Image via George Douglas Peterson
Will Hagle hopes the ghost of Gene Wilder haunts Timothy Chalamet at night.
Like his heroes Stanley Kubrick and David Lynch, Fatboi Sharif builds maniacal worlds. It starts with the way he presents himself. Whether heâs shirtless, wielding a knife in clown makeup, or hopping off stage in a hospital gown, he performs like he just escaped from a haunted psych ward. His lyrics use shocking imagery, but hint at personal and societal truths. His theatrical background helped him craft a rap persona like Jack Nicholson in both One Flew Over the Cuckooâs Nest and The Shining. His background in poetry makes his bars something of a jigsaw: grotesque puzzles to either decipher or blow your brain to smithereens.
The surface level hip-hop analog is ODB. Sharif is aggressively bizarre. But he doesnât need the dustiness of RZAâs kicks and snares. He just needs the dust: the sounds of the universe fragmented and broken down to their essence, then built back up into controlled chaos. This is what longtime collaborator and fellow Jerseyite Roper Williams does for him.
Most MCs rap over beats. Sharifâs bars sprout up from the soil that Roper Williams lays for him. If David Lynch directed Jack and the Beanstalk, Sharif would play both roles in the fairy tale. Heâs Jack, a regular guy acutely aware of the darkness of society, making calculated moves to carry himself skyward. Heâs also the Giant, an otherworldly figure bellowing couplets down from the clouds.
Roper Williams produced the entirety of Fatboi Sharifâs 2021 POW LP Gandhi Loves Children, which opens with a series of lines describing various tragedies. Sharif raps, âNancy Benoit, letâs have a family meeting / Slave plantation, for nine days / Waiting for Kanye / Paul Walker on the highway!â The albumâs title, taken from that track, âTragic,â is a reference to allegations that Ghandiâa revered figure of nonviolent protestâslept nude with underage family members to test his celibacy and self-control. Many of Sharifâs lyrics operate like Hannibal Lector or any other anti-hero in the films he loves, blurring the lines between the idealistic concepts of good and evil. A phrase like âGandhi Loves Childrenâ sounds nice until you intuit the horror beneath it.
On Something About Shirley, again produced by Roper Williams, Sharifâs lyrics continue to pull listeners in opposing directions. The layers go even deeper than on âTragic.â Throughout the ten-minute, one-track album, Sharif pairs beauty with dread. Rather than just mentioning the devil, he raps, âSun Ra opening for Satan at the Bowery Ballroom.â He rhymes, âDead body next to a rainbow / Touched by an angel!â In context, with Sharifâs emphasis, the latter phrase becomes infinitely creepier than anything that aired on CBS in the 90s.
In one bar, Sharif can both comfort and terrorize. He contrasts darkness with light, but also reveals how that duality is a facade. Nothing is straightforward, and the meaning is never on the surface. Sharif pummels your brain with words that deliver a pleasurably uncomfortable jolt in an instant. They run through your body like poison, sickening you until they settle in, and you either digest them or accept that theyâll never leave.
If Something About Shirley is a film, itâs Eraserhead. Sharif and Lynch both drop us into odd, familiar-yet-not worlds. They tell a story that progresses from one distinct section to the next, but understanding the narrative requires deeper consideration. David Lynchâs first feature film shows a man losing his mind while caring for a deformed, possibly alien baby in a gloomy industrial city soundtracked by grating mechanical noises. At least thatâs what I thought happened in it. One POW writer recently told me Eraserhead is about the fears of new fatherhood. Another POW writer told me itâs about the harms of industrialization. That means itâs both.
The meaning of Something About Shirleyâlike all of Sharifâs musicâis also open to interpretation. The imagery of each line is like the scene in Eraserhead where they carve up a chicken for dinner that appears to have a beating heart, strange and compelling enough to keep listening. I donât know what the seemingly random yet concisely descriptive line âAnts vs. Aliensâ means, but it could work as a blockbuster film franchise, and the album is full of these seemingly random but concisely descriptive lines.
Listening to each section of Thereâs Something About Shirley is like being dragged through Sharifâs carnivalesque fun house. It starts with a slow walk through a seizure-inducing strobe show in a hall of mirrors. Thereâs a deep descent into distortion overload. A moment of respite for a soulful, upbeat interlude. A hypnotizing spiral of insanity. A surprisingly serene resolution. Youâll know what I mean when you listen. Or youâll come out with an entirely different experience.
Because Something About Shirley comes out on Valentineâs Day, I was going to call Fatboi Sharif to talk about romantic movies. Turns out, heâs not a fan. âIâve just never seen one that super connected to me,â he says. âThey just never really was my cup of tea.â
Luckily, Fatboi Sharif gets romantic about horror films. Heâs been enamored with them since his mom showed him Candyman at 7-years-old. It sparked a lifelong relationship with the way horror depicts reality. Itâs not about jump scares or ghosts or gore. These elements are secondary. The best horror operates like Fatboi Sharifâ using striking imagery to expose honest and gruesome aspects of the human condition.
Movie-wise, I was never really a fan of horror comedies, like stuff like Shaun of the Dead, where itâs a horror film but thereâs comedic elements. I was never a fan of that type of horror. I always liked more mental horror. What you would call, I guess, mood horror. Where youâre anxious about a voice you hear, whatâs around the corner.
But I can definitely see how love and humor sometimes make things even scarier. If you look at a lot of the big, big horror movies over the past few years⊠Something like Get Out. That was a mixture of both. Like, the relationship between the couple. And different parts of humor within the craziness of the story alone, that a lot of people connected to. So I definitely think one could channel the other.