![]() He’s blossoming into the person he knows he wants to be and is capable of being, and maybe at some point he’ll find someone to share that with but until then, he’s found joy in loving himself. The importance of Flower Boy is seeing Tyler evolving and loving himself, and treating his concerns, wants, and worries with a relatable realism that he’s shown in varying degrees on prior projects but unlike this one. That freedom is present throughout Flower Boy where Tyler confesses so much about himself in such a personal way, that you almost feel like you’re riding passenger seat in his car as he tells you the good, bad, happy, and sad of his life with a sincerity that feels conversational. Here, he’s direct but playful, the brevity and tone in which he addresses his sexual orientation liberating in a sense–that he’s not constricted nor defined by this. Later on in the album Tyler goes on to rap “Next line will have ’em like ‘Woah’/I’ve been kissing white boys since 2004” on “I Ain’t Got Time.” Tyler makes these declarations nonchalantly there’s no performative guise or anything that distorts the statements. The lyrics (as well as the track’s title) implies that Tyler is providing a commentary on his sexuality. ![]() Thought it’d be like the phrase “poof,” gone Truth is, since a youth kid, thought it was a phase I didn’t wanna talk and tell ’em my location Just as much as we hear of his successes are his insecurities and worries as he’s come to accept himself. But that transformation doesn’t come easy. He’s grounded, a plant slowly transforming into the sunflower it’s destined to become. In Flower Boy we see, arguably for the first time, Tyler speaking to the challenges of nurturing and sustaining love not only for himself but for potential partners. In that journey Tyler has also become more comfortable writing about love earnestly. This is him offering his most emotionally mature self, a 26-year-old who’s grown up in the public eye for the last several years from rabble-rousing provocateur to multidisciplinary creative. There’s an underlying poignancy throughout the release as Tyler grapples with fame and how it’s transformed his life–for better or worse. On Wolf he imagined how a phone call to his father would go on “Answer” and he explored the intense range of emotions one feels while in love on “IFHY” and he talks about seeing his grandmother slowly succumb to death in the album’s last song “Lone.” And although at times Cherry Bomb was messy, the album still showcased Tyler’s growth as an artist and, more importantly, a person.Īll of that has culminated into Scum Fuck Flower Boy, a beautifully executed album that is Tyler’s best work thus far. The subversiveness that accompanied Tyler’s music was slowly disappearing, with the artist offering an earnestness that was bare in its expression. Love was the last thing anybody was associating with the Odd Future founder even songs such as “Sarah,” “She,” and “Analog” with its common themes of love and intimacy, were distorted by perversion and violence. He rolled his eyes backwards he rapped about murder, necrophilia, rape, and a handful of other themes that led to some categorizing his music as horror-core and he ate a cockroach. When we first learned of Tyler, the Creator, he was an enigma. One moment Tyler is telling us his secret for maintaining beautiful and glowing black skin (Chanel, coconut oil, and a drop top for best results) the next, how he’s “been kissing white boys since 2004.” There’s an openness present in this album unlike its predecessors. Love is a theme that resonates throughout Flower Boy both for the self and others.
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