5% TINT – Unveiling the Shadows of Hip-Hop’s Enigmatic Mind


You can view the lyrics, alternate interprations and sheet music for Travis Scott's 5% TINT at Lyrics.org.
Article Contents:
  1. Music Video
  2. Lyrics
  3. Song Meaning
  4. Under the Veil of Mystery: The Power of Privacy
  5. Wading Through Fame and Fortune’s Swamp
  6. The Symbiosis of Hedonism and Caution
  7. Decrypting the Enigma: The Hidden Meaning
  8. Echos in the Hall of Memorable Lines

Lyrics

Who’s that creeping through my window?
Before you come outside I got the M4
Took her to the endzone from the ends, though
Know I love to smoke, you love to lick more
Wanna hit the Jack then what you call for?
All that out-your-name shit that ain’t called for, um

Who that creepin’? Know the tint is dark (five percent)
All that fall in love shit, gotta Kevin Hart (yeah, yeah)
All that speed and fly shit, we might teleport (skrr, skrr)
All that cop harass shit, I might clip a sarge (12)
Keep bouncin’ that ass you just might get award (yeah)
If she bad, she get a pass into the tour (passes yeah)
I pick through the family, grab the bad sister like Janet
Opps outside, don’t panic
Got a switch, gotta change up transit
Still jumpin’ ’round move antsy
And I still don’t like shit fancy
Up late feelin’ real chancy
They outside really tryna end me (yeah)

Who’s that creeping through my window? (my window)
Before you come outside I got the M4 (M4)
Took her to the endzone from the ends, though (yeah)
Know I love to smoke, you love to lick more (yeah)
Wanna hit the Jack then what you call for? (yeah)
All that out-your-name shit that ain’t called for (yeah)

Who the fuck is this?
Met somebody baby mama inside of the Benz
While I’m tryna tip
Shawty said she holding got a razor in her lip
Mix my cup and twist one up, I love that ratchet shit
She like “I-I-I-I-Iced out wrist, iced out, iced out wrist” (iced out wrist)
Fuck don’t kiss, fuck she fuck don’t kiss (muwah)
Look like friends, but she say they twins (twins)
Jump right in, there’s leg room in this Benz (leg room in this Benz)
Ten miles to the crib you know that’s deep (yeah)
I think it’s someone out there watching me, yeah

Who’s that creeping through my window? (my window, who?)
Before you come outside I got the M4 (M4)
Took her to the end zone from the ends, though (yeah)
Know I love to smoke, you love to lick more (lick)
Wanna hit the Jack then what you call for? (Yeah, Jack)
All that out-your-name shit that ain’t called for

Who’s that creeping through my window? (who?)
Before you come outside I got the M4 (M4)
Took her to the end zone from the ends, though (yeah)
Know I love to smoke, you love to lick more (lick)

Full Lyrics

As the low-end bass reverberates and the high hats shuffle, a question sets the stage: ‘Who’s that creeping through my window?’ Travis Scott’s track ‘5% TINT’ from his Astroworld album envelops listeners within a cinematic realm—the Houston rapper’s very own nocturnal playground. The title, a reference to the legally lowest tint on car windows in several states, sets the stage for a journey into obscurity, privacy, and vigilance.

Through Scott’s kaleidoscopic lens, we explore the grandiose threads woven within the sparse lyrics. More than just a song about cars or a casual night out, ‘5% TINT,’ is an invitation to peer through the rapper’s darkly tinted glass—a metaphor for the barriers one constructs to maintain an inner sanctum amidst fame and chaos.

Under the Veil of Mystery: The Power of Privacy

Scott’s fortress is his vehicle, cloaked in near-opaque tints. These tints are barriers of privacy that separate him from the outside world, where fame often comes with the invasive eye of curiosity. In a culture that predates on celebrity, Scott poetically arms himself—a precautionary tale against the dangers of the limelight.

The chorus is a siren sounding for boundaries, a call for respect of personal space. ‘Before you come outside I got the M4’ isn’t just a braggadocio reference to weaponry but a stark declaration of self-defense. With every ‘creep through the window,’ there’s an assertion of autonomy and the lengths one will go to preserve it.

Wading Through Fame and Fortune’s Swamp

The lavish and the dangerous intermingle in Scott’s narrative. The ‘endzone’ might as well be the pinnacle of success, but it’s reached ‘from the ends.’ Scott doesn’t leave behind the fringes from whence he came; even at the height of fame, the past is a shadow in the rear-view mirror.

References to ‘the family, grab the bad sister like Janet’ show both a selective inclusion into his world and a reverence towards hip-hop royalty. Each line, seemingly a celebration of the spoils of fame—be it women, drugs, or luxury—also hints at the isolation that these spoils bring.

The Symbiosis of Hedonism and Caution

Dualities exist within ‘5% TINT.’ There’s a push-and-pull in the pursuit of pleasure and the instinctual need for self-preservation. The song’s ambiance plays out like a viper’s dance—the allure of ‘that ratchet shit’ counterbalanced with the vigilant, almost paranoid perception of being watched.

With every declaration of ‘fuck don’t kiss,’ Travis juxtaposes intimacy with distance, an undertone of survival in the urban jungle where trust is luxury fewer can afford than a ‘Benz’ or an ‘iced out wrist.’

Decrypting the Enigma: The Hidden Meaning

Beyond the bravado and the beats, ‘5% TINT’ is a metaphor for the artist’s psyche. Travis Scott’s artistry is as shadowed as the windows he raps about—a selective display of vulnerability and hidden depths. Even his love for ‘smoke’ can be seen as a smoke screen—a protective cloud.

The recurring question of who’s creeping is not a question of visitors, but of Scott’s own introspection. As he navigates success, there’s an ongoing assessment of who can be let in, both in personal space and personal circles. The tension in the song is the constant balancing act between privacy and persona.

Echos in the Hall of Memorable Lines

Lyricism in ‘5% TINT’ is a masterclass in memorable one-liners that stick long after the song fades. ‘All that fall in love shit, gotta Kevin Hart,’ Scott draws on contemporary references and plays on words to punctuate his verses with cultural commentary.

Each line is a double entendre waiting to be unraveled. ‘Still jumping around move antsy’ suggests restlessness, ambition, or perhaps the unease of high-stakes living. Scott is economical with words, but each one carries the weight of his world, delivered with a swiftness of cadence that underscores his mastery.

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