Dissect - S4E5 - “Who Dat Boy” by Tyler, the Creator

Episode Date: May 21, 2019

Our season long analysis of Flower Boy continues with the song “Who Dat Boy.” Tyler combats his vulnerability through egotism, machismo, and materialism. While still searching for his dream partner revealed in “See You Again”, Tyler seems to be looking in all the wrong places. New episodes of Dissect release every Tuesday. Follow @dissectpodcast on Twitter and Instagram. Learn more about your ad choices. Visit podcastchoices.com/adchoices

From Spotify Studios, this is Dissect, long-form musical analysis broken into short digestible episodes. I'm your host, Cole Kushner. Today we continue our serialized analysis of Flower Boy by Tyler the Creator. On our last episode, we dissected See You Again, a love letter to Tyler's idealized partner that he only sees in his dreams. While romantic on its surface, See You Again is ultimately melancholic, a manifestation of the loneliness Tyler feels in the waking world. In terms of the album's overarching dichotomy of the superficial versus the meaningful, the material versus the natural, See You Again establishes love as something Tyler finds truly meaningful. It's the first song on the album in which Tyler doesn't mention material possessions at all,

nor does his ego ever rise to the surface. Instead, Tyler likens his lover to a flower and himself to a bee in search of said flower. This search, this attempt to find this person, will now help drive the narrative of Flower Boy. the album's next track continues to a search, though not in a direction we might expect. Indeed, the next song is a thematic U-turn from the sentiments of See You Again. It's bombastic, it's angular and dissonant, and it's the subject of our episode today. Who That Boy? Yo, Who dat boy? Who him is? Him that Nick. I swear, standout guy, him don't need no chair, well, what a fuck him at? Because, nigger, I'm right here. I don't shop at the mall,

y'all, y'all, just dumb motherfucker, I'm a goddamn awl, that you can give me some mark, because I draw you a clous and you know that this golf bitch gonna make to the plows a nigger niggum first to death like you got dressed in a coffin a coofeiter with additional writing credits given to asap rocky who is featured on the track as Tyler explains in conversation with gerard carmichael who that boy actually began as a beat intended for TDE rapper schoolboy cue i made who that boy for schoolboy cue oh of them nine in the morning wake up made the beat was like oh school boy cue would sound great over this and man i could could convince him to get Rocky on it.

So I sent him the beat and he didn't reply. I texted to him. So I was like, fuck it. I sent him a voice memo with a flow that I thought of it. And it was like, who that boy, who him is. Put, p, p, p, p, p, what a sint on, want to chan, and you can't on on in the chat. Like, just doing that.

So he could get an idea of how he could rap on the beat. I sent that. He didn't want it, but I still was like, all right, I was like, yo, Rocky, I got this song. I just think your voice would sound perfect over it. He added his verse to it. And then I added my third verse and we did the back and forth thing when he came in there, just in the booth.

Like he came up in a studio after and we just went back and forth. I was like, this is cool. Q still didn't want it. And I was just bummed. So I was like, all right, whatever. While Hootat Boy began as a beat, Tyler later added a near minute-long orchestral-like introduction, signaled by a single dissonant stroke of a synthesizer.

While this is technically the beginning of the track, The introduction of HuDat Boy is actually first set up by the closing moments of the previous song, See You Again. Let's have a listen. See You Again ends with the swelling, brassy synthesizer that is cut off abruptly, leading directly into the opening notes of HuDat Boy. The closing note that swelling synth plays at the end of See You Again is a C sharp. The opening notes of Hu dat Boy are G and A flat played simultaneously. This transition from the C-sharp of C-U again and the G of Houdat Boy creates an interval of a tritone. A tritone is one of the most dissonant intervals in music, nicknamed the Diablus in Musica or the Devil in Music, this interval was avoided and even banned from use during

certain periods of music history. Tyler's use of the tritone to transition from the lush beauty of C.U. Again to the angular dissonance of Houdat-Boy helps to establish straightaway both the sonic and contrast of these two opposing but intricately connected tracks. Indeed, the tritone transition is like the devil's red carpet into who that boy, a song entirely constructed on an interval even more dissonant than the tritone, the semi-tone. As you might remember from our previous two episodes, a semitone is the smallest interval or distance between two notes we have in our western tuning system. It's also the most dissonant interval we have in music. As such, the semitone has been famously used by film composers,

to score passages of suspenseful action or horror, including the infamous shower scene in Psycho, and the iconic theme from the movie Jaws. It's fitting then that the semi-tone-based introduction of Hudap Boy actually began as Tyler's attempt to score a photograph by Norwegian photographer Jonas Ben Dixon, titled Sukhumi Beach 2005. The photograph was taken on a beach in a forgotten area of the former Soviet Union. On the left side of the photograph is a large, rusted out, abandoned cruise ship. scattered among the beach shores are some 20 fair-skinned children and adults in swimsuits. Just right of center stands the image's main visual attraction,

a tall, stocky, middle-aged woman in a bathing suit. Her arms are crossed, she's looking over her shoulder at something out of view of the camera, and she has a disgusted, disapproving look on her face. According to Tyler, who that boy is his attempt to score the mysterious thing just out of sight. He has this photo of these people at the beach, and they're having a good time, but it's just one lady with her arms crossed that's looking back. And she's looking back like something is coming. And that photo spoke to me because I was like, I want to make the sound of what's coming. Right there.

I want to make what's not in the frame. Yeah. And I was like, I'm going to make the theme music for this photo. And that's why I added the minute intro with the strings. I wanted to score that photo. Hoodat Boy's introduction uses a total of just four notes, which we can think about as two sets of semitone intervals. The first set is a G and A flat.

The second set is B flat and B natural. Tyler begins with a few hits of the G and A flat semitone with ample silence between them, creating mystery and intrigue. pulling the listener in. Eventually, Tyler establishes this main part. This part is comprised of repeating the G and A-flat interval six times. Tyler then utilizes the second set of the semitone interval, playing a B-flat, then a B-natural. Later, Tyler adds to this a high string line, utilizing the same four notes, the same two sets of semitone intervals the passage we just heard

used. It begins with the A-flat-G-semitone, playing an A-flat twice. and then slides from the A-flat to the G. The small motive repeats three times, followed by the second semitone set, B-flat to B-natural, utilizing the same rhythm as the motive we just heard. And now the entire passage. To create tension and suspense, Tyler also employs a number of various background string textures,

all utilizing the A-flat-G-Semitone. Most notable is the oscillating synth that begins somewhat discreetly, but eventually climbs higher and higher in pitch and volume. Just like a suspenseful film, this near minute-long dramatic introduction only works if the payoff justifies the buildup. Of course, Tyler delivers, dropping a hard-hitting halftime drumbeat and inflamed vocals. Yo, who that boy, I swear, standout guy him don't need no chair, but what the fuck him at? Cause, n'n'n'n'ra, I'm right here. I don't shop at them all, y'all, y'all, just dumb motherfucker, I'm a goddamn out.

What's interesting about this beat is how Tyler utilizes the main semi-tone passage from the introduction we just broke down. This passage first heard in the intro makes for the harmonic basis of the remainder of the song, of course underscored with the song's speaker-blowing 808 drumbeat. Now I took the time to point out some of these small details in Hudap Boy to again showcase Tyler's unique talent for Motivic development, a concept we discussed at length in our last episode. Here Tyler takes four notes and a single idea and stretches, develops, and re-contextualizes it to create a minute-long film score-like introduction. The same semitone passage then becomes the basis for one of the filthiest hard-hitting drops in hip-hop.

This kind of creative flexibility is extremely unique in the world of hip-hop, this ability to write like a composer, produced like a hip-hop producer, and like we've heard on our previous episodes, compose and perform complex, harmonically rich chord progressions that challenge the boundaries of traditional theoretical practices. I've been taking the time each episode this season to point these details out, because it's a large part of what makes Tyler special, what sets him apart from his peers, and what gives his music its distinct identity and character. We should appreciate with clarity his willingness to experiment and challenge genre norms to prove that hip-hop production isn't

constricted to samples, loops, and 808 drums. It can be every bit as harmonically complex as jazz, as dynamic as orchestral music, as singable as pop, while still maintaining the underlying swagger that gives hip-hop so much authority and personality. But I digress. When we return, we'll dig into the lyrics and thematic relevance of Who That Boy. But first, a word from our sponsors. Welcome back to Dissect. Before the break, we disassembled Who That Boy's dark, dissonant, orchestral-minded production.

When Tyler finally enters the track, he does so with a series of tyrannical baritone bars that put his ego on full display. Yo, Who dat boy? I swear. Standout guy. Tyler, well what the fuck him at? Cause, nigga, I'm right here. I don't shop at the mall, all y'all. Just dumb motherfucker, I'm a goddamn owl.

You can give me some markers and I draw you a closet. And you know that it's golf bitch gonna make that the pals. A nigga fresh to death like you got dressed in a golf. And carins overroars in a striped shirt. The boy. Him is. That N-word, I swear. Stand-out guy.

Him don't need no chair. Where the fucking mat? Because I'm right here. Coming directly off the heels of See You Again. it's hard to hear these opening lines and not think that there are a direct narrative link to the dream lover Tyler sung about. Tyler speaks about searching for this love interest, most notably in the line, I've been looking, stop to wait and before I stop the chase in, like an alcoholic. Here on the opening moments of Hootap Boy, Tyler is continuing his search.

His tone, however, is much different. Rather than vulnerable and sentimental, Tyler is all braggadocio and ego. He notes that because he's a true artist, he doesn't shop at the mall, and instead designs his own clothes, saying, You can give me some markers and I'll draw you a closet, and you know that it's golf going to make the deposit. The latter line here refers to Golf Wing, Tyler's clothing company for which he designs a majority of apparel.

He extends the clothing metaphors into the next line, saying, fresh to death like he got dressed in a coffin, con's overalls, and a striped shirt. It's a uniquely Tyler line, as most rappers would follow a clever metaphor about how fresh they dress with a reference to Louis Vuitton, Balenciaga, or some other high-fashioned designer. Here Tyler shouts out Converse, a brand he designs shoes for, overalls, and a striped shirt he most likely designed himself.

This outfit aesthetic has more in common with 90s-era skater kids than it does attire dawned by his rap peers. As the verse continues, Tyler pivots to an extended metaphor about his previous album Cherry Bomb while also introducing the song's guest, Asap Rocky. Tyler says that boydrip be the bomb like he ran in Boston won't stop to the cops surround him one nigga chicky and face blown off that's how they found them this young chick Tyler says that boy drips swag like a broken faucet another boast about his style that follows his extended talk about his clothing but Tyler uses this line to transition subjects saying it's running

I'm running that cherry be the bomb like he ran in Boston won't stop to the cops around him Running first references the broken faucet, and then to those running in the annual Boston Marathon. Specifically, Tyler is referencing the 2013 marathon and the fatal bombing that occurred there. With the line, That Cherry Be the Bomb, we realize this is all in elaborate boast about his previous project Cherry Bomb, an album Tyler maintains what's good despite its mixed reception. Won't stop till the cops surround him seems to make reference to one of the terrorists involved in the Boston Marathon who was taken into custody after a shootout with the police. This Boston bombing reference is extended as Tyler concludes the verse

one Edward Jiggy, the other awesome, with his fucking face blown off, that's how they found him. The Boston bombers were two brothers. One died while attempting to escape arrest, while the other was found hiding in a boat with a number of injuries, including a bullet wound to the face, hence the line with his face blown off that's how they found him. Tyler uses this reference to two brothers, one jiggy and the other awesome, to introduce Asap Rocky, whose nickname is Jiggy, and whom joins the track on the song's hook. Rocky addresses the hate and jealousy that's being thrown their way because of their success. He says,

Mad because of inward neck chill like that? You mad because the inward push wheel like that? Why are you putting bad vibes in the air like that? Rocky references both jewelry and cars here. The very two things Tyler has wrapped self-consciously about at length on Flower Boy, something we'll keep in the back of our mind for now. Hootab Boy continues with a full verse by Rocky. It begins with a list of boasts about his style,

his large reproductive organ, his designer watch, and Ralph Seaman's attire. It continues in a similar fashion throughout, with Rocky referencing that his swag and ambition for money started at a young age before he calls out Double XL magazine for snubbing him in their annual freshman class issue. All considered, Rocky's verse, like Tyler's, is entirely ego-driven boasts about his wealth, fame, material goods, and fashion sense. For our purposes, we're going to skip ahead to the song's third verse. Here we find Tyler and Rocky trading bars before Tyler brings the verse to a close. Fuck the rap. I'm trying to own a planet from my other fucking business. Tyler begins the third and final verse, fuck the rap. I'm trying to own a planet for my other fucking

business ventures. This transcendence from rap is something Tyler has long been working toward. As early as 2014, Tyler told Larry King its ambitions are much larger than music. Does it irritate you when people refer to you only as a rapper? Yes. Why? I'm much more than that. I just like making stuff. I'm talented enough to do other things, but I don't know. I'm pretty bored with it. It's not interesting. And I don't want to be, like in the future, I want to do films. I want people mention my name. I'm next to West Anderson and Quentin Tarantino.

I don't want my name to be mentioned next to other rappers at all. As Rocky jumps back into Who That Boy, he continues his own boastful posturing, saying teeth is glistening, Jesus Christmas, and later saying, Wang Sap on the bumper sticker, Fuck You Nwards. Wang Sap is the moniker for Tyler and Rocky's Tees Collaboration Project, A combination of golf wang and ASAP Rocky. At this point in the verse, Tyler interjects and brings the third verse to a close himself. Fuck you naked.

Fuck global warming. My neck is so fleo. I'm currently looking for 95 lio. My mom's just worried because I'm so ill. That she's stay in bed but got too much bread to make. She said, watch my weight. So I stay home and start eating some meals. Get out to my wayway.

Boy, that's McLaren at zero to 60 and two point new weather. I'm gone. Tyler begins saying, fuck global warming, my neck is so frio. Frio was Spanish for cold, and Tyler uses the word to reference his ice or jeweled necklaces. Rather than addressing a serious global issue, Tyler's wealth and ego ranks himself above it. He follows by saying, I'm currently looking for 95 Leo. Tyler is referencing Leonardo DiCaprio, of course a well-known actor, but also a big environmental activist, tying into Tyler's line about global warming. We can trace Tyler's fascination

with 1995-era Leonardo DiCaprio as far back as 2015. When asked by Rolling Stone writer Ernest Baker if he was gay, Tyler said, No, but I am in love with 96 Leonardo DiCaprio. I would 100% go gay for 96th Leo. Oh, and Cole's spouse. The following year, Tyler posted a picture of DeCaprio from the 1996 film Romeo and Juliet, with the caption, So Beautiful, My God.

In 1997, after Flower Boy's release, someone mistook his Leo reference in Hu-Dat Boy to mean the astrological sign. Tyler corrected her saying, quote, I'm talking about someone who looks like Leo from Romeo and Juliet, unquote. All this to say, I'm currently looking for 95 Leo, seems to be a link back to the subject of Tyler's idealized love interest and see you again. There we found him chasing and searching to find this person, and as we noted earlier in the episode,

his search continued first in the opening lines of Who That Boy, and now here at the end. As we'll see, bookending the song with references to this search for his love interest will help keep the album's narrative continuity intact. Tyler continues the verse pivoting to an extended metaphor regarding his mother's advice. He says, My mom says she worried because I'm so ill, I should stay in bed, but I got too much bread to make. Tyler uses ill here to mean both cool and sick, playing off the fact most mothers encourage their kids to stay inside when they're ill.

But Tyler's sickness and his mother's worry is that he's getting too egotistical. that his success is getting to his head. Tyler, though, remains focused on its bread or money, to which his mother responds, quote, she said, watch my weight, so I stayed home and start eaten some meals. Again, the motherly advice is that Tyler's wealth is going to his head, that staying home or out of the limelight is good for his mental health and the temperament of his ego. Now the final line of Who That Boy is key to the album's narrative and our thematic understanding of the song itself. Tyler says, get out of my wayway, boy that's McLaren, that's 0 to 60 and 2. Noveve, I'm gone. Let's first point out the clever double

use of the word way. First used as the standard word W-A-Y, Tyler says it again, most likely now using the Spanish word W-E-Y, which means buddy, dude, or guy. This ties into Tyler's use of Frio in the opening line of the verse, as well as the use of Nueve in the final line, which is Spanish for nine. But aside from this technical craftiness, these final lines put into perspective the narrative implications of who that boy. Our lyrical analysis has already made clear that this song is Tyler at his most egotistical. When his mother warns him that his success is going to his head, he speeds off in his McLaren's sports car.

We've already pointed out several times that material goods, and very specifically sports cars, symbolize the superficial, something Tyler uses to fill the void that should be filled by more meaningful things like love. Indeed, we noted that the previous song, See You Again, did not contain any references to material goods. It was devoted entirely to love, to the natural, to Tyler's search for meaning. Likewise, here on HuDat Boy, there's no reference to the meaningful or the natural. In fact, the closest thing we hear to the natural, the line, fuck global warming, my neck is so frio, is a disrespectful rejection of it. Tyler instead accelerates in his polluting sports car, driving away from his mother's advice, using his ego and material goods

as an emotional shield as he proceeds full throttle in his search for his dream lover, but looking in all the wrong places. Who that's McLaren at zero to 60 and two point new weather, I'm gone. As well my mother warned me that some niggas ain't my right hand To trust her only my heart And that elder white man His name is Clancy I fancy him Gotta give him props

He have the reason why dealerships even let me cop So now I'm speeding and trying to drive away from the fact That she was right so I triple left Trying to double back The streets are filled with some clues like how I ain't noticed that Fuck it I see some familiar stuck in a coat of sack As well as discuss at length next episode Pothole is about bad influences

About friends you have that hold you back and stunt your growth. In terms of the album's narrative, this helps to reconcile ASAP Rocky's role on Who Dat Boy. He seems to represent a bad influence, someone that indulges in reckless materialism and ego, bringing out all these same qualities in Tyler that he's already established or not healthy for him, qualities he's attempting to extinguish. Indeed, with pothole, Tyler will work to heed his mother's advice, rid himself of bad influences, and continue his car ride search for his dream lover. Of course, we'll explore it all. all note by note, line by line. Next time on Dysect. Dysect is written and produced by me,

original theme music by Birocratic, song recreations by Andrew Atwood, audio editing by Eric Bass and me. If you enjoy Dysect, please help me spread the word by telling a friend, family member, or co-worker about the show. Follow Dysect Pod playlist on Spotify, where you can find music playlist curated by yours truly. Also, be sure to say hi at Dysect podcast on Twitter and Instagram and join our newsletter at dissectpodcast.com. Okay, thanks everyone. I'll talk to you next week.