Undergod crew comin for you
A dead corpse with exposed bones wearing cologne
Biz and Murray microphone zone sharing Patron
The fans hate cause they can’t transubstantiate what Canibus makes
The hand change shape turn in to snakes smellin the same way road kill tastes
We feed the underground undergod fan base
Nothing but steak straight chicken teriyaki shrimp lobster hibachi
Throw your face the whipping coffee make you spit up paste
(Verse 2)
Spitbullz off the muzzle, airborne off the turnbuckle
To touch you, tear bones off the muscle
Stomp you, try to get the swamp monster off you
The awful scent of bloody flesh barnacles haunt you
Couldn’t kill me with a 50 cal round of three hundred fifty pound Hound with a canine growl
I scan the road from a mud hole like Rambo
The chain-fed ammo open you up like manholes
I’m Uncle Sambo with a Ku Klux Klan robe
Black face, pink lips Arctic coloured camo
Spitbullz whore let me get a fix on this fool
I drool when it’s time to get tool
Six wolves minimum, interrogate before killing them
Water board torture below zero temperature
Hot bars generate sparks, bitch, I told you don’t talk
Fibrillate your heart ’til you fart
On your feet, drag you outside, march
Walk ’til your feet parched and your BDU bottoms starch
Feed you pork soaked in sodium salt
Big weapons spark like tuning forks in the dark
Won’t tell you again, do not talk when we walk
Do not gawk at the corpse laying on the sidewalk
Handcuffed behind back flesh decompose and crack
Heads are detached from the respiratory tracts
Crossbow buttstock across the throat
Pardon me approach I thought you was walking too slow
No one who is able to hear will care
Those with compassionate care cannot conquer fear
The final battle won’t be in space but right here
Thirty two thousand four hundred Maidenhead squares
Sharpshooter assault, Mankind versus The Land Sharks
You don’t want none of the Spitbullz
(Verse 3)
When the missile is aimed to blow you out the frame
Someone still remember it was done by Germaine
In the beginning I made lyrics now lyrics make me
Your listening to Rip the Jacker to infinity
This rhyme could out live your whole lifetime
Be waiting for you on the other side when you arrive
Surround you with a layer to the left to the right to the front to the back with a rap and a mic
For satellite rappers delight you battle for your life
You battle from sunrise to off white moonlight
To see the wood burns my heating is rightfully earned
I take you on a journey through the words
And a mind hold your hand with an infinite rhyme
For a time I know it makes you shy but that’s fine
Come along with me let me show you how hard it can be
To spit like the 100 bar beast
(Verse 4)
Blindfold stop watch 60 seconds redundant drill sessions assemble your weapons
Blindfold stop watch 60 seconds redundant drill sessions assemble your weapons
Blindfold stop watch 60 seconds redundant drill sessions assemble your weapons
Aye yo I’m like the spirit of Pac on top of Mount Ziggurat
In a rock with his own thug paradise block
Watchu come back for, I came back from my rap tour pronounced rapture
Eat corn to memorialize when I was born
Blowin trees to symbolize how I spawned
Spike non ointment in an alabaster jar with a logo that resembles the mask of scar
My verse on the mic is a surge bite surgical strike vertical flight with submersible glowing lights
Speech hits you deep tissue beats bone gristle like projectile penetrators from pistols leave a bullet in you
Blindfold stop watch 60 seconds redundant drill sessions assemble your weapons (Verse 1)
I don’t wanna battle you I pay for you rap on my sabbatical
And pay for every actor performs after you
Verse non reversible remove your laptop before you walk through the terminal
Before I take it personal
One liners bust through the highway dividers on coming traffic eyes get wider powerslide ya
Spit god get the beer cap twist off sip the juice its all gone I sip hard
What you gonna do when your worst nightmare comes true?

Warner Bros.' sixth weekend of its blockbuster "Aquaman" will follow in fourth with $6 million to $7 million, pushing its North American total to $315 million at the end of the weekend.
Despite mostly negative reviews, "Glass" has racked up $54 million in its first week. Jackson, Bruce Willis, and James McAvoy reprising their roles in the offbeat thriller. It's a sequel to both “Unbreakable” and “Split” with Samuel L.
Aviron's launch of Matthew McConaughey-Anne Hathaway noir mystery "Serenity" is opening with a modest $5 million to $6 million at 2,561 venues. The film will be battling for fifth place with Universal's expanded run of "Green Book" at 2,489 sites following the comedy-drama scoring a best picture win from the Producers Guild of America, plus five Oscar nominations.
Year-to-date box office has been lagging and is down 12.8% at $662 million as of Jan. 23, according to Comscore.” />
Focus Features is re-releasing “BlacKkKlansman” this weekend in 168 venues after Spike Lee’s crime drama about a black detective who infiltrated the Ku Klux Klan nabbed six Oscar nominations, including best picture.
Box office trackers believe it has the biggest potential of all the best picture Oscar nominees to bring in more revenue. "Green Book" has earned $44 million domestically since opening in November.
The third weekend of the Kevin Hart-Bryan Cranston dramedy "The Upside" is projected to lead the rest of the pack with about $10 million, followed by the opening of Fox's fantasy-comedy "The Kid Who Would Be King" in the $8 million to $9 million range at 3,521 locations.
Night Shyamalan's "Glass" will handily repeat as the winner of a mild North American weekend box office with about $16 million at 3,844 sites, early estimates showed Friday. The second weekend of M.

— is really about. "BlacKkKlansman" is the movie of the moment because it dramatizes, in an electrifying way, the link between the cult of white supremacy and the cult of the White House. That’s what his famous declaration about what would happen if he stood in the middle of Fifth Avenue and shot someone — that none of his voters would abandon him! It’s about the level of loyalty that cult leaders, rather than mere politicians, inspire. The fascist movements of the 20th century were also cults, led by cult leaders: Hitler, Mao, Pol Pot. It’s about how our nation has come to have a heart so dark that it needs deprogramming.” /> More and more people are starting to say that Donald Trump’s presidency is a cult. The point isn’t that Trump is their equivalent, but that the cult dimension of support for him is what is becoming so dangerous.
Lee has engineered "BlacKkKlansman" to be an undercover police-procedural drama that's less about the crimes of its villains than about their ways, manners, and personalities. It emerges from the way that Lee — how can I put this? I don’t mean the humanity of their racial views; those are bereft of humanity. The movie is about getting close enough to people who say the N-word to experience the essence of who they are. — wants us to feel the humanity of these people. It is even about getting close to that word. Lee wants to know why, and he wants the audience to know why; he has never lost the driving passion of a true film artist, which is curiosity. But the very fact that they’re human beings doing something that they believe in. The extraordinary hook of "BlacKkKlansman" relates to Spike Lee’s ironic empathy as a filmmaker.
Ron, as skeptical as he is solidly middle class, sets him straight. "America," he declares, "would never elect somebody like David Duke president of the United States." He now calls himself the National Director (it sounds more presentable, with less of a ring of occult torturer, than Grand Wizard), and his plan is to make himself over into a respectable politician — to take the politics of racial hatred mainstream, a movement that could theoretically result in the rise of new kind of president. The officer replies by explaining that Duke is changing the face of the KKK. Spike Lee’s "BlacKkKlansman" is the movie that puts the new transformation of America, in all its ugliness, hate, and — yes — power, onto the big screen. At one point, Ron Stallworth (John David Washington), an African-American rookie undercover cop in Colorado Springs in the late '70s, is telling a fellow officer how he was able to make a connection over the phone to David Duke (Topher Grace), the Grand Wizard of the Knights of the Ku Klux Klan.
Yet the fact that one could even have that flashing thought is a sign of how quickly this country is moving in a toxically perilous direction. Let’s hear the tape. It’s time that Donald Trump’s racism was dragged, forever, out of the dog-whistle zone." But my second thought was, "God forbid, I wonder if a tape like that might actually help him." I don’t seriously believe that. Yesterday, when I read that Omarosa Manigault Newman, the "Apprentice"-diva-turned-White-House-crony-turned-seduced-and-abandoned-Trump-heretic, claims to have knowledge of a tape from the set of "The Apprentice" in which her former snake-oil mentor is heard uttering a racial slur, my first thought was, "Good!
Anyone who now denies that we have David Duke in the White House is either lying, not seeing reality, or not minding it. The refusal to condemn, which he repeated at his recent press conference keyed to the anniversary of the Charlottesville riots, equals a wink of endorsement. Trump, of course, knows the game he’s playing. It’s that simple.
It's a line that cues us to laugh. The whole exchange is a trifle gimmicky; that line about the presidency is one of those 20-20-hindsight screenwriter’s gambits designed to get a rise out of you. In this case, though, the rise happens because the parallel it forces us to confront is so startling. One of the messages of "BlacKkKlansman" is that maybe he does. And that’s not a screenwriter’s invention. That’s a fearless filmmaker slicing open the skin of America in 2018 to reveal which way our blood is flowing. But when he said it during the packed afternoon show of "BlacKkKlansman" that I attended, it was striking to hear the chortles trail off into an ominous murmur. Does Donald Trump = David Duke?
The word, in recent years, has become more taboo than ever, and that’s part of the power of hearing it in "BlacKkKlansman." The film’s most electrifying scenes are those in which Ron Stallworth’s fellow cop, Flip Zimmerman (Adam Driver), becomes his partner on the case by infiltrating the Colorado Springs chapter of the Klan. He hangs out with them during their living-room confabs (which are like Rotary Club meetings with Confederate flags), cooing over their firearms, becoming an eager participant in their conversations about how to squelch the rise of black people in America and — their paranoid catechism — the conspiracy of Jews that's helped to make it possible. That draws the audience into a creepy intimacy with those thoughts. To fit in, Driver’s character, who is himself Jewish, can’t just mouth the hate. He’s got to say it like he means it.
And, most significantly, it’s there in the devout refusal of the President of the United States to distance himself from those forces and to declare them the intolerable menace they are. But when you watch "BlacKkKlansman," with its lacerating scenes of KKK house-party meetings led by Middle American rubes in Colorado Springs, it’s with a disturbing awareness that the thoughts, the feelings, and the words being expressed have been infused, over the last few years, with a newly aggressive and open presence. It’s there on social media, and in the rise of the alt-right as a "legitimate" participant in the national discourse. It's there in the acts of domestic terrorism that the whole word witnessed at Charlottesville.
That’s why it can get away with its slightly goofy mistaken-identity police plot, and with the fake-looking wig that John David Washington wears (why on earth did Lee approve a 'fro that sits on his hero’s head like a Frisbee?). Yet make no mistake: "BlacKkKlansman" is every inch a movie about what’s happening to our society today. "BlacKkKlansman" is based on a true story that took place in 1978 and 1979, when "All in the Family," blaxploitation films, and "Too Late to Turn Back Now" still lingered in the atmosphere, even as the antic communality of the '70s was crumbling into something colder.
The theme of "BlacKkKlansman" is that white supremacy is a cult: a religion of intolerance you can't argue with. It trivializes nothing to say that the film’s key Klan members, like the mild-on-the-surface Walter (Ryan Eggold) or the seething redneck Felix (Jasper Pääkkönen), are men living inside a comic book of hate. The N-word becomes a piece of horrific music in "BlacKkKlansman." It is used so relentlessly that the audience begins to hear it not just as the most hideous and violent epithet in the American language but as the cornerstone of a belief system.
Twenty years ago, or even 10 (or five), if somebody had made a period drama about a cop infiltrating the Ku Klux Klan, we could have talked about the racial hatred he was out to uncover as an American virus, a disease that won’t die; we could have talked about the importance of never pretending that it’s gone away. Yet we could still have claimed that "white supremacy," as an organized movement, was an underground force in America — a movement on the hate-fueled fringes.

Using an unexpected strategy, he decides to call the head of the KKK on his first day. The clip opens with John David Washington's Ron Stallworth arriving for his new job in law enforcement, where he has been assigned to take down the Ku Klux Klan.
“BlacKkKlansman,” directed by Lee, is based on the true story of Stallworth, a Colorado Springs black police officer who went undercover and successfully infiltrated a Ku Klux Klan chapter. Stallworth detailed his experience in his 2014 novel “Black Klansman.”
Stallworth and Zimmerman work to impede the KKK’s efforts to control the city. Washington (“Ballers”) takes on the role of Detective Stallworth, while Adam Driver plays his partner Flip Zimmerman, who pretends to be Stallworth after he makes contact with the KKK.
Following the film's world premiere at the Cannes Film Festival, Focus Features has released the first trailer for Spike Lee's “BlacKkKlansman.”
"Since you asked, I hate blacks. "But my mouth to God’s ears, I really hate those black brats. I hate Jews, Mexicans and Irish, Italians and Chinese," he tells the KKK leader over the phone, as the rest of the office eavesdrops in dumbfounded amazement. And anyone else, really, that doesn’t have pure white Aryan blood running through their veins.”
10.” /> “BlacKkKlansman” hits theaters on Aug.
"For you, it's a crusade. For me, it's a job," Flip tells Ron in the midst of the caper.
In addition to writing the screenplay, Lee also serves as producer along with Jordan Peele, Jason Blum, Sean McKittrick, Raymond Mansfield, and Shaun Redick.
"You're Jewish. Doesn't that piss you off?" Ron replies. They hate you. "Why are you acting like you ain't got skin in the game?"
Also starring in the film are "Spider-Man Homecoming's" Laura Harrier and Topher Grace, who will be portraying former KKK leader David Duke.