SAY SOMETHING
Talib Kweli Lyrics

The year is 1975 (yeah)
This song is set in the year 1975, a significant time period in history.

Brooklyn, New York City (stand up)
The song is specifically referencing Brooklyn, New York as the birthplace of the artist and highlighting the pride associated with it.

A child destined for greatness is born (we goin' in)
The artist, Talib Kweli, is portrayed as a talented individual with a bright future ahead.

Let's go
This line serves as an encouragement to begin or take action.

Get your hands in the air (get em up!)
The artist is urging the audience or listeners to raise their hands in excitement or celebration.

Put your hands in the air (put em up!)
Similar to the previous line, the artist is encouraging the audience to show enthusiasm by putting their hands up.

Talk shit now, what? What?
The artist challenges anyone who has negative things to say about him or his abilities.

Talk shit now
This line is a continuation of the artist challenging those who criticize or underestimate him.

Say something, say something (what was that?)
The artist is daring anyone to speak up or respond to his challenges with their own opinions or words.

Say something (I dare you), say something (yeah)
Similar to the previous line, the artist is daring others to speak or express themselves.

The Lord Chief Rocka, I'm colder than meatlockers
The artist references himself as an exceptional and talented individual, with his skills surpassing others.

My people keep throwin' it up like cheap vodka
The artist's fans or supporters continuously show their loyalty and support, similar to the way cheap vodka bottles are thrown up in celebration.

I smack internet MC's and beat bloggers
The artist boasts about his ability to outperform and overshadow other mediocre rappers and critics on the internet.

You can see my Black Thought like 'Riq Trotter
The artist's lyrics and thoughts can be compared to the artistic creativity and depth exhibited by Black Thought, a well-respected rapper.

It's deep, go ahead and sleep, they know in the street
The artist suggests that while some people might overlook or underestimate him, those who truly understand hip-hop and street culture recognize his talents.

Kwe' gon flow on the beat proper composin' complete operas
The artist showcases his ability to effectively rap on any beat and craft meaningful, intricate songs similar to the structure of a complete opera.

Longer than a cigar that's Godfather
The artist's songs or verses are lengthy and captivating, just like a Godfather movie.

Tappin' two heart chakras, I'm harder than Gobstoppers
The artist's music or presence deeply impacts and resonates with individuals, symbolized by tapping into their heart chakras. He also implies that he is more persistent and enduring than Gobstoppers, a type of candy.

People comin' for the throne not knowin the seat hotter
Others may attempt to challenge the artist's position or success without realizing the intense competition and pressure he faces.

Than fish grease, criminal names on police blotters
The artist suggests that he is hotter or more dangerous than heated fish grease, while also referencing the criminal activities associated with certain individuals mentioned on police records.

You can miss me, I hit targets like top shotters
The artist confidently states that he hits his targets with precision, similar to skilled marksmen or top shooters.

Out in the Mideast like Muslims takin' Shahada
The artist references his presence or influence in the Middle East, comparing it to the process of Muslims embracing or converting to Islam (Shahada).

I'm sayin makin' a profit, a product of Reaganomics
The artist highlights his ability to generate financial success and attributes it to the economic policies implemented during the Reagan administration.

Awake and I'm stayin' conscious to radio playin garbage (yeah)
The artist is actively aware and critical of the low-quality music typically played on the radio, highlighting his commitment to producing meaningful and thought-provoking work.

Blacksmith Music, if you don't pay homage
The artist emphasizes the importance of recognizing and showing respect to the record label, Blacksmith Music, that he is associated with.

I'ma show you how we break an artist
The artist is confident in his ability to successfully promote and establish an artist's career, intending to demonstrate this process to others.

That's a threat, I'm not makin a promise
The artist communicates his determination to take action in a threatening manner, distinguishing it from simply making empty promises.

Speak to the people like Barack Obama
The artist compares his ability to effectively communicate and connect with people to that of Barack Obama, the former President of the United States known for his charismatic speeches.

They worship like the black Madonna, c'mon
The artist suggests that people have a strong admiration or reverence for him, similar to the way some individuals venerate the black Madonna, an important religious icon.

Niggas talk shit, but they ain't got skills
The artist acknowledges that there are individuals who engage in negative talk or criticism, but lack the talent or abilities to back it up.

I'm the type of nigga to put lead in your grill
The artist asserts that he is not afraid to physically harm those who make disrespectful comments or threats, metaphorically referring to putting bullets in someone's mouth (grill).

Number two pencil is sharper to bruise mentals, and
The artist suggests that his sharp and clever lyrics, like a sharpened pencil, have the power to hurt or leave a lasting impact on individuals mentally or emotionally.

Beatin in my chest is the heart of a true gentleman
The artist indicates that despite his aggressive or assertive nature, he possesses a kind and chivalrous heart, embodying the traits of a true gentleman.

Still spit right in your face
The artist remains unafraid and unapologetic, even in the face of confrontation or opposition.

Fuck a Top 8, back up, gimme my space, you're not safe
The artist dismisses the relevance or importance of online social media hierarchies, insisting that others give him personal space while cautioning them about their safety if they try to approach him disrespectfully.

Yeah, they say I'm back, but I ain't go nowhere though (uh-h)
The artist acknowledges that some people claim he has returned, but in reality, he has always been present and consistent in his career.

Been here the whole time (yes)
This line reinforces the previous statement, highlighting the artist's continuous presence and dedication in his craft.

Where you been? You back
The artist questions the whereabouts of those who doubted or questioned his absence, sarcastically acknowledging their realization that he has indeed returned.

Matter fact, apologize
The artist demands an apology from those who failed to recognize his ongoing presence and success.

Open your mouth, say somethin', I fuckin' dare you
The artist directly challenges anyone to speak up or criticize him, provoking them to take action at their own risk.

Chokin' you out 'til you can't suck any air through
The artist metaphorically describes suffocating or overpowering his critics to the point where they can no longer express themselves or have any influence.

Fuck with your man too
The artist intends to confront or engage with those who associate or support his critics, implying that they will also face consequences.

thinkin' I can't do what I plan to vet vandal, niggas are brand new
The artist asserts that those who doubt him or his abilities will soon realize that he can execute his plans perfectly, proving their ignorance and showcasing their naivety.

Ain't knew I was bad news, look at the tattoos
The artist suggests that anyone who underestimates him or perceives him as a threat should have recognized this truth earlier by observing his tattoos, which may symbolize his rebellious or fierce nature.

Get ran through like you was fingers through Sassoon
The artist implies that those who oppose him will be easily defeated or dealt with, similar to how fingers pass through hair when using Sassoon products, indicating a smooth and effortless victory.

Horror chick in the bathroom, off the backstage room
This line refers to a mysterious or provocative woman in the backstage area of a concert venue, hinting at a scandalous or thrilling encounter behind closed doors.

Shit you couldn't imagine, nigga I'll harass you
The artist alludes to engaging in extraordinary or mind-blowing experiences that others cannot fathom, and he is willing to tease, intimidate, or annoy his adversaries.

I'll Ras Kass you, Soul on Ice and body cast dude
The artist compares himself to Ras Kass, another influential rapper known for his lyrical prowess, suggesting that he can outperform or outshine his competition with ease. He also mentions the album 'Soul on Ice,' which refers to deep introspection and profound insights.

Past due, Jean and Kwe' the last two action heroes
The artist, along with a reference to Jean Grae, another rapper, portrays themselves as the remaining, dominant figures in the hip-hop industry, akin to heroic characters in action movies or comic books.

Actually had the capacity, to be the ones in a class of zeroes
The artist emphasizes their genuine talent and potential, capable of rising above others who lack skill, creativity, or influence.

Hip-hop's not dead, it was on vacation
The artist dismisses the notion that hip-hop music is dead or irrelevant, suggesting that it was merely taking a temporary break or experiencing a decline in quality.

We back, we bask in the confrontation
The artist proudly declares their return and enjoyment of confrontational situations, indicating their confidence and readiness to face challenges.

You can ask me, have any conversation (c'mon)
The artist welcomes and encourages others to engage in conversations with him, emphasizing his willingness to discuss various topics openly.

You talk shit, Blacksmith, Jean, I'm waitin' nigga
The artist asserts that if someone talks negatively about him or the record label Blacksmith, which he is associated with, they will face his presence, confidently awaiting confrontation.

We not fallin' for your trick 'cause your image is like a gimmick
The artist asserts that he and others are not deceived or fooled by someone's fake or artificial image, recognizing it as nothing more than a marketing tactic or gimmick.

Forget it every rhyme is bitten, you like a mimic
The artist dismisses and disregards individuals who copy or imitate his lyrics, characterizing them as mere imitators without originality or creativity.

I'm talkin' to the Lord and I'm askin' him for forgiveness
The artist hints at expressing remorse or seeking divine forgiveness for his actions or words, indicating a sense of humility and spirituality.

Just for kickin' niggas out the club like Michael Richards
The artist humorously compares himself to Michael Richards, an actor known for his role on Seinfeld, who faced criticism for making racist remarks during a stand-up comedy routine. The artist suggests that he kicks people out of clubs for similar offensive behavior.

Yeah I admit, I'm guilty, the way I spit is filthy
The artist playfully admits to delivering explicit, raw, or controversial lyrics, acknowledging that his style may be considered offensive or uncensored by some.

I keep it gritty so they get it they feel me, the flow
The artist intentionally maintains a raw and unpolished style to ensure that his listeners understand and connect with his authentic and genuine expression.

Is known for touchin' the soul of street hustlers
The artist's music, particularly his lyrical content, resonates deeply with individuals involved in street hustling or urban cultures, speaking to their experiences and emotions.

I speak in the language they know I keep customers
The artist communicates in a manner understood and appreciated by his target audience, ensuring he retains a loyal and dedicated fanbase.

The writin' therapeutic, it's due to the pain and sufferin'
The artist finds writing lyrics to be a therapeutic and cathartic process, as it allows him to transform his experiences of pain and suffering into meaningful and impactful art.

While these dudes get it confused and abuse the creative substance
The artist criticizes other individuals who misuse or exploit the creative substance or power of music and lyrics, failing to understand or appreciate its true value.

I'm givin you a contact high, my name buzzin'
The artist metaphorically compares the experience of listening to his music to the euphoric feeling or influence of a contact high from drugs, highlighting the excitement and attention his name generates.

And I came in the game with nothin', stop frontin' nigga
The artist emphasizes his humble beginnings and lack of privilege or advantages when entering the music industry, confronting anyone who doubts or underestimates his success.

The year of the Blacksmith is not defined by any calendar
The artist suggests that the significance or impact of Blacksmith, likely referring to his record label, cannot be limited or determined by time or specific dates.

Just thought I'd remind all you challengers
This line serves as a reminder to those who challenge or underestimate the artist's abilities, asserting his confidence and dedication to his craft.

Get the name right, BKMC, Talib Kweli, say it again
The artist requests that others properly acknowledge and pronounce his name and associated acronyms, reminding them once more of his identity and talent.

Get your hands in the air (get 'em up)
Similar to earlier lines, the artist encourages the audience or listeners to raise their hands in excitement or celebration.

Put your hands in the air (put 'em up)
This line reiterates the previous one, insisting on active audience participation by putting their hands up.