Need a couple number ones, Need a plaque on every song:
The narrative of Lil Nas X

Slate, Vulture, Rolling Stone, Billboard, Pitchfork, and Genius portray Lil Nas X's challenging of heteronormativity in his music in a positive light. His queer identity was the most consistently discussed part of his persona. The fact that he is an out gay man was commented on in nearly every article examined.

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This is a good thing. As noted in the studies by Eguichi and Roberts and Means and Cobb, it has been difficult in the past for gay rappers to break out in the industry (Eguichi & Roberts, 2015; Means & Cobb, 2007). These music publications being supportive and portraying the aspect of Nas's sexuality in a positive or neutral light sets a precedent for future gay rappers also trying to break into the mainstream. However, when examining Nas's success as a gay musician, we have to consider the fact that he did not come out until after "Old Town Road" had gone viral. He already had one foot in the mainstream music industry, and we cannot be sure how his experience might have differed had he been out as gay from the outset.

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The portrayal of Nas's internet persona was covered in a similar light. He is painted as a trickster who always gets the last laugh when it comes to responding to nonsensical backlash. His use of quippy replies infuriates his haters and pleases his fans. His use of memes in the face of controversy characterize him as a someone who does not take himself or the unpredictable situations he sometimes winds up in too seriously. Nas is portrayed as someone who is so above the controversy he is sometimes steeped in, that he is almost profiting from it. As the saying goes "all press is good press," and even coverage of controversy (like the Satan sneaker and conservative outlash to the "Montero" music video) work only to bolster his clout in the online panopticon. Nas's reclaiming of religious iconography when covered was treated as an ingenious use of theme. Casting himself in all roles in the music video for “Montero”- showcasing himself as both angel and demon, victim and assailant, is an extension of Nas's persona as someone who cannot be pigeonholed.

Overall, the coverage of Lil Nas X, while varied across publications, was consistent in tone. Pitchfork, Slate, Vulture, Rolling Stone, Genius, and Billboard all praised Nas for his openness with his queer identity. They, much like Nas, were not self-serious in the covering of the controversies he was involved with, and saw his use of religious iconography as appropriate and in some ways abreactive.

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Lil Nas X is a musician who is constantly setting new standards not just in the music industry, but in the coverage of musicians. His creativity in both his music and music videos, as well as his interactions in the public spheres online and in-person is engaging and often times unlike anything those who came before him in the industry have done. He is confident and sure in who he is and how he will be perceived; he is in control of his narrative completely.