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Op-Ed: Uh Oh, I Think I Like The New Lil B Album

A Response To I'm Gay (I'm Happy)

Such is the power of Lil B’s performance-art mindfuckery, that when I am halfway through hearing his new album, I’m Gay (I’m Happy), and decide that I pretty much love what I am hearing, that I also start to doubt myself. I doubt my previous negative opinion of Lil B’s work, however microscopic the portion of its immensity I’ve had the patience to absorb (a few mixtapes and the ambient album along with a couple hours’ worth of assorted mp3s and YouTube videos). I doubt my ability to engage honestly with an album whose title and message I instinctively want to champion no matter what the music sounds like. But I also doubt Lil B. I doubt his sincerity, fearing that he’s somehow going to pull the rug out on me, that his apparent surrender to things like rhythm, coherence, and familiar subject matter is some kind of trick.


What I want to do is listen to I’m Gay (I’m Happy) as if it’s in a vacuum, as if the album represents a direct line from Lil B’s heart to my ears. Heard that way, the album’s riveting if in a familiar way -- the lyrics are honest, funny and provocative, the beats are head-bobbing, mushy productions in a kind of Zaytoven-meets-Dilla combination of trap hop and backpacker rap. But it’s impossible to hear Lil B in a vacuum, or possible only if you concede that the vacuum is the Internet.


People are apt to equate Lil B’s music with performance art. They describe him with words like “surrealist” or “absurdist” -- tags that are more often applied to artistic realms outside of hip hop music like visual art or theater. Indeed Lil B seems to have the same attitude toward hip hop as Andy Warhol did toward painting. He’s a trickster, a subtle satirist, someone exposing the problems of hip hop (misogyny, violence, drug talk, the transience of the Internet) by embodying those problems completely.


For someone like me, someone who loves hip hop not because of the drug talk and misogyny etc, but despite it, there’s something almost maliciously aggressive in Lil B’s torrent of twinkling, whining freestyles. By refusing to respect the usual hip hop pillars of rhyming and staying on beat, Lil B flips the bird at everything we thought the genre was. It’s as if he’s attacking hip hop more than he’s criticizing it. Then this uncomfortable question of cynicism comes into play. Is Lil B cynical because he thinks he can mumble some half-rhymes over a tinny garage-band beat and call it rap? Or are the purists cynical because they think they can shout down an artist for not making “conventionally good" hip hop?


What gets in the way of Lil B hatred, or at least my particular Lil B hatred, is the fact that Lil B the person seems like a genuine, good-hearted dude. Unlike Jay-Z, who the purists revere but who sometimes seems to view rap music as his ottoman, Lil B is the kind of weirdo suited for nothing but rap. He obviously has an all-embracing love for the whole spectrum of hip hop and music in general. There’s hardly a rap star who can claim to be so consistently positive in how he relates to his fans and other artists -- if Lil B’s ever posted a negatively toned message on his Twitter account, I must have missed it.


Lil B’s starry-eyed, emotional persona challenges the usual role of a rapper as a disciplined, stone-faced warrior. Which is good, of course, but you have to wonder: if he were more consistently impressive as an emcee, would he still affect that persona? And, if were more consistently impressive as an emcee, would he would do any of the crazy stuff that he does? That’s the question that I think explains my suspicion, namely that I think I’m being taken for a ride by someone who doesn’t take rap as seriously as I do.


But then, songs like “Wonton Soup” and countless others prove that Lil B wants to rip open the perspectives and accepted subject matters of rap in the same way that (to use a wildly inappropriate analogy) Bob Dylan changed the lyrical direction of rock and roll with “Like a Rolling Stone” -- even if Lil B’s attempts are often half-baked, silly, and nearly impossible to listen to. If only Lil Wayne would use a song to contemplate the issues of the Internet era, like Lil B does in “The Age of Information,” Lil B’s importance would be established. But even if Wayne and Lil B have a collaboration in the works, and Lupe Fiasco has endorsed I’m Gay (I’m Happy), it isn’t clear that Lil B has jumped the gap yet and gone from being considered a clown to being considered a serious artist.


Treading back, finally, to I’m Gay (I’m Happy), what strikes me about the album is how little of it is half-faked, silly, or impossible to listen to. By no one’s standards is I’m Gay (I’m Happy) a conventional hip hop album -- a song called “I Hate Myself” samples Goo Goo Dolls, “Open Thunder Eternal Slumber” features the WTF couplet “I’m working for the future / because I live in a computer” -- but by Lil B’s standards it’s pretty tame. And because of that it’s likely to garner Lil B more respect from hip hop traditionalists.


Thus my disappointment with my own enjoyment of I’m Gay (I’m Happy). I feel as if I’m being pandered to, or placated. Lil B is coming down to my level, and I’m all too wiling to pull up a chair for him. In other words, if this sorta-weird package of wide-eyed boombap turns out to be Lil B’s coming-out party, what was the point of the ambient album? Like the cop-out of its parenthetic subtitle, which implies Lil B as a harmless joker instead of a committed envelope-pusher, I’m Gay (I’m Happy) is altogether too willing to throw jerks like me a bone.

Darin Gray, Glenn Kotche, JC Brooks, Levon Helm, Nels Cline, Pronto, The Autumn Defense, Thurston Moore, Wilco - Solid Sound Festival - Day 3 (Recap/Pics) Animal Collective, Deerhunter, Fleet Foxes, Guided By Voices, No Age, Odd Future, Pitchfork Music Festival, The Dismemberment Plan, TV on the Radio Pitchfork Music Festival 2011 Preview
Lil B


This is a GREAT article about the Lil' B "The BasedGod". I started to write something similar after the release of his last mix tape echoing much of your same sentiments but you did a great job of really encapsulating not only Lil' B, but also his mentality and the importance of the movement he represents.


Word^. Great job, Wilson.

/site_media/uploads/images/users/Andrew_Martin/me.jpg Andrew_Martin

Yeah this is fantastic.

/site_media/uploads/images/users/ChrisBosman/Bio Pic.jpg ChrisBosman

We err when we forget the principle of love. Hip hop purists have choked the love and passion out of rap with their seriousness. Lil B has always spoken about showing both sides of rap.

What would you rather listen to? Something that is all encompassing and recognizes and acknowledges the whole universe of perspectives or would you rather embrace a tunnel focused genre that is becoming lifeless and devoid of a human touch.

Furthermore Lil B's playful side is not gone. If you harken back to 2Pac's All Eyez on Me you can see where Lil B gets his blueprint from. There is a Part 2 to this disc which he threatened to release the same day Im Gay dropped but didnt. I think that's where he'll have all the radio and mass appeal songs .

I commend you for articulating you perspective though


This is good and well written, and I feel like I agree with most of everything you're saying, but I worry about the Last One In effect here: No one wants to be the guy who said x band/artist was better before they became well known, but I guess that's what happens, right? And in Lil B's case maybe it's true?
People grow up and mature and tame down their more left field tendencies because there are only so many times he can make "I'm Paris Hilton," and sooner or later Lil B will tone it down. He'll never be a 'conventional rapper' but he adds the (I'm Happy), which is a concession all its own.

/site_media/uploads/images/users/Bildungsromania/djkittygalorejpg.jpg Bildungsromania

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