![]() In some ways, I think Lamar even surpasses Augustine: in addition to confessing his own sins, Lamar also offers a structural critique. Lamar’s “ The Art of Peer Pressure” works like Augustine’s incident of the stolen pears, for example. At times, “Good Kid” even seems to sing a contemporary “Confessions.” Lamar differs from Augustine in many respects (Lamar offers no apology for torture, and he leaves much more room for sexual love.) But like Augustine, Lamar crafts a narrative of sin, grace, friendship, and conversion in a particular time and place. More than literary, “Good Kid, M.A.A.D City” qualifies as deeply theological. I wasn’t sophisticated enough to learn of it myself: I first heard about it from the blogger Ta-Nehesi Coates who proclaimed it “not simply one of the best hip hop albums I’ve ever heard, but one of the most moving pieces of art I’ve seen/heard in a long, long, long time.” I quickly came to agree. Kendrick Lamar’s “Good Kid, M.A.A.D City” spent a good six months spinning inside the CD player of my old school Toyota Corolla. ![]()
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