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He talks about fucking Sherane and going to tell his bros. We hear Kendrick reassessing what’s happened so far. This brings us back round to “Money Trees” – a track that appeared earlier in the album. The Final Transition From K.Dot To Kendrick Lamar Kendrick talks about almost being killed the previous day – “I recognise that I’m easy prey / I got ate alive yesterday” – and ponders over the gang colour war that’s threatening Compton – “what am I supposed to do / when the topic is red or blue?” On “Good Kid” the transition from K.Dot to Kendrick starts to take place. It’s like the bit in every good gangster story where the protagonist realises that they need to break out of the death-ridden community they’re living in, before it eats them alive. The run-in with the gangbangers kicks off the second half of the story. The skit picks up the story directly after K.Dot pulls up outside her house and is greeted by “two niggas two black hoodies”. It also makes sense that the two tracks are linked, because at the end of the track we revisit the instrumental heard in “Sherane”. Where “ Sherane a.k.a Master Splinter’s Daughter” introduces us to the story of Sherane as Kendrick drives to meet her, “ Poetic Justice” seems to act as the simultaneous thought process inside K.Dots’s head. The Middle: Realisation Of The Danger’s Of Compton’s Lifestyle Does that make sense? So, in terms of narrative, we run through from “The Art Of Peer Pressure”, the skit at the end of “Compton” and back to “Sherane”, with the skit at the end of "Bitch Don't Kill my Vibe" and "Backseat Freestyle" setting up the events that led to Kendrick getting blunted and taking his mother's car to visit Sherane. So, there we are, right back at the beginning of the album, which sits slap bang in the middle of the story. The first acts as a leading intro, backed up by Kendrick’s narration – “Everybody sit your bitch ass down and listen to this true motherfuckin’ story told by Kendrick Lamar on Rosecrans” – as they drive down Rosecrans Avenue.
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It’s clearly split into two separate songs. I’m going to put my Media Studies A-Level to use and suggest that the narrative of K.Dot's transition to Kendrick truly starts with “ The Art Of Peer Pressure”. “Sherane a.k.a Master Splinter’s Daughter” The Beginning – K.Dot Sets Up The GKMC Narrative “All my life I want money and power / Respect my mind or die from lead shower” Instead, Kendrick starts freestyling with a verse that seemingly represents the mantra of his community ( "Backseat Freestyle") I’m a white kid from the suburbs where the only danger is coming home too late. When I spent my weekday nights clustered inside a steamed up Vauxhall Corsa, I was happy with a scruffily rolled stick of the devil’s lettuce and a trip to Tesco. Except instead of Woody Allen encapsulating all the neurotic aspects of my personality into five minutes, Kendrick sets up the story of him and Sherane. It’s like the opening scene in Annie Hall. In terms of narrative, though, this isn’t the beginning. GKMC opens with “Sherane a.k.a Master Splinter’s Daughter”. The story isn’t completely chronological, as we’re told stories from K.Dot’s perspective, with a few Kendrick tracks peppering the storyline throughout.
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GKMC’s narrative focuses on K.Dot's transition to Kendrick Lamar as he tries to break free from Compton. This is the internet and unfortunately, it’s illegal to superglue our interns to laptops to search through every miniscule rap blog for a mention of Kendrick Lamar.įor everyone else, let’s start at the beginning….īut first – TL:DR – The story starts at the end. In between wondering if Kendrick’s father ever satisfied his want to sink ships of over-priced pizza crust into seas of garlic and herb sauce, I wondered if anyone had ever compiled the narrative bastion of GKMC into an easily digestible guide. As I listened, I no longer found myself on the coffee machine jockey’s convoy to the coast instead, I was riding through South Central Los Angeles tarnished with sympathy for Kendrick’s dad and his Dominos. The other day, while passively hating on the rest of the commuting public for using the same transport as myself, I found myself listening to Kendrick’s masterpiece.