It’s just the latest of his bad decisions, another reflection of what some would call his poor character. Most recently, he spewed a few choice homophobic slurs at a Houston concert, subsequently apologizing in a clumsy all-caps fashion on Twitter. Yet in addition to concerns about the provenance of his approach, Scott’s public persona and behaviour hasn’t helped much. Questions about authenticity in rap have arisen more times this year than in recent memory, with charges levied at Action Bronson, Drake, and Post Malone, to name a few. The timing of Rodeo couldn’t be much worse. With the release last Friday of his major label debut Rodeo, many of my fellow rap critics seem delighted to put their pitchforks and pens to use and finally, at long last, run this abominable Rap Frankenstein out of town. Despite Scott’s important contributions to Yeezus as a performer and producer, as well as his co-sign from T.I., his mixtapes and singles have garnered him a vocal community of detractors. To some he’s a shapeshifter and a thief, j'accuse-d of cravenly cobbling together a sham career out of purloined proprietary styles belonging to others in hip hop, be that Kid Cudi or Rae Sremmurd’s Swae Lee or whoever happens to be on point at a given moment. Calling the Kanye West mentee a divisive figure in hip hop amounts to a mountainous understatement in our molehill times. Travi$ Scott may not have your respect, but at the moment he’s at least got your attention.
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