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In 2011, his first studio album, “Blue Slide Park,” became the first independent album to début at No. For his geniality, his easy commerciality, and his whiteness, Miller was swiftly labelled a “frat rapper”-an unofficial taxon used, semi-pejoratively, to describe performers deemed to be not quite stealing hip-hop from its black creators but using its essence to reflect their blithe realities. The first mixtape released under Rostrum, “K.I.D.S.,” blew up. In 2010, having netted a few viral hits, he signed a four-year contract with Rostrum Records. He sold music out of his trunk while still in high school. His early mixtapes, though charming, were insouciant and scattershot, showing few glimmers of the lyrical invention he’d develop in time. In interviews, Miller rejected the affected ahistoricism of some of his scrappy peers and spoke rapturously of his admiration for hip-hop classicists like Big L and A Tribe Called Quest. “When I was fifteen I used to walk my ass to East Liberty and be in ciphers with motherfuckers twice my age.” At fifteen, he formed a duo called The Ill Spoken with his friend Brian Benjamin Green, who is known as Beedie. “I was known as being this little white kid who could rap,” Miller told The Fader, in a cover story from 2013. He took piano lessons, quickly taught himself the guitar and the drums, and started rapping at the age of fourteen. Born Malcolm McCormick, he was raised in Pittsburgh by a photographer mother and an architect father. “And I don’t want just sadness either.”Įarnestness marked Miller’s career from the start.
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“I really wouldn’t want just happiness,” he said. He also touched, indirectly, on the topic of depression. They’re like ‘Yo, man, are you okay?’ I’m like ‘Yeah, I’m fucking at the grocery store.’ ”). Miller discussed the HBO documentary “The Zen Diaries of Garry Shandling” (“He was always writing the words, ‘Just be Garry.’ ‘Just be Garry.’ And that shit struck a chord with me”) and the expectations placed on artists by their fans (“It’s annoying to be out and have someone come up to me and think they know.
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On Thursday, Vulture published a hybrid profile and interview by the music journalist Craig Jenkins. Just this past week, Miller had seemed tenderly alive.
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He was supposed to start a tour in October. The album seemed to invite an eventual follow-up, a chronicling of the adrift artist reaching some shore. “Swimming,” released in August, was a dispatch from a young man embracing his own mysteries. As he evolved-and he never stopped evolving-he became a bard of post-adolescent rootlessness, comfortable in a tense, liminal space between fear and awe. It’s not a force as neat or definitive as hope that is propelling Miller upward. The song’s drowsy beat makes an unexpected lurch, near the end, turning from claustrophobic to weightless: Miller is now singing of “oblivion, yeah, yeah, yeah.” In the video, he bursts from his premature tomb, in a cloud of earth and dust, and floats up into the atmosphere. “And I don’t want just sadness either.” Photograph by Jamie McCarthy / Getty
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“I really wouldn’t want just happiness,” the twenty-six-year-old rapper Mac Miller said, in an interview published on Thursday, the day before his death.