Released: 2018
Aight, so JPEGMAFIA, also known as Peggy, drops this joint “1539 N. Calvert,” which is a nod to the address of The Bell Foundry, a vital Baltimore art space that got shut down. In this track, Peggy’s flexing his lyrical muscles while throwing shade at the gentrification that erodes local culture. He’s giving us this juxtaposition of his hustle against the backdrop of a changing city that’s pushing out the very creatives it once housed.
The intro’s all about the flex. It’s spacious, with minimal lines, and you got a girl implying she wants some closeness with Peggy. But there’s more here than just the setup for the next move; this is about Peggy’s magnetism, both personal and artistic. He’s setting the scene with his confidence and control, no mistaking it.
Now, when Peggy says he wants all his girls the “same color as Drake,” he’s dropping a line on preference, but he’s also tapping into current culture and commentary, you feel me? “Getting rocked” and whipping up work in the “Pyrex” signify he’s not to be trifled with, and he’s about his business, music or otherwise. He’s asserting his dominance, putting on blast anyone who tries to come up against him or his success, like he’s got no fear, referencing iconic video game “Metal Gear.”
Peggy keeps it 100 when talking about his firepower and maintaining his fort, with lines like “Jugg and I come with them bands” and “Keep a Kimber at the pad.” He’s all about self-defense, calling out “crackers” who won’t get a pass, a clear throwback to racial tensions and the need to stay protected. He’s also stunting with credit lines, “Credit like my name was Chad,” flipping typical ‘white guy’ privilege on its head.
That “demo” line is Peggy dismissing wannabe rappers trying to get his attention. He’s ruthless with the flow, too, saying he’ll dish out justice like John Lennon’s infamous bad side, while also throwing a nod to Ice Cube’s reputation for handling his. Peggy’s all about the homage, reaching back to Dungeon Family’s Myke C-Town for that hairstyle preference – it’s about recognizing roots while being completely in the now.
He shuns the fakeness with “take your tree out my backwood,” referencing not just a sub-par weed but also people who aren’t genuine. Making the beat and taking pride in his craftsmanship is paramount, it’s “cause I’m that good.” And Peggy don’t care about your blog or your fan opinion; he’s about the authenticity of his work, the music that makes bodies move. That “fuck 12” line is a clear stance against police brutality, a stamp of his personal and political views.
The refrain of “body” at the end is complex. It’s claiming ownership—of success, of space, of the self, even amidst the chaos of external forces coming at him. It’s an affirmation of his place in the game, his confidence in his narrative, and his control over the beat.
In essence, “1539 N. Calvert” is a declaration of self, an assertion of space in a gentrifying environment, and a track laced with cultural critique. It’s JPEGMAFIA putting the world on notice: He’s making moves, owning his sound, and not letting anyone forget where he came from or where he’s going.
