The single “B_ch, Don’t Kill My Vibe” also serves as sort of an introduction and is more about the state of hip-hop. A picture of this van is also featured on the deluxe version of the record. The skit after “Sherane a.k.a Master Splinter’s Daughter” has Kendrick’s mother and father wanting him to bring her van back to the house. They’re what pull the story completely together. The skits following the songs are concise but actually feature Kendrick’s friends and mother and father. It’s filled with fits and starts, twists and turns. K-Dot, is meeting with a girl named “Sherane” and much like in a Tarantino film, the story doesn’t exactly follow one thread. In this song, you step into the mindset of Lamar’s persona, K Dot, who’s the protagonist of the story. They don’t necessarily push the story forward but they create the world that you’re about to step into. Picture the beginning of Reservoir Dogs and the now infamous Madonna and “No Tipping” monologues. The first track, “Sherane aka Master Splinter’s Daughter” isn’t really the beginning of the story but rather sets the stage. It’s a day in the life of the protagonist, K Dot, as he becomes Kendrick Lamar and in it, hooks up with his girl, robs a house, and goes through misadventures, which makes him question hood politics. Good Kid, mAAd City is cinematic and tells a gripping specific narrative.
The title on the cover also reads: “a short film by Kendrick Lamar.” This is not an accident.
You don’t see nobody else’s eyes, but you see my eyes are innocent, and tryna figure out what is goin’ on.” Speaking on the cover art, Lamar says, “That photo says so much about my life, and about how I was raised in Compton, and the things I’ve seen, just through them innocent eyes.
In the background is a picture on the wall featuring Kendrick and his father. There is a baby bottle, a 40-oz bottle and one uncle is flashing a gang sign. The Good Kid, mAAd City cover art features a childhood Polaroid of Kendrick with his uncles and grandfather.
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