Stop What You're Doing and Watch Kendrick Lamar & SZA's Incredible Video For the 'Black Panther' Soundtrack

The video for "All the Stars" finds a way to touch on all corners of the African continent.

Kendrick Lamar comes through with the first music video from the TDE-produced Black Panther soundtrack—and he doesn't disappoint.

The new clip for the lead single from the soundtrack, "All The Stars" featuring SZA, is a visual tour de force packed with references to everything we love from Igbo chief hats to Congolese sapeurs.

The music video is yet another home run from the creative group of Dave Meyers and the little homies (Kendrick and TDE president Dave Free)—who also did the incredible clips from Kendrick's DAMN.


The video for "All the Stars" finds a way to touch on all corners of the African continent in a respectful and beautiful way. It almost feels like feels like the birth of a new, American Afro-centric aesthetic, one that's not reliant on the '90s Native Tongues version.

Here's a few of the key references from "All the Stars" we caught below.

Check them out while we go back and watch this video again, over and over, and tell us what we missed.

It looks like Kendrick's getting into Congolese Sapeur culture.

The kids in this scene are all rocking caps that Igbo chiefs with the 'Ozo' title wear.

The dancers' hats look like they're influenced by Basotho straw hats.

This forest scene is reminiscent of the Namibian desert.

SZA is surrounded by Lesser flamingos (found in countries below the Sahara) and kente from Ghana here.

The work and influence of British-Liberian artist Lina Iris Viktor can be clearly spotted.

SZA also sings from what looks like a reference to Japanese artist Yayoi Kusama's infinity mirrors.

For more, get to know the 4 South African artists featured in the Black Panther soundtrack, which is out this Friday.

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6 Samples From 'Éthiopiques' in Hip-Hop

A brief history of Ethio-jazz cultural exchange featuring songs by Nas & Damian Marley, K'naan, Madlib and more.

This article was originally published on OkayAfrica in March, 2017. We're republishing it here for our Crossroads series.

It's 2000 something. I'm holed up in my bedroom searching for samples to chop up on Fruity Loops. While deep into the free-market jungle of Amazon's suggested music section, I stumble across a compilation of Ethiopian music with faded pictures of nine guys jamming in white suit jackets. I press play on the 30 second sample.

My mind races with the opportunities these breakbeats offered a budding beat maker. Catchy organs, swinging horns, funky guitar riffs, soulful melodies and grainy and pained vocalists swoon over love lost and gained. Sung in my mother tongue—Amharic—this was a far cry from the corny synthesizer music of the 1990s that my parents played on Saturday mornings. I could actually sample this shit.

The next day, I burn a CD and pop it into my dad's car. His eyes light up when the first notes ooze out of the speakers. “Where did you get this?" He asks puzzlingly. “The internet," I respond smiling.

In the 1970s my dad was one of thousands of high school students in Addis Ababa protesting the monarchy. The protests eventually created instability which lead to a coup d'état. The monarchy was overthrown and a Marxist styled military junta composed of low ranking officers called the Derg came to power. The new regime subsequently banned music they deemed to be counter revolutionary. When the Derg came into power, Amha Eshete, a pioneering record producer and founder of Ahma Records, fled to the US and the master recordings of his label's tracks somehow ended up in a warehouse in Greece.

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