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Lyrics:

1 2 3 and to the 4
Eazy mutherfuckin E with the crome to ya dome
Cruisin in my 64 ragtop
I got alotta juice alotta block
Now when i hit that switch im bouncin
More bounce to the ounce and im clownin
Keep the gat in my lap
Cuz im fully strapped
For the carjackas ,but no haps
Cuz i pack the tech 9′ plus an ak47
Send a one way ticket to my or maybe heaven
Peep nigga i dont sleep
Bury mutherfuckers in the concrete
You try to creep kinda slow in the astro
But i peep you niggaz out in my left window
So i blast and i blast ’til i blast no more
Yo they call a mutherfucker john doe

HEYYYY! Got some static for some niggaz on the other side of town
Let my little cousin K roll, he’s a rider now
What they want from us thug niggaz?
Used to love niggaz now I plug niggaz, and slug niggaz
Am I wrong? Niggaz makin songs, tryin to get with us
Must be gone on stress weed, in the West we trust
To the chest I BUST! Then we ride ’til the sun come
shinin back to brighten up the sky, many die
Heard the Fugees was tryin to do me – look bitch!
I cut yo’ face, this ain’t no movie
THEN! We watch the other two die slow
Castrated entertainin at my sideshow
BAM! Set my plan in mo’, time to exterminate my foes
I can’t stand you hoes, uhh
Now label this my trick shot
My lyrics runnin all you cowards out of hip-hop
When we RIDE – on our enemies

When we ride on our enemies
I bet you die, when we ride, on our enemies

Click click bu ya! Dub kicked the frame in (uh huh)
Nigga let the games begin, as I standin’
Tossed the tall can on a campus off the limital
scanners takin’ penitentiary chances
Sick wit it, off the ric wit it
Blue beenie knitted; freshly acquitted
Grind-grimey, the big body and the big body
Wit lyrics and ‘draulics hotter than the Majave
Sellin’, brubble bellin’, career felon
Escalade 3-braid beer wearin’
Fuck it, I thug for free and thug to eat
Niggas call me “Home of Cake” cause I love the cheese
Gangstas, hustlas, pimps, if ya follow me
Let me see ya put them hands up like a robbery
I solemnly swear to stay down and slang the seed
I spit

Old nigga E still cruisin’
Punk stay up on the nuts and the bone
Pussy nigga had beef knocked out of his teeth
The muthafucka should have stayed his home
Hey yo peep them bitchez in the Honda
4 deep with the proper sounds
Now every time that I meet a fine cute bitch
She got a friend from the fuckin’ Dog Pound
Hey yo bitch
Here’s the seven digits
Call me if you can
Only if you want it
Let a nigga know
Can I dig like a minor, 49er
Diggin’ for gold from behind her
Watch this nigga do some diggin’
Pop that on a platter
Watch this nigga do some diggin’
It’s so tight it doesn’t matter
YO!

(Ain’t nothing but music REMIX)

Duration : 0:3:19

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Music by: Beenie Siegel The Truth
Fat Caps: orange tips, new york skinnies, new york fat caps, germans, pink dots,

Graffiti is the name for images or lettering scratched, scrawled, painted or marked in any manner on property. Graffiti is often regarded by others as unsightly damage or unwanted vandalism.

Street art is any art developed in public spaces that is, “in the streets” though the term usually refers to art of an illicit nature, as opposed to government sponsored initiatives.

The term can include traditional graffiti artwork, stencil graffiti, sticker art, street-Bombing, wheatpasting and street poster art, video projection, art intervention, and street installations. Typically, Street Art is used to distinguish contemporary public-space artwork from territorial graffiti, vandalism, and corporate art.

The motivations and objectives that drive street artists are as varied as the artists themselves. There is a strong current of activism and subversion in urban art. Street art can be a powerful platform for reaching the public, and frequent themes include adbusting, subvertising and other culture jamming, the abolishment of private property and reclaiming the streets. Other street artists simply see urban space as an untapped format for personal artwork, while others may appreciate the challenges and risks that are associated with installing illicit artwork in public places. However the universal theme in most, if not all street art, is that adapting visual artwork into a format which utilizes public space, allows artists who may otherwise feel disenfranchised, to reach a much broader audience than traditional artwork and galleries normally allow.

Examples of graffiti styles
Ancient graffiti carved by pilgrims at Church of the Holy Sepulcher, Old City of Jerusalem Graffiti has existed since ancient times, with examples going back to Ancient Greece and the Roman Empire. Graffiti can be anything from simple scratch marks to elaborate wall paintings. In modern times, spray paint and markers have become the most commonly used materials. In most countries, defacing property with graffiti without the property owner’s consent is considered vandalism, which is punishable by law. Sometimes graffiti is employed to communicate social and political messages. To some, it is an art form worthy of display in galleries and exhibitions. However, the public generally frowns upon “tags” that deface bus stops, trains, buildings, playgrounds and other public property.
Modern graffiti is often seen as having become intertwined with Hip-Hop culture as one of the four main elements of the culture (along with the Master of ceremony, the disc jockey, and break dancing), through Hollywood movies such as Wild Style. However, modern (twentieth century) graffiti predates hip hop by almost a decade and has its own culture, complete with its own unique style and slang.
For example, one of the most popular graffitos of the 1970s was the legend “Dick Nixon Before He Dicks You,” reflecting the hostility of the youth culture to that U.S. president. The belief that graffiti and hip-hop are related arises from the fact that some graffiti artists enjoyed the other three aspects of hip-hop, and that it was mainly practiced in areas where the other three elements of hip-hop were evolving as art forms. Graffiti is recognized as a visual expression of the rap music of the decade, as breakdancing is the physical expression. In addition, graffiti became associated with the anti-establishment punk rock movement of the 1970s, with such bands as Black Flag and Crass stenciling to gain notoriety, thus bringing it into punk culture.
Graffiti artists sometimes choose nicknames or “tags.” Tags need to be quick to write, so they are often no more than 3 to 5 characters in length.

Between the years of 1969-1974 the “pioneering era” took place. During this time graffiti underwent a change in styles and popularity. The city produced one of the first graffiti artists to gain media attention in New York, TAKI 183. TAKI 183 was a youth from Washington Heights, Manhattan who worked as a foot messenger. His tag is a mixture of his name Demetrius (Demetraki), TAKI, and his street number, 183rd. Being a foot messenger, he was constantly on the subway and began to put up his tags along his travels. This spawned a 1971 article in the New York Times titled “‘Taki 183′ Spawns Pen Pals”. Julio 204 is also credited as the first writer, but didn’t get the fame that Taki received. TAKI 183 was the first artist to be recognised outside of the graffiti subculture, but wasn’t the first artist. Other notable names from that time are: Stay High 149, Hondo 1, Phase 2, Stitch 1, SEEN,Bosik 1, Bolst 1, Kinks 2, Septik 1, Joe 182, Junior 161 and Cay 161. Barbara 62 and Eva 62 were also important early graffiti artists in New York, and are the first known females to write graffiti.

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