Analysis
In this interview
Kendrick Lamar answers a lot of questions about
To Pimp A Butterfly.He believes that artists should be more thoughtful in the music they put out which is why he spent so much time trying to bring a good message in this album rather than glorifying killing.He talked about how Top Dawg had always believed in him and Jay Rock even before he believed in himself. Jay Rock made it into the industry before Kendrick and was able to give Kendrick advice on how to say certain things since Jay Rock got a lot of backlash for his debut album.J. Cole wanted to sign Kendrick but he never told Kendrick that. Kendrick also talked about how he wants to do a collab album with J. Cole but they just need to find the right time to do it, and they already have some songs recorded.He revealed the reason he doesn't use Dr. Dre beats a lot on albums is because Dr. Dre and him have something big planned. Despite not using many beats from him he does get advice on how to make certain sounds from Dr. Dre especially using analog.Some people at Top Dawg were mad at
Kanye since he was posting pictures of his girl on the day
To Pimp A Butterfly released and Kendrick defends him saying that he has worked with
Kanye before and believes he's a good guy and he meant no harm.Charlamagne asked him about what he meant by being the
closest thing to a preacher his fans have. He also talked about his aggression on his
Control verse, elaborated on what he meant when
talking about police violence in Ferguson, why he didn't attend the
Grammy's, getting the Tupac interview on
Mortal Man, why the
album released early, and
working with Snoop Dogg on Institutionalized, and working on
the album as a whole.To end of the interview
just like the last interview the interviewer asks about if the movie is coming out and he jokingly asks where's the budget.
Long Summary
Kendrick Lamar Discusses "To Pimp a Butterfly": Essential Interview Insights
In this 2015 interview on The Breakfast Club with hosts DJ Envy, Angela Yee, and Charlamagne Tha God, rapper
Kendrick Lamar provides insight into his recently released album "
To Pimp a Butterfly."
"To Pimp a Butterfly" Release Strategy and Digital Distribution Challenges
Lamar talks about the technical complications that
affected his album release, detailing how the clean version was inadvertently published before the explicit version and that it released a week early, causing iTunes to temporarily freeze their system:"They dropped the clean version. And the crazy part about it is we knew that the iTunes leak was gonna be down for a minute when once they did that because it's a certain system that they put in at the labels to either put it on iTunes put it up, so the date was actually confused and locked it in and locked it off."When questioned about Top Dawg Entertainment's unconventional marketing approach, Lamar emphasizes their independent philosophy: "We always sits as an entity as far as TD and make our own rules first. And that's been day one." This strategy of artistic autonomy would later become a blueprint for numerous independent hip-hop labels, demonstrating Lamar's industry-changing influence beyond his music.
Musical Evolution: From "good kid, m.A.A.d city" to Jazz-Influenced Hip-Hop
The conversation highlights Lamar's artistic evolution between his sophomore album "
good kid, m.A.A.d city" (2012) and "To Pimp a Butterfly" (2015). Discussing the lead single "
i," which
earned Grammy Awards for Best Rap Performance and Best Rap Song, Lamar reveals its community-focused inspiration:"The inspiration behind it was really talking to some of the older cats in the neighborhood and really doing somebody of the norm, uh speaking, speaking some type of positivity back in the city, rather than doing you know what we used to doing period."This deliberate shift toward jazz-influenced production and positivity-focused messaging marked a significant artistic risk at a time when trap music dominated mainstream hip-hop. Lamar confirms spending approximately two years crafting "To Pimp a Butterfly," beginning immediately after completing "good kid, m.A.A.d city" – a meticulous approach contrasting sharply with the rapid-release strategy adopted by many contemporaries.
Behind "To Pimp a Butterfly": Creative Process and Collaboration
Lamar reveals creating between 30-40 songs for the album, with many personal favorites not making the final cut due to cohesion concerns:"I probably did about thirty to forty songs that we actually fought over in the studio because a lot of the records was was my favorite records. You know, sometimes it'd be like that, you may do something crazy and it just don't end up because it might not be as cohesive as you thought."Lamar discusses his collaborative process, mentioning working extensively with musicians including Bilal, George Clinton, Thundercat, and producer Terrace Martin, spending nearly a year in studio sessions with them. He emphasizes prioritizing artistic vision over celebrity status in his collaborations, a philosophy that has defined his career choices.This glimpse into Lamar's rigorous selection process illustrates his commitment to conceptual album-making rather than assembling collections of singles – a philosophy that distinguishes him from many contemporary artists and explains his consistent critical acclaim.
Mental Health in Hip-Hop: Kendrick Lamar's Depression and Personal Struggles
Lamar discusses experiencing depression, a theme explicitly explored on the album track "
u." He attributes these struggles not to fame itself but to the dramatic life changes and challenges of maintaining community connections:"It's a drastic change when you you're around so many different faces, faces that you don't quite understand and mean different people and things are going on back home that it's out of your control to handle."This frank discussion of mental health issues provides context for songs like "u" on the album where Lamar explores his struggles with depression. His explanation that these feelings stem from "a drastic change" and disconnect from his community rather than fame itself adds depth to understanding his lyrics and perspective.
Social Responsibility in Hip-Hop: Kendrick Lamar's Perspective on Artistic Influence
Addressing questions about artists' social responsibility, Lamar emphasizes the profound impact musicians have on young listeners:"This is something I didn't understand until I went out on these roles and talk to these kids. They take my music very seriously. So with that being said, I know they take the next artist music very seriously."He elaborates on his strategic approach to messaging, explaining, "I'm not just glorifying the streets...it's a reality check, but it's for the better at the end of the day." This perspective positions Lamar as a conscious voice balancing authentic street narratives with constructive messaging – a stance evident throughout his work.
Tupac Shakur's Legacy and Influence on "To Pimp a Butterfly"
One of the interview's most significant revelations concerns the Tupac Shakur audio featured on the album's closing track "
Mortal Man." Lamar discloses acquiring the unreleased interview while in Germany and securing permission from Afeni Shakur, Tupac's mother, to incorporate it:"I got that when I was in Germany from this caddy. He said, I got this unreleased Tupac interview and he handed off to me... Tupac was a prophet to me and everything he's talking about, it's actually going on today."This connection between Tupac's legacy and Lamar's work positions him as a torchbearer for conscious hip-hop traditions, creating a lineage between different generations of socially aware rap artists. The reverence with which Lamar speaks about obtaining Afeni Shakur's blessing demonstrates his respect for hip-hop's cultural foundations.
Hip-Hop Mentorship: Top Dawg Entertainment's Role in Lamar's Development
Lamar demonstrates humility when discussing his early career, crediting Anthony "Top Dawg" Tiffith for recognizing his potential before he himself envisioned his success:"To be hundred percent real, I didn't [envision this success] but Top Dog did. That's real talk. And you can ask anybody that's been around us, or if you whoever nor him a long time. He always said, Kay Doves gonna go gonna do something in this game."He acknowledges how Jay Rock, another TDE artist, served as a mentor who helped him navigate industry challenges: "Rock was in my corner giving me game, like do this like that."
West Coast Hip-Hop Tradition: Kendrick Lamar's Regional Influences
When addressing his contentious "
Control" verse (2013), which named and challenged numerous peer rappers, Lamar contextualizes it within West Coast hip-hop traditions:"I think people forgot just off the music that I put out, that I'm actually from the West Coast and the aggression that we have in our music. I can't run from that, you know, whether it'd be a control verse, whether it be Black or the Berry, that's that's all I'm influenced by."He cites specific influences including Dr. Dre, DJ Quik, and Too $hort, emphasizing his connection to California's hip-hop lineage. This cultural positioning is significant, as it situates Lamar within a specific regional tradition while explaining his artistic choices to listeners who might have misinterpreted his intentions or forgotten his Compton roots.
Analog Recording Techniques: Technical Innovation in "To Pimp a Butterfly"
Discussing technical aspects of "To Pimp a Butterfly," Lamar reveals his preference for analog recording methods:"I did the most majority of the record going back when I'm mixing was through analog, the same stuff...what Marvin Gaye, Luther Vandross...recorded on prior to Pro Tools... it gives you a warm sound.""I'm hands on with everything you know, and I'm a huge on how it won't something to sound rather scratch the record if it's it's a good record or not."
Visual Symbolism: "To Pimp a Butterfly" Album Artwork Analysis
The interview concludes with Lamar explaining the symbolic significance of the album's iconic cover art, which depicts him with neighborhood friends in front of the White House:"It's really taking you know, people they call negative and people I feel that also have have good hearts and taking them around the world. You feel they've never been out of [Compton]... and that's a concept within itself, but it's also several more, it gets a little bit deeper."This multifaceted approach to visual symbolism reflects Lamar's layered artistic vision, using imagery to extend the album's thematic concerns about Black community, American power structures, and personal transformation. The image would become one of the most recognizable album covers of the decade, its political implications analyzed by music critics and academics alike.
Religious and Spiritual Themes in Kendrick Lamar's Music
Lamar addresses his statement about being "
I’m the closest thing to a preacher that they have," explaining:"I got a little brother and little sister and cousins, and they belief level is at an all time low, you know, these days, you know, they they they don't believe in anything. So if what I'm putting it and putting in in my music, it's an act of God and He using me as a vessel. What makes me any different from somebody being in church and giving their word?"
Legacy and Cultural Impact of "To Pimp a Butterfly"
This interview captures Kendrick Lamar at a pivotal moment in his artistic evolution. "To Pimp a Butterfly" would go on to be widely regarded as one of the most significant hip-hop albums of the 2010s, with its exploration of racial identity, depression, survivor's guilt, and spiritual growth establishing new standards for thematic depth in hip-hop. The album's impact is evident in how Lamar discusses his intentions for the project and the personal meaning behind songs like "i," "u," and "
The Blacker the Berry."His comment about creating music for "people in the system and in the printer system and and kids in college because they got a number of time to listen to it" reveals his intentional approach to creating music with depth that rewards repeated listening.*There may be errors on this page.