Blurring the Lines: Journalism, Content Creation, and Music Media
When someone tells you they’re a journalist, what image springs to mind? Do you picture a writer for a prestigious publication, someone with a press badge, or maybe an anchor with a smooth delivery on the evening news? Or maybe, in today’s world, you envision a blogger or a social media personality with hundreds of thousands of followers and an opinion on everything. To me, “journalist” leans traditional. The first images in my head are bylines and a bustling newsroom—likely due to my background in journalism. But I’ve noticed that for those outside the industry, “journalist” can carry all sorts of baggage—good, bad, and everything in between.
Our current media landscape, bursting with influencers, bloggers, and content creators, has blurred the line. So, let’s take a moment to clear things up. According to Oxford Languages, a journalist is “a person who writes for newspapers, magazines, or news websites or prepares news to be broadcast.” That definition seems straightforward, but it barely scratches the surface of how journalism plays out in real life.
To illustrate, let’s highlight one of my favorite hip-hop journalists, Nadeska Alexis at Apple Music. Whenever I watch her interviews, I’m inspired and reminded of the artistry involved in the work. The relaxed flow of her conversations is inviting, making you feel like you’re watching two friends who truly love the game, all built on research, facts, and experience. Nadeska offers her perspective while leaving plenty of space for the artist to speak their truth. She asks the questions that I, as a journalist, hope I’d come up with, and she asks what I, as a fan, want to know. Even in her conversations with other journalists and industry professionals, she offers a unique perspective. When I consume Nadeska’s work, I see authenticity.
Another journalist whose interviewing skills I admire is Elliott Wilson. I discovered him recently after watching a Mac Miller interview. I admire his way of rolling with Mac’s humor while also digging deep and not gliding over the heavier topics. You sense his genuine interest in Mac’s life and music, and can see the love and years of knowledge Wilson brings to the table.
Meanwhile, content creators have carved out their own corner of the media world, where speed and personality rule. In this space, Instagram accounts and YouTube channels move in real-time, offering immediate reactions and accessible updates. They serve their audience through a different lens—less research-heavy, sometimes more emotionally engaging, often surface-level and punchy. Here’s where the lines start to blur. Do those voices count as journalism, or are they closer to entertainment? Are they here to inform or to captivate?
One of my favorite accounts that blurs the line between journalism and entertainment is Turning The Tables, where father and son duo Kevin and Connor listen to an album front to back and briefly discuss each song as they go. Typically, one of them knows the album well, and it’s new to the other. They likely do some research to learn what albums their fan base wants to hear and to create informed dialogue, but this coverage leans more toward entertainment. For me, it’s a comfort show—a perfect backdrop while cleaning my house or eating dinner alone.
Artists have been critiquing music entertainment and journalism often lately. Tyler, the Creator, for example, has called out artists for going on shows where they eat chicken wings (possibly referring to Hot Ones or Chicken Shop Date) instead of talking about their music or the intricacies of their art. He emphasizes that artists should share and promote their music more thoughtfully. Tyler’s interview series with Converse is among my favorites, and I’ll dive into that in another article.
Artists like Russ have notoriously been critical of journalists, but his critique often seems more directed at critics. On October 11th, journalist Najma Sharif Alawi posted on X, “Russ is tweeting at me like he’s talented. I have to laugh. What journalist is rushing to interview RUSS?” He replied, “You are a journalist. Your career does not exist without artists or athletes or whoever it is you journal about. My life (and all artists’) and career exists without y’all. Y’all get too bold on here and forget what role you actually even play in the grand scheme of things. Your job is to stand on the sideline and wait for other people to do s--t in order for you to even have a job. Relax.”
This isn’t Russ’ first time critiquing journalists. What I see here though is an unprofessional journalist making a bitter comment, and Russ’ blunt, if not entirely inaccurate, rebuttal. Alawi’s tone and untrue statement feel outright distasteful. After reading posts from Russ on X, I’m convinced he has compelling views on the state of music journalism. He talks about what artists prioritize in interviews (and why he disagrees) and expresses that traditional music journalism has lost relevance in the digital landscape.
In one X post, Russ discusses the debate:
Which parts of this do you agree and disagree with? I know I still read written interviews, although I’ll always jump for the video interview first to get a full perspective, so I share agreement with the second part of statement three.
Some of Russ’ posts may make you think he dislikes journalists, but I don’t believe that’s the case, and if you’re paying attention to the heart of his argument, you’ll likely agree. He seems to respect true journalists and their collaborations with artists, but doesn’t see their work as essential.
Russ’ perspective sheds light on the evolving relationship between artists and journalists in the digital age. His comments highlight a shift in power dynamics; with traditional media’s reach waning, artists now turn to platforms where their voices can be amplified directly to audiences. This mirrors the broader theme of blurred lines in journalism: as journalists work to establish their own brands, they face competition from content creators and influencers who often command larger, more engaged audiences. Russ’s points underline the tension between maintaining journalistic integrity and adapting to the fast-paced, visually-driven demands of today’s media landscape.
In her recent interview with Nadeska, ScHoolboy Q emphasized, “(TikTokers) are acting like we (artists) need them…Y’all sit up here and talk about us all day; y’all need us.” Cordae took to X to share his thoughts on journalists vs. content creators, saying content creators offer “HOT TAKES and opinions with no real research.”
The tug-of-war over who needs whom remains a constant topic in the industry. Music journalists undeniably need artists—that’s a fact. The best journalists recognize this and show genuine appreciation for artists and their craft, which, in turn, often earns them respect as ‘one of the good ones.’ So, when artists critique the industry, it doesn’t necessarily mean they’re anti-journalism; more often, they’re calling out the flaws and unprofessionalism they’ve encountered. This reminds me that respected journalists are still valued.
The difference between the everyday person covering something and a journalist covering something becomes especially striking in music journalism. Imagine a concert review written by a traditional journalist, someone who paints the scene with every instrument, every beat, and every audience reaction, capturing not just the sound but the spirit of the night. Then, picture an influencer posting snippets to social media—quick bursts of excitement, crowd energy, and hit songs. The beauty lies in the contrast: while content creators catch our attention with their fast, relatable updates, journalists go beyond that flash. They bring context, history, and stories that linger long after the music fades.
Both spaces have their worth, and both serve audiences in different ways. But for those of us who crave the full story, that taste of real journalism, it’s easy to see why the distinction matters.
