Summary
Introduction
On March 31, 2015,
Kendrick Lamar joined Hot 97's morning show hosts Ebro Darden, Peter Rosenberg, and Laura Styles for an extensive interview following the release of his album "
To Pimp a Butterfly." This conversation occurred just weeks after the album's March 15, 2015 release.
Kendrick Lamar's East Coast Reception and Hip-Hop Cross-Regional Appeal
Kendrick Lamar expressed genuine surprise and appreciation for his reception in New York, noting: "I never thought in a million years that my music would be appreciated on the East Coast." This acknowledgment highlights the significant cultural validation this represented for a Compton, California artist breaking through traditional regional barriers that had historically divided hip-hop. Lamar specifically mentioned selling out SOBs (Sounds of Brazil) in New York as a defining early career moment, stating: "That's the first thing that tripped me out, the SOBs thing, you know what I mean, cuz that's legendary."Lamar attributed this East Coast connection to New York audiences' appreciation for lyrical craft: "Out here they just generally love rap lyrics." He noted the distinctive energy he encountered, differentiating New York's reception from other markets: "I can get love somewhere else and it be like okay we rock with you but here is like it's a little bit different."
"To Pimp a Butterfly": Kendrick Lamar's Multidimensional Concept Album
When discussing the title "To Pimp a Butterfly," Kendrick Lamar revealed multiple interpretations that demonstrated the album's conceptual depth. He explained one meaning as "taking something, taking my celebrity and doing good with it," representing the choice between selfish exploitation of fame versus constructive social impact. Lamar continued: "The butterfly, it represents the thoughtfulness, it represents how people view me in society being on the TV screen." Lamar expanded on additional meanings, including industry exploitation: "How the industry look at artists and how they pimp artists out," and broader societal perceptions: "How the world view coming from urban community, coming from the hood." These layered interpretations established "To Pimp a Butterfly" as an intellectual examination of power dynamics across personal, professional, and societal dimensions.The production process for "To Pimp a Butterfly" represented a significant departure from conventional hip-hop methodology. Kendrick Lamar described extended collaborative sessions: "We go in the studio and we spend about 10-15 hours in the studio just vibing out, almost a jam session, and I write my little skeletons down whether it's some hooks, whether it's bridges, verses, come back as a demo and respit it the next day." This approach with live instrumentation created what Lamar called a "theatrical" quality that distinguished the album from contemporaries.
Kendrick Lamar's Musical Influences and Intergenerational Collaborations
Throughout the interview, Kendrick Lamar acknowledged specific musical influences that shaped his artistic development. When asked about albums that influenced his political consciousness, Lamar cited Ice Cube's work: "My pops played a lot of Death Certificate... America's Most Wanted." He noted that while he didn't fully comprehend the content initially, he later understood Cube was "talking about being a black man in society and maneuvering through the cracks."Kendrick Lamar talked about his collaboration with funk pioneer George Clinton on "To Pimp a Butterfly." Lamar emphasized Clinton's presence during recording sessions: "Everybody in the studio - George Clinton, Terrace Martin, Soundwave," noting Clinton's contribution extended beyond music to providing energy and perspective. Lamar didn't elaborate on specific musical direction from Clinton but valued "just the conversation... just be around for the energy."
Kendrick Lamar's "Mortal Man" and Tupac Shakur Connection
Kendrick Lamar provided insights into "
Mortal Man," the album's concluding track featuring a constructed dialogue with Tupac Shakur. He revealed: "I wrote the lyrics for 'Mortal Man' on the
Kanye tour," referring to his supporting role on
Kanye West's
Yeezus Tour. Lamar detailed the track's development: "My homeboy Soundwave that made the beat, he came with the skeleton of the drums and the pattern was so ill, so I wrote the music."The conversation with Tupac came from unreleased material: "I had these old old Pac interviews, it was unreleased by this cat in Germany that shot him to me." Lamar explained creating the fictional dialogue: "I basically came up with the idea, say let me make this my own interview and let me put it on the back of this song because the lyrics are profound, you know, just like the interview is." This creative decision positioned Kendrick Lamar within hip-hop's intellectual lineage, connecting his contemporary commentary to the genre's historical discourse.
Kendrick Lamar's Philosophical Approach to Music Creation
When addressing criticism of the album's complexity, Kendrick Lamar expressed confidence in its eventual impact: "It's going to touch you, it's going to hit you, and it's going to reach you." He distinguished his approach from artists focused on immediate commercial success: "If my music was made to grab you immediately, I would have thousands of hit singles on the radio." Instead, Lamar emphasized creating work with lasting value: "I make albums where I want you to go back and listen to 100 times."Addressing criticism about incorporating spoken word poetry and soul sounds, Kendrick defended these elements as central to his musical heritage, describing them as "sophisticated gangster shit" that represents what he grew up listening to with his parents. He stated that "To Pimp a Butterfly" was the album he always wanted to make, contrasting it with "[good kid, m.A.A.d city]"(https://www.forgedbytime.com/post/good-kid-maad-city-53) where he had to "maneuver through the cracks" to balance commercial appeal with his message.Kendrick Lamar identified "
i" as "the best song I ever wrote" precisely because it represented an unexpected artistic direction: "I never thought in a million years I'll make a positive record coming from where I come from, never in a million years." This statement highlights Lamar's willingness to transcend expectations and challenge conventional assumptions about artists from marginalized communities.Despite widespread critical acclaim, Kendrick Lamar expressed reluctance about premature "classic" designations: "I'm not quick to give out the classic title... let it live a little bit." He explained this position as preserving the term's value: "When you throw that word out, you can throw it out for anybody... and it devalues the word." This perspective revealed Lamar's concern with long-term artistic legacy over immediate validation.
Kendrick Lamar on Social Issues and Race Relations
The interview addressed Kendrick Lamar's
controversial Billboard statement about Black communities respecting themselves. Lamar explained that he was speaking from personal experience about the challenges of overcoming ingrained behaviors in urban communities: "It's hard to stop a habit... This is what we've been seeing since one, two years old inside the family and outside our public schools." He described his music as "therapy" that helps him practice what he preaches, referencing his lyric from "
Blacker The Berry", "gang-banging make me kill a nigga blacker than me" as something he needs to repeat on stage every night to reinforce positive change in himself.When discussing President Obama's impact on race relations, Kendrick Lamar offered a nuanced assessment: "I didn't think he was able to do all he wanted to do." Lamar suggested institutional constraints limited Obama's effectiveness: "The powers that be... stopped him from doing what he really wanted to do." This evaluation recognized both symbolic importance and practical limitations of Obama's presidency in addressing systemic racial issues.The conversation examined contemporary manifestations of racism, including discriminatory legislation in Indiana and continued violence against Black Americans. These discussions contextualized Kendrick Lamar's music within urgent social justice concerns, demonstrating how his artistic commentary directly addressed ongoing societal challenges.
Kendrick Lamar on Mental Health and Male Vulnerability
The interview highlighted Kendrick Lamar's pioneering role addressing mental health in hip-hop through tracks like "
u." Lamar explained the barriers to emotional expression, particularly for men in his community: "The folks I grew up around, they can't say when they feeling bad or feeling sad because it's just that mentality." He described how this emotional suppression leads to destructive outcomes: "What happens is that leads to one of the homies knocking them off, you know, or being violent against somebody else."Kendrick Lamar positioned his music as therapeutic both for listeners and himself: "I'm going to be the voice for them, period, and that's always been the blueprint of my music." He added: "It's therapy, not only for the listener but for me as well," citing how performing challenging content serves as personal development: "I gotta record and rap these songs on stage every night, it's a practice." This framework established Lamar's art as simultaneously personal growth and public service.
Kendrick Lamar on Industry Evolution and Artist Independence
Kendrick Lamar provided insightful analysis of shifting music consumption patterns: "I think now it's in the tradition where kids either like it or they don't, no matter how many Billboards you put it on, no matter how many TV screens, radio shows." This observation acknowledged digital platforms' democratizing effect, reducing traditional marketing's influence while empowering authentic artist-fan connections.Despite digital disruption, Kendrick Lamar emphasized live performance's critical importance: "Your shows is what shows longevity, period. You can have the greatest songs in the world, but them ticket sales and them kids coming to see you, that proves everything." This perspective highlighted his understanding of sustainable career development beyond streaming metrics.The interview coincided with Jay-Z's launch of Tidal streaming service, prompting discussion of artist ownership. Kendrick Lamar endorsed the concept: "I just think it's a great idea for artists to take control," while revealing a formative meeting with Prince who shared wisdom about creative independence. These comments positioned Lamar within ongoing conversations about artistic autonomy that would shape his future business decisions.
Kendrick Lamar's Collaborations and Artistic Relationships
Kendrick Lamar confirmed ongoing discussions with
J. Cole regarding their anticipated collaborative project: "Definitely, definitely. I still would love to do it, for sure. I talked to the bro, um, I don't know, probably a little bit over a month [ago]." While acknowledging Cole's touring schedule as a practical obstacle, Lamar confirmed continued interest from both artists and fans: "They want that."When discussing his choice to feature Rapsody on "
Complexion (A Zulu Love)," Kendrick Lamar emphasized talent as his sole criterion: "She's talented, simple as that. It ain't about the celebrity, ain't about how long you been in front of the lights and the camera. She been rhyming for a minute and she's been crazy."Kendrick Lamar disclosed visiting Prince's Paisley Park headquarters for a potential collaboration that remained unfinished due to time constraints. However, he valued the wisdom Prince shared about creative independence: "He was breaking down some things man that I need to consider in my career, just really taking control of your creativity."
Kendrick Lamar's Navigation of Celebrity and Authentic Identity
When addressing fame's challenges, Kendrick Lamar revealed his naturally reserved personality: "Before I started doing music, I was always to myself... when we was out in public before the music, I was the one in the cut just observing." This introspective nature contrasts with his commanding stage presence, highlighting the constructed nature of his public persona.Kendrick Lamar described his approach to fan encounters by considering their perspective: "If this photo is a monumental gesture for a fan and can help them throughout their day... whenever I get or I'm feeling a certain way, I just think of it from that perspective." This empathetic framework demonstrated his understanding of celebrity's emotional impact while maintaining personal boundaries.*There may be errors on this page.