Over Thanksgiving weekend, my mom and I decided to take a mini road trip. She had never been to Compton before, so we drove from Hollywood, inspired by curiosity. When we arrived, I was struck by the destitution and poverty that lined the main streets. One of the major arteries was filled with broken-down RVs, and I couldn’t help but think about the countless rap albums that have immortalized Compton.
Hip-hop is a billion-dollar industry. It has changed lives, reshaped culture, and fueled economic growth in the music business. Compton, often called a Black city, with its Black mayor and a population of roughly 100,000, has undeniably played a central role in shaping that legacy. However, according to the 2022 U.S. Census Bureau, the African-American population in Compton is now just about 25%, compared to 70% Hispanic or Latino. This is a stark contrast to the 1980s when Compton’s population was roughly 75% Black and 21% Hispanic.
The city’s socioeconomic challenges are just as evident as its demographic changes. In 2022, the Los Angeles Homeless Services Authority reported 644 homeless individuals living in Compton—a number that has nearly doubled since 2016. As I drove through the city, Roger Troutman’s iconic hook from “California Love,” performed alongside Dr. Dre and 2Pac, played in my head: “In the city of Compton, we keep it rockin’, we keep it rockin’.”
It’s one of the greatest hip-hop collaborations of all time, a track that immortalized Compton in the minds of listeners across the world. Yet the disconnect between the cultural prominence of Compton and the realities of its current state was glaring. How can a city so integral to the hip-hop industry—a billion-dollar cultural powerhouse—be plagued by such poverty and struggle?
Fast forward to Kendrick Lamar, one of Compton’s greatest musical exports. In 2024, Kendrick entered one of the most iconic rap beefs in decades, sparring against Drake, who represented Toronto. The feud felt like a reincarnation of the East Coast-West Coast rivalry of the 1990s. While opinions on who won vary (some say Kendrick, others might side with Drake), to me, the real winner was Lucian Grainge—the chairman of Universal Music Group, the label home of both rap artists.
Here’s why: The economics of hip-hop rarely trickle down to the communities that birthed its talent. Instead, major labels like Universal Music Group reap the financial rewards. In 2024, Universal generated $3.15 billion in revenue during just one quarter, with recording, publishing, and merchandise contributing to its success. Even though the Kendrick-Drake beef wasn’t the sole driver of that revenue, the cultural momentum it created undoubtedly helped push the machine forward.
When Amazon Music and AEG Presents partnered with Kendrick Lamar for the Juneteenth celebration "The Pop Out: Ken & Friend" live concert, the event was held at Inglewood's Kia Forum, not in Compton. Why? Because there are no major entertainment venues in Compton. The city that raised Kendrick, gave him his voice, and shaped his artistry doesn’t have the infrastructure to host the events that celebrate its own success.
And the truth is, Kendrick doesn’t live in Compton anymore. But Compton continues to fuel his artistry. It gave him his sense of purpose, his swagger, and his language. Yet, much like the labels, the artist has moved on, leaving the community to grapple with its challenges.
Driving through Compton at night, I saw the frustration of its residents reflected in their lawns. Political signs, including “Make America Great Again” banners, dotted the streets. It was a reminder of how devastated communities often cling to any ideology that offers hope, even if that hope feels misplaced.
As my mom and I got back on the freeway, Christmas carols played on the radio, providing a strange juxtaposition to the stark reality we had just witnessed. Compton, a city that has given so much to the world of music and culture, continues to struggle economically. The question that remains is: Will the economic success of hip-hop ever truly benefit the communities that created it?
We headed back to Hollywood, but the sights and questions from Compton lingered with me.