Both artists sound eerily calm for claims of such revelry, letting the spitting beat and waves of distortion raise the energy level around them. Over a twinkling trap production that sounds like the sun setting, Post details living up to the titular lifestyle by risking arrest on stage and throwing a TV out of his hotel room, all built around his chorus hook, “I’ve been f–king h–s and popping pillies, man, I feel just like a rock star.” Guest rapper 21 Savage doubles down with boasts of “f–king superstars” and making the “Hot Chart,” while imitating Post’s sing-song delivery. And with “Rockstar” - a hedonistic turn-up anthem whose actual sound is highly melodic, unthreatening, even kind of sedate - he found the perfect anthem for a generation who might not have even known the difference between The Doors and AC/DC. It wasn’t quite rap, and it definitely wasn’t rock, but it electrified young listeners from both worlds. With the rise of EDM and hip-hop in the age of streaming, guitars had largely been reduced to a seasoning in popular music, and most of the biggest acts that still operated from a rock home base - Imagine Dragons, Twenty One Pilots, Panic! At the Disco - had decentralized the instrument or removed it entirely, in favor of heavy beats and dense soundscapes.īut the artist born Austin Richard Post backdoored his way into a 2010s version of rock stardom, via a series of contagious trap-pop singles, with soupy production, knockout choruses, and Post’s one-of-a-kind warble. The video for Malone's first single, "White Iverson," racked up hundreds of millions of views on YouTube in its first month online and earned him a deal with Republic Records.By the time Post Malone broke out as a rapper in the mid-’10s, conventional rock stardom had all but been left for dead. Malone, like the late Lil Peep is part of the "SoundCloud rappers" subgenre of hip-hop-artists who gather their first fans on the Internet before they tour or hit mainstream radio. His career was built by connecting with hip-hop listeners on an almost personal level by uploading tracks to SoundCloud. If Post Malone doesn't recognize this he's only been listening with half an ear." Michael Harriot at The Root wrote, "If white privilege somehow became a person, learned how to make shitty music and covered its weak, undefined, inbred jawline with an unkempt beard, I'd name it Post Malone." UPROXX's hip-hop editor, Aaron Williams, said, "Historically and currently, rap has always talked about "real sh*t," from interpersonal issues to social justice. Taken together, Malone has come in for some heavy-duty flack. "Like, maybe my music's not the best, but I know I'm not a bad person, so you're just being a hater." He doubled down on his comments and said he was a victim of reverse-racism because of the exchange. "I wish I'd said, 'What are you doing for Black Lives Matter?' Some sassy shit to shut him up," he told RS. I don't know." In the RS interview, Malone had a new answer. Short version: In a 2015 radio interview, Charlamagne asked Malone about supporting Black Lives Matter, and Malone gave an awkward answer about the best way to help the movement was for him to "keep making music. Frank Ocean's 2016 hit album Blonde featured "Nikes," a heartbreaking song referencing the death of Trayvon Martin, while Blood Orange's 2016 album Freetown Sound was a complex look at the queer black experience in gentrified Brooklyn.īut worse for Malone, his views put his can't-let-it-go comments about Charlamagne tha God in a recent Rolling Stone profile in a stark light. There's Tyler the Creator's coming-out album, Flower Boy, and Future's magnum opus, Codeine Crazy. That's an objectively strange thing to say, considering the crazy amount of emotionally-rap out there. Post Malone in his music video for "Congratulations".
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