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Good Story, M.A.A.D. Classic

Posted on the 24 October 2012 by Seth Kaplan @sethkaplan4

good story, M.A.A.D. classic

"good story, M.A.A.D. classic"

good kid, M.A.A.D. city

The long awaited, major debut album, good kid,m.A.A.d. city has finally hit the shelves, and Kendrick Lamar does indeed deliver a classic. With Lamar's last project, section.80, we were able to get his perspective on his entire generation; however, this latest work of KDot's gives us his perspective of being an adolescent in Compton. Every track on the album sets up the track to come and foreshadows the future events in which young Kendrick is about to experience. 
It all starts with “Sherane A.K.A. Master Splinters’ Daughter,” setting a strong tone for the whole album, while acting as the perfect intro. Here, Kendrick uses detailed facts and story-telling tactics to discuss his conquests for past love interest, Sherane. As the track opens with him and his friends’ accepting Jesus Christ as the Lord, it follows by showcasing his sinful behavior. He cleverly raps, “I was in heat like a cactus, my tactics of being thirsty” as he sets the playing field for the following tracks.
A skit after the track illustrates his parents fighting, and their overall dependence on Kendrick himself. This is used to show how dysfunctional his family situation was. The track “Bitch, Don’t Kill My Vibe” is a play-on-words of something his father would have shouted at his mother in tough times. He tells how he played the role of mentoring his own parents, and never finding time for himself. In the chorus, he admits, “sometimes I need to be alone.” This track is highly relatable to anyone’s day-to-day tensions.
“Backstreet Freestyle” showcases his overall ability to rap, as he uses it as an example of a freestyle track he would have used when trying to make his name known in the streets. Here, we see an arrogant, practical, and seventeen year-old version of KDot displaying his confidence and lyrical combat. The raw and cocky approach is fresh and edgy, easily appealing to real rap-heads from all around.
He keeps his rugged approach on “The Art of Peer Pressure” as he explains his vulnerability to be pressured into bad decisions as an up-and-comer. Telling his story from a first-hand account, he shows how even the goodest of kids can still make the maddest of decisions when they’re “riding with the homies.” He shares his stories of crime and risking everything because his so-called friends were such negative influences on him.
Realizing his life was being captured by so many ills, he uses the track “Money Trees” to describe his realization that money could be the cure to all his problems. “Money trees is the perfect place for shade, and that’s just how I feel.” He begins to understand that working hard could help him make real money. The track marks the start of a new beginning for Kendrick.
The album takes a bit of a turn, and begins to really appeal to the ladies on “Poetic Justice.” He finds none better than Drake to help him discuss various aspects of the modern-day relationship between a man and woman. Janet Jackson’s “Any Time, Any Place” is sampled, providing a soulful and heartfelt medium. After just one listen, it is easy to pinpoint this joint as the album’s most mainstream-friendly cut on the album, even more so than the lead single “Swimming Pools (Drank).”
Shifting back to the street, “Good Kid” sets the ground for the rest of the album. The Pharrell-produced track features the more honest and modest Kendrick identifying himself as the good kid. At first, he seems a bit lazy and uninspired, but this method actually works in setting the stage for the very next track “M.A.A.D. City.”
It is here, where Kendrick truly portrays himself as a good kid lost in a mad city. He describes how he perceived Compton as being a place with himself, chaos, cops, and nothing else. His feeling of being trapped in his own city, with no clean way out, overwhelmed his existence itself. KDot defines his acronym for M.A.A.D. as “my angry adolescence divided” and explains how the double A stands for “angel on angel dust.” The hard-hitting, monumental anthem of a beat serves as the bold backdrop for Kendrick to attack aggressively, explaining street tales such as how the first time he smoked marijuana, it was laced with cocaine, and had him “foaming at the mouth.” By the song’s end, listeners will find themselves drooling at the mouth.
He elaborates on this mad city of his on the album’s lead single, “Swimming Pools (Drank).” Here, he remembers how the people around him, including his own family, tried dragging him down a path of alcohol abuse and overall unhealthy living. This cut clearly elaborates on the “misery loves company” prophecy, and is told from his own experience.
“Sing About Me” deals with Lamar’s obsession over death. He directly addresses people he had mentioned on prior mix-tapes such as section.80. Some of these people were apparently offended by how open Kendrick was in sharing the real stories of their personal lives. He tries to justify his usage of their stories, explaining they were being used to educate and inspire people who came from places like Compton. He asks, “am I worth it?” in a hopeful attempt that his efforts will be sung about when he is dead and gone.
The second part of this track “I’m Dying of Thirst” reverts back to the intro, where him and his friends accept Jesus Christ as the Lord, and they ask for forgiveness. He explains how “dying of thirst” really translates to “being in need of holy water.” This track is the true location where KDot firmly grasps the idea of carrying a positive moral compass.
At this point, Kendrick is able to see what is really important in life, and what really is not. On “Real,” he explains what life’s true values are, and ignores what may be deemed as “cool” in the hood. He stresses the importance of love, family, and friends, and informs listeners as to where their focuses really should be in life.
After Kendrick Lamar reaches his state of understanding, he brags how he finally made it on “Compton.” The Dr. Dre-assisted, Just Blaze-produced banger shows how after all his hard work and dedication, he finally made it big time. He lands his major record deal with Dr. Dre on Aftermath, and boasts on how he rose from the bottom to the top. This track serves as the ultimate conclusion to this true rags-to-riches story of an album.
Kendrick Lamar ultimately uses diversified deliveries, timeless bars, and a plethora of flows in order to achieve his accomplishment of telling a story that has never been heard in hip-hop until now. Rap listeners have heard about the gang-affiliated streets of Compton, but they have never heard of the violence that occurs on those same blocks from the voice of a good kid. Lamar diminishes any cliché that says you have to gang-bang your way to the top of a m.A.A.d. city. Thanks to the good kid, Kendrick Lamar, we finally see what it is like to be an innocent, vulnerable human being in the middle of a jungle surrounded by savages. KDot will definitely have a positive influence among the future of our nation seeing that he serves as living proof that children can survive the dangers of the hood, and still keep their dignity. The tale of good kid, m.A.A.d. city is an instant classic, and it is one for the ages. It is no secret that our generation has just been given a gem to be passed down to every generation to come until the end of time.
RRR Score: 10/10
Written by Seth Kaplan and James Norman

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