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With rappers recording at a nonstop clip, and sampling more difficult than ever, hip-hop producers are increasingly outsourcing their melodies to a global network of loopmakers. --- These loops are snippets of original music that Prasad composes at his computer, melodic ideas that might serve as the instrumental hook of a song—but without the rest of the song attached. They range in length and complexity: some incorporate one or two different sounds, while others are multi-layered miniature compositions. Every two weeks, he packages around 40 of his best loops to send to established producers he connected with on Instagram. If everything goes perfectly, a producer will use one of his loops in a beat—they might change the tempo, adjust the pitch, chop it up and rearrange it, or just drop it in as-is—and an artist will record a song over it. In recent years, these melody loops, and the musicians who create them, have become a fundamental part of the way rap music is made. For up-and-comers like Prasad, supplying well-connected producers with packs of pre-made melodies has become the most effective method to get a foot in the industry’s door. And for producers working with prolific rappers, outsourcing the time-consuming work of writing a melody to a pool of dedicated loopmakers is the most efficient way to keep making hits. […] The popularity of loops, on some level, is a reaction to the increasingly complex legal and financial barriers placed on sampling pre-existing recordings in new songs, a cornerstone of early hip-hop production. In the past three decades, from pivotal court cases around samples in De La Soul and Biz Markie records in the early ’90s to more recent copyright battles over “Uptown Funk” and “Lucid Dreams,” incorporating references to other songs in your music has become a risky and expensive proposition. […] Within this collaborative spirit, there’s also an inherent power imbalance. When unknown loopmakers—often geographically removed from rap’s centers of industry in Atlanta, New York, and L.A.—send material to big-name producers with connections to artists and labels, the latter have far more leverage than the former for negotiation, a dynamic that can leave loopmakers vulnerable to exploitation. […] Though loops have already become a music industry standard, there’s still a stigma attached to them, according to Jetsonmade. “People have a lack of respect for the loopmakers,” he says. “Some producers don’t want people to know they’re using loops.” For more traditional producers, there’s a prevailing sense that using loops is a sort of cheat code. The separation between clicking through a folder of loops and making a beat from scratch can seem like the difference between ordering from Seamless and cooking a meal. It also suggests a depressing reality for many of the most in-demand rap producers, who may simply lack the time or bandwidth to work from a blank slate on all of their beats.

One minute he was a hip-hop sensation starting a viral dance craze, the Shmoney Dance, and rhyming about guns and drugs and murder. The next he was locked up, indicted on a slew of charges involving… guns and drugs and murder. The government’s case against Bobby Shmurda, now heading to trial, raises all kinds of nagging questions, but none more troubling than this: Does the justice system fundamentally misunderstand the world of rap?

“Still, for the Cool Kids, it comes down to one thing: Mountain Dew provides them with a fair opportunity to usher their music into the world. ‘Any other label, any other situation … you do all the work and they take all the money. I can’t sleep comfortably with that,’ explains Rocks. ‘I would take Mountain Dew any day of the week over that. Money comes and goes, you spend it stupid and it’s gone. But what we are doing, what we’ve made — no one can take that away from us.’”