Yet one more thing to add to the list of things that Dorrough has now done that his fellow rappers in the DFW scene haven't: Right there in the Sunday edition of the paper, Dorrough's debut album, Dorrough Music, received the review treatment from the New York Times.
And while it's not the best review ever--actually, it's kind of a slam (although, to be fair, as is the case with most modern, mainstream hip-hop, Dorrough Music's strength lies in its singles, not its complete album package)--it's worth pointing out that NYT critic John Caramanica is allowing the fact that, as we've been harping for some time now, this is indeed Dallas' time in the national hip-hop spotlight.
In fact, more than anything, that seems to be the point of Caramanica's review. Reads his introduction:
Every couple of years in hip-hop the party relocates. From Atlanta it went to Houston, then the Bay Area, then Miami, and then back to Atlanta. (New York? Not in ages.) During the last year and a half it's landed in Dallas, which has become an unexpected hotbed of post-snap-music dance-craze rap, thanks to Lil Wil's "My Dougie," B-Hamp's "Do the Ricky Bobby" and the GS Boyz's "Stanky Legg."
Caramanica goes on to say something that, again, we've already known: Dorrough's an important spoke in the Dallas wheel specifically because he's trying to take the city's music beyond its instructional dance phase.
But terming the genre as "post-snap-music dance-craze rap"? That's something new, for sure. And something I'm kinda upset I didn't come up with first. Dammit.
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