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I think that consistency kind of makes what I do gravitate towards becoming a movement. I’m just trying to stay popular and do the same thing over and over. I just worked really, really hard to stay in people’s faces, so it would be hard to forget about me. KHALIFA: I don’t know if it was anything necessarily different. Everybody gets a little messy, but there’s different people on here, so we gotta keep it clean.ĭIEHL: So what do you think the world saw in you that made you stand out? KHALIFA: I think there are people who aren’t stoners who like to keep the area clean.
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KHALIFA: Well, the main thing is keeping it clean-and free of smells, of course.ĭIEHL: I’m impressed that a stoner feels the urgency to keep his immediate environment clean. I’m actually on my tour bus.ĭIEHL: How have you personalized the bus and made it feel like home? We recently caught up with him on tour in Florida. But Khalifa still seems to float above it all-and not just because of the prodigious amounts of pot he smokes. 2 when it came out in late March-and with his increased profile has also come increased scrutiny. His full-fledged major-label debut, Rolling Papers (Atlantic), entered the charts at No.
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After extricating himself from the industry machinery,Khalifa decided to release his records independently, the second of which, 2009’s coyly titled Deal Or No Deal (Rostrum), became an underground hit and presaged the overwhelmingly enthusiastic response he would receive to a subsequent series of free mixtapes capped by last year’s Kush & Orange Juice (Taylor/Gang/Rostrum), the title of which became a top trending topic on Twitter.Īs if on cue, the major labels came calling again, with Khalifa eventually signing last year with Atlantic and releasing his first single, “Black and Yellow,” which not only reached the top spot on the BillboardHot 100, but grew into a pop-culture phenomenon, becoming the de facto anthem of the Pittsburgh Steelers’ Super Bowl run. The marriage, though, wasn’t a good one, and he eventually parted ways with the label-which, ironically, is when his fledgling hip-hop career really started to take off. Still, Khalifa started writing rhymes as a pre-teen and managed to score a record deal with Warner Music in 2007, releasing his first single, the Eurotrance-tinged “Say Yeah,” soon after.
Born Cameron Thomaz, the 23-year-old rapper hails from Pittsburgh, Pennsylvania-a city not exactly known as a hotbed ofhip-hop wonderfulness. “Know some who say life’s a bitch,” he raps on “The Race.” “Well, I’ma keep flirting.Aside from the fact that he likes to smoke lots of weed, there’s not much about Wiz Khalifa that is patterned or predictable. But the sheer catchiness of the music-its sing-along choruses (“Black and Yellow”), its synthesizer sparkle (the benny blanco-produced “No Sleep”)-turn even his modest goals into the kind of anthems that elevate partying to a spiritual pursuit. Lyrically, he’s a charm offensive: He’ll be there when you call (“Roll Up”), he loves his camo shorts (“Taylor Gang”), and he wields his endless supply of joints like magic wands that, with a wave, can make the stress of daily life disappear (pretty much every song). “They say all I rap about is bitches and champagne,” he shrugs on the album-opening “When I’m Gone.” “You would too if every night you seen the same thing.” The difference with Wiz is that you can tell he’s enjoying it. And at a time when the luxurious melancholy of Drake was starting to cast its long, warm shadow over the culture, Wiz-like Snoop Dogg before him-presented himself as nothing more than a laidback dude looking for a good time.
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It’s a party-rap album that happily parlays party-rap traditions into modern pop songwriting and production, in ways that helped crack open the conversation for what pop and hip-hop hybrids could be.
Wiz Khalifa’s breakthrough wafted so casually to the top of hip-hop’s 2011 heap it’s easy to miss how accomplished it actually was.
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