A few weeks ago, I saw Tyler, The Creator at Flow Festival in Helsinki Finland, where he delivered a insouciantly rowdy and playful performance, that saw the 24-year-old California rapper tone down his previously preferred live antics of regular stage-diving in tube socks and excessive limb-flailing in Golfwang tees after his shoulder popped out of its socket shortly after entering the stage during the Sunday afternoon set. This was my fourth time seeing Tyler, The Creator live and things were ultimately different. And it wasn't even the slight shoulder injury that came across as the defining factor. It looked and felt a lot like maturity.

Not only was this my first time seeing the Odd artist across the pond but this time around on his European Cherry Bomb tour, the environment was a lot less boisterous and the performance Tyler delivered, came across as a more personal and intimate altercation than the other sold-out experiences. Ones where I had seen young Odd Future fans hurl themselves over the media pit barricades during his Goblin tour or witnessed wall-to-wall all ages crowds stampede each other to tracks from Wolf. Tyler was more calm, more interactive and careful, by making sure to send the immense festival-crowd off following a live rendition of 'Cherry Bomb' with reminders that we are all beautiful and that we could all achieve our dreams, before exiting the stage to go finish his nap.

I left the festival set permanently pleased to have witnessed such an immense growth from a rapper that had first come out when I had just started writing about music, back in 2009 when Odd Future-frenzy catapulted him into stardom and changed the landscape of rap with their DIY punk aesthetic. He had grown up.

So imagine my surprise when just a week or so following Flow Festival, it was announced that after attempting to enter the UK for another string of festival stops, Tyler had been banned from entering Britain for the next three to five years, thanks to home secretary Theresa May's Home Office policy for "behaviours unacceptable in the UK." But these guidelines, distributed in 2005 aren't for rappers, they were established to prevent suspected terrorists from entering Britain. Tyler is not a terrorist. Rappers are not terrorists.

Apparently the lyrics from songs like 'Blow', 'Sarah', and 'Tron Cat', had been pulled into question as the home secretary had this to say upon Tyler's attempted arrival. "The home secretary has reached this decision because you have brought yourself within the scope of the list of unacceptable behaviour by making statements that may foster hatred, which might lead to intercommunity violence in the UK," they said. "Your albums Bastard, in 2009, and Goblin, in 2011, are based on the premise of your adopting a mentally unstable alter ego who describes violent physical abuse, rape and murder in graphic terms which appears to glamourise this behaviour."

Bullshit. Tyler had just told me and hundreds of other young people that we were beautiful in a motivational speech last week.

But of course, this isn't the first time Tyler's been banned from a country. In 2014, he was barred from visiting New Zealand, for apparently posing "a threat to the public order and the public interest" and in August of this year, Tyler's Australian tour was cancelled after pressures from feminist group Collective Shout. Other rappers like Snoop Dogg, Ghostface Killah, The Game, 50 Cent, Eminem and Cam'ron have all been turned away from a border or two. Rappers are consistently being banned. But this time, the art doesn't fit the crime and the crime doesn't fit the punishment.

Not only was Tyler 18-years-old when he wrote the 2009 album Bastard but it's always the art of rap that's called into question for violence, misogyny and profanity within music. It's like, hi, have you ever heard the lyrics to Neil Young's 'A Man Needs A Maid', The Crystals' 'He Hit Me (and It Felt Like a Kiss)', Johnny Cash's 'Cocaine Blues', Korn's 'K@#0%!' or The Police's 'Every Breath You Take'? And as Noisey pointed out, early next year, a national socialist black metal band called Satanic Warmaster, who care to use neo-Nazi imagery and expression in their material, are set to play a gig in Glasgow without question. But somehow, Tyler "fosters hatred with views that seek to provoke others to terrorist acts."

More than just the sick and ridiculous double-standard and genre-elitism that has always taken place within the music community that has pit rap music at the bottom of the legitimate artistic totem pole, is the parading of problematic groups on the outs of the hip-hop community that love to dissect our rap artists with overbearing claws, that always manage to flash a glimpse of their ulterior motives in the process. Like the artistic discrimination and systematic racism that hovers on the shoulders of border officials who get to decide if an artist can be let into a country or the Eurocentric feminist organizations that fail to include intersectionality into their feminist views, omitting the belief that women can be fans of rap music. I'm a woman and a fan of rap. As a member of the community, it should be women like me that get to decide if a rap song is too misogynist, not someone who doesn't understand or respect the artform with or without the song in question. It's like the scene in current box-office smash Straight Outta Compton when Ice Cube puts it all in perspective: "Freedom of speech includes rap music, right?"

In an interview with The Guardian, Tyler replied, "Freedom of art and speech are at hand. And because of this, it's opening a door for anyone to be banned."

"Why don't they ban authors? Writers who write these mystery books about people getting raped and sabotaged and murdered and brainwashed - why don't they ban them? There are rallies of neo-Nazis in parts of England. And then you're telling me I can't come there because of some bullshit song, but you got motherfuckers with swastikas rallying down the street actually promoting hate?" he continued. And you can't tell me he's wrong. But rather than come to terms with or acknowledge a foundation of systematic racism, a lack of intersectionality or a control over freedom of speech and expression, the UK government has chosen to hold Tyler, The Creator accountable for lyrics he wrote seven years ago and call it terrorism.