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Entertainment Editor (1988 KP) created a video about Mike Judge Presents: Tales from the Tour Bus - Season 1 in TV
Nov 7, 2017
Kevin Phillipson (10018 KP) rated Beavis and Butt-head Do America (1996) in Movies
Jan 15, 2019
Kevin Phillipson (10018 KP) rated Beavis and Butt- head Do the universe (2022) in Movies
Jun 26, 2022
Beavis (1 more)
Butt - Head
They are back its been along time since the last time Beavis and Butt - Head were on the tv but thanks to paramount plus they are back with a vengeance this time as astronauts. Anyway it's not perfect by any means decent plot brining them into the 21st century Mike judge is back as the voices of beavis and butt - head which is only right overall decent comedy
Darren (1599 KP) rated Morning Glory (2010) in Movies
Jul 25, 2019
Story: Morning Glory starts as we follow Becky (McAdams) a new producer dreaming of one day going to the next level, when she believes she is about to get the senior producer role she finds herself losing her job instead. Not one to give up on her dreams to searches endlessly for a new job in the business and it is Jerry Barnes (Goldblum) that gives her a chance to work on saving the fourth best morning news station Daybreak.
Wanting to make an impact Becky fires the demoralising anchor, Becky must find a new anchor and her choice is going after News Icon Mike Pomperoy (Ford) who is under contract but doesn’t want to work. Becky must find a way for Mike to work with her current anchor Colleen Peck (Keaton) while making new friends with fellow producer Adam Bennett (Wilson) offering up a potential love interest.
Thoughts on Morning Glory
Characters/Performance – Becky is an ambitious young woman desperate to make a career in producing the news. She gets her chance working on the lowest rated show and must use all of her good spirit and ideas to make the show climb the ratings, all while dealing with her own personal life that she has given up making her career important. This is a brilliant character because it shows how people can put their career before their own lives which is why this is something we have seen before but always good to go back too.
Mike is the difficult anchor to work with, he used to be a draw in the news reporting world but isn’t interested in working on anything he doesn’t think is news worth, he makes the job as difficult as possible for Becky by doing the bare minimum. Colleen is the seasoned anchor that is happy to take a chance on the wild stories that can bring in the ratings. Adam is the love interest for Becky as well as being involved with Mike before so he can give Becky advice when it comes to handling him.
Performance wise, McAdams is great in the leading role, not playing it overly funny which is how you can judge the whole cast, Ford does enjoy this role because it is different to the rest of his normal action material.
Story – The story following a career driven woman following her dream putting everything she has into making it happen against all the odds if something that is fantastic to watch because we all like to enjoy watching someone reach that goal. Sure, most of this film does go around in the cycle you would expect but if it isn’t broken don’t fix it.
Romantic/Comedy – The romantic side is on the main story which I think works because it isn’t the most important part of the film, the comedy comes when needed without being a constant attempt at laughter.
Settings – The settings for this film are mostly inside the news studio which shows how close everyone must be to work together. This helps us see how the tension looks between the characters.
Final Thoughts – I wasn’t expecting too much from this film going in, mostly because of the genres but in the end, I found myself enjoying everything as it was unfolding.
Overall: This is a good comedy drama that is worth watching.
Wanting to make an impact Becky fires the demoralising anchor, Becky must find a new anchor and her choice is going after News Icon Mike Pomperoy (Ford) who is under contract but doesn’t want to work. Becky must find a way for Mike to work with her current anchor Colleen Peck (Keaton) while making new friends with fellow producer Adam Bennett (Wilson) offering up a potential love interest.
Thoughts on Morning Glory
Characters/Performance – Becky is an ambitious young woman desperate to make a career in producing the news. She gets her chance working on the lowest rated show and must use all of her good spirit and ideas to make the show climb the ratings, all while dealing with her own personal life that she has given up making her career important. This is a brilliant character because it shows how people can put their career before their own lives which is why this is something we have seen before but always good to go back too.
Mike is the difficult anchor to work with, he used to be a draw in the news reporting world but isn’t interested in working on anything he doesn’t think is news worth, he makes the job as difficult as possible for Becky by doing the bare minimum. Colleen is the seasoned anchor that is happy to take a chance on the wild stories that can bring in the ratings. Adam is the love interest for Becky as well as being involved with Mike before so he can give Becky advice when it comes to handling him.
Performance wise, McAdams is great in the leading role, not playing it overly funny which is how you can judge the whole cast, Ford does enjoy this role because it is different to the rest of his normal action material.
Story – The story following a career driven woman following her dream putting everything she has into making it happen against all the odds if something that is fantastic to watch because we all like to enjoy watching someone reach that goal. Sure, most of this film does go around in the cycle you would expect but if it isn’t broken don’t fix it.
Romantic/Comedy – The romantic side is on the main story which I think works because it isn’t the most important part of the film, the comedy comes when needed without being a constant attempt at laughter.
Settings – The settings for this film are mostly inside the news studio which shows how close everyone must be to work together. This helps us see how the tension looks between the characters.
Final Thoughts – I wasn’t expecting too much from this film going in, mostly because of the genres but in the end, I found myself enjoying everything as it was unfolding.
Overall: This is a good comedy drama that is worth watching.
Gareth von Kallenbach (980 KP) rated Extract (2009) in Movies
Aug 9, 2019
While some might argue potty mouth humor is a constant from Mike Judge, the man behind “Office Space” and “King of the Hill”, I always seem to be curious when he takes on a new project. Judge’s latest film “Extract” combines his classic comedy style with a slightly more mature kind of humor.
A small company, Reynold’s Extract, is about to be bought out much to the joy of the depressed and sexually frustrated owner, Joel Reynold (Jason Bateman). Joel, tired of working long days with disgruntled employees, would love nothing more than returning to a simpler life at home with his wife, Suzie (Kristen Wiig). When the factories irresponsible employees accidently injure long time worker, Step, the deal begins to go south.
The sudden appearance of attractive new employee, Cindy (Mila Kunis) who has the eye of both frustrated Joel and recently damaged employee, Step, further complicates the situation. As does Reynold’s best friend, Dean (Ben Affleck), the local bartender filled with creative ideas on “bettering” Joel’s situation.
As the film progressed I keep wondering is the movie really funny or is Jason Bateman just so entertaining that it doesn’t matter. The honest truth is probably a little of both. With that said I did laugh, mostly at the blatant delivery by the aforementioned Bateman and at the scattered comedic moments derived from the unexpected nature of the film, it is not everyday you encounter a movie about an flavor extract company.
The eclectic cast of actors, from various avenues of fame, works seamlessly together. The most unexpected acting choice is Ben Affleck as Dean a role that could have filled by any number of lesser celebrities, possibly Rob Schneider.
Still the plot is unique and the story varies greatly from Judge’s traditional support of the working class. In “Extract” the protagonist is the boss man, not an underpaid employee.
A delightful little flick about working, neighbors, and other relationships, “Extract” is a creative yet diluted tale
A small company, Reynold’s Extract, is about to be bought out much to the joy of the depressed and sexually frustrated owner, Joel Reynold (Jason Bateman). Joel, tired of working long days with disgruntled employees, would love nothing more than returning to a simpler life at home with his wife, Suzie (Kristen Wiig). When the factories irresponsible employees accidently injure long time worker, Step, the deal begins to go south.
The sudden appearance of attractive new employee, Cindy (Mila Kunis) who has the eye of both frustrated Joel and recently damaged employee, Step, further complicates the situation. As does Reynold’s best friend, Dean (Ben Affleck), the local bartender filled with creative ideas on “bettering” Joel’s situation.
As the film progressed I keep wondering is the movie really funny or is Jason Bateman just so entertaining that it doesn’t matter. The honest truth is probably a little of both. With that said I did laugh, mostly at the blatant delivery by the aforementioned Bateman and at the scattered comedic moments derived from the unexpected nature of the film, it is not everyday you encounter a movie about an flavor extract company.
The eclectic cast of actors, from various avenues of fame, works seamlessly together. The most unexpected acting choice is Ben Affleck as Dean a role that could have filled by any number of lesser celebrities, possibly Rob Schneider.
Still the plot is unique and the story varies greatly from Judge’s traditional support of the working class. In “Extract” the protagonist is the boss man, not an underpaid employee.
A delightful little flick about working, neighbors, and other relationships, “Extract” is a creative yet diluted tale
Rick Astley recommended Hatful of Hollow by The Smiths in Music (curated)
Daniel Boyd (1066 KP) rated The Haunting of Hill House in TV
Nov 13, 2018 (Updated Nov 13, 2018)
Predictable jumpscares (2 more)
Bad acting
Crappy script
Overhyped Garbage
The Haunting Of Hill House is a 2018 Netflix series directed by Mike Flanagan, who directed last year's fantastically creepy adaption of Stephen King's 'Gerald's Game'. Hill House even features some of the same cast members in Carla Gugino and Henry Thomas, whom I both really like. Before diving into it, I thought that this show was going to be tailor made for me, with a brilliant cast and the same subtle but terrifying horror that Flanagan used in Gerald's Game.
However, after watching the first couple of episodes, I was struggling to get into it. Due to the massive amount of hype and praise that this show was getting I decided to stick with it. By the time I got to episode 6, I was done, but then my girlfriend guilted me into watching that rest of the series because she wanted to see it and she was, "too scared to watch it alone."
What a huge waste of time that turned out to be.
If you have read any of my other reviews of horror-based media, you will know that I have a love/hate relationship with the genre. There are very few horror movies or shows that I feel indifferent about. I hate lazy, formulaic bad horror and that is exactly what Hill House is.
Every single episode consists of a jumpscare at the start of the episode, then a hard cut either forwards or backwards in the timeline. Then about 15-20 minutes of piss poor acting and boring dialogue. This is followed by another cheap jumpscare, usually a woman screaming at an obnoxiously loud volume at the camera. Then we get another hard cut back to the other timeline.
The main issue with this structure, (other than being extremely lazy and repetitive,) is that when the hard cut is made to the other timeline, the audience knows that it is done by an editor and that we are now being asked to focus on a part of the story within the other timeline, but for the characters within the show, it makes no sense. For example, two people are having a conversation when something creepy happens. They go to investigate and a screaming woman comes launching towards them or is standing at the edge of a bed or doing basically any other ghost story cliché you can think of. Then the show cuts away to show the characters as children being haunted by a different ghost, but then when we cut back to the present, we never find out how the last jumpscare was resolved. What was the aftermath of that screaming lady at the end of the bed you ask? How was that resolved? How are the character's mentalities after this happened to them? Who cares?! Say the writers, let's just move on to the next cheap jumpscare.
The script is extraordinarily lazy and the child actors are horribly bad. This is an issue that I feel that there isn't really any excuse for anymore after the brilliant child performances in shows like Stranger Things and Season 2 of the Sinner.
If you judge the quality of something based on what it sets out to do versus what it actually does, then The Haunting Of Hill House is the worst show that I have had the displeasure of sitting through this year. The scares are pathetic, the acting is atrocious in places, the script is diabolically cheesy at times, there is hardly any originality present for an, 'original series,' and the show is overflowing with clichés. Not once did a jumpscare actually scare me, because they were all either laughably predicable or they would be totally out of place just for the sake of shock value and would merit a heavy sigh rather than an legit scare. The most egregious, offensively bad example of this was when two characters were having a conversation in a car in episode 6 and a ghost randomly screams from the backseat.
Please do not waste your time with this series, 2018 had so much brilliance to offer on the small screen and despite what you might hear from big publications, this is not one of them.
However, after watching the first couple of episodes, I was struggling to get into it. Due to the massive amount of hype and praise that this show was getting I decided to stick with it. By the time I got to episode 6, I was done, but then my girlfriend guilted me into watching that rest of the series because she wanted to see it and she was, "too scared to watch it alone."
What a huge waste of time that turned out to be.
If you have read any of my other reviews of horror-based media, you will know that I have a love/hate relationship with the genre. There are very few horror movies or shows that I feel indifferent about. I hate lazy, formulaic bad horror and that is exactly what Hill House is.
Every single episode consists of a jumpscare at the start of the episode, then a hard cut either forwards or backwards in the timeline. Then about 15-20 minutes of piss poor acting and boring dialogue. This is followed by another cheap jumpscare, usually a woman screaming at an obnoxiously loud volume at the camera. Then we get another hard cut back to the other timeline.
The main issue with this structure, (other than being extremely lazy and repetitive,) is that when the hard cut is made to the other timeline, the audience knows that it is done by an editor and that we are now being asked to focus on a part of the story within the other timeline, but for the characters within the show, it makes no sense. For example, two people are having a conversation when something creepy happens. They go to investigate and a screaming woman comes launching towards them or is standing at the edge of a bed or doing basically any other ghost story cliché you can think of. Then the show cuts away to show the characters as children being haunted by a different ghost, but then when we cut back to the present, we never find out how the last jumpscare was resolved. What was the aftermath of that screaming lady at the end of the bed you ask? How was that resolved? How are the character's mentalities after this happened to them? Who cares?! Say the writers, let's just move on to the next cheap jumpscare.
The script is extraordinarily lazy and the child actors are horribly bad. This is an issue that I feel that there isn't really any excuse for anymore after the brilliant child performances in shows like Stranger Things and Season 2 of the Sinner.
If you judge the quality of something based on what it sets out to do versus what it actually does, then The Haunting Of Hill House is the worst show that I have had the displeasure of sitting through this year. The scares are pathetic, the acting is atrocious in places, the script is diabolically cheesy at times, there is hardly any originality present for an, 'original series,' and the show is overflowing with clichés. Not once did a jumpscare actually scare me, because they were all either laughably predicable or they would be totally out of place just for the sake of shock value and would merit a heavy sigh rather than an legit scare. The most egregious, offensively bad example of this was when two characters were having a conversation in a car in episode 6 and a ghost randomly screams from the backseat.
Please do not waste your time with this series, 2018 had so much brilliance to offer on the small screen and despite what you might hear from big publications, this is not one of them.
Bong Mines Entertainment (15 KP) rated Damn. by Kendrick Lamar in Music
Jun 7, 2019
Kendrick Lamar is an iconic hip-hop artist outta Compton, California. Not too long ago, he released his fourth studio album, entitled, “DAMN.”.
1) Kendrick Lamar – “BLOOD.”
Lamar tackles the issue of life and death. He poses several questions over a melodic instrumental produced by Lamar, Bēkon, and Anthony “Top Dawg” Tiffith. One of them being, “Are we gonna live or die?” Lamar tells a brilliant story about him walking down a block, and he sees a blind lady in search of something she had lost. He goes over to help, and then he asks, “Hello, ma’am, can I be of any assistance? It seems to me that you have lost something. I would like to help you find it.” She replied, “Oh yes, you have lost something. You’ve lost your life.” And then we hear a gunshot. Lamar is shot. Did he lose his life? The dire ending answers the probing question posed in the beginning—we gonna die.
2) Kendrick Lamar – “DNA.”
Lamar explains why his DNA differs from a sucker’s DNA. His deoxyribonucleic acid consists of going through the school of hard knocks. He endured a rugged street life, prisons, money, drugs, alcohol, sex, murder, mayhem, loyalty, royalty, joy, etc. This is because his DNA comprises of things shared collectively by African-Americans who have been through the struggle. Lyrically, Lamar leaves earth, while rapping over an explosive track produced by Mike WiLL Made-It. From beginning to end, he doesn’t take a bar off and shows why conscience rap has resurrected into the new norm.
3) Kendrick Lamar – “YAH.”
Lamar let it be known that he’s diagnosed with real ni^^a conditions, and keeps it a hunnit by calling out Geraldo Rivera because of criticism Lamar received from a FOX NEWS segment. The kid Capri intro adds a classic east coast authenticity over a laid-back track produced by Bēkon, Anthony “Top Dawg” Tiffith, Sounwave, and DJ Dahi. Preconceived lies told by White slave masters to African slaves are melting like hot butter in the sun. Lamar, a descendant of those slaves, has awakened and knows himself.
4) Kendrick Lamar – “ELEMENT.”
Lamar, who Capri calls the ‘New Kung Fu Kenny’, continues his Shaolin-rap assault over a Wu-Tang-like track produced by Bēkon, Tae Beast, James Blake, Sounwave, and Ricci Riera. Lamar is simply on another level than his peers. He’s been through more sh*t than them, and he’s ready to put the Bible down and go eye for an eye for this sh*t. When he said, “I been stomped out in front of my mama / my daddy commissary made it to commas / B*tch, all my grandmas dead / So, ain’t nobody prayin’ for me, I’m on your head.”
5) Kendrick Lamar – “FEEL.”
Lamar beautifully expresses how he feels on a dope Sounwave-produced track, where Lamar raps, “I feel like the whole world want me to pray for ’em / But who the f*ck prayin’ for me?” Lamar feels that nobody ain’t prayin’ for him, and this void has him with a chip on his shoulders, looking at life from a dark, and troubled point of view. He feels pain and doesn’t see hope. Did the incident with the blind lady cause him to feel this way? Why does he feel this way? Kendrick raps, “I feel like it ain’t no tomorrow f*ck the world / The world is endin’, I’m done pretendin’… I feel like this gotta be the feelin’ what ‘Pac was…”
But Lamar knows ill-thinking is bad for his health, and he acknowledges the source of his negative thinking, “The feelin’ is toxic, I feel like I’m boxin’ demons / Monsters, false prophets schemin’,” and the list goes on and on. If no one is, just know that we are praying for you Kendrick, YAH-willing.
6) Kendrick Lamar – “LOYALTY” (FEAT. RIHANNA.)
Lamar and Rihanna explore one of the key elements in Lamar’s DNA, loyalty; and they pose a simple question—who are you loyal to? Is it your family? Friends? Or yourself? Maybe it’s money, weed, or alcoholic? Where does it begin and where does it end? Lamar and Rihanna do a wonderful job over a beautify track produced by Anthony “Top Dawg” Tiffith, Terrace Martin, Sounwave, and DJ Dahi.
7) Kendrick Lamar – “PRIDE.”
The Steve Lacy’s intro, “Love’s gonna get you killed, but pride’s gonna be the death of you and me,” fits perfect in the scheme of things. Lamar, a spiritual intellectual, understands Proverbs 16: 18, which states, “Pride goes before destruction, and a haughty spirit before a fall.” So, Lamar uses those reference points to further expound his faith. In the beginning, Lamar’s love for the blind lady got him shot. And now, will his pride, the great satisfaction he feels when he reviews all that he has achieved, will that be the death of him? Over a smooth/laid-back track produced by Bēkon, Anthony “Top Dawg” Tiffith, and Steve Lacy, Lamar states that he can’t fake being humble, just because people are insecure.
He answers the question of pride
Lamar raps, “Sick venom in men and women overcome with pride. A perfect world is never perfect, only filled with lies. Promises are broken and more resentment come alive. Race barriers make inferior of you and I. See, in a perfect world, I’ll choose faith over riches. I’ll choose work over b*tches, I’ll make schools out of prison. I’ll take all the religions and put ‘em all in one service. Just to tell ’em we ain’t sh*t, but He’s been perfect.”
If Lamar maintains his Israelite faith over riches, and keep that equation as the top priority, he won’t be a victim of pride. But the question is—can Lamar remain humble amidst all the madness?
8) Kendrick Lamar – “HUMBLE.”
Lamar shows that being humble is easier said than done. Over a bouncy-head-nodding track produced by Mike WiLL Made-It, Lamar speaks his mind and gives zero f*cks on what people think about him. He’s braggadocios, confident, and asserts himself as the king of rap music. He sends a cryptic message to his competition, “Watch my soul speak, you let the meds talk. If I kill a ni^^a, it won’t be the alcohol. I’m the realest ni^^a after all, b*tch, be humble.”
9) Kendrick Lamar – “LUST.”
Lamar tackles the issue of lust, one of the main causes that fuel what we do. He begins by creating a scene, where lust has him trying to stick the tip of his phallus inside a woman’s vagina. She agrees, causing blood to run through his favorite vein. His logic, it doesn’t matter what you do—just make it count.
So, over a chilled- track produced by BADBADNOTGOOD, Sounwave, and DJ Dahi, Lamar raps, “Hop in the shower, put on your makeup, lace your weave up. Touch on yourself, call up your ni^^a, tell him he ain’t sh*t. Credit card scam, get you a Visa, make him pay your rent. Hop on the ‘Gram, flex on the b*tches that be hatin’ on you. Pop you a pill, call up your b*tches, have ‘em waitin’ on you. Go to the club, have you some fun, make that ass bounce. It’s whatever, just make it count.”
10) Kendrick Lamar – “LOVE.” (FEAT. ZACARI.)
Lamar turns the lights down over a contemporary R&B love song, produced by Anthony “Top Dawg” Tiffith, Greg Kurstin, Sounwave, and Teddy Walton. The theme of love and lust continues, but this time, into a more unchartered direction. Zacari’s melodic cadence compliments Kung Fu Kenny’s intimate love-lyrics to the love of his life, probably his fiancé Whitney Alford, Lamar’s high school sweetheart.
11) Kendrick Lamar – “XXX.” (FEAT. U2.)
Lamar gets political over an NWA-type track produced By Bēkon, Anthony “Top Dawg” Tiffith, DJ Dahi, Sounwave, and Mike WiLL Made-It. The theme is America and the plight and strife of young African-American males trying to make ends meet. Lamar talks about a man who calls him, needing prayer and advice because his son had been murdered. He wants to know what to do and seeks advice from Lamar because he’s anointed.
But Lamar doesn’t sugarcoat his advice. He tells the man straight up, “If somebody kills my son, that means somebody’s gettin’ killed.” Then, Lamar goes on to tell the man how he would go about doing the killing. America is an eye-for-an-eye nation, and forgiveness is hardly practiced.
12) Kendrick Lamar – “FEAR.”
Lamar deeps dig into his soul to confront his fears. He does so over a conversation track produced by The Alchemist. Lamar uses Deuteronomy 28:28 to make sense of his damnation, where the title track derived from. “The Lord shall smite thee with madness, and blindness, and astonishment of heart…,” states the biblical commandment. Lamar reasons that YAH cursed the Israelites (so-called Blacks, Hispanics, and Native American Indians) because of their iniquity. So, that explains their conditions in the wilderness of North America.
Pride
So, Lamar’s fear of lose it all like the biblical character forced him or scared him to not spend a dime. Not because he is cheap, but because he didn’t want to spend money because he feared running out of money, and going back to Section 8. Lamar raps, “30 shows a month and I still won’t buy me no Lexus.” Not a lot of people can say this.
13) Kendrick Lamar – “GOD.”
Lamar talks about the success that he doesn’t want to lose. He compares it to what it was like when he didn’t have fame and fortune. Even though he chooses faith over riches, he’s still feeling good laughing to the bank like aha. Over a laid-back track produced by Bēkon, Anthony “Top Dawg” Tiffith, Cardo, Sounwave, Ricci Riera, and DJ Dahi, Lamar tells listeners, “Don’t judge me,” because this is what God feels like. Matthew 7:1 states,
14) Kendrick Lamar – “DUCKWORTH.”
Lamar uses his last name, Duckworth, as a song to explain the relationship between his father, Ducky, and Anthony Tiffith, CEO of Top Dawg Entertainment. Lamar explained if Tiffith had killed Ducky, then he would be serving life, and Lamar would’ve grown up without a father. And there would have been no Top Dawg Entertainment, and probably no Kendrick Lamar.
1) Kendrick Lamar – “BLOOD.”
Lamar tackles the issue of life and death. He poses several questions over a melodic instrumental produced by Lamar, Bēkon, and Anthony “Top Dawg” Tiffith. One of them being, “Are we gonna live or die?” Lamar tells a brilliant story about him walking down a block, and he sees a blind lady in search of something she had lost. He goes over to help, and then he asks, “Hello, ma’am, can I be of any assistance? It seems to me that you have lost something. I would like to help you find it.” She replied, “Oh yes, you have lost something. You’ve lost your life.” And then we hear a gunshot. Lamar is shot. Did he lose his life? The dire ending answers the probing question posed in the beginning—we gonna die.
2) Kendrick Lamar – “DNA.”
Lamar explains why his DNA differs from a sucker’s DNA. His deoxyribonucleic acid consists of going through the school of hard knocks. He endured a rugged street life, prisons, money, drugs, alcohol, sex, murder, mayhem, loyalty, royalty, joy, etc. This is because his DNA comprises of things shared collectively by African-Americans who have been through the struggle. Lyrically, Lamar leaves earth, while rapping over an explosive track produced by Mike WiLL Made-It. From beginning to end, he doesn’t take a bar off and shows why conscience rap has resurrected into the new norm.
3) Kendrick Lamar – “YAH.”
Lamar let it be known that he’s diagnosed with real ni^^a conditions, and keeps it a hunnit by calling out Geraldo Rivera because of criticism Lamar received from a FOX NEWS segment. The kid Capri intro adds a classic east coast authenticity over a laid-back track produced by Bēkon, Anthony “Top Dawg” Tiffith, Sounwave, and DJ Dahi. Preconceived lies told by White slave masters to African slaves are melting like hot butter in the sun. Lamar, a descendant of those slaves, has awakened and knows himself.
4) Kendrick Lamar – “ELEMENT.”
Lamar, who Capri calls the ‘New Kung Fu Kenny’, continues his Shaolin-rap assault over a Wu-Tang-like track produced by Bēkon, Tae Beast, James Blake, Sounwave, and Ricci Riera. Lamar is simply on another level than his peers. He’s been through more sh*t than them, and he’s ready to put the Bible down and go eye for an eye for this sh*t. When he said, “I been stomped out in front of my mama / my daddy commissary made it to commas / B*tch, all my grandmas dead / So, ain’t nobody prayin’ for me, I’m on your head.”
5) Kendrick Lamar – “FEEL.”
Lamar beautifully expresses how he feels on a dope Sounwave-produced track, where Lamar raps, “I feel like the whole world want me to pray for ’em / But who the f*ck prayin’ for me?” Lamar feels that nobody ain’t prayin’ for him, and this void has him with a chip on his shoulders, looking at life from a dark, and troubled point of view. He feels pain and doesn’t see hope. Did the incident with the blind lady cause him to feel this way? Why does he feel this way? Kendrick raps, “I feel like it ain’t no tomorrow f*ck the world / The world is endin’, I’m done pretendin’… I feel like this gotta be the feelin’ what ‘Pac was…”
But Lamar knows ill-thinking is bad for his health, and he acknowledges the source of his negative thinking, “The feelin’ is toxic, I feel like I’m boxin’ demons / Monsters, false prophets schemin’,” and the list goes on and on. If no one is, just know that we are praying for you Kendrick, YAH-willing.
6) Kendrick Lamar – “LOYALTY” (FEAT. RIHANNA.)
Lamar and Rihanna explore one of the key elements in Lamar’s DNA, loyalty; and they pose a simple question—who are you loyal to? Is it your family? Friends? Or yourself? Maybe it’s money, weed, or alcoholic? Where does it begin and where does it end? Lamar and Rihanna do a wonderful job over a beautify track produced by Anthony “Top Dawg” Tiffith, Terrace Martin, Sounwave, and DJ Dahi.
7) Kendrick Lamar – “PRIDE.”
The Steve Lacy’s intro, “Love’s gonna get you killed, but pride’s gonna be the death of you and me,” fits perfect in the scheme of things. Lamar, a spiritual intellectual, understands Proverbs 16: 18, which states, “Pride goes before destruction, and a haughty spirit before a fall.” So, Lamar uses those reference points to further expound his faith. In the beginning, Lamar’s love for the blind lady got him shot. And now, will his pride, the great satisfaction he feels when he reviews all that he has achieved, will that be the death of him? Over a smooth/laid-back track produced by Bēkon, Anthony “Top Dawg” Tiffith, and Steve Lacy, Lamar states that he can’t fake being humble, just because people are insecure.
He answers the question of pride
Lamar raps, “Sick venom in men and women overcome with pride. A perfect world is never perfect, only filled with lies. Promises are broken and more resentment come alive. Race barriers make inferior of you and I. See, in a perfect world, I’ll choose faith over riches. I’ll choose work over b*tches, I’ll make schools out of prison. I’ll take all the religions and put ‘em all in one service. Just to tell ’em we ain’t sh*t, but He’s been perfect.”
If Lamar maintains his Israelite faith over riches, and keep that equation as the top priority, he won’t be a victim of pride. But the question is—can Lamar remain humble amidst all the madness?
8) Kendrick Lamar – “HUMBLE.”
Lamar shows that being humble is easier said than done. Over a bouncy-head-nodding track produced by Mike WiLL Made-It, Lamar speaks his mind and gives zero f*cks on what people think about him. He’s braggadocios, confident, and asserts himself as the king of rap music. He sends a cryptic message to his competition, “Watch my soul speak, you let the meds talk. If I kill a ni^^a, it won’t be the alcohol. I’m the realest ni^^a after all, b*tch, be humble.”
9) Kendrick Lamar – “LUST.”
Lamar tackles the issue of lust, one of the main causes that fuel what we do. He begins by creating a scene, where lust has him trying to stick the tip of his phallus inside a woman’s vagina. She agrees, causing blood to run through his favorite vein. His logic, it doesn’t matter what you do—just make it count.
So, over a chilled- track produced by BADBADNOTGOOD, Sounwave, and DJ Dahi, Lamar raps, “Hop in the shower, put on your makeup, lace your weave up. Touch on yourself, call up your ni^^a, tell him he ain’t sh*t. Credit card scam, get you a Visa, make him pay your rent. Hop on the ‘Gram, flex on the b*tches that be hatin’ on you. Pop you a pill, call up your b*tches, have ‘em waitin’ on you. Go to the club, have you some fun, make that ass bounce. It’s whatever, just make it count.”
10) Kendrick Lamar – “LOVE.” (FEAT. ZACARI.)
Lamar turns the lights down over a contemporary R&B love song, produced by Anthony “Top Dawg” Tiffith, Greg Kurstin, Sounwave, and Teddy Walton. The theme of love and lust continues, but this time, into a more unchartered direction. Zacari’s melodic cadence compliments Kung Fu Kenny’s intimate love-lyrics to the love of his life, probably his fiancé Whitney Alford, Lamar’s high school sweetheart.
11) Kendrick Lamar – “XXX.” (FEAT. U2.)
Lamar gets political over an NWA-type track produced By Bēkon, Anthony “Top Dawg” Tiffith, DJ Dahi, Sounwave, and Mike WiLL Made-It. The theme is America and the plight and strife of young African-American males trying to make ends meet. Lamar talks about a man who calls him, needing prayer and advice because his son had been murdered. He wants to know what to do and seeks advice from Lamar because he’s anointed.
But Lamar doesn’t sugarcoat his advice. He tells the man straight up, “If somebody kills my son, that means somebody’s gettin’ killed.” Then, Lamar goes on to tell the man how he would go about doing the killing. America is an eye-for-an-eye nation, and forgiveness is hardly practiced.
12) Kendrick Lamar – “FEAR.”
Lamar deeps dig into his soul to confront his fears. He does so over a conversation track produced by The Alchemist. Lamar uses Deuteronomy 28:28 to make sense of his damnation, where the title track derived from. “The Lord shall smite thee with madness, and blindness, and astonishment of heart…,” states the biblical commandment. Lamar reasons that YAH cursed the Israelites (so-called Blacks, Hispanics, and Native American Indians) because of their iniquity. So, that explains their conditions in the wilderness of North America.
Pride
So, Lamar’s fear of lose it all like the biblical character forced him or scared him to not spend a dime. Not because he is cheap, but because he didn’t want to spend money because he feared running out of money, and going back to Section 8. Lamar raps, “30 shows a month and I still won’t buy me no Lexus.” Not a lot of people can say this.
13) Kendrick Lamar – “GOD.”
Lamar talks about the success that he doesn’t want to lose. He compares it to what it was like when he didn’t have fame and fortune. Even though he chooses faith over riches, he’s still feeling good laughing to the bank like aha. Over a laid-back track produced by Bēkon, Anthony “Top Dawg” Tiffith, Cardo, Sounwave, Ricci Riera, and DJ Dahi, Lamar tells listeners, “Don’t judge me,” because this is what God feels like. Matthew 7:1 states,
14) Kendrick Lamar – “DUCKWORTH.”
Lamar uses his last name, Duckworth, as a song to explain the relationship between his father, Ducky, and Anthony Tiffith, CEO of Top Dawg Entertainment. Lamar explained if Tiffith had killed Ducky, then he would be serving life, and Lamar would’ve grown up without a father. And there would have been no Top Dawg Entertainment, and probably no Kendrick Lamar.