Track Marks is a recurring SportsAlcohol.com feature that invites writers to briefly discuss a song that is meaningful to them in any way. Though they can appear on the site at any time, we always run a bunch of them in December and/or January and/or February, looking back at the year in music.
I don’t need to go through the whole rigamarole here about what an absolute dumpster fire 2020 was. We all experienced it; we all read the year-end reviews that rehashed it; we all know. Many of us hoped the start of 2021 would bring at least a bit of a respite. How foolish that seems now. January 6th was just the most recent of days where it felt almost dystopian to be still checking in on work email while the world fell apart before our eyes. At a time when so many are unemployed, facing eviction, scraping together a living, anger often feels like the only legitimate reaction. What, exactly, is the point of clocking in right now when it has never been a guarantee that you would be safe or cared for or valued beyond your ability to produce something commodifiable? That’s where a song like Run the Jewels’ “JU$T” comes in, articulating such volatile emotions with the ecstatically blunt verbosity that has become their trademark.
Since they started working together in 2013, Killer Mike and El-P have built up something of a formula for most Run the Jewels songs, the former trading bombastic rhymes with the skittery energy of the latter. But over the course of their four albums they’ve made brilliant use of a wide variety of collaborators, from Tunde Adebimpe of TV on the Radio to Mavis Staples to Blink-182’s Travis Barker. If your only awareness of Pharrell Williams was his “Happy” song being played on countless Democratic nominee stages, you might have been surprised by his appearance on this track. Certainly it’s a bit more unexpected to hear him sardonically deliver “Look at all these slave masters posing on your dollar” than when Mike and Zack de la Rocha of Rage Against the Machine take up the refrain. But according to the Song Exploder episode on “JU$T,” the line was Pharrell’s idea. And of course it shouldn’t be a surprise at all. He is a Black man, and no amount of success or wealth shields him from what that means in America.
It all starts with four beats that sounds like a heart revving up before moving with lethal rapidity to verses that mercilessly skewer the capitalistic cycle that forms the backbone of our country and the parasitic ways it works to keep us, especially Black people, at its mercy. “Try to sell a pack of smokes to get food/Get killed and it’s not an anomaly/But hey, it’s just money,” El-P raps, a nod to Eric Garner when it was written but with George Floyd’s murder on Memorial Day became a damning indictment of America’s inability to enact any meaningful change. Backed by a choppy chorus of voices both angelic and robotic, like the sort of menacing call waiting tone you’d hear on Judgement Day, it’s an anthem that feels tailor-made for live performance. In any other year, you can imagine a huge crowd at an outdoor concert ironically shouting “Make money!” back at the rappers. In 2020 we had to settle for screaming into the void instead, but at least it was comforting to know that artists were doing it too.
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