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Meek Mill was allegedly approached in a club by a group of 50 people who demanded $50,000. He called Rick Ross, who apparently provided the money. The speaker claims this incident led to Meek Mill becoming cool with Nipsey Hussle, as a way to gain protection and prevent future demands. The speaker suggests that if Ross couldn't afford the $50,000, Meek would have been taken outside and held. The speaker also claims that Gilly Da Kid and his son were stripped down by the same group, allegedly orchestrated by Big U. The speaker implies that going to LA and associating with Big U could lead to being robbed.

The speaker threads through aggressive, chaotic lines: "The big boy. Fucking rip and tear. That's the big one." They urge to "live, laugh, and love" and declare readiness with gear and patches—"I got my Minnesota patch In the fucking FSP"—and speculates about appearance preventing confrontation, "Maybe I look like a cop, and I won't get rushed or something." They express violent intent and sensory focus: "I got my new headphones so I can hear them scream." A key claim is stated plainly: "That dude raped someone." The sequence ends with preparations and a sense of impending action: "But, shit, let's fucking do this before things are in the kitchen. Ew. Ew. Oh. Scavity. Oh, yeah. Checking this out."

I never gave up. This was life. Everyone knows his name and is shamed. Let's keep my name nameless. I was always making beats on the down low. Something to ride to, could you and drive slow. Bang. Bang. Bang. Reason.

The speaker states they load their gun every day for black people, not anticipating threats from white or Mexican individuals. They claim black people are often on "stupid shit" and unlike white people who introduce themselves, black people in a room allegedly act like they already have a problem with you, even if it's the first time meeting. The speaker questions why black people behave this way, stating they are more likely to be killed by a black person than someone of another race.

I run a tight rep with a gun on each hip. I'm on the beach. I can eat dick bread. You're getting hit digging holes with your bitch. Enjoy your trip six feet deep. She likes my bars brimmed; your girl drips. She's in my pocket, and I give her cock like a rock. Twenty twenty five, you can't stop it. She likes my bars ripped; your girl drips. I give her cock like a rocket. Chang's got my back when I pop shit. When she pops and locks it, yoga spot check. Hottest girl on the block. Cops riding undercover. You're getting hit. She likes my bars bricked; your girl drips. She's in my pocket, and I give her cock like a rocket. $20.25, and you can't stop it. When she pops and locks it, yoga spot check. Even cops step.

Speaker 0 raps about refusing to taste something, breaking the law when life hands him lemons, and needing a breakthrough. He mentions getting a heater and feeling restless, breathless, and depressed. Speaker 1 raps about arriving with his guys and someone dying on the inside. He repeats "creep mode" and "my killslow." He references being like a pill, watching someone go down a hole, and offering a smooth flow. He claims to be a friend telling someone no, while watching them go down a hole. He states "the greatest yet was met."

Yo, VIP. Let's kick it. Alright. Stop. Collaborate and listen. Ice is back with my brand new invention. Something grabs a hold of me tightly Flow like a hawkroom daily and nightly. Will it ever stop? Yo. I don't know. Turn off the lights and I'll glow. To the extreme, I'll rock a mic like a vandal. Light up a stage and wax a chump like a candle. Dance. Corruption, speaker that booms. I'm killing your brain like a poisonous mushroom. Deadly. When I play a dope melody, anything less than the best is a felony. Love it or leave it. You better gain weight. You better get bulls out of here. Don't play. If there was a problem, yo, I'll solve it. Tick out the hook while my DJ revolves it.

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.”

Speaker 0 states, "I'm running. You're blocking. Clapping, bitch. Fuck it. I'm wop." Speaker 0 also says, "I had enough of this. Deal in with your shit. Chicken fucking little bit. I'm wild," and "It just hit the fuck you up. Just sold out little tricks." Speaker 1 says, "I hate your guts. Fuck this bitch. Fuck. I'm coming for you. Wait." Speaker 0 claims, "Nations will destroy you with hate. Fuck you. Clap it, bitch," and "There's no coming back." Speaker 1 says, "Fucking rap. Fucking rap. You got jack. Cheese in the trap." Speaker 0 retorts, "You're fat. You can't run. You got smack." Speaker 1 repeats, "You got jack." Speaker 1 states, "Me and the trendsetter. I've been all that getting cheese." Speaker 0 repeats, "Clapping, bitch. Fuck it. I'm locked. I'm running. I'm running. You're blocked. Clapping, bitch. Fuck ass. I'm wild."

You're getting hit with your "ass in the air," getting "bricked." Enemies are getting "ripped," and "we coming for you." "Back door, no script," no running, and "don't play fair." Pull up with a mask on, "ski mask, I don't care." There's a "clip for a bear," but it's whistling past your ear. You duck, and now "you got a whole cruise in fear." "Excavation Pro."

Speaker 0 describes a youth with experiences around fashion, travel, and media attention: “Junk kids in Tokyo, fashion shoots in Milan, and me with phone books so that I wouldn't bruise,” and expresses exhaustion with privileged celebrations and indulgences, including “rich kids bar mitzvahs or pigs leftovers with Saudi princess,” a reference to West and Morse code, and a past incident at the VMAs where they were sprayed with a hose for three days. They also say that when their sails drop off, they’ll be taken to a resort and “let rich businessmen hunt me down for sport.” Speaker 1 interjects to introduce themselves, saying, “Hold up. I’m just coming in on the song to check on what y’all talking about,” and adds, “Don’t think of me as a record exec, but I’m Bubba, Big Yell, and Powell. This kid's a real prankster.”

Speaker 0: I feel elated. I feel, my goodness, two and a half hours. It's over, and and it's gone quickly. And and I was concentrating for most of the time. Once or twice, I slipped up because it just completely went. But, otherwise, I enjoyed it. Speaker 1: BBC should know in about ten days or so whether its early morning programs are receiving the 2,000,000 or so viewers they're expected to receive. In the meantime, director general Alastair Milne and BBC chairman George Howard declared themselves well pleased with the first program. And as for TVAM, the BBC's breakfast competitors who go on air in two weeks' time Speaker 2: Says they make no apology for that. Speaker 3: Looking at a political party that has values, principles, beliefs that that it will not compromise just for electoral success. And the great thing about last night is we haven't moved to the climate. The climate is moving towards us. Speaker 2: After a decade and a half on the sidelines, the Greens emerged this morning as a political force to be reckoned with. So much so, they're now setting their sights on Westminster. Speaker 4: But with increased public Brother is massive. It's global. It has multiple aspects, and they have not been discussed at this election apart from discussion by me. Speaker 3: What's his abacus for? Speaker 4: For children, very young children at four years of age. It's simple. We have But Speaker 3: the only numbers that are meant to count in this ballot Speaker 5: enough no more because everything this man has said Thank you. I bloody love you. This is what they mean by the beautiful people. And we and alike around the world are going to go down in history. As the people that brought freedom back from the brink just as the light was going out. A way, way into what we call the future. There will be children living in a world of freedom, fairness, justice, joy, and love. And they will sit in enraptured attention as the storytellers recall those special people way back in the ancient twenty twenties who secured freedom on this planet. Impact on the track. Yeah. Speaker 2: This is that CBIZ shit, that ER shit that you already fucking know. Speaker 6: That straight gas. Get that sauce, spill that Speaker 2: motherfucking joint. You feel me? CBIZ, truck. Speaker 6: I tell your man I fucked this girl. I hit the streets, I played the game. I build the shit, I made the name. I hit the note, I changed the game. I made some change, I changed my lane. I a change and broke the chain. I caught a case to change my name. I made the lane and showed the way. ER and so we ate. C biz best know it. E r, we done showed it. A nigga put me in the grave. Work. 40 counts best blow it. Boo. I hit the rave and shot it down. What? I moved the base and smoked the loud. Work. You broke the joke or just a clown. Work. You ain't the road, you're just about. See, there's the name sick. But flows hard, I take the piss. I pay the price, I get the brick. I break it down to feed the strip. It's 44 for protection. Who who go to my section? ER to the world. That's the team that I'm Speaker 2: six feet in the seat. Speaker 6: That's how we get down. Impact Speaker 5: on the tracks.

Applying pressure, but I promise I'll make it. Living free in their heads, I ain't paying rent. Wake up in the air, I'm making cheese like Mercedes Benz. Please don't take offense.

Speaker 0: The time game is over. Justice with General Flynn. They criticize the Department of Just Us and recall a past moment when they would have been brought into the DOJ in handcuffs. Speaker 1: Delivers a stream of violent, braggadocious lyrics about weapons, killings, and dominance, including references to shooting, trafficking, and threatening rivals. The content emphasizes keeping enemies in check, physical violence, and material wealth, with repeated lines about not losing sleep over killers, firing weapons, and "run it up" for money and power. Speaker 2: Argues that many people gaining sudden large followings on Twitter or talking about topics like low taxes or transgender pronouns may be pedophiles, suggesting conservative media uses people with criminal pasts as influencers. States that such individuals say things to align with a broader agenda and mentions Israel in the context of a broader critique of conservative priorities. Concludes with a tip to contact Charlie Cook for those seeking a "second act" in public life. Speaker 3: Kyle Clifton discusses an after-party associated with TPUSA’s America Fest in Phoenix on December 19, called the Grand Young Party. The party reportedly featured girls dancing half-naked on stage, girls locked in cages, underage drinking, stripper poles, sex on the dance floor, and mentions “strange ritual Zionist extremism.” He notes promo footage from Florida and Phoenix, blurred faces of attendees, and that age did not matter if the attendee knew the organizer, Joe Bazrawi. Background is provided on Maverick events as the organizers. He reports a security guard tackled an 18-year-old patron, causing injuries; police encouraged filing a report for assault. Parents of other female patrons are considering lawsuits for supplying minors with alcohol. The event was advertised as a TPUSA America Fest after party, hosted by TPUSA ambassador/employee Joe Bazrawi, whose travel and lodging were paid for by TPUSA. He claims TPUSA was aware of and encouraged the party, and that Bazrawi maintains a private dossier on conservatives who oppose his party or beliefs to blacklist them from TPUSA events. Bazrawi allegedly attends other events to photograph attendees for his dossier and share with TPUSA executives. Attendees allegedly included Matt Gaetz, with rumors that James O’Keefe and Madison Cawthorn were present; photos are mentioned. Questions are raised about TPUSA’s responsibility for hosting unsanctioned events with high-profile guests and potential legal consequences or PR damage. The after-party reportedly had about 30–40 attendees leave early; refunds were issued to some in response to public comments, while others did not receive refunds. Some attendees were admitted as late as 1:45 AM; the event ended at 2 AM. Ticketing was disorganized, with staff not knowing who attended. Local Antifa chapters reportedly planned to submit stories to CNN to harm Matt Gaetz’s career. The speaker expresses concern about the conservatism movement’s image and the potential implications for Gaetz and Cawthorn. Speaker 4: The Vault claims to possess extensive material—video, pictures, emails, audio, text messages, phone calls—on everyone and to be willing to drop it all. The speaker has “a lot of crap on Richard Spencer and everybody else” and suggests signing up for Telegram to access this material. Speaker 5–6: Expressions of fear or alarm from the audience, with a call to “Dale” and a plea for help or relief, indicating tension or distress in the room.

"That ain't no better, nigga. Put it on my butter. We do it. Don't play my slime. When folks break, it will guess like that." "No top. No cap. No top. Switchy. 3 switches right here. And I put the That that's just enough right there. That's enough. 1, 2, 3. That's enough." "They won't go get that shit all. I know. We got"

The speaker repeatedly asserts that the other person is “fucking sick,” claiming that money or status cannot save them. The taunt "You hide behind your grip" and references to leaning looking sick emphasize a facade of power or control that the speaker sees as hollow. The dialogue includes threats and insults directed at the other person, including phrases like “string that string out on some dick ass neck” and “kill an amusing trick,” framing violence as a response to perceived deceit or manipulation. There is a recurring theme of exposure and humiliation, with lines such as “Looking Hide behind your shit” and “Your knee cannot save you,” underscoring a belief that appearances fail to protect the target. The speaker describes a persona who can “flip you quick” and “fix your shit,” implying expertise or intervention that undermines the target. The notion of control extends to physical domination: “Tie you up, put you in a ditch,” suggesting a drastic outcome for the rival. The imagery evolves into a more cryptic, symbolic threat: “Brainstrip, snatch you with a knowledge brick,” portraying a rapid, forceful overthrow of the target’s intellect or authority, followed by the assertion that “The botcher has got you feeding” and the target is “leaning looking sick.” A shift occurs to a historical or meta-commentary: “Thirty year ripping to the day people clad. They’re gone. They did all the way in the darkness. The end of day is here, Prince Neil. History on repeat.” This introduces a sense of long-running cycles of fear and chaos, culminating in “Chaos type of fear. It’s neat. Yeah. It creeps,” suggesting that fear and disruption are persistent and latent forces. Overall, the transcript conveys a confrontation filled with insults, threats of violent consequence, and a theme of exposed falseness behind a protective front, culminating in an acknowledgment of enduring, creeping chaos and fear.

"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.

Speaker 0 raps about refusing a bitter life, breaking the law when life gives lemons, and being a lone wolf. The speaker mentions needing a break and feeling out of breath with a racing mind and aching chest. The speaker claims generations stay depressed. Speaker 1 raps about being the greatest and asks, "What's bad with the bet?" The speaker says someone's about to die on the inside and raps about "creep mode" and killing slow, like a pill. The speaker repeats "Die on the inside" and "Watching you go down this hole," referencing a smooth flow. The speaker claims to be a friend telling you no.

I want to talk about anime. I'm connected and not afraid of being locked up. My friends are in denial about their life sentences in jail. My mugshot is famous and worth a lot. Some merchant in Philly gave me a billion dollars. I have support from rappers who ride with me. I'm not the target, but I won't let them get to you. I'm not starting over, I don't need to prove myself. Even if I go to prison, I won't be treated like the Clintons. I'll be eating steak with the secret service. Shout out to my MAGA supporters. I'll stop the new world order and secure the border.

The greatest yet, let's bet. I just arrived with my guys. Someone's about to die on the inside. Creep Moe, I kill slow on the inside like a pill, bro. Run. Watching you go down this hole. Listen to the smooth flow. I'm your friend telling you, watching you go down this hole. I'm some melted dye on the inside watching you roam. I kill someone like a pill, bro. Listen to this mood flop.

The dialogue centers on a persona who declares being “dead and gone,” claiming a life of harm from society and repeated demise—“I died a 100 times in my life.” Christopher is invoked as a focal point, with “A man's life. In your ears, Christopher. He fly.” The speakers describe a world where around them, eyes appear dark and hearts fake, and where angels from the sky supposedly pick them up while some feel no spark in their souls. The exchanges intensify into a confrontational, defiant mood. The speaker proclaims power over others—“I’m the boss. Inside them, zombies bodies hide them.” They lash out at enemies with lines like “Loser get them five friends” and “No, you fake fuck. Kills will get him vibes,” portraying a brutal social environment and a willingness to dominate or destroy rivals. The refrain “Society of cuss. It’s big shit, drugs inside. It’s lit up.” ties the chaos to social decay and drug culture, while “That’s why I drip. I’ll fuck them up. Watch me strike” signals a personal assertion of swagger and aggression. The dialogue includes explicit, crude bravado: “Biggest cock in the anos. When I come correct, you’re fucked,” paired with “Taking bets. Got some shit tucked. I got some shit tucked. Take their money quick.” There’s a theme of deception and manipulation, with references to “Call them up. You fake fucking bitch. On their shit,” and a readiness to exploit others financially or morally. Images of violence and transformation surface through surreal imagery: “Agent Smith. Agent Smith. Wrapping yet. Virus stripping. Agent Smith. Stripping. You up. Packing tips for your brain.” There’s a sensation of internal and external siege, where demons, angels, rain, and flames intermingle as forces that can alter the self or body. The lines “Demon feel the pain. Angels filled my body with the rain. Takes away the flames when they kill” juxtapose suffering with otherworldly intervention. Descent is repeated: “The ship is sinking quick,” while the speaker ventures into existential risk—“I fly the rock into the abyss. I don’t pray for shit. I fly the rock. I fly the rocket into the abyss. I don’t pray for shit.” Yet there’s a note of uncertain hope or destination: “Just hope I’m making it to the other side.” The imagery shifts to an expansive, almost mythic landscape—“Underground tunnels filled with pits. Stars overhead that never shift.” The sky is a gift, and a song can shift one’s spirit, with a declared readiness for a transformative “shift” that is described as a gift. Toward the end, the phrases “Excavation Pro” and “Original beep” punctuate the piece, signaling a turning point or signature moment in the narrative.

The speaker acknowledges a beat and mentions a war going on outside. They talk about how people can't hide forever and how they feel scared and shook. They mention that there are no halfway big crooks and compare their part of town to Vietnam. They mention being involved in action and not being able to relax. They mention New York and feeling unforgivable. They mention being influenced by Hennessy and not being able to turn back. They mention their friend, who is black, and some untold facts. They end by saying they will stay alive until their death.

Speaker 0: “You shoot me with that. I’m shooting you with mine. Your butt is built on bad people, bro. You're Hold on. Right here. Good. $9.45. 9. It’s only okay to And I got $3.80 in my bucket. Your side. Yeah. Yeah. It’s a big shame. It’s embarrassing. I almost bought my 40, but I’m an ex con.”