Movies

How Kendrick Lamar Went Pop in His Own Way

BBG News

When Kendrick Lamar received the Grammy for Song of the Year for his hit “Not Like Us,” he expressed, “This is its essence, dude. Because in the end, nothing holds more power than hip-hop music. We are its embodiment. It will continue to thrive and remain eternal.

On a remarkable evening at the 67th Grammy Awards, the Los Angeles rapper made history. The song “Not Like Us” garnered an unprecedented number of awards for the Recording Academy, sweeping all five of its nominations. Now, a week later, Kendrick Lamar is set to create history once more by becoming the first solo rap artist to take the stage at the Super Bowl halftime show.

As a movie buff, I can’t help but feel like I’m witnessing a grand coronation for Kendrick Lamar this year, and it’s all the more exciting because there are still some mysteries to unravel – like who else is performing alongside SZA at this event.

From his undisputed victory in the rap beef with Drake last summer, to organizing The Pop Out: Ken & Friends concert on Juneteenth in Inglewood, California, to dropping his fifth number-one album GNX, to sweeping the Grammys, and now taking center stage at one of entertainment’s most esteemed venues – Lamar has been quietly ruling not just rap music but also popular culture. It’s a testament to his talent and influence that he continues to captivate us all.

Which begs the question: Has Kendrick Lamar, finally, gone pop? 

If musicians aspire to reach a peak in popular culture lore, one landmark they strive for is playing the Super Bowl halftime show. Musicians like Michael Jackson, Beyoncé, Rihanna, Paul McCartney, and Prince have all graced this stage. Interestingly, the Super Bowl halftime performance isn’t confined by genre; it’s a versatile platform. Artists often use this opportunity to express themselves and solidify their place in pop culture. What makes this performance—a gig that doesn’t pay its performers—intriguing is that the only condition is for the artists to be at the pinnacle of their careers.

Lamar isn’t a novice when it comes to halftime shows; three years ago, he shared the stage with two legendary West Coast rappers, Dr. Dre and Snoop Dogg, during the Super Bowl LVI. However, what makes this performance special is that Lamar has managed to break into mainstream success on his own unique path—on his own conditions.

As a passionate movie-goer might put it, throughout my career, I’ve chosen authenticity over anything else, always staying true to myself and my roots. From my debut album, Section.80, which sparked discussions with the pioneering BreakBeat poets, to good kid, m.A.A.d city, a contemporary portrayal of a young Black man shaped by the failures of the Reagan administration, much like my own upbringing was impacted by Bush’s policies – similar to Tupac Shakur, whom I admire greatly, I became the voice of my generation, particularly in L.A. My latest creation, GNX, is an unadulterated ode to the City of Angels.

I’m no stranger to my own struggles and have learned to coexist with my inner demons. The albums To Pimp a Butterfly and Mr. Morale & the Big Steppers serve as testaments to that. However, it’s been said that I’ve never fully embraced the “pop” scene. But hey, every storyteller has their unique path!

For a considerable period, Lamar has been recognized as the Patron Saint of scholars and literary figures. Adored at the Grammys. A Pulitzer Prize winner – yet one who doesn’t typically make people get up and dance. His raps are heavily laden with religious symbolism and racial commentary, which prevents them from topping the charts. Critics argue that he can’t fully engage in the pop scene, let alone conquer it.

Lamar has had valid reasons for avoiding the limelight in the pop world. In hip-hop, being labeled as “pop” often means being deemed a sellout: Someone who doesn’t value the culture or rap as an art form, someone easily swayed by money or applause. To “go pop,” then, is to embody these characteristics and more—to forsake the development of rap music in favor of commercial and mainstream fame.

As a dedicated fan, I’ve always found Drake an intriguing contrast to Lamar. From the start of his career, Drake has seamlessly straddled both hip-hop and pop realms, maintaining a firm grasp on the culture. He shares this milestone with Michael Jackson as they are tied for the most number one songs by a male artist. His “It’s All A Blur” tour broke records, grossing an impressive $350.2 million, making it the highest-grossing hip-hop tour ever. In 2024, he stood as the fourth most streamed artist on Spotify. In 2020, British Vogue hailed him as “The World’s Biggest Pop Star.

However, Drake’s stronghold also symbolized another persistent challenge that hip-hop has been grappling with: by the time hip-hop turned 50 in 2023, it was yearning for a new leader. Despite emerging talents like Doechii, Latto, and GloRilla making remarkable progress in shaping the future of hip-hop (The hit “Not Like Us” wouldn’t exist without Megan Thee Stallion’s “Hiss.”), the era when hip-hop ruled the airwaves seems to be a thing of the past.

Drake’s conflict with Lamar flared up at a time when hip-hop was grappling not only for its identity but also its significance. Through the song “Not Like Us,” Lamar intervened to emphasize hip-hop’s potency, while simultaneously showcasing his ability to produce a hyper-local, critically-praised record that’s perfect for dancing.

The charm of Lamar’s victory lies not in the awards, breaking records, or his exceptional performance on the world’s grandest stage, even though these achievements are undeniably impressive. Instead, it’s the fact that he managed to achieve these feats in his unique way. His regional roots, distinctive style, and unwavering authenticity were the cornerstones of his success. He has always remained true to this. Performing at the Super Bowl halftime show is merely a platform to reveal his origins to a wider audience. Who doesn’t admire someone who loves their hometown so passionately, so unreservedly?

Back in 2015, the renowned Quincy Jones cautioned Kendrick Lamar about the risks associated with today’s rappers being unaware of the origins of hip-hop during an interview with Hypetrak magazine. He stated, “The artists of Kendrick’s generation don’t know their history, and it can be detrimental. You reach your destination more smoothly if you understand what transpired before you.” Interestingly, one of the major influences on hip-hop is the Imbongi, the South African praise poets.

At the time of that interview, Lamar hadn’t yet achieved global stardom as he is now; however, Jones referred to him as the “future.” Jones had a knack for predicting talent, as he was the one who discovered Will Smith, a young rapper from Philadelphia, who won the first-ever Grammy for Rap Performance in 1989. Smith paved the way for hip-hop to enter mainstream pop culture by being authentic—just like Lamar is doing today.

In a press conference hosted by Apple Music, Lamar expressed that performing at the Super Bowl LIX halftime show feels like the culmination of everything he’s worked for and everything he stands for in terms of rap music, hip-hop innovation, and culture. It’s his deep belief in these elements that has led him to this point.

It seems more like an inauguration than a coronation – for a man who claims not to be the savior of hip-hop, yet undeniably embodies many savior-like qualities.

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2025-02-07 19:06

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