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Mic has ongoing coverage of Kendrick Lamar 's rise. Expect him to provide the golden-age backdrop for Lamar to make his album's final defining statement. As an artist himself, 9th Wonder got his production start as the main producer for Little Brother, and has contributed to albums by Jay Z, Erykah Badu, Ludacris, Destiny's Child and Anderson Paak. “I can’t please everybody,” he intones over and over on “Crown.” Call him, per usual, prophetic.Producer, rapper and lecturer 9th Wonder did Lamar a major honor in January, including To Pimp a Butterfly in the first round of hip-hop albums to be preserved in Harvard's Hiphop Archive. In typical Kendrick fashion, “Auntie Diaries” is courageous, naïve, groundbreaking, and polarizing. The intentions may be good, but when it comes to the impact, it’s complicated.
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The catch, as Willis and others have pointed out, is that in this context, reprising this kind of language-even to make a point-repeats the harm.
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Rather than presenting himself as more enlightened than the listener, he embodies his own imperfect journey from youthful ignorance (complete with re-creating his use of the wrong language in the first several verses) to acceptance (in the final verse, at least, he uses the pronouns his cousin prefers). On “Auntie Diaries,” he uses this same tactic, but this time it’s to take on homophobia and transphobia. Perhaps the most extreme example comes on To Pimp a Butterfly’s “The Blacker the Berry,” in which he promises that, by the end of the song, the listener will understand why he’s “the biggest hypocrite of 2015,” then proceeds to rap about anti-Black racism, before finally concluding, “So why did I weep when Trayvon Martin was in the street? When gangbanging make me kill a n-a blacker than me? / Hypocrite!” In other words, even when he wanted to release a song decrying violence against Black people, he did so while indicting himself as part of the problem. Rather than preaching down to the listener from on high, he has a tendency to instead hold himself up as an example of what not to do. The song’s conceit is in keeping with one of Kendrick’s long-standing strategies. The Conspiracy Theories About Desus and Mero’s Breakup Are Getting Out of Control
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Oh Dear, Lena Dunham’s New Movie Is Not Very Good Why Netflix’s Most Expensive Movies Keep Getting Worse
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As a writer, I’d broken bread with a multitude of MCs over the decades-Rakim, Black Thought, Big Daddy Kane, Yasiin Bey, KRS-One, André 3000, as well as Kendrick (a few of whom reside in many a rap lover’s Top Five)-but it was Kendrick who moved me enough to devote years of energy into a book and a university course, for the same reasons he’s been canonized in American culture at large: his pen, and what he says with it. Before COVID-19, I taught my one and only college course at New York University: Kendrick Lamar and 21 st Century Hip-Hop in Cultural Context. Last fall, I released Promise That You Will Sing About Me: The Power and Poetry of Kendrick Lamar, a biography of the brilliant 34-year-old Pulitzer-winning rapper from Compton, California. What extent, if any, did that shape not just Kendrick Lamar’s lyricism, his artistry, but his music? I’m not certain I’ve seen that reflected.” -Darnell L. “If you look around the Movement for Black Lives, you see that most of these folk that are leading are girls and women, and they’re sex workers … or transgender folk, gender-nonconforming folk.