The Butterfly Effect

by Marcus J. Moore

  Kendrick notched another first around this time: In February 2018, TDE released Black Panther: The Album, a soundtrack to the Ryan Coogler–directed blockbuster Marvel superhero film starring Chadwick Boseman, Lupita Nyong’o, and Michael B. Jordan. Kendrick and Top Dawg cocurated the soundtrack and handpicked each South African musician who landed on the LP. It was supposed to represent their version of Wakanda, the fictional African country where the film is set. “I’ve been a massive Kendrick fan ever since I first heard him, since his mixtapes, and I’ve been trying to track him down,” Coogler told NPR. “Eventually I caught up with him a couple years ago—first with Anthony ‘Top Dawg’ Tiffith, who runs his label, and then later on sat down with him and Kendrick and just spoke about how much his music affected me. He talked about my movies that he had seen, and we said if the opportunity comes, we’d love to work with each other on something.” Kendrick, Top Dawg, and Sounwave started compiling the soundtrack in August 2017 while touring DAMN. Black Panther became a massive cultural smash and the highest-grossing solo superhero film of all time, a powerful feat given its majority-black cast. It won three Oscars, and Kendrick was nominated for an Oscar for his collaborative song “All The Stars” with vocalist SZA (who by then had become a masterful songwriter and musician in her own right).

  DAMN. and Black Panther: The Album punctuated a rise that we’d never seen before, the likes of which we’d never see again. Surely, Kendrick wasn’t done—he still hadn’t written his best verse or delivered the perfect album—but that’s also what made him great, and that’s why his art connected the way it did. He’d vanish again soon enough, popping up in occasional photos and one-off concert appearances, leaving us to ponder his next move. By early 2020, weeks after the House of Representatives voted to impeach President Donald Trump, and after Trump’s approval to kill Iranian general Qasem Soleimani put us all in jeopardy, chatter began to surface about his next, well, anything. It had been too long since DAMN. lit up the industry and his art ignited the soul of Black America. But that’s what Kendrick did best: he’d always left us wanting more; we’d have to wait once more as he recharged, recentered, and reconfigured his spirit. “All I can do is continue to be an actual human being,” Kendrick once said. “And to show them that I go through the same emotions, and the same feelings that y’all go through. All I can do is express myself and hope you take something from it.”

  Acknowledgments

  I’ve been asked this question a lot over the past two years: Why Kendrick Lamar? The answer is always simple: Why not? Though he isn’t done creating (as of this writing), there’s no denying the grand impact he’s had on music and black culture over the past decade. His story is worth celebrating, so why not give him flowers now? Why can’t we acknowledge their impact while they’re still working? To wait until they’re gone seems cold and unnecessary. We lost Kobe Bryant too soon. Pop Smoke passed when he was just becoming a star. More than anything, I hope you see the light in this work, that while it delves into the good and bad and raises some questions, it’s meant to be a resounding document for today’s readers and future generations.

  And while he’s all set on praise from strangers, I want to formally thank Kendrick Lamar for creating honest, thought-provoking art. Thank you for taking risks, for showing your generation that it’s okay to go against the grain. You could’ve easily followed good kid, m.A.A.d. city with good kid, m.A.A.d. city II, or To Pimp a Butterfly with something equally steeped in jazz and funk, but you’ve always changed course, making it cool for music to say something forthright and uncomfortable. I respect the quiet you exude, the stealthy demeanor through which you and TDE operate. I appreciate you all from afar.

  There’s been a lot of goodwill surrounding this book, and for that, I am truly appreciative. Thanks to my literary agent, William LoTurco, for listening to my ambitious ideas, and to Jason Reynolds and Todd Hunter for guiding me very early in the process. Big thanks to Phonte Coleman, Erik Otis, Kim Robinson, and Ashley Dior-Thomas for your immense help behind the scenes—whether you shared resources or offered words of encouragement, it really meant a lot and I’ll never forget it. Much love to all the friends who made sure I remained human; you all know I’m a perfectionist, and your “just checking in” messages helped me through some tough creative days. Sincerest love to dear friends like Briana Younger, Andre Taylor, Carl “Kokayi” Walker, and Yudu Gray, Jr., who were there when this was just an idea and encouraged me every step of the way.

  Of course, this book wouldn’t exist without the goodwill of the people in it. Sincerest thanks to everyone who saw the positivity and made time to speak with me. There are far too many of you to name (sidenote: I’d always cringed when I read that in album liners, but now I understand), but I truly appreciate you all. I realize it’s my name on the cover, but this book is a combination of Songs In The Key of Life (Stevie Wonder’s landmark 1976 album) and Everything’s Fine (Jean Grae and Quelle Chris’ stellar 2018 album) with great voices and perspective filtered throughout the work, even if I orchestrated it. This much isn’t lost on me, either: It was tough to explain the focus of this book in an email, especially when there are so many things commanding our attention. That it was the first, or one of the first, books on Kendrick likely caused some reticence. He’s such a private guy and some worried that I was digging for dirt. As you can see, The Butterfly Effect wasn’t a celebrity biography in the traditional sense; it’s a testament to the creative community, and how staying true to your vision can ultimately change the world.

  It’s taken a while to get to this moment, and I wouldn’t be here without family, colleagues, mentors, and editors who saw something in my work and decided to give me a chance. To my mother, Delores, my first best friend, and closest supporter. You’ve always been the ultimate parent, and from an early age, you let me determine my path without steering me to what you wanted me to do. You let me discover and guided me with a loving hand when I faltered. To my aunt Pam, my creative twin: I discovered the world through your record collection, and you were the first to teach me that great music is great music, no matter where it originated. I’ve always loved your real-talk perspective; it helped me through some tough moments. I learned a lot about music, culture, and life from my cousins Ike, Tiffany, and Eric. As a kid, I’d watch MTV for hours; then we’d play cassettes that I was too young to hear: N.W.A, Boogie Down Productions, Too $hort, Public Enemy, and so on. My cousins gave me a serious education in music; they’re the reason why I dig in the crates now. Love to my aunts Claudia and Claudette, my uncle Joe, and all my paternal aunts, cousins, uncles, nieces, and nephews. Big blessings to my siblings: Judy, Fella, Katina, and Angie. I love and think about you all even if we don’t talk every day. Love to my in-laws: Mr. and Mrs. Koroma, my sisters-in-law, Satia and Kamilah, and my brother-in-law, Mohamed. Thanks to Suitland High School as a whole, and to the Class of 1999, especially. We had some stars graduate from that class! Blessings to Bowie State University as well; the experience was immense.

  Eternal love and gratitude to the Prince George’s Sentinel and The Gazette newspapers. Thanks to Vanessa Harrington and Ulric Hetsberger for showing me what leadership looks like, and to my colleagues for being the best reporting team in the region. Without a doubt, the biggest mentor in my career was Michelle LeComte, a tough-minded yet loving editor who’d scream at you on deadline, then sing your praises if you submitted a great article. She taught me how to be strong and compassionate, and to tell the truth with care. Thanks to the best reporting squad in the world: Janel Davis, Sean Sedam, Doug Tallman, Clyde Ford, Alan Brody, and Margie Hyslop. It was an honor to work beside you all. You’re all rock stars and I still can’t believe I got to share space. Thank you, Ginny Suss, for letting me write for Okayplayer (another sidenote: go back and check the “Boards” archives: there are plenty of people who came through that site who are now steering culture). Thank you, Godallahtruth Hall, for ushering me into the DC music scene, and to Jon Fischer at the Washington Ci
ty Paper for bringing me into the fold. Peace to all the publications that ever gave a shot: SoundSavvy, Beats Per Minute, Prefix, Potholes In My Blog, BBC Music, Rolling Stone, MTV Hive, Billboard, Spin, NPR, The Atlantic, The Washington Post, Pitchfork, Entertainment Weekly, The Nation, The Fader, and WTOP. I’d be remiss if I didn’t thank J. Edward Keyes for calling me up to Brooklyn from Washington, DC in the first place. You have the most nuanced ear for music I’ve ever encountered, and whether you want to admit or not, you’re a great friend, editor, and person who deserves all of the things. Bandcamp Daily is the squad.

  To Brooke Hawkins: You’ve been my dear friend since high school, back when we compiled the Class of ’99 yearbook and shared laughs in the hallway. You’ve been there through every major life event, always with a smile and words of encouragement. You’ve always seen things in me that I don’t see in myself, and as I worked on this project, you were always there to cheer me on. I’ve watched you become a great writer, editor, wife, and a mother, and with each milestone, you’ve grown exponentially. Keep shining. Keep winning. Keep fighting the good fight.

  To Brian Wallace: I still think about the first time I met you, at Suitland High School in gym class. I think about that basketball game and how you got the best of me (I paid you back, though), and how we’ve become brothers. I think of your family and how loving you all are. I’ve known you, Trecia, Felicia, Araina, and Mr. and Mrs. Wallace for twenty-plus years, and now you have your own beautiful family. You heap heavy superlatives on me, but I applaud you for being the real star. You’re a shining example of quiet resilience and strength, and I pray that I’m able to possess one-tenth of your character someday. I’m working on it.

  To my wife, Mabinty: You are the love of my life, my heart, and my soul. It’s been an honor to witness the grace through which you navigate life. You are the living embodiment of spirituality and persistence, and your spontaneity keeps me human. I adore your ambition, the way you command every room you enter. I’m your biggest fan and cheerleader, and I’m thankful to God for having met you all those years ago. Your patience is immeasurable; you gave me space to write this book while holding me close. You were there for me every day and I’m very grateful. You’re a divine light and the world is better with you in it.

  And now for the customary disclaimer (though I mean what I’m about to say): sincerest apologies to anyone I may have forgotten. The last two years have been something else; I hope you understand. If you’ve been an active part of my life during that time, please know that I appreciate you, and God willing, I will tell you so personally. Thanks to everyone who’s shown interest in this book. May it resonate in your spirit.

  More in Entertainment & Arts Biography

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  About the Author

  Marcus J. Moore is a music journalist, editor, curator, and pop culture commentator whose writing can be found in The Nation, Pitchfork, Entertainment Weekly, Bandcamp Daily, NPR, The Atlantic, BBC Music, and MTV, among others. He’s created nationally syndicated playlists for Google, discussed new music live on FM radio, contributed to national shows and podcasts, and hosted live interviews and guest-hosted live shows on Red Bull Radio. In 2009, Moore launched his own site—DMV Spectrum—which covered music and entertainment in Washington, DC; Maryland; and Northern Virginia. He is originally from the Washington, DC, area, and now lives in Brooklyn, New York. The Butterfly Effect is his first book.

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  Notes

  Chapter 1: How “You Got Robbed”

  He was shy: Josh Eells, “The Trials of Kendrick Lamar,” Rolling Stone, June 22, 2015, https://www.rollingstone.com/music/music-news/the-trials-of-kendrick-lamar-33057/.

  With guest appearances: Rob Markman, “Kendrick Lamar’s good kid, m.A.A.d. city Is Now Certified Gold,” MTV News, December 2, 2012, http://www.mtv.com/news/2499851/kendrick-lamar-good-kid-maad-city-certified-gold/.

  Though the town wasn’t: Angel Jennings, “Compton Selected to Receive Federal Aid to Reduce Violent Crime,” Los Angeles Times, September 28, 2015, https://www.latimes.com/local/lanow/la-me-ln-compton-selected-to-receive-federal-aid-20150928-story.html.

  But he did: “2013 Grammy Winners,” Grammy Awards, Recording Academy, accessed March 24, 2020, https://www.grammy.com/grammys/awards/56th-annual-grammy-awards-2013.

  “You got robbed”: Tom Breihan, “Read Macklemore’s Apology Text to Kendrick Lamar for Winning Best Rap Album Grammy,” Stereogum, January 27, 2014, https://www.stereogum.com/1644301/read-macklemores-apology-text-to-kendrick-lamar-for-winning-best-rap-album-grammy/news/.

  “I think it was uncalled for”: “Kendrick says Macklemore went too far + who ‘i’ is for & the state of HipHop,” YouTube video, posted by “HOT 97,” November 3, 2014, https://www.youtube.com/watch?v=tItZsMcLSRM.

  “It felt cheap”: “Drake Calls Macklemore’s Grammy Apology Text ‘Wack as F——k,’ ” Rolling Stone, February 12, 2014, https://www.rollingstone.com/music/music-news/drake-calls-macklemores-grammy-apology-text-wack-as-f-k-81580/.

  “Then he came back on”: “Kendrick says Macklemore.”

  “Knowing how the Grammys”: Rebecca Tucker, “Macklemore on Kendrick Lamar’s Grammy Snub: ‘I Had an Unfair Advantage Due to Race,’ ” National Post, January 28, 2014, https://nationalpost.com/entertainment/music/macklemore-on-kendrick-lamars-grammy-snub-i-think-i-have-an-unfair-advantage-due-to-race.

  “The language that I used”: Elias Leight, “Macklemore on Hip Hop & Cultural Appropriation: ‘I Need to Know My Place, and That Comes from Me Listening,’ ” Billboard, December 30, 2014, https://www.billboard.com/articles/news/6422361/macklemore-race-hip-hop-cultural-appropriation-hot-97.

  had shot quickly: Gil Kaufman, “Adele’s ‘25’ Hits Diamond Status in Less Than a Year,” Billboard, September 27, 2016, https://www.billboard.com/articles/columns/pop/7525493/adele-25-hits-diamond-status-10-million-less-than-a-year.

  “They absolutely, positively”: Joe Coscarelli, “ ‘More Artists Are Going to Boycott’: The Grammys Face Fallout after Fraught Grammys,” New York Times, February 13, 2017, https://www.nytimes.com/2017/02/13/arts/music/beyonce-adele-grammys-backlash.html.

  “Believe the people”: “OK Ken and David…,” Frank Ocean’s Tumblr page, February 12, 2017, https://frankocean.tumblr.com/post/157125310721/ok-ken-and-david-as-much-as-i-hate-to-make-you.

  In 1989, rap duo: Joe Coscarelli, “The Boycott Before: Rap and Resentment at the 1989 Grammys,” New York Times, February 11, 2016, https://www.nytimes.com/2016/02/11/arts/music/the-boycott-before-rap-and-resentment-at-the-1989-grammys.html.

  According to the Recording Academy: “Grammy Awards Voting Process,” Grammy Awards, Recording Academy, accessed April 3, 2020, https://www.grammy.com/grammys/awards/voting-process.

  “human like we are”: Melinda Newman, “Jay-Z Honored as Clive Davis’ Pre-Grammy Gala Draws Performances from Alicia Keys, Migos & More,” Billboard, January 28, 2018, https://www.billboard.com/articles/news/8096635/jay-z-honored-as-clive-davis-and-recording-academys-pre-grammy-gala-beyonce-alicia-keys.

  “Along with the official guidelines”: Rob Kenner, “Hate Me Now: What It’s Like to Be a Grammy Voter,” Complex, January 20, 2014, https://www.complex.co
m/music/2014/01/how-does-grammy-voting-work.

  “Richie was far”: Kelsey McKinney, “The Grammy Voting Process Is Completely Ridiculous,” Vox, February 15, 2016, https://www.vox.com/2015/2/4/7976729/grammy-voting-process.

  “We need a culture change”: Melinda Newman, “Recording Academy Invites 900 New Voting Members Based on Task Force Recommendations to Increase Diversity,” Billboard, October 4, 2018, https://www.billboard.com/articles/news/8478236/recording-academy-invites-900-new-voting-members-task-force.

  “I think it’s mostly the music”: Christopher R. Weingarten, “Macklemore Talks ‘Gemini,’ His Upcoming Career Reset without Ryan Lewis,” Rolling Stone, September 14, 2017, https://www.rollingstone.com/music/music-features/macklemore-talks-gemini-his-upcoming-career-reset-without-ryan-lewis-124464/.

  “Fight on!” Mandela once wrote: Sahm Venter, ed., The Prison Letters of Nelson Mandela (New York: Liveright, 2018).

  “This is a place”: Dave Chappelle, “Kendrick Lamar by Dave Chappelle,” Interview, July 12, 2017, https://www.interviewmagazine.com/music/kendrick-lamar-cover.

  Chappelle had inked: Christopher John Farley, “On the Beach with Dave Chappelle,” Time, May 15, 2005, http://content.time.com/time/arts/article/0,8599,1061415,00.html.

  The shooting death of Chad Keaton: “LA’s Most Wanted: Murder Victim Chad Keaton,” Fox 11 Los Angeles, September 11, 2016 (the incident occurred July 12, 2013), https://www.foxla.com/news/las-most-wanted-murder-victim-chad-keaton.