- KENDRICK LAMAR PIMP A BUTTERFLY MOMMA SKIN
- KENDRICK LAMAR PIMP A BUTTERFLY MOMMA TV
- KENDRICK LAMAR PIMP A BUTTERFLY MOMMA FREE
A space we had literally never occupied before in such numbers with the likes of JAY Z, Chance The Rapper, The Roots, De La Soul, Nicki Minaj, Wale, Janelle Monae, Killer Mike, and Common to name a few. I think that if all our kids see is a glorification of materialism and bling and casual sex and kids… then they are getting an unrealistic picture of what the world is like." Still, when Obama finally became elected president he would invite black people from all spaces, especially creative, into the affairs of the White House. And some of it is not just a reflection of reality," he'd state. "There's no doubt that hip-hop culture moves our young people powerfully. That's not to say Obama embraced it without critique. His ability to embed and allude to elements of rap on the campaign trail felt like genuine appreciation for the first time. Yet, by the time Obama made his 2007 run for president, hip-hop was the dominant genre in popular music and the future president understood it as an important tool solicit votes-one of his first major pre-presidential co-signs would be Ludacris-and to gain young voters. And then, of course, there was Kanye's inescapable Bush moment in 2006. (In his defense, MC and political activist Sister Souljah would speak at his Rainbow Coalition forum several years later). In 1984, DJ Grandmaster Flash and Melle-Mel made a song called "Jesse," a tribute to civil rights leader Jesse Jackson, who would make history as the second black presidential candidate to run and would also ignore or refuse to recognize the song in any meaningful way. The idea, however, of getting inside the Oval Office always felt far off so when a person of colour made an attempt, artists got behind it. Likewise, hip-hop has always orbited around the politics of the president, leveling criticism at its greatest antagonists like Ronald Reagan and George Bush Sr.
metaphorically illustrate the gutted urban communities in D.C.'s Southeast area that surround the presidential mansion in reality. Every detail of the picture pops juxtaposed against the faded backdrop of the White House, as Lamar and co.
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Rouvre's choice in lighting and exposure reveals the well-worn scars and burns on the skin of all the subjects as they proudly show off the bottles and cash in their hand within the foreground.
And it's in this way TPAB cover art also symbolizes Obama's invitation of hip-hop and, by proxy, blackness into the White House. That's why they have them wild faces on there." In another sense, the image represents the long-traveled road of bringing your kin up to that front lawn and the joyful exhale of closing the gap between literal black and white.
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According to Lamar, the photo represents, "just taking a group of the homies who haven't seen the world and putting them in these places that they haven't necessarily seen, or only on TV and showing them something different other than the neighbourhood and them being excited about it.
At their feet lies a white judge with his eyes crossed out, the presumption being that he's dead.
KENDRICK LAMAR PIMP A BUTTERFLY MOMMA FREE
The photo-taken by famed photographer Denis Rouvre under the direction of Kendrick Lamar and TDE CEO Dave Free (otherwise known as visual duo The Little Homies) and Vlad Sepetov-depicts a group of primarily black men and children in a celebratory display in front of the White House, with the rapper in the center holding a child.