The True Voices of Hip-Hop
“In the early ’90s, hip-hop had made the successful transition from Sedgwick and Cedar through Compton on its way to global dominance. Along the way, as the music grew more and more pervasive, its influence had started to become evident in multiple cultural arenas.”- Todd Boyd
Hip hop, a cultural phenomenon that no one could have seen coming; born in the South Bronx in the 1970s, created to provide urban expression and creativity, is now 50 years old. Since the beginning, one of the main components of Hip hop has been its relationship with the media, which has played a pivotal role in chronicling its evolution, shaping its image, and amplifying its message. As fifty years of Hip-hop is celebrated, Hip hop enthusiasts cannot celebrate without remembering the most iconic writers, magazines, and blogs. The symbiotic relationship between Hip hop and media, focusing on the stories of The Source, Vibe magazine, XXL magazine, and the impact of journalist Elliott Wilson, helps to tell the stories.
The year is 1987, DJ Jazzy Jeff & The Fresh Prince, Eric B. & Rakim, and LL Cool J have taken over the summer. Kids are outside playing, Rucker Park is jumping, snow cones, no phones, ice cream trucks, everybody has on fresh chucks, no social media, everyone is free. But one problem: who do we look to for hip-hop news?
Since its inception in 1988, The Source Magazine has played a pivotal role in hip-hop journalism, earning its reputation as a trailblazer. The publication, founded by David Mays and Jonathan Shecter, has been a consistent and influential source of hip-hop culture news, features, and reviews. The Source, commonly thought to have started in New York, formed in Massachusetts, where Mays and Shecter attended Harvard University before moving to New York in 1990.
The Source Magazine emerged when hip-hop rapidly evolved, gaining prominence as a cultural and artistic movement. Mays and Shecter envisioned a platform providing in-depth coverage and analysis of the rising hip-hop scene. The magazine’s mission was to offer a comprehensive perspective on the genre, from music and fashion to social issues and politics.
One of the critical contributions of The Source Magazine was its dedication to providing a voice for the hip-hop community. Through in-depth interviews, the publication highlighted artists’ experiences, struggles, and triumphs, offering readers an intimate look into the lives of their favorite performers. This commitment to authentic storytelling helped humanize hip-hop figures and contributed to the genre’s broader cultural impact.
The Source also introduced the iconic “5-Mic” rating system for album reviews, becoming a standard for evaluating the quality and significance of hip-hop releases. This objective rating system helped shape the conversation around hip-hop albums and set a benchmark for excellence within the industry.
Beyond music, The Source addressed societal issues affecting the hip-hop community. The magazine tackled topics such as racial inequality, police brutality, and socioeconomic disparities, providing a platform for artists to share their perspectives on these pressing issues. This approach helped position hip-hop as a vehicle for social change and elevated the genre’s cultural and political relevance.
The Source Magazine became a significant player in the music industry, influencing the success of artists and shaping the narrative around hip hop. Album reviews, artist profiles, and features in the magazine could make or break an artist’s career, providing a platform for emerging talents and helping establish the credibility of established ones. The Source also hosted the Source awards.
While The Source Magazine played a pivotal role in shaping hip-hop journalism, it was not without its share of controversies. Internal conflicts, legal battles, and disputes with artists sometimes overshadowed the publication’s contributions. However, these challenges did not diminish its impact on the hip-hop landscape.
The Source Magazine remains a crucial chapter in the history of hip-hop journalism. Its dedication to authentic storytelling, cultural commentary, and industry influence has left an indelible mark on the genre. The Source has played a vital role in elevating the cultural significance of this influential and ever-evolving musical movement by providing a platform for artists and shaping the conversation around hip-hop.
In 1997 came XXL Magazine. XXL magazine embraced hip-hop’s growing prominence and expanded its coverage beyond music to include fashion, lifestyle, and urban culture. While doing all of this from a New York/East Coast perspective. Placed in New York City, XXL created familial relationships with the artists from the city, allowing a deeper coverage of New York’s particular scene. It recognized the evolving needs of hip-hop audiences; while the music was rising, the need to feel closer to the artists was also increasing. XXL played a pivotal role in hip-hop’s crossover into street culture by offering content that resonated with the growing “underground” demographic.
Nonetheless, the eventual beef between the Source magazine and XXL would do everything but end the Source’s long run as a top magazine. The dynamic landscape of hip-hop journalism has witnessed its fair share of rivalries, and one of the most notable feuds emerged between The Source Magazine and XXL. This clash, characterized by intense competition and controversies, unfolded against the backdrop of the two publications vying for supremacy in hip-hop media.
One of the pivotal moments in the beef between The Source and XXL was the controversial downgrade of Jay-Z’s “The Blueprint” album. The Source, known for its esteemed 5-Mic rating system, initially awarded the album a perfect score. However, tensions arose when Jay-Z refused to grant an interview to The Source, leading to a publicized falling out. In response, The Source controversially downgraded the album’s rating, sparking a heated debate within the hip-hop community about the integrity of music journalism.
Part two and the final straw was the beef without Eminem. XXL was made up of former editors from the Source and was not considered a threat to the Source. Slim Shady would take a shot at XXL for using a picture of his “behind” in their magazine. Slim would eventually clap back in a song, saying his mention would help the publications sales numbers. XXL would put Slim on a cover with the caption “Got beef?” a play on the famous caption “Got milk?”.
Slim on the cover was the first time a publication used a cover to diss an artist, and it was also one of the first times a publication put an artist on a cover without an interview of said artist.
In 2003, the Source dissed Wilson with their cover and caption saying, “Respect the architect or get broken.” The Source would also produce a cover with co-owner and rapper Benzino holding a chopped-off Eminem head. Benzino would call Eminem “2003, Vanilla Ice”. This would lead to problems with Slim, Dr. Dre, and a young 50 Cent. Elliott Wilson carried a relationship with 50, which would lead to a re-kindling of the relationship with Eminem. The magazine would feature Slim, 50, and Dre, leading to all beef being squashed.
Paul Kanter would say, “I found myself innately not buying The Source anymore. XXL had kissed and made up with Eminem, and in the wake of The Source making Em, 50, and Interscope Records the target of their ire, the quality dipped. It dipped well before that when the majority of the original editorial staff walked out(mostly to XXL).”
Post-fallout, The Source would never outsell XXL magazine with the help of Editor-In-Chief Elliott Wilson again.
Elliott Wilson began his career as a journalist and critic at a local publication called The Beat Down. Writing for respected hip-hop publications like The Source and Rolling Stone was his big break into the industry. However, his association with XXL magazine catapulted him into the forefront of hip-hop journalism. He joined the publication in 1999 and quickly became its Editor-in-Chief. Though Elliott Wilson was not the founder of XXL magazine he played a pivotal role in ensuring that it would take off into what it is today as one of the last standing Hip hop publications. That being said, XXL may have done the same for Wilson, as Wilson was self-proclaimed the most hated in the industry upon his arrival at XXL. Wilson’s work under the name “YN”(Yellow Nigga) was what propelled Wilson to the heights that he has reached today.
“YN” was Wilson’s play on his skin color, “Born out of frustration,” Wilson says. This alter ego was created because Stanley Harris and Harris Publications founded XXL. Because of this, the credibility of XXL magazine was under attack. “I was like, I’m Black… My magazine is not any less authentic,” said Wilson. The bold manner in which Wilson would attack his enemies under the name YN became synonymous with the characteristics of the ego.
“I had to scale back down, realize that I’m not trying to be the story; I’m trying to document the story,” Wilson said.
During Elliott Wilson’s time as Editor-in-Chief, XXL magazine underwent a profound transformation that elevated it from a standard hip-hop publication to a cultural powerhouse. The magazine was known for its iconic annual “Freshman Class” cover, featuring a selection of emerging artists predicted to impact the hip-hop scene significantly. This cover became a coveted accolade for up-and-coming artists, offering them unparalleled exposure and recognition. This new sensation started in 2007. XXL also provided a platform for meaningful conversations within the hip-hop community.
The XXL Freshman Covers originated in 2007 as a response to the rapidly changing hip-hop scene, which saw a surge of new and diverse voices challenging the status quo. The magazine sought to identify and highlight artists with the potential to become the next big stars in the genre. The initial list included names like Lupe Fiasco, Lil Boosie, and Plies, all of whom achieved considerable success in their careers.
In 1993, Vibe Magazine was founded. Quincy Jones, Times Inc., and Steve Ross founded Vibe. Over its storied history, Vibe has played a pivotal role in shaping the discourse around hip-hop, R&B, fashion, and social issues. Figures like Joan Morgan, Kevin Powell, Toure, Karen Good, Danyel Smith, Michael Gonzalez, and Scott Poulson Bryant cultivated the most prominent years of Vibe’s run in hip-hop journalism.
“In VIBE’s defense, it was never just a rap mag. Quincy Jones’ stated goal was to found “a Rolling Stone for the hip-hop generation,” but the staff — which I joined at the magazine’s launch, in 1993 — aspired to create something closer to Vanity Fair.”- Rob Kenner.
Quincy Jones, a legendary music, entertainment, and entrepreneurship figure, played an essential role in elevating Vibe magazine’s profile. As a musician, producer, and impresario, Jones had an unrivaled understanding of the music industry and an extensive network of influential contacts. His involvement with Vibe added prestige and credibility to the publication.
Jones served as Vibe’s co-chairman and was crucial in shaping the magazine’s content and direction. His deep industry knowledge allowed Vibe to secure exclusive interviews with some of the biggest names in music, film, and television, further cementing its reputation as a cultural authority.
Steve Ross is the CEO of Time Warner and Warner Communications. Steve Ross’s vision for Vibe was to create a platform that represented the voices and stories of African-American artists and entertainers. He understood that the music and culture of these communities were on the cusp of dominating the mainstream. He had to find a way to get himself and his companies involved. Vibe would be the vessel to propel hip hop to the next level, as well as his companies.
After getting off the ground, Vibe was ready to take over hip-hop media. Vibe’s iconic covers featuring Tupac Shakur, Notorious B.I.G., and other influential figures became cultural touchstones.
The thing that killed hip-hop’s youngest and brightest stars was the thing that proved Vibe was here to stay. The innate ability to cover and thrive in the unchartered spaces of hip-hop that had become dangerous for many led to the publication’s rise. While covering the beef between Death Row and Bad Boy Records was dangerous, Vibe felt it necessary to put their mark on the beef. “Vibe‘s place as a nexus in this bi-coastal war cemented the magazine’s status as a relevant chronicle of hip-hop’s rapidly expanding evolution from sub-cultural status to mass cultural behemoth. Vibe, like the Washington Post during Watergate, no longer simply reported on the story; the magazine had at this point become an integral part of the very story that it was supposed to be reporting on,” said Todd Boyd.
While some blame the media for the East v. West beef, Vibe magazine undeniably plays a part; the beef was real. No magazine could have taken away from or added to this feud; nonetheless, Vibe profited and made its name.
The Source, Vibe magazine, XXL magazine, and Elliott Wilson all played a role in the upbringing of Hip Hop. XXL still thrives today with its ever-awaited yearly edition of the Freshman Class. While XXL continues to thrive, Elliott Wilson also continues to thrive. After helping Tidal, Jay-Z’s music company, Wilson created Rap Radar, a Hip Hop podcast. The Source and Vibe no longer release monthly hard copies; nonetheless, both still cover hip-hop news. While the art of journalism continuously moves further away from the hardcovers and album reviews and more towards podcasts and video interviews, these cultural staples will forever live. As 50 years of hip-hop are celebrated, the people and publications that have carried fans along the way should also be observed.
