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Breaking down the Lyrics on ‘Shoot For The Stars Aim For The Moon’ by ‘Pop Smoke’

Released: 2020

Label: Victor Victor Worldwide

Featuring: Quavo, Lil Baby, DaBaby, Swae Lee, Future, Rowdy Rebel, 50 Cent, Roddy Ricch, Tyga, KAROL G, Lil Tjay, King Combs, Fivio Foreign, Dafi Woo, Dread Woo, Davido, PnB Rock, Jamie Foxx, Gunna, Young Thug, A Boogie Wit da Hoodie, Queen Naija, Calboy, Burna Boy

In the pantheon of hip-hop, certain moments strike deep into the bedrock of the genre. One such seismic event was the drop of ‘Shoot For The Stars Aim For The Moon’ by Pop Smoke. The late Brooklyn drill artist delivered a seminal body of work that elevated the game while leaving a lasting impression on the hip-hop dialogue. Bursting with an array of collaborations with marquee names like Quavo, Lil Baby, DaBaby, and Swae Lee, this album serves as a testament to Pop Smoke’s prodigious talent and his unwavering dedication to his craft.

‘Shoot For The Stars Aim For The Moon’ is more than just an album; it’s a riveting journey through Pop Smoke’s artistic psyche. Whether it’s the raw energy in ’44 BullDog’, the woo vibes in ‘The Woo’, or his lyrical prowess in ‘Aim For The Moon’, Pop Smoke managed to exhibit an eclectic yet cohesive sonic palette. Moreover, the narratives woven within the lyrics hold the mirror to this artist’s life, engaging listeners with a rich, multi-layered auditory experience.

Yet, the album’s depth is not confined to the lyrics and beats alone. It’s also a reflection of Pop Smoke’s evolving perceptions and aspirations, his street cred juxtaposed against the trappings of fame. It presents a poignant exhibition of Pop Smoke’s artistic evolution, beginning with his early drill-infused anthems, transitioning into more melodic, mainstream rap tracks, without ever losing his distinct identity. This posthumous release, fleshed out by collaborations with industry heavyweights, stands as a testament to his indisputable impact on the genre.

So let’s get into it. From ‘Bad Bitch From Tokyo (Intro)’ to ‘Enjoy Yourself (feat. Burna Boy) – Remix’, here are the Breaking down the Lyrics on ‘Shoot For The Stars Aim For The Moon’ by ‘Pop Smoke’.

Bad Bitch From Tokyo

Pop doesn’t hesitate to flex his international connections, jet setting from Tokyo to Italy and smoking ‘Runtz’ in Rome. The high-profile designer brand shoutout, ‘Christian Dior’, denotes his penchant for high-life. He confidently expresses his fearlessness and resilience as he mentions looking his “killer in his eyes, yeah, I’m talkin’ face-to-face.” This line eerily foreshadows his untimely demise, chillingly showing us his unwavering strength even in the face of danger. The mention of his homeboy beating a case and bouncing in a Wraith testifies to the gritty, roller-coaster lifestyle his crew embodies. The track is short but super charged, giving us a glimpse into Pop’s seemingly unstoppable world.

Aim For The Moon

Features: Quavo

The duo effortlessly rides the beat, while exuding confidence and proclaiming their astronomical ambitions. Pop Smoke’s lyrics “Shoot for the stars, aim for the moon, You ain’t cool ’til I say you cool,” succinctly portrays the Brooklyn drill rapper’s impact and influence, asserting his place as the gatekeeper of cool in the hip-hop landscape. Parallelly, Quavo’s verse “Five hundred thousand, I’m in flex mode, We got all the work, we make your trap close,” highlights his meteoric rise in the music industry, while humbly acknowledging his humble beginnings. This track signifies the ascendance of Pop Smoke, as he navigates the glittering galaxy of hip-hop stardom, aiming beyond the stars and targeting the moon, skating between grand aspirations and the gritty reality of the streets from where he emerged.

For The Night

Features: Lil Baby, DaBaby

Pop proclaims, “I did some wrongs (oh, oh), but I’m always right (oh, oh)/ Said, “I know how to shoot” (oh), and I know how to fight””. This line lays bare the gritty essence of the street life that he navigated, juxtaposing a vulnerability admitting missteps with a stubborn assertion of his survival instincts. The track shows the late rapper’s dexterity; he conveys the allure of nocturnal activities with a sense of danger, hinting at the vast disparity between his ascendant stardom and the perilous reality of the NYC streets that inspired him. The track, like much of Pop’s work, is a paradox – a vibrant celebration of life cast in the shadow of mortality.

44 BullDog

The repetitive use of the phrase “Brodie gon’ woo” enhances the cadence and the overall energy of the track. Pop Smoke’s lyrical content focusses on the reality of street life, authentic to his experiences and the harsh realities of his upbringing. The bars “I ain’t with the talk or the chit-chat / All you hatin’ ass n***as better sit back / Or you gon’ be the next one to get they shit snatched” represent a clear warning to his rivals, signaling Pop Smoke’s unwavering strength and resilience. The mention of “Free Milly Gz out the cage,” is a poignant reference to his friend who was incarcerated showcasing solidarity and loyalty, recurring themes in the wider landscape of hip-hop. The song remains a critical piece of Pop Smoke’s posthumous album ‘Shoot For The Stars Aim For The Moon’, encapsulating his undeniable influence on the modern hip-hop scene.


This track is Pop Smoke’s unequivocal claim on authenticity, going hard on phonies while asserting his command over the streets. The lyrics give voice to the harsh realities of the street life, from glorifying his staunch loyalty to New York (“I be in New York with the gangsters”) to taunting his rivals, asserting his dominance, and flaunting his success. Perhaps the hardest hitting line is when he spits, “.44 got it kicked back (Bah)/Click-clack, get back (Bah)/ Shots at your rib pack (Grrrt),” embodying the relentless and dangerous nature of gangster life. Pop Smoke’s lyrics on “Gangstas” reflect a captivating blend of street-level storytelling and braggadocious swagger, delivering a raw snapshot of his life and amplifying his status as the voice of the streets.

Yea Yea

The beat is bass-filled, and Pop’s baritone resonates, coating each word with gritty authenticity. His lyrics are drenched in references to guns and power, underscored by the repetitive mantra, “It’s a whole lotta Glocks, Mops, TECs, Shots, dots,” serving as a palpable reminder of his past in the hardened streets of Brooklyn’s Canarsie neighborhood. Yet, the coup de grace might be when he flips the script by referencing Jay-Z, the kingpin of NY rap, with “Let me tell you why the opp niggas hate me (hate me) ‘Cause I rock the nation, Jay-Z (Jay-Z)”. The crisp blend of gravity and grandeur in “Yea Yea” isn’t merely a testament to Pop Smoke’s lyrical prowess, but an epitaph to his audacious rise and the colossal void his departure has left in the rap game.


Features: Swae Lee

As Pop Smoke navigates a world that revolves around money, the raw energy and street cred radiates in every bar. Lyrics like “The drac’ on me, draggin’ my feet /Hop in that whip, I’m ’bout to see you / I’m like a creature, I’m on the creep,” blend well with Swae’s smooth vocals, creating a sense of menace and melancholy. Each verse hits hard, shedding light on Pop’s struggle and triumphs. The line “I remember them days in the trap house / Yeah, it got real in the trap house” is a stark reminder of Pop’s tough past, reflecting the essence of the track. “Creature” embodies the ethos of ‘Shoot For The Stars Aim For The Moon’, with its gritty narratives and lavish wordplay, all while paying homage to Pop Smoke’s undeniable influence on the hip-hop scene.


Features: Quavo, Future

Pop Smoke, as pointed and raw as ever, collaborates with the seasoned Quavo and Future, the trio meticulously painting a vivid picture of their experiences with snitches and the unwritten rules of their world. Their verses intertwine street savviness with the bitterness of broken trust. One standout moment is when Pop Smoke confidently asserts, “If Quavo told me get him, then I’ma do the dash”, underlining the loyalty and immediate action within his circle. ‘Snitching’ is both a tale from the streets and a cautionary tale, with Pop Smoke, Quavo, and Future holding court, delivering rhymes that hit both hard and deep.

Make It Rain

Features: Rowdy Rebel

The lyrics are a testament to Pop Smoke’s street sensibilities and hustler’s spirit. When he boasts, “I make it rain on whoever/ I make it rain, that Woo weather / Bitch, I’m a dog, a blue devil / I got the hoes like Hugh Hefner”, it’s not just a flex on his wealth and virility, but also a declaration of independence and defiance against conformity. Meanwhile, Rowdy Rebel, calling in from behind bars, drops a verse that echoes with unrestrained anger and discomforting realness. In this world, Pop Smoke and Rowdy Rebel make it rain, making their dominance and influence impossible to ignore.

The Woo

Features: 50 Cent, Roddy Ricch

The track is an extolment of the Woo lifestyle – exuberant, defiant, and unapologetically hedonistic. It’s gangsta rap meets high fashion and opulence, a throwback to mid-00s bling era with a distinct drill twist. 50 Cent’s verse serves as a nostalgic homage to his raunchy 2005 hit “Candy Shop”, while Pop brags about his lavish lifestyle and designer threads. One hard-hitting line from Pop’s verse, “Like you when you let down your hair with no comb/And I stay to myself ’cause I never liked these hoes,” captures his disillusionment with fake showbiz personas while appreciating genuine allure. This track sums up Pop’s charisma and brings a certain audacious braggadocio that’s been missing in today’s side of the game.

West Coast Shit

Features: Tyga, Quavo

This banger sees Pop Smoke, Tyga, and Quavo spitting unfiltered flex-raps over a Mustard beat that’s as chill as a Malibu breeze. Pop Smoke, a Brooklyn shorty, confidently claims, “In New York, I got a west coast bitch,” blending different hip-hop geography in his woo universe. The song is draped with braggadocious lines about designer outfits, luxury whips and dripping jewels, all symbolic of the success they’ve achieved in the rap game. When Pop spits, “Christian Louboutins like I stepped in pasta/ But I’ll still steam his ass, I’ll grab him,” we see the late rapper swerving smoothly between flexing his designer gear and asserting his street authenticity – a signature Pop Smoke move that cements his place in the pantheon of hip-hop greats.

Enjoy Yourself

Features: KAROL G

The lyrics are an exaltation of living a high-end lifestyle, enjoying life’s pleasures, and basking in one’s own success. Pop Smoke’s hard-hitting bars, underscored by the ominous beats, communicates his hard-earned position in the upper echelons of the game, presenting the spoils of his success. His verse, “They say, ‘Fly girls have more fun’/ So what? So you should enjoy yourself, yeah, yeah/ You should enjoy yourself” encapsulates the track’s attitude perfectly. Karol G steps in, bringing her distinct Latin flavor, grounding the opulence with her sultry and assertive verses, highlighting that success and luxury are deserved and should be enjoyed. The synergy between them results in a decadent, lush sonic narrative, making “Enjoy Yourself” a standout track in Pop Smoke’s posthumous project.

Mood Swings

Features: Lil Tjay

It’s a heartfelt serenade that swings between the gritty and the sensual, lyrically exploring intimate narratives. Pop Smoke trims down his signature growl to a croon, revealing his versatile artistry. He’s intimately raw, trading his drill-infused bravado for open-hearted admissions: “She a queen, like Nefertiti / Uh-oh, my lil’ mama sittin’ pretty / And we be shoppin’ through the city”. Lil Tjay’s verse complements Pop’s sentiments, providing a tender touch, instilling the song with a kind of aching vulnerability that blends seamlessly with Pop’s narration. The song paints a vivid, albeit explicit, picture of a complex affair, offering a glimpse into Pop’s tenderness under his rough exterior, serving as a reminder that the late rapper was more than just a sensory drill phenomenon – he was a multifaceted artist on the cusp of exploring untapped dimensions.

Something Special

The track, a sample flip of Fabolous’ “Into You,” demonstrates Pop’s versatility, where he effortlessly swings between a romantic croon and his menacing baritone. The lyrics beautifully contradict the “Woo” lifestyle he’s famously known for by delving deeper into his softer, vulnerable side where he’s aspirationally seeking that ‘real love.’ In fact, this unfiltered emotional honesty is what adds a unique touch to the song, embodied perfectly when Pop raps, “Yeah, I need that real love (I’m talkin’ Bobby and Whitney). You don’t gotta worry ’bout nothin’ as long as you with me.” It’s a standout line, imbuing Bobby Brown and Whitney Houston’s tumultuous love story with his own meaning. This song clearly proves that Pop Smoke was more than just a drill rapper, he was an artist with an array of layers waiting to be peeled back.

What You Know Bout Love

Pop’s unexpectedly tender lyrics are drenched in adoration and appreciation towards his lady of interest, contrasting his gangsta persona. The lines “I be waking up to pics before a nigga yawning” and “Shawty could Fendi out, but she like Fashion Nova” depict an intimate connection that transcends surface level attraction, focusing on the private moments that make their relationship special. Deeply personal tracks like this prove that Pop Smoke was more than just a hardcore drill artist; he was a multidimensional creative mind, who wasn’t afraid to expose his softer side. This track’s heartfelt narrative and melodic vibe diversify the album’s soundscape, making it a standout gem in Pop Smoke’s posthumous collection.


Features: King Combs

This track oozes with charming bravado as Pop Smoke woos his love interest with compliments about her physical attributes and style. King Combs adds an additional layer of suaveness to the track echoing his father’s (P. Diddy) legendary playboy persona. The lyrics, “Shorty, light-skinned, tatted, ass fat/I need your number and that’s that,” embody Pop Smoke’s straightforward approach to his love interest. Ultimately, this song is a celebration of female allure, framed within Pop Smoke’s signature, confident swagger. Its melodic trap beat coupled with intimate lyrics display a less seen aspect of his artistic repertoire, speaking volumes about Pop’s versatility as an artist.

Got It On Me

Smoke’s deep-voiced delivery echoes the paranoia and guarded disposition of someone constantly watching for danger while hustling in the streets, a depiction confirmed by his lyrics: “Have mercy on me, have mercy on my soul / Don’t let my heart turn cold.” That plea, juxtaposed with the bravado of having his firearm for protection, presents the complex dualism of a persona caught between fragile human sentiments and the ruthlessness of the underworld. In this track, Pop Smoke does more than just rehash a classic; he provides an intense, hard-hitting snapshot of his own struggle and survival.

Tunnel Vision

The Brooklyn brawler reflects on his tumultuous journey to stardom from the corners of Canarsie, highlighting his struggles with the stark lyric, “They don’t know what it means (yeah), To have million dollar dreams (dreams), Then you wake up on the block and it’s back to servin’ fiends.” This track, laden with gritty realism and hardened street ethos, is Pop Smoke’s manifesto— the embodiment of his towering ambition and unwavering commitment to his goals. The potent refrain, “It’s tunnel vision (yeah), When I’m in the field, nigga (in the field)”, denotes his laser-focused mindset, alluding to his untiring pursuit of success amidst chaos and adversity. Through “Tunnel Vision (Outro)”, Pop Smoke leaves us with a vivid imprint of his indomitable spirit and relentless hustle, cementing his legacy in the pantheon of hip-hop.

Dior – Bonus

The track is a testament to a life lived on the edge of danger and luxury, a duality Pop managed to step in seamlessly. The iconic line, “Said I’m never lackin’, always pistol packing, With them automatics, we gon’ send him to heaven” is a startling reinforcement of his unabashed street authenticity. This is counterbalanced with the catchy, designer name-dropping chorus “Mike Amiri, Mike Amiri, Billie Jean, Billie Jean, uh, Christian Dior, Dior,” weaving a visual tapestry of the luxury lifestyle he desired and achieved. Also, the sentiment of “When it rains, it pours” is an ode to the proliferation of wealth and challenges in his life. “Dior – Bonus” encapsulates Pop Smoke’s narrative of rising from the unyielding streets of Canarsie, Brooklyn to the runways of high-fashion, a journey cut tragically short.

Hotel Lobby

The lyrics exude a palpable sense of paranoia and resilience, echoing the theme throughout the album, ‘Shoot for the Stars, Aim for the Moon’. In the song, the late Brooklyn star articulates a feeling of being hunted (“When I got a call that niggas tryna find me, But I got a feelin’ niggas tryna line me”), a foreboding vision of the short-lived fate he met. The line, “I done came a long way from the street shit, I done knocked lotta niggas out, G shit,” further delves into his past, showcasing his struggle and evolution. Amidst the tension, Pop Smoke’s lyrics also reflect defiance, unbroken by the threats and danger surrounding him. His bravado is solidified in the assertive stand, “If I can’t do it, homie, it can’t be done.”

Showin Off Pt.1

Features: Fivio Foreign

Over a Melo beat, the duo spin tales of street life and bravado, never shying away from showcasing their grit. In a mouth-off to their opps, they daringly ask, “You got a gun, nigga? Play disrespect, never”. Pop’s signature guttural delivery cuts through as he pays homage to his designer wardrobe – “Pop Smoke, yeah, I’m in all the stores, What’s on your feet? I’m like ‘Christian Dior'”. This stand-offish anthem is an audacious proclamation of the duo’s dominance in the scene. The dark, magnetizing energy that Pop Smoke and Fivio Foreign generate is proof that the Brooklyn drill scene is not just alive, but thriving, punctuating the underbelly of hip-hop with its raw and naked narrative.

Showin Off Pt.2

Features: Fivio Foreign

Pop’s husky brogue and infectious ad-libs sync perfectly with the menacing bass-heavy beat, taking you straight to the energy-packed streets of Canarsie, Brooklyn. Fivio Foreign doubles down with his signature, staccato flow, only amplifying the grit and ferocity on this banger. The lines “All of my niggas is showin’ off / If bro do a hit, I’ma show ’em off” stand out, illustrating their loyalty towards their crew and fearlessness in the face of adversity. The song is unapologetic, embodying their audacious essence, mingling with the dangers of the streets and substance abuse narrative, evident from “I took a Perc and start goin’ off”. It’s a raw testament to the struggles and successes in their lives, showcased in the most authentic manner. This track, like the rest of the album, is evidence of Pop’s potential as a disruptor in the rap game.

Iced Out Audemars

Features: Dafi Woo

The base note is luxury, and Pop Smoke does it justice with his signature deep vocals over powerful beats. The track portrays a life that’s far from ordinary – from designer threads to flashy jewelry, and not forgetting the spins in a brand new Porsche. A standout line, “Iced out Audemars, Got like 40 more, Walked in with 40 thousand, I’m up in all the stores,” encapsulates the lifestyle of the nouveau riche, showing off the wealth amassed from a successful rap career. It’s a portrait of excess and opulence, painted with clever wordplay and strong imagery. If you were looking for a track to get a taste of the high life, “Iced Out Audemars” serves it on a gold platter.

Woo Year

Features: Dread Woo

The swagger in lines like “I tell you the AP, four Pateks / 20 years, movin’ like a vet'” reflects their meteoric rise in the rap game, a veteran’s assurance dispensed through a young man’s lenses. The repetitive hook, “She fell in love with the bag”, underlines a theme of material wealth and its allure, a common motif in the hip-hop narrative. It’s that unapologetic portrayal of their lavish lifestyle and their ascension out of rough beginnings that gave Pop Smoke’s posthumous album ‘Shoot for the Stars, Aim for the Moon’ its resonance with fans. Yet, beneath the braggadocio, there’s a subtle dichotomy where success evokes both celebration and wariness.


Features: Davido

Pop Smoke lays out a provocative narrative where a committed man yearns for another woman. He’s torn, cognizant of his relationship yet enticed by the allure of this new woman. His desires are so strong, it could “end in a fuckin’ tsunami”, suggesting the catastrophic consequences of his actions. Davido’s influence on the track brings in an Afrobeats undertone, tethering the song back to Pop’s Brooklyn Drill roots with rhythmic stretches and dancehall vibes. This is best highlighted when Pop says, “All these chains on my neck, feel like Rick the Ruler, All yellow gold like Mansa Musa” – a nod to his own success and virility. It’s a complex tune, reflecting Pop’s push-and-pull struggle between loyalty and temptation.


Features: PnB Rock

The lyrics dive into the clandestine thrill of secret rendezvous, with the backseat of a car serving as a metaphorical stage. Smoke and PnB deliver a narrative of desire mixed with paranoia, a vibe that’s almost palpable. Pop Smoke’s verse, “


It reveals Pop’s deeply introspective side as he navigates the treacherous waters of love and relationships. His lyrics push past the façade, laying bare his insecurities and need for companionship, as expressed in lines like “Baby, I just need some company, company, company.” That repeated plea reveals a real yearning, a surprising tenderness in the woo. But Pop Smoke, ever the uncompromising figure of the Brooklyn drill scene, bounces back with assertiveness on lines like “I give her dick when she acting up.” This track is a testament to the paradox of Pop’s artistry which is both rugged and emotional, hard yet vulnerable, full of imperfections but strikingly authentic.

She Feelin Nice

Features: Jamie Foxx

The track sees Pop Smoke celebrating the good life, far removed from the concrete jungle of Brooklyn. His verse is pure opulence; tropical resorts, Phillipe’s steaks, and jet-setting across the globe, encapsulating the heady heights of rap superstardom. But there’s a tenderness when he sings “Jah know I got the keys to success / No more walkin’ with a vest,” – a sentiment that resonates deeply given his untimely passing. Foxx, on the other hand, let’s his smooth timbre take centre stage, adding a dollop of charisma to the affair. His refrain of “Fuck social distancing,” while cheeky, is him desiring closeness, metaphorically underlining the yearning for pre-pandemic normality. Laced with Caribbean patois and seasoned with suave charm, “She Feelin Nice” is Pop Smoke and Jamie Foxx at their most luxuriant.


Features: Gunna, Young Thug

Draped in Cartier at a banging party yet strapping two weapons – that’s the dichotomy Pop presents in his verse, depicting the stark reality of the hip-hop lifestyle.


Features: A Boogie Wit da Hoodie

Making this track a centrifuge of lyrical prowess, Pop Smoke offers a suave persona proclaiming himself the ‘king of New York,’ a title famously held by legends like Biggie and Jay-Z. A Boogie, rolling in his verse, complements Pop’s raw energy, delivering a hard-hitting line, “If Pop was alive, there would have been two of us.” This bittersweet thought acknowledges the potential of a partnership that could’ve dominated the hip-hop landscape. The track is a perfect blend of contemporary drill beats infused with classic East Coast rap sensibilities, enshrining Pop Smoke’s meteoric position in the arena of hip-hop long after his untimely demise.

Be Clearr

He raps about his grind, from long nights in the trap to, blessedly, the courtroom success, emphasizing his loyalty and belief with the striking line “Be clear when I say in Allah I got faith”. This track is a vivid expression of Pop Smoke’s street ethos, and his brutal honesty confirms his authenticity in the game. His larger-than-life persona is evident as he rhymes about designer gear, money, and a fearless approach to life, embodying the gritty spirit of Brooklyn’s drill scene. However, amidst the bravado, there’s a mournful undertone – a recognition of the toll his former life took, reminding us of the harsh realities from which he emerged.

Yea Yea – Remix

Features: Queen Naija

Queen Naija) – Remix”, Pop Smoke and Queen Naija lace hard-hitting verses over a pulsating drill beat that’s quintessentially Brooklyn. Pop Smoke, the voice of the Woo, brings the streets to life with his gritty bars. His verse, “It’s a whole lotta Glocks (Glocks), Mops (TECs), TECs (TECs), Shooters (shooters), shooters” vividly conjures the relentless energy of the NYC streets. At the same time, Queen Naija’s smooth melodies provide a delicate counterpoint to Pop’s aggressive cadence, reminding us of the complexities and duality in his life. With standout lines like, “I know what I signed up for when I tattoed your name. On my heart, still holding you down, like I did from the start”, we get a glimpse into the softer, more introspective side of Pop, a testament to his versatility and range as an artist.

Diana – Remix

Features: King Combs, Calboy

King Combs & Calboy) – Remix” is a crisp ode to attraction, an undeniable vibe that’s deeply embedded in the game of pursuit. Pop Smoke’s rhyme entangles the listener with vivid imagery, his taste for women inscribed in lines like, “Shorty, light-skinned (woo), tatted, huh, ass fat (grrt) / I need your number and that’s that.” King Combs complements this with confident expressions of luxury, boasting, “Bad bitch, mad thick, high fashion, I don’t need a stylist, I’m him.” Calboy adds a pinch of melancholy, reflecting, “Sorry I ain’t got no heart, I wish that I did / But I like your smell and I like your style.” The track showcases Pop’s versatility, sliding smoothly from his rugged lyricism into a more melodic inflection, proving he was more than just a drill artist – he was a multitalented force ready to shake the scene.

Enjoy Yourself – Remix

Features: Burna Boy

Pop’s lyrics exude a celebration of life, advising his woman to live life sans restraints whilst he can provide for her, “Baby, you should enjoy yourself / Bossed up, need no help”. Burna Boy rides the beat with a callback to the gritty reality of street life, his unique Patois-inflected verse contrasting Pop’s more hedonistic theme. One standout line that hits hard is Pop’s declaration: “It’s a room full of trap niggas (trap), strap niggas (strap) / If the opps run up in this shit, we gon’ clap niggas (oh).” It’s reflective of Pop’s reality where celebration never stands too far from the shooters lurking in the shadows, a quintessential illustration of the dualities that exist within the world of hip-hop.

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