Comedian Andrew Schulz has called Kendrick Lamar “the Taylor Swift of hip-hop” because “no matter what [Lamar] does, he’s still the victim”.
Back in July, Schulz was criticised for suggesting the “Black girlfriend effect” was a “protective instinct” for white men in interracial relationships, and alluding that Black women are abusive.
Many people spoke out against the comedian’s comments – including Lamar, who seemingly sent an indirect jab at him on ‘Wacced Out Murals’ from his latest album, ‘GNX’. On the song, Lamar rapped: “Don’t let no white comedian talk about no Black woman, that’s law” – the lyrics seemingly referring to Schulz’s infamous comments.
Schulz finally replied to the track nearly two weeks after its release, finding it hypocritical for a rapper to tell him off for being misogynistic. He also said he joked he would “make love to him and there’s nothing he could do about it” – which many found offensive, including Meek Mill who tweeted (via Complex): “[A] white man saying they’ll rape Black men openly is extreme.” Charlamagne Tha God came to his defence on their shared podcast The Brilliant Idiots, saying comedians “have the license to make jokes about any and everybody”.
In the most recent episode of the podcast, Charlamagne revealed that Lamar’s team called him to discuss his recent comments defending his co-host – to which Schulz replied: “Kendrick really is the Taylor Swift of Hip Hop. No matter what he does, he’s still the victim.”
Andrew Shulz reveals that charlamagne tha god got a call from Kendrick Lamar team about his comments . He says kdot is like Taylor swift playing the victim . You call Drake a pedo for the whole summer but when someone does it to you . you get sensitive pic.twitter.com/pklCfdttNR
— joebuddenclips/fanpage (@Chatnigga101) December 14, 2024
He explained: “You know how Taylor is always the victim? She’s the biggest [artist] in music in history, yet she’s a victim to the label, she’s a victim to Scooter [Braun], she’s a victim to her boyfriends. Yet, she’s still the biggest in the world. Somehow Kendrick is the victim here.”
Schulz referenced Swift’s ongoing conflict with her former manager, Scooter Braun. Braun’s company Ithaca Holdings acquired Big Machine Records – the label that owned the master recordings of Swift’s first six albums – in 2019. A year later, Braun sold these masters to a private equity firm for over $300million. Swift stated that she was not given a chance to purchase her masters herself and decided to re-record her old albums to regain full control of her publishing.
Drake also compared Lamar to Swift with the diss track ‘Taylor Made Freestyle’. Amid his and Lamar’s high-profile feud this spring, the Canadian suggested Lamar hadn’t responded to his initial diss track at that point because he didn’t want to be overshadowed by Swift’s 11th studio album, ‘The Tortured Poets Department’.
‘Taylor Made Freestyle’ was ultimately removed from all of Drake’s streaming and social platforms after Tupac’s estate threatened legal action over the song featuring an AI-generated verse mimicking the late rapper.
Recently, Lamar’s former label Top Dawg Entertainment held its 11th annual Christmas concert and toy drive. Although no longer a part of the roster, Lamar delivered a live debut of the upbeat ‘Squabble Up’ at the event.
‘GNX’ was awarded full marks by NME, writing: “Lamar channels what could be interpreted as hate and negativity into a teachable moment, leading you to draw upon the purest emotion known to man: love. In a year that started with so much venom, Kendrick Lamar shares the antidote on [the album].”
The surprise LP also ranked 12th on NME‘s 50 best albums of 2024 list for being a “punchy, precise record”.
In addition, Lamar’s infamous Drake diss track ‘Not Like Us’ just missed out on the top spot onNME‘s 50 best songs of 2024 list – being praised for turning “packaged intelligent, intensely researched character assassinations into a fierce, booming DJ Mustard-produced club hit”.
Meanwhile, Swift’s huge ‘Eras Tour’ has come to an end. The global run of dates has become the highest-grossing tour of all time, making over USD$2billion over 17 months, and across more than 100 stops.
