The art of battling–although overemphasized these days– has been undeniably crucial in measuring greatness when framed as confrontation. Rap beefs manifest in varying degrees, often to the detriment of one artist and the entertainment of the audience. In extreme cases, they escalate to death and, to a lesser degree, legal disputes between artists and their labels. More commonly, they generate mild friction within rap’s expansive ecosystem that blurs the line between reality and entertainment. As evidenced by BabyDrill’s “Scared Of The P**sy,” boundaries are crossed frequently. BabyDrill hurled homophobic and transphobic language as a means of taunting the rapper 24LeftEye following an alleged suicide attempt. Drill music has further entrenched itself in prioritizing disrespect over wordplay in many instances, creating a bleak mythology that defines the subgenre’s legacy.
Fortunately, rap’s competitive spirit is governed by raw skill and artistry. Ego and bravado are channeled far more constructively here than hurling insults via Instagram Live. Take Joey Bada$$, for example. His presence has been sporadic over the years, with the cult-like following he developed through the early days of Pro Era losing some of its fervor. However, Joey has consistently stood out as a key figure in New York’s Renaissance in the early 2010s, an era that paved the way for the underground resurgence on the East Coast. Still, he hasn’t enjoyed the same level of mainstream mystique; the ability to vanish for a few years and leave fans yearning for new music. His career has largely remained confined to underground acclaim, making his recent critiques of the West Coast’s commercial success on "The Ruler's Back" and J. Cole on "Sorry Not Sorry" feel slightly off-target.
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Joey Bada$$ Declares His Return On "The Ruler's Back"
“Too much West Coast dick lickin'
I'm hearin' n***as throwin' rocks, really ain't shit stickin'
'Cause if we talkin' bar-for-bar, really it's slim pickings.”
The stakes were higher when Joey Bada$$ released “Killuminati Pt. 2” in response to Kendrick Lamar’s 2013 “Control” verse where the Compton luminary stated, “I’m Makaveli’s offspring, I’m the King Of New York.” The supposed King Of New York title wasn’t necessarily for the taking but the "Control" verse warranted a defense from someone who showed the potential to assume that position. A burning desire for the throne turned mixtapes like 1999 into quintessential East Coast offerings and B4.Da.$$ into a noteworthy debut album. Beyond 2017’s All-Amerikkkan Badass, Joey’s expounded his talents into other avenues that have reaped him even more success. High-profile acting roles on shows like Wu-Tang: An American Saga and Power Book III: Raising Kanan proved his versatility. Then came his Oscar-winning role in Two Distant Strangers where he joined a small group of artists who won an Academy Award before a Grammy.
All the while, the dynamics of hip-hop evolved in his hometown. A Boogie Wit Da Hoodie’s influence became even more impenetrable in New York, and Bobby Shmurda’s impact began to take shape in the Brooklyn drill scene while artists like Pop Smoke carried the torch with pride during his short tenure. As Joey explored new ventures, the quintessential New York sound he championed began migrating upstate with Griselda’s rise. But throughout all of this, Joey still insists that “it’s clear who the heir apparent king of NY”–a bold claim that requires more than a declaration to cement.
"Sorry Not Sorry" Fans The Flames
“Women lie but Joey don't (Uh)
Might delete later, I know damn sure that Joey won't
F**k it, I want all the smoke (Yeah), put my credit on the line
'Cause n***as can't f**k with me, we talkin' 'bout it line for line.
The audacity of this n***a, he must be out his mind.
Haunted by the ghost of Biggie and 'Pac, I'm them combined.”
Agitating the frontrunners of rap might help spur conversation yet Joey’s going to bat on his own. His latest release, “Sorry Not Sorry” produced by Conductor Williams, attempts to punch up, once again, without properly acknowledging the potent responses from Ray Vaughn, Daylyt and even Mick Jenkins. The most notable takeaway was a dig at J. Cole, continuing a trend of using the Dreamville co-founder as a punchline for scrubbing a diss track from his online catalog. Perhaps, the intention was to rile up the Dreamville camp and officially turn this into a coast-to-coast battle royale before warranting an actual response from Cole. Or, Joey might actually feel as though he could wake up the sleeping giants, one of whom is just weeks away from his anticipated Super Bowl performance.
Joey’s recent critiques of rap’s frontrunners and his latest release, “Sorry Not Sorry,” reflect an artist who refuses to rest on past laurels. Despite lacking the commercial pull of his peers, his unwavering focus on lyricism positions him as a vital force in the East Coast. Whether this energy sparks broader conversations or leaves Joey confined to the role of agitator remains uncertain. What’s clear is that Joey Bada$$ is stepping into 2025 with the tenacity of a fighter determined to reclaim the spotlight. It’s a reminder that hip-hop’s competitive spirit thrives in the courage to challenge the status quo.
