Get Familiar With Ot7Quanny’s Apocalyptic Punchline Rap

Every now and then he’ll slap a filter on his voice, giving it the muffled effect of listening to a pilot through the intercom with unpopped ears. It’s so freaking weird, especially since this effect can last anywhere from a few seconds to seemingly forever. On “Dame Lillard,” his vocals fade in and out endlessly, and in between a barrage of whooshing ad-libs, his punishing one-liners sound as if they’re coming from inside a bomb shelter. His commitment to the gimmick was head-scratching at first, considering it’s probably just a simple knob turn, but now I’m of the mindset that all of his wicked punchlines hit so hard because it sounds like he’s submerged in a foam ball pit. 

So far this year, Quanny’s tracks have bloomed from filter-heavy punchline wizardry to complete doomsday affairs, replete with ominous, Book of Revelations-type beats. Check “Press That Button,” featuring a spooky vocal sample that should be in the background of one of the many scenes of suffering and torture in Passion of the Christ, or “Power” which is eerie enough to make gargolyes carved out of stone come to life.

Meanwhile, Quanny pushes his punchlines to the edge, extracting as much color out of them as possible. He’s not just “selling white girl,” he’s “selling white girl Mariah Carey, yeah this that heartbreaker”; he doesn’t just have big bills in his pockets, his “pockets all blue, look like the sisters off The Proud Family.” His words of advice might even come packaged with a rehash of a scene from The Godfather: “Just ’cause we blood don’t mean I trust you, Uncle Ice shot Sonny.” It’s dark but exciting, referential but original. On my next train ride, the crowd he draws might be even bigger. 

Kendall Roy’s five favorite Jay-Z songs, probably 

I’m not going to lie, my interest in Succession was fading, until the opening seconds of last Sunday’s episode reawakened it. Over a shot of the Manhattan skyline, Kanye West’s beat for Jay-Z’s “Takeover” sets the scene, which shifts to Kendall Roy in the backseat of his car with shades on, slightly nodding along to Jay announcing, “R.O.C. we runnin’ this rap shit.” It makes so much sense that Kendall is a Jay fan! Not only because he is literally in the midst of possibly taking over his family’s company, but because he’s definitely the type of nepo baby who would identify with Jay’s mogul raps, or at least view them as aspirational. You can just tell how much he’s feeling himself when listening to Jay. Here are the five Jay-Z songs that I’m convinced Kendall would love. 

“Diamonds From Sierra Leone (Remix)” 

He definitely has an office wall with “I’m not a businessman, I’m a business, man” painted on it in the Futura font. 

“Show Me What You Got” 

I just know he’s a Kingdom Come guy. He probably has some memories of living like Ray Liotta in Goodfellas when this dropped. 

“Niggas in Paris”



He’s probably self-aware enough to tell people that he prefers the Black Album version of “Encore,” but you just know he’s letting this rip when he’s all alone in the penthouse. 

“Family Feud” 

The pro-billionaire raps make him feel seen, and the Black excellence bars make him feel progressive—though he would probably fire all the Black workers at the company if he got the chance. 

Throwback rapper movie corner: Master P’s I Got the Hook Up (1998)

None of the movies that were inspired by Ice Cube, DJ Pooh, and F. Gary Gray’s Friday understood what made the original work, not even the sequels themselves. Yes, Friday is extremely goofy, but it’s also got heart, and it captures both the wacko shit and the normalcy that can occur at any time, sometimes simultaneously, in South Central Los Angeles. The sequels are all wacko shit and stereotypes, though, and so is I Got the Hook Up, Master P’s No Limit-produced 1998 knockoff starring himself and comedian A.J. Johnson. 

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