Dissect - Kendrick Lamar Is Out For Blood on 'GNX'

Episode Date: November 26, 2024

Cole and Femi discuss their first impressions of Kendrick Lamar's GNX. After sharing their first listen experience, they dissect the album's themes, concept, and provide extensive analysis on two key tracks: 'wacced out murals' and 'reincarnated.' *Recorded 11/25/24. "Squabbled Up" video released during recording so it was not discussed. Host: Cole Cuchna Guest: Femi Olutade (Dissect S5 co-author) Audio Producer: Kevin Pooler Learn more about your ad choices. Visit podcastchoices.com/adchoices

Yesterday somebody whacked out my mural. The energy of make you niggas move to Europe. Welcome everyone to a special episode of Dysect. I'm your host, Cole Kushna. Today we are here to talk about the obvious. Kendrick Lamar's sixth studio album, I say that was somewhat of a question mark. It was released this past Friday, November 22nd,

surprise release. It is 12 songs. It is 44 minutes long. And I am incredibly excited to talk about this thing. I'm a little bit daunted at this point, but we're going to tread forward. I've got my Kendrick Lamar scholar, Femi Olutade, with me, of course. Femmi, how are you doing? We're doing pretty good.

It's good to have some new, some new Kendrick and a full project. As you said, it's hard to know how you describe because he didn't tell us how to how to listen to it. But it's, yeah, the project is something definitely to have, particularly after this kind of year that Kendrick's been having. So excited to talk about it. Yeah, we're going to talk about a lot, but for those that don't know, Femi is the co-author of Season 5 of Dysect on Kendrick Lamar's Dam. You appeared after Mr. Morrell. You've been a guest multiple times on the podcast.

So pleasure to have you to talk about this new project that we are recording, I should just say, up front on Monday early in the morning. So we have sat with the record about three full days. Yeah, there's a lot to discuss. It's hard to know where to start just to give you an idea of what we're going to cover this episode. We're going to give our first reactions, first kind of listen,

impressions, and experiences. We're going to talk generally about the sound, the themes, the concept, talk about our favorite songs, and then we're going to go into more detail about the album title, about specific songs, talk about a few individual songs,

and kind of give some mini thoughts or dissections as much as we can three days after this thing released. So let's just start at the beginning. In my mind, I had written off Kendrick dropping this year. I was like, okay, the window was there. And I had always been eyeing this particular week this past Friday as like probably the window that he would have done it, either this or the first week of December, because you think about Tyler's release,

you think about Dr. Dr. Dr. and Snoop releasing mid-December. And he wouldn't be stepping on that project. And so I was like, okay, here's a small window and probably not going to re-release. on Thanksgiving week. And with no announcement, no trailers, no nothing, I was like, okay, he's going to wait, wait until January, February, closer to the Super Bowl. But of course, we get this surprise release that apparently the labels didn't even know about until like an hour before the album dropped is what I'm hearing.

So it was a surprise to literally everyone but Kendrick in probably a handful of people in his closest of closest circles. I found out about it probably like many people, which was someone messaged me, was like, here's this trailer. And then I think actually, Femi,

I think you were the one that messaged me, the actual album. And it was just chaos. You know, the trailer drops at 9 a.m. And then 10 minutes later, there's an album. And it's just all hell breaks loose,

of course. So I'm curious, Femi, to hear your thoughts or just your experience of like, okay, how did you find out? Like, what was that morning like for you?

And then we'll kind of, to talk about our first listens to the project. Yeah, as you alluded to, I think it was like, it was around nine in the morning when you messaged me the link to the trailer. So I listen and watch that. So as contact at this point, my kids have gone to school. So I'm just, I work from home and I was at home by myself. So I was just organizing things and I got the mess from you. And I'm like, oh, so I listened to it. It's a minute long. You know, just seeing some of the first visuals and being like, okay, like this is a trailer. There's something coming really soon. So that was. That was my mentality is that this is coming.

Something's coming soon. I don't know how to even take it or the first kind of like listen or what to what to notice or pick up from the from like the few lyrics and images. And I didn't know what a GNX was. So I was like, okay, that's interesting. And then what happened is I think I, it was a work day. So I logged into work and we have like a hip hop channel at my workplace where people like post new kind of songs.

Oh, cool. And I was just going to say if anybody had posted anything about the trailer. And then when I looked it up, someone would actually post the link to the album. I was like, wait, because I hadn't even thought to look at Spotify or any music thing because I was like, oh, like, there's no way the album's coming right now. I was coming in some like period of the future. And so, yeah, so it was only like maybe 10 minutes after you had sent me that link. And so then I was like, wait, Cole, you haven't sent me the link to the album yet.

Do you know about this? So I sent you the link to the album. So that was it was, yeah, it was surprised. I was like, oh, it's a full album. It's 12 tracks. I was like, wait, is this, is this like real that it's coming out now? And I was like, oh, I guess it's a full project. So, yeah, I had some, like, work to do in the morning.

And I normally, like, like, to not have to focus on anything if I'm listening it the first time. I just kind of got some of my work and meeting out of the way and ate lunch. And then I normally go for a jog when I listened to it. So I did that in the afternoon and then listened through the whole thing. So, yeah, that was my experience of finding it out the day out and starting to get into it. Yeah. So I was, I was taking my daughter to school.

We were in line at a coffee shop. the trailer drops so I'm on the phone in line and trying to I put in the phone up to my ear and listen to the lyrics and watching the visuals kind of going back back and forth between my eyes and my ear and then I was in another I had then I dropped her off watched the trailer a few times and then I was at another coffee shop getting ready to work when I got the message that the album was out and so I just immediately sat down because usually I like to go for a drive but it was pouring down rain and I was like you know rush hour in the morning so I was like let me just experience this thing right away in the moment. So just sat down, listened in this coffee shop with

headphones on and tried to take it in. Then listen to it for the second time immediately after that in my car, just sitting in my car in the rain and listened to it all the way through. So let's, yeah, let's just start with our first impressions of what this is. I don't want to talk about we're going to, so we're going to speculate if there's more coming, but I want to honor this as as a body of work unto itself. So we'll save the speculation for the most part for the end of the episode. So let's talk about the sound of the project maybe first. I think we all kind of were expecting this in terms of a very West Coast influence sound

sounding project. I think everything post beef with Drake has pointed in this direction. I think that was kind of fairly obvious that some version of this was coming. So I don't think that was a surprise. To me, we got the Broccoli song. So he delivered on that. And there's a few, you know, a handful of, I would say about half the album is in that vein of just purely West Coast inspired, more or less traditional in that vein. But it's Kendrick.

So there are, you know, sprinkled in here, some conceptual songs, some more, I guess, R&B influence songs, some more classic hip-hop, 80s, 90s hip-hop inspired songs. So I guess in terms of the sonics of the album, I would say, I mean, it's very, very, very well produced. And what I'm about to say, I don't want to undermine the quality of the production. But it did strike me that it feels less produced than his past work in terms of overall concepts, in terms of the way songs kind of evolve and go different places.

For the most part, these songs are kind of, more or less, the beat kind of comes in, he wraps and there's the typical dropout come back in with the beat, those type of moves. But in terms of more grander production, I felt like that is not so much on this project compared to his past works. Would you agree with that? Yeah, I very much agree. And I think we had texted, I think, each other that night.

And I think we both had the same perspective about what we felt about the, maybe the grander or the scope of the album relative to. the, really the past four, like the four works, from Good Convency through Mr. Moral. And while all of them are different and we even have different attachments to like each of them and they've been reviewed differently, there was this grand scope in all of them in this like certain way. And I think, I mean, we're, one of the ways that I think we like working together is we come from a different angle. I think you hear a lot of like the sound and the sonics, the music and production a lot quicker. And I tend to gravitate to a lot of like the lyrics and the concepts.

And I think from both of them, it is more simplified than the some, not that there isn't complex things, not that there isn't like connections, but as you were saying, they're the kind of scope of how things are constructed. The things that I definitely noticed were, one, the lack of spoken interludes to me was very noticeable because on every single album, even going back to Section 80, there's a recurring character that's like a narrator figure, even in that. So there's always been spoken interludes in Kendrick's albums. And they tend to really tie the album together and give like kind of direction and like help in terms of understanding it or putting the album in context. And this one really didn't have that. You have the Spanish singing, but it's not really a spoken interlude. It's also not an English. And so it's it's you kind of lack that as far as like the structure that you kind of get used to on a lot of Kenrick albums.

So that to me was kind of notable. And then I think we'd have to get into the actual song itself, but just some of the, just how the themes get developed, where you can kind of see some resolution early on and how some of like the later song seems to be like things, some ideas unto themselves. Conceptually, it's not that they aren't related totally, but there was a sense of,

there was less of this interconnected material and this kind of grander material that stitches everything together that you, seen in the last, particularly for Kendrick projects. Yeah. You know, it's still early, but I certainly don't feel any type of narrative arc going over.

You know, there's no mother-eye sober at the end. There's no thing about me. There's, you know, these classic narrative arcs that we've come to expect from his projects, just what isn't there for me. And so this, we've talked about this. It could, I mean, so one theory about the lack quote and we're this is all in relation to his past work so it's like even kendrick's most

less conceptual work still has much to talk about conceptually but i think as we have experienced kendrick post mr morale i think me and you have talked a lot about this privately just kind of trying to figure out where he is artistically conceptually uh and spiritually post Mr. Morale, which did feel like a turning point, like a crossroads for him. And it seemed to be a mark of something, a new version, for a lack of a better phrase, of Kendrick. And so, you know, I had a few thoughts about the quote unquote lack of concept on this project, which is one, it's a precursor to something bigger. Or this is a new part of this new version of Kendrick, which is he doesn't have to be the conceptual guy all the time. time. He doesn't have to give every project the pressure of him changing the world with every project. That weight has been lifted off his shoulders. And so maybe we just do get these kind of projects going forward or maybe just is just this one. And he doesn't feel that pressure anymore. Yeah. I mean, I think there is one thing I'll say is that on my first listen,

I very immediately felt that tracks one through six were very tightly connected conceptually and that there was a narrative in those ones or at least like a very clear progression in terms of what he was saying on those. I felt that less so on the last half of the album. Which isn't to say that it isn't connected. And I think thematically there's a lot of things,

even say something like Dodger Blue, which is a lot about Los Angeles, isn't really at the core of the main themes of the first tracks, but as we've seen to the, pop-out show a lot of the theme about LA and identification is part of the underlying context of which the narrative and what Kendrick's been doing has taken place. So it's in things like that that there are things that are there that are almost,

it doesn't necessarily feel like it flows chronologically from after the first six tracks. But there are these kind of themes that are there. So that's what it's almost, it's almost in between because it's not the same. level I feel like of kind of wall-to-wall narrative that you've seen in like the last major four albums. But it's definitely more interconnected and more of a progression than say like the untitled release. Right. So it's it's there's this interesting it's this interesting in between and so it it like occupies this kind of new scope of space for Kendrick that is I'm

not sure if you are if he will release other things that are like this in scope and then also release other things that are like the last four albums scope. I think that's what time to be, right. Time will have to tell. But yeah, there is, there is this understanding. There is this, this, there are levels to I feel like Kendrick's projects very clearly. And this one is kind of this interesting level where it's, it's not fully loose, but it's also not as tightly packed as the last four albums that we've seen from him.

Yeah, I agree with that. And it, and it does slot into, you know, I'm starting to view 2024 as its own type of concept, right and we can talk I think maybe that's the best way to talk about the lens through which we should talk about this album I guess is I don't need to rehash the Drake beef but I think it became obvious

that the beef with Drake was symbolic on his and I would say in his perspective was symbolizing something else and the start of something else which is these kind of two factions of hip hop the splintering of hip hop

the lack of tradition on one side and Kendrick being someone that is going to represent the tradition of hip hop, whereas Drake is symbolizing something else about hip hop and where it's gone. And as part of his victory, he has re-centered West Coast. He's brought back regionality, all these more traditional aspects of hip-hop that feel less, I guess, just less prevalent today than perhaps they used to in the 90s or even in the 2000s. So post-battle Kendrick, the animosity has not stopped, let's just say. You know, it did not end with Drake. It seems to be only beginning with Drake. And so a lot of what Kendrick is saying on this album is there's a lot of venom.

There's a lot, you know, on the first track, which we'll talk about. He said it used to be, fuck you, but now it's plural. And so he's widening his scope. And it's, you know, it wasn't, it was never just. about Drake and now he seems to be preparing us for shots at everybody, or not everybody, but everyone that he feels perhaps is not upholding the values of hip hop specifically and more likely kind of more broadly moral, using maybe hip hop and the culture surrounding it as an example of a broader deterioration of morality and just across the world. Are you getting a sense of

as well. Yeah, I agree with, yeah, so much of what you said. I think, yes, I think we've, I've always talked about how I often am reticent and slow to try to overinterpret Kendrick's, like, loose songs or, like, features until there's a larger body of work to understand them. But as you said, like, probably by, at least definitely by the time the pop-out show happened, I was like, I kind of feel like you have to just treat this whole beef as an album, as a project in and of itself, because it is, it's so large and scope. And it's adding so much. much terminology. It's adding so much, and it's clearly all connected. So that kind of feeling, and you make a really great point of seeing this album as part of 214 being this larger album

and stuff, and this being kind of almost like a section of it. I think that is, I think that's a really, like, great way of framing it. And then with this, I think, again, like, there's the actual section of the beef tracks and the disc tracks, and there's whatever's going on after that. You know, and for me, I think, particularly with this album, for me, the thing that I keep resonating with this album about is the previous track that he, he released on IG Live or on socials, the watch the party die or the day the party died. Right. Like that track, I spent a lot of time just in that particular track and analyzing it. And to me, a lot of this album is essentially taking that song, which was kind of a little bit more obscure, at least when he gets at what I think he was saying. And it was really like layered and there's a lot more on chandra and a lot of things.

And it kind of unpacks that song, like kind of over like a wider set of tracks and is more blunt and direct about it at like various points and kind of like gives you more of a turn than there ever is. that is implied in that particular track, the Watch the Party Die, but is never fully developed. And it actually gets developed a little bit more in this album. So for me, and because they are both really,

like their post, like beef releases, there is that, they're coming from this really similar space and this really similar perspective, at least from what I can see. Yeah, I think, I want you to expand on that because, just to recap for people,

watch the party die was dropped I mean, he announced the Super Bowl. I'm forgetting exactly how long after the Super Bowl announcement he dropped that, but it was within a couple of weeks. And to me, it was like the epilogue of the beef. It was a retrospective. It was kind of closing the door on the beef, but now we're realizing it was now acting as a bridge. You know, closing the door on the Drake Beef, but opening the door to this wider, broader thing that it seems like he's going to be working towards. So why don't you briefly kind of give us your conceptual understanding of Watch the Party Die,

just so we have that context as we get deeper into GNX. Yeah, sure. So conceptually, at a very high level, you are very right that it seems to be, like, watch the Party die seems to be very clearly talking about Drake, but then expanding it into areas and people that clearly are not Drake himself. It starts really largely expanding it to the music industry, record executives, like music, film executives. So the whole entertainment industry really gets implicated in this. A lot of social influencers and people in, whether it's social media or influence or anyone that's exercising control or putting ideas in front of like people that he feels

like aren't benefiting the kids, aren't benefiting society. And on throughout the album, or throughout this particular track, Watch the Party Die, he is essentially really advocating to take really extreme and vicious acts of violence to anyone that he feels like is a danger or in some ways a bad influence on society. And throughout the track, it just gets more and more more intense and more and more vitriol and more and more violence. And throughout it, he's essentially trying to justify these acts of violence and retribution as things that are going to be done for the benefit of everyone in society. And so it becomes actually this really largely philosophical song of like, okay, like there's everything going on with Drake. But to some extent,

the biggest thing that Kendrick focused on, when he was most serious was a lot of the allegations he made about Drake, related to how Drake deals with women, girls, and him and his crew, and then tied into this larger thing we've seen with, like, Diddy,

and what, you know, Cat Williams called out with people in the entertainment industry about how sexual abuse or trafficking or other things are going on. And so even aside from Drake, what Kendrick, I think, is often asking you very philosophically, is like when there's clear evil in the world, how should we deal with it? Yeah.

Yeah. Is real, that's really what the song is about. And basically throughout the song, he's on the side of almost this like tyrant that's being like, if there's anything that I think of evil, like these people are getting killed and tortured and we're going to make sure no one ever acts like this. And we're going to, and even if there's innocent people next to them, we're going to kill their whole families. We're going to burn the whole village, like scorch the earth.

Like, that's the mentality that's coming out of it. But it's really this larger. philosophical things that you see in wars and human society, in what you see maybe in the Middle East on on various sides of things. It's this really larger conversation, but how do you deal with things when you've determined, you know, this is actually not good. This isn't good for society. This is evil. How does one respond to that? Yeah. And that's a lot of what Watch the Party die, I think, is about. And I think a lot of that gets carried into how Kendrick is approaching a lot of stuff on GNX. Yeah, very well said. Yeah. And just, and

as you're saying that, I'm just thinking about, you know, our journey with Kendrick. Because this is, this has obviously been on his mind since Section 8, I mean, since forever, essentially. And a large part of his discography is, has been confronting exactly that question for over a decade now. And what his role as a, as someone who has been handed this huge microphone has been earned, you know, earned this huge microphone. But in some ways have also been given that. What do I do with the responsibility? How do I best navigate being this leader? What is my message?

Is it one of compassion and hope? Is it one of vitriol and judgment? And obviously this is the dichotomy of Kendrick Amar. I think what's interesting to me specifically post Mr. Morrell, because you hear on Mr. Morrell, I mean, it's very introspective and very much, you know, him holding a mirror up to himself more than anybody. but there are definite moments where he starts to go at the public in a way that he has not before. I think of N95, I think of the title track, Mr. Morat, I think of Savior, where he's very blunt in a way that he just hasn't been in past works.

And he's always put the focus on himself and used himself and his flaws as a model and kind of as a model of humanity and just battling him. himself and now very clearly he has taken what I feel like that now are have were the seeds in Mr. Moral and have had after going hard on himself he's going to go just as hard on others is kind of how I'm framing it in my head because a lot of this album, GNX, which we talked about briefly over Texas, because there is just so much talk of I'm coming after you. I'm going to do this thing, yet I don't feel like he delivered on that as much as perhaps he is purporting it's about to be something. It still feels like it's about to be something.

Are you getting that understanding as well after post-GNX? Yeah, that's a good question. I think a lot of it, and we'll have to get into it when we talk more directly of the tracks, a lot of it, I think, comes back to how you understand the track reincarnated. Yeah, okay. That it's really at the crux of that track. Yeah. Because that, and we kind of alluded to it before, but GNX, it is in this long history of Kendrick songs of XXX, of XX fear of mortal man slash how much a dollar cost of sing about me.

That is from a spiritual angle kind of pulling the veil up over what we consider. reality and trying to look at it from this cross-time kind of heavenly view. Yeah. As in like you can see everything is going on earth and you're sitting outside of time and seeing the patterns and seeing the connections, this really deeply, spiritually connected view of what is going on. Yeah. And looking at himself and looking at society through that lens.

And like, reincarnated is totally 100% that. Yeah. And, and. Okay, so let's, let's, we're going to, we'll use that as a great teaser. because I do, that's my, I'm excited to talk to you about Moses, specifically that song. So let's get through some,

a few other prefissory kind of things, and then we'll really dive into that point. So let's just put a little bookmark in that. Let's start with, because I do want to talk about the GNX. Let's talk about the album title. Let's talk about the car as a way to frame this project as its own kind of entity,

and then we'll get into the specific songs that we wanted to highlight today. So I did a bunch of research on, the GNX. Very interesting. You know, it's not just a car, you know,

as much as maybe this is a looser project, I think the GNX is very symbolic of a few things. So let me just run down a few bullet points of what I found in my research. And we kind of talk about perhaps what that means. So in a 2012 interview with Complex, Kendrick said this, quote, my pops put me on to rap when I was born.

I came home. from the hospital and an 87 Buick Regal while my pops was bump being Big Daddy Kane. He goes on to say that he introduced him to Raq Kim, Biz Marquis, and then he says, sometimes I sit back and listen to

hip-hop with my father to see where my hip-hop roots come from. So we have this history of an 87 Buick Regal, the G&X is a version of it comes from this lineage of regals. I'm not a car guy, so hopefully my terminology is going to be sufficient. here. So yeah, so the GNX is a part of this

Bewick Regal line of cars. It stands for a grand national experiment. Only 547 of them were made. And they were made in one year and they were made in Kendrick's birth year, 1987. So that feels like a significant, very obvious thread there. They're available in one color, black. And they got the nickname at the time because of the The color and the shape of them and the angles of them.

They're nicknamed Darth Vader's car and the dark side, which feels to the points that we've been making, feels very appropriate to Kendrick's mentality at this moment. They were also a last of a dying breed. So the Grand National, the GNX was created to end all Grand National. It's supposed to be the cream of the crop, the most that they can do with this line of cars because they were the next year they were going to be converting the regal line to front reel drive and all past models were rear rear rear real drives which apparently is a more aggressive more a faster experience again sorry I'm not a car guy but that was a significant change

are you are you into cars at all I'm not into cars so anything that I know about it I read through so I can't help you there right so but it feels like This was a significant shift into this more safer driving vehicles that kind of then became very prevalent in the 90s and 2000s and there's less emphasis on performance. And so it's got this idea of being the last of a dying breed seems to tie clearly into Kendrick being more of this traditional hip hop artist. It was faster than the Corvette, the GNX. It was faster than most U.S. market Ferraris.

yet it cost under it cost 80,000 to you know a Ferrari costing over a million so it it was you know better than the rest but it came from very humble roots which of course feels like it ties perfectly into Kendrick's identity so from it being created in his birth year being this rare breed the black symbolism the Darth Vader it just feels like all very very symbolic um I don't you have anything to add to that. Yeah, I 100% agree. I endorse everything you just said. Yeah, there's definitely all the connections to Kendrick.

I know he must find that really uncanny whenever he thinks about himself and he clearly thinks in a very symbolic and connected way. And like that's just one of those things that I think Kendrick would definitely really gravitate towards. So you can definitely see how that can become such a larger concert with the album. The car, of course, is mentioned like several times like throughout like the, throughout the album. So it's definitely part of tying it together conceptually. And everything about like the Darth Vader, Dark Side kind of villainous kind of approach, empire.

And the idea of empires and particularly when you deepen that Vader being the head of the empire, there's all this stuff about kings and empires and leaders and darkness and light. Right. That is one of the core themes of the album, particularly over the first six tracks. It's so interwoven in there and really deeply into what he's referencing. It's all there from a historical and like spiritual and like conceptual thing in the songs himself. So all of that ties in so perfectly with what you hear going on and the power and the force and like all of that stuff. It makes so much sense when you listen to the album.

Right, right, right. Yeah. And one thread that could be a thing, you know, he's talked a lot about generational. ascension, generations improving upon each other. He's talked about specifically his own father. I'm thinking of father time and just everything on Mr. Morrell and your successor being able to build upon the legacy that you leave and that being such, and Kendrick trying his hardest to leave for his children, a better place them in a better position so that then they can take it further. And then he has, he says that on this album, he says this is on Mr. Morale. So,

there does seem to be this symbolic significance to me, whereas dad drove an 87 Buick Regal, which is the more standard kind of everyday vehicle for, you know, an average person of not much means and him now being able to forward this unique, rare luxury vehicle, so to speak, and him kind of, okay, my dad left me this and now I'm building on this. and hopefully my children can symbolize something even grander than the GNX. So I thought that was kind of a cool thematic tie or at least an interpretation. But I do want to put out this theory that in terms of if there is a concept, this is something I've been thinking about and it relates to the GNX. So in Wacked Out Murals, he says, Riding in my GNX with Anita Baker in the tape deck, it's going to be a sweet love.

And so we get this image. Apparently, GNXs only have a tape deck, so you can only play cassettes in it. And so we get this idea of a tape. So a lot of people are speculating this is more of a mixed tape than an album. So perhaps that's something. But more interesting to me is Kendrick talks a lot about his father. His musical influence comes from his father. We read the quote about hip-hop, but we know from Good Kid Mad City and several music interviews,

his dad and his parents listen to hip-hop, current music, but also a lot of oldies. And so he has spoken about hearing classic soul, an R&B artist growing up in his house and in his car riding around with his father. So there is one way to conceptualize this album as being a mixtape inspired by the music heard in his dad's car growing up. And so with that in mind, I'll just lay out some bullet points that might kind of prove this theory. I don't even want to say prove,

but it's just a way of framing the album, if only if you're in your own head. So on Wacked Out Murals, it's based on a sample by Houdini from 1984 called Friends, which we'll talk about more thematically, but that is, you know, 1984 aligns right with the music

you'd be hearing as a child. Squabble up samples when I hear music, classic Debbie Deb song from 1983, song three, Luther Vandros, 1982, if this world were mine. Man at the Garden, one mic, 2001, Nause. Hey Now, interpolates Scotty by D4L, 2005. Reincarnated, of course, Tupac, 1996, made N-words.

Heart Part 6, samples SWV, 1996, R&B song. On TV off, he quotes Biggie, kicking the door, 1997. So I haven't done the full kind of dissection of this theory yet, but there seems to be enough on the surface to where perhaps, I don't know, is this theory making any sense to you? Are you buying it at all? Yeah, I think so. I mean, a lot of what you said, I see a lot of connection to things that I've thought in various ways about it.

A couple things I'll point out is one, you talk about Kendrick's father, and we've come back to that. And again, this has been a theme the last few Kendrick albums, from Duckworth to Father Time itself. but this relationship between sons and fathers is definitely something that's really significant on this album. It's so significant.

And again, it gets brought up in reincarnated, so we'll have to mention when we get there. But of course, even previously we talked about it being, that GNX being a Dark Vader's car, right? And like, what's one of the most iconic, like, statements in the whole Star Wars whole franchise history? It's like, Luke, I am your father. said by Darth Vader

and this choice between father and son and darkness and light and will one go to the dark side will one go to the light side and this inheritance that's kind of given over that Darth Vader has to kind of give over to a son and the son choosing either to receive it or to receive the essence of what is good

about what the father has but choose a different path that's actually more towards the light. So as a... A lot of that I say, and the other thing, too, with the mixtape and the fact that it is sampling these kind of classic music and very much having this feel of this tape of songs that his parents or his dad might be listening to, there's this larger thing about music and particularly black music in the 20th century that has been produced as part of the music industry. And that is a big theme first on Watch the Party Die, and then here on GNX that is continuing. Very much so, again, particularly on reincarnated, but this whole theme about music and this legacy and the spirit being passed down and the influence over generations is so intertwined what's going on and being paired with. Kendrick himself leading TDE, starting PG-Lang, starting his own music, visual,

visual entity company. Hard part, we're going to talk about hard and this retrospective thing about the days of Black Hippie and TDE. There's so much about music industry and music and heritage that is also intertwined in here. Right. And so very much so. And so that, so even just conceptually when you see that,

all that idea of a mixtape and both that being like kind of a dated like what it makes really mean being slightly like dated to a previous time and also being it tied to like his parents what they're listening to there is this larger generational thing and choice and darkness and light that I think is all involved in there right right right okay okay so let's take a quick ad break and then we're going to come back and we're going to start our kind of mini dissections of individual songs so stick around for that okay we are back dissecting gnex as much as we can 72 hours after its release. Femiolutates here with me.

We're going to talk. Let's just jump right into Wacked Out Murals. God, this is such a, it's just three verses of just thunder and lightning. Just, I mean, I just remember pushing, it was pouring down rain when I first heard this song.

I'm looking out the window at a coffee shop. I push play and it's just this operatic mariachi, like, the kind of menacing background. It was just like, so, ominous, but let's talk about the intro, because it is the only kind of conceptual thread in terms of interlude, interspersal kind of material that we get. So when you translate these lyrics that we hear at the start, it's something, I don't know if it's, you know, the right translation exactly,

but the multiple ones that I've read all point to the same thing. So she sings, I feel your presence here last night, and we start to cry. cry. Another translation I've read is, in this moment, I am feeling your presence. It's the night of our last night, and we begin to mourn. So I don't, I'm still kind of figuring out what to make of this. It does, it does, in terms of presence, I feel your presence here. It does feel like it ties into this idea of reincarnation and feeling the spirit of someone, of someone's past, or perhaps your own past entity. I don't know. Do you have any sense of what this is yet?

Yeah, it's still a little loose in my head, but as I sat with the album more, I have some initial thoughts that I'm not necessarily tied to. But what I can see is regardless of what the main, you know, whatever, meaning or interpretation or suggestion, it's definitely playing in some of thematic areas. that I noticed. One, the idea of night.

Again, I've talked about light and darkness is a major theme. And then in particular, the night sky. And stars and planets and that whole imagery is really tied together in the album. So even establishing the idea of like night already and this kind of like relationship thing, which you see from here all the way down to like Gloria,

and father-son relationship and things. So there's a lot of stuff going on there that it's already activating. I think some of the thematic elements of it. Presence, I think you're on to something there. And I do think presence is a very spiritual thing. It's a very spiritual concept that he seems to be activating by using that word. Yeah. I mean, yes, it can refer very directly to just a relationship.

But I think the presence of, particularly feeling the presence is something that someone maybe has to be aware of that what wouldn't otherwise be aware of, which leads to like you were saying spirits, other things like that that are involved, and you said reincarnated from more of like the Buddhist, like, Eastern spirituality things, which we've seen a lot more from Mr. Moral until now. And then additionally from a historical Christian aspect, when you hear the word presence, the connotation is almost consistently all the time related to the presence of God. of God being the presence. And God's spirit is often referred to

as his personal presence. And so there is, what I'll say is like the thing, regards to where it's coming from, it's, to me, it seems very closely tied to the spiritual thing. And this kind of tension in this relationship, which, again, plays out and reincarnated later on,

which goes back to the idea of reincarnation and spiritual everything. And I'll come back to that. And so all that stuff in the present, the spirit of God and God, I think, and the night and dark and light, I think there's a lot of stuff that's in there. Yeah. That, I, like, there's, I'm sure there's layers that I don't really see right now.

But it's definitely acting, it's definitely playing in that, the manic space. Yeah. And, I mean, even the last line, we start to cry or we begin to mourn. I'm thinking back to watch the party die and, you know, so much emphasis on killing, whether that's metaphor or not, you know, that feels like, okay, something's about to, we're about to mourn something. So we'll keep that in mind. I think the first verse is probably worthy of talking about as it kind of lays the, you know, sets the foundation of this album. He says, yesterday someone whacked out my mural. This is, I think you might have the dates on this pulled up. Do you have the dates of,

he's talking about a mural that was painted on Tam's burger joint and Compton. Is that the correct location? I believe so. Yeah. And then as far of the dates, you're saying that, I think it was July 16th, it was, I think the artist had posted the mural. And then I think by September 8th, someone had like vandalized it, including writing like OVO in reference to Drake on the mural. So the whacked out in that particular case being some kind of like destruction or defilement or erasing or messing up of this mural that was done to honor Kendrick in his city. Right. Okay. So he starts there and I love the immediacy of yesterday. It's like he is writing in the moment about the moment. I mean, this is,

if we're taking about his word, you know, it's September, it's the next day. So it's September, that's a month ago, you know, all of this is, this whole album feels very recent. I think we'll talk more about that at the end. But he says that, that energy will make you guys move out to Europe. But it's regular for me. And yes, that's for sure. The love and hate is definite without a cure. So love and hate, darkness, light. There's, you know, he's establishing that right away. Later, he says, I'll kill him all before I let him kill my joy. He says, it used to be, fuck that end, but now it's plural.

F everybody that's on my body, my blick first, then God got me. So right away, again, making it very clear, he's coming for blood and that no one is safe. So yeah, I'm curious to hear your thoughts. The blick first, then God got me. It's such a standout line for me. I'm very curious to hear your thoughts on these lines or anything about this first verse. Yeah. So yeah, totally right.

The violence, the viciousness, the tendency towards acts of violence and using a blick, blick being a gun to protect oneself, to defend oneself, to go at people that are adversaries. So again, all of that is. something that we've heard of Gensure before. Like for me, it always comes back to XXX, X, X, X, X, X, which one of the pivotal tracks on Dam, where he talks about the story of one of his friends coming to him, his friend's son had been killed because of he was in debt to some gangsters or some other people in the streets. And then the person asked Kendrick, will you pray for me?

It's been a, it's been an effed up day for me. I know that you're anointed. Show me how to overcome. And then he talks about this, this friend was looking for some closure, hoping I can bring him close to the spiritual. And then Kendrick says, my spirit knows better. But I told him, I can't sugar coathy answer for you. This is what I feel. If somebody killed my son, that means somebody getting killed. Yeah. And he goes on to. Let me just say, I have thought about that line so many times this past month. Oh, my God. It's like, oh, man. That, like, it is, it's just one of the

rawest kind of Kendrick's line. And he goes into, like, detail about how he would stalk this person down. Yeah. Like, try to kill him if he's coming out of church, like being in his neighborhood, and then goes out to say, it's like, I'll chip him out. I'll chip him and throw the blower. I get another slang for a gun. So a blower in his lap and walk myself to the court, like, bitch, I did that. Like, this just against any form of law, any kind of rules, going out and taking vengeance and taking, like, taking violence and getting and threatening and erasing anyone who would possibly threaten or hurt or harm his family or his loved ones. You really see that there.

And it's, of course, very in that same spirit, because when he's looking for protection, he sees that there's enemies around him, I need to be protected. First, it's my gun. And only after that is a God. Right. That I trust me to protect myself. It's that same mentality that's there that is putting up that I'm going to defend myself at whatever cost and before I turn towards the spiritual at all.

Or even take revenge. So there's that. And that, that can ties to its love and hell. hate line, I think, so much, much, which I think is definitely thematic in all this. I'd won the GNX trailer. There was that line where it says reincarnated with love. So there's that whole theme that's there. Of course, love was a track on Dam.

And it was a track that was right before XXX, which we were just talking about. So there's all that love and hate is like right there. And then, of course, this all goes back to the Drake beef, right? because euphoria, like Kendrick's like first like jab or friendly faved as he was saying in the song was he said very direct one of the more quotable lines or segments of it

where he's like it ain't been about critics ain't about gimmons, not about who's the greatest, it's always been about love and hate. Now let me tell you I'm the biggest hater. I mean the famous lines right, I hate the way that you walk, the way that you talk, I hate the way that you dress. I hate the way you sneakness, right?

So he goes in on Drake about this whole love and hate thing. And so, like, that totally activates this within 2024. That is clearly one of the understacks of him saying it's like love and hate towards Drake, but then also maybe expand to other people. And it's so key because from a biblical standpoint, this is, this is like all the same thing. Because everything we talk about with light and darkness, the nighttime and everything we've been saying, there is a really famous passage. It's in a book called First John or the first universal letter of John. It's written by one of Jesus' 12 disciples. And one of the key themes of the whole letter, and it takes about 10 minutes to read, but it's like, it's all about light and darkness and then

loving and hating. It's the whole thing is about that. And it just keeps repeating those things. And there are these lines in it where John, the, the disciple of Jesus is like, hey, the one who says, the one who says that he is in the light, but hates his brother, is actually in. darkness. And the darkness has actually blinded his eyes so that he cannot see he's in darkness. And then there's a later section where he's like the, where he's like for one who does not love his brother who he has seen, cannot love God whom he has not seen. That it's actually impossible him to love God or say he loves God's father if he doesn't

actually love his brother, which is not just biological. It's a larger category of people, definitely including for him, other people. people that are his brothers and other black brothers, but other people that he's working with, that he's there. And there's even this part of it where he talks about, that letter where talks about you can know the children of God versus the children of the devil, because people who don't love their brothers are of the devil. And people who love their brothers are from God. And he compares people that don't love their brothers to Kane, who was a biblical figure that was a son of Adam, one of the other, like, protocypical human, who was the first murderer in the

Bible, who killed his brother because he was jealous of his brother or angry at his brother. Right. And so that whole idea of murder, of killing, and people that hate these people that they should love, not actually being able to love God, not actually being identified as God's, at the children of God, which means that God is no longer their father. And then thus them being in the light and being so blind is not even he recognized that they're in the light. They're in the darkness.

And they think they're in the light, but they're actually in darkness. Right. Interesting. Okay. Yeah, I can see how those ideas kind of cloud over all of this. But yeah, let's move on to. So the hook is interesting in that he goes from kind of attack mode to guidance mode, I guess, for a lack of a better phrase. Yeah, I think so.

And essentially kind of says like, follow my lead. This is how I have done things. And you should, you know, he's encouraging people to do it like. he's doing. I don't know if you wanted to say anything about the hook specifically before we move on. Yeah. Yeah, I think, yeah, I totally agree with you. It is a switch.

It seems like he's talking to other people, kind of like little homies, like giving them advice. In many ways, this section really resembles father time. As far as the kind of like tough love, hard-nosed advice, particularly lines where he keep your feelings out the way, that really echoes things where his dad is like, you know, he hit his emotions, never expressed himself, men should never show feelings. being sensitive never helped. Right. So all of that seems like really like really kind of key there. Understanding that that work hard, which is like his dad like went to work after after his mom had passed and he's like, oh, you know, there's no, the bill is still coming. And that

he's like, don't trust anyone, just on your mom and them, which kind of really connects to that, but I understand everybody going like you. And if they say that's love, then you've been lied to, which connects back to farther time, whereas like, I might reject the love. I can't attach relationships. And this is the whole rules of engagement. So all that's there. And what is interesting is that that all is kind of the the part that the therefore, the way one responds to the first couple lines where he's like, hey, like going up your rank, go and level your, go and exalt yourself and get more status and power in the streets. Because rank, you'll see that in like, it's on Good Kid Mad City, on Good Kid, where he talks about like people who are in the gangs that like live in the street with Rank. So this kind of connects to that power in the streets and like money and violence and things.

And so that's all there as far as like this kind of pride and exultation. But there's a really key line in here where it says, no, you a God even when they say you ain't. Which there's there's so much going on there. Like I think that's a reference to Kanye impartially because like Connie had a song like I am a god on Jesus where Yeas was where Yeas was blending Jesus and Ye and like this kind of. picking himself as a god, Connie had interviews where he's like, I'm a god, why people say I can't say I'm an Edward, but I can't say it I'm a God. So all of that is there. And this is all really tied because it's all tied to the spiritual thing of like whether it is a good thing or not for people, particularly Kendrick, to think that he is a God. And it shows it's showing this increased pride,

this arrogance and all these things. And it is also going to be spiritually tied to as well because this comes up, particularly in sections in the Old Testament, where biblical prophets, who are the ones that hear from God and tell the people, or even tell people that are other kings in particular, what God is saying and thinking to them, there are some significant sections where biblical prophets tell other kings who are like these violent emperors that are ruling over these newly built empires. And these emperors are acting like they're gods or depicting themselves as God or thing they represent God. And there are these whole, like, lines, particularly one, particularly one in Ezekiel 28, where he speaks to a king, I think, of Tyre, which was one of like the kingdoms up north

of Israel at the time, and says like, oh, you were proud and you thought that you were a God, right? That you've lifted up your heart, you've said that I am a God, but you're not a God. You're going to die like a human. And because I'm, and actually what it says, I'm going to, I'm going, what it says the prophet says, I'm going to bring, God is going to bring enemies around you to take you down and bring you down to the pit of death. So there's this whole theme of like people setting themselves as gods, exulting themselves, and then God eventually is sending a true prophet to humble that person and bring them down. And that's really tied throughout the themes of this particular work.

And I think he's setting that up there in the chorus, I don't think. Yeah, very interesting perspective. I would say the first thing that I thought of was just because I'm so deep in Mr. Morale right now, was Eckhart Tolle's work. One of the major things I've seen post-moral from Kendrick is this phrase I am used a bunch, which I connected directly to Eckart Tolle. I know there's probably other kind of possible connections there, but this is something that Eckart Tolly does talk a lot about,

which is this phrase, I am. And when you say I am, it's a complete phrase that taps into just being itself. There's no, it's just, I am. It's not I am this, which is a form, this being a form. It's just I am. It's totally says, usually says consciousness, but he has many times said it's also synonymous with God and that we are all a piece, a small piece or a representation of this larger consciousness. And, and we're all, yeah, emblematic of it or the collection of us is, is part of this larger thing. And Kendrick, I think of I am all of us.

I think of I am reincarnated, even on Squample Up. He has used this phrase a few times, and it points in the same direction of being a peace of God or a representation of this light or this consciousness. So that's what I, that's what I was thinking. But also, to your point about Father Time and even to my point about Eckhart Tolly, I have no, like, there's so what I thought I understood of Father Time and him seeming to want to expunge certain qualities that he learned from his father. Yep.

Are like to your point is this is, this is him acting as if he is his father and passing these same lessons that his father gave to him that he seemed to be trying to get away from on father time. It just seems to appear so very clearly that inheritance magnified and taken to an extreme. So I'm still. still trying to reckon that, to be honest. Yeah. I'll talk to there, too.

Yeah. I think you've hit also, I think the I am is really significant, and it's significant throughout Kendrick's catalog, because he actually has two songs called I Am. There's one that's an interlude that's on the Kendrick Lamar EP. If you go all the way back to there, and he kind of gives us the intro of who he is and I am,

he references the like the sermon on the Mount, being the meat shall inherit the earth. There's all this kind of stuff that's in there. And then it's also a theme on the Black Panther soundtrack. There's a song there, there's that kind of almost interlude, I Am. And there's two distinct sections. One is the first track, Black Panther, where he says, I am Tachala. And he's spooked as like the good king.

Like the, and then right after the track I Am is the track Paramedic, which is like a really heavy northern California Bay Area like song. And that starts off of saying, like, I am killmonger. And so there is this duality, there is this light, choice between light and dark, the yin and the yang of Tachala and Kilmonger, and like all of that is there, right? And as you mentioned, it's all in squabble up. So all that is there. And what I think, I know, Caryngra realizes and what's all tied, and what Eckhart Tolle is often,

I think, somewhat hooking into, I think intentionally, because I think he's read enough that he knows this, is that in the Bible, particularly Moses, who is the first great process, that Kendrick has referenced, going back to even like mortal man, when God reveals to Moses what God's name is, the name that God reveals can be translated as I am. Yeah, yeah. Which is, I am the one that's existed before all things, and I have existed afterwards, and I exist and I'm not dependent on anything else. And so that's the idea of the creator God of the universe being, what's called Yahweh,

was how it's pronounced in English, that I am. And so that is definitely connected with God's identity. And I think what you're getting at is actually this really interesting, particularly if you've gone as you've been reading totally and going into morale, the big stepper, is there is really where Kendrick is, particularly as he references certain things from like New Age, Eastern spirituality, and more kind of historic, somewhat like Orthodox, like small Orthodox believing kind of Christianity is this thing of like how does one identify God? Like, what is God's identity and how does Kendrick relate to God?

And there's a sense of like, is, like, there's a sense of God is in people and God is also separate, which exists, I think, in both of those traditions. But there's all this sense of like, is when Kendrick is relating to God, is God outside of himself? And or is God Kendrick himself, like, have all he needs. And that gets into the idea of light and where that's kind of coming from. And also, to some extent, if Kendrick's, if he's asking a certain way, is he acting on behalf of God regardless of what he does?

Or does what he do have to conform to something that's outside of himself that is a different standard than what he himself would actually follow? Right, right, right, right. Yeah, great points. Moving on to verse two, I don't really want to go to the Little Wayne stuff like Snoop Doc started. The internet has handled that. I didn't feel like it was a Wayne diss. I felt like him just being very honest.

I don't think he was going at Wayne. I don't know if your perception was the same there, but I agree. I think it's this broader context of like people aren't happy about me, which shows you that like, you know, things are good. Which is not specific about Wayne, I don't think. It's very much like, he is to some extent saying like if people aren't really with me, they don't respect me, then they're against me. But he's not like calling out Wayne as in like Wayne has done something really like unique

and stuff that he should be angry about as much as like his success has bred, has understandably bred contempt. And that's why he can't trust. which is why he's like, you know, like, forget everybody and like, I can't trust anyone. Like, if you say it's love, it's you've been lied to. I think it's all that. Right. Yeah, exactly.

Interesting. We don't have to spend too long on this, but at the end of the verse, he does say, against all odds, I squabbled up for them dividends. Against all odds, I showed up as a gentleman. This got me thinking I sent you the song yesterday against all odds by Machiavelli Tupac. and specifically we're going to talk about

maybe we'll talk a little bit about Man in the Garden and Knauz and that being kind of a recontextualization of one mic which comes for off the album. Stillmatic There's a lot of Machiavelli

Tupac influence of course on this album specifically Machiavelli album was post kind of battle with Biggie and specifically on against all odds the last song on that album he goes by name at Biggie Puff, Dre, Jay, Z.

Like, it's, he's firing at everyone, which I felt was significant in that he doesn't see, he doesn't do it by name yet. I, I suspect if he, there is more and he is going to fulfill this fuck everyone. It's up for everyone energy, which I don't feel like he's fulfilled to the, to the intensity that he is talking about it. and for how long he has now been talking about it. It feels like he'll be naming names. Is my sense of where things are going.

But I thought that was an interesting connection. And Stillmatic was off of the, it has ether on that album by Nas. And so it does feel like he's calling, he's calling back to these albums where artists that he is respected. And he feels like he is of the lineage at perhaps six. similar times in their career. Does that make sense?

Yeah. I found that presence, kind of the influence felt, it's hard to pinpoint at sometimes, but this was one area. I was like, okay, he's calling back to that by name

and the energy is all over this record. So I don't know if you're buying any of that. Yeah, I think that's definitely, I think that's definitely there. And the idea of kind of squabbling to, which even just hit it out of here, is that I think he used that before,

like in Hood politics, where he's like, the little homies called and said the enemy's done clicked up. Oh, yeah, Puto want to squabble with Mibario. So the idea of squabbling and like, kind of like people ganging up on someone else and this kind of, and kind of engaging this battle is definitely kind of there. And against all, I 100%, I think that is referencing to like Tupac

and there's so much that's tied into that. And so that kind of energy and attitude is definitely there. It's clearly, I think part of the, it's clearly one way to frame everything that he did with Drake, because that definitely was by name as you were kind of like mentioning to that. And so I think maybe one of the questions is that is that the path

that Kendrick continues to go on with what he's done with Drake be against some of these some other people that he might be against. I mean, he is naming, I mean, he is naming Snoop and, and Lil Wayne in this track. So to some extent say that,

but I think as we're interpreting in context, I don't think necessarily that level. Not anywhere of that level that we're talking about. Yeah. We'll see where that goes. It was just an interesting thing where I was like, okay, that feels like it's pointing at something.

Is there anything else, though, before we move on from Wacked Out Murals that you wanted to touch on? We're going to jump mostly to reincarnated, but any last words on Wacked Out Murals? No, not really. I mean, I will just mention the cat Williams. He does mention Cat Williams, and the context, he mentions Cat Williams on, oh, it was on Meet the Grams, where he talks about, like, Cat Williams gave this truth, I'm going to tell you mine. And that's from this interview about Harvey Weinstein and R. Kelly. and it was kind of shrouded

of what's going on in Diddy as you were kind of like mentioning and stuff. And so he's kind of like kind of come back to this I've like several times about this idea that part of what he feel like he needs to do on on Meet the Grams there's like there's some people, there's some weird stuff going on

and some of us are here to police it. And so there's this idea of like this is somewhat of like a policing operation of like what's going on in terms of like people, all y'all being on trial and things like that. And him being out, And I social in his house and all these things and like the reason why he can't trust folks and things. So there's there's a lot of stuff that's out there.

And even like the later things about him like white comedians shouldn't talk about a black woman. All this is this kind of like policing things that he seems to be kind of like doing. So I feel like that's all really tight in with that reference to Cat Williams. Oh, and Cat Williams said in that interview like there's a light like the light like all light, everything's going to come to light. All truth will be exposed and like God is a light and things. So that light theme is also really tight in there too as well. Okay. Okay.

Right. Yeah. Good point. just as much as it pains me to kind of skip over half the album, I think we want to get to reincarnated as a good chunk of this episode. But I know you did perhaps want to point out a few thematic things before that to kind of tee up or build to reincarnate to kind of set the table of what. Because you said you saw the first six songs as somewhat of a thematic unit maybe or you can explain. Yeah, I do. Yeah, I can summarize.

Like, we already talked to, we've really kind of set the table. I think Wacked Out Murals does such a good job with that. So that covers like a lot of things. Right. Squabed up, we actually really talked about the God knows I am and like reincarnated, which we're going to get to more later. So that's there. He does mention there, I was stargazing, which again goes back to what I was saying about like

the night and the night sky. And of course, if you're stargazing, it's dark. And then there are stars which are light. So this like light in darkness is definitely there. And the idea of stargazing is also going to come up. reincarnated when you understand the spiritual aspect of what stars mean within like the biblical imagery so that's also yeah yeah put a put a bookmark there too as well so i think all that's like there we talk about that squabbling so that's a lot of what i see with scowble up that's i think

notable um there's other things that are more in there luther what i thought was injuring with luther of course luther van dross this goes back to the mixtape that we were kind of like talking and like his name like he shouted out in the in the track title um the thing that i thought was significant about this is that it's a very like sentimental and nice signing song like oh i would do all these things for you if the world was mine um it's actually from a duet with luther van dross um and um it's like Cheryl Lynn um but then it was previously like a song it actually itself was actually previously recorded by Marvin gay and Tammy tarrow in 1967 so again this is like history yeah there's this history of that song being kind of passed on like over generations from like the 60s right right right yeah so there's

There's a whole thing that's in there. So it's really nice. It's like soul music, all this kind of stuff. But like what I, what's notable about that when you really listen to it is that in the middle of he starts saying things like if the world would mind, I would take your enemies in front of God, introduce them to the light and hit them strictly with that fire. Yeah, yeah. That jumped out when I, I didn't even hear it really in the song.

And then I looked at the lyrics like, oh, oh, okay. Well, yeah, yeah. It just, it sounds so sweet, but he's saying that. And when you really break it down, the idea that, oh, to have the world be yours, that means that you have exalted yourself. That means you have gotten rid of your enemies. That means that you have killed off a lot of people. You're now like an emperor. Like you control everything and you are going to erase anyone that tries to threaten you.

And that's really what plays out in this. Like it's this thing of like, I have these people I love, my significant other, my children. I'm going to take care of them. And I'm going to like bring down fire and take them into fire from heaven to destroy them. And that actually gets tied back into things like, um, um, um, um, um, um, um, um, um, um, um, um, um, like watch the party die where he talks about burning the whole village. And I think he makes some subtle allusions to a prophet named Elijah who actually did get God to send down fire and burn up his enemies that were trying to arrest him. So I think there's a lot of things that are

that are in there. And it's again going on on this, even where it's a sweet, got kind of like loving moment, Anita Baker thing, there is this violence and self-exaltation and pride that's within that particular song. So like Luther is there. That's what I point out to that. And also like baby you're a star again star star gazing light and darkness is all there too as well um man at the garden it's really interesting because one this is where he keeps on saying i deserve at all i deserve it all it reminds me a lot of feel in terms of that kind of like repetition and like the distrust and like the anxiety and stuff um he just talking about how he deserves like essentially money and like power everything to go right for his family health success all things he deserves because he kind of like

exalts himself in this like moral superiority of all that he's done and says he that deserves all this stuff even that his son deserves a close relationship with god and for a time it seems like he he hears god saying to him you deserve it all it's what it sounds like he's like saying in it and so it's this really interesting thing because it doesn't at all track with how god is presented in the bible is also interesting of the title um the garden the word guard does not exist anywhere in the lyrics in the hook or in any of like the songs yeah and or any of the verses and so So it is really notable because to me, when I hear the garden, and you're thinking from the like, oh, it's spiritual.

Yeah, I'm thinking of like the Garden of Eden, which is like the introduced early in like the first narratives of the Bible. And in that, the first prototypical human is placed. And of course, the story with that is Adam, the first whose name means humanity. And along with like the woman he's with, they both decide that they want it all. As in like God said, you can have everything in this garden to eat except for this one tree of the knowledge of good and evil. And they decide, actually, we want it all.

We want that tree because it's going to make us wide. And then we're going to be able to decide what is good and evil. And so they think that they deserve the ability to do that, and thus they deserve to have everything in the garden. And so that kind of connected, again, pride, exaltation kind of thing. And so there's that he's spilling blood, him exulting himself so that other people are like insects that he can like, or blood is spilled. It's just like paint to me. Like he devalues everyone to the point that he, again, could like exterminate people and not feel bad about it. it. So all that is there. And then, hey, now, we talked about this ourselves about the, like,

hey, now I'm all about my yin. Big face Buddha, get my peace from within, which is like such a great line. It's so good. And there's so much, there's such a great line. There's all this stuff about, like, the Eastern spirituality that he's mentioned there with like Buddha and things. And, and, like, the idea where he gets peace from. But the idea where he says, I'm all about my yin, it's tricky because a lot of the lyrics have it read it as yen which would be like a form of money particularly in Japan.

It's the currency of Japan is a Japanese yen which would match the phrase like all about the Benjamins about being all about the money again, he's stacking money. But when I hear it,

I often hear I'm all about my yin. And yin would be part of yin and yang which is the Chinese philosophical thing that is the circle with like the white and the black side. that's representing this kind of duality between light and darkness and between feminine and masking and things like that. And yin is the dark side. Yin is the yin in Chinese means like shade or like overcast or cloudy. So again, it's about the sky and this overcast kind of thing and like light.

And to say that he's all about his yin is he's all on his shady side. He's on he's on the dark side, which GNX called the dark side shadow is all kind of like there. And so that kind of play of money in dark side and thing, I feel like it is, it's really interesting. So those are things. We didn't mention it. I'll just call it out just the Black Air Force One energy going back to Party Die.

It's like he was laying that out. A number of things he's laying out that cover image. We should just give that, get a nod as it's tying into all of this. Okay, so then we get to reincarnated. Hard to know where to start with this thing. But we should, let's start with, So for the first time, since the intro of the album, that we get the Spanish singing.

And it's the same, or no, it's different. It's, she says, that reflect your gaze, the night, you and I. So not exactly the same, but calling, in my mind, calling back to the intro of the album and kind of reframing that before we get to reincarnated, which I'll point out is track six. It's directly in the middle. and the next time we hear the woman vocalist is the last track so in terms of structure

Yeah what I would throw out there too Yeah what I would throw out two there is that This I think this section is in Wackdown Murals But it happens in between Verse 1 and Verse 2 I think Or maybe I missed that I could be wrong about that

But it's definitely connected between like the rest of them I think you're right But yeah they appear on track 1, 6 and 12 Not as much I don't know if there's much there in terms of just creating a nice symmetry within this looser album. But I think that's notable. So the beat for those that don't know by now is essentially a recreation. I don't know if it's a direct sample.

I haven't gone into that much detail about it. But essentially it's either a recreation or a sample or a building upon a Tupac beat made N-words is the track of the track title. And it's notable in that. It is considered Tupac's last single before his death. And it's one, I don't know if it's the last music video, but it's one of the last music videos he filmed, which was on June 4th, which is just a few months before his death. So in terms of reincarnation,

him choosing this beat that was towards the end of his life, feels symbolic and significant. And then, of course, he wraps in Tupac's cadence throughout the entire song. So I don't think he ever raps from Tupac's, Tupac's perspective per se, but the implication to me is that he is, the whole song is a reincarnation of Tupac in a way. And that's kind of the overall framework of the song. And then he's going to speak from different reincarnations that we'll talk about here in a second. So that's kind of the overhanging concept of the song.

It's also a nod to Taylor Made, I think. And I don't know if it's a one up of like, here's how you really. I mean, there's been a lot of that in this. of here's how you actually respect your elders. I'm going to tribute Tupac in a way. I'm going to wrap in his cadence. It's not AI. It's actually coming from my soul and my spirit. It's much more meaningful than this throwaway joke that you did on Taylor Made talking about Drake, of course. So there's a lot of just, there's just a lot before you even need to any line. Just title, beat, selection frames this beautifully, right? And so

we start with verse one and he talks about past life regression which is not the first time he's talked about this he talks about it at least he talks about it by name once on Mr. Morale

and kind of emphasizes it on the track on the track Mr. Morale where he says I live 2,000 lives had a thousand wives or I can't remember exactly the lyric there he says it's in the Tyler Perry

the face of a thousand rappers using violence to cover what really happened and it was someone's listening to past, past life regressions to know my conditions. Okay. So I think he mentioned, he mentioned this term by name there. That's in morale. It's in morale.

Yeah. Okay. And then he also says it on by name in track three worldwide steppers, which. Yeah. Not a coincidence that those are the title tracks and they mirror each other on the album, but we'll get to there that in due time. Okay. So for those that don't know, past life regression is a form of therapy or hypnosis, essentially,

where you are put under hypnosis to explore past iterations of your life that may be affecting you or you might be carrying trauma from in this life. And given, I mean, I'm pretty comfortable saying that it sounds like he actually had this done as much as he talked about it and it, you know, he says it fucked me up. I believe him when he says this is not symbolic. It feels like he's actually done this. So that's kind of the framework of it. And then he uses that to bridge into these different reincarnations.

He says reincarnated on this earth for 100 plus body after body, lesson after lesson. So the basic idea of reincarnation, and you expand on this if you have anything, but the basic idea is that you come back in different forms all, and you can kind of see these different life forms of your spirit embodying as an overall arc or progression in which you're hopefully building. you inherit the karma of your past lives and you're hopefully building upon what you've learned in past lives

in order to, I don't know if you want to call it enlightenment, live a pure life, there's different interpretations of what that end point is, but that's kind of the basic premise of reincarnation. So that's the framework of the song. You want to add to that at all? Yeah, I think that's a good summary.

Yeah, it does, there's definitely this theme of this afterlife, but this not one afterlife, the probably difference between reincarnation and maybe some forms of afterlife, particularly in the West, particularly in Christianity, is that there are these multiple reincarnations that kind of go on. There's not like one life after death or like just one new earth or things like that. There's an idea of like that you reincarnate and basically to some extent how you reincarnate from what I understand. I don't understand this as well as I understand things like say from the Bible. But from what I can understand is that like how one lives life, like determines how one is. How one is. It determines how one is. is reincarnated. And depending on the specific tradition, they might interpret that slightly differently. But the ideas of karma and like how one lives your life leading to something in your future life. And so that connects the idea that if you theoretically know more about your past lives, then one could be able to make better choices that would then move one towards either better reincarnation or towards Nirvana, enlightenment, some kind of like better

spiritual state than what is currently in. Right. Okay. So then he, yeah, Bridges that. idea sets it up I mean just from a storytelling this I mean this song is absolutely incredible absolutely incredible so reincarnation one I haven't actually I don't know if the details have to to line up with any specific person I've done some research a good amount not as much as I would like to but the basic guess that people have and I it seems like the strongest case is that reincarnation one is Johnny Lee Hooker who was a Rhythm and Blue Star born in 1912, died in 2001, which is, okay, that doesn't, it's not going to line up with

what comes next in the song, but he did live in Michigan. Kendrick mentions getting kicked out of his house by his father in 47 in Michigan, which somewhat aligns with Hooker's story from what I can gather. And then Kendrick goes on to say that, so he got this fame with music essentially and kind of pim sent to his own benefit to use to Pimper Butterfly's terminology, right? He dies in gluttony, doesn't make a, you know, he's a womanizer, he makes no contribution with his music, it's all self-indulgence and gluttony. Do you want to speak on the individual forms or do you want to just kind of lay out?

Yeah, sure. I think, yeah, I also try to look into this. And it does definitely seem that Johnny Lee Hooker is by. far the strongest candidate for this. I'm not sure if it actually ended up really mattering who it was, but I do think that there is a lot of alignment to it. But why this particular story does resonate well a lot is for a couple of reasons. One, the line about Michigan in 1947, what I think that is referring to is that Johnny

Lee Hooker's first single Boogie Chillin was released in 1948. Yeah, yeah. And so I think that would align with that. And why that would be significant, what that would be like, when he is much more aligned with the music record industry. And that's where he's like kind of revereting of like that his success. And the fact of like he's kind of like loved by the music, the record like the like we get some bottle of money and while the record business loves me. So I think that is to me like what stands out from that.

Right. And then and again like the other part of the story, which it's unclear exactly how what happened because even he doesn't even know when his birthday is. So there's a lot of things about his early life that are tricky. He also, his parents were like divorced and then his mom, I think, apparently remarried until he had a stepdad. So sometimes how what father is relating to might be a little bit muddled. But in some way, his family was definitely very spiritual. They were very much rooted in Christianity. And they had very strict rules about them not listening to secular music, i.e., music that was about this life and was not spiritual, that was not beyond what is just going on in the desires of this life and was outside of like Christianity.

and spirituality. And so he was taught the guitar, I think by his stepdad, according to what I've like read, but then he really didn't, he didn't like the spiritual things. He didn't want to do what they did. And his parents were like in agricultural Mississippi in the Delta area where everybody was, was, you know, growing crops and things. So he apparently left home. It's not necessarily clear that he was kicked out. He might have just chosen to leave himself, but then went to like Memphis, which was like the home of like Blues and like Beale Street and things like that. So it was this like story of running away from home, going to the big city. I think he eventually ends up in Detroit. Troy, I think during World War II, and then that's where he finds success there.

But I do think the key of what Kendrick's presenting is the idea of someone who is a musician, who is a very gifted musician, who leaves a stable and rich light of spirituality that leaves his father and goes out to get what he wants based on his own desires. I think that is the key, regardless of who it is. That seems to be the key that he is really talking about on this album. And he's definitely betraying it as one, that is what is being loved. leveraged by the music industry, and two, it doesn't end up well, is, I think, the other two things. And that, of course, is also tied back to what I said at the beginning is watch the party die,

because Kendrick and there is going often after corporate dies, the Hollywood, the ghetto Hollywood, like divorce, like the vultures from, like, the record industry. So all of that is really tied, I think, together. Beautiful. Okay, yeah, great points. And then verse two, I mean, I'll just give the floor to you, but it seems like Billy Holiday was the obvious one here. Again, the timelines don't quite match up if he was. Again, it doesn't really matter. But if Johnny Lee Hooker died in 2001, obviously that doesn't match up with Billy

Holliday's timeline. Exactly. But I think symbolically, we get what's going on. Billy Holiday famously became addicted, dies from complications from addiction. And you want to, it's the same story essentially. Yeah. But I guess the same foundational principles there. Yeah, I think so.

I think what you pointed out, there's a couple things. Yeah, if you're trying to interpret it very strictly in like a Buddhist or Hindu idea of reincarnation or someone dies and then it's only after that that the life form shows up, then this clearly doesn't fit.

And it kind of shows you that he is using reincarnation very loosely and to make a larger concept, but he's not really leading it within like a traditional interpretation of like any particular about Eastern spirituality, which will kind of come up a little bit more in verse three. But yeah, I'm pretty sure this is Billy Holiday. Chitlin's circuit was related to just, I think, like, venues where black people could play.

Chitlin's is like a form of soul food and like pig intestines, which is what like blacks who black's kind of ate because from slave times, like that's where they got like the leftovers. So there's all that kind of racial stuff that's going on. They're in that. The second verse, seductive vocalist as as the promoter hit. the curtains. So one, the idea of seductiveness, which we often use in a kind of, oh, that's sexy, that's nice. But I think that it's supposed to be intentionally depicted as negative within this larger concept of the song, particularly because the fact that it seems to be used by a promoter.

And this is particularly tied again to the record industry, just like we heard with Johnny Lee Hooker, them hitting the curtains, them using things, them kind of ending things, them controlling stuff, and using it to seduce, to addict people, to push when he, he talks about. He talks about it. He talks, about this in Watch the Party Die where he says he gets, the music industry gets rappers drugged up full of lies. And so that whole kind of thing is like, seem to be playing around there. And then the second part is the third line where it says, her, my voice was angelic, straight from heaven.

The crowd sobbed. So that is a setup for the next verse. That is clearly a set up for the next verse. We'll talk about it. But the idea of an angelic figure with an angel, angelic voice that is coming from heaven, that is a set up than next verse. And it is, it's all tied together even to like the first person who is someone that plays instruments and the second person who is singing. That is notable because like that is all a set up for the third verse. Right. And then yeah, again, yeah, go ahead. I was going to say,

do you want to jump into the third verse or do you want to? Yeah. Yeah, sure. Yeah. Other than that, is just that her life ends up worse definitely than, at least immediately obviously worse than like Johnny Lee Hooker's because she ends up dying and is like, like, very clearly addicted and has a lot of troubles. She's a woman too as well. So you're dealing with more stuff. But yeah, that's mostly what it is. There's not much up. But just point out those things. Those things that really are what's up. Yeah. No, that's great. That's great. So yeah, just lay out. I'm just going to give the floor to you for the third verse because I'm just going to sit back and watch you cook here because I know this is just this has Femi written all over it. So the floor is

your sir. Sir, sure. I'll take on. So yeah. So we have like the first two verses and the last the third verse, right, he says my present life is Kendrick Lamar. So again, this is recurring. This this loose reincarnation idea that whatever's going on spiritually has been this influence or vitality or spirit that has been some guitarist, maybe John O'Hawker, some singer, maybe Billy Holiday, and it's also now in Kendrick. So this goes back to the idea of mixtapes, parents, music, generations, passed down, inheritance, culture, all of that is kind of being activated here, that all of this is ultimately leading to Kendrick.

Like, Kendrick is a fulfillment of all this stuff. And so that's what he talks about him, his rating the bar, his instincts, materials straight to the charts. Again, music industry, charts, commercials, like him, commercialism. I mean, him making money. And I also like the idea of going up your rank all the way from whacked out mural. So all that is in there. So then he goes in, like, my father kicked me out of the house. I finally forgive him.

So here, clearly calling back to first verse with the guitarist that is kicked out of his house. I mean, I might have ran away, but it's not the point. The point is for some reason, there is a conflict and this, this person that is a musician, leaves the father's house. Now, like, I'll just say, I'll just note if you're not going to. Kendrick was also kicked out of his house by his father for a few days. I don't know if you've read that. Oh, I remember that. Yeah.

I want to say he had to, like, sleep in his backyard because his parents locked him out of the house because he was getting into trouble in the streets. And so I'm reading this as, yeah, call back to first first, Kendrick himself and then setting up this. larger father of course. That's going to, the way that he framed, like the way that he kind of, when he says my present life is Kendrick Lamar, it's kind of a misdirect in terms of where things are going because it suddenly just takes this whole other turn, which you're going to get to here. But I wanted to know that it does actually apply to like three fathers there.

Yeah, totally. Yeah. That, thanks for that. That's really helpful. Yeah, I think 100%. Like, there is, there is that aspect of Kendrick himself, as you mentioned, and this other person there. That's very obvious.

There's the history with what Kendrick has said there. Of course, Kendrick wasn't kicked out for a long time. It's for a short period of time. But what you said about that lesson for him because they realized something was going on and that they were trying to teach him a lesson. Exactly. And try to discipline him is there's definitely something that is clear that is starting to be shown here. Additionally, if you pay attention to Kendrick's work, you have to start thinking like,

well, is he talking about his, like, you know, Kenny Duckworth? Or is he talking about God, the father? Yeah. Because that is always there as a subtext of when Kendrick is talking about this. And this is specifically called out. Kendrick has used this terminology before, particularly on the song for sale to Pippa Butterfly, where Lucy, who is a shortened form of Lucifer, comes to him at a music industry event. As we're talking about the music industry, and comes up and offers him to sign a contract to sign his soul over to her.

Right. And that is what he says in this thing. And in For sale, he says, Lucy says to him, and Kendrick wraps from the perspective of Lucy. He like incarnates Lucifer, Lucy as like a woman. And that's a seductive woman. And Lucy says, Lucy know, Lucy, Lucy know you. Lucy going call you even when Lucy knows that you love your father. Right. And you might think, is that Kendrick's like biological Father, the next line, I'm Lucy. I loosely heard prayers on your first album. It is very clear that Lucy is talking about his relationship with God the Father. It is very clear that's what's going on.

And that is definitely in the subtext along with the idea of Lucy being there, which, as we're going to see, is very significant. So there's that whole aspect of it. There's being kicked out of the house. And Kendrick's reaction, which apparently must have been anger and frustration and, like, resentment. But there seemed to have been this progress. Russian that is happening where he's, he's like finally forgiven his dad and understand what's going on. Part of this you can understand is that if, so we have this history with before with Johnny Lee Hooker, potentially with Kendrick, with his house, with gang banging.

But being kicked out of, he's being kicked out of the house by his father. There is a sense that there has been this distant at some point with Kendrick between Kendrick and God. Right. And as far as we've seen played out in Kendrick's work, if you're going to pick any time that is, it must be on Mr. Morrell. Yeah, exactly. That must be the case. It has to be, like, of anything. Like, there, and there's a lot of things going to that we don't even have time to because it requires its own night dissection. But there are,

there, it builds, Mr. Brown builds to Mother I Soper where Kendrick says, where's my faith. I told you I was Christian, but just not today. Yeah. I transform and I'm praying to the trees. God is taking shape. And it's, some parts, particularly there's last lines about the trees and praying to the trees and how God is identified are somewhat cloudy, but is very clear that there has been some rift between God and Kendrick on Mr. Morrell. It's very clear that's being represented. And so it does seem that he's reflecting on that in whatever period around or a period that is like that has been happening, that he seems to be, like, seems to be reflecting

on. And he's realizing that it actually had to do with God dealing with his ego and pride, just like it was for his father and, like, with potentially Johnny Lee Hooker's, for his. father as well, too. So all of that is kind of like there. And so he recognized, so he's kind of coming back now, it seems. He's learned this lesson. This is after morale, so even after the birth, like the beef with Drake. And so he's now, he comes back to God. That's what he seems to be the implication. And that becomes clearly God the father, because in the next section where he talks directly to his father, should be God the father, where he asked the father, hey, did I get

everything right? It's like he's been trying to do things. He's been trying to make changes. And he talks about, oh, I'm selfless now. I've been doing things for other people. I've been doing things for my community. And particularly, he talks about how he said no to the vultures, which seemed to be the record industry. They were alluded to in, and watched the party die. So he's talking, so again, that he's not taking the money and the influence of what they, what they were offering him, which was also the temptation in for sale that was coming from Lucy slash Lucifer. And then when the people, he's taken care of the people. And so, But then God responds to him is like, hey, like, I recognize you're doing good things, like, you're doing well, but your, but your heart is close.

There's something that's still wrong in your heart. And I can still see that there's some residue. There's some, like, there's some defilement. There's something that is, like, dirty that has not been cleaned up. And that's keeping you, like, kind of locked up, maybe in prison, maybe in something. And so he, Kendra continues this conversation with father and said, hey, I'm not perfect, but I got urges, but I'm holding them down, like controlling them, which he mentions earlier about, I took control of my fleshly body and when the money changed, which in part seems to be referencing back to morale where he was dealing with a lot of the sex addiction and like sleeping with other women as like a way to be able to both to satisfy that sexual addiction and to like make himself feel like better and to and increase his confidence and things like that. So there's all of that that's kind of like there that seems to be there.

And so and God seems to or slash the father seems to recognize this. but he still says, hey, but like, your pride has to die. All these things that you're doing, like, it's still coming from the sense of pride and self-exaltation, which you see if you look through those first five tracks. And then God's like, well, there's this kind of almost confession that's going on where God is like, hey, tell me everything that you've done. And Kendrick then goes on to like list a lot of, I feel like what we've seen really since

the pop-out show and like beyond what he's been doing, particularly on PG-Lang, of like trying to deal with artists, trying to like get a bunch of these people, black institution, black artists paid. He talks about, I put 100 hoods on one stage. Like, that's referencing the pop-out show. Yeah. And he's trying to push peace in LA again, trying to bring all the gangs together. Everything we heard about unity and everything like that, not like us and like everything after that.

Yeah. So he said that liar was like, I'm trying to push peace to LA. God immediately retorts and says, but you love war. Yeah. Yeah. And it's a whole commentary about everyone. that went on with Drake. Yeah.

And like, to whatever extent, Kendrick was, was showing himself as being morally superior or being good or doing what's right. It's like, he's like, but you actually love war, which is something that Kendrick actually brought up previously on 616 in L.A., where he's like, where he's like, who am I if I don't go to war? Again, I am, who am I am? If I don't go to war, that there's this thing that's core to his identity and that he loves peace, but the war is ready if the world wants to see like this other.

Drake bleed. So there's all of that that is there. And so Kendrick Fine seems to accept that when God, when God slash the father points this out. And then he's like, oh, and then God says every individual is only a version of you, which again, tied to reincarnation, all of these artists that have been mentioned like earlier. And then what he says, like, how can they forgive when there's no forgiveness in your heart? Yeah. Which shows the kind of influence where he feels like he's fallen short. And this goes back to DNA where he said things like, I know murder, conviction, burners, boosters, all this.

But I wish I was fed forgiveness. Yeah. But I have a soldier's DNA. So all of that in this lack of forgiveness. And Jesus' teachings, the Lord's Prayer, like, forgive us our trespasses or our debts as we forgive the trespasses, the sins, what the wrongs being done against us. We need to forgive that. And Jesus even teaches parables and things about if you don't forgive the people that have wronged you, God won't forgive you. and you will be trapped in like prison essentially

if you don't offer forgiveness to people. So that is what he's saying. And basically the whole thing with Drake, there seems to be, and just other people and Kendra's past, there seems to be this thing where Kendrick is realizing that he has not been able to forgive. And if he does that,

he's not actually providing the influence that he needs to have. He's not providing the light that we've been talking about. And then Kendra is still almost still trying to justify himself by saying, I can tell you where I'm going, as if I'm going to do more, I'm going to get here. But then God's like,

I am going to tell you who you are, which connects all the way back to Swabloff where he says, God knows I am reincarnated. So this idea of God's knowledge of who Kendrick really is and his identity more than what he claims to be doing, right? And that work, it goes into a very clear, like, biblical, spiritual thread after that where he's like, he tells Kendrick who he is. And he says, you fell out of heaven because you were as anxious. You didn't like authority.

Only searched to be heinous. Isaiah 14 was the only thing that was prevalent. So this huge dramatic pause here. Like, yes. It's like a full measure of silence, which I, I love the drama of that because it's like, this is important.

Isaiah 14, go do your research. This is very important. This is not me bleeping out someone's name. Go ahead. Yeah, totally. Yeah. And he's referenced in some verses like this,

like James four, James four back in lust. So he does it sometimes when it's really significant. Yeah, in lust. Yep. So he says, you fell out of heaven. This is very clearly talking about the interpretation that leads to the story of Lucifer. It is very clear that is what Kendrick is talking about.

Isaiah 14. So the context of this, who is Isaiah? Isaiah is a prophet from the Old Testament. So before Jesus, before the New Testament. Isaiah is in this period where Israel, the God's people, is living in their promised land, the land they're living. but then this is during the Iron Age. And the Iron Age is time period

where people have finally figured out how to make iron. And why that is significant is because iron, the precursor of iron, are very readily available. So people are able to make tools much more quickly

and much more, many more tools than they ever had before for tools for farming, but even more so for tools for war. So they're able to make weapons much more than any time in human history. Because of this,

this particular period of time was the first existence of truly global empires. This is where you first have large-scale armies invading whole nations and conquering them and distributing them doing all kinds. That is what's going on historically during this period of time, which is about 600, 700 years before Jesus. And so at this time, Israel is not as strong, so they're getting oppressed by these other kings, the other emperors. And at times, God sends his prophet, again, prophet is someone who speaks on God's behalf.

and the prophet will sometimes talk about what Israel is doing evil, but at other times we'll talk to the kings and the heads of these emperors about them, because these emperors would often justify what they were doing by either saying that they represent the gods or whatever powerful God there is, or saying that they themselves were God, which again goes back to the back to Whacked-out Murals and saying, know that you're God even if they say you ain't. So all of that is like there, right?

And so what these prophets do, there's another prophet name is Echal that also says this, is that they will talk to these kings and they will talk about the fact that they see themselves as God, but they're going to be brought down. And so in that, Isaiah 14, there's a longer section of it, but the central part of it is around, like, from verse 3 to like 15, where he talks about how the Lord speaks to the king of Babylon, which was one of the most powerful empires at the time. And he talks about how, it says, how you have fallen from heaven, talking to this king of Babylon. on. You, and it says Lucifer in the older translations, what Lucifer means is a Latin form of

what means the bright star, or what's called the star of the morning. That is actually a reference to Venus, because Venus is the brightest light in the heaven that still exists in the morning after the sun rises. Okay. And so it's a star that doesn't go away when the sun comes up. And if you see the sun as the true most powerful God, it was a symbol. for that, the light that is still holding on is the one that is trying to challenge the most powerful light that is God. And so that's what it means, but that became, it eventually became interpreted as a proper name and used to refer to the great spiritual force that is opposed or rebels against God.

So that's where the term loose for comes from. And it's connected to everything we saw about stargazing, the night sky, like the night from like the initial interlude of the Spanish part. So all that is connected and it's connected to what the father says that you fell from heaven. And so, and this is all happening because this person has become exalted and was trying to challenge God and saying, I will ascend up to heaven. I will raise my throne above the stars of God. So Lucifer is the first of the, and the stars in the ancient Near East, the stars represented or pointed towards the spiritual forces or the gods that the different nations worship. They were connected to the stars.

And they didn't distinguish between stars and planets because they didn't, they thought that the earth is the center of the universe. So, for them, the stars are the same, the stars and planets were the same thing. And so this idea that there is this thing that's going to exalt himself and exist as light of beyond what the stars are is this thing that's challenging God. And so God says basically you was trying to set your throne above God. Because of that, you thought you were going to ascend up into the clouds, but you were going to be brought down into Shiol, which is Hades, which is the place of the dead.

You might be interpreted in modern English as hell, but he's being brought down, which is the idea of what's happening and this humblingness that's supposed to be happening. So that's what all that is talking about. And this is all connected to Lucy from for sale and this larger narrative that is connected often to like, you know, the very start of the Bible and this force of evil that runs throughout it. The next section where he's like, my greatest musical director was you. It was colors. It was pinks. It was reds. It was blues.

It was harmony in motion. So this part is actually not from Isaiah 14 or any part of Isaiah. It's actually part of another prophet called Ezekiel, who's like maybe 100 or more years after Isaiah. Similar time period, Iron Age, emperors coming to destroy people and take over parts of the world. And in this time, Ezekiel speaks to a king of a place called Tyre, which is also a powerful empire to the north. And there, he says there's this prophecy towards his king has exalted himself and is threatening God's people. And he says, and the prophecy says, because your heart is proud, and you have said, I am a God. I sit in the seat of the gods, in the hearts of the sea, yet you are immortal and you are

not God. And then because you, by your wisdom, you've gotten riches. You've used your wisdom to get riches in gold and silver. But you know what I'm going to do? And I mentioned this earlier when I talked about that I am a God thing. I am going to bring strangers around you. Ruthless nations. They're going to draw swords and they're going to bring you down to the pit and you're going to die and be killed because you've said, I am a god. And then it goes on later on and continues to say, it tells its history of whoever Ezekiel was talking about and saying, you were in Eden. Eden again, the Garden of Eden. We talked about man in the garden. It says, you are in Eden, the Garden of God. And it talks about all in Eden, all of the colorful stones that were in Eden, which were like,

it's mentioned in Genesis 2. It's like Ruby, Topaz, diamonds, like onyx, all these colorful gems. So he's mentioned that as being associated with this figure. And it talks about there was gold and there was the workmanship or the craft of tambourines and flutes, which are musical instruments. So the idea that is from this,

is this spiritual figure, which then gets connected to Lucifer from Isaiah, is this beautiful, colorful figure that has exalts himself above God that says, I am a God and is able to play instruments and make music. So historically in the history of Christian interpretation, particularly in the West, since the Middle Ages, Lucifer has constantly been interpreted as a figure who was an angelic

figure who played instruments, made music, and sang to worship God. But then became proud, rebelled against God, and was kicked out of heaven and thrown down to earth. Yeah. Which, yeah. And the, yeah, this is, keep going. Yes, keep going. This is everything that Kendrick has been talking about for the last six tracks. Like, everything has been building up to this. All of this reincarnation of these things is what is going on, him being kicked out, potentially John Lee Hooker being kicked out. Everything about this, like beauty, everything about the music industry, going back to like, like, like watch the party die, going back to For Sale and Lucy, all of this is like connected.

And it's all, and this idea that they're going to be brought, this person going to be brought down and humble, right? And then God goes on to say, like, I sent you down to earth, again, being brought down because you were broken and you needed rehabilitation, not psychosis. Which what he seems to be sent is that this spirit, whatever's been reincarnated in potentially Johnny Hooker, potentially in Billy Holiday, and then in Kendrick, is this Lucifer associated spirit that is a. associated with music, that's associated with influencing people, but and should be used for good.

It should be used for light. But because of the light that is actually supposed to be, and things remember here, Venus, when what, as we know now, does not actually emit light itself. It reflects light. All of its light comes from the sun. But it's almost as if this Venus thinks that light is coming from itself. Yeah, yeah. But the light is actually coming from God. Yeah. Which even connects back to the earlier part about like, for the Spanish parts about like the reflection in the gaze that reflects the gaze. The idea that Venus is supposed to reflect the light of God, reflect the true light, rather than itself thinking that it is the light. Right, right. So all of that is like kind of like connected and is pointing and is giving this narrative understanding what Kendrick has been doing, what has been participating in, which is much longer like history, where he goes into manipulating man with music.

Again, everything we've just been talking about, this idea of superstars and see how you're moving. The idea of superstars, stargazing, all of that is connected to Lucifer being this challenging God and being this star above the stars. And then it's like there and having and promoting these evil views. And it's when Kendrick realized all of that that he then like repents and turns around and it's like he realized all I really ever wanted was love. It's not the money and the fame and the power and all these things. What I really wanted was the love and approval of God.

that he doesn't want to put people in fear, going back to the track of fear, and like all this kind of stuff, he makes us turn right here. And so he's like, he's like, I'm going to change my ways now, essentially is what he says. I'm going to like, he's like, the more light that I can capture, the more I can feel, which again means the light is not coming from him, the light is somebody is capturing from God and he's trying to actually give back to people, rather than him thinking that he is, he's actually creating light when he's actually in darkness. Yeah, right. Because he doesn't love his brother. Right. Right. And so, um, so that's when God is like, okay, so then don't take your gifts. I've given you gifts kind of like Lucifer, don't take it for granted. Come back home,

all this stuff. And so, and make that light for every man, woman, and child. And make sure they're not in captivity, which goes back to the Babylonian captivity, slavery, all those things. And then Kendrick responded saying, I'm ashamed that I ever created that enemy. Yeah. Which if you read into that, one of the most obvious possibilities of that is he feels regret for creating an enemy out of Drake. Yeah. At least in this particular moment at this part of the song, after having this conversation with God.

And so then God is like, all right, awesome. Let's rejoice because the son has come back home. He's been rehabilitated. He's been healed. And then Kendrick's like, I rewrote the devil story just to take out power back. Carnated. Yeah. And again, devil is another name for this constant spiritual,

force that's against or opposed to God throughout the scriptures. It's a shortening of the Greek word diabolos, which means diabolical or really means the false accuser, which is the one that accuses God of not having the best intentions for his people or for his sons and daughters. And that's the idea of the snake saying, oh, no, God knows that you would actually enjoy this and like you would have wisdom. He's keeping it from you and accusing God. So he is rewriting the story of the devil by him incarnating the spirit of Lucifer and telling the story. And that is. what he just did on this third verse. Yeah.

And that's what all of this whole track was. That's essentially what this whole first half the album has been about. And to a larger step, the beef with Drake. And much of Kendra's career can be viewed as this larger history of musicians and having this choice between the really the power, the beautiful power of music and artwork and all that can be done in society and culture and how good it can be. And people having this choice if to use that for light

or use that for darkness. And this whole history is Kendrick's, is retelling all of that as like retelling the story of the devil, almost like kind of like retelling the past life regression, looking back at this whole history, but from this other broader spiritual angle so that we can take the power back. And that phrase really, for me, reminds me a lot

of just like a lot of times where you see in like abusive relationship or oppressed relationships, often particularly women that either escape, that like find agency, that they get out of it and they take the power back has been stolen by this oppressor or this like abuser. And so it's kind of like, and he says our power. Yeah.

As if like this isn't about Kendrick. Yeah. Kendrick again is human. He's Adam. He's humanity. He's I am. He is OK llama. He's my people.

That he is doing all of this for everyone to be able to take the power back away from being under the power of evil, of darkness, of Lucifer, of the false accuser of the devil. Yeah. Fuck. Okay. I have a lot of questions I mean that was beautiful thank you for that very illuminating

dissection I just I'm okay it's like this would make so much sense at the end of an album it would yes or yeah and it's like okay it's track six I'm just trying to like okay

how does clearly Kendrick is displaying a depth of understanding of his actions as they relate to these larger concepts that date back to, you know, centuries, decade, like, I mean, just, how do you personally reckon this type of understanding with what is hanging over this song, this album, this beef, this vengeance, this cutthroat energy that he's emitting and clearly doesn't shy away from after this song? How do you, so I, in my mind, I'm like, is Kendrick seeing. the vengeance as some kind of noble act. So what is your understanding of his actions with this understanding that he's displaying in reincarnation?

Like, how do you feel like he is viewing this, these, him striking vengeance or, you know? Yeah. So I would say that definitely the first five tracks, I think, are supposed to narratively and chronologically come before this track. I think that's pretty clear. I think Watch the Party Die is also tied to this and is supposed to definitely come before this. I will note at Watch the Party die, he also said, like, I wonder what LeCray would do. And LeCray is very much a Christian rapper who, unlike Kendrick, probably isn't as much in between the mainstream hip-hop world,

like, cursing and like more sexualized image. And it's, like, very purely in the Christian world and coming from a Christian world view. So there's an aspect of Kendrick really wrestling with what he should do. do. I think he's still very much recognized there's evil, as we've been talking about. Evil definitely exists. We all recognize it. Like, it definitely exists. And I think it's still up in the debate. What should actually be done about it? But it does seem that what Kendrick is saying is that his pride and his ego has led him to act in a ways where it's not actually coming from a good place. And it's actually in a place where he's trying to destroy people. Now, that doesn't mean that, like,

love and care and forgiveness means, oh, you just like say, oh, I think. forgive you and like let them do whatever they want. Because the father didn't let him do whatever he wants. The father kicked him out of his house. Yeah. And the father disciplined. I mean, the whole point is that there will be some kinds of discipline if it's not for yourself, something that this will be given to you for you to recognize.

Whether now, so whether Kendrick feels like he's in a place to do that for other people. Yeah. He clearly is having to learn to do that for himself just right now. Right. And so there's definitely not an aspect of like, oh, everything is just like just like just let everything go, but there's an aspect of like, where is, like, the energy of where it's coming from. Coo needs to change what he's recognizing here.

And I think, I don't think that that is fully developed on this album. Yeah. I don't think he ever gets there on this album. It kind of ends of like that recognition of like what he's been doing. And, you know, even like Lecrae had a response to Kendrix, to, excuse me, to watch the party die, where he very much spelled out more of a Christian view, although could have, and like, talked about love and forgiveness and Jesus and things. like that. And I'll probably talk about that at some point separately in my own time.

But yeah, it's just, I think it's not developed here. And that is, so that's the part of that. And what you're getting at is part of why when I list down, because the rest of the tracks is not developed like that. Some of them you can see are consistent with this to some degree. Some of them are showing some awareness. Some of them are definitely not consistent. Some of them are just putting people, our features of people that are definitely not, that are not saying things that are really aligned to this. So it's really a mixed bag. And additionally, some of the songs are just kind of like their own concepts that like aren't really so closely tied to like as totally tightly as those first six tracks. Yeah.

So that's part of why when I list you, I was like, this is interesting because both the lack of the interlude, but also what is so closely tied together than the first half kind of like spreads out a little bit more. And it kind of goes in these different directions that aren't really necessarily tied and don't really get like that final part of the answer. You've moved away from something, but what are you moving to? Yeah. And what's the approach? here on out. And so I've got through an album, you can never necessarily assume that everything that is in play

order is in chronological order. So you can't always assume everything that happens after it should always be seen as chronologically happening after track set. You can't always assume that. But at the same time, there's nothing that really, really develops, okay, like, is there an alternative path from the

clear problems that they've been bringing up since like, watch the party die? And I think that's there. And so that leads me like, wow, like, and that's when you asked me about what I thought about, I was like, it feels like a bridge. Yeah. Because to me, it really felt like it's bridging both morale and the beef, the actual disc track section, it feels like it's bridging into something else.

Yeah. Like, whether that's something that's coming in a year or that's something that's coming in, like, soon, like, it's just in this thing where it is getting you. And it, like, literally leaves off half the album as far as, like, the progression. And it goes in different places that are kind of developing, but kind of not. at the same time. Yeah. And so, yeah, I mean, like, I would say of anything,

maybe Gloria the most is what really gets more into reflecting on just like the good and bad and how the power of artistry can be used for good and bad. So that, a lot of it's there. There's a really, there's a really interesting line on the, on TV Off, which is the next track, where he's like, they like, what he on is that Alpha and Omega bitch welcome home, which is just one of these Kendrick lines that are just, It's so classic Kedric Lies, like, where is this a mix of influences and all these things. But Alpha and Omega is a reference to God, to the Lord, to Jesus.

It is specifically said in the last book of the Bible, which is called The Revelation. Notice what he says later, this is a revelation. This line is used, this particular thing is used because Alpha is the first letter of the Greek alphabet. Omega is the last letter. So it's about he's the beginning and the end. He's over all time, right? And he says, I'm the alpha and Omega bitch. welcome home. And the whole thing he's just

talks about getting kicked out of his father's house. And now he's like, welcome home. It's almost this like partial return, but still like dealing with some things about like in the middle of this saying like referring this person as a bitch in the middle of saying this. Yeah. So it's just kind of like there's so much that it's like there

this revelation and like getting an end word gone. Like there's so much. There's so much in that. So it's like there are some things that are and like TV's TV off is like one of my favorite tracks to listen to in the entire album. I mean, it coming after, that energy coming off of reincarnated is just so much right there. And just like, the Californianess of it. I like, it just gets me every time.

It was like, it was a time where I smiled the most listening to the album the first time. And like, I heard those lines. I was like, oh, my goodness. Yeah. This has been this journey so far. But yeah, it's unclear. I feel like where it's going to go from that. And that is where I kind of feel like I see it off in the bridge, whether that you call that a mix tape,

whether there's some like double album or something like that. But conceptually, there is just it like, like, leave. you at something where you're, there's clearly this like path, but he needs to wrestle more with what that path looks like going forward. And it doesn't feel like it does that on this track. Like, yeah. And if this was the last track, then you'd be like, okay, that's what this is supposed to be about. But it's so interesting that it's in the middle of it.

And so it kind of leaves you wondering at that point. Right. Yeah. So let's, I mean, we're getting, we're getting, the irony of us at the two hour mark now is like, yeah, we're going to do like an hour, right? But just for the sake of wrapping this up, without cutting it short, of course. But we did want to touch on the Heart 6 as maybe a bridge into talking about what's next. Because traditionally, the Heart series we know is never on the actual album.

So if we're looking at evidence that something else is coming, that's one thing you'll point to, is that the Heart 6, reclaimed from Drake, of course, is on this project. we should just note that it's one of my favorite songs on the album it's i think it's a perfect heart series in that it's kendrick's first album post t d e and he does this retrospective dedication to his come up with members of t d all it mentions all of them by name and gives this beautiful kind of sentimental story of their rise together um it's over a s wv flip of use your heart which notably is produced and written by the Neptunes, of course, of Farrell fame. So if you're looking at connections of him reclaiming the Hart series from Drake,

you know, Farrell was part of the beef. So could be a little subtle thing there. Let's get into other evidence that there's something else coming, aside from the conceptual stuff we've talked about and you just laid out as well, as that doesn't feel like it feels like it's setting, it's a bridge. it's in between he's wrestling with stuff. It seems to be pointing that there's more. So more evidence would be the incredible song snippet in the music video is not on this album,

which is just obviously makes you scratch your head. And I noticed sonically that that song felt much more in the vein of a Kendrick, highly produced Kendrick song, or at least that's where it was going. had this drawn out intro, you had multiple vocal harmony stacking on top of each other. There's a sense of grandness that we're used to that is just not quite on GNX. So that definitely caught me here and the song definitely keeps going and he just cut it short. It's exactly a minute long. It sounds like you just cut it exactly at a minute for whatever reason.

Also, there's two cars in the video and he specifically comes out of the GNX car. There is another car on the left side of the video. So if we're looking for more evidence, could point to that. that. This is all conspiracy theory at this point. But for me, it was really the production value of that that caught my ear. It's like, oh, okay, this doesn't feel like a throwaway. And why would you shoot a video for the only song that's not on the album when there's no other videos yet? So we talked about the Hart series. A lot of this project seemed to be to be written recently. So if you've been following some of the online evidence, the producer of the GM, the GM, next title track, the 11th track on the album, posted on Instagram that he had just given and posted the text with him and Kendrick as evidence that he had just sent that beat to Kendrick two days before the album released, two days before, which is crazy to think about. He's done this kind of stuff before releasing stuff like right away, not entire projects, but I mean, if you actually

listed that song, he doesn't actually have a verse. It's, I think, three guests first, and he does the hook. So I can see that coming together in two days if you're relying on people to come in, just do one verse each and Kendrick bridging it together with this hook. But more evidence there. The female singer, which we have not said her name yet, I'm sorry, and I'm sorry for my white pronunciation of it, but Daria Barrera is her name. She was contacted after Kendrick saw her at the World Series opening game in L.A. And that was on October 25th. So you have to think those portions were thought about only after that and recorded after that.

And that's less than a month before we get this project. More evidence that this was, you know, a lot of it was composed recently. I can go through just like a ton of online, which I maybe don't need to do all of them. but there have been people close to Kendrick Circle within TDE and people that have worked on the album that have given these little Easter eggs of things not being done yet. A notable one from Top Dog was that he said on Instagram, Dot is a very dangerous man right now. And ends by saying, everybody stand down, I promise you. There's producers that have said, all I'm going to say is you're about to see a run. another producer posted the Jobs Not Finish Kobe meme.

So there's like 10 of these examples that you can point to that people are starting to allude that this is not the only thing. It would make sense to me that it's not the only thing. I think part of this for Kendrick is historic in terms of like he demolishes the biggest rapper out, right, by numbers in a battle. And he's about to play the Super Bowl. He drops this project. He's breaking all these records, multiple number ones in a year.

Like this feels like his conscious push into like a serious, serious, undisputed contention of like goat status, like true greatest of all time status. We know Kendrick has been gunning for this, you know this family for years since, since he was freestiling over monster claiming that he's the best rapper alive and taking shots at Little Wayne in 2000, what, was that 11 or 12? So it's like he's had this kind of goal, I guess, for forever. And so the stars are aligning, pun intended here, in terms of circumstance, him being kind of in his prime, like just by age, all these different things aligning. And like it feels like an opportunity of him really submitting that resume, right?

If he plays all these cards, right, on top of all this conceptual stuff, right? So that's that's more evidence to me that something else is coming. If he can drop this great project that's going to break a bunch of streaming records, follow it up with another one, follow it up with a Super Bowl. You can just start to imagine if he plays his cards right and a stadium, a rumored stadium tour

coming after that. It's a resume to contend with historically, right? And I'll just say one extra note that's always stuck in my mind in my Mr. Moral research is that Soundwave in one of the very rare interviews

anyone gave post Mr. Morale that worked on it said him and Kendrick started on their next album together the day after they finished Mr. Moral. And this is kind of like a tradition for them where they get excited about the next thing because they kind of unburdened themselves

from this other thing. And that was over two years ago. So in my mind, I'm like, these are not the only songs that he has over two years of, you know what I mean? So all that to say, there feels like a lot of evidence that something else could be coming,

but let's not diminish this, what is a fantastic project. And maybe we'll, let's end on just some casual conversation about just our favorite tracks on the album. I mean, if you want to give just your standouts of just, you know, why you like them briefly, it doesn't have to be anything conceptual. I don't think we covered that enough this episode. Totally, totally.

Yeah, no, my favorites right now, Wacked Out Murals, great start, bars, like the hook, like going up your rank, is just like you, it really communicates what it's trying to kind of get out. And it just sets the tone to the album. So I love going back to listening to that. There's so much in there. So that Luther, I love Luther. It's so good. It's so smooth.

It's like unique on the album. Cizzo's great on it. Like it's just, there's just so much about it. It feels really good. Like I like the drums on it. There's so many parts about it that I really like. And I just got to stick with you. And the melody is a really great.

So I love listening to Luther. And I love that. It's both great to listen to do. And like kind of still at the same time builds conception. I don't see going there, even if you don't notice it at first. So I really like that one. And then, as I mentioned before, TV off. I love TV off.

It's great. It's both its placement, but just like, just like the, so California. I've lived in California most of my adult life. And I came when, like the start of the, like, the kind of height of the heifi movement and stuff. So there's just so much about that. So now that it was everything that he did with mustard on not like us is just there's so much about it that really captured. is such a great ethos on that track. And I like the switch over to a monster, like, at the end.

And even just like turn the TV off, I think as also like a parent of trying to like regulate your kids screen time and stuff. Well, it plays into the father thing, right? Like him playing the father, like turn you, I'm going to turn your TV off. Like that's. You're off turning. Yeah, so that. Particularly with the length of like the aspect of like parents and like discipline and like entertainment

industry and things could be used for. but are using the bat. Like that, there's so much about that. Yeah. That like, you know, not every hip hop song that's going out there that's about like women or violence. I'm going to like resonate. But like TV off, even if it's rough edges, I'm like, I resonate.

Like, there are not enough people doing this for real. And like, yeah, that TV deals need to go off sometimes. Yeah. And there's so much about it. That is that it's in there. So those are my three. Those are my three standout that I just like love listening to. Yeah.

I think for me, pretty similar a list. like conceptually I just you know I love reincarnate reincarnated and heart sticks just and like you know with that side of my brain but if I just wanted to like listen I love that you can just listen to this album and just enjoy you know what I mean there you can turn the conceptual brain off easily for this project for me at least and so in that vein squabble I mean squabble it's just yeah they're so fun and coming off the energy the dark energy of the opening track and then just hearing that beat. And of course, like the almost kind of legend of this song,

like being one of those snippets that maybe we'll never get and just him delivering on it was really fun. Luther, for all the reasons that you talked about. I really like Hay Now. I really like Hey Now. Just his voice, how it's like he's,

I've never heard his voice that deep and that hollow sounding. It's really fun. And that the feature, I think his name is Doty Six or Dottie six. Really good. I need to check out more of his stuff. But that's one that I haven't seen talked about as much as the others. And I really like that song.

And then TV off, of course, just instant meme of the mustard, of course, of that second part. And fun fact, like he sampled the same, mustard sampled the same album that he sampled for Not Like Us. So if you hear that similarity in the marching band aspect of it, that's why. So that's kind of a clever little connection there. But yeah, I love the project in that I do like a loose, Loser Kendrick album, you know, as much as it might be a bridge. It's like you just kind of, there's not really, I guess good kid mad city or damn. You can kind of put on and, but you're still going to get those skits and it's still,

you know, I'm not able to shut off my, that part of my brain as much. But this one, you know, I feel like it's not like sacrilege to put. some of these songs on a playlist, which I always feel bad about with Kendrick's music. You know, so I think he very smartly, if this is something, a bridge to something else, he very smartly, timed it correctly, the non-rollout, perfect for a project like this, feeding fans and living up to this momentum and sustaining the momentum. It all seems very strategic. All seems like it does something's going to come.

When that comes, who knows? but I'm excited I mean what a year Femi I mean as a Kendrick fan you know you're a Kendrick fan

just like me and the same I think obsessiveness of it it's just been we've been eating as the kids say well thanks for

we'll wrap it up here thanks for joining me you always impress me with how fast you put these concepts together man I've always so floored I remember if people

want to go back and listen to the Jesus as King Kanye episode that we did I got some flashbacks at that episode. But I'm over here like, I'll listen to that kick drum. I'll listen to what sample is that? And then you're over here putting these amazing concepts together.

So thanks for joining. Cool. Awesome. Thanks for having me. It's great. It's great to reconnect and do this again.