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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.
Surely a city as prominent as New York would have made a full musical recovery by now and is once again dictating the sounds and styles of the whole game. Right?
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