Wednesday, February 3, 2016
BOPPERS MEET DRILLERS UPTOWN: OR, CHARLIE AHEARN WAS JUST A GUY WHO OWNED A CAMERA AND PRESSED RECORD
Is there a name more misleading than Sicko Mobb? Sounds more like a horrorcore collective or an '80s hardcore band than some bubblegum boppin Willy Wonka weaboos. If bop was bizarro world drill, "Foreign" is its "Love Sosa." Tho I've since come around to Keef's bedroom-neanderthal minimal wave excursions on Back From The Dead 2, "Love Sosa" will always sound like a showtune sung by gay sailors about to partake in an old-fashioned maritime orgy. "Foreign" remedies that pernicious erotic association, infusing the lugubrious structure of the original with swag-rap superficials and the terrifying optimism of soca.
Chicago filmmakers missed their chance at immortality when no one made the bop-/drillsploitation Wild Style-meets-West Side Story the movements deserved. "Foreign" would be the product of a peace alliance, when the bop and drill crews—rendered in Warriors-style grotesqueness—decide to settle their differences and join forces. I can see it now: stonefaced drillers cuttin loose and boppin! Boppers holdin Teks and blasting caps at the sky! It's a moment that should belong to celluloid history. Now, however, it belongs to RAP MUSIC HYSTERIA!