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Which Kendrick Lamar Do You Want On His Next Album?
Kendrick Lamar is versatile. An examination of his three major-label studio albums, good kid, m.A.A.d City, To Pimp A Butterfly, and DAMN., reveals the vast scope of both his creativity and his technical prowess. In reality, all of the aforementioned can spawn deeper analysis, thus adding significantly to the replay value. Good kid for its postmodern approach to narrative storytelling. To Pimp A Butterfly for its examination of race and the ambiguous throughline hinting at a deeper metaphysical conflict. And the Pulitzer Prize-winning DAMN. for its dense and thought-provoking analysis of self, rendered through Kendrick’s most abstract lyricism to date.
While that heightened and challenging penmanship has elevated Kendrick Lamar into an elite, borderline mystical lyricist, it has also served to mask a simple, occasionally forgotten truth. Kendrick Lamar is exceptionally good at rapping and he is well aware of this. Whenever he allows his arrogance to seep in, the end result often makes for something truly incredible. People still talk about the impact of “Control” to this day. Free-flowing songs, unburdened by the need for thematic relevance allow Kendrick to really showcase exactly how far ahead of his peers he stands.
It’s hard to fathom, but the sight of Kendrick truly spazzing has become a relatively uncommon affair. To be fair, that helps enhance the occasions whenever they do occur — but seeing as Eminem and Lil Wayne may very well be his only rivals when it comes to the flow, it’s a shame he doesn’t show it off more frequently.
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“If I’m getting on a track with Kendrick, I can never tell what the fuck he’s gonna do because he’s such a chameleon of styles, and he can fucking do pretty much anything, right? And he’s so proficient at it. He’s so good at it that you don’t know what you’re going to get. That to me is like a top-tier lyricist because it’s like you can get your ass kicked any day. Certain rappers get on a certain song and it just depends.”
– Eminem, speaking on Crooks Corner
It can’t be denied that each of his albums has prioritized conceptual linearity, and have been all the stronger for it. By creating distinct worlds, sometimes populated by a variety of different characters with distinctive worldviews, Kendrick is able to tap into different facets of his artistry. Sometimes, he manipulates his cadence to become another, leaving only the faintest shade ofKendrick Lamar the emcee. Other times, he enacts the musical equivalent of “reading the room,” opting to deliver whatever vocal style the beat invites. In many cases, as on DAMN’s genuinely emotional “LOVE,” Kendrick prioritizes creating a cohesive song over engaging in lyrical bloodsport. He understands the significance of each individual chapter in a novel; some require a frantic pace while others are slow-burners. It’s the separation between Drive and John Wick, two excellent films that succeed on entirely different merits — the former provokes deeper analysis on a visual and sonic level, while the latter is simply awe-inspiring to behold on an athletic level.
“A virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.” — The Pulitzer Board on DAMN.
Were Kendrick to line up an album composed entirely of high-intensity lyrical songs in the realm of “DNA,” “Deep Water,” “Control,” “The Heart Pt. 4,” or “Humble,” some might find themselves disappointed over the absence of a deeper meaning. After all, it’s the reason that Kendrick Lamar is the only lyricist to boast a Pulitzer Prize, a prestigious honor in literary circles who seldom turn eyes to hip-hop. Songs like “PRIDE” or “U” may lack the unleashed intensity rap purists desire from Kendrick, but the role they play in the pacing of their respective albums is invaluable. To turn his back on that particular brand of songwriting is a gamble. Especially when you consider the public scrutiny a socially conscious hip-hop celebrity tends to receive when perceived dismissive of current worldly events; ask J. Cole how those apples taste. On the other hand, however, low-stakes lyrical acrobatics may be the perfect remedy to the cynical and generally depressing news cycle that tends to permeate on a daily basis. As an added bonus, it never hurts to have a fire or two lit under the collective ass of the rap game at large.
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With Kendrick Lamar as adept at weaving complex, detailed tapestries as he is at straight-up murdering instrumentals, it’s easy to understand why so many grant him the esteemed title of Best Rapper Alive. But seldom does he bring both worlds together on an equal basis. With talk of a new album set to arrive by the year’s end, which style of Kendrick would you prefer to see — the unrestrained and cocky “Control” Kendrick, or his literary and sophisticated alter-ego “Pulitzer Kenny?”
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Olivier Martinez Wants Halle Berry to Cover $240K in Legal Fees Amid Custody Dispute.
French actor Olivier Martinez is asking a Los Angeles judge to make his ex-wife, Halle Berry, pay $240,000 in legal fees as their custody battle continues. Martinez allegedly says he can no longer afford the mounting litigation costs, especially after years without landing an acting role.
The request comes less than a week after the former couple received a mixed ruling on custody of their 13-year-old son, Maceo. The latest legal dispute between them is now about Martinez’s finances, and the actor is asking Berry for help paying bills he says are hard to manage.
Court documents have been obtained, and the $240,000 request is made up of two different amounts. Martinez is seeking $176,522.58 for outstanding legal fees and an additional $63,477.42 for anticipated costs. The figures indicate he is asking the court to consider both the costs he has already incurred and the legal work he anticipates will be necessary as the case progresses.
The documents also detail Martinez’s reported financial situation. He says he makes around $776.34 a month in acting residuals, and his monthly expenses are estimated at $17,555.99. He also reported approximately $43,206 in different financial accounts. Martinez is using these figures to argue that he can no longer fund the custody litigation on his own.
One piece of financial information in the filing is his disclosed residual income, but this does not represent all income sources available to him. The documents as described are a snapshot of the financial information Martinez is relying on to make his request, not a full accounting of all possible earnings.
The request adds another financial issue to an ongoing custody dispute involving their son, Berry said. The ex-spouses recently received a mixed ruling, and Martinez’s latest filing indicates that legal fees remain a major concern as they work through issues involving Maceo.
That’s $240,000, which is a lot of money, but the request itself is not a court order. Martinez is asking a judge to make Berry pay for the costs, but the information provided does not indicate that the court has approved the request or decided how the fees should be split.
His filing also points to the financial strain that can come with drawn-out family court fights, especially when one party claims their resources are no longer adequate to cover the expenses. Martinez argues that, based on the income and expenses reported, he can’t keep paying the bills without help.
It is not known whether Berry will be asked to contribute. Martinez is now seeking a financial arrangement that will allow him to continue the legal process, and the court is due to consider his request as part of the ongoing legal dispute between the former couple.
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Cardi B Rips NYC Bullying After Death of Bronx Teen Javits Frimpong
Cardi B is speaking out on bullying in New York City after 15-year-old Bronx student Javits Frimpong was shot and killed. The rapper spoke out against the teen’s death and slammed what she called a bullying culture in the city on a livestream caught by “Hollywood Unlocked.”
Based on the information provided, Frimpong, a 15-year-old student from the Bronx, was shot and killed this week. Cardi B spoke about the case in a social media livestream, using the moment to highlight her concern about the environment young people face. She focused on bullying and what she thinks it does to life in New York City.
The rapper said the situation makes her reluctant to raise her children in the vicinity of a New York public school or in what she called the city’s ‘hoods’. She spoke out of concern about safety and the social pressures young people may feel. The information provided does not give any more details about the circumstances of Frimpong’s death or the investigation into the shooting.
Cardi B’s response also fits into her broader pattern of speaking freely on social media about personal matters and events around her. She is also talking about a tragedy involving a young student and what she sees as a larger issue facing the city. She spoke about bullying, which she said was a concern in the environment.
The account also said that A Boogie Wit Da Hoodie addressed Frimpong’s case. Details of his remarks are not included in the information, but his response adds another Bronx-connected artist to those reacting to the death of the teenager.
The incident has caught the attention of people in the music community, and Cardi B’s comments have sparked discussion about bullying and concerns for young people’s safety. She spoke emotionally and directly, in response to the death of a teen from her home borough.
The information released does not link bullying to the circumstances of the shooting, nor does it include any information on suspects, charges, or official findings. These are things outside the scope of the account given. Frimpong’s death has sparked public reaction, including Cardi B’s criticism of what she sees as a damaging culture for young people in New York.
The tragedy also prompted Cardi B to express concern about the environments children grow up in. Her comments about public schools and city neighborhoods revealed her fears as a parent. The public reaction to Frimpong’s death continues to attract attention, and her comments have brought wider discussion about bullying into the public response.
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