Addressable transcript

Lyrics & breakdown

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01
[Intro: children talking about 50's music]
02
[Kid #1]
Multi-line diss block
03
My mom took me to Sam Goody
04
I wanted to buy a 50 Cent CD
05
I took that shit home
06
That shit was wack like a motherfucker
Block noteMakes the confrontation explicit
Target50 Cent
MeaningWhat it means: In “I wanted to buy a 50 Cent CD,” The Game addresses 50 Cent directly and makes the situation described in the quoted line the point of confrontation. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. Naming or plainly addressing 50 Cent removes the safety of a subliminal and makes the quoted claim something the target can either answer or leave standing.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
07
I fuck with Game
08
[Kid #2]
09
I like 50 Cent
10
He reminds me SpongeBob
11
And Tony Yayo is Blue's Clues
12
And Lloyd Banks is Dora the Explorer
13
They're my friends
14
Psyche
15
[Kid #3]
16
I went down one of them bodega shits right there in Harlem
17
Got me a bootleg Lloyd Banks and Young Buck CD
18
Took that shit home, put it in my boombox
19
Thought I was 'bout to be on some Radio Raheem shit
20
Man that shit sound like some Vanessa Williams in '88
Multi-line diss block
21
I mean Olivia cute but they say that bitch a man
22
So this Black Wall Street for life now
23
G-G-G-Unot!
Block noteMakes the confrontation explicit
TargetG-Unit
MeaningWhat it means: In “G-G-G-Unot!,” The Game addresses G-Unit directly and makes the situation described in the quoted line the point of confrontation. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. Naming or plainly addressing G-Unit removes the safety of a subliminal and makes the quoted claim something the target can either answer or leave standing.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
24
[Verse: The Game]
25
300 Bars and Runnin'
26
Just loan me your ears for fifteen minutes
27
Walk with me
28
Here the breakdown
29
Pass the doja, .45 in the holster
30
Hollow tips'll fold 'em, them niggas, they toy soldiers
31
Oh, that boy colder than Hova unless he sober
32
Like I'm the president, but this ain't the Takeover
33
Now, there's the speaker, bring your ears a little closer
Multi-line diss block
34
Before you call this a diss, and you make Hova pissed
35
Why would I wanna do that? When I'm just the new cat
36
That was taught if a nigga take shots then shoot back
Block notePressures the target to answer
Target50 Cent
MeaningWhat it means: In “Before you call this a diss, and you make Hova pissed,” The Game treats 50 Cent's response, delay, or silence as part of the contest rather than a neutral choice. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. By defining silence as concession, the line tries to control the timetable of the feud and force 50 Cent into replying on the artist's terms.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
37
Defending his yard, yeah, standing his ground
Multi-line diss block
38
I'm saying if you gon' retire, then hand me the crown
39
Nah, let Bleek do it, then throw him a concert in Madison Square
40
Watch everybody sleep through it
Block noteFrames the target as obsolete
Target50 Cent
MeaningWhat it means: In “I'm saying if you gon' retire, then hand me the crown,” The Game makes age, longevity, or current relevance part of the argument with 50 Cent, either answering an age taunt or presenting the opponent as past a peak. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The age argument is really a claim about relevance: it asks listeners to view 50 Cent's reputation as inherited from the past rather than earned in the current exchange.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
41
We can go bar for bar, I'll let the lines speak to 'em
42
What they say? Bleek is over, let Chris and Neef do it
43
They say the wrong thing, I'ma smack 'em silly
44
What you thought? Them was the only niggas rapped in Philly?
45
See them niggas with the sunnis leave you wrapped in Philly
46
Then dash in groups like Beanie Mac in Philly
47
Cosmic Kev called, said Curtis Jack in Philly
48
Make a U-turn, I gotta go back to Philly
49
I forgot my cheesesteak, that's what I told the cops
50
So they wouldn't get the dogs, start searching for the Glock
51
And I can't forget, B.I.G. got murdered by the cops
52
Even I was ready to die, when I heard that he was shot
53
What's beef? Beef is when I murk you on the spot
Multi-line diss block
54
Labels signing anything, still searching for they Pac
55
I put purple on the block, so I don't feel threatened
56
When Ludacris say he coming for the number one spot
Block noteForces the dispute into a direct contest
Target50 Cent
MeaningWhat it means: In “What's beef? Beef is when I murk you on the spot,” The Game addresses 50 Cent as an opponent who must prove the claims being made rather than rely on reputation. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The challenge narrows the argument to performance under pressure, where refusing or failing to answer can itself be presented as a loss for 50 Cent.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
57
Ask 50, it get lonely on top, you can hate me
Multi-line diss block
58
Or love me, but now the cops the only homies he got
59
When it's beef we eat, when we hear bologna, we pop
60
You sell records but a G-G-G-U-not
Block noteContests who deserves the top position
Target50 Cent
MeaningWhat it means: In “Ask 50, it get lonely on top, you can hate me,” The Game turns rank, legacy, or leadership into the issue and argues that 50 Cent's claim to the position is undeserved. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The line identifies the prize behind the feud—control of reputation—and asks whose record supports the title rather than whose claim went unchallenged.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
61
Acting big on the radio, to me you not
Multi-line diss block
62
You can ask Mister C-C-Cee who hot
63
Tony Yayo, I bet 10 G's you flop
64
Run up on that new 300C you got
Block noteUses career results as evidence
Target50 Cent
MeaningWhat it means: In “Tony Yayo, I bet 10 G's you flop,” The Game turns releases, sales, label standing, or career momentum into a public measurement of 50 Cent's position. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The artist invokes an external scoreboard so listeners can compare 50 Cent's claims with visible results, making status something that can be disproved rather than merely debated.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
65
Stop hoping I fall, hope the bleeding stop
66
And I hope you blackout before you see the cops
67
I ain't High Top from Colors, I'm from Cedar Block
68
But what I got in my high tops'll make your breathing stop
69
I'm a gangsta slash rapper, check your CD shop
70
I'm like Elvis in there, they can't believe he dropped
71
Now I'm moving on up to George and Weezy's spot
72
I picked up where my homeboy Eazy stopped
73
I saw the west coast, put the shit on my back
74
Sprayed Aftermath on it, then loosened the straps
75
It get hot in here, let Lucifer rap
76
Bring hell to niggas when Dre producing a track
77
Take it to the streets, put the duece-duece to your hat
78
Then call the pigs, tell them that the rooster is back
79
Call Jadakiss, tell him that duke is back
80
I'm still by your side, no matter who comes strapped
81
Fuck Lloyd Banks, it ain't about who could rap
Multi-line diss block
82
It's about when the Ruger clap, his roof is back
83
I see what you thinkin', you want me to die, is that so?
84
Now you left leaning back thanks to Fat Joe
Block noteImagines the battle as physical destruction
Target50 Cent
MeaningWhat it means: In “I see what you thinkin', you want me to die, is that so?,” The Game converts lyrical defeat into death, shooting, burial, or bodily harm directed at 50 Cent. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The violent image makes the response sound final: instead of proposing an endless exchange, the artist depicts 50 Cent as unable to return for another round.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
85
You got reservations in heaven, you ready? Let's go
86
Drop them off, then pop Cristal with Esco
87
I'ma say he hit me first if me and Dre talk
88
All Nas said back was he had a braveheart
89
Now that's the eulogy, beefing is kinda foolish
90
See niggas running their mouth about what the fuck they gon' do to me
91
But quit the yapping before I proceed to clapping
92
And you gon' see the captain with plans of getting me captured
93
Even behind bars, I'm still gon' shine
94
I'm ten years younger than Yayo, I get out, I'm fine
95
Then I go right back, nigga, I pop minds
96
How you gon' drop Olivia? You only drop dimes
97
I knew you changed when you started sleeping in that vest, dawg
Multi-line diss block
98
I don't need 50 Cent, my niggas make collect calls
99
1-800-split a faggot nigga wig
100
He got G-Unit wings, throw 'em off the Queens Bridge
Block notePoints to a claimed failure or contradiction
Target50 Cent
MeaningWhat it means: In “I don't need 50 Cent, my niggas make collect calls,” The Game treats the refusal, inability, or contradiction named in the lyric as evidence against 50 Cent's public position. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The wording tests 50 Cent's image against a specific action; the gap between the two is what the audience is being asked to remember.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
101
Now your career is over-career is over
Multi-line diss block
102
We in Q.B., banging C.N.N. in the Rover
103
T-O-N-Y, that's Capone n' NORE
104
You ain't the talk of New York, your sixteens is boring
Block noteUses career results as evidence
Target50 Cent
MeaningWhat it means: In “Now your career is over-career is over,” The Game turns releases, sales, label standing, or career momentum into a public measurement of 50 Cent's position. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The artist invokes an external scoreboard so listeners can compare 50 Cent's claims with visible results, making status something that can be disproved rather than merely debated.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
105
Take that shit off your ankle, go back to PC
Multi-line diss block
106
And tell 50 Cent to send you a copy of Beef 3
107
I'm airing their ass out on D-V-D
108
You wanna rhyme like Lloyd Banks, repeat after me
Block noteSays the target's identity is borrowed
Target50 Cent
MeaningWhat it means: In “And tell 50 Cent to send you a copy of Beef 3,” The Game presents 50 Cent's style or work as imitation rather than an original contribution. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The accusation strips 50 Cent of artistic ownership: success looks less impressive when the sound, image, or idea is framed as somebody else's first.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
109
"I'm a G-Unit toy soldier on Sesame Street
Multi-line diss block
110
Doing voice overs," bitch ass nigga
111
Need a rhyme dictionary to rehearse his lines
112
Sound like Oscar the Grouch with them nursery rhymes
Block noteMakes the confrontation explicit
TargetG-Unit
MeaningWhat it means: In “"I'm a G-Unit toy soldier on Sesame Street,” The Game addresses G-Unit directly and makes the situation described in the quoted line the point of confrontation. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. Naming or plainly addressing G-Unit removes the safety of a subliminal and makes the quoted claim something the target can either answer or leave standing.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
113
We was in the studio when I first got signed
Multi-line diss block
114
He got stuck, he called 50, tried to borrow some lines
115
That's the wrong nigga, when you need help with your rhyme
116
All he gon' tell you is say G-Unit one more time
Block noteAttacks the target's ability to rap
Target50 Cent
MeaningWhat it means: In “That's the wrong nigga, when you need help with your rhyme,” The Game challenges 50 Cent on writing, delivery, flow, or command of the microphone rather than relying only on a personal insult. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. This goes to the qualification that gives 50 Cent standing in a rap battle; if the craft is weak, the reply loses authority before its other claims are considered.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
117
Got mad 'cause I ain't wanna make your beef mine
Multi-line diss block
118
You got lucky with Ja, why you ain't go at Shyne?
119
He freestyled from the pen, that's just the fact
120
Said he'd put you with your mom and you ain't fucked with that
Block noteMakes the feud personal through family
Target50 Cent
MeaningWhat it means: In “Said he'd put you with your mom and you ain't fucked with that,” The Game brings a relative or family boundary into the exchange with 50 Cent, moving the dispute beyond music and into private life. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. Family references explain why the conflict feels personal: they raise the emotional cost for 50 Cent and make the line more consequential than a routine comparison of rap skill.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
121
Then you lied about your pops, he never bust no cap
Multi-line diss block
122
Like father, like son, go ask Busta that
123
I knew from the beginning not to trust those cats
124
I'd kill 'em all if I could bring Justo back
Block noteTreats the target's persona as fabricated
Target50 Cent
MeaningWhat it means: In “Then you lied about your pops, he never bust no cap,” The Game says 50 Cent's public story or image is false rather than a reliable account of who the target is. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. Once the persona is presented as invented, the boasts and accusations built on it become easier for listeners to dismiss.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
125
The underground is mine, I treat it like home
126
It's the reason niggas saying my name like Mike Jones
127
The underground is mine, I treat it like home
128
It's the reason niggas saying my name like Mike Jones
129
The underground is mine, I treat it like home
130
It's the reason niggas saying my name like Mike Jones
131
I said
132
The underground is mine, I treat it like home
133
It's the reason niggas saying my name like Mike Jones
134
And I'm far from Houston but you can chop it and screw it
135
Do whatever to it, put it in the store, the shit moving
136
Gave 'em a hundred bars, they ain't think I could do it
137
Came with two hundred, nigga this is more than music
138
Even Dre knew it, that boy hot like summer
139
Both feet in the dirt, 300 Bars and Runnin'
140
I'll beef with any nigga, say my name, motherfucka, I'm gunnin'
141
You can put it on Skee if you want it
142
I'll air you out on Drama King, Mike, or Clue
143
And watch them shits sell out like a Air Jordan shoe
144
I told Funk Flex when I catch the nigga Whoo Kid
145
We gon' see if he know how to DJ with bruised ribs
Multi-line diss block
146
Don't hit me on the Sidekick asking what you did
147
Get a gun or ask 50's police to use his
148
'Cause Bloods gonna get ya
Block noteImagines the battle as physical destruction
Target50 Cent
MeaningWhat it means: In “Get a gun or ask 50's police to use his,” The Game converts lyrical defeat into death, shooting, burial, or bodily harm directed at 50 Cent. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The violent image makes the response sound final: instead of proposing an endless exchange, the artist depicts 50 Cent as unable to return for another round.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
149
Blood-Blood-Bloods gonna get ya for that Shadyville chain
150
That .380 spill brains, when I pop shots
151
Outside N.Y., in front of hip-hop cops
152
Or broad day in L.A., I'ma tell Em and Dre
153
This nigga bootlegging my music, ain't nothing for him to say
154
Took me off my own songs, then put it on his tapes
155
So I'ma take him out his house, put the beam on his face
156
Drop him off at Terror Squad, let him scream for the jakes
157
'Cause when you fucking with Jayceon, you can bleed in the lake
Multi-line diss block
158
For caking off niggas on them CD's and tapes
159
Ask him to scratch a record, you will see that he is fake
160
If 50 was Puffy, he'd run and go get him a cheesecake
Block noteTreats the target's persona as fabricated
Target50 Cent
MeaningWhat it means: In “Ask him to scratch a record, you will see that he is fake,” The Game says 50 Cent's public story or image is false rather than a reliable account of who the target is. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. Once the persona is presented as invented, the boasts and accusations built on it become easier for listeners to dismiss.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
161
Take the DJ off your name, Mr. Instant Replay
162
Now the instant replay, I mean the machine
163
That G-Unit use every time 50 on stage singing like
164
"Bitches only feel your shit just a lil' bit
165
Niggas only feel your shit just a lil' bit"
Multi-line diss block
166
On my album, 50 helped me just a lil' bit
167
Only on two songs, now back to some killer shit,
168
My clips bananas, I kill a gorilla quick
Block noteMakes the confrontation explicit
Target50 Cent
MeaningWhat it means: In “On my album, 50 helped me just a lil' bit,” The Game addresses 50 Cent directly and makes the situation described in the quoted line the point of confrontation. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. Naming or plainly addressing 50 Cent removes the safety of a subliminal and makes the quoted claim something the target can either answer or leave standing.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
169
Beating on your chest, I see to your death, yep
Multi-line diss block
170
Tell Ecko to make him a suit
171
Tell Reebok to make him some boots, get him a head band
172
To cover the holes in his head, he a dead man
Block noteImagines the battle as physical destruction
Target50 Cent
MeaningWhat it means: In “Beating on your chest, I see to your death, yep,” The Game converts lyrical defeat into death, shooting, burial, or bodily harm directed at 50 Cent. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The violent image makes the response sound final: instead of proposing an endless exchange, the artist depicts 50 Cent as unable to return for another round.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
173
For thinking he can walk through muddy waters like Redman
174
Banks blacked out and let the gun blam
175
Without a M-E-T-H-O-D Man
176
So the lieutenant gotta ask for his strings
177
Take my advice, never wear Air Max to the bing
178
Unless you one of the Bloods or a Latin King
179
'Cause if you left with the Aryans your ass'll sting
180
And your cellmate is a 25 to lifer
181
They'll stab you in Folsom, then fuck you on Rikers
Multi-line diss block
182
And life goes on
183
Now back to the coward of the hour, who lied and said he write my songs
184
He told Vibe Dre was gonna leave me on the shelf
Block noteMakes the rejection unmistakably direct
Target50 Cent
MeaningWhat it means: In “They'll stab you in Folsom, then fuck you on Rikers,” The Game drops any pretense of a subliminal and rejects 50 Cent in blunt, unqualified language. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The direct wording removes plausible deniability: listeners are not left guessing whether 50 Cent is part of the dispute or whether a response is being invited.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
185
So he gave me all his hits, you should've kept them for yourself
186
Nigga stop acting tough before I stand over you
187
Show you how The Documentary live on top of The Massacre
188
Make a move, I'm blasting, add those to the last ones
189
Ten shots from the MAC, empty the rest in the passenger
190
Fase yelling that's enough, let the coroner bag him up
191
Throw in Makaveli and lift the doors on the Magnum
192
Gun smoking, Fase think I'm locin' backing up
193
Reverse the '05 hearse on 41st in traffic, what
194
Hip-hop cops on my left, but I pass 'em up
195
The Dodge got a Hemi in it, Game got Remy in 'em
196
In and out of lanes like a New York cab
197
I miss the old king that New York had
198
Who's this fake nigga on pictures with the Jake nigga?
199
Got his crew starving 'cause he ate the whole cake, nigga
200
He ain't Nas, ain't Big, ain't Jigga
201
If he ain't Cube or Pac then who you got?
Multi-line diss block
202
We getting tired of you talkin about who you shot
203
I'll use another six bars to tell you who you not
204
You ain't 50 Cent, he went out like a gangsta
Block noteMakes the confrontation explicit
Target50 Cent
MeaningWhat it means: In “You ain't 50 Cent, he went out like a gangsta,” The Game addresses 50 Cent directly and makes the situation described in the quoted line the point of confrontation. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. Naming or plainly addressing 50 Cent removes the safety of a subliminal and makes the quoted claim something the target can either answer or leave standing.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
205
You went out with Vivica, three months after Wanksta
Multi-line diss block
206
Get Rich or Die Tryin, we thought you was hot
207
Now the same nigga wanna take us to the Candy Shop
208
C'mon man, what happened to the thug?
Block noteTurns money and possessions into leverage
Target50 Cent
MeaningWhat it means: In “Get Rich or Die Tryin, we thought you was hot,” The Game contrasts financial power or possessions with 50 Cent's alleged lack of money, access, or control. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The comparison converts status into material evidence and is meant to make 50 Cent's success claims look hollow beside something listeners can picture and measure.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
209
Now you could find in the club, him and Lloyd Banks hugging
210
Nigga got mad when The Game start buzzing
211
So fuck making friends, now I'm into throwing slugs
212
Olivia talking about we a family, Game had to go
213
Nigga, I'll smack that hoe like I'm Jacki-O
Multi-line diss block
214
'Cause I don't wanna be cool, I don't wanna be you
215
I don't wanna shake hands or wear your G-Unit shoes
216
Don't want you on my hooks, don't wanna be in your group
Block noteUses image and fashion as evidence
TargetG-Unit
MeaningWhat it means: In “I don't wanna shake hands or wear your G-Unit shoes,” The Game treats G-Unit's clothing or presentation as a constructed image that can be mocked or traced to somebody else. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. Public style is part of a rapper's brand, so attacking it makes the entire persona look manufactured rather than self-defined.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
217
Just wanna sit here and wait (for the summer)
218
To be gone, so I can head back to the block
219
Fresh white Nike Airs and the matching Sox fitted
220
Pull the brim low, if they don't get it
221
Bentley Coup on gold Daytons, I was the first one with it
222
Four times platinum, I done been there and did it
223
Came in the game and shitted, then wiped my ass with it
224
They say the Lord giveth, Lord taketh away
225
So I build a house on top of Hip-Hop and wait for the day
226
Niggas hating on me, they don't want Jayceon to play
227
And the D.A. waiting on Jayceon to make a mistake
228
So they can put me in the squad car and lock me away
229
Give me a odd job in the pen for minimal pay
230
Let me out so I can drive down criminal way
231
Pushing the rock, nah, this ain't no subliminal, Jay
232
The summer too hot and I just want the winter to stay
233
'Cause I'm a cold nigga when I put the pen to the page
234
Similar to them shells going into my gauge
235
I hand 'em off to Dre, he turn them into grenades
236
And Just Blaze, 'cause the boy got game
237
Like I close my eyes, and woke up in a Roc chain
238
Now back to reality, my gun and my vest
239
And if diamonds are forever, then I'm Kanye West
240
Take a look at my chest, a hundred thou' wet Jacob
241
Whole crew got chains, a hundred thou' can't break 'em
242
And the flow is hot like thou with Satan
243
And the only thing I got spinning is Daytons
244
The hotter I get, the more willing to snake 'em
245
So soon as the beat drop, watch where I take 'em
246
Compton swap meet to get me some All-Stars
247
When Game in the house, they callin' all cars
248
'Cause they heard about what went on in D.C
249
Heard about Hot 97, my beef with 50
Multi-line diss block
250
Now tell me do he got a conscience?
251
I think not, 'cause if he did I wouldn't be involved in his nonsense
252
Wouldn't be in Harlem, wouldn't be at this conference
Block noteForces the dispute into a direct contest
Target50 Cent
MeaningWhat it means: In “Heard about Hot 97, my beef with 50,” The Game addresses 50 Cent as an opponent who must prove the claims being made rather than rely on reputation. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The challenge narrows the argument to performance under pressure, where refusing or failing to answer can itself be presented as a loss for 50 Cent.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
253
I'd rather be pushing rock like Samantha Ronson
254
50 whispered in my ear, like we still bonding
255
We ain't friends, I'm just acting like Charles Bronson
256
Middle finger in the air, one hand on my Johnson
257
Hip-Hop police on me like I'm the convict
258
What happened to the old school? I thought it was rhyming
259
Doug E. Fresh and Dana Dane on the corner like Common
260
Now that ain't common, it's more like Top Ramen
261
The flow is noodles, I throw it up like vomit
262
And I still shine like diamonds, they kicked me out of
263
G-Unit and I rebounded like Rodman
264
It's still Aftermath, two feet in the paint
265
Should I be mad? I ain't
266
I'm supposed to stop, I can't
267
Because I'm in the hood politicking, Impala liftin'
268
And I keep a black four-five on the side of my Prada denim
269
Chip on my shoulder like I'm fresh outta prison
270
Dollar vision, blow a hundred thou' like my wallet missing
271
Then re-up like Kim before the d-cup
272
Continuously getting money with my feet up
273
Chasing the throne in my black Air Force
Multi-line diss block
274
I said fuck Benzino and got the cover of The Source,
275
Feel me? If not then I guess you gotta kill me
276
But you ain't gon' do that, so, motherfucker, move back
Block noteImagines the battle as physical destruction
Target50 Cent
MeaningWhat it means: In “Feel me? If not then I guess you gotta kill me,” The Game converts lyrical defeat into death, shooting, burial, or bodily harm directed at 50 Cent. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The violent image makes the response sound final: instead of proposing an endless exchange, the artist depicts 50 Cent as unable to return for another round.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
277
While I do B.I.G. and Pac impersonations on two tracks
278
When I wake the dead, everybody remove hats
279
We miss y'all, can I get a hand clap?
280
Now back to rap and why I gotta stay strapped
281
On that murder T-I-P, kill you ASAP
Multi-line diss block
282
They don't know which hole to patch up when the K clap
283
I tried to spare you Young Buck, now it's time for payback
284
It go, how you from Cashville but you ain't got no cash, nigga?
Block noteTurns money and possessions into leverage
Target50 Cent
MeaningWhat it means: In “It go, how you from Cashville but you ain't got no cash, nigga?,” The Game contrasts financial power or possessions with 50 Cent's alleged lack of money, access, or control. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The comparison converts status into material evidence and is meant to make 50 Cent's success claims look hollow beside something listeners can picture and measure.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
285
Said my name, now that's your fucking ass, nigga
Multi-line diss block
286
Kept your mouth shut and I gave you a pass, nigga
287
Now I gotta lay you down like the last nigga
288
Buck, buck, buck from my AK-47
Block noteUses broken loyalty against the target
Target50 Cent
MeaningWhat it means: In “Kept your mouth shut and I gave you a pass, nigga,” The Game presents 50 Cent as disloyal, abandoned, or unable to keep the support of people who were once close. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The loyalty charge gives the feud a moral frame, portraying conflict with 50 Cent as the consequence of betrayal while suggesting the target lacks a dependable circle.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
289
This nigga playing with his life, I might have to put him in Heaven
290
Tryna play the game, talking shit up on the stereo
291
Prepare for burials when I'm reincarnating Harry-O
292
And you don't want that David 'cause you love your life
293
Get my Vibe? When it's war, he pull out butter knifes
Multi-line diss block
294
Motherfucker, I'ma show you who the gangsta
295
All you do is murder ink, now who the wanksta?
296
When Suge had you, you were stranded on the row
Block noteImagines the battle as physical destruction
Target50 Cent
MeaningWhat it means: In “All you do is murder ink, now who the wanksta?,” The Game converts lyrical defeat into death, shooting, burial, or bodily harm directed at 50 Cent. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The violent image makes the response sound final: instead of proposing an endless exchange, the artist depicts 50 Cent as unable to return for another round.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
297
Juve left you for dead and went back to the N.O
Multi-line diss block
298
50 heard you on the tour bus and felt your little flow
299
Then he made you temporary replacement for Yayo
300
You a bitch and that's hard to swallow
Block noteImagines the battle as physical destruction
Target50 Cent
MeaningWhat it means: In “Juve left you for dead and went back to the N.O,” The Game converts lyrical defeat into death, shooting, burial, or bodily harm directed at 50 Cent. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The violent image makes the response sound final: instead of proposing an endless exchange, the artist depicts 50 Cent as unable to return for another round.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
301
And you got robbed for your spinning G-Unit chain in Chicago
Multi-line diss block
302
I call my nigga Jojo to get it back
303
He had the shit in his hands and you ain't had the ten stacks
304
Picture that, I thought we was G-Unit
Block noteUses a public loss to puncture the image
TargetG-Unit
MeaningWhat it means: In “And you got robbed for your spinning G-Unit chain in Chicago,” The Game points to property being taken or another visible loss as evidence that G-Unit's claimed security and power failed in practice. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The anecdote gives the audience a concrete event against which to test G-Unit's persona, turning an abstract toughness debate into a remembered humiliation.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
305
Then you ran and told 50 that I did the shit
Multi-line diss block
306
Ask C-Murder, the boy ain't hard to find
307
I told Monica when I catch him, the boy is mine
308
Take one shot of Brandy and pop
Block noteMakes the confrontation explicit
Target50 Cent
MeaningWhat it means: In “Then you ran and told 50 that I did the shit,” The Game addresses 50 Cent directly and makes the situation described in the quoted line the point of confrontation. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. Naming or plainly addressing 50 Cent removes the safety of a subliminal and makes the quoted claim something the target can either answer or leave standing.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
309
Watch his panties drop when I run inside the Candy Shop
Multi-line diss block
310
Fuck you, 50, Banks, Yayo, and the cops
311
And Olivia, I mean for a man, she hot
312
Now I'm running out of breath, like I just beatboxed
Block noteMakes the rejection unmistakably direct
Target50 Cent
MeaningWhat it means: In “Fuck you, 50, Banks, Yayo, and the cops,” The Game drops any pretense of a subliminal and rejects 50 Cent in blunt, unqualified language. Why it was said: The Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation. The direct wording removes plausible deniability: listeners are not left guessing whether 50 Cent is part of the dispute or whether a response is being invited.
ContextThe Game attacks 50 Cent and G-Unit after his removal from the group and the collapse of their public reconciliation.
313
Got twenty bars to go, lay it down like sheet rock
314
Don't worry about the flow, the boy know he hot
315
Hurricanes in stores November, nigga, fuck Reeboks
316
I'm fly like a hummingbird on a tree top
317
The new Hov, the new B.I.G., the new Pac, I need three spots
318
280 in, ain't no getting me back
319
I'm yelling, "Fuck the world," on my victory lap
320
Remember first it was Buddens, then it was Bleek
321
Now it's whoever, motherfucker, yeah, who want beef?
322
Now whenever, motherfucker, who wanna see me?
323
In the coffin, body exhausted, resting in peace
324
You don't want war, nigga, you want peace
325
So give 'em the piece, capisce, let 'em rest in peace
326
From West to East, the flow is outdatable, irreplaceable
327
Lyrical homicide, hell is hot, I'm boxing with Satan
328
And I slipped 'em the ace, so you cannot replace 'em
329
If Eazy ever decide to return, I remain Jayceon
330
A king in the making and the throne is for the taking
331
So I climb the mountain top and put my stake in
332
Got the weight of the world on my shoulder
333
Not a nigga, nor a hoodrat bitch can stop me from taking it over
334
This is crack music, go get the baking soda
335
300 Bars and Runnin', nigga, the wait is over
336
I'm gone