Welcome to the New York Times Pop Guys, the art could have kept it niche of music, music,

and criticism.

I am your host, John Caramonica.

We're going to talk about Jack Harlow, been wanting to do a Harlow episode for a while,

as you know, I interviewed Jack Harlow for a profile a few weeks ago, and I've been wanting

to circle back.

But every time I've been about to schedule this episode, some new thing has happened with

Jack Harlow.

It's been a bit of a up and down summer for Harlow, and so now that that seems to calm

down a tiny bit, we're finally coming back with a full episode.

So we're going to do two segments today.

First, Hunter Harris, Luresha Paul, we're going to be here.

We're going to talk about the Harlow album, the Harlow rollout, the Harlow charisma,

the Harlow meta-narrative, the marketing narrative, etc.

Just the big picture of how he is pitching himself and being pitched in this moment.

And then after that, Peter Rosenberg is going to show up, and we're going to talk about

the taxonomy of white rappers and where Jack Harlow fits in those narratives.

It's going to be a rowdy, uproarious, boisterous episode, and let's just get right into it.

At the top of the episode, you were listening to First Class, that's Jack Harlow's big hit

from this year.

It has been in a vengeful summer for Jack Harlow, which means an eventful pop cast for Jack

Harlow, which means Hunter Harris is here.

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