Oh, you're right. Damn, that's weird. Oh well - looking forward to getting in on some lossless action on Sunday.
Thanks for getting it, haha. It's what Frank first posted when he teased what eventually became Blonde.
Cool album. One listen is definitely not enough but I really liked Yah, Lust and Love. Anyone know if the story in Duckworth is true?
So Kendrick time travelled into the future, watched my Twitter feed, and named the album after my initial reaction. If I had to put an overly simplistic bow on it, I'd say this album is about possibility. He keeps it very forward-looking sonically (minus the soul sample he breaks out for his dad's/Top Dawg's throwback story on "DUCKWORTH."), which is interesting because it echoes how so much of the subject matter looks forward as well. There's clearly some themes about his kid and next generation, including a line on "FEAR." that's something along the lines of "I better not catch you humping on Keisha's daughter" (which I assume follows up on "Keisha's Song" from Section 80 and gives that character somewhat of a happier ending). He's obviously thinking about his legacy in terms of a child (and his music and his mark on the world etc etc), which gives the uncertainty and the somewhat fatalistic narratives about street violence even more heartbreaking context. At the same time, he's speaking on a lot of the stuff that's in the world right now with a tone that feels to me like "none of this is going to change." You look at a song like "DNA." or that phenomenal last verse on "PRIDE." (the "perfect world" one). He wishes that the walls ("These Walls" reference) can "talk back", or tell their story so that the cycle won't repeat. Then there's the blind woman who shoots Kendrick in the album's opening parable. Kendrick asks (via singing in the background) if she's weak or wicked. He doesn't know whether she's just afraid because she isn't paying close enough attention or if she just hates him at heart (which obviously ties into all the Fox News stuff in the next couple songs). He's essentially asking whether he can change her (and by extension of the metaphor, society's structural dynamic that needlessly killing other innocents) in some way. He goes back to it at the very end (after a very fatalistic song about his origins), literally rewinding the whole album to see if he can change it. Anyway. DAMN.