Both of them rose to the highest heights of their respective crafts on two separate occasions. Both of these men dedicated themselves wholly to their respective arts. And with artists like Mach-Hommy and Isaiah Rashad slated to drop soon, I’m excited to hear what’s next! In a year where the wounds of Kobe’s passing have reopened due to his Basketball Hall of Fame induction, I can’t help but draw some light comparisons between the two artists. Cole has set the bar for this year’s rap albums. In my personal circles, I’ve expressed the idea that this may be the album of the year – and we’re only in May. But I said, “You, you know what I’m here for” “I told you, when I first came here I said, “I ain’t come here to waste my time ” I came here, they gave us a chance to get in like we asked for and that’s what we here to do. In five bars, six if you count the leadup, he’s able to son the people who’ve taken shots at him, establish his place in hip hop’s hierarchy, shout out a fishing organization/video game series, and relate all of these things to stick talk and online deals. With bars like “Trash rappers, ass-backward, tryna go toe-to-toe/ We laugh at ya, staff strapped up on top the totem pole to blast at ya/ Bassmasters, look how they tote a pole/ Gotta know the ropes and the protocol/ Or they gon’ for sure blow your clothes half off like a promo code…” it’s clear that J.
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More to the point, this project sees him masterfully balance the more recent heights of his career’s success with the grounded, candid talk for which he’s known. Don’t get me wrong, Cole has always been an elite lyricist, but somehow he found another gear with this project. The second thing that stands out is Cole’s penmanship.
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On a soulful Tommy Parker sample that culminates in a Venn diagram which compares Pimp C, Nipsey Hussle, and Jesus of Nazareth, Cole’s thesis statement rings clear: “This shit can go up, it can go down. In 2 minutes and 13 seconds, Cole paints a mosaic juxtaposing war and peace, biblical teachings of non-violence versus the sobering reality of cyclical vengeance, and the pain of growing up in all of this chaos measured against the success gained from telling stories rooted in that pain. Even the interlude (aptly titled interlude) isn’t a breather for the audience. Every song sees Cole mash the gas on a lyrical assault aimed at any and everyone in the way. Cole sounds HUNGRY, which isn’t something we can usually say about a rapper after a decade of experience in the industry. The very first thing that sticks out on The Off-Season is Cole’s delivery. From the intro, 95.south, which features Killa Cam facilitating a lyrical escalation of both content and flow, to hunger.on.hillside where Bas helps Cole bring the project to an inspirational end, Cole’s meticulous approach to the lyrical and conceptual execution of this project bleeds through every track.
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Cole making good on that promise, and damn, it’s an amazing start! Coming in at 12 tracks, 39 minutes, there doesn’t seem to be a wasted moment on this album. The Off-Season represents the beginning of J. On the way out, however, he’s resolved to leave us with his best material yet.
Kurtis blow basketball sample professional#
Cole.įrom humble beginnings in Fayetteville, NC to the bright lights of New York City, the former college athlete – turned rapper – turned professional basketball player, has been extremely candid about his plans to walk away from hip hop to focus on his family and basketball career. In my opinion, very few rappers embody this relationship better than J.
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Whether it’s Drake and Kendrick shooting subs with KD/Westbrook references, Kurtis Blow’s “Basketball” (which was later remixed by Bow Wow), or Post Malone blowing up with his single “White Iverson”, it’s clear that hip hop and basketball have an understanding that exceeds any other professional sport. Hip hop has always had a close relationship with the NBA. Which is more important: Getting, or Letting Go?” “Are you doing this work to facilitate growth, or become famous?