on “Jail Pt.2.” But Kendrick brings more nuance to the discussion, and doesn’t just platform his guests to scream about metaphorical jails and whine about people not liking them.
Throughout the album, Kendrick actively questions the listener on the artifice of celebrity, the idea that just because we see these people on Instagram Live and Twitter, we know them. It’s true the last decade—with the revelations of #MeToo and the horrific actions of once-beloved cultural figures such as Bill Cosby—has made people more skeptical of the morality of the rich and famous, but still, the projections continue. And if there’s one thing Kendrick hates, it’s projection.
Kendrick’s struggle with cancel culture is rooted in him being afraid to say the wrong thing, and his insecurities over if people will still rock with him if he isn’t making anthems like “Alright” or “DNA.” It’s easy to point out the fallacies in his logic—Kodak’s last album sold 60,000+ in its first week, Kanye West’swas the second-best-selling rap album of 2021 and Dave Chappelle has some of the most-viewed stand-up specials on Netflix.
The peak of this discomfort manifests on “Auntie Diaries,” a track where Kendrick tries to unpack the very polarizing topic of how Black families deal with trans-identifying family members. The intentions were good; Kendrick clearly tries to make the song resonate with people who still haven’t fully accepted, or understood, people who choose to transition. But the execution is quite messy, complete with misgenders, dead-naming and the use of the “F-bomb.
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