Mr. Morale and Adults by Kendrick Lamar – Culture

A big penis is, frankly, not desirable from a female perspective as the rapper declares. It also makes some people unhappy. This matters here because, as we’ve known since Backseat Freestyle, Pulitzer Prize-winning Kendrick Lamar’s penis is “as big as the Eiffel Tower.” At least that’s what he prayed for in the song, and how could God deny him such a humble wish? As a result, Kendrick Lamar must be very unhappy, which is our luck, as he’s working through his misery on his fifth album, Mr. Morale & the Big Steppers.

Compared to its predecessor “Damn,” Lamar puts musical stress back three levels. The sound is more transparent, but also more complex. Choirs, fidget percussion, prolific violin, Nine inch nails-piano. He also has Beth Gibbons from portished A voice was hired that could make Tiny Tim’s song sound sinister. Lamar’s special parts are faster, but you still understand every word. As always, he expresses very clearly and almost distinctly. Pop appears only distorted. Occasionally you ask yourself: is this album still a double, or is it already a very elaborate audiobook?

Three tracks stand out when “Mr. Morale” is first heard. The first is “we cry together”. Nobody cries in the track. Instead, Kendrick beats us up Florence + the machine– He took a head sample, then he and his fencing partner Taylor Paige mercilessly insulted each other for about five minutes, but also slowed down. “Damn your feelings,” he says.

Neither of them seems angry, they seem dumbfounded. He calls it a false feminist. She says he is personally responsible for the toxic behavior of Trump and Harvey Weinstein and the enslavement of all women.

In ‘Aunt’s Diary’, Lamar confronts his past hatred of transgender people

It seemed as if the two had made these accusations against each other before. It also appears that the abuse came from Twitter, from parents, or picked up on the street. They are global and therefore meaningless. Both sexes are united in the despair of mutual hatred, with which they are already trying to describe the same suffering.

The second song that immediately sticks with you is “Aunt’s Diary.” In it, Lamar addresses his past hatred of transgender people. He tells the story of an aunt who’s now a man: “I said ‘Kendrick, there’s no room for contradiction/ To really understand love, switch the situation’/ ‘Fagot, fagot, fagot,’ we can say it together/ But only if you let a white girl say nigga.” It’s a personal song that breaks some of the rules of the LGBTQ community – like never calling trans people by their baby names. However, it is clearly a pro-trans song, and the first for a major rapper.

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Then there’s “Mother I Sober,” which is the heart of the album, Beth Gibbons. In the raw and emotional track, Lamar recounts childhood trauma, infidelity and sexual abuse, while Gibbon’s voice is ominously present and comforting. The “present,” as if the song was not a song, but a little room in which someone reports their darkest moment. Until the door closes again.

The song ends with the voice of a woman telling the child, “I did it, I’m proud of you / You broke the generational curse,” before the same chorus that started the album concludes the song.

Mr. Morale & The Big Steppers is a painful album. It is not easy to hear, it is not easy to digest, it is obscured. Not only in front of the mainstream audience, but also in front of their own form, their own genre, pop music itself. Should it be avoided? of course not. It must be handled with care and caution. With respect, a little pity, but no false reverence. Only then can you really enjoy it. Like the Eiffel Tower.

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