Nas gets five mics and is made a hip-hop lyrical god. Upski gets his first opportunity to shine and piss people off. The recipe for crack is made available to a nationwide audience of hip-hop fans. Timberland is accused of avoiding marketing its products to the urban community.
Those are just a few of the events that have made The Source history books, catapulting the once-Xeroxed, all-text tip sheet into one of the most-bought newsstand magazines of its time and quite possibly one of the most important factors in bringing hip-hop to the mainstream.
Born out of the dorm room of then-Harvard student David Mays and his partner Jon Shecther, The Source has grown to become the true daydream of a media entrepreneur.
An original idea conceived out of a necessity for a publication to serve as a driving force in a culture, a publication that would be used for not only marketing purposes but also as a voice for an underrepresented population in America, “The Magazine of Hip-Hop Music, Culture and Politics” recently celebrated its 150-issue release to rave reviews.
First appearing as a self-inflicted ego boost, the cover, a collage of past covers, embodies the rich history of the magazine, from its “Power 30” issues to the blatant promotion of Mays’ friend, confidant and business partner Ray Benzino.
Short, at times, on journalistic integrity yet still entertaining and extremely popular, the magazine inspired by Robert Draper’s “Rolling Stone Magazine: The Uncensored History” has managed to build itself into a brand name the same way Jann Wenner built his brainchild into one.
Criticized for moving in the direction of an advertising supplement rather than a “source” for information for the hip-hop community and blasted for giving lackluster albums glowing reviews and excellent albums sub-par assessments, The Source has seen better days. Many of the classic writers that grew from the rich soil covering the office have taken their talent elsewhere.
“The Boondocks” have become syndicated, Tyson Beckford now does modeling for more reputable fashion giants, Buckwild now has his own radio show and Elliot Wilson has become “extra-extra large.” So what better time than the 150th issue to celebrate their former glory and bask in their own greatness? Their “Unsigned Hype” all-stars are mentioned (Mobb Deep, Eminem, Biggie, Common, etc.) and several albums have been given the five-mic status they deserve (The Chronic, Cuban Linx, Reasonable Doubt, Ready to Die, etc.).
The mistakes have been made and hindsight is always 20/20, but during this time of Lent, sins are being repented.
Now faced with the possibility of exponentially-growing American Express debts and an impending buyout from a larger mega-media conglomerate, David Mays must continue to fight his detractors and keep his Source Publications going.
As the glossy monthly’s former music editor Reginald Dennis said in a recent issue of Details, “Being exposed in The Source was like a white businessman being exposed in the Wall Street Journal. Your entire peer group reads it. It would drive people crazy.”
The question remains whether that statement is true today, but one thing is for sure: The past has been a long, strange trip for Mays and his cohorts. In a letter from current Editor in Chief Carlito Rodriguez, shots are taken at the competition and claims of excellence are made.
Critics can say whatever they want, but like any loyal customer addicted to the product, readers will probably never stop reading the magazine, regardless of what the future holds for The Source.
