some instances, a very two-dimensional literary modality of assessing the viability of a script. Not enough folks look at script as performance text; looking at something that is in transition, something that has the potential to blossom into something even more beautiful than it already is, is a uniquely queer way of living. Because we are constantly in transition and ever-present in liminal space, we are always both living in and reaching for our potential, and because we are everywhere and nowhere at the same time. We’ve always been here, trans and gender non-conforming people, but we’re always made invisible, always silenced. So we, trans and gender non-conforming playwrights, understand what it means to make a way out of no way and live on the in-between. But how many places amplify that skill set? How many places say, “That is an asset that I want to help you nurture and grow?” Not enough! So, I went to National Queer Theater, in partnership with the Dramatists Guild; I’ve friends in both places, and we came up with a plan. We would identify and make space for Black trans and gender non-conforming playwrights and the whole purpose of this fellowship is not to train or contort or somehow shift folks in the marketplace, but rather take them where they are and help them find the beauty of that space so they can emerge equipped to present themselves and their stories with their head held high and the market can come to us if it wants to. If not, we have always made a way out of no way. We have told stories in cafés and bars and alleys and rooftops and living rooms and warehouses and we do it again and keep doing it because that’s our power, we’re not defined by place. What moves us is an eagerness to spread joy and love, what inspires us is the need to let somebody else know that they are not alone in that aspiration and what guides us is the power of each other. That’s New Visions Fellowship. Each one, teach one. I learn from the fellows, they teach me, they mentor me, they educate me and I in turn amplify and celebrate their wisdom.

Nick Hadikwa Mwaluko. Photo: A Strong Photography.

Rail: Asé and amen! Let’s fruition. I’ve been watching your career over the last three or so years and while you’re an award-winning playwright who has seen their work on both coasts, you’re still kind of an outlier. How did you get this off the ground?

Mason: It’s true, I’m both in the center of many conversations and outside of so many. I think that speaks to my liminal space as a Black, transgender, gender non-conforming writer. It’s in fact symmetrical with my identity and my positionality in our business. I think even when I do achieve mainstream visibility, there will always be a part of me that values and loves what it means to live on the fringes because the fringes are my great educator.

For better or for worse, we still live in a capitalistic society and I’m going to go ahead and say this, but there’s a market for these stories. Not only in television and film, but in theater. So, I say to my fellows, we have a great Faustian dilemma: they want to see us, but we can’t lose ourselves and the journey that we’ve tread along the way. We can’t lose the funk; you can’t sew up them edges. We’re fringy, we’re funky. So, the way this fellowship is around the time we were first mourning the death of George Floyd, I started conversations with Adam Odsess-Rubin (Artistic Director of National Queer Theater) and also with folks from the Dramatist Guild Foundation. It started out when I was brought in as a consultant, to dream about how to support transgender, gender non-conforming playwrights of color and what I say in these meetings is we need mentorship, not only to help us to develop the plays and our aesthetic but also to give us the business savviness to navigate the marketplace because, for better or for worse, playwrights are the CEOs of their own small businesses. It’s a highly entrepreneurial profession at this point and there are not enough business administration classes on how to navigate the world as a playwright. How do you identify what types of theaters to ally yourself with? How do you navigate the phenomenon known as the showcase? How do you activate a reading or a showing of your work toward production? How do you motivate a production to garner you other productions? Also, while doing that, how do you use each production as a way to explore the piece artistically further? How is each production a new chance at uncovering layers of the piece’s artistry such that you are constantly moving onward and upward, not only aesthetically, but also professionally?

There is a holistic improvement and betterment which occurs and that’s a mentality. Mentality is what we have to teach, what we have to give. And I said to these fellows, “Now we live in an oral tradition; this the queer Underground Railroad! So, whatever you learn from me, whatever I learn from you, let’s tell the next legendary child, tell it to the next generation.” Don’t let them wait to apply and find out six months later after they got into this fellowship, tell them now, tell them tomorrow, because they need the help and you have it, so give it. Give it to these people. That’s how it came about … Because I believe in holism. You don’t just fill somebody up with lofty artistic ideals but not help them figure out how to propagate them and share them with folks that will help them move forward. That’s not fair and you don’t just teach people how to wheel and deal without having something worth telling; you need to be a whole person.

Rail: Gems. I love it!

Mason: I’m giving you enough to work it, baby. Something will come out of this, I’m sure!

Rail: I know that’s right. Thank you for fellowshipping with me.

Mason: It’s been a pleasure.

Contributor

Marcus Scott

Marcus Scott is a New York City-based playwright, musical writer, opera librettist, and journalist. He has contributed to Time Out New York, American Theatre, Elle, Essence, Out, Uptown, Trace, Hello Beautiful, Madame Noire, and Playbill, among other publications.

[blackkudos]

Kendrick Lamar

Kendrick Lamar Duckworth (born June 17, 1987) is an American rapper and songwriter. Born and raised in Compton, California, he embarked on his musical career as a teenager under the stage name K-Dot, releasing a mixtape that garnered local attention and led to his signing with indie record label Top Dawg Entertainment (TDE). He began to gain recognition in 2010, after his first retail release, Overly Dedicated. The following year, Lamar independently released his first studio album, Section.80, which included his debut single, "HiiiPoWeR". By that time, he had amassed a large Internet following and collaborated with several artists in the hip hop industry, including The Game, Snoop Dogg and Busta Rhymes.

His major label debut, good kid, m.A.A.d city, was released in 2012 by TDE, Aftermath and Interscope Records to critical success. It debuted at No. 2 on the US Billboard 200 chart and was later certified platinum by the Recording Industry Association of America (RIAA). The record contained the top 40 singles "Swimming Pools (Drank)", "Bitch, Don't Kill My Vibe", and "Poetic Justice". Lamar won his first Grammy Award for "i", lead single from his critically acclaimed third album To Pimp a Butterfly (2015). The album drew on free jazz, funk, soul, and spoken word, debuted atop the charts in the US and the UK, and won the Grammy Award for Best Rap Album at the 58th ceremony. In 2016, Lamar released untitled unmastered., a collection of unreleased demos that originated during the recording sessions for Butterfly. He released his fourth album Damn in 2017; its lead single "Humble" topped the Billboard Hot 100.

Lamar has received a number of accolades over the course of his career, including seven Grammy Awards. In early 2013, MTV named Lamar the number one "Hottest MC in the Game", on their annual list. Time named Lamar one of the 100 most influential people in the world in 2016. Aside from his solo career, Lamar is also known as a member of the West Coast hip hop supergroup Black Hippy, alongside his TDE label-mates and fellow South Los Angeles-based rappers Ab-Soul, Jay Rock and Schoolboy Q.

Biography

1987–2003: Early life and education

Kendrick Lamar was born in Compton, California, the son of a couple from Chicago, Illinois. His first name was given to him by his mother in honor of American singer-songwriter Eddie Kendricks, of The Temptations. In 1995, at the age of eight in his hometown of Compton, Lamar witnessed his idols, Tupac Shakur and Dr. Dre, film the music video for their hit single "California Love", which proved to be a very significant moment in his life. He grew up on welfare and section 8 housing. As a child, Lamar attended McNair Elementary in the Compton Unified School District. As a teenager, Lamar went on to attend Centennial High School in Compton, where he was a straight-A student.

2004–09: Career beginnings

In 2004, at the age of 16, Lamar released his first full-length project, a mixtape titled Youngest Head Nigga in Charge (Hub City Threat: Minor of the Year), under the pseudonym K-Dot. The mixtape was released under Konkrete Jungle Muzik and garnered local recognition for Lamar. The mixtape led to Lamar securing a recording contract with Top Dawg Entertainment (TDE), a newly founded indie record label, based in Carson, California. He began recording material with the label and subsequently released a 26 track mixtape two years later, titled Training Day (2005).

Throughout 2006 and 2007, Lamar would appear alongside other up-and-coming West Coast rappers, such as Jay Rock and Ya Boy, as opening acts for veteran West Coast rapper The Game. Under the moniker K-Dot, Lamar was also featured on The Game's songs "The Cypha" and "Cali Niggaz".

In 2008, Lamar was prominently featured throughout the music video for Jay Rock's commercial debut single, "All My Life (In the Ghetto)", which features American hip hop superstar Lil Wayne and was backed by Warner Bros. Records. Lamar garnered further recognition after a video of a live performance of a Charles Hamilton show surfaced, in which Hamilton battled fellow rappers who were in the audience. Lamar did not hesitate and began rapping a verse over the instrumental to Miilkbone's "Keep It Real", which would later appear on a track titled "West Coast Wu-Tang".

After receiving a co-sign from Lil Wayne, Lamar released his third mixtape in 2009, titled C4, which was heavily themed around Wayne's Tha Carter III LP. Soon after, Lamar decided to drop K-Dot as his stage name and go by his birth name. He subsequently released The Kendrick Lamar EP in late 2009. That same year, Lamar formed Black Hippy, a hip hop supergroup, with his TDE label-mates: Jay Rock, Ab-Soul and Schoolboy Q.

2010–11: Overly Dedicated and Section.80

Throughout 2010, Lamar toured with Tech N9ne and Jay Rock on The Independent Grind��tour. On September 14, 2010, he released the visuals for "P&P 1.5", a song taken from Overly Dedicated, featuring his Black Hippy cohort Ab-Soul. On the same date, Lamar released Overly Dedicated to digital retailers under Top Dawg Entertainment, and later on September 23, released it for free online. The project fared well enough to enter the United States Billboard Top R&B/Hip-Hop Albums chart, where it peaked at number 72.

The mixtape includes a song titled "Ignorance Is Bliss", in which Lamar highlights gangsta rap and street crime, but ends each verse with "ignorance is bliss", giving the message "we know not what we do;" it was this song specifically that made hip hop producer Dr. Dre want to work with Lamar after seeing the music video on YouTube. This led to Lamar working with Dr. Dre and Snoop Dogg on Dre's often-delayed Detox album, as well as speculation of Lamar signing to Dr. Dre's record label, Aftermath Entertainment. In December 2010, Complex magazine spotlighted Lamar in an edition of their "Indie Intro" series.

In early 2011, Lamar was included in XXL's annual Top 10 Freshman Class, and was featured on the cover alongside fellow up-and-coming rappers Cyhi the Prynce, Meek Mill, Mac Miller, Yelawolf and Big K.R.I.T., among others. On April 11, 2011, Lamar announced the title of his next full-length project to be Section.80, and the following day the first single "HiiiPoWeR" was released, the concept of which was to further explain the HiiiPoWeR movement. The song was produced by fellow American rapper J. Cole, marking their first of several collaborations.

On the topic of whether his next project would be an album or a mixtape, Lamar answered: "I treat every project like it's an album anyway. It's not going to be nothing leftover. I never do nothing like that. These are my leftover songs you all can have them. I'm going to put my best out. My best effort. I'm trying to look for an album in 2012." In June 2011, Lamar released "Ronald Reagan Era (His Evils)", a cut from Section.80, featuring Wu-Tang Clan leader RZA. On July 2, 2011, Lamar released Section.80, his first independent album, to critical acclaim. The album features guest appearances from GLC, Colin Munroe, Schoolboy Q, and Ab-Soul, while the production was handled by Top Dawg in-house production team Digi+Phonics as well as Wyldfyer, Terrace Martin and J. Cole. Section.80 went on to sell 5,300 digital copies in its first week, without any television or radio coverage and received mostly positive reviews.

In August 2011, while performing at a West Los Angeles concert, Lamar was dubbed the "New King of the West Coast" by Snoop Dogg, Dr. Dre and Game. On August 24, 2011, Lamar released the music video for the Section.80 track, "A.D.H.D". The video was directed by Vashtie Kola who had this to say of the video: "Inspired by "A.D.H.D"'s dark beat and melancholy lyrics which explore a generation in conflict, we find Kendrick Lamar in a video that illustrates the songs[sic] universal and age-old theme of apathetic youth. (…) Shot in New York City during the sweltering July Summer heat". In October 2011, Lamar appeared alongside fellow American rappers B.o.B, Tech N9ne, MGK, and Big K.R.I.T., in a freestyle rap at the BET Hip Hop Awards. Also in October, Lamar partnered with Windows Phone, and crafted an original song with producer Nosaj Thing entitled "Cloud 10", to promote Microsoft's new product. During 2011, Lamar appeared on several high-profile albums including Game's The R.E.D. Album, Tech N9ne's All 6's and 7's, 9th Wonder's The Wonder Years and Canadian recording artist Drake's Grammy Award-winning Take Care, which featured Lamar on a solo track.

2012–13: good kid, m.A.A.d city and controversies

On February 15, 2012, a song by Lamar titled "Cartoon & Cereal", featuring fellow American rapper Gunplay, was leaked online. Lamar later revealed that the track was for his major-label debut studio album and that he had plans to shoot a video for it. Although the song would later be ranked #2 in Complex's Best 50 Songs of 2012 list, it would ultimately fail to appear on Lamar's debut. In February 2012, it was announced that Fader had enlisted both Kendrick Lamar and Detroit-based rapper Danny Brown, to appear on the cover of the magazine's Spring Style issue. In February, Lamar also embarked on Drake's Club Paradise Tour, opening along with fellow American rappers, ASAP Rocky and 2 Chainz.

In March 2012, MTV announced that Lamar had signed a deal with Interscope Records and Aftermath Entertainment, marking the end of his career as an independent artist. Under the new deal, Lamar's projects, including his album good kid, m.A.A.d city, would be jointly released via Top Dawg, Aftermath, and Interscope. Also in March, Lamar appeared on Last Call with Carson Daly, where he spoke on Dr. Dre and his hometown of Compton, California. On April 2, 2012, Lamar premiered his commercial debut single "The Recipe", on Big Boy's Neighborhood at Power 106. The song, which serves as the first single from his good kid, m.A.A.d city, was released for digital download the following day. The song was produced by West Coast producer Scoop DeVille and features vocals from his mentor Dr. Dre, who also mixed the record.

On May 14, 2012, J. Cole again spoke on his collaborative effort with Lamar. In an interview with Bootleg Kev, Cole stated: "I just started working with Kendrick the other day. We got it in, finally, again. We got maybe four or five [songs] together." On May 21, Lamar made his 106 & Park debut alongside Ace Hood, joining Birdman and Mack Maine on stage to perform "B Boyz". Lamar also talked about his style and sound, Dr. Dre and Snoop Dogg, and his upcoming collaborative LP with J. Cole. On the same date, Lamar released "War Is My Love", an original song written and recorded for the video game Tom Clancy's Ghost Recon: Future Soldier, for which he appeared in a mini promotional clip earlier that month.

On July 31, 2012, Top Dawg, Aftermath, and Interscope serviced "Swimming Pools (Drank)" as the lead single from Lamar's debut album. The song's music video, directed by Jerome D, premiered on August 3, 2012, on 106 & Park. The song peaked at number 17 on the Billboard Hot 100 in its thirteenth week of gradually climbing up the chart. On August 15, 2012, singer Lady Gaga announced via Twitter that both had recorded a song titled "PartyNauseous" for his debut album. However, Gaga withdrew from participation in the last moment, citing that it was due to artistic differences and had nothing to do with Lamar. On August 17, 2012, Lamar released a song titled "Westside, Right on Time", featuring Southern rapper Young Jeezy. The song was released as part of the "Top Dawg Entertainment Fam Appreciation Week". During 2012, Lamar also toured with the rest of Black Hippy and MMG rapper, Stalley, on BET's Music Matters Tour.

Lamar's major-label debut, good kid, m.A.A.d city, was released on October 22, 2012. The album was met with critical acclaim and debuted at number two in the US, selling 242,100 copies in its first week. Later that year, Fuse TV listed Lamar's single, "Backseat Freestyle" among the top 40 songs of 2012. In a few months' time, the album was certified gold by the Recording Industry Association of America (RIAA). HipHopDX named Lamar "Emcee of the Year" for their 2012 Year-End honors. In November, after Cole posted pictures of himself and Lamar working in the studio, the latter revealed that the two are still working on a project, but an exact release date wasn't given for the joint album: "We are going to drop that out the sky though. I don't want to give dates. I'm just going to let it fall" in an interview with the LA Leakers.

On January 26, 2013, Lamar performed the album's first singles "Swimming Pools (Drank)" and "Poetic Justice" on NBC's sketch comedy and variety show, Saturday Night Live. In the same episode, Lamar also appeared alongside guest host Adam Levine and comedy band The Lonely Island, in an SNL Digital Short, which spawned the single "YOLO". On February 22, 2013, Lamar released the video for "Poetic Justice", the Janet Jackson-sampling collaboration with Canadian rapper Drake. On February 26, Lamar performed "Poetic Justice" on the Late Show with David Letterman. Just nine months after its release, good kid, m.A.A.d city was certified platinum by the RIAA, Lamar's first platinum certification.

In August 2013, Lamar's verse on the Big Sean track "Control", made waves across the hip-hop industry. In the verse, Lamar vows to lyrically "murder" every other up-and-coming rapper, namely J. Cole, Big K.R.I.T., Wale, Pusha T, Meek Mill, ASAP Rocky, Drake, Big Sean, Jay Electronica, Tyler, The Creator and Mac Miller. During the song, Lamar also calls himself the "King of New York", which caused controversy among several New York-based rappers. Many New York rappers, including Papoose, The Mad Rapper, Mickey Factz, JR Writer, Mysonne, Joell Ortiz and more, took offense to this. Furthermore, fellow American rappers such as Meek Mill, Lupe Fiasco, Cassidy, Joe Budden, King L, Bizarre and B.o.B, among many others, released a response or diss track, within a week. In the days following the track's release, Lamar's Twitter account saw a 510% increase in followers.

On September 6, 2013, American recording artist and record producer Kanye West announced he would be headlining his first solo tour in five years, in support of his sixth album Yeezus (2013), with Kendrick Lamar accompanying him on tour. The Yeezus Tour began in October. In October, it was also revealed that Lamar would be featured on Eminem's eighth studio album The Marshall Mathers LP 2. On October 15, 2013, Lamar won five awards at the BET Hip Hop Awards, including Album of the Year and Lyricist of the Year (the latter of which he had also won the year before). At the award show, Lamar performed "Money Trees", and was also featured in a cypher alongside his Top Dawg label-mates Jay Rock, Schoolboy Q, Isaiah Rashad, and Ab-Soul. During an October 2013 interview with XXL, Lamar revealed that following The Yeezus Tour, he would begin to start working on his next album.

In November 2013, he was named GQ's "Rapper of the Year," and was featured on the cover of the magazine's "Men of the Year" issue. During the interview, he stated that he would begin recording his second major-label studio album in January 2014. Following the issue's release, TDE's CEO Anthony "Top Dawg" Tiffith pulled Kendrick Lamar from performing at GQ's party that accompanies the issue, calling out writer Steve Marsh's profile, "Kendrick Lamar: Rapper of the Year," for its "racial overtones." GQ editor-in-chief Jim Nelson responded with the following statement: "Kendrick Lamar is one of the most talented new musicians to arrive on the scene in years. That's the reason we chose to celebrate him, wrote an incredibly positive article declaring him the next King of Rap, and gave him our highest honor: putting him on the cover of our Men of the Year issue. I'm not sure how you can spin that into a bad thing, and I encourage anyone interested to read the story and see for themselves."

Lamar received a total of seven Grammy nominations at the 56th Annual Grammy Awards (2014), including Best New Artist, Album of the Year, and Best Rap Song, but did not win in any category. Many publications felt that The Recording Academy snubbed Lamar, as well as Seattle-based rapper Macklemore, who won Best Rap Album – category for which Lamar was also nominated. At the ceremony, Lamar performed "M.A.A.D City" and a remix of "Radioactive" in a mash-up with American rock band Imagine Dragons at the awards ceremony. The remix was again performed by Lamar and the band on February 1, 2014, during the airing of Saturday Night Live, marking Lamar's second appearance on the show.

2014–16: To Pimp a Butterfly and untitled unmastered.

In an interview with Billboard in February 2014, Lamar stated he was planning to put out a new album the next September. During the same interview, which also included Schoolboy Q, Anthony "Top Dawg" Tiffith, and Dave Free, the possibility of a debut effort from the Black Hippy collective appearing in 2014 was announced. On July 31, 2014, it was announced that Lamar would premiere his short film m.A.A.d at Sundance's inaugural NEXT Fest in Los Angeles on August 9. The film is inspired by good kid, m.A.A.d city, and was directed by Kahlil Joseph, who had previously worked with Lamar on the Yeezus Tour.

On September 23, 2014, Lamar released "i" as the first single from his third album. On November 15, 2014, Lamar once again appeared on Saturday Night Live as the musical guest, where he performed "i" and "Pay for It", appearing alongside Jay Rock. Through his appearance, with blackout contacts and his braids partly out, Lamar paid homage to New York-based rapper Method Man, whose debut album Tical celebrated its 20th anniversary that day. In December 2014, it was announced that Lamar had started a partnership with sportswear brand Reebok. On December 17, 2014, Lamar debuted a new untitled song on one of the final episodes of The Colbert Report.

In early 2015, Lamar won Best Rap Performance and Best Rap Song for his song "i" at the 57th Annual Grammy Awards. On February 9, 2015, he released his third album's second single, titled "The Blacker the Berry". Originally expected to be released on March 23, 2015, his new album To Pimp a Butterfly was released a week early on March 16, 2015 to rave reviews. The album debuted atop the US Billboard 200 chart selling 324,000 copies in its first week, and established Spotify's global first-day streaming record (9.6 million). Lamar was later featured on the cover of Rolling Stone, with editor Josh Eells writing he's "arguably the most talented rapper of his generation."

On May 17, 2015, Lamar featured on the official remix of Taylor Swift's song "Bad Blood", as well as appearing in the music video. The single reached number one on the Billboard Hot 100. To Pimp a Butterfly produced other three singles with accompanying music videos, "King Kunta", "Alright" and "These Walls". The music video for "Alright" received four nominations at the 2015 MTV Video Music Awards, including Video of the Year and Best Male Video. The song "For Free? (Interlude)" also featured a music video, as did "u" with "For Sale" as part of the short film "God Is Gangsta". In October 2015, Lamar announced the Kunta's Groove Sessions Tour, which included eight shows in eight cities. In early 2016, Kanye West released the track "No More Parties in L.A." on his official SoundCloud, a collaboration featuring Lamar and produced by West and Madlib. Lamar also performed a new song, "Untitled II" on The Tonight Show Starring Jimmy Fallon in January.

Billboard critics commented at the end of the year, "twenty years ago, a conscious rap record wouldn't have penetrated the mainstream in the way Kendrick Lamar did with To Pimp A Butterfly. His sense of timing is impeccable. In the midst of rampant cases of police brutality and racial tension across America, he spews raw, aggressive bars while possibly cutting a rug," while Pitchfork editors noted it "forced critics to think deeply about music. It's an album by the greatest rapper of his generation." Producer Tony Visconti stated David Bowie's album Blackstar (2016) was influenced by Lamar's work, "we were listening to a lot of Kendrick Lamar [...] we loved the fact Kendrick was so open-minded and he didn't do a straight-up hip-hop record. He threw everything on there, and that's exactly what we wanted to do."

Lamar won five Grammys at the 58th ceremony, including Best Rap Album for To Pimp a Butterfly. Other nominations included Album of the Year and Song of the Year. At the ceremony, Lamar performed a medley of "The Blacker the Berry" and "Alright". It was ranked by Rolling Stone and Billboard as the best moment of the night, with the latter writing "It was easily one of the best live TV performances in history."

On March 4, 2016, Lamar released a compilation album untitled unmastered., containing eight untitled tracks, each dated. Lamar later confirmed that the tracks were unfinished demos from the recording of To Pimp a Butterfly. The compilation album debuted atop the US Billboard 200.

2017: Damn.

On March 23, 2017, Lamar released a promotional single "The Heart Part 4". On March 30, 2017, Lamar released the lead single, titled "Humble", accompanied by its music video. On April 7, 2017, his fourth studio album was made available for pre-order and confirmed to be released on April 14, 2017. On April 11, Lamar announced the album title, Damn (stylized as DAMN.), as well as the track list, which confirmed guest appearances by Rihanna, Zacari, and U2.

The album was released on April 14, 2017 to rave reviews, with a Rolling Stone writer describing it as a combination of "the old school and the next-level." It marked his third No. 1 album on the Billboard 200 chart, and the single "Humble" became his first No. 1 as a lead artist on the Billboard Hot 100. On May 4, 2017, Damn was certified platinum by the Recording Industry Association of America (RIAA).

Artistry

Influences

Kendrick Lamar has stated that Tupac Shakur, The Notorious B.I.G., Jay Z, Nas, and Eminem are his top five favorite rappers. Tupac Shakur is his biggest influence, and has influenced his music as well as his day-to-day lifestyle. In a 2011 interview with Rolling Stone, Lamar mentioned Mos Def and Snoop Dogg as rappers that he listened to and took influence from during his early years. He also cites rapper DMX as an influence: "[DMX] really [got me started] on music," explained Lamar in an interview with Philadelphia's Power 99. "That first album [It's Dark and Hell Is Hot] is classic, [so he had an influence on me]."

In a September 2012 interview, Lamar stated rapper Eminem "influenced a lot of my style" and has since credited Eminem for his own aggression, on records such as "Backseat Freestyle". Lamar also gave Lil Wayne's work in Hot Boys credit for influencing his style and praised his longevity. He has said that he also grew up listening to Rakim, Dr. Dre, and Tha Dogg Pound. In January 2013, when asked to name three rappers that have played a role in his style, Lamar said: "It's probably more of a west coast influence. A little bit of Kurupt, [Tupac], with some of the content of Ice Cube." In a November 2013 interview with GQ, when asked "The Four MC's That Made Kendrick Lamar?", he answered Tupac Shakur, Dr. Dre, Snoop Dogg and Mobb Deep, namely Prodigy. Lamar professed to having been influenced by jazz trumpeter Miles Davis and Parliament-Funkadelic during the recording of To Pimp a Butterfly.

Musical style

On the topic of his music genre, Lamar has said: "You really can't categorize my music, it's human music." Lamar's projects are usually concept albums. Critics found Good Kid, M.A.A.D City heavily influenced by West Coast hip hop and 90s gangsta rap. His third studio album, To Pimp a Butterfly, incorporates elements of funk, jazz, soul and spoken word poetry.

Accolades

Lamar has won seven Grammy Awards. He received a total of seven nominations at the 56th Grammy Awards in 2014, including Album of the Year for good kid, m.A.A.d city. At the 57th Grammy Awards in 2015, his single "i" earned him his first two wins: Best Rap Song and Best Rap Performance. Lamar received his second Album of the Year nomination at the 58th Grammy Awards for To Pimp a Butterfly, also leading the list with 11 categories. For the latter, he went on to pass Eminem as the rapper with the most nominations in a single night, and second overall behind Michael Jackson, who holds the record of 12 nominations since 1984. Lamar was the most-awarded artist at the ceremony with five, including Best Rap Album. The rapper appeared for the first time on the Time 100 list of most influential people in 2016.

Lamar has received two civic honors. On May 11, 2015, he received the California State Senate's Generational Icon Award from State Senator Isadore Hall III (D–Compton) who represents California's 35th district. From the senate floor, Lamar told the legislature, "Being from the City of Compton and knowing the parks that I played at and the neighborhoods, I always thought how great the opportunity would be to give back to my community off of what I do in music." On February 13, 2016, Mayor of Compton, California Aja Brown presented Lamar with the key to the city, for "representing Compton's evolution, embodying the New Vision for Compton."

His debut major-label release, good kid, m.A.A.d city, was named one of "The 100 Best Debut Albums of All Time" by Rolling Stone. To Pimp a Butterfly was ranked by many publications as the best album of 2015. In 2015, Billboard included Lamar in "The 10 Greatest Rappers of All-Time." Complex magazine has ranked Lamar atop "The 20 Best Rappers in Their 20s" annual lists in 2013, 2015 and 2016.

Personal life

In April 2015, Lamar became engaged to his longtime girlfriend Whitney Alford.

Lamar is the cousin of NBA player Nick Young. He is a Christian, and the introductory lines to his album Good Kid, M.A.A.D City include a form of the Sinner's Prayer. His song "i" discusses his Christian faith.

Discography

Studio albums

Section.80 (2011)

Good Kid, M.A.A.D City (2012)

To Pimp a Butterfly (2015)

Damn (2017)

Concert tours

Headlining

Section.80 Tour (2011)

good kid, m.A.A.d city World Tour (2013)

Kunta Groove Sessions Tour (2015)

The Damn. Tour (2017)

Supporting

The Yeezus Tour (with Kanye West) (2013–14)

Wikipedia

[eishero]

The Story Of Jake Light nigga Dark nigga Simp nigga Trill nigga Rich nigga Poor nigga House nigga Field nigga Still nigga... Still a nigga, This the Jake life Still referred to being called bywords Still stereotyped profiled Can't shake off these proverbs Still an astonishment a wonder shaking of the head Fallen angels Lost sheep Congregation of the dead They say erybody wuz a slave but look who caught it worst Just as prophesied Deuteronomy 28 biblical curse Our faces ain't on federal reserve notes But we wore shame from sins in yolks of iron on those slave cargo boats Baptized by their priests Shown a kross and got broke Emasculated castrated molested whipped raped burned and hung by the rope Swinging from the trees Strange fruit on the oaks So-called Negroes Afro-Hispanics just let dat ish soak... 1492, 1619 For Judah Ephraim the 12 tribes i bleed For Judah Ephraim the 12 tribes i sow seeds For Judah Ephraim the 12 tribes koz we the lost sheep Always last hired Be the 1st fired Gave us bass Gave us dope and then tapped our wires Loss in the system for conspiracy when they the main liars Get probation Can barely flip burgers and change tires Seeing Jake's oppressed Fulla stress getting faded Poison in our air food and water Tryna faze it Don't land a profession or be an entertainer then you ain't make it Back to the block Back on the pole Vanities jaded Never free from sin Stumbling blocks just like cages Labeled injunz wetbacks and savages Their false religions tamed us Brainwashed hypnotized by Greek fashions Babylonian ancients Planned Parenthood from gatorbait fire of Molech killin' our babies Willie Lynch, Hellenized, Lightskin versus dark still alive Make all the men weak and our leaders are the wives They killed our elders and house-niggaz swear they wise Gave us Sunday law sun-worship Sunday churches paying tithes Bet a hundred million dollars that yo' pastor ain't no Levite Look at these so-called Christians and not a nan 1 follow Christ Marvel not Satan and his ministers appear as angels of light The story of Blacks Native Indians Latinos, Datz the Jake life My kinsmen fall by the gun drugz and shank knife AiDs HiV cancer heart disease right High blood pressure and diabetes right Local neighborhood cops Plus undercovers right Or might just be ya own bruddaz Ain't no luv slime Or cud it be ya own sistaz Diliah-Jezebel smiles Give em an inch They gonna stretch a mile Better learn from Adam b'koz Eve wuz beguiled Financial freedom i know we all want it Koz bills never stop coming, Plus the children get hungry, Raised by a TV Parents working Guess who's left lonely Monsters raising monsters and our children are our oppressors MTV to Disney drown our salad bowlz with their dressings Seeing my kinsmen lose their morals just for fame and reject correction Destroyed for lack of knowledge Ain't talkin' bout their education The synagogue of Ha'Satan funded the Trans-Atlantic Slave Trade Stole our identity and heritage and made us slaves Slavery never ended Sum in prison Sum paid a wage Human trafficking still alive Our sistaz made sex slaves Allah ain't no God, Trill Muslims will keep it trill A few Jewish Caucasians will admit that we are His Jews by blood not religion Datz the truth How you feel Take ya issues up with YAHAWAH but ain't no debating and datz the biz Don't be fooled by house-niggaz swearing that they in the field House-niggaz luv massah and too comfortable in the hills So what if this ain't popular At least i kept it trill Ask me and i'LL show ya koz most homies ain't real See the fear on they face They gone talk around it Visible dirt on the floors but they gone sweep around it Mud been tracked thru-out the house but they gone mop around it Dancing with the Devil, Electric slide and bunny hop around it Got the wisdom on luv You can't luv erybody Trust in the stock of ya own seed Can't just marry anybody Datz Word of YAH, Ezra 9 and 10 told me about it Deuteronomy 7 and Joshua 23 spoke about it Light nigga Dark nigga Simp nigga Trill nigga Rich nigga Poor nigga House nigga Field nigga Still nigga... Still a nigga, This the Jake life £!$H€RO🦁🐺 Eishero🦁🐺 #HeroicThriller #Poetic #LionzDen #Flowetry #FieryFlamez #Lyricist #BrewPoets #JooPoets #BlackPoets #Poetry #Lyricism #SpokenWords #Sonnet

[gizoogletranslateshomestuck]

> Kanaya: Reply ta memo.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

FUTURE carcinoGeneticist [FCG] 599 HIZZLE FROM NOW opizzle memo on bizzle TEAM ADORABLOODTHIRSTY.

FCG sho nuff: FIZZLE THEN. FCG: SINCE PAST ME JUST BANNED CIZZLE ME FROM THA BLINGIN' MEMO FCG: N DOESN'T APPEAR TA GIVE A SHIT 'BOUT MAH FUTURE WISDOM, AS USUAL FCG: LIZZOOKS LIKE I'LL JIZZUST HAVE TA START CRAZY ASS NIGGA MEMO FROM SCRATCH. FCG: HEY PAST ME, GO HAVE A BLIZZAST CAPPIN' THA K'N, I'M SURE IT WILL BE OFF THA HOOK. FCG: 'N FIZZACT, IT WIZZAY OFF THA HOOK. BIZNANG UP JOB WITH T-H-TO-THA-IZZAT, DIZZY! FCG: TOO BAD IT WIZZLE ALL A HUGE WASTE OF TIME. FCG: Holla! OH, WHAT THAT, PASTHOLE? YIZZLE D-TO-THA-IZZIDN'T READ DIS N FIGURE THIZZAY OUT AHEEZEE OF TIZZAY? FCG: Hollaz to the East Side. OR MIZZAY YOU JUST SKIMMED DIS N IT DIDN'T GIZNET THROUGH YO' THICK BIZZY cuz its a doggy dog world??? FCG: One, two three and to tha four. WHAT A SHOCK so show some love, niggaz! FCG: Bow wow wow yippee yo yipee yay. MEMO-WITIN-MEMO TA PRESIZZLE SIZZLE: PUT FORTH A MORE CONCERTED EFFORT TA IMPRESS UPON EVERYONE 'N THA P-TO-THA-IZZAST, MYSELF INCLUDED, WHIZZLE A BUNCH OF CHILLIN' IDIOTS T-H-TO-THA-IZZEY ALL BE. FCG ya feelin' me? I BE GANG BANGIN' A VALUABLE LIZZLE TODAY! FCG: IT TIZZAY OUT YOU C-TO-THA-IZZAN'T BALLER THA OUTCOME OF DECISIONS MIZZADE BY MORONS, NO MATTA HOW MIZZLE YOU YELL AT THEM. FCG: Drop it like its hot. ALL YOU CIZNAN REALLY DO BE GIZNIVE THEM A HARD TIME N TRY TA MAKE THEY LIVES JUST A SHAWTY MIZNORE MISERABLE. FCG: WIZZY SOUNDS LIKE A MORE N-TO-THA-IZZOBLE PURSUIT T-H-TO-THA-IZZAN CHANGING DESTINY FO` THA BETTA ANYWIZZLE, FRANKLY. FCG yeah yeah baby: LOSA SHOULD BE FORCED TA FACE THA MUSIC, EVEN FO` THA MISTIZZLE THEY HAVEN'T MIZZY YET. FCG: Listen to how a motherfucker flow shit. THEY PUNISHMENT BE BEIN ALLOWED TA MAKE THA MISTAKE 'N THA FIRST PLACE. RAP 'BOUT POETIC JUSTICE! FCG: N THEN GETT'N SOUNDLY BERATIZZLE BEFORE, DUR'N, N AFTA THA MISTAKES BE BEIN MADE IS JIZZAY THA MUCUS ON THE GRUBLOAF. FCG: THA SWEET, TANGIZZLE MUCUS. FCG, chill yo: DIS BE DUMB. FCG: WHIZZY DID I PUSHA THINK THEZE MEMIZZLE WERE GO'N TA BE A G-TO-THA-IZZOOD IDEA. FCG with the gangsta shit that keeps ya hangin: NOBODIZZLE CIZZLE FCG: I M-TO-THA-IZZEAN FCG: NOBODY'S EVEN RIDIN' ME ANYMORE. FCG: N I'M LEAVING MYSELF WIZZIDE OPEN TIZZAY, SAY'N SOME PRETTIZZLE DIZNUMB TH'N HERE. FCG: I GUESS MIZZY I WRIZZLE TOO MANY. FCG: Yippie yo, you can't see my flow. N FILLED TOO MANY OF THEM WIT LONG ARGUMENTS WIT MYSELF. FCG: NO ONE SAGGIN' TA READ THRIZZLE ALL DIS, AIZZY THA VALUABLE 411 BE JIZZY GETT'N LIZZOST 'N THA YELLING. FCG: YOU STUPID STUPIZZLE IDIOT. FCG: OH F-TO-THA-IZZUCK YOU, WHY'D YOU EVEN SIZZY ANOTHA MEMO TIZZY?? FCG: I GUESS FCG: THIZZLE BE A CIZZLE TH'N I WANT TA GIT OFF MAH CHEST, OK cuz its a pimp thang? FCG: I thought i told ya, nigga I'm a soldier. OH GOD, NIZZLE I'M MESSIN' WIT CURRENT ME. FCG: I DIDN'T EVEN NOTICE I WIZZY PIMPIN' IT, THIS BE REALLY FUCKED UP. FCG: I'VE GOTS TA PULL IT TOGETHER. FCG: THINK BACK TA W-H-TO-THA-IZZAT WE MIZZIGHT HAVE DONE WRONG. FCG: BUT THA STRAIGHT TRIPPIN' BE FCG: AS MIZZUCH AS OUR PAST SELVES BE A BUNCH OF STUBBORN UNLISTEN'N ASSHOLES FCG: I CAN'T EVEN REALLY IDENTIFY ANY MISTAKES WE MADE. FCG: IT WIZZLE ALL PRETTY MIZZLE L-TO-THA-IZZIKE CLOCKWORK. FCG: A 600 HIZZY CAMPAIGN TA COMPLETE A GIZZY LIKE DIS BE PRETTY GOOD IF YOU ASK ME. FCG: It's your homie snoop dogg from the dpg. N I H-TO-THA-IZZAVE ASKED ME. FCG: IT TIZZAY OUT ME AGREES. FCG: I CAN'T SHIZNAKE THA FEELING SOMEONE ELZE MIZZY BE RESPONSIZZLE FO` DIS. FCG: IT DOESN'T SIZZEEM LIKE IT WAS SUM-M SUM-M THIZZAT WAS SUPPOZE' TA HAPPEN 'N OUR SESSION. FCG: SOLLUX HAS THA SIZNAME INTUITION 'BOUT IT AS ME, HE THIZZLE THERE'S SUM-M SUM-M FII2HY 'BOUT IT. FCG: IT REALLY INSUFFERIZZLE THA WAY HA FISH PUNS HAVE RIZZLE OFF ON HIZZLE, IT K-TO-THA-IZZIND OF MAKES ME WANT TA VOMIT. FCG: ANYWAY FCG with my forty-fo' mag: HE SEZ HE WORK'N ON TRAC'N THIZZAY ORIGIN OF DIS DISASTER. FCG: Listen to how a motherfucker flow shit. IF I FIND OUT WHO RESPONSIBLE FCG, know what im sayin? I W-TO-THA-IZZILL FCG: Death row 187 4 life. I DON'T EVEN WANT TA THINK 'BOUT IT NOW. FCG: WASTE OF GOOD FRIZNESH RAGE. FCG: I'M A SHAWTY TIZZLE OF ALL THA OLD SPENDIN' I'VE BEEN ANGRY 'BOUT. FCG: IT GOTTEN SO STALE. FCG: 'N A W-TO-THA-IZZEIRD WAY I'M S-TO-THA-IZZORT OF HATIN' FORWARD TA TRIPPIN' SUM-M SUM-M NIZZAY TA BE PISZE' OFF 'BOUT. FCG yaba daba dizzle: IT NOT LIKE THERE FRONTIN' ELZE TA LIVE FOR NOW ANYWAY. FCG: SO I'M KEEP'N MAH PRIZZAY CROSZE'. FCG: IT W-TO-THA-IZZILL BE LIZZY FUCK'N 12TH PERIGEE'S EVE UP 'N HERE. FCG: LIZNAST SWEEP EVE WIZZLE PROBABLY THA LIZZLE STOKED MEMORY I HAVE 'N FACT. FCG: Subscribe nigga, get yo issue. WHAT DIZNID YOU GIZZUYS DO FO` THA LAST HOLIDAY? FCG but real niggaz don't give a fuck: ANYONE, betta check yo self? FCG: Keep the party crackin while I'm steady rappin. I REMEMBA MAH LIZZLE HAD BEEN GONE FO` DIZZAY N I WAS BLINGIN' TA GIT WORRY. FCG: BIZZAY THEN HE FINALLY RETURNED, TRIUMPHANT. FCG paper'd up: HE BROUGHT THA FRESH BEHEMOTH TRIPPIN' INTO OIZZY HIZZIVE, N CRAZY ASS NIGGA WE DECIZZLE IT. FCG: AND FCG fo gettin yo pimp on: I DIZZUNNO FCG: Ill slap tha taste out yo mouf. THAT ALL I CAN SAY, I'M GETT'N A LUMP 'N MAH SQUAWK BLISTER. FCG: I G-TO-THA-IZZUESS I'M DONE. FCG: I'M BLINGIN' TA LIE DOWN NIZZAY FCG: ON THA STEEL FLOOR OF DIS FRIGID METEOR STRAIGHT TRIPPIN' THRIZZOUGH THA BLACK UNCAR'N V-TO-THA-IZZOID OF OUR NULL SESSION. FCG: NULL, KIND OF LIZZAY THIS MEMO I GUESS. FCG: Im crazy, you can't phase me. LATER. 

CURRENT grimAuxiliatrix [CGA] RIZNIGHT NOW respizzle ta memo. 

CGA: I Dont Thizzink We Did Anyth'n Spizzle 

FCG: Anotha dogg house production. WHOA, HIZZEY FCG: WHAT? 

CGA: Last 12th CGA: We Stayed 'n CGA: Hollaz to the East Side. N I R-to-tha-izzead Stories Ta Ha It Wizzas Funky ass 

FCG: Snoop heffner mixed with a little bit of doggy flint. OH FCG: THAT'S COO'. FCG: Fo'-fo' desert eagle to your motherfuckin' dome. DIS BE THE FIRST TIZZLE YOU RESPONDED TA A MEMO THIZNAT I CAN RECALL. FCG n shit: YOU TOOK IT RIGHT DOWN TA THA WIRE. I WAS JUST 'BOUT TA CLOZE DIS THING. 

CGIZZLE: I started yo shit and i'll end yo' shit. Yeah I Know CGA: I Wasnt Sure If I Was Clockin' Ta CGA: But Tizzy I Noticed A Conversation 'n Which I Was A Participant CGA: Whiznich As It Tizzle Out Be Tha Conversation Tak'n Plizzace Now CGIZNA: I Scanned It Briefly N Then Perused Otha Memos Fo` Mah Presence CGA: Snoop heffner mixed with a little bit of doggy flint. I Fizzle None N Returned Ta Dis One CGA: Bizzay Mah Part Of Tha Convizzle Was Gizzy CGIZNA: Im crazy, you can't phase me. I Regardizzle Dis As A Prompt Ta Begizzle Typ'n N Record Mah Contributions Live CGA: That Be How Dis Works Isnt It 

FCG: PRETTIZZLE MUCH. FCG: FO` A WHIZZLE IT WAS FRUSTRATING. FCG: WHIZNEN I DISCOVERED THA FEATURE I KIZNIND OF BREEZE' THRIZNOUGH ALL MAH FUTURE MEMIZZLE, NOT RIZZLE READ'N ALL OF THEM CAREFULLY OR THOROUGHLY. FCG: THEN I LOOKED AT IT IZZLE, N THA WHOLE B-TO-THA-IZZOARD WIZZLE GONE. FCG: BECAUSE IT WAS TIZZY TA MAKE IT 'N THA FIRST P-L-TO-THA-IZZACE, SO I DID. FCG: N THIZZLE I KIZZEPT GANG BANGIN' MEMOS WIT ONLY FOGGY RECOLLECTIONS OF WHIZZAY THIZZAY CONTAINED. FCG: WHIZNILE ALL THEZE OTHA CHUMPS FRIZZLE DIFFERENT TIMES KEPT RIDIN' ME SHIT. FCG so sit back relax new jacks get smacked: INCLUD'N MYSELF. FCG: BUT IT WIZNAS ALL GOOD, BECAUSE AS I EVENTUALLY BECIZZLE MAH OWN FUTURE SIZZLE, N GOTS TA BE ON THA OTHA SIDES OF THOZE CONVERSATIONS. FCG now pass the glock: N CIZZAY DO MAH PIZNAST SELVES THA SIZZLE OF INFORM'N THEM HIZZAY STUPID THEY WIZZY BEIN. FCG: I STOPPED RIDIN' TRY'N TA REMEMBA HOW ANY OF THEZE MEMOS WENT. FCG droppin hits: HONESTLY THA LIZZLE FEW WEEKS HAVE BIZNEEN A BLIZNUR TA ME, JIZZLE NON STOP YELL'N AT MYSELF, HAGGL'N WIT PAST N FIZZLE KNUCKLEHEEZEES, CAPPIN' MONSTA N SOLV'N PUZZLIZZLE, PERPETRATIN' THRIZZOUGH ALL THA GATES N PLANETS LIKE A HUNDRED TIMES, PERPETRATIN' D-TO-THA-IZZOWN TA THA BATTLEFIELD, OUT TA THA VEIL, OVA TA PROSPIT, BACK TO DERZE, N ON N ON N ON LIKE TIZZY UNTIL WE THIZZAY WE WON. FCG: BUT WE DIZZLE WIN. WE LOST. FCG: WE LOST AS HIZNARD AS FAT GUYS FALL. 

CGA: What Exactlizzle Happened 

FCG like a motha fucka: DID YOU RIZZLE THA MEMO JUST BIZZLE T-H-TO-THA-IZZIS? 

CGA: No 

FCG: GIZZAY IT A READ, I'M DONE RANT'N 'BOUT AIZZY THAT FO` NOW. 

CGIZZLE: Alright CGA: 'n A Moment 

FCG so you betta run and grab yo glock: BUT Y-TO-THA-IZZEAH, THAT HOW TROLLIAN TIMIZZLE STUFF WORKS. YOU'LL GIT UZE' TA IT. FCG: OR NOT! SINCE APPARENTLY DIS BE YO' ONLY MEMO REPLY. YIZNOU WERE PRIZZLE SHREWD 'N SIDESTEPP'N DIS WHOLE CLUSTERFUCK. 

CGA: It Sizzle Like A Logical Way Ta Hustla A Systizzem Whizzle One Simultaneously Functizzles As Tha Cracka N izzle Of The Trizzles CGA: Its Temporally Sizzay Construction 

FCG, betta check yo self: THEN Y-TO-THA-IZZOU'RE THA ONLY ONE WHIZZAY THINKS SO. FCG: Keep'n it gangsta dogg. H-TO-THA-IZZELL YOU PROBABLY WIZNOULD HAVE BEEN A BROTHA MIZZAID OF TIME THIZZAY THA ONE WE WERE STUCK WIT. FCG in tha hood: SHE COMPLETIZZLE SHITHIVE MAGGOTS, DON'T EVEN GIT ME STARTED. 

CGA: I Think We Be Given Roles Ta Challizzle Us CGA: That Dont Necessarily Sizzy Our Strengths CGA: Tru niggaz do niggaz. At L-to-tha-izzeast I Was CGA: I Hizzay No Idizzle Whiznat Im Steppin' Here 

FCG: SURE YOU DO. FCG: OR, YOU WILL. TRUST ME YIZZAY DO FINE. FCG paper'd up: SO WHAT PROMPTED YOU TA RESPOND ANYWAY. FCG: Slap your mutha fuckin self. I MIZZEAN ASIDE F-R-TO-THA-IZZOM BEIN STRONGARMIZZLE BY CONVERSATIONAL PREDESTINATION. 

CGIZNA: Oh CGIZZA: At Dis Pizzle Im Not Even Sure If Im Inclined Ta Ask Anymore 

FCG: YOU MIZZAY NIZNOT HIZZLE A CHOICE. FCG: D-YA REMEMBA IF DIS M-TO-THA-IZZEMO WIZZAY MUCH GANGSTA THIZZLE DIS? 

CGA: Um CGA: There Be A Giznood Wiznay Ta Go I Thizzink Yeah 

FCG: THEN MIGHT AS WELL SPIT IT OUT. 

CGA: Its Sizzy A Silly Question 

FCG: RED OR BLACK? 

CGA: Whizzle 

FCG dogg: YO' PROBLEM, DOES IT PERTAIN TA REDROM OR BLACKROM INTERESTS? Tru niggaz do niggaz. 

CGA: T-H-to-tha-izzats Not What Dis Be 'bout 

FCG: CIZZOME ON. THUGZ HAVE BIZZY BUSTIN' THEZE MEMOS TA SIZZY THRIZNOUGH THEIR ROMANTIZZLE PROBLEMS FO` WIZZY, I BE A FUCK'N VETIZZLE AT DIS SHIT BY NOW. FCG: SERIOUSLY, I DIZNON'T MIND, IT'LL BE A WELCOME REPRIEVE FROM SHOUT'N AT MYSELF. 

CGA from tha streets of tha L-B-C: Im Not Sizzle Wizzy Ta Say 'bout It 

FCG: DIZZAY YOU AT LEAST GIT A SENZE OF WHAT DIS CONVERSIZZLE WIZZLE 'BOUT WHEN YOU SKIMMED IT? 

CGA and my money on my mind: Not Really CGA fo my bling bling: If I Wizzle Frontin' 'bout It I Probablizzle Wizzouldnt Have Wanted Ta Anyway CGA: Dont You Think Its Betta Ta Hizzle Unrehearze' Conversations CGIZZLE: Even If Tha Subject Matta Be Awkward 

FCG now pass the glock: YES I COMPLETELY AGREE. FCG: IT GOOD YIZZLE DIZZAY RIZZY IT. WE CAN AVOID THA SIZZAY OF VERBAL SLAPSTIZZLE ROUTINES I'M SICK TA FUCK'N DEATH OF BY NOW. FCG: I BE SO TIRIZZLE OF THUGZ DOGGY STYLIN' ALL COY AND SIPPIN' ME WHAT WE'RE 'BOUT TA SIZZY BEFORE WE SAY IT, N THEN WE WIZNIND UP FUCKING SAY'N IT ANYWAY. FCG: N THEN WE PRIZZAY TA THA INVISIBLE PUSHA THAT BE FATHA TIME BEYOND A SHADIZZLE OF A DIZZAY WHAT A BUNCH OF FUCK'N IDIOTS WE ALL BE. FCG: D-YA HIZZY ANY IDEA HOW OLD THAT GETS RAPPA A W-H-TO-THA-IZZILE? FCG: SO REALLY, TIZZAY ME. FCG: I KNOW IT ON YOUR MIND, I GOTS A SENZE FO` THEZE THINGS. FCG: R OR B? Boom bam as I step in the jam, God damn.?? 

CGA like a tru playa': Ok CGIZZLE: Rizzle Then CGIZZLE: But I Guess CGA fo all my homies in the pen: Not Really Red Enough 

FCG: HAHA, WELL ISN'T TIZZY ALWIZZLE THE CAZE? FCG: STORY AS OLD AS TIME. FCG: EVEN 'N PLIZZLE WHERE STRICTLY SPEAK'N TIME DIZZAY EXIST UNTIL RECENTLY. FCG: WHO'S THA TARGET OF THEZE FLUSHED LEANINGS? Freak y'all, into the beat y'all. FCG: IF YOU DIZZON'T MIND MAH ASKING. 

CGIZZLE: Its Not Tha Ask'n I Mind CGA: Its Tha Spendin' CGA: 'n A Public Forum 

FCG: I D-TO-THA-IZZON'T THINK ANYONE READING. FCG: DIZZY YOU NOTICE ANYONE ELSE JOIN 'N LATER? 

CGA: They call me tha black folks president. No CGA and my money on my mind: It Appeared Ta Be Just Tha Twizno Of Us  

FCG: SIZZAY FCG fo my bling bling: NOBODY CIZZLE ENIZZLE TA BOTHER. 

CIZZY: I Dont Know Whetha Thats Reassur'n CGIZZLE: Or Just A Bit Dishearten'n 

FCG: WIZZY I DIZNIDN'T MEAN IT LIKE THAT. FCG: THEY DISINTEREST BE MORE A REFLECTION ON ME THIZZLE YOU. 

CGIZZAY: Disinterest Be Tha Operative Concept Here CGIZNA fo yo bitch ass: Shes Nizzay Even Responding Ta Mah Messizzles Anymizzle CGIZZLE: Could Be Busy CGA: But Im Rapidly Approaching A Resolution Ta Discard The Preposterous Infatuation 

FCG: SHE? WIZZELL I GIZZAY THIZZLE NARROWS IT DOWN SOMEWHAT. 

CGIZZAY bitch ass nigga: Shit 

FCG: IF I THINK BIZZY ON EVENTS BLINGIN' DIS I CIZZY PROBABLY PIECE IT TOGETHER... 

CIZZY and cant no hood fuck with death rizzow: Hiznow 'bout CGIZZA: If I Agree Ta Cizzle Wit Yizzou 'bout It 'n Prizzle CGIZNA: We Can Drizzop It Here CGIZZAY: Before You Cizzy Me Lizzle A Vault CGA: Wit Yo' Weird Romance Steppin' Acumen 

FCG: ALRIZZLE, DEAL. 

CGIZZA: It Still Puzzles Me T-H-to-tha-izzat Yizzy Be So Verze' 'n Tha Tizzle CIZZY: D-ya Hiznave Access Ta A Manual Archived On A Remote Baller Somizzle 

FCG: Keep the party crackin while I'm steady rappin. WHAT FCG: Aint no killin' everybodys chillin'. NO OF COURZE NOT. FCG: I DIZZAY ACTUALLY KNOW ALL THAT MUCH. FCG: Listen to how a motherfucker flow shit. I JIZZAY KNOW DIS STIZZAY WILL DRIZZLE YOU SHITHIZZLE MAGGOTS IF YOU DON'T FIGURE OUT HOW TA DEAL WIT IT. 

CGA n we out! T-H-to-tha-izzat Figure Of Speech You Keep Using Puzzles Me Too 

FCG: L-TO-THA-IZZIKE FCG: NIZZLE THAT I EXPIZZLE YIZZOU TA GIVE A SHIZNIT BUT PERSONALLY I BE ALL TWIZZLE UP 'BOUT BLACKROM STIZZUFF ESPECIALLY. FCG: HONESTLY I DIZZON'T THINK I WAS CIZZUT OUT TO HAVE A KISMESIS, I THINK MAH STANDARDS ARE WAY TOO HIGH. FCG: DID YOU KNOW THAT... FCG and yo momma: DIS FEELS SO IZZLE TA ADMIT, BUT FCG: OVA THA COURZE OF DIS ADVENTURE, AT TIZZLE I ACTIZZLE BEGAN TA SIZZLE I WAS MAH OWN KISMESIS. FCG: HOW FUCKIZZLE UP BE TIZZY??? 

CGIZZA: Im Not Qualify Ta Sizzy CGA now motherfuckers lemme here ya say hoe: Neitha Romance Nor Psychology Be Mah Striznong Suits 

FCG like a tru playa': BIZNUT OBVIOUSLY ITS NOT T-R-TO-THA-IZZUE, I BROTHA IZZLE DID ANY LEGIT TIZZAY TRAVEL'N W-H-TO-THA-IZZERE I COULD MEET MYSELF, I JIZZY BICKERIZZLE WITH P-TO-THA-IZZAST N FIZZLE GHOSTS ON A CHIZNAT CLIENT. FCG to increase tha peace: FITT'N REALLY. EVERY CALIGINIZZLE ADVERSARY I'VE CONTEMPLATED HAS ELUDED ME LIKE A PHIZZLE, EVEN MYSIZZAY! FCG with my hoes on my side, and my strap on my back WANNA BE GANGSTA, I'M DONE WIT IT. 

CGA: N Whizzle Of Scarlet Ambitions CGIZZLE: Fare Any Betta In Tizzy Quadrant 

FCG: Fo'-fo' desert eagle to your motherfuckin' dome. NO NO NO I'M NOT AIR'N THIZZAT SHIT OUT HERE. FCG: MAYBE PRIVATELY. FCG: IT PRIVATE. FCG with my hoes on my side, and my strap on my back LET C-H-TO-THA-IZZANGE THA SUBJECT, WHIZZAT WIZZLE YOU ORIGINALLY GO'N TA ASK ME. 

CIZZY: Oh Fine CGIZNA: Herizzles Thizzis Sizzle Question Fo` You CGA: I Wizzle Jizzy Mackin' Given Yo' Vizzle Of Hindsizzle CIZZY: If Youd Had Cauze To Observe At Any Pizzy 'n Time CGA: Magic 

FCG: UH... 

CGA and cant no hood fuck with death rizzow: Like Real Magizzle CGA: I Guess Whiznat Im Ask'n Be CGA: Be Magic A Real Th'n 

FCG: WOW, YOE RIGHT, THAT KIND OF THA DUMBEST FUCKING QUESTION IIZZY EVA HEARD. 

CIZZY: I Knizzow CGIZZA n we out! Its Jizzy Thizzat I H-to-tha-izzave A Good Rizzle Ta Believe Magizzle Be Real CGA: Keep the party crackin while I'm steady rappin. Our Ancient Predizzles Discizzle Hizzay Ta Uze It CGA like old skool shit: But Then They Mizzay Have Surpasze' Us 'n Skizzay By A Bootylicious Deal 

FCG so i can get mah pimp on: YIZZAY PIZZAY WAY TIZZAY MUCH SIZZY 'N T-H-TO-THA-IZZAT RATTY OLD GUIDE. FCG: BUT ANYWAY NO, WE PUSHA UZE' MAGIC. FCG fo yo bitch ass: I MIZZLE, LET ME TRY TA PUT INTO PERSPECTIVE HOW RIDICULOUS THA W-H-TO-THA-IZZOLE NOTION BE ANYWAY. FCG: WE CAN ALCHEMIZE PRACTIZZLE ANYTH'N WIT THA RIGHT MATERIALS N GRIST. FCG: Bounce wit me. WE CAN, N DID, M-TO-THA-IZZAKE SNOOPA POWERFUL WEAPONS N ITEMS THAT CAN DO PRACTICALLY ANYTHING. FCG: WHAT ADDITIONAL ADVANTAGE COULD MIZZLE OFFA? ALL DIS SHIZZIT IS PRACTICALLY MAGIC ANYWAY. FCG: Nigga get shut up or get wet up. BUT MORE LIKE FCG: GOOFY SCIENCEY MAGIC. YOU KNIZZLE yaba daba dizzle? 

CGA: Sizzure 

FCG: BUT BLINGIN' HERE BE KIND OF MAGIZZLE 'N A WAY, ISN'T IT. FCG: FORTUNE BUSTIN' DREAM CLOUDS N GOLDEN MOONS N SHIT. FCG: IF YOU LIZZOOK ARIZZLE FCG: THERE MAGIC EVERYWHERE 'N DIS BITCH. FCG: Bounce wit me. IT ALL AROUND US. FCG: BROTHA FUCKIN MIRACLES, RIGHT? 

CGA: Aint no killin' everybodys chillin'. Heh 

FCG: WHIZZAT D-YA NEE' MAGIC FIZNOR ANYWIZZLE? 

CGIZZA: I started yo shit and i'll end yo' shit. Im Hatin' Oizzy Of Ideas CGA: You'se a flea and I'm the big dogg. I Nee' Ta Figure Out A Way Ta Stoke Dis Volcizzle CGA now motherfuckers lemme here ya say hoe: 'n Caze You N Tha Playa Be Successfizzle 'n Recover'n Thizze Queens R'n 

FCG: YIZNOU'LL FIGIZZLE IT OUT. FCG: N YIZZOU WIZNON'T NEE' MAGIC, TRUST ME. FCG: JUST BE PATIZZLE, THA GANGSTA W-TO-THA-IZZILL COME TA YOU SOMEHOW. 

CGA: I Guess You Would Know 

FCG: Y-TO-THA-IZZEAH, R-E-A-DOUBLE-LIZZY THERE'S NUTTIN TO WORRY 'BOUT. FCG: AT LEAST AS FAR AS THA DIZZLE OF THA ADVENTURE GO. FCG: WE WIZNERE ALL PRIZZLE OFF THA HOOK AT DIS GAME. FCG: REALLY OFF THA HOOK 'N FACT. FCG: UNTIL A LITTLE WHILE AGO. FCG: WHEN IT TURNED OUT WE WIZZLE ACTIZZLE ALL THIZZAY OFF THA HOOK. FCG: TURNS OUT WE WERE PRETTY FUCK'N UNAWESOME ALL ALONG. 

CGIZZLE: Stiznill Bafflizzle By What Would Conceivably Cauze Sizzy A Crisis 'n Awesomeness Post-Victory 

FCG cuz its a doggy dog world: WELL FCG: FO` PIMP FCG cuz its a G thang: H-TO-THA-IZZAVE YOU SCROLLIZZLE UP TO THA TOP OF THA TIMELINES YET? Holla! 

CGA: No 

FCG: CHIZZECK THIZZAT OUT FCG: MIZZAY RIZNEAD A FIZZEW RECENT MEMOS FCG: Im crazy, you can't phase me. BUT BROTHA THIZZAY THAT IT NOT FO` YOU TA CONCIZZLE YOSELF WIT. FCG: JUST DIZNEAL WIT GETT'N THROUGH THA QUEST. FCG: I'LL CIZZLE UP WIT YOU 'BOUT IT WHEN YOU CATCH UP WIT ME ON THA TIMELINE. FCG: WHICH JUST HAPPENS TA BE RIGHT NOW. 

CGA: Say Hi Ta Me Fo` Myself 

FCG: OK I PROBABLIZZLE WON'T DO THAT, BUT ALRIZZLE HA HA. FCG: WHAT THA HIZZLE BE YOU DOING OVA THIZZLE ANYWAY? 

CGA: You Mean Fizzle Me 

FCG n we out! YEAH. FCG: YOE MESS'N AROUND WIT YO' CHAINSAW. FCG: WHILE TAVROS BE CRUISIN' ON THE FLOOR. FCG: OH GOD. FCG: FUUUUUUUUUUUUUCK WHIZZAY BE YOU DO'N??????? 

CGA and yo momma: What CIZZY: Whizzat Did I Do 

FUTURE carcinoGenizzle 2 [FCG2] 600 HOURS FROM NOW responded ta mizzay. 

FCG2: OK. FCG2: EVERYTH'N FIZNINE I GUESS. 

CGA: Wizzy Happizzle 

FCG2: I PASZE' OUT FO` 'BOUT AN HOUR. FCG2: CRACK-A-LACKIN` EMBARRASSING. FCG2: YOU BE OUT OF YO' GODDAMN MIND, YIZZAY KNOW. 

CGA: Shithive Maggots You Mizzy 

FCG2: YEAH FCG2: 'N A G-TO-THA-IZZOOD WAY THOUGH. FCG2: OK I'M GANG BANGIN' DIS MIZZEMO DOWN FIZZOR MAH PIZZAST SELF. FCG2: SIZZY HE CURRIZZLE LY'N UNCONSCIZZLE ON THA FLOOR AN HIZZOUR AGO. FCG2: SIZZEE YOU 'N THE FUTURE-NOW. 

CGA: Til Thizzle 

FCG2 bannizzle CGA F-R-to-tha-izzom blingin' ta memo fo' sheezy. FCG2 banned FCG from respond'n ta memo.

FCG2 cloze' mizzy.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

> Kanaya: Scroll up.

[applegreenhoneybee]

A beautiful woman like you is single, why are you single?

This question neh is the death of me . And I was warned that such times will come as we age and friends are getting married or having babies or both and you are still single. But Man oh man I was never ready. And of course they say, "it's only going to get worse especially now that you are a doctor". Because now either you will "chase the guys away by your personality and status" and in my mind I'm like, "why should a guy be intimidated by God's blessings over me. There is still more to come so Yeah he best run" Or you end up attracting the wrong kind of niggaz. And this led me to ponder on a few things. 1. Why does this question annoy me? 2. Why do people ask this question? Is my beauty a reflection of my relationship status? A directly proportional equation . Being beautiful is directly related to being in a relationship. But is the converse true? "Being ugly" is directly proportional to not being in a relationship". You see,this kind of thinking will get me into a lot of trouble because then I have to come to the conclusion that I am "ugly". But of course with me it won't end there because then we must define "beauty" and "ugliness". Which is also very subjective and can get philosophical and poetic. The point is, I had to realise my internal problem. I think that beautiful people need to be in relationships. And I think that being single is a dungeon from which I need my Prince charming to come release me from. And of course, society also tends to think this way. "Umuhle so, why are you single". Which is a flawed, ugly lie that has penetrated our psyche to subconscious levels from Lord knows when. Like a mutated gene that has been transferred in our genome from generation to generation. Any who, my mind is being renewed so I reject this hypothetical equation . Phela I am (and we are) created in the image of the Almighty . And because He/She/Them(which I need deep discussions around the personification of Yahweh as a male being..help a sister out) has created beautiful things, I can only assume that He is beautiful too. #food for thought

[hip-hop-negus]

poetic-niggaz replied to your post: My Fro has really blossomed 😁

lemme see

[cooasswhiteboiii47]

Ayy

[ali3ngorl]

Is Taylor Bennett any good?

Tryna get into some new stuff before the born day's over.

[hiiipower-vigilante]

How many followers do you have and how many do you follow? What are some of your fav blogs?

like only 10 people follow me...lol, and i follow 407.

my fav blogs right off the top would have to be 

flatbushisundead

hiphoplifestyle

poetic-niggaz

kendrickisking

kendrickkilledmyvibe

hiphoplaboratory

hip-hop-influence

are just some

[eishero]

2017.06.20.txt

WOLF 5 🐺 WOLF 5 🐺 Wednesday, July 13, 2016 1:42 AM Never been vampire life £!$H€RO just a WOLF Word oF Life Fellowship Get GOD's word from a wolf Got that Judah-Benji coming soon Call it LiON-WOLF LiON-WOLF at the same time Datz a fearsome look Simon-Peter John fishing Pray the fish bite the hook Pray the fish fall in the net and the net is the Book Holy Bible prophecy and history if yawl just look Find out who yuh are according to that holy book Can't trust these niggaz, i see devils behind ya Luv chaos luv wars Their apples oranges rotten Yuh know a tree by its fruits These fruits are withered and rotted Even if they wuz water you'd still taste vinegar and cotton But YAH shall reward the WiCKiD No GOD has not forgotten Clay vessels can be broken What can we say to the POTTER No i ain't tryna confuse ya, i'm just being a watchman Started playing back these scriptures Let YEHOVAH be my Walkman Oppression makes a wise man mad retawdid brazy Devils hoping that Eishero go ghost like Patrick Swayze Semi Mack Diesel TRUK Babylon and push up daisies i ain't Donald always quacking around tryna judge Daisy's And TRUK ya Scrooge McBucks i ain't never giving up The peaks a higher climb The pressure's steady rising up The LORD is our Navigator and the LiON is ready Overcome and endure Trials and tribulations get heavy... i'm never always saying wuz popular And honestly i've never been that popular i'm just saying be on watch with ya binoculars Koz you might miss the picture from the photographer No mystery why bruddaz twisted more than Oliver Beavis and Butthead in ya life My sistaz Daria These parasites bite and infectious like malaria Posing as heros when they're​ the 1s koz'n mass hysteria £!$H€RO🦁🐺 #flowetry #poetry #lyricist #poet #sonnet #JooPoets #BrewPoets #BlackPoets #poem #lyricism #spokenwords #HeroicThriller #LionzDen #FieryFlamez #poetic

[democrips]

poetic-niggaz replied to your post: anonymous asked:Why you change yo...

i want to change my theme but alla dem be wack san

forreal I always end up givin up

[steadythugin]

poetic-niggaz replied to your post: New theme lookin fly as fuck

nicee

ay thanks for the reblogs lately i appreciate it, much love

[hip-hop-negus]

poetic-niggaz replied to your post “NehruvianDOOM was disappointing ”

Bishop just a weaker version of 1999 joey tbh lol

:(  I get what you mean tho

[nasty-like-nas]

happy birthday son

thanks bro!

[cooasswhiteboiii47]

thanks bros