Fame vs. Freedom: Lmorphine's Take on the Cost of Success
The topic of fame and its relationship to individual freedom is a philosophically rich subject that touches upon many fields: the self, society, and even ethics. In this article, we have chosen one of the best Moroccan lyricists, Mehdi Mouhib, the ‘sheikh’ of rap, best known as Lmorphine.
L'Morphine: Fame's Golden Cage & Lost Freedom
L’Morphine (or Morpho), born 1984 in Salé, masterfully uses braggadocio in his music to convoy complex and philosophical ideas. His track “Fundo” (Ft. Clemando) offers a profound look at fame’s intricate relationship with individual freedom. L’Morphine emphasizes that rap isn’t just his art; it’s his life and identity. This deep integration, however, carries both positive and negative consequences, particularly concerning fame’s potential to erode personal freedom.
Tony Soprano & Audience Demands: L'Morphine's Analogy
L’Morphine directly addresses this in “Fundo”, he says “The madness of Tony Soprano started taking hold of me, I’m afraid I’ll scare the ducks, so I carry their madness for them. Fame took nothing but my freedom.” This powerful lyric highlights his struggle. He likens himself to Tony Soprano, the mob boss from The Sopranos, who meticulously cared for his ducks despite his inner turmoil.
L’Morphine uses this analogy to represent his diverse fanbase. “Old fans (aka lmraphen)” desire his return to his 2013 style and media disappearance, while “new fans” hold entirely different expectations. Just as Tony Soprano appeased his ducks to prevent their departure, L’Morphine feels compelled to satisfy his “ducks” (audience) to prevent them from “flying away”. The core message is clear: “Fame took nothing but LMorphine’s freedom.”
Fundo by L’Morphine Ft. Clemando (Official Music Video) | 12 July 2025
Fame: A Double-Edged Sword for Freedom
In today’s world, fame is a “double-edged sword”. While offering love and influence, it simultaneously restricts individual freedom, controlling choices and lifestyle. Constant public scrutiny forces the famous to adopt a “mask of ‘the image people want to see,'” often diverging from their true selves. This creates a “fake” freedom, transforming individuals into commodities or brands.
L’Morphine raps:
"The madness of Tony Soprano started taking hold of me, I'm afraid I'll scare the ducks, so I carry their madness for them. Fame took nothing but my freedom."
In Moroccan Darija: "Bdat ta tchedd fiya lhebla d Tony Soprano, Ta nkhaf la nekhle3 lwezz ta nhezzlo hbalo. Chohra dat lya ghi l7oriya."
Philosophical Perspectives on Fame & Loss of Self
Jean-Paul Sartre: “Hell is other people”. Others’ judgments imprison the famous person within their perceptions and expectations. The famous see themselves through external eyes, becoming “a slave to the audience’s gaze”.
Michel Foucault: His “Discipline and Punish” concept illustrates how constant surveillance induces self-monitoring, creating an “imaginary cell” for the famous.
Existential Freedom: Fame fundamentally alters existential freedom. A truly free person chooses, errs, and lives authentically without fear of judgment. The famous, however, are plagued by anxieties: “Will they like it? Will they hate it? Will I lose my ‘image’ because of this?” Fame eradicates spontaneity, authenticity, and fosters a “false self” for public appeasement. Heidegger’s “authentic existence” is compromised.
Albert Camus: While Camus believed individuals define life’s meaning, fame creates the illusion of profound “importance,” trapping one in a cycle of fear of decline. The famous prioritize maintaining an “image” over authentic living, a futile “absurd struggle” within a “golden cage”.
Friedrich Nietzsche: Nietzsche championed the “freedom of the strong individual” against conformity. Fame, conversely, demands following the “current” to retain the “audience,” making one a “slave to people’s opinions,” not a “master of themselves”. This creates imitators, suppressing individualism and “herd” mentality.
Socrates: Socrates posited freedom stems from “knowing oneself”. The famous, however, often live inauthentically, avoiding self-reflection to please others, losing their self-knowledge. Fame deprives them of the “time and space to ‘examine yourself'” and cultivate an inner life. Socrates’ “An unexamined life is not worth living” underscores this. Fame forces a superficial, external existence “in front of the camera, not within yourself.”
Conclusion: Fame's Restrictive Grip
Fame is not always a boon; it can be a “golden cage”. Individuals under its influence live under immense pressure, alienated from their true selves, subjugated to public perception, and gradually losing both freedom and identity. Maintaining freedom amidst fame necessitates philosophical self-awareness, distinguishing between public image and true self. One must “remain ‘themselves’ despite everything”.
L’Morphine’s lyrics powerfully convey fame as a suffocating trap. His parallel to Tony Soprano—strong outwardly, broken inwardly—highlights the torment, not liberation, of fame. The fear of “scaring the ducks” reveals the anxiety of shattering public image, where any misstep can dismantle everything. “Fame took nothing but my freedom” encapsulates the core loss. Like philosophers Foucault and Rousseau, L’Morphine reveals fame as power over you, dictating life by public perception rather than personal truth. Its glitter conceals its inherent restrictions.
