I brought this to this thread to make it about keef rather than the review bc i feel v weird defending ~my writing~-any flaws or w/e (aside from the ice cubes thing bc come on) are probably not productive to get into that durk record was a major street hit though shipley. I do think that chicago artists are majorly underrepresented on radio. The second they could, they patched the song through coast to coast.at any rate i'm not making this up about radio not wanting to play drill shit: And there are plenty of radio-worthy singles from indie artists that don't get that signal boost from a major labelīut shmurda is also standing on drill's shoulders bc the second he arrived major labels were chasing him and Epic capitalized on his viral single IMMEDIATELY. keef is still clearly the better & more influential artist. To be clear, i think there's something to the argument that this succeeded almost bc it 'misunderstands' drill (or is less constrained by it) able to make shortcuts from pt a -> pt b much in the way Waka managed to make Gucci look overly subtle when he first came out. Right here, it’s like babies listen to hip-hop, they grow up with the rhythm.” People get older and they start to listen to it.
“Radio, parties, or even clothes, anything. “Right here, everything is life-sized,” Kenn said in a thick accent. I was like, I want to do music like him.” The United States completely changed Kenn’s perceptions of hip-hop.
“I always looked up to him,” he explained. “I used to listen to those every day.”) When he turned 18, around 2005, Kenn moved to Tokyo, and within two years followed a friend to New York City. (“ are classics to me,” Kenn said when asked about his favorite performers. He discovered hip-hop as a teenager living in Japan, and became a big fan of Dr. He produced the beat for “Bang,” as well as several of Keef’s other songs. Kenn, who declined to give his real name for this article, is originally from the Yamagata Prefecture of Japan.
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