Forgot to post this, lol.

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@jalstar
Forgot to post this, lol.
United In Grief: The Way Hip Hop Showed Me How Beautiful Blackness Truly Is
Around the time when Lupe Fiasco was doing interviews and promoting his album 'Tetsuo and Youth', him and Sway fell into a conversation about the origins of Hip Hop culture, what the forefathers intended for it to be and the socio-economic conditions that gave birth to the culture and genre that we know and love today. He talked about how downtrodden the people of the Bronx were and how marred the environment was in the 70s. He noted that if we as black people in America could have a better quality of life and we didn't have to deal with all the gang violence, poverty and every other problem that's plagued these communities for years, he'd be fine if hip hop never existed. Sway brought this sentiment to the phone lines and asked a woman, would she rather have the struggle with hip hop, or no struggle with no hip hop? At the time, the answer she gave shocked me and I struggled to understand how someone could be so married to this one thing so much so that they'd throw equity and equality to the side if it meant they could keep it. (15:15)
Recently, Twitter (which I will never call X, no matter how much time passes at this point) launched an update where you'd be able to look at a person's (assuming it's actually a real person and not a bot) profile and see where their account is based in. Long story short, as you can probably guess, all hell broke loose and people were getting exposed left and right. From popular MAGA accounts being traced back to India and the Middle East, to hip hop stan pages being exposed for "blackfishing," it was a very unsurprising yet revealing moment where a lot of our speculation about people who had the most to say about American politics and/or black culture not being American or black themselves was confirmed.
In the midst of it all, for a brief moment, I had to stop and laugh with myself at the thought of me pretending to be anything other than a black Jamaican man. It brought me joy to know that no matter what, when I wake up, I'm still going to be where I'm from and I'm still going to be black. Never in my life have I thought or wished to be anything but black. Never have I thought to pretend or cosplay as a different race just to fit into certain spaces and infiltrate different cultures and conversations. I have absolutely no idea what's going on between Charli XCX and Taylor Swift right now and I'm fine with not knowing because I have my own black ass business to mind. Despite all of the persecution and hate we as a people have to bear globally, no matter how much prejudice we have to be mindful of, no matter how many opportunities or geographic lotteries we lose from being born in certain undeveloped countries or neighborhoods, I would not want to change who we are for the world. Then, I started to think back to that lady from the Sway interview and that's when it hit me, that's when I truly understood what she was saying. It was in that moment I realized how beautiful blackness truly is...
For months now, since the battle of the Big 3 between Kendrick, Cole and Drake ended, I've been seeing an increase in people on Twitter being openly racist or expressing anti-blackness towards artists like Kendrick or others in his proximity like Doechii for being "too woke" making "slave" and "Harriet Tubman" music. I assumed that a lot of this was driven by Drake stans that are still holding on to the lie that Kendrick was trying to say that Drake isn't black and his "always rapping like you 'bout to get the slaves free" bar. Yet still, this sentiment persisted and I couldn't help but think to myself, how can you be so anti-black and obsessed over a person that is black at the same time? It almost seemed to me as if some of these people forgot that their favorite artist was black themselves, it just didn't make any sense to me. But now I get it...
Black is so beautiful and so undeniable, that even those who insult us, talk down on us, and express hate towards us, deep down inside want to be like us, and want to be involved in what we have going on, so much so....that they'll put on a digital blackface and pretend to be something they act like they hate. Moreover, it is so appealing and irresistible to the black people that love their skin and their culture to the point where we'll accept the burden and struggle that might be attached to it, if it means we can remain this way. It really is an amazing revelation to come to and it makes me realize just how synonymous blackness is with Hip Hop. The same way that lady loves Hip Hop is the same way I love my blackness, struggle and all, I wouldn't change it for the world, and the ones that aren't it, are pretending and wishing they could be. No matter where you're from in the diaspora, we've all felt the effects of colonialism and systematic racism within our lives one way or another. No matter whether you come from a rich family or not, we know that anti-blackness affects us all. I think in times like these, instead of creating more separation between one another, we should recognize one another and realize through this collective pain we have to bear due to our skin, we can stand united and resilient within our love of it.
Black is and will forever be beautiful. I know some of my revelations may seem obvious to some reading this but sometimes you need moments like these to put things back into perspective. Who would have thought that a South African man's actions would have led me to appreciate my blackness more. Oh wait....
Joey Bada$$, The West Coast, And Why It's Better To Be Great Than It Is To Be The Best
Back in 2014, Big K.R.I.T released the song 'Mt. Olympus', which was his response to the conversation stirred up around Kendrick's Control verse. Not only was this response incredibly unique based on it not being rapped over the Control beat like many others did, or it being released months after everything had settled down, but also because KRIT probably had the most interesting perspective out of everyone that had something to say about it. He raps on the track in a very resentful way towards the audience, saying how ironic it is that people now consider him a "lyricist" after Kendrick mentioned his name and how futile and misunderstood the idea of competition in rap can be sometimes. "Rap battling never got me out of no public housing/You tellin' me I can be the King of Hip Hop and they wouldn't give it to Andre 3000?"
The conversation around who's the best rapper or who's the greatest of all time will forever be a debate within the realm of hip hop as it is virtually impossible for the entire culture to come to a unanimous decision on one person to give that title to for various reasons. Even the discussion around what a lyricist is isn't exactly black and white either. However, I do think that there is a clear difference between being the "best" versus being the greatest. To be the best means you can outperform everyone else in your field at the highest degree of excellence and to be the greatest means that the sum of your work produced through your performances is worth more than everyone else in your field. In the case of rap, you may be able to look at King Los freestyle for 20 minutes straight and say to yourself that this is one of the best displays of rapping ability you've ever seen, but for as long as I've been a rap fan, I've never seen King Los' name mentioned in anyone's top 5, 10, etc., nor have I seen any of his albums be mentioned on any form of list. Despite how lyrically gifted he is and how competent he can be in the realm of battle rap, he has never been involved in any major rap conversations with most people's favorites.
Speaking of people's favorites, at the top of the year, one of my favorites of the 2010s, Joey Bada$$, decided to reinvoke Jay-Z's "Too much West Coast dick lickin'" bar as a way to catch the attention of California rappers, specifically Kendrick Lamar it seemed. This caused a slew of West Coast rappers to take shots back at him, namely Ray Vaughn and Daylyt. Fast forward a few subliminals and a Red Bull Cypher later, Joey finally calls out Daylyt and Ray Vaughn directly which prompts a battle to commence where multiple West Coast and New York rappers ended up jumping in to say their piece. In the end, most people see Joey as the winner coming out on top of all this due to how well he handled himself during the ordeal. However in the end, there are some people within the space who now pose the question, what was this all for?
Competition in rap can be productive and entertaining for the fans overall, but what really was Joey's intended purpose for starting all of this in the first place? I must admit as a fan of his, I did feel a bit gaslit in the beginning of all this since he claimed that 'The Ruler's Back' was "a call to action to New York" but then the question arises, why did you need to aim at the West Coast in order to do that? Then in the Red Bull Freestyle he said "this ain't no East vs West, I just think that I'm the best." So then it wasn't about New York, he just wanted to create a moment to big himself up? That's the side I'm leaning on now because the way people are positioning this battle is Joey versus The West Coast. CJ Fly, Loaded Lux, Kai Cash or any other NY rappers that jumped in aren't really getting credit or being named as winners in this battle royale, it's just Joey. In 'The Ruler's Back' he said it's "clear who the heir apparent King of NY" so does this situation solidify his position on that throne now? Prior to this whole thing starting, I had people telling me that Roc Marciano and Rome Streetz surpassed Joey in rank when it came to who's more notable or who's better. I feel like I'm left with more questions than answers at this point.
What really prompted me to start all this writing and rambling was this recent topic of discussion now about whether or not Kendrick should respond, owes a response, or has to respond to Joey since he seems to have bested the opposition from the West and mentioned him on all of his recent diss tracks. The simple answer I have to this question is, no. Kendrick doesn't HAVE to do anything at this point in his career not only because of the resume he's built for himself over these last 15 years but because of what he did last year. See, I'm not one of these rap fans that like to judge artists based on how many number ones they have, albums they sold, Grammys they've won, tickets they've sold, money they've made, none of that; I leave all the streaming numbers, pocket watching and chart counting to the stans, shout out to you weirdos... I rank Kendrick at the top of this generation because of his discography, his skillset, longevity, impact and cultural touchstones within hip hop. Kendrick Lamar is not above rapping but acting as if he's obligated to respond to this or that it would be a slight against his record if he doesn't is ridiculous. The only reasonable doubt that has existed in Kendrick's case for being number one for almost his entire mainstream career has been the infamous myth that is "The Big 3."
I have always hated the whole "Big 3" conversation between Kendrick, Cole and Drake for various reasons. I've always thought that it was a popularity contest instead of a legit rap conversation on who's the greatest of the new generation, and I know for a fact that this is the case because if it was about rap, Drake would have been disqualified from the discussion since 2015. So you could only imagine how joyed I was to hear 'Like That' and see Kendrick put this conversation to rest one apology and 'wop wop wop wop wop' at a time. Even in that instance, he didn't need to diss Cole and Drake, but calling them to the floor after all these years of claiming who's the greatest gave him the opportunity to clear the board, and that's exactly what he did. Outside of those two, there are no other rappers within the last 10 years that have been in conversation with Kendrick. Jay Electronica had his gripes but his career never amounted to anything for it to matter and Big Sean has been getting overshadowed by Kendrick every time they cross paths. These are the artists who hip hop have tried to matchup against him on his upward progression to legendary status and he's surpassed all of them. You know whose name has NEVER been in conversation with Kendrick though? Joey Bada$$.
Joey's response track to Control was just another drop in the bucket in the ocean of MCs that had something to say on wax about Kendrick. You cannot find Joey's name mentioned in the same breathe as Kendrick by the majority of rap fans anywhere or anytime else. As a day one Joey Bada$$ fan, I simply cannot take these opinions seriously because these people never held him in this position prior, just like how KRIT felt underrated prior to the Control verse. This is where the idea of 'Mt. Olympus' comes into play because now that he has people's attention and has seemingly bested Ray Vaughn and Daylyt in this arena, does this now put his name in the same conversation as Kendrick Lamar? Would him beating Kendrick in a battle put his name in that top spot, I don't think so. Pusha T bested Drake in their battle and the discussion around him hasn't changed over the years; neither did Drake's position in this "Big 3" conversation (another reason why I never took that title seriously). The fact of the matter is that while hip hop is a sport and competition is great to see, there are other ways to compete within the culture as well, especially if you want to be in the same spot as Kendrick, which again, is not being considered the best, but being considered the greatest.
See when New York was complaining about the South dominating the radio and not being real lyricists, TI, Luda, Jeezy, no one from over there decided to throw shots back on wax. They ignored it and continued to make hits until New York started sounding like them. From A$AP Rocky to Desiigner, it became obvious that the South's dominance in the mainstream was starting to change the way rappers from New York approached their music. They didn't dominant because they were the best at rapping, but because they were great at what they did. The West Coast did Joey a favor by even entertaining this battle because they already have the ball right now when it comes to mainstream attention. The momentum Kendrick created from the battle, to The Pop Out, to GNX, gave the West an opportunity to shine and possibly dominant the sound of mainstream rap. Guys like AZ Chike and Hitta J3 aren't known for being lyricists, they make slaps and bops, they gain nothing from going back and forth with Joey. Similarly, Joey Bada$$ going back and forth with the West Coast does not put him in the same conversation as Kendrick because battling is not what made him greatest, it was his career. If Kendrick's career is a Christmas tree then that battle of the "Big 3" would be the shining star on top of it. I only say that because it's been years in the making, it's arguably the greatest rap battle in hip hop history and it pushed Kendrick to be the biggest he's ever been in his career. Most battles aren't like that, I would never call Nas beating Jay-Z the shining star in his career, that would probably be Illmatic. The battle for him was like another line of lights around his tree.
There's artists who are better at rapping or singing than some of the greats but they're not part of the conversation because they can't make better music or leave an impact their field. Kendrick may not be the best lyricist to ever rap but his resume within hip hop is unmatched by anyone else from his generation and puts him in a conversation you can't reach by freestyling for 20 minutes or winning a rap battle. New York has been so obsessed with the idea of being the Mecca of hip hop and being the best lyricists that they forgot what it takes to actually make an impact and capture the ear of the culture today. Kendrick's Control verse would not have had the impact it did if he didn't just drop good kid m.A.A.d city a year prior. Even though Joey is in my post-2010 top 3, the gap between him and Kendrick is very wide right now. While they may be closely matched in longevity and skill, Kendrick's discography and cultural touchpoints have exceeded Joey's. You can definitely add this moment between the West and New York to his resume but the work doesn't stop here. Are these same people who are calling for Kendrick to come outside again gonna listen to a Joey album after this is all said and done? I highly doubt it. Let Joey celebrate the masterful display he put on in this whole thing and continue to progress his career to new highs. Muhammad Ali isn't considered the greatest of all time because he never lost a match or was the best puncher, it was his showmanship in and outside of the ring, he meant something to people. Maybe somewhere down the line Joey versus Kendrick will make sense but not now, and if I'm being really honest, probably not ever...
Joey Bada$$, The West Coast, And Why It's Better To Be Great Than It Is To Be The Best
Back in 2014, Big K.R.I.T released the song 'Mt. Olympus', which was his response to the conversation stirred up around Kendrick's Control verse. Not only was this response incredibly unique based on it not being rapped over the Control beat like many others did, or it being released months after everything had settled down, but also because KRIT probably had the most interesting perspective out of everyone that had something to say about it. He raps on the track in a very resentful way towards the audience, saying how ironic it is that people now consider him a "lyricist" after Kendrick mentioned his name and how futile and misunderstood the idea of competition in rap can be sometimes. "Rap battling never got me out of no public housing/You tellin' me I can be the King of Hip Hop and they wouldn't give it to Andre 3000?"
The conversation around who's the best rapper or who's the greatest of all time will forever be a debate within the realm of hip hop as it is virtually impossible for the entire culture to come to a unanimous decision on one person to give that title to for various reasons. Even the discussion around what a lyricist is isn't exactly black and white either. However, I do think that there is a clear difference between being the "best" versus being the greatest. To be the best means you can outperform everyone else in your field at the highest degree of excellence and to be the greatest means that the sum of your work produced through your performances is worth more than everyone else in your field. In the case of rap, you may be able to look at King Los freestyle for 20 minutes straight and say to yourself that this is one of the best displays of rapping ability you've ever seen, but for as long as I've been a rap fan, I've never seen King Los' name mentioned in anyone's top 5, 10, etc., nor have I seen any of his albums be mentioned on any form of list. Despite how lyrically gifted he is and how competent he can be in the realm of battle rap, he has never been involved in any major rap conversations with most people's favorites.
Speaking of people's favorites, at the top of the year, one of my favorites of the 2010s, Joey Bada$$, decided to reinvoke Jay-Z's "Too much West Coast dick lickin'" bar as a way to catch the attention of California rappers, specifically Kendrick Lamar it seemed. This caused a slew of West Coast rappers to take shots back at him, namely Ray Vaughn and Daylyt. Fast forward a few subliminals and a Red Bull Cypher later, Joey finally calls out Daylyt and Ray Vaughn directly which prompts a battle to commence where multiple West Coast and New York rappers ended up jumping in to say their piece. In the end, most people see Joey as the winner coming out on top of all this due to how well he handled himself during the ordeal. However in the end, there are some people within the space who now pose the question, what was this all for?
Competition in rap can be productive and entertaining for the fans overall, but what really was Joey's intended purpose for starting all of this in the first place? I must admit as a fan of his, I did feel a bit gaslit in the beginning of all this since he claimed that 'The Ruler's Back' was "a call to action to New York" but then the question arises, why did you need to aim at the West Coast in order to do that? Then in the Red Bull Freestyle he said "this ain't no East vs West, I just think that I'm the best." So then it wasn't about New York, he just wanted to create a moment to big himself up? That's the side I'm leaning on now because the way people are positioning this battle is Joey versus The West Coast. CJ Fly, Loaded Lux, Kai Cash or any other NY rappers that jumped in aren't really getting credit or being named as winners in this battle royale, it's just Joey. In 'The Ruler's Back' he said it's "clear who the heir apparent King of NY" so does this situation solidify his position on that throne now? Prior to this whole thing starting, I had people telling me that Roc Marciano and Rome Streetz surpassed Joey in rank when it came to who's more notable or who's better. I feel like I'm left with more questions than answers at this point.
What really prompted me to start all this writing and rambling was this recent topic of discussion now about whether or not Kendrick should respond, owes a response, or has to respond to Joey since he seems to have bested the opposition from the West and mentioned him on all of his recent diss tracks. The simple answer I have to this question is, no. Kendrick doesn't HAVE to do anything at this point in his career not only because of the resume he's built for himself over these last 15 years but because of what he did last year. See, I'm not one of these rap fans that like to judge artists based on how many number ones they have, albums they sold, Grammys they've won, tickets they've sold, money they've made, none of that; I leave all the streaming numbers, pocket watching and chart counting to the stans, shout out to you weirdos... I rank Kendrick at the top of this generation because of his discography, his skillset, longevity, impact and cultural touchstones within hip hop. Kendrick Lamar is not above rapping but acting as if he's obligated to respond to this or that it would be a slight against his record if he doesn't is ridiculous. The only reasonable doubt that has existed in Kendrick's case for being number one for almost his entire mainstream career has been the infamous myth that is "The Big 3."
I have always hated the whole "Big 3" conversation between Kendrick, Cole and Drake for various reasons. I've always thought that it was a popularity contest instead of a legit rap conversation on who's the greatest of the new generation, and I know for a fact that this is the case because if it was about rap, Drake would have been disqualified from the discussion since 2015. So you could only imagine how joyed I was to hear 'Like That' and see Kendrick put this conversation to rest one apology and 'wop wop wop wop wop' at a time. Even in that instance, he didn't need to diss Cole and Drake, but calling them to the floor after all these years of claiming who's the greatest gave him the opportunity to clear the board, and that's exactly what he did. Outside of those two, there are no other rappers within the last 10 years that have been in conversation with Kendrick. Jay Electronica had his gripes but his career never amounted to anything for it to matter and Big Sean has been getting overshadowed by Kendrick every time they cross paths. These are the artists who hip hop have tried to matchup against him on his upward progression to legendary status and he's surpassed all of them. You know whose name has NEVER been in conversation with Kendrick though? Joey Bada$$.
Joey's response track to Control was just another drop in the bucket in the ocean of MCs that had something to say on wax about Kendrick. You cannot find Joey's name mentioned in the same breathe as Kendrick by the majority of rap fans anywhere or anytime else. As a day one Joey Bada$$ fan, I simply cannot take these opinions seriously because these people never held him in this position prior, just like how KRIT felt underrated prior to the Control verse. This is where the idea of 'Mt. Olympus' comes into play because now that he has people's attention and has seemingly bested Ray Vaughn and Daylyt in this arena, does this now put his name in the same conversation as Kendrick Lamar? Would him beating Kendrick in a battle put his name in that top spot, I don't think so. Pusha T bested Drake in their battle and the discussion around him hasn't changed over the years; neither did Drake's position in this "Big 3" conversation (another reason why I never took that title seriously). The fact of the matter is that while hip hop is a sport and competition is great to see, there are other ways to compete within the culture as well, especially if you want to be in the same spot as Kendrick, which again, is not being considered the best, but being considered the greatest.
See when New York was complaining about the South dominating the radio and not being real lyricists, TI, Luda, Jeezy, no one from over there decided to throw shots back on wax. They ignored it and continued to make hits until New York started sounding like them. From A$AP Rocky to Desiigner, it became obvious that the South's dominance in the mainstream was starting to change the way rappers from New York approached their music. They didn't dominant because they were the best at rapping, but because they were great at what they did. The West Coast did Joey a favor by even entertaining this battle because they already have the ball right now when it comes to mainstream attention. The momentum Kendrick created from the battle, to The Pop Out, to GNX, gave the West an opportunity to shine and possibly dominant the sound of mainstream rap. Guys like AZ Chike and Hitta J3 aren't known for being lyricists, they make slaps and bops, they gain nothing from going back and forth with Joey. Similarly, Joey Bada$$ going back and forth with the West Coast does not put him in the same conversation as Kendrick because battling is not what made him greatest, it was his career. If Kendrick's career is a Christmas tree then that battle of the "Big 3" would be the shining star on top of it. I only say that because it's been years in the making, it's arguably the greatest rap battle in hip hop history and it pushed Kendrick to be the biggest he's ever been in his career. Most battles aren't like that, I would never call Nas beating Jay-Z the shining star in his career, that would probably be Illmatic. The battle for him was like another line of lights around his tree.
There's artists who are better at rapping or singing than some of the greats but they're not part of the conversation because they can't make better music or leave an impact their field. Kendrick may not be the best lyricist to ever rap but his resume within hip hop is unmatched by anyone else from his generation and puts him in a conversation you can't reach by freestyling for 20 minutes or winning a rap battle. New York has been so obsessed with the idea of being the Mecca of hip hop and being the best lyricists that they forgot what it takes to actually make an impact and capture the ear of the culture today. Kendrick's Control verse would not have had the impact it did if he didn't just drop good kid m.A.A.d city a year prior. Even though Joey is in my post-2010 top 3, the gap between him and Kendrick is very wide right now. While they may be closely matched in longevity and skill, Kendrick's discography and cultural touchpoints have exceeded Joey's. You can definitely add this moment between the West and New York to his resume but the work doesn't stop here. Are these same people who are calling for Kendrick to come outside again gonna listen to a Joey album after this is all said and done? I highly doubt it. Let Joey celebrate the masterful display he put on in this whole thing and continue to progress his career to new highs. Muhammad Ali isn't considered the greatest of all time because he never lost a match or was the best puncher, it was his showmanship in and outside of the ring, he meant something to people. Maybe somewhere down the line Joey versus Kendrick will make sense but not now, and if I'm being really honest, probably not ever...
A Cost For Your Thoughts
Every person I've seen that identifies themselves as a "free thinker" turned out to be a dumbass disappointment. I guess free thought ain't free when the cost is losing your mind...
How 'The Blacker the Berry' and 'Mother I Sober' are Two Sides of the Same Coin
Following the announcement that Playboi Carti, after roughly 5 years of anticipation, was finally going to release his long awaited album, "I Am Music", rumors started to spread about the supposed features that could be on there. While most of the names that made the cut are the usual suspects you'd see on the likes of an Atlanta rap album, one name that stuck out like a sore thumb was none other than rap's 2024 (and possibly 2025) MVP, Kendrick Lamar.
The announcement was immediately met with skepticism, confusion and for some disappointment in the thought of him being on the album. This is because in the midst of his battle with Drake, people viewed many of Kendrick's response tracks as him taking a moral high ground against him while berating his character as a deadbeat father, sexual predator, etc. While I do disagree with this sentiment as from my perspective, Kendrick has had a very LONG history of displaying his flaws, shortcomings and imperfections on wax to the listeners, reinforcing that he's more human than holy and aims to give grace to those not of the highest moral standings (even Drake), I can see how his proximity to the likes of a Playboi Carti can be puzzling.
Within the 10th anniversary of what some consider to be his magnum opus, To Pimp a Butterfly, I couldn't help but to ponder on this topic and recall back to a time where Kendrick got criticized for somewhat doing the opposite of what he's doing now. No, I'm not here to lazily repeat that "Kendrick is not your savior" and "he already said he's a hypocrite in 2015" but I do want to make a possible connection between the ideas that come from the albums those lines are referenced from in hopes to make more sense of the situation.
Conservatives have often criticized black people for their disdain towards the justice system and police brutality by lazily saying "what about black on black crime and gang culture?" The response to these criticisms are often met with counterarguments stating that the sentiments of these questions are tone deaf and ignorant of the systemic racism that creates the ghettos which breed violence and crime within black communities. So much so that when Akademiks does the War in Chiraq, joking about the gang wars and deaths in Chicago in his basement, or Trap Lore Ross does his videos on gang members all across the US from the computer table of his London home, they catch hell for it. (Skip to 18:55 on the podcast episode)
Ironically enough, when Kendrick did an interview commenting about Mike Brown's death and then released 'The Blacker the Berry' months later, he received a lot of backlash from the black community as well, saying that he was repeating conservative talking points, playing into respectability politics and acting as like he was "Gods gift to niggaz everywhere." The famous lines "So why did I weep when Trayvon Martin was in the street/When gang-banging make me kill a nigga blacker than me?" didn't sit well as he too was looked at as being ignorant to the history and system that molded the realities of the ghettos today. He later explained in an interview with Rob Markman that he was speaking from a place of self, not towards the community. "I'm not speaking to the community, I'm not speaking of the community, I am the community."
Hip hop was born out of the ghettos of the Bronx and from there spread nationwide from coast to coast. There was a time in hip hop where rappers would look up to the drug dealers and gangsters in their community back when crime still paid more than rap. As hip hop grew more prominent, that pendulum swung to the point where hustlers and gangsters alike strived to be like rappers. Bringing the drug dealing, murder and degeneracy that comes with the street life to rap about it on songs. From Jay-Z and Biggie to Pop Smoke and Fivio Foreign, hip hop's lyrical content has been filled with mafioso talk, drug talk and intercommunal violence. So much so that even when The Breakfast Club get finished talking about how sad they are about another group of police officers failing to get indicted for killing an unarmed black man, they go right back to playing 'Hot Nigga' in the morning mix. Our understanding and partial acceptance of the realities of street life and the empathy we have for those that come from it have socialized some of us to play their music, watch them get locked up for the things they rap about, then celebrate when they get out like nothing ever happened.
Fast forward to 2022, after 5 long years of waiting (which really felt like 25 because of covid), Kendrick released what was probably his most anticipated album to date, 'Mr. Morale and the Big Steppers.' The rollout was very unique for him this time around as there was no particular single that came from the album itself prior to releasing it. Just a release date announcement, another installation in The Heart series and a link to the album once it dropped. No track list, no feature list, nothing. So you could imagine it surprised a lot of people when they found out that Kodak Black was not only featured on one of the songs from the album, but helped to narrate some of it as well. It was even more confusing considering the subject matter he touched on within the album, such as physical and sexual violence against women. Kodak Black was originally charged with rape, but accepted a deal and pleaded guilty to first-degree assault only to serve 18 months of probation. He maintained his innocence after accepting the deal stating that he just wanted to get it over with as it had been 5 years. Kodak Black has a history of getting in trouble with the law and is seen as one of rap's biggest fuck ups that just can't get right. So then the question becomes, why the hell is he on an album with Kendrick Lamar?
It's been about 3 years since the album's been released and most opinions on what it represents have already been made and solidified. I did not start writing this long ass essay to try and persuade anyone to change their minds or see things differently. For me, the crux of the issue Kendrick really wanted to highlight from the album lies within 'Mother I Sober.' The song describes Kendrick's journey as a child from the age of 5, hearing his mother get physically abused, constantly being questioned if he got molested, growing up with guilt from those moments and watching it manifest into a sex addiction and infidelity. At the end of the story he then finds out that his mother was violated when she was young, which sparked the fear and suspicion in her that it happened to him. He then goes on to cite the torturous acts of buck breaking and incestual rape that slave masters imposed on black people as the root of the post traumatic effects that lead to more sexual violence, sodomy and misogyny amongst the group, including rappers.
When I heard the lines "burying they pain in chains and tattoos," the first person that came to my mind was Kodak Black. I'd never make the assumption that he was sexually abused as a child but I couldn't help but feel like that's who Kendrick was pointing to as he said those lines. What's even more heart breaking is that as time passes, the "every other brother has been compromised" line grows truer and truer. From Lil Wayne, to IDK, to Denzel Curry, to Lil Durk, to Ferg, to R. Kelly and beyond. So many black men have admitted to being violated at a young age. Some turned out fine, some went on to have a hard road ahead of them and some lost their way before they could even grapple with their trauma.
My question to the audience then becomes, if we can contextualize crime and violence in the black community from the standpoint of systemic racism and white supremacy, empathize with the perpetrators of it and give them grace to the point of social acceptance, are we able to do so for the sexual crimes and violence against women and men? If the answer is no, then why? I think that it's a very uncomfortable thought to have because socially, we're not trained to have empathy for perpetrators of those actions as we are for those who are killers or dealers. Which in itself is crazy when you think about it, seeing that as damaging and life altering that sexual abuse can be, it's not final and it can be treated and recovered from to a degree of normalcy. Death on the other hand is final with no hope or chance of rehabilitation.
I would like to believe that Kendrick has reached a point in his journey where he's now challenging himself to extend grace to all black people that have past and present problematic behaviors in hopes that maybe one day the healing can begin for them too. This is the only reasoning I can find as to why he moves the way he moves. He's very well aware of how his associations clashes with people's perception of him and still chooses to hold onto them. To him, there's not that much difference between himself and these individuals, it's all just a matter of circumstance; the caterpillar and the butterfly are one in the same. Just as Baby Keem and Kodak Black mirrored each other in Mr. Morale, I'd imagine that he looks at some one like a Playboi Carti and Vic Mensa the same way. That's not to say that he doesn't believe that people shouldn't or aren't going to face consequences for their wrongful actions. At the end of Mother I Sober where he's declaring freedom from these generational curses, you can hear him say that he sets free all of his families abusers as well, because in reality it's all cyclical. Hurt people hurt people and we're all united in grief one way or another.
I don't expect anyone to subscribe to Kendrick's philosophy and perspective at this point in his life because I can admit that I couldn't see myself empathizing with certain people after they did certain things, whether it was to me or others. Even Kendrick had a hard time empathizing with Drake after he dissed his family and allegedly put money in the streets to get information on him. He's only human and like everyone else, he has limits, especially when grace doesn't get reciprocated. Even when you listen to 'Watch the Party Die', which some people cite as Kendrick taking a moral high ground again but in reality, is more of a statement of disappointment and frustration. It's like that one Dr. Umar video of him saying he can't psychologize every black man on the corner and that some of them need to be taken out "FOR GOOD." You want the best for your people but can't help but feel like some of them are beyond repair and would be better off disappearing.
Regardless of how I, critics, fans and detractors feel, since Mr. Morale, Kendrick continues to be very consistent in his stances and associations, despite continuously being labeled a hypocrite and fraud. So at this point it's up to you as the listener to do what you want and decide how much stock you want to put into his words moving forward. Recently I had learned that Hitta J3, who's on GNX, is actually the person front and center on the cover of To Pimp a Butterfly, and apparently him, Kendrick's childhood friend Lil L and Playboi Carti are close; it all makes a little more sense now. I know how I feel about my childhood friends and how I'd want the best for them even if they did wrong. Some would say that's unreasonable but I guess that's how love works. You can take it or leave it, and you don't have to believe it.
How 'The Blacker the Berry' and 'Mother I Sober' are Two Sides of the Same Coin
Following the announcement that Playboi Carti, after roughly 5 years of anticipation, was finally going to release his long awaited album, "I Am Music", rumors started to spread about the supposed features that could be on there. While most of the names that made the cut are the usual suspects you'd see on the likes of an Atlanta rap album, one name that stuck out like a sore thumb was none other than rap's 2024 (and possibly 2025) MVP, Kendrick Lamar.
The announcement was immediately met with skepticism, confusion and for some disappointment in the thought of him being on the album. This is because in the midst of his battle with Drake, people viewed many of Kendrick's response tracks as him taking a moral high ground against him while berating his character as a deadbeat father, sexual predator, etc. While I do disagree with this sentiment as from my perspective, Kendrick has had a very LONG history of displaying his flaws, shortcomings and imperfections on wax to the listeners, reinforcing that he's more human than holy and aims to give grace to those not of the highest moral standings (even Drake), I can see how his proximity to the likes of a Playboi Carti can be puzzling.
Within the 10th anniversary of what some consider to be his magnum opus, To Pimp a Butterfly, I couldn't help but to ponder on this topic and recall back to a time where Kendrick got criticized for somewhat doing the opposite of what he's doing now. No, I'm not here to lazily repeat that "Kendrick is not your savior" and "he already said he's a hypocrite in 2015" but I do want to make a possible connection between the ideas that come from the albums those lines are referenced from in hopes to make more sense of the situation.
Conservatives have often criticized black people for their disdain towards the justice system and police brutality by lazily saying "what about black on black crime and gang culture?" The response to these criticisms are often met with counterarguments stating that the sentiments of these questions are tone deaf and ignorant of the systemic racism that creates the ghettos which breed violence and crime within black communities. So much so that when Akademiks does the War in Chiraq, joking about the gang wars and deaths in Chicago in his basement, or Trap Lore Ross does his videos on gang members all across the US from the computer table of his London home, they catch hell for it. (Skip to 18:55 on the podcast episode)
Ironically enough, when Kendrick did an interview commenting about Mike Brown's death and then released 'The Blacker the Berry' months later, he received a lot of backlash from the black community as well, saying that he was repeating conservative talking points, playing into respectability politics and acting as like he was "Gods gift to niggaz everywhere." The famous lines "So why did I weep when Trayvon Martin was in the street/When gang-banging make me kill a nigga blacker than me?" didn't sit well as he too was looked at as being ignorant to the history and system that molded the realities of the ghettos today. He later explained in an interview with Rob Markman that he was speaking from a place of self, not towards the community. "I'm not speaking to the community, I'm not speaking of the community, I am the community."
Hip hop was born out of the ghettos of the Bronx and from there spread nationwide from coast to coast. There was a time in hip hop where rappers would look up to the drug dealers and gangsters in their community back when crime still paid more than rap. As hip hop grew more prominent, that pendulum swung to the point where hustlers and gangsters alike strived to be like rappers. Bringing the drug dealing, murder and degeneracy that comes with the street life to rap about it on songs. From Jay-Z and Biggie to Pop Smoke and Fivio Foreign, hip hop's lyrical content has been filled with mafioso talk, drug talk and intercommunal violence. So much so that even when The Breakfast Club get finished talking about how sad they are about another group of police officers failing to get indicted for killing an unarmed black man, they go right back to playing 'Hot Nigga' in the morning mix. Our understanding and partial acceptance of the realities of street life and the empathy we have for those that come from it have socialized some of us to play their music, watch them get locked up for the things they rap about, then celebrate when they get out like nothing ever happened.
Fast forward to 2022, after 5 long years of waiting (which really felt like 25 because of covid), Kendrick released what was probably his most anticipated album to date, 'Mr. Morale and the Big Steppers.' The rollout was very unique for him this time around as there was no particular single that came from the album itself prior to releasing it. Just a release date announcement, another installation in The Heart series and a link to the album once it dropped. No track list, no feature list, nothing. So you could imagine it surprised a lot of people when they found out that Kodak Black was not only featured on one of the songs from the album, but helped to narrate some of it as well. It was even more confusing considering the subject matter he touched on within the album, such as physical and sexual violence against women. Kodak Black was originally charged with rape, but accepted a deal and pleaded guilty to first-degree assault only to serve 18 months of probation. He maintained his innocence after accepting the deal stating that he just wanted to get it over with as it had been 5 years. Kodak Black has a history of getting in trouble with the law and is seen as one of rap's biggest fuck ups that just can't get right. So then the question becomes, why the hell is he on an album with Kendrick Lamar?
It's been about 3 years since the album's been released and most opinions on what it represents have already been made and solidified. I did not start writing this long ass essay to try and persuade anyone to change their minds or see things differently. For me, the crux of the issue Kendrick really wanted to highlight from the album lies within 'Mother I Sober.' The song describes Kendrick's journey as a child from the age of 5, hearing his mother get physically abused, constantly being questioned if he got molested, growing up with guilt from those moments and watching it manifest into a sex addiction and infidelity. At the end of the story he then finds out that his mother was violated when she was young, which sparked the fear and suspicion in her that it happened to him. He then goes on to cite the torturous acts of buck breaking and incestual rape that slave masters imposed on black people as the root of the post traumatic effects that lead to more sexual violence, sodomy and misogyny amongst the group, including rappers.
When I heard the lines "burying they pain in chains and tattoos," the first person that came to my mind was Kodak Black. I'd never make the assumption that he was sexually abused as a child but I couldn't help but feel like that's who Kendrick was pointing to as he said those lines. What's even more heart breaking is that as time passes, the "every other brother has been compromised" line grows truer and truer. From Lil Wayne, to IDK, to Denzel Curry, to Lil Durk, to Ferg, to R. Kelly and beyond. So many black men have admitted to being violated at a young age. Some turned out fine, some went on to have a hard road ahead of them and some lost their way before they could even grapple with their trauma.
My question to the audience then becomes, if we can contextualize crime and violence in the black community from the standpoint of systemic racism and white supremacy, empathize with the perpetrators of it and give them grace to the point of social acceptance, are we able to do so for the sexual crimes and violence against women and men? If the answer is no, then why? I think that it's a very uncomfortable thought to have because socially, we're not trained to have empathy for perpetrators of those actions as we are for those who are killers or dealers. Which in itself is crazy when you think about it, seeing that as damaging and life altering that sexual abuse can be, it's not final and it can be treated and recovered from to a degree of normalcy. Death on the other hand is final with no hope or chance of rehabilitation.
I would like to believe that Kendrick has reached a point in his journey where he's now challenging himself to extend grace to all black people that have past and present problematic behaviors in hopes that maybe one day the healing can begin for them too. This is the only reasoning I can find as to why he moves the way he moves. He's very well aware of how his associations clashes with people's perception of him and still chooses to hold onto them. To him, there's not that much difference between himself and these individuals, it's all just a matter of circumstance; the caterpillar and the butterfly are one in the same. Just as Baby Keem and Kodak Black mirrored each other in Mr. Morale, I'd imagine that he looks at some one like a Playboi Carti and Vic Mensa the same way. That's not to say that he doesn't believe that people shouldn't or aren't going to face consequences for their wrongful actions. At the end of Mother I Sober where he's declaring freedom from these generational curses, you can hear him say that he sets free all of his families abusers as well, because in reality it's all cyclical. Hurt people hurt people and we're all united in grief one way or another.
I don't expect anyone to subscribe to Kendrick's philosophy and perspective at this point in his life because I can admit that I couldn't see myself empathizing with certain people after they did certain things, whether it was to me or others. Even Kendrick had a hard time empathizing with Drake after he dissed his family and allegedly put money in the streets to get information on him. He's only human and like everyone else, he has limits, especially when grace doesn't get reciprocated. Even when you listen to 'Watch the Party Die', which some people cite as Kendrick taking a moral high ground again but in reality, is more of a statement of disappointment and frustration. It's like that one Dr. Umar video of him saying he can't psychologize every black man on the corner and that some of them need to be taken out "FOR GOOD." You want the best for your people but can't help but feel like some of them are beyond repair and would be better off disappearing.
Regardless of how I, critics, fans and detractors feel, since Mr. Morale, Kendrick continues to be very consistent in his stances and associations, despite continuously being labeled a hypocrite and fraud. So at this point it's up to you as the listener to do what you want and decide how much stock you want to put into his words moving forward. Recently I had learned that Hitta J3, who's on GNX, is actually the person front and center on the cover of To Pimp a Butterfly, and apparently him, Kendrick's childhood friend Lil L and Playboi Carti are close; it all makes a little more sense now. I know how I feel about my childhood friends and how I'd want the best for them even if they did wrong. Some would say that's unreasonable but I guess that's how love works. You can take it or leave it, and you don't have to believe it.
Jamaica’s Right to Its Destiny
October 29, 2018
By: Adami (aka. A frustrated Jamaican boy who talks to himself more that other people probably)
Jamaica’s Right to Its Destiny
“If it rains you will get the float, but only if they're still building boats.”
- Lupe Fiasco
I’ve heard multiple times in song, in jest and even from those who are close to me in relationship and in age that they do not feel like Jamaica is really independent; that there are other powers and forces working behind the scenes who ultimately make decisions on what occurs within the country. While I don’t completely doubt that a lot of the happenings going on in Jamaica are influenced by foreign powers, as far as us being independent goes, I think that what we have in an independent status, we lack in an independent mind. I remember in Vybz Kartel’s last interview at OnStage, he said that, “the power ultimately always rest with the people [….] yeah, I wish the people would figure that out where politics is concerned but that is a debate for a next interview.” Well then, since the Worl’ Boss himself is currently incarcerated, let’s use this text as a way to simulate that debate, why don’t the people realize that they are the ones in power? One of the most frustrating arguments I hear people make in regards to Jamaican people not having a handle on the country is, “OH, tah unnu nuh ha nuh chat a fargin eeda, but unnu run gan wid visa an’ greencaad deh deh a dead fi citizenship, meanwhile Uncle Sam a murda unnu bauxside wid tax.” As if the U.S or U.K. was supposed to be the shining example of what political, social and economic fairness looks like; by the way, they never were, at any point in time, especially for black people. The fact that Trump still won the election even though Hillary literally had more American people vote for her is a prime example of how flawed the U.S. is politically. However, I do not believe that Jamaica has to be subjugated under these same principles and practices, mainly because of how we are and where we come from. I see Jamaica as a microcosm of a social and political state; we are very small, and because of that I feel like we ironically have more space and room to experiment and shift the way our social structure works. With how abhorrent, irresponsible and abusive the Jamaican government has been to our country, how can we still sit quietly and not demand change. As Winford Williams told Vybz Kartel in that interview, it is the people that will decided when to dismiss you; Jamaican people, when are we going to decide to dismiss some of these politicians that are ruining our country?
We are the ones that elect these leaders to be in power, it is our money that is running the country, not theirs, we are their employers; if we don’t play taxes they don’t have a job to do, so why is it that we don’t get to have a say in how the country is ran? Every day you turn on the radio and you hear people complaining about the same thing: the roads aren’t fixed, the beaches aren’t free, and nobody likes JPS; we have all these wants and needs that we’ve been begging for years for and still, our tax dollars haven’t gone into it. You mean to tell me that we can vote on who gets to be in power but we can’t vote on where our money goes? I know that Edward Seaga and the CIA has created this negative image of socialist ideas through propaganda, political and social manipulation and destabilization but let me try to put things into perspective. Think about the needs that exist in your community, and what you want to see change or improve, then imagine if just like how you’d vote between two representatives for you parish sector to be elected, you could be able to vote on a budgeting plan in your community and prioritize what projects need to be handled, with provided information on what these projects are and how much it will cost. You’d be looking at the money that you as a citizen paid in taxes on a sheet of paper next to actually projects and improvement initiatives that could be made in your community. Not only would this make people more married to the idea of conscious political and social involvement, but it would finally give the people the voice and the power they need to actualize the wants and needs they’ve had for a long. Whether its education, healthcare or housing, the people should be able to funnel their tax dollars into whatever social initiative they feel would bring more quality to their living and equality to their opportunities. As it stands now, I feel as if though there is a terrible disconnect between the wants of the people and the actions of the government of Jamaica.
And now for the main thing that led me to write the long block of text that I pessimistically assume that no one will actually read or try to understand, the National Identification System (NIDS). Let me start of by saying this; I am a fairly young individual and I will eventually reach to a stage in adulthood where I will soon be making my own money, taking on more social responsibilities and be in a position where I am able to vote after registration. While my allegiance is not with any particular party or politician, I will say that after initially hearing about the NIDS and what the system’s purpose and attributes are, I can honestly say that there will never be a moment in my life where I will ever vote, trust or even respect the JLP, at all. As a matter of fact, I think it is a disgrace that they are still even going to be considered a viable party in the next election, because the fact that this system exists and they are really trying to administer this to Jamaican people is disguising.
The fact that our politicians and legislators have written down law in ink, that says that we won’t be able to access goods and services without this card is almost so fictionally wrong, vile and subjugate, that I honestly can’t believe that this is what could actually be Jamaica’s reality. The amount of biometric information that they require from you as a human being is so immense and unnecessary, you’d think that the Jamaican government was trying to start a cloning factory instead of an identification system. Instead what they’re trying to do is quantify your human existence into a set of numbers to put into their system and turn you into an entity whose natural human rights are now bound to the existence and validation of an ID card. Not only that but when you look at the fines and possible prison time that people will receive just for not being able to return the card, it makes you really question what the motives of the government actually are. They say that it’s to help stop crime but if anything, this system is going to increase the crime rate tenfold, because with how corrupt the entities that exist within the government are now, and how rampant scamming is in Jamaica, if people’s biometric information are in the hands of these malicious people or leak to other people outside of the system, people’s lives could be forever ruined and there would be nothing you as an individual or anyone else could do to stop it, because there’s absolutely no way you could not say it’s you.
I am honestly tired at this point but this is the last point I want to make. I don’t like when people call up God’s name so vainly because I think it diminishes and undermines the weight a deity’s message is supposed to have but I would just like to say that if there’s any group that I am more disappointed in more than the government and opposition itself, it would be the Christian church. When you put Revelations 13:17 next to the Facilitation of Delivery Goods and Services section of the NIDS act, as a Christian, you CANNOT tell me that this ID system by definition is not the same exact thing as the mark of the beast. The only difference between the two is that the number for the mark is supposed to be on your right hand or forehead, and the NIDS number is obviously on the card, plus, it isn’t being administered to you by a literal multi-headed dragon, however, at this point, I think that would be a good representation of the powers that be. And yet, I have not heard a murmur, a whisper, not even the slightest indication of sound from any Christian ministry in Jamaica. No Seven Day, No Pentecostal, no Baptist, no Catholic, nothing. Jamaica has more churches per square mile than any other country and yet these pastors have sat on their pulpits and not said anything about this law. This is not some prophecy from the Old Testament that was said before Jesus came to earth, this is revelation. REVELATION. THIS IS A SIGN OF THE END. As a so called Christian, if you can’t speak up against this, then you might as well not speak at all. However, I guess that those tax dollars that these bishops owe to the government are keeping them nice and quiet so I guess I shouldn’t expect much.
Final thoughts: it was said that the implementation of this act was going to take place starting 2019 and we are about two months away from that time as of me writing this. The PNP is currently challenging the NIDS act within the Supreme Court as I write this as well; I commend them for the effort, but I expect the worst. However, even if this act ends up being eliminated within the Supreme Court, I hope that whatever patient, attentive, actually-cared-enough-to-read-thing-long-ever-thing soul sees this understands that all I want for us as Jamaican people to have, is a choice. Not just a choice to vote for a politician that’s going to sit and ignore the wants of the people while they use our tax dollars to pay their phone bill. Not just the choice to deny registering for an identification system that’s going to basically put me in quasi-neo-slavery, but the choice to decide how it is you want to shape the society you live in and the country you love. Every man, and woman, has a right to decide their own destiny, and if that idea is too radical, false or childish to be put into practice according to these politicians, then they need to go, because I refuse to let them be the ones that decide my destiny.
………will you?
…and now for a lil’ poem
*ahem*
DON’T FREEZE!
KEEP MOVING!
PUT YOUR HANDS TO GOOD USE!
You have the right to your destiny
You have to write for therapy
For clarity from the vague
Medicine for the plague of the mind
Anything you say will be put against you in time
So speak life
Lest Death becomes your attorney in the court of heaven
Don’t show up wearing the devil’s sixes either, God clearly rolls with 7
That’s a one up on Lucifer, a winning score for the Lord
He told you all those wages lead to death, and now you can’t afford?
That’s ironic…
But enough with the demonic
Do you understand what I just read to you?
Did the mention of death seem a bit too dark like Miranda blue?
A brief word to those of the vile and violent
I refuse the right to be silent
x x
So.... Shulk has Katakuri's Haki now?
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Why does this Plumber look so familiar?
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