What Metro has done on this mixtape, most notably on “Jumpman,” is to fall somewhere in the middle. Most notably, babyfaced rapper Silento has turned this entire craze into one song, “Watch Me (Whip/Nae Nae),” which does little more than list all of them. Because the Vine caught on and the singular move is great, many yeet-titled songs popped up, just so people could capitalize on the newest dance. The yeet began, culturally, with a Vine of a kid affectionately nicknamed Lil Meatball doing the dance on his school’s track. The dances begin in driveways, school parking lots, cafeterias, and living rooms, and they’re recorded and shared so much that a flurry of songs are built around them. There isn’t a singular song for the nae-nae, for example, but there are many songs that are constructed (and named) in a way that allow those who want to nae-nae to do so to a variety of beats with simplistic, repetitive, “nae-nae”-heavy lyrics. The past few years - in large part due to the rise of Vine, Instagram video, and dancing Atlanta teens being the most creative humans who exist - have produced a universe of dances, most of which eventually inspire songs. The current trend is slightly different but still based on the same formula. When it’s time to “stanky leg,” you listen to GS Boyz’s “Stanky Legg.” The only time you really “walk it out” is during DJ UNK’s “Walk It Out.” And when an entire room is ready to “swag surf,” that is happening only when “Swag Surfin” by Fast Life Yungstaz (or Lil Wayne) is blaring from the speakers. One of the songs that he solo-produced is “Jumpman.”įor years, the many dances that have come out of Atlanta have been lyric-dependent. He worked on seven of the tracks, producing three of them by himself. The two rappers are clearly the luxury car, but Metro as executive producer is the steering wheel. That said, while this is certainly a Drake-and-Future collaboration, it’s a Metro Boomin mixtape. To their credit, they do a great deal to grab your attention: 10 songs from either of these rappers would be a big deal, especially with little time for fans to emotionally prepare - that it’s a joint project only intensifies the effect. Again, because it’s Drake and Future, the immediate reaction is to focus on every word uttered by the two rappers and break down the hidden meanings that give insight into various disses and beefs, which ultimately will lead to future blog posts. Recorded recently over a six-day stretch in Atlanta, the project comprises 11 songs, nine of which contain both Drake and Future, with two solo tracks (one for each rapper) tacked on at the end. This was not the first time that Drake and Future had worked together, and as we learned weeks later, not the last, as a joint mixtape, What a Time to Be Alive, was released on Sunday night. Which should come as no surprise, as Esco is Future’s DJ (as well as the gatekeeper who decides which music plays at Atlanta’s famed Magic City Mondays, which makes him an ethnomusicologist of sorts) and Metro Boomin produced “Where Ya At.” And while Future and Drake are certainly gliding to the track, that pales in comparison to the intimate relationship Metro and Esco appear to have - physically - with every granule of it. Seeing them dance in the video changes the way you approach the song, changes how it hits you. But in that second, you see portions of their hood ballet, and each time it’s equal parts grace and chaos. Each time Esco and Metro appear on the screen, it’s almost subliminal, lasting typically no more than a second. The first minute of the video has Future dancing on a roof, in front of DJ Esco and producer Metro Boomin, who are really dancing on the roof. When you take a step back, however, you realize they are not. Because it’s a union of two of the more culturally relevant active rappers - who have two of the most loyal (and occasionally delusional and always hyperbolic) fan bases - they are the immediate stars of the song and video. One of the gifts of the latter days of summer was the video to Future’s song “Where Ya At,” from his third studio album, Dirty Sprite 2. The song features a verse from an increasingly swoll and bearded Aubrey Drake Graham, alongside Future Didion, who - with regard to his fashion, most notably his 10-gallon-hat look - is fully dialed in.
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