When Narratives Influence Emotion: Culturally Relatable Capitalist, Maniac, or Martyr?

by Chauncey Glenn

Kendrick Lamar: The Martyr and Hero?

Pulitzer prize-winning and Grammy-nominated lyricist Kendrick Lamar is regarded as one of the greatest musicians of all time. Lamar has been regarded as phenomenal. Why? Simply, his work is reminiscent of pioneering rap while catalyzing consciousness (Robinson, 2016). Debuting at the top of many music charts and racking up more than 30 accolades from diverse institutions not limited to music. Further, he’s admired for his intellect, humility, and creativity. This reverence places Kendrick Lamar in the greater context of popular culture as the hero of rap and a martyr —seemingly — to fans, especially those belonging to villainized and vulnerable racial groups. This reverence places Kendrick Lamar at the forefront of a narrative, as a main character. #maincharacterenergy

Elements Supportive of the Narrative: Emotional Connectivity and Idolization

Binding neural circuity, somatic pathway activations, and the time structure of Lamars’ narrative enables the consumer and spectator to experience his standard rapper profile as particularly novel. Additionally, the consumer forges an emotional connection with the rapper, growing attached to, living vicariously through his role in the martyr narrative. The activations and emotional connections forged between the neurology of the consumer and the content published by the artists eventually churn a simple portrayal of the rapper into a more complex one (Lakoff, 2009).

Born in Chicago but raised in California, Lamar saw humble beginnings in inner city environments stricken by poverty, gang violence, and financial lack. The rappers’ background provides the Black consumer with a semblance of relatability. A modest child, he performed well in school, and failed to succumb to the troubles around him. With his ability to observe surroundings and pair them with his academic prowess, he began to rap. Releasing several mixtapes, he garnered enough attention to secure a record deal with an independent label. This backing allowed him to tour, garner a larger fan base, and receive industry recognition from other prominent rap artists. He then released his critically acclaimed debut album, still regarded highly 11 years later. He recently dropped his latest album after taking a five-year hiatus for which he won his 17th Grammy, the highest honor in music.

Elements Supportive of the Narrative: Association and Filling in the Blanks

The post-colonial Black experience is tumultuous and plagued by racial hierarchies, discrimination, and inequality. Therefore, rap music and its ability to speak to racial unrest have made the genre socially significant to the Black experience (Blanchard, 1999). Lamar communicates artfully about relatable themes of mental instability, emotional dysregulation, and generational dissension while ascending the economic and social strata many Black consumers could never. As the consumer begins to attach meaning and emotion to the character and his content, the narrative is further embellished and the character more idolized.

Undermining the Narrative: Not Your Savior

To more detached spectators, Lamar may merely be mentally disordered, another superstar capitalist. After all, the rap star has gone on record in stating his sole desire which is “to be the greatest.” Simply wanting his words to evoke thoughts, feelings, and emotions. Referring to himself as nothing more than an entertainer (Sacher, 2023). Yet, many of his listeners and supporters have filled in many blanks by declaring him a liberator with messages that force consumers to deeply consider society’s dystopian institutions. The artist rejects the hero-martyr narrative in his recent work with the lyric, “Kendrick made you think about it, but he is not your savior.”