Kendrick Lamar has proven himself to be one of the biggest rappers as of late. From his public feud with Aubrey “Drake” Graham to his electrifying halftime performance at the Super Bowl, he’s garnered even more attention than before. He currently has 37 “Top 10” hits on the Billboard charts.
Known for old-school artists like N.W.A and 2Pac, the rap and hip-hop genres have been an effective source of entertainment and education on the injustices Black people have faced in a country that has historically enslaved and oppressed them.
West Coast rap has begun to increase in popularity with the dissemination of the Kendrick-Drake feud and Lamar’s controversial halftime performance. Still, much of the genre goes unnoticed. There are many lessons that can be learned through the meter and melodies of a track as artists take stories of culture, racism and oppression and transform them into a more digestible medium.
Music journalist Touré shared that West Coast rap’s niche lies in discussing socioeconomic struggle, political messaging and a laid-back feel to fit the driving culture of the region.
Though there are countless albums, artists and pieces of music that are quintessentially considered West Coast, Lamar’s work is most notable in exemplifying the current American political zeitgeist.
good kid, m.A.A.d city (2012)
Lamar’s second studio album “good kid, m.A.A.d city” was his first to earn seven Grammy nominations in 2014, illustrating the West Coast experience he had in his hometown of Compton, Calif. This exposed him to an environment filled with cruising in cars and a laid-back lifestyle, but also the struggles he faced living in the city.
The album flows like a narrative, and it is a masterclass in world-building. The first track “Sherane a.k.a. Master Splinter’s Daughter” details his relationship with his neighborhood, Sherane, and includes imagery of his mother’s van. His mother’s van is also present on the cover of the deluxe version of the album.
In the last track, “Compton,” he asks his mother if he can borrow said van, promising to be back in 15 minutes — serving as an homage to his youth and his life as a Black teenager in Los Angeles.
“Compton, one word that comes off the brain right now is unpredictable. You got to be ready to know that negative is around the corner any moment,” Lamar said in an interview with KTLA.
This album could not have been created without the environment of Lamar’s upbringing. Compton is a historically Black community that has been touted as violent and influenced by gang culture. In “good kid, m.A.A.d city,” we see it from the eyes of a young Lamar and how his early life in the city influenced him.
To Pimp a Butterfly (2015)
The foundation for much of Lamar’s discography comes from a desire to overhaul racist, oppressive institutions. His Grammy-winning album “To Pimp a Butterfly” tells the story of Black struggle, Black love and oppression. This album is arguably his magnum opus.
The 16-part tracklist opens with “Wesley’s Theory,” establishing a theory regarding America’s racist institutions and the exploitation of Black people and culture, and ends with a call for resistance and peace. This work is a revolutionary, introspective journey that delves into topics such as race, poverty and the African American identity.
Though the conversation surrounding these topics should not be taboo or sensationalized at this point, putting a pen to paper and adding a beat or instrumental can help ease into more difficult topics of discussion.
Its standout track “Alright” touches on systemic racism and police brutality and has been touted as somewhat of a protest anthem amid frequent instances of police brutality against Black Americans. It transcends the regional borders of the West and touches on issues many Black Americans face within their lifetime.
GNX (2024)
Lamar’s most recent release, and arguably his most West Coast-sounding one yet, “GNX,” debuted with two notable tracks: “luther” and “tv off.” The first track is relaxed and slow, fitting the cruising culture of the West Coast. The latter track is more universal — a call to action to rise above complicity.
The track “luther,” featuring SZA, is not like “Alright” or “Wesley’s Theory,” but rather a softer love ballad, sampling Luther Vandross’ rendition of “If This World Were Mine” by Martin Gaye. The instrumental features orchestral elements, strings and a softer, slower meter than the pieces in “To Pimp A Butterfly.”
Rap does not have to always be serious or philosophical to be respected. Sometimes, it’s violins on a track about love — both of which “fah” [fire] regardless.
The song “tv off” is the opposite of “luther” — it serves as a fast-paced, aggressive call to action to “turn [the] TV off,” which could be interpreted as a plea to stop being complicit and willfully ignorant regarding current events in the U.S. His performance of this piece at the Super Bowl reinforced this interpretation as he closed out his set with an innuendo-filled performance.
Hip-hop is much more than paced rhyming to an instrumental track. It’s versatile and diverse, ranging from sonnets to social commentary. The messaging in many rap songs, especially Lamar’s, should not be ignored.
Rebecca Do is an Opinion Staff Writer. She can be reached at dort@uci.edu.
Edited by Gabrielle Neve Landavora.