In an album whose immersive factor can make the listening experience quite tense, the inclusion of a familiar, crooning Drake melody also provides the listener with some breathing time before the intensity picks up again. The next feature on the list is Drake, who slides into his slot in вЂњ Poetic JusticeвЂќ with ease. Jay Rock and Kendrick might walk different paths but their struggles are both portrayed as authentically Compton nonetheless.

Whereas the rest of the album implies that Kendrick is a victim of the gang life surrounding him, Jay RockвЂ™s verse reminds us that the very Pirus who harass Kendrick are themselves victims. His verse lends a panoramic view of the different lives lived by the youth in KendrickвЂ™s environment. If they do tell the truth, this the last time you might see my assвЂќ Got that drum and got them bands, just like a parade, bitchДrop that work up in the bushes, hope them boys donвЂ™t see my stash Gotta provide for my daughter nвЂ™em, get the fuck up out my way, bitch What else is a thug to do when you eatinвЂ™ cheese from the government? вЂњPots with cocaine residue, everyday IвЂ™m hustling

That is, at the end of вЂњ Money Trees,вЂќ which flips a Beach House sample into a hard-hitting West Coast beat, Jay Rock delivers a verse that illustrates the same situations that Kendrick describes, but from the view of someone who actively lives the life: He provides more of the crucial contrast that defines this album Jay Rock plays the Doughboy to KendrickвЂ™s Trey. The first feature we come across is label-mate Jay Rock. In a rap industry so over-saturated with features that serve no purpose other than extending the potential for crossover appeal, Kendrick LamarвЂ™s discography thus far has shown how the list of features on an album can actually be more of a cast of characters that the listener will meet throughout the albumвЂ™s duration. While this track is not the centerpiece of the album, it is the first and most direct in explicitly addressing the effect that such an environment has on the malleable youth that call it home.ДЄnother important aspect to note when analyzing this album is to understand the role that the few included features play. ThatвЂ™s ironic, вЂcause IвЂ™ve never been violent, until IвЂ™m with the homies.вЂќ

вЂњRush a n**** quick and then we laugh about it. Nowhere is this struggle more prevalent than in вЂњThe Art of Peer Pressure,вЂќ in which Kendrick details the story of how his friends and he broke into a house and were consequently chased by law enforcement: stands for M y Angry Adolescence Divided and the album concerns itself with exactly that вЂ“ torn between the street life of his peers and the life his parents envision for him, Kendrick struggles to survive his adolescent years with his sanity and his moral compass intact. One of the two definitions of the titular acronym refers to this dichotomy m.A.A.d. The concept of the album revolves around this particular night, which serves as a microcosm of KendrickвЂ™s experience growing up in Compton surrounded by the various ills and perils that come attached to such an environment. ДЄmong the first sounds we hear on this album is Kendrick and his friends reciting the sinnerвЂ™s prayer, followed by a recount of Kendrick, on his way to meet Sherane, wildly fantasizing about what they will do together. This juxtaposition of virtue and vice is nothing new when it comes to Kendrick (the cover of his previous album, Section.80, included a desk cluttered with ammunition and prescription pills, with a Bible just barely making it into the frame), but the difference here is how much more central of a role this contrast plays in Good Kid, m.A.A.d. His baby bottle, a symbol of childhood purity and nurture, sits next to a 40oz, the very representation of the vices that tempt one in the process of coming of age. The themes dealt with in Kendrick LamarвЂ™s debut commercial album are immediate: on the album cover, we see a photograph of Kendrick as a baby sitting on the lap of someone who is presumably an older relative.

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