All the Style References in Kendrick Lamar’s “Squabble Up” Video, Explained

Kendrick's Blue Hoodie & ERL Belt

The blue hue of Kendrick’s hoodie is synonymous with the Los Angeles Dodgers and holds a multi-layered significance. It's not only a symbol of the city's sports pride but also the streets of LA, where blue often signifies gang affiliation to the Crips (whereas, during the “pop out,” he donned a similar outfit in red—a color synonymous with Bloods). By wearing a Dodger blue hoodie, cap, and sneakers, Kendrick is visually aligning himself with the culture and history of LA, a city that has shaped much of his artistic identity.

Since the release of Mr. Morale & the Big Steppers, Kendrick has taken a distinct approach to his accessories, particularly his belts. They are becoming a part of Kendrick’s larger dialogue about identity, intentionally communicating style and dominance. The belt he wears in “squabble up,” handcrafted by California designer Eli Russell Linnetz and also featured on the cover art for GNX, speaks to this evolving aesthetic of Kendrick’s mission to create a visual language that is inherently his own.

Opening Homage to the Williams Sisters

There is a theory circulating social media that the young girl dancing at the beginning of “squabble up” represents Serena and Venus Williams, who are from Compton. Her presence captures the essence of the iconic Williams sisters, from her tennis skirt to her braids tied with a scrunchie. This common and nostalgic hairstyle for Black girls further emphasizes a connection to both youth and cultural pride. It’s also a look that made Serena and Venus standout amongst their mostly white competitors as children.

This opening dance may also nod to Serena Williams’ unforgettable moment at Wimbledon in 2012 when she celebrated her victory by Crip-walking. Despite critics who considered the move to be distasteful, Serena’s unapologetic display of her roots on one of the world’s most prestigious stages for tennis was a represented act of joy and defiance at the intersection of sport, culture, and Blackness.

Taz Arnold Channels Do the Right Thing

Taz Arnold, whose presence is accentuated by his "HOOD LOVE" rings, reflects Lamar’s reverence for LA’s cultural architects. As the creative force behind the influential streetwear brand TI$A, Arnold has been a trailblazer in merging hip-hop aesthetics with couture fashion. His collaborations with Ye and contributions to the 808s & Heartbreak era further solidified his status as a tastemaker. The rings are a deliberate nod to the "LOVE" and "HATE" rings famously worn by Radio Raheem in Spike Lee's Do the Right Thing (1989). Do the Right Thing is a cinematic milestone that has influenced perspectives on how Black art can challenge societal norms while celebrating culture. This connection deepens the significance of Arnold’s appearance, positioning him as a symbol of the cultural and artistic dialogue Kendrick initiates in his visuals.

Kendrick himself has acknowledged Arnold's impact, naming him as part of his "Mount Rushmore" of LA fashion—a testament to Taz’s legacy in shaping the city's creative identity.

CUZZOS & Storm Debarge Embody 2000s Aesthetics

Kendrick taps into the nostalgia of 2000s culture through the styling of CUZZOS and dancer Storm DeBarge, whose airbrushed shirts, denim graffiti jeans, and scrolling LED belt buckles perfectly encapsulate the era’s fashion statements for urban culture. Customizable and technologically advanced at that time, LED belts often carried personal messages or shout-outs. The dancers’ styling—which was done by The Cut’s Fashion Director Jessica Willis—represents a golden age of DIY self-expression where clothing became a canvas for personal and regional identity.

Central to this DIY designer culture that led into the streetwear scene of LA is the Slauson Super Mall Swap Meet, a cornerstone of LA's Black and Hispanic communities and a hub for affordable fashion. The Swap Meet provided access to customizable pieces that have become staples in Y2K wardrobes, honoring the era’s unapologetic style through the women featured in the video.

East LA Cholo & Loc Culture

Cholo and Mexican-American fashion has long been a defining aspect of LA style. Signature pieces like plaid flannel shirts worn buttoned to the top, baggy khakis or Dickies, knee-high white socks, and Chuck Taylors are rooted in the Pachuca and zoot suit eras of the 1940s and iconic within Cholo culture. For women, winged eyeliner, dark lip liner, and voluminous hairstyles are also staples of Chola identity. These aesthetics were especially prominent in the Black LA community during the rise of West Coast Gangsta Rap. Kendrick’s inclusion of these elements mirrors his attempt to unify Black and Brown communities through GNX by featuring Mexican singers and rappers throughout the album.

Eazy-E famously incorporated elements of this shared style into his aesthetic. With flannel shirts, Dickies, and his signature Locs sunglasses, Eazy-E’s look represented a blend of Black and Chicano streetwear that became synonymous with the NWA era.

Bay Area Hyphy Movement & Attire

“Squabble up” pays homage to hyphy culture by weaving distinctly hyphy elements into the video’s broader narrative of West Coast pride. Vibrant colors, oversized streetwear, and scraper bikes (popularized by the Trunk Boiz in their 2007 anthem “Scraper Bike”) are references. The bikes in particular are symbolic of hyphy fashion, with flashy rims and customized messages or slogans written on them. The spirit of hyphy, led by pioneers like Keak da Sneak and E-40—the latter of whom Kenrick has a long history with—is captured in the video’s choreography.

While hyphy is inherently of the Bay Area, “squabble up” bridges it to LA’s culture, emphasizing the cultural exchange between the two regions. This connection is brought full circle during the “pop out” scenes, where vintage LA lowriders with hydraulic lifts and dancers bring the iconic hyphy energy to life.

Darlene Ortiz on Ice T's 'Power' Album Cover

When Ice T’s Power debuted in 1988, its album cover—featuring Ice T’s then-partner Darlene Ortiz in a white monokini confidently holding a shotgun—challenged conventional notions of femininity and representation in gangsta rap. As the first woman to grace the cover of a Gangster Rap album, Ortiz’s presence was an embrace of the genre’s raw aesthetic. The cover became a statement of the audacious spirit of hip-hop in its early West Coast era.

By recreating this image, Kendrick draws on its legacy to frame his own exploration of cultural identity. Kendrick’s intention seems to echo the same defiance that Power embodied; an assertion of agency.

1980s 'Soul Train'

Soul Train was the ultimate stage for Black expression, particularly in Los Angeles where it was filmed after its first year in Chicago (where Kendrick’s family is from). “squabble up” recreates the iconic Soul Train scramble board including a woman wearing an Afro-centric cap and all-black attire, a celebration of Black heritage. Alongside her is a man dressed in a gaudy ’80s suit with white shoes and a jerry curl, another style synonymous with the era’s Black identity. The vast contrast between their looks offers a tongue-in-cheek poke at the cultural differences that began to emerge in LA during the mid to late ’80s. Funk and freestyle dance music (i.e. Debbie Deb’s “When I hear Music”) had to compete with the rise of Gangsta Rap acts such as NWA, Ice T, and later, Death Row Records. During this time, music genres like funk, R&B, and electro-funk played pivotal roles in shaping dance and fashion trends, establishing the LA dance scene as a viable counterpoint to East Coast’s hip-hop and house movements.

'Menace II Society' Jumpsuit

The child wearing an orange jumpsuit and riding a Fisher Price bike in “squabble up” is a direct nod to Menace II Society (1993), an iconic crime epic that depicts the harsh realities of South Central LA. A young boy riding a bike is one of the most crucial and poignant scenes of the film, symbolizing both innocence and inescapable violence. Kendrick has openly expressed his admiration for the film, even having a conversation with Sway and actor Tyrin Turner about how Caine was his favorite character.

With the recent passing of Oakland rapper and actor Saafir, who played in Menace II Society, the homage is of divine timing and reverence.