J. Cole


Yesterday the Academy Awards came under scrutiny for what has been labelled its “whitest year” since 1998, after this year’s nominations revealed no non-white actors had been nominated in any of the four main categories. However, ahead of the upcoming 57th Annual Grammy Awards on 8th February, let’s have a look at what impact race has in other areas of entertainment today.

Last month, US rapper Azealia Banks caused a media frenzy after an interview she gave with New York based radio station Hot 97 in which she talked openly about fellow female rapper Iggy Azalea and the cultural appropriation of black people in America. On the surface it may have appeared as nothing more than a nonsensical celebrity feud – the pair have had an on-going rivalry of sorts for a few years now stemming from a lyric in which Azalea, in her song “D.R.U.G.S.”, referred to herself as a “runaway slave master”.

However, the interview delved much deeper than that. Banks, who broke down in tears at several points, expressed her concerns with what she refers to as “cultural smudging”, her phrase for appropriation. Azalea, a white rapper who originally hails from Australia, was recently nominated for a Grammy Award in the Best Rap Album category, although many of her contemporaries, including Banks, feel such a nomination is unwarranted.

“The Grammys are supposed to be accolades for artistic excellence… Iggy Azalea’s not excellent,” Banks said during the interview. “I have a problem when you’re trying to say that it’s hip-hop and you’re to trying to put it up against black culture… It’s like a cultural smudging.”

She continued, “When they give these Grammys out, all it says to white kids is, ‘you’re great. You’re amazing. You can do whatever you put your mind to.’ And it says to black kids, ‘You don’t have s***. You don’t own s***, not even the s*** you created yourself.’ And it makes me upset.

“Put her in the pop category. Put her with Katy Perry. Put her and Miley Cyrus in the same f****** box together. Don’t put her in hip-hop… just because she’s not singing, does not mean it’s rap music.”

Fellow rapper J. Cole shared similar sentiments in “Fire Squad”, a track taken from his new album, “2014 Forest Hills Drive”, where he says:

“History repeats itself and that’s just how it goes.
Same way that these rappers always bite each others flows.
Same thing that my n***** Elvis did with Rock n Roll,
Justin Timberlake, Eminem, and then Macklemore.

“While silly n***** argue over who gon’ snatch the crown,
look around, my n****, white people have snatched the sound.
This year I’ll prolly go to the awards dappered down,
watch Iggy win a Grammy as I try to crack a smile.”

He later clarified the lyrics in an interview with Power 105.1’s Angie Martinez:

Cole’s frustration came in the wake of Macklemore sweeping the rap categories at last year’s Grammy Awards along with producer Ryan Lewis. The duo took home the prize for Best Rap Album, trouncing stiff competition from the likes of Kendrick Lamar, who’s album “Good Kid M.A.A.D City” received widespread critical acclaim. Many felt this album had been snubbed and, in a surprising turn of events, Macklemore agreed. Shortly after the win, he posted a snap on Instagram depicting a text he had sent to the “Good Kid” rapper to declare he had been “robbed” since, like many were saying, he had released the better album.

The question is, where do the concerns with Iggy Azalea and Macklemore receiving accolades in the hip-hop genre derive from? Is it because they are white or because their sound is non-traditional hip-hop and influenced by pop music? Let’s not forget Nicki Minaj’s pop-fused debut album, “Pink Friday”, which spawned huge crossover hits like “Superbass”, was also previously nominated for a Grammy Award in the Best Rap Album category, as have many other contemporary hip-hop albums without adversity.

An artist’s success, either in the form of sales or industry recognition such as the Grammys, can be attributed to their popularity, which is increased considerably through being embraced on the radio. In the aftermath of the Banks/ Azalea media storm, Macklemore also did an interview with radio DJs Ebro Darden and Peter Rosenberg at Hot 97 to weigh in on the debate.

Darden: “Do you believe that your music got embraced by ‘white radio’ [contemporary hit radio stations] because you’re white and you rap?”


“Yes, I do. Absolutely… Why am I safe? Why can I cuss on a record, have a parental advisory sticker on the cover of my album, yet parents are still like, ‘You’re the only rapper I let my kids listen to?’ Why can I wear a hoodie and not be labelled a thug? Why can I sag my pants and not be a gangbanger? Why am I on Ellen’s couch? Why am I on Good Morning America?

“If I was black, what would my drug addiction look like? It would be twisted into something else versus maybe, ‘Get back on your feet!’ The privilege that exists in the music industry is just a greater symptom of the privilege that exists in America. There’s no difference, this is just a by-product. This is just an off-brand of what’s happening in America. People see me, they resonate with me – America’s predominantly white. There’s relatability.”

Macklemore was well received for acknowledging what many in his position would choose not to, at least not publicly. Music fans listen to what they can relate to. If the majority of American people are white, it would make sense that many would identify with and listen to Macklemore over Kendrick Lemar, for instance. While this allows Macklemore – by his own admission – to be embraced by contemporary hit radio stations more easily, it could be seen as the very reason why he, along with a host of other white artists boxed in the urban genre, find it difficult to secure the same support from urban radio stations, which primarily play black artists.

Eminem has received acclaim and respect from his peers since he made his major label debut in 1997 with “The Slim Shady LP”. Despite this, he has never been embraced entirely by the urban radio format and instead gets a lot of his support from pop radio stations. While a lack of authenticity or an over reliance on pop music may plague Iggy Azalea and Macklemore, Eminem has long proven himself, so why is he still unable to attain the same backing as his black counterparts?

If mainstream radio stations that have much larger audiences embrace certain artists more than others, it is no surprise that these same artists are more popular with the record-buying public. A domino effect is then created, as these popular rappers are front of line when the Grammys and other accolades are being handed out – you have to be seen before you can be heard. Case in point: Azalea, who released one of the most commercially successful singles of last year, “Fancy”, recently picked up two gongs in the rap categories at the American Music Awards, ahead of both Drake and Eminem. Again, likely due to her mainstream popularity given her album was widely panned by music critics.

But, wait; have we not seen this same story played out countless times over the years already? Going as far back as the 1940’s, for example, Elvis Presley was dubbed the “King of Rock and Roll” in favour of the many black artists who wrote, recorded or inspired much of his material. His 1954 debut single “Alright Mama” is often cited as the first rock and roll song, despite being released a few years earlier by African-American singer Arthur Crudup.

Crudup was eventually forced to give up his recording career due to an on-going battle over royalties and the small wages he received as a singer. In contrast, Presley went on to garner millions. This was an era in which a host of black musicians, such as Chuck Berry, Bo Diddley and Little Richard, were successful in their own right, but often unable to match the mainstream recognition of their white equivalents. One of the more known cases was Richard’s “Tutti Fruitt”, released in 1955. The single, which is considered as one of the founding songs of rock and roll music, reached number 17 on Billboard’s pop chart. The very same day Pat Boone, a white American singer, saw his cover version of the track chart at number 12. On the contrary, over on the R&B chart Richard reached number two, and Boone’s version did not even chart.

Here we had two versions of the same song that were appealing to two separate audiences. One was labelled rock and roll; one R&B. Boone’s version went on to be a huge mainstream hit, while Richard saw success of his own version pale in comparison. R&B had been adopted, given new faces, and rebranded as rock and roll.

However, at what point does merely “covering” a song turn into appropriation?

The question is a tricky and complex one to answer, as there have been many varying definitions as to what constitutes appropriation. Website Afriendlyletter.com offers 10 different explanations, although the general consensus seems to refer to the process whereby a majority group takes elements from a minority culture for personal gain, which can often damage and dishonour the original source.

Nevertheless, it’s a proven model that, rightly or wrongly, appears to work. Last year in an interview with radio station Power 105, Rita Ora explained how many people often confuse her ethnicity. She commented, “A lot of people think that [I’m black], but I like that – it gets me places.” Radio host DJ Envy later agrees that she does indeed look non-white to which she responds with “thank you”.

Joking or not, she wasn’t mistaken. In the entertainment industry there’s certainly, at times, a distorted view of black culture as merely a fashionable trend that, once adopted, reinforces street credibility. Pop star Katy Perry has been accused of this a number of times, most recently for her “This Is How We Do” video.

Moreover, in 2013 a “blackout” was referred to, as it was the first year in Billboard history that no black artist topped the Hot 100 chart as a lead performer. This resulted in a paradox whereby several white artists, such as Macklemore, Emimen and Robin Thicke, were still able to achieve this feat through using urban music. This sparked a satirical open letter by Sebastien Elkouby, a former publicist for rapper KRS-One, which looked at how black artists were being marginalised in popular culture.

It’s evident to see that race still plays a role in today’s music industry, particularly within the urban and pop genres where radio airplay is concerned. However, unlike previously, we’re now seeing artists discuss this more openly and publicly, even outside the US, as most are striving for a fair and level playing field rich in diversity, not one dictated by who appears to be the most relatable.

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j-cole-letterman-1With his new album 2014 Forest Hills Drive in stores, Roc Nation’s own J.Cole appeared on “The Late Show with David Letterman” last night and gave a very powerful performance of his song “Be Free” paying tribute to Mike Brown and Eric Garner. J.Cole’s new album 2014 Forest Hills Drive is expected to sell 320-350k. Check out the performance below.

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44243After giving the surprising news that he would be dropping a album, Roc Nation’s own J.Cole drops a visual for his album track “Apparently.” While standing in front of a projection screen, J.Cole reflects childhood and his homecoming. Along with his 3rd album being released today J.Cole will appear on “The Late Show with David Letterman” this Wednesday. Check out the video below.

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J.Cole always brings a different meaning to his songs when he releases his videos, and that’s exactly  what he has done again with his new visual for ‘She Knows’ the third single off his sophomore album Born Sinner. In the new clip the teenage boy discovers that his mother is having an affair, while hiding his own secrets. Check out the video below to see how the story unfolds.

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J.Cole uses his rap skill and celebrity status to  stand against War and Drugs in the short film for “Crooked Smile,”featuring TLC.  J.Cole’s new video was inspired by Aiyana Stanley-Jones, the 7-year-old girl who was killed in a Detroit drug raid in 2010. J.Cole plays the older brother of the young girl, while  cops end up raiding the house at night, arresting Cole for drugs and shooting the innocent girl. J.Cole. Check out the emotional video below.

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Last week Wale released his brand new album The Gifted which scored his first #1 debut selling  158,000 copies in its first week, and J.Cole remained at #2 selling 84,000 outselling Kanye West new album which dropped down to #3 with an 80% decline selling 65,000 in its second week. Kelly Rowland went from #4 down to #15.

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J.Cole is really pushing to get the those first week sale numbers fro his sophomore album “Born Sinner.” The Roc Nation signee has been working hard giving fans a chance to see him for only a $1 for his dollar and a dream tour which just hit philly yesterday, now J.Cole has released a remix to his song “Let Nas Down” featuring the rap legend himself Nas. Check out the remix below.

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Years ago when I was a sophomore in college, Kanye West & 50 Cent individually made the decision to release their albums on the same day. The build up to the highly anticipated showdown was huge. Everybody was talking about who would have the better album, the better sales, and basically who would win. While I ended up buying Kanye’s Graduation and I think that in terms of quality he won the battle, I don’t think anybody could say that this wasn’t a great moment for hip hop. Competition has always been prevalent in hip hop and one could argue that it helps bring the best out of artists because they want to prove that they are the best.

Years later, when Kanye decided to release his newest album Yeezus on June 18th, he found himself involved in another hip hop showdown: this time with Roc Nation’s J. Cole. J. Cole’s sophomore effort Born Sinner was slated for a June 25th release but he decided to move the release up to compete with West, an artist that he considers to be one of the greatest of our generation.

While West & Cole are two completely different artists with two different sounds, there were some similarities with the promotion with the album. West truly didn’t have a radio single to promote Yeezus but that didn’t stop him from premiering his new video for New Slaves at random locations around the the country. Meanwhile why Cole did have a radio single to promote Born Sinner (“Power Trip”) he provided fans with a similar treat by releasing coordinates in a few cities where fans could go and listen to a stream of the live listening party of the album.

Besides the innovative promotion for their respective albums, that is pretty much where the similarities stop. With Born Sinner, listeners are given vintage J. Cole: lyrically intricate rhymes over somber beats. But is this a positive or a negative? One common criticism of Cole that I’ve heard is that he is boring. People are tired of him rapping about the same subject matter over the similar beats that are created by him. Where’s the happy party music? Well I’m sorry to disappoint the critics but they won’t get that type of sound on Born Sinner.  There aren’t any tracks where girls can twerk to at the club. On this album, Cole strays away from trying too hard to get the radio hit and stays true to the artist that he was originally lauded for. There are tracks where he is completely honest about a man wanting space from the woman that has been by his side and not being ready to settle down (“Runaway”)  or how he was distraught that he let his idol Nas down with his earlier single “Work Out” (“Let Nas Down”). But is that good enough? Is it time that Cole tap into another level of his creativity & find the happy medium that will allow him to stay true to himself while making music that fans feel like they haven’t heard before?

While Born Sinner has a consistent sound throughout the album, Yeezus is completely different and all over the place. With every album that he has released, Kanye’s sound has evolved and doesn’t sound the same like his previous albums. And Yeezus isn’t any different. This isn’t your typical hip hop/rap album. While I believe that the overall sound on the album is darker from that of his earlier albums, I don’t think one can place the album’s sound into one single category because it has influences from different music genres within 10 songs. Some sound alternative, some sound like industrial rock, and then some I can’t really describe but I know that it fits Kanye’s persona as an artist. Lyrically, West still manages to piss people off with some of his lines such as, “Soon as I pull up and park the Benz / We get this bitch shaking like Parkinson’s” (“On Sight”). On the track, “New Slaves” he uncovers truths that some in America want to sweep under the rug as he describes how corporations today try to treat African-Americans as modern day slaves by controlling them with the use of contracts. However, the storytelling that fans heard from his earlier albums (think College Dropout & Late Registration) is replaced with a more simplified flow, which some may deem lazy and half assed.

If somebody forced me to pick who was victorious in the showdown between Born Sinner and Yeezus, I would pick…..Born Sinner. While I think these albums have their share of positives and negatives, I feel that Cole’s album has the least amount of negatives. It was a decent album that was definitely better than his first. On the other hand, with Yeezus it gets slightly better each time I play it but overall as a whole I’m just not connecting with it. This showdown proved to me that Cole & Kanye could take a page out the other’s book: Cole could learn to give a little and experiment a little bit more so his next album won’t sound eerily the same like his past two albums & Kanye could try to have some songs on his next album that are reminiscent to original recipe Kanye.

Was it smart for Cole to move his release date up to compete with Kanye or was it plain dumb? Well the jury is still out on that. But I can say on June 18th music fans were offered two albums that offered two completely different sounds. Theref0re fans are given an option to pick the album that corresponds with their taste as a music fan.  Another great moment for hip hop indeed.


Born Sinner: C

Yeezus: D

Favorite Tracks

Born Sinner: “Trouble”

Yeezus: “Blood on the Leaves”



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Last night J.Cole streamed his full album ‘Born Sinner’ from a digital listening in select cities last night, while bootlegers took advantage of that and leaked his album online J.Cole did one better by streaming the album on his official website Born Sinner in advance of its June 18 release. Check out all 16 tracks below and let me know if you will be buying this album.

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Just two left to go till J.Cole will drop his sophomore album “Born Sinner” the Roc Nation rapper unleashed the official tracklisting to his upcoming album the standard edition features 16 tracks, while the deluxe adds five new tracks. The guest features on this album include Kendrick Lamar, 50 Cent, Jhené Aiko, Amber Coffman of Dirty Projectors, James Fauntleroy, and Bas. Check out the tracklisting below.

1. “Villuminati”
2. “Kerney Sermon (Skit)”
3. “Land of the Snakes”
4. “Power Trip” feat. Miguel
5. “Mo Money (Interlude)”
6. “Trouble”
7. “Runaway”
8. “She Know” feat. Amber Coffman
9. “Rich Niggaz”
10. “Where’s Jermaine? (Skit)”
11. “Forbidden Fruit” feat. Kendrick Lamar
12. “Chaining Day”
13. “Ain’t That Some Shit (Interlude)”
14. “Crooked Smile” feat. TLC
15. “Let Nas Down”
16. “Born Sinner” feat. James Fauntleroy

Deluxe (Truly Yours 3)

17. “Miss America”
18. “New York Times” feat. 50 Cent & Bas
19. “Is She Gon Pop”
20. “Niggaz Know”
21. “Sparks Will Fly” feat. Jhene Aiko