So how is Kendrick as a technical rapper (Post examples)?
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intilectual recipricol
Killin fake hip hop
Nah these cats gotta learn about lyricism, if you retire its like Phil Jackson retiring...
It's a reference. A really good one. Of course I can fully appreciate Jay not having fully understood that line.
The second paragraph gives a lot of insight on your odd preferences when it comes to hip hop. And the lyrics on the page are the same lyrics that are rapped in the song.
1st track i ever heard from Kendrick was this..........
made me
been a fan ever since.. i remeber showin my roomates this yrs ago
made me
been a fan ever since.. i remeber showin my roomates this yrs ago
the rhyme king
truth.com
yup for me it is about being a consistent efficent and prolific as a writer.
Efficient in what sense?
Prolific is a non factor for me. Lil B is prolific.
Drew Wonder
Superstar
I'll post some excerpts from a review I wrote of Section .80
Lamar gets back to business on the next track “Kush & Corinthians.” He begins by making a call for individuality. “Live your life, live it right, be different, do different things, don’t do it like, he did, cause he aint what you is.” Lamar then takes a closer look at himself, pointing out his own contradictions. Like he tells the woman on “No Makeup,” Lamar finds beauty in these faults and inconsistencies rather than shame. For Lamar, they define his humanity. “I wonder, will the eyes of the Lord look at me? Look at me, look at me, I’m a loser, I’m a winner. I’m good, I’m bad, I’m a Christian, I’m a sinner. I’m humble, I’m loud, I’m righteous, I’m a killer. What I’m doing? I’m saying, that I’m human.”
And just in case you decide to judge him, Lamar throws another message at the listener. “Have you ever had known a saint that was taking a sinner’s advice? Well it’s probably you, am I right? If I’m wrong, you a fukking lie.” Lamar then connects his flaws and the criticism he receives to Section.80 itself. “I’m running, they say I’m wildin’, a young’n, with lack of guidance. That’s hundreds of us with problems, more money, more drugs and violence.” It’s another example of the balancing act Lamar performs throughout the album. He exemplifies the thoughts and feelings of his generation through self-analysis while also maintaining the role of the teacher. Finding strength and individualism through self-contradiction is an idea that Lamar explores further during the album’s conclusion.
Lamar gets back to business on the next track “Kush & Corinthians.” He begins by making a call for individuality. “Live your life, live it right, be different, do different things, don’t do it like, he did, cause he aint what you is.” Lamar then takes a closer look at himself, pointing out his own contradictions. Like he tells the woman on “No Makeup,” Lamar finds beauty in these faults and inconsistencies rather than shame. For Lamar, they define his humanity. “I wonder, will the eyes of the Lord look at me? Look at me, look at me, I’m a loser, I’m a winner. I’m good, I’m bad, I’m a Christian, I’m a sinner. I’m humble, I’m loud, I’m righteous, I’m a killer. What I’m doing? I’m saying, that I’m human.”
And just in case you decide to judge him, Lamar throws another message at the listener. “Have you ever had known a saint that was taking a sinner’s advice? Well it’s probably you, am I right? If I’m wrong, you a fukking lie.” Lamar then connects his flaws and the criticism he receives to Section.80 itself. “I’m running, they say I’m wildin’, a young’n, with lack of guidance. That’s hundreds of us with problems, more money, more drugs and violence.” It’s another example of the balancing act Lamar performs throughout the album. He exemplifies the thoughts and feelings of his generation through self-analysis while also maintaining the role of the teacher. Finding strength and individualism through self-contradiction is an idea that Lamar explores further during the album’s conclusion.
gangreen
Top Notch
Good Kid Maad City was a masterpiece.... content , production and lyrically.. The boy is talented
Drew Wonder
Superstar
“HiiPoWer” is both “Section.80’s” conclusion as well as a 4 ½ minute summary of the album’s themes and ideologies. The song bridges the gap between the Civil Rights generation and Lamar’s generation. Ultimately its a manifesto, detailing the way in which Section.80 can carry on the tradition established during the Civil Rights era in the 21st century. Lamar first points out the difficulties and seemingly cursed existence of a revolutionary. ““Visions of Martin Luther staring at me. Malcolm X put a hex on my future, someone catch me.” While Lamar acknowledges the hardship of this way of life, he still expresses an aspiration to live it. “And everything on TV just a figment of imagination. I don’t want a plastic nation.” Lamar again shows his desire for individualism and his resistance to the established order, represented by the mind numbing power of media.
“While you mothafukkas waiting, I be off the slave ship, building pyramids, writing my own hieroglyphs.” Lamar has no interest following the footsteps of others, instead he wants to create his own lane and establish his own history. Lamar also references the historical past of his race of people, which goes beyond the days of westernized slavery. His perception and knowledge of self is not limited to circumstances created by the European power structure. Lamar instead opts for a mentality befitting of Egyptian rulers rather than American slaves. He illustrates in historical terms how one can attain power by broadening their perception of self beyond what others place upon you. But Lamar not only wishes to go beyond the boundaries established by his oppressors but also the boundaries created by his own people. “Visions of Martin Luther staring at me. If I see it how he seen it, that would make my parents happy. Sorry mama I can’t turn the other cheek. They wanna knock me off the edge like a fukking widow’s peak.” Here Lamar states that the pacifism practiced by the proponents of civil disobedience is unrealistic in the world that he inhabits.
He instead draws his inspiration from the more aggressive subset of the Civil Rights era, the black power movement. Throughout the song, Lamar references Huey Newton, Bobby Seale and Fred Hampton and lays out his fate. “I want everybody to view my autopsy, so you can see exactly where the government had shot me. No conspiracy my fate is inevitable.” Lamar acknowledges the fact that attaining a revolutionary mindset almost always assures your doom. But he doesn’t let this reality deter him. As Ab-Soul mentioned, he’d rather die on his feet than live on his knees.
intilectual recipricol
Killin fake hip hop
right. And some are MUUUUUCH better than others. Thats how IWW takes uncontrollable shyts on illmatic. Thats how Jay is lightyears ahead of naS lyrically.
"down 4 whateva/aint nuthin nyce" >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "stabbin bytches like the phantom"
its not even worth having a debate over, and those two lines are a microcosm of the larger debate...
Drew Wonder
Superstar
Lamar exhibits this vision on the next track “A.D.H.D,” a psychological breakdown of the generation of disillusioned 80′s babies which he (and I) belong to. “Eight doobies to the face, fukk that, 12 bottles in the case, fukk that, 2 pills and a half, wait nikka fukk that, got a high tolerance when your age don’t exist.” My generation, which the title “Section.80″ refers to, is restless, easily bored, never satisfied and lacking in definition. We’re in constant motion, always looking for the next high and the next escape from a seemingly meaningless existence. “You are a loner, marijuana endorphins make you stronger, stronger” raps Lamar, pointing out our reliance on mind-altering substances as a source of fulfillment. Lamar continues to critique us, highlighting our focus on things that in the long run bare little consequence yet are given unnecessary importance anyway. “We never do listen unless it comes with an 808, a melody and some hoes, playstation and some dank.” The line also reveals Lamar’s clever method. He’s using the framework of a meaningless indulgence (music) to awaken us to our indifference and force us to start paying attention to the outside world.
Lamar later describes a conversation he had with a girl at a party. “How old are you? She say 22, I say 23, okay, then we all crack babies. Damn, why you say that? She said where my drink at?” It’s a brief mention and in typical Section.80 fashion she moves on quickly. But it’s still a fleeting piece of evidence that we have a self-awareness and knowledge of our flawed condition. It’s here that Lamar shows the potential of his generation and the fact that we really are capable of greater things than we limit ourselves to due to our apathy. We’re obsessed with pretending that we don’t care about anything, when this couldn’t be further from the truth. Lamar tries to get the girl to explain her previous statement. Finally she tells him “you know why we’re crack babies? Cause we born in the 80s.” The term “crack babies” is used both literally and figuratively. It refers to the generation of children born amidst the 80s crack epidemic while also suggesting that Section.80 as a whole entered the world already flawed and tainted due to the mistakes and irresponsibility of the generation that preceded us.
Drew Wonder
Superstar
“Keisha’s Song (Her Pain)” is the ideological sequel to “Tammy’s Song (Her Vice).” The song, which can also be seen as the modern-day version of “Brenda’s Got a Baby,” reveals the root of Section.80’s insecurities. The track tells the story of a young prostitute named Keisha. The opening hook represents the outsider’s view of the 80s generation. “Fancy girls on Long Beach Boulevard, flagging down all of these flashy cars.” Keisha is just another whore, a face in the crowd and a piece of a homogeneous collective. But Lamar soon establishes her individuality and specific struggle. He describes the way in which she uses makeup to make herself presentable to her customers who constantly demean her. In spite of this, she is solely dependent on them for her survival and allows them to continue to abuse her as a result. It’s a direct representation of Section.80’s complex relationship with the previous generation currently in power.
Keisha soon spots a new customer waiting for her in his car. This sets up the most provocative line of the song. “In her heart she hate it there, but in her mind she made it where nothing really matters, so she hit the back seat. Rosa Parks never a factor when she making ends meet.” Here Lamar boldly targets what many believe to be the greatest group of black Americans in history; the civil rights generation. Lamar believes that at some point there was a disconnect and a failure to transfer the feelings of pride and self-worth from one generation to the other. The self-worth is meaningless when the new generation is placed in a situation in which they must demean themselves in order to survive.
The line focuses on specific subgroups within both the previous generation and Section.80; blacks who gained privilege through assimilation and blacks born into poverty and desolate conditions. Lamar believes that many members of the civil rights era abandoned those who were unable to attain the same opportunities. Instead of establishing a plan for the next generation to prosper mentally and economically, they focused on joining the same power structure responsible for oppressing their own people. It’s Lamar’s way of pointing out the failure of the older generation to teach the young and the younger generation’s failure to reach the levels of self-respect and ability to stand in the face of adversity of the old.
As the song continues, Lamar begins to sympathize with Keisha, showing how she was never exposed to a better way of life because of her lack of opportunities. “Sometimes she wonder if she can do it like nuns do it. But she never heard of Catholic religion or sinners’ redemption.” Lamar then explicitly points out the people responsible for Keisha’s downfall. “You can blame it on her mother for letting her boyfriend slide candy under her cover. Ten months before she was ten he moved in and that’s when he touched her. This muthafukka is the fukking reason why Keisha rushing through that.” A moment of moral corruption from an authority figure altered her life forever, again representing the relationship between the previous generation and Section.80. The fact that he molested her is a testament to how badly Lamar believes the power structure violated our generation. The boyfriend’s actions indirectly lead to Keisha’s demise which Kendrick describes in the track’s conclusion.
“She hit the backseat, and caught a knife inside the bladder, left her dead, raped in the street, Keisha’s song.” When you listen, pay close attention to the way Kendrick delivers his final verse. He slowly builds up his vocal intensity until it explodes in a violent outburst of emotion when he gasps out “Keisha’s song,”sounding as if he’s holding back tears. It’s as powerful of a moment as you’ll ever hear in any form of music. Kendrick finally closes the song, assuring the listener that he won’t fail the generation that follows him the same way the previous generation did to Section.80. “My little sister eleven, I looked her right in the face, the day that I wrote this song, set her down and pressed play.” This is the song that convinced me that Kendrick is the best rapper alive.
