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welcome to new retro weekcelebrates the biggest artists, hits, and cultural moments that made 2013 a pivotal year in pop. These essays show how the blueprints of today were created ten years before him. Get in the time machine.
Ten years ago, when the world heard Kendrick Lamar’s verse on Big Sean’s “Control,” it was made for the Detroit rapper’s sophomore record in 2013. hall of fame – Audiences were stunned by Lamar’s combination of lyrical bravado and exhilarating vitality. Just a year earlier, Lamar had released his second studio album. Good Kid, MAAd Citywhich established him as one of the most talented emcees in the history of the genre.
The Compton native, famously endorsed by Dr. Dre, had already established himself in hip-hop with his impressive first record in 2011. Section 80But the platinum sale is Good Kid, MAAd City It showcased his storytelling abilities on a whole different level. Lamarr’s penchant for enchanting detail shines through in “Swimming Pool (Drank),” and “Poetic Justice,” aided by Drake, presents his romanticism in a surprisingly tender way.
Ultimately, the album worked to keep fans salivating just thinking about his future projects. “Control,” which also featured Jay Electronica, was premiered by Funkmaster Flex on New York City’s iconic Hot 97 radio station, but never actually appeared on Big Sean’s radio station. hall of fame, which could not even be purchased due to sample clearance issues. But Kendrick’s poetry elevated it exponentially.
Legendary Chicago producer No ID, the song’s mastermind, told MTV News that “Control” almost never ended up in Big Sean’s hands. “Being a producer you go through different versions of an idea. That beat actually started when he was working with J. Cole, but that version didn’t hit. Jay I made a -Z version, but it didn’t work,” he said. “I did that version for Sean. It was just meant to be a kind of street track for him.
But Sean expressed interest in adding Jay Electronica to the mix, then Kendrick. “I was like, ‘We’re away from what we’re meant to be, but it’s cool,'” he says. “And when I put it all together, I certainly felt it. [‘Control’] The song not only became one of the most talked about rap songs of the decade, but it also cemented Kendrick Lamar as a central point of cultural debate for most of 2013.
Sandwiched between epic verses from Big Sean and Jay Electronica, Lamar outdid himself with a theatrical bar that made him compelling on the world stage. He enters the song with an eerie but melodic bridge and declares: From there, he not only proclaims his undisputed greatness (“I am a descendant of Makaveli, and I am King of New York”), but also calls his comrades by name and steps up to them. encourages the plate to swing on his title.
“I’m usually a homeboy and have the same n—-s that I rhyme / But this is hip-hop, they know what time the n—-s are / And that goes for Jermaine Cole, Big KRIT, Wale / Pusha T, Meek Mills, A$AP Rocky, Drake / Big Sean, Jay Electron, Tyler, Mac Miller / I love you all but I’m going to kill you n—- s.’ I was. The rapper’s outspokenness was perfectly encapsulated by his vicious demeanor, reviving hip-hop’s militancy that seemed to have died out over the years.
When rap began, it served as a space for marginalized black and brown communities to talk about the injustices against them. The harrowing picture was what captivated the nation. But the genre soon gave way to the American pitfalls of both misogyny and capitalism. The host was notorious for being criticized for lyrics about women and bars glorifying empty materialism. Additionally, rivalries between often high-profile artists became a way of selling records. The latter, as No ID explains, is he one of the reasons why “Control” was groundbreaking.
“Competitive Beef [rap] It’s a bit of a cliche space,” says ID. I think Kendrick’s poetry embodies both. He was bringing an element of competition that was crossing the line to mention people’s names, but seeing how that happens in rap, it wasn’t beef. I feel less competitive now, simply because I don’t want to look like I’m trying too hard. “
“[‘Control’] definitely got people going [Lamar’s] I don’t play,” he continues. “He’s not playing at all.”
“Control” also sparked a plethora of calls and responses from hosts whom Lamar personally referred to in the song, as well as those who felt unfairly left out of the conversation. Celebrities such as J. Cole, Lupe Fiasco, Joey Bada$$ and Papoose responded with wax. No ID reveals that the attention surrounding “Control” shocked even one of the song’s collaborators. “I remember getting a call from Jay Electronica and saying, ‘Buddy, why can’t you tell me what’s going on?’ …” And before he finished, I was like, “Hey bro, I didn’t call you to be on this record,” he says with a slight laugh. .
“He was like, ‘Man, if I knew it was a competition, I would.’ Well, it’s always a competition. How about that?” . “There may be a money race, a hit race, but no more skilled art race. Above all, it was kind of nice to be a part of bringing that spirit back to the forefront.”
The respected producer boasts a lengthy discography known for pushing boundaries and expanding minds. From “Control” to Common’s “I Used To Love Her” to Jay-Z’s “DOA (Death Of Auto-Tune),” No ID’s catalog risks potential backlash to push the needle forward Saturated with songs. Naturally, he bathes in his prudence. “I’m definitely a guy who likes to poke bears when he’s working with someone. Whether it’s to let people know… [that] I don’t intend to make music without a purpose. “
However, he remains stoic and humble about his contributions to rap as a whole. “I don’t think about or really promote what I do, because part of it robs me of my hunger and desire. My best work lies ahead of me.” I want to think
Looking back on Control’s legacy, No ID affirms the notion that fearless artists will always have the greatest impact. “I’ve been through enough decades to know that history rewards courage. That’s what hip-hop is to me, about being dope and brave yet breaking the rules.” Subsequent record of Good Kid, MAAd City, pimp a butterfly, When Fuck, They repeated this notion when they became two of the most critically acclaimed of all time.
Mr. Morale & The Big SteppersReleased last year, continues to showcase his unconventional approach to music making while offering strong social and cultural commentary. Although considered controversial on its subject, Mr Moral It also symbolized Kendrick’s valiant quest for his deepest trauma. No ID asserts that such liberation is the true point of art. “I enjoyed his perspective of freedom [on Mr. Morale] Be a true creator and not always a competitor. When you create freely, you already win…that’s the point. It’s about being happy with yourself and your expression and passing it on to the next generation. “
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