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Kuku$ Klan · Other Songs - Kuku$ Klan

Danas bas svi znaju za Kuku$ klan
zasto si ti ljubomaran
danas bas svi slusaju samo nas
iza sebe imam kmico, cijeli Zagreb grad

Hilj$on Mandela 2016, ovo je moja prica

Kmico, kruzamo ti po kvartu
zlatna meduza je oko vrata
aleluja cuva me glock
rale fura autolak i automat

I sada tegamo ti po zgradi
i zapisamo ti fasadu
jer si glumio kao Adam
a nemoj srat

I znamo da si dissao bandu
i kmico kad te vidim u gradu
nece vise biti turn up
nego man down

Ekipa mi rostilja u paklu
shout out to bigge and pac
svi su zaspali
ja crtam ko Jiglypuff

Ref.
Kmica glumi da je frend
al' onda kada dodje sranje
zabije ti noz u ledja

Glumi da je frend
al' samo gleda te kroz pare
ne zelim ici u detalje

Glumi da je frend
al' vani traca te ko babe
a dao si mu sve za dzabe

I glumi da je frend
i jazo misli da je glavne
a jednom doci ce ga glave

Kmico pusti me na miru
jer nikad nemam mira
i lose sviram djitru
ali dobro frulu sviram

Crtam kao artu ditu
optuzuju nas za sotonizam
jer su stoljecima iza
ja samo dajem ljubav svima

Recite svim hejterima
da me nista to ne dira
al' ak me neko zeli dirat
u lijesu bit ce zapakiran

Zadnja kmica koja je probala
nek dusa joj pociva
ak rija pita, ne znam nista
necu propjevati ko divas

Ref.

Frend

The title promises friendship; the verses expose mistrust. The narrator boasts about Kuku$ Klan’s local following, then pivots to threats, property damage and a weaponized street persona. That contrast turns “friend” into an accusation: the person addressed only pretends to be close before betraying the crew. The lyric’s escalating aggression creates an atmosphere of performance in which loyalty is proved through intimidation.

The track’s references to Zagreb neighborhoods and the 2016-era Kuku$ identity root it in a specific local rap scene, while allusions to Biggie and Tupac place the group inside a global hip-hop lineage. But the borrowing is not neutral; the verses fuse crew pride with threats that make violence sound like a response to disloyalty. These are lyrical claims and a performed persona, not evidence about the artists’ real conduct.

Kuku$ Klan’s music helped make Zagreb street rap more visible to younger audiences, but no independent criticism of this individual track was established here. A careful reading should neither sanitize nor celebrate its menace: the hook frames betrayal as dangerous, and the verses show how a performance of belonging can slide into coercive bravado. Its central contradiction is that the speaker wants the neighborhood to recognize the crew, while defining friendship through fear of what happens if someone does not.

Metropola’s official music-video upload dates to 24 November 2016 and had 2,203,143 views by 14 October 2026. That makes the song’s video one of the more visible entries in this batch, while still measuring only YouTube traffic. It should not be mistaken for a chart position or a critical consensus; no independent track review surfaced.