Tyler's mother leads him over Chromacopyeven if their voice notes often only summarize the content of the songs. The exception is the devastating “Like Him,” in which Tyler questions whether he'll end up like his estranged father and his mother suggests the truth is more complicated. “He always wanted to be a father to you. … He’s a good guy,” she tells him. This line is an important twist in the story of Tyler, the Creator: For over a decade, he has reviled his father for his absence. “Daddy ain't your name, see 'faggot' is a little more appropriate/Mommy was only 20 when you ain't got no shit left,” he rapped in 2013's “Answer.” This revelation, coupled with the pregnancy scare in “Hey Jane,” illustrates why he thinks so much about fatherhood. “Boy, you're fucking selfish, that's why you're really scared to be a parent,” he admits on the self-dissident track “Take Your Mask Off.” There's nothing more humiliating than seeing yourself in someone who, up until that point, only existed as a villain to you.

Trips to Manila were flexible Call me if you get lostbut continue chroma copy, Blackness is a status symbol. Tyler is a Kendrick and Jay-Z fan – he's appearing at Ken and Friends' Juneteenth show this summer and rapping about one 4:44 Instrumental in 2017 – so one day he had to rap about white supremacy. Surprisingly, the man who once declared that he wrote music for “white kids with nigger friends who say the N-word” hits the spot with “I Killed You.” The song begins as an interpolation of the children's song “Wheels on the Bus” but transforms into an interrogation of Western beauty. Djembe-sounding drums and occasional horns wouldn't be out of place at a New Orleans street parade. Tyler, flute in hand like the Pied Piper, urges black people to embrace their sexual preferences, dark skin, and other characteristics the world is trying to eradicate: “You're the room, baby, they're the fucking elephant.”

Black female rappers seem to remind Tyler that making music at 33 is about more than just overly serious lyrics. “Don’t give a fuck about pronouns, I’m that nigga and that bitch,” he raps on the standout “Sticky,” featuring GloRilla and Sexyy Red. The beat is simple; It sounds like he hired a live step team to record background vocals. You can tell he's just excited to be with the girls, and the refrain will stick in your hippocampus. Tyler is a great rapper when he wants to, even on cartoon beats like “Balloon” and “Thought I Was Dead.” Just like “STUNTMAN”. The estate sale, “Rah Tah Tah” taps into the West Coast and Southern rap sound that Tyler grew up with. “I’m a real face-seat, box eater,” he says, making Munch sound like he’s in a position of authority.

For all CHROMACOPYIt's about the confessionals of the ego death going into his thirties, it's the boastful, Cherry bomb-sounding tracks that really hit: “Thought I Was Dead”, “Rah Tah Tah”, “NOID” and “Sticky”. His rejection of the past is understandable. “That version of T you knew was a memory,” he says on “Tomorrow,” anticipating the criticism: “Who is that?” Y’all niggas are too clingy to hear the theory.” Not long ago At times, entire nations and states were afraid of Tyler because of his controversial lyrics. Then he started philosophizing and ranting about love and became a little more brand-friendly. However, only a few are as quick-witted in their raps as he is. Fewer still have the kind of infectious arrogance that makes people bow rather than roll their eyes.