Explained how J. Cole failed the culture

On Sunday in Fayetteville, North Carolina, rapper Jermaine Cole took the stage at the Dreamville Festival to specific his regret at disparaging K-Dot’s catalog in “7 Minute Drill,” where Cole raps:

J. Cole “7 Minutes of Exercise”

“That’s one part of this shit that makes me feel like the most crappy thing I’ve ever done in my fucking life” – Cole he told the audience. “So I felt conflicted because I was like, bro, I don’t even feel like that. And I know that’s not something a lot of people want to hear.”

Cole’s heartfelt public apology sent Black Twitter into a frenzy with memes, jokes, and even discourse on mental health and self-care. While the mea culpa for doing something that “offends (his) spirit” and “disturbs (his) peace” was an admirable act of contrition and self-reflection, Cole was right about one thing: it wasn’t about what many people wanted it to be hear.

One of the privileges of writing for a black audience is that I don’t have to explain what I mean when I say my youngest sister has always been “sensitive.” I’ve never really heard the definition of feeling “somehow,” but I know what it means. Every black child is born with the ability to distinguish “white people’s business” from “adult business.” For many people, Cole’s actions not only undermined one of the founding principles of hip-hop, but broke one of the unwritten rules that govern disparate Black communities across America:

You need to get your licking back.

Getting your lick back is a God-given right. It is as important as life, freedom and the pursuit of happiness. Reciprocating licking has little to do with violence or revenge; it’s about competition, honesty and, above all, never giving up. This fundamental principle is one of the pillars on which black culture and art are built. Baking or “playing the tens” is just a verbal form of getting the lick back. The improvisational guitar and saxophone solos that define American music evolved from “cutting competitions” — when black jazz and blues musicians fought one another during a performance. Even moving to the beat can turn into a contest. You cannot just tap dance in the face of Bill Bojangles Robinson or play Alpha Train at a Que party and expect no response. They get their licks back.

Perhaps nothing embodies this doctrine higher than a culture that comes with every pre-existing type of black art and black creativity. Whether it’s breakdancing, emceeing, DJing, or graffiti, every element of hip-hop involves some type of competitive response. Positioning is a basic condition of hip-hop culture. The art form relies on the concept of opposition, real or imagined. Therefore, “I’m great at rapping” was the thesis of 86.4% of old rap music. That’s why there are not any hits about reliable cars, medium-strength marijuana and cheap jewelry. That’s why Drake invited J. Cole to perform on the single “First-person shooter” to answer the question: “Who is GOAT? … It’s just (Drake) and Cole.” This cultural need for competitive excellence is also why Cole stated:

J. Cole on “first-person shooter”

This wasn’t what Kendrick Lamar wanted to listen to.

Like Cole, Kendrick Lamar is understood for creating emotionally sensitive, unapologetically black rap music that touches on topics of politics, spirituality and mental health. But despite the Grammys, Pulitzers and other Caucasian accolades showered on Lamar from outside the culture, on occasion he transforms into “Kung Fu Kenny,” the undisputed master of verbal combat. He has already said that he has nothing but love and respect for his peers, but he “he thinks hip-hop is a sportThe only difference between the more contemplative poet and his bold alter ego is that Kung Fu Kenny does not tolerate even the insinuation that anyone lives in the same sublime atmosphere as him.

For Lamar, Drake and Jermaine to put him on their level was an insult. The light-skinned duo’s intention was irrelevant. He just followed the rules. So Kendrick Lamar had no choice but to fulfill his duty to hip-hop by upholding the standards and practices of a culture in which he is deeply rooted. Lamar picked up a feature on ‘Future’ and ‘Metro Boomin’Yes” address the problem.

“These niggas talk all the time,” he began. “Don’t take the coffin out of your mouth, I’m too paranoid to make threats.” What followed was a verse filled with somewhat obscure references that true hip-hop fans would immediately recognize. He quoted rap pioneer Melle MelAndre 3000 flute i Click members of E-40 and B-Legit. After dropping song and album titles, Lamar left no ambiguity: “Motherf–k the Big Three. Nigga, it’s just me.

He got his licking back.

In an era where rap music is often indistinguishable from pop music, true hip-hop fans were delighted to witness the exchange between respected creators of their beloved art. It was like LeBron challenging Giannis to a one-on-one game at Rucker Park. Not since Nas and Jay-Z’s cultural battle have we seen two artists at the cultural avant-garde engage in the most fundamental form. And like “Ether” vs. “Takeover,” the winner debate was less necessary than the artistic competition. While nobody doubts the excellence of either artist, all this “beef” was only about who was the best.

It was hip-hop at its best.

But there may be a difference between rap and hip-hop. One is the product of a capitalist music industry built by white people for the specific purpose of commodifying black art. The second is a culture that has rules that govern the standards and practices of those participating. A mural artist may paint over one other artist’s work. But in hip-hop, crossing out one other graffiti author’s tag is taken into account a misdemeanor. While Beyoncé’s fans love her reinterpretation of “Jolene,” if the hip-hop artist did the same, she could possibly be accused of “biting” Dolly Parton. Worse yet, they could saddle Bey with one in all the most offensive labels of all – loser MC.

While some, including my colleague Touré, rightly praise J. Cole for prioritizing mental health and maintaining personal ethical standards, hip-hop purists are mistaken to wonder, “What part of the game is this?” Unlike people whose Spotify playlist includes Post Malone and Ice Spice, as you want to to imagine, I have never met a single soul who’s into J. Cole. They were simply disenchanted to see a rivalry that promised to be a watershed moment in hip-hop vanish into thin air. They are not any different than individuals who need to return to the era when NFL players could decapitate opponents on the field. They just need to add an old fashioned twist to all the songs about taking Percocet and going to weekly therapy sessions. Part of the disappointment comes from the knowledge that hip-hop is evolving, perhaps in a very good direction.

But what rapper doesn’t want his lick back?

Perhaps the only loser in all of that is the hip-hop purist. We “heads” feel the same as the boxing fans who watched Tyson bite Evander Holyfield on the ear. nobody wanted it, the risk that this conflict would end in bloodshed was very small); they desired to see two champions fight for the title. J. Cole has the right to apologize. His fans even have a right to feel slighted that he mainly confessed to his opponent.

If there’s one shiny side to this whole controversy, it’s J. Cole to Kendrick Lamar. While it could have disenchanted hip-hop fans who love watching friendly competition, individuals who enjoy the occasional good rap song can enjoy the remainder of the music that does not make them “feel bad spiritually.” His apology could seem to have broken one in all the fundamental tenets of his craft, but that does not make him a coward or a traitor. For those that doubt Cole’s commitment to the culture, rest assured that his spirit will not be stirred as he boldly raps about violence and Black women. Despite all the things, .

So much drama on the street, I feel like the beef is random
Lots of murders, turn into Thor, gotta keep the hammer
Cause the weather gets worse, shots are fired at the innocent,
the neighbors still do not know who sent them the shit, it’s like secret Santa
I’m here, reaching for a better frequency, I’m going to do it
Relax in the presidential suites or sleep in cabins on the beach
Sketching on 1000’s of sheets of paper, I hit weirdos in tandems
Catch them after which throw them in a cab like East Atlanta
How does it feel to see the flyest bitch and know he can land her?
Every word I say on beats will certainly fuel the fandom.

– J. Cole on “Stickz N Stonez”

Although some people (For example, Mos Defa) I doubt Drake is even a component of hip-hop, for the sake of culture I hope he gets his licks back. Even if it doesn’t occur, we are able to ensure of 1 thing:

Drake feels it someway.

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