of Pop and his friends getting their entire life to Dua’s “One Kiss” in an expensive looking car on a sunny day.has also sparked more substantial conversations about the appeal and ethics of posthumous releases. Fans are concerned for the families of the fallen, and wonder about the extent of the rights holders’ care and generosity towards them. They’re also concerned about the integrity of the art without the artist there to guide it.
We do know Pop Smoke was well on his way to rap stardom before his death. His label head, Steven Victor, said he could see the rapper’s massive potential within just a few hours of meeting him. In 2019, Nicki Minaj hopped on the remix to Pop Smoke’s infectious breakout single “Welcome to the Party,” which was already gaining ground on its own, and the song got even bigger. In 2020, “Dior” became the unofficial anthem of uprisings across the country.
Hearing Pop’s disembodied voice snarling over Dua’s signature retro sound might be jarring, but only the people closest to him could have a sense of whether that moment is out of his character. We don’t know which collaborators Pop Smoke would have sought out, which risks he would have taken, and which ways he would have innovated. We don’t know how his vision for his career could have evolved. We can’t know. We’ll never know. It is one of the many tragedies of his devastating murder.
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