Dissect - S1E22 – S1 Finale: To Pimp a Butterfly

Episode Date: February 7, 2017

Our season long examination of To Pimp a Butterfly by Kendrick Lamar concludes with our final thoughts on the album. Then we'll hear directly from Dissect listeners who share their thoughts on the season. 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 conclude our serialized examination of Tipa Butterfly by Kendrick Lamar. Because today's show will likely remain at the top of the dissect feed for a while, I'd advise any new listeners to begin with the first episode of season one. Today's episode is full of spoilers, and because we're not examining any one particular track, our structure is going to veer slightly from the norm. First, we're going to take a broad overview of the album, just to get the full oral spectrum

back into our ears. Then we'll finish our analysis of the longer dramatic poem that concludes the album. Next, we'll break down the album's main themes, dissect both the album's title and artwork. We'll then leave our rigid academic approach behind, and I'll share my personal connection and experience with the album and some thoughts on the first season of Dissect. Finally, we'll hand over the mic to you, and hear from the handful of Dissect listeners who graciously shared their biggest takeaways from the album. So, for the final time this season, let's dissect.

To Pippa Butterfly begins with Wesley's theory, where we met the album's protagonist, a young newly signed Kendrick Lamar. In verse 2, we meet the album's antagonist, Uncle Sam, symbolic of the American dream. On the album's next song, For Free, Kendrick rails against Uncle Sam, refusing to be pimped without adequate compensation. As we know, it's a price Uncle Sam can easily afford. This dick ain't free.

You looking at me like it ain't a receipt like I never made ends meat, eating your left over is in raw meat. This dick ain't free. Living in captivity, raised my cap, salary, telling me green is all I need. Evidently, all I see was spam in raw sardines. On King Cunta, Kendrick returns to Compton to gloat, proclaiming himself king to all his enemies and contemporary rap peers.

Because he's being pimped by the industry, we know that while he feels like a king, he's being controlled like a slave. The album continues with Institutionalized, a song in which Kendrick grows frustrated with his Compton homie's behavior. at the BET Awards. He realizes that despite his success, he can't take the hood out the homie. He can't overnight change the mentality bred

by being raised in the streets of Compton. Once upon a time in the city so divine called Westside Compton this stood a little nigga, he was five foot something. God bless the kid. Took his homie to let's show when this is what they said. On these walls, Kendrick uses his influence as rap star to exact revenge on a Compton enemy

who is serving a life sentence by sleeping with the mother of his child. It's revealed that the imprisoned man was the one who killed Dave on Kendrick's previous album Good Kid Mad City. Despite escaping Compton through musical fame and success, Kendrick is still very much involved in the street politics of Compton. Kendrick hits rock bottom whenever she's on it About me heard At the hours of the morning

About her baby daddy Currently serving life And how she think about you Until you meet up at night Kendrick hits rock bottom On the album's next song, You Kendrick finds himself

ill-equipped for his new life outside of Compton And in a drunken confession reveals his depression Survival's guilt and suicidal thoughts You're the reason Why mom and I'm leaving

No you ain't shit You say you love him I know you don't mean it I know you irresponsible selfish The day after the drunken hotel meltdown, Kendrick awakes with a new determination and fight. Drawing on the black community's historic strength in the face of adversity, Kendrick seems determined to battle his own demons.

In verse 2, he meets Lucy, Uncle Sam's kindred spirit. On for sale, I'm fucked up, homie you fucked up, but if God got us, then we go be all right. On for sale, Lucy is explored in further detail. Representative of temptation and sin, Lucy attempts to lure Kendrick down a dark alley of materialism and greed. Kendrick returns home on the album's next song, Mama. On verse 1, home is Compton, where he's nostalgic and reflective. On verse 3, home is Africa, the motherland, where he's humbled. I met a little boy that resembled my features.

Napy Afro gap in a smile. Hit me down sneakers bounce through the crowd. Running number home men and women that crossed him. Sun beaming on his beaty, bees exhausted. Tossing footballs with his assy black. On Hood politics, Kendrick receives a voicemail from Macompton friend, who gives Kendrick a hard time for never answering his phone because he's too famous and always on tour. Kendrick gets defensive, and Hood politics is Kendrick proving to himself how he's kept it real.

to his Compton roots. The turning point of the album comes on how much a dollar cost. Kendrick refuses a homeless man a dollar at a gas station in South Africa. The man reveals himself as God and the experience sets Kendrick on a new path. Embracing his leadership the Nazareth and I tell you just how much a dime cost the price of happiness Biden heaven embrace your loss

I am God Embracing his leadership role Kendrick shares with his community the lessons he's learned in Africa On complexion he denounces colorism and preaches acceptance of all shades of skin On the blacker the berry Kendrick emits feelings of hypocrisy

for preaching unity within the black community while still being involved in black-on-black gang violence in the streets of Compton. Watch B-D because urban support is important so why did I weepin' when trade from money it was in the street when gang banking make me kill a nigga

blacker than me. Hippoor-in'n't-got-a-law, Mama said. Kendrick preaches self-acceptance and authenticity. He urges his community to drop their imitation quote-unquote street persona and just be themselves. the kick in my neck you ain't got a lie you ain't got a lie

you ain't got a lie you ain't got a try so the album reaches its narrative conclusion with the song I Kendrick performs in front of his hometown of Compton a song about loving yourself

despite your flaws when a fight breaks out in the crowd a metaphor for black-on-black gang violence Kendrick puts an end to the scuffle by reciting an empowering speech redefining the N-word Listen, N-E-G-U-S, description, black emperor or king ruler, now let me finish.

The history books overlooks the word and hide it. America tried to make it to a house divided. The homies don't recognize we've been using it wrong, so I'm going to break it down and put my game in a song. N-E-G-U-S, say it with me, or say no more black stars can come and get me. Take it from Oprah Winfrey, tell her she right on time. Kendrick Lamar, by far, realist Nika's a lie. Finally, on Mortal Man, Kendrick questions his new leadership role

and asks his listeners to question themselves and their loyalty to him. The ghost of Mandela, hope my flow stay propelling. Let these words be your earth and moon, you consume every message. As I lead this army, make room for mistakes and depression. And with that being said, my nigga, let me ask this question. Mortal Man is the last proper song on Tipa Butterfly. As you know, the album concludes with a conversation between Kendrick and Tupac Shakur. On our last episode, we explored the connection Kendrick feels with Tupac

and examined the supernatural conversation the two have at the conclusion of the album. We heard how in many ways Tupac is a spirit that propels the album, Kendrick's best attempt to continue Pock's work and legacy. Tipa Butterfly ends with Kendrick reciting a poem to Pock. As we'll hear, Kendrick prefacees this poem saying it was some of the same, something, quote, a good friend had wrote. In all my research, I was unable to find any information on who this friend might be. My educated guest would be one of Kendrick's deceased friends, Chad, Dave, pup, or brays. Of course, I don't know this for sure, but the poem is recited

immediately after Pock says, The Spirits, we ain't even really rapping, just letting our dead homies tell stories for us. So, thematically it would seem to work. Before we dig too deep into the poem, I do want to quickly remind you that there's now a Dysect to Pimp a Butterfly visual album map available for free download at Dysectpodcast.com. It uses the poem we're about to explore as a map's central component and visually displays how each song, act, and theme correlates to this poem. If you're able, you might find it helpful to pull it up now. If not, check it out when you can. Let's go ahead and listen to the opening lines of this concluding poem. I wanted to read one last thing to you. It's actually something the good friend had wrote describing my world. It says,

The Caterpillar is a prisoner to the streets that conceived it. Its only job is to eat or consume everything around it in order to protect itself from this mad city. While consuming this environment, the Caterpillar begins to notice ways to survive. It's my interpretation that the opening lines of the poem represent Kendrick's last album, Good Kid, Mad City. As we've heard throughout this season, the narrative of Butterfly is a continuation of the story told on Good Kid. Kendrick starts saying, The Caterpillar is a prisoner to the streets that conceived it.

Its only job is to eat or consume everything around it in order to protect itself from this mad city. As we'll see, the caterpillar represents unrealized potential. The caterpillar, or folks like Kendrick raised in a mad city like Compton, adapting to its environment is necessary to protect itself from the dangers of street life. You join a gang for protection against other gangs. You buy a gun for protection against others with guns. Influenced by his friends and environment,

16-year-old Kendrick got caught up in street politics that resulted in his friend Dave being shot and killed on Good Kid Mad City. The conclusion of that album found Kendrick surviving this world through music, God, and self-acceptance. This conclusion correlates with the line, quote, while consuming its environment, the caterpillar begins to notice ways to survive. The next line of the poem is a pivot from which Good Kid ends and Butterfly begins. It reads, One thing it notices how much the world shunts him, but praises the butterfly. The butterfly represents the talent, the thoughtfulness, and the beauty within the caterpillar.

Kendrick discovered glimpses of the butterfly within him at the end of Good Kid. Despite being shunned by society for being poor and black, Kendrick's talent allowed for his physical escape from Compton through music at the conclusion of the album. It's at this point in Kendrick's story that to Pippa Butterfly begins. A young, fresh off a record deal, Kendrick Lamar, is introduced on Butterfly's first track, Wesley Siri. When I get signed, homie, I'm at a fool. Hit the death blow, strobe like sin a room. Slash your little secretary bitch for the homies.

Blue-eyed devil with a fat-ass monkey. I'm a brand-new, cutty on bows. Truck to hood up two time to fall. Kendrick's my word right Mary to the game and a bad bitch When I get signed on me

I'm a bostrap Straight from the CIA Set it in my lap Take a few M-16s to the hood Pass them all out On the black ones good Kendrick's sentiments here are much different

than the heartful sentiments displayed at the conclusion of good kid While Kendrick physically escaped Compton Mentally he's still trapped This change of attitude is explained as a poem

continues One thing you can notice Is how much the world shuns him But praises the butterfly. The butterfly represents the talent, the thoughtfulness, and the beauty within the caterpillar. But having a harsh outlook on life, the caterpillar sees the butterfly as weak

and figures out a way to pimp it to its own benefits. Indeed, Kendrick pimps the butterfly are talent within for his own selfish benefits. As you'll remember, act one named Pimp by Consumption and comprised of Wesley's Theory for free and King Cunta, displayed the ways Kendrick used his talent for selfish materialism and ego-driven assaults on those around him. He meets the album's antagonist, Uncle Sam, the American Dream Incarnate, who looks to exploit Kendrick's talent for financial prosperity.

By demanding compensation for his talent, Kendrick feels empowered despite falling into Uncle Sam's traps. As the poem continues, we interact too, cocooned. Already surrounded by this mad city, the caterpillar goes to work on the cocoon. which institutionalizes him. He can no longer see past his own thoughts. He's trapped. In Act 2, we heard the various ways Kendrick was trapped, by his short-sightedness on institutionalized,

by hood politics and selfishness on these walls, and by depression and survival's guilt on you. Act 2 represents Kendrick at Rock Bottom. The poem continues as we enter Act 3, titled Emerging Wings. Are trapped inside these walls, certain ideas take routes such as going home and bringing back new concepts to this mad city. The result, wings began to emerge, breaking the cycle of feeling stagnant. With a devil on one shoulder and an angel on the other,

Kendrick works towards inner peace, finding purpose, and reconciling his past with his present on Act 3. On All right, he gets a glimpse of the strength and determination found within. On For Sale, he meets Lucy, short for Lucifer, attempts to lure the emotionally vulnerable Kendrick with riches in exchange for his soul. On Mama, he visits South Africa and is humbled by what he sees. He begins to discover more about himself through a connection with his African heritage, getting closer to embracing himself, flaws in all. Kendrick takes a step backwards in the songhood politics,

set off by a voicemail he receives from a Compton friend who calls him out for going Hollywood. He aggressively attempts to convince himself he has to be. hasn't changed. That aggression carries over into how much a dollar cost, where an experience with God at a gas station in South Africa, once and for all humbles Kendrick, and sets them on a new path of leadership. The poem continues as we interact for The Butterfly Sheds Light. Finally free, the butterfly sheds light on situations that the caterpillar never considered end in the internal struggle. Although the butterfly and caterpillar are completely different, that I wanted to sing.

Kendrick was granted an opportunity to emerge from the cocoon of a harsh, competent environment, and he uses his knowledge gained through his experience to teach his community ways to beat the system so they too might escape their own internal struggle. Kendrick does this through preaching self-acceptance on complexion, calling out the hypocrisy of black-on-black violence on the black or the berry, and encouraging authenticity over the charade of Kool-on, You Ain't Got a Lie.

Kendrick's metamorphosis is crystallized on I, where he's able to unabashedly exclaim, I love myself, in front of his hometown of Compton. And using his influence for the betterment of his community, not personal gain or profit, Kendrick comes full circle, defeating Uncle Sam, Lucy, and his inner demons. The prostitute becomes pimp, the slave becomes master, the caterpillar becomes butterfly. And I hated the word role model, but you can't run from it. said when I went out to these shows and I seen these kids saying we live by your music and what you're talking about that's something that you got to accept you dig what I'm saying so knowing that and

realizing that it got to have the balance it got to have that balance the same way Marvin gay put out there the same way the Isley brothers the same way Luther you know what I'm saying they talked about life in real perspectives where people can actually function and feel like they have somebody they can relate to I could sit up here and talk slick all day on record. But who's going to relate to it at the end of the day when they got to go back to this crazy world and feel like they don't love themselves enough to stay humble and not, you know, commit suicide? Who gonna make them records? Kendrick ends the poem saying, although the caterpillar and butterfly are completely different,

they are one and the same. This statement crystallizes what I've named the contrasting duality theme expressed in various guises throughout the album. With implications of good versus evil, exploitation versus nurtureance, innocence versus maturation, it's this confliction in contrast that is central in Kendrick's story. It's the confliction. I think my music is always conflicted, and I think that's why people relate to it. Like you say, I want to put positive vibes out there. I want to do something for the better. But in actuality, my life is, it's who I am as a person. I don't know I'm going to say my life.

Who I am as a person is not the song I. That's who I want to be. Now, you love you as complicated. That's my world. That's the frustration of the gang violence. That's what I come from. The pop was a juvenile, my birthday, as a day after his. That's what makes up who I am.

And in my album, the confliction of today is how can I use my leadership? you know, knowing what to do with it or want to utilize it, you know, for better or for worse. That's the confliction, you know, because you come from this place of negativity, and you come from this place of not having nothing or following the people you look up to, and now you're taking the lead from thousands of people around the world.

That right there brings a whole lot of change. So that's the confliction, you know. Do I utilize it in a negative way or in a positive way? in a positive way and that's the core of his album. As we discussed in our last episode, Kendrick was born in June, making him a Gemini, the zodiac sign best known for having two contrasting or conflicting personalities. Kendrick is very self-aware of his Gemini characteristics, something that often informs his music. If you'll remember from our analysis of the album's first song, Wesley's Siri,

Uncle Sam attempts to appeal to Kendrick's conflicting personalities and is materialistic enticements. Like you never have one baby, count it all together, baby. They hit the register and make you feel better, baby. Your horoscope, this is a Gemini, two sides. So you better copse everything two times. Two coops, two chains, two C notes. Too much and enough both we know. Christmas, tell them what's on your wishless.

Get it all. You deserve it. Get trick. And when you hit the White House, do you. Like any successfully used theme, the duality theme is expressed in a multitude of proportions, both big and small. Beginning with the broad overview,

we can see the duality theme expressed and the contrasting halves of the album. Through Acts 1 and 2, the first half of the album presents Kendricka's Caterpillar, pimping himself for materialism and ego, cocooned by the institutionalized mindset he developed being raised in Compton. The second half of the album, Acts 3 and 4, presents Kendrick's butterfly, emerging from the cocoon of his physical and mental environment

and shedding light on his community. Narrowing our lens, we can see the duality theme expressed from song to song. We saw how the trio of a song Wesley Siri for free and King Kunta mirrored the trio All Right, For Sale, and Mama. Wesley's Siri, with its first verse of materialism and second verse meeting Uncle Sam, contrasted with All Right, with its first verse exclaiming defeat over Uncle Sam, and second verse meeting Lucy. The defiance of Uncle Sam on For Free contrasts with the submission to Lucy on For Sale. On King Kunta, Kendrick returns home to gloat, and on Mama, Kendrick returns home reflective in

nostalgic. Outside this trio, we heard how complexion embraced blackness in all forms, while the Black of the Barry exposed the hypocrisy of embracing that blackness, while still being involved in black-on-black violence. We can identify the low and high points, the thematic pillars of the album and the self-loathing rock-bottom song You that contrasts with the self-loving, self-affirming I. Of course, the titles of these songs themselves are in reference to identity, the idea that you and I are two sides of the same coin. If we narrow our lens even more, we can see the duality theme expressed in each song,

verse to verse, and often word-to-word. The album opens with the sample of Boris Gardner's Every N-word is a star. The juxtaposition between the poison potency of the N-word and the word star is reminiscent of the contrast between the words pimp and butterfly. On one hand, we can interpret this phrase positively, that inside each human being, specifically African Americans, there is a star, a potential for greatness.

On the other hand, if we imagine Uncle Sam saying the phrase, we can interpret it as having exploitative connotations, that inside each human being, specifically African Americans in their experience, there is potential for exploitation. On For Free, Kendrick claims this dick ain't free. Ain't Free can be interpreted as not free, demanding compensation for his talent from Uncle Sam. or not free, meaning restricted, shackled, or controlled by Uncle Sam, as he's ultimately the one writing the checks. On King Kunta, we notice how Kendrick felt empowered like a king, yet was controlled like a slave. The song Institutionalized expresses Kendrick's frustration with his homie's

brute behavior at the BET Awards in verse 1, while verse 2 was performed from the point of view of the homie, who revealed that his behavior was a product of institutionalized racism. On these walls, Kendrick spoke of the walls of a woman's vagina as metaphor for using his fame for vengeful sexual exploits, but also revealed the limitations or walls of his own selfish, narrow mind that led to these exploits. And while Act 4 displays Kendrick embracing his leadership role, mortal man shows the potential pitfalls of that role. Of course, then there's the album's title to Pimp a Butterfly. In an interview with Mass Appeal, Kendrick alludes through the duality theme in regards to the album's title,

saying, quote, it was something about butterfly, how soft it sounds and how hard pimp sounds. It was just the contrast. That's how my music is. It's a roller coaster. It's cohesive enough, but it's up and down. You're going through all these different emotions, and I wanted the title to reflect that. Kendrick expands on the meeting behind the album's title and an interview with Click. That's the contrast again. That's the confliction again. It goes down from the title, and I think that's one of those titles that's going to to live forever. It represents so many things. It represents taking the pureness out of something. It represents decision making on whatever your art is, how can you manipulate it for better or for worse? That's your decision. And these are the two things that I was juggling and making

this record or, you know, the record being about, how can I not be pimped in the system, you know, as far as my art and deteriorating it, and how can I pimp my own celebrity for the better of my community or for the better of the world? Or how can I be selfish and take advantage of it and just say, you know what, fuck everything. You know, it's all about me. I'm gonna get these chains, I'm gonna get the jury.

I'm gonna get these clothes, the women, the cars, and yeah, I'm pimping it like that, you know, but it's a decision that I left hanging on the album, you know, that's the real trick. It has undertone of what I want to do, but it never says what I'm going to do because I may not feel the way I felt yesterday. As we just heard, Kendrick implies a duality theme to the verb pimp. From Kendrick's personal perspective, he could choose to pimp his talent, his success and influence, his butterfly for selfish returns, money, sex, drugs, and material goods. Even though he may feel empowered, the

real pimp in this situation is the one who writes the checks, Uncle Sam, who exploits the butterfly for all its worth. This side of the word pimp is presented in the first half of the album, Acts 1 and 2. On the other hand, Kendrick could pimp his talent and influence for good, to denounce sin and temptation, and uplift his community by using his experience outside of Compton to teach self-respect, unification, and authenticity. Here, Kendrick becomes the pimp, and fully realizes the transformation from Caterpillar to Butterfly. This is represented in the album's second half through Acts 3 and 4. If we widen our lens, we can view the album title as general representation of the black experience in America. Cacooned by their environment, institutional racism and historic oppression, many black men and women seem destined to remain caterpillars,

their potential is tragically unrealized. If they do make it out, Uncle Sam is there to exploit their struggle and stunt their full transformation into butterfly. The album's narrative is Kendrick's best attempt to educate his community, show them a way to side-skirt the expectations and exploitations through authenticity, acceptance, and God. If we widen our lens even further, the meaning behind to pimp a butterfly asks a very poignant question about the human experience and challenges us to evaluate our own life, to ask ourselves, am I the pimp or am I being pimped?

Am I fully realizing my own potential? potential, what walls are keeping me cancooned? What's my Lucy, my vices? How am I using my own influence? For selfish returns, or to advance humanity in a positive direction, however large or small? Am I the change I'd like to see in the world? Am I caterpillar or my butterfly? People don't like to look themselves in the mirror. That's the hardest thing to do. You know, it's to critique yourself rather than point the finger, you know, and everybody here. change. So to actually do that and say, I'm wrong in a lot of areas. I look at myself in the mirror and I'm saying I'm wrong in a lot of areas. That takes a lot of willpower. You know what I'm saying?

So it starts with self first. Another place the duality theme appears is on the album's cover art. I assume you've probably seen it at some point. But if not, it depicts a mob of Kenjick's real friends from Compton posing in front of the White House. Nearly every person has either a stack of money or alcohol bottle in their hand. Beneath them is an older white judge laying knocked out or deceased on the ground with exes over his eyes. Kendrick is in the center of them all, shirtless and holding a baby. If you didn't know what he looked like, you wouldn't be able to distinguish Kendrick

from the others. In interviews, Kendrick breaks down the meaning behind the album art. What was the impetus for that White House couple? That's a statement just in itself. It's several meanings, actually. It's several meanings. One of the meanness is Wesley Theory, you know, that song inspired that cover. For me personally, it's going back to the neighborhood and taking the folks that haven't seen nothing and taking them around the world.

Whether you want to call them ignorant or not, they need to see these things, you know, whether it's the White House, whether it's Africa, whether, you know, it's London. Robin's Island. Exactly. You know, they need to see these things. And that's one explanation for it. It gets a little deeper. Tell us about the album cover. Yeah, the album covers.

It's me and my home boys in front of the White House. It's really taking people from my neighborhood and taking them around the world and letting them see things that I've experienced. Everybody in that picture is family, friends. Yeah, it's one of the homies kids, the people I grew up with since elementary. all the way up to now, you know, so a lot of individuals that I talk about in Good Kid, Matt City is on this cover. So it all spins around full circle when you really digest it. And who's that laid out on the ground now, man?

That's a judge laid out on the ground. You look at these individuals and, you know, you look at them as bad people or a menace to society, but they're actually good people, you know, just a product of their environment. and the one person that always represent their not life's negatively is the judge. You know, only God can judge these individuals right here. Not no one with a gavel, you know, handing out football numbers of years and not giving these kids a chance at life. Every nigga's a star.

It represents the album. It represents how I felt when I first got signed, you know, Wesley's Theory. That's the first initial state, you know, you get money, you feel like this. You feel like this. But overall in general, it represents those without money, you know, of my color that's rich in spirit. You know, you don't need dollars to feel like you have a place in the world, you know, as the album goes to 10, 11, 12 tracks.

That's what it represents. The first half is a little bit ignorant, you know, because that's how I was brought up. So as I see the world, it ain't really about the money, about how rich you are in spirit. Kendrick references the album's opening track Wesley Seri as partial inspiration for the album art. Let's go ahead and listen to the clip he's referring to, keeping in mind the verse is written from Kendrick the Caterpillar, who adolescently recites a long list of things he'd like to do once he signs a record deal.

Kendrick also Republican run up gets hot down If the press with a Cuban ink on my neck I'm educated by not got a million dollar jack like that We should advocate Kendrick also references the White House in a similar fashion on the introduction of the song Institutionalized

where he fantasizes about what he'd do if he are president If I was the president So I take the chains off me The imagery of rebellion is also alluded to In Kendrick's conversation with Tupac at the end of the album. The ground is going to open up and swallow the evil.

Right. That's how I see in my world is born. I see, and the ground is the symbol for the poor people. The poor people is going to open up this whole world and swallow up the rich people because the rich people are going to be so fat and they're going to be so appetizing. You know what I'm saying? We're going to be so poor and hungry. You know what I'm saying?

It's going to be like, you know what I'm saying? Between Wesley's theory institutionalized and the Pock's stage. statement, we can start to piece together an interpretation of the cover as portrait of the album's first half, the caterpillar or quote-unquote ignorant half, as well as the depiction of the ground Tupac speaks of, and Kendrick's fantasy of moving the Compton Swatme to the White House. Both the judge and the White House can be viewed as the perpetrators of the systemic racism that created and continue to perpetuate many of the black community's obstacles in achieving the American dream. While the cover displays a physical defeat over the

judge, the homies haven't yet overcome their institutionalized mindset. On the song institutionalized, Kendrick fantasizes himself as president, and all he can think to do with that power is pay his mama's rent, free his homies from jail, bulletproof his car, and smoke weed. The cover art reflects these short-sided fantasies, as all the men are holding alcohol and generally acting a fool. Also, the few women included in the photo are blocked by alcohol bottles or gang signs, perhaps representative of the disrespect or lack of priority shown to women by certain

members of the black community. It seems that Kendrick is implying that a violent revolution is an incomplete one. Like the story told on Tipimpa Butterfly, these individuals need a spiritual revolution to truly escape the real prison created by systemic racism and oppression, the prison of their own mind. The more optimistic or butterfly interpretation of the album cover as one Kendrick explains in his interviews. While they may be poor and disenfranchised, Kendrick's homies are rich in spirit. Knowing the history behind places like Compton

and the generational oppression the black community has faced, we can look past the alcohol and money and see the butterfly within all these men. Like the song I, Kendrick here is using his influence to share his worldly experience with those who haven't had his same good fortune. He doesn't separate or distinguish himself from them.

He's among them. In a few episodes this season, we quoted Kendrick saying, I'm not speaking to the community or of the community. I am the community. The album cover seems to be the visual depiction of this statement. Of course, Kendrick holds a baby, symbolic of the future. Taking Kendrick's lead, his community will overcome conflict through self-acceptance and unity among black men and women,

regardless of gang affiliation. In this way, the judge on the ground becomes not an act of violence, but as a symbolic defeat through self-respect and unification. And the White House becomes not a symbol of oppression, but of empowerment, implying that the black community is as American as the widest Midwest community and just as deserving of opportunity. As we wrap up our analysis of Topimp a butterfly, I suppose a fair examination wouldn't be complete without a bit of criticism. So, here's my critique of the album. Yeah, I got nothing. Because here are my thoughts on criticism.

Sometimes art doesn't need it. And frankly, I don't have time to criticize. We already give too little of our time to art as it is. I'd rather not waste that time on critiquing. If it's something created with honesty, let's meet it with respect and openness. Let's let it say what it has to say without judgment. If it resonates, beautiful.

If not, let's respectfully move on. And I guess this is as good as segue as any. to move into a more personal space regarding this album. From day one, I attempted to approach to Pimp a Butterfly without any predetermination. Like all great art, this album could be viewed through any number of subjective lenses. You could approach it purely from representing the Black experience in America, from its place in the pantheon of Black music, from its place in the history of the concept album, from the perspective of the contemporary Black Lives Matter movement and racial tension in America,

The possibilities are truly endless. My approach was a little more generic. I wanted to be as weightless as possible, allowing the album to push me whichever way it wanted. I wanted to stay out of my own way, to be of service to the album, and let it navigate to whatever destination it had in mind. But now I'd like to leave that behind. In lieu of a season finale conclusion segment, which I ultimately deemed a bit redundant on the heels of a 12-hour analysis of a single album, I've decided instead to close with my personal

takeaways from the album and a little backstory about the creation of this podcast. I started dissect because, like many of us, I found myself constantly scrolling and swiping my days away. With access to an infinite amount of content at my fingertips, I found myself spending too little time consuming too many things. Over time, this began to feel disrespectful, especially to artists who in this age of overconsumption still choose to craft incredibly detailed, honest, and thoughtful pieces of art. I wanted to create a structure that would force me to spend months with a piece of art to extract as much as I could from something rather than consuming it casually and swiping on. I also wanted to be realistic about our new consumption habits,

thus the idea of breaking long-form analysis into short digestible episodes. It's amazing what can happen when we commit ourselves to a great piece of art. If you made it through this entire season, you've dedicated nearly 12 hours of your life to an analysis on a single work, plus the countless hours I'm sure you spent listening to the album. Imagine sitting in front of a piece of art at a museum for 12 hours. Just sitting, thinking, letting it give everything it had to give, letting yourself give everything you had to give to it. It'd be hard to walk away from the experience unchanged as a person. And now that I'm walking away from Tippip a butterfly, at least in an in-depth analytical sense,

I can honestly say I'll be walking away a changed person. It allowed me to experience life through someone whose upbringing was completely different from my own. It made me understand more about the black experience in America, about the underbelly of fame and success, about the invincibility of our human spirit. It forced me to honestly assess how I view others and revealed to me my own cultural, biases and prejudice that I wasn't fully aware of. It forced me to prioritize what's important in my own life. Question whether I'm being pimped. Question whether I'm nurturing my own butterfly to its fullest potential. Question whether I'm using my influence in the most positive, impactful way

possible. But more than that, it made me realize that while I may come from white suburbia, I can still relate, understand, and connect with people that don't look, talk, think, or act the way I do. As Kendrick says to conclude the album, although the caterpillar and butterfly are completely different, they are one and the same. Despite proximity, political views, religion, race, class, or any other potential division, we're human first, and we all feel the same human emotions. Because emotions aren't exclusive. The same hurt you feel, I feel. Joy or anger or frustration, we all experience these things the same way. and it's around these human commonalities that we can unite. Empathy is essential, but it's just the bridge to taking action, and I'm doing my best to cross that bridge every day.

I'd like to share with you now something I wrote for the very first episode of the season that ended up on the cutting room floor. Looking back at it now, it represents a kind of full circle moment for me. It reads, quote, Before we begin our examination of to pimp a butterfly, I thought it might be appropriate to briefly explain my decision to dissect this album. There's no doubt it's a daunting work, and deals with issues someone like myself cannot pretend to understand completely. I'm a white kid from the suburbs of America, if you can't tell by my voice. While this might be viewed by some as a hindrance in analyzing an album so heavily rooted in an African-American culture,

it's precisely the reason I chose to dissect it. I don't think we get anywhere as a culture if we're afraid to confront issues because they're difficult or feel like they don't apply to us. In fact, because their issues understood primarily by the people they affect is perhaps one reason why they perpetuate. This podcast season is my best attempt to understand. My analysis will always come from a place of honesty and a true desire to learn as much as I can about our culture through this incredible album. I ultimately decided to admit this because I felt it was too personal

and revealed an insecurity I felt about approaching this album. But I do feel I stayed true to my words. My approach always came from a place of honesty, and it's from that same place that I now try to approach all things in the world. While I went in with the intention of attempting to understand others, which I certainly did, more than anything, I came out understanding more about myself. And this is a great thing about great art.

It gives and gives and gives, but you have to make yourself available to it. You have to listen when it calls you. Admittedly, my connection to Tipinpa Butterfly is a little extreme, but perhaps for good reason. The album came out the day after my first and only child was born. With the 6 a.m. sun slating through the blinds, I sat on a rocking chair with my headphones on and listened to Pimp a Butterfly for the first time while my newborn child slept in my arms. It's one of those storybook moments in life that I'll never forget. I listened to the album incessantly, and each time I felt this nagging curiosity in unease.

I felt as if I was missing something, that it was trying to say something and I wasn't paying close enough attention. I decided to follow that curiosity, to submit to that curiosity, to for once give myself totally to that curiosity. curiosity. And so Dissect was born, a 12-hour 100-plus page analysis of to Pimp a butterfly. I started Dissect with zero expectations. I didn't think many people would find the podcast, let alone be interested in such a tedious analysis. I certainly didn't expect to connect with so many amazing, thoughtful, intelligent people I've come to meet through this podcast, reading your emails, your thoughtful season two suggestions, your support in our fundraiser, our interaction on Twitter, it's all been really overwhelming. In a frankly dismal time of extreme division in our country,

the positive affirming spaces podcast has created in my life has truly been beautiful. So thank you. And in that spirit, I'd like to now hand over the microphone to you. Toward the end of the season, I ask you to share your biggest takeaway from Tipinpe Butterfly in the form of an audio clip. I've compiled all those clips until it will hear now. It runs about 20 minutes long, and I encourage you to really submit yourself and listen to each one. There's a fascinating range of diverse backgrounds and interpretations, and I try your best to hear their ideas, their thoughts, their stories as your own. On the other side, I'll have some final words as well as the result from our fundraiser.

Enjoy. Yeah, what's up? It's Juan Leone from San Francisco, California, originally from Pasadena, neighboring to L.A., So I lived in a hood pretty similar to what Kendrick had to deal with as a youngster. And what spoke to me about that album was the album was just a person looking for a way out of the lows of in his life. And looking for salvation in all the wrong places and figuring it out that, you know, the change has to come from within before it comes outward. So it almost, it inspired me to do what he's doing in a way to sort of. sort of become a beacon of almost a light to show others that look just like you that come

from places, just that they come from, you know, to come from the bottom and say, look, you don't have to think like you're from the bottom. You can do more for yourself and those around you. It just has to start within yourself. You have to want more and know what more is. And it's achievable, but you just have to believe that it's achievable. My biggest takeaway from Tippin a Butterfly is the song, I, because despite all this suffering, and oppression discussed on this album, Kendrick finds a way to inspire people to love themselves and rise above negativity through this beautiful, emotional, uplifting song. This album would not be the complete masterpiece that it is without this track. In one song, he finds a way to educate

people about oppression and at the same time inspire people to love themselves for the exact way that they were born. My name is Reed Ballou and I live in Nashville, Tennessee. I started listening to dissect right whenever I moved to Nashville. And when you moved to a new city, it's there's sort of that fresh start sort of vibe. And so when I got here, I was thinking, you know, how can I be a better version of myself than before? And you look at the political climate, social climate, you know, racial issues are huge. And me being someone who grew up in, like, suburbia, white America. I realized I didn't have a good grasp of what it was like to not be that.

And so Dysect has taught me a lot about empathy and not just listening to Pimp a Butterfly in someone else's shoes, but it's sort of given me at least a toolbox by which to think about things from someone else's point of view. and for that I am forever grateful. The podcast Dissect and their season onto Pimp a Butterfly has educated me in the past few months about the art of rap and has connected me more deeply to the African-American experience. I've heard it said what really changes people's opinions are stories because it's the emotion, soul, and life that really light a fire in us.

With the help of Dissect's tedious analysis, I have heard the depths of emotion, soul, and life, Lamar wants his audience to feel. In all honesty, the empathy this podcast bestowed me with helped me become less racist, helped me see all African-Americans as more completely human, as hard as that is to admit. Thank you for helping me deeply appreciate this art and become a better, humbler person. Hey, Cole, this is Tucker from Indianapolis, and I wanted to do a very, voice recording for you. I'd say that when I first heard Kendrick Lamar, his first song I heard was Backseat Freestyle, and I immediately wrote him off as a rapper. I was like, who is this crude,

obscene person? And I think when Tipimba Butterfly released, my like viewpoints had kind of changed a little bit. After listening to that album, going back to his older albums and listening to his older work, there was so much more meaning that I didn't understand. And I would also say that Tipa Butterfly was the album that really pushed me into hip hop and rap. All I really can listen to is hip hop and rap. That's kind of all that keeps me interested anymore. Kendrick 1 said I'm not on the outside looking in. I'm not the inside looking out. I'm in dead center looking around. And I think that theme of the two cells, the duality, you have the introspective, Kendrick, Lamar, Cadat from the block, from Compton, juxtapose with the outward, more braggadocious

King Kendrick, King Kunta. And this analysis, this album really shows how fluidly Kendrick moves between both of these personas to create a more complete version of himself and really endearing us to him while at the same time showing his skill. I have truly enjoyed listening to you, Dissect What I Already Knew was a Brilliant Album and pulling out all of the layers of meaning and and imagery and symbolism and metaphor, and just you pulled everything out of an album

that I already loved and made me love it even more. I also appreciate the fact that you always said the N-word and never actually said the N-word. Thank you for that. Thank you so much for Dysect. It was truly amazing. So for me, it's almost impossible to appreciate to Pippo Butterfly

without juxtaposing against Good Kid Matt City. You know, up until this podcast, that was my favorite album, of all time, bar none, because it put me square in the shoes of a kid in Compton, unlike any think piece could ever do. You know, it opened my world. But what Tipa Butterfly did was help me understand the conflicted feelings that I felt growing up an Iranian kid, born and raised in Virginia.

You know, that sense of love for my home, but never truly feeling like an American. So whereas Good Kid in that City helped me understand the struggles of somebody else, to Pimp a Butterfly helped me understand my own a little bit better. Cole Kushner, man, your podcast is fantastic.

A major takeaway that left me, that I'd never really thought about, actually, was the fact that good Kid Mad City and to Pimp a Butterfly are so connected that from the end of the first album to the beginning of the second album, it's a direct line connection.

That blew my mind. Major fan. Love your work. I'm going to keep following you. Thanks a lot. This is Mike. To Pimp a Butterfly as a music album has everything I could ask for. It's got variety and depth.

It's engaging. It's fun, but it's also moving. But it's even more than that. It creates a bridge between my own context as a white middle-class male to a context that I just wouldn't be as familiar with or understand as much otherwise. So I've got to think Kendrick Lamar and his genius and things like The Dysect Podcast for that. It's one of my favorite albums of all time. Besides the personal impact on this, I think Kendrick's approach to writing here and his structure is putting him in line with. James Joyce in terms of like contextual complexity, dance lyricism, uncompromised

aestheticism, delivering kernel wisdoms and like creating a history, an oral history, the concept of self-determination, love, accepting failure, and really pushing, you know, a Kendrick Lamar vision of strength and real power. It's a real beautiful thing. Hi, this is Isaac Halverson from St. Paul, Minnesota. Dysect has been very important to me. As a white male in middle America, I've never experienced what it's like to be a minority and likely never will. The best way I know to understand the experience of others is to listen to them.

Before Dysect, I'd listen to Kendrick Lamar's music, but the show has helped me understand it in a way I couldn't before. Music has an ability to convey ideas better than simple speech, and I'm grateful that Cole has taken the time to unpack everything in Tipa Butterfly for us. I listen to Tipa Butterfly every day the week it came out, and I continue to listen to it. And I think part of the reason I do is the same reason I watch all my favorite movies over and over again. It's just a cinematic album, and I've never really listened to anything else like that. it. Yeah, it's great. Favorite album of all time. To Pimpopo Butterfly was an amazing album. I did not know this was an amazing album until I listened to Dysect Podcast. In my opinion, it is ranking among one of the greatest albums of all

time. It is a beautifully crafted concept album that can only be topped by Kendrick himself. How's it going, Cole, and fellow Dysect listeners. I've been rocked. I've been rocked. with Kendrick since overly dedicated, I think since Good Kid Mad City has been in contention for the greatest hip-hop artist of all time. That's just my opinion. And honestly, after listening to Dysect, I have to say that to Pimp a Butterfly is my favorite hip-hop album of all time. Again, I thought it was great the first few times I listened to it, but after hearing your on it and hearing the depth and time and effort that went into this album, I really haven't heard any other hip-hop albums that can compete with it. So thank you for changing my mind on that and swaying my opinion.

I can truly say that I live by Kendrick Lamar's words because the man is so insightful and he truly displays something more. He displays a message that we don't hear too often in hip hop. You know, when I think of hip hop, I was raised listening to a lot of Tupac, Biggie, a lot of old school rap. And Kendrick Lamar reflects that. So for someone like me, I truly connect with Kendrick Lamar. and even bigger his message.

Hey, what's up? The one thing that I guess I took from to Pimp a Butterfly after thoroughly listening with the help of this podcast is that there is always room for growth that we're always going to have the ups the downs, the in between them and life, but there's always room for growth

and growth is for anybody. And to Pimper Butterfly is like a major, major show of that. And I think that's the one thing that I did take. Hey, Cole, this is Joseph in Tai Bay City, Taiwan. Something I value in great art is its ability to transcend something that's very specific and turn it into a very universal experience. And that's something I definitely see in To Pimp a Butterfly. It's grounded in his experiences, but it's so masterfully commune.

that it never feels close to someone like me who didn't grow up in Compton or like enjoy or experience his level of fame. The joy, the exuberance of King Kunta, the lens of depression and you, the affirmation of all right. And the omnipresent question of how to not only survive in the complex web of American history, but how to, carve out and create a meaningful position within it is something that I think is very relatable while staying very honest to Kendrick's own experiences and struggles. My name is Sam and Jean Baptiste from Cranston Rhode Island. My two biggest takeaways from the season of Nice Act as we've delved into the lyrics of Kendrick Lamar is that first,

I can be proud of who I am and in my full blackness that my skin color is not defective and that I can be proud of the struggles of my ancestors and keep fighting in the face of oppression and too that I must have empathy towards those I don't understand And I've been teaching this to my students as I even let them listen to the episode that is important for us to seek to understand those we don't necessarily agree with. That, I believe, will help us heal as a nation. Thanks for this podcast.

It's been great. To Pimp a Butterfly is a work of unapologetic blackness. It is a score of the historical, social, and political legacy of hip hop, West Coast hip hop, but also the score to the movement happening right now in America and what has always been happening for black folk. And it's just a work of art that Kendrick was able to look at history, look at hip-hop, and it shows that he really understands the work that hip-hop has always done, the work that rebel music has always done for the black community and was able to weave those stories into this masterpiece

and just do it in a way that is unapologetically black and shows deep love and understanding of black folk and black history. Hey, what's up, Dysect? It's hard for me to put into work. words how much this podcast really means to me. There are very few days that align from this podcast or from this album will pop up into my mind. Like how much does a dollar cost?

And complexion really doesn't mean a thing. It's opened up conversations in the community that I live in, in the school that I teach in, a middle school teacher, and the church that I worship in as well. So all I can say is thank you for doing the legwork on this album. And I feel like it's really gone away to advance the way that I see the world. To Piper Butterflies had a huge impact on my life and the way that Kendra brings music, lyrics, and his story all to the forefront of this entire album.

Musically, he brings the old end with the new and clashes them together and makes a beautiful sounding album. Lyrically, he takes us through hope. He takes us to despair. And ultimately, he shows us the story, the story of redemption. I believe we're all on a trek, and we need hope sometimes. And this album is a good way to start. Hi, this is Matt Linder, one of the hosts of Musical Imperatives. And the thing that struck me always about Kendrick and particularly Tizbapa Butterfly is the spiritual underpending of the album and how much he has a reliance on God.

Even in his doubts about faith, he sees God as his way to escape those doubts, something to lean on and then something to bring back to his community. The standout impact of Tepinpa Butterfly on me. is how Kendrick can simultaneously hold together hope and realism. And I most see this exemplified on the hook of all right as he points to injustice and points to those things that are not right and do not operate as they should, but also holds out his hope in God and community, in realness, and in positivity, and inspires us and everyone else to pursue that same hope along with him. Hey Cole, this is Chris sending you this message from Idaho. So, honestly, what was my biggest takeaway in listening to Season 1 of Dissect? I would probably say it would come down to just the whole appreciation of Kendrick Lamar,

the whole appreciation of his musical genius. When I heard Dysect, I heard how all the songs played together, including the songs that I liked less, say, like, for free. having listened to your podcast, I really sense his depth and breath as an artist. It's just really impactful, and it's changed how I think about all music in general. So, yeah, I guess that's my biggest takeaway. So thank you. I appreciate it, Cole.

The reason why I love to Pimp a Butterfly so much is that it shows everyone that we're all connected to the storyline that is a millennia years old. But even then, it still reminds us that we have the opportunity. to make that story our own. To Pimp a Butterfly solidified my belief that King Kendrick is my favorite artist of all time. We can talk about the lyricism all day, and I bet there are things that I won't catch until 10 years from now. Hell, even the title and cover art are just waiting to be further analyzed.

Sonically, his seamless mixture of various genres was done so well that he can't even be categorized. I never understood why some people did not like the sound initially, and there's no telling of what he is capable of making next. My name is Amma. I love the show and I can't wait till season two. Wow. So 30 seconds to explain everything I got out of to Pimp a Butterfly. You do realize, of course, that that is severely insufficient. So let me just say that I salute you, my brother, because what you did to take the time and break down to Pimp a Butterfly and Kendrick's art in general was nothing short of amazing.

And hopefully there are people all around the globe now who are more enlightened and have a deep. deeper appreciation of the genius of that man's work. So we salute you and I appreciate it and look forward to season two. Hey, Cole. I just want to say my biggest takeaway from the Pimpin Butterfly is that as a young black man going through change, it's inevitable. And not only that is inevitable, is that it's okay. It's supposed to happen. And that's what makes you a man. That's what makes you, you know, an adult. And to hear that on an album from another black male is is amazing. So thank you so much, Kendrick. I really do appreciate you've helped me through a lot. Thank you. My name is Jamie Palmeroy. I live in Nashville, Tennessee. One day,

recently on my way to work, I had two homeless people stop me outside of my regular coffee shop and asked me if they can get some money to get something to eat. So I took them inside, got them whatever they wanted, and just talked to these people for like 10 minutes, heard their story, told me about some tough times they'd fallen on over the last 10 years, and just got some perspective and didn't think too much of it, but got home that night and the episode for me to listen to was how much a dollar cost and I heard Kendrick's story and I heard Cole's story and was actually brought to tears and didn't expect to go home that night and have anything like that happened after what happened that morning, but it's just a good reminder that they're still

loving the world. We're all one and it's always hear people out when they ask you for help. We've been Up and Down before When the pride was low Looking at the world like where do we go I'm like, We go Wrapea Borgup

We go Your Wink up your right Weak up your right Because head Can you help me Say we go up your weight I hope you enjoyed these stories As much as I did

If you didn't submit an audio clip, I'm going to give you your 30 seconds now. We had a particular song, a memorable moment, a theme that's presented. Wherever you are now, take a moment and consider your biggest takeaway from Kendrick Lamar's to Pimp a Butterfly. Thank you, everyone. This first season has been a beautiful experience. I hope you've enjoyed listening to it as much as I did creating it. I'll talk to you next season, where we'll fully submit ourselves to another musical masterwork, because great art deserves more than a swipe.

Dysect is written and produced by me. If you've enjoyed Dysect this season, please tell a friend, family member, co-worker, or anyone you think might enjoy the show. As I said in the past, there's no team behind this podcast, it's just me, and I can use all the help I can get promoting the show.

Oh, and if you haven't already, please rate and review Dysect on iTunes. That really helps too. If you've been following along this season, You know that we've been raising money for the Bicentennial High School Music Program in Compton, California. This is Kendrick Lamar's alma mater, and he's since given them money to keep kids in the studio and off the streets. I couldn't think of a better way to show our appreciation to Kendrick than by contributing in a small way to his cause. I'm very happy to announce that we did exceed our goal of $1,000, raising over $1,500.

A huge thank you to all 65 donors. Seriously, it means a lot. Special shouts out to Zan Aronowitz, Ike and Alexis Peters, Daniel Wegener, and Honor Forte for their extra generous contributions. I'll be posting updates about our donation at dissectpodcast.com and through the Dissect newsletter, which you can sign up for on the website. Be sure to sign up for that newsletter when you get a chance, as I'll be sending out bonus content over the break and keeping you up to date about the subject of season two. I've also created a small little shop on the website where you can order the Tipipa Butterfly album map poster Dissect T-shirts, a Kendrick inspired hat by Riz Apparel,

or a signed season one manuscript. Again, you can find those at dissectpodcast.com. I'd like to take a moment now to say thank you to a few people who helped make this podcast possible. A big thanks to City Scout magazine for allowing me to host the podcast on their network. check out city scout mag.com for all things urban lifestyle. Thank you to my friend and co-worker Jake,

who let me bounce some initial ideas for the pod off him and gave me feedback on the first few episodes before I launched. Thank you to Ted and everyone at iTunes, whose support has taken this podcast to heights I couldn't have imagined. Thanks to Eric and Reed for helping with some social media and outreach earlier in the season. Thanks to Anna, creator of Riz Apparel, who made those awesome Kendrick Levitational, hats for our fundraiser.

Purchase more of her hats at Rizapparel.co. Thanks to Hannah Sellers for our wonderful work on her to Pimp a Butterfly album map. See more of her work at hannah C.sellers.com. Thanks to Bureaucratic for letting me use his track for the dissect theme music. You can hear more of his great stuff at bureaucratic.bancamp.com. Thanks to my mom, dad, and sister for always supporting everything I do. And a big thank you to my wife and daughter. for being the best things that ever happened to me,

and for letting me spend way too much time on dissect these past six months. And of course, I'd like to thank you for listening. Seriously, thank you. I'll see you next season. When are we going to understand that we are put on earth to love? That's all it's about.

Everybody want to figure out how complicated life is and break it down. This is what I truly think. War going to keep going on. Frustration going to keep going on. ain't gonna keep going on till we finally go back down to the simplest word love.