The Rap Media Cannot Be Trusted

I’m pissed. When I go to the grocery store or a bookstore and I browse the magazines section, nine times out of ten, there are two hip hop magazines and that’s The Source and XXL. Two magazines to represent a multi-million dollar industry and a music genre that has been around for almost 25 years. On top of that, I think of the notorious “greatest rappers alive” debate and I realize something. All of the people who are deemed the “greatest rappers alive” are signed to major labels, featured in the big hip hop magazines and consistently receive album reviews in these same two magazines year after year.

In addition, the biggest hip hop magazines are corporate owned. Almost all of the up and coming rappers that they endorse are signed to corporate major labels. XXL (*which is owned by the corporation Harris Publications, the same publisher that publishes guns and ammo magazines. XXL also owned Scratch; they own Shade 45, Hip Hop Soul and Eye Candy. Shade 45 was initially designed to put a spotlight on Eminem and his label Shady Records. Eminem is regularly featured in XXL) has an issue dedicated to “unsigned hype” and the “freshman class” of rap. The articles within this particular issue are designed to put a shine on new artists. However, the majority of these artists are signed to major labels and they seek to further their labels’ interests as much as their own. Because if they don’t serve the labels’ interests, their albums might end up in rap record purgatory and who knows when the record will see the light of day.

So what have we gathered? There are two popular hip hop magazines that reign supreme, they’re corporate owned and they back major label artists. These magazines creates a buzz around artists that have big money behind them. As a hip hop fan, what can I personally infer from this?  I don’t know…I’m actually confused. Last time I checked I thought rap and hip hop was music about giving the little guy a voice. Yet, I don’t even see the little guy being invited to the conversation. However, I will tell you what I do see.

I see rappers compromising their values and music so they can be signed to major labels and get a taste of  the “the Source hype.” I see fans having intense debates over who the greatest rookie emcee is, but their entire lists are comprised of corporate artists signed to corporate labels that back corporate interests and not hip hop’s interests (sorry Drake and Weezy). Moreover, I read about talented rap artists like Clipse getting in bed with labels like Columbia Records even after their last major record label burned them. They do this because they genuinely want to be considered some of the best rappers alive, but think they can’t do it without the rap corporatocracy.

I feel it is obvious that a corporatocracy exists within the music industry, but what is less obvious is that as this corporatocracy has gained power and expanded its jaws – now other music genres are being affected by it. Hip hop fans have complained about the quality of the music for years now, but do they ever stop and think about how there were only two magazines that dictate the status quo in the industry? How independent artists like Jean Grae and Moka Only have been releasing great rap records for years, but won’t receive any credit. This is not because they lack talent or an image, that’s a fabrication. They don’t receive shine because they aren’t signed to major labels. Do hip hop fans think about how the same stale and revolving list of names enters the debate when we discuss hip hop and rap? This is because hip hop and rap fans do not realize there is a rap corporatocracy and they feed into it on a daily basis.

So what is a rapper to do? If I was a rap artist, I’d be sick. I could work my ass off with the ambitions of being featured in The Source or XXL, all in the hopes of being considered “legitimate” in the eyes of my fans. I could also sign to a major label, where who knows what kind of crazy demands, loopholes and negative backlash could ensue. Moreover, I could hire the world’s best producers, make the most radio friendly music possible, change my image and still not sell enough records to compete with rappers higher up on the corporate food chain (Wikipedia Wale). The only thing that would have changed is that now I would be in serious debt to the major label. What kind of choices would I have in such a limiting environment?

Personally, I wouldn’t participate in the system at all. I refuse to support a system that is fundamentally steeped in backing corporate interests, practicing nepotism, withholding information from its consumer base, and in general releases a subpar product.  So what’s all the hype about? The punk rock bands got it, jazz artists understand, blues musicians get it (Country artists don’t understand yet, but they will in time once their genre has been raped and pillaged.) Yet time after time, I hear from local rappers about how they want to emulate Young Jeezy, Kanye West or Eminem. They feel they need to be signed to majors and featured in corporate run magazines in order to get their product out there.

People can say that the music industry has existed like this for years and things aren’t very different from how they were 15 years ago. I don’t care if things are the same, I want change and I’m writer so I’m writing about it. It is ridiculous for an entire music genre and industry to rely on the interests and decoys of a couple corporate owned magazines – the rap media cannot be trusted. Moreover, that’s just the tip of the iceberg because these magazines serve to further the interests of their masters.

Now I’ll be frank. I can give magazines like XXL credit because they do feature artists in a more candid light. They get these people to talk about their industry experiences and XXL has never openly bashed independent artists. But the fact that they’re one of two big magazines speaks volumes. Both the Source and XXL have a massive amount of pull in the hip hop industry. But I can’t make excuses for The Source, they are plagued with poor writers and nepotism is a large part of their journalistic culture. In general, these two sources are the beacons of light within the hip hop industry, but they’re allowed to run rampant – there are no watchdogs within this industry and the majority of the fans lack the information to do put two and two together.

If we’re going to see any kind of balance within hip hop and rap, the media has to take a stronger stance. We don’t need just independent rappers and rap movements, there has to be independent and grassroots grown media to report about it. We lack that right now and until people step up to the plate and start using their computers for more than downloading music - the rap industry will remain in a coma.

Here are some links to free-standing and independent hip hop media outlets:

Fader Magazine – http://www.thefader.com/

Ozone Magazine - http://www.ozonemag.com/

UGS Mag – http://ugsmag.com/

Murder Dog – http://www.murderdog.com/

Above Ground Magazine – http://abovegroundmagazine.com/

Wendy Day – http://www.wendyday.com/ (*very informative website, she has some great articles on the music business, HIGHLY RECOMMENDED)

*As an end note, I would like to add that this article may targeted towards hip hop musicians and their consumer base, but the information can be applied to all music genres. If you feel that there are not enough independent media outlets to represent your genre, do something about it. Start a local zine or magazine, create a blog, find local radio shows and programs that highlight your genre. The point is, get out there and start your own revolution.

The Real Music Business: A Love Letter to Ze Pequeno

Mr. Ze Pequeno, I am a regular subscriber to Tiny Mixtapes and I check your website every day. Tiny Mixtapes is one of my favorite music sites because not only do you write good album and film reviews, the site takes a more political approach than other music blogs. The minds behind Tiny Mixtapes recognize that there is a need to discuss politics and tackle gritty issues and I applaud you and your co-workers for your valiant efforts. Many of the articles you write are very credible and take strong stances on otherwise nebulous and cloudy subjects.

Ze, as I clicked on your article “Five Problems with the IFPI Digital Music Report,” my heart fluttered. I blushed and was prepared for yet another torrid and breathtaking affair with a Tiny Mixtapes commentary. However, what I read disgusted me and left a bad taste in my mouth as if I had ingested month-old rotten eggs.

In your article you discussed various parts of the IFPI Digital Music Report and provided harsh criticisms as to why it was a poor representation of 2009, blah, blah, blah. The point is you’re wrong on this matter and I’m going to tell you why. I’m going to dissect the solutions that you presented to the music industry, point out the fundamental flaws in your argument and turn the mirror on you.

1. Stop selling records, start selling artists.

This is a wonderful statement and I totally agree with this. But wait, then you say, “The industry’s implementation of “360 deals,” which give labels a stake in every aspect of an artist’s business in return for managing and marketing those aspects, is a promising start, but more needs to be done in exchange for increased profitability.”

Wait – so you’re saying the 360 deal (which takes a cut of not only the artists’ record sales, but also cuts into their touring, merchandise, and promotional revenue streams amongst others) is the solution?! Artists were already paying back major labels on less than 15% of their entire revenue (the standard major label contract looks like this in the end; Major label 88%, Artist 12%) and now you propose that labels cut even deeper into their other sources of income and that will solve the artists’ problems. In addition, you said that, “more needs to be done in exchange for increased profitability.”

More, like how much more? Should recording artists just give in, put on some stilettos and skanky high shorts and parade around the track for more money for their pimps ie 360 deal contracts? Mr. Pequeno, a 360 deal is not the solution for artists these days. Giving someone else more control over all your sources of income is foolish in a day and age in which all the revenue streams are drying up. If you cannot control your own product through your own mediums and create your own branding reflective of whom you truly are, that is a problem in the 21st century music business. The key is to maintain control over your intellectual property and utilize labels for what you need out of them, it’s not the inverse. A simple distribution deal can be much more beneficial for an artist who has already invested time in building up their product and brand and targeted it at the right markets.

2. Let the customers decide how they want to pay their artists.

I read this and immediately a red flag popped up in my mind. Let the customers decide how they want to pay their artists hmmm…they won’t pay anything.

Mr. Pequeno, we live in tough times and purchasing cds, going out to the movies, eating out on the weekends, those are all luxury items/purchases. Some people really do have to make the decision of whether or not they can purchase lunch for the day or buy their favorite artist’s cd.

But I will admit, I am cynical and jaded. However, my cynicism is steeped on the grounds of fact and true evidence. If someone can get something for free and not pay for it, they will do it. If they can find a 320 kps mp3 online that has the same sound quality, music, and even the record information encoded into the track, they will download that track without a moment’s hesitation. Few people have the integrity and common sense to view their favorite artists as not just entertainers in this separate realm of pop culture aside from the real world, but as hard workers and vendors who have to utilize the world of business and commerce in order to make a decent living and get their music out to the masses.

You criticized and belittled Stephen Garrett, the executive chairmen of Kudos television, for saying that piracy and illegal downloading has killed the jobs of electricians, drivers, carpenters, and the common man. What do you think most musicians are doing for a day job and primary source of income aside from their music?

To make matters worse, you used the notorious Radiohead/NIN model as a shining beacon of how fans will pay loads of money for music and it’s all based on personal choice. Too bad Radiohead and Nine Inch Nails initially relied on and heavily profited off the old music business model. If I was Thom frickin Yorke of course I would let my fifty million fans decide how they want to purchase my music. If I only receive sales from 10%, that’s still five million fans! Do you think Joe Schmoe has five million fans or even 1500 fans?

3. Release materially digitally when it’s done

I can’t complain with this clause too much, you do make a good point. Nonetheless, an artist’s album can be leaked by numerous sources aside from the artist themselves. All it takes is one greedy, overzealous studio intern and your album is leaked all over the streets. Half the time it’s not even the real tracks circulating the web, it’s old and unreleased material or just fake tracks period. You can browse Youtube for ten minutes and find all kinds of phony, fraud tracks. In these cases, the artist is not releasing their material prematurely, but someone else who has uploaded the track.

Overall, if an artist releases something digitally when it’s complete or unfinished, it won’t matter once everything is turned into an endless string of zeroes and ones. The minute that record hits the digital market, anyone can turn it into a bit torrent and upload it onto any system that has an Internet connection and a hard drive. In essence Mr. Pequeno, this is not a solution because it does not address the real issue at hand. It’s a temporary band-aid at best, but nothing more.

You made a few other outlandish and ignorant comments in your article, but I won’t bounce off of those just because this article would end up being too long-winded and honestly it’s a waste of my time.

Mr. Pequeno, I wrote this article because I had to. I understand your vantage point, but your strategy was flawed upon conception and your delivery was shoddy. You paint this picture of the music business being run by greedy corporate pigs and rich wolves out for fresh blood (btw I have met several artists operating at the local/DIY level who are just as self-involved and egotistical as major label CEOs). There are some aspects of the music industry that certainly reflect a more corrupt and insidious nature, but the entire industry does not reflect that.

Record labels were started to sell records and that’s it. They were not designed to handle the booking and promotional aspects of an artist’s tour or coming up with creative merchandise to sell an artist as a brand or product. They did all of these things to fuel sales of the music and artists relied heavily on major labels at one point in time because they needed them for distribution. It was an era without convenient home recording equipment and readily accessible music technology, many of the older record labels owned and controlled elaborate studios  and musicians needed them just to record.

Mr. Pequeno, you have used the same irrational strategy that your opponents utilize consistently and I wonder if you even realize it. If you don’t, I’m telling you. Your “solutions” are not solutions, but quick ways for an artist to bury themselves six feet deep. You stated at the end of your article that Tiny Mixtapes is a small music blog and probably won’t make much impact on the music industry. I’m no journalist, but I recognize that this is not true. One should always be selective about their choice of words, but especially when they’re posting a think piece online to be viewed by all of the world. It doesn’t take a bachelor’s degree in journalism to realize that.

I’m not going to provide any counter solutions to your “solutions” in this particular piece. I may do that later on down the line, but for now realize that what you say and post via a legitimate music blog should not be taken lightly. Put some genuine thought and charisma into your articles, prove to me as the reader why your points are valid and don’t recycle impractical statistics from useless sources to make your point.