There, they would form a human hallway while the room, still whirring with uncertainty, wondered which rapper would waltz through. The hype-man, reclaiming his role, demanded that the crowd get on stage. And as the music came to a screeching halt, the dimmed purple lights returned to a sterile fluorescent. Phones were held high, snapping selfies and locking in Snapchat stories. Bodies zig zagged from the dance floor to the bar and back, anticipating the next climactic moment. With time and increasing inebriation, the evening’s hip facade was starting to wear.
Tonight, high brow was courting hip hop, and so far, things were going smoothly. The audience was not far from what one would expect-a melange of Supreme store kids, hipster Brooklynites, and downtown fashionistas whose differences were easily settled as “Jumpman” played over the loudspeakers. Part of MoMA’s PopRally concert series, the show featured rappers Yung Jake and Lil Yachty, both internet sensations and hair trendsetters in their own right, and producer/rapper Sonny Digital. A weary and all-the-more eager hostess, NYC’s Museum of Modern Art was starting to realize that even cool could be a problem. Waiting for the DJ to drop a beat, they stood in packs, squeezed between multi-million dollar paintings. In the shadows, institutional eyes lingered, watching with clenched teeth as a mostly millennial crowd puffed, passed, and double fisted their way towards the stage. Paley Martin prefers George Bush’s celebrity paintings.
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