A$AP Rocky has lived quite a life in his 36 years on planet Earth. After growing up homeless in the streets of Harlem, he went on to become one of the biggest rappers of the blog era, making waves on the internet along with the rest of the A$AP Mob collective. From there, he continued to pave his way through other industries, including some acting gigs as well as turning himself into an indisputable fashion icon. In terms of his career, Rocky has done pretty well for himself, not to mention his ultra-publicized relationship with Rihanna, who needs no introduction.

In recent years though, Rocky’s career has sort of stalled, only making headlines for his aforementioned relationship and his 2019 arrest for assault in Sweden. Due to Rocky’s high profile, American officials immediately got involved and he was free to go shortly after. Since then, his musical output has been pretty inconsistent. Once again, a relationship with Rihanna and the responsibilities that come with being a father may have slowed him down a little bit, but regardless, he has not continued to take the steps that many expected him to take.

At the same time, however, Rocky still has a lot going for him and a bright future ahead of him, but less than two weeks ago in a Los Angeles courtroom, it looked like it could all go away. The trial stemmed from a 2021 incident in which Rocky allegedly shot former friend and collaborator A$AP Relli, government name Terell Ephron. According to Ephron, Rocky pulled a gun and shot at him during an argument, with the bullet hitting his finger. Ephron presented a recording replaying the whole incident. As the video proves, the incident did occur, but the main topic of discussion throughout the trial was whether or not the gun was real.

According to Rocky and his defense, the “gun” that was used during the altercation was in fact a prop gun from a music video, one which only fired blanks. If this was indeed the case, then Rocky would walk away a free man. If it was not and it was found that Rocky actually did pull a loaded gun on Relli, then he could face up to 24 years in prison. This was after Rocky denied a plea deal that would only force him to serve six months in prison. Despite the risks, Rocky bet on himself, and following the jury’s decision, it’s safe to say he made the right call.

Since there was no way to prove what kind of gun was used, there was no way to prove Rocky’s guilt. Immediately after the verdict was announced, Rocky did as anyone would do and jumped into the arms of Rihanna, a three-year nightmare now lifted off his shoulders. He thanked his lawyer, Joe Tacopina, now affectionately referred to as A$AP Joe, and went on his merry way. Three days later, it was announced that he would be the creative director of Ray Bans, and he continued to tease his upcoming album. Once again, things seem to be going pretty well for the guy, and it seems that no matter what life throws his way, A$AP Rocky will turn out just fine.

A$AP Rocky has lived quite a life in his 36 years on planet Earth. After growing up homeless in the streets of Harlem, he went on to become one of the biggest rappers of the blog era, making waves on the internet along with the rest of the A$AP Mob collective. From there, he continued to pave his way through other industries, including some acting gigs as well as turning himself into an indisputable fashion icon. In terms of his career, Rocky has done pretty well for himself, not to mention his ultra-publicized relationship with Rihanna, who needs no introduction.

In recent years though, Rocky’s career has sort of stalled, only making headlines for his aforementioned relationship and his 2019 arrest for assault in Sweden. Due to Rocky’s high profile, American officials immediately got involved and he was free to go shortly after. Since then, his musical output has been pretty inconsistent. Once again, a relationship with Rihanna and the responsibilities that come with being a father may have slowed him down a little bit, but regardless, he has not continued to take the steps that many expected him to take.

At the same time, however, Rocky still has a lot going for him and a bright future ahead of him, but less than two weeks ago in a Los Angeles courtroom, it looked like it could all go away. The trial stemmed from a 2021 incident in which Rocky allegedly shot former friend and collaborator A$AP Relli, government name Terell Ephron. According to Ephron, Rocky pulled a gun and shot at him during an argument, with the bullet hitting his finger. Ephron presented a recording replaying the whole incident. As the video proves, the incident did occur, but the main topic of discussion throughout the trial was whether or not the gun was real.

According to Rocky and his defense, the “gun” that was used during the altercation was in fact a prop gun from a music video, one which only fired blanks. If this was indeed the case, then Rocky would walk away a free man. If it was not and it was found that Rocky actually did pull a loaded gun on Relli, then he could face up to 24 years in prison. This was after Rocky denied a plea deal that would only force him to serve six months in prison. Despite the risks, Rocky bet on himself, and following the jury’s decision, it’s safe to say he made the right call.

Since there was no way to prove what kind of gun was used, there was no way to prove Rocky’s guilt. Immediately after the verdict was announced, Rocky did as anyone would do and jumped into the arms of Rihanna, a three-year nightmare now lifted off his shoulders. He thanked his lawyer, Joe Tacopina, now affectionately referred to as A$AP Joe, and went on his merry way. Three days later, it was announced that he would be the creative director of Ray Bans, and he continued to tease his upcoming album. Once again, things seem to be going pretty well for the guy, and it seems that no matter what life throws his way, A$AP Rocky will turn out just fine.

Academy Award-winning writer-director Bong Joon-ho has returned with his long-anticipated sci-fi comedy “Mickey 17” due to hit theaters across the United States on March 7. The Triangle was invited to an advance screening held at the Philadelphia Film Society, coinciding with its world premiere in London on Thursday, Feb. 13.

As a follow-up to the filmmaker’s international sensation “Parasite,” expectations were naturally riding high. “Mickey 17” lives up to them in every sense, delivering a unique dystopian sci-fi tale in Bong’s quintessential style. It spins a delightful yarn that melds disparate genres to tell a story that is wacky, thrilling and powerful in equal measure. Moreover, it unexpectedly holds immense relevance in today’s political scenario.

The premise focuses on Mickey Barnes (Robert Pattinson), a young man who is in a tight spot on Earth and thus signs up to become an “expendable” on a newly-declared human colony called Niflheim. He is sent on life-threatening missions on the colony for research purposes, and the specialty of the job is that if he is killed in the process, his body is regenerated with his memories and personality supposedly intact. This quickly becomes a routine for Mickey, but things become complicated when he returns from a particularly dangerous mission only to find that he has already been cloned again.

This sets off an even more wildly chaotic series of events that throws Mickey’s life further off-balance and brings darker truths about the entire setup to the forefront. The narrative jumps between a slew of plot threads and characters at a quick pace, addressing a wide range of themes. A couple of these do end up a tad underexplored amid all of the chaos, with one occasionally wishing for even more time to be dedicated to the expansive world-building and philosophical questions that are raised. Despite this, Bong keeps a firm grip on his narrative, never losing sense of the rich thematic material and central character arcs that form the core of the film. It also helps that Mickey is an instantly likeable and compelling protagonist, with his quirky voiceover narration perfectly setting the tone and pulling the viewer in.

Another major contributor to the smooth flow of the narrative is Bong’s approach of lacing the entire story with dark humor. This choice wonderfully ties the various plot threads together to build a biting satire that also manages to find space for sillier bits of humor, consistently eliciting laughs in a manner that helps to build tension. This works wonders for both the entertainment quotient and the sociopolitical themes at the core of the film. The latter builds into an astonishingly relevant political allegory that ties in beautifully with the central character arcs, setting the emotional stakes high. In some of its core themes, the film even embodies the spirit of some of the most beloved works from Studio Ghibli by veteran filmmaker Hayao Miyazaki, whom Bong has cited as an inspiration in the past.

The entire cast effortlessly slides into Bong’s ambitious vision. Pattinson sinks his teeth into the opportunity he gets to showcase his incredible acting range, acing his portrayal of Mickey. Naomi Ackie packs a serious punch with her performance as well, stealing the show in some major sequences with her confident attitude. Mark Ruffalo is another standout in how he carries an act that is tricky and hilarious at once, the genius of which would be impossible to explain without spoilers. Toni Collette is pitch-perfect in another role that requires remarkable control and self-awareness. Anamaria Vartolomei and Steven Yeun both shine in their relatively briefer presence as well by imbuing their characters with memorable personality. Even the actors portraying minor characters — even unnamed ones — completely understand the assignment, each maintaining the satirical tone with their terrific timing and demeanor. The dynamic interactions between all of these characters fill the narrative with immense kinetic energy, making it all the more compelling.

Bong also makes excellent use of the biggest budget he has had to work with till date, which is not just limited to the casting. The fantastic production design builds a unique dystopian world that feels fully-formed and believable, even to the aspects which are not given much verbal explanation. Moreover, the incredibly detailed CGI work not only builds spectacle but also goes a long way in serving the emotional core of the story.

“Mickey 17” is a film that has a hugely ambitious vision and does remarkable justice to it. Although it is arguably a tad overburdened by all of the ideas it aims to address, “Mickey 17” rises above this with aplomb to become a rollicking ride that delivers big laughs, edge-of-the-seat thrills and powerful political commentary in spades. It is a must-watch on the big screen and is thus undoubtedly something to look forward to when it opens nationwide in March.

For those in the Philadelphia area, there is a good chance the Super Bowl 59 halftime show meant absolutely nothing. There are also probably a lot of passionate, and most likely intoxicated, Eagles fans who have no idea who even performed. However, the 138 million people that tuned in around the globe (the most ever for a halftime show broadcast) were able to witness what was undoubtedly a one-of-a-kind performance from Compton, California rapper Kendrick Lamar. 

Depending on who is talking, this could mean two entirely different things. If it is anyone 55 or above who doesn’t happen to be a big fan of west coast hip-hop, this was most likely their least favorite halftime show (their favorite being Bruce Springsteen, of course). For anyone who is a fan of Lamar and the kind of work he puts out, this was different than any halftime show before it and in the best way possible.

As easy as it is to say that the Super Bowl halftime show is not the time nor place to be making political statements, that just would notbe fair. To describe the 13-minute performance as nothing other than politics would also be an incredible disservice. Still, here is a clear message here from Lamar, and there is no doubt he made the most out of what is probably the biggest platform of his career. The performance began with Samuel L. Jackson, dressed in patriotic garb, introducing himself as “Uncle Sam” and welcoming everyone to “the great American game.” This was followed by the reveal of Lamar performing on a stage lit up like a tic-tac-toe box. He began with an unreleased verse that was used for promotion of his last record, “GNX.” As he performed, a sea of dancers dressed in red, white, and blue emerged from the clown car below him. 

From this point on, it was clear that Kendrick had something to say. Everything from the clothing to the stage design was purposeful, something Kendrick has made a point of since he first started. What does it all mean exactly? That is something that probably only Kendrick could say for sure, but between the American iconography and the repeated references to “the game,” there is a lot out there for fans to look into and consider. As for the actual musical performance itself, Kendrick, to no one’s surprise, far from succumbs to the moment.

He continued with a rendition of “Squabble Up,” one of the hits off of his new album. Following this were the Kendrick standards “HUMBLE” and “DNA,” with these tracks definitely receiving some of the loudest reception out of the entire setlist. Kendrick then went back to his new stuff, performing “Euphoria,” a song that originated from the beef with Drake, and then two cuts off the new record. He then teases the crowd with a snippet of “Not Like Us,” another track from the beef that went on to win Record and Song of the Year at the 2025 Grammy Awards. At that point, Kendrick said to the crowd that he wants to perform the track, but that he knows “they love to sue,” a reference to Drake’s litigation towards Lamar. With this line, it was clear that the topic still weighs heavy on Lamar’s mind. However, he abandoned the idea, and the song altogether, diving into performances of “Luther” and “All the Stars” with frequent collaborator and former labelmate SZA. Finally, Kendrick gave the people what they wanted and performed “Not Like Us” with Serena Williams crip-walking on stage with him. Whether this had anything to do with Drake (who used to date Williams) is irrelevant, but it was a cool moment for the two Compton natives to be out there together on the world’s biggest stage. Kendrick concluded with another recent hit, “TV Off,” and brought out the producer whose name became the track’s chorus, DJ Mustard, to dance with him as the set came to a close.

Once again, for those who are not a fan of Lamar and his style of music and performance, there honestly is not much here for them. Although there is no doubt that Lamar has his fair share of radio hits and top-charting songs, for one reason or another he chose to forgo those during the show and stick to the more recent releases. For the diehard Kendrick fans, this was yet another impeccable job by the artist. However, for the hundreds of millions of people watching that probably do not fit in that category, this was most likely not what they expected. Maybe there were a few converts who were impressed by his remarkable lyricism and moved by his message, but for some reason, it’s hard to imagine that too many people were in the state of mind to dissect political symbolism on Super Bowl Sunday. Go Birds!

Who would have thought that one of the most acclaimed films of the year would be set in Doylestown, Pennsylvania? While this is far from the slice-of-life Bucks County story that tons of people were begging for, it is the next best thing: a nearly four-hour-long epic about a Hungarian architect set in the mid-20th century. “The Brutalist” is a behemoth, to put it simply. The film clocks in at a little over three and a half hours, including its 15-minute intermission, but somehow, someway, it does not feel long at all.

At no point in that extremely lengthy runtime is there a dull moment. Whether through remarkable visuals or incredible performances, director Brady Corbet always finds a way to fill the screen with something to capture the audience. So, for the hesitant moviegoers out there, do not be intimidated. Bring a friend, sneak some food in  and buckle in for the long haul.

If, understandably, no one wants to go with you, do not fear. Even better than spending four hours with a friend is spending it with Adrien Brody, in what is far and away the greatest performance of the year and the greatest performance of his life (which is saying something). In the role of fictional Hungarian architect and Holocaust survivor László Tóth, Brody certainly delivers. Despite his explosive personality in the real world, Brody, for the thousandth time in his career, completely assumes the role and not for a single second is unbelievable as the tortured artist. Maybe he has some solid competition this year, but if this is not an Oscar-winning performance, then who knows what is?

Brody is far from the only standout in the film, however. Also nominated for supporting actor and actress, respectively, are Guy Pearce and Felicity Jones. Both give equally stunning performances, pushing and pulling Brody’s character in a way that is hard to imagine any other actors doing, and as a result, seem deserving of some recognition as well. The only real blemish on any of these actors’ campaigns is the minor use of artificial intelligence in regards to their voices. Compared to everything else the actors are doing throughout the movie, it is irrelevant. Besides, that is an article for another day.

This aforementioned pushing and pulling is what drives the film. Brody’s character, László, constantly finds himself between two pillars. An immigrant, László is stuck between his life and family back in Europe and his new life in Pennsylvania. He also struggles to find a balance between making his masterpiece his way and the fact that most times, people do not get everything they want. The topics of immigration, artistic integrity, legacy  and more are the themes that drive the film. However, it does not feel like the film is saying anything that has not been said before. That is certainly not a necessity, and it does not take away from anything else about the film, but given the scale and everything else so impressive about the film, it just feels like a missed opportunity.

This is in fact the best way to describe the film: it is impressive. Everything from the performances, the screenplay and the cinematography down to the most minor details in the set design and costumes is astounding. To do it all at such a high level for that long is no easy feat, and the film deserves all the recognition that it has and will continue to receive. Maybe people will not walk out of the theater with a new perspective on life as they know it, but if they can walk out after a four-hour movie and still want more, then it definitely did something right.

“Movies I’ve Seen” is a column by Carter Blake dedicated to reviewing new film releases.

Last week, this year’s Academy Award nominations were released. As with every year, there were some snubs, some surprises and a few overall shocking decisions. Even the fact that the ceremony is being held at all is a shock to many, considering the massive fires that hit the Los Angeles region so recently. However, the show must go on apparently, and in just over a month, numerous questions will be answered, the one at the top of a lot of people’s heads being “Is it ok to use artificial intelligence in film?”

This question and the topic as a whole have dominated this awards season because, for the first time ever, a film that has openly taken advantage of technology is nominated – not just one, but two of the most acclaimed films of the year. Leading the way with 13 nominations is “Emilia Pérez,” a musical comedy about a transgender Mexican woman, written and directed by a French man. Right behind that is “The Brutalist,” a three-and-a-half-hour epic about an immigrant architect, featuring an electric performance from Adrien Brody.

Despite both films’ respective acclaim from the Academy and those in the industry, amongst the public, they have not exactly been massive hits. For “Emilia Pérez,” this was mostly in the form of hate, with many targeting the film’s allegedly poor representation of Mexicans and transgender people, the two communities the film was based around. The disdain for “The Brutalist” was a little less intense and mostly towards its lengthy runtime, and to those who found that to be a problem, please grow up.

However, discourse soon shifted when it was revealed that both films took advantage of artificial intelligence to complete the films. In “Emilia Pérez,” some of the characters’ voices were changed or enhanced through AI. Similarly,  in “The Brutalist,” Brody’s voice was altered in order to improve his Hungarian accent. AI was also used to create numerous architectural drawings seen throughout the film, with the filmmaking team finding that method much easier and cheaper than paying someone else to do it for them.

Is this the end of the world? Not at all, and for the average eyes and ears, these changes are not noticeable at all. Sure, Adrien Brody sounds a little more Hungarian, but in most screenings, no one would be able to tell. (Realistically, not many people will be attending a theatrical screening of “The Brutalist.”). Regardless, not only allowing something like this, but actually awarding it in such a capacity is an incredibly slippery slope. In both instances, jobs were taken away from those who certainly could have used them, considering the current state of the film industry. In fact, AI played a large role in the 2023 strikes. Many writers and actors were afraid that they could be kicked to the curb in favor of the newest tech. This year’s controversy did not target writing or acting, however, it’s hard to imagine that this will not continue.

Once again, the reason both films ultimately decided to go this route was because it was easier and cheaper. As any filmmaker could tell you, or rather any person who ever lived, these are some pretty good reasons and two problems that will certainly be run into time and time again. If a cheaper and easier solution to a problem exists, then who in their right mind would go against that? It is hard to blame the filmmakers for making these sorts of decisions, but at what point should these decisions not even be an option? Maybe it starts with drawings in the background, but who’s to say that will not lead into entire sets, costumes and maybe scripts being devised by a computer?

Since these two films are the first to be open about it and at the same time so critically successful, they have become the poster children for the changing state of the industry. However, this is nothing new. Companies have been getting their feet wet with this technology for years now, and it seems that slowly but surely they will continue to experiment and attempt to utilize AI as best they can. Maybe at some point, someone will put their foot down and at least put some safeguards on what is happening, but if these Oscar nominations are any indication, that time is not right now.

At the point of this writing, it is just over two weeks into 2025, and it appears as though the year’s first hit song has arrived. It is not by Taylor Swift or Drake or any of the usual chart toppers, but by basketball player-turned-rapper LiAngelo Ball or, as he now goes by musically, G3 GELO. For those who did not watch Ballislife and Overtime mixtapes every day during middle school, LiAngelo, or Gelo as he is often referred to, might not be much of a household name. He is the middle of the three Ball brothers and his older and younger brothers are both top picks in the NBA draft.

Gelo was not as successful, with his biggest basketball success being a short stint in the NBA G League. After an injury ended his season in a Mexican professional league, it appeared as though Gelo’s basketball career had come to an end. He also got into hot water for shoplifting according to the New York Times. This was something his father, the eccentric and polarizing Lavar Ball, had predicted back in 2017 when he said that one of his sons was not going to make it to the league, but that presumably Gelo was “going to be taken care of either way.”

At the time, it wasn’t clear what Lavar meant by this, but nearly eight years later, it is all starting to make sense. Gelo was hanging out with internet streamer N3ON when in front of a live broadcast, he provided a teaser of a song he was working on. Within days, the snippet was everywhere, with its refrain “I might swerve, bend that corner woah,” going viral for every reason imaginable. Some were making fun of it, due to its 2000s-style beat and flow. However, it seemed like a majority of people loved it for that exact reason, with the style reminiscent of rappers like Jeezy or Jim Jones, artists that many fans grew up with.

As the seemingly genuine love from fans continued to spread, Gelo officially released the single, titled “Tweaker,” through DSPs and Worldstarhiphop. From there, the growth was exponential. NBA and NFL players were listening to it in the locker rooms, the official NFL Instagram account used the aforementioned line as a caption and people all around the world were making TikToks and other videos to it, allowing the track to reach wider audiences by the day. It was virtually everywhere. In a week where established global stars like Bad Bunny and Lil Baby put out full albums, it was Gelo’s debut single that took the world, and more importantly the internet, by storm.

This did not end in just a little viral success, however. Just about a week after releasing the song, Gelo signed a record deal with Def Jam, with Gelo retaining full ownership of his music and his masters in the agreement. The next day, it was announced that the song had reached #29 on the Billboard Hot 100, including #7 in the rap category, beating out all but one Lil Baby song.

The question now is what is to come from Gelo? For now, at least one more song. A video circulated of Gelo’s older brother Lonzo playing an unreleased Gelo track for his teammates in the locker room, with Lonzo promising a new song just a week after the first had dropped. However, after signing the deal, it seems as though the schedule had to be shifted a little bit, but there is at least something in the vault ready to go. Will it be as massive a hit as the first, or was that just beginners’ luck? In this day and age, anything could happen, but it will be interesting to see just how far Gelo takes this road.

After two years since his last full album release , Kendrick Lamar has returned in full force within the last six months. In terms of pure popularity and his role in the zeitgeist, the rapper is now at a point he has never been in before, and, outside of a rare few, no other rapper has been in before. His latest album, “GNX”, currently sits at number one on the charts, and he holds seven out of the top 10 slots on the Hot 100, including numbers one through five, all with essentially no promotion. Based on the numbers alone, it is not crazy to say that he is the biggest rapper alive and one of the biggest artists overall in the industry right now.

How did he get to this point? Kendrick’s 2022 album “Mr Morale and the Big Steppers” performed well, both commercially and critically, but many fans viewed it as stale and boring and overall just a step back from a previously insane stretch of records. After two years without much buzz, Kendrick was immediately shot back into the spotlight with his beef with Drake. Following what many believed to be a victory over one of the biggest artists of the last decade, all eyes were now on Kendrick, anticipating his next move.

After a few months of what can best be compared to a victory lap, with Kendrick hosting a concert in Los Angeles and then the announcement that he would be performing at the Super Bowl halftime show, Kendrick’s real next move was confirmed when, out of nowhere, he released “GNX.”

Right off the bat, Kendrick showed he has no problem calling out those he feels are against him. On the opening track, “wacced out murals,” Kendrick discusses the idea of a legacy, including both his and, more controversially, that of others that he looked up to, in particular Lil Wayne. When Kendrick was announced to be performing at the Super Bowl, many felt that he did not deserve it and that the honor should go to Lil Wayne due to the event occurring in his hometown. Wayne himself even stated that he was disappointed in the choice, choosing not to support his longtime admirer  Lamar. In the song, Kendrick references this when he states that his “hard work let Lil Wayne down” and that rapper Nas was “the only one to congratulate” him on the honor. Kendrick continues this sort of animosity, although to a much lesser degree, on the next track “squabble up.” In what is really a dance track, Kendrick repeats the title again and again, letting people know that he is not just playing around and is still willing to stand up for himself if need be.

The next track, which features SZA, is a stark shift from this mentality. Titled “luther,” a reference to the song’s sample, the song is an incredible melodic display from the two artists. There are two other tracks on the record that feature a similar vibe. This includes “dodger blue,” which is based around Kendrick’s love for his city of Los Angeles, and the album’s closing track, also featuring SZA, titled “gloria.” All of the songs contain a style of West Coast R&B, setting a very relaxed, laid-back tone at certain points throughout the album. One of the main reasons why these songs work so well is because they are placed opposite songs with a completely different feel to them. These include songs like “hey now,” “gnx,” and “tv off,” with the latter gaining significant popularity online for Kendrick’s very unique presentation of the DJ Mustard producer tag. The tracks are exciting and feature a side of Kendrick that is reminiscent of hits like “DNA.” from “DAMN,” or even some of the songs used during the beef with Drake. Kendrick’s energy is unmatched on these tracks, and along with the Sounwave-produced, west-coast-inspired beats, he creates a series of songs that show that Kendrick still has it.

However, just because he can make a few hit records does not mean that the album is devoid of the more introspective, personal tracks that have become synonymous with Kendrick. For example, a song like “heart pt. 6,” features Kendrick over a Sounwave and Jack Antonoff-produced G-Funk style beat, discussing his relationship with his former group, Black Hippy, and why the crew chose to go their separate ways professionally. On the track, Kendrick’s main point is that, despite how everything went down, he still remembers those early years fondly and will always love the people who were there for him when he was on the way up. “man in the garden” is another great example of this. Over a relatively relaxed, simple instrumental, Kendrick spends four minutes insisting that he “deserves it all” after years and years of hard work and sacrifice.

The album’s standout track, which is similar in vein to the above two, is the song “reincarnated.” The track begins, like several other songs, with vocals from mariachi singer Deyra Barrera. The beat, essentially a recreation of 2Pac’s “Made N**gaz,” sets the tone for the track and gives the audience a little hint about who he is referring to with some of the lyrics. The song’s first two verses apparently refer to blues singers John Lee Hooker and Dinah Washington. In the final verse, Kendrick embodies 2Pac, as the title suggests. He raps about the issues 2Pac faced throughout his career and how they relate to what Kendrick is going through in his own career and life as a whole.

Tracks like these comprise what feels like the heart of the album and the themes of the  record and Kendrick’s music more broadly. While everyone likes a good song to dance to, including the people who make money off of it (if it does well), these types of songs are what makes people feel so attached to Kendrick. He bares his soul and gives people a glimpse into what’s really going on inside. Time and time again throughout the album, he proves that he is among the best in the genre.

After two years since his last full album release , Kendrick Lamar has returned in full force within the last six months. In terms of pure popularity and his role in the zeitgeist, the rapper is now at a point he has never been in before, and, outside of a rare few, no other rapper has been in before. His latest album, “GNX”, currently sits at number one on the charts, and he holds seven out of the top 10 slots on the Hot 100, including numbers one through five, all with essentially no promotion. Based on the numbers alone, it is not crazy to say that he is the biggest rapper alive and one of the biggest artists overall in the industry right now.

How did he get to this point? Kendrick’s 2022 album “Mr Morale and the Big Steppers” performed well, both commercially and critically, but many fans viewed it as stale and boring and overall just a step back from a previously insane stretch of records. After two years without much buzz, Kendrick was immediately shot back into the spotlight with his beef with Drake. Following what many believed to be a victory over one of the biggest artists of the last decade, all eyes were now on Kendrick, anticipating his next move.

After a few months of what can best be compared to a victory lap, with Kendrick hosting a concert in Los Angeles and then the announcement that he would be performing at the Super Bowl halftime show, Kendrick’s real next move was confirmed when, out of nowhere, he released “GNX.”

Right off the bat, Kendrick showed he has no problem calling out those he feels are against him. On the opening track, “wacced out murals,” Kendrick discusses the idea of a legacy, including both his and, more controversially, that of others that he looked up to, in particular Lil Wayne. When Kendrick was announced to be performing at the Super Bowl, many felt that he did not deserve it and that the honor should go to Lil Wayne due to the event occurring in his hometown. Wayne himself even stated that he was disappointed in the choice, choosing not to support his longtime admirer  Lamar. In the song, Kendrick references this when he states that his “hard work let Lil Wayne down” and that rapper Nas was “the only one to congratulate” him on the honor. Kendrick continues this sort of animosity, although to a much lesser degree, on the next track “squabble up.” In what is really a dance track, Kendrick repeats the title again and again, letting people know that he is not just playing around and is still willing to stand up for himself if need be.

The next track, which features SZA, is a stark shift from this mentality. Titled “luther,” a reference to the song’s sample, the song is an incredible melodic display from the two artists. There are two other tracks on the record that feature a similar vibe. This includes “dodger blue,” which is based around Kendrick’s love for his city of Los Angeles, and the album’s closing track, also featuring SZA, titled “gloria.” All of the songs contain a style of West Coast R&B, setting a very relaxed, laid-back tone at certain points throughout the album. One of the main reasons why these songs work so well is because they are placed opposite songs with a completely different feel to them. These include songs like “hey now,” “gnx,” and “tv off,” with the latter gaining significant popularity online for Kendrick’s very unique presentation of the DJ Mustard producer tag. The tracks are exciting and feature a side of Kendrick that is reminiscent of hits like “DNA.” from “DAMN,” or even some of the songs used during the beef with Drake. Kendrick’s energy is unmatched on these tracks, and along with the Sounwave-produced, west-coast-inspired beats, he creates a series of songs that show that Kendrick still has it.

However, just because he can make a few hit records does not mean that the album is devoid of the more introspective, personal tracks that have become synonymous with Kendrick. For example, a song like “heart pt. 6,” features Kendrick over a Sounwave and Jack Antonoff-produced G-Funk style beat, discussing his relationship with his former group, Black Hippy, and why the crew chose to go their separate ways professionally. On the track, Kendrick’s main point is that, despite how everything went down, he still remembers those early years fondly and will always love the people who were there for him when he was on the way up. “man in the garden” is another great example of this. Over a relatively relaxed, simple instrumental, Kendrick spends four minutes insisting that he “deserves it all” after years and years of hard work and sacrifice.

The album’s standout track, which is similar in vein to the above two, is the song “reincarnated.” The track begins, like several other songs, with vocals from mariachi singer Deyra Barrera. The beat, essentially a recreation of 2Pac’s “Made N**gaz,” sets the tone for the track and gives the audience a little hint about who he is referring to with some of the lyrics. The song’s first two verses apparently refer to blues singers John Lee Hooker and Dinah Washington. In the final verse, Kendrick embodies 2Pac, as the title suggests. He raps about the issues 2Pac faced throughout his career and how they relate to what Kendrick is going through in his own career and life as a whole.

Tracks like these comprise what feels like the heart of the album and the themes of the  record and Kendrick’s music more broadly. While everyone likes a good song to dance to, including the people who make money off of it (if it does well), these types of songs are what makes people feel so attached to Kendrick. He bares his soul and gives people a glimpse into what’s really going on inside. Time and time again throughout the album, he proves that he is among the best in the genre.

After years of ups and downs in Hollywood, Chris Courtney Martin ‘14 Drexel graduate has found their groove in writing poetry and prose.

Before Chris Courtney Martin received critical acclaim for their poetry books, before years of ups and downs in Hollywood, and before a short stint as an adult film writer (this will be discussed later), they were just another student at Drexel University, working the front desk at the DAC and writing for the Triangle. A former screenwriting and playwriting major, Martin knew from a young age that writing was what they were going to do with their life. “I’ve been writing since I was eight years old,” begins Martin, with their first story described as “a footrace between Dracula, The Wolfman, Mummy.” Martin continued to write through middle and high school, winning numerous awards and putting on productions at nearby Mastermen High School. 

From there, they received a full ride to attend Drexel and continue to hone their craft, a decision aided by Martin’s “obsession with Dragons,” but the full ride certainly did not hurt either. Martin “struggled at times” while at Drexel, both in regards to personal finances but also “just figuring out how to be an adult.” However, they eventually found their groove, with Martin excelling in the program and getting involved all around campus, all in all describing their time at Drexel as a “super fulfilling” experience. But, if there was anything Martin got out of the program it was experience living and working in LA, which they accomplished as a result of the film department’s “Drexel in LA” program. Martin finished up their junior and senior year in Philly, but then quit their job at the gym and made the trek to LA, or rather West Covina, to pursue their Hollywood aspirations.

As Martin or anyone in the entertainment industry could explain, it was far from smooth sailing. One of Martin’s first jobs in Hollywood included being “the script writer for an adult film company,” where Martin “would pitch complex backgrounds,” for the characters, though they clarified that they were not involved in writing the “explicit action.” Martin worked several jobs over their years in Hollywood. Nothing particularly glamorous, but at the end of the day, they “[were] able to pay rent doing writing.”

In 2021, Martin’s big break seemed imminent when their spec script “Palehorse” was picked up by a major Hollywood studio. However, due to issues with the studio and overall mistreatment from producers, the project fell through. “This is a very hard, cutthroat industry,” says Martin. “There’s no point where you’re like, okay, I’ve made it.” Fed up with Hollywood, Martin moved in with family in Fayetteville, North Carolina, where they began to work on a collection of poems and prose, eventually becoming their debut chapbook, “The Book of I.P.:Idle Poems.” Martin essentially wrote the pieces “out of frustration” with the industry, discussing through their work “how people can essentially do whatever they want regarding your material,” as long as “they’re richer than you, and if they have a better lawyer than you.” On the other hand, there is an incredibly positive aspect to the collection, with Martin viewing it “as an invitation to really stand up for yourself and your value as a writer, that your words are important to somebody.”

The collection went on to receive critical acclaim, garnering rave reviews from myriad local and national organizations. Including their sophomore effort, a second chapbook titled “Slam Poems My Bathroom Mirror,” Martin’s work has been cataloged by the Free Library of Philadelphia, as well as by institutions like Drexel, Princeton, and Penn’s libraries, respectively. Despite all these accomplishments, Martin is most proud of the fact that these works are entirely Martin’s own, allowing them to “re-establish [their] autonomy.” And while the reception sure is nice, it was mostly because it helped “validate” that autonomous voice. “It made me feel good,” says Martin.

Even though Martin seems to be enjoying their life as a full-time poet, (they are releasing their third collection, “Falder: All & The Proverbial Nature of Everything,” later this year) they are not done with Hollywood just yet. Right now, Martin is in the midst of working on several projects in the industry, and while continuing to write and publish poetry, is also looking to get into teaching screenwriting in the Philadelphia area. As for the current state of their career, Martin seems to be in a pretty good spot. “I’m not rich and famous or anything like that,” says Martin. “But I am a working writer. That’s really what I set out to be. That’s something that so few people can say that they even get paid to do.”