Jeff Cheng aptly described the period from which hip-hop was created as “The Bronx is Burning,” in his seminal work Can’t Stop Won’t Stop. During the seventies, the South Bronx was faced with high levels of unemployment, increasing gang violence, after school and music programs closings, and a mass exodus of middle and upper class residents leaving broken down tenements in their wake. This perfect storm of urban decay and negligence left many youths voiceless and anxious. Music provided young adults with an opportunity to speak for themselves, to document their own conditions without the censoring of the society that turned its back on them. Hip-Hop was the ultimate manifestation of this moment, the people, and the place.

Chicago shares many of the conditions found in the Bronx. Gun violence threatens the well-being of young adults of color on a daily basis, unemployment is rampant, and drug use created a lucrative industry that scores of dealers have taken advantage of. One could say that the Windy City is burning and it’s flames show no signs of quelling anytime soon. Therefore, it shouldn’t be surprising to see that America’s Second City is in the midst of a musical renaissance itself. Like the burning bush that led Moses to his destiny, the young men and women, who have not been consumed by the burning embers that surround them, are leading the hip-hop generation into uncharted territory.

Deafening 808’s steadily rattling unsuspecting cars and eardrums, hyperactive high hats anxiously fly through the four-four time, while young voices preach to eager listeners about the cold and criminal environment from whence they came—Chiraq’s Drill movement captivates all those who come across it, whether they are horrified by the realities, excited by the dark voyeurism it provides, or love it’s authentic street sound. It has already produced one of the biggest names in hip-hop, Chief Keef, who has been a topic of great debate since his single “I Don’t Like” became a smash hit, rocketing him to pop stardom and even being remixed by Yeezus himself.

Another key player in the scene, Lil Durk, has also been making waves as of recent.“Dis Ain’t What U Want,” the first single off of his Signed to the Streets mixtape, a hard hitting intimidating track that contains as much braggadocio as it does violent threats, took off rapidly. It has already amassed over eight million views on youtube and has even been played on major radio stations all across the country, including New York. With all eyes on him, Durk brushed off all of the pressure and continued to work on his latest mixtape, which has already been downloaded close to two hundred thousand times and been viewed over eight hundred thousand times. Barely 21 years old, and he is already making major moves and a name for himself.

“We just honestly working, Rondo and Lulu. Continually working, trying to make this a business so when I come back we can have bigger things,” Durk’s self sufficient attitude immediately became apparent. He is not about waiting for people to take responsibility for his brand, he shoulders it himself, whether his moves are successful or not. “We already shot most of the videos. We are just waiting to drop them. We are just trying to show the label that we working out here, so they buy in.”

“I take credit for what I do, I don’t take credit for what anyone else does.”