Original subtitles

‐ Bobby? I'm your Uncle Hollis.

This is my sister, Goldie.

‐ We're happy to have you, Bobby.

‐ No!

‐ You're men now. All of you.

You have to make something of yourself.

BOBBY: Gary met this manager.

‐ The fur business and the music business,

good to be in together.

I really dug the demo you sent me.

Not every day I get a tape labeled "Genius" on it.

‐ We had this performance at this pub in Manhattan,

and yo, 'Vine, I killed it.

DRE: Monica Lynch from Tommy Boy Records,

my client, Bobby.

‐ Such a pleasure, Bobby.

We'd be very interested

in having you come in this week.

‐ You don't get an album

if you don't have a single.

Something that distinguishes you.

It's gotta be catchy.

‐ Yeah.

Yo, this.

This is the one.

‐ Bobby, this is our CEO, Tom Silverman.

‐ Oh, pleasure. ‐ Pleasure to meet you.

Think you got big star potential.

Want to get you in the studio right away.

‐ Word?

DENNIS: So you get signed, you miss the fucking big time,

'Vine out here picking up trash

on Wall Street instead of selling to 'em niggas,

and I'm supposed to, what, do business for myself?

BOBBY: If I go anywhere,

you coming with.

‐ Hey, yo, Shotgun.

Seen this shit, man?

‐ What the fuck?

♪ ♪

BOBBY: Maybe I could call Mommy,

and I could tell her I actually made something of myself.

♪ ♪

For real.

SCARFACE: ♪ I sit alone in my four‐cornered room... ♪

ASON: Give me that shit 'cause I'm up right now.

Hell, yeah.

I'm takin' all of your tour money, son.

Give me that cream.

You going home broke, son, you know that.

‐ Yo, give me those.

SCARFACE: ♪ Candlesticks in the dark ♪

♪ Visions of bodies bein' burned ♪

‐ Hey, yo, what the fuck is that, son?

SCARFACE: ♪ Starin' at a nigga ♪

♪ I'm paranoid, sleepin' with my finger ♪

♪ On the trigger ♪

‐ It's an armadillo.

They native to Texas.

‐ Yo, that shit look like a rat with a shell on it, nigga.

Like Master Splinter fuck one of those Ninja Turtles,

nigga, word. [car horn honks]

‐ Yo, food here.

[Ason muttering]

[car radio playing jaunty folk music]

DRIVER: Here's your order. That'll be 16.19.

‐ You got all the money, you pay for it.

‐ Foul, son.

[singer singing indistinctly]

[hip‐hop music playing over speakers]

[car door shuts]

[car engine roaring distantly]

[bed thumping]

[door creaks]

BOBBY: Hey, yo! Hey, hey, hey!

Hey, get the fuck up out of here, yo!

‐ Shit.

‐ I just thought y'all might be hungry, damn!

‐ Hold up, hold up, hold up, hold up.

Is that pepperoni?

‐ It's Hawaiian. ‐ What?

‐ Bring it here. ‐ Hey, yo, hey, hey.

Yo.

‐ [giggles]

‐ Something wrong with you, nigga.

‐ Is that Hawaiian?

‐ Lisa?

Oh, shit, man.

Yo, I hope y'all enjoy that.

BOTH: Mm‐hmm.

‐ Couldn't get no cheese?

‐ Nah, son, Gary got some outside, bro.

Come on. ‐ A'ight, come on, man.

I'm gonna catch y'all later.

‐ I love being on tour, nigga.

‐ Yo, I'm starting to miss New York, son.

I don't know what this is. This ain't no pizza.

‐ Hey, yo.

Yo, what the fuck is that?

‐ It's an armadillo.

‐ It's native to Texas.

‐ All right.

Yo, let's go get some waffles, a'ight?

Has to be a place around here somewhere.

‐ That shit is crazy.

‐ Come on, son. ‐ You got it.

[indistinct chatter]

♪ ♪

[hip‐hop music]

[men grunting]

[blade resounds]

♪ ♪

[gun cocks]

♪ ♪

[dice thud]

♪ ♪

[blade resounds]

[smooth blues music]

♪ ♪

[light, indistinct chatter]

[mic thuds, feedback]

‐ Yo, yo, yo, yo, yo.

Mic check, one, two.

Mic check. One, two.

Yo, play that track for me, please.

[mellow hip‐hop music playing]

♪ Time is moving slow ♪

♪ Life is a drag ♪

♪ This money to make ya, more girls to bag ♪

♪ Fully aware as I stepped into the square ♪

♪ ♪

Yo, I can't even hear myself.

Yo, I can't even hear myself, man.

Yo, can you cut it for me?

[singers vocalizing]

Yo.

♪ ♪

SINGER: ♪ I just got to be me ♪

‐ Yo. My mans.

♪ ♪

Hey, yo.

Can you turn that down for me, please?

‐ What's up?

‐ Yo, I think one of your monitors are broken.

I can't hear myself over there on the left side.

‐ They're working just fine.

‐ No, I‐I actually can't hear myself on the stage

on the left side of the monitor, so I think‐‐

‐ It's only wired for the center.

CLUB PROMOTER: Ra. Ra. ‐ What am I supposed to do‐‐

‐ Come here for a second.

Let me introduce you to a friend.

He's a regular here at my club,

and he plays for the Houston Rockets.

‐ Oh, shit, man, yo, I know who you are, man.

Yo, fuckin' last year's dunk contest,

where you put the, you know, that joint

between your legs, y'all.

You knocked it off the backboard

and slammed that shit in, yo.

Ooh! Yo, that shit was tight, yo.

‐ Thanks. You know, they traded me

two days after that, but it's all good.

I'm just happy to be here in Houston.

‐ Hey. Yo, but you from New York, though, right?

‐ Oh, Queens, baby, born and raised.

You got some height on you. You play?

‐ No, man, you know, I fuck with the microphone

and I'll be spinning.

Besides that, I mean, I ain't shit.

‐ A'ight. ‐ Hey. Hip‐Hop Connection.

You mind if I get a photo of you two?

‐ Oh, sure.

♪ ♪

[camera shutter clicks]

A'ight, man. I'ma let you do your thing.

I'll catch you after the show.

‐ Yeah. ‐ All right.

‐ Hey, your manager said I could ask you a few questions,

for the magazine?

‐ Uh...yeah.

Let's get a drink?

All right.

‐ So, uh, this is your first tour?

‐ Uh, yeah, it is, actually.

‐ How do you like it?

‐ Uh, it's been a'ight. ‐ Yeah?

‐ You know, I've been meeting a lot of new people.

A lot of‐‐ a lot of cute shorties.

You know what I'm saying? Fly honeys.

You actually don't gotta put that in there.

‐ [laughs]

‐ Yo, let me get a Alabama slammer, please.

‐ Ooh. ‐ Them shits fuck you up.

Um, but it's been a'ight.

Yeah.

After this is New Orleans.

Then we have the Carolinas.

Then Atlanta.

JUST‐ICE: Let's get that shit tight.

‐ We just doing our old circuit,

you know what I'm saying?

SINGER: ♪ Just‐Ice, Ice, Ice ♪ [echoing]

‐ And you're working on your album for Tommy Boy?

‐ Uh...

♪ ♪

Yo.

♪ ♪

Yo, I can't‐‐ I can't believe this shit.

‐ Damn, that was sweet, son.

‐ You gonna do me like that, yo?

Wow.

‐ Yo, we got a problem, son.

‐ Uh, a'ight.

Let me handle some shit,

and I'll get back to you a little later?

JOURNALIST: Sure.

‐ A'ight.

♪ ♪

ASON: Shit's crazy, man.

BOBBY: What's up, man? What's the problem?

ASON: Buggin'. ‐ What's up, man?

What's up?

‐ We out of weed.

‐ Yo, nigga,

just go and buy some, yo.

You got money.

‐ From who?

You know somebody in Texas, man?

‐ Look, yo, what about Naughty and them?

Yo, we just smoked them out the other day.

‐ They're not here yet, son.

‐ Oh, shit.

♪ ♪

Uh, yo.

Y'all smoke weed in Houston?

‐ Uh, yeah.

♪ ♪

‐ Can you hook my cuz up? Please, he's feening, man.

‐ Come on, man.

‐ Yeah.

♪ ♪

‐ [clears throat]

[music slows, stops]

Yo, uh, hey, man, uh, look,

I know earlier, you were saying it's not wired,

but how am I supposed to hear myself on the side?

‐ Know what, just don't move around so much.

‐ Wait, what? ‐ Excuse me.

You got a second? ‐ What do you want me to say?

‐ They want you to sign some of these records

at the merch table.

‐ Okay.

‐ Yeah.

On the way.

♪ ♪

So how many of these do I gotta sign?

‐ Uh, guess just enough for them to seem rare and special.

BOBBY: Hey, yo.

Let me ask you a question.

What do you think about this?

‐ The song?

‐ Nah. The album, man.

The cover.

‐ Hmm.

Doesn't really look like you, but it's cool.

I guess.

♪ ♪

‐ Hey, yo, those are those new joints, right?

‐ Uh, yeah, just got 'em.

So.

‐ Yo, what the fuck?

Yo.

Yo, no, no, no, no.

No, yo, yo.

Yo, where the fuck is Dre at?

Hey, yo, Dre!

[desolate music]

Yo. Hey, y'all know where Dre's at?

Yo. Yo.

Have you seen that shit?

[hip‐hop music]

‐ Fuck.

Are you serious? Are they all like this?

‐ Hell, yeah, they all like that.

‐ Stupid fucking Raymond.

‐ You couldn't get a motherfucker

to make legit T‐shirts?

Don't you own a fur company?

‐ Hey, I'll take care of this.

Don't worry about it. I got this.

Let me use your phone for a second.

‐ Come on, man.

Come on.

♪ ♪

‐ So, are we not selling these or...

‐ Yo, look at them shirts.

My name is Rakeem, not Rakim!

R‐A‐K‐E‐E‐M!

Yo! Come on‐‐

[tense music]

Shit.

‐ Your name is what?

‐ Rakeem. They spelled my shit wrong.

‐ You know what that means? ‐ Means somebody fucked up.

‐ No, do you know what your name means, God?

‐ R is the first letter of your name.

R is for rule.

To rule is in the nature of the black man.

Rules are given to those who are living

the righteous way of life.

And those rules are given by the king who is Allah,

the only ruler there is.

♪ ♪

What's today's mathematics, God?

♪ ♪

What's today's mathematics, God?

‐ Today's mathematics is Knowledge Understanding

all being born to Culture.

Knowledge and Understanding allows the Asiatic Black Man

to reign supreme over his cypher

and share the Culture with those

who want to attain the 12 jewels.

Peace, God.

‐ Peace, God.

This your man?

‐ This is my cousin.

It's all good.

‐ Well, you better school this fake‐ass Rakeem,

before he catch a beat‐down.

[mellow hip‐hop music]

♪ ♪

‐ Good, cuz?

‐ The fuck did I do to that nigga, yo?

‐ You calling yourself Prince Rakeem.

You gotta know the knowledge behind that shit.

The Gods take that shit seriously.

‐ Hey, I don't understand a word that man said, a'ight?

All I know is,

shit sounded like some religious bullshit.

‐ It ain't even like that.

It's not about faith or belief.

There ain't no mysteries to God.

You, the black man, are a God.

Once you gain knowledge, it's gonna wipe away

that fear in you.

You know what I mean? Build your confidence.

Look at Just‐Ice.

Any club he walks into,

any stage he steps on is his and his only.

That's because the man got knowledge of self.

This shit is real.

♪ ♪

Want the Lessons?

♪ ♪

‐ Yeah. ‐ Say the word, son.

‐ All right, man, yeah.

Take a lesson or whatever.

‐ I'll give you something to read,

but if you want to learn,

you have to build with the Gods.

A'ight?

♪ ♪

‐ Hey, yo, so I was thinking,

maybe tonight, we perform Pass the Bone.

‐ Together?

‐ Hell, yeah.

‐ Yo, I got my shit.

You got your shit.

But me, you, and Ason together up there,

we stronger together.

You know what I'm saying?

You remember them Jamaicans at Park Villa.

‐ No doubt.

Hey, when we form like Voltron, ain't no stopping us.

‐ Yes, that's what I'm sayin'. JUST‐ICE: Mic check.

One, two.

Mic check, one, two, one, two.

Hey. Turn me up in the monitors.

I can't hear myself.

SOUNDMAN: Only the center one's wired.

‐ Yo, rewire the other monitors, motherfucker.

And don't give me some bullshit excuse,

'cause I know yo' ass can do it.

STAGE WORKER: This shit again? ‐ What?

Hey, speak up, motherfucker.

STAGE WORKER: Okay, give me a couple minutes.

I'll take care of it.

‐ Which one of these do you want to wear for tonight?

‐ Oh, shit.

Yo, what happened to my Army fatigue joint

I had on the other night?

‐ Ask your backup dancer. ‐ Hey, yo, cuz.

Yo, that's my shit. Yo, that's my jacket.

‐ My jacket now, nigga. [laughs]

‐ A'ight.

‐ Yo, they about to have you out there

looking like Big Bird in this thing.

‐ Hell, no.

I feel like I'm fucking with what I have on right now,

you know, this Carhartt, this Champion hoodie.

Shit's more me. [stylist sighs]

‐ Hey. Hey, but thank you.

ASON: Yo, what's up?

I need room to do the Ason slide, cuz.

I come right up to the edge.

‐ Can't you just do it, like, five feet that way?

‐ What, you my choreographer now?

‐ Hey, yo, yo, it's all good.

Hey, guess what? ‐ What's up?

BOBBY: Yo, tonight, we performing Pass the Bone.

‐ Hoo‐hoo! BOBBY: A'ight? Yo, I need us‐‐

I need all of us to be on the same page.

So I'ma finish up this microphone check,

I'ma catch y'all niggas backstage.

‐ Oh, word, you know that's my joint too, cuz.

You know that.

‐ Spoke to Raymond about the shirts.

Hopefully we'll have new ones before the tour ends.

‐ Hope you got your money back. ‐ Yeah.

And you're going on first tonight.

‐ Wait, what?

‐ Yeah, apparently, Naughty just left Dallas.

They're gonna be late. Might not even make the show.

‐ Why do I have to go on first?

I mean, that's like performing for an empty crowd.

Nobody even be here for the opener, yo.

‐ You want to ask Just‐Ice if he would do it instead?

‐ Can't we just ask the DJ to spin until this shit pack up?

‐ Look, Ra, stop sweatin' the small shit.

You think I would've signed you if I didn't think

you were a star?

Look, so your single came out less than a month ago

and look where you're at already.

All you gotta do is focus and put on a good show.

That's it.

Doesn't matter if there's two people today.

Tomorrow there's gonna be 200 and then 2,000.

You're on your way, man.

Trust me.

‐ All right, man. [sighs]

Let me get back to this microphone check.

I'ma holler at you later.

♪ You know how I blow, this is not lazy ♪

♪ I'm fuck‐‐ fuckin' crazy ♪

♪ I kiss the... uh, ooh‐rah ♪

♪ ♪

♪ And my labels fuck me deeply ♪

♪ This is enhancing, charming ♪

[clears throat]

Hey, yo, yo.

Mic check, one, two.

One, two. Mic check.

Mic check, one, two, one, two.

Man, now I sound muffled, man.

STAGE WORKER: You gotta uncuff the mic.

BOBBY: What?

Yo, can y'all lower that light, please, man?

I can't‐‐ I can't even see you, yo.

♪ ♪

[radio host speaks indistinctly]

ASON: Pass the Bone every night, son.

Yo, they was loving that.

ANDRE: I swear everybody in that building

sparked up when y'all did that song.

I caught a contact high.

GARY: Yo, I just love that beat.

That shit is funky.

BOBBY: Hey, yo, Pass the Bone is the one, son.

She playin' it on‐air today, right?

‐ I don't know. ‐ They better.

Our shit is fire.

Gonna sound dope on the radio.

Hey, but I feel like

that should be your first single for real on the album.

You know I got some beats for you too.

‐ Hey. Welcome to Q93.3.

What's up, guys? You guys can just follow me this way.

I'm looking forward to the show.

You been to New Orleans before?

‐ Nah, but I heard y'all niggas know how to party, though.

‐ What's it called? ‐ Which one?

‐ Talking about that Mardi Gras joint.

‐ That was last month, but you hit up Bourbon Street,

I'm sure you'll have a good time.

‐ See, we should've gotten here last night, man.

‐ All right, well, y'all can chill out

right here, okay, until they're ready for you.

If you need anything else, let me know.

Naughty by Nature's already here.

BOBBY: You better get my tracks now while I'm still cheap, yo.

‐ Yo, what's these? INTERN: They're beignets.

A New Orleans staple.

‐ They made with lard? INTERN: I can find out for you.

‐ Oh, son. ‐ Yo, yo, what's up?

What y'all doing out here, man?

‐ We go where Tommy Boy tells us, man.

‐ Word.

‐ You guys have the same clothes on from yesterday.

‐ We ain't never make it back to the hotel.

ASON: This the first time Bobby and Gary gonna be on the radio.

Y'all ready? ANDRE: Ain't gotta be ready.

They were born for this.

[chorus sings baritone vocalization]

BOBBY: ♪ Yo, chill with the feedback black... ♪

♪ Shit, we don't need that ♪

[muttering lyrics]

[whispering lyrics]

♪ Yo, chill ♪‐‐

♪ Yo, chill with the feedback black we don't need that ♪

♪ It's 10:00, ho, where the fuck is yo' seed at? ♪

♪ ♪

♪ It's 10:00, ho, where the fuck is yo' seed at? ♪

[lyrics echoing]

♪ It's 10:00, ho... ♪

SINGERS: ♪ Jesus walks ♪

♪ Jesus walks ♪

BOBBY: ♪ Feeling mad hostile ♪

SINGER: ♪ Jesus walks with me ♪

BOBBY: ♪ Flowing like Christ when I speaks the gospel ♪

♪ When I speaks the gospel ♪

SINGERS: ♪ Jesus walks ♪

‐ They fucked that nigga up, man.

‐ That shit ain't nothing new, man.

They been doing this shit to niggas forever.

‐ Least they got it on tape now.

‐ Don't even make a difference.

They ain't gonna do nothing to the pigs.

ANCHOR: The Los Angeles police chief looked at the tape...

‐ Hey, yo.

Where y'all go last night?

TREACH: Yo, hold up.

Somebody farted?

Which one of you niggas farted, man?

‐ What's up, party people?

Welcome to New Orleans.

Thank you for coming. ‐ What's up?

‐ You got any questions before we head in the booth?

‐ Can I smoke? ‐ No.

They coming? ‐ Nah, it's all good.

Just me and Ali Baba, man. ‐ Is that shit real?

‐ Well, I'm not gonna argue with a man who's got a machete.

‐ Mm‐hmm. ‐ Come on, guys, follow me.

[anchor continues indistinctly on TV]

BOBBY: I'm just telling you, when Pass the Bone hits,

my producer fee is gonna blow up your budget.

Shit, with my single and now your single,

I'm gonna have two hits on the radio.

ZINA: Y'all can wait out here.

‐ Damn. ZINA: Yeah.

A'ight, so check it out.

When we come back from commercial,

we gonna play a snippet from the Genius' new single,

and then we come back, I'ma have y'all

kick a few rhymes, okay?

I assume your people prepped you for that?

A'ight.

Good, so it's supposed to be fun,

so, you know, try to have a good time.

You all comfortable?

You need anything?

‐ How about one of them Hurricanes, man?

This New Orleans.

I know y'all got something stronger than water.

‐ Go bring in that bottle of Henny.

‐ I gotcha.

‐ You must like the Forty Thieves.

‐ Say what?

‐ Ali Baba.

He was in Arabian Nights.

Know what I mean, they called the swords, man...

♪ ♪

‐ ♪ Stroll with the holy robe ♪

♪ Then attack the ♪

♪ Stroll with the holy robe ♪

♪ Then attack the globe ♪

♪ With the ruckus style ♪

♪ The buck‐us ♪

♪ Style, the buck‐us ♪

♪ Ten times ten men ♪

♪ Committing mad sin ♪

♪ Turn the other cheek and I'll break your chin ♪

♪ Turn the other cheek and I'll break your fucking chin ♪

ZINA: Yo, yo, yo.

You can't curse on‐air.

If we get fined, we charge your label,

and you don't want that coming out of your budget.

‐ Oh, shit.

Yo, my bad, I'm not‐‐

I'm not even trying to be on that.

‐ Yeah, okay.

But it was dope, though.

Is that the kind of stuff you putting on the album?

‐ Yeah. I hope so.

ZINA: I hope so too.

I mean, the game really needs that right now.

I mean, I know you got that whole

Prince Rakeem thing for the ladies,

but this lady wants more of that real shit.

It's Q93, your home for hip‐hop and R&B.

It's your girl, Zina D, and I got that very exclusive,

exclusive for you right now.

It's a taste of a new one from the Genius.

It's called "Come Do Me."

[laughs] Q93.

♪ ♪

‐ Yo, what the fuck?

♪ ♪

Hey, yo. Yo.

I thought we talked about Pass the Bone

being the first single on your album.

‐ Andre and the label wanted Come Do Me

to be the radio hit.

‐ Yo, that's‐‐ ‐ You know how that go.

You know how it go.

‐ Yo, so, what, y'all can still have

some of my joints on this shit, right?

You know I got them beats for you too.

‐ I'm sorry, I can't.

The album's closed.

It ain't my call.

Come on, you know label politics and whatnot.

You know I think your shit is dope.

Just put it on your album, son.

‐ I don't have an album deal yet, nigga.

I only have the single.

‐ You keep writing rhymes like you got,

you're gonna have an album deal.

Your shit is too good. ‐ Yeah, whatever, man.

‐ Almost back, guys, okay, I'm gonna come

to Treach first.

‐ Let's get a picture real quick

before we come back.

Look right here.

Here we go.

One, two, and...

♪ ♪

‐ Yo, hurry up.

I'm sorry, little mama.

After you.

We gon' be late, let's go.

‐ Relax, nigga.

You know they can't do this shit without you.

♪ ♪

‐ Hey, didn't this used to be a Bojangles'?

‐ Oh, no, that's been gone for a while now.

‐ Yo, what's a Bojangles', son?

‐ It's a fast food joint.

‐ Uh, speaking of food,

I want some grub right now.

Yo, ain't y'all known for, like,

barbecue or somethin' down here?

‐ You know they do like them hogs.

‐ Hey, you laugh, man, but I still got the scar

from that goddamn pig.

‐ Oh, shit, yo. ‐ Yeah.

‐ Jeez. Yo!

You ever heard of some fucking freaky picnic out in Atlanta?

‐ Oh, Freaknik.

Yeah, that's next month, though.

‐ Yo, we missed that too?

Ugh!

Yo, first Mardi Gras, then Freaknik.

Yo, Dre fucked this whole schedule up, son.

BOBBY: You tell him.

‐ Hey, so where'd you come up with Prince Rakeem?

‐ Rakeem.

Rakeem is original.

I'm an original man.

The black man is the original man.

We are the creators of earth and the father of civilization.

So I guess I'm going back to my original self.

‐ No, sorry, man, no, it's cool,

but you're always gonna be Bobby to me.

‐ It's all good. ‐ Yeah.

‐ Weren't y'all used to work together

on a plantation or somethin' back in the day, son?

Yo, put me on.

‐ Yo, Uncle Hollis, nigga, his farm.

My boy Teddy here, you know, he lived around the way.

‐ Y'all used to fuck them farm animals too, didn't you, son?

‐ Come on, man. ‐ Hey, hey, hey.

[crowd clamoring]

All right. Hey, let's go around the back.

‐ Yo. You see that shit?

Yo, why we gotta do this? ‐ This is crazy, man.

I don't get it.

‐ Yo, this is the first time I'm able to meet my real fans.

‐ Word.

‐ Who actually know about my shit.

‐ Shit.

‐ Trying to figure out what the scene is,

what the streets is saying,

what they saying, what they saying.

‐ Man, fuck what the streets is saying,

long as they tell me where the ladies is at,

you hear me?

‐ Hey, my mans is crazy. ‐ He is crazy, yeah.

‐ Hey, yo!

‐ Yo! Thought y'all weren't gonna show.

BOBBY: Yo! We here, baby.

‐ You saw that line outside?

‐ Hell, yeah, I did. ‐ Whoo!

It's looking beautiful.

For you!

♪ ♪

It's gonna be great.

I'm tellin' you, this gonna be amazing.

All right?

Look, I want to introduce you to the owner.

‐ Yo, one sec.

‐ Ra, you already running late.

‐ Oh, it's all good.

Can't do this without me, right?

♪ Ruler zig zag ♪

♪ Ruler zig zag ♪ ♪ Zig‐allah jam is fatal ♪

♪ Zig‐allah jam is fatal ♪

♪ Stick my wu‐tang sword right through ya navel ♪

♪ Ruler zig zag ♪ ♪ Suspenseful ♪

♪ My wu‐tang sword right through ya navel ♪

♪ Zig‐allah jam is fatal ♪

♪ ♪

‐ This is Rodney. It's his shop.

‐ Hey, man, you got one hell of a collection here.

‐ Yeah, I've been open for 20 years now.

Managed to procure a handful of gems over time.

Like that Wendy Rene right there.

‐ Yeah.

Well, thanks for having us.

So how are the record sales going?

What did you think about the record?

‐ Oh, um, sorry,

but I don't really listen to rap music much.

[pagers beeping] But, look, I am happy to host.

‐ Can I use your phone for a sec?

‐ Thank you. ‐ Help yourself, man.

It's in the back.

‐ I'ma put this right here if you don't mind.

ASON: Yo, Ra.

Yo, come check this shit out.

Yo, this shit is crazy. Word.

‐ Yo.

Yo, all of these are 99¢?

RODNEY: Yes, sir.

Been trying to get rid of them for months.

‐ So y'all are into karate flicks, huh?

‐ Hell, yeah, yo, yo, I remember this from Channel 5.

Yo, the one with the drunken monk.

Remember the master was like, "You ol' dirty bastard."

‐ Yeah, yeah, yeah.

‐ Yo, this was my favorite shit back in the day.

Oh, word.

[both muttering]

‐ Oh, shit, man.

‐ Yo, you already got the Shaolin vs. Wu‐Tang.

Let me hold this, man.

‐ Hell, nah, nigga, D‐Lover got my shit,

which means I'm probably never gonna get it back.

Besides, I sample all of that kung fu shit

with this right here. ‐ Word.

[loud banging, fan cheering]

‐ Go check that out.

If people ain't calm, they ain't gettin' up in here.

‐ Yo, I'm gonna put this right here.

Promise you I'll pay for all of this before I leave, all right?

‐ Hey, yo, my man, this is my nephew.

‐ Oh, man. ‐ He loves rap music.

‐ What up, my G? How you doin'?

‐ He'd love if you could, uh,

sign this record for him, please.

‐ Yeah, of course.

So, uh, what you think about the‐‐about the record?

‐ It's a'ight. ‐ It's a'ight?

‐ You know Rakim or EPMD?

‐ Yeah, I saw Rakim once.

He was dope.

What's your name, G?

‐ Psykalogical. ‐ Boy.

‐ P... ‐ He means your Christian name.

‐ No, it's all good.

Yo, you be rappin'?

You be spittin'?

You be rhymin'?

‐ I got a few. ‐ A'ight.

Hey, yo, cuz, come over here. ‐ Yo, what's up, son?

‐ I want you to drop a beat for me.

I want to hear what this kid got.

‐ Hold this for a second.

Thanks, dude.

‐ All right, you got it, li'l G.

‐ Check it.

[beatboxing]

‐ ♪ Step up, I'll leave you dearly departed ♪

♪ But I'm not from New York ♪

♪ Where all of this rap shit started ♪

♪ First in the Bronx, now each borough gettin' bigger ♪

♪ If you want that real shit, come to Greensboro, nigga ♪

‐ Yo, you hear this? ‐ Yo.

Yo, hell, yeah.

Hell yeah.

Hey, yo, you keep that shit up, I might be comin' to see you

at your record signing, man.

Yo, one love.

Hell yeah.

[indistinct chatter, shouting]

‐ Just a little Wolfpack‐Tar Heel madness.

But, uh, there's somebody here, says she's family.

BOBBY: Oh, no. Yo, don't let her in.

‐ Nephew!

[laughs]

BOBBY: Aunt Goldie.

‐ Oh, look at you!

All grown.

And big‐time now, I see.

Back when he was a kid, I used to take care of Bobby.

Sorry. Prince Rakeem.

You always were a prince, weren't you?

You had it in you.

Even back then.

I know it wasn't easy for you.

But you turned out just fine.

Your Uncle Hollis would be so proud.

We all miss him, you know.

‐ Yeah. Me too.

‐ You remember your cousins, Juanita and Cass.

You remember them.

You must've met 'em when you were younger

at that reunion we went to in Raleigh that time.

Here, take our picture.

♪ ♪

Now, how come you didn't call,

to let us know you was in town?

Now, we want to see the show.

You think you can get some guest passes for your family?

‐ Yeah. Yeah, I can do that for y'all.

‐ Good. We'll make a evening out of it.

Can't wait.

Well, we'll see you tonight.

‐ All right. ‐ Prince Rakeem.

[giggles]

♪ ♪

‐ She has not changed much, huh?

‐ Not one bit.

‐ I did not want to say hi to her.

‐ All right. Yo.

Let's meet some fans.

♪ ♪

‐ Someone fucked up.

‐ What you mean?

‐ That page we got? ‐ Yeah?

‐ That was the label.

Just got off the phone with Monica.

Your sample didn't clear.

♪ ♪

‐ Which sample?

‐ The Deniece Williams one.

‐ [scoffs] ‐ Yeah.

‐ Yo, you fuckin' with me.

Yo, that's the entire‐‐ that's the entire single.

‐ Yeah, I know. I know.

And they want you to rerecord it.

♪ ♪

‐ Yo, that's‐‐ that's the reason

why all these people out here, man.

For that single, for that version.

That's the version they heard.

That's the only reason why they know me.

‐ I know, Ra.

It's fucked up, Ra, but somebody fucked up.

But right now, we gotta collect these records.

We can't sell this shit anymore.

Look, grab the Rakeem records and take them to the back.

‐ Yo, how the fuck are we even supposed to have

a record signing without records, yo?

Ah, shit.

‐ This is what you needed?

‐ Yo, for real, Dre?

For real?

"We love you, Rakim"?

Yo, this is fucking amateur hour.

Yo, fuck this. ‐ Look, just sign‐‐

just sign the posters and stickers.

Take pictures.

‐ Yo. ‐ Give away the shirts.

‐ They spelled my fucking name wrong.

I'm not passing them motherfuckers out.

‐ No, this is bullshit. It's bullshit.

I know it is. It's bullshit.

Right? We know this.

Okay, you gonna get to rerecord it.

New song, new beat.

And it's gonna be just as dope.

Then we're gonna shoot a video for it.

♪ ♪

‐ They want to shoot a video? ‐ Yeah.

I just got off the phone with Monica.

That's what she told me.

All right, they just put us out a budget for you

for a music video.

For you.

♪ ♪

‐ All right, and what about my uncle?

‐ Comin'.

I mean, if they approve the video,

they gotta believe in you.

♪ ♪

‐ All right.

They know I have some ideas. You know that.

Want to make it all cinematic and shit.

‐ We can talk about that, but right now,

I just need you to focus on signing those.

All right, look, I'm telling you, look, it's not gonna be‐‐

it's‐‐it's gonna be in a couple of months

a cakewalk, all right, small potatoes,

that's how you're gonna see it.

All right, just go in here, sit down, suck it up.

I mean, you wanted to see the fans, right?

♪ ♪

‐ All right, man.

Yo, whatever.

Just fucking put those corny‐ass shirts away,

and we can fucking just leave out

the stickers and the posters‐‐ whatever.

‐ Look, just make the fans happy.

♪ ♪

‐ All right, man.

Let's do this.

♪ ♪

[crowd chatter]

♪ ♪

‐ Yo, we gotta tip him or something?

‐ Nah, label pays for all of this.

Yo, what up, ladies?

Hey, yo.

♪ ♪

♪ I've got too many ladies ♪

Yo.

I gotta learn to say, you know?

Yo, I can hook you up if you want me to.

‐ No, no, I'm all right.

‐ Are you sure? ‐ Mm‐hmm.

‐ All right.

How's everything going with you and Nia?

‐ She don't want nothing to do with me right now.

‐ Sorry, 'Vine.

Yo, everything is going to work out.

‐ Least I got that carpet cleaning shit to keep me busy.

Hey, yo, you know, I gotta bounce in, like, ten minutes.

♪ ♪

You got your name in lights.

I mean, yo, not your real name, name, but still.

‐ Shit is fucking crazy, man.

♪ ♪

‐ You really made it, bro.

‐ Nah, man.

We made it.

Both of us.

♪ ♪

What the fuck?

[buzzing]

STAGE WORKER: Stand by.

‐ Hey, yo. Dre.

‐ Ha, what's up, bro?

Hey, how you doin'?

Andre. ‐ Divine.

‐ What the fuck is up with all this old‐timey shit, man?

Chicks walking around in old‐school dresses and shit.

What's up with that?

‐ Tommy Boy likes it classic Hollywood.

Don't worry, this is one set.

You know, they have many more.

Hey!

Rakeem, Prince Rakeem, Prince Paul.

He was just sharing with me this project

he working with on his new video.

‐ Ain't no introduction necessary.

I'm a fan, yo. Oh, yeah.

Paul used to DJ at the Stetasonic.

You also produced that, uh, that De La Soul joint, right?

The entire album.

That shit with you mixing at the end,

you was scratching the fuck out of that shit.

Yo, much respect.

‐ Yeah. Yeah, De La Soul is dead.

‐ Yo, I thought‐‐

thought they was coming out with a new album.

‐ Nah, that's the name of the album.

I'm putting the finishing touches on it right now.

‐ Oh, shit. ‐ Skits and whatnot, you know?

‐ All right, man, I feel it.

Gonna do some skits on my shit too.

‐ Yeah, it's great to know, 'cause, you know, Tommy Boy

really wants Prince Paul to produce your album.

♪ ♪

‐ Yo, I thought that I was producing my own shit.

♪ ♪

I mean, no offense to you, yo. ‐ It's just a discussion.

You know what, did you meet the director?

Give me a second, guys, all right?

Come on.

♪ ♪

‐ Wait, so y'all‐‐

y'all reaching out to new producers now, yo?

When I been showing you what I can do?

‐ I know, I know, it's a tough sell.

How many rappers you know producing their own albums?

‐ EPMD, yo.

Brand Nubian. Tribe.

Yo, Naughty's on Tommy Boy, and they got‐‐

they got Kay Gee producing shit.

‐ I'm talking solo acts.

‐ What's the difference, Dre?

‐ Hey, Fortunato.

The director. Hey.

The man with the magic plan.

‐ Hey, man, it's great to meet you.

‐ Hey.

I'm not gonna lie.

Feel like this is all‐‐ this ain't me, man.

‐ Nah. No, no, don't say that.

It's gonna be great. Trust me.

And Dre said you love movies.

‐ These ain't the movies I was talking about.

Y'all couldn't get a movie theater in Staten Island?

Showcase the hood?

‐ We're gonna mix‐‐ ‐ Yo, come on, man.

‐ We're gonna mix some of your urban flavor

with that classic movie star feel.

‐ Hey, listen.

All this fancy shit ain't me.

A'ight? I need something real.

Something authentic.

When people see me,

I need them to know who I am and where I come from, yo.

‐ There he is. ‐ That's all I'm saying.

‐ Star of the show. ‐ That's all I'm saying.

‐ Hey, isn't this amazing?

It's so classic and cinematic.

Hey.

I just got out of wardrobe.

You're gonna look great.

All right, I'm gonna steal Rakeem for a second.

Come on.

Hey.

We haven't talked since you left.

How was the tour? Did you have fun?

‐ It was a'ight.

I mean, I think we rocked it.

That Carolina record signing, though,

that shit was fucked up.

‐ Yeah, I know.

Okay, and it's our bad,

and we take full responsibility,

but, honestly,

I think the new version's better.

♪ ♪

Oh, you don't look convinced.

‐ Yeah, well, if y'all like it...

look, all I'm saying is,

this ain't my vibe, man.

I do have some ideas for the video‐‐

‐ Okay, okay, look, I get your skepticism.

I know you're asking yourself, I mean,

"What does this white woman know

about hip‐hop anyway," am I right?

‐ I didn't say all that.

‐ It's okay.

But we do happen to know what works and what sells.

All right, when I started at Tommy Boy,

I was the only employee.

In fact, I don't even think we were a label yet.

It was just me and Tom in a cramped apartment.

But I had an eye and ear for talent

and Tom believed in me,

and ten years later, look at our track record.

I had a hand in every single one

of those videos that we did for our artists.

You remember Ladies First, right?

‐ Yeah. Latifah's dope.

‐ Right, okay, so you remember those clips of South Africa

and the struggle to end apartheid?

Those were controversial, and they were debated.

But I fought for those because we believe

that all of our videos should represent our artists,

whether it's, I don't know,

Me Myself and I or The Humpty Dance.

‐ [scoffs]

Shit.

Y'all got me looking like Humpty on my shit.

‐ I don't see it that way.

No, I think it's fun and it shows your personality.

Listen, Rakeem, you have a style

that's not like any other artist

that we have on our roster, and I think that this video

is gonna showcase that.

Now, this is Chelsey, and this is Emily,

and they're gonna take great care of you.

‐ Y'all got me in a penguin suit?

‐ Well, it's just for the stage scene.

It's not for the whole video.

‐ Monica. ‐ It's sophisticated.

And in a couple of months,

when your video is all over MTV Raps,

Rap City, Video Music Box, you're gonna love it.

All right? I promise.

‐ Try them on.

You can go change behind there.

♪ ♪

BOBBY: Hey, Monica.

I was thinking...

Look, I know you guys are looking for producers,

but I really think I should do the beats on my album.

I did the single, both versions,

y'all liked that.

You heard Pass the Bone.

And I have a few more that I could play for you if...

Monica? What do you...

‐ Come here. Let me help you.

Can you tuck in for me, please?

‐ Yeah.

Yo, where did she go again?

‐ She just went out.

She's gonna talk to production.

Tuck in.

CHELSEY: It looks nice. ‐ How's it feel?

‐ Feels pretty tight.

‐ It's supposed to be a little tight, sweetie.

Arms up. Turn around.

♪ ♪

How do you like the color?

♪ ♪

Follow me, this way.

I'll deal with that.

♪ ♪

Braids look good. Just gonna tighten 'em up.

[radio chatter]

‐ That's pretty tight. ‐ I know, I know.

ASSISTANT: Excuse me, there's a friend here

to see you, over at craft services.

‐ Yeah, that's my boy, D‐Lover.

Yo, I invited him.

Yo, can you‐‐ one second, please.

‐ Hold on. Turn around for me.

♪ ♪

[indistinct]

Arms.

♪ ♪

‐ Thank you. ‐ Thank you.

♪ ♪

‐ Hey, yo, that's my brother over there.

All right, can you make sure he doesn't come over here

for about a couple of minutes?

Thank you.

Hey, yo, what up, nigga?

What you doing over here, stealing food?

‐ What's good, son?

‐ Yeah, boy. ‐ Ah.

Look at you, looking all proper and shit.

‐ Real proper.

‐ Yo, they told me

you was having a video shoot and all,

but I didn't know it was gonna be all this, son... yo.

‐ It's crazy, right? ‐ Word.

‐ Yo, who the fuck told you about the shoot?

‐ Your man Gary.

Or Justice, or Genius, or whatever‐‐

I can't keep up with y'all niggas,

always changing your names and shit.

Change your name more than I change my damn drawers, son.

‐ Hey, I believe that, nigga.

I believe that shit, with your stink ass.

‐ Yo, he played me that Pass the Bone joint too.

‐ Oh, you fuck with it?

‐ Son, that shit sound nice, kid.

Word is bond.

Yo, appreciate that shout‐out too.

‐ Got you.

[indistinct chatter]

‐ No, it's, like, dope.

That's the idea?

Shit don't look like where we came from, son.

‐ It's not my idea at all, but it is what it is, man.

‐ That don't sound like the Bobby I grew up with.

‐ No, yo, hey, I remember us.

We was kids, you know, posing for album covers and shit.

‐ Word is bond.

‐ Look at what it is now.

♪ ♪

You still writing that shit?

‐ It's whatever, you know, I ain't got time for all that.

Son, you know a nigga be busy and all that.

So what's up with that‐‐

what's up with that Robin Leach?

‐ Yo, Robin Leach?

‐ The Rich and Famous tour.

Show me around and all that, son.

‐ Shit... ‐ Hey, yo.

I see you got your groupies and shit, huh?

SHA: What the fuck you just said, son?

‐ You know you been doing that shit,

bum‐ass motherfucker, what up?

Jump, nigga. Jump, nigga.

‐ Yo, this not even the time and place for all that, son.

‐ Yeah, so my crib is the place, nigga?

My fucking crib is the place?

You ain't leaving this motherfucker.

You ain't walking out this motherfucker.

I promise you, man.

‐ Please. Please, yo.

He gonna be in the video, all right?

‐ Nigga, fuck you, nigga.

This shit ain't over.

‐ I got it. ‐ Shit ain't over, nigga.

‐ Chill out, man.

Yo, chill out.

A'ight?

‐ So‐‐so what‐‐what, that's‐‐ that's your mans now?

Huh?

‐ Nigga, you know I fuck with both of y'all.

‐ Hey, yo, why the fuck you even ask me here, son?

What, you trying to set me up or some shit?

‐ Now, why would I do that?

‐ I don't know.

♪ ♪

‐ Nah, nobody trying to set you up.

I didn't even invite him, a'ight?

Yo.

He just came by himself.

Besides, man, yo, look at this shit.

Look at this shit.

Fuck all that beef between y'all, yo.

This is what's important.

Getting paid to make music.

♪ ♪

All that street shit is over.

‐ May be over for you.

Prince Rakeem.

You been doing whatever the fuck you want.

Bounce for a couple months, on the road and shit.

All happy‐go‐lucky.

Meanwhile, I'm here.

Left behind.

Putting in work.

‐ Yo, you could've came on that tour with me, man.

You know that. ‐ To do what?

Be a fucking‐‐your backup dancer or some shit?

Yo, get the fuck out of here, son.

‐ You was the one who gave up rapping.

That was‐‐that was on you.

‐ Nigga, because I gotta eat, right?

Put food on the table for my fam!

I'm in the streets hustling every day

and every fucking night.

Meanwhile, you here,

all buddy‐buddy with these Park Hill niggas

like ain't shit happen.

Nigga, fuck that.

Shit ain't over till it's over.

Know I mean?

Them niggas still gotta answer for what they did.

‐ Then what, D?

One of Power's people, they gonna peel you off.

‐ Power, yo, yo, Power and that nigga shot up my crib.

Mm‐hmm.

Where my moms and my brothers stay.

Darius and Darren.

Know I mean? ‐ Yeah.

‐ And if niggas was fuckin' with you and yours,

I would have your back.

No question.

So what up?

‐ Yo, D.

You and I both know,

the only reason why Power did that shit

is because you came after his people first.

Yo, after 'Vine told you not to.

‐ Yo, I don't give a‐‐ I don't give a fuck

what 'Vine say.

I don't give a fuck what 'Vine say.

I don't give a fuck what nobody say, you feel me?

I peel that nigga wig back right now, nigga.

‐ Props. ‐ Right fucking now.

You feel me? You feel me? ‐ We got a gun over...

‐ Hey, yo, what the fuck you doing, son?

‐ I got this, I got this, a'ight?

Yo, I got it. I got it.

‐ Props? This ain't no prop, nigga.

‐ Yo.

This my motherfucking video shoot, yo.

Come on, D.

‐ Hey, yo, look.

I keeps it real.

Know what I mean?

You don't know shit about that.

You on some fucking shiny suit

fucking Daffy Duck bullshit, but it's cool.

Go ahead and enjoy your fucking groupie, Prince Rakeem.

♪ ♪

STAGE WORKER: Places please.

CREW MEMBER: They're ready for you, Rakeem.

♪ ♪

STAGE WORKER: Places please.

Let's go on the bell.

‐ Here you go.

This is perfect.

‐ Yo, what is...

‐ Look, give me‐‐ give me one take with it.

It looks great. Trust me.

‐ Yo.

‐ These too.

♪ ♪

[bell rings]

♪ ♪

[instrumental hip‐hop music]

♪ ♪

‐ Test, test, one, two, one, two.

♪ ♪

One, two, one, two.

♪ ♪

[people chattering]

♪ ♪

‐ Turn that shit all the way up, a'ight?

All these levels right here.

♪ ♪

‐ Uh, you have to leave, like, 20% headroom, man.

You have them all the way up, you're gonna get distortion.

You don't want it peaking over zero.

[voice echoing] ‐ Nah, man.

This is how I want it, a'ight?

This is part of the sound.

Put this shit all the way up.

Mix that shit gritty and raw, know what I'm sayin'?

Gives it that raw shit.

‐ You want that, like, punk rock sound, right?

Like Sex Pistols.

BOBBY: Exactly. ‐ Yo.

‐ Cool, man. I dig it.

‐ That shit sound kind of ill, though, cuz.

You should've threw that shit on my album.

‐ Yo, this nigga got jokes now, huh?

‐ Know what I'm sayin'? ‐ Yo.

‐ Talk different when you get money, yo.

‐ You know it. You know it.

‐ Yo, I heard they put you in that Bobby new video, though.

‐ Know what I mean? ‐ Look at him.

‐ Yo, that shit was mad fun.

You blink, you'll miss a nigga, but...

know what I'm saying, that shit was fun.

‐ At least you could see a nigga, right?

‐ Hey, yo, Sha, turn that shit off for me real fast.

‐ Yo, that's my favorite part.

‐ Niggas seen that shit.

‐ I invited y'all niggas here because...

well, shit.

Y'all the dopest MCs I've ever met.

ASON: True.

‐ I believe we could do some shit

that could be a game changer.

Know what I'm saying?

SHA: Yeah, man, I'm feeling this right here.

Let me hop on it.

‐ Oh, we all gonna be on that shit.

Best believe that.

But as a crew.

A'ight?

GARY: Word? ‐ Together.

‐ Yo, God, like... ‐ That's what I'm saying.

‐ Like on some scenario shit?

Yo.

Now, Bobby, you know I've been waiting

on this moment my whole life.

Let me get that first verse.

‐ Hold on, son.

Relax your limb, son. First verse?

‐ Hey, look, it don't matter if it's first or last, a'ight?

I want all of y'all niggas to try to compete with each other.

Try to outshine each other.

But at the same time,

we coming together.

Hit them niggas with that Wu‐Tang sword style.

Slicing niggas with sharp tongues.

‐ You know what I'm saying? Wu‐Tang.

Nobody fucking with the Clan.

You know what I'm sayin'?

‐ Hold up, yo. I gotta get up in there, son.

♪ ♪

‐ I got the spirit in me. Whoo!

‐ Warm it up for us.

‐ Hey, yo, warm it up for us, bro.

Get up inside that studio.

Let me see what y'all got.

You got it.

♪ ♪

[indistinct chatter]

‐ Peace. ‐ What's going on?

‐ Hey, what's good, Dre? ‐ Hey.

Hey, you get us in a studio sesh for us,

we might be here for a minute, probably till...

‐ Let me holler at you for a second.

It's gonna be‐‐ it's gonna be real quick.

♪ ♪

Ason.

Give us a sec.

‐ Man.

Every time...man.

♪ ♪

‐ What's good, Dre?

We trying to‐‐ we trying to record some shit.

‐ Yeah, yeah.

You know what, I spoke to Monica

and Tom at the label.

The single, it's not moving like they hoped it would.

♪ ♪

‐ Well, shit, if y'all would've used the original sample‐‐

‐ I know, I know, yeah,

but that shit is irrelevant now.

Sales aren't what they expected.

‐ I don't know why y'all wanted that for the single.

I mean, people over that corny, poppy shit.

People want that real shit.

‐ Ra. ‐ And yo, Dre.

What I'm doing right now with my niggas,

this joint I'm working on‐‐

‐ Ra. ‐ It's real, man.

It's gonna fuckin' drop the‐‐

‐ Listen, listen, Ra.

‐ Crazy, yo. ‐ Listen.

You're not hearing me right now.

There's not gonna be an album.

♪ ♪

It's over.

I'm sorry.

They're dropping you.

[music slows, stops]

CHORUS: ♪ Oh, we love you, Rakeem ♪

RAKEEM: And I love you too.

CHORUS: ♪ Oh, we love you, Rakeem ♪

RAKEEM: Thank you.

CHORUS: ♪ Oh, we love you, Rakeem ♪

RAKEEM: You're far too kind.

CHORUS: ♪ Oh, Rakeem ♪ RAKEEM: Gosh.

CHORUS: ♪ Oh, we love you, Rakeem ♪

RAKEEM: Your feeling mutual, love.

CHORUS: ♪ Oh, we love you, Rakeem ♪

RAKEEM: Oh, do you?

CHORUS: ♪ Oh, we love you, Rakeem ♪

RAKEEM: Mm... CHORUS: ♪ Oh, Rakeem ♪

‐ ♪ When I walk down the block ♪

♪ The girls stop and clock ♪

♪ They hop on my jock 'cause I got mad props ♪

♪ Tall and slim with the brown skin complexion ♪

♪ Half them sweatin' my love and affection ♪

♪ As I collect them, must want to protect them ♪

♪ Love them deeply, but never disrespect them ♪

♪ I keep a tab on the large amount ♪

♪ But sometimes, I find myself losing count ♪

♪ Of Latika, Diane, Lisa ♪

♪ Stephanie, Jackie, Teresa ♪

♪ Sharonda, um, um, Veronica ♪

♪ Latasha, Cynthia, and Monica ♪

♪ Nevertheless, you must give respect ♪

♪ To the feminine queens that the God selects ♪

♪ I love them all, but even though ♪

♪ I'm rather happy, I should've said no ♪

♪ But yet my ego gets into the way ♪

♪ And always something that I'll never say ♪

♪ I'd just bag 'em, keep them under my wing ♪

♪ Put 'em in a posse and let them all sing ♪

CHORUS: ♪ Oh, we love you, Rakeem ♪

RAKEEM: Do you?

CHORUS: ♪ Oh, we love you, Rakeem ♪

‐ Say it again, baby.

CHORUS: ♪ Oh, we love you ♪

PERSON: Get on the line.