“Black people really magic,” he tweeted in 2017. The most savvy summation of his trajectory from kid rapper taken lightly to indie success story to respected artist can be found on “Here We Go,” from his brutally honest 2014 mixtape Faces: “Cocaine ether creates a strange creature/They wasn’t hearing me ‘til I fucked with a Brainfeeder/I’m still playing it out the same speakers/I did it all without a Drake feature!” He “ did it all without a Jay feature,” too, though Hov eventually gave his approval. “People just started getting how real it was to me,” he said in Fader’s mini-doc, Stopped Making Excuses. But the further down the rabbit hole Miller went, it became clear that he was there to offer something to the music he loved. He started drifting through the oddball beats of Flying Lotus and Clams Casino, striking up friendships with ScHoolboy Q, Earl Sweatshirt, Vince Staples, and Da$h.Īt first this seemed like a shrewd strategy for him: become cool by association. Mac was always having fun in his raps but now he was fun to listen to. He became much better at rapping, too, abandoning the rudimentary mechanics of his early stuff for the easygoing technicality of his indie peers. From that point on, Miller became harder to define and impossible to pin down. The 2012 stopgap release Macadelic ushered stranger sounds. By then, he’d already set out to snatch his respect through sheer force of will. “You’re 19, you’re so excited to put out your first album, you put it out-and no one has any respect for you or for what you did,” he told Complex in his 2013 cover story. Scathing criticism, in part, turned a teenaged Mac toward drug use, specifically lean. The conflicting critical and commercial responses signaled a crossroads for Mac Miller, in more ways than one.
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