“Hey, man, thank you again, appreciate the access back here, it means a lot to us,” said an eager photographer who had overstayed his welcome. There was a knock on the door. “Hold up a minute, baby,” Lamar’s bodyguard, Big Mingo, said to a woman outside.
“We got iTunes out here,” he said, turning to Lamar.
“She can come in,” Lamar replied, waving her in.
By all appearances, there was a convivial party going on in his room, but the vibe was actually tense. There were two layers of conversation. The first layer was a loud and garish stream of talk, requests mostly — to play a festival, to come to a friend’s club later that night — that came from acquaintances acting as intimates. The second layer was a series of subtle glances, exchanged among Lamar’s people, aimed at gracefully minimizing how much time the rapper had to spend with each visitor. Eventually Lamar nodded to his manager, signaling that it was time to get the car. The previous evening, he stayed up all night working on new music, and he planned to do the same now.
As arrangements were being made to leave, he quietly told me, “As a kid, I used to stutter.” It felt like an oddly personal line of conversation to begin amid the chaos, but because so many people were talking at him, no one else heard him. “I think that’s why I put my energy into making music,” he continued. “That’s how I get my thoughts out, instead of being crazy all the time.”
In the world of hip-hop, Lamar is widely considered to be a future king. Last year, he was nominated for seven Grammys, four of them for his 2012 major-label debut, “good kid, m.A.A.d city,” which sold more than a million copies in the United States. His lyrical style and his background (Compton, Calif., born and raised) have shaped his reputation as the kind of old-school rapper you don’t see much anymore, a street poet who has earned the affection of hip-hop purists as well as younger listeners. “He’s the first person in a long time that a lot of the old heads respect,” says the filmmaker and author Nelson George, one of the first journalists to write about rap music. “They see him as a real hip-hop M.C.”
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Source: NY Times
