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Popheads AOTY #9: Tyler, The Creator - CALL ME IF YOU GET LOSTYou see On this here stage tonight is something legendary He goes by the name of The Creator But you, you call him Tyler Baudelaire Artist: Tyler, The Creator Album: CALL ME IF YOU GET LOST Tracklist and Lyrics: Genius Release Date: June 25, 2021 r/popheads [FRESH] Thread: Here Listen: Apple Music | Spotify | YouTube Introduction: Tyler, The Artist If you have even tangentially followed hip-hop over the past decade, you have likely heard the nameTyler, The Creator . The California-born artist rose to prominence as a member of the alt-hip-hop musical collective OFWGKTA,Odd Future for short. Odd Future was the jumping off point for several artists who would go on to influence the future landscape of music. Among the folks who are alumni of OF: Tyler, Frank Ocean, Earl Sweatshirt, Jasper Dolphin, The Internet, Domo Genesis, and a number of other heavy-hitters. The collective gained a cult following in the early 2010s and grew from a scrappy young musical start-up to a massive (ifextremely controversial ) group of some of the biggest musical icons in the 2010s. From the release of his 2009 solo mixtape Bastard , Tyler has consistently challenged the rap world zeitgeist. He was a talented and promising centerpiece of early-2010s rap discussion. In his early years, Tyler courted controversy with his releases - his debut LPGoblin dropped the anti-gay f-slur fourteen times and his music was often misogynistic. His reaction to the critiques was seldom if ever apologetic. With his subsequent two albums, Wolf and Cherry Bomb, Tyler continued to expand his brand of weirdo shock-rap but gradually expanded into new territory - Wolf pulled back the curtain on Tyler as a person against a backdrop of MIDI brass and luxe instrumentals, whileCherry Bomb dipped its toe into the waters of rock with tracks like “Deathcamp”.Cherry Bomb was initially panned by critics and fans alike, but this album would see a positive re-evaluation upon his next two album releases. During this period, he continued to be seen as controversial, as he received a temporary ban from entering theUnited Kingdom and Australia (the former of which was delivered by none other than Theresa May ). This would change, however, upon the release of Tyler’s fourth album Flower Boy .FB was a massive commercial and critical success - the narrative-driven album was met with rapturous critical acclaim and helped change his image from underground odd man out to critical darling nearly overnight. I remember this album coming out and being surprised that outlets like NPR were so effusive in his work. Upon listening, I immediately understood why; the album is chock full of sincere lyricism and gorgeous, lush production that revealed Tyler as a vulnerable, achingly lonely man struggling with his sexuality. It made several year-end best of lists, and was nominated for Best Rap Album at the 2018 Grammy’s (losing to Kendrick Lamar’s DAMN., which is understandable and is certainly better thansome other choices the Grammy’s have made in recent years - oh hey, speaking of which…). Also want to plugthis very sweet moment that came from the Flower Boy album cycle. The album released between FB and CMIYGL was IGOR. Much of the reaction from critics and his fans alike were positive, with many noting that the album seemed to feel like a culmination of his previous works. The album also saw Tyler nominated for a Grammy again, this time winning (for Best Rap Album which… huh . Interesting .) After such an intricate and loving story of heartbreak and vulnerability surrounding a love triangle, the hip-hop world was perched to see what Tyler was going to do next. Album Background The rollout for this album began with a simple message posted cryptically on billboards - “CALL ME IF YOU GET LOST (1-855) 444-8888”. Calling this number, fans were treated to a very fun conversation Tyler had with his mother, which would later go on to be featured in MOMMA TALK. Tyler debuted the ID that would later be featured on the album coveron Twitter . The ID featured his birth date, his hometown, the name “Tyler Baudelaire,” and a couple sentences that read “This is to Certify that the person named and described above is permitted to travel and explore freely unless detained by law. The holder of this license wrote, composed, and arranged all songs within the attached record, unless otherwise stated.” The ID introduced an interesting contrast: the name listed was Tyler Baudelaire, which had prior to this record not been mentioned in any prior work, though the note that he wrote and composed all tracks suggests a very personal record was forthcoming. The cover garnered comparisons to Ol’ Dirty Bastard’s Return To The 36 Chambers , which was unintentional but perhaps fitting considering the heavy influence past eras of rap would have on the record. With the success of his past two records, Tyler found himself with more freedom to make the music he was most interested in making with few to no creative restraints. One of the influences he chose to pull from was mid-00s era mixtapes. This can be seen in his centering of DJ Drama, most known for hisGangsta Grillz mixtapes , as narrator and hypeman. Tyler has praised DJ Drama publicly for over a decade . He also features mixtape titans such as Lil Wayne and Pharell and subtle shoutouts to Holidae Season, A Milli, and other mainstays of that bygone era of rap. He also references the early days of Odd Future, with features from Domo Genesis and Frank Ocean. CALL ME IF YOU GET LOST was released on June 25th and was a critical success. It scored an88 on Metacritic (signaling universal acclaim) and was in the top five in eight mainstream publications’year end best-of lists . Commercially, the album reached number one on the Billboard 200 but only for one week - one of the only albums released in 2021 to do so. Similar to Cherry Bomb reaction among fans seemed pretty mixed upon release, but some fans (myself included) went on to appreciate the album more as time went on. WhereCB was a transformation of his sound,CMIYGL feels more like a culmination of all of his past work - one Redditor commented that “It’s as if every era of Tyler got together and said ‘fuck it let’s make an album.’”.The lyrical and thematic material breached in the album is dense and a lot to unpack upon your first couple listens - multiple people in ther/HHH thread discussing thoughts one month after release also commented on this. It’s so much that I kind of want to go into a song-by-song in-depth analysis highlighting songs that I think need further inspection…haha jk…unless…???? Song Dissection (Quick note: I’m going to skip a few songs that I don’t have that much to say about, since this is already ten pages in Word. If you don’t see a track you particularly love here, feel free to comment and I’d be happy to expand). SIR BAUDELAIRE (feat. DJ Drama) Two days before CMIYGL dropped, Tyler released BROWN SUGAR SALMON , a skit which fully introduced the name of the character that would come to dominate his forthcoming album - Tyler Baudelaire. Tyler gets an assist from DJ Drama on this opening track in introducing us to Sir Baudelaire (get used to hearing DJ Drama by the way - he shows up often in this LP). The image Tyler portrays is detailed in its luxury - his vest smelling of jet fuel from his private plane, his love of the waters of Geneva (put a pin in that location) and a USB of unreleased tracks being worth a mansion of potential profit - but it also calls back at times to the bootstrapping era of both his early OF days and 2000’s-era mixtapes in general. Also worth noting on this track, we see the return of Tyler’s Wolf Haley alter-ego for the first time sinceCherry Bomb. While this may contrast with the Sir Baudelaire persona, it could signal either a time frame for when these events took place, a return to the style of rap that was present during that album, or could just be a callback. If it’s a callback toCB, he also signals that this will be a more refined version - he “Used to be reckless [but] you should see what them commas do” CORSO Our next track is CORSO, the album’s first (of several) bangers with DJ Drama serving as the hype-man. This is where the non-linear plot starts to come into focus - in-between braggadocious boasts about other-other-other-other houses and boat purchases, Tyler Baudelaire lets us in on the heartbreak and vulnerability that underlies the album. “He ain’t talk to his bitch in three days / It ain’t gotta be this way, I’m down for the threesome” and later “in the end, she picked him” reveals that despite his wealth, Sir Baudelaire’s ego is reeling from his love interest choosing another over him. His admission that he “tried to take somebody bitch cause [he’s] a bad person” also hints that there’s a turmoil of character happening, furthered by the closing admission that he “doesn’t even like using the word bitch…it just sounded cool.” In spite of his ability to buy boats and ask DJ Drama himself to drown out his thoughts by turning the noise up, we see Baudelaire unable to flee himself. WUSYANAME (feat. Youngboy Never Broke Again & Ty Dolla $ign) Against a gloriously glossy H-Town sample, Tyler opens this love song with the worst pickup line he could think of , which also doubles as a metaphor for not just her physique but the idea that she isn’t emotionally fulfilled from any relationship she may be in. The lyrics are pitching a daydream to a woman about she and Tyler on a romantic getaway to France. The song gets a boost from its features: DJ Drama, Ty Dolla $ign and the up-and-coming Youngboy Never Broke Again. From start to the ending line (“stop playing and let me pay your momma debt off”), the track is indulgent. It also sets up a few plot points that will reappear later in the album: he warns her that “if you got a man, you should call it off,” and he mentions an openness to an emotional “sit and talk” connection. The music video helps give this song some additional depth. It opens with a monologue of Tyler saying “In California you spend most of your life in cars. Moving, traveling, searching for somewhere to land. I don’t mind tip-toeing across the world for thrills.” He then mentions heading to a function which was the first time Tyler sees a woman he’s attracted to. Tyler raps his verse while following a girl, sometimes getting in front of her and trying to catch her eye. This signals that this track is meant to be a fantasy. Tyler is getting ahead of himself, fantasizing a luxurious jet setting life with this woman and calling her his girlfriend before he even knows what her name is. LUMBERJACK From a smooth ride to a hard-hitting banger, LUMBERJACK gives us one of the most hard-hitting verses on the album. Throughout, Tyler flaunts his wealth and drags his critics. I want to highlight one boast: “I put that bitch on the shelf to let it ventilate And bought another car 'cause I ain't know how to celebrate (Top shelf, n****)” Remember the hook for this song starts immediately with a reference to a car. That mention in contrast to this admission that using material purchases as a means of filling the hole that should be a celebration is interesting. Tyler’s identity as a black man is front and center in the chorus. There’s a wordplay on the slang “whips” for cars in reference to slavery, along with a visual of a black boy hopping out of a luxury Rolls. He also touches on his identity with a subtle reference to his sexuality - “my n**** tall like a bitch, I call him Mulan.” If the person he’s referencing is Mulan, perhaps Tyler isLi Shang . The track includes several nods to 2000’s mixtapes - from the Gangsta Grillz tag to the A Milli reference right off the bat to the role of Jasper and DJ Drama as the background hype men. The track also touches on his personal history - how he used to be an outcast, how people used to think he was funny on the internet but not actually consume his music and how there was controversy when he won the Grammy in 2019 due to his past. Now he’s able to reference his net worth by listing six zeroes…no wait…seven. MASSA We’ve spent the last six tracks detailing the lap of luxury, so the opening lines that “Whatever brings you that immense joy, that’s your luxury” immediately signals a switch. MASSA’s hook starts with a line celebrating Tyler’s financial freedom, painted against the backdrop of America’s history of slavery. However, the first hook ends abruptly with Tyler sounding exasperated, like he’s tired of showboating. Like it’s beginning to feel empty. If the first verse of this track feels different, that’s because it is - Tyler here is reflective, commenting on how his style has changed and he’s grown from his raunchier Odd Future-era roots - but maybe his detractors haven’t. His recounting of his history builds through the critical acclaim and commercial success of Flower Boy and mentions that his first single helped his mom move out of Section 8 housing before coming to a climactic rebuke of the government taxing him without helping families who might also be struggling in Section 8 housing: “Eight figures in taxes taken, that shit is stupid / A Flower gets its petal, they pluck it, but never use it / It's still potholes in the schools, where does it go?” His take on this aspect of wealth is interesting. It’s not that Tyler has a problem with taxes, it’s that that money isn’t used to help kids who grew up in similar circumstances. In California if he makes $10M in a year (seven zeroes), he would be taxed $1.21M which could be used tosend about 86 kids to school for an entire school year . Or you know, it could cover about ¼ of the price of one of these unmanned fighter jets . Guess what the US tends to budget for . With verse two and with a question from DJ Drama - “how far you really wanna take it?” - we get more honest. He confesses to using material purchases for escapism (“Yeah, I purchase more wheels when I feel like I'm third-wheelin'”), finding a lack of fulfillment in personal relationships (“I'm on the hunt for perfect but decent is what I been on / I know she fell in love, but commitment is not my end goal”), his personal turmoil over his sexuality (“We ain't gotta pay attention to the stuff that he battles / Everyone I ever loved had to be loved in the shadows / Tug-of-war with X and Y felt like a custody battle”), and his feeling unable to trust anyone (“I'm paranoid, I sleep with a gun”). It seems like Tyler Baudelaire is trying to out-run quite a bit. As a sidebar, the turmoil over his sexuality in real life also happened while he was at the apex of his critical acclaim - after his coming out on Flower Boy, some critics floated the idea that he wasjust trolling or trying to cover up his past controversy, which is wildly gross in hindsight. For some nuanced thoughts on this regarding queer identity in hip hop, I recommendthis article from Crack Magazine. MASSA is ultimately about the tension between freedom and constraint. Tyler pushes against the walls of the box he has been put in as he has grown as an artist and person but fans and critics alike struggle to let the Bastard era go. MANIFESTO (feat. Domo Genesis) Tyler, The Creator doesn’t like being told what to do. On MANIFESTO, this is clear as Tyler reflects on his growth as an artist and as a person since the scrappy beginning of his career. In the early days, Tyler gained notoriety oftentimes not just through his talent, but through the controversial topics he discussed through both his art and his internet persona (in this song he makes direct reference to Tweeting some pretty gross things at Selena Gomez, for which he apologized in person and here seems pretty embarrassed by the incident). That said, he’s come a long way as an artist, maturing as a person while in the limelight and still making art. In MANIFESTO, he teams up with Domo Genesis, another OF alum, to reflect on the Black Lives Matter protests in the wake of the murder of George Floyd, Ahmaud Arbery, and countless others at the hands of a cruel and prejudiced society. Oftentimes, he will feel pressure from well-meaning online activists to speak up on behalf of the Black community on social issues; he has also received less well-meaning feedback as such from his critics. He’s not alone - Kendrick Lamar received criticism for his silence during the George Floyd protests (which uh…streamTo Pimp A Butterfly). He discusses his solidarity with BLM but his unwillingness to pander, especially at the demands of Twitter, and he also confesses that his shocking persona gets in the way of his ability to craft a sincere and heartfelt message on these topics. The controversy he’s stirred up in the past injects fear into him of saying the wrong thing and simultaneously a fear of not doing enough. Instead, he chooses to attend the protests, donate money, and do his best to stand with and uplift today’s Black youth. This isn’t the first time he’s done that - he mentioned in Flower Boy his desire to “Tell these black kids just to be who they are.” He ends the song expressing his stance: the Black community is “done with the pain and the grievin’,” a solid statement of standing with his community to say unequivocally, Black Lives Matter. SWEET / I THOUGHT YOU WANTED TO DANCE (feat. Brent Faiyaz and Fana Hues) This gorgeous 8-minute story of love lost continues the trend of Tyler’s tenth tracks being two-parters. There's also a noticeable switch in style from this point forward on the album - where the first half pulled stylistically from 2000's-era mixtapes, the back half feels much more in line withFlower Boy and IGOR. The first part, SWEET, has a dreamy feel - gorgeous synths arpeggiate over a soft drumbeat and Tyler crooning about his love interest being as sweet as sugar. The opening contains Tyler trying to convince her to make something up to her lover so the two of them can get away, with DJ Drama mentioning they’re “still on the boat.” While this part feels like a standard love song, worth noting that there are a few aquatic metaphors here besides the boat - how he would love her even if she “left him stranded,” (hmm…’if’...), mentioning the bridge of the song, and the intro including a mention of a waterfall. He also refers to her as the Sun since her smile shines so bright. The second part, I THOUGHT YOU WANTED TO DANCE, gets us closer to the album’s main plotline. In a song highly reminiscent of 70s reggae, Tyler teams with Fana Huez during the first two verses to sing about heartbreak. Fana’s verse highlights the main tension of the album: Honestly, it's all about the timing, yeah (Yeah, yeah) I ain't mean to lead you on, because Him and I got some things that we're trying But my energy belongs to you The third verse is all Tyler’s. His delivery is heightened emotionally and at one point the line he delivers is interrupted by a frustrated scream that also fits the song’s reggae vibe. He details how he fell for a girl who has a man and she chose her partner over Tyler and he’s left to feel out of control and with a severely bruised ego. Both of them end the song singing about how they still feel for each other, and the biggest problem is the bad timing. He’s left canceling photoshoots and smoking joints (which is out of character for Tyler who is famously straightedge) and not sleeping and staring at old photos of the two of them, but in the process he leaves us with one of the highlight tracks on the album. WILSHIRE Here we go. This eight-minute song which details the main story of CMIYGL was recorded in one take on what Tyler himself describes as a “shitty hand-held mic ,” which distorts the vocals in a way that adds to the atmosphere. The story is that Tyler meets a girl at a dinner and immediately sparks fly. He mentions them “eye-fucking” at the event, which contextualizes previous track WUSYANAME. The emotional connection is intense, and at the end of a first day of hanging out they share that they have feelings for each other, but the girl is seeing someone else. They stay friends but that emotional connection never leaves. While they never “cross the line,” they still act fairly shady by agreeing to delete their conversations and having private conversations. Tyler explicitly expresses that this man is his friend and Tyler doesn’t want to hurt him, but lowkey he hopes that the two of them break it off. In an interlude between verse three and four, we get an important adlib: You know, I got every damn car, multiple cribs But it's like, "No, I want that," ha Verse four, the final verse, reads as a stream-of-consciousness passage overflowing with mixed, complicated emotions. They spend time together, and continue a very deep intimate emotional connection while just remaining “friends,” but it’s clear her boyfriend senses something is wrong. She explains she also has feelings for Tyler, but she doesn’t want to hurt her boyfriend (neither does Tyler, remember). They meet again but this time her lips are dry and the energy is off. They have a tough conversation and decide it’s best if they don’t remain friends which emotionally devastates Tyler. He spends an hour crying, sleeps poorly and has to spend the next day with his bodyguard to make sure he doesn’t do anything rash. It’s clear he’s hurt and angry but he concludes by admitting that he can’t think poorly of her. And then: On God, I love that girl, f— mhm I'm a sh— I'm a bad person, like, I'm in the wrong, I'm a bad person I had no ill intentions, though Shit, everybody got hurt I got hurt, bruh … I ain't mean to fuck nobody's shit up, man I thought I was bulletproof She proved me wrong, man … But it was, it was bad timing SAFARI We end here on a high note. SAFARI is an ode to travel and a celebration of how well Tyler has done in his life delivered over triumphant-sounding MIDI horns and keys which are again reminiscent ofWOLF. The title SAFARI also underlines something we will cover in the Motifs section: the entire point of a safari is the experience of a new place, to take in the nature that surrounds you, rather than any material thing you can walk away with. Also worth noting this passage for the Motifs section: Fuck all the chains and the cars, get a passport /See the world, open your eyes 'til your back hurt / N—-s get bread and won't leave, shit is backwards / Start with your feet, then a car, then an airport / Get out your bubble gum The album ends abruptly with Tyler’s last word on the album being “Wolf.” DJ Drama sees us out with a commentary on the abruption - “and just like that/we out.” Motifs Water/sun You’ve likely noticed multiple references to water, boats, and a lake in Geneva, Switzerland. The main plot in the album- the emotionally electric connection between Tyler and his love interest - is metaphorized as a yacht trip on a lake in Geneva, Switzerland. It’s important that the yacht trip takes place in Switzerland, as Switzerland is a) a foreign destination, tying back into the larger travel theme, and b) a landlocked country. Even if he wanted to drift into the open waters with this girl, he can’t; it’s a lake, and there’s only really so far you can go with it. More directly and more poignantly, perhaps the best clarification of this metaphor for falling in love is said by Tyler himself on the interlude of SWEET / I THOUGHT YOU WANTED TO DANCE: The plan was to stick my toe in and Check the temperature, but Next thing I know, I'm I'm drownin' Another natural motif is the sun. The first lyrics we hear on CMIYGL are “The sun’s beaming.” DJ Drama adds to this later on SIR BAUDELAIRE, by mentioning how “this music for the sunseekers.” The sun motif means multiple things- it references the sunny weather one might travel to (which would make the travelers sunseekers), but in SWEET Brent Faiyaz’s interlude references the sun not being as brilliant as his love interest is. I think in general, the sun represents opportunity. The opportunity to travel and see the world, the possibility of a brilliant emotional connection, the things that can happen when you dance to your own drum in the sunlight (or follow your own path) like Tyler does in MANIFESTO. Money and what to do with it Flower Boy opened with a series of questions, the first of which being “How many cars can I buy 'til I run outta drive?” Similarly, cars play a prominent role onCMIYGL, though rarely in a positive light: when he won a grammy he admits on LUMBERJACK he “bought another car because [he] ain’t know how to celebrate,” and the car came with an umbrella which would prove useless in rainless California; he laments his cars are “collecting dust” because he has so many of them on LEMONHEAD, and in the music video for JUGGERNAUT, Tyler delivers his heavy verse atop a classic car with gigantic wheels that are so impractical that he has to physically pull the car with a rope to get it to move. Cars are an interesting example of a phenomenon I noticed. This album is rich withbraggadocio rap , a style of rap arguably as old as the genre itself. The most unequivocally positive flexes, though, are more centered around experiences than material goods - think to his focus on traveling with the girl on WUSYANAME, his invitation to come get lost with him on BLESSED, or how “my passport is the most valuable” thing he owns. Some of the most triumphant flexes concern how stamped up his passport is. Further, throughout the album, Tyler seems pretty disillusioned with his ability to buy things - it seems to feel empty to him. Consider the Ai Weiwei bowl mentioned in LEMONHEAD - it’s not really meant as a flex even though it’s certainly expensive. He also admits he “buy[s] more wheels when [he] feel[s] like [he’s] third-wheeling” according to MASSA. Even the chorus of RUNITUP!, which feels like it should be the most triumphant flex of material wealth, sees Tyler admitting he’s “running out of shit” to buy for himself, impressively managing to flex and be burnt out at the same time. All of this to me ties into one of the album’s central theses: that you will ultimately get more value from travel and collecting experiences than collecting cars or any other classical method of stunting. Buying things for the sake of buying them will eventually lose its luster - the freedom to chase the sun, to fly out to different countries, to get out of your bubble, or to put a bike rack on your car so you can go biking? The happiness from that lasts a lifetime. Identity (Personas/Sexuality/Past Controversy) Tyler is no stranger to personas: he has used characters Wolf Haley, Ace The Creator, Tron Cat, and Igor in past works (among others). Even his stage name, Tyler, The Creator, is a pseudonym derived from his early days on Myspace. In CMIYGL, he adopts the persona Tyler Baudelaire, named for Charles Baudelaire, a French poet who pulled from romanticism (emotion and individualism). He put out Les Fleurs du Mal which thematically touched on decadence and romanticism. Baudelaire’s poems also put travel and desire for the infinite at the forefront of his subject matter. Worth noting - Baudelaire was a very controversial figure in his time and was kind of O.G. canceled - you know,legally prosecuted as an affront to public decency . Given the controversy that Tyler has seen during his career and how well these themes line up with the themes present inCMIYGL, the name makes sense. Frequently in his art, Tyler uses personas as a means of exploring what’s truly happening to Tyler Okonma the person. OnIGOR, he used Igor as a persona to explore his own heartbreak. Similarly here, he uses Charles Baudelaire, a distinguished man dripping in excess and wealth, to explore a different heartbreak and his disillusionment with his own wealth. This persona named for a romantic poet offers him the chance to be more sincere than he otherwise would be on the effects of his heartbreak. This mixing of Tyler and his personas can sometimes seem at first to obscure who he is as a person - this is one of the reasons Tyler’s sexuality remains vague. I would argue though that through adopting these personas, Tyler can be more honest about the events that really happen while getting at universal truths and emotions that we can all recognize. Aesthetics I would be remiss if I didn't give a shoutout to Tyler's aesthetics. Tyler is very particular and consistent with his visuals in every era andCMIYGL is no exception. Tyler is a master of attention to detail - see exhibit A:this live performance of MASSA where his fingernail paint matches the background set pieces. This era, Tyler's music videos call back to 60s-70s movies, complete with transparent green screen usage and grainy visuals. Tyler's fashion during this era showcases a lot of furs and sweaters, and pulls a lot from his clothing line. He also mentions in his interview with Fast Company that he pulls inspiration from"old men in like France and like the illest five-year-olds" because of their carefree way of wearing exactly what they want outside of social expectations. As a sidebar - I would be a bad fan if I didn't take a moment to plug bothGolf Wang and Golf le Fleur . Getting lost (The multiple meanings of the title) Finally - what does CALL ME IF YOU GET LOST really mean? It doesn’t seem like he’s offering us directions to Geneva. Getting lost might refer to the album structure - it’s not entirely clear when these events happen, and the narrative is a bit meandering in both time and subject matter. Getting lost also could reference travel. This seems particularly likely since Tyler invites us to “get lost with him” on BLESSED. It could be a request to the girl - if she feels lost in where her relationship with her man is going, he could be asking her to think of him. What I personally choose to believe, though, is that “call me if you get lost” is an invitation to freedom from Tyler himself. It’s clear he’s found himself lost several times in his life, but throughout, Tyler encourages us to experience new things and perhaps in getting lost, finding ourselves anew. Conclusion As I mentioned previously, this album grew on me as I got lost (pun intended) in it and dissected it more closely. It ended up being one of my favorite records of the year. It feels like a culmination of all the themes and styles T has explored during his career. It has been a blessing to be able to watch him blossom from a young kid making shocking but catchy art to a fully-fleshed out artist making some of the most impressive music in hip-hop and R&B and music in general today. If his rise to the tippy top is still coming, I am absolutely perched to see what comes next for Mr. Baudelaire, AKA the Creator, AKA Wolf Haley, AKA the world-renowned, well-traveled, wildly talented musician Tyler Okonma. Discussion Questions * What was your first take on CALL ME IF YOU GET LOST? Has your opinion of the record or individual songs since changed? * What’s your favorite song off the album? Do you have any standout moments (like the onesthe Creator himself has highlighted?) * What do you think the album title means? * Where does this album fall within his discography? What references or influences from other Tyler eras did you catch in this album? * If you could travel anywhere in the world and expense was not an issue, where would you go? * What would you like to eat?