Identifying Religious Subtext in DAMN
Kendrick Lamar is an artist renowned for his clever wordplay and social consciousness. As was highlighted in our readings at the end of the quarter, his fanbase has grown accustomed to his trademark style and approach, confronting complex issues at the human level and rendering it easily digestible for mass consumption, yet still with a degree of specificity that will leave critics analyzing his work for decades. From his breakthrough epic “good kid, m.A.A.d city,” to his most recent installment “Mr. Morale & The Big Steppers,” it’s no mystery how he has so rapidly become a household name racking up countless Grammys and even rap’s first Pulitzer Prize.
However, today I’d like to focus on his fourth studio album “DAMN,” unpacking his thematic choices and how he specifically employs religious imagery to contextualize not only his status as an artist, but also a black man in America.
The religious subtext within “DAMN” has led many to draw comparisons to Old Testament prophetic language, a cautionary tale for the world he’s in and apart of with a gaze to the near future. One reading in our class labeled him a “public theologian” for his command of religious themes in his work. However during this album I see him also take on the role of a prophet. Kendrick makes a plea to his people hoping to wake them from a social malaise and provide a message of truth and direction, convicting his audience as a Sunday preacher would. He addresses topics like pride, lust, and fear which are mostly if not all vices of complacency and demonstrate a lack of faith.
YAH
I’d like to take the time to highlight and analyze some examples of this religious imagery in action over the course of the album. The title YAH is a direct reference to Yahweh or the Hebrew name used to address God. In his last verse he states, “I’m not a politician, I’m not ‘bout a religion. I’m a Israelite, don’t call me black no mo’ That word is only color, it ain’t facts no mo.” Seemingly a rejection of formalized western religious tradition, he contrasts that by speaking in language a religious crowd would understand. He aligns himself with the black Hebrew Israelite understanding of God’s chosen race.
This is a sentiment echoed by his cousin in a voicemail during the song “FEAR.” “Until you come back to these commandments… we’re gonna be under this curse because He said He’s gonna punish us – the so-called blacks, Hispanics, and Native American Indians are the true children of Israel.” This identification as God’s chosen comes in direct opposition to America’s rejection of black folk almost introducing a Du Boisian concept of ‘double consciousness’. The parallels between black people and Israelites are strong, both have been in bondage and taken from their land. Kendrick finds value in rejecting a framework not meant to adequately recognize him, choosing instead to find comfort for black people as children of God.
XXX
Kendrick dives deeper into American and religious metaphor with the album’s 11th song “XXX.” He raps “But is America honest, or do we bask in sin? Pass the gin, I mix it with American blood, then bash him in, you Crippin’ or you married to Blood?” He again questions the moral fabric of American society that willingly subjects his people to the status of a ‘second son,’ likening it to sin. This position triggers a negative and hostile response with listed ways of coping being violence, alcohol, and gangs. I don’t believe this is an endorsement by Kendrick, rather a picture of the social condition and the eye for an eye mentality that serves no one. By identifying the damaging hypocrisy, he hopes to encourage and alternative to avoid damnation.
Kendrick makes use of religious imagery to characterize the nature of ‘blackness’ in America. He offers solace in the position of God’s chosen and righteously condemns the framework that engenders this division and conflict. To him religion is a metaphor to simplify and destigmatize issues that have plagued black people for centuries.