section_path: Artistry/Songwriting
section_name: Songwriting
paragraph_text: Songwriting
  
  Branded as a "master of storytelling " by The New Yorker, Lamar has been referred to as one of the greatest lyricists in modern hip hop by several publications and his peers. Pharrell Williams suggests that what makes his songwriting stand out is because he "knows how to be very disciplined with a subject matter, he knows that stickiness is important, and he knows that it has to be great." American Songwriter notes that for as much as Lamar is a musician, lyricist, and emcee, he is also "a playwright, a novelist, a short story author. He's literary within the art form of music." Lamar's reflective narrative songwriting pulls from a wide range of literary and cinematic techniques, such as hip hop skits and voice-overs, to allow his audience to follow internal and external storylines. His fusion of various film styles and his sonic influence has elevated his works to be some of the most "consistently poignant" in hip hop, and promoted the advancement of the narrative device.
  
  Lamar, who self-identifies as a musician and writer, begins his songwriting process with an assortment of premeditated thoughts that he jotted down over the course of one year. His personal experiences are a common source of inspiration, but he also pulls ideas from meeting new people, traveling, and experiencing different cultures. A devout Christian, he additionally shares his spiritual triumphs and struggles on his songs. He is an avid note-taker, and has developed keywords, phrases, and sounds to help him "trigger the exact emotions" he felt when writing the initial demo. Considered to be a "radio-friendly but overtly political rapper" by Pitchfork, and a populist by The Wall Street Journal, Lamar's songwriting regularly infuses political criticism and social commentary concerning African-American culture. Common themes explored include racial inequality, institutional discrimination, and black empowerment. Lamar's critiques has been compared to the State of the Union Address by The Guardian, while Billboard described it as " Shakespearean ". HuffPost opined that his work is a "great" piece of journalism because it "speaks from the prerogative of black communities facing oppression and directly attacks the institutions responsible for their pain," an achievement most reporters cannot attain.
  
  Lamar tries to carry a conceptual idea inside of his music, "whether it's a big concept or it's so subtle you can't even tell until you get to 20 listens." Fans and publications have theorized that his albums are related to different forms of mass media. Section.80 is regarded as a short story collection inspired and themed around events that impacted the millennial generation, such as Ronald Reagan's presidency. The nonlinear narrative structure of Good Kid, M.A.A.D City is billed as a coming-of-age short film that chronicles Lamar's harsh teenage experiences in his native Compton. Its cinematic scope has been compared to the screenplays written by filmmakers Martin Scorsese and Quentin Tarantino. To Pimp a Butterfly unfolds as both a poem and blank letter that explores the responsibilities of being a role model and documents life as an African American during Barack Obama's presidency. Damn is labeled as an introspective satire that explores the dualities of human nature and morality. Mr. Morale & the Big Steppers takes on the form of a theatrical play, with confessional lyrics based on Lamar's experiences in therapy.
  
  Branded as a "master of storytelling " by The New Yorker, Lamar has been referred to as one of the greatest lyricists in modern hip hop by several publications and his peers. Pharrell Williams suggests that what makes his songwriting stand out is because he "knows how to be very disciplined with a subject matter, he knows that stickiness is important, and he knows that it has to be great." American Songwriter notes that for as much as Lamar is a musician, lyricist, and emcee, he is also "a playwright, a novelist, a short story author. He's literary within the art form of music." Lamar's reflective narrative songwriting pulls from a wide range of literary and cinematic techniques, such as hip hop skits and voice-overs, to allow his audience to follow internal and external storylines. His fusion of various film styles and his sonic influence has elevated his works to be some of the most "consistently poignant" in hip hop, and promoted the advancement of the narrative device.
  
  Lamar, who self-identifies as a musician and writer, begins his songwriting process with an assortment of premeditated thoughts that he jotted down over the course of one year. His personal experiences are a common source of inspiration, but he also pulls ideas from meeting new people, traveling, and experiencing different cultures. A devout Christian, he additionally shares his spiritual triumphs and struggles on his songs. He is an avid note-taker, and has developed keywords, phrases, and sounds to help him "trigger the exact emotions" he felt when writing the initial demo. Considered to be a "radio-friendly but overtly political rapper" by Pitchfork, and a populist by The Wall Street Journal, Lamar's songwriting regularly infuses political criticism and social commentary concerning African-American culture. Common themes explored include racial inequality, institutional discrimination, and black empowerment. Lamar's critiques has been compared to the State of the Union Address by The Guardian, while Billboard described it as " Shakespearean ". HuffPost opined that his work is a "great" piece of journalism because it "speaks from the prerogative of black communities facing oppression and directly attacks the institutions responsible for their pain," an achievement most reporters cannot attain.
  
  Lamar tries to carry a conceptual idea inside of his music, "whether it's a big concept or it's so subtle you can't even tell until you get to 20 listens." Fans and publications have theorized that his albums are related to different forms of mass media. Section.80 is regarded as a short story collection inspired and themed around events that impacted the millennial generation, such as Ronald Reagan's presidency. The nonlinear narrative structure of Good Kid, M.A.A.D City is billed as a coming-of-age short film that chronicles Lamar's harsh teenage experiences in his native Compton. Its cinematic scope has been compared to the screenplays written by filmmakers Martin Scorsese and Quentin Tarantino. To Pimp a Butterfly unfolds as both a poem and blank letter that explores the responsibilities of being a role model and documents life as an African American during Barack Obama's presidency. Damn is labeled as an introspective satire that explores the dualities of human nature and morality. Mr. Morale & the Big Steppers takes on the form of a theatrical play, with confessional lyrics based on Lamar's experiences in therapy.