It's going to feel like something's been taken from you arbitrarily by another human being. It's always going to feel colossally wrong. As Los Angeles Times homicide reporter Jill Leovy, who has written movingly of the homicide epidemic in Southside Los Angeles, reminds us, the trauma of this carnage reverberates through entire communities: “There's no way to fit it in any kind of understanding of the natural order of things. By 1991, Compton had a per capita murder rate more than three times that of the city of Los Angeles proper. That year, 1987, Los Angeles County tallied 1,398 murders, with violence most heavily concentrated within poor African American neighborhoods and towns. Lamar was born Kendrick Lamar Ducksworth, just a few months before the release of Straight Outta Compton would transform the city into a globally recognized symbol of America’s urban crisis. “I heard the barbershops be in great debates all the time/Bout who’s the best MC? Kendrick, Jigga and Nas/Eminem, Andre 3000, the rest of ya’ll/New niggas just new niggas, don’t get involved” – Kendrick Lamar, “Control” Dre’s The Chronic (1992), The Notorious B.I.G.’s Ready to Die (1994), Jay-Z’s The Blueprint (2001), or, today, Kendrick Lamar’s To Pimp a Butterfly (2015). Nas’ 1994 debut album, Illmatic, is perhaps the category’s reigning exemplar, but one could just as easily make the case for Dr.
On occasion, however, the genuine article does emerge. The label is a daunting standard, and thus we should not be surprised that in hip-hop, it is rarely ventured. The juxtaposition is jarring its two terms sit uncomfortably next to one another, upending the normal relations of time, art, and judgment. In such a world, exaggeration and hyperbole seep so readily into our language of criticism, that we forget just how unsettled such a pronouncement should make us. One can imagine it weaving its way through the anonymous byways of social media in a scramble for distinction among a vast sea of potential tastemakers. That paradoxical, tangled appellation is perhaps the signal excess of an overheated culture of instant commentary. “To Pimp a Butterfly, another classic CD/Ghetto lullaby for every one-day emcee” – Kendrick Lamar, “Alright (Video Version)” NYX, MA.Liner Notes: Kendrick Lamar, To Pimp a Butterfly (2015) Grove shares steamy ode to sensuality with 'Slippery'
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Kendrick Lamar’s first mixtape surfaces online download it now Act quickly: as Potholes In My Blog points out, some of this material has popped up online only to be promptly removed. Stream the tape below or download it now, via The Masked Gorilla. Kind of ignorant, right? We put it out on a local scale in Compton and built a buzz in the city and eventually got to this guy named Top Dawg, he had his own independent label and I’ve been with them since and we’ve just been developing my sound and branching off of that mixtape to eventually have a debut album.” In 2011, Lamar opened up about the mixtape (via HipHopDX): “My first mixtape, I was 16 and it was called Y.H.N.I.C., Youngest Head Nigga In Charge. City, or even his breakthrough Section.80 mixtape, but a historic curiosity none the less. Clearly not the instant-classic type material of Good Kid, M.A.A.D. The Compton rapper released his first mixtape when he was 16.įirst released in 2003, the mixtape (alternately known as Young Head Nigga In Charge or Hub City Threat, Minor of The Year) finds the young talent rapping over 11 then-contemporary beats, including Snoop’s ‘Drop It Like It’s Hot’, Lil Wayne’s ‘Go DJ’, and Jay-Z’s ‘Hova Song’.
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