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“The Death Of Slim Shady”: The 7 Best Bars From Eminem

July 12, 2024 by newhiphopnews

If you forgot to dress in all black for the occasion today (Friday, July 12), don’t fret: The Death Of Slim Shady (Coup De Grâce) is less of a fatal blow and more like a Frankenstein-esque creator-versus-creation resuscitation. Eminem’s new album sees him tackle his alter ego in very similar ways as he’s done in the past, but more overtly and satirically than ever before. There are a whole lot of “offensive” bars to gasp at, some really funny flips to indulge in, and compelling reflections on his life and career.

While some of it is a mixed bag, we’re happy to say that the Detroit legend feels right at home, no matter which personality is taking the mic… or the gun, in this case. The new material on The Death Of Slim Shady (following “Houdini” and the BabyTron and Big Sean-assisted “Tobey“) is quite sharp. Through clever, nearly nauseating, but still nasty wordplay, Eminem expresses himself unabashedly and hangs all the best and worst corners of his mind outside of his butcher shop. We’re sure we missed plenty of highlights, so let us know what your favorite bar from this album was down in the comments section below.

“Renaissance”: F**k The Critics

Bar(s): Everything is either too tame or there’s too much anger / I didn’t like the beat, so I hated ‘Might Delete Later’ / You nerdy pricks would find something wrong with ’36 Chambers’

The Death Of Slim Shady kicks off, unsurprisingly, with a middle finger to what Eminem sees as fake rap fans bringing the genre’s icons down. The first line points to the culture’s hyper-obsession with both narratives of staleness or the “doing too much” argument, emphasizing that fans are more concerned with what they want to hear than with artists pursuing their vision. Em brings up J. Cole’s Might Delete Later mixtape as a recent example, possibly alluding to the hated-on Kendrick diss “7 Minute Drill” and how many didn’t like the first beat on that track. Finally, by alluding to the Wu-Tang Clan classic, he makes the case that legendary albums will live on far longer than the hate surrounding them. Maybe all it takes is time for the culture to understand these artistic drives and not jumping down MCs’ throats so eagerly and maliciously.

“Habits”: His Love Of South Park

Bar(s): Would this rhyme be okay if ‘South Park’ had did it? / Would it make you less angry if Cartman spit it?

Onto one of the more cheeky bars on The Death Of Slim Shady, which reiterates Eminem’s love of (and close parallels with) the classic animated TV show South Park. With this bar, he calls out the hypocrisy of people tolerating offensive content when it comes from an expected place, but condemning it when it appears in other, more “serious” areas. Perhaps, Marshall Mathers feels like people view him more critically because of his skill. Since he does have very sobering moments, maybe, they fail to realize that this skill is what gives his music his titanic quality and not the content within. While he’s definitely made this point in a lot of his past material, it sounds a bit fresher this time around as society opens and closes more and more spaces for irreverence, a practice that he’s all too comfortable with disrupting.

“Lucifer”: Eminem’s… Struggles?

Bar(s): Yeah, they listen to me like when Manson spoke / They say I don’t know struggle no more, that’s a joke / B***h, the f***ing elevator in my mansion’s broke / I have to walk like half a block to get a can of Coke

However, this is hands-down one of the funniest bars on the whole album, as Eminem is well-aware of his privilege, wealth, and most importantly, his attitude. Having to walk across a massive luxury property just to get a soda from the fridge is exactly the sort of rich, arrogant, ignorant, First World problem that someone like him would be so angry and frustrated over. But it’s still a flex, of course, or else there would be no “joke” to talk about. Also, this bar is among the only hilarious moments on The Death Of Slim Shady that doesn’t have to clown a celebrity, belittle a marginalized group, or rant about PC culture to do so. As such, it stands out as a vivid image on the project and, even though this catalog’s full of flaunting, rarely do we get glimpses into little annoyances that become big tantrums for superstars.

“Lucifer”: Slim Shady X K.Dot?

Bar(s): As far as smoke with me, I don’t think it’d be smart, so / Might as well go looking for smoke with Lamar, bro

It’s 2024; of course Eminem was going to throw in a reference or two to the biggest rap battle since Nas and Jay-Z. However, what makes this bar a bit more than just a shoutout is actually how it lyrically calls back to Kendrick Lamar’s “Euphoria,” which itself topically called back to Pusha T’s previous beef with Drake. “Yeah, f**k all that pushing P, let me see you push a T / You better off spinning again on him if you think about pushing me,” K.Dot raps there. So not only is Slim Shady also praising a fellow lyrical killer, but he’s also invoking their shared lineage in the Dr. Dre family tree. Also, we know that Em might’ve shaded Hov on “Tobey,” so to see more combative lines against the rap game on The Death Of Slim Shady was a given.

“Fuel”: Diddy’s Alleged Deeds

Bar(s): I’m like a R-A-P-E-R / Got so many essays, S-As / Wait, he didn’t just spell the word ‘rapper’ and leave out a ‘P,’ did he? / R.I.P., rest in peace, Biggie / And ‘Pac, both of y’all should be living / But I ain’t tryna beef with him / ‘Cause he might put a hit on me like Keefe D did him

Along with Caitlyn Jenner and little people, Diddy was one of Eminem’s most consistent and eviscerated targets on The Death Of Slim Shady. While there are many bars on this topic to talk about, this line from “Fuel” (which has a stunning JID feature) is a very comprehensive one as far as the angles it tackles. The first part has some clever wordplay (“‘P,’ did he?” = P. Diddy, rapper = essays & r**er = SAs [sexual assaults]) about Sean Combs’ various lawsuits and accusations concerning sexual assault, abuse, and sex trafficking, all of which he’s denied. The second questions Puffy’s alleged involvement in Big and ‘Pac’s murders and Keefe D’s current court case for the death of the latter. You’ve also probably heard the “Antichrist” bar that mutes Cassie’s name, which stung more on impact. But this one adds the extreme lyrical reaches that fans love.

“Head Honcho”: Slim Shady Sons The Rap Game

Bar(s): These rappers, I’m above them, but punching down ain’t beneath me / Cold as the wind chill factor, but the fact is I don’t know when to chill / But every time I come out, they expect me to f***ing reinvent the wheel / Rappers get praised for spitting bars with less than the tenth of skill

Out of the many bars against lesser rappers on The Death Of Slim Shady, this one is perhaps Eminem’s most layered commentary on the matter. We all know he loves punching down, and we all know that he’s exactly the type of person to flip “wind chill” and “when to chill” in borderline corny fashion. But as fans and as artists, folks continually expect Marshall to bring something completely new to the table when he’s made his intentions and artistic drives clear and largely unchanged throughout his career. In addition, this alludes to the contrast between artistry and novelty, perhaps suggesting that just because things are new, we give them a pass on actually being good. Em toes this line very dangerously thanks to his aesthetic clashes whenever he does try something new, but his skill as a lyricist has never been in question.

“Temporary”: Marshall Mathers’ Family

Bar(s): But don’t you dare shed a tear, what I tell you? / “Straighten up, little soldier,” them times when I held you

Finally, we have to mention the emotional core of The Death Of Slim Shady: the 51-year-old’s tribute tracks to his daughter Hailie (“Temporary“) and his family (“Somebody Save Me”). This is after Eminem “kills” Slim Shady on “Guilty Conscience 2,” and after he talks about his addiction to controversy and the rough experiences that birthed it. So to hear him speak about Hailie saving him from this struggle through a quote that ties back to “Like Toy Soldiers” is a sweet and touching moment. These songs are his final messages for his family after he dies, saying what he couldn’t say on this earthly plane. Much like the rest of this album, it stands up against adversity, but this time, the obstacles aren’t Gen Z’s “wokeness.” Instead, we understand that if Slim Shady and his provocative nature died, then it’s Eminem’s family that brought Marshall Mathers back to life.

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Kendrick Lamar “Euphoria”: 6 Bars Drake Needs To Respond To

April 30, 2024 by newhiphopnews

Folks, welcome to Round Two of hip-hop’s coup d’état against Drake… or was it the true king asserting his dominance all along against the Toronto challenger? In this corner, we have Drizzy, who launched two diss tracks, took down one of them, is still on top of the game commercially, and has been eagerly waiting for Kendrick Lamar to clap back with a “quintuple entendre or something.” And in this corner, we have K. Dot, who kicked this current fight off in the first place and reaped what he sowed today with his “Euphoria” response.

As expected, Kendrick Lamar’s song was explosive on impact, leading to many wild reactions, interpretations, theories, and predictions. Not everyone’s a fan, of course, but one thing is definitely clear: Drake got the smoke he wanted, and the ball is back in his court. Across this new diss track’s six-and-a-half-minute runtime, we believe there are six specific sets of bars that the 6ix God must address.

I Pray They My Real Friends, If Not, I’m YNW Melly

First, let’s start off with Kendrick Lamar addressing “First Person Shooter,” the Drake and J. Cole collab that seems to have provoked the “Like That” diss. There’s a “feature request” line that suggests that K.Dot actually turned down a guest spot with Drake. Kendrick then insinuates that Drizzy didn’t want to work with him after his “Control” verse because his feelings were hurt, and he clarifies that he doesn’t have a problem with Drake and Cole working together… in theory. While he “loves them to death,” the former TDE lyricist suggests that if Aubrey, Cole, or both aimed to belittle Kendrick or take him down with their collab, this changes the dynamic.

This culminates with the line: “There’s no accent you can sell me / Yeah, Cole and Aubrey know I’m a selfish n***a / The crown is heavy, huh / I pray they my real friends, if not, I’m YNW Melly.” Not only does he question Drake trying to make music representing a lot of different cultures and communities, which many have called appropriation, but Kendrick Lamar also compares himself to Melly, who will eventually face a retrial for accusations of murdering his two friends. So “First Person Shooter” requires an explanation, because even though J. Cole’s made his stance clear, it’s still up in the air whether The Boy intended to legitimately pay tribute or disrespect him instead.

Let Your Core Audience Stomach That / Then Tell Them Where You Get Your Abs From

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Another set of bars goes over a few different topics, starting with a reference to the alleged 2014 incident at DJ Khaled’s birthday party at the LIV Miami club in which Diddy reportedly struck Drake in the face. This line also ropes in the “Evil Ways” rapper’s longtime personal bodyguard Chubbs: “You gon’ make a n***a bring back Puff, let me see if Chubbs really crash something.” This continues Kendrick Lamar and Drizzy’s references to security guards and physical confrontation, such as Kendrick’s security guard 2TEEZ and Drake making fun of Kendrick trying to get physical “with a size 7 men’s on.”

However, right after this bar, we get another instance of Kendrick Lamar questioning whether the rap game at large really accepts Drake, as well as a few jabs at his alleged liposuction. “Yeah, my first one like my last one, it’s a classic, you don’t have one / Let your core audience stomach that, then tell them where you get your abs from.” J. Cole’s “7 Minute Drill” diss proved that going at Mr. Morale’s catalog is a huge risk, so maybe Drake will instead offer up his acclaimed projects like Nothing Was The Same, Take Care, or If You’re Reading This It’s Too Late. But the picture painted here presents the former Degrassi star as someone who, at many turns and via some non-commercial metrics, has found it difficult to find acceptance or respect, for right or wrong reasons.

When I See You Stand Next To Sexyy Red, I Believe You See Two Bad Btches*

Drake definitely found his due flowers from the new generation, something that Kendrick Lamar also questioned in “Euphoria.” There’s a Lil Yachty mention here, but the bombshell relating to this is a commentary on his artistic friendship with Sexyy Red, and how K.Dot seemingly accuses Drizzy of faking this support while putting other women down because he sees them as competition. “When I see you stand by Sexyy Red, I believe you see two bad b***hes / I believe you don’t like women, that’s real competition, you might pop a** with them.” Not only does this continue the lipo allegations and poke at Drake’s femininity and strength (another controversial and frankly, tired move), but it insinuates that he needs the St. Louis MC more than she needs Drake.

Also, the specific line about not liking women is very relevant given Drake’s complicated relationship with women in his personal life, as explored through topics in his music, and with industry peers. On Her Loss‘ “Circo Loco” (2022), he seemed to take shots at Megan Thee Stallion, and on For All The Dogs‘ “Away From Home” (2023), he disses jazz musician Esperanza Spalding. Kendrick Lamar even shouted Megan out on “family ties” in 2021. With all this in mind, Drake will have to respond to folks questioning his authenticity, his ego, and his true intentions when it comes to his relationships with women… and the pgLang creative didn’t even have to “talk about [Drake] liking young girls” as Drizzy predicted on his “Taylor Made Freestyle” A.I. diss from Tupac Shakur’s “perspective” to do that. Yikes.

I Got A Son To Raise But I Can See You Know Nothing ‘Bout That

One of the most incendiary moments on “Euphoria” relates to another scathing Drake diss: Pusha T’s “The Story Of Adidon.” Earlier in Kendrick Lamar’s three-part diss, he calls his rival out for never responding to Pusha T’s cut and for going at Pharrell, but the real call-back appears later on. First, K. Dot accuses the Canadian superstar of trying to look for dirt on him. Interestingly enough, Pusha made similar claims in 2018 when they were at the height of their beef. “Why would I call around tryna get dirt on n***as, y’all think all of my life is rap?” Kendrick raps, which also responds to people pressuring him to respond to Drake quickly, as this track took over two weeks to arrive.

But the plot thickens on the very next bar, which continues to call out Drake for being a troll, constantly goading Kendrick Lamar to respond, and posting and talking about this constantly on social media. “That’s h*e s**t, I got a son to raise, but I can see you know nothing about that.” Kendrick calls back to “The Story Of Adidon” by mentioning that Drake never announced his son to the public until Pusha T exposed that he was a father.

Pusha T’s diss was eventually mulled over, and the Scorpion artist now has a public and very wholesome bond with his son. But the “Silent Hill” spitter flips this once more by making fun of Aubrey Graham’s social media obsession and concerning himself with pettiness rather than family. Once more, Drake will have to back up his online persona through bars, not just more IG stories, likes, comments, or DMs.

*Ain’t 20v1, It’s 1v20 If I Gotta Smack N***as That Write With You*

One of the simplest but sharpest lines on “Euphoria” directly responds to this “Push Ups” line: “What the f**k is this, a 20v1?” On that line, Drake calls out many rap industry players (Future, Metro Boomin, Rick Ross, etc.) for teaming up on him at the same time, something that Kendrick Lamar turns right back against him. “Ain’t 20v1, it’s 1v20 if I gotta smack n***as that write with you,” he spits, once again bringing up ghostwriting claims that Drizzy has been dogged by ever since 2015.

While Drake’s said a lot about it since his Meek Mill beef, it does carry a different context now. Alleged reference tracks recently leaked, in which he supposedly took them one-for-one from his peers. While these are just rumors (particularly Cash Cobain’s track), it truly questions whether Drake could confidently place himself as the GOAT. The 6ix God might have to respond to Kendrick Lamar’s accusations by claiming more artistic responsibility for his own work than what the credits (or a lack of credits, rather) would have you believe. More importantly, he needs to explain why he can still be the GOAT in hip-hop today, which isn’t an impossible task: just a difficult one.

Toronto’s “Crodies” Can’t Touch K.Dot

Finally, Kendrick Lamar pettily and mercilessly clowns the 6ix’s accent, slang, and street ties. While closing “Euphoria,” he insinuates that Drake can’t fake the street funk, even if he found success in the U.S. rap scene. Kendrick uses the term “crodie” to taunt him, a Crip flip of “brodie” popularized by Toronto rapper Pressa. He’s allegedly affiliated with the Wass Gang, a Crip set in the city that Drake has rapped about often through direct reference and through using “crodie.” After this mocking use of the Toronto accent to warn Drake to refrain from mentioning family business, Kendrick Lamar says he’s never in trouble in Toronto when he goes, contrary to what his nemesis would have you believe.

“I be at New Ho King eating fried rice with a dip sauce and blamy, crodie / Tell me you’re cheesing, fam/ We can do this right now on the camera, crodie.” New Ho King is a popular late-night Chinese food spot in Toronto, and “cheesing” is Toronto and Jamaican patois slang for being angry. The last line proposes that these two hip-hop titans duke it out for real in the public eye, which was the challenge K.Dot offered on “Like That.”

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7 Slim Shady Bars That Will Still Shock You In 2024

April 26, 2024 by newhiphopnews

Later this summer, the world will mourn the death of one of music’s most influential and successful provocateurs: that one guy working at Burger King, spitting on your onion rings. As magnanimous and lauded as Eminem’s work is, and as much as people have started to hate on it over time, nothing represents the highs and lows of the Detroit rapper’s career quite like his Slim Shady persona. Moreover, the announcement of his new album, The Death Of Slim Shady, calls into question what the future really holds for Marshall Mathers. Will his art continue without Shady, is this his final album as an artist, or will another persona rise like a phoenix to bring his career out of the ashes for a (third? fourth?) revamp?

Regardless of what goes down with this new LP this summer, we’re taking a look at just a handful of Slim Shady bars that would still turn many caring souls into Karens on impact. Eminem’s alter ego has used every taboo, trigger word, or buzz term under the sun as a punching bag or punchline: murder, homophobia, racism, sexism, sodomy, sex, drugs, the youth, war, the military, politics, mental health, the rap game, celebrities, pop culture, divorce, religion… even gerbils, to most sane people’s disgust. Whether to subvert, challenge, offend, or simply reflect poor taste, he’s got one heck of a lyrical legacy that paved the way for so much good (and bad) in not just hip-hop, but pop culture at large. So before Slim’s “death” this summer, and in chronological order, let’s debate over which of his many quotables across his discography should be on his tombstone.

“My Name Is” (1999, The Slim Shady LP)

What better place to start than our introduction to Slim Shady? While there are plenty of wild bars here, we picked one that is already quite disturbing as is, but was reportedly originally meant to be much more harrowing. “Extraterrestrial, running over pedestrians / In a spaceship, while they’re screaming at me, ‘Let’s just be friends!’” Eminem raps on the cut. Sounds simple enough, right? Well, according to Em’s autobiography The Way I Am from 2009 (plus various other reports), the original version was this: “Extraterrestrial, killing pedestrians / R**ing lesbians while they’re screaming, ‘Let’s just be friends!‘” He changed it because Labi Siffre, a gay rights activist, found this and other lines on this song to be homophobic, and would not clear the sample of his song “I Got The…” for “My Name Is.” As provocative as Shady could be, he could’ve been way worse…

“The Real Slim Shady” (2000, The Marshall Mathers LP)

Of course, this classic couldn’t go without a mention either, and one particular line kept its controversial luster over the years for interestingly different reasons. “But if we can hump dead animals and antelopes / Then there’s no reason that a man and another man can’t elope,” Eminem spits towards the end of this first verse. Its first part refers to MTV star Tom Green’s moose-humping antics, and it overall argues that folks shouldn’t treat homosexuality as disgusting if they find Green’s comedy funny. Yes, it points out double standards in what is permitted and what is “taboo” in media and culture, but it’s also a backhanded way to denounce homophobia, which was much more common back then. Especially today, we can’t help but wonder if there was a less derogatory way to stand for gay rights. Then again, Slim Shady doesn’t discriminate: he hates and mocks everyone equally.

“I’m Back” (2000, The Marshall Mathers LP)

And when he returned, the world was never really the same. The reason why? Particularly abhorrent but still intricate lines like “If this chick was my own mother, I’d still f**k her with no rubber / And cum inside her and have a son and a new brother / At the same time and just say that it ain’t mine,” directed towards Jennifer Lopez and, by association, to taunt Diddy. To say that this is probably the most sickening line on this Slim Shady cult gem, which also includes a censored reference to the Columbine shootings, should really illustrate just how sick Eminem was back then, and not in a good way. Alas, even incest is something that these alter egos rarely tackle, and to tack this on before the last chorus of “I’m Back” is one heck of a mic drop.

“Without Me” (2002, The Eminem Show)

We promise this is the last classic on the list, but sometimes democracy is right. Speaking of democracy, one of the most cutting lines on here isn’t explicitly profane; just a cold jab at a politician’s health and a quick but merciless dismissal of criticism. “I know that you got a job, Ms. Cheney / But your husband’s heart problem’s complicating,” Eminem raps, responding to her denouncement of his lyrical content.

So, what does he do to Vice President Dick Cheney and his wife? Does Shady critique their politics and war-mongering, cut them up in a billion little pieces, put his bum on their lips, or spike their drinks at a cocktail party? In other words, does he prove them right? No. He just remembers the VP’s four heart attacks before this song’s release (which rose to five afterward), recalls his three heart procedures at the time, and tells Lynne: “Your husband’s going to die soon.” Yikes…

“A** Like That” (2004, Encore)

Now we get to the slightly deeper cuts from Slim Shady that don’t have the benefit of the doubt or the undisputed quality of his best work. Over an Indian-inspired beat, and with a pretty offensive Asian and Southeast Asian accent, Eminem’s lust takes aim at Hilary Duff… who was 17 years old when this song came out. “Hilary Duff is not quite old enough, so I ain’t never seen a butt like that / Maybe next year, I’ll say ‘a**’ and she’ll make my pee-pee go d-doing, doing, doing.” From 2004’s Encore onwards, and especially on 2009’s Relapse, Slim Shady starts to use more accents to find way more ethnicities and cultures to make fun of. Add to that his obsession with celebrities and crossing any sort of line, you have one of the most cringe-worthy moments in his entire catalog.

“Same Song & Dance” (2009, Relapse)

Speaking of the 2009 album Relapse, this song doesn’t lean into the accents as much, or into cultural appropriation, but it’s among the most explicit, descriptive, and disturbing accounts of targeting various celebrity women and engaging in murder, sexual assault, and the like. “I’m ’bout to make a new outfit out of you / New outfit? S**t, I’ll make a suit out of you, shoot / Now, show me how you move, baby, do how a-you do,” Slim Shady threatens towards the end of the song. It’s one of many horrible moments of describing torture, with this one specifically referencing the skin-wearing villain from the film The Silence Of The Lambs, Buffalo Bill. Eminem doesn’t usually break out the skin-carving in his murderous or sexually depraved narratives, so we at least need to give him points for creativity… or is it the other way around?

“Fall” (2017, Kamikaze)

This is easily the least shocking or controversial bar on this list, but we included it because we think it’s not only one of, if not the most controversial, Eminem lyric to appear in his late-career arc. It’s also possibly indicative of what his creativity looks like today and what The Death Of Slim Shady could really mean. On this song, Marshall Mathers targets Tyler, The Creator, his then-recently revealed sexual orientation, and his criticism of Em’s later work despite being a lifelong fan. “Tyler create nothin’, I see why you called yourself a f***ot, b***h,” he raps, and it’s important to note that in no version of the song does he actually or fully pronounce or spell out the homophobic slur. An improvement from his early stuff, at least, but with even more backlash than in the past.

For one, this isn’t really Slim Shady anymore: this is Em, Slim, and Marshall all rolled into one throughout this LP. It doesn’t have the same shock value or relevance as back in the 2000s. This song came out during a more progressive time in hip-hop (although some fanbases sadly haven’t caught up), and represents the then-45-year-old MC’s anger at the negative reception to his post-2000s work. Furthermore, the personalities became harder to distinguish, and any attempt to shock or subvert in the same way he did for decades was more corny than controversial. Nevertheless, it does pose an interesting question as to how Eminem will deal with Shady’s loss after this summer, whether that rebellious and brash part of him can ever really die in his music, and what are the sides of him that this persona has, for better or worse, obscured from our view.

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J Cole “Might Delete Later”: The Best Bars

April 10, 2024 by newhiphopnews

This past Friday, J. Cole unleashed a brand new mixtape, Might Delete Later with no prior announcement. The surprise release came off the heels of a series of cryptic snippets of the album, which all appear on the 12-song tracklist. And while some of his lyrics, particularly the transphobic line on “Pi,” have rightfully caused a stir, Might Delete Later still managed to live up to the anticipation built off of the teasers. Throughout its 43-minute runtime, Cole showcases his top-tier lyrical ability, rapping over production from The Alchemist, Conductor Williams, T-Minus, and more. Bas, Cam’ron, Central Cee, Ari Lennox, and others contributed guest vocals to the album as well.

J. Cole just wrapped up a co-headlining tour with Drake and debuted Might Delete Later at his Dreamville Festival, which took place over the weekend. During his performance, he rescinded the shots he sent at Kendrick Lamar on the album’s closing track, “7 Minute Drill.” While fans clamor over his comments, one can appreciate the lyrics that he delivered on Might Delete Later. The new project serves as an appetizer for his supposed next album, The Fall Off. Today, we are highlighting the seven best lyrics on J. Cole’s Might Delete Later.

Read More: J. Cole’s Best Productions

7. “Huntin’ Wabbitz”

The nonchalant manner in which J. Cole raps on “Huntin’ Wabbitz” does not diminish the quality of the lyrics. He finishes his first verse on a high note, rapping, “I’m clappin’ at n****s like they owe me money / Pop-pop-pop-pop-pop-pop, click/ Shit, now the clip lookin’ like Chick-fil-A on a Sunday.” After firing off rounds of lyrical ammunition toward his opponents, his metaphorical clip appears to be empty. Cole raps that he has fired so much and taken down all of his competitors, likening his empty clip of bars to a Chick-fil-A on a Sunday. Chick-fil-A is known for being closed on Sundays, which paints an image of Cole standing victorious by his lonesome.

6. J. Cole’s Verse On “Pi”

Following a show-stopping performance from Ab-Soul and Daylyt, J. Cole showed that he refuses to be outshined on “Pi,” though his attempt undoubtedly contained some questionable bars as a result. With lyrics referencing pop culture and sports, Cole raps, “Now please, hold yo’ L like you guardin’ Philly’s young center / Quick to leave a chick curved / It’s only one of me, but bet it’s like six hers.”

After nodding to Cam Reddish earlier in his verse, Cole nods to another basketball player in Joel Embiid. He bends “yo’ L” to sound like “Joel” before clarifying that he is in fact using the Philadelphia 76ers player’s name. J. Cole applies his name to himself as someone who is tough to beat. Much like “Joel” and “yo’ L,” he also plays on words with “six hers” and the “6ers” basketball team. Out of the many lyrics that reference sports on Might Delete Later, his 76ers scheme is a standout.

5. “3001”

On “3001,” J. Cole recalls a lyric from “No Role Modelz” where he famously rapped about being too young for Nia Long. The actress once told Larry King that “He’s really not too young, he just doesn’t know it.” Referencing his hit song and Long’s reply, Cole raps, “I saw Nia Long quote/ I would’ve poked, back when my heart cold / Give her three or four strokes / Then I’m onto the next, shit like a par four.” He cleverly acknowledges Nia Long’s response with a golf-themed scheme. The “strokes” that one takes when swinging a golf club become a euphemism for sex. Additionally, Cole brags about moving “onto the next” as one would after scoring a par four in golf, which requires four strokes or less. These lyrics on “3001” are one of many examples of J. Cole’s witty schemes on Might Delete Later.

4. The Second Verse on “Crocodile Tearz”

“Crocodile Tearz” is an instant highlight on Might Delete Later, containing multiple standout lyrics. In his second verse, J. Cole argues his position as the GOAT, notching the top spot in “The Big Three.” After flexing a G4 jet as a minimum requirement for travel, he raps, “They sound faded, they downgraded, they Pluto. I’m bigger than Mars, this n***a a star, I’m Bruno.” An excellent play on words, J. Cole compares the fall off of rappers to Pluto becoming a dwarf planet. The line also works as a double entendre in reference to Future’s nickname and first album title. A dig at Future is likely considering it was his song that prompted Kendrick Lamar’s disses against J. Cole and Drake. Cole continues his planet motif by rapping about being bigger than Mars with superstar status like Bruno Mars.

3. The First Verse On “Crocodile Tearz”

J. Cole’s spits mean one-liners on the second verse of “Crocodile Tearz.” His first verse, however, weaves in references to film and music as metaphors. He raps, “I’m Joaquin Phoenix, walk the line, I’m about cash / Benjamin Button gettin’ younger as the hours pass.” Cole compares himself to Joaquin Phoenix, who plays Johnny Cash in Walk The Line, as he and the film are about “cash.” Additionally, he likens himself to The Curious Case Of Benjamin Button, a movie where the lead character ages backward. In this line, he says that he is getting better with age, unlike most rappers.

Continuing the theme of reaching a late prime, J. Cole declares, “The Fall Off is like Hov droppin’ Reasonable Doubt last.” Comparing his upcoming album to JAY-Z’s classic debut, Cole hints that his supposed final album will be a game changer that feels like a beginning rather than a farewell.

2. Ab-Soul and Daylyt Trade Bars On “Pi”

The clear lyrical highlight on Might Delete Later is “Pi.” The soulful hip hop track begins with Ab-Soul and Daylyt trading intricate bars. The two wordsmiths’ verse is riddled with double entendres and extended metaphors. Towards the end of their nearly 3-minute long performance, Ab-Soul and Daylyt center a scheme around the assassination of Malcolm X. “See what they told Malcolm X to do with his hands? That shit was out of pocket” alludes to X’s murderers yelling “get your hands outta my pocket” before killing him.

“Picked up shotguns that came in handy, wasn’t no plan B,” Daylyt continues with a comparison of shotguns and Plan B as backup plans in an emergency. It is a humorous sexual analogy about the “kid gone” as a result of “plan b.” Daylyt concludes the scheme, rapping, “Knew them shots would muzzle him,” which ties in the Malcolm X lyric with a play on words between “muzzle him” and “muslim.” Together, Ab-Soul and Daylyt finish their epic exchange by likening themselves to godlike figures Nephilim and Gilgamesh. It perfectly concludes a powerful verse that sets the bar high for J. Cole.

1. “Stickz N Stonez”

Many of J. Cole’s best lyrics on Might Delete Later are simple yet effective. On the Alchemist-produced “Stickz N Stonez,” he cleverly flexes his wealth and sexual encounters. “Skeetin’ on thousand-count sheets, I’m hittin’ freaks in tandems/ Bust ’em down, then throw ’em in the cab like they from East Atlanta,” he boastfully raps as he sends women in a taxi back to Dekalb County in Atlanta. Also in the rhyme scheme is a bar about those envious of his status. Cole raps, “Weaklings wanna walk inside my sneakers, watchin’ from the bleachers/ Only time they’ll see the roles reversed is if they lease a Phantom.”

The double entendre refers to leasing a Rolls Royce Phantom becoming the only way that people can swap roles with J. Cole. He organizes these lyrically dense bars in a digestible fashion that stays consistent with the rest of the verse. While certain lyrics on Might Delete Later impress with dense metaphors, the bars on “Stickz N Stonez” steal the show with their simplicity.

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