MIXTAPE MAGAZINE
Fall 2020
Issue I
The Digital Issue
SPECIAL FEATURES:
A Timeline of Kick-A** Women in Hip-Hop Ghostwriting: Should We Really Care? A World With No Genres
Us
MIXTAPE HEAD OF DIGITAL CONTENT Jordan Rose
WEB EDITOR Camryn Simon
EDITORIAL Alex Leventhal Ayana Herndon Devyn Imholt Haniyah Philogene Jennifer Bancamper Patrick Nash Spencer Jones Tara Bolosan Yasmin Tiana
DESIGNERS Alyssa Chang Jack Lipkin Lucinda Strol Mira Dandiker
SOCIAL
IN THE ISSUE Jennifer Bancamper Writer, “A World with No Genres” Jenn is a recent grad who spends most of her time writing, reading, and taking photographs of anything she comes across.
Tara Bolosan
Writer, “A Timeline of Kick-a** Women in Hip-Hop”
Tara is born and raised in California. Typically, she’s playing music in her room and dancing around or drinking a cup of coffee. She joined Mixtape to share her love for hip hop. Tara has really enjoyed learning and working with all of the talented individuals on this team!
Jake Apostol Warren Dixon
Jack Lipkin The views expressed in this magazine are that of Mixtape. However, we are always open to critique and feedback. Feel free to reach out to us at mixtapemagsu@gmail.com with any suggestions or Spotify playlists.
Designer, “A world Without Genres,” “Evolution of Music Discovery”
Jack is a senior in comm design! :~) 1
ISSUE LOADING... Feel free to stream Good News while you’re waiting 2
GHOSTWRITERS: SHOULD WE REALLY CARE?
5
A WORLD WITH NO GENRES A TIMELINE OF KICK-A** WOMEN IN HIP-HOP EVOLUTION OF MUSIC DISCOVERY
7
HIP-HOP: THE GOOD, BAD, AND UGLY
9 15 17 3
2020 HAS BEEN A YEAR OF MANY “FIRSTS,” BOTH GOOD AND BAD. THIS YEAR WAS THE FIRST TIME OUR GENERATION HAS HAD TO DEAL WITH A GLOBAL PANDEMIC. IT WAS THE FIRST TIME WE’VE HAD TO TRANSITION FROM DAY PARTIES AND CONCERTS TO VIRTUAL CLASSES AND SOCIAL DISTANCING. BUT, THIS YEAR WAS ALSO THE FIRST TIME A FEMALE ARTIST COLLABORATION SHATTERED THE SPOTIFY STREAMING RECORD WITH CARDI B AND MEGAN THEE STALLION’S “WAP,” AND MEG AND BEYONCE’S “SAVAGE,” REMIX GIVING BOTH ARTISTS THEIR FIRST NO. 1 PLACEMENTS ON THE BILLBOARD HOT 100 RAP CHARTS. SO EVEN THOUGH 2020 HAS BEEN PRETTY ASS, THERE HAVE BEEN SOME BRIGHT SPOTS. OH YEAH, AND MIXTAPE MAG’S FIRST EVER DIGITAL ISSUE HAS FINALLY ARRIVED. IT’S LIT. OUR DIGITAL TEAM IS A SPECIAL ONE, GROWING FROM A TINY FAMILY OF FIVE TO A FINE-OILED MACHINE THAT IS CAPABLE OF PUTTING OUT CONTENT LIKE THIS. EVEN AMIDST A GLOBAL CRISIS, WE GOT IT DONE. THE STORIES YOU’LL BE READING ARE A RESULT OF MONTHS OF HARD WORK, RESEARCH, AND A LOT OF DEBATES ON WHY JAY-Z IS THE GREATEST RAPPER ALIVE (EDITOR'S NOTE: KIDDING ABOUT THE LAST PART, BUT HE IS).
WE’RE MAD SENTIMENTAL, SO BEGINNINGS AND ENDINGS MEAN A LOT TO US. DESPITE OUR COLLEGE CAREERS COMING TO A CLOSE, WE THINK THAT THIS INAUGURAL ISSUE IS THE BEGINNING OF SOMETHING REALLY BEAUTIFUL, AND MARKS AN IMPORTANT MOMENT IN MIXTAPE MAG’S PROUD LINEAGE. WHO WOULD’VE THOUGHT THAT A LIL MAG FORMED BY SOME FRIENDS WHO LOVED DOPE MUSIC WOULD BLOSSOM INTO HAVING ITS OWN, FULL FLEDGED DIGITAL ISSUE. WE’RE STILL THE PHYSICAL MAGAZINES ANNOYING LITTLE COUSIN THOUGH, SO JUST WATCH US AS WE EARN OUR STRIPES. ANYWAY, THAT’S ENOUGH CHATTING FROM US. ENJOY MIXTAPE MAGAZINE’S DIGITAL ISSUE VOL.1. THERE’S A FIRST TIME FOR EVERYTHING.
WITH LOVE,
JORDAN & CAM 4
Ghostwriting
S H O U L D
W
D
espite the many eras of hip-hop, the one thing that most fans would agree defines an MC is lyricism. Whether it’s the sociopolitical rap of Public Enemy, the sharp, whitty bars of Big Daddy Kane and KRS-One, the smooth flows of Biggie and JAY-Z or the melodic anthems from Drake, lyricism has always been a focal point of the genre. While this has remained constant, the importance of an artist’s authenticity is fading as it relates to writing their own lyrics. The long-running ghostwriting debate seemed to finally spark in the summer of 2015, when Meek Mill took to Twitter to expose Drake for using an uncredited artist, Quentin Miller, to write his verse for “R.I.C.O.” Upon hearing the news, the hip-hop community was divided. While many fans felt like the ghostwriting discredited Drake as a great artist, there were also many who were not surprised, or who didn’t seem to care at all. Since then, countless other big-name artists have been exposed for using ghostwriters including Kanye West and Travis Scott. The truth is, ghostwriting has been a factor in hip-hop since the very beginning. It’s only now, in this “new wave” of rap, that certain artists are able to get away with it and others scrutinized. More and more artists are using cowriters, writing teams, and straight up ghostwriters. So why do we even care?
The truth is, we shouldn’t. The current state of hip-hop has proven that lyricism is not the only factor that determines an artist’s creativity or skill, yet some fans are not ready to admit that. Ghostwriting has been an important part of hiphop since the very beginning. It dates back to the first rap song ever released, “Rapper’s Delight” by The Sugarhill Gang. Released in 1979, the track includes a verse that was stolen directly out of Bronx rapper Grandmaster Caz’s notebook without credit.
5
W E
R E A L LY
Throughout the 80s and 90s, artists like Nas, Biggie, Big Daddy Kane, and JAY-Z were involved in ghostwriting, both writing rhymes for other artists and using uncredited writers for their own songs. Despite how frequently these artists used ghostwriters or wrote for other artists, most of this information was not revealed until decades later. But, despite knowing that a timeless classic like “Still D.R.E.” was written by JAY-Z and not Dr. Dre himself, we can still appreciate Dr. Dre for his production skills, his presence on the mic, and his ability to bring the best out of other artists. We’re no longer in the battle-rap era. Instead, this year was filled with Verzuz battles on Instagram live, where artists duked it out hit-for-hit. These battles were not about an artists lyrical ability on the mic, but rather their ability to make enjoyable music as a whole, which says a lot about the current direction of the genre. Although it is time for hip-hop fans to accept that ghostwriting is a permanent part of the genre, there is one thing that is holding them back. With artists like Drake and Kanye West, both have previously boasted about their lyrical ability, referring to themselves as “legend” and “God,” respectively. As a true hip-hop connoisseur, you would expect an artist who is so confident in their skills to write their own music. This is why so many fans were shocked when it was revealed that Drake had been using Quentin Miller as a ghostwriter, or that Kanye had been working with Pardison Fontaine and countless other songwriters. But when it comes to artists
like
Travis
Scott,
C A R E ?
Written by Alex Leventhal Illustrations by Mira Dandiker many would agree that his appeal is his aesthetic and his craft, rather than his lyricism. It’s no secret that Travis doesn’t write all of his music—his 2018 album ASTROWORLD has writing credits from CyHi The Prince, Frank Ocean, Juicy J, and countless others. Despite Travis openly using co-writers and being exposed for using uncredited writers, there has never been any sort of backlash from his fans or the hip-hop community. It seems like in order for ghostwriting to be accepted in rap, artists themselves need to stop boasting about their lyrical abilities if they aren’t going to be open about who is writing their lyrics, especially in a time when information is exposed so often. The fans want an authentic artist, regardless of whether or not they are writing their own lyrics. Ultimately, ghostwriting has always been a part of the genre, and it always will be. Artists are going to continue using uncredited writers on their songs whether we like it or not, but it’s up to the fans to decide whether or not we care. While many fans may not want to let go of the old ways of rap, artists should be appreciated for their many talents besides lyricism. Regardless of who the artist is, ghostwriting is a part of hip-hop that many fans need to learn to accept.
6
A World With No Genres
Artists are becoming less and less concerned with labels and expectations, so we have to ask: are genres even necessary anymore? Written by Jen Bancamper | Illustrations by Jack Lipkin
T
he ways in which we characterize music can often influence how we perceive it. When something is assigned a label, we naturally associate it with the defining characteristics of that label. Music genres are no exception. By placing labels and perceptions onto genres, we automatically give form to specific sounds and energies. As listeners, understanding genres helps us understand our taste and style, but the same is becoming less true for those who make music. It’s understood that genres are meant to group the varying qualities of music into concise categories. As the music industry grew, genres became essential information in advertising and marketing. Music industry heads were able to better understand the listener and, therefore, sell music more effectively. To this day genres are used to maximize user experience and feed us the music we’re guaranteed to love. But as time passes and musical creativity expands, genres offer little to no room for experimental musicians or growth. Musical artists are bound by genres, and many contemporary performers surpass the fixed identity that genres assign. Among these contemporary artists is Tinashe, a singer often branded as an “R&B girl.” Though many know her as an R&B artist, that label was placed on her by the industry and was never self-imposed. She recently shared her experience being placed into a genre with Rolling Stone, saying: “When I
first came on the scene ,
I
felt a
real aversion to being labeled as like a new
R&B
girl .
Not
because
I
didn ’t love
R&B,
but because
I
could see , especially within my own
label , how different the team operated that was marketing [and] pushing the urban department at the company, and how it wasn ’t the same department that was pushing the pop acts . were the stages
That
I
wanted.
was the radio station
I
Those
wanted.”
For an artist who isn’t inherently attached to the genre they’re assigned, making music can become a challenge rather than an expression of self. Artists who are ready to evolve and experiment with their sound can experience feelings of isolation or fear when they delve beyond their genre’s boundaries. And because the industry relies heavily on genres to market music, an artist may be inclined to conform their art to fit the standards of the genre to guarantee sales. The way a certain genre is marketed or distributed limits the scope of that artist’s reach and potentially forces them to alter their art –– something no artist should ever feel pressured to do. Genre is a description, not a standard. There are artists whose works live in between, and trying to place them within the confines of one is undoubtedly disingenuous. Take Lil Nas X as another example. He blew up last year for “Old Town Road,” a song that lived in the minds of many rent free when it dropped. The original song blends hip-hop and country in a way that suits listeners of both. That’s saying a lot for two genres that are sonic opposites and generally despised by opposing audiences. Its success was immediate and inarguable, and yet, Billboard refused to place it on the country charts. According to them, the song’s musical elements did not fit the standard elements of the genre. The song only returned 7
to the country charts when Billy Ray Cyrus hopped on the remix. No changes were made to the musical composition. But when it was just Lil Nas X, Billboard couldn’t imagine it being anything other than hip-hop. There’s no doubt that R&B, hip-hop, and ‘urban’ are general umbrellas imposed on whatever music Black artists are making. Inherently, these labels are associated with Black and brown identities in music because they originated and grew from Black communities. Commemorating their origin is essential, but these labels have been exploited as a means of segregation. It’s easy for a non-Black artist to fit within R&B or hip-hop. But a Black person who makes music outside of R&B and rap is often still associated with these labels, despite their sound reaching beyond them. Tyler, the Creator expressed this sentiment well in his acceptance speech at the 2020 Grammys. When IGOR— an album that fuses genres beautifully—won Rap Album of the Year, Tyler let the Recording Academy know why it’s genre placement was an issue. "It sucks that whenever we, I mean guys that look like me, do anything that's genre bending or that ’s anything , and
they always put it in a rap or urban category.
A nd I
don't
like that urban word, it's just a politically correct way to say the when
I
N-word
to me .
hear that,
I'm
So
just like
why can't we just be in pop… half of me feels like the rap
nomination was a back- handed compliment.”
While Tyler expressed his gratitude, his response made light of an issue that the music industry and the Recording Academy needs to address. Though he started as a rapper, Tyler’s music fuses genres like
pop, alternative, and R&B with hip-hop, making it a luminous example of genrebending. Forcing IGOR or any Black artist’s genrebending work into ‘urban’ is dismissive, inaccurate, and a clear sign that the industry favors labels over the music itself. As of June 2020, the word ‘urban’ has been eliminated from music industry terminology. This was done in response to the revival of the Black Lives Matter movement in mainstream consciousness and the pressure placed on companies to do better for the Black community. It’s safe to say that the removal of the word ‘urban’ is not only ridiculously delayed but also performative. Eliminating the use of the word only works to avoid the necessary conversation about why it’s problematic. It does nothing to change the restrictive nature of genres. It does nothing to address how it's been used to reduce the quality of Black art. It does nothing to address the lack of recognition and acclaim that Black artists deserve. None of this is to say that music existing within the confines of a genre is any less valuable or impressive. During a time when the saturation of music and its accessibility is at a peak, genres offer guidance in discovery. But it’s precisely in this age of peak accessibility that genres don’t make much sense for musicians, as artists are now inspired by sounds all over the world. Music is circulating faster than ever, and more artists are inclined to build upon the things they hear, further blurring the lines between what a genre is and isn’t. We have access to music all over the world now. Foreign artists can be discovered with a few clicks on a streaming service.
In an increasingly genreless musical landscape, it’s imperative to ask: do we still need genres? Kevin Muldoon, a musician and instructor in the Setnor School of Music, doesn’t foresee genres gaining importance. As a musician himself, Kevin knows firsthand how restraining they can be. “It’s fun to see all the growingly nuanced names for things but even then, it can be difficult to place yourself in a box.” he told me. In our conversation about the music industry, we agreed that genres are less crucial for artists and more useful for marketers. The easier it is to place consumers into a box, the easier it is to sell to us. But with steady releases of genre-bending projects, it seems that genres are becoming less essential for listeners as well. Our music landscape is always evolving, and the changes we’re experiencing are resistant to the restrictions of genre. Some of that is active resistance to the racial implications of genre placement, and some of it is just musicians creating new sounds from what they’ve been given. The genre has become unnecessary to the artist and the listener, and seems to have stuck around for the benefit of the industry. I don’t know where the music genre is headed, but I know we won’t see a resurgence of its value in the near future. Similar to the generation that’s tuned in, music is no longer concerned with labels and expectations. Many artists are less concerned with what their music is ‘supposed’ to sound like, and as music lovers, I hope we’re all receptive to these creative forms of self-expression. If music keeps going the way it’s going, a world with no genres might be the most infinitely expressive world we need. 8
A Timeline of Kick-** Women in Hip Hop
A Timeline of
Kick-A** WOM
A brief list of women who are taking this m
Written by Yasmine Tiana and Tara Bolosan Illustrations by Lucinda Strol
9
MEN in Hip-Hop
music industry by storm.
10
A Timeline of Kick-** Women in Hip Hop
H
ip-hop has been a male-dominated industry since, well forever. However, throughout the years the women have been running the show, weaving their words into the hearts of music-listeners across different languages, genres, and cultures. This is in spite of sexist gatekeeping by their male peers and label executives. But 2020 has been different. With an influx of women rising to the top of rap, this year has proved that women in hip-hop can coexist and still amass major success. Here we’ll be highlighting few of the most influential women in hip-hop right now, and explore the scope of their influence, and the result of their impact throughout the years.
Nicki Minaj Since Nicki Minaj’s arrival on the scene, she has dominated not just rap, but the entire music industry, breaking countless records and barriers. The self-proclaimed “Queen of Rap,” Minaj’s run in the game has solidified her legacy. She has always been extremely vocal about the treatment of women in the industry as well. In fact, in one of her most iconic verses, Nicki single handedly annihilated three of her heavyweight male rap counterparts. “Monster” by Kanye West, featuring JAY-Z, Rick Ross, and Bon Iver, marked the moment in rap history where critics had to stop pretending Nicki Minaj wasn’t one of the greats.
In 2017, Minaj tweeted “any field, women must work TWICE as hard to even get HALF the respect her male counterparts get. When does this stop.” She is constantly berated, with people criticizing her style, lyricism, and incorrectly saying that she only knows how to talk about her “pussy.” However, it’s evident Minaj was the blueprint for many artists who’ve followed her.
“By fighting for women's rights in and out of music, she’s paved the way for a flux of rappers to speak their truth and gain respect for their bars, regardless of their gender.”
Cardi B
Cardi B’s rapid rise from social media personality to chart-topping rapper cannot go understated. Her arrival on the scene was nothing short of iconic.
“The rapper’s transition from just a “regular degular schmegular girl” from the Bronx to an international superstar seemed almost instantaneous.” 11
However, Cardi B’s rise to the top was very calculated, seemingly organic, what some even described as “The New American Dream. ” What makes it that much more inspiring is how we were able to watch it all, as well. We saw Cardi join the cast of Love and hip-hop New York and request DJs to play her records only to be denied, and laughed at. Subsequently to conquer the charts with her No. 1 hit “Bodak Yellow,” truly embodying the energy to never stop grinding. Cardi B’s story is one to be remembered. The rapper’s rise shifted something. People became more receptive to multiple women inhabiting the rap space at once, and shortly after we began to see more and more women rappers entering the mainstream.
City Girls The industry tries to reinforce the trope that women cannot inhabit rap simultaneously, and harmoniously. In 2020 that statement couldn’t be further from the truth, especially with the presence of rap duos like the City Girls. JT and Yung Miami of the City Girls originate from Miami-Dade County, where they began performing at nightclubs, and stripclubs at the age of 17. They initially gained major recognition in the summer of 2018 with their uncredited guest appearance on Drake’s record “In My Feelings.” This song became the anthem of the summer, and quickly propelled JT and Yung Miami to success. However, shortly after they began garnering national attention, JT was arrested on charges of fraud. Yung Miami was left to hold it down in the rap game while JT was incarcerated, and she did just
that. On her first track out of prison “JT First Day Out,” JT raps, “ been a real bitch way before the fed case / Yung Miami held me down, that’s a bitch ace / And if a bitch try her, it’s a cold case.” When JT came home, the duo had multiple hit records, and a bigger fanbase than ever. They then released their second album City on Lock in June. Tracks like “Flewed Out” featuring Lil Baby, Double CC’s, and Friendly have been in rotation since its release. The group has proven that they have longevity and that nothing, even prison, can tear them apart. A true testimony to this new era of women rappers that we have ushered in.
Megan Thee Stallion Perhaps the best artist that embodies the spirit of abundance in the rap game amongst women would be Thee Hot Girl commander-in-chief, Megan Thee Stallion. Hailing from Houston, Texas, Meg has had one of the most traditional, and orthodox rises to the top of hip-hop in recent history. She blew up after a video of her dominating a majority-male Houston rooftop cypher went viral. Within months of the release of her video for “Big Ole Freak,” and strategic instagram promotion and organic interaction with her support base, Megan Thee Stallion was a household name. Before the end of summer 2019 the rising rapper had managed to land a collaboration with Nicki Minaj on “Hot Girl Summer” and even fellow H-town 12
A Timeline of Kick-** Women in Hip Hop
OG hottie Beyonce for their “Savage” remix that was loved by diehard hip-hop fans and TikTok-ers alike. In her quest to complete what Twitter called the “Stallion infinity gauntlet” she acquired her first No. 1 single with “WAP” featuring Cardi B. Megan Thee Stallion’s presence in the rap game single handedly dispels the notion that tokenism among women is what kept people interested. Women can cohabitate the rap game without having “beef,” and Thee Stallion serves as proof of that. All without even releasing a debut album yet, which has just released to critical acclaim. Can you spell I-M-P-A-C-T?
“Miss Whack’s use of visual projects is what makes her such an engaging artist to follow. She is reviving the life of visual arts accompanied with her music which is just talent in itself.” What sets her apart from other female hip-hop artists is her passion for visual projects. At first, her captivating visuals were criticized because they were seen as silly or just out right whack. For example, her first video “Mumbo Jumbo” is based on her real life experience of getting her teeth pulled. It’s just a bunch of sounds or mumbling words of her reliving her odd experience of going to the dentist. It’s safe to say we are loving her playfulness, showing us a fun, fresh side of her career that’s missing in many others at the moment.
Tierra Whack Miss Whack is a woman who has been told that “she is an artist that will be here for a long time giving amazing material.” Some have even said that she is “the best female artist in the game right now,” which just goes to show that she is genuine and in the industry because she loves making music, period. She takes on all the nitty gritty to execute the creative visuals that bring her stories to life. But, in her interview with Apple Music and Ebro, she tells us that, “she has the ability and creative drive to produce the content she knows she wants to share.”
Mulatto Welcome the Queen from da Souf, Mulatto. She takes pride in her southern roots, consistently thanking her hometown of Atlanta for making her the rapper she is today. Her fame is made possible because of her love and inspiration from Nicki Minaj, who paved the way for other female artists like herself. Mulatto grew up in an environment that welcomed her rap game. In her interview with HotNewHipHop, she goes in depth on what it’s like to be, “the first 13
female rapper to make it big from Atlanta.” There are so many rappers out in the game, but Mulatto paved her way by, as she states, “staying in her lane.” She took her moment to see what she excelled at and ran with it. She’s a young artist who is sticking with her truth to create dope content for music lovers all around. From Gucci Mane to Rihanna, Mulatto has received great praise for her power to spit bars. She is an up and coming female artist that is only on the rise. Stay in your lane babe, we can’t wait to see what’s in store.
Honorable Mentions
With Song Recommendations
Doja Cat
“MOOO!,” “Candy, Cookie Jar,” “Rules”
Saweetie “My Type,” “Pretty Bitch Freestyle,” “1 of 1”
Flo Milli Flo Milli Shit, ho, Flo Milli Shit. 20-yearold Flo Milli is perhaps one of the most promising women in the game right now. Flo Milli was just short of making this year’s XXL freshman list, but her project Ho why is you here is proof that despite this oversight by the folks over at XXL, she’s here to stay. Prior to this release, Milli garnered somewhat of a cult fan base with TikTok propelling her remix of Playboi Carti’s 2015 “Beef” to the charts. Her bravado, combined with a flow that’s refreshing and not over-saturated, primes the star for success. She raps, “They be like, ‘How she 19 with a coupe and the roof gone?’” Confidence oozes throughout the entirety of her project, from the visuals, to the lyrics, even the name of the project alone. Flo Milli is a force to be reckoned.
Armani Caesar “Nasty Girl,” “Yum Yum,” “Can’t Take Him Back,” “It’s Complicated”
JuCEE froot “Down in the Valley,” “Shake Dat Ass,” “Champion,” “Make That Money”
Rapsody “Cleo,” “Oprah”
14
The Evolution of Music Discovery
The ways we consume music has changed drastically over the years, and a lot of that can be owed to the development of the internet, here’s how. Written by Spencer Jones & Patrick Nash Illustration by Jack Lipkin
D
iscovering music is one of the most fun things for any enthusiast. The joy of finding a new artist is something that cannot be matched. The method for accomplishing this is constantly changing, especially as technology evolves every day. Initially, music, particularly rap, was sold on the streets. Artists would distribute physical copies of their work, and while this would mainly work on the small scale, it was difficult for an artist to make it out of their city, much less to the big stage with this limited capacity of distribution. Sure, radio play and word of mouth were definitely helpful assets, but music marketing was very limited until the popularization of the internet. When the internet took over, music discovery adapted too. Suddenly, there was an entirely new market to distribute and promote music.
With the release of popular portable music players, the game was changed, and the two biggest players in the early days of this major shift in the music industry were Napster and iTunes. Napster was incredibly successful from 1999-2001, with at one point over 80 million users, Life Wire cites. It was an online free-for-all where millions could share audio files that were designed to be able to convert to MP3 format. Since the format led to many copyright issues, the RIAA (Recording Industry Association of America) soon filed a massive lawsuit against the corporation. The RIAA won, and this, along with a lawsuit from the National Music Publishers Association, led to the demise of Napster. Napster was revived when a technology company named Roxio paid for Napster’s tech portfolio, brand name, and trademarks. Napster came back with a newer style, in which for $15 a month, a user could have unlimited access to Napster’s entire music library. The only catch was that the music could not be burned to a CD nor would the user have access if they ever terminated 15
their membership. Shitty right? iTunes, in contrast, rolled with the concept of paying $0.99 for a song, while being able to do whatever you please with it, such as burning it to a CD. The user could also have access to the download even if they ended their account. Napster’s distribution method is almost identical to today’s streaming services, but iTunes’ was more acclaimed in the early internet music days. While iTunes was the more expensive option, the unpredictability and volatility of Napster ultimately cost the site in the long run. As the 2000s continued, hip-hop expanded by the minute. As iTunes continued to be the primary streaming service for officially released music, there was a somewhat untapped market in distributing mixtapes. DatPiff, launching in 2005, became one of the leading forces in access to mixtapes. On DatPiff, anyone can download tapes for free. These tapes need to be backed by the artist or their label, but were accessible to anyone. Similarly, LimeWire was a site that promoted music distribution. Like early versions of Napster, many began violating copyright laws on LimeWire. LimeWire’s inability to regulate the infringing material on their website led to it being shut down permanently by a federal court in 2010. After the internet took over music distribution, artists and labels alike have opted more in the direction of albums over mixtapes, making sites like DatPiff less notable than many other modern streaming platforms. However, the communities built around these more humble releases are very strong with mixtapes still holding importance in hiphop culture. As platforms started to shift, music leasing services became more and more prevalent. iTunes was fazed out by Apple Music, with Spotify as its primary competitor. Although these services have become the go-to’s, one of the biggest platforms of the 2010s, particularly for rap music, was SoundCloud. SoundCloud has set itself apart from sites like Napster by being far more diligent against copyright infringement. SoundCloud came about in 2007, but didn’t see much popularity until the early to mid 2010s. But around 2015, the app took to new heights as a new style of rap became prevalent almost exclusively on SoundCloud. Artists like
Lil Uzi Vert, 21 Savage, and Lil Yachty became household names because of their activity on the site. There was less of a pressure to release properly mastered and cleanly edited music, so a lot of the songs being released were minimally mixed, poorly recorded, and featured blown-out, heavily distorted bass. It was, at points, what many hiphop purists considered disgraceful to the art, but evolved and became the new normal. The dark and dirty vocals resonated with people. The anonymity attracted many young listeners that felt personal connections with artists who were undiscovered. While its user base has dwindled, it is still notable for its occasional songs and features that aren’t available on mainstream services, and for the plethora of leaks and unreleased tracks that frequently appear on the site. The largest and most recent method of music discovery, outside of the streaming giants, has easily been TikTok. The audio and visual combination of the app makes for an effective way to market music, and with many people, especially young kids, eager to try the latest trend or dance, songs are helping artists get discovered left and right. Turning on the radio—an outlet for music discovery that becomes more obsolete by the day—will tell you that the majority of popular current songs got their fame from the app. TikTok lets musicians upload their own music and promote themselves as opposed to needing to appeal to radio stations to get publicity. It has put somewhat of a hindrance on music discovery, however, because popular songs are oversaturated on the app and can make it hard for smaller ones to break through. It’s a give-and-take situation, and shows how user demand can override larger industries. Music discovery is something that changes every year, as technology develops and updates methods of exposure. As music continues to change in format and style and genres begin to fade from existence, more and more niche music communities have risen. With more genres and artists flooding the internet than ever before, through the use of social media sites like TikTok, this growth and development will only continue. 16
Hip-Hop: The Good, Bad, and Ugly
Hip-Hop: The Good, Bad, and Ugly
Hip-hop is chaotic, so we dissected some of its biggest players and their factions.
Written by Devyn Imholt | Illustrations by Alyssa Chang
Cardi B
CHAOTIC GOOD
Whether its befriending Bernie Sanders or keeping it real about her relationship, Cardi is constantly in the limelight of the media for the right reasons. Cardi is in touch with her fame, she has a real connection with her fans and is able to respond to haters in a way that comes off as genuine and admirable (i.e her reaction to the IG nip slip). You would be hard pressed to find any rapper or celebrity who is as famous and unproblematic as Cardi B.
PUSHA T
CHAOTIC NEUTRAL
The best movies have a villain that you can empathize with. Pusha T is that villain. Often hailed in hip-hop circles as a legend in the craft, he has consistently put out quality music over the last two decades. However, Pusha is not one to back down, leading him to numerous beefs such as the unforgettable bout with Drake. Whether Pusha is good or evil largely depends on whether you thought “The Story of Adidon� went too far or not. This toss-up places him squarely into the category of neutral.
6IX 9INE
CHAOTIC EVIL
6ix9ine wanted to be the villain of hip-hop even before he sold out everyone he came up with. His ultimate plan was to come back from jail to be as big and annoying as ever, a plan that initially appeared to be working. However, everyone likes to watch a car crash. His kryptonite became evident after the spectacle wore off, denying him attention. By simply ignoring his antics, 6ix9ine seemed to disappear from social media, news rotations, and the charts all at once. One day his story will make for a good documentary, but for now, hip-hop is happy to see its biggest villain gone for now.
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