more indie rap writing
randomities, vol. 11: let's highlight the MCs "printing money" outside the grasp of exploitative labels
Thankfully, part of yesterday’s music industry discourse veered from pee to talk of releasing music outside the major label grasp. There are ways to do it. I’m no expert on the industry ins and outs but I know there are services like Tunecore and Bandcamp, both of which allow artists to upload and sell projects directly on the platforms (and Bandcamp waives artist fees on the first Friday of every month).
There are so many artists taking advantage of direct-sale models. There are cult heroes like Noname, Roc Marciano, Mach Hommy, and R.A.P. Ferreira who are self-releasing music — in Ferreira’s case through his Ruby Yacht label. Roc Marciano set a blueprint for independent rappers by releasing music directly off his site, noting the strategy is “printing money.” Mach Hommy also circumvents the record label game and relies on sales of physicals (as well as merch). He recently did an exclusive streaming deal with Tidal for his Mach Hommy’s Hard Lemonade album.
I wish every artist would think outside the box and vie to be as direct-to-consumer as possible. That won’t happen under this current system, because many artists don’t have the know-how or financial means to run an independent operation, and/or a lot of them vie for the fame and riches they believe major labels offer. The label’s only value at this point is ubiquitous visibility via their connections to the top media outlets, TV channels, and creative studios.
But honestly, there are a lot of independent artists who are probably more well off than the artist who got a one-shot label advance but isn’t getting much from streaming and is indebted to their label.
I think within this decade, there will be artists who master internet marketing to the point where they can sell hoards of units while staying completely independent (and possibly major sellers who leave the majors behind). But for now, the trade-off of independence is that it’s harder to be consistently in front of the masses, which means a lot of artists don’t see the viability of that model. This means major labels are getting new bright-eyed acts to exploit every day.
What could music writers do to fight that circumstance? As I understand from replies to my occasional Twitter gripes, a lot of media taste-making authority has been usurped by playlists, video directors with massive youtube followings, and social media pages. But if music outlets are still writing about rap, there’s something we can do.
What would happen if more outlets relinquished their dependence on the zeitgeist and made more of a commitment to independent rap? There has to be more opportunities for independent artists to get shine at outlets with high visibility. I know that as long as the cult of celebrity exists, supply and demand means we’ll always be talking about Drake, Kanye, Nicki, and the like. But could there be a little more space for indie rap (and not just the token indie rappers?)
I’ve seen too many times where the decision on whether an artist gets a post or a feature approved was dependent on how many clicks they might garner, which sucks. And I understand clicks are where the salary is, which means that pee just might be a higher editorial priority than an experimental boom-bap album about Black liberation. But even with the financial surplus outlets boast, a lot of them have lost authority and readership because of the perception that they don’t actually cover as much new, good music (and cover it as well) as they should. There’s too much coverage being given to music that’s not as bold, as incisive, as risk-taking, or exciting as what’s going on in the underground.
So again, what would happen if there was a greater emphasis on indie rappers at music outlets? On celebrating artists who find ingenious ways to release their work? Perhaps more casual fans would tap into these exciting acts, and the former readers of so many of the indie blogs that are unfortunately shuttering would flock to the new sources. Maybe I’m just full of it and don’t know what I’m talking about, but I think it’s worth a try, not only for current artists but for would-be artists to have some education to help them circumvent an exploitative major label system. At the end of the day, if we’re writing about music, why not leave space for the best music?
quick takes
It’s depressing how fast people forget major context. The Clippers were eliminated from the playoffs this week, and everyone had fun joking around, but none of the professional “autopsy” analyses I read and heard on podcasts referenced the reality that the Clippers players wanted to leave the bubble in protest two weeks ago. There was discussion about their lackadaisical effort on the court, but no consideration of them being mentally checked out during a pandemic and national struggle for racial justice. There was also no mention that Paul George admitted experiencing anxiety and depression. Me too, just like many Black people, no doubt including some of the people who saw fit to ridicule him over a basketball game. If the Clippers had spearheaded an NBA strike they’d be heroes. But they were overruled and had to stay in the bubble, and instead they’re chokers. An indictment on basketball journalism,
Is it our business that Cardi B and Offset divorced? No disrespect, Cardi B is the loudest, most transparent artist in the world. Last time she broke up with him, she posted about it on social media. If she wanted us to know about her divorce, she’d probably live-stream her signing the paperwork then curse him out for an hour. But instead, she quietly filed, probably to avoid a media circus — except someone found out, put it online, and it’s become a media circus. I guess you can’t be shocked since they made their marriage such a centerpiece of their music and branding. But I don’t think we need to be prying into celebrity relationships to the point where we’re digging. I couldn’t imagine going through a breakup, much less a divorce, in the public eye.
bars of the moment
“The industry disruption that occurred at the onset of the 21st century provided the perfect opportunity for Black women television writers to tell the truth — their truth— about Black womanhood, in all of its beautiful complexities, colorful perspectives, and cultural differences. Similar to how a great novel could introduce someone to a new perspective outside of their own, the art these Black women created within the medium of television extended space for humanity and empathy for Black women not typically afforded to them on screen or in real life.”
Morgan Grain in “Black Women Television Writers Are The Great Memorialists Of Our Time” piece
“Social media rewards this emphasis on individual phrases and lines over the traditional structure of choruses and verses. The ability to quickly download, clip, and share video also allows for a new type of attention-grabbing device: Bobby Shmurda throwing his hat in the air is a visual hook in the same way the “caught a body” line is the lyrical hook.”
Ben Dandridge-Lemco in “No Hook: How the Structure of Viral Rap Songs Is Changing” piece
“When u fully understand misogyny the generalised use of "men" will not rattle. Men who are comfortable in themselves&understand how patriarchy&misogyny operates will never quibble over women saying "men are trash" or any equivalent. It's a comment on a system lol grow up”
“How does trump seem to get away with everything with his own supporters? Because he embodies white-supremacist masculinity for them. He is innocent. They are innocent. He is defending their innocence.”
Ibrahim X. Kendi in “The Violent Defense of White Male Supremacy” piece
“Charts and graphs can’t ease our anxiety when history tells us all we need to know: When given the choice, America has chosen White supremacy over all other options.”
David Dennis, Jr. in “It’s Not Polls We Distrust — It’s White People” piece
artifact
One of my favorite things this year is seeing videographers from the classic ‘00s hip-hop DVD era upload their content to YouTube. First, the NYC-based Sub 0 DVD did it, now Philly’s 2RawForTheStreets is on the tube. This is how you document history. I worry about us forgetting about all the dope content in print magazines and thought the same for street DVDs, but at least the owners of the video content are being proactive. You’ve probably heard your favorite lyricist celebrate how dope Philly rhymers are. Now you can personally get in tune with the rich history of Philly spitters through artists that aren’t known nationally but are local heroes.
This is a free newsletter. Those who wish to support can contribute here:
Venmo: Andre-Gee