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The time is right to reflect on the largely ignored conflict in Memphis, T.N. between Young Dolph and Yo Gotti, perhaps the most bizarre footnote in the genre of the past decade.
As counter-cultural and independent as rap claims to be, it is still a hierarchical institution.
After announcing and promptly disregarding multiple release dates, Lil Uzi Vert finally released his sophomore album “Eternal Atake.”
Due to drill’s barely defined scope, calling it a genre or even a subgenre is dangerous.
Now that rap has overtaken rock as the most profitable genre, it is reasonable to view hip-hop as its own economy.
In his brief career, Jahsen Onfroy, or XXXTentacion, quickly became a source of immense controversy.
In January 2018, Migos dropped all 106 minutes of “Culture II.”
To many, the term freestyling immediately inspires a vision of the XXL Freshman yearly cypher, prompting nostalgia of Kodak Black’s trouncing of whoever picked that “lil sorry a** beat.”
Alex Rivera and Cristina Ibarra’s “The Infiltrators” follows a group of teenagers working to release undocumented immigrants from the Broward Detention Center just north of Miami.
The SWAT van parks and eight burly agents file out in silence.
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