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 magazine, 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 AI 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 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.
Inspired by a Wiz Khalifa tirade, Rob Swift has gathered some helpful tips for navigating a rapper’s ego.
A recent lyric video of Big Juss of Company Flow’s 1997 track “Lune TNS” pays tribute to the golden age of New York graffiti.
In a recent interview, Pusha T equated his coke-rap focus to Martin Scorsese’s mob flicks. The comparison doesn’t quite hold up.
A recent GQ interview proved that Lloyd Banks is a thoughtful interview subject.
This year marks four decades of avant magazine the Wire. Throughout, the British publication has frequently if fitfully championed interesting rap artists.