In June 2021, Tyler the Creator added a completely new feature to commemorate the relaunch of his most recent album. Dropped: Call Me If You Get Lost. Like the Call Me If You Get Lost album cover, Tyler’s driver’s license bears the phrase. The generator enables users to customize the same permit template by adding their name, birthdate, issue location, and photo.
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Concept of the Call Me If You Get Lost album cover
In homage to French poet Charles Baudelaire, the cover art shows an identity card for a persona called “Tyler Baudelaire.” The personality Tyler plays across the album, Baudelaire, is a stand-in for Tyler’s newly acquired worldliness—and his failure to apply that sense of style to the connection of his fantasies, as per Matthew Ismael Ruiz of Pitchfork.
Comparable to Tyler’s transformation from a “angsty teen spouting filth for shock factor into delicate lover man with such a roguish streak,” Charles Baudelaire’s greatest famous work, 1857’s Les Fleurs du mal (transl. The Flowers of Evil), has been “previously banned by being too specific, as well as Baudelaire himself was brought to trial for indecent exposure.” Both artists, according to Luke Morgan Britton of NME, “have indeed been singularly focused on the fight between love story and realism, luxury as well as love, beauty as well as death, talents & controversies,” he said.
People initially assumed that Tyler had borrowed heavily from Ol’ Dirty Bastard’s 1995 song Return to the 36 Chambers: The Dirty Version since he finally revealed the cover image for Call Me If You Get Lost. Still, Tyler had drawn inspiration from “…old passport as well as travel cards from of the early 1900s.”
The cover art, which features a picture of a food assistance voucher with delayed Ol’ Dirty Bastard’s face, name, date of birth, and album name, seems to be a tribute to his 1995 album Return to the 36 Chambers: The Dirty Version. With all the same features as ODB’s cover, Tyler’s Identity card is a travel authorization, but it also contains the alias “Tyler Baudelaire.”
The choice of the album cover is stunning and timeless even before listening to the music. The explicit reference to “Return to the 36 Chambers: The Dirty Version” by Ol’ Dirty Bastard is a lovely tribute to the late rap artist and pioneer of the genre. Tyler’s unique take on the classic album cover creates an incredibly appropriate image for both the album’s motifs and his new persona.
On Twitter, Tyler answered questions from fans and gave information about the forthcoming album. Tyler rejected there is any connection between Ol’ Dirty Bastard’s Return to the 36 Chambers: The Dirty Version as well as his album cover for Call Me If You Get Lost, saying instead that he had been inspired by “old passport as well as travel cards from of the early 1900s.” And because most IDs have the same shape in their design, he continued, “they imitate one another. Naturally, this is brought up because this is the ID that most people think of when they think of a rap album. A 10 is for rawhide.
Additionally, Tyler’s alter ego Tyler Baudelaire is shown on the album cover, along with information about his real birthdate, the album’s official release, and his hometown (Hawthorne, California.) Contrary to expectations, the album was inspired by “old passport as well as travel cards from [the] 1900s,” not Old Dirty Bastard’s Return to the 36 Chambers: The Dirty Version.
The album title Igor features four distinct color themes, including yellow, green, and pink, as well as blue, just like the CD, as well as cassette emits. Because now the CD publication uses that color scheme, it appears that the yellow edition of the color is the standard version:
- Apple Music: Yellow
- Spotify: Green
- Tidal: Pink
- YouTube/Amazon Music: Blue
Tyler decided to share another image of the album cover until it was officially released, leading fans to theorize that it might be a limited-edition shelter for a possible vinyl release.
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Fans’s personal Tyler, the Creator travel authorization
Tyler, the Creator is letting fans create their versions of the LP cover for his latest album, which will be released soon. The cover is designed to resemble a passport from another country.
Fans can customize a license template by adding their name, birth date, place of issue, as well as an image using the artwork generator. Drawing on your signing is another way to add a personalized feel.
Tyler responded to fans’ inquiries about the latest album on Twitter over the weekend. Because most IDs share the same form in their design, he continued, “they do imitate one another. Naturally, this is brought up because this is the ID that most people think of when they think of a rap album. “Raw Hide” by (Ol’ Dirty Bastard) is a ten.”
Call Me If You Get Lost, the LA musician’s sixth studio album, was published last Friday (June 25) following a quick rollout that included a billboard campaign as well as a mobile number in his town. In the middle of a strong wind and just after its release, Tyler conducted the record single “Lumberjack” at the last night’s (June 27) BET Awards while trying to read his mail and get to his house, which immediately blew away.
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The story behind Call Me If You Get Lost album cover
Because since Los Angeles-based rap artist Tyler, the Creator released his debut studio record Goblin in 2011, he has become a fan of releasing alternate cover art. The artwork of Tyler’s favorite artists can be found on many of these covers. When T released Wolf, for instance, the deluxe edition included unique artwork created by surrealist pop artist Mark Ryden. At the same time, Eric White’s ethereal oil painting for Flower Boy’s cover image was original. Additionally, Tyler worked with Lewis Rossignol to create a grungier album cover for his Grammy-winning album Igor, later made available as a limited-edition vinyl.
Gregory Ferrand, a visual artist from Washington, D.C., is the most recent artist to obtain Tyler, the Creator’s highly sought-after cosign. Fans who paid attention may have noticed that when Tyler decided to share the cover art for Call Me If You Get Lost on Instagram, he also decided to share an alternate Ferrand album. Ferrand, a self-taught muralist, earned a film degree from Virginia Commonwealth University in 1997 before starting to paint in the early 2000s.
Through storytelling paintings that can concoct stories full of emotions with a glimpse, Ferrand’s work intensely captures the human condition. Whether it’s the apprehension a family of immigrants experiences as they cling to a U.S. passport in a deserted airport or the spirit of adventure he encapsulates for Tyler’s most recent album.
It was intriguing to understand that Tyler, The Creator, contacted Ferrand. His work is a favorite of Ferrand’s. Ferrand had to pinch himself once he handed that DM over to him. Ferrand initially believed it to be a joke. Ferrand double-checked the account and made sure that it was his, and that was. It was undoubtedly exciting. It’s thrilling when a musician of his caliber acknowledges Ferrand’s work.
Ferrand said Tyler’s comment, “Hey, I love your work,” was a pleasant surprise. He enquired whether Ferrand received commissions, to which Ferrand replied, though not frequently. But Ferrand was willing to take on a committee if he desired. After briefly discussing his search, they FaceTimed as such Ferrand could learn more about what he truly wanted. Besides this sketch, he didn’t give Ferrand any specifics. Ferrand has become highly impressed that he can communicate his view to Ferrand without simply showing Ferrand one at all of it after seeing that “Lumberjack” video and all these other visuals he has been releasing.
Read Ferrand’s artist declaration and look at his artwork. Ferrand believes that the emotion he perceived in his work connected with him. He undoubtedly mentioned Ferrand’s use of those tones and his saturated color scheme. If he had favorite paintings, Ferrand needed help remembering which ones they were. Ferrand liked that he could convey this emotion in the grand scheme of things. Ferrand meant Ferrand didn’t even inquire as to why he made Ferrand his partner. But he told me immediately how much he appreciated and connected with my work. He found it independently, though he couldn’t place it precisely.
This required a great deal of work. Ferrand thus produced two iterations of rough sketches. The first has been six rough sketches, drawn from different vantage points and with various types of dynamics, and predicated on the sketches that he gave Ferrand. He chose two of those six that he thought were good and offered some modifications. By expanding on those notations that he gave Ferrand, Ferrand gave him another six. This was Ferrand’s sketch in the end. He was certainly drawn to pastel hues in terms of the color scheme. Ferrand presented him with six options, as well as he picked the one he preferred.
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