Dissect - S1E10 – For Sale? by Kendrick Lamar

Episode Date: November 1, 2016

We continue our serialized analysis of Kendrick Lamar's To Pimp a Butterfly by dissecting "For Sale?" Follow Dissect on social media @dissectpodcast. Purchase Dissect merch at dissectpodcast.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to Dissect, long-form musical analysis broken into short, digestible episodes. I'm your host, Cole Kushner. Today, we continue our serialized examination of Tipa Butterfly by Kendrick Lamar. At our last episode, Kendrick awoke from the drunken confessions of the song You, with a new, determined outlook on All Right. Through God and solidarity with his community, Kendrick went to battle on the vices and inner conflict that's led him to depression and suicidal thoughts. On verse 2 of All right, we met a new character in the album's narrative.

Her name is Lucy, short for Lucifer, The Devil Incarnate. Her introduction was word for word like Uncle Sam's on the album's opening track, Wesley's Siri. And like Uncle Sam, Lucy attempted to lure Kendrick with a spending spree materialism and carelessness. On today's episode, we'll examine For Sale, an interlude focus entirely on the temptations of Lucy. My name is Lucy Kendrick You introduce me Kendrick Usually I don't do this But I see you on me Kendrick

Lucy give you no worries Lucy got million stories About these rappers that I came out The Sails the second interlude on the album The Sister's song to the album's second track for free Produced by Taz Arnold For Sale features live instrumentation From Terrace Martin and Joseph Leimberg

And vocals by Siza Preston Harris, Bilal and Arnold himself The track is prefaced by the outro of the previous song All Right, which reinstates the narrative poem with an additional three lines. The line, I didn't want to self-destruct, refers to Al-Rite and the fight against Kendrick's self-destructive thoughts he displayed on you. The next two lines, the evils of Lucy, were all around me, so I went running for answers, refers directly to what we'll experience next and for sale. The track begins with a harmonically rich a cappella arrangement that segues into a mysterious heavy breathing, beneath which a percussive loop unfolds with Dreamy Rhodes Piano, synthesizer, and saxophone adlibs.

Having just heard the line from the narrative poem, so I went running for answers, we can assume the heavy breathing is Kendrick running. But given the dreamy inflections of the musical material and the rhythmic heaviness of the breasts, were inclined to think that Kendrick is dreaming. The airy hypnotic vocals that enter next back this hypothesis. The eerie vocals are the thoughts of his subconscious revealed to him as he dreams. It asks, what's wrong? I thought you was keeping a gangster.

I thought this is what you wanted. We can again return to the album's opening track Wesley's series, in which a young Kendrick lusted after fame and rattled off all the adolescent hood fantasies he wished to fulfill after getting signed. Now that he's successful yet unhappy, his subconscious calls him out, reminding Kendrick that this was the life he asked for. The introduction continues with the line, they say if you scared, go to church. This is a well-known phrase in the hip-hop community, specifically on the West Coast. The first reference of the phrase is on, you guessed it, a Tupac song from the 1996 album All Eyes on Me.

The phrase is wrapped by the song's guest Richie Rich, who speaks to a woman he's trying to hook up with. The phrase yourself instead treat yourself. The phrase also shows up on Snoop Dogg's for the 1996 album The Dogfather and plays a prominent role in Ice Cube's 2006 track Go to Church. The consensus meaning of the phrase is similar to that of if you can't stand the heat, get out the kitchen. In the dog-eat-dog environment of the streets, there's little room or tolerance for fear. If you're scared, the street life

probably isn't for you. You're better off going to church. Apropos for sale, the line, they say if you're scared, go to church, references the previous line, I thought you were keeping a gangster, and mocks the vulnerability Kendrick displayed on you and all right. His subconscious is being vindictive, telling Kendrick he's not fit for his new. life. Of course, because it's Kendrick's own subconscious, the line ultimately displays Kendrick's private insecurities regarding his place in the world outside of Compton. The introduction concludes with the line, but remember, he knows the Bible too. It seems not even church is a safe haven for Kendrick. The line is a direct reference to Lucy. Lucy knows the

Bible because, as I spoiled earlier, Lucy is short for Lucifer, otherwise known as the devil. In the Bible, Lucifer, whose name means bright star or morning star, was one of the most beautiful angels in heaven. He is one of the three highest-ranking archangels, an anointed cherub whose role was the leader of worship. He eventually became prideful, dissatisfied with his position, and felt that he deserved to be worshipped. He wanted to be God. Lucifer was stripped of his beauty, position, and was cast out of heaven. He reappears at the Bible as Satan, and attempts to turn people against God. He does so in a very shrewd, smooth way, and it makes disobeying God seem logical and attractive. In the Garden of Eden, he convinces Eve to eat the forbidden fruit by making

attractive the godlike power of knowledge. Within the context of Tipa Butterfly, Lucy, short for Lucifer and Code for the Devil, represents the temptations of Kendrick's new life outside of Compton. In an interview with the guardian, Kendrick said, quote, Lucy is all the things I was thinking of that I know can be detrimental to not only me but the people around me and still be tempted by them. That's some scary shit. It's like looking at a bullet inside of a gun, knowing you can kill yourself with it, but you're still picking it up and playing with it. When asked what kinds of things he was tempted by, Kendrick said, quote,

Everything we glorified in the hood, smoking, drinking, women, violence. It was at my feet times ten. All of it's there. In the neighborhood we wanted to have power, and with success comes power. That is temptation at its highest. The hook of for sale begins to show Lucy's true colors, and the temptations Kendrick speaks of.

My baby, when I get you, get you, get you, get you. I'm going to go hit the fire with you. Smoking loken poking the danger, tell them I'm out of with you. Because I want you. I'm nerdy. Registration is out of service. Smoking, loken, drinking that potion, you can see me swerving. Because I want you.

Throughout the hook, Lucy bates Kendrick with a slew of glorified vices Kendrick noted in the quote we just read. She speaks of Doja or weed, drinking and driving dirty. Remember, when Lucy introduced herself in verse 2 of alright, she said, my name is Lucy, I'm your dog. She's pretending to be Kendrick's fun-loving homie, using drugs and alcohol to appear cool. Of course, Lucy is a master manipulator. She's appealing to all the things Kendrick and his friends glorified when growing up in the streets, persuading him to submit to those temptations. For me, the motivations behind Lucy's scheme are revealed when she says the line, smoking, loking, poking the doja till I'm idle with you. The key word is idle,

as drugs and alcohol are Lucy's way to keep Kendrick, pacified, controlled, and mentally stunted. The hook is followed by a brief verse. that I want you. Kendrick uses an ain't got nothing on Lucy. I said you crazy. Rose of red fathers

are blue for me and you both pushing up daisies if I know now when I get you get you get you get you get you get you

using an adolescent somewhat in trans vocal inflection which signifies his subconscious infatuation with Lucy he begins with the line

I remember you took me to the mall last week baby if you'll remember when introducing herself and all right Lucy said My name is Lucy, I'm your dog.

Motherfucker, you can live at the mall. The mall is representative of the reckless materialism of bling culture and the right arm of capitalism. Kendrick continues with the line, you look me in my eyes about four or five times till I was hypnotized, then you clarified that I want you. Overwhelmed with the shiny material goods in the mall, his adolescent intuition kicks in, and Kendrick becomes spellbound. He's unable to control himself in Lucy's presence and begin to be.

to desire her. The verse continues with the line, you said Chorraine ain't got nothing on Lucy. This is a call back to Kendrick's previous album, Good Kid, Mad City. If you'll remember from our analysis in episode two, Chorraine was the central figure around which the story revolved. Like Lucy, Kendrick adolescently desired Shireen. Entranced by youthful lust and against his better judgment, he drove across enemy lines to her house late in the evening and was jumped in front of her house. This eventually led to a retaliation attack in which Kendrick's friend Dave was shot and killed. Kendrick is likening Lucy to Charain. Both appeal to Kendrick's adolescent desires. They are the forbidden fruit in his personal garden of Eden. Deep down, he knows the negativity they bring,

but can't help but desire them. That sentiment is alluded to in the next lines, roses are red, violets are blue, but me and you both push up daisies if I want you. Whereas roses are red, violets are blue, is representative of youthful love, the phrase push-up daisies is slang for death, as in the flowers that grow on top of your grave. Using such a juvenile poem accentuates the naive overtones of the first verse. It's as if to say in the presence of desire one can lose all rational judgment and act purely on raw, childlike instinct. After an abbreviated hook, verse two continues where verse one left off. Where's Ricardo?

You said, oh no, not the show. Then you spit a little rap to me like this when I turned 26. I was like, oh shit, you said to me. I remember what you said to. You said, my name is Lucy Kendrick. You introduced. The verse opens with again showing Kendrick's innocence. When Lucy introduces herself,

Kendrick responds with, Where's Ricardo? It's a reference to I Love Lucy, a 1950s sitcom that's commonly syndicated as daytime television. At first, Kendrick has no idea he's dealing with the devil. We get more backstory on Lucy's introduction with the next lines, then you spit a little rap to me like this, when I turned 26. Kendrick was 26 years old when Good Kid Mad City came out, the album that propelled him into world stardom. It's also the time that temptation and vice was, in his own words, at his feet times 10.

Hence, Lucy's introduction at age 26. Next, the perspective switches to Lucy, who recounts meeting Kendrick for the first time. The verse You said too My name is Lucy Kendrick You introduce me Kendrick Usually I don't do this But I see you and me Kendrick

Lucy give you no worries Lucy got millions stories About these rappers that I came at the When they was boring Lucy gonna fill your pockets Lucy gonna move your mama High of Compton Inside the got gentic mansion

Like I promise Lucy just want you trust The verse begins My name is Lucy Kendrick You introduced me Kendrick Usually I don't do this But I see you and me Kendrick Lucy at first

plays coy. She feeds Kendrick the line, usually I don't do this. A stereotypical phrase usually attributed to women feigning modesty before going all the way on the first date. Lucy then begins her seductive pitch. She says, Lucy give you no worries. Lucy got a million stories about these rappers that I came after when they were boring. Lucy has the ability to upgrade a boring rapper, one perhaps broken from the hood, to something more thrilling, with riches, women, and adornment. Lucy continues this line of thought saying, Lucy going fill your pockets. Lucy going move your mama out of Compton

inside a gigantic mansion like I promised. Again enticing Kendrick with riches, Lucy leverages Kendrick's love for family and promises to save his mother from Compton. As the verse continues, Lucy's innocence fades and her true intentions begin to show. The secondly Kendrick, Lucy don't slack a minute. Lucy work hard or Lucy gonna call you even with Lucy.

Know you love your father. I'm Lucy. I loosely earned friends on your first album, truly. Lucy don't mind because at the end of the day you'll pursue me. Lucy, go get it. The second half of the verse begins, Lucy just want your trust and loyalty. She wants Kendrick to submit to a life of materialism and vice, as it's a life she can easily control.

Lucy's relentlessness is revealed in the next lines, avoiding me. It's not so easy. I'm at these functions accordingly. Kendrick, Lucy don't slack a minute. Lucy work harder. Lucy going call you even when Lucy know you love your father. Here, Kendrick displays the unyieldiness of temptation.

Sin does not vanish after a single rejection. Its presence is forever there. It will continue to seek Kendrick out at his highest points, and especially at his lowest. The line, Lucy going call you even when Lucy know you love your father, ties into the next line, I loosely heard prayers on your first album truly. Lucy don't mind because at the end of the day you'll pursue me.

Lucy knows Kendrick's story, specifically the story told on Good Kid Mad City reference earlier. As you remember, Good Kid displayed Kendrick's journey from impressionable boy, influenced by his environment, to a man who has set on a positive path through music. That metamorphosis was crystallized on the album through a recitation of the sinner's prayer, led by an old woman in the parking lot of a food for less near Kendra. Patrick's house. I come to you a sinner and I humbly repair for my sins.

I believe that Jesus is Lord. I believe you raising from the dead. I will ask that Jesus come with my life and be my Lord to save you. I receive Jesus to take control of my life and that I may live for him and just made for it. Thank you, Lord Jesus for saving me with your precious blood. These are the loose prayers Lucy is referring to on For Sale, which she says, Lucy know you love your father, she's talking about God.

She knows Kendrick's relationship with God, but she pursues Kendrick anyway, knowing even the most holy of men can be lured and swayed by temptation. As the verse concludes, Lucy's true intentions are revealed. As we listen, notice how Kendrick's adolescent intonation changes to his natural voice on the last line. Lucy don't mind, because at the end of the day, you'll pursue me. Lucy, go get it.

Lucy not damn it, Lucy up front. Lucy got paperwork on top of paperwork. I want it. Lucy says you all your life I've watched you, and now you're all grown up to sign this contract if that's possible. Get you, get you, get you, get you. I'm going to hit you to follow. Lucy says, I got paperwork on top of paperwork.

I want you to know that all your life I've watched you, and now you're all grown up to sign this contract if that's possible. It's clear now that Lucy's lures and enticements come at some cost, Kendrick's soul. Lucy wants Kendrick to sell a soul to the devil in exchange for a life of wealth, weed, alcohol, fame, and luxury. As Lucy has been watching Kendrick all her life, she knows these things were glorified in his Compton upbringing, and will always appeal to his primal instincts. In this way, Kendrick joins the pantheon of folk tales that revolve around

the idea of selling one soul to the devil. The basis of many of these tales is the German folklore story of Faust. As the story goes, Faust is a highly successful scholar, who becomes dissatisfied and depressed. After attempting suicide, Faust calls on the devil, who appears in the form of Mephistopheles to advance his knowledge and give him magical powers with which he can indulge in infinite pleasures. The terms of the agreement are 24 years of power, at which point the devil will claim Fouse's soul and Fausse will be eternally damned in hell. In the tale, Faust uses his newfound powers to seduce a beautiful and innocent woman named Gretchen, whose life is ultimately destroyed by the engagement. I couldn't help but think of the line misusing your influence from the

narrative poem of Tipa Butterfly, and the story Kendrick tells on these walls, how I misused as newfound fame to have sex with the baby mama of Kendrick's in prison Compton enemy. In For Sale, Kendrick parallels the music industry to selling your soul to the devil. Earlier in the verse, Kendrick speaks of the boring rapper she pursued. Near the end of the verse, she says, I've got paperwork on top of paperwork. and asked Kendrick to sign a contract in the versus closing line. We can now circle back to Four Sales counterpart, track two of Tipa Butterfly, for free.

If you'll remember, For Free featured Kendrick provocatively pronouncing his self-worth and demanding compensation for his talent from Uncle Sam and his figurative prostitute. This dick ain't free. You looking at me like it ain't a receipt like I never made is meat eating your leftovers and raw meat. This dick ain't free.

Liberty captivity raised. Gap, salary, celery telling me green is all I need, evidently all I see was spam and raw sardines. This dick ain't free. I mean, baby. You really think we can make a baby name. When viewed together, For Sale and For Free give two contrasting looks at the American Dream. And for free, Kendrick was outside looking in. While he talked tough, he was still falling for Uncle Sam's trap, of exploitation through materialism.

And for sale, Kendrick experiences temptation internally in his dreams, and we're a privy. to Kendrick's subconscious influences. It's also interesting to note the parallels between the initial appearances of both Uncle Sam and Lucy. Things get a little intricate here, so stay with me. Uncle Sam first appear on Wesley's Siri, the album's opening track. Wesley's Siri is divided into two verses. On verse 1, Kendrick rafts from an adolescent mind state, accounting all the things he'd do have signed to a record deal.

In verse 2, he meets Uncle Sam, who tantalizes Kendrick with a slew of material goods. Lucy first appears on All Right, which is also divided between two verses. On verse 1, Kendrick speaks on vices similar to those mentioned in verse 1 of Wesley's Siri. On verse 2, he meets Lucy, who momentarily induces Kendrick in reckless materialism. Both Uncle Sam and Lucy introduced themselves when Kendrick appears to be out of crossroads. On Wesley's Siri, Kendrick is young and naive, talented and uneducated, a perfect target for Uncle Sam and Sam and his exploitative motives. On All Right, Kendrick is recovering from a fit of manic depression that left him extremely

vulnerable, a perfect time for Lucy to slip into his life and entice him with escapism through wealth and vice. Wesley's theory is followed by For Free, while All Right is followed by For Sale. Both tracks expand upon the character introduced in the previous song. And For Free, it's the external reaction to Uncle Sam. And For Sale, it's the internal reaction to Lucy. Both Uncle Sam and Lucy are representative of the same ideas, of temptation, sin, exploitation, materialism, and the promise of the American dream. And the parallels between the songs don't end here.

We'll soon see how many of the songs on Tipa Butterfly have a contrasting counterpart. It's a continuation of the album's central theme of contrasting duality we've discussed heavily through our examination thus far. Whereas we saw this theme on a small scale within songs, it will now start to appear. and larger scale between entire songs. Very cool. Conclusions Like for free, For Sale is billed as an interlude, yet is tightly packed with thematic material.

Let's revisit the excerpt of the narrative poem that introduced For Sale. I didn't want to self-destruct. The evils of Lucy was all around me. So I went running for answers. After escaping self-destruction on the song You through positive affirmations of all right, Kendrick meets the album's new antagonist Lucy.

We are privy to his subconscious and indeed the evils of Lucy are all around him. Like Kendrick stated earlier in the episode, he knows the dangers of Lucy, yet is continually tempted by her. Like Uncle Sam, Lucy enters Kendrick's life when he's vulnerable and at a crossroads. She entices him by pretending to be his homie, a ride or die, ready to provide escape from his fears and insecurities through the mindless pleasures of the world. Of course, we now know this comes with a price, Kendrick's soul, and internal damnation in hell. In a more practical, less metaphoric sense, the price is idleness, negative influence,

and a downward spiral into depression and financial and spiritual bankruptcy. Let's not forget, too, that on the album's previous song All Right, Kendrick spoke several times of reaching heaven and riding his wrongs with God. It would seem now Kendrick sits at a crossroads, with an angel on one shoulder and the devil on the other. For sale concludes with a musical material melting into a kind of elongated drone, and the narrative poem returns, revealing one additional line. So I went running for answers Until I came home

Like many of us do It seems Kendrick has ran home in search of clarity We'll follow him home on the album's next track, Mama, Which will thoroughly examine next time on Dissect. Dysect is written and produced by me. If you've enjoyed what you've heard, Consider reviewing Dysect on iTunes. There's no team behind this podcast.

It's just me, and reviews help, a lot. Follow at Dissect podcast on the usual suspects, Instagram, Facebook, and Twitter, and view exclusive episode notes at cityscoutmag.com. Theme music by Birocratic. For more, visit bierocratic.bancamp.com.