Damn...even the hip hop publications recognize this era is trash 
How Can We Prevent Hip Hop From Sounding The Same In 2020?
Earlier this month, veteran A&R Riggs Morales set off a social media debate with an Instagram post that started: “If you’re wondering why shyt all sounds the same, it’s because producers are all sending around the same shyt. Not a single one of them names is moving the needle on the sonics.”
It was an explosive statement to say the least: the argument about whether the current state of music is due to the labels or the creators has been going on for decades now. I can completely understand how someone like Riggs could get frustrated by getting flooded with beats that sound similar; especially the diversity of his current artist roster at Atlantic Records. (Riggs previously worked at Eminem’s Shady Records during its early days and was instrumental in developing many of the artists who came through there as well.)
The frustration he expressed has a deep systemic origin, but it affects all parties involved in this record-making process. I’ve been privy to this simple, yet complex issue throughout my 20-plus year career running our support and education platform, istandard, advocating for the new music creator community, as well as managing producers whose expertise ranges from “new kid on the block” to Grammy-winning, platinum producers.
How Can We Prevent Hip Hop From Sounding The Same In 2020?
Earlier this month, veteran A&R Riggs Morales set off a social media debate with an Instagram post that started: “If you’re wondering why shyt all sounds the same, it’s because producers are all sending around the same shyt. Not a single one of them names is moving the needle on the sonics.”
It was an explosive statement to say the least: the argument about whether the current state of music is due to the labels or the creators has been going on for decades now. I can completely understand how someone like Riggs could get frustrated by getting flooded with beats that sound similar; especially the diversity of his current artist roster at Atlantic Records. (Riggs previously worked at Eminem’s Shady Records during its early days and was instrumental in developing many of the artists who came through there as well.)
The frustration he expressed has a deep systemic origin, but it affects all parties involved in this record-making process. I’ve been privy to this simple, yet complex issue throughout my 20-plus year career running our support and education platform, istandard, advocating for the new music creator community, as well as managing producers whose expertise ranges from “new kid on the block” to Grammy-winning, platinum producers.
Just say the word and I'll fukk his bytch ass up. That p*ssy STILL ain't freed the brehs 
