From the Ringer Podcast Network, this is Dissect, long-form musical analysis broken into short, digestible episodes.

This is episode 12 of our season-long analysis of Kendrick Lamar's, Mr. Morrell, and The Big Stepers.

I'm your host, Cole Kushner. Last time on Dysect, we examined both Crown and Silent Hill, tracks two and three on Mr.

Morow's second disc. It was there we found Kendrick expressing the overwhelming weight of responsibility

he feels as a voice of his community.

After recognizing his agency and setting boundaries for himself, we heard Kendrick retreat

to a Hill of Silence, continuing his album-long quest to decipher what's real in his life

and eliminate the fakes who are just around to exploit him.

At the end of Silent Hill, Kodak Black makes his third appearance on the album, rapping

a verse that in many ways reflected his third appearance on the album, rapping a verse

that in many ways reflected his initial feature on Rich Interlude. He talks about his struggles

growing up poor and without a father, and expresses amazement at the success he's had given

the odds stacked against him. Kodak's presence on Silent Hill also sets up one of the album's

reflection points, as Kodak is directly juxtaposed with the voice of Eckart To one of the album's central reflection points, as Kodak is directly

juxtaposed with the voice of Eckart Tolle, the album's therapist who begins the next track,

the subject of her episode today, Savior Interlude.

If you derive your sense of identity from being a victim, let's say, bad things were

done to you when you were a child, and you develop a sense of self that is based on the bad things that happened to you.

Now before getting into Tolle's insight here, I want to acknowledge what we hear behind his voice during this introduction.

Here it is isolated.

Blue-hats, blue-hats, blue-hats, blue-hats, blue red, blue, red, blue, red, blue, red, blue, blue, blue, blue, blue,

we hear two children saying blue, red over and over.

...