It’s almost as if Travis Scott is trying to tell us something about his strategy for world domination in the titles of his songs of late. First, with “The Plan” from the Tenet Soundtrack, and now (appropriately named for the timing of his McDonald’s collaboration), “Franchise.” On a side note, perhaps to somehow throw Tenet screenings some extra cachet amid its so-called “slump,” Scott premiered the video first at IMAX showings of the movie before its premiere on YouTube at midnight on September 25th. Featuring Young Thug and M.I.A. (one of Scott’s major musical influences, along with Kid Cudi–also a well-known inspiration to Pete Davidson), the usual moody and mercurial rhythms of Scott’s music are at play–in fact, it’s almost a “Part II,” instrumentally, to “Sicko Mode.” And the often surreal (occasionally “The Real Slim Shady”-reminiscent) video is perfectly suited to its syncopation.
With his Cactus Jack logo (Scott’s record label and overall imprint to promote just about any product he wants) opening the lead-in to the shots of Michael Jordan’s iconic mansion in Illinois, Scott is setting up the aesthetic to, quelle surprise, endlessly wow us over his luxurious lifestyle. It is, of course, not without meaning that Scott, who co-directed the video with White Trash Tyler, would choose this particular milieu for the shoot (and not just because Cardi B and Megan Thee Stallion made mansions trend again as a viable quarantine option for the rich–including Scott’s own baby mama, Kylie Jenner, who makes a cameo in “WAP”).
For it was Michael Jordan before him who could compel McDonald’s to name one of their products in a famous person’s honor. That’s right, not since 1992’s the “McJordan” (served primarily at locations in the greater Chicago area) has McDonald’s opened its heart to someone this way, naming the homage to Scott, what else, Cactus Jack. It doesn’t quite sound as tailored to the branding as a McJordan, but maybe it’s proof that the corporate juggernaut is becoming more “lax.” A.k.a. just another corporation desperate to transition its appeal to a new generation: Z.
In any case, “Franchise” feels a lot like Scott is trolling the entire “collaboration” (if attaching your nickname to your favorite McDonald’s meal can be called that) not only with the title, but with wielding Jordan’s mansion as his playground–shared generously with Young Thug. As he raps, “Call up Hype Williams for the hype, please,” we kind of do wish Hype would help Travis out again (their last and only video together being the Ken doll-centric “90210”). At the very least, one supposes we have M.I.A. to assist with lending the uncanny visuals, cutting to her Midsommar but make it “white trash pastoral” scenes (filmed in the U.K.). Standing in front of a row of mirrors in a field before being featured in a “flower suit,” M.I.A. lends her signature chutzpah to the sound, though her raps aren’t exactly as on point as usual, namely, “’Scuse me, zi-zi-zi-zi-zi-zi-zi-zi, don’t be missin’, man Mississippi, dip a sippy, make ’em happy, make ’em copy/Make ’em get me Chippi Chippi/Trippin’ like I’m trigger happy/Saltfish, ackee, ackee.”
Scott interpolates his own rap, “And when they free us out, it’s gonna be a film, a Kodak/Shoot me pourin’ right above the rim like Pollack.” Cross-cuts between Scott floating up from the bed where his latest fuck (gasp! what would Kylie say?) appears to be getting ready to leave and overhead shots of a massive herd of sheep in M.I.A.’s “trailer park” make for a strangely disorienting “narrative.” Yet all in keeping with the trippy motifs of Scott’s music. The sheep frenzy also just reminds one how anathema being that close to anyone is to us now, even when seeing animals do it (M.I.A. is sure to dance wildly among them to re-ingratiate herself to being among “others,” it seems). But maybe that’s the point with that allusion to being “freed out.” As though the government is ever going to do that “when this is all over.”
Bleeping out the word Nikes (because, you know, he doesn’t own that brand) in the lyrics, “It’s lit/They gonna wipe you before you wipe me/Unboxing my checks, not my Nikes, yeah,” Scott again pays subtle homage to Jordan, as well as doing the thing that all rappers do ad nauseam once they reach a certain level: talk a little too much about their material wealth. The idea that Scott is all too eager to “franchise” himself is also evident in that Eminem moment showcasing the endless array of “carbon copy” Scotts to choose from, all yours to buy. If you have the cash, that is. Scott will name the price he sees fit to whore himself out. For everyone has a price, you see.
Oddly, rap is far too little criticized for this rather undercuttingly reiterative message about the “all-mightiness” of capitalism, your god. And it seems a bit depressing that this is the “aspirational” “wisdom” Scott wants to give to the young diners of McDonald’s: covet another man’s riches and maybe one day, you, too, can have them as well and help perpetuate the endless cycle of worshipping money as the sole means of power and agency (especially as a person of color in America). Which is why, in many ways, it makes no sense that M.I.A. is part of this song considering the themes she typically explores. Then again, maybe she’s looking for any opportunity to be featured since she claimed 2016’s AIM was to be her last record.
