Anthony “Top Dawg” Tiffith

In the years since the release of Kendrick Lamar’s Pulitzer Prize-winning 2018 album DAMN., hip-hop fans have been on tenterhooks, awaiting its follow-up. The intervening years have been light on new releases from the elusive Comptonite, leaving his supporters completely in the dark as to his next project’s creative direction or release date. However, this week, we did learn one new thing: Whatever the next album is called or whatever it’s about, it’ll be his last album released by Top Dawg Entertainment, marking the end of an era.

With Kendrick’s announcement, fans couldn’t help speculating whether there had been a falling out between K. Dot and the gang over at TDE — one Isaiah Rashad tweet was misinterpreted as a shot at the departing vanguard, while Top Dawg himself pre-empted much of the conjecture with a respectful salute to his longtime business partner. In all likelihood, it’s much more realistic that Kendrick simply signed a deal with the label for a set number of projects and will fulfill that obligation soon. But what I find more interesting — and you should too — is looking back on how that partnership shook up the rap game for a decade, and how each partner might move forward in the future.

The roots of that partnership go back even further than Kendrick signing to TDE. He detailed the “only in California”-style connection between his father and Anthony “Top Dawg” Tiffith on the song “Duckworth” from DAMN. Kenny’s father, Ducky, worked at a chicken spot that Top decided to rob; Ducky’s habit of sliding Top extra chicken on the low prompted Top to spare him, leading to a funny full-circle moment when Kendrick “introduced” the two after being signed to Top’s label some 20 years later. When Kendrick signed to Top Dawg in the mid-2000s, though, neither of the two probably had any idea the profound effect they’d eventually have on the music industry.

Coming of age in the so-called “blog era,” one of Kendrick and Top’s first major accomplishments was leveraging the success of K. Dot’s mixtapes into independent sales of his retail projects Overly Dedicated and Section.80. While Kendrick’s peers like Big Sean, Drake, J. Cole, and Wale were signing to major labels — and detailing their struggles with securing release dates, clearing samples, negotiating reasonable marketing budgets, and getting their records under shipped — Kendrick went directly to his fan base via then-new digital retailers like iTunes, ensuring creative control and max profits for his independent label. By the time Kendrick was dubbed “New King of the West Coast” by Dr. Dre, The Game, and Snoop Dogg, he had more leverage than nearly any other indie artist that came before him.

While his “debut” album Good Kid, MAAD City brought unprecedented attention back to the West Coast, spotlighting the shortcomings of the Grammy Awards for the first time during the social media era, and racking up rave reviews, its follow-up, To Pimp A Butterfly, turned the rap game on its ear. Thanks to the unprecedented support of Top Dawg Entertainment, Kendrick was able to overcome the so-called “sophomore jinx” that had plagued previous “chosen ones” in hip-hop like Jay-Z and Nas by blowing out the production process with contributions from LA’s burgeoning jazz revival scene. Those collaborations led to artists like Kamasi Washington, Terrace Martin, and Thundercat becoming household names in their own rights, which might not have been possible on a standard major-label deal.

Alongside TDE, Kendrick executive produced the soundtrack to Marvel’s Black Panther movie, and the negotiation leverage afforded to Kenny and Top by their independent successes allowed them to finagle unheard-of publishing deals that allowed them to maintain control over the rights to the music and ask for mind-boggling amounts on eyebrow-raising timelines. While normally, publishing deals can last longer than rap artists’ entire careers, Kendrick and TDE have been able to wrangle more short-term agreements that favor them while also satisfying partners who know that Kendrick’s catalog is one of the most sought-after in the game. And now that Kendrick is leaving TDE, presumably to release music under his own label, PgLang, he’ll likely be able to carry that leverage into any future negotiations to distribute and manage his music on terms many artists would envy.

Meanwhile, TDE is already positioning itself for its post-Kendrick phase of business, which could find them reverting back to the template that started it all. It’s inarguable that Kendrick was TDE’s most profitable and marketable signee, the tentpole that generated the revenue allowing artists like Isaiah Rashad, Jay Rock, and SZA to take their time on their own releases. With that said, even without him, TDE still has the aforementioned artists (along with Schoolboy Q and SiR), who generate plenty of profit on their own. In addition, the label has signed newcomers like Doechii, Reason, and most recently, Long Beach rapper Ray Vaughn to its stable, and immediately set about dropping music from them through digital channels. While they may not have the attention of a more established artist and are definitely fighting a more crowded marketplace, the lessons in digital distribution that TDE gleaned from its work with Kendrick will undoubtedly apply and serve them in good stead.

The future, for both Kendrick and TDE, looks bright. Top Dawg’s new artists will have the opportunity to develop and grow their careers based on the experience that the label has built up over the past decade, while Kendrick can take the same experience and apply it to the PgLang agency’s endeavors. Since the partners parted on good terms, there’s also no real reason they couldn’t continue to find ways to work together in the future, whether on new music or other business ventures. Ultimately, Kendrick leaving TDE can turn out to be a good thing for both; after all, every bird has to leave its nest eventually, striking out to build a home of its own. Wherever Kendrick ends up, he’s been set up for success and blazed a trail that TDE’s future artists can follow to their own.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Earlier today, Kendrick Lamar announced that his next album will be his last on Top Dawg Entertainment after working with the label for nearly 15 years. Shortly after his announcement, the label’s founder and CEO, Anthony Tiffith — aka, the titular “Top Dawg” of TDE — released his own statement to social media reflecting on their partnership’s impact and looking ahead to the label’s future, calling it “an honor and privilege for TDE to bless the world with the GOAT.”

“The whole goal when we started this thing was to make music, make money, and make history,” he wrote. “We did those things 10 times over and then some. TDE and its artists have provided a way to end generational curses that we were all personally born into over the last 17 years in this business.” K. Dot previously addressed this sentiment on his DAMN. track “Duckworth,” which examined the incidental connection between his own father and Top Dawg before Kendrick was even born.

“With this being Dot’s last album on TDE, this is more of a VICTORY LAP, a celebration,” Top asserted, wishing his label’s best-selling artist success in his future endeavors. “I know he will be successful in whatever it is he decides to do and will have our FULL support. As for Top Dawg Entertainment, we will continue to grow, develop, and give artists the platform to expand into whatever way they choose. Heart, honor, respect.”

When TDE CEO Anthony “Top Dawg” Tiffith tweeted “THE WAIT IS OVAH!!!” with a video showing a release date of May 7, he set Twitter ablaze with speculation about just which TDE-instigated “wait” would be concluding next week. A resounding consensus has emerged favoring Kendrick Lamar — who last released a full-length album in 2017 — making “Kendrick” one of the top trends on Twitter just an hour after the tweet.

However, some were skeptical about the possibility that it’d be the Compton rapper, as TDE has had follow-ups for a handful of projects in the works, including Isaiah Rashad’s 2016 album The Sun’s Tirade and SZA’s 2017 debut CTRL, which were both critically acclaimed fan favorites.

Meanwhile, some seemed resigned to the possibility that it might not be any of the “big three,” considering the label’s gift for constantly upending expectations. A few fans seemed less excited, skeptically preparing themselves for May 7 bringing disappointment instead.

One thing seems to remain certain: Even without revealing a single detail about whatever is coming on May 7, TDE’s roster collectively has enough pull to dominate the discussion, meaning that whenever any of the speculated albums actually do release — whether that’s in May or another time entirely — they’ll surely be able to capture fans’ attention all over again.