Good Kid, m.A.A.d City

Durham, Jaquial D.

doi:10.4324/9781315099743-8

Personal Narratives of Black Educational Leaders 2019

DOI: 10.4324/9781315099743-8

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Good Kid, m.A.A.d City

Jaquial D. Durham¹

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2023

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“…The song ends with a voice mail left by Kendrick's mother, Paula Oliver, to her son: Mrs. Oliver shares that a record producer “called the house” to ask Kendrick, then a high school sophomore, to “come to the studio,” what may be for the rapper who, years later, would win the Pulitzer Prize for Music, a journey's beginnings (Duckworth & Martin, 2012, stanza 10). “Tell your story to these Black and Brown kids,” Kendrick's mom implores her son.…”

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confidence: 99%

These Tellings: Explosive Love as Literacy Research

Watson

Marciano

2023

Journal of Literacy Research

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In envisioning literacy at a crossroads, we ask what may be the potential of a different, intense, possible love, a love we may scarcely know and may yet discern—what we think of as a cosmic love, an explosive love. Such stance-taking in literacy research provokes new possibilities for research, teaching, and learning. We share brief narrative vignettes, moments we pointedly name as these tellings, and assert possibilities across two interconnected approaches: these tellings as beginnings, and our lives are entangled in our work. In these approaches, we point to opportunities for (re)conceptualizing prisms through which to engage in the work of literacy research and practice as we recognize, respond to, and build from both joy and heartache urgently present, across times past, current, and to come.

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confidence: 99%

These Tellings: Explosive Love as Literacy Research

Watson

Marciano

2023

Journal of Literacy Research

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Good kid, m.A.A.d city: Kendrick Lamar's Autoethnographic Method

Haile

2018

The Journal of Speculative Philosophy

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In characterizing his second studio album, good kid, m.A.A.d city, as a “short film” Kendrick Lamar offers something of a public declaration: We, the listening audience, are not hearing another hip-hop album, just another “autobiography” or slice of one person's life, but, rather, something else; we are hearing a mixture of social, cultural, and personal narrative truth in what will be termed “autoethnography.” In doing so, Lamar offers us a new way of thinking about hip-hop as a whole, not simply as a capitalistic enterprise or as a “black news” channel but as a distinct method for collecting data and understanding the experiences and existence of black people. While autoethnography is not a new method for research, it has been underutilized in philosophy as an approach to reading “texts” of all sorts, in particular Africana texts. This article analyzes Kendrick Lamar's second album to demonstrate why autoethnography is important as both a way of understanding reality and an expression of reality and also why it is centrally important for “doing” Africana philosophy.

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Good Kid, m.A.A.d City

Cited by 2 publications

References 0 publications

These Tellings: Explosive Love as Literacy Research

These Tellings: Explosive Love as Literacy Research

Good kid, m.A.A.d city: Kendrick Lamar's Autoethnographic Method

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