According to industry forecasters, the effort could see its songs generate perhaps 320 million on-demand audio streams in the week ending April 26. That would give it not just the biggest week of 2018, but also the third-biggest week ever.

Post Malone’s sophomore album Beerbongs & Bentleys has set a new first-day streaming record on Spotify. The album has shattered the record both globally (78,744,748) and in the U.S. (47,930,039), according to a tweet from Spotify. This puts him ahead of J. Cole’s KOD, which set the record in the U.S. just last week with 36,656,086 streams.

In its haste to show the ugliness of her addiction KOD’s portrait of her glosses over any and all explanatory or redemptive details. It misses many other things too, when it conflates healthy and abusive self-medication, or refuses to make a distinction between marijuana, alcohol, and harder drugs. Because Cole is so often trying to convince us, he frequently only tells one side of the story, concealing the full picture in order to win an argument that nobody started.

In hip-hop, Mr. Cole has more or less been a lone warrior — he lives in North Carolina, not far from where he grew up; he produces his own music; he essentially scorns collaboration.

J. Cole has said that K.O.D. has multiple meanings: Kids on Drugs, King Overdosed and Kill Our Demons. (Some will note that Kansas City chopper-style specialist Tech N9ne used the acronym K.O.D. first in 2009, defining it as King of Darkness.) Cole takes aim at addiction in all its manifestations, often from the inside.

The discourse surrounding J. Cole’s music is that it has the unmatched ability to lull listeners to sleep as soon as they give it the time of day. The two most polarizing elements of his output—handling his own production and hardly ever having any featured artists on his albums—have created a fissure between witty critics who cite those as reasons for how uninteresting he is, and staunch supporters who believe his self-sufficiency is more praiseworthy than the majority of his peers.

KOD’ – the North Carolina rapper’s fifth studio album – tackles drugs, demons and addiction for the majority of its 12 tracks, with Cole seemingly keen to caution his fans, rap peers and society at large about this delicate and pertinent set of topics. He’s already delivered three separate definitions for its acronymic title – Kids on Drugs, King Overdosed, Kill Our Demons – leaving us in no doubt about this project’s focus.

[Intro]
Go, go, go
Go, go, go
Go, go, go
Go, go, go

[Chorus]
This is what you call a flip
Ten keys from a quarter brick
Bentley from his mama’s whip
K.O.D., he hard as shit
This is what you call a flip
Ten keys from a quarter brick
Bentley from his mama’s whip
K.O.D., he hard as shit
This is what you call a flip
Ten keys from a quarter brick
Bentley from his mama’s whip
K.O.D., he hard as shit
This is what you call a flip
Ten keys from a quarter brick
Bentley from his mama’s whip
K.O.D., he hard as shit

[Verse 1]
Wow, niggas been crampin’ my style
Blowin’ my high, they want a reply
The number one question is, “How?”
How does it feel now that you on?
How much you worth? How big is your home?
How come you won’t get a few features?
I think you should? How ’bout I don’t?
How ’bout you just get the fuck off my dick?
How ’bout you listen and never forget?
Only gon’ say this one time, then I’ll dip
Niggas ain’t worthy to be on my shit
Haven’t you heard? I’m as cold as the tip
Tip of the iceberg that tipped the Titanic
No tip-toein’ around it, my shit is gigantic
As big as the fuckin’ Atlantic, I’m lit, bitch

[Chorus]
This is what you call a flip
Ten keys from a quarter brick
Bentley from his mama’s whip
K.O.D., he hard as shit
This is what you call a flip
Ten keys from a quarter brick
Bentley from his mama’s whip
K.O.D., he hard as shit
This is what you call a flip
Ten keys from a quarter brick
Bentley from his mama’s whip
K.O.D., he hard as shit
This is what you call a flip
Ten keys from a quarter brick
Bentley from his mama’s whip
K.O.D., he hard as shit

[Verse 2]
How I grew up, only few would’ve loved
‘Member I got my first view of the blood
I’m hangin’ out and they shoot up the club
My homie got pharmaceutical plug
I smoke the drug and it run through my vein
I think it’s workin’, it’s numbin’ the pain
Don’t give a fuck and I’m somewhat insane
Don’t give a fuck and I’m somewhat insane
Yeah, at this shit daily, sipped so much Actavis
I convinced Actavis that they should pay me
If practice made perfect, I’m practice’s baby
If practice made perfect, I’m practice’s baby
Platinum wrist ridin’ in back like Miss Daisy
Platinum disc and I own masters, bitch, pay me
Y’all niggas trappin’ so lack-sical-daisy
My nigga sell crack like it’s back in the ’80s
Know a young nigga, he actin’ so crazy
He serve a few packs and he jack a Mercedes
He shoot at the police, he clap at old ladies
He don’t give a fuck if them crackers gon’ hang him
Bitches been askin’, “What have you done lately?”
I stacked a few M’s like my last name was Shady
My life is too crazy, no actor could play me
My life is too crazy, no actor could play me

[Chorus]
This is what you call a flip
Ten keys from a quarter brick
Bentley from his mama’s whip
K.O.D., he hard as shit
This is what you call a flip
Ten keys from a quarter brick
Bentley from his mama’s whip
K.O.D., he hard as shit
This is what you call a flip
Ten keys from a quarter brick
Bentley from his mama’s whip
K.O.D., he hard as shit
This is what you call a flip
Ten keys from a quarter brick
Bentley from his mama’s whip
K.O.D., he hard as shit

[Outro]
Power, greed
Money, Molly, weed
Percs, Xannys, lean, fame
And the strongest drug of them all
And the strongest drug of them all
Love


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