Editor’s note: The following article is an op-ed, and the views expressed are the author’s own. Read more opinions on theGrio.

When I woke up two weeks ago to Kendrick Lamar dissing Drake and J. Cole on the song “Like That” from Metro Boomin and Future’s album, “WE DON’T TRUST YOU,” the 20-something-year-old hip-hop fan inside my soul got excited. In a verse that made almost everybody listen to the song, Kendrick took shots at two of hip-hop’s titans, lampooning the idea of a Rap Big 3 as suggested by J. Cole on “First Person Shooter” — from Drake’s lackluster album “For All The Dogs.” I was ready for Drake — who has been famously embroiled in high-and-low-stakes beefs with Pusha T, Meek Mill, and Common (among others) and has had smoke for a litany of artists — to get competitive and drop some bars but we got some inspirational quotes from the stage and some subs (?) on Instagram. Le sigh. 

J. Cole, on the other hand, I had absolutely no doubt would respond in some way. When? I had no clue, but there’s no way that one of the few rappers viewed for his tremendous lyricism and feature appearances that arguably puts him as one of, if not the, greatest “feature rapper” of all time. Again, arguable, but I’m willing to say it. If J. Cole is on somebody else’s song, I’m RUNNING to listen to it. And it doesn’t matter what he gets on, either. He is batting 1.000 on features. His features on songs from Benny the Butcher to 21 Savage to Summer Walker to Lil’ Yachty to Lil Durk to whoever and wherever else he goes is a trail of flames. His albums, though, leave A LOT to be desired. So much so that I was HOPING he’d hop on somebody else’s record and drop a verse going back at Kung Fu Kenny that put the hip-hop world on notice that if you want smoke, he’s got fire. 

So color me curious but cautious when I woke up to a text message from a homie that said, “Surprise Cole album! So much for bed”. Even if I’m always worried about his albums being excessively mid, his albums are events, so I fired up “Might Delete Later” because Cole has earned my listens. I knew there’d be a diss record and scanned the tracklisting for which one it might be, zeroing in on the final record “7 Minute Drill” since Cole has a tendency towards putting the important record last — and I was right. But before I got to that song, I decided to listen to the rest of the album, and let me just say that I truly appreciate J. Cole following in the tradition of Drake’s album “Honestly, Nevermind,” with a title — “Might Delete Later” — that also serves as a sufficient album review. 

That’s fine though. The most important record on this album is “7 Minute Drill” where J. Cole responds to Kendrick. Over 3-and-a-half minutes and a beat switch, we get a Jay-Z “The Takeover”-esque assessment of Kendrick’s body of work and a warning that Cole might have to go Nino Brown on Kendrick, which is fascinating since on “First Person Shooter” he put himself, Kendrick and Drake on the same status. Now, though, he might have to take his brother out, like Nino had to do Gee Money in “New Jack City.” Well played, Cole. Well played. I rather appreciated that reference as a means of explaining the situation. 

“I’m Nino with this thing, this that New Jack City meme

Yeah, I’m aimin’ at Gee Money, cryin’ tears before I bust at him”

In reference to Kendrick’s catalog, here’s what Cole had to say: 

“Your first shit was classic, your last shit was tragic

Your second shit put niggas to sleep, but they gassed it

Your third shit was massive and that was your prime

I was trailin’ right behind and I just now hit mine

Now I’m front of the line with a comfortable lead

How ironic, soon as I got it, now he want somethin’ with me”

This is what folks are likely going to be talking about … because it’s true. Even the most stan-tastic Kendrick fan should concur with Cole’s read on Kendrick’s catalog. “Good Kid, M.A.A.D. City,” was a classic, and “DAMN” was a monster. But “To Pimp a Butterfly,” while ambitious and worthy of note because it’s pretty singular in its existence as a hip-hop record, is better to talk about than listen to. The same goes for “Mr. Morale and The Big Steppers,” also another ambitious and amazing concept album, but I doubt many people listen to it regularly, if at all. 

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The only quibble I have with his bars is that Cole’s own catalog isn’t exactly that stellar. I’m not even sure he actually has what you could deem a classic under his belt. The closest non-mixtape record would be “2014 Forest Hills Drive,” I think, and that is a reach. “The Off-Season,” his last album, had some great records on it, but classic? Eh. Nothing else truly rises to the level of classic to non-J. Cole stans. I think most of us who don’t believe J. Cole is Rap Jesus, but really like him, are waiting for that album that makes us all understand the hype. But that’s neither here nor there; he’s still one of the GOATS. Point is, J. Cole going at Kendrick’s catalog is kind of odd since, well, Cole’s best work isn’t even on his own albums; as I said before, J. Cole’s features are worth the price of admission, the albums … not so much. 

But again, I’m glad this record exists. We have two rappers of note and skill releasing records in the iron-sharpens-iron kind of way. Cole and Kendrick obviously have respect for one another — how could they not, they’ve worked together since the early days — so this is all hip-hop. J. Cole is undoubtedly one of the best spitters in the game. It’s effortless for him, and I can’t do anything but appreciate and respect that. Hip-hop is better because of J. Cole features. And Kendrick is Kendrick; at this point, who knows what he’ll do next, but when he drops an album we’ll all be talking about it again because that’s what happens with releases. 

I hope we get a few more records back and forth during this before one or the other comes out at the other one’s show in either Los Angeles or Charlotte. In the meantime, I’ll be waiting for J. Cole’s purported final album, “The Fall Off,” like the rest of the hip-hop world. 

Oh, and I guess we’ll keep waiting for Drake to respond, I guess.

Panama Jackson is a columnist at theGrio. He writes very Black things, drinks very brown liquors, and is pretty fly for a light guy. His biggest accomplishment to date coincides with his Blackest accomplishment to date in that he received a phone call from Oprah Winfrey after she read one of his pieces (biggest), but he didn’t answer the phone because the caller ID said: “Unknown” (Blackest).

Make sure you check out the Dear Culture podcast every Thursday on theGrio’s Black Podcast Network, where I’ll be hosting some of the Blackest conversations known to humankind. You might not leave the convo with an afro, but you’ll definitely be looking for your Afro Sheen! Listen to Dear Culture on TheGrio’s app; download it here.

A disturbing incident has rocked the Liberty City neighborhood of Miami, as authorities have arrested Keyyun Anthony Bryant, 36, on charges of child abuse. Bryant stands accused of assaulting his girlfriend’s 5-year-old son allegedly because the child was watching the popular animated series “PAW Patrol,” which Bryant deemed as “for girls.”

Miami-Dade Corrections and Rehabilitation online records confirmed the arrest, which occurred on Tuesday. Bryant faces a felony count of child abuse, stemming from an incident on December 26, 2022, at a residence on Northwest Seventh Place.

According to reports from WPLG-TV, the incident unfolded when Bryant entered the room where the child and a witness were watching “PAW Patrol,” a show featuring a group of rescue dogs. Bryant allegedly grabbed the victim, striking him and admonishing him for being in the “girls’ room.”

Details revealed during a forensic interview conducted by the University of Miami Child Protection Team paint a harrowing picture. The victim recounted Bryant scratching him and threatening to take him to jail by wrapping his hands around the child’s neck.

Miami police detectives tracked down Bryant on Tuesday, where he denied the allegations. Bryant claimed innocence, stating that he had cared for his girlfriend’s children while she worked. He further alleged that the accusations were false, suggesting that the child’s biological father had made similar claims in the past.

As the investigation unfolds, Bryant remains in custody at the Turner Guilford Knight Correctional Center in Miami-Dade County, with no bail set as of Wednesday evening, according to online records.

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Following the unfortunate deaths of seven humanitarian workers for the World Central Kitchen in Gaza, the United Arab Emirates (UAE) has taken a momentous diplomatic step by suspending all contacts with Israel. The decision, verified by government sources and reported by i24 News, comes as the UAE expresses fury over the incident, triggering a potential crisis between the two countries.

The ongoing battle in Gaza has captured global attention, with consequences far beyond the region’s borders. The recent loss of humanitarian workers has emphasized the conflict’s human toll while also causing a political schism between the UAE and Israel.

The diplomatic fallout is being addressed, and talks to find a solution are taking place between representatives of the two nations. Israeli Foreign Minister Israel Katz is said to have spoken with the Foreign Minister of the United Arab Emirates, Abdullah bin Zayed, and the UAE Ambassador to Israel, Mohammed Mahmoud Al-Khaja, who was met by Israeli Foreign Ministry Director General Yaakov Blistshtein, according to an i24 News story.

Al-Khaja referred to the current state of ties between the two countries as “the darkest day,” emphasizing the gravity of the circumstances. Since the 2010s, the UAE and Israel have maintained improved trade and informal relations, culminating in a normalization agreement negotiated by the US in 2020.

However, the terrible death of humanitarian workers in Gaza has put a strain on these partnerships, pushing the UAE to move decisively. The suspension of diplomatic coordination is a significant setback in the two nations’ efforts toward peace and collaboration, highlighting the difficulties of the region’s ongoing struggle.

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Delroy Lindo is joining the cast of Michael B. Jordan and Ryan Coogler’s upcoming supernatural film. 

The 71-year-old actor signed a deal to join Jordan on-screen in the movie, which will be directed by Coogler, according to The Hollywood Reporter. Details about the untitled horror film have not been publicly discussed, however, sources say that the movie will be set in the Jim Crow South and possibly focus on vampires or other supernatural elements, THR reported. 

Lindo’s role will have a “musical element” to it, according to reports, and Jordan is rumored to play twin brothers.Excitement has built since the film’s confirmation in January. 

There was a bidding war among the top entertainment studios for the film, with Warner Bros. ultimately landing a deal to release it, according to Deadline. The project was so closely guarded that studio buyers and executives had to travel to the offices of the WME agency in Beverly Hills to read the script, which Coogler wrote.

Coogler will be producing the project through his production company, Proximity Media, alongside his wife and co-producer, Zinzi Coogler, and co-producer Sev Ohanian. The film is Coogler’s second spec script overall following 2013’s “Fruitvale Station,” and his first from his production company.  

The movie represents a reunion for Jordan and Coogler, who have collaborated on several other films including, “Black Panther,” “Creed,” and “Fruitvale Station.” Coogler told Jordan during a podcast interview that he knew he wanted to cast him in “Fruitvale Station” before he ever met him in person. 

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“I had made up my mind already, I wanted to cast you,” Coogler said to Jordan on a Proximity Media podcast in March 2023. “I was just hoping we’d get along a little bit. And I’m fresh out of school, you know, so like, I worked with professional actors but none were really established.”

In the same interview, Jordan shared how he was nervous to shoot “Fruitvale,” which went on to be a critical success, but “had a certain sense of confidence to you. You know, I trusted what you were saying and I felt comfortable.” 

According to Jordan, Coogler told him that he “wrote [the script] for you” at their first meeting: “I believe you’re a star, I know you’re a star — let’s go show the world.” Jordan added that the meeting “kind of gave me that first initial ‘I belong here’ type of a feeling in the industry.”

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Netflix’s live-action adaptation of “Avatar: The Last Airbender” continues to make waves as Christine Boylan and Jabbar Raisani step into the leadership roles as Executive Producers for Seasons 2 and 3.

The announcement made by Netflix signals a new chapter for the beloved series, with Boylan and Raisani taking the helm to guide the epic story to its conclusion. Boylan, known for her work on “Avatar: The Last Airbender” and “Poker Face,” brings her expertise as a co-executive producer and writer from Season 1 to her new role.

Meanwhile, Raisani, who served as Executive Producer, Director, and VFX Supervisor for Season 1, continues his creative journey with the series, bringing his unique vision to the upcoming seasons.

Albert Kim, who led the series as an Executive Producer for Season 1, will pass the torch to Boylan and Raisani while continuing to serve as an Executive Producer for Seasons 2 and 3, ensuring continuity and collaboration as the story progresses.

The renewal of “Avatar: The Last Airbender” for two additional seasons, announced by Netflix on March 13, was met with enthusiasm from fans worldwide. The live-action adaptation, which has captured hearts with its compelling storytelling and memorable characters, will continue to unfold as the four nations—Water, Earth, Fire, and Air—unite to bring The Legend of Aang to its proper conclusion.

As fans eagerly await more details, including episode count and other specifics about the upcoming seasons, the announcement of Boylan and Raisani’s leadership underscores Netflix’s commitment to delivering a worthy adaptation of the beloved animated series.

Stay tuned for further updates as Christine Boylan, Jabbar Raisani, and the creative team behind “Avatar: The Last Airbender” embark on this epic journey to bring Aang’s story to life once again.

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Raven-Symoné is setting the record straight about controversial comments she made about her racial and ethnic identity 10 years ago. 

While speaking on her Tea Time With Raven and Miranda podcast on Tuesday, Raven-Symoné clarified a 2014 comment she made during an interview with Oprah Winfrey, where she stated that she was “not an African-American.” The actress, 38, told Winfrey at the time that she was “tired of being labeled,” and preferred to be seen as “a human who loves humans.”  

“I’m an American, I’m not an African-American. I’m an American,” Raven-Symoné said at the time. To which, Winfrey responded, “Oh girl, don’t set off Twitter.” 

Raven-Symoné now says that her comments have “haunted me since 2014” and that she felt that “the entire internet exploded and threw my name in the garbage” for her stance. 

“There was so much backlash from my community and others that misunderstood/didn’t hear the exact words that I said,” Raven-Symoné explained to her wife and co-host Miranda Pearman-Maday. “And the exact words that I said is that, ‘I’m an American, not an African-American.’ A lot of people on the internet thought I said that I wasn’t Black. And I never said that. There’s a difference between being Black and African.”

Raven went on to say that when she says the African-American “label” doesn’t apply to her, it doesn’t mean she’s “negating my Blackness or I’m not Black.” 

“It means I am from this country. I was born here. My mom, my dad, my great-great-great-great-great — and that’s what I’m saying. The pure logistics of it.”

She added that she is fully aware of her history as a Black person in America and the struggle her ancestors went through in this country. “I also understand how much blood, sweat, and tears they soaked into this earth in order to create the America that I live in today — free, happy, tax-paying American citizen.” 

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Raven-Symoné added that when she travels internationally she’s seen as “an American, plain and simple” and not “look at that African-American over there.” The actress said that she “felt attacked” when her interview with Winfrey came out in 2014 and that her mother believes the media mogul set her up to fail. 

Raven-Symoné explained that she does not believe Winfrey was out to get her, but instead highlighted that particular comment for “people to scrutinize more.”

In the same interview with Winfrey, the actress also said she doesn’t identify as gay. “I said, ‘Don’t label me’ and it turned into that instead of my coming out,” Raven-Symoné added. 

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