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Perhaps the most extreme example comes on To Pimp a Butterfly’s “The Blacker the Berry,” in which he promises that, by the end of the song, the listener will understand why he’s “the biggest hypocrite of 2015,” then proceeds to rap about anti-Black racism, before finally concluding, “So why did I weep when Trayvon Martin was in the street? When gangbanging make me kill a n-a blacker than me? / Hypocrite!” In other words, even when he wanted to release a song decrying violence against Black people, he did so while indicting himself as part of the problem. Rather than preaching down to the listener from on high, he has a tendency to instead hold himself up as an example of what not to do. The song’s conceit is in keeping with one of Kendrick’s long-standing strategies. The Right’s Long, Misguided Attempt to Claim Comedy’s Greatest Iconoclast for Themselves
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Last fall, I released Promise That You Will Sing About Me: The Power and Poetry of Kendrick Lamar, a biography of the brilliant 34-year-old Pulitzer-winning rapper from Compton, California. What extent, if any, did that shape not just Kendrick Lamar’s lyricism, his artistry, but his music? I’m not certain I’ve seen that reflected.” -Darnell L. “If you look around the Movement for Black Lives, you see that most of these folk that are leading are girls and women, and they’re sex workers … or transgender folk, gender-nonconforming folk.