Barack Obama loves dropping year-end lists. He details which films, books, and songs impressed him most on an annual basis. Kendrick Lamar dominated the hip hop sphere in 2024, so he was bound to appear on the President’s year-end list in some shape or form. It was initially unclear which direction Barack Obama would take. He could have gone for the celebratory diss “Not Like Us,” or perhaps the meme-ified “tv off,” but the President decided to chart another path. He chose Kendrick Lamar’s L.A. anthem “Squabble Up” as one of his favorite songs of 2024.
“Squabble Up” delivered on months of anticipation after it was teased during the intro to the “Not Like Us” video. The Debbie Deb-sampling song peaked at number one on the Billboard Hot 100. It makes sense that Barack Obama would choose “Squabble Up” out of Lamar’s chart-topping singles in 2024. “Like That” and “Not Like Us” were far grittier and combative, which directly clash with Obama’s chill and affable persona. The President did weigh in on the Drake vs. Kendrick Lamar battle a few months ago.
He praised Lamar’s lyrical ability and his overall message. “I do think that Kendrick has a unique status right now,” he told DeepCut. “Not just because of this summer… He’s not just gifted, he’s serious about the message… he digs deep into himself. He digs deep.” He didn’t clarify who he believed won the feud, but he actually picked sides as far back as 2016. The President told YouTuber Swoozie that he likes both Drake and Lamar music, but would ultimately choose K. Dot to win in a direct competition. “Gotta go with Kendrick,” Obama asserted. “I’m just saying, I think Drake is an outstanding entertainer, but Kendrick, his lyrics, his last album was outstanding.”
The admiration seemingly goes both ways. Kendrick Lamar met Barack Obama in 2016, and was highly complimentive of the President. He told Billboard he was overwhelmed when Obama told him how much he enjoyed To Pimp a Butterfly. “When [the President] said to my face what his favorite record was,” he recalled. “I understood that, no matter how high-ranking you get in this world, you’re human.” Another feather in Kendrick Lamar’s cap. No, Drake did not appear on Barack Obama’s year-end list.
The duality in Kendrick Lamar’s catalog has been even more prevalent in his recent outings. His albums, from Section.80 to Mr. Morale& The Big Steppers, have often explored the cause-and-effect of his surroundings. good kid m.A.A.d city detailed his upbringing in Compton and the things he’s witnessed and experienced that informed his character. To Pimp A Butterfly, on the other hand, delved into survivor’s remorse as his star power shined globally. Through these albums and beyond, the essence of the West Coast continuously permeated each project. However, the influence of Los Angeles has never been more pronounced than it is on his sixth studio album, GNX. After a triumphant summer that saw Kendrick Lamar unify the streets of Compton on one stage and singlehandedly change the perception of hip-hop’s biggest star, GNX is a return to the stomping grounds that celebrates the past, present, and future of Los Angeles.
Let’s be clear, though: GNX isn’t a victory lap, nor is it entirely dedicated to doubling back on his feud with Drake, even though that energy is felt across every song. More than anything, this album ushers in a new era for Kendrick Lamar where the weight of critical acclaim and numbers feel secondary to his creative vision, especially as his first post-TDE project under pgLang. With that in mind, the album begins with a giant middle finger to the industry and those who’ve shed an ounce of doubt on him. The sparse horns and glitchy synths of “wacced out murals” become a canvas for Kendrick to release the tension from the months of narratives that followed his victory against Drake and those who’ve tried to smudge his legacy. It’s a broader painting of the potential implications of the feud; a retort to critics; and a declaration of his coveted position at the top of the food chain. Sonically and thematically, “wacced out murals” is as blistering as it is cathartic, tying in everything from Snoop Dogg co-signing “Taylor Made Freestyle” and the allegations from “6:16 In L.A.” to Lil Wayne’s rather entitled reaction to losing out on the Super Bowl Halftime show. Despite a history of showing love to those who came before him, it’s a moment where he forces the dynamic to shift between himself and those who’ve influenced him.
Still, the core of the album could be best summarized in one line in the intro: “F*ck a double entendre, I want y’all to feel this sh*t.” Although there are more than enough double entendres to sink your teeth into, GNX largely carries the atmosphere that he set this summer with “Not Like Us.” “squabble up,” the highly anticipated snippet from the “Not Like Us” music video, delivers on all fronts–perhaps, one of the few snippets in hip-hop history that lived up to its hype. It’s a vibrant and animated West Coast banger that links its present form with nods to dance music that you would likely hear Snowfall’s Skully listening to during an Angel Dust trip and West Coast’s rich musical tapestry, thanks to the sample of Debbie Deb’s “When I Hear Music.” Similarly, “hey now” ft. Dody6 transforms a husk and bassy production into a sinister dance number with a nod to D4L’s “Scotty” for an immediate stand-out.
For as much as this album departs from Kendrick’s usual theatrical concepts, it doesn’t lack in storytelling qualities. “Reincarnated” is a masterclass in storytelling, where he masterfully channels Tupac Shakur’s cadence while detailing the story of the devil through three musicians. Then there’s the outro, “gloria,” an “I Used To Love H.E.R” homage that personifies Kendrick’s pen as a woman. Ultimately, GNX is a mixed bag that encapsulates variety without losing its cohesion. As much as these records, along with “luther” ft. SZA (who also appears on “gloria”), and “dodger blue,” provide lush soundscapes and velvety melodies that cut through the boisterous production across the album.
Though there are plenty of ways to dissect this album, its most important characteristic is its commitment to uplifting the West and carrying on tradition. The ecosystem of Los Angeles’ rap scene is vast and complicated with street politics, especially as burgeoning talents across the city began making waves. The inclusion of artists like Lefty Gunplay, whose four-word outro is just as much of an earworm as Kendrick’s new drop for DJ Mustard on “tv off,” Peysoh, and Deyra Barrera, emphasize the theme of West Coast unity, especially among Black and Brown communities.
As Kendrick Lamar enters this new chapter in his career, he ensures that he ties up loose ends. “Heart pt. 6”–a dig at Drake’s failed attempt to hijack a series dedicated to Kendrick’s growth–provides fans with the type of closure and explanation that they’ve been longing for, even before Mr. Morale & The Big Steppers. It’s a vulnerable and honest flashback to Top Dawg Entertainment’s humble beginnings that detail their journey together but more importantly, his decision to leave the label to establish pgLang alongside Dave Free. While fans might be saddened that a Black Hippy album isn’t in the cards, “heart pt. 6” sheds light on Kendrick’s aspirations. But that’s just it–Kendrick’s growth and elevation as an artist and business requires sacrifices, even if it comes at the cost of the expectations that his fans hold over his head. GNX is a glorious first leap in this chapter of Kendrick’s career where he embraces the next generation of stars, proudly carries the torch for the West Coast, and demands the respect that he’s earned.
For the past few weeks now, all eyes have been on Shaboozey and “A Bar Song (Tipsy),” to see if the track would beat the all-time record for the most weeks spent at No. 1 on the Billboard Hot 100 chart. As of last week, Shaboozey tied the high mark of 19 weeks set by Lil Nas X and Billy Ray Cyrus’ “Old Town Road.” One more week and Shaboozey owns the record outright, with the first song to hit 20 weeks at No. 1.
Well, that’s not happening this week.
On the new Hot 100 chart dated December 7, Kendrick Lamar’s new album GNX dominates. Lamar has 7 of this week’s top 10 songs, including “Squabble Up” at No. 1, which is Lamar’s fifth chart-topper and his third of just 2024. As for “A Bar Song (Tipsy),” it has been pushed all the way down to No. 6.
That said, this doesn’t mean “A Bar Song (Tipsy)” is finished its No. 1 run. This is actually the third time the track has been replaced in the top spot: Lamar’s “Not Like Us” took over for a week in July, then Morgan Wallen’s “Love Somebody” had a week on top in November before Shaboozey reclaimed his spot. So, if listening activity on Lamar’s new album dies down after its opening week, “A Bar Song (Tipsy)” could make yet another return to No. 1 and set a new all-time high.
Kendrick Lamar’s new song, “squabble up,” has debuted at the top spot on the Billboard Hot 100 with several of his GNX tracks right below it. Rounding out the top five on the chart are “tv off,” “luther,” “wacced out murals,” and “hey now.” Also in the top ten are “reincarnated” and “man at the garden.” Overall, GNX landed at No. 1 on the Billboard 200 chart having moved over 300,000 album equivalent units.
The success of the project comes despite it being a surprise release for the “Not Like Us” rapper. Instead of running a lengthy promotional campaign for the project, he let the virality of his feud with Drake build up the hype. He addresses that beef at several points on the project.
INGLEWOOD, CALIFORNIA – JUNE 19: Kendrick Lamar performs onstage during The Pop Out – Ken & Friends Presented by pgLang and Free Lunch at The Kia Forum on June 19, 2024 in Inglewood, California. (Photo by Timothy Norris/Getty Images for pgLang, Amazon Music, & Free Lunch)
Even DJ Akademiks praised Kendrick Lamar for the success of his new album. “I think it’s a decent number,” he said on a recent livestream. “It’s definitely a good number for Kendrick. And I understand that there’s a bunch of Drake fans here and Kendrick fans here who want to compete and compare these two. There is no comparison. I keep trying to tell you: Kendrick could die 15 deaths, he doesn’t compete with Drake overall for streaming.” He then described GNX as a “stellar” release for him.
Kendrick Lamar Dominates The Billboard Hot 100
Looking ahead, Lamar will be headlining the halftime show of Super Bowl LIX in February. He’ll likely perform several songs off of GNX at the event. He’s yet to officially confirm if he’ll be going on tour after the show. Check out the full top ten on the Billboard Hot 100 below.
The first-week numbers for Kendrick Lamar’s GNX are available for preview. According to Hits Daily Double, the surprise album is projected for just under 300, sitting at 291,000 equivalent album units for the first week with 30,000 in pure sales.
Kendrick Lamar’s “squabble up” was first teased in the “Not Like Us” video, prompting fans to ask for it endlessly. The single arrived on the new GNX album and is immediately running up the streams. The single is expected to end Shaboozey’s streak on top of the Billboard 200 with “A Bar Song (Tipsy).”
The single is projected to debut at No. 1 and be Lamar’s third for the year, following “Not Like Us” and “Like That.”
You can hear the banger below.
Kendrick Lamar’s ‘SQUABBLE UP’ is projected to debut #1 on the Hot 100
During Kendrick Lamar’s increasingly vitriolic back-and-forth with Drake earlier this year, Questlove stepped in to express his dismay at how dark things got during their tiff, prompting some hip-hop fans to snub the veteran producer for being overly dramatic and out-of-touch. However, Kendrick himself seemed to agree throughout his new album GNX, and appeared to acknowledge Quest’s band The Roots in the video for his new single “Squabble Up,” which resembles the video for The Roots’ 1999 single “The Next Movement.” It appeared K. Dot was letting Quest know there were no hard feelings.
Quest acknowledged the nod on Instagram, thanking Kendrick for highlighting a moment in The Roots’ history that the drummer believed “no one saw or cared about” in a longer post about being floored by his work’s overall impact on younger generations. “I once joked I live a life in which someone knows Jordan JUST for the Hanes commercials only,” he wrote. “I own that I (was) the king of hiding in plain sight for decades & we live the reality we set for ourselves. HOWEVER… My number one love is the music I create in @TheRoots —that is the fuel to my fire & sometimes if you love something you must set it free. Then if it returns to you it’s real. That said I wanna thank @kendricklamar for acknowledging something I thought noone saw or cared about. Feeling seen is a great feeling and I dont take it for granted.”
He also gave Roots fans a little something-something to look forward to: “Yup, new album still coming lol.”
Hip-hop is the best. You can check out The Roots’ “Next Movement” video above.
Get ready for a no-brainer phrase that’s already been cooked to death: Kendrick Lamar’s new album GNX is a love letter to many things. But above all, it’s an exciting and passionate celebration of Black culture, the West Coast, and hip-hop. So it should come as no surprise that our first visuals from the project, the “squabble up” music video, are filled to the brim with the type of galaxy-brained, deep, sometimes simple, but always compelling references that he’s become so beloved and also infamous for. Drake was joking about quintuple-entendres back during his “Taylor Made Freestyle” diss, and K.Dot himself raps the following on the new LP’s opener, “wacced out murals”: “F**k a double entendre, I want y’all to feel this s**t.“
While most of the easter eggs and callbacks in the “squabble up” music video don’t carry those multiple meanings and subtle shots, they do present a very rich, appreciative, and distinct snapshot of Black and West Coast culture that many fans appreciated. Whether it’s showing a love for classic film and television, iconic albums, cultural legends, or the history of Black political identity and advocacy, Kendrick Lamar came through with some really slick homages… Plus plenty of homework for people out of the loop. We’re sure we missed plenty of significant inclusions such as the Compton Christmas parade and a CUZZOS cameo, so make sure to point out your favorite finds in the comments section down below.
First up is the most obvious and present visual reference throughout Kendrick Lamar’s “squabble up” music video. The shoot’s set itself and the compositional framing parallel that of The Roots’ 1999 music video for “The Next Movement” off of their classic album Things Fall Apart… Save for the velvet curtains, changes in lighting, and topsy-turvy blocking. The color of the walls, the lights on the ceiling, and even the square ridges around the room all evoke Black Thought and company’s original video, while still very much making the new homage its own thing.
However, this is one of the more surprising and unexpected tributes you’ll find in Kendrick Lamar’s “squabble up” music video. That’s because there isn’t really much of a West Coast connection here, but The Roots are undeniably one of the all-time legendary hip-hop groups that always have a lot to say about culture, politics, and history. As such, it’s not a complete shocker, especially when you consider that GNX as an album is filled with these loving celebrations of rap music and its legends. From the Rakim evocations on “tv off,” the very clear Nas interpolation on “man at the garden,” plus some other lyrical nods to folks like Biggie Smalls, the Compton lyricist is proud to represent the art form beyond his regional barriers.
Two flags in the design of David Hammons “Untitled (African-American Flag),” 1990, hang from the walls in Kendrick Lamar’s “squabble up” video.
They replace the colors of the American flag, instead using the red, black, and green from the Pan-African flag by Marcus Garvey. pic.twitter.com/XA7UghHERe
This particular section of “squabble up” has many important nods, plus some still unexplained ones like the two balloons. But let’s get one of them out of the way by reminding ignorant readers that the flags featured in this segment are not a nod to EbonyPrince2k24. That’s the African-American flag designed by artist David Hammons in 1990. It replaces the red, white, and blue of the United States flag with the colors of the Pan-African flag, which represents the African diaspora, pan-Africanism, and Black nationalism. Even though its creator Marcus Garvey and his ideologies have faced a lot of historical reevaluation over the years, the Pan-African flag still stands as a powerful call for African unity across colonized and diaspora populations against a system that would rather quell them. In the context of Black plight in the U.S., the African-American flag reclaims that cultural heritage.
In addition, toward the end of “squabble up,” Kendrick Lamar stands near what looks like a Black Panther Party statue and some artwork of Black Jesus. Furthermore, all these elements combine to speak on themes of Black mobilization, unity, identity, political thought, advocacy, and empowerment. Also, it speaks to the different layers of loyalty and confrontation that Kendrick engages in. This one is more about Black culture versus its exploiters, but there’s also West Coast culture versus its naysayers and Dot himself versus the rap game. Throughout it all, he doesn’t flinch. Still, this is not the writer to speak on this deeply (or any of these references, for that matter), so we encourage you to branch out with your own diligent, self-aware, and respectful research if you aren’t a part of the community.
Not every single reference in the “squabble up” music video is worthy of a full breakdown. Sometimes, it’s just a funny and gassed-up flex. For example, the most confident part of the whole visual is when Kendrick Lamar sits down to read a book titled How To Be More Like Kendrick For Dummies. Of course, when you’re making so many homages in a music video for a song off an album that pulls so much from past and contemporary hip-hop artists both in and outside of the West Coast, this is a pretty ironic statement that shoots itself in the foot a bit. But it works just as well as a boisterous bite from the 37-year-old to everyone under him in the rap game. He probably thinks that all of them want a copy, but if they think those attempts will help them, they’re probably dummies.
The last key reference in this part of Kendrick Lamar’s “squabble up” is the Trunk Boiz’s first hit, “Scraper Bike.” It introduced the hip-hop audience to the scraper bike scene in Oakland back in 2007, and you can see the “ThatGO” bike from its music video appear in this new GNX visual. It’s yet another Bay Area-adjacent nod, and also anchors “squabble up” in a pretty millennial timeframe for its audience. Sure, there are a lot of references across a couple of decades, but this is a deep cut from the 2000s that folks probably needed to particularly tap in for. Some folks say that the Trunk Boiz themselves are the ones in the video, but we can’t confirm that just yet. Check in down there in the comments if you’ve got the scoop.
Ice-T is one of gangster rap’s most pivotal pioneers on the West Coast, so a shoutout to his craft and contributions was a perfect addition. “squabble up” features a woman with a shotgun in the back of the room, calling back to Ice’s 1988 album Power. Also, style icon and Sa-Ra group member Taz Arnold appears at around the same time, holding up “Hood Love” four-finger rings (which possibly alludes to Spike Lee’s classic 1989 film Do The Right Thing, too).
In addition, Kendrick Lamar wears all-blue in this music video, just like Ice-T on the Power cover. It’s an interesting decision given his all-red attire at “The Pop Out” on Juneteenth. More importantly, it might represent the gang unity that Kendrick’s been so adamant about this year, to which there are some other allusions in “squabble up.”
Another obvious but beloved inclusion in Kendrick Lamar’s “squabble up” music video is the Scramble Board from the legendary TV show Soul Train. That was one of the mainstays of the program, in which dancers had to unscramble the board and piece together the letters to form the name of that show’s performer or a renowned individual in Black culture. As you can probably guess, folks immediately put their tinfoil hats on and attempted to decipher this Scramble Board for themselves. The biggest clue spreading around the Internet right now is that “omnia est aliquid” – which is what’s spelled out in the visuals – roughly translates to “Everything is something” in Latin. What does that mean? No idea. But if everything is something, maybe we just need a couple more days to figure it out…
As Kendrick raps “don’t hit him, he got kids with him, my apologies” in the “squabble up” video, this close up seems to reference Menace II Society.
Kendrick spoke about his appreciation for the film with @RealSway in 2013, asking actor Tyrin Turner how he portrayed Caine in… pic.twitter.com/goKuUak80h
Spoiler warning if you’re reading this from under a rock… Although the embeds probably ruined it anyway. Menace II Society is the Hughes brothers’ 1993 directorial debut, and it’s an essential piece of not just Los Angeles media, but Black cinema during the ’90s and beyond. It narrates the story of Caine Lawson and his friends in the Watts and Crenshaw communities, and the crime drama ends tragically as a child on a toy tricycle witnesses horrific murder. “squabble up” features an actor portraying that same orange-jacketed boy on a tricycle, and the camera focuses on him when Kendrick Lamar raps the following line: “Don’t hit him, he got kids with him, my apologies.” It’s an ominous sign and a pretty dark one, too, but the lyrics and visuals also point to an alternate ending for the original movie in which that kid didn’t see what he saw.
Finally, Kendrick Lamar’s “squabble up” music video references to two beloved records with key differences and similarities. The late great Nate Dogg’s G-Funk Classics, Vol. 1 & 2 CD hangs from the chandelier in one shot, paying homage to the Long Beach legend’s debut studio album. The second LP is one of Isaac Hayes’ best albums, 1971’s Black Moses, as a man stands in the room wearing the same clothing depicted on the cover art. In particular, this era of the Memphis soul legend preceded and led up to his performance at the Wattstax benefit concert in Los Angeles in 1972, commemorating the seventh anniversary of the Watts riots in 1965. This Hayes-honoring man appears right when other portraits of Black Jesus are on screen, calling back to themes of nationalism, identity, and community.
Even though Isaac Hayes is not from Los Angeles, both albums here have significant connections to the West Coast… and perhaps to Kendrick Lamar himself. Both Hayes and Nate Dogg’s LPs are double albums, and you’ve probably already heard the theory that we’ll get a more grand, thematic, and formal K.Dot album very soon in the wake of GNX. Will that manifest? We can’t wait to find out. Either way, as the visuals for “squabble up” prove, Kendrick gave us so much food for thought with this album and its rollout (or lack thereof) that a long or short wait can’t dampen our excitement for what’s next or our excited appreciation of what’s here.
Today has been another busy day for Kendrick Lamar. Throughout Monday afternoon, the California sensation has been dropping more extra curriculars surrounding the release of his sixth album GNX on Friday, November 22. One of those things includes physical copies of the record. He’s launched three different vinyl variants, as well as a CD, cassette, and a digital version. They are all available for pre-order (except the digital version) and will ship at the beginning of March or soon thereafter. But that’s not all, right around noon again, he shocked everyone. This time, it was with a music video for what is shaping up to one of the biggest hits on the record, “squabble up.”
The snippet from the “Not Like Us” visual was highly anticipated and has been ever since. Fans have been extremely thankful that Kendrick wound up building out a full idea for the song and they are rewarding him handsomely for his efforts. Previous reports say that the song is trending toward a chart-topping debut on the Hot 100. We still have some time before that officially happens, but it’s very likely. On top of streaming the song across numerous platforms a ton, the visual is getting similar love. As it stands, it sits at nearly two million views just four hours in to it dropping.
As with most things Kendrick does, fans are trying to find connections, callbacks, and the like with this visual. Overall, it doesn’t seem to be too deep, but it is a healthy homage to West Coast hip-hop and the culture at large in California. However, some fans are maybe reaching one particular shot in the music video and it’s with the one above you. As you can see it’s Lamar standing away from the wall with a half-naked woman standing and facing the green backdrop.
Some are likening this to Kanye West and his cover art for VULTURES 1. If you remember it’s Ye facing the camera while his wife Bianca Censori is practically nude facing the opposite direction. However, this is actually not correct. Instead, this is a callback to one the OGs, Ice T. The New Jersey to L.A. rap act put out an album in 1987 called Power and it featured a woman of similar stature wearing a white jumpsuit/unitard on the cover. Some fans cleared up the confusion in the comments, but it just goes to show how much effort Kendrick puts into every artistic move.
Ever since Kendrick Lamar dropped his surprise album GNX on Friday, it’s all any rap fan can talk about online. He gave them more food for thought with the video for “Squabble Up,” the album standout which he previously teased in the “Not Like Us” video five months ago. Now, fans can’t stop dissecting the pop culture references sprinkled throughout the video. While we may not be able to fully explain some of them because you just had to be there — who really knows why all our aunties had those dang panther statues in the living room — here is a breakdown of the references to Black film, music, and California in the “Squabble Up” video.
The Freeway Exit Sign
The video opens with a reproduction of an exit sign from the 105 Freeway that cuts through South Los Angeles. Specifically, the three eastbound exits listed — Wilmington, Central, and Long Beach Blvd. — are the ones pertaining specifically to Compton.
Scrapers And African-American Flags
The next big cultural reference is to scraper bikes, a fixture of Oakland, California, which grew out of lowrider car culture. In 2006, Tyrone “Baybe Champ” Stevenson Jr., aka Scraper Bike King, began modifying bicycles with scrap, cardboard, tinfoil, and paint in an effort to create a new hobby to keep youth out of trouble. Dancers throughout this scene “go dumb,” an expression of the hyphy culture that grew out of the Bay Area in the early 2000s.
The African-American Flag was created by David Hammons in 1990, combining the colors of the Pan-African Flag, black, green, and red, with the flag of the United States to represent African diaspora identity in the US. Historically, enslaved Africans were banned from learning about their home cultures; as a result, the Black American identity has become a way for their descendants to create a culture of their own.
Ice-T’s Power Album Cover
That buxom young lady holding the shotgun in a revealing swimsuit is a reference to the back cover of Ice-T’s 1988 album Power — an album considered pivotal in the rise of both LA’s rap scene and gangsta rap overall. Ice’s then-girlfriend Darlene Ortiz posed on the cover, while the album, like GNX, found Ice taking on rap’s heartthrob LL Cool J — sound familiar?
Soul Train Scramble Board
This one’s a super deep cut. The dance variety show Soul Train — a fixture in certain households in the ’80s and ’90s — included a recurring segment in which two dancers would try to solve a word scramble forming the name of that week’s musical guest or another notable Black figure.
The Big Wheel
Right around the two-minute mark, you might notice a small child on a Big Wheel tricycle in the background. This is a reference to the film Menace II Society. Spoiler alert for a 30-year movie: It doesn’t end well for Caine — or the kid on the Big Wheel.
Isaac Hayes’ Black Moses Album Cover
Near the end of the video, we see a reproduction of the cover of Isaac Hayes’ fifth studio album, which included his interpretations of “Never Can Say Goodbye,” and “(They Long to Be) Close to You,” and went No. 1 on the Billboard R&B chart in 1972. Behind him, we see a box of Black Jesus prints, which ought to speak for themselves.
The Roots’ “The Next Movement”
This one’s admittedly a bit shaky, but as one fan on Twitter pointed out, the clip bears a striking resemblance to the one for The Roots’ 1999 Things Fall Apart single, “The Next Movement.” Like GNX, that album also saw its principles taking steps in bringing music previously only acknowledged as underground to mainstream consciousness, while making subtle references to progressive social movements.
Kendrick Lamar putting his hometown on display in his videos isn’t exactly new, but he’s never before done it the way he does in his video for “Squabble Up.” The song, which interpolates Debbie Deb’s 1984 freestyle hit “When I Hear Music,” first appeared as a tag on the video for “Not Like Us,” prompting a fan frenzy for its official release. Those fans got exactly what they wanted with the surprise release of K. Dot’s new album GNX, which features dozens of references to LA culture and history, including that sample.
The video for the song, which Kendrick just dropped, likewise puts an appreciation for Los Angeles on display, opening with a street sign from the 105 Freeway (eastbound, if you know you know) that acts as Compton’s northern border and featuring dancers performing the various “walks” affiliated with street gangs and inner city residents who see that sign often. African American flags hang over Kendrick’s head as he reads a book titled How To Be More Like Kendrick For Dummies — a book whose publication would certainly cut down on certain online shenanigans by a bunch.
You can watch the video for Kendrick Lamar’s “Squabble Up” above.
GNX is out now via PgLang/Interscope. You can get it here.
(@mosthiphop)