MTV News' writers deserved better than to have their work disappear. So did the readers and researchers who would benefit from this work being available. Music journalism erasure is a loss for the cultures we cover. What remains, and where it has pivoted, cannot make up for that.
I listened to "Family Matters" and "meet the grahams" for the first time back-to-back. Only one of those is a diss track; the other is video of Ghostface Killah standing in front of a stationary camera in a hotel room shouting death threats over a Teddy Pendergrass song
I don't know what these Bandcamp editorial layoffs mean for the future and character of Bandcamp Daily, but that publication has been a lifeline for so many independent artists, a rare outlet willing to cover non-major-label music to explore niches and nooks.
Rap beef is a distraction, you say? You really think that all these people enjoying a lyrical sparring match between major label music artists would otherwise be glued to the genocidal goings-on in Gaza or Rafah? You don't suppose those that do care have the capacity for both?
A truly talented and technically proficient rapper, without question, albeit one who hasn't made a listenable or enjoyable album since 2007. His gift and his curse...
I finally heard "Not Like Us" in a nightclub setting last night in Brooklyn. It was immediately following a fantastic performance by Long Beach rapper Seafood Sam. Then the DJ dropped the song and the room, which was already energized, transformed. Holy shit, Kendrick won this.
It would be amazing if the laid-off and/or freelance music journos could band together to buy a zombified media property like XXL or The Source and restore them to their former greatness. Done well, an employee-owned version of either of those could be rap's own Defector.
Most grievances & hand-wringing around the state of music journalism revolve around problems of coverage of the biggest stars and the most monied labels.
There's an enormous amount of music to cover outside of those. How can we, as writers and editors, focus instead on that?
Honestly embarrassing that P4K was too shook to give Armand Hammer's latest 'Best New Music.' You had them play your festival. You gave it to woods' last solo album. What are you afraid of? ELUCID is nice on the mic. P4K, shook.
Sorry, you won't find anything from Sony, Warner, or Universal on this list. What you will find are ten of the best independent hip-hop/rap albums of the year... so far. It's the
@cabbageshiphop
way.
I can't tell you how tired I am of reading tweets from people complaining about how there are no more music journalism outlets left.
They're not looking for them. They're not doing the basic work of participating in the discovery process. They expect it to come to them passively.
I see the jokes about Vice and all I can say is this: if you think it was all salacious headlines and "WE TOOK A DRUG AT AN EVENT" content, then you never really were much of a reader of the site or its verticals. I stand by my byline at Noisey and Thump.
Friendly reminder to all that
@cabbageshiphop
is going on 4 years and covers independent, underground, up-and-coming, and relatively unknown rappers every single week.
like it or not No Jumper is one of the extremely few places that covers up and coming rappers
dude has traction because every other outlet only lasts like a year and a half
Reading Steve Albini's 'The Problem With Music' in the 1990s was like finding a secret scroll, a verboten manifesto that made me realize some of my friends were probably already this fucked.
It's actually waaaaay more embarrassing for XXL that their editorial team *picked* a rapper who was too shook to rap in a cypher for its 2024 Freshmen list...
R.A.P. Ferreira (
@hipcatscience
) & AJ Suede (
@AJSUEDE
) don't mirror Raekwon & Ghostface Killah, per se, yet they nonetheless find unique congruity in their distinctly gifted approaches as the duo G's Us.
Read more in the
@cabbageshiphop
newsletter.
Younger writers like
@andrejgee
,
@Al_Peeair
,
@ariellenyc
, and
@CineMasai_
(among others) have been treating hip-hop/rap with the respect it deserves in this work. When we have the chance to elevate those doing it right, we ought to seize the opportunity.
They don't wanna pay artists for music. They don't wanna pay journalists to write about music. They deserve nothing but the worst, most corporatized soylent pop trash.
In the genre's corporatized 50th anniversary year, hip-hop/rap journalism is all-but niche now. The biggest genre in the world, relegated to craven gossip sites, toxic podcasters, the occasional NYT profile.
If anyone wants better, sign up for CABBAGES.
It's not some conspiracy on the part of UMG to orchestrate a rap beef to distract the general public from what Netanyahu and the IDF are doing in Palestine / occupied territories. UMG is interested in profit, and two of its artists having a high profile song battle is profit.
Who really thinks that Lucien Grange got Drake and Kendrick to agree to an elaborate back-and-forth on the eve of a Rafah incursion by the IDF? Nobody with any sense in their heads.
You wanna know a real distraction? Conspiracy theories.
Devasted doesn't begin to describe how I feel about losing Steve Albini. He's the producer (err, engineer) who almost single-handedly shaped my teenaged tastes in rock music. The first time I heard The Jesus Lizard's "Puss" in '93 it made me briefly forget Nirvana existed. R.I.P.
Nobody *really* needs a review to decide whether to buy a Diddy album in 2023, but the culture definitely would benefit from some sharp writers contextualizing and examining it in a format longer than a tweet.
Imagine a version of music journalism where we stopped chasing the superstars for possible scraps and instead graze on the countless artists dropping new music every week who aren't UMG/Sony/Warner's top priorities. Maybe we'd all be happier writers.
At least now we understand *why* Kendrick took "First Person Shooter" the way he did. Drake came to him for a feature, theoretically for that very song, when the two of them clearly had some issues that one of them wasn't ready to overlook without a sit-down.
So far in 2023, 33 albums have been deemed 'Best New Music' by P4K. Of those, two were rap albums. That's 6%.
P4K is one of the only outlets that consistently publishes hip-hop/rap album reviews of substance. Is the genre really so grim that only *two* were deemed great?
I know this is not some profound new argument. I'm on a soapbox that's well-worn and boot-scuffed, and my passion for the independent side of rap is known.
But at this point, P4K should take a hard look at why it undervalues hip-hop/rap compared to the other genres it covers.
The more I read this, the angrier I get. There was some tremendous work being done editorially at P4K, and gutting the team to shrink the brand under GQ (a publication with some good editorial, but a decidedly narrower demographic audience) feels like an especially cruel end.
I couldn't in good conscience let you go into Memorial Day weekend without some rap music recommendations. Here are ten albums you probably haven't heard--but you should...
Getting PR emails about media credentials for music festivals. Media credentials? What media? The music press can't prop your lineups up if we no longer exist.
It's honestly surreal to get press releases about albums right now from publicists now that P4K is all-but over. For indie rock, especially, but for a number of genres, it was the sole place you'd find a proper review for an independently-released album. Where to now?
(1) Practically all the music journalists got laid off. (2) Few of the "content writers" who remain are in a position to pitch such a story at their click-centric outlets. (3) I will mourn Discogs when it is gone.
Rockism sucks, sure...
... but it's wild that poptimism's endgame turned out to be:
(1) perpetual media fealty to stars for fear of fan reprisals
(2) late-stage capitalism horrors, like pairing JoJo with a Botox competitors as P4K sponcon
I'm assuredly late to the discourse, but:
(1) Pieces like this demonstrates how little the general public understands major label album rollout processes.
(2) When you opt not to pay to consume journalism/criticism, you get what you get.
(3) We all "digest" 2+ hour content daily.
Whether you love or hate Taylor Swift's latest album, there is no way to adequately digest its 31 songs and write about it within hours of its release, says
@jkarl26
via
@opinion
The fact that talented writer-critics have been institutionally sidelined by outlets so much that you're almost certainly getting most of your hip-hop media content from TikTok/IG clips of podcasters/personalities and their guests spreading unchecked disinfo/misinfo...
I've written for most music journalism/media outlets of note over the years and some dubious ones too but Spin was never one of them and given the Guccioni Jr. drivel I just read--him defending Wenner while bemoaning cancel culture--it was worth not pitching for that $150 check
Yes, the "big" music journalism outlets got gobbled up by venture capital vultures and left to rot by incompetent corporate types. But there are still smaller, independent ones to support. So do that. Do the work of finding them. Then tell your friends. Do that.
Listening to Sam's Town for the first time in over a decade and maybe I'll lose my music critic's license over this but it's a classic rock album in this house
There's an incredible hip-hop album dropping tonight. No, not Eminem. I'm talking about Jay Worthy and DāM-FunK. Read all about it in their
@cabbageshiphop
interview.
I gotta sit back and laugh at all these big corporate owned/backed music festivals cropping up or returning amid a decimated music media landscape. Who will prop up their shitty experiences with pre-event coverage now? Who will champion smaller artists on these bills? Good luck.
Every time I've logged into this wretched app this week, someone has declared some hugely successful rapper of the 1990s as underrated or under-appreciated and all I'm saying is maybe people who want their rap opinions taken seriously should stop just tweeting such nonsense.
You didn't think we'd end 2023 on a whisper, did you?
We got billy woods and
@BlockheadNYC
of
@BackwoodzHipHop
on the
@cabbageshiphop
podcast to discuss 1987's drama Street Smart.
Oh, and we got it all on video too.
ICYMI: in the latest
@cabbageshiphop
newsletter, I went long on G's Us while also reviewing the latest from Bruiser Wolf + Johnny Ciggs & Starr Nyce.
Give it a read and, if you like it, sign up for a subscription (free or paid). New editions weekly!
We all know by now these P4K scores are aggregates. Even if a review is well-written and engages positively or thoughtfully with the work, as the one for Diabetic Test Strips comes across, it frequently doesn't match the score. So whomst at P4K that thinks Armand Hammer is wack?
Pieces like this are great, and I think
@israelizreal
did a great job of identifying the problematic folks as well as the problem.
What I would love to see in pieces like this are more examples of hip-hop/rap journalists and personalities who are doing a *good* job.
“How did it get to this point, where so much of hip-hop adjacent media is becoming rooted in standard-issue reactionary politics &/or the cynical exploitation of the pain and death of the people who still create the music?”
@israelizreal
w the diagnosis
I've been running my own weekly hip-hop / rap music discovery email newsletter CABBAGES for over three years now, and also co-host a podcast where I talk with rappers about movies. It's free to subscribe, with paid tier options for those who want more.
Here I'll get you started.
You like rock and punk? Try the rebooted CREEM
More into independent hip-hop and rap? I've got you covered every week with CABBAGES
Here's a bigger, curated list by
@JoshhTerry
:
This is one of the weakest Drake raps I've ever heard. Punchlines are cringe and lazy. You expect more from someone angling for GOAT status. Happy for Conductor Williams, though. Solid beat.
this is
@rocmarci
, this is
@WESTSIDEGUNN
, this is an entire wing of indie rap
people talk about their influence &you might think theyre talking to talk...
but then the two biggest rappers in the world lead off their albums with soulful beats with sparse drums
After that pitiful performance last night, the Democratic establishment needs to stop pretending that it's the American Left that's going to cost Biden the election.
We brought defprez rappers
@defcee
and
@CRASHprez
on the
@cabbageshiphop
podcast to talk about White Men Can't Jump 2023.
Jack Harlow fans, you have been warned...
I guess if you're the kind of guy who simps for rich entertainers when they bemoan "cancel culture" and claim to be "silenced" by the P.C. mob then 'The Death Of Slim Shady' is probably, exclusively for you
Part of running a successful movie podcast is matching the right guest with the right film.
That's how we ended up with Open
@Mike_Eagle
on 'Paid In Full.'
Full video here:
I hate mid-year "Best Albums So Far" coverage. It just reaffirms these publications' obvious major label biases and consensus blinders.
So for
@cabbageshiphop
, I put together a list of 10 great hip-hop/rap albums you probably haven't heard yet this year.
There's been a number of interviews with some excellent rappers and producers in the
@cabbageshiphop
newsletter recently. Here are a few you may have missed:
Jay Worthy & DāM-FunK
(1/3)
When it comes to talking with rappers about movies that star other rappers, nobody beats the
@cabbageshiphop
podcast.
This week: Open
@Mike_Eagle
on 'Paid In Full'
Watch full episode video on YouTube or listen to CABBAGES wherever you get podcasts.
Honestly, I get it. People see a photo on a social profile and extrapolate what they want from it. They don't realize who took my photo (Mike Miller, who photographed 2Pac, Eazy-E, Snoop) or anything about me (Latino, born/raised in Queens, grew up 2 blocks from N.O.R.E., etc.)