This year marks four decades of avant magazine the Wire. Throughout, the British publication has frequently if fitfully championed interesting rap artists.
Wu-Tang Clan’s second album, Wu-Tang Forever, elicits a discussion on the end of imperial eras. Plus, thoughts on Kendrick Lamar’s new album and a Fat Joe TV doc on A&E.
This week’s entry discusses Eminem’s induction into the Rock & Roll Hall of Fame, and a few nuggets from Ben Merlis’ oral history of the Juice Crew.
This week brings a new column: Opening Acts. The inaugural edition mulls over a GQ cover story on Future, Alchemist vs. Get on Down, and Godfather Don’s Hazardous.
The year marked the beginning of the second half of the “golden era,” when the genre’s greatest peaks and worst tragedies were just beyond the horizon.
The pair’s latest in a series of well-received collaborations is the hip-hop equivalent of cool jazz.
On his latest collaboration with DJ Pain 1, Sole delivers an anarchist broadside against global inequity and US hegemony.
As I spent the weekend revisiting Company Flow’s Funcrusher Plus, I began to wonder…what other records did I spin as an amateur DJ in 1997?
A 2021 “Gold Chains Edition” of Quasimoto’s 2005 album, with new artwork inspired by Sgt. Pepper’s. Note the name spelled out in bricks.
This memorial explores the many hip-hop voices lost in 2021. It focuses on the work they created in their lives, not the circumstances of their demise.
Year two of the pandemic felt unsettled and chaotic, with a dearth of vital artists who dictated the culture. Despite it all, good rap music still exists.
In the past two years, album covers for MidaZ the Beast and Mavi have drawn inspiration from Shel Silverstein’s 1974 children’s collection, Where the Sidewalk Ends.