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Captured Tracks: The Brooklyn indie label as obsessed with music discovery as you

In the current landscape of the music industry, indie labels find themselves in an interesting, and complicated, place.

As the glossy veneer of a major label deal slowly crumbles away, aided by streaming services and emerging platforms like Steve Stoute’s United Masters, what exactly is the place of indie labels in 2017?

I spoke to Captured Tracks label founder and owner Mike Sniper, whose experience as a musician and A&R informed his own business decisions and ideas on how to run an indie label.

Captured Tracks got off the ground in 2008 while Sniper was working at Academy Records. Sniper was also playing as Blank Dogs, the stage name for his post-punk, multi-instrumental project.

Sniper explained that Captured Tracks basically just came out of a release of his own as Blank Dogs,

“I started the label in 2008 while I was working as a Buyer/Pricer at Academy Records and also touring/recording as Blank Dogs. I’d been sort of doing A&R for some friends labels, just suggestions of who to do records with really. At some point I decided to start my own label. It was named after a Tour CDR I’d released called Captured Tracks Volume One.”

Captured Tracks’ roster and reputation has grown massively since that early CDR.

With artists like Mac Demarco, DIIV, and Wild Nothing, as well as the exciting country blues musician Molly Burch, whose debut album Please Be Mine was one of the best releases of the year, Captured Tracks boasts a pretty diverse collection of indie rock sounds.

From Mac Demarco’s ambient stoner rock, DIIV’s shoegaze revival, Wild Nothing’s alternative synth-pop, and Molly Burch’s bluesy country rock, Captured Tracks occupies a massive swath of space in independent rock and roll.

This is an interesting trait for a record label that doesn’t see itself as having any unifying aesthetic or sonic vision.

When I asked Sniper about that unifying vision behind Captured, he told me there isn’t an effort to have a cohesive sound, but there’s an active intention to be an ‘A&R label’ that’s constantly finding new acts:

“Not really sonically or aesthetically, though soon after we started, maybe 2 or 3 years after, we decided to only sign new artists, one’s with either no LP’s or a ltd. self-release LP we could reissue. I just wanted to be an A&R label 100%.”

Signing new artists is an especially notable mission from a record label in the current musical landscape. It means that Captured Tracks is especially good at identifying young talent, supplying those artists with a platform, and properly packaging their music in exciting ways.

But the diversity on Captured Tracks’ roster comes from Sniper and his team’s own taste. And when looking to sign a new artist, it’s really about their own drive:

“Sometimes I’ll seek something out that’s different from the current crop of artists on the label, but I won’t let that keep me from signing anything I think is really good. Mostly we need to find artists who will put in a lot of hard work and touring.”

Another aspect of the Captured Tracks business model is Captured Tracks Shop, a brick and mortar store where customers can buy and sell used vinyls and cassettes in Greenpoint, Brooklyn. Sniper described Captured Tracks Shop and the label itself as “totally separate entities,” but the creation of the shop establishes a sense of community with their listeners. This goes in tandem with the idea of Captured as an A&R label with a passion for music discovery as intense as their listeners.

Mike Sniper has been on many different sides of the music industry as an artist, A&R, and label owner. This gives him an interesting perspective on monetizing art and giving a platform to artists that have yet to make a cohesive project.

I asked Sniper about his advice for young artists trying to get indie label shine, he told me it’s ultimately about live shows and being proud of their work:

“[Emerging artists] need to play as many shows as possible, have a fully realized idea of who they are as a band and wait to send us music until they’ve made something they’re fully proud of as opposed to a work in progress.”

As independent and major labels alike find new ways to operate in the changing music industry, Captured Tracks has carved out a niche centered on music discovery and giving young, emerging artists a platform.

Travis Scott wants to add a full amusement park to his next tour

Should Travis Scott perform while fast cars attached to a track fly by him in a cyclone of musical madness? Hell yeah, let this man rage!

Scott is trying to throw the world’s #1 rager. Having a concert in an amusement park might be a really good look for him as his shows are already known to induce some thrills.

As we all await Scott’s third studio album AstroWorld, could he have something gnarly up his sleeve? You bet he does.

In his most recent interview with Rolling Stone, Scott explained the connection he had with the abandoned Six Flags Astroworld, the influence it had on him, and how he’s trying to create a new form of show,

“It had a Dungeon Drop, Greezed Lightnin’, Superman. It was a way of life – fantasies, imagination. I don’t know why it hasn’t been done already – I think people just don’t do shit. Who makes stages these days that are cool?”

Upon first hearing this news, I really didn’t know what to think. I found myself lost in a state of ultra hypeness.

But what can’t Travis Scott do performance wise? He’s the Superman of this generation’s hype music. His performances are unmatched.

This is when Benton County 🚨 department declared the show a riot #freetravisscott @travisscott

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That was the night Scott got pulled off of the stage and bagged for inciting a riot in Arkansas. He also got in trouble in Chicago at Lollapalooza.

A raging fan broke his leg in NYC back in May because he was so hype he jumped from a third floor balcony.

For me, Travis having the show at an amusement park might be safer. Hell, at least he won’t have to worry about some fan falling or a mosh pit. All the fans will have seatbelts.

“Pick it up, fuck a third speed the fourth gear grindin’ up on everything it’s my year.”

Straight up!

Music week in review: Young Thug, The Killers, Kevin Gates, WizKid, & more

It’s the mothafuckin’ first day of fall and as the leaves begin to change (not really, it’s still hot as fuck) you’re gonna need some firey music to take you through the transition.

All those trips to the beach are over and you’re stuck in the city. Ditch that rosĂ© and pick up the Jameson.

Cuffing season is slowly moving upon us like a storm cloud, so whether that’s a good thing or a bad thing for you, we got you covered.

Young Thug & Carnage – Young Martha

This is a collaboration made in banger heaven. After dropping “Homie” last week with Meek Milly, Thug and Carnage have released their 4-track collab album Young Martha and the whole thing is replete with trap fire.

“Liger” is a personal favorite, as Thug goes as hard as ever over a pan flute beat from Carnage as Thug squeals, “Everybody got tigers, so I wanna buy a liger.” Bars.

Thugga has been as prolific as anyone this year, with Beautiful Thugger Girls being one of the rap releases of the year. He’s a fucking star.

As for Carnage, dude should continue making hip-hop beats, he’s got a hell of a talent for it.


The Killers – Wonderful Wonderful

The Killers’ fifth album is at times kind of shitty and at times pretty cool. The Las Vegas dudes have been doing their thing in the post-punk world for 15 years, making them somehow elder statesmen of the rock scene.

This is a far more experimental and complex album than their earlier work that made them famous. There’s no “Mr. Brightside” on Wonderful Wonderful. Groovy synths and guitar riffs litter the album and lead singer Brandon Flowers is singing his ass off as much as ever.

Their anthemic past may be behind them, but The Killers are still making solid music, it’s nice to still have them around.


Cut Copy – Haiku From Zero

The Australians have dropped their fifth studio album Haiku From Zero and it’s honestly a delight. Full of funky grooves rooted in retro pop music, Cut Copy have made a fun as hell album running a quick 9 songs and just over 40 minutes.

It’s hard not to bob along to songs like “Airborne” and “Counting Down” and no matter what your preconceived notions are of the Aussies are, it’s hard to really hate on their light poppy glam funk.

If you’re looking for some easy, smooth listening this weekend, rock with Cut Copy.


Kevin Gates – By Any Means 2

Kevin Gates, for all his personal troubles and controversy (he’s currently incarcerated in federal prison on gun charges), knows what he’s doing when it comes to this rap shit.

The Baton Rouge, Louisiana native is a specialist of the turnt anthem. With one feature from PnB Rock, most of the album features Gates rapping in his trademark deep drawl, over slick production.

What’s particularly surprising from Gates is his ability to sing a massive chorus, like on “Had To,” “Fucking Right,” and “GOMD” dude can really sing. We hope Gates figures out all his personal shit, it’s better to have him on this side.


WizKid – “Everytime” (ft. Future)

WizKid, one of the biggest stars in world music, dropped his album Sounds From The Other Side back in July but he’s keeping the fire coming.

This time WizKid has tapped up Future, the songbird of our generation, for a two-stepping number that’s everything we could want out of this star-studded collab.

Produced by Shizzi, “Everytime” is a certified banger that we’ll be keeping in rotation at the functions this fall.


Tommy Genesis – “Tommy”

Described as “the internet’s most rebellious underground rap queen,” former Awful Records signee and Vancouver native Tommy Genesis has delivered an absolute JAWN with “Tommy” with brags and boasts about how a woman in question “want a picture with Tommy.”

Tommy is jetting off for a European tour and was recently named the breakout star of NYFW by Vogue. She’s most definitely out here and before long may just be queen of us all, not just the underground.


Tory Lanez – “Shooters”

Tory Lanez has dropped a song off his upcoming album, which apparently can arrive at any time. On “Shooters” Tory shouts out the dudes who have his back over a huge string-laced beat. He sing-raps in the chorus,

“All I wanna do is go out trappin’ with the shooters/Wrist game froze, you should see the way we do it/Sexy little bitch she throwin’ titties out the window/You from outta town but you know what we get into.”

It’s kind of ironic given Tory’s own shot is so trash, but shouts out to T. Lanez, hopefully we get his sophomore album soon.


Ty Dolla $ign – “Dawsin’s Break” (ft. Jeremih)

Dolla!

Ty Dolla $ign announced this week that Beach House 3 is officially coming October 27 and stopped off to drop some new tracks. The Mike Will Made It-produced “Dawsin’s Break” is a bouncy jam featuring Dolla and Jeremih at their thirstiest.

As cuffing season descends, any and all maximal R&B is very much appreciated. Dolla $ign got all you cuffers covered.

The Cool Kids are back with an album and sketch comedy show

The highly anticipated Shit Show finally dropped yesterday and it had me in the coffin from start to finish. The sketch comedy show, created by Jimmy Regular and Chicago rap duo The Cool Kids, proved itself to be — well, uh, different.

The first episode labeled “SHIT SHOW ISSUE 001” opens up with a colorful vortex that sucks you into a white backdrop with an explosive title, which commences to be shot by a machine gun synchronized with a tuff ass beat.

This is definitely something to watch dumb high.

Switching to the opening scene Hannibal Buress introduces The Cool Kids in a unique way making sure you don’t mistake the Chitown rap duo for any other group. Sir Michael Rocks then asks Buress if he’s ever scared when he smokes the piff.

The clip of Mikey paranoid off a fat L had me rollin.

The Shit Show fits right into the trippy content being created in these oh so psychedelic times. Cameos of a fan admiring Key!, Twista balancing a poolstick on a cue ball, Chance the Rapper chopping it up with The Cool Kids, “Dipset Freestyles” with Tyler the Creator and A$AP Rocky all make the show wild interesting.

I can’t forget the advice rapper K E I T H  gives us on how to get high in NYC, the fugazi version of Trumpito, Sir Micheal Rocks taking on a persona of a sauced news reporter “Lance Bingemton,” and Chuck English playing the part of a legendary Chicago old head Clarence.

Chief Keef, Wale, and Pouya are also featured briefly.

The comedy sketch is worth watching and will have you crying from laughter. Peep it for yourself below.

Make sure you check out The Cool Kids musical comeback with their album Special Edition Grandmaster Deluxe, due to drop on September 15th.

RMB Justize

TGOD producer RMB Justize is making waves in the music industry

Versatility and persistence are a deadly combination of characteristics. They are much-needed weapons to have in an artist’s arsenal of traits.

For Taylor Gang’s in-house producer RMB Justize, these are the qualities that got him nominated for a Grammy for Best Rap Album of the Year.

At the 2015 Grammy Awards, Justize was recognized for his ill production skills, working alongside Sledgren on Wiz Khalifa’s Blacc Hollywood songs “Raw” and “We Dem Boyz”(Remix).

Those are not the only hits Justize has in the bank as he has also been credited for his production input on Wiz Khalifa’s Cabin Fever, (The OG Wiz throwback), TGOD affiliates J.R. Donato’s Why So Serious and several of Chevy Woods’ projects including Red Cup Music and Gangland. 

Lest not forget to mention his amazing work on Amerikas Addiction’s EP Four.

https://soundcloud.com/amerikasaddiction/sets/amerikas-addiction-x-rmb

It seems as if there will be more hits to come as Justize stepped out of his producer element in June and blessed the streets with his debut album, Origami.

Kulture Hub caught up with the Chicago-based artist to see what has gotten him to this point in his music career.

One unique fact about the TGOD producer, the first song he remembers playing that had an influence on his musical ear was “I’m Blue” by Eiffel 65.

“The first CD I really remember was .. drumroll .. Eiffel 65 “I’m Blue” – that was the trippiest electronic shit I’ve ever heard [laughs]. So it put a whole new twist to everything as well.”

Amongst the trippy track, “I’m Blue,” some of Chitown’s homegrown music also had a huge influence on the way Justize hears certain sounds.

“Chicago definitely did have its influence- listening to everyone from Twista and Do or Die to Crucial Conflict, CWAL, DA Smart etc – all played a role in how I hear certain sounds, and what I think makes everything slap.”

Justize’s ear solidified a position working as an in-house producer with Wiz’s Taylor Gang.

He has always tried to outdo himself and Wiz being attracted to his sound from early on only pushed him to create new and versatile music.

“In a nutshell, I’ve always tried to outdo myself and keep a versatile sound that stands out simultaneously… Wiz was definitely one of the first to like my production, which of course motivates me to push the envelope all over again. Persistence is key for sure.”

“Pushing the envelope,” proved to work for Justize as he took the next step releasing Origami. The debut album is a very dope listen. Slapping snares, a booming bass, lyrics that are sung with emotion, and dope features encapsulate the sound of this LP.

I’ve gone through Origami from beginning to end countless times and the powerful rhythms and honest lyrics still got me trippin’. Touching on the creative process of Origami, Justize wanted to ensure he conveyed a message that would evoke feelings from his listeners.

“I wanted to make an album that showed pure emotion. I wasn’t too big on emphasizing structure but it ended up telling somewhat of a story in the end. I basically would make the beats at my apartment, and record vocals midway through the beat process – then later mix and car test everything. Looking at the tracklist, the songs almost are in the order I created them. Another shout out to my bro Wiz for the “Summertime” track. Perfect end to the album, I think.”

You’re a fool if you don’t see the next couple of years being successful for Justize. Besides working on his own music, his movement with producer and artist collective GlitchRealm is very unique.

https://www.instagram.com/p/BEtbVGgyaCx/

It definitely has me hype AF as the production team includes Justize along with Sledgren, DeedotWill, and Jacobi.

“GlitchRealm is a collective of producers and artists, focused on all sorts of experimental music, to say the least. A lot of people look at it as unpredictable, and I love it. There’s no telling what might come from us, at all. The producers are me, Sledgren, DeedotWill, and Jacobi. Stay tuned is all I’ll say [laughs].”

Distinguishing himself as a producer and artist has also helped to establish him as a threat in the music game. This factor is major key to Justize,

“I think the recognition is very important because the game is spooky, I tell you. Ghost producers, all that. Standing out and distinguishing yourself is key, to me at least. It’s almost becoming too easy for people to get a hold of your material, manipulate it, and make it theirs basically.”

To add, RMB is working within different realms of production and new artists to expand his craft.

“Right now I’m just continuing the Origami campaign and producing for a lot of new artists. I actually just helped work on a silent movie score with a quartet so I’m anxious to see how things play out with that. Aside from that, working on a few artists projects, including MattyDidThat (CoolNeighbors) as well.”

His passion for music and his incredible work ethic has kept the Chicago kid going thus far.

https://www.instagram.com/p/Bt1avFaAp8q/

Justize’s message for young producers trying to make it in the music game falls in line with just that.

“I’d really say at the end of the day, keep working. Keep striving, no matter how stressful or difficult. If you have the passion for it, it’ll never seem like you’re working. Never put yourself in a box, and explore all the opportunities that come your way. Trust me on that.”

So go get on that producer software and never put yourself in a box!

Young Thug didn’t know he won a VMA until Monday, thanks parents for having sex

Young Thug continues to be the best.

On Sunday night at the VMAs, Thug’s video for “Wyclef Jean” won the award for Best Editing, but the artist wasn’t in attendance and… no one told him.

So Thugga found out Monday afternoon and reacted in typically hilarious fashion.

He then tweeted out his acceptance speech, which was a very special acceptance speech indeed.

Beautiful.

As many on Twitter were quick to point out, Thug’s absence from the VMA’s was actually rather appropriate given the video for “Wyclef Jean.”

The video, released in January, was shot almost completely without Young Thug’s presence as he never showed up to most scenes and when he did arrive Thug just sat in his car instead of going to the shoot.

Pomp&Clout produced the video, which had a bunch of models driving around in toy cars as well as children dressed up as cops destroying a police car.

While Pomp&Clout and Young thug produced the video and came up with the treatment, it was editor Ryan Staake who made the “Wyclef Jean” visuals pop.

Staake edited the video together with subtitles of Thug’s treatment, and then interspersed with commentary about the lack of follow through on Thug’s part.

At times, Thug was literally drawn in with dotted lines, if you haven’t watched the “Wyclef Jean” video yet, it’s a must.

It’s amazing this video was even put out by Thug’s label, but he and his management team clearly realized the value of the unique visuals.

At certain points, it’s clear that Staake was kind of pissed off, at least to some extent, by Thug’s absence. While this obviously makes sense, Thug is mothafuckin’ royalty and we should all be honored by his presence on planet earth.

That said, shout out to the video editors and directors dealing with, uhh, slightly difficult artists at times.

WTF happened to rock music? How a dominant force became an aging genre

Rock music, once the preeminent genre of world music, has retreated into the shadows as a niche genre in recent years.

Nielsen Music released their mid-year report two weeks ago, aggregating data from the music industry in order to see what Americans were listening to as well as how they get their music.

While younger generations are driving the power of streaming services like Spotify and Apple Music, hip-hop and R&B have officially overtaken rock music as the most popular genre in the country for the first time.

This isn’t altogether surprising, hip-hop and R&B have dominated the charts and popular music radio. But it begs many questions as to the current state of rock music.

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Is the genre dying a slow death? Do listeners not have access to rock music? Why is most contemporary rock music considered “alternative?”

As the most popular rock music is purveyed by bands that have been staples of the genre for years, where is new rock music coming from?

Significant rock releases this year include albums from Queens of the Stone Age, Arcade Fire, and Nine Inch Nails.

These are great bands, but with Arcade Fire, established in 2001, being the newest of this trio, they’re hardly about to breath new life into a genre that’s in significant need of fresh faces.

As is the case with all art, music is cyclical. This feels especially true of rock music.

Each new generation and style reacts to those that came before them.

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It’s possible to go all the way back to Chuck Berry, the British Invasion, the Summer of Love, the birth of heavy metal, punk rock, and hair metal and see how each subgenre of rock music responded to their predecessors.

For the sake of word counts and your millennial attention spans, we’ll keep the history lesson relatively contained here.

In the ’90s, grunge music dominated the rock genre, as well as popular music.

Seattle’s angsty and flannel-clad sadboys sung about their depression and melancholy over heavy powerchords as a new generation fought back against the big-haired maximalism of ’80s metal.

Nirvana, Soundgarden, Pearl Jam, Alice in Chains, and Stone Temple Pilots took back the genre from bands like Guns ‘n’ Roses, Van Halen, and Aerosmith.

Grunge music and its imitators became pretty stale by the late 90s.

Then by Woodstock ’99, rap-rockers like Rage Against The Machine and Red Hot Chili Peppers took the throne.

I’m not here to argue about the virtues of Rage or the Chili Peppers, who are good, but this style also birthed Limp Bizkit and Kid Rock, who are very bad.

Rock once again had an identity crisis.

But then came THE GREAT REVIVAL.

The early 2000s saw rock music once again become cool.

As Lizzie Goodman writes in her new book Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001-2011 The Strokes’ debut album Is This It was the official moment that rock was good and original again.

The Strokes behind the power of their 2001 album Is This It were hailed by retrophiles as the most important band since the ’70s New York punk scene.

The New York rock scene was suddenly alive.

The Strokes, along with Yeah Yeah Yeahs, LCD Soundsystem, TV on the Radio, and their midwestern counterparts The White Stripes, were going to save rock music.

Music critics, as well as industry heads, were desperate for rock music to return and the ascension of The Strokes caused everyone to go out and find their own version.

This wasn’t just an American phenomenon.

You had The Hives, tuxedos and all, from Sweden.

The Vines and their wild frontman Craig Nicholls from Australia landed on the cover of Rolling Stone. The excited headline read “Rock Is Back!”

This period and genre became known as “Garage Rock.” As great as some of these bands and music were, they were hoisted up by an industry desperate for rock music to be great again.

It also spawned shitty and less-talented imitators like Jet (I had hoped to never hear “Are You Gonna Be My Girl” again).

The renaissance extended into the late 00s and beyond with Vampire Weekend, Phoenix, Dirty Projectors, and MGMT, but these bands felt less revolutionary and more niche than their predecessors.

As we get further and further away from the turn of the century, a time when rock music returned to the summit of popular music, even with non-“Garage Rockers” like Foo Fighters and Radiohead, it’s starting to feel like a distant past, a brief flash in the pan that is now as insignificant as it felt important then.

So now what?

There’s still good rock music being made.

Some rock releases that this writer has enjoyed so far in 2017 include Mac Demarco, Wavves, and (Sandy) Alex G. The prolific Ty Segall made some cool music this year.

Canadian punks PUP marked their place on the rock scene with an impressive debut in 2014 and a return in 2016.

But their lead singer’s vocal cords ripping apart and them generally hating each other (the lead song off their second album was titled “If This Tour Doesn’t Kill You, I will”) has made for a quiet 2017 for PUP.

It’s not that no one is making original and interesting rock music, just that most people don’t really want to listen to or sell it.

A look back at those Nielsen numbers tells an interesting generational story. As hip-hop and R&B dominate the charts and streaming numbers, rock music still accounts for 40 percent of all album sales in America.

That’s a pretty clear correlation between older people, who are still buying music (losers!), and rock music.

As parents buy rock records, their kids are streaming hip-hop on Apple Music.

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Music is a business and as the industry demands more and more trap rap and House of Balloons imitators, rock music is just not en vogue anymore.

Once again, this stuff is all cyclical. At some point a new crew of kids will put on leather jackets, cigarettes in mouth and Heinekens in hand, and make rock music important to industry executives again.

Until then, scour Bandcamp and ask your friend in art school what they’re listening to. There’s cool stuff out there.

And no, Tame Impala is not the answer.

SoundCloud reportedly only has enough money for 50 days. Is it a wrap?

Music streaming platform SoundCloud, best known for kids on social media linking you to their mixtape, has had a rough couple weeks.

Last week, the company laid off 40 percent of its staff and closed their offices in London and San Francisco.

On Monday, co-founders Alex Ljung and Eric Wahlforss claimed the company only had enough cash to last “until Q4,” which is in 50 days.

After TechCrunch reported the story yesterday afternoon, SoundCloud released a statement denying their cash-strapped status and claiming the rumors were started by disgruntled “laid off employees.”

Read the statement in full:

“There are a number of inaccuracies within the TechCrunch article. They seem to stem from a misinterpretation of information by one or two laid off employees during a recent all hands meeting.

“Due to the extensive number of inaccuracies, we will only comment regarding funding and layoffs. To clarify, SoundCloud is fully funded into the fourth quarter. We continue to be confident the changes made last week put us on our path to profitability and ensure SoundCloud’s long-term viability. In terms of layoffs, it is our policy not to discuss individual employee cases, but we can share we continue to work with all employees who were let go to support them during this transition, with employment and financial assistance.”

While SoundCloud is one of the most popular websites in the world for music streaming, they’ve had trouble actually making that profitable.

Failed acquisition attempts by Twitter and Spotify have left SoundCloud out in the cold while trying to lock down $100 million in funding.

As SoundCloud struggles financially, one has to wonder about the future of the digital music industry. Even Spotify, with all of its functionality and massive user base, is operating in the red.

With these types of services, it appeared that the music industry had figured out how to coexist with the internet, but actually making that relationship profitable has proved to be difficult.

While SoundCloud isn’t dead yet, and maybe the 50 day prognosis was premature, it’s clear there is major trouble ahead for the music streaming platform.

RIP your favorite SoundCloud rapper.

‘Tha Carter’ came out 13 years ago today and Weezy was king

13 years ago today, Lil Wayne dropped Tha Carter and music hasn’t been the same since.

Tha Carter was then-21-year-old Lil Wayne’s fourth studio album and the first in his Carter series.

Listening to Tha Carter now feels like finding a time capsule, one chock full of Weezy puns and Mannie Fresh beats.

One of the most startling things about looking back at Tha Carter now is the constant presence of Birdman (‘Baby’ at the time). Weezy is always shouting out Baby and he pops up on numerous tracks.

Birdman put Weezy on to the game as a kid, even acting as a father figure for the New Orleans rapper, but their relationship has become nothing short of tragic.

The Young Money CEO has held Tha Carter V, and in turn Wayne himself, hostage and concentrated on promoting new YMCMB protege, Young Thug instead.

Thug stole the ‘Carter’ theme with Barter 6, a slap in the face to Weezy. Birdman’s treatment of artists was recently the subject of a beef track by Rick Ross “Idols Become Rivals.”

But despite the now-weird presence of Birdman throughout, Tha Carter was the unofficial beginning of Lil Wayne’s dominance of the rap game. No one was touching Weezy in the mid-2000’s.

Some highlights from Tha Carter:

“Go DJ”

“Go DJ” is up there with the most seminal songs of my childhood. Lil Wayne absolutely torches a bouncy-ass Mannie Fresh beat. Previous to hearing “Go DJ” I just knew Lil Wayne as the short kid rapping on “Bling Bling.”

Weezy’s pointed delivery and punchy flow was just unlike anything I’d ever heard. “Go DJ” has to be up there with the greatest hip-hop songs of the 2000’s.

“This Is The Carter”

One of Lil Wayne’s greatest talents is his ability to seamlessly flow on any kind of beat. During his peak, Weezy would just take the most popular beats across hip-hop, even pop music, and destroy them with his own style.

“This Is The Carter” is the ultimate representation of Weezy’s versatility. The production on “Go DJ” and “This Is The Carter” couldn’t be much more different, yet Weezy is able to bring the heat like only he can. I mean, dude said, “Flow sicker than a third floor in hospitals.” He was the best.

“Snitch”

Completing the ultimate Wayne versatility tour, “Snitch” is a song about not informing over a groovy 80’s synth-pop beat (shoutout Mannie Fresh again).

Wayne is rapping about not talking to five-O or there will be violence against you, but if you didn’t listen to the actual words out of the song… you’d think it was a love song made for the club.

Weezy was simply the greatest. We hope to hear Carter V at some point in this life…

People are feeling some type of way about this year’s XXL Freshmen list

Yesterday, XXL blessed us with their 2017 Freshman list. This year marks the 10th-anniversary of the Freshman franchise.

Who’s gracing the cover this year?

This year’s Freshman Class includes the Bay Area’s Kamaiyah, the BX’s A Boogie Wit Da Hoodie, Philly’s PnB Rock, ATL’s Playboi Carti, Kap G, and Madeintyo.

Plus, Portland’s AminĂ©, Cali’s Kyle, Houston’s Ugly God, and FL’s XXXTentacion.

Do they really deserve this cover though?

XXL‘s Freshman list is like the crystal ball of hip-hop. Most artists that are selected for the list go on to become megastars of the music industry.

The first class, back in 2007, included Saigon, Plies, Rich Boy, Gorilla Zoe, Joell Ortiz, Lupe Fiasco, Lil Boosie, Crooked I, Papoose, and Young Dro. Do you think the class ’17 artists even come close to that Freshman class of ’07?

What ’bout the class of 2010?


Straight fire! J.cole made the class of 2010 along with Pill, Nipsey Hussle, Freddie Gibbs, Big Sean, OJ da Juiceman, Jay Rock, Fashawn, and Donnis.


These Cyphers predict the future


Peep the comparison of ’13 to now

https://twitter.com/kelvinbesa10/status/875018874319667203

Since the reveal, there has been some backlash on social media regarding this year’s selection. Is the class of ’17 really the future of hip-hop? Rap fans, even rappers themselves, seem to disagree with the vision.


My mans was sick when he saw the cover drop


TBH I thought some other people should’ve made the list over others this year too

https://twitter.com/ijaimson/status/874880423079407617


Peep rappers Dae Dae and Famous Dex’s reaction to this year’s selection


Fuck it, this year’s class should’ve just been my son Playboi Carti


Or Asahd Khaled

https://twitter.com/SowmyaK/status/874755943971639296


In more news, Vic Mensa had some bars for the 2017 XXL Freshman class


Although many people disagree with this year’s class could it just be the start of a new era?

https://twitter.com/RapCatchUp/status/874730539726536707

Who knows? Maybe we’ll all be surprised, there are many cyphers to come. Let us know what you think about XXL‘s Freshman Class of 2017.