Travi$ Scott is Kid Wizard
Months ago, as the pressure mounted on the 22 year old Travi$ Scott to bust out his solo debut, an MTV interview revealed where he was in his process. Of the come-aways from the MTV exclusive and those others which ensued during his press tour to promote what we now know as Rodeo, was his deathless love of Cleveland’s Kid Cudi. While it’s almost clear that Cudder’s influence on the game is not what it once was, his reach has at least extended into the next rap epoch with La Flame’s ascendance in the game. And for whatever flak received for being adapting the styles of popular -as if he’s the only doing it, it’s undeniable that Scott has been able to maintain chameleon status on a caliber that no other trending can remotely approach.
For the most part, his adhesiveness is undoubtedly tied to Scott’s aspiration to be the actual “kid Wizard”. Melancholic on a level that’s lead to feature’s on Drake’s album and called for Future features, Scott (Travi$, not Mescudi) has carried on the lonely stoner feel of which the game clamored over just a few years ago. “Rodeo” is what we get when the slighty electric harmony of Cudi’s voice is fused with the contemporary influence of the his southern roots. It’s what happens when Cudi’s hopelessness devolves into the industrial realm which has been oh so prevalent since we started paying Travi$ any attention, pretty much around the time he started foolin’ with Kanye.
And that is the defining moment of Trav’s ascent to become the next Cudder makes itself inescapably clear. Kanye West, as the enabler of our time, has tapped both of the visionaries to help create his, thus the rest of music’s, world. In 2008, we met Cudi and soon thereafter we met the Cudi that would help define some of Kanye’s most distinguishing projects; 808s and Cruel Summer. MBDTF and “Gorgeous” definitely qualify but I view the project as far to accepted by the masses whereas the 808s and Cruel Summer received enough dissent to establish as an original piece. It’s hard to argue that Ye would be in the position we find him in, as the foremost creator of our time, without either of those projects. The vibe found on “Welcome to Heartbreak”, as well as that on “The Morning” and Cudi’s solo, “Creepers”, illustrate the limbs Kanye would go out on to rebel against whatever was a la mode.
Next up on Ye’s list of polarizing projects was “Yeezus” made possible by the Kid Wizard, T Scott. Production on “New Slaves” and other tracks, which brought forth rumors that Scott wrote Ye’s shit, attributed to the dissent which further established Kanye as the artist of our time. I personally think it was Ye’s best effort as far creating a complete from a blank canvas. Guess we have Trav to thank for the assist there.
Considering the Kanye ties and mopy tone of their often sedated tracks, the Cudi-Scott connection is growing stronger by the minute. Add the fact that they’ve collaborated respectively with HAIM and the 1975, their ability to crossover, like due to their opiated vibe, and you see just how Cudi still exists even when it appears he’s faded far from the emerging figure we all would’ve bet he would become not long ago.
Whether you like Travi$ Scott or not, he’s gonna linger for a little, likely be found on your favorite rappers’ tracks. His transcendent quality, which allows him to pop in so many places, is going to sustain for him at least a little while and you can thank Cudder for that. An official collaboration has to be in the works or all would not be well in the universe. To Scott and Scott.