You know what I’m saying, it’s gonna happen.”Ī shocking end to a masterpiece album, Shakur’s prediction doesn’t seem outside the realm of possibility as tensions only grow as systemic racism, discrimination and inequality continue to persist in American society. It’s gonna be murder, you know what I’m saying? It’s gonna be like Nat Turner, 1831, up in this motherf–––. And it’s gonna be some more playing but it ain’t gonna be no playing. For real, I don’t think America know that. Lamar tells him about the present situation, “There’s nothing but turmoil goin’ on so, I wanted to ask you: What you think is the future for me and my generation today?” Shakur responds, “…next time it’s a riot it’s gonna be like, uh bloodshed. Lamar creates a conversation with Shakur using sound clips from a 1994 interview. “To Pimp a Butterfly” ends with “Mortal Man,” a 12-minute long narrative of Lamar vocalizing his hope to carry on Nelson Mandela’s legacy through rapping followed by a time-traveling “interview” with one of Lamar’s main influences, Tupac Shakur. Lamar explained the song’s overarching motif: “‘King Kunta’ focuses on the history of negative stereotypes all African-Americans have to reconcile and reclaiming one’s history as a King instead of a slave.” The lyrics also make mention of yams, alluding to Ralph Ellison’s 1952 novel, “Invisible Man,” where the yam is used as a symbol of authenticity. The third track, “King Kunta,” references Kunta Kinte, the main character of Alex Haley’s 1976 novel, “Roots: The Saga of an American Family.” Two of the most iconic scenes in the novel feature Kinte getting his foot amputated after he attempts to escape from slavery, and the character refusing to accept the new name Toby, even while being whipped. Lamar explained his reasoning for the reference: “No one teaches poor Black males how to manage money or celebrity, so if they do achieve success, the powers that be can take it from right under them.” The song title alludes to the actor Wesley Snipes who went to jail for tax evasion. Successful Black artists are the allegorical butterfly “pimped” by the entertainment industry. The opening track, “Wesley’s Theory,” establishes the extended metaphor that is the album’s title. The Legendary Life and Extraordinary Talents of DMX
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