‘reincarnated’ By Kendrick Lamar: An Interpretation

Kendrick Lamar’s ‘GNX’ album standout track for me is ‘reincarnated’. It serves as an intricate exploration of hip-hop’s evolution: the artists who embodied its spirit, the generational trauma embedded within every note and pen stroke & ultimately Kendrick’s knowledge of self. A cathartic journey on wax and an exploration of the paradoxes that manifest themselves within us all, the listener is invited to join K-Dot coming to terms with his own strengths, weaknesses and uncertainties whilst retracing/exploring their origin stories through his penmanship.

Kendrick is striving to be a vessel for change; changes in himself and also the cultural paradigms he has grown accustomed to. In so doing he is inviting listeners to embark on the same journey themselves – “to know thyself is to know God”. Heisenberg’s Uncertainty Principle states that there is inherent uncertainty in the act of measuring a variable of a particle. Commonly applied to the position and momentum of a particle in quantum physics, it states that the more precisely the position is known the more uncertain the momentum is and vice versa.

‘reincarnated’ perhaps serves as K-Dot’s own scientific self-analysis of the man in the mirror; an exploration of the soul that is staring back at him. This is Kendrick taking his own quantum leaps.

While some interpretations frame the track as a reflection of Kendrick’s spiritual journey, there’s another lens through which to view this masterpiece: a reincarnation of genres, tracing the lifetimes of music and the protagonists that defined them. This theory builds on JFMusix‘s take as well as the insightful corrections and analysis provided by WordfromKdot.

It made me think this is a layered narrative that traces music’s lineage from jazz and blues to hip-hop while exploring the cycles of pain, redemption, and growth that accompany each lifetime. Hip-hop, Kendrick’s current “lifetime” is explored as a descendant of jazz and blues. Via his lyrical storytelling, Kendrick unearths the lineage of his music and how each generation has carried forward its gifts and curses – marked by triumphs, struggles, and self-destruction to ultimately reclaim those narratives in the present day.

Verse 1: John Lee Hooker – The Spirit of Blues

Kendrick begins by reincarnating himself as John Lee Hooker, one of the most prominent figures in blues history. The lyrics delve into Hooker’s rebellious spirit and flawed humanity:

“Reincarnated on this earth for a hundred plus / body after body, lesson after lesson”

Hooker’s reputation as a ladies’ man, his knack for bending the truth about his origins, and his groundbreaking artistry are all encapsulated in Kendrick’s storytelling:

“I found myself with a pocket full of money, and a whole lot of respect / While the record vendors loved me… But I manipulated power, as I lied to the masses / died with my money, gluttony was too attractive, reincarnated.”

Hooker’s legacy reflects the duality of brilliance and ego, a theme that recurs throughout the track. His death in 2001 closed one chapter, but the spirit of the blues lives on reincarnated and reinvoked in the genres that have followed.

Verse 2: Dinah Washington – The Queen of Blues

The next lifetime shifts to Dinah Washington, the “Queen of the Blues.” This correction, credited to WordfromKdot, clears earlier speculation that the verse referenced Billie Holiday. Washington’s life mirrors the struggles outlined in the lyrics:

“Another life had placed me as a black woman in a chitlin’ circuit / seductive vocalist as the promoter hit the curtains.”

Washington’s unmatched talent brought her fame, but her addiction ultimately led to her tragic death at 39 from an accidental overdose of prescription drugs:

“Heroin needles had me in fetal position, restricted / turned on my family, I went wherever cameras be.”

Her story embodies the cycle of generational trauma; the ways addiction and external pressures often weigh on artists who become icons of their time. This lifetime isn’t just about Washington but reflects a broader commentary on how music, whilst being a communal gift, can also be one of the heaviest burdens to carry.

Verse 3: Kendrick Lamar – Hip-Hop’s Vessel

Kendrick then transitions to his present self, the incarnation of hip-hop. This track samples ‘Made Niggaz’ by one hip-hop’s greatest martyrs Tupac Shakur, and the delivery of the track is an imitation Tupac, it feels like an additional layer of another past life.

He acknowledges his role as a steward of the genre, using his platform to elevate and inspire while grappling with his flaws:

“My present life is Kendrick Lamar / A rapper looking at the lyrics to keep you in awe.”

This lifetime is marked by self-awareness and a desire to break free from cycles of pride and ego:

“I’m yelling, ‘Father, did I finally get it right?’ Everything I did was selfless.”

Here, Kendrick confronts the generational curses embedded in hip-hop, from materialism to violence, as he attempts to rewrite the narrative. This verse symbolises hip-hop’s evolution; its power to uplift marginalised voices but also its entanglement with destructive cycles.

Verse 4: The Origin of Music – The Devil’s Playground

The final verse takes an unexpected turn, tracing music’s origins back to its biblical and mythological roots. Kendrick embodies the Devil himself, cast out of heaven for his pride:

“You fell out of heaven ‘cause you was anxious / Didn’t like authority, only searched to be heinous.”

A moment where Kendrick links music to its spiritual origins, framing it as both a divine gift and a tool for manipulation. Kendrick critiques the role of music in perpetuating fear and division while simultaneously reclaiming its healing potential:

“Centuries you manipulated man with music / Embodied you as superstars to see how you moving.”

Yet, the verse ends on a redemptive note. Kendrick vows to reclaim music from its darker impulses and use it as a force for unity and understanding:

“I rewrote the devil’s story just to take our power back, ’carnated.”

This climactic moment symbolises taking new ownership of hip-hop’s narrative, reclaiming it from its historical and spiritual burdens, and transforming it into a tool for collective growth.

The Devil’s Playground & Generational Trauma

At its core, ‘reincarnated’ is about the cyclical nature of trauma and redemption in music. From blues to jazz to hip-hop, each genre carries the scars of its predecessors – addiction whilst offering a space for expression and healing. After watching JFMusix’s breakdown, my idea of music as the “Devil’s Playground” underscores its ability to corrupt, while WordfromKdot’s analysis of Dinah Washington highlights the ways generational pain shapes each musical lifetime. Kendrick’s act of rewriting the devil’s story symbolises him reclaiming agency, purpose, and harmony.

A New Lifetime for Music

Throughout ‘reincarnated’, Kendrick Lamar weaves a profound narrative of music’s lifetimes, tracing its lineage through historical figures and genres while confronting the generational curses that continue to shape its trajectory. In doing so, he challenges listeners and artists like to consider the responsibility that comes with artistic creation. By embracing his vulnerability, Kendrick’s latest work serves as a beacon of hope, a reminder that music’s power lies not in its ability to manipulate and control, but in its power to heal, uniting the dualities in oneself and the masses alike.

Special thanks to JFMusix via Instagram and WordfromKdot via X for their nuanced insights. It has been a powerful exercise exploring Kendrick’s multi-faceted and layered storytelling with other listeners.

Words: Mimi The Music Blogger