King Kunta

"King Kunta" is a multifaceted anthem of defiance, empowerment, and social commentary. At its core, the song is a bold reclamation of power and identity in the face of systemic oppression and industry politics. The central metaphor, the juxtaposition of "King" and "Kunta," is pivotal. "Kunta" refers to Kunta Kinte, the protagonist of Alex Haley's novel and miniseries "Roots," a slave who had his foot cut off after repeated escape attempts. By crowning this figure a "King," Lamar transforms a symbol of brutal oppression into one of indomitable resilience and royalty. He positions himself as a modern-day Kunta who, despite forces trying to "cut the legs off him" (i.e., sabotage his success), has risen to a position of power and influence.

The song operates on multiple levels. On a personal level, it's a triumphant declaration aimed at those who doubted him during his come-up ("Bitch, where you when I was walkin'?") and a critique of inauthenticity within the rap industry, specifically calling out the use of ghostwriters. On a broader societal level, it addresses the Black experience in America. The narrative of rising from Compton, a place with systemic obstacles, to global fame becomes an allegory for Black resilience. The song confronts the paradox of success for a Black artist: achieving the status of a "king" makes one a target for the very systems that one has overcome. The recurring motif of "the yams" symbolizes this power, influence, and authenticity, drawing from Ralph Ellison's "Invisible Man," where yams represent a connection to one's roots and identity.

The song begins with a confrontational tone, as the narrator announces he has a grievance to air. He stakes his claim to his throne, warning off any inauthentic individuals who might try to usurp his position. He declares his return to his neighborhood, filled with righteous anger but not stress, and poses a pointed question to his so-called "true friends."

The central chorus is a challenge to those who were absent during his struggles. It contrasts his past of "walkin'" with his present status of "runnin' the game," where the whole world is talking about him. He introduces the persona of "King Kunta," a figure everyone wants to metaphorically "cut the legs off of." This alludes to the historical figure Kunta Kinte from "Roots," whose foot was amputated to prevent escape from slavery. Yet, in this telling, the Black man, Kunta, takes no losses. The question is repeated, emphasizing the hypocrisy of those who now flock to his success. The idea of having "the yams" is introduced, cryptically explained as "the power that be," a palpable influence he carries.

In the first verse, he directly critiques the music industry, specifically targeting rappers who use ghostwriters. He questions the authenticity of artists who "share bars" like inmates in a jail cell. He asserts his integrity, stating he would rather be a broke person than a sellout who has to 'brown-nose' for wealth and success. The chorus returns, reinforcing his newfound power and the envy it attracts.

The second verse expands on the symbolism of "the yams," citing how this power and influence have been a source of manipulation and desire, referencing comedian Richard Pryor and former President Bill Clinton. He reflects on his contemplation of returning to his old neighborhood just to confront his enemies with his success. He then attacks the self-destructive nature of some of his peers, stating he was going to metaphorically "kill a couple rappers," but they ended up destroying their own careers. He dismisses their work as elementary and suggests he'd be incarcerated if he were to lyrically dismantle their very identities.

In the final verse, he shifts from confrontation to celebration and self-realization. He speaks of planting a flag in his city, Compton, and the local support he has, even suggesting he could run for mayor. He confidently asserts his achievements, having made it past the dangerous age of 25 and having walked out of court with millions. He paints a picture of himself as a "nappy-headed" young man who has the world behind him, transforming from a "peasant to a prince to a motherfuckin' king." The song closes with a final, triumphant repetition of the chorus, interspersed with an outro that carries the funky, defiant vibe to its conclusion, asserting that by the time the next beat drops, the funk will have taken hold of the listener.

"King Kunta" was created for Kendrick Lamar's third studio album, To Pimp a Butterfly, which was released in 2015. The song was recorded between 2013 and 2014 and was officially released as the album's third single on March 24, 2015. The track was co-written by Lamar and Stephen "Thundercat" Bruner, with production handled by Terrace Martin, Michael Kuhle, and Sounwave. Thundercat's distinctive, lively bass line is a key feature of the song.

The song's creation involved a rich tapestry of samples and interpolations. The foundational bassline is an interpolation of "Get Nekkid" (2000), a track by Mausberg featuring DJ Quik. Lamar stated this was a deliberate homage to Mausberg, a promising Compton rapper who was killed before his album's release. The song also incorporates resung lyrics from Michael Jackson's "Smooth Criminal" ("Annie are you okay?"), elements of James Brown's 1974 hit "The Payback," and a sample from Ahmad Lewis's 1994 song "We Want the Funk." These diverse influences were woven together to create the song's distinctive G-funk sound, rooting it deeply in West Coast hip-hop traditions while also paying tribute to funk and soul legends. Thematically, the album, including "King Kunta," was heavily inspired by Lamar's visit to South Africa, where he toured historic sites like Nelson Mandela's former jail cell, which profoundly influenced his exploration of racial identity and discrimination.

"King Kunta" is dense with symbolism and metaphors that enrich its narrative of power and resistance.

• King Kunta: The song's title is a central oxymoron, fusing the status of a "King" with the identity of "Kunta Kinte," the rebellious slave from Alex Haley's "Roots." Kunta Kinte had his foot amputated as punishment for trying to escape. This fusion symbolizes Lamar's status as a triumphant Black man who has achieved royalty in his field, yet is still targeted by a system that wants to cripple him ("cut the legs off him"). It transforms a victim into a defiant ruler.
• The Yams: This recurring phrase, followed by the question "What's the yams?", is a key metaphor. As explained in the lyrics, "The yam is the power that be." The symbol is borrowed from Ralph Ellison's novel "Invisible Man," where the protagonist eating yams connects him to his Southern roots and authentic self. In the song, "the yams" represent true power, influence, heritage, and authenticity, which Lamar possesses. He also links it to temptation and manipulation, referencing Richard Pryor and Bill Clinton.
• Walking vs. Running the Game: The line "Bitch, where you when I was walkin'? / Now I run the game" serves as a straightforward metaphor for his journey from a struggling artist to a dominant figure in the music industry. It's a direct challenge to fair-weather friends and detractors.
• Monkey-Mouth Motherfuckers: This opening insult is a powerful, racially charged reclamation. By using a historically derogatory term for Black people ("monkey"), Lamar turns it back on his rivals, stripping them of their legitimacy and claiming his own throne.

"King Kunta" projects a powerful and defiant emotional atmosphere, characterized by a mix of anger, pride, and triumphant swagger. From the opening line, "I got a bone to pick," Lamar establishes a confrontational and aggressive tone. This isn't a melancholic or introspective anger, but a righteous, confident fury directed at his detractors, the music industry's inauthenticity, and systemic oppression.

The emotional landscape is primarily created through the driving, bass-heavy G-funk instrumental, which feels both aggressive and celebratory—a sound of marching and rebellion you can dance to. Lamar's vocal delivery is key; it is not desperate or pleading, but dominant, deliberate, and full of venomous conviction. There's a palpable sense of pride and accomplishment in his voice as he contrasts his past struggles ("walkin'") with his current success ("run the game").

While the dominant emotion is defiance, there are subtle shifts. The verses carry a critical, almost didactic anger as he lectures other rappers. The final verse, however, moves towards unadulterated triumph and celebration, as he envisions himself as a beloved leader in his hometown of Compton. The song as a whole feels kinetic and energetic, a conversion of historical pain and modern frustration into a powerful, unapologetic statement of self-worth and victory.

"King Kunta" made a significant cultural impact upon its release, lauded by critics for its potent lyricism and innovative funk-infused sound. It was widely regarded as a standout track from the critically acclaimed album To Pimp a Butterfly. The song received numerous accolades, being named the second-best single of 2015 by the Village Voice's Pazz & Jop poll and placing high on year-end lists from publications like Pitchfork and Rolling Stone. The album itself won the Grammy for Best Rap Album.

The song's title and central metaphor, referencing Kunta Kinte from "Roots," brought a significant piece of African American historical narrative into contemporary pop culture, sparking conversations about slavery's legacy and modern-day resilience. The music video, directed by Director X and filmed in Compton, was also highly influential. It features Lamar performing on a throne at the Compton Fashion Center and dancing on rooftops with local friends, visually reinforcing the themes of returning to one's roots and claiming a throne in one's own community. The video's aesthetic drew inspiration from classic West Coast videos like Dr. Dre's "Still D.R.E." and 2Pac's "California Love."

Within Lamar's discography, "King Kunta" stands as one of his most recognized and commercially successful protest songs, a defiant anthem that fuses political commentary with an irresistibly funky groove. It remains a staple of his live performances, often performed with immense energy and crowd participation, as seen during his historic "Pop Out" show in Los Angeles in June 2024. The track solidified Lamar's position not just as a master lyricist, but as a vital cultural commentator.

The rhyme and rhythm of "King Kunta" are fundamental to its confrontational and groovy feel. The song's rhythmic foundation is a strong, duple-meter G-funk beat, driven by a prominent bassline and a steady kick/snare pattern, creating an infectious groove that encourages movement. The tempo and bounce are central to the track's defiant, strutting energy.

Lamar's flow is both technically complex and rhythmically versatile. He manipulates his rhyme schemes throughout the song. The chorus features a relatively stable rhyme scheme, reinforcing its hook-like nature. For instance, the lines "walkin'" and "talkin'" create a simple, effective couplet. In the verses, his rhyme patterns become more intricate and dense. Music theorist Adam Krims identifies Lamar's style on the track as a "sung style" of flow, which is notable for its melodic qualities. Musicologist Brad Bungert notes that the verses often feature couplet-based rhymes and densely packed lyrics, with Lamar delivering lines in a rapid-fire manner that fills the subdivisions of the beat.

The interplay between the lyrical rhythm and the instrumental is dynamic. At times, Lamar's flow locks tightly into the beat, emphasizing the groove, while at other moments, his phrasing is more flexible, weaving in and out of the rhythmic structure. This rhythmic tension adds to the song's restless, aggressive energy. The structure has been described as having a formal ambiguity, with analysts debating whether it follows a verse-chorus or chorus-verse structure, a complexity that reflects the song's thematic dualities.

"King Kunta" showcases a masterful blend of literary and musical techniques that define its aggressive and funky character.

• Musical Style: The track is a modern take on G-funk, a subgenre of hip-hop characterized by deep, funky basslines, Parliament-Funkadelic inspired grooves, and melodic synthesizers. The production heavily relies on sampling and interpolation, weaving together elements from James Brown, Michael Jackson, Mausberg, and Ahmad, creating a rich, layered sonic tapestry that pays homage to Black music history. Thundercat's prominent, live bass performance gives the track a vibrant, kinetic energy. The use of a vocoder for background vocals adds to the classic funk aesthetic.
• Vocal Delivery: Lamar's vocal performance is dominant, confident, and deliberate. He employs a sung style of flow, where his rap delivery contains distinct melodic contours, blurring the line between rapping and singing. His rhythmic delivery is both precise and flexible, ranging from sparse, classic West Coast patterns to more rapid-fire, sixteenth-note flows, demonstrating immense technical control.
• Literary Techniques: The lyrics are rich with allusions, referencing historical and literary figures (Kunta Kinte ), novels ("Roots," "Invisible Man" ), and fellow musicians. The song is built around a central extended metaphor of himself as King Kunta. Lamar uses a confrontational, first-person narrative voice that directly addresses his haters and the industry at large, employing rhetorical questions ("Bitch, where you when I was walkin'?") to challenge and accuse.

What is the meaning behind the title 'King Kunta'?

The title 'King Kunta' is a powerful oxymoron referencing Kunta Kinte, the enslaved man from the novel 'Roots' who had his foot cut off for trying to escape. By calling himself 'King,' Kendrick Lamar juxtaposes the imagery of oppression with royalty, symbolizing his own triumphant rise despite systemic forces trying to 'cut the legs off him' or sabotage his success.

What does 'the yams' mean in Kendrick Lamar's 'King Kunta'?

In 'King Kunta,' 'the yams' symbolize power, authenticity, and a deep connection to one's heritage. The term is an allusion to Ralph Ellison's novel 'Invisible Man,' where yams represent a comforting link to the protagonist's Southern roots. For Lamar, possessing 'the yams' means having a palpable, genuine influence that his rivals lack.

What songs are sampled in 'King Kunta'?

The track features a rich blend of samples and interpolations, including the bassline from Mausberg's 'Get Nekkid,' elements of James Brown's 'The Payback,' re-sung lyrics from Michael Jackson's 'Smooth Criminal,' and a sample of Ahmad's 'We Want the Funk.' These samples ground the song in the history of funk and West Coast hip-hop.

Who were the producers of 'King Kunta'?

The song was produced by a team that included Sounwave, a frequent collaborator with Kendrick Lamar, as well as Terrace Martin and Michael Kuhle. The funky bassline that drives the track was performed by the acclaimed musician Thundercat, who also shares a songwriting credit.

Why does Kendrick Lamar criticize other rappers in 'King Kunta'?

Kendrick Lamar uses 'King Kunta' to critique what he sees as a lack of authenticity in the rap industry, specifically targeting artists who use ghostwriters. He raps, 'a rapper with a ghostwriter? / What the fuck happened?' and compares them to inmates 'sharing bars,' asserting his own lyrical integrity and originality.

What is the significance of the music video for 'King Kunta'?

Directed by Director X, the music video was filmed in Kendrick Lamar's hometown of Compton. It visually represents the song's themes of returning to one's roots and claiming a throne. Featuring his real friends and local spots like the Compton Fashion Center, the video is a celebration of his community and a powerful statement of belonging and success on his own terms.

What genre is 'King Kunta'?

The song is primarily categorized as G-funk, a subgenre of hip-hop that originated on the West Coast. It is characterized by its use of deep, funky basslines, Parliament-Funkadelic samples, and melodic synthesizers, all of which are prominent elements in 'King Kunta.'