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#121 James Frank.

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Posted 24 March 2015 - 03:48 PM

free-a1-steak-sauce-recipes.jpg

 

since day one.



#122 Grifty-Rodriguez

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Posted 24 March 2015 - 05:24 PM

davidisbass and gpbear booboo!

#123 The Jackal

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Posted 24 March 2015 - 07:43 PM

I get the sentiment though. As much as I like the new album I really don't understand what's liked, let alone loved, about GKMC... I'm still waiting for someone to explain to me why that's such a good album...

 

When I first heard Overly Dedicated I thought Kendrick was a promising young artist. Then I heard Section.80 and thought it was decent but not any more promising than OD. Then everyone went nuts about GKMC and I thought "I must have been right, Kendrick finally released a real album." then I heard the first 5-10 tracks from GKMC and it sounded like a slightly better version of every other mainstream hip hop album out there. Slightly better because the flow and lyrics were slightly better than average mainstream to me. 

 

This album(TPAB) seems like a significant step forward in terms of artistry. And I can understand the praise behind it. I didn't think I'd like it as much as I did. But I really don't understand why GKMC gets such dick sucking praise. And I especially don't understand the comparisons with Dilla???? WTF is that about. As much as I like the new album, this is nothing compared to anything Dilla has ever done. Are we really comparing slightly above average Kendrick Lamar to WAAY ABOVE average, genre defining, J Dilla? WTF is that about?

 

Anyway, new album is dope. GKMC kinda kinda ever so slighlty above average in terms of mainstream releases, but still vastly overrated imo. (again, explain to me it's significance. If I'm ignorant or blind or being narrow minded I'd like to better myself by being shown the way. So show me the way, enlighten me.)


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#124 Grifty-Rodriguez

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Posted 24 March 2015 - 07:50 PM

I dunno man good kid just bangs like I said before. It's a hot record, from the first note to the last one. You ain't gotta like everything b, it's your loss but go ahead keep hating it's all good

#125 The Jackal

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Posted 24 March 2015 - 07:57 PM

keep hating it's all good

 

So I'm a hater because I don't like every single thing every single artist puts out? Cuz that makes a lot of sense. Also, saying "it's a hot record" doesn't really explain anything or add anything to the conversation... It's kind of just like saying "I promise it's dope! take my word for it!" I mean, I could say "I promise it sucks, take my word for it" but that would equally add nothing. 


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#126 Grifty-Rodriguez

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Posted 24 March 2015 - 08:10 PM

What am I supposed to do. I didn't like section 80 that much so whatevs. You don't like, like um, the first beat on good kid? I can't even think of a slightly whack section on that album. Even the skits are great. You already said you don't like bitch don't kill my vibe, which to me is ill as f. The orchestration and build in that beat is sick.

#127 The Jackal

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Posted 24 March 2015 - 08:23 PM

What am I supposed to do. I didn't like section 80 that much so whatevs. You don't like, like um, the first beat on good kid? I can't even think of a slightly whack section on that album. Even the skits are great. You already said you don't like bitch don't kill my vibe, which to me is ill as f. The orchestration and build in that beat is sick.

 

Well, I never singled that song out. I just said I listened to the first 5-10 songs and didn't think the album was anything special. But since we're singling that song out, I think the beat is alright. To me it just sounds like a party trap joint with a west coast vibe. But there's nothing about the beat that blows my mind or makes my hair stand. There's nothing about it that makes me rewind to wonder "how are they doing this" or "damn that's so ill". To me it's very average. As for Kendrick's flow on that track, again, I think Kendrick has a very smooth flow. It's indicative of lots of practice and effort. But the lyrics are just slightly above average Imo. There's nothing about it that's remarkable, and I think it's a prime example of how average the album is.

Also, I don't think Section.80 is great either. But I think it's alright. Same way I feel about GKMC. I think GKMC has maybe slightly better production overall, but I don't think it's the masterpiece everyone else says it is. And I've seen no decent argument to support the praise it gets either. TPAB on the other hand...



#128 Grifty-Rodriguez

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Posted 24 March 2015 - 08:43 PM

Whatevs homie

#129 James Frank.

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Posted 24 March 2015 - 10:40 PM

I get the sentiment though. As much as I like the new album I really don't understand what's liked, let alone loved, about GKMC... I'm still waiting for someone to explain to me why that's such a good album...

 

are you listening to it as a concept album, as a "bump in the whip" album, or as something else altogether?  you might just be entering into it with the totally wrong mindset...it's a pretty demanding listen that relies a lot on the listener's willingness to dissect the references and the themes that recur on the lyrics throughout.  i could definitely see all sorts of shit just breezing by someone who isn't that invested in the album.

 

as for the Dilla comparisons, idk what to tell ya other than the opinions of the few aren't necessarily the opinions of the majority.  i get the backlash from the over-hype by some people, but most of those people are dumb high school kids just looking for something to define themselves with...can we not have classic-level hip-hop albums anymore?  i know some people seem to think that history should just end with Fantastic, Vol. 2, like there will never be subsequent generations of hip-hop from here on out -- but, it's like, those guys have their generation-defining albums; why can't we have ours?


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#130 The Jackal

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Posted 24 March 2015 - 11:55 PM

 

are you listening to it as a concept album, as a "bump in the whip" album, or as something else altogether? 

 

I went into it thinking it would be a concept album. Then after the first couple of tracks it just kind of sounded like a slightly more sophisticated "bump in the whip" album. 

 

 you might just be entering into it with the totally wrong mindset...it's a pretty demanding listen that relies a lot on the listener's willingness to dissect the references and the themes that recur on the lyrics throughout.  i could definitely see all sorts of shit just breezing by someone who isn't that invested in the album.

 

 

It's totally possible I'm going into it with the wrong mindset. I have however tried twice now. And neither time worked for me at all.

But you're right, I wasn't totally invested. So it is also totally possible some things flew right over my head. 

 

But for the sake of argument, even if there were intricately woven themes and references that I totally missed, I found the vessel for these themes and references to be wholly uninteresting. 

On top of that there's the fact that I can't imagine any of the themes covering any new ground that hasn't been covered before. So I'm not really excited about diving back in and doing the work necessary to catch everything either.

Plus, we've all heard socially conscious hood albums millions of times before. Maybe Kendrick's unique experience with it is fascinating to you guys, which is totally cool, but to me it's more of the same. Which is a big part of why I don't see it as anything special. 

 


as for the Dilla comparisons, idk what to tell ya other than the opinions of the few aren't necessarily the opinions of the majority.  i get the backlash from the over-hype by some people, but most of those people are dumb high school kids just looking for something to define themselves with...can we not have classic-level hip-hop albums anymore?  i know some people seem to think that history should just end with Fantastic, Vol. 2, like there will never be subsequent generations of hip-hop from here on out -- but, it's like, those guys have their generation-defining albums; why can't we have ours?

 

 

Well I'm not sure exactly what you're referencing here. But there's great hip hop albums coming out every year. How is GKMC any more 'classic' than Run the Jewels? It's too soon to tell if any of these albums will be actual classics or not. Only time will tell. Personally I think Black Messiah will outlive every hip hop album of the last 5 years or so. And when I hear an album as great as that, it frustrates me that there aren't more artists putting in the kind of passion/dedication/creativity that D'Angelo is.

 

My point about Dilla and D'Angelo is that they're the type of artists always experimenting, always inventing, always pushing themselves, always doing their thing for the love of it and because they need to. (let's include Flying Lotus while we're at it)

 

I mean, Kendrick just seems like a kid who grew up listening to nothing but hip hop and practicing his flow. Which is fine. But it's not the kind of 'musical' artist I think of as being capable of representing a generation. Or maybe he his capable of representing this generation, but why does he deserve to?


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#131 Grifty-Rodriguez

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Posted Yesterday, 12:10 AM

I think you're overthinking it dude. Just bump it in the whip all kinds there you go. Dope album. You trying to say pure hip hop is not musical? I don't really understand your hater perspective. Sometimes a cigar is just a cigar

#132 EdTheYounger

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Posted Yesterday, 01:04 AM

I see GKMC almost as a satirical hood album with good taste. Almost like a Sam Rami horror joint. I show my friends those movies and they just don't understand its meant to be over the top ridiculous and half the time them joints ain't even scary. I don't think GKMC was intended to be a modern day gangsta hood album like everyone assumes. I think it's more kendricks salute to the west coast greats he grew up on and idolised while also being a memoir to that time in his life. Its conceptually like looking through the eyes of a youth (Kendrick) who grew in those times and idolised those rappers. The west coast style "trap" beats are just a backdrop to the life and times. It's an ode to his childhood, upbringing and musical influences (even the skits paint that picture). It's not an attempt to make a "modern day hood album" like everyone seems so intent on thinking. Sure, there's some tracks that were on there as radio bait but they're forgiven in the grand scheme of things in my opinion...
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#133 jbuzz

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Posted Yesterday, 03:51 AM

I think you're overthinking it dude. Just bump it in the whip all kinds there you go. Dope album. You trying to say pure hip hop is not musical? I don't really understand your hater perspective. Sometimes a cigar is just a cigar

 

Stop throwing around the word hater. First off, he's never said anything personally against Kendrick, just that he thinks an album is overrated. And secondly, even if he was 'hating' on Kendrick, so fucking what, he's entitled to an opinion, ESPECIALLY a well-informed one... 

 

 

I see GKMC almost as a satirical hood album with good taste. Almost like a Sam Rami horror joint. I show my friends those movies and they just don't understand its meant to be over the top ridiculous and half the time them joints ain't even scary. I don't think GKMC was intended to be a modern day gangsta hood album like everyone assumes. I think it's more kendricks salute to the west coast greats he grew up on and idolised while also being a memoir to that time in his life. Its conceptually like looking through the eyes of a youth (Kendrick) who grew in those times and idolised those rappers. The west coast style "trap" beats are just a backdrop to the life and times. It's an ode to his childhood, upbringing and musical influences (even the skits paint that picture). It's not an attempt to make a "modern day hood album" like everyone seems so intent on thinking. Sure, there's some tracks that were on there as radio bait but they're forgiven in the grand scheme of things in my opinion...

 

I said it before, I liked all of Kendrick's raps on this album and I think lyrically it's far ahead of most other 'mainstream' rappers, but I just couldn't dig the production, like at all. The only tracks that I really enjoyed production-wise were Backseat Freestyle (the satyre really came through here. Such a tune) and Compton (Dr Dre's verse was laughable though). I think that Action Bronson said in Fuck That's Delicious that you can't have a good song with shitty raps and good production/shitty production and good raps... Kendrick didn't meet that equilibrium of production <---> lyricism for me. The rap was all there, but in most cases the trap beats were maybe slightly above mediocre to me at best, and it really didn't have that soul that I feel when I listen to 90s West Coast hip hop that I love so much about it that I hear in tune's like Wesley's Theory on the new album. This is all after two serious listen-to-it-all-and-think-about-it sessions and countless times hearing the tunes on my friends' iPods and shit.

 

My two cents and I'm out on GKMC.


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#134 nervous

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Posted Yesterday, 04:25 AM


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#135 Batou_84

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Posted Yesterday, 06:21 AM

those guys have their generation-defining albums; why can't we have ours?

 

I agree with your sentiment but genre defining....really...

 How is GKMC any more 'classic' than Run the Jewels? 

 

Its not...and that being said Mr Wonderful is a lot better than I thought it was going to be...On a level with TPAB IMO...



#136 James Frank.

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Posted Yesterday, 10:16 AM

i said generation-defining, not genre-defining...pretty big difference.

as for the criticisms, fair enough -- but i'm pretty sure you're missing out on some really poignant music at times...

i think people take the songs as they are at face value on all of his efforts, and fail to see how they connect across as a whole album complete with multiple characters, skits, well-placed guest features and pop-rap songs that are so subtle in their irony that they still manage to break through the Top 40.

 

as for Jackal:

 

 

My point about Dilla and D'Angelo is that they're the type of artists always experimenting, always inventing, always pushing themselves, always doing their thing for the love of it and because they need to. (let's include Flying Lotus while we're at it)

 

going off onto that tangent, Flying Lotus himself has said numerous times that he deeply respects Kendrick.

his tweet just 3 weeks ago, pre-TPAB, said:

 

CA5bpi-WYAED7NZ.jpg

 

so are you saying that you have a more discerning taste than FlyLo?  cause he seems to think very highly of Kendrick...my guess is that you, the listener, are just not investing yourself enough into the cinematic-aspects of the album to see the irony in tracks like "Backseat Freestyle", which leads to "The Art of Peer Pressure" and then "Money Trees" -- all songs denouncing the prevalence of gangsta-rap with adolescents, leading them to do bad shit to get respect, while simultaneously being written from the perspective of kids who idolize the most thugged-out rappers. 

 

then there's several tracks about the Sherane girl named on the first track, one of them expertly woven into a fucking radio single with Drake of all people...followed by one of Pharrell's best beats in years laid underneath a track about the futility of trying to be a "good kid" in such a bad environment.

 

which then leads, narratively, into a track that takes place in the backseat of a rival gang's car (because Sherane is the sister of one of these dudes or something)....and it goes on and on like this throughout the entire album from start to finish.

 

did you not get any of that during your first two listens?


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#137 Grifty-Rodriguez

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Posted Yesterday, 11:34 AM

The term hater applies directly to this situation. The world at large insists something is great, but one dude insists it's overrated. It's like jackal is up in the parlor, arms crossed, frowning, saying "somebody convince me what makes ice cream so good. I don't buy that ice cream is as good as everybody says". At a certain point you've got to admit dude has some bunk taste buds and move on

#138 The Jackal

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Posted Yesterday, 01:07 PM

as for Jackal:

 

 

 

going off onto that tangent, Flying Lotus himself has said numerous times that he deeply respects Kendrick.

his tweet just 3 weeks ago, pre-TPAB, said:

 

CA5bpi-WYAED7NZ.jpg

 

so are you saying that you have a more discerning taste than FlyLo?  cause he seems to think very highly of Kendrick...

Wow. For starters... 

 

I never implied that I have better taste than FlyLo. I also never said that Kendrick sucked, or didn't deserve admiration. I swear some people don't read my posts sometimes...

 

But let me indulge your silly assumption for one second and point out the illogic of it... Didn't Fly Lo also say he had a lot of respect for Lil Wayne in another interview? Do you think Lil Wayne is dope or deserving of admiration? Do you think every artist that every other artist respects is dope?

Quentin Tarantino loves shitty B-Movie flicks from the 70s. Are we going to put Tarantino on the same pedestal as the guy who made "Women in Chains" or "Escape from Women's Camp 119" or whatever the fuck they're called? I highly doubt it... So your point is a pretty hypocritical point.

 

I said Fly Lo was more important musically for this generation because Fly Lo is pushing the boundaries more. He's redefining the boundaries of hip hop for this generation. I've said again and again how I don't think Kendrick is doing that with GKMC. I've also said again and again how I think To Pimp a Butterfly is dope.

 

If you think Kendrick is on par with Fly Lo, please explain to me how. So far all you've done is attack ME for having this opinion rather than explaining why you think Kendrick deserves to hold this title of "best hip hop artist of this generation" that so many people seem to be bestowing upon him.

 

my guess is that you, the listener, are just not investing yourself enough into the cinematic-aspects of the album to see the irony in tracks like "Backseat Freestyle", which leads to "The Art of Peer Pressure" and then "Money Trees" -- all songs denouncing the prevalence of gangsta-rap with adolescents, leading them to do bad shit to get respect, while simultaneously being written from the perspective of kids who idolize the most thugged-out rappers. 

 

 

You're probably right. I'm NOT investing myself. But I also don't think I should have to invest myself. The music should do that for me. And unfortunately it didn't do that on either of my first two partial listens. To me the album sounds like a mainstream hip hop album infused with irony. It's no surprise to me at all that songs from it ended up in the top 40 or wherever the fuck they ended up. Because that's exactly what they sound like to me. 

So the content is ironic? I don't really care. If I can't get into the vibe, I don't really care what it's trying to say. Maybe one day I'll get into that vibe(I kind of doubt it), but so far it's just not doing it for me. The production sounds plastic and paper thin(for the most part), and the hooks annoy the shit out of me. So that's how I feel about it. I didn't feel that way about TPAB at all. 

 

then there's several tracks about the Sherane girl named on the first track, one of them expertly woven into a fucking radio single with Drake of all people...followed by one of Pharrell's best beats in years laid underneath a track about the futility of trying to be a "good kid" in such a bad environment.

 

 

Maybe this is another reason why people compare it to Aquemini.. Sasha Thumper.

 

did you not get any of that during your first two listens?

 

 

It's not that I didn't 'get' it. It's that I didn't care. I can't stand the production(for the most part), the message isn't poignant or profound enough for me to really listen past the super ghetto neo-nigguh hooks/flow/post-ironic lyricism. It's just too annoying to make me feel anything. Plus we've heard this message a million times before. I don't get why this is one of the best renditions of the message. 

 

Like Backseat Freestyle for example. It's like, it makes me chuckle at points. Obviously it's intentional to make me laugh. But it's only laughable because of how ridiculous it is. I don't find that to be particularly clever. More importantly it sounds too similar to all of the other bull shit pop rap out there. And it doesn't distinguish itself enough from that other type of rap to make me see it as anything significantly different(let alone better). I get what Kendrick is trying to do, I just don't feel it. 

 

As for being cinematic, again, I get what Kendrick is doing. The beats set the vibe for the world the protagonist is living in. The protagonist is just another kid growing up in the hood who's struggling with all of this shit... blah blah blah. I get it, and it's been done before(and better). The execution of this album is great in terms of what It's trying to accomplish and what it does accomplish. It's just that It's accomplishments don't appeal to me at all. 

I think the album is indicative of a very creative artist. I just don't see the album as reaching the full potential of that artist. I DO see To Pimp a Butterfly as reaching that potential, or at least coming much closer to reaching that potential.

 

So to answer your question YES I did get it. What I don't get is why it's considered to be the pinnacle of brilliant hip hop these days. Don't get me wrong, I'm glad there's a mainstream artist like Kendrick putting thought into his work. I just don't see GKMC as being a masterpiece. 


The term hater applies directly to this situation. The world at large insists something is great, but one dude insists it's overrated. It's like jackal is up in the parlor, arms crossed, frowning, saying "somebody convince me what makes ice cream so good. I don't buy that ice cream is as good as everybody says". At a certain point you've got to admit dude has some bunk taste buds and move on

 

Grow up dude.



#139 The Jackal

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Posted Yesterday, 01:12 PM

I see GKMC almost as a satirical hood album with good taste. Almost like a Sam Rami horror joint. I show my friends those movies and they just don't understand its meant to be over the top ridiculous and half the time them joints ain't even scary. I don't think GKMC was intended to be a modern day gangsta hood album like everyone assumes. I think it's more kendricks salute to the west coast greats he grew up on and idolised while also being a memoir to that time in his life. Its conceptually like looking through the eyes of a youth (Kendrick) who grew in those times and idolised those rappers. The west coast style "trap" beats are just a backdrop to the life and times. It's an ode to his childhood, upbringing and musical influences (even the skits paint that picture). It's not an attempt to make a "modern day hood album" like everyone seems so intent on thinking. Sure, there's some tracks that were on there as radio bait but they're forgiven in the grand scheme of things in my opinion...

 

I don't think it really compares with the over the top nature of Sam Raimi's films. To me First Come First Served by Dr. Dooom is a much more apt comparison to Sam Raimi's over the top style. But I get where you're coming from. As for Kendrick paying tribute to his West Coast idols, I get that too. I can hear it. I just don't feel it like when I listen to certain classic west coast tracks. 



#140 James Frank.

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Posted Yesterday, 04:04 PM

i'm not attacking anyone haha, you're the one who asked me to try convincing you of Kendrick's stature as an emcee in today's hip-hop climate...but yeah, if you don't like it then you don't.

 

i think the fact that he was able to condense (albeit not the most original) conceptual ideas into almost an entire album of potential radio-friendly singles is really quite impressive -- but that's also because i know what it takes just to write a verse and make a beat to lay under it, not even considering the process of writing catchy hooks...so to have all of that, plus skits that thematically connect an entire album that takes place in the span of one night, plus a bewildering variety of voices/flows/rhyme schemes throughout, makes a pretty awesome album in my eyes.

 

and i don't think you're trying to act above Flying Lotus or something by disliking GKMC, but i do think that's something to consider when saying GKMC is so overrated.  i mean, would FlyLo of all people really buy into the hype like that?  i think not.  but i do think TPAB is even better, so we both agree on that point.

 

Wow. For starters... 

 

I never implied that I have better taste than FlyLo. I also never said that Kendrick sucked, or didn't deserve admiration. I swear some people don't read my posts sometimes...

 

But let me indulge your silly assumption for one second and point out the illogic of it... Didn't Fly Lo also say he had a lot of respect for Lil Wayne in another interview? Do you think Lil Wayne is dope or deserving of admiration? Do you think every artist that every other artist respects is dope?

Quentin Tarantino loves shitty B-Movie flicks from the 70s. Are we going to put Tarantino on the same pedestal as the guy who made "Women in Chains" or "Escape from Women's Camp 119" or whatever the fuck they're called? I highly doubt it... So your point is a pretty hypocritical point.

 

^ however, this is also assuming that i don't have respect for Lil Wayne, which i do despite his (mostly) whack oeuvre just for the fact that he played white people pretty hard with his half-assed lyricism for an entire decade lol.  and as far as judging people based on their influences, again idk what to tell ya.  i know that when i'm really into a certain artist (in any medium), i usually get curious enough to check out their influences -- and actually, most of those influences are worthy of respect.  just because "B" movies have a negative connotation doesn't mean that there aren't any "B" movies worth the praise someone like Tarantino gives them, so idk what your point was there.

 

but yeah, to each his own -- i just wanted to clear the air surrounding the claims that Kendrick Lamar is for some reason not deserving of his accolades, because i think that's completely false.



#141 The Jackal

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Posted Yesterday, 04:33 PM

i'm not attacking anyone haha, you're the one who asked me to try convincing you of Kendrick's stature as an emcee in today's hip-hop climate...but yeah, if you don't like it then you don't.

 

I never asked you to convince me of Kendrick's stature. I asked for someone to explain to me why GKMC deserves the high levels of praise IT gets. Not Kendrick. I've said, Idk, A BILLION TIMES I like Kendrick. Maybe that's why it feels like an attack. Because every two minutes people are putting words in my mouth and calling me a hater lol...

 


i think the fact that he was able to condense (albeit not the most original) conceptual ideas into almost an entire album of potential radio-friendly singles is really quite impressive -- but that's also because i know what it takes just to write a verse and make a beat to lay under it, not even considering the process of writing catchy hooks...so to have all of that, plus skits that thematically connect an entire album that takes place in the span of one night, plus a bewildering variety of voices/flows/rhyme schemes throughout, makes a pretty awesome album in my eyes.

 

 

 

And yes, it's impressive. I don't deny how hard it is to write lyrics and make beats. I do both. I don't deny that making an album like GKMC takes talent. IT DOES.

But if we're judging that album by those standards and those standards alone then hundreds of praise worthy albums come out every year all around the world. Why is that GKMC get's the vast praise that it gets? That's what I want to know. I don't see how it's anything more than just being a slightly above average mainstream album made by an above average rapper. More than anything I want to know why anyone would consider it hip hop album of the year, or AOTY in general.

 


and i don't think you're trying to act above Flying Lotus or something by disliking GKMC, but i do think that's something to consider when saying GKMC is so overrated.  i mean, would FlyLo of all people really buy into the hype like that?  i think not.  but i do think TPAB is even better, so we both agree on that point.

 

 

 

I never said that it gets praise because of hype. But yes, TPAB is great.

 

^ however, this is also assuming that i don't have respect for Lil Wayne, which i do despite his (mostly) whack oeuvre just for the fact that he played white people pretty hard with his half-assed lyricism for an entire decade lol.  and as far as judging people based on their influences, again idk what to tell ya. 

 

 

When did I judge anyone based on their influences??? Can you try and reply to my points without twisting my words or making ridiculous assumptions?

 

Also, you respect Lil Wayne because he tricked people into buying his half assed shit? Just a question, do you also respect Dane Cook for tricking people into buying his half ass shit? I'm really having a hard time following your point about respect.

 

 i know that when i'm really into a certain artist (in any medium), i usually get curious enough to check out their influences -- and actually, most of those influences are worthy of respect.  just because "B" movies have a negative connotation doesn't mean that there aren't any "B" movies worth the praise someone like Tarantino gives them, so idk what your point was there.

 

 

Doesn't everybody check out  influences on their favorite artists? Not sure why you brought that up.

Also quote me where I said no "B" movies deserve praise. You should really stop twisting my words, and putting words in my mouth.

 

 

but yeah, to each his own -- i just wanted to clear the air surrounding the claims that Kendrick Lamar is for some reason not deserving of his accolades, because i think that's completely false.

 

 

Again, who claimed Kendrick wasn't deserving of praise? I'm starting to wonder if you've replied to some other person's post altogether???



#142 Grifty-Rodriguez

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Posted Yesterday, 04:42 PM

I'd go out on a limb to say people like the beats, and lyrics on gkmc. You're not impressed by either, we get it. So let's move on, you're in disagreement with everybody, that's fine. Let's just move on.

#143 Guts

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Posted Yesterday, 05:23 PM

Nigga's gonna write you a thesis about this shit when this is all that matters right here:

Just bump it in the whip all kinds



#144 James Frank.

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Posted Yesterday, 09:07 PM

i mean, whatever man -- i've made my points, and at the end of the day i don't really care whether or not you like GKMC...

this debate seems to be going nowhere though, and i got nothing left to say on the subject.

 

so anyway:

 



#145 The Jackal

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Posted Yesterday, 10:52 PM

I'm not the only one on these boards who thinks GKMC doesn't deserve the high levels of praise it gets...

And I made my points too. Also the point wasn't whether I dug the album or not, It was whether or not GKMC deserves the high levels of praise it gets. But whatever... 

I just thought it'd be fun to have an intelligent discussion about an album that so many seem to love; and to dissect the album and it's merits/flaws.

Sigh...


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#146 Batou_84

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Posted Today, 06:12 AM

i said generation-defining, not genre-defining...pretty big difference.

as for the criticisms, fair enough -- but i'm pretty sure you're missing out on some really poignant music at times...

 

again I understand wanting to give young kenny such a label but alas I cannot agree, as far as the second part Im confused what you're implying unless you weren't addressing me...poignance or rather poise & lyrical complexity are the things I believe define the scions of "emcee"-ing...and most around are lacking...I don't care much for efforts at accessibility...Kool G, Kane and KRS weren't....and don't say times have changed because these emcees set archetypes in the game that are still emulated....these are just my personal views though...I'll be the first to admit it takes a lot for a new emcee to impress me, but Open mike does, Paul Barm when he releases does...I just crave wild, stark originality is all.

 

edit: theres more to name but as a bit of a disclaimer I really didn't like Open Mikes earlier work but since 'Dark Comedy' I think he's easily one of the best and most unique out...



#147 James Frank.

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Posted Today, 11:09 AM

i dig OME as well...my buddy Darko the Super had him on for a guest feature on one of his mixtapes last year.



#148 orchidthegreat

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Posted Today, 02:28 PM

My impression of Jackal:  "I'm not a big fan of something so I'm going to go onto message boards and talk about it more than anyone else, especially the big fans"

 

Really though everyone is entitled to their own opinion, just not sure why people pay so much close attention to things that they don't really like.  Only Kendrick Lamar track I know well is Never Catch Me, didn't like anything I heard on Section 80 or GKMC, therefore I pretty much ignore the Kendrick Lamar thread.






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