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She dressed up in her best clothes, adding glitter and high heels. She is running after someone else's man. She is the kind of girl you tell.

Jada was the woman everyone wanted, and Will needed her validation. If a woman is used to something big and you come in with something small, there's nothing you can do to satisfy her. You can buy her cars and private jets, but it won't change her desires. You can beat someone into submission, and sometimes friends can be worse than enemies. Jada makes new people go through rehab even if they're not on drugs. The speaker walked in on Will and Dwayne Martin engaging in sexual acts. Will was bent over a couch while Dwayne stood up. It was intense, like murder.

The speaker discusses their relationship with Will Smith and Jada Pinkett Smith. They claim that Will was not their friend and that Jada was highly desired. They also mention rumors about Will's size and how it affected their relationship. The speaker implies that Jada has control over new people in the industry and shares a story about walking in on Will and Dwayne Martin engaging in sexual acts. The speaker describes the scene as intense and shocking.

The speaker explains that this is a year-round practice, doing it all the time and out and about for themselves. They describe being “a blue collar fuck” and a man who spends most days as a blue-collar guy, but "a few times every week" they like to get real clean and pretty and go out, whether to shoot pool, have dinner, or perhaps go dancing. They emphasize they don’t need a parade to celebrate; their motivation is personal. A central grievance is expressed about the treatment they receive when they go out: they do not want to be groped, harassed, or fat-accosted, nor do they appreciate being treated “like a piece of meat.” They specify that this harassment comes from “a bunch of fucking cis women” who give them side eyes in public when they present themselves this way during the rest of the year. They describe these women as mumbling to themselves and having “all kinds of things to say behind my back.” In one emphatic line, they direct all of them to “fuck off.” The speaker contrasts their year-round routine and personal choice to go out and look and feel good with the negative reactions they encounter, underscoring the lack of desire for public ridicule or objectification. The closing “Hi.” signals a brief, abrupt shift or return to civility after the tirade.

The speaker repeats lines about others “stealing the sauce,” cutting off someone who isn’t loyal, and not lingering on being thought special, emphasizing a fresh energy or cueing that comes through like Andretti. They describe jumping on the beat, neglecting it, and potentially spending big on a necklace, while going at whoever is reckless, and asserting “Ain’t no one better you said it.” They claim admiration and loyalty to figures and ideals: “Jim Kavieso's a man of faith. He's a man of America.” They mention being with “a peach from Atlanta” who treats them like a king and call her “She my Coretta.” There is a bold line about testing intimacy with a humorous autocorrection misreference: “Test it like I'm trying to fuck, but instead of said chill, that's autocorrection.” The speaker references general inspiration from “General Floyd” and states, “I don't get hot off of mentions. Oh, he gave his life. Shies like that inspire me. I already told it's nothing.” They note a contrast to media, commenting “Must be a bull how you run it. To Not the media,” and add, “Hey. Yes, there's good media like Lara Logan.” The chorus repeats: “Niggas been stealing the sauce. Thought you ran off when I let you. Cut a bitch off in a second. Right when you thought you were special. This that new cueing you get me. We coming through like Andretti. Jump on the beat and neglected. Might blow a check on the necklace. Go at whoever we reckless. Ain't no one better you said it.” They close with a personal update: “My new one just settled in Texas. They still ain't caught up. It's pathetic.”

A person is heard making sexually suggestive comments, inviting someone to "bring that juicy ass over here and hop in daddy's new whip." They then ask if the person wants to "rip off that top and hop on in here." Another person responds that this behavior is "not okay" and that "you don't talk to people" like that. The first person states, "I've never been more ready."

Off me. Get off me. Get the I used to stay at my granny's house. She was one of my favorite people in the entire world. Jasmine, the people of Dallas deserve better than a fake ghetto hood rat. Get off me. Get off me. Get me. Get the thrust. Alright. Let's go, man. Let's go. Let's go. Let's go. Are you proud? Are you proud? Just in case I gotta cuff you up. Let's just go. For what? Let's go. I'm telling you. Get off me. Get off me. Let's go. Let's go. I'm telling you. For what? Are you proud?

The speaker reflects on their experience working under Diddy, acknowledging the love-hate relationship they have with it. They believe that their success in other areas is due to the training they received from Diddy, despite the difficult working conditions. The speaker mentions the mind games, division among the girls, and manipulation by the people in charge. They express how young and impressionable they were, learning about their worth through the subjective gaze of men. The speaker states that none of them have fully healed from the traumatic experience. They also mention Diddy's criticism of their appearance and the lack of protection or rights for individuals at that time due to numerous contracts and NDAs.

Speaker 0 describes a violent, coercive sequence framed as self-defense and pimping instructions. He begins: “When I grab you by your neck and you start annoying me trying to resist and I just And then I grab you by your neck again. Then what you're do when your face is collapsed and your cheekbones broken. Ain't gonna do cry.” He claims: “I guarantee I changed the way you look at sex forever. You're gonna be crying. I won't cry. I bet you cry, bitch. I bet you cry.” He questions: “You're saying I I wouldn't cry. You're challenging me to a fight. You're saying I can't hurt you. You're out of your mind? I don't even know you.” He says to ignore the sex part: “Forget the sex part. That's a distraction. Stay in my pants. I'll just start beating at you. How about that?” They walk to the bedroom: “We walk in the bedroom. I start kicking your [No sex. No sex involved. But you cry then.]” He adds: “I perfected this in pimp school. When I got my PhD, we had to practice if a girl comes at you. How are you cheating? You cheating. It's bang out the machete, boom in her face, and then grip her up by the neck. Her panties get wet.” He further describes: “Machete's on the floor, her panties are all wet, You fuck her. That's how it goes. Slap, slap, grab, choke, shut up bitch, sex. These are the basic moves of of pimping.”

A person is heard making sexually suggestive comments, inviting someone to "bring that juicy ass over here and hop in daddy's new whip." They then ask if the person wants to "rip off that top and hop on in here." Another person responds that this is not okay and that "you don't talk to people" like that. The first person replies, "I've never been more ready."

"We got action. And then you done shot your own people. That's crazy. She done shot her own people." The speaker expresses disbelief and frustration that someone shot their own people. They repeat, "How you shoot your own people? That is crazy." The speaker recalls telling the person, referred to as a "dumbass girl" and "dumbass bitch," not to shoot. The speaker then observes, "Blushy leaking. That is slow. That is slow. That is slow."

I'm tired of the manipulation and lies. The prince manipulates everything, including our history books. All forms of popular music, from brass to hip hop, are rooted in black dancing. Despite my success, they called me names and spread conspiracy theories to turn the public against me. We need to make a change and demand respect. Don't forget this message and let's accomplish our purpose.

The speaker claims that all the champagne was spiked, causing everyone to pass out. Because the speaker doesn't drink, they were unaffected. The speaker alleges that Diddy had a man in a room and that they recorded sounds of sexual activity through the door, including sounds of "balls slapping against ass cheeks," "niggas struggling to take dick," and people calling someone "daddy." The speaker states they recorded this because they planned to extort Diddy. The speaker implies that people didn't believe their story about Diddy until a video surfaced.

The speaker acknowledges the topic “with children,” then says “they're hotter,” follows with “Let's fucking go,” and asserts, “That's why we love them. That's why we love this guy.”

A young man never thought he'd see people standing live to see the boy king. The speaker then asks, "How'd you get so funky? Did you do the monkey?"

"She's shit right now. We don't play with no rhythm. We do it. Don't play my slide on post grade. We'll guess like that. No cap. Three switches right here. And I put the That's just enough right there. One, two, three. That's enough. We don't get our shit, though. We don't even get"

Speaker asserts dominance, saying "Can't compete with me" and "I'm not the one." They direct crude remarks at a host, "I tell host to suck my dick," and describe others with the lines "They put their hair up in a bun" and "I let these bitches see." They claim retaliation or damage to rivals: "I shoulda left these hoes with none," and "Never smart a beef for me. What can I say?" These hoes be dumb. "Bitches love to die young." The speaker then says, "Look." The water fine put my toes in it. "News" The closing lines juxtapose a calm image with the earlier aggression. The overall passage presents braggadocio, hostility toward rivals, and provocative imagery.

The speaker expresses being tired of manipulation by the press, who they claim are liars. They state that history books are alive and that all forms of popular music, from jazz to hip hop, and various Black dances, from the cakewalk to breakdancing, are part of a complete conspiracy. The speaker urges the audience to learn and seek change, and to remember what was said in the building.

What's one move in bed that drives a man wild? You have to give him that hawk toons. I said it all night. You get me? I don't get you. I think you need to demonstrate. Hawk toons. That's right.

Tanya is asked to twerk, but she doesn't respond. The speaker insists and tells her to show herself.

- Speaker 0 says: "Without you been feeling kinda strange. Well, I see that you're doing very well. You're looking very well. I miss the way your perfume smell. I miss the way that you blowed up my line." - They add: "If you don't back the fuck up off me before I do you in and still getting in this bitch and get litty on my mama."

The speaker starts by mentioning the drag queen and their shimmy dance. They express excitement and ask if anyone knows what a shimmy is. The speaker then states that they think they have a shimmy.

Taylor Swift is the topic of discussion between two individuals. One person claims to have seen her at parties, while the other asks what she was doing. The first person responds by saying she was dancing with the devil and acting crazy. The second person asks if she is on drugs, to which the first person suggests she had cocaine. The second person then asks if there is anything that made them believe she is part of a satanic cult, but the first person avoids answering and simply states that she is satanic. The second person asks if they find her attractive, but the first person dismisses the question, saying they don't see her like that.

The speaker recalls meeting her future husband. She and other girls were standing around when a group of football players approached. One of the players told her to get off a light post, warning she might get shocked. She says she likely flirted with him, despite being trained not to. She became interested in him and learned his name, initially thinking it was Edgar. He would watch her practice piano. They were introduced within a week. The speaker says he claimed to love classical music, likely to attract her, but she was already attracted to him. She recalls him telling her that she was wearing too much.

The speaker alleges that Tommy Mottola is a devil and says there is a secret being kept, asking viewers not to videotape what is about to be said because companies take advantage of artists. The speaker claims to have generated several billion dollars for Sony—the company—and asserts that Sony thought the artist’s mind would always be focused on music and dancing. The speaker states that they, as the performer, would outthink Sony, and that Sony cannot let them get away with what they’re trying to do now that the speaker is a free agent. The speaker explains they owe Sony one more album, which would basically be a box set containing two new songs the artist wrote long ago. The artist notes that for every album they record, they write at least 120 songs, making the box set feasible by selecting two songs to include. The speaker says they are leaving Sony as a free agent and claims to own half of Sony, describing it as good business that has angered Sony. The speaker then recounts that Sony’s revenge would be to try to destroy the artist’s album, but maintains a belief that art, good art, never dies. The speaker expresses love for Unbreakable and asserts admiration for the work. There is a moment where the request is made to turn something off, but the speaker says they don’t mind and that it can be taped, indicating a willingness to let the recording continue or be shared. The language shifts to a more dramatic aside: “Marco is getting gangster today.” The speaker references Mariah Carey, telling a story of an encounter after a divorce when Carey came crying to them, describing that she was crying so badly she had to be held. Carey allegedly told them that a man is evil, follows her, taps her phones, and is a very evil, horrible human being, and that they must continue their drive until he is terminated. The speaker repeats the sentiment that they cannot allow this to great artistry and expresses appreciation for those present—Diana, Waldo, and others—stating they have been amazing and that they love them. In closing, the speaker reiterates affection for the group and thanks the people present, underscoring loyalty and support.