By 1990, hip-hop culture had inspired regional scenes across the United States. A series of maps attempted to mark the changes.
I recently spoke with The Ringer for a story about the 20th anniversary of Eminem’s “Lose Yourself,” which has become a pop landmark and perennial “jock jam.”
Memorably deployed by Kendrick Lamar, the phrase “big stepper” usually means what it suggests. But it has also led to some surprising interpretations.
Pitchfork’s latest retrospective list, a ranking of the top 250 best songs of the 1990s, embraces a girlboss theme. The top five slots belong to women.
In light of Jean Grae’s identification as nonbinary, Shanté Paradigm Smalls’ Hip-Hop Heresies, a book about queer identity in hip-hop culture, is enlightening.
A recent Futura 2000 interview in Artnet is full of memorable details.
ProPublica’s story about internet clout chases contains a detail about The Source, the magazine that remains a famed example of golden-era rap journalism.
With controversy surrounding “augmented reality” act FN Meka, it’s worth reading Enongo Lumumba-Kasongo’s story on artificial intelligence in the rap industry.
Hua Hsu, a staff writer for The New Yorker, discusses his new zine Suspended in Time, which also serves as a preface for his forthcoming book, Stay True.
In a long-ish essay published in The Walrus, Cadence Weapon recounts his time penning reviews for Pitchfork as an enterprising Edmonton teenager.
On July 6, Blockhead launched a fascinating Twitter thread exploring the phenomenon of “drumless rap.”
It remains unclear why disgraced rap mogul Russell Simmons is associated with Universal Hip-Hop Museum, which is scheduled to open in the South Bronx in 2024.