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Narrator youtube11/28/2023 The Art of Peer Pressure This youthful belligerence is displayed in the sequencing of “The Art of Peer Pressure” on good kid, m.A.A.d city, yet here the raps function entirely as the narration itself and the skits become the scenes of the film. Take Snoop Dogg’s opening skit and then lyrics on his classic anthem “ Gin and Juice” an opening mini-skit by Daz Dillinger making fun of someone for bad breath turns into a descriptive scene set by Snoop about him and his homeboys having parties at his unoccupied mama’s house. They both provide scene displays, storytelling, and imagery that push the plot as a blended collage. On the classic West Coast rap albums, the raps and skits seem narratively interchangeable. The major label debut by Lamar flipped the quintessential West Coast rap album skit function on its head. The reminder to “keep it real” parallels the intro to the UGK Ridin Dirty album voiced by “Smiznoke Motherfuckin’ D.” Over synths and penitentiary murmurings he proclaims, “I get treated like the motherfuckin' pope up in here… Due…to the motherfuckin' fact that I'm real…As you can hear, I don't ever get no peace.” good kid, m.A.A.d city (2012)Īlbum cover of 'good kid, m.A.A.d city' by Kendrick Lamar. The pitched-down voice also seems to draw from Houston screw music. Kendrick Lamar - A.D.H.D (Official Video) Throughout Section.80, Lamar ruminates on a generation who acquired “A.D.H.D” via trauma induced by the “ Ronald Reagan Era.” The narrator, always accompanied by the sound of fire, acts like a professorial version of his subconscious reminding him to dive deeper into the root of the issue at hand as he dissects his generation’s pain. We decided to track how he has maneuvered and grown this idea for each of his projects and take a stab at where he could’ve drawn his influence from for each progression. The layers of his psyche and perspective explored through narration provide more opportunities for listeners to latch onto an assortment of internal and external storylines. It is also a key reason why Lamar’s music has such a wide reach. Lamar seems to pull from a variety and, when fusing them with his sonic influence, has boosted the advancement of the narrative device. There are countless examples of how this tactic is used in film styles from drama to comedy to documentary. The fusion of his film voiceover style of narration with his take on rap skits has elevated his projects to be some of the most consistently poignant. There are clear homages to the history of hip-hop skits, yet there is also a reason why he labeled his official major label debut release good kid m.A.A.d city as a “ short film.” Lamar, since 2011, has toyed with the use of a cinematic narrator within all of his bodies of work. Morale & The Big Steppers, Lamar has expanded his exploration of interlude sequencing. He responded, “I like the traditional skits, but at the end of the day I wanna try something new, try something different.” Throughout the rest of his catalog, from his next project Section.80 to his most recent album Mr. In a 2011 interview, Kendrick Lama r was asked about the lack of skits on his O(verly) D(edicated) mixtape.
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