Aux Cord Chronicles XIV: When R&B hosts hip-hop From Total and Biggie, Mya and Jay-Z to Rihanna and Drake, 54 of the best R&B songs with hip-hop features

Two things: One, last month I helped launch a rhythm and blues club with two friends, Ashley and Marcus, in Washington, D.C. A monthly meeting that essentially serves as nostalgic listening sessions for classic ’90s R&B (Jodeci’s Diary of a Mad Band in February and Aaliyah’s One In a Million in March), the events have already hit a nerve in need of soothing. And two, this R&B rabbit hole I’ve been in is the exact reason for the return of our Aux Cord Chronicles. The rules for this one? Simple. R&B songs with a hip-hop feature — not the other way around. For example, no Method Man and Mary J. Blige “You’re All I Need” or Big K.R.I.T. and Lloyd’s “1999” because Blige and Lloyd are the featured artists. Get it? Got it? Gucci. Pull up on us on social media and let us know your favorites. Let’s stop wasting time and get to the money …

Mary J. Blige feat. Grand Puba — “What’s The 411?” (1992)

An OG R&B/rap classic, co-produced by the man then known as Puffy, that any list of this sort is incomplete without.

SWV feat. Wu-Tang clan — “Anything (Remix)” (1994)

Let the record show, “Anything” was already one of the coldest bounces of any R&B song in history. Add in Method Man’s legendary opening bars? Kaboom, guess who stepped in the room/ Tical, hailing from the Shaolin Isle / It be me the killer bee, on the M-I-C/ With the S-S-double-double-U to the V-V, and it was a wrap.

Brandy feat. MC Lyte, Yo-Yo, Queen Latifah — “I Wanna Be Down (Remix)” (1994)

Of the Sylvia Rhone-created remix, Brandy said in 2012 that the record remains one of the most surreal moments of her career. It helped make for a close friendship with all three MCs too. “The hip-hop remix to ‘I Wanna Be Down’ meant the world to me,” she’s said. “I’m fresh out of the box and these superstars are part of my first single. They’re my mentors and I look up to them.”

Total feat. The Notorious B.I.G. — “Can’t You See” (1995)

Gimmie all the chickenheads from Pasadena to Medina … not much more needs to be said. A classic ’90s cut in every sense of the word.

Jodeci feat. Ghostface killah & Raekwon — “Freek’n You (Mr. Dalvin Remix)” (1995)

Women wanted to be with them. Men wanted to be them. It’s no secret Jodeci was the first real R&B presence with hip-hop’s stamp of approval — long before Ghost and Rae helped give a classic a makeover.

Mariah Carey feat. ODB — “Fantasy (Bad Boy Remix)” (1995)

First off, R.I.P. Ol’ Dirty Bastard. Secondly, Mariah, like Mary J. Blige, has a ton of classics with this formula. ODB brought so much energy and one-of-a-kind swag on this, it’s crazy.

Blackstreet feat. Dr. Dre & Queen Pen — “No Diggity” (1996)

The rare Dr. Dre feature did not go to waste here. And shout-out to Ted Riley for using the Lil’ Teddy doll in the video — paying homage to Penny Hardaway’s Lil’ Penny. Pop culture synergy at its finest!

Gina Thompson feat. Missy Elliott — “The things that You Do (Remix)” (1996)

Thompson doesn’t get the credit she deserves for the incredible hook on this. Vintage ’90s and with the Missy feature, a year before Supa Dupa Fly dropped? Flawless.

Dru Hill feat. Jermaine Dupri and Da Brat — “In My Bed (So So Def Remix)” (1996)

Bless J.D. and Da Brat for bringing some edge to a ballad that originally had Uncle Sam “I Don’t Ever Wanna See You Again”-type vibes. Aight, maybe not that sad.

112 feat. The Notorious B.I.G. & Ma$e — “Only You” (1996)

Another classic Bad Boy remix. One of the great travesties, aside from the fact Biggie’s been gone for 21 years, is the fact we’ll never know how many more R&B songs he would’ve destroyed. His flow and voice made him a natural on any song, but especially records like these.

Case feat. Foxy Brown & Mary J. Blige — “Touch Me, Tease Me” (1996)

This song’s been getting people in trouble for 20+ years now. And I can’t see that changing anytime soon. Good trouble, that is.

D’Angelo feat. AZ — “Lady (Remix)” (1996)

One of those records that made women feel sexy and men feel cool even trying to croon along to the original and this remix. Shoutout to Erykah Badu, Faith Evans (and her daughter) and Joi in the video too.

Mary J. Blige feat. Lil Kim — “I Can Love You” (1997)

It doesn’t get mentioned nearly as much as it should in either woman’s catalog, but it should. This song was a vibe even before people started calling everything “a vibe.”

Janet Jackson feat. Q-Tip — “Got ’Til It’s Gone” (1997)

“ ‘Got ’Til It’s Gone’ is about a great lesson learned — appreciate what you have while you have it,” Jackson told Jet in 1997. “In my life, I try to take nothing for granted, even if I don’t always succeed.”

Mariah Carey feat. The L.O.X. & Ma$e — “Honey (Remix)” (1997)

In fact / This is why I act like that / I ain’t dropped one single / And I made this money back … Mimi’s 12th No. 1 hit. And one of the biggest hits Bad Boy Records ever worked on.

Destiny’s Child feat. Wyclef Jean — “No, No, No (Pt. 2)” (1998)

A great “did you know?”: The first time Kelly Rowland heard this song on the radio she, Beyoncé, LeToya Luckett and LaTavia Roberson were riding to pick up Solange from school. None of them could believe what was happening. “We started running around the courtyard at Solange’s school and she hops out of the school and is like, ‘Why are y’all embarrassing me?’ ” Rowland said.

Aaliyah feat. Timbaland — “Are You That Somebody?” (1998)

The late Static Major wrote this and “Try Again” for Aaliyah. She wasn’t a huge fan of either. Thankfully, she listened to those around her, as both became huge hits. Unfortunately, neither Major nor Aaliyah is here anymore to see the song’s legacy evolve.

Mya feat. Silkk The Shocker — “Movin’ On” (1998)

So how old do you feel now that this Mya song is 20 years old?

Mariah Carey feat. JAY-Z — “Heartbreaker” (1999)

She wanna shop with JAY, play box with JAY/ She wanna pillow fight in the middle of the night / She wanna drive my Benz with five of her friends / She wanna creep past the block spying again / She wanna roll with JAY, chase skeeos away / She wanna fight with lame chicks, blow my day / She wanna inspect the rest, kick me to the curb / If she find one strand of hair longer than hers. Jay-Z was in his bag something crazy on this.

Jagged Edge feat. Rev. Run — “Let’s Get Married (Remix)” (2000)

Played at black wedding receptions from 2000 until infinity. Jermaine Dupri is a wizard, and it’s dope to see him getting the due his career and catalog rightfully command.

Mya feat. JAY-Z — “the best of Me” (2000)

The Jadakiss version was great. But if I can be completely candid, the Jay version is one of my favorite songs of all time. And while Have an affair, act like an adult for once eventually turned into life imitating art for Jigga, I still proudly recite both verses verbatim — sober or inebriated. Long live the video and the birth of jersey dresses that soon followed.

Jagged Edge feat. Nelly — “Where The Party At?” (2001)

Day parties, rooftops and pool parties are on the horizon. Because that’s exactly what this song sounds like, even 17 years later.

Erykah Badu feat. Common — “Love of My Life” (2002)

Badu and Common were talking about hip-hop, but if you and your better half have always connected over music, it’s the most romantic song ever.

Kelly Rowland & Nelly — “Dilemma” (2002)

Thought you were going to catch me slipping, huh? Nelly and Kelly’s monster hit record was also featured on the singer’s solo debut Simply Deep. One thing we’ve never figured out, though? Why Kelly was texting Nelly on Microsoft Excel and caught an attitude when he didn’t text back.

Beyoncé feat. Jay-Z — “Crazy In Love” (2003)

Crazy to believe Beyoncé’s solo international hit is already 15. Even crazier to see how this marriage has directly impacted pop culture in the years since. Even crazier than that? They’re about to embark on their second world tour together.

Destiny’s Child feat. T.I. & Lil Wayne — “Soldier” (2004)

How much has changed since this song dropped? The “chicken head” was like 372 dance crazes ago. Tip and Weezy went on to become two of the biggest (and at times most controversial) stars of the 2000s. And they’re not yet considered old heads. And Beyoncé’s We like them boys up top from the B.K., a not-so-subtle homage to she and Jay’s still new relationship, was considered big news.

Bobby Valentino feat. Lil Wayne — “Tell Me” (2005)

If you were in college when this song was poppin’, you already know it was big business. The legend of Lil Wayne, still then in the early stages of his iconic 2004-09 run, was blossoming before our very eyes. Wayne owned everything. This song included.

Chris Brown feat. Lil Wayne — “Gimme That” (2005)

You thought it was a joke when I said Wayne’s run was magical? He jumped on any and everything, and more often than not it turned into a hit. Case in point, this early Chris Brown chart-topper.

Ne-Yo feat. Peedi Peedi — “Stay” (2005)

Back when we all thought Peedi had next. Thirteen years later, it’s still impossible to not sing along with this hook. That joint still goes.

The-Dream feat. Young Jeezy — “I Luv Your Girl” (2007)

The-Dream, like other names on this list, could have his own separate list. He’s one of the most important artists since the turn of the century. But Jeezy’s Type of n— leave his skully on while he serving ya was a standout line then. And it still is now.

T-Pain feat. Yung Joc — “Buy U A Drank” (2007)

Again, this is another one of those “if you were in college when this dropped,” then there’s absolutely no way you can have anything bad to ever say about this song.

Lloyd feat. Lil Wayne — “You” (2007)

Lloyd is a great artist who could have and probably should have been even bigger than what he was. Also, 2007 Lil Wayne was just unreal. “Girls Around The World” was the follow-up hit between these two a year later. They had a run.

Mario feat. Lil Wayne — “Crying Out For Me (Remix)” (2008)*

This makes the cut for the vivid, eccentric story only prime Weezy could have gotten away with.

Usher feat. Beyoncé & Lil Wayne — “Love In This Club (Part 2)” (2008)

The original was fire. But this second installment blew it out the water. Keep in mind Usher, a superstar in his own right, landed 2008 Bey and 2008 Wayne. Unreal. Also, congrats to Wayne for being the first artist in Aux Cord Chronicles history to three-peat.

Beyoncé feat. Kanye West — “Ego (Remix)” (2009)

“Ego” was already a huge record, but Kanye’s remix took both of them all the way to a Grammy nomination.

Alicia Keys feat. Drake — “Un-thinkable (Remix)” (2009)

The time’s 2009 and Aubrey’s still the new kid on the block. This kind of introspective and introverted emotional feature became the calling card for the next decade of Drizzy’s time on rap’s Mount Olympus.

Keri Hilson feat. Kanye West & Ne-Yo — “Knock You Down” (2009)

Or as it’s become known in the years since: the song on which Kanye first professed his love to Kim Kardashian.

The-Dream feat. Fabolous, Juelz Santana, Rick Ross & Ludacris — “Rockin’ That Thang (Remix)” (2009)

I remember when this song hit all the blogs. Anything with Dream was a hit. Ross, too. Time flies.

Ciara feat. Ludacris — “Ride” (2010)

While I could’ve easily gone with their 2004 hit “Oh,” this has always been my favorite of the two. The video might have had a small part to do with that.

Miguel feat. J. Cole — “All I Want Is You” (2010)

Miguel’s breakout hit and Cole’s first huge feature has aged quite well.

Chris Brown feat. Busta Rhymes & Lil Wayne — “Look At Me Now” (2011)

Technically, it’s a record with no singing, which partially violates the rules. But given it is by an R&B singer, I’m letting it rock if for no other reason than it was one of the more fun records to party to seven summers ago.

The Weeknd feat. Drake — “The Zone” (2011)

Before The Weeknd became the international pop star we see today, his mysterious vibe produced songs like this on the regular — dark, romantic, maniacal and yearning all at once. Also, Drake absolutely rips this to shreds.

Kelly Rowland feat. Lil Wayne — “Motivation” (2011)

Fun fact: The NBA played a part in making this record happen. Rowland ran into Weezy at a Miami Heat game and told him about the record. The rest, as they say, is history.

Rihanna feat. Future — “Love Song” (2012)

It’s sad that these two haven’t recorded (or at least released) more music together. Because this collaboration, found on 2012’s Unapologetic, proved the two had more than enough chemistry to craft hits.

Ty Dolla Sign feat. B.o.B. — “Paranoid” (2014)

If someone tells you they’ve never sung along with this hook, they’re either lying or that’s honestly so heartbreaking for them.

Beyoncé feat. Jay-Z — “Drunk In Love” (2014)

Quite literally, an ode from man and wife celebrating their sex lives. A massive song that became one of the biggest of the year too. The last mega hit between The Carters before the Lemonade and 4:44 era. Now that things are back on the up and up, do they have another future No. 1 in them?

Jeremih feat. YG — “Don’t Tell ’Em” (2014)

Late Nights is still a criminally underrated album. And how this song, which peaked at No. 6 on Billboard, never got a video is beyond me. And by a video, I mean one with YG.

DeJ Loaf feat. Lil Wayne — “Me U & Hennessy” (2014)

R&B Weezy at his most explicit.

Anderson .Paak feat. The Game & Sonyae Elise — “Room In Here” (2016)

.Paak is a rapper and singer, and on this song he’s the latter to me. This cut on the modern-day classic Malibu has always been an underrated jam in A.P.’s eclectic catalog. A very strong guest feature from Game resides here too.

Rihanna feat. Drake — “Work” (2016)

One of these days Rih and Drake will release the joint project they were destined to: AubRih. Until then, they’ve got bangers on their mantle with 2010’s “What’s My Name?” 2012’s “Take Care” and 2016’s “Too Good.” The best song of their bunch? This one featuring a Billboard assassin’s pot luck of undeniability in island vibes, an infectious hook and incredibly strong guest feature. A tailor-made cut for parties of all sorts, this song helped both own the summer of 2016.

Miguel feat. Travis Scott — “Sky Walker” (2017)

These two were bound to craft a banger at some point together. Evident by this song’s inclusion here, they did just that with one of the waviest singles of the past year.

SZA feat. Kendrick Lamar — “Doves In The Wind” (2017)

A vibe and a half, if we’re keeping it a buck. The whole premise of the song is SZA and Kendrick addressing the role of sex in a relationship — in particular, what SZA proclaimed a “[dedication] to vaginas.” In fact, between the two, the word “p—y” is used 48 times. Twenty-eight by SZA, in case you were keeping count.

Kali Uchis feat. Tyler the Creator and Bootsy Collins — “After The Storm” (2018)

“I have a huge level of respect for people who actually work hard and are survivors,” Uchis said of the song’s inspiration. “When you’re in a good place or when you’re the unicorn that was able to get out of the circumstances, that doesn’t happen for a lot of people because of the way the system is built.” Ain’t that the truth.

Bruno Mars feat. Cardi B — “Finesse (Remix)” (2018)

Bruno’s been at the center of a complex cultural appropriation debate that, to say the least, has folks very much divided. Regardless, there’s no denying that Mars and Cardi B, headed out on tour together, have a bona fide smash that will go down as one of the better singles of 2018 — with a mean In Living Color homage in the video.

John Boyega adores Lupita Nyong’o and is about ‘Ewoks all day. I hate porgs.’ The ‘Pacific Rim’ and ‘Star Wars’ star likes his Jay-Z and Kanye — and his grime and afropop

He burst onto the scene in 2015 as Finn, the black storm trooper-turned-hero in Star Wars Episode VII: The Force Awakens, but John Boyega has proved that he won’t be defined by that life-changing role.

He’s since demonstrated his versatility in Kathryn Bigelow’s Detroit and onstage as lead in an adaptation of Georg Büchner’s Woyzeck in his native London — before bringing Finn back in Star Wars: The Last Jedi last December. Now Boyega is out front in the sequel to 2013 cult classic Pacific Rim, the new Pacific Rim Uprising.

Boyega is part of a large wave of black British actors who have taken over the American box office in recent years. Daniel Kaluuya was nominated for an Oscar for his role in Get Out. David Oyelowo was nominated for a Golden Globe for his performance in Selma. And Letitia Wright and Kaluuya both starred in Marvel’s Black Panther, which is on pace to become the highest-grossing superhero movie of all time.

“I’m proud,” Boyega said. “We all trained very, very hard to get here, gave up our lives in the U.K. to pursue something better, and in return America gave us that shot. It feels absolutely epic to be a part of this movement right now.”

Boyega’s ambitions don’t end in front of the camera. After filming The Force Awakens, he used his earnings to start a production company called UpperRoom Entertainment Limited, which was launched in January 2016. His company co-produced Pacific Rim Uprising, giving Boyega the first producer credit of his career. It’s safe to say that the shine of the talented upstart isn’t fading anytime soon.

If your character, Jack, in Pacific Rim Uprising played a CD in his Jaeger (the large robots featured in the film), what are you playing?

I’m going to be playing Jay-Z’s and Kanye’s Watch the Throne.

Favorite song off that album?

‘No Church in the Wild.’ It’s a good song, especially for the fighting in Pacific Rim. A bit upbeat.

Your dad is a preacher. Any music that wasn’t allowed in the house growing up?

We listened to all of it. Christians are nuanced. Some people believe you shouldn’t hear any secular music — my dad didn’t believe that. We listened to Michael Jackson growing up. We couldn’t listen to hardcore rap music or anything like that, but can’t lie, we listened to that when we were in school.

Who are your favorite musical artists right now?

I love SZA. She’s fantastic. Kendrick Lamar. I’m loving what Stormzy in the U.K. is doing. I’m loving what Skepta is doing with the fashion and the music. And then homegrown talent: I love Wizkid, I love Davido, Tekno. Those are the Afrobeat stars that I listen to.

On Instagram, you posted that you put Wizkid’s “Daddy Yo” in Pacific Rim Uprising. How important is diversity within those working behind the camera?

What people get to experience are ideas that come out from very different people. We all collaborate to bring together ideas that help move the story forward. With that being said, my background is very unique. Being able to make that kind of decision is cool, and to make that kind of history is cool as well. To put those worlds together and have our lead sci-fi hero enjoying an Afrobeat Nigerian song, it’s something to be proud of.

What aspect of Nigerian culture would you like to see represented more in the U.S.?

A whole bunch of things. It’s hard to see the perspective of the world and not be too concerned with only the portal that you have, which is America … the bubble that America creates. The food is something that I think … could be accepted in the mainstream. On top of that, definitely the music, which has gotten a bit more recognition, which is definitely quite cool. I believe that as human beings, any chance we get to relate with someone different enough, we are actively changing the world in a positive way.

Advice for your 15 year-old self?

Stop eating all those sweets, man. Seriously, you need to stop that (laughs).

How does it feel to be a part of this wave of black British actors taking over American film in recent years?

Myself and Letitia Wright went to the same drama school. I met Daniel Kaluuya at a very young age while he was doing his stage thing. I’ve met various British actors where I have auditioned in the U.K. I’m very, very happy. These are good actors, high-quality actors who are nuanced and are able to do things on-screen that are intriguing, draw the audience in.

I decided my talents were best suited for being in the [soccer] audience, watching.

First concert?

A Grace Jones concert.

Favorite line from Black Panther?

Oh, man. Hmmm. The colonizer line (laughs). That made me crack up. That definitely was my favorite. I have a film club that I go to, [and] Black Panther is the talking topic for the next two weeks. A lot of Michael B. Jordan’s lines come up — so well-written. The stuff he says about enslavement and how it relates to what’s going on today. Those lines are important.

Is it true that you once wanted to be a soccer star?

I didn’t actually want to be a soccer star, I just wanted to try it out to see if my right foot could kick straight. I decided my talents were best suited for being in the [soccer] audience, watching.

Did you have a favorite soccer club growing up?

The family supported Manchester United. My sister got married and she transferred to Arsenal and literally broke the family code. When she did that there wasn’t enough motivation for my dad to stay with MU because I think at the time we had a pretty crap Premier League. And then what happened, my dad became a glory hunter. You asked him what team he’d support, he’d say whatever team wins.

What will you always be a champion of?

Online Star Wars Battlefront.

Any bad habits?

I hardly make my bed when I’m leaving.

Actor or actress you’d most like to work with in the future?

Lupita Nyong’o.

Best advice you’ve received from another actor/actress?

I wouldn’t really call this advice, but talking to Lupita in-depth about the industry, in-depth about the way which we see our roles in this whole movement. I’ve always felt I could call her and speak to her about any challenges I’ve faced. And, for me, hearing her side of the story and hearing not only the perspective but also an insight into how I could be a part of the change.

While you’ve made your name in sci-fi, you’ve also been in films rooted in African-American (Detroit) and Nigerian (Half of a Yellow Sun) history. Any upcoming roles?

Yes, but I’ve got to keep that one to myself.

Ewoks or Porgs?

Ewoks all day. I hate porgs.

Jessica Williams and Phoebe Robinson bring ‘2 Dope Queens’ to HBO The popular podcast is now a four-part comedy special

The first thing you realize while watching the 2 Dope Queens HBO special is that Jessica Williams and Phoebe Robinson, the aforementioned dope queens, would be perfect at hosting the Golden Globes.

In a television adaptation of their popular 4-year-old WNYC podcast, Williams and Robinson display a familiar, wisecracking comedy that made Tina Fey and Amy Poehler so enjoyable for the three years they hosted Hollywood’s annual alcohol-soaked tribute to arbitrary awards. It’s the magnetism that comes from watching two girlfriends hold court and have a good time while wishing you were cool enough to join the party.

Now, under the direction of comic Tig Notaro (a recent guest on the podcast), 2 Dope Queens has been turned into a series of four one-hour comedy specials. The first one airs at 11:30 p.m. on Feb. 2. Each episode is a variety show built around a theme: blerds, New York, hair (because: black) and “hot peen” (because: alive). In each one, Williams and Robinson kick it for a bit, introduce a comic who does a stand-up set, then interview their celebrity guests before closing with another comic.

Robinson’s been performing stand-up comedy for 10 years and also solo-hosts another WNYC interview podcast called Sooo Many White Dudes, in which her guests are mostly anything but. Williams is best known as a former Daily Show correspondent (her old boss, Jon Stewart, makes an appearance on 2 Dope Queens), and lately she’s been throwing herself into acting. She recently released her second film with writer/director Jim Strouse, and the pair are working on a comedy series for Showtime.

Should they get the call (Dear Golden Globes producers, have some sense and enlist these two already), Robinson’s already thought of the celebrities she’d like to participate in their comedy bits. Oprah (“Because she’s amazing and delightful and she’s truly funny and she has a great personality”), former President Barack Obama (“He would be like, ‘Are you asking me to do a bit for the Golden Globes? I’m like, busy.’ ”) and Jack Nicholson (“I know you’re like semi-retired, but would you do something completely nuts with me? I think he would be like, ‘Sure.’ ”).

Robinson, 33, and Williams, 28, weren’t close friends when they originally began hosting the 2 Dope Queens podcast. Listeners witnessed their chemistry develop in real time as they’ve attended Billy Joel concerts and AfroPunk together. The result is a duo who shimmy and yaaaaaaaaasssssss their affirmations to each other and everyone they interview. In the case of the specials, that includes Tituss Burgess (Unbreakable Kimmy Schmidt), Uzo Aduba (Orange Is the New Black), Sarah Jessica Parker (Divorce) and Stewart.

“Minorities and people of color, we’re usually supporting characters in other people’s narratives, and so we try to give people a platform to be the star of their own narrative.”

“We were becoming friends as we were working together,” Robinson said by phone recently. “Like any sort of intimate relationship, we’ve learned what works for us, what doesn’t. It’s a really cool process to balance the friendship with working together.”

Both had some advice for new residents of New York, with Williams sounding like Sex and the City‘s Carrie Bradshaw giving a clinic to singletons.

“You’re not finding the peen-age? Just walk outside and do exactly what it is that you want to do and go explore your interests,” she said by phone. “Like, go to a SZA concert or a pottery class. … Just go do that and I think you’ll run into some hot sausage.”

Robinson, on the other hand, admitted to being more in the camp of the blind leading the blind.

“If I knew [where to find it], I wouldn’t talk about it as much as I do,” Robinson said. “I’m lucky that I have a boyfriend and I’m off the streets, because I was truly a nightmare. I’m not good at flirting. I think it’s good to travel in packs with your lady friends. You need that line of defense.”

Robinson and Williams curated an eclectic collection of guest comedians for their HBO specials, some of whom, like Michelle Buteau and Aparna Nancherla, may be familiar if you watched Wyatt Cenac’s Night Train series for the now-defunct streaming service Seeso. And like Night Train, 2 Dope Queens relies heavily, and deliberately, on minority comics. Other guests include Baron Vaughn, Sheng Wang and Naomi Ekperigin. Amy Aniobi, a writer and producer on Insecure, served as executive producer.

“We always try to make sure we have stand-up, storytellers or celebrity guests that are … a woman or a person of color or a member of the LGBT community,” Williams said. “Oftentimes, minorities and people of color, we’re usually supporting characters in other people’s narratives, and so we try to give people a platform to be the star of their own narrative. It’s inherently built into the show.”

The specials, which were shot in Brooklyn, New York’s, Kings Theatre, are set against the backdrop of a typical New York rooftop, complete with string lights, a grill and crates that double as seating. Both women said that working with Notaro, who recently wrote and starred in the Amazon series One Mississippi, was pivotal to the show’s success.

“Even when women are the stars of their comedy specials, they still have men directing them,” Robinson said. “I really wanted to have a woman directing ours. … I learned so much from her. She’s a great leader. There’s no drama. She comes in, she does the work and she makes it really fun. Every time we had a meeting, my stomach would be hurting because she’d be making me laugh.”

Grammys: Bruno Mars and Kendrick Lamar win big; Jay-Z and SZA are shut out What is it about hip-hop and rap music and Grammys?

There’s much so much take away from the 60th Annual Grammy Awards. Here are the most obvious elephants in the room.

Kendrick Lamar’s run continues. We said it before, but Lamar’s DAMN. good year has no end in sight. He started Sunday night’s Grammys off via one of the best (Dave Chapelle) intros in recent memory, brought out U2, and left Madison Square Garden last night with five Grammys — including rap album of the year and best rap/sung performance with Rihanna for their “Loyalty.” While it seems DAMN. the album has bumped Lamar up from rap superstar to Lamar the hip-hop pop culture kingpin, he once again lost out in the album of the year category — the third time that’s happened. And with a catalog that includes generation-defining records such as good kid, m.A.A.d city, To Pimp a Butterfly and DAMN., you’re left to wonder what, if anything, Compton, California’s, son has to do to, especially considering the massive goodwill DAMN. has produced. But with a nationwide tour on the horizon and the Black Panther soundtrack, serving as the Black Hippy album we never got, at least the start of 2018 is looking quite massive for hip-hop’s young legend.

Jay-Z and SZA shut out. They entered the night with a total of 13 nominations. And maybe that was a sign of bad luck off the rip. Both Jay-Z and SZA left Madison Square Garden without any hardware. Before the show, Jay again acknowledged his storied and infamous history with music’s biggest night. His groundbreaking 4:44 though wasn’t recognized in any category. Likewise, SZA, the most nominated woman of last night’s festivities, left empty-handed. It was a euphoric year for the first lady of TDE. Fueled by records such as “Love Galore” featuring Travis Scott, and “The Weekend,” her debut project, Ctrl is a commercial and critical success. SZA did, however, give a rousing performance of her standout “Broken Clocks,” seemed to highlight a disappointing night. Remember last year, when Rihanna also failed to receive a Grammy after dropping the best album of that year and of her career thus far? And: Wildly “Despacito,” Khalid and Cardi B were shut out, too. A weird night for music’s biggest night.

Instagram Photo

All hail King Bruno. I said the album would be important well over a year ago. Turns out I was wrong. It was very important. “It’s like you started the wave a long time ago,” said Jeremy Reeves, one-fourth of The Stereotypes, the production creatives who helped write the now Grammy-winning “That’s What I like.” “And for some reason it’s still growing. But that’s the roar and it’s like, ‘Yo, Bruno really took it all the way there from the studio to the world. It’s a crazy feeling.” Simply put, Bruno Mars is a legend in real time — who walked away with six Grammys last night. While names like Lamar and Jay-Z absolutely deserved to win the night’s most coveted honor in album of the year, let’s not front like Bruno Mars didn’t release one of the most important albums of 2017, and did so only using nine songs. From “24K Magic” to the aforementioned “That’s What I Like” to even the updated “Finesse” with Cardi B, his music impacts nearly every corner of the population — and not in a corny way that comes off as if he’s trying too hard. He’ll have a Las Vegas residency in 10 years performing these very songs — and future hits.

Select Grammy winners:

Album of the Year:
“Awaken, My Love!” — Childish Gambino
4:44 — Jay-Z
DAMN. — Kendrick Lamar
MelodramaLorde
24K Magic — Bruno Mars —WINNER

Record of the Year:
“Redbone” — Childish Gambino
“Despacito” — Luis Fonsi & Daddy Yankee featuring Justin Bieber
“The Story Of O.J.” — Jay-Z
“HUMBLE.” — Kendrick Lamar
“24K Magic” — Bruno Mars —WINNER

Song of the Year:
“Despacito” — Ramón Ayala, Justin Bieber, Jason “Poo Bear” Boyd, Erika Ender, Luis Fonsi & Marty James Garton, songwriters (Luis Fonsi & Daddy Yankee Featuring Justin Bieber)
“4:44” — Shawn Carter & Dion Wilson, songwriters (Jay-Z)
“Issues” — Benny Blanco, Mikkel Storleer Eriksen, Tor Erik Hermansen, Julia Michaels & Justin Drew Tranter, songwriters (Julia Michaels)
“1-800-273-8255” — Alessia Caracciolo, Sir Robert Bryson Hall II, Arjun Ivatury & Khalid Robinson, songwriters (Logic Featuring Alessia Cara & Khalid)
“That’s What I Like” — Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars) — WINNER

Best New Artist:
Alessia Cara — WINNER
Khalid
Lil Uzi Vert
Julia Michaels
SZA

POP FIELD

Best Pop Solo Performance:
“Love So Soft” — Kelly Clarkson
“Praying” — Kesha
“Million Reasons” — Lady Gaga
“What About Us” — P!nk
“Shape Of You” — Ed Sheeran — WINNER

DANCE/ELECTRONIC FIELD

Best Dance Recording:
“Bambro Koyo Ganda” — Bonobo Featuring Innov Gnawa
“Cola” — Camelphat & Elderbrook
“Andromeda” — Gorillaz Featuring DRAM
“Tonite” — LCD Soundsystem — WINNER
“Line Of Sight” — Odesza Featuring Wynne & Mansionair

Best R&B Performance:
“Get You” — Daniel Caesar Featuring Kali Uchis
“Distraction” — Kehlani
“High” — Ledisi
“That’s What I Like” — Bruno Mars —WINNER
“The Weekend” — SZA

Best Traditional R&B Performance:
“Laugh And Move On” — The Baylor Project
“Redbone” — Childish Gambino — WINNER
“What I’m Feelin’ ” — Anthony Hamilton Featuring The Hamiltones|
“All The Way” — Ledisi
“Still” — Mali Music

Best R&B Song:
“First Began” — PJ Morton, songwriter (PJ Morton)
“Location” — Alfredo Gonzalez, Olatunji Ige, Samuel David Jiminez, Christopher McClenney, Khalid Robinson & Joshua Scruggs, songwriters (Khalid)
“Redbone” — Donald Glover & Ludwig Goransson, songwriters (Childish Gambino)
“Supermodel” — Tyran Donaldson, Terrence Henderson, Greg Landfair Jr., Solana Rowe & Pharrell Williams, songwriters (SZA)
“That’s What I Like” — Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars) —WINNER

Best Urban Contemporary Album:
Free 6LACK — 6LACK
“Awaken, My Love!” — Childish Gambino
American Teen — Khalid
Ctrl — SZA
Starboy — The Weeknd —WINNER

Best R&B Album:
Freudian — Daniel Caesar
Let Love Rule — Ledisi
24K Magic — Bruno Mars — WINNER
Gumbo — PJ Morton
Feel the Real –Musiq Soulchild

Best Rap Performance:
“Bounce Back” — Big Sean
“Bodak Yellow” — Cardi B
“4:44” — Jay-Z
“HUMBLE.” — Kendrick Lamar —WINNER
“Bad And Boujee” — Migos Featuring Lil Uzi Vert

Best Rap/Sung Performance:
“PRBLMS” — 6LACK
“Crew” — Goldlink Featuring Brent Faiyaz & Shy Glizzy
“Family Feud” — Jay-Z Featuring Beyoncé
“LOYALTY.” — Kendrick Lamar featuring Rihanna — WINNER
“Love Galore” — SZA Featuring Travis Scott

Best Rap Song:
“Bodak Yellow” — Dieuson Octave, Klenord Raphael, Shaftizm, Jordan Thorpe, Washpoppin & J White, songwriters (Cardi B)
“Chase Me” — Judah Bauer, Brian Burton, Hector Delgado, Jaime Meline, Antwan Patton, Michael Render, Russell Simins & Jon Spencer, songwriters (Danger Mouse Featuring Run The Jewels & Big Boi)
“HUMBLE.” — Duckworth, Asheton Hogan & M. Williams II, songwriters (Kendrick Lamar) — WINNER
“Sassy” — Gabouer & M. Evans, songwriters (Rapsody)
“The Story Of O.J.” — Shawn Carter & Dion Wilson, songwriters (Jay-Z)

Best Rap Album:
4:44 — Jay-Z
DAMN. — Kendrick Lamar — WINNER
Culture — Migos
Laila’s Wisdom — Rapsody
Flower Boy — Tyler, The Creator

Best Improvised Jazz Solo:
“Can’t Remember Why” — Sara Caswell, soloist
“Dance Of Shiva” — Billy Childs, soloist
“Whisper Not” — Fred Hersch, soloist
“Miles Beyond” — John McLaughlin, soloist — WINNER
“Ilimba” — Chris Potter, soloist

Best Jazz Vocal Album:
The Journey — The Baylor Project
A Social Call — Jazzmeia Horn
Bad Ass and Blind — Raul Midón
Porter Plays Porter — Randy Porter Trio With Nancy King
Dreams and Daggers — Cécile McLorin Salvant — WINNER

Best Jazz Instrumental Album:
Uptown, Downtown — Bill Charlap Trio
Rebirth — Billy Childs — WINNER
Project Freedom –Joey DeFrancesco & The People
Open Book — Fred Hersch
The Dreamer Is the Dream — Chris Potter

Best Large Jazz Ensemble Album:
MONK’estra Vol. 2 — John Beasley
Jigsaw — Alan Ferber Big Band
Bringin’ It — Christian McBride Big Band — WINNER
Homecoming — Vince Mendoza & WDR Big Band Cologne
Whispers on the Wind — Chuck Owen and The Jazz Surge

Best Latin Jazz Album:
Hybrido – From Rio To Wayne Shorter — Antonio Adolfo
Oddara — Jane Bunnett & Maqueque
Outra Coisa – The Music Of Moacir Santos — Anat Cohen & Marcello Gonçalves
Típico — Miguel Zenón
Jazz Tango — Pablo Ziegler Trio — WINNER

Best Gospel Performance/Song:
“Too Hard Not To” — Tina Campbell
“You Deserve It” — JJ Hairston & Youthful Praise Featuring Bishop Cortez Vaughn
“Better Days” — Le’Andria
“My Life” — The Walls Group
“Never Have To Be Alone” — CeCe Winans — WINNER

Best Gospel Album:
Crossover: Live From Music City — Travis Greene
Bigger Than Me — Le’Andria
Close — Marvin Sapp
Sunday Song — Anita Wilson
Let Them Fall in Love — CeCe Winans — WINNER

Best Latin Pop Album:
Lo Único Constante — Alex Cuba
Mis Planes Son Amarte — Juanes
Amar Y Vivir En Vivo Desde La Ciudad De México, 2017 — La Santa Cecilia
Musas (Un Homenaje Al Folclore Latinoamericano En Manos De Los Macorinos) — Natalia Lafourcade
El Dorado — Shakira — WINNER

Best Latin Rock, Urban or Alternative Album:
Ayo — Bomba Estéreo
Pa’ Fuera — C4 Trío & Desorden Público
Salvavidas De Hielo — Jorge Drexler
El Paradise — Los Amigos Invisibles
Residente — Residente — WINNER

Best Regional Mexican Music Album:
Ni Diablo Ni Santo — Julión Álvarez Y Su Norteño Banda
Ayer Y Hoy — Banda El Recodo De Cruz Lizárraga
Momentos — Alex Campos
Arriero Somos Versiones Acústicas — Aida Cuevas — WINNER
Zapateando En El Norte — Humberto Novoa, producer (Various Artists)

Best Tropical Latin Album:
Albita — Albita
Art of the Arrangement — Doug Beavers
Salsa Big Band — Rubén Blades Con Roberto Delgado & Orquesta — WINNER
Gente Valiente — Silvestre Dangond
Indestructible — Diego El Cigala

Best American Roots Performance:
“Killer Diller Blues” — Alabama Shakes —WINNER
“Let My Mother Live” — Blind Boys of Alabama
“Arkansas Farmboy” — Glen Campbell
“Steer Your Way” — Leonard Cohen
“I Never Cared For You” — Alison Krauss

Best Reggae Album:
Chronology — Chronixx
Lost In Paradise — Common Kings
Wash House Ting — J Boog
Stony Hill — Damian “Jr. Gong” Marley — WINNER
Avrakedabra — Morgan Heritage

Best World Music Album:
Memoria de los Sentidos — Vicente Amigo
Para Mi — Buika
Rosa Dos Ventos — Anat Cohen & Trio Brasileiro
Shaka Zulu Revisited: 30th Anniversary Celebration — Ladysmith Black Mambazo — WINNER
Elwan — Tinariwen

Best Comedy Album:
The Age Of Spin & Deep In The Heart Of Texas — Dave Chappelle — WINNER
Cinco — Jim Gaffigan
Jerry Before Seinfeld — Jerry Seinfeld
A Speck Of Dust — Sarah Silverman
What Now? — Kevin Hart

Best Album Notes:
Arthur Q. Smith: The Trouble With The Truth — Wayne Bledsoe & Bradley Reeves, album notes writers (Various Artists)
Big Bend Killing: The Appalachian Ballad Tradition — Ted Olson, album notes writer (Various Artists)
The Complete Piano Works Of Scott Joplin — Bryan S. Wright, album notes writer (Richard Dowling)
Edouard-Léon Scott De Martinville, Inventor of Sound Recording: A Bicentennial Tribute — David Giovannoni, album notes writer (Various Artists)
Live At The Whisky A Go Go: The Complete Recordings — Lynell George, album notes writer (Otis Redding) — WINNER
Washington Phillips And His Manzarene Dreams — Michael Corcoran, album notes writer (Washington Phillips)

Best Remixed Recording:
“Can’t Let You Go (Louie Vega Roots Mix)” — Louie Vega, remixer (Loleatta Holloway)
“Funk O’ De Funk (SMLE Remix)” — SMLE, remixers (Bobby Rush)
“Undercover (Adventure Club Remix)” — Leighton James & Christian Srigley, remixers (Kehlani)
“A Violent Noise (Four Tet Remix)” — Four Tet, remixer (The xx)
“You Move (Latroit Remix)” — Dennis White, remixer (Depeche Mode) — WINNER

Best Music Video:
“Up All Night” — Beck
“Makeba” — Jain
“The Story Of O.J.” — Jay-Z
“Humble.” — Kendrick Lamar — WINNER
“1-800-273-8255” — Logic Featuring Alessia Cara & Khalid

Best Music Film:
One More Time With Feeling — Nick Cave & The Bad Seeds
Long Strange Trip — (The Grateful Dead)
The Defiant Ones — (Various Artists) — WINNER
Soundbreaking — (Various Artists)
Two Trains Runnin’ — (Various Artists)

Kendrick Lamar makes history at CFP National Championship The decorated rapper’s involvement was a long time coming with ESPN

ATLANTA — “Humble yourself.”

Those were the words that Georgia linebacker Davin Bellamy shouted at Oklahoma’s Heisman Trophy-winning quarterback Baker Mayfield a week before the Bulldogs fell in a 26-23 overtime loss to Alabama in Mercedes-Benz Stadium on Monday night. The Bulldogs learned that lesson the hard way, regarding the College Football Playoff National Championship.

“Sit down. Be humble.”

Those were the words Kendrick Lamar rapped in front of a crowd of nearly 3,000 who braved the cold weather at Centennial Park, at halftime of said football game. No one sat down, but they learned their lesson in the best way possible.

It wasn’t just that it also happened to be televised to millions across the nation, solidifying Lamar’s place as the most marketable pop artist in America in 2018. It wasn’t just that one of his hit songs that won six MTV Video Music Awards last year had the entire crowd moving in unison in near-freezing temperatures.

It wasn’t just that it preceded his set finale, “All the Stars,” a collaboration with his Top Dawg Entertainment labelmate SZA off the soundtrack for Marvel’s Black Panther, a project produced and curated by Lamar and his TDE squad that is set for release on Feb. 16. (The latest Black Panther trailer aired right after his performance.) It wasn’t just that it happened on the day that the president of the United States made an on-field appearance and clearly did not know the words to “The Star-Spangled Banner” before leaving the game at halftime.

It was that during the most important game of the year, in a sport largely controlled by white men, while young black men risk life and limb for no pay, a rapper from Compton, California, who often tells tales of revolution and resistance, was tapped to entertain the nation, and it all made sense. While Georgia and Alabama, two states with no shortage of history in the antebellum South and steeped in football tradition, battled it out on the field, a West Coaster dressed in a parka was easily the star of the show.

“It went very, very well,” CFP executive director Bill Hancock said. “As we had hoped, we had the best of both worlds: the traditional halftime show by those two great marching bands plus a world-class performance by Kendrick Lamar. The visuals were tremendous, and it was obvious that the folks in the park were having a terrific time.”

Perhaps most bizarrely, few people ever really blinked. If you wanted to, you could have drawn a straight line from Janet Jackson and Justin Timberlake’s “controversial” Super Bowl performance in 2004 to Monday night. It was an event that drastically changed not just the way that halftime shows were programmed but also how the broadcast industry made its rules. Jackson took all the heat in that scenario. Now, Timberlake’s got a new album out in which he’s apparently embracing his “roots,” a far cry from his days as the funky white boy and, shocker, he’ll be performing the next Super Bowl halftime show in February.

You could think about where this country has come since then. President Barack Obama. Police brutality and the murders of unarmed black people becoming what felt like nightly appearances on the national news. A non-insignificant resurfacing of a movement to compensate college athletes for their work. A Beyoncé Super Bowl halftime show that many people took offense to, as an ode to the Black Panther Party. A massive “recorrect” by America in electing a reality show star to the White House. None of us had any reason to believe that King Kenny, or anyone like him, would grace a stage like this, in this setting, in the near future. Except for the people who made it happen.

Speaking with two ESPN senior officials who organized the event, this wasn’t some random pick out of the sky. Three years ago, they wanted to increase ratings at halftime for the CFP because they noticed that it’s the highest-rated period at the Super Bowl but was the lowest for CFP. And they wanted more casual fans to expand the brand and just be as relevant as possible, not simply cash in huge on the regionality of the game’s followers.

That’s where their relationship with Interscope Records comes into play. Imagine Dragons did a special remix. Lauren Alaina, a country artist, was in the mix. Videos with X Ambassadors. This season, they hit it big with 30 Seconds to Mars. You know the song well. Alabama did win this fight tonight.

As for Lamar, his love for the Los Angeles Lakers really helped out early on. TDE is an imprint of Interscope, of course. You might recall Lamar’s ode “Kobe Bryant: Fade to Black.” He’s a huge Kobe fan, something we’ve seen proved over time. Last year, “Humble” dropped, the NBA playoffs started, he did voice work for promos and it all worked out.

Mind you, when it was time to make choices for the halftime show, Interscope’s line is vicious. Maroon 5 is on their roster. This was no easy choice. But once they knew Lamar was involved with Black Panther, it was a wrap. It had to happen.

“We know music is probably the second-biggest passion that college football fans have,” said ESPN vice president of sports marketing Emeka Ofodile. “Let’s build a music strategy, let’s go deep with a label and let’s try to create moments.”

The goal was to create a cultural moment, be it controversial or not. To get past the regional histories of college football, they needed to go big. Lamar was a no-brainer, controversy be damned. They can’t control what people think about the president. Or what he chooses to do. It didn’t change their mission. They wanted it to be different. They didn’t want to just recreate a Super Bowl experience. They wanted real fans of both football and Lamar to be there. And that they were. The cheers for the game (being shown on the big screens at the park) leading up to halftime were as healthy as anything I’d heard all day.

Their overall goal? To make it the hottest stage in the game. They’re off to a great start.

As for the larger picture, it’s still kind of hard to believe it happened. They might let us have a hit show or two on cable. A few of us will break through. But they’ll still call us names. Yet rarely do we get to infiltrate the oldest practices in the book. To see it go down on a such a grand stage is a real testament to who Lamar has grown to become. It’s easy to call Lamar transcendent. But, like so many others who grew out of their original solitary genres as artists to become megastars, he’s in fact black as hell.

On the night in which he could have made a scene and directed the ire of so many fans of his in the direction of the commander-in-chief, or made an obvious political statement with everyone watching, he didn’t. Because he didn’t have to. His existence in that space alone was enough of a statement, and just being himself was plenty. He didn’t have to allow himself to be defined by the moment — he defined it himself. Which is what he does and is exactly why even when the leader of the free world is right next door, Lamar comes out on top.

Kendrick Lamar’s ‘DAMN.’ good run places him face to face with the president Kendrick Lamar’s ascension coincides with college football’s big moment and President Donald Trump

Fifteen-year-old Kendrick Lamar likely never thought he’d be performing at halftime of one of the biggest sporting events of 2018. Certainly not when he, as a teenager, was getting stomped at Compton, California’s, Avalon Swap Meet. But a decade and a half after the fight he references on “ELEMENT.,” from 2017’s Grammy-nominated album DAMN., here he is: headline performer at halftime of the college football national championship — the NCAA’s Super Bowl. The all-Southeastern Conference main event is Monday night in Atlanta.

College halftime shows traditionally feature marching bands. But in an effort to mirror February’s actual Super Bowl, the College Football Playoff and ESPN announced last spring that an artist would perform. Lamar’s résumé of course warrants his booking.

Forbes placed Lamar on its December 2017 cover, lauding the “antisocial extrovert” for his business decisions such as ending his long relationship with Reebok and launching a new collaboration with Nike. Lamar’s tour dates routinely gross more than $1 million per night. And in 2017, not only did he surpass even Beyoncé and Bruno Mars with more than 2 billion radio spins, but Lamar also had five of the most streamed songs of 2017. And while his 2012 “m.A.A.d city” (featuring MC Eiht) is featured in the next week’s Den of Thieves, Lamar recently confirmed that he and his Top Dawg Entertainment are producing the soundtrack for Black Panther, led by a collaboration with SZA titled “All The Stars.”

All the stars are expected to flood box suites to watch the Quavo-endorsed University of Georgia versus the crème de la crème University of Alabama. This VIP list reportedly includes President Donald Trump. From self-doubt to self-proclaimed greatness, Lamar’s ascension coincides and often collides with the United States’ 45th president.

Trump, a frequent sporting provocateur, has been an occasional target of Lamar’s lyrics dating to 2015. So speculation is swirling: What will this moment mean between the lyrically sharp MC and verbal live-wire commander-in-chief? Lamar’s fellow Comptonite, and perhaps hip-hop’s most famous Trump antagonist, YG, has at least one suggestion for Lamar.

There is drama leading up to the moment. What statement will Lamar make? Will outside forces — the NCAA, sponsors or even Disney — attempt to define the parameters of his performance? Will he even make one at all?


 

Tell me what you gon’ do to me / Confrontation ain’t nothin’ new to me/ You can bring a bullet, bring a sword / Bring a morgue / But you can’t bring the truth to me.

— “All The Stars” with SZA (2018)

Lest time forget, Lamar’s 2015 To Pimp A Butterfly is a fingerprint for an era defined by Black Lives Matter, police brutality and the final months of the country’s first black president’s administration. The record features a handful of Lamar’s most complex and analytical cuts: “i,” “Hood Politics,” “Mortal Man” and President Barack Obama’s favorite “How Much A Dollar Cost.” But undoubtedly, Butterfly’s star is “Alright.” It’s the generational equivalent to James Brown’s “I’m Black and I’m Proud.”

Presidential critiques aren’t foreign to Lamar’s catalog. Seven years ago, Lamar painted a picture of gangland Compton (decades before gentrification arrived) on “Ronald Reagan Era (His Evils).” 1987, the children of Ronald Reagan raked the leaves, he said of the generation directly affected by the legacy of the 40th president’s Reaganomics, Your front porch with a machine blowtorch.

The Obama era, for Lamar, brought reverence and clarity. The reality of a black president inspired pride and accomplishment. But he wasn’t blind to current and past issues: Streets don’t fail me now, they tell me it’s a new gang in town /From Compton to Congress, set trippin’ all around/ Ain’t nothin’ new, but a flu of new Demo-Crips and Re-Blood-licans, he opined on 2015’s “Hood Politics.” Lamar understood Obama’s power as president was in constant opposition with forces that sought to derail, override and neuter. Red state versus a blue state, which one you governin’? / They give us guns and drugs, call us thugs / Make it they promise to f— with you / No condom, they f— with you / Obama say, ‘What it do?’

Later that same year, while then-candidate Trump was still seen by some as a political punchline, Lamar addresses growing right-wing hysteria on “Black Friday,” saying, I’m the son of the pioneer that near the sun /Play with him / B—- you better off voting for Donald Trump.

A year later, in 2016, as Trump-mania gained indestructible steam, Lamar again directed his attention to the candidate nearly two months to the date of the presidential election. Might stay in the Trump Tower for one week, he rapped on “What’s Wrong.” Spray paint all the walls and smoke weed / F— them and f— y’all and f— me. In 2017, as the reality of a Trump presidency set in, Lamar observed.

Donald Trump is a chump / Know how we feel, punk? Tell ’em God comin’ / And Russia need a replay button, y’all up to somethin’, Lamar rapped on “The Heart Pt. 4,” a month before Robert Mueller was named special counsel for the ongoing Russia investigation. But for “XXX.,” on DAMN., the reality set in for Lamar. Donald Trump’s in office / We lost Barack and promised to never doubt him again / But is America honest, or do we bask in sin?

Lamar is an atypical selection for such a widely viewed event. He’s not “safe,” nor is he “routine.”

In the coming weeks we can anticipate an impending marketing avalanche for Panther, perhaps “the biggest and blackest blockbuster of all time,” with Lamar a critical component. Later this month, the seven-time Grammy winner looks to add more with seven new nominations, including going head-to-head with Jay-Z for the evening’s most coveted award, album of the year. I said it’s like that/ Dropped one classic, came right back/ ‘Nother classic, right back/ My next album, the whole industry on a ice pack, he vowed a week before DAMN.’s arrival. The promise has him on the doorstep of Grammy history on Jan 28.

Trump, in Lamar’s eyes, is the complete antithesis of what his much-loved music is about, but in many ways he is a source of inspired frustration. And the nature of Monday night’s halftime performance, even with Friday’s free-to-all dress rehearsal, is difficult to predict. Despite his undeniable star power, Lamar is an atypical selection for such a widely viewed event. He’s not “safe,” nor is he “routine.” It easy to imagine part of Lamar’s performance being veiled shots: I know how you work, I know just who you are/ See, you’s a, you’s a, you’s a— / B—- ...

So, does Lamar feel the pressure to symbolically take a knee Monday night? I, for one, don’t think it’s wise to believe anxiety will play a part in Lamar avoiding The Elephant In The A. He and TDE are from Compton, a cultural ground zero where wearing the wrong hat, or walking down the wrong block with the wrong shoelaces, sometimes came with fatal consequences. A halftime show, by comparison, is a field trip to Calabasas, California.

Illuminating truth to power is daunting. Kanye West knew what would come of his comments about President George W. Bush, but he became a larger-than-life figure afterward. Colin Kaepernick understood that taking a knee would all but involuntarily retire him, but he is now the millennial Muhammad Ali. Lamar’s life has been one risk after another — a butterfly effect set in motion as documented in the mind-numbing odyssey “DUCKWORTH.,” DAMN.’s closing number.

Trump vs. Lamar is quite the undercard for Monday night’s main event. It could very well be a culture-shifting moment spearheaded by the man who has been bestowed with the heavy title of “voice of a generation.” Lamar is well-aware of the moment he occupies and times he’s become a voice for. His message to Trump could very well come in words, via actions or even purely via symbol. Does this mean halftime will be his Kanye West 2009 MTV Video Music Awards moment? Who knows.

Whether he decides to stir the pot, whether he fulfills YG’s wish, there is a reality evident about Lamar. Nothing looks to stop the momentum he’s built over the past year. Not even the president of the United States.

Will the 2018 Grammys be the blackest of all time? Jay-Z and Kendrick Lamar lead nominations for 60th annual awards ceremony

Jay-Z is back, and Kendrick Lamar is still here. The two titans of hip-hop — a 47-year-old wordsmith from Brooklyn, New York, and a 30-year-old grittily socially conscious MC from Compton, California — are the two artists to beat among the list of nominations, announced Tuesday, for February 2018’s 60th Annual Grammy Awards.

Hov earned eight nominations for the acclaimed introspective album 4:44, his first project in four years, while K. Dot notched seven for DAMN., which tells a lyrically different narrative whether you play it from the first track to the last or the last track to the first. DAMN. and 4:44 are both up for Album of the Year, an award for which both rappers have been previously been nominated but never won. The two projects will also square off for Best Rap Album, while Kendrick’s “HUMBLE.” and Jay’s “The Story of O.J.” are both nominated for Best Rap Song and Record of the Year. Jay-Z rounds out his list of nominations in the Best Music Video (“The Story of O.J.”), Song of the Year (“4:44”), Best Rap Performance (“4:44”) and Best Rap/Sung Performance (“Family Feud” feat. Beyoncé) categories for a total of 67 career Grammy nods (21 wins and counting). Kendrick will also contend for Best Rap/Sung Performance (“LOYALTY.” feat. Rihanna) and Best Music Video (“HUMBLE.”), while he’s competing against himself in the Best Rap Album category, having contributed to Rapsody’s Laila’s Wisdom, which earned him a nomination.

Cardi B’s smash hit “Bodak Yellow” is nominated for Best Rap Song and Best Rap Performance. In both categories, her record will go against the epic “Bad & Boujee” from the Migos, whose album Culture is also nominated for Best Rap Album. Lil Uzi Vert, who is featured on “Bad & Boujee,” gets the nod in the Best New Artist category, while the versatile Donald Glover, known in the studio as Childish Gambino, received five nominations, including Record of the Year (“Redbone”) and Album of the Year (Awaken, My Love!). Khaled, SZA and Jay-Z’s producer No I.D. also received five nominations apiece.

With all this representation from the worlds of hip-hop and R&B within this year’s nominations, that brings us to this question: Will next February bring us the blackest, and most lit, Grammys of all time? It’d only be right, as 2018 marks the 60th anniversary of Ella Fitzgerald and Basie becoming the first African-Americans in history to take home Grammys.

Here are a few fast facts about black artists and the Grammys:

  • This year’s Album of the Year category features three African-Americans, and four out of five nominees of color: Childish Gambino (African-American), Jay Z (African-American), Kendrick Lamar (African-American) and Bruno Mars (from Hawaii, of Puerto Rican/Filipino descent)
  • This year’s Record of the Year category features all nominees of color: Childish Gambino (African-American), Luis Fonsi & Daddy Yankee (both Puerto Rican) Jay Z (African-American), Kendrick Lamar (African-American) and Bruno Mars (from Hawaii, of Puerto Rican/Filipino descent)
  • A black artist has not won Record of the Year since Ray Charles in 2005 (“Here We Go Again”)
  • Jay Z will seek to become the first black artist since his wife Beyoncé in 2010 (“Single Ladies (Put A Ring On It))” to win Song of the Year

2004

  • OutKast won three Grammys, including Album of the Year
  • Beyoncé won five Grammys (Best R&B Song, Best Rap/Sung Collaboration, Best Female R&B Vocal Performance, Best Contemporary R&B Album, Best R&B Performance by a Duo or Group with Vocals) as well as opened the show with a performance with Prince

1999

  • Lauryn Hill won five Grammys, including Album of the Year and Best New Artist
  • Her album, The Miseducation of Lauryn Hill, became the first hip-hop project in history to win Album of the Year

1984

  • Michael Jackson won a record eight Grammys (tied by Santana in 2000) for Thriller
  • Black artists have won Album of the Year in back-to-back Grammys four times
  • 1974-75: Stevie Wonder (Innervisions) and Stevie Wonder (Fulfillingness’ First Finale)
  • 1984-85: Michael Jackson (Thriller) and Lionel Richie (Can’t Slow Down)
  • 1991-92: Quincy Jones (Back on the Block) and Natalie Cole (Unforgettable with Love)
  • 2004-05: OutKast (Speakerboxxx/The Love Below) and Ray Charles (Genius Loves Company)
  • A black artist hasn’t won album of the year since Herbie Hancock in 2008 (River: The Joni Letters)