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Granderson: Where’s the music that meets this moment? Black artists are stepping up

BBG News

For approximately a year now, Kendrick Lamar has been performing at the Kia Forum in Inglewood during “The Pop Out: Ken and Friends,” which marked the start of a series of high-profile events where he seemed to outshine his longtime rival, Drake. The rap feud between them stretches back over a decade, with each artist initially using subtle lyrics as ammunition until their disagreement escalated in late 2023. By the following spring, they were trading a series of harsh diss tracks, delving into each other’s private lives more intensely.

The fight was competitive until K-Dot landed the haymaker.

It wasn’t the chart performance of “Not Like Us” that declared Lamar the winner.

Among all recording artists, none surpasses Drake in terms of Billboard Hot 100 entries. In fact, his total number of appearances on this chart outnumbers that of Michael Jackson, Elvis Presley, and the Beatles collectively. When it comes to talent and commercial achievement, there is no doubt that Drake stands alongside the greatest artists ever.

Lamar managed to knock him out primarily because Drake’s genuine nature didn’t hold up well against physical blows. This wasn’t just my personal opinion; it mirrored the general sentiment within the culture.

Last year’s Juneteenth concert saw Lamar perform “Not Like Us” no less than five times. He later released the music video for this song on Independence Day. By the time Vice President Kamala Harris played it at her Atlanta rally, as the presumptive Democratic nominee, the track was being played at every sporting event across America. Indeed, the “A-minor” double entendre had a catchy ring to it, and having Mustard on the beat never hurts!

What makes “Us” exceptional is the same quality that underpins the creator of this work – an unwavering advocacy for the culture and community that birthed it. To quote an old saying: “Everyone desires to sing our sorrows, but no one wants to endure our sorrows.” For Lamar, the decade-long rap feud reflects a longstanding distaste towards the imitation of gangster personas and the commercial exploitation of Black culture. It seemed that as Drake continued to engage in the rap battle, Lamar was instead sparking discussions that transcended their conflict, delving into rap music, and even the entertainment industry at large.

Fundamentally, Lamar’s critique of Drake’s artistic approach raises a question that every creator should ponder: Why do I create?

* * *

In the summer of 1969, several influential events took place in America that significantly impacted our society. These events, which included technological breakthroughs like the Apollo moon landing, music festivals such as Woodstock, social upheavals like the Stonewall riots, and cultural celebrations such as the Harlem Cultural Festival, left no segment of society untouched during that period.

1969 saw Nina Simone performing a poignant concert on Morehouse College’s campus in Atlanta, following the tragic assassination of Martin Luther King Jr., the school’s prominent alumnus, the previous year. Joined by other artists, she aimed to uplift the students with her music. That very summer, she introduced “To Be Young, Gifted and Black,” a song she performed at the Harlem Cultural Festival. Later that year, Donny Hathaway and Aretha Franklin also recorded their versions of the powerful tune, not due to its commercial success, but because of its profound message.

In my opinion, an artist’s role should be to mirror the current era. It seems illogical for an artist not to do so; that, in essence, is what I believe defines an artist. Simone shared this perspective after her performance at Morehouse.

In 1962, Bob Dylan asked about the length of time people could endure before they’d gain freedom with his protest song “Blowin’ in the Wind.” Inspired by this, Sam Cooke declared in 1963 that change had been a long time coming but was confident it would eventually arrive.

In 1964, the bombing at the 16th Street Baptist Church in Birmingham sparked Simone to compose her first protest song, titled “Mississippi Goddam.” By the following summer, Simone’s name was as synonymous with the civil rights movement as it was with music. Despite creating numerous love songs and ballads about heartache, Simone’s enduring influence (even earning recognition from Irish singer Hozier in 2018 by naming his third EP after her) comes from her willingness to employ her art as a mirror of the times, reflecting societal issues through it.

Not sure if you’ve looked around the country recently, but the times we live in are a-changing.

As a cinema enthusiast looking back at 1969’s summer, I can’t help but draw parallels with the summer of 2025. Just like then, the United States stands at a crossroads, grappling with conflicts (Ukraine-Russia, Israel-Gaza-Iran, and tensions with Iran), rapid technological progress (notably artificial intelligence), and lingering discrimination (unjust ICE raids).

However, this modern-day America has undergone a transformation. The White House now governs the Kennedy Center, has halted funding for arts through the National Endowment for the Arts, threatens the broadcast licenses of news networks, and even holds the iconic Big Bird’s career in jeopardy.

Due to President Trump’s unparalleled antagonism towards traditional cultural and educational establishments, there arises a concern about how much freedom tech and media leaders will grant contemporary artists to mirror our current societal context.

In a conversation, documentarian and author Nelson George expressed his difficulty in understanding the collective emotions of today’s generation due to the vast amount of content available. He lamented not hearing the modern counterparts of artists like Chuck D or Tracy Chapman, suggesting that perhaps we lack voices expressing something meaningful or we simply aren’t reaching those individuals. He was astonished that despite all the historical songs, there still isn’t a defining anthem for our current times.

In my opinion, as a comedy enthusiast, I find that satirical humor or educational humor resonates most effectively on television. This is because TV mirrors our society, while films often depict idealized versions of ourselves or who we aspire to be.

The presenter of “Have I Got News for You” on CNN commented that due to our current political environment, instead of encouraging learning or cultural development, TV executives are canceling many shows that tackle profound societal matters because there’s a strong resistance towards discussing such subjects.

In a statement, Big Sean noted that it held meaning for Kendrick Lamar’s “pop out” track to debut on Juneteenth, the commemoration day signifying the abolition of slavery in the United States, which they both referenced in their 2013 collaboration project.

He shared with me that it feels empowering to embrace his Black identity, something he’s grateful for because of the collective efforts of the community to achieve this sense of pride. He expressed gratitude towards those who acknowledged him as Black and instilled a sense of pride within him.

The art Big Sean is creating now has a similar feel to James Brown’s music – it’s uplifting and instills hope in listeners.

Lamar’s Juneteenth concert was broadcast live on Prime, making it Amazon Music’s most-viewed production. For Ben Watkins, the creator of the Prime TV series “Cross”, the popularity of Lamar’s performance, coupled with his Super Bowl show and ongoing tour with SZA, underscores a growing demand for genuine Black artistic expression in today’s political climate.

While assembling the TV production, Watkins expressed his intentions to those involved: “I plan to portray a confident Black man, to vividly depict Washington D.C., and to honestly address some of the complexities and contradictions within a Black police officer.” The response? “That sounds fantastic to us.

The show titled “Cross” debuted a week following the 2024 elections, and for an impressive 100 days straight, it ranked among the top 10 most popular series on Amazon’s Prime Video streaming platform.

Originally, Grammy-winning artist Ledisi hadn’t intended to create a political anthem while working on “BLKWMN” for her newest album. Yet, following its February release, her powerful homage to the resilience of Black women was warmly received and subsequently recognized as an anthem by many.

As a cinephile, she shared with me that she was merely engrossed in the process of crafting, rather than pondering over any specific aspect. In the heart of creation, one simply aims to express an underlying emotion without restraint. It’s delightful to know that what I felt during the process seemed to resonate with the zeitgeist.

Prior to her song gaining popularity, Ledisi was unexpectedly targeted with social media criticism for performing the National Black Anthem at this year’s Super Bowl. Her subsequent singing of a few lines from Kendrick Lamar’s anthem during a Chicago tour stop seemed less a nod to a popular track and more a source of encouragement for herself and the predominantly Black audience. Coincidentally, that week Trump proposed reinstating Confederate names on public land. Just before Ledisi performed, “No Kings” protesters marched by, followed closely by local police.

Their voices rang powerfully through North Loop, stirring curiosity among those enjoying food and shopping close to the river. Even the sturdy walls and robust glass meant to shield against Chicago’s cold couldn’t muffle their ardent calls. Later in the evening, Ledisi, whose Nina Simone tribute album was Grammy-nominated in 2021, cast her eyes towards the balcony, smiled warmly, and seemed to let out a deep sigh of relief.

“We gon’ be all right,” she sang to a full Chicago Theatre house. “We gon’ be all right.”

* * *

In a number of pivotal instances throughout American history, the interplay of war, technological progression, and deep-rooted bias has significantly impacted our nation’s development – particularly during the scorching summer of 1865.

As the dawn of the second Industrial Era approached, the Confederacy neared its end, and the initial Juneteenth festivities were initiated. Despite the Civil War’s conclusion, racism surprisingly persisted in the aftermath of the conflict. Notably, a Confederate journalist named Edward A. Pollard started writing a revisionist history book that portrayed the South as honorable and downplayed slavery’s significance in their lifestyle. Pollard’s misleading account, titled “The Lost Cause: A New Southern History of the War of the Confederates,” was finished even before President Andrew Johnson had officially ended the war.

To the present day, officials elected from states that once formed part of the Confederacy continue to spread falsehoods regarding the war, a practice originating from Pollard, an individual who owned slaves. In certain states, holidays are still observed in honor of individuals who fought against this nation, as some white people seem more comfortable upholding Pollard’s fabrications about the Confederacy than acknowledging the truth about America.

Historically, creatives have played a crucial role by expressing themselves artistically to help bridge our understanding of one another. Occasionally, this art becomes financially successful, reaching the top of charts like the New York Times Bestseller list or Billboard. But more frequently, it goes unrecognized. Nonetheless, authentic art stemming from personal experiences is always vital. It serves as a flame to ignite inspiration and a soothing balm to prevent us all from becoming overwhelmed. Over the past century, during times when the world seemed on the brink of collapse – whether due to war, famine, or illness – it was always artists who kept our spirits alive by making us laugh, dream, and hope.

Exactly one year ago, during Juneteenth, Kendrick Lamar stepped onto the stage at The Forum, an event initially perceived as a triumphant celebration. However, it was more than that; far from performing for his own glory, Kendrick Lamar, also known as KDot, dedicated his performance to “Us.

@LZGranderson

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2025-06-19 13:31

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