This is a guy whose spiritual sequel to Gil Scott-Heron’s “The Bottle” accidentally became a club hit. Dre admonishes him in a muffled, voicemail-like taunt (“Remember, anybody can get it / But the hard part is keeping it, motherfucker”) that Lamar probably scripted himself while having a private laugh too. Dre and Tupac - and believe you me, he’d trade the one he’s met (the one to whom he owes his career) for the one he hasn’t. The record begins and ends with imaginary conversations between real people - Dr. Hailing from gangsta rap’s storied snitches-get-stitches capital, Compton, Lamar increases dialogue nonetheless, even if that means inventing characters as a vessel to converse with himself. The last word means people will stop talking, and - on the evidence of his bled-out magnum opus - that’s one of the many, many things he’s afraid of. Having the last word is so far from his interests he doesn’t want anyone to have the last word. Not that he talks over anyone or interrupts - he’s a starter, not an ender. K-Dot is the rare rapper who’s comfortable with others speaking for him because he’s comfortable speaking for others. This is as it should be, because unlike many rappers, the man born Kendrick Duckworth isn’t afraid to be misunderstood. Azealia Banks - the immensely skilled and completely without-filter rapper who appeared in Playboy the same day that Kendrick Lamar’s long-awaited To Pimp a Butterfly appeared for sale on iTunes a week early - told the magazine that Lamar is “playing that non-threatening black man shit, and that gets all the white soccer moms” to love him.

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