To Pimp A Butterfly Album Art— A Semiotic Analysis
The quarantine period has pushed me to take a deep dive into some of my favourite albums over the past decade, To Pimp A Butterfly being one of them. However this time round the album art revealed itself to me far more, perhaps from the continuous listening, the emotional toll this album takes or just from some added focus and attention. The album art encompasses the album themes incredibly well, explains all the complex themes of race politics, fame, identity, self esteem, and use and misuse of power in one wholesome beautiful image. Disclaimer: Knowing the details that Kendrick puts in to his music, this post may just scratch the surface of this album art. If you have not listened to the album, I urge you to give it a try. If Kendrick is Leonardo da Vinci, To Pimp A Butterfly is perhaps his Mona Lisa, an album that reveals more on multiple listens, and has a lot more packed than what meets the eye (or ear).
INTRODUCTION
‘To Pimp A Butterfly’ is the 2015 album created by Kendrick Lamar, a rapper born in Compton. Kendrick Lamar has received critical acclaim on his albums ‘good kid, m.a.a.d city’ (a commentary on Compton life which includes gangs, drugs and violence, and his subsequent epiphanies) and ‘Section.80’; but perhaps To Pimp A Butterfly is his magnum opus (or atleast his best to date).
To understand the album art, we have to look through the themes ‘To Pimp A Butterfly’ broadly discusses. The album in itself requires an article (or more) to fully be able to detail the layers of meaning within each song but I will do the injustice of a quick shorthand gist. The album is placed after ‘good kid, m.a.a.d city’ where Kendrick is basking off his success from the album. However, due to his ‘harsh outlook’ on life from his experiences in the gang ridden streets of Compton, he doesn’t use his newfound power particularly well. He is ‘pimped’ or simplistically put ‘used’ by materialism, capitalism and/or promiscuity. However these experiences leave him depressed and looking for answers. He is conflicted within, experiences contradicting his emotions and we find him struggling with his Compton upbringing and socialisation. He is still confined with the limitations put on him by White America on a black man. And while he has escaped his own struggle in Compton with money and fame, he feels survivors guilt and is unable to escape the Compton mindset — one of approaching life with the same rigour of surviving in the streets. In order to find more answers he travels to South Africa and comes back with a message of positivity and peace. He understands in dramatic fashion that loving oneself and respect for others is the key for him to use his ‘influence’ in a positive manner. Like the end of ‘good kid, m.a.a.d city’ the narrative finds its resolution in introspection, God and love.
There is a poem that weaves this narrative together and is revealed in full at the end of the album
I remember you was conflicted
Misusing your influence
Sometimes I did the same
Abusing my power, full of resentment
Resentment that turned into a deep depression
Found myself screaming in the hotel room
I didn’t wanna self destruct
The evils of Lucy was all around me
So I went running for answers
Until I came home
But that didn’t stop survivor’s guilt
Going back and forth trying to convince myself the stripes I earned
Or maybe how A-1 my foundation was
But while my loved ones was fighting the continuous war back in the city
I was entering a new one
A war that was based on apartheid and discrimination
Made me wanna go back to the city and tell the homies what I learned
The word was respect
Just because you wore a different gang color than mine’s
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
But I don’t know
I’m no mortal man
Maybe I’m just another n —a
ANALYSIS
PART ONE: THE ELEMENTS
We notice a number of elements at first glance. Let us start picking them out one by one.
We see a number of black men in front of a large mansion, somewhat posing for an photo — a black and white photo on what looks like a cloudy day. There is also an unsettling image of a man under the crowd with crosses on his eyes.
The large mansion is the White House, the home of the American president. However, the White House connotes a number of things — government, power and authority. It can be seen as the center of political power. One could argue that this is not only an image of American power but global power, with American geopolitics always taking center stage. In the context of America and race, the ‘White’ house could also be interpreted as the home of White America. In its entire history upto this point, the US has only had one previous black president — Barack Obama. The rest of the presidents have all been white. This is particularly significant for black people who have been consistently marginalised from political power and social position in society; the White house is the symbol of historical exploitation. Notice that the White House has a black flag. Black Flag has obvious musical connotations with the anti-authority hardcore punk giants with the same name. It also connotes the black flag in the context of race with it firmly planted on top of White House. It can also be interpreted as an obscured image of the American flag further strengthening the idea that all is not well in the symbols of power.
The image is dynamic and moving, its as if this picture was a half-candid shot, unplanned and messy, spontaneous and noisy. There are blurs, gaps and not everyone present can be seen clearly. This, of course, is not by accident. In the image we can notice those not present in the image — women. This is a symbolism of the intersectionalities within black America, of women underrepresented or shunned out/not given space by the men in the group. If you look closely, there are women in the image but they all have been either pushed back or obscured by someone elses hand or face. The dynamism shows the nature of street life — fast, unplanned, noisy, messy. There are no perfect moments or poses, patience for everyone to settle for nice civil photo.
The other thing we notice is the image is black and white. This can be interpreted in a number of ways. Lack of colour in the context of race is a central theme in the album with songs such as “Complexion (A Zulu Love)”. Kendrick finds colourism absurd and critiques it masterfully in the song. It also features an appearance from Rapsody, an talented female emcee. This is the only whole hearted verse feature given by Kendrick on the entire album. This is immensely significant as it shows colourism takes an even more devastating effect on women and requires adequate representation to make the song complete in its messaging. Black and white also connotes the past, and can be interpreted as a nod to the historical significance of race. The album along with its personal journey also delves into the nuances of historical oppression of the black community with a number of references and call backs to activists, authors and artists. The black and white image also make the clouds look gloomy, which perhaps coloured would not give that impression. This underlying gloominess contrasts with the ecstatic, jubilant look on the faces of the men. The contrast between ideas, sort of two faces of the same coin, is portrayed throughout the album.
The black men are all shirtless, holding money and alcohol. Kendrick is in the image too. He is the only one holding the baby and he is placed in the center of not only the men but the entire album art. The shirtless black men are essentially a connotation of Compton, the city which Kendrick spent his childhood in and the city which he is trying to improve and inspire. The men are shirtless and carrying money and alcohol. Shirtless can be interpreted as raw and fearless. It can also be interpreted as men who have not been enough by society. They are not office goers or tax payers, they struggle on the streets and live on the streets. However, this cutback from society does not hamper their jubilance or enthusiasm for life. They look alive and noisy. Money and alcohol further strengthen connotations of Compton, a place where cash money from dealing drugs and engaging with gangs is commonplace. It is also a place strife with addiction of drugs and alcohol, which further perpetuate violence and pain. However, as is clear with the jubilant faces, it is also a reason to brag, a way to celebrate. Again a contrast or dual nature of ideas is present. It is a symbol of both success and vice.
Kendrick is the central figure in this piece of art. It is his story that is relayed and his album — he is the owner of the art piece. It is also significant that he is the only one holding a baby contrasting with the others holding money, alcohol, or even using gang signs. The baby connotes the future, the future of Compton ie Kendrick. It also connotes the fact that he is the only one in touch with his true self, while the others are too deep in the puddle of gangs and violence. The baby in turn holds what looks like a single bill, the idea that youngsters are thrust into this world of gang and violence as well. They pick this up at an early age. The two kids on the right of the image also connote the same. Youngsters, teenagers and innocent kids are pushed into this lifestyle. They are socialised by their tough upbringing to strive for their ideas of success — money and ‘cheap thrills’. They are also caught up in this Compton mindset. Kendrick is however shirtless even though he holds no money or alcohol. He defines his identity as one of those from Compton, although his ideas of success may have changed in the album. This is where he feels at home, these are the people he is passionate about — as expressed by his facial expression. These are his friends and family, and certainly in interviews he has confirmed that the men are his ‘homeboys’. They are his real life childhood friends and closest people.
The man fallen on the bottom left of the image wears a proper attire, this clearly contrasts with the shirtless men on top of him. This represents the employed, rich America. He is someone with power, someone important in the system. This image being placed outside the White House could also connote someone working for the system, a system which has worked against the black community. He also holds a hammer. This connotes that he is the judge. In interviews, Kendrick has confirmed that the man at the bottom is indeed a judge. This is incredibly significant in the album theme and the judge is a symbol of the justice system. The justice system has constantly worked against the black community. Incarceration rates are disproportionately placed against the black community and specifically places like Compton. Also notice, guns are not present in the album art. These are unarmed men.
There are crosses placed on the eyes of the judges. This can also be interpreted in a number of ways. The crosses represent blindfolds further playing into the judge narrative. The image of blindfolded people carrying scales is a common symbol for justice. It can also signify blindness, connoting that the justice system is blind and has not been fair to black Americans. The justice system is blind to the race atrocities faced by a significant section of the population.
It can also be interpreted from the art of the previous album “good kid, m.a.a.d city”.
In “good kid, m.a.a.d city”, a central theme was the loss of innocence. In the album art, this is potrayed by Kendrick (the child) being the only one without the blind, the innocent one. His uncles in the picture were part of gangs with no innocence left owing to the violence they had encountered and engaged in. This idea can be applied to the justice system, a system that has lost its innocence. None of the other men have their eye crossed out, so we could interpret innocence in Compton, innocence in the eyes of justice which could connote the number of innocent men or men with petty crimes put behind bars. The crosses could also connote death as we know that a common symbol for death in popular culture is closing ones eyes. It could be mean the death of the judge, as in death of justice or from an album perspective a death of White justice — again contrasts in the same symbol. It could also mean a takeover of White America but a long marginalised black community by taking over their symbols of power — the home of the government and the justice system.
In another track “i”, a song for self love and recognising self worth, Kendrick says these lines in the skit towards the end. He tries to defuse a fight that breaks out and says these lines
The judge make time, you know that, the judge make time right?
The judge make time so it ain’t shit
It shouldn’t be shit for us to come out here and appreciate the little bit of life we got left, dog
Make time here has been cleverly used to give time in the form of sentences and also make time to serve for justice. A relentless machine working against the rights of black citizens.
PART TWO: THE TIME
To further strengthen the idea of the judge we must also remember that this album came out in 2015, a tumultous time in American race relations. The police were constantly criticised for the killing of many unarmed black men. It is also noteworthy that the single “Alright” from the album became the unofficial anthem for the Blacks Lives Matter movement.
An excerpt from the track is given below
Wouldn’t you know
We been hurt, been down before, n — a
When our pride was low
Lookin’ at the world like, “Where do we go, n — a?”
And we hate po-po
Wanna kill us dead in the street for sure, n — a
I’m at the preacher’s door
My knees gettin’ weak and my gun might blow
But we gon’ be alright
This idea comes across in the album cover. The idea of being alright in the face of White america. The residents of Compton look jubilant in front of a symbol of oppression, they look like ‘they gon’ be alright’.
PART THREE: THE PERSPECTIVES
Disclaimer here: these perspectives are from the backdrop of my acquired knowledge and understanding.
From a perspective of White America, this image could seem intimidating. It is an image of the black community, gangs and all coming to their safe spaces. It is space taken over after a fight, by hardened men. They are jubiliant in victory and flaunt their riches. They have pushed a judge, a servant to power, to the ground as they rise up. They have planted the flag on the white house. It is a symbol which shows them that the black community have had enough of discrimination and moving out of their ignored ghettos.
From the perspective of the black community it is a symbol of hope. It is them taking over a space that has traditionally been denied to them, even more so for those from ghettos. It is a symbol of solidarity where Kendrick stands side by side with those fighting against discrimination. It is a symbol of them taking down the part of the system that has devastated thousands of black families — the justice system. It is an image of triumph accentuated by the passionate, victorious look of their faces.
From the perspective of the listener this image conjures up contrasts in the album — the street to the government. The image immediately recognises the gloomy yet triumphant snapshot, the violence of the man under the crowd contrasting with the innocence of the baby Kendrick is holding, black men in front of the white house. These contrasts are present through the album and are sort of a foreshadowing of what to expect from the album. Also the idea of contrasts are that these complex issues don’t have easy straightforward black or white answers, but are shades of grey — as conveyed by the grey colour palate of the album.
PART FOUR: TO PIMP A BUTTERFLY
From the perspective of Kendrick he takes his people outside the ghetto. He unshackles them from the confines of the ghetto and brings them to the seat of power. Even though their raw nature still remains, he is able to redefine what success means to him. He is one of them, this is even more significant when he stamps his identity in the album. He looks happy, at home in the white house with his ‘homeboys’. He is also triumphant in battling race, as is portrayed with much braggadocio.
In a way he uses his influence (pimp) to bring them to the white house. The influence is only possible from the reputation he is able to garner through his music and ideas (butterfly). The idea of understanding how to use his influence for good while battling his own frailties and weaknesses is one of the core ideas of the album. Its an incredibly profound and introspective idea of understanding power and influence from multiple lenses.
Thus the art also encapsulates the central idea of ‘To Pimp A Butterfly’. I should end this analysis with the last poem of the album which covers the album in the most perfect manner.
“The caterpillar is a prisoner to the streets that conceived it
Its only job is to eat or consume everything around it
In order to protect itself from this mad city
While consuming its environment
The caterpillar begins to notice ways to survive
One thing it noticed is how much the world shuns him
But praises the butterfly
The butterfly represents the talent
The thoughtfulness and the beauty within the caterpillar
But having a harsh outlook on life
The caterpillar sees the butterfly as weak
And figures out a way to pimp it to his own benefits
Already surrounded by this mad city
The caterpillar goes to work on the cocoon
Which institutionalizes him
He can no longer see past his own thoughts
He’s trapped
When trapped inside these walls certain ideas take root, such as
Going home, and bringing back new concepts to this mad city
The result?
Wings begin to emerge, breaking the cycle of feeling stagnant
Finally free, the butterfly sheds light on situations
That the caterpillar never considered
Ending the internal struggle
Although the butterfly and caterpillar are completely different
They are one and the same”
