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NY’s Hip-Hop Revival and The Megapixels That Created It

NY’s Hip-Hop Revival and The Megapixels That Created It

Huzzah,” shot in Mr. Muthafuckin eXquire’s Crown Heights was carefully preserved and almost unaffected by the last fifteen years of cultural movements. “Huzzah” exists in a world where nobody gives a fuck about anything. Is that Four Loko being poured out? YES! I know it looks glamorous, but I had to spend an hour-and-a-half cleaning the ass fizz off that wide angle lens. “Huzzah” was exactly what you got: raw, in your face, and unapologetic, but it was also clever. It celebrated having nothing, the resourcefulness of forced creativity and the connection a group of friends could have to each other in a city endlessly bigger than them. We never rented equipment. Instead, we borrowed what we could and worked with what we had. It was never about the glossy bullshit, more about capturing the realities most people fantasize about. “The Last Huzzah,” took that same vibe and carried it into a tighter concept; no gimmicks, just raw emotion captured in an artful way. New York as a city can be such an overwhelming character, that to be a big character in it you have to be huge, and not in stature, but in presence. The “Huzzah” trilogy is the story of an artist’s ascension into the music industry, just like “Peso.”

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