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This song finds our hero, Redford Stephens, near-suicidal, but still determined to escape soul-crushing poverty at any cost. As Questlove had written, “Tip the Scale” expresses “Redford’s will to power.”

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So many people living under the supposed system of checks and balances find themselves disenfranchised by the law, and are therefore left to live a life that is destined for doom. Whether they live by or against the law, it will always be against them.

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Redford questions his sibling’s request to join him in jail – his orientation is towards staying out of jail at all costs, even if it means a Scarface-style last stand

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Redford here re-states his refusal to live a quiet, desperate life. Sadly, the listener knows, even if he doesn’t yet, that this refusal will mean that his life comes to a short, violent end

Two television shows are referenced in this line:

  • Discovery Channel’s Dirty Jobs followed host, Mike Rowe, as he visited some of the least desirable occupations in the U.S. and offered his assistance. Each episode ended with Mike Rowe expressing his respect and gratitude to the workers of such uninviting jobs.

  • National Geographic’s Swamp Men exposed viewers to the everyday experiences of the “swamp men” that are relied upon to maintain the safety of the most dangerous animal park in North America. They regularly perform hazardous duties including catching rattlesnakes and wrestling alligators.

Redford Stephens relates his experiences on the menacing streets to those of the laborers featured in Dirty Jobs and Swamp Men. The risk of death is inherent to the lifestyle, but he will keep struggling to survive by “doing dirty jobs like swamp men” as he counts “the faces of those that might have been."

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To the end, Redford justifies his life choices. He paints a picture of what his life would be without hustling – dead-end, dream-killing drudgery. Sadly, he’s correct as far as we can tell. As of 2009, the poverty rate for African-Americans was a crushing 25.8%, with annual median incomes heading downward

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This line references the mass incarceration of black men in America. In 2010, black Americans made up less than 13% of the U.S. population and yet comprised 40% of the prison population.

Malcolm X, originally Malcolm Little, was born in Omaha, Nebraska on May 19, 1925. After moving from a juvenile home in Michigan to Boston, he became a street hustler, drug dealer, and criminal. He was sentenced to ten years in prison for robbery in 1946. While in prison, Malcolm converted to the Nation of Islam after being introduced to the religion by a fellow inmate named Reginald. Malcolm X eventually became a leader in the Black Nationalism and Civil Rights Movements before he was assassinated in 1965 while giving a lecture in Harlem, New York.

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Redford won’t accept any slipping (and can’t, given that it would likely mean his own death). He puns here on the concept of “mechanical failure”, the type of machine breakdown that often causes plane crashes. The only acceptable reason for failure is that his body will stop working.

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This melancholy number finds Undun’s narrator, Redford, looking back on his life and realizing the cost of the choices he’s made.

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While he may pretend (and tell himself) that killing someone you’re close to is purely business, Redford here acknowledges that the act still haunts him

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The same drive that leads Redford (and the man who is narrating his story) to tell us about his life, and to try to make sense of it, ultimately leads to his downfall. No matter how he tries, he can’t stop searching for the sublime and trying for human connection

Achilles was a Greek War Hero from the Trojan war, who legend has it, was dipped into the river Styx in hades by the goddess Thetis by the heel which made his whole body invincible except his heel since the waters didn’t touche it. What Redford is saying here is that humanity is his weak spot or “Achilles’s heel” since he is doing inhumane acts.

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