Los Angeles has a lot to celebrate. First, the Dodgers won the World Series. Then, Kendrick Lamar released a surprise new album, GNX, featuring many of the city’s rising underground rappers, including Dody 6, Wallie The Sensei, and Lefty Gunplay. The latter was a guest on a recent episode of The Bootleg Kev Podcast, where he discussed working with Kendrick on “TV Off.” He also teased a deluxe version of GNX.
When asked by host Bootleg Kev if there was more stuff he cut to the “TV Off” beat, Lefty replied, “Yeah, I rapped on that beat. Got some stuff… I know he’s got a deluxe version coming out.”
A few months before GNX came out, Lamar spoke with SZA for Harper’s Bazaar. When he was asked about crying in public, Lamar replied, “The first time I allowed it to happen is documented, actually, onstage [in 2011] when Dre and Snoop and the whole West Coast was out, and they was like, ‘This is the torch that we were handing off.’ Dre passed me the torch, and a burst of energy just came out and I had to let it flow,” he said. “My tears is all on the internet. And now I look back and I love that moment. I love that that happened. Because it showed me in real time expressing myself and seeing all the work that I put forth actually come to life in that moment.”
GNX is the talk of the town right now, and it’s looking it could be for the rest of the year. So far, the surprise sixth album from Kendrick Lamar is already receiving very favorable reviews from critics and fans. Also, more than likely, presale numbers are through the roof as well, as he just launched vinyls, CDs, and cassette tapes on his website. Overall, one of his most to-the-point records to date is sure to move a lot of units and these latest sales projections are proof. You may be doing a double take right now, as there were already some numbers being thrown around on social media.
Some were guesstimating anywhere between 230,000-260,000 first week. The difference today though is that HITS Daily Double is providing these latest statistics. According to them, Kendrick Lamar is looking at an even higher figure, 291,000 to be exact. Unsurprisingly, that number is most likely going to place him at number one on the Billboard Hot 200. Moreover, if that does happen, GNX will become K. Dot’s fifth chart-topping LP.
For context, Mr. Morale & The Big Steppers, his most personal record ever, raked in 295,500 units first week and also went number one. His biggest initial sales week of all time was with 2017’s DAMN., which moved a staggering 603,000. To Pimp A Butterfly did almost 319,000, and good kid, m.A.A.d city had done 242,000. With that in mind, there’s a great chance that GNX will be a top three record in terms of those inaugural seven-day numbers.
Overall, it’s just been an incredible 2024 for King Kunta. He’s got the viral diss tracks. He’s racked up tons of nominations for said singles. Additionally, he’s going to be performing at the Super Bowl. Now, he’s got an Album of the Year contender, which is putting an exclamation point on the fact he’s the king of hip-hop!
Kendrick Lamar actualized his own praise. He called out other rappers for not giving him praise on the opener for his new album. He criticized Snoop Dogg for promoting a Drake diss, and claimed Nas was the only rapper who congratulated him for the Super Bowl Halftime Show gig. Lamar clearly felt a way about how others perceived him. The Dot praise party is in full effect now, though. Busta Rhymes had lots of positive things to say about the rapper’s new album on Tuesday.
Busta Rhymes joined the likes of Nas and Snoop in praising Lamar’s GNX album. The New York legend was blown away by the album’s combination of lyricism and catchy melodies. “King Kendrick, such an incredible body of work,” Busta explained via Instagram. “Brilliance and lyrical craftsmanship at its finest. Thank you for continuing to raise the bar!.” This is not the first Busta has evoked king imagery in relation to Lamar. He was mesmerized by the Compton rapper’s video for the 2022 song “The Heart Part 5.” He claimed Lamar was the best of his generation when it comes to visuals.
Busta Rhymes shows love to Kendrick Lamar’s new album “GNX” via Instagram.
“King Kendrick, such an incredible body of work! Brilliance and lyrical craftsmanship at its finest. Thank you for continuing to raise the bar! ” pic.twitter.com/GjYUxuZxZt
That is quite the compliment, given Busta Rhymes’ music video pedigree. Busta is regularly cited as one of the most charismatic and inventive rappers of all time when it comes to the visuals. Dot’s ambition has actually been inspired, in part, by Busta Rhymes’ classic videos from the 1990s. He said as much during a 2018 interview with Billboard. Kendrick Lamar cited Busta, as well as Missy Elliott, for their colorful and often eye-catching presentation.
“You know, just being a kid watching BET, I’d be on the phone with Dave [Meyers],” Lamar told the outlet. “You know my partner that does the videos with me. And we’d be watching Missy Elliott videos back in high school, and Busta Rhymes videos. They were always big inspirations.” Kendrick Lamar has tried to implement the same level of sophistication and appeal in his own videos. “Being a student and always appreciating somebody being willing to put full impact and full ideas not only into the songs, but when you’re watching the songs,” he concluded. Sounds like the love goes both ways.
During Kendrick Lamar’s increasingly vitriolic back-and-forth with Drake earlier this year, Questlove stepped in to express his dismay at how dark things got during their tiff, prompting some hip-hop fans to snub the veteran producer for being overly dramatic and out-of-touch. However, Kendrick himself seemed to agree throughout his new album GNX, and appeared to acknowledge Quest’s band The Roots in the video for his new single “Squabble Up,” which resembles the video for The Roots’ 1999 single “The Next Movement.” It appeared K. Dot was letting Quest know there were no hard feelings.
Quest acknowledged the nod on Instagram, thanking Kendrick for highlighting a moment in The Roots’ history that the drummer believed “no one saw or cared about” in a longer post about being floored by his work’s overall impact on younger generations. “I once joked I live a life in which someone knows Jordan JUST for the Hanes commercials only,” he wrote. “I own that I (was) the king of hiding in plain sight for decades & we live the reality we set for ourselves. HOWEVER… My number one love is the music I create in @TheRoots —that is the fuel to my fire & sometimes if you love something you must set it free. Then if it returns to you it’s real. That said I wanna thank @kendricklamar for acknowledging something I thought noone saw or cared about. Feeling seen is a great feeling and I dont take it for granted.”
He also gave Roots fans a little something-something to look forward to: “Yup, new album still coming lol.”
Hip-hop is the best. You can check out The Roots’ “Next Movement” video above.
Get ready for a no-brainer phrase that’s already been cooked to death: Kendrick Lamar’s new album GNX is a love letter to many things. But above all, it’s an exciting and passionate celebration of Black culture, the West Coast, and hip-hop. So it should come as no surprise that our first visuals from the project, the “squabble up” music video, are filled to the brim with the type of galaxy-brained, deep, sometimes simple, but always compelling references that he’s become so beloved and also infamous for. Drake was joking about quintuple-entendres back during his “Taylor Made Freestyle” diss, and K.Dot himself raps the following on the new LP’s opener, “wacced out murals”: “F**k a double entendre, I want y’all to feel this s**t.“
While most of the easter eggs and callbacks in the “squabble up” music video don’t carry those multiple meanings and subtle shots, they do present a very rich, appreciative, and distinct snapshot of Black and West Coast culture that many fans appreciated. Whether it’s showing a love for classic film and television, iconic albums, cultural legends, or the history of Black political identity and advocacy, Kendrick Lamar came through with some really slick homages… Plus plenty of homework for people out of the loop. We’re sure we missed plenty of significant inclusions such as the Compton Christmas parade and a CUZZOS cameo, so make sure to point out your favorite finds in the comments section down below.
First up is the most obvious and present visual reference throughout Kendrick Lamar’s “squabble up” music video. The shoot’s set itself and the compositional framing parallel that of The Roots’ 1999 music video for “The Next Movement” off of their classic album Things Fall Apart… Save for the velvet curtains, changes in lighting, and topsy-turvy blocking. The color of the walls, the lights on the ceiling, and even the square ridges around the room all evoke Black Thought and company’s original video, while still very much making the new homage its own thing.
However, this is one of the more surprising and unexpected tributes you’ll find in Kendrick Lamar’s “squabble up” music video. That’s because there isn’t really much of a West Coast connection here, but The Roots are undeniably one of the all-time legendary hip-hop groups that always have a lot to say about culture, politics, and history. As such, it’s not a complete shocker, especially when you consider that GNX as an album is filled with these loving celebrations of rap music and its legends. From the Rakim evocations on “tv off,” the very clear Nas interpolation on “man at the garden,” plus some other lyrical nods to folks like Biggie Smalls, the Compton lyricist is proud to represent the art form beyond his regional barriers.
Two flags in the design of David Hammons “Untitled (African-American Flag),” 1990, hang from the walls in Kendrick Lamar’s “squabble up” video.
They replace the colors of the American flag, instead using the red, black, and green from the Pan-African flag by Marcus Garvey. pic.twitter.com/XA7UghHERe
This particular section of “squabble up” has many important nods, plus some still unexplained ones like the two balloons. But let’s get one of them out of the way by reminding ignorant readers that the flags featured in this segment are not a nod to EbonyPrince2k24. That’s the African-American flag designed by artist David Hammons in 1990. It replaces the red, white, and blue of the United States flag with the colors of the Pan-African flag, which represents the African diaspora, pan-Africanism, and Black nationalism. Even though its creator Marcus Garvey and his ideologies have faced a lot of historical reevaluation over the years, the Pan-African flag still stands as a powerful call for African unity across colonized and diaspora populations against a system that would rather quell them. In the context of Black plight in the U.S., the African-American flag reclaims that cultural heritage.
In addition, toward the end of “squabble up,” Kendrick Lamar stands near what looks like a Black Panther Party statue and some artwork of Black Jesus. Furthermore, all these elements combine to speak on themes of Black mobilization, unity, identity, political thought, advocacy, and empowerment. Also, it speaks to the different layers of loyalty and confrontation that Kendrick engages in. This one is more about Black culture versus its exploiters, but there’s also West Coast culture versus its naysayers and Dot himself versus the rap game. Throughout it all, he doesn’t flinch. Still, this is not the writer to speak on this deeply (or any of these references, for that matter), so we encourage you to branch out with your own diligent, self-aware, and respectful research if you aren’t a part of the community.
Not every single reference in the “squabble up” music video is worthy of a full breakdown. Sometimes, it’s just a funny and gassed-up flex. For example, the most confident part of the whole visual is when Kendrick Lamar sits down to read a book titled How To Be More Like Kendrick For Dummies. Of course, when you’re making so many homages in a music video for a song off an album that pulls so much from past and contemporary hip-hop artists both in and outside of the West Coast, this is a pretty ironic statement that shoots itself in the foot a bit. But it works just as well as a boisterous bite from the 37-year-old to everyone under him in the rap game. He probably thinks that all of them want a copy, but if they think those attempts will help them, they’re probably dummies.
The last key reference in this part of Kendrick Lamar’s “squabble up” is the Trunk Boiz’s first hit, “Scraper Bike.” It introduced the hip-hop audience to the scraper bike scene in Oakland back in 2007, and you can see the “ThatGO” bike from its music video appear in this new GNX visual. It’s yet another Bay Area-adjacent nod, and also anchors “squabble up” in a pretty millennial timeframe for its audience. Sure, there are a lot of references across a couple of decades, but this is a deep cut from the 2000s that folks probably needed to particularly tap in for. Some folks say that the Trunk Boiz themselves are the ones in the video, but we can’t confirm that just yet. Check in down there in the comments if you’ve got the scoop.
Ice-T is one of gangster rap’s most pivotal pioneers on the West Coast, so a shoutout to his craft and contributions was a perfect addition. “squabble up” features a woman with a shotgun in the back of the room, calling back to Ice’s 1988 album Power. Also, style icon and Sa-Ra group member Taz Arnold appears at around the same time, holding up “Hood Love” four-finger rings (which possibly alludes to Spike Lee’s classic 1989 film Do The Right Thing, too).
In addition, Kendrick Lamar wears all-blue in this music video, just like Ice-T on the Power cover. It’s an interesting decision given his all-red attire at “The Pop Out” on Juneteenth. More importantly, it might represent the gang unity that Kendrick’s been so adamant about this year, to which there are some other allusions in “squabble up.”
Another obvious but beloved inclusion in Kendrick Lamar’s “squabble up” music video is the Scramble Board from the legendary TV show Soul Train. That was one of the mainstays of the program, in which dancers had to unscramble the board and piece together the letters to form the name of that show’s performer or a renowned individual in Black culture. As you can probably guess, folks immediately put their tinfoil hats on and attempted to decipher this Scramble Board for themselves. The biggest clue spreading around the Internet right now is that “omnia est aliquid” – which is what’s spelled out in the visuals – roughly translates to “Everything is something” in Latin. What does that mean? No idea. But if everything is something, maybe we just need a couple more days to figure it out…
As Kendrick raps “don’t hit him, he got kids with him, my apologies” in the “squabble up” video, this close up seems to reference Menace II Society.
Kendrick spoke about his appreciation for the film with @RealSway in 2013, asking actor Tyrin Turner how he portrayed Caine in… pic.twitter.com/goKuUak80h
Spoiler warning if you’re reading this from under a rock… Although the embeds probably ruined it anyway. Menace II Society is the Hughes brothers’ 1993 directorial debut, and it’s an essential piece of not just Los Angeles media, but Black cinema during the ’90s and beyond. It narrates the story of Caine Lawson and his friends in the Watts and Crenshaw communities, and the crime drama ends tragically as a child on a toy tricycle witnesses horrific murder. “squabble up” features an actor portraying that same orange-jacketed boy on a tricycle, and the camera focuses on him when Kendrick Lamar raps the following line: “Don’t hit him, he got kids with him, my apologies.” It’s an ominous sign and a pretty dark one, too, but the lyrics and visuals also point to an alternate ending for the original movie in which that kid didn’t see what he saw.
Finally, Kendrick Lamar’s “squabble up” music video references to two beloved records with key differences and similarities. The late great Nate Dogg’s G-Funk Classics, Vol. 1 & 2 CD hangs from the chandelier in one shot, paying homage to the Long Beach legend’s debut studio album. The second LP is one of Isaac Hayes’ best albums, 1971’s Black Moses, as a man stands in the room wearing the same clothing depicted on the cover art. In particular, this era of the Memphis soul legend preceded and led up to his performance at the Wattstax benefit concert in Los Angeles in 1972, commemorating the seventh anniversary of the Watts riots in 1965. This Hayes-honoring man appears right when other portraits of Black Jesus are on screen, calling back to themes of nationalism, identity, and community.
Even though Isaac Hayes is not from Los Angeles, both albums here have significant connections to the West Coast… and perhaps to Kendrick Lamar himself. Both Hayes and Nate Dogg’s LPs are double albums, and you’ve probably already heard the theory that we’ll get a more grand, thematic, and formal K.Dot album very soon in the wake of GNX. Will that manifest? We can’t wait to find out. Either way, as the visuals for “squabble up” prove, Kendrick gave us so much food for thought with this album and its rollout (or lack thereof) that a long or short wait can’t dampen our excitement for what’s next or our excited appreciation of what’s here.
Ever since Kendrick Lamar dropped his surprise album GNX on Friday, it’s all any rap fan can talk about online. He gave them more food for thought with the video for “Squabble Up,” the album standout which he previously teased in the “Not Like Us” video five months ago. Now, fans can’t stop dissecting the pop culture references sprinkled throughout the video. While we may not be able to fully explain some of them because you just had to be there — who really knows why all our aunties had those dang panther statues in the living room — here is a breakdown of the references to Black film, music, and California in the “Squabble Up” video.
The Freeway Exit Sign
The video opens with a reproduction of an exit sign from the 105 Freeway that cuts through South Los Angeles. Specifically, the three eastbound exits listed — Wilmington, Central, and Long Beach Blvd. — are the ones pertaining specifically to Compton.
Scrapers And African-American Flags
The next big cultural reference is to scraper bikes, a fixture of Oakland, California, which grew out of lowrider car culture. In 2006, Tyrone “Baybe Champ” Stevenson Jr., aka Scraper Bike King, began modifying bicycles with scrap, cardboard, tinfoil, and paint in an effort to create a new hobby to keep youth out of trouble. Dancers throughout this scene “go dumb,” an expression of the hyphy culture that grew out of the Bay Area in the early 2000s.
The African-American Flag was created by David Hammons in 1990, combining the colors of the Pan-African Flag, black, green, and red, with the flag of the United States to represent African diaspora identity in the US. Historically, enslaved Africans were banned from learning about their home cultures; as a result, the Black American identity has become a way for their descendants to create a culture of their own.
Ice-T’s Power Album Cover
That buxom young lady holding the shotgun in a revealing swimsuit is a reference to the back cover of Ice-T’s 1988 album Power — an album considered pivotal in the rise of both LA’s rap scene and gangsta rap overall. Ice’s then-girlfriend Darlene Ortiz posed on the cover, while the album, like GNX, found Ice taking on rap’s heartthrob LL Cool J — sound familiar?
Soul Train Scramble Board
This one’s a super deep cut. The dance variety show Soul Train — a fixture in certain households in the ’80s and ’90s — included a recurring segment in which two dancers would try to solve a word scramble forming the name of that week’s musical guest or another notable Black figure.
The Big Wheel
Right around the two-minute mark, you might notice a small child on a Big Wheel tricycle in the background. This is a reference to the film Menace II Society. Spoiler alert for a 30-year movie: It doesn’t end well for Caine — or the kid on the Big Wheel.
Isaac Hayes’ Black Moses Album Cover
Near the end of the video, we see a reproduction of the cover of Isaac Hayes’ fifth studio album, which included his interpretations of “Never Can Say Goodbye,” and “(They Long to Be) Close to You,” and went No. 1 on the Billboard R&B chart in 1972. Behind him, we see a box of Black Jesus prints, which ought to speak for themselves.
The Roots’ “The Next Movement”
This one’s admittedly a bit shaky, but as one fan on Twitter pointed out, the clip bears a striking resemblance to the one for The Roots’ 1999 Things Fall Apart single, “The Next Movement.” Like GNX, that album also saw its principles taking steps in bringing music previously only acknowledged as underground to mainstream consciousness, while making subtle references to progressive social movements.
Hot off the presses! Kendrick Lamar has just made physical copies available for GNXon his website. If you are looking to purchase a particular format, you can click the first “[Via]” link below. But for those who want a rundown of what’s available and all of the other details on one page, here’s what to know. In total there are five different ways to get your hands a tangible version of Lamar’s sixth studio album. The return of the vinyl reigns supreme here, as fans have the choice of three unique discs. There’s the standard black GNX vinyl, which retails at $33.00 USD. It’s worth nothing that each buyer can scoop up four units at a time, but no more.
Then, there are two exclusive color variants. There’s a white and another black. However, where the latter separates itself from the original vinyl is that this one is 180g. For those who aren’t in the know, these are heavier discs and typically produce better sound quality than the standard ones. Those typically weigh between 120-150 grams. The white is the same price as the traditional vinyl, but the 180g is $37.00 USD.
However, Kendrick Lamar didn’t forget about CD and cassette users though. The former will run you $14.00 USD and comes in gray. The latter is black and costs $20.00 USD. Finally, there’s a digital option, which is $10.00 USD and is only available for U.S. customers. All of these are pre-orders, and they won’t ship for a little a while. In fact, all of these physical variants will ship on or before March 1, 2025.
Also, there are no exclusive bonus tracks for any of the people who decide to buy GNX in any format. That may be a bummer for some, but this will still be a hot commodity without a doubt. None of the options are limited pressings it seems, so it looks a ton will be available. Finally, since these are pre-orders, no placements will go toward first week sales numbers.
Kendrick Lamar putting his hometown on display in his videos isn’t exactly new, but he’s never before done it the way he does in his video for “Squabble Up.” The song, which interpolates Debbie Deb’s 1984 freestyle hit “When I Hear Music,” first appeared as a tag on the video for “Not Like Us,” prompting a fan frenzy for its official release. Those fans got exactly what they wanted with the surprise release of K. Dot’s new album GNX, which features dozens of references to LA culture and history, including that sample.
The video for the song, which Kendrick just dropped, likewise puts an appreciation for Los Angeles on display, opening with a street sign from the 105 Freeway (eastbound, if you know you know) that acts as Compton’s northern border and featuring dancers performing the various “walks” affiliated with street gangs and inner city residents who see that sign often. African American flags hang over Kendrick’s head as he reads a book titled How To Be More Like Kendrick For Dummies — a book whose publication would certainly cut down on certain online shenanigans by a bunch.
You can watch the video for Kendrick Lamar’s “Squabble Up” above.
GNX is out now via PgLang/Interscope. You can get it here.
It’s appropriate that Kendrick Lamar named his new album after the 1987 Buick Grand National Experimental. Produced in limited quantities, it was never as ubiquitous as its predecessor, the Buick Regal, nor considered an out-and-out classic like some other ’80s muscle cars such as the Pontiac Firebird or Chevrolet Camaro IROC Z. But among auto enthusiasts, it’s an underrated favorite, the sort of “if you know, you know signifier” of a true head.
In that way, Kendrick has a lot in common with the GNX. He’s a one-of-one; the talents don’t get much rarer than his. And while he’s certainly received his fair share of recognition over the years — the Grammys, the Pulitzer, the mid-career BillboardNo. 1s — it’s fair to say, that his true value as a lyricist and cultural figure isn’t really for general audiences, even if they refuse to understand or accept that about themselves (“Not Like Us” is a hit, but, well… look at who all’s singing along).
GNX, the album, is also a lot like the GNX, the car. It knows what it is, and it knows what it ain’t. The 1987 issue of Car And Driver that tested the roadster had this to say of it: “In a world of sleek shapes and refined manners, the GNX is an axe-wielding barbarian laying waste to everything in its path.” This statement could double as a fairly accurate assessment of Kendrick’s new album too — the album his day one fans have been waiting for since 2009.
That was the year Kendrick swapped out “K. Dot” as his official rap name with the Kendrick Lamar EP, a mixtape that quickly flashed his early promise, but belied his gangster-adjacent, Compton roots. Since then, each album has shifted a paradigm or addressed a social ill… but for some of us (okay, fine, me, specifically), none of those albums completely satisfied what we knew we wanted from the Hub City prophet. There was always more he could do; another edit to make, a more focused beat selection, for him to turn his labyrinthine wordplay toward something less solipsistic.
He got close on DAMN. in 2017, earning himself a Pulitzer Prize in the process, but again, the album felt like it was for everybody — or, at least, not for us. Dot’s songs always seemed to reach out for broader acceptance, even when he was baring his soul, wearing his heart on his sleeve, and dashing it open to spill its ruby contents. The influences of Kendrick inspirations like DMX, Jay-Z, Lil Wayne, and Nas were always apparent, but seemingly sublimated the ones that should have been there all along, like DJ Quik, MC Eiht, MC Ren, and King Tee — even when their names appeared on the tracklist.
But with GNX, Kendrick finally sheds expectations that he would be an avatar of intellectualism and sophistication in rap. It’s not for anybody those who know. Songs like “Squabble Up,” with its call back to LA’s hip-hop foundations in freestyle music like the interpolated Debbie Deb hit “When I Hear Music,” or “Dodger Blue,” with its call-outs of transplants afraid to cross the 10 freeway and shout-outs to high schools below the 105, are for Angelenos, those tapped into the culture of lowriders and set trippin’, of Drew League in the summer and functions broken up by ghetto birds and fist fights between reds and blues.
Songs like “Man At The Garden” and “Reincarnated” are salutes to rap heads who care more about the storytelling in the songs that moved them than the punchlines and metaphors that cause scrunch faces at backpack rap shows. They are not for people who think hip-hop is just for dancing in the club or pissing off their parents; they are for people who move and talk and think and breathe through hip-hop because hip-hop is what gives them life, speaking to them in languages that they can both hear and understand, word to Sidney Dean and Jimi Hendrix. Brands can bite the “Mustard Meme” prompted by “TV Off” all they want, but everything around that iconic ad-lib is a smoke signal to a certain kind of person — the kind those brands would hate to see step into their boardrooms, even as they try desperately to co-opt the clout such characters effortless carry with them. It ain’t on us, it’s in us.
GNX is stripped of the artifice and gimmickry that anchored Kendrick’s critically hailed introspective projects like To Pimp A Butterfly and Mr. Morale & The Big Steppers. Free of the weight of expectations — ours and his own — K. Dot delivers an album about his home, and how it affected him… but in typical Kendrick fashion is about more. It is about politics — the both the hood kind and the kind that create the material conditions for the previous kind to exist. It is about how and why music has been the lifesblood of a people who spent 250 years at the bottom of the American social hierarchy yet define its cultural identity. It is about protecting yourself from outsiders, and it’s about taking off the mask that keeps them comfortable while keeping ourselves from knowing who we are — a common theme in rap releases this year from Vince Staples’ Dark Times to Tyler, The Creator’s Chromakopia.
It’s the album we — and when I say “we,” I want to you to know that if you question whether that includes you, then it probably doesn’t — always wanted from Kendrick Lamar. Unapologetically LA, with the brute force to truly create the sort of impact his inspirations had; confessional but self-assured in the way only someone who has come to terms with himself can be. GNX is all muscle, no fat, built for the streets, and for those in the know; everyone else can get left in the dust.
Well, that was fast. Kendrick Lamar has swept the hip-hop world off its feet with his brand-new sixth album, GNX. The astounding release hit the digital airwaves on Friday afternoon, and it’s been all the craze and will continue to be for quite a while. The lyrical content is of course going to shoulder that load. However, Kendrick doing extra things like a “squabble up” music video will also help a great deal. The Compton icon just dropped off the visual for it moments ago, and you can watch it below.
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