It’s said that art mirrors life. In hip-hop’s case, there’s always been a deliberate entanglement of perception and reality. Fans demand their MCs be real…but never too real. Successful hip-hop is about the hint of the danger, the tease of it, the mystique. Hip-hop is about balance.
Gucci Mane is an artist striving for that balance, volatility versus musicality. Controversy, including a feud with former collaborator Young Jeezy, has grabbed the headlines, with insufficient regard paid to his considerable mic skills, raw talent, and business acumen. Gucci is looking to wrest his name from public speculation and let his own words do the talking.
“I wish everybody well who’s making money in this rap game,” the Atlanta-raised rapper says, dismissing the controversy that followed him in the past. “My own rap game is going so good, I’ve got so many things on my plate at my label, that I don’t got time for other people’s business.” With a deal with Asylum Records as the boss of his own label, So Icey Entertainment, Gucci does indeed have a full schedule with no time to dwell on the past.
“I live my life with no regrets. I just wish that a lot of things never happened, but anybody can wish,” says Gucci. Sounds like a man with his eyes on the prize. And you’d expect nothing less from an artist who ground his way to the top via the hustle of independent records. Signing to Big Cat Records in the wake of his local single “Black Tee,” he dropped his debut record, Trap House, in May 2005. The independent album moved an impressive 140,000 units, largely on the strength of the “Icy” single, featuring Jeezy. Clamor over song rights sparked dispute, and the resulting rift grew.
Controversy notwithstanding, Mane’s independence was cemented: “I was on the independent scene for about two years,” he recalls. “It’s crazy! You gotta go into your own pocket to support your craft. You need other avenues to have money coming in, to support your stuff. You might win, you might lose, and it’s a gamble out there with the independent circuit. One thing you’d better have is good music because without that, you go downhill fast in the independent game.”
Good music firmly in hand, Gucci was fast approaching stardom when more tragedy befell him. But let’s backtrack; how did the man born Radric Davis in Bessemer, Alabama, become Gucci Mane, mouthpiece for Atlanta stuntin’? Mane remembers little from his time in Alabama, just that it was rural, and that it’s changed dramatically since he left at the age of nine. “I gotta shout out Alabama though, because they holdin’ it down,” he affirms. “Every time I go there to do a show, I’m impressed with how hip-hop culture has taken root.”
Mane’s identity coalesced when he moved with his mother to Atlanta. “I lived all of my adolescent and adult life in Atlanta,” he explains. “I’m from East Atlanta Zone Six; it was hard, man, it was real rough. I grew up in the Starter jacket era: they’d take your Starter jacket, your 8Ball jacket, they’d take your hat, your shoes. It was just no holds barred on the streets, dog eat dog. If you missed the bus, you had to be crewed up or you’d get jumped. It was wild when I came up.”
It’s a bleak portrait. When asked to describe his home life more vividly, Mane offers a look into his contemplative side, a side honed as a schoolyard poet. “I was just a young dude in a single parent house most of my life. I can’t complain that much. I would guess it’s like any black child growing up in a single parent household. There are a lot of people who know how that is. I didn’t have a lot coming up; but what I did have, I appreciated. I was blessed to have a caring mother to raise me right and to help me with my business ventures; she’s been there through the whole struggle. There’s a lot that goes along with that; it made me who I am today.”
A stepfather would enter the picture during Mane’s adolescence, introducing not only a male figure, but also inspiration for Mane’s unusual moniker. “My father came in, the original Gucci Mane; that’s what people in the neighborhood called him, and that’s where I get my name from. From then on, I grew up the son of a hustler and a schoolteacher; it was the best of both worlds because I was educated twice.” Drawing inspiration from a pantheon of rappers before him –Big Daddy Kane, LL Cool J, Ice Cube, the Beastie Boys, N.W.A—Mane went on to release Trap House, a lethal brew of his signature sound: “I call my music straight Gucci: going hard and whatever beats you make you for me, if I’m feeling it, if I’m rocking with it, I’m gonna crush it. When you hear me, you hear a lot of pain, a lot of hood; you hear what’s going on in the inner city in Atlanta.”
Unfortunately, Trap House was ill timed; the month of its release, Gucci was accused of murder and jailed for two days. Eventually deemed to be acting in self-defense, and without sufficient evidence to hold him, Mane was exonerated. But the ordeal left an indelible imprint on the man. “I learned to keep better company, watch where I go, and be mindful of my surroundings at all times,” he reveals. “Watch what I say, watch what I do and how I do it, just keep myself out of the wrong crowd.”
“I always stand up man,” he continues. “I’m one of the toughest guys I know. It’ll take a lot more than that to break me down.” Undeterred, Mane was back in the studio, preparing 2006’s eerily apropos Hard To Kill. The buzz from Hard To Kill vaulted Gucci Mane from regional commodity to national treasure, and major labels responded accordingly: “There was a bidding war going on, and I liked Atlantic’s approach. They made it known that they wanted me, they felt where I was going and that I could grow with them.”
Asylum/Atlantic Records welcomed Gucci Mane in early ’07, granting him his own imprint, So Icey Entertainment. With it comes an entire stable of artists, the So Icey Boyz. As the Boyz ready for their own exposure –“I got them in training; they be in the weight room, pumping iron, doing pushups, shopping at the mall, buying ice”—Gucci is focused on his magnum opus, Back to the Trap House. “I started working on the album, and by the third song, I was like ‘This is going back to the Trap House.’ I started feeling the same way I did when I made my first album. It had the same feel to it, the same freshness. And I had the same hunger and desire I had when I first started rapping.”
“Since I went major, I want everybody to know I’m still keeping it street, keeping it hood,” Gucci maintains. “I’m trying to take it back to all my fans that I had when I first started my career. And at the same time, I’m trying to open up my new album to a new fan base. So it’s a mix for everybody coming together, like my first album was.” Gucci has always prided himself on his innate ability, and his refusal to let guest appearances dictate the tone of his records. “I just want people to know I’m a great songwriter, man,” he asserts. “I’m passionate about what I do, and it’s choreographed strategically when I do it. I bring a lot of experience, creative wordplay, and a crazy style. And my albums, I record most of the songs without writing them down; it’s a God-given gift and I just get paid for it. It come from God, it’s like wondering what makes a bird fly. He made me a poet like the great poets of the past.”
But don’t mistake Gucci’s confidence for self-absorption. The vicissitudes of his career have dictated a longer view. Lyrics aside, he’s less preoccupied with visible means and more so with acting as an emissary from his under-repped block. “I’m not the one to glorify what goes on in the hood,” he insists. “We have everything there, the whole range from violence to people getting on the bus and going to work. There’s a lot more to the hood than just drugs. It’s a bigger story, there’s a big picture. I went to school in that neighborhood, I worked there, I trapped there, I hustled there, and I got my name there. I’m proud to be from East Atlanta Zone Six, and I claim there. I hold that on my back and carry that, to be the first one from there to really rock.”
And Gucci’s professional aims have matured as well. While other rappers stress platinum plaques, Gucci hasn’t forgotten the route he took to stardom. “I made a lot of CDs on my own. People fucked with me and supported me, and just made me the man I am today. That’s my blueprint right there, and I stay mindful of it. So now, my only concern is that people feel my music; at the end of the day, I do it for people to feel it. If one person feel it, two people feel it, I feel like my job’s been done.”
Fortunately for Gucci, he should be prepared to welcome an army of new fans with Back to the Trap House. But longstanding fans shouldn’t fear; they’ll recognize “Freaky Gurl,” reprised from its previous appearance from Hard To Kill. Luda, upon hearing the joint, asked for a guest spot on the remix. Said remix now appears as the lead single on Back to the Trap House, following in Gucci’s theme of mating old and new. Over a bouncing, meandering beat from Cyber Sapp, the two cook up the requisite concoction of whips, chips, and chicks. Also look out for “Bird Flu,” the album’s number two single, laced by New-York based Supa Sonics. Elsewhere, firm guest verses from Rich Boy and Pimp C of UGK round out Gucci’s regional flavor, while Bay-area producer Zaytoven (of “Icy” renown) locks down Gucci’s West Coast appeal.
Gucci Mane has something for everyone, and with the struggles of the past in his rearview, Gucci is settled in for his ride to the top. “I’m best known for controversy but I’m trying to gain respect as a songwriter and entertainer. I plan to hit them so hard with this album; who knows what the future will bring. I’ll be banging them out till I can’t bang no more.”
Girls Kissing Girls
Gucci Mane Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Girls going wild I got girls kissing girls
Girl after girl girl after girl
Girls going wild I got girls kissing girls
Me her her and her, grab her by her hair
Naked girls in here, girls touchin on girls
Your lil precious daughter
Still let her hit the blunt till
She feels like I feel
Will not just cost a lil
Back round like a hill
These hoes are for real
Me her and her friends
They look like they twins
She so fuckin fine that I
Touched her up again
Told her next time she can
Bring her other friend
Then I lost her number never seen again
The best brain in the world
Do her thing with a girl
But don't call her yo girl
Yo listen I a'int with yo girl
Girl after girl girl after girl
Girls going wild I got girls kissing girls
Girl after girl girl after girl
Girls going wild I got girls kissing girls
Poppa, Poppa Bear, I'ma need some honey
Chew it like a gummy, stupid juicy oozy runny
Listen Gucci Mane I got what u need
Keisha and Alisha and Tamika got the weed
Girls everywhere Gucc go and get the camper
White girls too ohh Julie Annie Amber
Can I squeeze your boobs
Let me see your boobs
Ain't none of these bitches
On my cruising altitude (altitude)
Minaj is the name
It's me and Gucci tag team Wrestlemania brain
I'm stupid uh I'm stupid can u
Teach me how to read
Lil mami get to flashin get
Yo Mardi Gras beads
Girl after girl girl after girl
Girls going wild I got girls kissing girls
Girl after girl girl after girl
Girls going wild I got girls kissing girls
The lyrics to Gucci Mane's "Girls Kissing Girls" are explicit and showcase the rapper's extensive experiences with a wide variety of women. The song's lyrics show Gucci Mane's fascination with women who are open to experimenting with other women, without necessarily being lesbians. He brags about his ability to bring women together to indulge in sexual activities with each other through the clever use of various substances, such as pills, weed, and alcohol. He also mentions how he prefers a particular woman but would nonetheless accept any woman willing to engage with other women.
The line "your lil precious daughter, got her high as hell, make her pop a pill," shows Gucci Mane's insensitivity towards his partners' age and his willingness to get anyone, even young girls, high and indulge in the sexual act. He also mentions his need for new experiences, stating how he quickly loses interest in a woman if she is no longer willing to indulge with other women sexually.
The song portrays Gucci Mane as a player with a preference for women who are willing to experiment with other women. He is vocal about his hedonistic desires and does not shy away from using drugs to entice women into fulfilling those desires. Overall, the song reflects a highly sexualized and rather misogynistic attitude towards women.
Line by Line Meaning
Girl after girl girl after girl
Repetition of the phrase emphasizes the abundance of girls at the party.
Girls going wild I got girls kissing girls
The singer boasts about the number of girls who are engaging in sexual activities with one another under his watch.
Me her her and her, grab her by her hair
The singer describes having sex with multiple girls at once, while also roughhousing with them.
Naked girls in here, girls touchin on girls
The scene at the party is filled with nudity and sexual experimentation between girls.
Your lil precious daughter
The artist references someone's naive and innocent daughter, implying that she is also involved in the party's sexual activities.
Got her high as hell make her pop a pill
The singer brags about encouraging a young woman to get extremely high, suggesting that he has a disregard for her well-being.
Still let her hit the blunt till
Despite getting her high on other substances, the singer still permits the woman to smoke marijuana with him.
She feels like I feel
The woman's altered state of mind is in sync with that of the artist.
Will not just cost a lil
The cost of the party is substantial, suggesting that the artist is wealthy or extravagant.
Back round like a hill
The abundance of girls at the party is overwhelming, likened to a large hill or mound.
These hoes are for real
The singer emphasizes that the girls he encounters are serious about having sex with one another.
Me her and her friends
The artist is involved with multiple girls as well as their group of friends.
They look like they twins
The singer is attracted to girls who resemble one another.
She so fuckin fine that I
The singer is extremely attracted to a specific woman.
Touched her up again
The singer has sexual contact with the woman again.
Told her next time she can
The artist implies that he will have sex with the woman again in the future.
Bring her other friend
The artist encourages the woman to bring another friend to participate in sexual activities.
Then I lost her number never seen again
The singer suggests that he is always on to the next woman, unlikely to maintain long-term connections with those he encounters.
The best brain in the world
The singer is referencing the sexual abilities of a specific woman.
Do her thing with a girl
The woman is bisexual and willing to engage in sexual activities with another woman.
But don't call her yo girl
Despite engaging in sexual activities with the woman, the artist does not view her as his girlfriend or partner.
Poppa, Poppa Bear, I'ma need some honey
The artist is requesting drugs or medications to enhance sexual activities.
Chew it like a gummy, stupid juicy oozy runny
The drugs or medications are described as sweet and pleasurable, despite their negative side effects.
Keisha and Alisha and Tamika got the weed
The artist references specific women who have access to marijuana.
Girls everywhere Gucc go and get the camper
The singer implies that wherever he goes, there will be an abundance of women who are willing to engage in sexual activities with him.
White girls too ohh Julie Annie Amber
The singer is attracted to women of different races, specifically white women named Julie, Annie, and Amber.
Can I squeeze your boobs
The singer asks a woman for permission to touch her breasts.
Let me see your boobs
The artist requests to see a woman's breasts.
Ain't none of these bitches
The artist has negative views of the women he encounters, referring to them as 'bitches.'
On my cruising altitude (altitude)
The singer suggests that he is on a higher level or superior to those around him, both in terms of status and sexual prowess.
Minaj is the name
The singer references the rapper Nicki Minaj, who is known for her sexually explicit lyrics and image.
It's me and Gucci tag team Wrestlemania brain
The artist and Gucci Mane are working together to engage in sexual activities with women, likened to a wrestling team.
I'm stupid uh I'm stupid can u
The artist contradicts his earlier claims of being superior by describing himself as 'stupid.'
Teach me how to read
The artist is requesting assistance with basic literacy, suggesting a lack of intelligence or education.
Lil mami get to flashin get
The singer is encouraging a woman to reveal her breasts in a flashing gesture.
Yo Mardi Gras beads
The artist references the Mardi Gras tradition of women flashing their breasts in exchange for colorful beads.
Lyrics © Universal Music Publishing Group
Written by: ONIKA TANYA MARAJ, RADRIC DELANTIC DAVIS
Lyrics Licensed & Provided by LyricFind
@kentownsend9273
2021, man this era was crazy I’m glad this the music that started it all for me
@treysmith7344
gorgeous was the hardest song on this tape.. im glad i grew up in this era
@deandrep4273
bruh this song came out in like 2012 lmao
@CrownxMe7
@@deandrep4273this video was uploaded in 2009. Tf you talking about lol
@bcoakley-rv5uq
2023, this generation jus dont know how much gucci was around for a long time LegendaryWop
@taylorchanel5
💯🏁
@jaylennn90
nicki........wow the queen of hip hop
@RyanGarloff
Totally forgot about this awesome Nicki verse. AND I forgot about Easy too. Damn.
@estebanortega4093
By far nickis best work..she got offffff
@MrsBoosie414
Girls Kissing Girls 💯💙😍