But this one, it was so tense and it was so many people around. We had snuck him into a couple of smaller events over the summer.
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SHIVAM PANDYA (general manager, Victor Victor Worldwide) I left “Joker” in the middle of the movie to go figure it out on site. Pop went to the Louis Vuitton store, I went and picked him up, and we were on our way to Queens. After they said that he couldn’t perform, me and Travis Scott were talking and Travis was going to sneak him in. STEVEN VICTOR (CEO and founder, Victor Victor Worldwide) He was disappointed. We believe that if the law says you can be free, then you should be able to perform at our show. He had the actual support of the real people in the city, real gangsters, real positive people, everything in between. TARIQ CHERIF (co-founder, Rolling Loud) He was undeniably the hottest in the city, period. All our actors, the extras, the kids on the bridge watching us shoot scenes, everyone was doing the Woo dance. Kids were coming on the bridge to watch us shoot the scenes. They were tough 16-hour days, overnights, and he shot five overnights in a row. A lot of actors just don’t have the depth of emotion and experiences, but because of what Pop’s gone through, he has a tremendous well to draw from. Within two takes, you could see the swag just come out of nowhere. You can tell he’s weathered, he’s an old soul. He filmed his first movie role, as the basketball-playing antagonist Monk, in the chef and author Eddie Huang’s directorial debut, “Boogie.”ĮDDIE HUANG (director and screenwriter, “Boogie”) Pop shows up to the audition - Palm Angels head to toe - and he’s just a kid, but he has the voice of 50 Cent and Paul Mooney. The speed with which hip-hop superstars like Travis Scott and Nicki Minaj were gravitating toward him for collaborations portended great things, suggesting that the king of New York might someday become the king of everywhere else, too.įollowing a blistering summer in which “Welcome to the Party” became ubiquitous, Pop Smoke’s small club performances were rapidly expanding to larger venues. The songs were menacing but surprisingly fleet, a crucial balance that satisfies both ground-level fans and those peering in from outside. In short order, he strung together a wild run of breakout singles (“Welcome to the Party,” “Dior,” “Gatti,” “Christopher Walking”) that accelerated him toward hip-hop’s upper tier.
In Pop Smoke, it found its most intuitive voice, someone who reveled in bad-guy bluster while using it merely as a first step toward something much more ambitious. For the last couple of years, Brooklyn has been fertile turf, growing a scene - drill - with a sound that’s rowdy, muscular and sinister. So it was with Pop Smoke, the Canarsie growler who was the most impressive rap newcomer of 2019. Every so often, though far less frequently than it used to, New York hip-hop mints an ambassador, someone who’s faithful to the grit of the city’s musical legacy while possessing the charisma to transcend it.
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