Postmodern Geographies & Emotional Space in Kendrick Lamar’s “Luther” Video
The new music video for Kendrick Lamar’s song “Luther” stands out for its thoughtful use of lighting, composition, and architectural elements, creating a visual experience that resonates with the song’s themes of longing and devotion. The release coincides with the announcement of their joint “Grand National Tour,” set to commence on April 19th. The new video is not just for entertainment. It’s ART (all caps) that evokes emotion, explores themes, and potentially transforms viewers. Since most of the video was shot at the Westin Bonaventure Hotel in Los Angeles, CA, I’ll begin there because I think it really sets the tone for the entire video. Philosopher Fredric Jameson writes,
[T]he Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate…
You are in this hyperspace up to your eyes and your body; and if it seemed to you before that that suppression of depth I spoke of in postmodern painting or literature would necessarily be difficult to achieve in architecture itself, perhaps you may now be willing to see this bewildering immersion as the formal equivalent in the new medium.
And while reading about postmodern painting I remembered Edward Hopper, whose artwork has been interpreted through a postmodern lens, particularly in its exploration of isolation and alienation. Hopper’s paintings feature ambiguous settings and characters, leaving viewers to interpret their meanings and underlying emotions. For example, “Chair Car” features a tableau of random people who play out personal dramas in a cinematic space. The lack of passengers and spatial emptiness implies a heightened emotional state, particularly with the artist’s use of light that brings in warmth and a counterpoint to the implied loneliness.
Below is a comparison between one of the opening scenes from “Luther” and a more recent painting by Nigel Van Wieck (likely inspired by Hopper). These images represent emotional space, which can be necessary for self-regulation and allows individuals to process their emotions and needs. The long pause with the establishing shot allows viewers time to think about what the character (Kendrick) is feeling in the moment. There are several moments like this one throughout the video. This is a key to the meaning behind the video; the rest of the story that explores the conflict between desire (wanting to be with someone) and indecisiveness or fear.
In the video we are presented with scenarios that explore this conflict, from the vantage point of Kendrick and SZA, separately and together. The scenes delve into mental and emotional boundaries that allow individuals to protect their feelings and manage their emotional energy. Close-ups serve to cut out visual noise and long shots capture the experiences of desire vs. isolation. The environment compliments the airiness of the song which is largely an interpolation of the original that was covered by Luther Vandross and Cheryl Lynn (both are my personal favorite singers). The ‘original original’ song was written by Marvin Gaye in 1967 and the Vandross/Lynn cover became an R&B hit in 1982. At least twice, the video pays homage to Vandross/Lynn by inserting parts of the original cover.
The video goes back and forth between black and white (grayscale) and color, which could indicate that Kendrick’s character is having flashbacks. It also ‘reads’ as different stories under one overarching theme. His love interest (real-life singer Annahstasia) is often seen in a separate space, in the same video frame (see above), as if they are not yet together but still exist in the same stark, cold and lonely world. In the image on the right you can see a shadow of the woman just off screen. This is another example of emotional space.
In addition to the ‘Canadian tuxedo’ worn by Kendrick in the beginning of the video, the production seems to be paying homage to John Singleton’s 1993 film “Poetic Justice” that starred Janet Jackson as Justice and Tupac Shakur as Lucky. Kendrick is wearing something similar to Tupac and his love interest is wearing “box braids” like Janet. In the film, Justice and Lucky are two strangers who are put together by chance for a road trip where they slowly build a strong connection. They experience the same desire/fear dichotomy explored in “Luther.”
Many of Kendrick’s music videos are conceptual meaning they are used to convey an idea. In “Luther” Kendrick and SZA are in their own stories with separate plots that come together when we see Kendrick pull up to SZA who appears to be dressed like a prostitute. In another scene, we see SZA walking slowly towards a hotel room door while removing her jacket. She is greeted by a customer who she pushes into a room. SZA’s character represents desire and lust. However, Kendrick’s character seems conflicted, fluctuating between desire and fear, themes he previously explored on the DAMN album (2017).
In Chinese philosophy, particularly Taoism, Yin and Yang represent two opposing yet complementary forces that interact to create balance and harmony in the universe and in all things. On DAMN, Kendrick explores themes such as LUST, LOVE, and FEAR. Duality, including his Gemini zodiac sign, figures in to the “Luther” video, which is reflected in the architecture as well as the editing choices (transitions with circles).
Note: The circle motif is in almost every scene of the video. SZA has a mandala/cosmogram (circle) tattooed on her thigh and an Adinkra symbol called a Dwennimmen is on her hand, which is 4 spirals (circles). K-Dot dances with a pistol and his arm makes a circle. His love interest in the video makes a circle around her navel when she’s laying down next to him.
Also, on the Brandeis-Bardin Campus and where some of the scenes take place, is the House of the Book that was designed for the institution in 1973 by architect Sidney Eisenshtat. The largest hall on campus, the futuristic, cylindrical building serves as a performance hall and has moonlighted as a location for film/TV productions. Campus structures, including the House of the Book are examples of Brutalist architecture, a style emerged in the 1950s, characterized by exposed concrete, raw materials, and geometric forms. The circle motif is carried throughout including in the interior scenes (capital/top of columns, recessed lighting, rooms and hallways).
In conclusion, the “Luther” music video is a great example of concept art, with themes (desire, fear) the artist has explored in the past. The song, which has been sitting at the top of the Billboard charts for several weeks, is complimented by the architectural space and juxtaposition of close-ups and long shots. What stood out to me is how the environment can mirror human emotion or vice versa. The theme of space, specifically emotional space, was prevalent throughout the video. Over the past decade, Kendrick Lamar has revitalized the rap music video genre and I’m thankful for that.
I also want to give a shout out to director Karena Evans (great job).