King's Dead (with Kendrick Lamar, Future & James Blake)

"King's Dead" is a multi-layered track that operates on two main levels: as a braggadocious hip-hop anthem and as a thematic piece for the film Black Panther. On the surface, the lyrics from Jay Rock, Kendrick Lamar, and Future are steeped in the conventions of modern trap and hip-hop, boasting about wealth, success, women, and street credibility. Phrases about making and spending thousands of dollars, buying classic cars like the Oldsmobile Cutlass, and dismissing inauthentic people ("You ain't really wild, you a tourist") are central to this theme.

However, the song's title and its inclusion on the Black Panther: The Album soundtrack anchor it in the film's narrative. The "King" who is "dead" refers to King T'Chaka of Wakanda, whose death sets in motion the events of the movie. The song, particularly Kendrick Lamar's final verse, delves into the mindset of the film's antagonist, Erik Killmonger. After a dramatic beat switch and a haunting interlude from James Blake, Lamar unleashes a furious verse from Killmonger's perspective. He rejects all societal roles and connections ("Not your father, not your brother... Not your people, not your neighbor") and culminates in the declaration, "All hail King Killmonger". This section transforms the song from a generic boastful track into a powerful character study of a usurper embracing a destructive and defiant reign. The overall message is one of aggressive ambition and the seizure of power, mirroring Killmonger's arc in the film.

The song opens with Kendrick Lamar setting a confrontational tone, dismissing phoniness and celebrating a lavish, wild lifestyle. He boasts about making vast sums of money and spending it frivolously, specifically mentioning the purchase of an '87 Oldsmobile Cutlass. This chorus establishes a recurring theme of authenticity versus tourism in the world of street credibility and success, warning listeners that this life isn't for the faint of heart.

Jay Rock takes over with a verse packed with bravado and readiness. He portrays himself as a relentless MVP who is always prepared for action, whether it's his car, his crew, or his romantic partner. He emphasizes his status and power, referencing Top Dawg Entertainment's CEO as a benchmark for his own boss-like moves. His lyrics are a rapid-fire assertion of his preparedness and determination to seize every opportunity, using metaphors of a full gas tank and shots ready to be fired to signify his constant state of ambition. The repetition of "I gotta go get it" serves as a powerful mantra for his relentless drive.

Future's verse continues the theme of opulence and a hedonistic lifestyle. He mirrors Kendrick's chorus but with his own signature auto-tuned delivery, mentioning buying an '83 Cutlass and indulging in expensive jewelry and casual relationships. His section takes a sudden, bizarre turn with a high-pitched, falsetto bridge, chanting "La di da di da, slob on me knob." This jarring, memorable moment breaks the song's tension before snapping back into the aggressive, braggadocious flow. It's a declaration of anarchic freedom, disregarding laws and consequences, encapsulated by the line "Chitty chitty bang, murder everything."

Following a beat switch introduced by James Blake's ethereal, questioning vocals asking "Is you gon' do something?", the song's energy shifts dramatically. The tempo slows, and the instrumental becomes darker and more distorted. Kendrick Lamar re-emerges with a frenetic, intense verse. He adopts the persona of Erik Killmonger, the antagonist from the film 'Black Panther'. Through a series of rapid, almost frantic declarations, he rejects all societal labels and expectations—father, brother, future, comfort, glory. He lists things to be burned: pedigree, culture, morals, family. This culminates in the powerful proclamation, "All hail King Killmonger," cementing the song's connection to the film and embodying the character's revolutionary and destructive ambition. The verse serves as a powerful climax, shifting from typical hip-hop bravado to a complex character study of a usurper king, leaving a lasting impression of raw, untamed power.

"King's Dead" was released on January 11, 2018, as the second single from Black Panther: The Album, the soundtrack for the Marvel film Black Panther. The song was also the lead single for Jay Rock's third studio album, Redemption (2018). The track features a powerhouse collaboration between Top Dawg Entertainment (TDE) artists Jay Rock and Kendrick Lamar, along with rapper Future and English singer James Blake. The production was handled by a team including Mike Will Made It and Teddy Walton, with additional production from Sounwave and uncredited co-production from 30 Roc, Twon Beatz, and Axlfolie. Kendrick Lamar, in addition to performing, curated and co-produced the entire Black Panther soundtrack alongside TDE's CEO, Anthony "Top Dawg" Tiffith.

The creation of the track involved several moving parts. Teddy Walton had previously worked with Lamar on his album DAMN. According to an interview, producer 30 Roc was brought the initial loop by Twon Beatz, which had a completely different sound before it was developed into the final beat. Future's now-famous high-pitched "La di da di da" bridge was reportedly an ad-lib he added at the end of his verse, not necessarily intending for it to be used. However, Kendrick Lamar loved the part and insisted on keeping it in the final version, believing it was the best part of the verse. James Blake's contribution is brief but pivotal, providing a haunting vocal transition that signals the song's dramatic beat switch. Blake himself noted humorously that he sent Kendrick a lot of music, and they used only about five seconds of it, which ultimately contributed to their Grammy win.

There are two versions of the song. The version on Black Panther: The Album is the full collaboration, while the version on Jay Rock's Redemption album omits the features from Kendrick Lamar and James Blake and has other notable differences.

The rhyme and rhythm of "King's Dead" are complex and shift significantly throughout the track, reflecting the different styles of the featured artists and the song's structural changes.

The song is primarily set in a fast-paced 4/4 time signature, characteristic of the trap genre. The first section, featuring Jay Rock and Future, is driven by a beat with rapid hi-hat triplets, a common rhythmic feature that creates a sense of urgency and energy.

Jay Rock's Verse: Jay Rock demonstrates a sophisticated use of rhyme. He employs multisyllabic rhymes, such as in the lines "My shots gon' fire, my team gon' roll up / Ménage-à-trois, my queen gon' roll up". His rhythmic delivery is sharp and precise, staying tightly in the pocket of the beat. The repetition of "I gotta go get it" creates a rhythmic mantra that emphasizes his determination.

Future's Verse and Bridge: Future's verse follows a more straightforward rhyme scheme, but his rhythmic delivery is distinct due to his use of Auto-Tune and laid-back cadence. The rhythmic climax of his section is the bridge, where his falsetto chant "La di da di da, slob on me knob / Pass me some syrup, f**k me in the car" breaks from the established flow, creating a moment of rhythmic and melodic surprise.

Kendrick Lamar's Verses and Flow: Kendrick's opening chorus uses a simple AABB-like rhyme scheme ("bullshit"/"tourist", "purist"/"freaked it") that makes it incredibly catchy. His final verse, after the beat switch, is a masterclass in rhythmic complexity. The beat becomes more sparse and distorted, giving his vocals more space. He varies his flow dramatically, speeding up and slowing down, cramming complex internal rhymes and assonance into his lines. His rhythm becomes increasingly frantic, mirroring the psychological state of the Killmonger character and building to the powerful, declamatory final lines.

"King's Dead" is notable for its dynamic structure and diverse stylistic techniques, which create a song that feels like a multi-act play.

• Beat Switch: The most prominent musical technique is the dramatic beat switch. The first part of the song, produced by Mike Will Made It and Teddy Walton, is a high-energy trap beat with urgent triplets and car-revving sound effects. After Future's verse, the song abruptly shifts. James Blake's distorted, ethereal vocals introduce a much darker, slower, and bass-heavy instrumental. This shift effectively divides the song into two distinct moods, moving from confident swagger to unhinged aggression, and allows Kendrick Lamar's final verse to land with maximum impact.
• Vocal Delivery and Flow: The four main artists each bring a unique vocal style. Jay Rock employs a crisp, urgent, and technically proficient flow. Future utilizes his signature Auto-Tune delivery for his verse, but the most discussed element is his shocking switch to a jarring, high-pitched falsetto during the bridge, a moment of bizarre, memorable absurdity. Kendrick Lamar showcases his versatility, delivering a catchy, repetitive chorus at the beginning and then adopting a frenzied, almost manic flow in his final verse that builds in intensity to match the chaotic beat.
• Call-and-Response: The chorus features a call-and-response pattern between the lead vocal and ad-libs (e.g., "Miss me with that bullshit (bullshit)"), which enhances its catchiness and creates a layered, conversational feel.
• Sampling and Allusion: Future's infamous "La di da di da, slob on me knob" line is a direct reference to two classic tracks: Doug E. Fresh and Slick Rick's 1985 song "La-Di-Da-Di" and Three 6 Mafia side-project Tear Da Club Up Thugs' "Slob on My Knob". This use of allusion connects the track to hip-hop history while creating a new, meme-worthy moment.
• Cinematic Sound Design: The production incorporates sound effects, like revving car engines, that contribute to a cinematic feel, grounding the song's lyrical themes of fast cars and a fast lifestyle in an auditory reality.

"King's Dead" made a significant cultural impact upon its release, achieving both critical acclaim and commercial success. As a key single from the highly anticipated Black Panther: The Album, it was central to the cultural moment surrounding the film, which was a landmark in cinematic history. The song became Jay Rock's first single to chart on the US Billboard Hot 100, eventually peaking at number 21.

The track received major industry recognition, winning a Grammy Award for Best Rap Performance at the 61st Annual Grammy Awards in a tie with Anderson .Paak's "Bubblin". It was also nominated for Best Rap Song. This win marked Jay Rock's first Grammy award.

Beyond its chart and awards success, the song's most enduring legacy might be its meme status, thanks almost entirely to Future's bizarre falsetto bridge: "La di da di da, slob on me knob". This part of the song went viral, spawning countless memes, video edits, and discussions online, cementing its place in internet culture. The song also experienced a resurgence in popularity on TikTok in 2020 due to a viral trend.

The music video, directed by Dave Free and Jack Begert, was also highly praised for its innovative and ambitious cinematography, particularly its use of impossibly long, continuous zooms and surreal imagery, such as Kendrick Lamar casually eating corn atop a palm tree. These striking visuals contributed to the song's iconic status. On March 8, 2018, an official remix was released by Joey Badass and XXXTentacion.

The song is rich with symbolism and metaphors that tie into its dual identity as a hip-hop banger and a movie soundtrack piece.

• The Tourist vs. The Purist: Kendrick Lamar's opening chorus, "You ain't really wild, you a tourist / I be blackin' out with the purist," establishes a central metaphor. The "tourist" represents outsiders or fakes who appropriate the culture without understanding its depth or dangers, while the "purist" refers to those who are authentic and deeply embedded in their world. This dichotomy speaks to both street credibility in hip-hop and the narrative of Wakanda, a nation hidden from the world's exploitative gaze.
• Cars as Status Symbols: Both Kendrick and Future mention buying vintage Oldsmobile Cutlasses ('87 for Kendrick, '83 for Future). This is a classic hip-hop trope where cars symbolize wealth and status. However, choosing specific, older models rather than modern supercars adds a layer of connoisseurship and a nod to their respective birth years, grounding their success in their personal history.
• Erik Killmonger Persona: Kendrick Lamar’s final verse is the most overt use of symbolism, where he explicitly embodies the film's antagonist, Erik Killmonger. His litany of rejections ("Not your father, not your brother...") symbolizes Killmonger's complete disavowal of T'Challa's society and traditional power structures. His call to "Burn your culture, burn your moral, burn your family" is a literal representation of his revolutionary, nihilistic ideology aimed at overthrowing the established order. The cry "All hail King Killmonger" is the ultimate symbol of a successful, albeit violent, usurpation of power.
• "Red light, green light": The repetition of this phrase in Kendrick's final verse evokes a sense of chaotic, stop-and-go energy, mirroring a car chase or a frantic state of mind. It can also be seen as a metaphor for Killmonger's volatile decision-making and the destabilizing effect he has on Wakanda's established rules and traditions.

"King's Dead" utilizes several recurring phrases and motifs that unify its disparate sections and reinforce its central themes.

• "Miss me with that bullshit / You ain't really wild, you a tourist": This couplet, delivered by Kendrick Lamar, serves as the song's main chorus and primary hook. It's a direct challenge to authenticity and phoniness, a recurring theme in Lamar's work and central to the song's braggadocious attitude. It establishes a clear in-group ("the purist") and out-group ("a tourist").
• "La di da di da": Initially appearing as a shocking and seemingly nonsensical ad-lib from Future, this phrase has become the song's most iconic and memetic motif. It's a reference to the hip-hop classic "La-Di-Da-Di" by Doug E. Fresh and Slick Rick, as well as "Slob on My Knob." Its repetition, first in Future's high-pitched falsetto and then as a recurring element in memes and cultural discussions, has given it a life of its own. It represents a moment of pure, anarchic energy within the track.
• "I gotta go get it": Repeated four times in succession by Jay Rock, this phrase functions as a personal mantra of ambition and relentless hustle. It encapsulates the driving force behind his verse and the aspirational, money-getting themes of the song's first half.
• The King/Killmonger Motif: While the title itself, "King's Dead," establishes the central motif related to the Black Panther narrative, it's Kendrick Lamar's final verse that fully develops it. His climactic declaration, "All hail King Killmonger," is the powerful culmination of this motif, explicitly linking the song's aggressive energy to the film's antagonist and his successful coup.