It seems Kendrick Lamar, when involved in his new single Control, which was released yesterday, opened up his “My Big Book of People I Dislike” and went on a series of scathing character assassinations. More than a huge list of people, including Lohan, Drake, Mac Miller and A$AP, were in the firing line, as he mercilessly picked them off, one by one. We take a look at the meaning behind the slams.
Kendrick Lamar, who emerged from Compton, California, has proven to be a man on a mission, drawing fantastic critical reception from across the board with the release of his debut album, good kid, m.A.A.d city. This was not before collaborating with a vast array of rapping legends, and pushing his independent, Section 80 album into the iTunes charts.
The seven plus minute recording, in question, begins with the bizarre hollering of a young child, which subsequently bursts into a lengthy track of non-stop rap. The rap song was supposed to become a part of Big Sean’s upcoming album, but, for reasons not entirely clear, didn’t make the cut.
I was going to include the audio in a YouTube clip, but my conscience precluded me from doing so; you see, it’s a little bit expletive-happy. So, let us wear out my asterisk key and enter in one of the most provocative verses (as far as the rapping industry goes), which has been extracted from DDotOmen:
“… But this is Hip Hop and them n****s should know what time it is, and that goes for Jermaine Cole, Big KRIT, Wale, Pusha T., Meek Mills, A$AP Rocky, Drake, Big Sean, Jay electron’, Tyler, Mac Miller, I got love for you all but I’m tryna murder you n****s…”
It goes on for quite some time, but I think you get the picture. Kendrick Lemar practically slams every name within the industry, takes a brief break, and the slams a few more.
According to HipHop DX, the almost never-ending list of rappers referenced during the song is likely due to Kendrick feeling his nose was put out of joint, as many of the latest rappers are omitted from “debates.”
“I see n****s transform, like villain Decepticons. Molly’s a prolly turn these n****s to f****n’ Lindsay Lohan, a bunch of rich ass white girls lookin’ for parties”
For those who don’t speak the language (I know I don’t), Kendrick is attempting to demonstrate the perils of using Molly, a form of ecstasy, by suggesting it may transition them into Lindsay Lohan.
So, we know Kendrick has quite the set of claws. He has certainly managed to pretty much annihilate almost all of the peers within his industry. Let’s just hope, for his sake, he doesn’t need to perform any collaborations with them anytime soon.
I would cautiously speculate that this is a Kanye West-style publicity stunt; in essence, throw in as many big names into the mix, insult them and then watch as the world’s media create a big song and dance. But, perhaps I’m missing the point?
Hollywood Life’s YouTube dissection of the rapper’s latest piece proves fairly insightful; they state Kendrick is friends with many of those he insulted throughout the track and is simply bringing the spirit of rivalry and playful antagonism back to the game.
This also generated some interesting responses issued from the rapping community, including Pusha T., and Missy Elliot:
What could be construed as one of the greatest sore points, however, was one particular lyric, boasting he was the “king of NY.” I would imagine the next twenty four hours to be an interesting time in the world of rap, as the likes of Lohan, Drake, Mac Miller, A$AP and the remainder of Kendrick Lamar’s rap victims begin to generate responses. Let’s just hope they take the criticism in good spirit.
By: James Fenner