In “Music Video in Black and White: Race and Femininity,” Diane Railton and Paul Watson (2011) examine how race and gender are represented in music videos, noting the tension between mainstream representations and more nuanced, politically engaged portrayals. Their analysis touches on how music videos, particularly in the context of the Black Lives Matter (BLM) movement, have become a powerful platform for Black artists to create pro-Black, anti-racist messages. This shift in representation is particularly evident in videos like “This Is America” by Childish Gambino and “I’m Not Racist” by Joyner Lucas, both of which use stark imagery to confront racial issues in contemporary America. However Kendrick Lamar’s “Alright” arguably fits better within this framework, with more relatability within the black community. The use of intersexuality of African American culture is more evident within the music video. Lamar uses the medium of music video to engage with themes of systemic racism, Black identity, and resilience in the face of violence, oppression, and marginalisation.

The “Alright” video, much like those referenced by Railton and Watson, uses visual and symbolic elements to critique the structures of power that perpetuate racial inequality. The choice to film in monochrome, combined with the symbolic setting of the Oakland-Bay Bridge, serves as a striking visual metaphor. Oakland, as a city with deep historical ties to the Black Panther Party and a legacy of resistance against police brutality, provides the perfect backdrop for Lamar’s exploration of what it means to be Black in America. The bridge itself becomes a symbol of the binary contrast between Black and white, both literally in terms of colour and metaphorically in terms of the social divisions and struggles Lamar addresses in his lyrics.

The video’s haunting apocalyptic scenes of Oakland — including the symbolic image of a young boy obscured by a hoodie, reminiscent of Trayvon Martin — underscores the tragic realities faced by young Black men in America. The boy’s silent act of mouth[ing] the word “alright” evokes the tension between hope and despair, resilience and destruction. As Railton and Watson suggest, such representations give voice to the experiences of marginalized communities, using music videos to challenge dominant cultural narratives and highlight the deep emotional and psychological effects of racism.

The rapid shift from slow, haunting imagery to chaotic, apocalyptic sequences in “Alright” further explores Lamar’s understanding of America’s future, especially for the Black community. This rapid transition signals a collapse of social order, with the Black community caught in a cycle of systemic violence and fear. The unsettling nature of these shifts also reflects Lamar’s internal conflict and alienation, as he grapples with depression and the crushing weight of societal expectations.

The police brutality scene, in which a Black man is violently thrown to the ground by a white officer, echoes the real-world violence faced by Black Americans daily, reinforcing the video’s commentary on the ongoing racial war. The moment before the man is shot is followed by Lamar’s voice-over:
“While my loved ones was fighting a continuous war back in the city…I was entering a new one — a war that was based on apartheid and discrimination.”

This line encapsulates the ongoing racial struggles that Lamar portrays not only in the context of Black Americans’ experience but also within a broader historical framework of racial inequality. This moment parallels critical race theory, where race is understood as a social construct embedded within larger systems of power and privilege.

In “Alright,” Lamar’s use of rap as resistance is deeply rooted in the genre’s long history as a tool for social commentary. By incorporating themes of hope and resilience, Lamar offers a counter-narrative to the pervasive portrayal of Black suffering and victimhood. The video’s final scenes of Lamar floating above his community, symbolizing his role as a guardian angel and source of inspiration, suggest that despite the ongoing oppression, hope remains. His refrain that “everything’s gonna be alright” serves as both a manifesto of resistance and a call for empowerment.

Furthermore, the video’s portrayal of violence against Black bodies, particularly in the gesture of an officer “shooting” Lamar with his fingers, speaks to the mental and symbolic violence that Black Americans endure. This gesture highlights that the oppression of Black bodies is not always physical but can also be psychological and symbolic, perpetuated through media representations, policing practices, and societal attitudes. It challenges viewers to confront the invisibility and symbolic violence faced by marginalised groups, a theme that resonates with the larger critique of white guilt and the failure of mainstream media to acknowledge the systemic nature of racism.

In this context, Lamar’s video becomes a form of political protest, much like the works Railton and Watson describe, challenging the notion that music videos should simply entertain or appease mainstream audiences. Through the video, Lamar calls for social change while simultaneously offering a vision of resilience and hope for Black communities.

By Naomi Senior – 3374010801

Kendrick Lamar (2015) Alright, Dir. The Little Homies, Colin Tilley

Diane Railton and Paul Watson (2011), ‘Music Video in Black and White: Race and Femininity’, Music Video and the Politics of Representation, 87-107