HEADS KNOW TAPE 034: Dylan “CineMasai” Green
An interview and mix from the New Jersey journalist, podcaster, and twerker.
Photo: Courtesy of the artist
HEADS KNOW TAPES is the mix and interview series curated to introduce you to the most interesting innovators, selectors, and artists from New York City and beyond.
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Making my way into music journalism in 2022, I quickly learned how cutthroat and unforgiving the industry was. But I met a few gems who were warm and welcoming — willing to support newcomers like me who were just passionate about writing about music. Dylan Green, also known as CineMasai, was definitely one of them. Not only one of the sweetest people within the scene, Dylan’s work ethic and talent go beyond the average writer.
You might know them for their prolific contributions to Pitchfork, DJBooth, Complex, Vulture, among others, or his music-movie podcast, Reel Notes, where he’s hosted the likes of Denzel Curry, Open Mike Eagle, staHHr, Lupe Fiasco, and more. In 2024, Green also co-founded Hearing Things, an independent worker-owned music publication.
Roll the tape to get a taste of one of this generation’s most important music critics and read on to learn about the expansion of Reel Notes, their relationship with both music and movies, and his hot takes on criticism.
Hey Dylan, this has been a long time coming, so thanks for bearing with me! How are you doing?
Arielle! Everything in due time, so happy to be here. I’m coolin’, currently digesting this Cool Ranch Dorito gordita crunch and being thankful for music.
You’ve done so much with Reel Notes and I’m really proud of everything you’ve accomplished. Tell me about how it all started and how you got it to where it is now.
Appreciate that fr. So Reel Notes began, like I feel so many of our peer’s projects/bands/newsletters/podcasts/etc started, during the pandemic. Every once in a while I’d get the “You should start a podcast” speech from friends, but I didn’t wanna do that unless I had something different to offer—I’m not Joe Budden or Gillie and Wallo or Akademiks, it’s already too many gossipy current event rap podcasts out there. Film and hip-hop culture have always been my beats, and I’d spent years trying to find the best way to merge them together. How could I enter the press cycle on my terms and stand out?
Well, I figured, rappers tend to love movies. References abound in the songs, and plenty are avowed cinephiles, or at least have movies playing in the background of studio sessions. Why don’t I have rappers, producers, journalists, etc. on to talk about their relationship with movies and whether or not film inspires their craft on top of whatever else they’re here to promote? So I took six months from September of 2020 to March of 2021 to ideate and put together this little thing called Reel Notes. My homie Big Flowers (congrats on getting married btw!!) and I designed the logo and they made the template I use for all my promotional clips, and the homie JWords, one of my favorite producers out of New Jersey, blessed me with a beat for the intro that plays ahead of each interview. I had already been working as a journalist for a decade, so I reached out to a handful of artists to see if they’d be down to be a part of this new thing and, thankfully, they said yes. I’m currently 34 episodes deep into the show’s fifth season and just celebrated my 200th episode back in July with Open Mike Eagle. I’m proud to say I’ve had plenty of old and new talent on: Some heavy hitters (Lupe Fiasco, MIKE, Navy Blue, Flying Lotus), indie rap royalty (Armand Hammer, Liv.e, Mavi, Chelsea Reject [RIP]), and plenty of other figures, from up-and-comers to legends, in the mix.
Then, in 2023, I began what I call Reel Talk, a movie night series where I have a special guest pick a movie, screen it in front of an audience, and be interviewed about it afterward. I’ve done nine of those so far, the most recent being with Navy Blue (we watched The Iron Giant), and all but one of those have been hosted at Loudmouth, a record shop and streetwear store in Bed Stuy that’s become something of a haven for the indie music community in the last few years. Getting people to leave the house is a feat these days, so to see these events continue to grow and garner so much support and interest is mad heartening. Peace to Sam at Loudmouth for opening the space, to my partner Desiree for helping me make the fliers, and to everyone who pops out!
Which love came first: Movies or music?
Probably music because that was always playing in the house. Both my parents love music and my father is a musician himself, so it was hard not to get swept up in some way. Movies came shortly after, though. All it took was me watching The Lion King to fall completely in love.
How do the two work together?
To me, it’s all about amplification. I think about the scene in Ratatouille where Remy tries the strawberry and pineapple by themselves and then eats them together and how the flavors compliment each other. Images will almost always be made better or more distinct when paired with some kinda sound, and movies and music are no exception. I can think of dozens of times a perfectly placed song has made a movie scene better or worse, just like I can think of so many moments where a song was made better (or worse) by an official or fanmade music video. Painting something in your mind’s eye with several mediums? That’s my shit.
“Painting something in your mind’s eye with several mediums? That’s my shit.”
Would you rather watch one movie for the rest of your life and listen to as much music as you wanted or listen to one album for the rest of your life and watch all the movies? Which movie would it be?
One movie and all the music, because at least I can listen to music on the go. And if I had to pick one, it’d most likely be Black Dynamite. Never fails to make me laugh and is just so culturally rich, between the music and the outfits and the slang, that I could get lost in it forever. I will laugh any time Cream Corn opens his mouth and croon any time “Gloria (Zodiac Lovers)” plays.
In your opinion, which movie has the best soundtrack?
Nutty Professor II: The Klumps, Digimon: The Movie, or Tron: Legacy. IYKYK.
Talking about movies and music all day has to be the coolest job ever. As a kid, what did you want to be when you grew up?
Lil Dyl always wanted to be a performer of some variety. As a kid, I sang, was in school plays and musicals, and played piano, bass, and djembe. I once auditioned to play Young Simba for a regional touring production of The Lion King and was like a round or two away from making the cut. Entertainment was always set to be a part of my life, but I enjoyed documenting it more than creating it at that point, so I decided I wanted to be a film critic and moved from there.
Photo: Courtesy of the artist
Maybe I’m glazing, but I believe you’re objectively one of the best music critics of our generation. What launched your music criticism career?
Wow thank you, I be tryin’! Given my musical background, it didn’t come as naturally as you might expect. I had such an easy time writing about movies, but music was a bit difficult for me to articulate since it was just there. I’d write about the occasional album or cover a live show at my college paper and some of my early writing gigs, but never more than that. Not until after I met Jerry Barrow at The Urban Daily, and then some years after as the managing editor of Watchloud.com. They were producing Elliott Wilson’s CRWN interview series at the time, and I eventually found my way into their freelance pool. Jerry, sharing similar interests to me, helped me apply my skills writing about film and pop culture to music, and it resulted in what I consider to be my first piece of music writing, called The Once and Future Ratking, which I wrote and published a few days after the group broke up. That popped the seal and eventually led me to DJBooth, where I really cut my teeth as a music writer.
Is it easier to write about something you love or something you hate?
Honestly, the biggest challenge is in the middle. It’s always the shades of grey that are the hardest to structure and articulate because you have to ask yourself all these questions: This record isn’t my favorite, but I like these three or four songs, or this facet of it can be culturally interesting even if the music overall kinda sucks. That’s some of the hardest writing, but also the most rewarding, because if you can get people to see where you’re coming from and have it be middle of the road, that means you’re a great writer who can hold attention no matter what. My reviews of Czarface’s Czartificial Intelligence and Coi Leray’s Trendsetter were way more difficult than $ilkmoney’s I Don’t Give A Fuck About This Rap Shit, I’mma Just Drop Until I Don’t Feel Like It Anymore or Bbymutha’s Muthaland.
I wrote a whole newsletter on Substack defending criticism because of the nonstop discourse and I know you’ve experienced the backlash firsthand. Why do people hate critics so much?
I say this with all the love and respect I can muster, but I honestly think it’s because people generally don’t care to think deeper about the stuff they consume. Is it hot? Call it a classic. Does it fall short? Call it “mid” or “trash” and move on. That’s a byproduct of everything from film and music to video games becoming so easily accessible to all of it competing for attention at the same time. It’s pushed these communities of people who do care, who are looking for recommendations outside of the popular consciousness or thoughts deeper than surface-level cheers or jeers, into the niches. Everything’s fragmented now, and that’s made stans become even more accommodating and adoring, and critics even more prone to dig deeper and occasionally draw blood. Weird ecosystem, but we play the cards we’re dealt.
In one sentence, what’s your defense for why criticism should exist?
We should always be questioning our opinions.
You wrote for Pitchfork for a long time. Has anyone ever asked you what your “Perfect 10” is?
Surprisingly no, but if I had to choose, it’d either be Amerie’s All I Have or Fat Jon’s Hundred Eight Stars. If you don’t have hella perfect 10s, are you even doing this right?
“We should always be questioning our opinions.”
Many are saying hip-hop is dead, but both of us know that isn’t true. Who are your BiG tHrEe that prove it’s very much alive?
billy woods, osquinn, and Rx Papi. Bonus is Gangsta Boo. Enquiring Minds is a rap clinic people should study more often.
We’ve done a lot of talking about recurring Twitter discourse. What’s your least favorite topic of discussion that constantly comes back?
One that just came back I’m tired of hearing is the drumless beats debate. Just say you don’t like loops and go! Leave some for the rest of us.
Sorry, but I still need more hot takes. What album were you really excited about this year ended up disappointing you?
Clipse’s Let God Sort Em Out. And y’all can read why here ;)
There was an era where a lot of our peers would end up writing profiles of the same subject — like the time we were both in DJ Premier’s studio to interview him. I was always curious if it made other writers nervous knowing that your piece would essentially be up against theirs. It definitely did for me.
Oh fs, I think outside of deadlines, that’s why most people wanna be first. Seeing others come to the same conclusion or think of the same question can be crushing when you’re not the first person to get a piece out, but I try to think of it as a reminder that great minds think alike. I don’t consider myself in competition with most people in this space, and we’re all just tryna get our words off. But that doesn’t mean I’m not gonna bring my all to every piece you see me promote.
How does someone in the media space get over impostor syndrome?
In a world where you’re only as good as your next piece, do you ever? I constantly push through it by doing the work and reminding myself I deserve to be here. Nobody is more critical about my work than I am, so I just keep trying to do better by myself and prove myself wrong. When the piece hits, and people recognize it as much as you do, there’s few better feelings in the world.
Which 5 people (artists, producers, journalists or anyone else), publications, or platforms should heads know?
First thing I gotta plug is Hearing Things, the independent music publication I co-own and operate with Ryan Dombal, Julianne Escobedo Shepherd, Andy Cush, and Jill Mapes. Most of my writing, from reviews and essays to interviews and album recommendations, exist over there. Follow us and subscribe if you wanna directly support what we got goin’ on.
Andre Gee, Rae-alia Crumble, Samuel Hyland, Josh Herring, and Clover Hope are among my favorite writers of the moment. My favorite pubs/platforms are SoundFynd, That Good Sh*t, Tone Glow, and Vulture.
What can we expect from this mix?
A mix of old and new songs I’m feeling at the moment.
Is there anything I haven't asked you that you want to talk about? Anything you want to promote?
Listen to Kelly Moonstone’s New Moon, 1100 Himself’s The Misadventures of Lev and Sleep, and Teller Bank$’s Drug$$$ (pronounced “drug money”). All three are crazy.
Free Palestine, Tigray, Haiti, Congo, Niger, and all oppressed people worldwide. Rest in piss Charlie Kirk. Drink water. Stretch and go for walks whenever you can. Question everything. Make time for your loved ones. Buy Hades 2. Brush your fuckin teeth. Love yourself and each other <3
Support Dylan “CineMasai” Green on Instagram, Twitter, and TikTok.
This interview has been edited for clarity.
TRACKLIST
Apollo Brown x Stalley feat. Omari Hardwick - Omari’s Lament
8Ball - Pimps (Street Sweepers edition)
K$upreme feat. Shawny Binladen - payday
SPOOK feat. Vayda - Eat
Khadija Al Hanafi - Look @ The Bag
Khadija Al Hanafi - المستوى الأعلى
Lunchbox - Maroon 5
Mike x Tony Seltzer feat. Lunchbox - Dolemite
MIKE - neverKnocked
Niontay - Old Kent road freestyle
Bahamadia - Rugged Ruff
Kelly Moonstone feat. Pink Siifu - Day 1’s
Nujabes - Tsurugi no mai
Me - White Barn Mahogany Teakwood
$ilkmoney - NEVER TRUST A BITCH THA-*EXPLODES*
$ilkmoney - THERE ARE HILLS AND MOUNTAINS BETWEEN US, ALWAYS SOMETHING TO GET OVER
Pathfinders - pawnz
FOHDH Matthew x Wino Willy - Matthew and the Word of Quilly the Wise
Yugen Blakrok - Fighter Mantra
Baby Osama - Double D’s
Black Milk x Fat Fay - The Recipe
Papo2oo4 x Subjxct 5 - Rlly Love
1100 Himself - Come On
Imani Nichele - Chal
Sahbabii - Ready to Eat
billy woods feat. E L U C I D - Dislocated
Fatboi Sharif x Roper Williams feat. Lungs - Terrorist Loop
