Politics As Usual by Jay-Z Lyrics Meaning – Decoding the Blueprint of Street Sway and Systemic Struggle


You can view the lyrics, alternate interprations and sheet music for Jay-Z's Politics As Usual at Lyrics.org.
Article Contents:
  1. Music Video
  2. Lyrics
  3. Song Meaning

Lyrics

You know how we do, Roc-a-Fella, forever, You can catch me
Skating through your town putting it down y’all relating
No waiting I’ll make your block infrared hot I’m like Satan
Y’all feel a nigga’s struggle, y’all think a nigga love to
Hustle behind the wheel, trying to escape my trouble
Kids stop they greeting me, I’m talking sweet to keys
Cursing the very God, that bought this wreath to be
My life is, based on sacrifices, jewels like ices
And fools that think I slip, you fuck around
You get your guys hit, they built me to be filthy
On some I-do-or-die shit, for real
The price of leather’s got me, deeper than ever and
Just think, with this here, I’m trying to feel made nigga

Politics as usual, I took my
Frito to Tito in the district, blessed me with some
VS somethings I can live with, stop fronting
And for the dough I raise, gotta get shit appraised
No disrespect to you, make sure you word is true
I’m taking wages down in Vegas just in case Tyson
Have a major night off, that’s clean money, the tax write-off
You ain’t seen money in your life, when it
Comes to this cheese y’all like Three Blind Mice
A smoking bro, who pump Willie Ike spokes
The furthest you Chiles been is the Pocanos
My portfolio reads, leads to Don Corleone, nigga please
Ten year fel-eon, heavy on the wrist, our face used
With the diamond blooded Jesus and blind your face
You’s for life, that’s right, Jigga, I keep it tight nigga

Politics as usual
You feel my triumph never, feel my pain I’m lyin’
Low in the leather Zion, the best that’s ever came
The game changes like, my mind just ain’t right
We ‘gwan get this dough, I guess it ain’t your night
Sucking me in like a vacuum, I remember
Telling my family I’ll be back soon, that was December
Eighty-five and, Jay-Z rise ten years later
Got me wise still can’t break my underworld ties
I wear black a lot, in the Ac’, act a lot
Got matching VCR’s, a huge Magnavox
To nitch, green like spinach pop wines that’s vintage
It’s a lot of big money in my sentence
Hitting towards a mil’, lip a, written I kill like that
Chick faked me one-two cat, yeah, I do that
Ain’t no stopping the champagne from popping
The drawers from dropping, the law from watching, I hate ’em

Politics as usual

Full Lyrics

In an era where hip-hop narratives often crisscross between the glorification of street life and the critique of systemic oppression, Jay-Z’s ‘Politics As Usual’ stands as a formidable testament to this complex duality. From the 1996 classic album ‘Reasonable Doubt,’ this track encapsulates the raw essence of an artist straddling the corners of Brooklyn and the apex of entrepreneurial dreams.

The song reads like a coded message to those well-versed in the hustle, mirroring the societal and personal politics that Jay-Z navigates. With intricate wordplay and poignant references, it’s a lyrical memoir of ambition, the hunger for success, and the haunting shadows of the street life he seeks to transcend.

Hustling to the Top: A Double-Edged Sword

Jay-Z doesn’t just rap; he testifies. ‘Politics As Usual’ lays bare the duality of his aspirations juxtaposed with his beginnings. The streets are both a classroom and a battlefield— a foundation where he honed his skills, and yet an omnipresent trap clawing at his elevation.

While the track celebrates luxury and victory, there’s also an air of lamentation for the ‘sacrifices’ and ‘struggles’ inherent in his journey. Jay-Z’s lyrics acknowledge his complex relationship with the lavish lifestyle he’s acquired, recognizing the price paid in both morality and personal danger.

The Intricate Weaving of Morality and Money

True to its name, ‘Politics As Usual’ speaks on the nature of power—street power and its currency. The ‘Frito to Tito’ line isn’t just about a transaction, it’s illustrative of the underground economy and its blurry lines of legality and survival.

Jay-Z is acutely aware of the societal chessboard; his bets in Vegas, the clean money facade, and the confessional acknowledgments that his wealth is not without tainted dimensions. Each bar is laden with the underlying awareness of systemic challenges.

A Conflicted Relationship with Faith and Fate

‘Cursing the very God, that bought this wreath to be’ suggests a complex spiritual struggle. Yet through his lyrics, Jay-Z ultimately paints himself as a master of his destiny, not simply at the mercy of divine intervention—it’s his wit, will, and wager against the cosmos.

This line dives deep into the themes of predestination versus agency. The metaphor of the wreath, often symbolizing victory, is intertwined with the notion of a preordained path, a life that has been fashioned with as much pain as power.

Deciphering the Lexicon of Luxury and Legitimacy

The lavish boasts about ‘diamond blooded Jesus’ and ‘leads to Don Corleone’ serve as potent symbols of achieved affluence that contrast starkly with the impoverished circumstances from which he emerged.

Yet, as Jay-Z cleverly navigates the lexicon of success, there is a conscious acknowledgment of the illegitimacy that often accompanies such wealth. The extravagant imagery also serves as a barrier, a ‘diamond’ encrusted line between his past affiliations and the cloak of respectability he now wears.

The Undercurrent of Nostalgia and the Shackles of the Past

While embracing the present, there is a palpable sense of nostalgia and regret. ‘That was December / Eighty-five’ is not just a point in time, but a reference to his consistent evolution and the perpetual tension between then and now.

Jay-Z employs his own history as a tool for reflection and caution. Despite his wealth and status, the artist cannot—and will not—sever the ‘underworld ties’ that underpin his sagacity. It’s a stark reminder that success does not erase history, and sometimes one’s past remains an inextricable part of their identity.

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