G.O.M.D. by J. Cole Lyrics Meaning – Exploring the Depths of Societal Reflection and Personal Triumph
Lyrics
Go
Ay Hollywood
Hollywood Cole
Go
You wanna know just where I’m at
Well let me tell you ’bout it
I put my city on the map
But let me tell you ’bout it
They tryna say I can’t come back
Ay let me tell you ’bout it
Man fuck them nigga I come back
Ay let me tell you ’bout it
I wanna tell you ’bout it
Hands up, everybody run
Cole outside and he say he got a gun
Niggas like “man that’s what everybody say”
Go and pop the trunk and everybody dead
Everybody scared of the nigga
Aware that the nigga is better
All my bitches the pick of the litter
Never bitter
Niggas is faker than anime
Me I never hate, get cake like Anna Mae, woah
Eat the cake bitch, eat the damn cake
Fuck good nigga we demand great
Order Dominoes and she take off all her clothes
Nigga you know how it goes, make the pizza man wait
The best kept secret
Even hoes try and keep it and I leak the damn tape
Rest in peace any nigga want beef
Even secret service couldn’t keep the man safe
I said to the window, to the wall
My nigga ride when I call
Got bitches all in my mind
Fuck nigga blocking my shine
I know the reason you feel the way
I know just who you wan’ be
So everyday I thank the man upstairs
That I ain’t you and you ain’t me
Get off my dick, woah
(Get the fuck off my dick)
Get off my dick, woah
(Get the fuck off my dick nigga)
Get off my dick, bitch, woah
(Get the fuck off my dick)
Get off my dick, woah
Man fuck them niggas I come home and I don’t tell nobody
They gettin’ temporary dough and I don’t tell nobody
Lord will you tell me if I changed, I won’t tell nobody
I wanna go back to Jermaine, and I won’t tell nobody
This is the part that the thugs skip
Young nigga never had love
You know, foot massage, back rub shit
Blowing bubbles in the bathtub shit
That is until I met you
Together we done watch years go by
Seen a river of your tears go by
Got me thinkin’ bout some kids, still I
Tell them hoes come through
(The break up)
Get to know somebody and you learn a lot about ’em
When we long for you, start to doubt ’em
Tell yourself you better off without ’em
Then in time you will find can’t walk without ’em
Can’t talk without ’em, can’t breath without ’em
Came here together, you can’t leave without ’em
So you walk back in, make a scene about ’em
On your Amerie it’s just 1 thing about ’em
It’s called love
Niggas don’t sing about it no more
Don’t nobody sing about it no more
No more, no more
It’s called love
Niggas don’t sing about it no more
Don’t nobody sing about it no more
(Nigga I don’t sing about this shit no more)
But there a nigga in the club singing
To the window, to the wall
My nigga ride when I call
Got bitches all in my mind
Fuck nigga blocking my shine
I know the reason you feel the way
I know just who you wan’ be
So everyday I thank the man upstairs
That I ain’t you and you ain’t me
Get off my dick
But ain’t a nigga in the club singing
Singing this song yeah
Got all the bitches in the club singing
Singing this song yeah
And all they mamas let their kids sing it
Sing this song yeah
The baby mamas and the mistresses
Singing this song yeah
Song yeah, song song yeah
The make up
This shit is retarded
Why every rich black nigga gotta be famous
Why every broke black nigga gotta be brainless
That’s a stereotype
Driven by some people up in Ariel Heights
Here’s a scenario
Young Cole pockets is fat like little Terrio
Dreamville, give us a year we’ll be on every show
Yeah fuck nigga I’m very sure
Fuck the rest I’m the best nigga out
When I’m back home I’m the best in the South
When I’m in LA I’m the best in the West
You can test, you can test, I’mma stretch niggas out
Ooh I’mma stretch niggas out
That go for all y’all if I left niggas out
This shit for everybody on my testicle
Please make sure you put the rest in your mouth, ho
J. Cole’s ‘G.O.M.D.’, an acronym charged with the command ‘Get Off My Dick’, is not just a brash beckoning for space, but a multi-layered narrative weaving through the fabrics of identity, societal perception, and the strenuous journey of self-realization. Peering through the braggadocio and into the soul of Jermaine Cole’s lyricism reveals a tapestry rich with the struggles of an artist coming to terms with his role in a culture steeped in stereotype and expectation.
As we unpack the deeply embedded messages of ‘G.O.M.D.’, we discover a dichotomous picture: one of triumph in the face of detractors and a cry for authenticity in an industry saturated with facades. Here’s an exploration of the layers that comprise this hard-hitting track, providing a portal into the mind of one of hip-hop’s most introspective voices.
The Battle Cry for Authenticity in the Echo Chamber of Fame
G.O.M.D. opens with a verbal assault against anyone daring to question Cole’s legitimacy or his contributions to the culture. Bringing up his city, implying the weight he carries in placing it ‘on the map,’ Cole asserts his rightful place in the landscape of hip-hop. It’s not just a statement of geographical pride; it’s a declaration of his impact in the larger narrative of the genre.
Yet, amidst the chest-thumping and declarations of prominence, there’s a nuanced plea for genuineness. This combination of pride in one’s roots and the complexity of maintaining true to oneself within the trappings of success outlines the central conflict of the track.
The Poignant Lament of the Highs and Lows of Romance
Underneath the tougher exterior of the track, Cole interweaves a saga of emotional vulnerability. The contrast between his self-assured public persona and his private contemplation of love, loss, and intimacy adds layers to our understanding of his psyche. As he ruminates on relationships, his lyrics reflect the universal cycles of togetherness and solitude, connection and disconnection.
Cole’s reference to ‘bubbles in the bathtub’ and ‘a river of your tears’ strikes a chord of intimate familiarity while reminding us that beneath the fame, he grapples with the same emotional complexities as any other person. His evocation of Amerie’s hit ‘1 Thing’ is a clever homage that speaks to love’s enduring, if sometimes frustrating, presence.
The Hidden Meaning Behind ‘To the Window, to the Wall’
At first glance, the chorus borrowing from Lil Jon & The East Side Boyz’s ‘Get Low’ might seem to embrace a raucous party ambiance. However, Cole wields these lines with a heavier intention. By juxtaposing this refrain with heartfelt verses, he merges the energy of unbridled celebration with a deeper look at the bonds that tether us to our loyalties and aspirations.
Breaking down this choice further, it could represent the duality faced by many artists – the expectation to create party anthems while seeking to convey a message of substance. It symbolizes the balance Cole strikes between catering to commercial demands and remaining faithful to his art’s message.
Decoding the Most Memorable Lines and Their Impactful Punch
Among the track’s most telling lines, ‘This is the part that the thugs skip’ followed by Cole’s almost satirical acknowledgment of never experiencing ‘back rub shit,’ encapsulates a raw and authentic confession. This juxtaposition of a hard exterior and soft core conveys his rejection of the one-dimensional ‘thug’ caricature.
As he closes the verse with a swift return to his dominant posture, guiding his doubters on where to place their opinions, the veneer is both fortified and stripped away. It’s a deft lyrical dance, reminding the listener of his supremacy while acknowledging the multi-faceted nature of his identity.
Confronting Stereotypes with Insightful Reverberations
Cole doesn’t shy away from confronting uncomfortable truths. In lines like ‘Why every rich black nigga gotta be famous/Why every broke black nigga gotta be brainless’, he grapples with the stereotypical expectations thrust upon African American success and struggle, respectively. The frustration palpable in his verse is a reflection of a greater discourse on race and class.
By challenging these stereotypes and the system that perpetuates them, Cole adds a layer of social critique to ‘G.O.M.D.’ and fortifies it as a vessel not only for personal storytelling but also for societal reflection. His ability to output these conversations in a manner that’s both artful and accessible is a testament to his mastery as a lyricist and thinker.
