I love Soulja Boy almost as much as Soulja Boy loves videogames. He was supposed to disappear after 2007’s “Crank That”—a misogynist dance anthem that was embraced, largely, sarcastically—but instead he hit the gas, beefing like crazy, flirting with major-label pop, and then dissolving in a haze of
I spent a lot of time this week listening to “Subterraneans,” the last song on 1977’s Low, by David Bowie. I didn’t know what else to do. Like a lot of other people, I had a feeling—this response to death we all have, with varying degrees of terror and/or sadness attached to it—combined with the use
Japanese culture and hip-hop have a long relationship, from the genre’s mid-90s kung-fu obsession to Kanye’s mid-oughts evocation of Japanese pop art up through its current commingling in the very production of Drake’s ubiquitous “Hotline Bling.” The Chicago emcee Sir Michael Rocks has always been a
