Introduction
In 2013,
Kendrick Lamar delivered what would become one of the most influential verses in modern hip-hop on Big Sean's "
Control" track, which also featured Jay Electronica. The verse immediately sparked widespread discussion throughout the hip-hop community due to Lamar's bold proclamations and his naming of numerous contemporaries.
The Creation Process Behind "Control"
During his conversation with Rosenberg, Lamar revealed that the creation of the verse was relatively straightforward—he approached it as "just a feature verse" where he wanted to "rap and put my best foot forward."The Compton rapper explained that he was traveling in the United Kingdom when the verse was released, which initially insulated him from the immediate reaction. It wasn't until he noticed "a bunch of response records" that he realized the significant impact his words had generated across the hip-hop landscape.
Named Artists and Hip-Hop's Competitive Tradition
The most discussed aspect of Lamar's "Control" verse was his direct mentioning of peers including
J. Cole, Big K.R.I.T., Wale,
Pusha T, Meek Mill, A$AP Rocky,
Drake, Big Sean, Jay Electronica, Tyler, The Creator, and Mac Miller. In the interview, Lamar clarifies that naming these artists wasn't intended to create animosity but rather to acknowledge those who "inspire the game" and "inspire to be the best."Lamar positioned his verse within hip-hop's long-standing tradition of competitive lyricism, explaining to Rosenberg that the artists he mentioned "respect the culture of hip-hop" and therefore shouldn't feel disrespected by being challenged. This framing highlights Lamar's understanding of hip-hop as an art form where competition drives excellence—a perspective that connects his work to earlier eras of the genre.
The "King of New York" Controversy
One line in particular—where Lamar proclaimed himself the "King of New York"—generated significant controversy, especially among New York-based artists and fans. In the interview, Lamar addresses this contentious element, stating that the line was frequently misinterpreted and taken out of context."The main ones that really understood the context of the line was the actual Kings of New York," Lamar explained, referring to established New York hip-hop icons. He elaborated that his reference wasn't about coastal rivalry but about aspiring to achieve the greatness of legendary artists like The Notorious B.I.G. and Tupac Shakur—artists whose legacies transcended regional boundaries. "It's not about the coast, it's about being great as Biggie, as Pac," Lamar stated in the interview.This clarification is significant as it repositions what many interpreted as a provocative claim of dominance into an aspirational statement about artistic excellence and legacy-building.
Meetings with Hip-Hop Legends
The Rosenberg interview provides valuable insight into how established industry figures responded to Lamar's provocative verse. Lamar mentions meetings with hip-hop icons including Jay-Z and Sean "Diddy" Combs following the release of "Control." While maintaining the privacy of these conversations, describing his conversation with Jay-Z as "classified between me and him," he indicates that these interactions were characterized by "love and respect."This suggests that despite the verse's competitive nature, industry veterans recognized Lamar's intentions as being aligned with hip-hop's foundational values rather than attempting to create divisive conflict. These endorsements from established figures helped legitimize Lamar's approach and position the "Control" verse within hip-hop's historical continuum.
Response Tracks and Lamar's Evaluations
The "Control" verse catalyzed numerous response tracks from artists both directly mentioned and not mentioned in Lamar's original verse. During the interview, Lamar evaluated several of these responses, mentioning King Los as having delivered the most impressive rebuttal: "Los killed it." He also acknowledged quality contributions from Joe Budden, who Lamar noted "did his thing," and Joell Ortiz, praising their "different approaches" to responding.In a moment that revealed Lamar's perspective on the situation, he singled out comedian Kevin Hart's parody response (performed as "Chocolate Drop") as his personal favorite, placing it "at the top of the list." This appreciation for a humorous take suggests Lamar viewed the entire phenomenon with a degree of self-awareness, recognizing when the situation had become "oversaturated" and appreciating efforts to bring levity to what had become an intense focus of industry attention.
Cultural Impact and Return to Lyricism
Rosenberg noted during the interview that Lamar's verse created an unprecedented 72-hour period where people were intensely discussing lyrics in hip-hop, something that hadn't happened to that degree in years. This observation highlights one of the verse's most significant impacts: redirecting industry and fan attention toward lyrical craftsmanship at a time when production and overall sonics often dominated discussions of hip-hop.Lamar acknowledged this impact and expressed satisfaction in seeing "rappers getting back in the booth" in response to his challenge. This reinvigoration of lyrical focus represents one of the verse's most enduring contributions to hip-hop culture in the 2010s.
Regional Support in Hip-Hop
The conversation also touched on broader issues of regional support for artists, with Lamar referencing rapper Maino's comments about New York radio stations' support of local artists. Lamar drew parallels to his own experiences in Los Angeles, reflecting on how he had to "reevaluate" his approach earlier in his career when facing similar challenges with local infrastructure.Lamar explained that he had to "look in the mirror" and realize that even without radio support, he needed to "make the best of what I have as far as my music and spreading it out." This approach proved successful as he "sold out my first show in LA with no radio... sold out my first show in New York with no radio."This segment of the interview provides valuable context on Lamar's career development, revealing how he succeeded by building grassroots support rather than relying on traditional industry channels. This discussion connects the "Control" verse to larger questions about how regional scenes nurture talent and the relationship between artists and local support systems.
Top Dawg Entertainment's Competitive Environment
When discussing labelmate ScHoolboy Q's then-upcoming album "Oxymoron," Lamar emphasized the competitive environment within their Top Dawg Entertainment camp that pushed artists to excel. "We competing inside our own camp," Lamar explained. "ScHoolboy Q is out to make one of them classics, you know, better than me, better than anybody that's out there that put music out."This glimpse into TDE's internal dynamics helps contextualize how Lamar's competitive spirit on "Control" reflected the environment that nurtured his development as an artist. The label's approach—fostering friendly but serious competition among its roster—mirrored the larger hip-hop ecosystem that Lamar sought to reinvigorate with his controversial verse.
Future Projects and Career Direction
When asked about his own
next album following "
good kid, m.A.A.d city," Lamar indicated he had been writing extensively but didn't have a specific release timeline. "I don't want to wait too long, but also I don't want to rush things. I want to make sure the music is right," he explained to Rosenberg.Lamar also expressed excitement about his upcoming performance at Rock The Bells in New York, describing the city as "one of my favorite places to go to" and noting that he makes "some of my best records" and delivers "some of my best performances" there.*There may be errors on this page.