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After his self-produced, guest-free 2014 album "Forest Hills Drive" moved a million units, Cole's most devout vassals blasted their rally cry across social media - "J. Cole went platinum with no features" - until it became scripture. Now the superfans' meme is the rapper's mantra, and on his new album's title track, "KOD," Cole is quick to remind us that other rappers "ain't worthy" of appearing next to him in song. Maybe that's just good, old-fashioned, reflexive braggadocio blab - but it's starting to feel a tiny bit sociopathic.
Good read: https://www.washingtonpost.com/lifestyle/style/j-cole-is-the-most-divisive-rapper-in-the-world-which-side-are-you-on/2018/04/23/e7124622-4703-11e8-827e-190efaf1f1ee_story.html?noredirect=on&utm_term=.bdafa581be55
 
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Instead of plugging the empty spaces between his lines with ad-libs, he graciously provides moments of silence for the listener to say, “Whoa, that’s deep.”

:dead:
 

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Pop music critic
Education: George Washington University
Chris Richards has been The Washington Post's pop music critic since 2009. Before joining The Post, he freelanced for various music publications.
 

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Instead, Cole’s pontifications on “KOD” continue to fulfill the world’s most conservative expectations of what virtuous rapping should sound like. He praises women who are “sexy, but never show too much.” He knows that money is overvalued because you “can’t take it when you die.” And when his friends disappoint him, Cole promises to “be the bigger man, just like I always be.” Instead of plugging the empty spaces between his lines with ad-libs, he graciously provides moments of silence for the listener to say, “Whoa, that’s deep.

Pretty spot on and humorous review :maybe:
 
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