Compton by Kendrick Lamar Lyrics Meaning – Unraveling the Layers of Urban Reality
Lyrics
This is king Kendrick Lamar
King Kendrick and I meant it, my point intended is raw
Fix your lenses forensics would’ve told you Kendrick had killed it
Pretend it’s a massacre and the masses upon us
And I mastered being the master at dodging your honor
And the chapter that read at twenty-five I would live dormant at five in the morning
They raid your spot while Kendrick’s performing
And if they take everything, know I got
Compton, Compton, ain’t no city quite like mine
(Ay, Dre what’s happenin’ wit’ it my nigga!)
Still I’m at it, peel the plastic off it, you can feel the magic
Still I’m laughing at the critics talking, I can see ’em gagging
When I’m back in the back of my city, back in the ‘Bach
With a batch of them bangin’ Dre Beats with me, look where I’m at
It’s the murder cap’ and I’m captain at birthin’ this gangsta rap
It’s a wrap when I’m done and I come a long way from a hundred dollars a month
To a hundred mil’ in a day, bitch I’m from
Compton, Compton, ain’t no city quite like mine
So come and visit the tire screeching, ambulance, policeman
Won’t you spend a weekend on Rosecrans nigga
Khaki creasing, crime increasing on Rosecrans nigga
Kendrick Conan nigga
Where you sword at? Hand on the cross and swore that
I do it big as Rasputia for them shooters
Kama Sutra scream fuck your position and make you hold that
I’m trying to stay grounded like four flats
But I know flats and Piru Crip tats
Will swarm on me like a beehive
Hop in the G ride
From the West to the East side
Know that’s just how Compton roll
And that’s a given
I pass the blunt then pass the torch of course that’s my decision
I crash the Porsche then you report that you see me in Benzes
I must report that we import the narcotics you bought it
Then talked about it when crack hit the speakers, the music business
I blow up every time we throw up a record
Depending on what you expecting, I’m sure it’s bigger than your religion
Perfected by niggas that manifested music to live in
Compton, Compton, ain’t no city quite like mine
So tell that gangster throw his set high
Roll it up in a blunt, I’ma take you on the next high
I did exactly what I wanted that’s what made them checks fly
In my direction, you never questioned when I said I
Would be a mogul before I visit 2Pac and Left-eye
Eazy and Aaliyah when I see you we gon’ test drive
A Lambo in heaven but for now I’m on the redeye
Flying back to my city ’cause I’ll forever standby
Compton, Compton, ain’t no city quite like mine
Now we can all celebrate
We can all harvest the rap artists of NWA
America target our rap market, it’s controversy and hate
Harsh realities we in made our music translate
To the Coke dealers, the hood rich, and the broke niggas that play
With them gorillas that know killers that know where you stay
Roll that kush, crack that case, ten bottles of Rosé
This was brought to you by Dre
Now every motherfucker in here say
“Look who’s responsible for taking Compton international”
I make ’em holla
Ayo Just Blaze, good looking homie
Just Blaze
(Ain’t no city quite like mine, yeah)
(In the city of Compton)
(Ain’t no city quite like mine, yeah)
Mom, I finna use the van real quick!
Be back, fifteen minutes!
Kendrick Lamar’s ‘Compton’ emerges not just as a track but as an anthem encapsulating the complex essence of the city it’s named after. This isn’t merely about the Compton of NWA’s vintage gangsta portraits; it’s the reality of a man who has breathed, lived, and risen from its concrete gardens, detailing an evolution that goes beyond the stereotyped media snapshots.
Vivid and relentless, the lyrics pulsate with the DNA of struggle and survival akin to Lamar’s own journey, shaping an ode to the place that has both spawned and transcended rap royalty. Within these lines lies a nuanced tapestry interwoven with personal accomplishment, communal identity, and the inescapable umbilical ties to one’s roots.
Hail to the King: Decoding Kendrick’s Coronation
Lamar’s self-proclamation as ‘King Kendrick Lamar’ is a ceremonial crowning steeped in conviction. In asserting his royalty, the rapper isn’t merely adopting a moniker but announcing his sovereignty in the hip-hop hierarchy—a sovereignty built upon his lyrical prowess and raw authenticity. His words here serve as a manifesto of mastery, not just in the art of rhyme but in life’s relentless battles.
‘Pretend it’s a massacre and the masses upon us’ delivers an unvarnished truth about the brutality and beauty of rising to the top from the rough terrains of Compton. It reflects the duality of Lamar’s artistry and existence: the lyrical slaughter of his adversaries on the one hand, and the attentive ear to the societal carnage that marked his upbringing on the other.
The ‘Magic’ Behind the Microphone
Expressions like ‘peel the plastic off it, you can feel the magic’ illuminate the transformative power of Kendrick’s music. Much like the city of Compton itself, the rapper’s work is a paragon of resilience—shining despite or perhaps because of the criticisms and challenges it faces. It’s a defiant laugh in the face of doubt, and a declaration of the irrefutable impact his songs have in both the local and global scenes.
By accompanying beats from Dr. Dre—a mentor and fellow Compton legend—Kendrick underscores a lineage of game-changing musicians whose sounds and messages have ricocheted far beyond their city’s limits. His verses acknowledge his path from monetary scarcity to wealth, paralleling Compton’s own narrative of growth amidst adversity.
Treading the Streets of Narratives: The Imagery of Rosecrans
Mention of ‘Rosecrans’ transports listeners to the heart of Compton, painting a vivid image of its dynamic streetscape marked by the ‘tire screeching, ambulance, policeman.’ It’s a locale where existence is dictated by a different set of rules, and survival often hinges on resilience and street-savvy.
In this urban setting, Kendrick stands as ‘Conan’—a warrior thriving amidst modern-day battles—showcasing his prowess and navigating life’s threats, both metaphorical and literal, with shrewd awareness. His affiliation with his community and its history is unapologetic, a reminder that even when you rise, you never truly leave.
A Profound Duality: The Art of Balance in Kendrick’s Verse
‘I pass the blunt then pass the torch’ demonstrates a generational passage that is quintessentially hip-hop—granting the new savants the same opportunities to blaze trails as their forebears did. Meanwhile, ‘I crash the Porsche then you report that you see me in Benzes’ encapsulates the public’s fascination with the fall and rise of their stars, recognizing Kendrick’s ubiquity across the socioeconomic spectrum.
The lyrical genius reveals here both the expectations and the weight of his position, fully aware of the spotlight and the shadows it casts. He gives a nod to the influencers who’ve perfected the craft of storytelling, fundamentally molding music as a primary narrative of life.
From Compton’s Courtyards to International Influence
Lamar concludes the track by acknowledging the profound effect that Compton’s artists, including himself, have had on the world stage. ‘Look who’s responsible for taking Compton international’ isn’t just self-praise; it’s a recognition of the influence and power that this tight-knit community has exerted across the musical landscape, redefining the genre and expectations alike.
Kendrick invites listeners to celebrate the ascent of Compton’s sound from neighborhood tales to global anthems, uniting listeners across disparate lives. It’s a reality check, a proclamation of success against odds, and an enduring link to the artistic activism that remains central to the genre’s heartbeat.
