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On June 28, at the Playstation Theater in Times Square, a thousand sweaty, mosh-ready millennials puffed pre-rolled joints in apprehension of a six-act concert, featuring XXL magazine’s ninth “Freshman Class”—rap’s adaptation of Forbes‘ anniversary “30 beneath 30”. The “Freshman Class” appellation comes with cogent prestige: superstars like Kendrick Lamar, Future, and Chance the Rapper are all alumni. This year’s cohort featured up-and-comers like Lil’ Dicky, Lil’ Yachty, Denzel Curry, and Kodak Black, all moderately acknowledged rappers, as able-bodied as Desiigner, a Kanye-backed kid from Brooklyn whose hit “Panda” has become a summer anthem across the U.S.

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Curry, Yachty, Dave East and G Herbo, the aboriginal acts of the night, dealt in anticipated (if not boring) one-upsmanship, atramentous the affection of a bold crowd. But again came Lil’ Dicky, a accomplished rapper who grew up accessory Jewish summer camps abreast Philly who is now—due in ample allotment to his self-deprecating Jewish amusement and envelope-pushing lyrics—on the precipice of hip-hop stardom.

During his performance, Lil’ Dicky—who additionally goes by Mr. Leftward Sloping Penis, The Independent Variable, The Aboriginal Pancake, Yung Dick, The Firm Handshake, and The Time Traveler’s Wife—did his thing. He rapped about farts, abortive acclaim agenda malfunctions, and arresting out with women; he took blunts from the crowd; he gave a lap ball to a lucky fan; he did an elaborate craven dance.

How did we get here? How did a nice Jewish boy from the suburbs of Philadelphia go from a YouTube sideshow to a rap brilliant whose admission flat album, Professional Rapper, topped three Billboard charts last summer?

* * *

Lil’ Dicky’s absolute name is Dave Burd, a 28-year-old artefact of Cheltenham, Pennsylvania, a abundantly Jewish suburb of Philadelphia. After admission summa cum laude from the University of Richmond—he rapped for fun in college—Burd formed as a professional in the announcement world, at one point writing copy for the NBA’s “BIG” campaign.

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In 2013, Lil’ Dicky received significant Internet attention for the video for “Ex-Boyfriend,” from his mixtape So Hard. It’s a self-deprecating, filthy account of a adventitious run-in with a man he believes to be his girlfriend’s ex. In it, Lil’ Dicky is dismayed by the penis admeasurement of his girlfriend’s above lover. “And now I’m starin’ at this dude’s dick with a lotta hate,” he raps, “Because the bits is additional 8, Jon and Kate.”

There a few added highlights on the mixtape (“Sports” and “Stayin’ In” come to mind), but the best memorable bars are probably in “Jewish Flow,” in which Dicky battle-raps Hitler. Lil’ Dicky spits: “Sicker than the Holocaust / Dat muthafuckin’ Jewish breeze / That Auschwitz sick, gas alcove kinda shit.” To some, these lyrics come across as a contemptuous and abominable allotment of the rapper’s Jewish heritage—all for bargain jokes. To others, it’s just Dicky being Dicky. Or about in between. Regardless, it’s worked.

Lil’ Dicky was initially accounting off as a novelty by rap fans, a awfully arbitrary agglomeration who see themselves as the gatekeepers of actuality and acceptable taste. He relied heavily on references to his Judaism and Philadelphia sports teams, while the perception (and conceivably the reality) was that he was added anxious with cogent couplets than absolute lyrics. Quite frankly, cipher was abiding whether they should alike booty him seriously, but he was absolutely authoritative waves.

Then, in September 2014, NBA star Kevin Durant tweeted praise for Dicky’s ode to his then-teammate, alleged “Russell Westbrook On A Farm,” thereby advertisement the apprentice rapper to the millions of his Twitter followers. In the song, Lil’ Dicky poignantly raps over Drake’s “Pound Cake” with an continued allegory that tries to accommodate the abstention of amateurism with alarm of acclaim and success. Spits Dicky, “My better botheration is I can’t candidly relax / Because central of me a abuse adventure enacts.”

Two canicule earlier, Lil’ Dicky had released what would end up acceptable the aboriginal distinct for his forthcoming, Kickstarter-financed admission album. The video for “Lemme Freak,” in which Dicky tells the adventure of a accord through three atrocious pleas to “reward the kid” (read: get laid), currently has abutting to 24 actor views.

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In the summer of 2015, Dicky officially released Profession al Rapper, with bedfellow verses from Snoop Dogg and T-Pain. On the addictive single “$ave Dat Money,” his best popular song to-date, Rich Homie Quan and Fetty Wap accommodate Lil’ Dicky some believability with their presence. The video, a meta quasi-documentary, appearance Lil’ Dicky going door-to-door, acknowledgment to association of abundant mansions and high-end car dealerships that he is attempting to accomplish a music video for no money, allotment of his money-saving schtick.

“$ave Dat Money” documents Lil’ Dicky’s petty frugality, anecdotic how he buys aeroplane tickets six months in advance, and how he likes “coppin’ sweaters in the summer with the auction on it.” Aboriginal on, he calls himself the “Jew Biz Major,” which is technically true, accustomed the actuality that he accelerating from business school.

But his Jewish metaphors and allusions advance added into abashing territory. At the end of the song, a cup of coffee afield added to his bill prompts him to say: “I’ma get on Yelp in a minute and analysis / This allotment of bits abode like alone a kike apperceive how / Unless you booty the added coffee off, I adeptness get loud.”

Herein lies the Lil’ Dicky paradox, one that lies at the affection of his cast of Jewish humor. The antithesis of Lil’ Dicky’s angel hinges aloft a accommodation to acquire apathetic if downright abhorrent Jewish stereotypes, while accompanying affectionate a angrily funny and accomplished musician. Sometimes this can be a tough bolus to swallow.

The action of seeing a adolescent Jewish man who grew up not too far from me adore accepted success in the rap bold is complicated by the actuality that he doesn’t do a abundant job absolutely apery his religious accumulation in a non-stereotypical (or alike original) fashion. It took me a continued time to get into Lil’ Dicky for that acumen precisely. His faculty of amusement and accomplishment chipped abroad at my defenses, but I still find myself hesitant. Dick jokes I can accord with (if not celebrate); using the chat “kike,” in any manner, well, now, I’m not so sure.

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Take his aboriginal hit from So Hard, alleged “White Dude,” wherein Dicky enumerates all the advantages he has as a apparently banal white, Jewish man. If there was some array of allusive banter in that ostensibly satirical song, it’d be one thing; but instead, he smokes a collective in advanced of KFC with a atramentous man and says, “Where I’m bistro back I’m aerial / Is area they eat at to survive,” while gleefully trumpeting his adeptness to go on dates after abhorrence of being sexually assault, or accepting a Jewish advocate affiliated to his ancestors as an escape hatch.

You’d like to book that up to aboriginal album, nobody’s-gonna-hear-this insouciance, but “White Crime,” from his allegedly boilerplate Professional Rapper, covers the aforementioned ground. He brags about what a accustomed bent he is for bringing too abundant aqueous on an airplane—the antic being, of course, that white people’s crimes are victimless and benign.

Dicky’s acute to use his aberant accomplishments (for rap) as a acceding dent for abeyant fans–hip-hop, for the aftermost few decades, has been as abundant a artefact of the atramentous acquaintance as it has been digested by white burghal males. By the aforementioned token, that doesn’t absolutely alibi him to apish the ability that created the platform for his success. “White Crime” is a funny song if you don’t anticipate about it at all, and as for audition it from a rapper who’s said he wants to be “one of the greats,” you accept to ask yourself if the guy in the bathrobe and cool beam takes himself as actively as he says he does. That’s not the Dicky that’s fun to point at and say, “Look, Jews can do anything.”

Dicky’s about to access the mainstream—he’s got ad campaigns for Trojan, Carl’s Jr., and Madden under his belt—but alone time will acquaint if he can authorize himself as a absolute force to be reckoned with. Being called to XXL’s Freshman Class augurs able-bodied for him, of course, but if he wants to break the course, there are questions he’s activity to accept eventually address.

Dicky concluded his XXL performance by presenting a boutonniere to the advantageous fan he’d aloof accomplished ambagious on. Then, he asked her to burden from acute charges, eliciting huge action from the absolutely bro-heavy crowd. As he absolved off the stage, now bottomward to alone his underwear, it was boxy to acquaint if we were attractive at the abutting abundant Jewish rapper or article to apologize for. The acknowledgment is apparently about in between.

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Jesse Bernstein is a above Intern at Tablet.

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