This term paper tries to show that Kendrick Lamar, on his album "To Pimp A Butterfly", not only incorporates the concept of institutional racism but elaborates on it, offering a different approach to the issue. By using the example of the ghetto, he uses an unconventional idea of what can be defined as an institution and how African Americans are discriminated against by the institutions. Moreover, he tries to show what effects these institutions have on the individual. Furthermore, with the concept of "self-love", Lamar offers an alternative approach to solve this problem.
In 2018 hip hop became the most popular music genre in the US and there is no denying the influence it has on today’s popular culture. Hip hop has its origins in African American musical tradition and was used as protest music by young African Americans in the 1970s and 80s and can therefore be described as being part of African American culture. Even in other parts of popular culture we now see many African Americans having achieved worldwide fame. One could think that the US has overcome its historic legacy of slavery and racism. However, in stark contrast to that are the claims that African Americans today live in an era of mass incarceration and police brutality, claims that are backed up by statistics and movements like "Black Lives Matter". How can this predicament be explained that America, on the one hand, seems to have overcome racism, but on the other hand, African Americans are still being challenged by massive inequalities? Some people see an explanation to this predicament in the concept of institutional racism, a term that has its origins in the Civil Rights Movement of the 1960s.
The term is also a topic of Kendrick Lamar’s third studio album "To Pimp A Butterfly", with one song even titled "Institutionalized", suggesting Lamar’s awareness of this problem.
Kendrick Lamar currently belongs to one of the most successful and influential artists in hip hop. His music often tackles personal struggles or social issues, which are often intertwined. This is especially true for "To Pimp A Butterfly". An analysis of Kendrick Lamar’s music and the message behind it could offer a different perspective and approach to the issue of institutional racism.
Table of Contents
1. Introduction
2. Institutional Racism, Kendrick Lamar and Compton
2.1 Institutional Racism
2.2 Kendrick Lamar & Compton
3. To Pimp A Butterfly
3.1 “Institutionalized”
3.2 “Wesley’s Theory”
3.3 “Hood Politics”
3.4 “The Blacker The Berry”
3.5 “i”
4. Conclusion
5. Works Cited
1. Introduction
In 2018 hip hop became the most popular music genre in the US (cf. Lynch) and there is no denying the influence it has on today’s popular culture. Hip hop has its origins in African American musical tradition and was used as protest music by young African Americans in the 1970s and 80s and can therefore be described as being part of African American culture. Additionally, many of hip hop’s most celebrated artists are African American. Even in other parts of popular culture we now see many African Americans having achieved worldwide fame. One could think that the US has overcome its historic legacy of slavery and racism. However, in stark contrast to that are the claims that African Americans today live in an era of mass incarceration and police brutality, claims that are backed up by statistics and movements like Black Lives Matter. How can this predicament be explained that America, on the one hand, seems to have overcome racism, but on the other hand, African Americans are still being challenged by massive inequalities? Some people see an explanation to this predicament in the concept of institutional racism, a term that has its origins in the Civil Rights Movement of the 1960s.
The term is also a topic of Kendrick Lamar’s third studio album To Pimp A Butterfly, with one song even titled ”Institutionalized“, suggesting Lamar’s awareness of this problem. Kendrick Lamar currently belongs to one of the most successful and influential artists in hip hop. His music often tackles personal struggles or social issues, which are often intertwined. This is especially true for To Pimp A Butterfly. An analysis of Kendrick Lamar’s music and the message behind it could offer a different perspective and approach to the issue of institutional racism.
This term paper tries to show that Kendrick Lamar, on his album To Pimp A Butterfly, not only incorporates the concept of institutional racism but elaborates on it, offering a different approach to the issue. By using the example of the ghetto, he uses an unconventional idea of what can be defined as an institution and how African Americans are discriminated against by the institutions. Moreover, he tries to show what effects these institutions have on the individual. Furthermore, with the concept of ‘self-love,’ Lamar offers an alternative approach to solve this problem.
To verify or falsify this thesis, specific songs and lyrics from the album will be selected and discussed. In preparation for this, this paper will first introduce the concept of institutional racism, followed by a brief introduction to Kendrick Lamar and his close connection to his hometown, Compton, and the term ‘ghetto’. Then follows a deeper analysis of specific songs and lyrics from To Pimp A Butterfly. This term paper concludes with a summary of the findings and some concluding remarks.
2. Institutional Racism, Kendrick Lamar and Compton
2.1 Institutional Racism
The civil rights movement in America and their fight for equal rights and opportunities succeeded in changing the situation of many African Americans. While not every problem was solved, many laws were changed, especially the laws and customs of racial segregation (cf. Harris and Liebermann 10). Many Americans would agree that we now live in a post-racial society (cf. Harris and Liebermann 11). However, racism is still alive in the US and while overt racism, in most cases, seems to be a problem of the past, forms of implicit racism are still evident in many areas of American society. Today, racism is less caused by individuals, but rather by the existing structures of society and its institutions. This form of systematic racial discrimination is what the concept of institutional racism refers to. The term was first introduced in 1967 by civil rights activists Stokely Carmichael (today known as Kwame Ture) and Charles V. Hamilton in their book Black Power, in which they describe institutional racism as the following:
Racism is both overt and covert. […] We call these [types] individual racism and institutional racism. […] The second type originates in the operation of established and respected forces in the society […] it is institutional racism that keeps black people locked in [low income neighborhoods] (Ture and Hamilton 20).
While the situation of African Americans and other minorities has much improved since the 1960s, many statistics are proving that institutional racism is still a reality for many of them: In 2016, the unemployment rate for African Americans was twice as high compared to White Americans at every level of education. The income gap between Black and White Americans was at around 60 percent, which remains the same since 1976 (cf. 2016 State of Black America 14).1
However, statistics like these also reveal the biggest problem fighting institutional racism: While we can observe the effects of institutional racism, it is difficult to pinpoint the exact location where and how this racism takes place. Why are the unemployment rate and income gap so high? Most statistics only reveal the effects of institutional racism, not the causes. Additionally, history played a major role in shaping today’s institutions (cf. Harris and Liebermann 10). Many people do not consider the impact political decisions made decades ago have on today’s society. Furthermore, after the Civil Rights Movement, the concept was only rediscovered in the 1990s. Because of these reasons, many people, especially politicians, still do not understand or know how race works at the level of institutions (cf. ebd. 16f.). Many Americans believe that the time of racial discrimination is over and everyone should have equal opportunities. So, if African Americans or other minorities perform poorly in comparison to White Americans, the reasons for this are often not seen in racial discrimination caused by flawed institutions, but rather by the individuals themselves (cf. ebd. 11f.). This in turn helps spread and reinforce common stereotypes (cf. ebd. 12). Taking a more critical look at the overall concept of institutional racism, some critics see the term's lack of focus as problematic. People like Coretta Phillips argue that the term is failing to consider how institutional racism and individual racism are intertwined, therefore the term lacking in political and analytical power (cf. Phillips 173).2
Today’s US institutions have their origins in an openly racist society and are yet to be reformed to modern values. Because of the underlying racist structures, seemingly race-neutral policies often reinforce racial inequalities, even if the officials behind them do not necessarily have a racist mindset. Discrimination against African Americans in America is still a reality and institutional racism is one of the reasons why. What is lacking is awareness of problems like these. There are ideas of how to tackle problems like institutional racism, but they take time and money, and none of them would be possible without strong support from politicians and citizens. It is therefore essential to talk about these issues, again and again:
I think we've got to be willing to tell the truth. The whole truth. We have got to be willing to say out loud that we, as a nation, have managed to rebirth a caste-like system in America. […] We have got to be able to tell this truth, rather than dressing it up, massaging it, trying to make it appear that it's something other than it is. [Otherwise] we will never break this cycle of creating caste-like systems in America (Alexander 45:02-45:40).
2.2 Kendrick Lamar & Compton
Without a doubt, Kendrick Lamar belongs to the most important musicians of our time.3 Common to all of his albums is the desire to describe and give solutions to the problems he sees around him – be it personal struggles or the realities of African American life. The problems Kendrick Lamar discusses in his music, like drug abuse or gang violence, are not abstract. Growing up in Compton, Lamar experienced these problems first hand: “Shit I’ve been through prolly offend you, [..] / I know murder, conviction, burners, boosters, burglars, ballers, dead, redemption, scholars, father’s dead with kids […]” (Lamar “DNA”).
Areas [like Compton] have always been lower-income, under-resourced, poor areas. Gangs are still here, underperforming schools are still here, school dropout is here, guns are here, drugs are here, violence is here and the wounds of incarceration are here” (Glodbaum 8:45 -9:00).
Compton is just one example of many cities in the US with similar issues and it is areas like Compton where the effects of institutional racism are felt the most. Because of the living conditions, these cities are often referred to as the ‘ghetto’. However, a ghetto is not only defined by poverty but more importantly by “racial isolation” (Irwin 9).4 This racial isolation leads to an “extreme level of social and economic isolation” (Irwin 10), which, in turn, causes these minorities to stay in these problematic environments, segregating them from the rest of American society. This is especially true for African Americans. Different from other minorities, African Americans were forced into these environments through various mechanisms (cf. Irwin 11). Taking Compton as an example, caused by a series of events which were fueled by racial discrimination, the city transformed from a “beacon of hope […] for middle-class African Americans” (Sides 583) in the 1950s, “to a metonym for urban crisis” (Sides 583) by the 1980s.
Today, the ghetto is a part of modern American society; it was created by whites to isolate and control the growing urban black population, and it is now maintained by a set of institutions, attitudes, and practices that are deeply embedded in the structure of American life (Irwin 10).
One of the reasons why Lamar started writing To Pimp A Butterfly was to make people aware of the issues people in Compton are facing and to help these people: “To Pimp a Butterfly, which is me talking to my homeboys with the knowledge and the wisdom that I gained” (Lamar Rolling Stone ). However, Lamar also recognizes that the problems people in Compton are facing are the same problems African Americans everywhere in the US are struggling with. Helping the people of Compton means helping African Americans everywhere.
3. To Pimp A Butterfly
3.1 “Institutionalized”
A fitting starting point for a closer examination of how institutional racism is dealt with in To Pimp A Butterfly is the song “Institutionalized”, the title clearly aiming at the concept of institutionalized racism. The term ‘institutionalized’ describes becoming less able to think and act independently, because of having lived for a long time under the influence of an institution (cf. Cambridge Dictionary ). It is sometimes used to describe people who are sent to prison, too. Lamar identifies multiple, somewhat unconventional institutions, which are causing this institutionalization: Firstly, he identifies the ‘institution’ of the music industry, as he feels that the music industry tries to ‘pimp’ or to manipulate artists like himself, only trying to make money through them. In this song, he focuses on showing how the music industry is only about money and profit5 . This leads to the second institution Lamar identifies: The institution of money, or in more general terms, capitalism. Through the eyes of his friend, who he imitates in the song with a shift of his voice and who is enraged after seeing the lavish lifestyle of those celebrities, Lamar shows the corruptive power of money and wealth, leading to envy and violence, and how many people are negatively affected, or in other words, are institutionalized, by the idea of getting rich: „Now Kendrick, I know they‘re your co-workers / But it’s gon’ take a lot before this pistol go cold turkey” (“Institutionalized”).
Most importantly, Lamar identifies Compton, or the ghetto in general, as a problematic institution. As already examined, even the cities in which African Americans are living are maintaining racial segregation and discrimination, which is comparable to other problematic institutions. Lamar seems aware of this, but sees the main problem in how this kind of institutional racism affects and negatively influences the individual, leading to a form of internalized racism. (cf. “Internalized racism”) This problem of internalized racism is very tangible in the interlude between the intro and the first verse:
If I was the president / I'd pay my mama's rent / Free my homies and them / Bulletproof my Chevy doors / Lay in the White House and get high, Lord / Who ever thought? / Master take the chains off me (“Institutionalized”).
Even if African Americans, like Lamar, make it out of the ghetto, and in this example even become the US president, they are still trapped in this mindset. The speaker on the interlude would act as if he was still in the ghetto, unable to think independently outside of this mindset. This idea is supported by the album cover, with the people on the cover being portrayed in front of the White House but still seem to act uncivilized and uncontrolled. The last line of the interlude, “Master take the chains off me” (“Institutionalized”), is especially noteworthy: ‘Master’ could either refer to god, the speaker asking god for help, or to a slave owner, the speaker begging him to free him from enslavement.6 Lamar compares the situation of African Americans today to the time of slavery. While African Americans are not enslaved anymore, because of their environment and its institutions, more precisely the ghetto, they are still being oppressed. This ‘enslavement’ inside the ghetto is happening physically, through for example poverty and mass incarceration, as well as mentally, through example internalized racism and lack of education.
In an interview Lamar states: “[People living in Compton] wanna do something different, but can’t because you are in an environment where you gotta adapt” (Goldbaum 2:58-3:04). In Lamar’s view, the ghetto forces people to adapt to a lifestyle of gang culture, violence, and greed. They are unable to leave the ghetto, as they are only used to this kind of life. These people are therefore institutionalized by their problematic environment. This is what Lamar tries to show with the opening lines of the song7 and by the behavior of his friend. Lamar’s friend knows that he should not act like this at the award show, but cannot help himself.
3.2 “Wesley’s Theory”
On the opening song of the album, “Wesley’s Theory”, one can find a very similar idea to the aforementioned interlude, as it deals with the question of what happens if African Africans do make it out of the ghetto. The name of the song refers to Wesley Snipes, a famous African American actor, who was sent to prison because he did not pay his taxes. (cf. Erb). In the song, the speaker says: “I'll Wesley Snipe your ass before thirty-five” (“Wesley’s Theory”). The character speaking in this situation is Uncle Sam, the personification of America.8 Lamar compares his situation, and the situation of other African Americans who make it out of poverty, to the situation of Wesley Snipes. Lamar is trying to say, that even if people like him make it out of the ghetto, America keeps African Americans oppressed by the effects of institutional racism. Like in “Institutionalized”, Lamar shows that growing up in low-income communities instills people with habits that tend to have a negative impact on their ability to sustain success, even after achieving it. Furthermore, Lamar identifies the institution of school as discriminating, as African Americans are getting lesser education and are therefore more likely to fall victim to minor offenses like taxes.9 In an interview, Lamar states: “I spent all my time in school and escaping prison and escaping the system. So, you mean to tell me the moment I become successful and I get some money and I don’t know how to manage my money, that you gonna throw me back in jail for taxes?” (Lamar MTV News 4:21–4:39). Furthermore, Lamar again addresses the music industry as problematic, even equating it as an extension of America’s racist institutions: Uncle Sam, as the speaker of the second verse, says: “I can see the dollar in you” (“Wesley’s Theory”). In Lamar’s eyes, the music industry and America itself, are trying to manipulate and exploit African American artists by forcing them into this ‘gangster rapper’ image. The artist thereby stays under the influence of these institutions, even perpetuating the cycle they escaped by promoting the very things that they fought against, such as drugs and gang violence. Through the constant portrayal of the black men as the ‘gangster rappers’, and other factors, like the ghetto itself, African Americans living in these environments are internalizing stereotypes about them, defining themselves through the lens of these stereotypes. Thus, many just accept and live by this ‘gangster’ image, hindering them from moving forward. However, Lamar also acknowledges that this is a part of himself he struggles with by writing this song.
3.3 “Hood Politics”
This feeling of being manipulated and abandoned by the government is again picked up on “Hood Politics”. In this song, the speaker portraits a younger version of Lamar, showing the listener a time when Lamar was still living in the ghetto. On the second verse Lamar raps:
“From Compton to Congress, it's set trippin' all around / Ain't nothin' new but a flow of new DemoCrips and ReBloodlicans / Red state versus a blue state, which one you governin'? / They give us guns and drugs, call us thugs / Make it they promise to fuck with you / No condom they fuck with you, Obama say, ‘What it do?’ (“Hood Politics”).
Lamar compares the main political parties of America to the gangs of Compton. In Lamar’s view, it does not matter who is in power, the people of Compton are treated all the same, as uncivilized criminals. Even more than that, these politicians actively seem to perpetuate this situation, using the problematic situation of African Americans for their benefit.10 This is happening even though there are more African Americans being members of congress than ever before (cf. Taylor 77). Furthermore, even with Barack Obama being the first African American president, the situation of African Americans has not changed, which, again, is addressed by the album cover, which presents Lamar and other African Americans on the lawn of the White House. Lamar seems disillusioned with politics and the government and does not seem to believe that real change can happen from above.
3.4 “The Blacker The Berry”
All of Lamar’s suppressed anger about the current situation seems to be set free on the song “The Blacker The Berry”: “You hate me, don't you? You hate my people; your plan is to terminate my culture / You're fuckin' evil I want you to recognize that I'm a proud monkey” (“The Blacker The Berry”). Lamar uses similar images and comparisons as in the previous songs to describe the situation of African Americans, but now especially directs the message at White America. Again, he compares the situation of African Americans to that of slavery: “I'mma be another slave in my head / Institutionalize manipulation and lies” (“The Blacker The Berry”). Again, he claims that their situation is caused by the actions of politicians and the consequences of certain laws: “You sabotage my community, makin' a killin' / You made me a killer, emancipation of a real n~a.” (“The Blacker The Berry”) The overt racism of the past has vanished, as the whips and chains of slavery have vanished,11 but this does not mean African Americans are really free. Lamar accuses America of having institutionalized its racial hatred into society and its structures: “All them say we doomed from the start, cah' we black” (“The Blacker The Berry”).
However, in the third verse the speaker addresses a different problem, a problem Lamar seems to see as equally important: “So why did I weep when Trayvon Martin was in the street? When gang banging make me kill a n~a blacker than me? Hypocrite!” This line changes the addressee of the song from America in the first two verses to that of the African American community, making the listener reevaluate the whole song. The question Lamar seems to ask is how can African Americans expect to be treated with respect if they are not respecting themselves? This question also connects to institutional racism. Living in the institution of the ghetto, African Americans are surrounded by this violent environment, causing them to hurt and even kill each other as a result of internalized racism, which was explored earlier.
3.5 “i”
Coming back to “Institutionalized”, within the overarching story of the album, the song could be interpreted as the point where the speaker as Lamar realizes that in order to change the existing situation, talking about it is not enough (“Shit don't change until you get up and wash your ass” (“Institutionalized”)). What good is his success as a rapper, if he can’t help the people around him? And more importantly, how can he help others, if he himself is still ‘institutionalized’ and exploits his power as a celebrity?12 Battling his own demons - most notably on the song “u” – Lamar can change himself by self-reflection. Applying much of what he learned, he is able to use his knowledge for the purpose of uplifting others. This leads to the song “i”, which could be seen as the final step of Lamar’s development throughout the album. On the chorus of the song the speaker sings “I love myself” (“i”). Lamar was able to face his problems and now encourages self-love and self-empowerment, which in turn leads to the ability to love and respect others. In Lamar’s view, this is the precondition for real change. By showing his own flaws and struggles throughout the album, he shows the listener that despite the pressures and challenges that we all face, changing yourself is possible. Furthermore, we now see the message of To Pimp A Butterfly in action, as the songs mimics a live performance, showing Lamar actually talking to the people he wants to help. In the song, the performance has to stop after an argument among the crowd breaks out – mirroring the situation of the African American Community as described in “The Blacker The Berry”. Lamar can resolve the argument, as the crowd gets quiet after listening to his words, which also reflects Lamar’s intent to change the problems around him with his music. In the last verse of the song, Lamar says: “N-E-G-U-S definition: royalty, King royalty” (“i”). In the final parts of the album, Lamar transforms the infamous N-word from one of the most controversial and offensive words in the English language to an affirmation of black pride by taking it back to its original African roots, a powerful statement for self-empowerment. Lamar hopes to close the divide in the African American community by encouraging self-respect and self-love. Only if African Americans are united, they can overcome inequalities and racial oppression, which could hopefully lead to an end of issues like institutional racism.
The word was respect / Just because you wore a different gang color than mines / Doesn't mean I can't respect you as a black man / Forgetting all the pain and hurt we caused each other in these streets / If I respect you, we unify and stop the enemy from killing us (“Mortal Man”).
This concept of ‘self-love’ can be found in other areas of African American studies, too. For example, Barbara Haider sees the need for “self-definition” (Haider 54) in order to build a strong ‘Black’ community. By defining themselves, Haider sees the possibility for African Americans to finally be free of the stigmas and stereotypes set by others (cf. Haider 54):
African-Americans have always been defined in racial terms rather than as individuals. […] Self-definition provides the opportunity of establishing a positive self-image […] (Haider 54).
Furthermore, the concept of ‘self-love’ has also been a topic of black-feminist politics. Various social activists of second-wave black-feminism saw “Love-politics” (Nash 12) as a way to “change the public sphere, a plea to unleash radical imagination.” (Nash 19). While at first glance the idea of ‘self-love’ may seem too simple and idealistic, it could be just what the African American community needs.
4. Conclusion
This term paper has shown that Kendrick Lamar elaborates on the concept of institutional racism. With the ghetto, he takes a rather unusual example of what an institution can be and how it affects people, which was shown on different songs on the album. Lamar sees the solution in unifying the African American community through self-love and respect for each other, which can only take place after individual introspection. This can be observed in the song “i”. Therefore, the thesis of this term paper can be verified.
There are still many different topics and themes not mentioned in this term paper - topics like double consciousness, black pride, the various musical influences, and many more - that would justify a closer examination of To Pimp a Butterfly from a different perspective. Additionally, even in the context of institutionalized racism, there is still more to analyze. For example, the song “Mortal Man”, with the poem and the fictional interview between Lamar and rapper 2pac, could offer more insights into this topic.
Lamar offers an alternative approach to the problem of institutional racism. Rather than just talking about statistics or politics, Lamar can bring these problems down to a personal level, letting the listener experience these problems instead of only hearing about them. This is also reflected in the way Lamar approaches this problem, that is through personal stories. Lamar tries to change the situation not through social or political activism, but through his music. With the success of his music, he has the ability to reach places where traditional scholars or politicians would not be able to go, reaching especially those people that would otherwise not have the access or the education to learn and talk about these issues. Lamar recognizes the role and potential music can have: “In my opinion, the only hope that we kinda have left is music and vibrations” (“Mortal Man”). Ultimately, To Pimp a Butterfly is also about the question if music has the potential to change the world and how it could be used.
Of course, some aspects of To Pimp a Butterfly can be criticized. For one, the situation Lamar portrays is not the same for every African American. Not every African American is living in the ghetto or has experienced these issues. Furthermore, other minorities living and affected by the ghetto are not really mentioned. There are limits to the concept of self-love, as it lacks a political concept. While I personally would agree that real change has to start from within, it is still a long way to actually changing laws and policies. Taking a step back and looking at hip hop in general, another question remains: Is popular culture, especially the commercialized hip hop of today, capable to initiate real, radical change? David M. Jones, for example, argues that, while hip hop has started as a form of protest music in the 1970s, it has become more and more commercialized, now more known to reinforcing stereotypes than to erase them (cf. 67). For Jones, hip hop has passed its time where it would have caused a real change and cultural activists should be more critical of hip hop, of what it can and cannot do (cf. 80). Even celebrated and ‘conscious’ albums like To Pimp A Butterfly certainly have limits to what they can do inside the boundaries of the commercialized music industry. Lamar seems to be aware of this problem and struggles with this issue himself, as can be observed in various songs on the album.
Even in 2019, racism is still a major problem in the US, caused by issues like institutional racism. While many ideas have been proposed to change this, not much has happened. Any change, however small, is necessary. It is difficult to determine if Lamar’s message is or will initiate real change, especially concerning the issue of institutional racism. However, as stated earlier, before these problems can be solved, public awareness is needed, and in my opinion, Lamar succeeds in this point. Through his music and his fame, people all over the world, people like myself, are able to not only learn about the problems African Americans living in areas like Compton are facing, but are also able to empathize with them, to put themselves in their position: “And what happens is, it invites people in to get another perspective. It brings a whole other side of the world to Compton, to this backyard right here, and say ‘Okay, these are actually people’” (Goldbaum 3:04-3:17).
5. Works Cited
Primary Sources
Glodbaum, Zach. “NOISEY Bompton: Growing up with Kendrick Lamar.” YouTube, 16 Feburary 2016. <https://www.youtube.com/watch?v=CA1EmLFi4OA&t=502s> (August 27, 2019).
Haider, Barbara. Blackness and the Color Black in the 20th-Century African-American Fiction. Frankfurt am Main: Peter Lang, 2011.
Lamar, Kendrick. “DNA.” DAMN. Aftermath Entertainment et al., 2017.
Lamar, Kendrick “Kendrick Lamar Breaks Down Tracks From 'To Pimp A Butterfly' (Pt. 1) | MTV News” Interviewed by Rob Markman, MTV, YouTube, 1 April 2015. <https://www.youtube.com/watch?v=AUEI_ep9iDs&t=6s.> (August 27, 2019).
Lamar, Kendrick. “Kendrick Lamar: The Rolling Stone Interview” Interviewed by Brian Hiatt, Rolling Stone, 9 August 2017. <https://www.rollingstone.com/music/music-features/kendrick-lamar-the-rolling-stone-interview-199817/> (August 27, 2019).
Lamar, Kendrick. To Pimp A Butterfly. Aftermath Entertainment et al., 2015.
Michelle Alexander “The New Jim Crow: Mass Incarceration and Institutional Racism.” General Assembly Event 213, Unitarian Universalist Association, 2012.
Taylor, Keeanga-Yamahtta. From #BlackLivesMatter to Black Liberation. Chicago: Haymarket Books, 2016.
Ture, Kwame and Charles V. Hamilton. Black Power. The Politics of Liberation in America, Vintage Books, 1967.
Secondary Sources
“Bedeutung von ‚institutionalized‘ im englischen Wörterbuch” Cambridge Dictionary. <https://dictionary.cambridge.org/de/worterbuch/englisch/institutionalized?q=Institutionalized> (August 27, 2019).
“Compton City, California Statistics and Demographics (US Census 2000)” Compton AreaConnect. 2000. <http://compton.areaconnect.com/statistics.htm.> (September 9, 2019).
“Locked Out. Education, Jobs & Justice.” 2016 State of Black America. Executive Summary & Key Findings, The National Urban League. New York 2016. Available from http://soba.iamempowered.com/2016-executive-summary.´ (September 9, 2019).
“Massa” Merriam-Webster, <https://www.merriam-webster.com/dictionary/massa.> (September 9, 2019).
„Internalized racism“Wikipedia, 02.08.2019, <https://en.wikipedia.org/wiki/Internalized_racism.> (September 9, 2019).
Erb, Kelly Phillips.”U.S. Tax Court To Wesley Snipes: Pay The IRS” Forbes, 02.10.2018. <https://www.forbes.com/sites/kellyphillipserb/2018/11/02/us-tax-court-to-snipes-pay-the-irs/#77b4a9ef32eb> (August 27, 2019).
Gilbert, Ben. “Kendrick Lamar's civil rights anthem 'Alright' almost didn't happen.” Business Insider, 25.10.2016. <https://www.businessinsider.de/kendrick-lamar-alright-2016-10?r=US&IR=T> (August 27, 2019).
Harris, Frederick C. and Robert C. Liebermann. “Racial Inequality After Racism: How Institutions Hold Back African Americans” Foreign Affairs, Vol. 94, No. 2, Apr./Mar. 2015, pp. 9-20.
Irwin, Paul D. “Learning from the American Ghetto: A Comprehensive Analysis of African American Inner Cities” Agora Journal of Urban Planning and Design, vol. 5, 2011, 9-16. <http://hdl.handle.net/2027.42/120379> (September 9, 2019).
Jones, David M. “Privleging the Popular at What Price? A Discussion of Joan Morgan, Hip Hop, Feminism, and Radical Politics” Authentic Blackness | ‘Real’ Blackness: Essays on the Meaning of Blackness in Literature and Culture. Edited by Japtok, Martin and Jenkins, Jerry R., Peter Lang, New York, 2011, pp. 67-84.
Lynch, John. “For the first time in history, hip-hop has surpassed rock to become the most popular music genre, according to Nielsen.” Business Insider, 2018. <https://www.businessinsider.de/hip-hop-passes-rock-most-popular-music-genre-nielsen-2018-1?r=US&IR=T> (September 9, 2019).
Nash, Jennifer C. “Practicing Love: Black Feminism, Love-Politics, and Post-Intersectionality.” Meridians, vol. 11, no. 2 (2011), pp. 1-24.
Phillips, Coretta. “Institutional racism and ethnic inequalities: an expanded multilevel framework.” Journal of social policy, Vol. 40, No. 01 (2011), pp. 173-192.
Reed, Ryan. “Watch Kendrick Lamar Accept Pulitzer Prize for ‘Damn.’” Rolling Stone, 30.05.2018. <https://www.rollingstone.com/music/music-news/watch-kendrick-lamar-accept-pulitzer-prize-for-damn-629162/> (August 27, 2019).
Sides, John. “Straight into Compton: American Dreams, Urban Nightmares, and the Metamorphosis of a Black Suburb.” American Quarterly, Vol. 56, No. 3, Sep. 2004, pp. 583-605.
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1 Since 1976 the Urban league’s report The State of Black America is published annually and provides a useful overview about achievement gaps in education, health and income between White and African Americans.
2 Phillips proposes to situate institutional racism in a different framework, “which acknowledges the role of racialisation at the micro, meso and macro levels” (174). These different levels would take into consideration how individuals, institutions and the structures behind these two, all work together to create the racial disparity we see today.
3 For example, Kendrick Lamar, as the first musician outside of classical or jazz music, won the Pulitzer prize for his album DAMN in 2018 (cf. Reed). His song “Alright” has become a kind of unofficial anthem for the Black Lives Matter Movement (cf. Gilbert).
4 Looking at Compton, people living there are predominantly African American. (cf. “Compton City”).
5 “The constant big money talk 'bout the mansion and foreign whips /The private jets and passport, presidential glass floor / Gold bottles, gold models […]” (“Institutionalized”).
6 While both interpretations are possible, it is interesting to note that in the song the word ‘master’ is also pronounced as massa, which was a vernacular term African American slaves used to refer to slave owners (cf. “Massa”).
7 “I said I’m trapped inside the ghetto and I ain’t proud to admit it / Institutionalized, I could still kill me a n~a, so what?” (“Institutionalized”).
8 “Anything, see, my name is Uncle Sam, I’m your dog” (“Wesley’s Theory”).
9 As shown by the lines “Uneducated but I got a million-dollar check” (“Wesley’s Theory”) and “But remember, you ain't pass economics in school / And everything you buy, taxes will deny” (“Wesley’s Theory”).
10 For example, Keeanga-Yamahtta Taylor observed that various African American politicians are using their unique position as ‘insiders’ to benefit from it politically: “Moreover, it gives them the authority as people with particular insight into the ‘Black community’, which they often use to do more harm than good while deftly escaping the label of ‘racist’” (79).
11 „And man a say they put me in a chain, cah' we black / Imagine now, big gold chain full of rocks / How you no see the whip, left scars pon' me back / But now we have a big whip, parked pon' the block.” (“The Blacker The Berry”).
Frequently Asked Questions: An Analysis of Institutional Racism in Kendrick Lamar's "To Pimp A Butterfly"
What is the main topic of this text?
This text analyzes how Kendrick Lamar incorporates and elaborates on the concept of institutional racism in his album To Pimp A Butterfly.
What is institutional racism?
Institutional racism refers to systemic racial discrimination embedded within the structures of society and its institutions, as opposed to individual acts of racism. It's a concept that originated in the Civil Rights Movement of the 1960s.
How does Kendrick Lamar relate to Compton and the concept of the 'ghetto'?
Kendrick Lamar grew up in Compton, a city often referred to as the 'ghetto,' where the effects of institutional racism are felt most strongly. The ghetto is defined not just by poverty but also by racial isolation, which perpetuates social and economic isolation.
What are some of the "institutions" that Lamar identifies in his album?
Lamar identifies unconventional institutions such as the music industry, the concept of money/capitalism, and the ghetto itself as contributing to institutionalization and internalized racism.
What does Lamar mean by "institutionalized"?
In the context of his album, "institutionalized" describes becoming less able to think and act independently due to the influence of these problematic institutions, leading to a form of internalized racism.
What is "Wesley's Theory" about?
"Wesley's Theory" discusses what happens when African Americans escape poverty, but still face the effects of institutional racism. It critiques the system that punishes individuals for financial mistakes after they've escaped environments with limited educational opportunities.
What is the message of "Hood Politics"?
"Hood Politics" expresses disillusionment with politics and the government, suggesting that regardless of who is in power, the people of Compton are treated the same, with politicians using their situation for their own benefit.
What is the significance of "The Blacker The Berry"?
"The Blacker The Berry" initially expresses anger towards White America, accusing it of institutionalizing racial hatred. However, it shifts focus to address internalized violence within the African American community itself, questioning self-respect and self-love.
What role does "i" play in the album's narrative?
The song "i" represents a turning point where Lamar realizes talking about problems isn't enough. He emphasizes the importance of self-love and self-empowerment as preconditions for real change and respect for others.
How does Lamar suggest African Americans can overcome institutional racism?
Lamar suggests that unifying the African American community through self-love and mutual respect, achieved after individual introspection, is crucial for overcoming inequalities and racial oppression.
What are some limitations or criticisms of Lamar's approach?
Some criticisms include that not every African American experiences the same issues, other minorities affected by the ghetto are not mentioned and the concept of self-love may lack a political concept. Also if commercialized hip hop is able to really initiate radical change.
What is the overall conclusion of the text?
The text concludes that Kendrick Lamar elaborates on the concept of institutional racism in To Pimp A Butterfly by using the ghetto as an institution. He offers a solution of unifying the African American community through self-love and respect. By approaching these problems and bringing public awareness he gives listeners the ability to not only learn but also empathize.
- Quote paper
- Ben Joy Muin (Author), 2019, Institutional Racism in Kendrick Lamar’s "To Pimp A Butterfly", Munich, GRIN Verlag, https://www.grin.com/document/1146401
