Why It Doesn't Matter that Joey Bada$$ is 17.

Every bit of ink spilled about rapper Joey Bada$$ starts with the fact that he is only 17 years old. Though it initially seems noteworthy that Joey is producing quality music at such a young age, last weeks' release of his mix tape, 1999, proves that Joey's age is entirely inconsequential. Rap has a long history of teenage artists emerging and gaining popularity, from The Fresh Prince and Soulja Boy to Bow Wow and Romeo. Most young rappers undergo a rebranding in an attempt to remain relevant. Bow Wow and Romeo proved to be mere youth novelties, after dropping the "Lil" in front of their names, both have been inconsequential as MCs. Soulja Boy transitioned from pop-rap internet superstar to spaced out Lil B associate. After releasing a few acclaimed albums in the late 80's and early 90's, The Fresh Prince became Hollywood superstar Will Smith. Even the Odd Future crew, who rode a wave of success due in equal parts to their youth and shocking lyrical content have already reached a point of diminishing returns. Odd Future leader Tyler the Creator seems very aware of this, and in an interview with Spin Magazine, talks about his music evolving in a completely different direction.

The Wildly Divergent Careers of Fiona Apple and D'Angelo (Coming Full Circle?)

Singers Fiona Apple and D'Angelo are very different stylistic performers, but both emerged in the mid-90s on a wave of critical success, the strength of their artistic visions and breathtaking, affecting voices. Both singers scored unlikely top 25 hits and burst into public consciousness because of controversial, body barring videos (D'Angelo for "Untitled (How Does It Feel)" and Apple for "Criminal.") At this point the similarities seem to end. D'Angelo fell into addiction and stopped making music while Apple, after battling years of label drama, released the well-recieved Extraordinary Machine and toured extensively in support of it.

Coachella 2012 Diary April 22, 2012

After two full days of festival-going, I got a little later start to the third day, but with such a stacked lineup Sunday evening there was no time for fatigue to set in.

Santigold: Not much of a Santigold fan, her Sunday afternoon warm-up set was in no way noteworthy. She had dancers in crazy outfits and performed her uninspired M.I.A./Gwen Stafani hybrid songs. And that was that.

araabMUZIK: Basically only knowing his production work with Dipset and his Electronic Dream hit "Streetz Tonight," I didn't really know what araabMUZIK's live show was all about. I heard rumors about  his skills on the MPC drum machine, but had my doubts. araab-produced Dipset cuts "Get it in Ohio" and "Salute" are solid hip hop beats, but don't hint at an exceptionally talented drum machine master. Initially, I was surprised at how dubstep-y araabMUZIK's set sounded, incorporating almost none of the hip-hop of his Dipset work or the dreamy electronica of Electronic Dream. As a casual electronica/dubstep listener, araab's set wouldn't have done much for me without his calling card, the MPC. While simultaneously dropping beats and jamming away at the drum machine, he solved the one problem I tend have with live electronica music, that the live shows seem so sterile. To my untrained eye, I can't really tell what the artists are doing onstage at any given time, being unable to differentiate what is preprogramed and what is improvised in a live environment. And if you need any video proof, araabMUZIK is just ridiculous and must be seen in person.