Tag Archives: Business

Old 50, New Generation

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“The rap game is all fucked up now, what are we gonna do now?
How we gonna eat man? 50 back around”

– 50 Cent (“Back Down“)

During the summer of 2010, I was given an opportunity of a lifetime; a chance to intern for 50 Cent and his record label, G-Unit Records. Although many who know me well know about my time at G-Unit, it’s an experience I rarely discuss in great detail, simply for two reasons. One, I would rather show you what I learned rather than tell you. Two, when 50 Cent talks, you listen and absorb. Confidentiality is also important. With that being said, 50 Cent’s headline making antics over the last two weeks do not surprise me. After all, all press is good press, right?

Me and 50 Cent (Summer 2010)

Me and 50 Cent (Summer 2010)

Despite being a commercially successful, worldwide superstar, from a music perspective 50 Cent is a new artist in 2014. The days of gorilla style marketing that fueled early 50 Cent and G-Unit records no longer exist, and rap feuds that 50 loves to engage in have taken to social media, leaving 50 Cent no choice but to reinvent himself as a dominate artist. This means constant promotion, a strong online presence, and one or two solid radio singles. Despite the rapid, uncertain change of the music industry and how listeners consume music, 50 Cent is always going to do things his way and continue to leave people talking. Recently, we have seen this with his shift to taking the independent route and leaving his recording home of over a decade, Interscope Records, a headline making first pitch at the New York Mets game, and reuniting with his G-Unit brothers Lloyd Banks, Tony Yayo, and Young Buck at New York’s Hot97 Summer Jam concert on June 1st.

50 Cent, Young Buck, Tony Yayo & Lloyd Banks at Hot97's Summer Jam (6/1/14)

50 Cent, Young Buck, Tony Yayo & Lloyd Banks at Hot97’s Summer Jam (6/1/14)

Leading up to his fifth studio album in five years, Animal Ambition (released June 3rd), 50 Cent decided to release both songs and visuals weekly for a majority of the songs off the album. In the June 14th issue of Billboard Magazine he said, “When I hear a song on the radio for the very first time, if it’s an artist I like, I know I would go to YouTube to hear it again. I enhanced it and made it better by having the visual already connected to it. Gain the audience, then sustain the audience instead of spending every marketing dollar to keep the audience in place.” Although 50 offers a logical explanation, I personally believe that he crossed the fine line between accessibility and oversaturation, leaving me to purchase a physical copy (yes, I still buy physical copies of CDs) more as a collectors item rather than for the interest of putting in the CD and listening to it. Of course, music and media streaming has played a role in this as well.

“I been patiently waiting for a track to explode on
You can stunt if you want and your ass’ll get rolled on
If it feels like my flow’s been hot for so long
If you thinking I’mma fuckin’ fall off, you’re so wrong”

– 50 Cent (“Patiently Waiting“) 

Often times consumers say to their favorite artist, “we want to the old so-and-so back” or “we want this sound instead,” and that is what 50 Cent did – sort of. As a long time fan, and one with an obvious bias to all things 50 Cent, I question how long 50 Cent has been sitting on this music. In fact, most of the personnel on the album have stated that the music was made four-five years ago. Now this is not necessarily a bad thing considering 50’s grimy, hard-hitting street content is what fans have always gravitated to. I do however,  question if and how a new, younger, audience will relate to this content enough to buy in to 50 Cent the rapper like many of us did back in 2003.

50-cent-animal-ambition-cover

Overall, 50 Cent’s Animal Ambition had a poor rollout, which most likely will result in this being his lowest selling album to date. This is not to say 50 Cent and his staff did not put in enough time or energy, because I know they did, perhaps the release of the album could have been handled differently. The Trey Songz assisted, Dr. Dre produced single “Smoke” (a song originally made for Dre’s “Detox”) is a perfectly capable single for commercial radio, but has not gained enough traction to earn the “hit record” status. Other songs off the album including “Pilot” and “Twisted” would be great radio contenders as well, but with the reuniting of G-Unit and new music from the group on the horizon, this may be 50 Cent’s “throw away” project.

In the end, not everyone can withstand a career of longevity and success the way 50 Cent has been able to. With the reuniting of G-Unit, 50 and the gang not only have the task of recreating the energy that once filled the air of New York City and fans all over the world, but translating their hard-hitting grassroots approach to conform to 2014 standards. So far in the 10 days they have been together, they have already flooded the Internet with four freestyles and planning for a new album by November. How about G-Unity as the title?

G-G-G-G-Unit!

 

Return Of The Mack

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2013 was truly an incredible year in music, especially in hip-hop. We got albums from Kendrick Lamar, Drake, Eminem, Kanye West, and Jay Z; Mike Will, Young Chop, and DJ Mustard made every beat, and twerking went from Atlanta strip clubs to mainstream America. Although there were many great moments this year, 2013 was the year of the ‘Mack,’ and if the momentum continues in to 2014, Mark Morrison better start planning his comeback. Mac Miller, Macklemore, and Mack Wilds all created individual lanes, dominant fan bases, and earned a total of 8 (7 for Macklemore, 1 for Mack Wilds) Grammy nominations.

“Shut your pie-hole, I’m dope and I know
/ My voice sound like it was a sample off a vinyl / I don’t mind those hating on my style /
I tend to take the high road, get stoned and fly low”

– Mac Miller (“S.D.S.”)

Me interviewing Mac Miller in Ithaca, NY - March 2011

Me interviewing Mac Miller in Ithaca, NY – March 2011

Although artists like Mac Miller and Macklemore get criticized for both the color of their skin and crossover in to the pop world, both artists have stuck to their hip-hop roots and have truly stuck with the culture. Not only has Mac Miller formed close ties and working relationships with artists including Odd Future, TDE, and Jay Electronica, but his sophomore album Watching Movies With The Sound Off was one of the years best. A complete 360 from his debut album, Blue Slide Park, “Watching Movies With The Sound Off falls somewhere between Pharrell and Madlib, deeply rooted in the sounds of Stones Throw that manages to bridge the gap to contemporary mainstream hip-hop” according to XXL Magazine. Ultimately, this can be attributed to Mac’s choice of sequencing throughout the album, as well as his production (under the Larry Fisherman). WMWTSO may have slipped under many people’s radar this year, but that doesn’t slow Mac down. In 2013, Mac had another sell out tour (The Space Migration Tour) and released a live album in December (Live From Space). While most people would generally take a break after a tour and 2 albums, Mac has no plans on stopping in 2014. Last week he told MTV News he has 4 albums ready to be released this year, along with his Pharrell-assisted Pink Slime. Whether you like Mac Miller’s music or not, there’s two things you should take in to account and respect. First, Mac Miller is still an independent artist and making the music he chooses to, and hasn’t been conformed to industry standards. Second, he’s been on the Forbes Hip-Hop Cash Kings list two years in a row!

See: Rap Radar ’13 Underrated Albums #1: Mac Miller Watching Movies With The Sound Off

See: Al Lindstrom’s 2013 Most Improved Artist Of The Year 

“Return of the Mack
/ Get ’em, what it is, what it does, what it is, what it isn’t”

–       Macklemore & Ryan Lewis (“Can’t Hold Us”)

Macklemore & Ryan Lewis

Despite what people on Twitter or some of the hip-hop community may say, Macklemore deserves everything he’s getting and he is not leaving his hip-hop roots behind him either. Before he made a name for himself, the most popular rapper to come out of Seattle, WA as Sir Mix-A-Lot; yes the guy most notable for his song “Baby Got Back.” Of course Macklemore will always have to live with the title “The “Thrift Shop” rapper, but instead of hating the song, hip-hop should embrace it for the sole fact that it has lead the genre in to corporate America; something usually lead by Jay Z and Diddy. If people gave Macklemore and Ryan Lewis’ album The Heist a complete listen, they would see beyond the stigmas and understand why they are up for 7 Grammy’s and have gained the attention of the entire world. Macklemore has proved that he can speak about things most rappers do, Jordan sneakers (“Wing$“), cars (“White Walls”), and record labels (“Jimmy Iovine”), but also on social and political content (“Same Love”). My comments on Macklemore are only brief because I believe his actions and work have spoken for themselves thus far and we will only see bigger things from him in 2014, both in pop music and hip-hop. Additionally, although Macklemore is doing this all independently, he has hired Warner Music to distribute his music. Big machine + Chart topping singles = Success. Let’s not forget, Macklemore effortlessly threw a pair of the prestigious Nike Yeezy 2s in the middle of Times Square, now that’s hip-hop! Oh yeah, with a platinum album, multiplatinum single’s, and a spot on the Forbes Hip-Hop Cash Kings list, don’t be surprised when Macklemore knocks out Kendrick Lamar for the top spot at the Grammy’s!

See: The Source Magazine Names Macklemore ‘Man of the Year’

“Said I don’t mean to brag /
But I live a life that most can only dream about”

–       Mack Wilds (“Own It”)

Me interviewing Mack Wilds in NYC - December 2013

Me interviewing Mack Wilds in NYC – December 2013

The transition between singing and acting has always been exciting, and generally much better than any athlete trying to rap! LL Cool J, Tyreese, Jamie Foxx, and a host of others have all succeeded and now there’s a new actor to add to the list – Tristan ‘Mack’ Wilds. Most people know Tristan from his role as Michael Lee from The Wire or Dixon Wilson on 90210, but Mack is a confident and talented R&B singer from Staten Island, New York. Teaming up with producer Salaam Remi (credits: Nas, Amy Winehouse, Miguel) and label Sony Red, Mack Wilds released a conceptual R&B album titled New York: A Love Story in September fueled by 90’s hip-hop beats and Mack’s interest in both women and his beloved Staten Island. What’s most exciting is that not only is the album highly underrated, but for an album that only sold 2,000 copies in its first week, it is currently nominated for Best Urban Contemporary Album at this years Grammy’s. With his Ne-Yo written debut single “Own It” quickly gaining speed, and his follow up “Henny” getting some attention on local New York City radio, Mack Wilds has successfully earned a position in the new class of New York City hip-hop and R&B. At his recent show at New York City’s SOBs, Mack brought out rappers A$AP Ferg, Bodega Bamz, 360, and Skyzoo, ultimately showcasing what the city has been missing.

With the right push, and a win at the Grammy’s, I see big things in Mack Wilds future. I believe that that factors are simple: continuing to push “Own It” – possibly even to Top 40 radio, TV appearances, and ship more physical copies of the album! Personally, I don’t see why he can’t be in the same position as Ne-Yo, and other great young singer-songwriters who are at the forefront of the genre and in the mainstream media. I rarely enjoy listening to an album all the way through multiple times, but New York: A Love Story is a special project that I highly encourage everyone to listen to.

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Death Over Designer

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“Fashion killed rock and roll. Fashion killed contemporary art, and turned it vulgar. And if hip-hop artists are not careful it will also kill hip-hop.”

– Jean Touitou, Founder of A.P.C. (via Style.com)

Kanye West in Givenchy kilt

Kanye West in Givenchy kilt

Gianni Versace is rolling over in his grave. Not only was the legendary designer murdered, but his brand is slowly as well. The cause of death; rappers. I initially wanted to write this article six months ago when Givenchy, Balmain, and Alexander Wang were the victims, but now is the right time. With luxury rap at an all time high, at what point do consumers stop feeding into the garbage coming from their speakers and remain practical? (Do you really need an $120 white tee from the Kanye West x A.P.C. collection? Absolutely not.) First, more than half of the rappers who rap about these luxury goods can’t really afford them. Second, you all look stupid! Kilts, capes, and long shirts that look like dresses? I’ll pass…

“I made Jesus Walks, so I’m never going to hell
Couture level flow is never going on sale
Luxury rap, the Hermes of verses
Sophisticated ignorance, write my curses in cursive”

– Kanye West (“Otis“)

Whether it is considered high fashion or not, it looks ridiculous on most. Although trends are meant to be set, they don’t always have to be followed. Enter Migos; if you aren’t familiar with the Atlanta-based trio, allow me the honor of introducing you. Quavo, Offset (currently incarcerated), and TakeOff have been buzzing the streets and Internet with their latest mixtape, YRN, filled with nursery rhymes and catchy choruses. One of the songs from mixtape, titled Versace, took off and sprung the attention of Drake, who later added his own verse. The simplicity of the hook, not only has everyone singing it, but scrambling for every last nickel in their piggy banks to afford the brands clothes. For example, at the 2013 BET Awards in June, DJ Drama, J. Cole, and Brandon T. Jackson all showed up in the same sweater. Not only was this embarrassing for all three, but the Migos Halloween costume officially indicated that hip-hop has killed the brand.

BET Awards

(L to R: DJ Drama, J. Cole, Brandon T. Jackson) – 2013 BET Awards

“Versace, Versace, Versace, Versace

Versace, Versace, Versace, Versace

Versace, Versace Versace, Versace Versace

Versace, Versace Versace, Versace Versace”

– Migos (“Versace”)

With respect to the BET Awards wardrobe incident, Complex author James Harris said it best, “If anything, this serves as a very public reminder that style is not achieved by simply copping an expensive and/or rare piece and throwing it on. Creating a representation of your personal sense of style and aesthetic takes much more than that, and should be much more about attitude and perspective than price tag and brand name.” Therefore, let’s leave the styling to Kanye and A$AP Rocky who actually collaborate with designers like A.P.C., Givenchy, and Raf Simmons and appreciate the way the clothes are made.

“I rather buy 80 gold chains and go ign’ant

I know Spike Lee gone kill me but let me finish

Blame it on the pigment, we living no limits

Them gold Master P ceilings was just a figment” 

– Kanye West (“Clique”)

Of course the ultimate goal in hip-hop is to make money and live comfortably – the American dream – but there’s a right and a wrong way to do this. In the latest episode of Complex TV’s The Combat Jack Show, Yonkers MC Styles P was asked what the, “dumbest rapper shit he’s ever done” was. His response; “waste money.” He continued by saying, “Living by hip-hop standards is the stupidest fucking thing you can do.” With that being said, don’t be surprised if you see the veteran rapper riding the Metro North rather than walking the streets of SoHo! It’s always good to see a artist with longevity realize the importance of good credit and paying taxes rather than trying to maintain a high fashion wardrobe.

A$AP Rocky with designer Alexander Wang

A$AP Rocky with designer Alexander Wang

I’ll leave you with this riddle – a white rapper from Seattle, WA named Macklemore walks into a thrift shop with only $20 in his pocket. 4 minutes later, he comes out with three platinum singles and almost 900,000 copies of his album sold independently. On the other side of the United States, an Atlanta rapper named Ca$h Out buys a condo for his wrist and signs with LA Reid’s Epic Records, but most likely can no longer afford the condo he lives in and a debut album nowhere in sight. Oh yeah, don’t be surprised if Trinidad James is in a Cash4Gold commercial in the near future!

Heads up Tom Ford and MCM, hip-hop is coming for you next…

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Versace2

Update: After doing a little research, I have found some more interesting statistics on this topic. Last week, I visited the Versace store in SoHo, NYC and spoke with a salesman. After telling about my article, we began to discuss sales, and the overall business of the company. He told me that he is surprised how a predominately gay fashion line has completely crossed-over into the hip-hop culture. Furthermore, he said that all mens shoes and clothes are constantly sold out in the New York and Atlanta stores and the demand is hard to keep up with. On the other hand, sales in the women’s department aren’t as strong. As you can see from the pictures, Versace is a supporter of The Notorious B.I.G., as well as The Christopher Wallace Foundation. In fact, they even sell the glasses and jewelry he commonly wore supporting the brand. Fascinating stuff.

Versace3

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Update #2: Jay Z Causes Huge Spike in Tom Ford Searches on Yahoo

Album Review: J. Cole – Born Sinner

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The other day, my good friend Adam Friedman posted a lengthy review on his Facebook of J. Cole’s sophomore album Born Sinner (In stores Tuesday, June 18th). As a former blogger himself (RIP FreshRespect.Blogspot.com), and a passionate J. Cole fan, as soon as I read his review I knew need to give him this outlet to share his thoughts on the rising Roc Nation superstar. Below you will find Adam’s story on how he witnessed a young J. Cole perform in 2009 to the success he has seen him achieve in 2013. Hope you enjoy.

Born Sinner Cover

By Adam Friedman

On a cold, wet Wednesday night in 2009, a buddy of mine (the only one I could convince) and I took a drive up 81N to the Schine Student Center of Syracuse University. We had class pretty early the next morning, but the chance to see a young and budding Wale was too tempting. We rolled up in more than one way, just as some clowns from Ithaca College would be expected too.

The venue was small, dark, and literally had no stage. We stood right in front of the floor level microphone surrounded by unplugged instruments, completely oblivious to what we were in for. Some time passed, but the dim-lit student center was still far from full.

“We would like to welcome Roc Nation’s first signed artist. This is his first show as a member of Roc Nation so show him some love, ladies and gentlemen: J. Cole.” The place stayed pretty quiet as a six-foot-three St. John’s alum took a nervous walk toward the mic…

Hip hop is still a relatively young genre that over the last decade has been destroyed from the inside-out due to the average consumers need for instant gratification. Due to the invention of the iPod and the dreaded playlist, a cohesive project is no longer desired, regardless of the genre. The truth is, musicians as a whole have had no choice but to succumb to the lazy strategy of making hits over substance to stay relevant over recent years. Internet blogs (oops) and the iTunes Store have helped solidify the platform that the average listener uses as a crutch, looking for the new hit; the song that everyone is going to want to hear, as opposed to appreciating the full sound, the common theme, the cohesive project of the artist. Some of the greatest rappers of all time wouldn’t even stand a chance in today’s market.

J. Cole’s second album “Born Sinner” is a self-loathing reflection on his career thus-far, covering the mistakes and wrongdoings that he has committed due to the temptations within the industry, as well as the journey leading to it: women, money, and fame. The album is similar to a confessional at church for the sins that Cole is ultimately expected to make, as the title of the album indicates.

Villuminati is quite the introduction, not like we expected anything less. The combination of a Biggie sample and the hook “sometimes I brag like Hov” is a clear indication that Cole is ready to be compared to the best. How do you define greatness? Comparison to the best to ever do it. “Allow me to reintroduce myself, my name is Cole.”

The next five songs (with the exception of the Mo Money Interlude) highlight the tempting lifestyle that comes with the fame, focusing primarily on women. Each song is very different from the other, but the message is clear, women are always on Cole’s mind, and Cole loves him some pussy. In LAnd of the Snakes, he starts getting used to L.A., enjoying the simple pleasures of the beautiful women around him, especially the “Sunday’s with a cherry on-top.” He falls in love on the lead single Power Trip, as shown in the music video featuring Miguel. Cole starts to open his eyes with the help of some liquor on Trouble, “liquor all in my breath, bitches all in my sight.” He is fully aware of the predictability of the women he can bring home each and every night, and clearly, they are all trouble. Runaway is a self-reflection on his past relationships and how he continues to runaway from the commitment and consequences that they may entail. “How the fuck did my life become a damn love song?” is a confession that can be guided back to the lyrics of Power Trip and how easily one can fall in love. The bottom line is, you have to be careful about what you say and do around females, especially in his position as a rapper. Being famous makes nothing easier, as much as the average person may envy the celebrity lifestyle. Cole admits his mistakes to us and asks for forgiveness by explaining the inter-workings of his mind, most importantly as to why he committed these sins, whether it is cheating or sleeping around, and how they are basically inevitable in some situations.

The next phase of the album actually began after Power Trip with the Mo Money Interlude in which Cole has his first experience with some substantial capital gain. Life is good (so it seems), as he goes down the line on different ways different people spend their money. The focus on the temptation of money continues with Rich Niggaz, the song that sounds closest to Pre-RocNation Cole. This track centers around the uneven distribution of wealth within the industry. He uses examples of his life before fame; a fatherless kid with a hardworking mother, a drug user who still did everything she could to keep the family stable, to show how easy it is for corporations to sell you your dreams and get you a ticket out of poverty. Little do you know, you’re stepping into a different kind of struggle, although one is much worse than the other. The song focuses on the forgotten evil surrounding money, and where you put a price on selling out. “There go you, selling me dreams and, telling me things you knew, said, you got what I want, I got what you need, how much for your soul…”

Where’s Jermaine and Forbidden Fruit are the climax of the album, the indication that Jermaine has woken up and is stronger than the temptations that have arose. The gospel choir is presumably a remembrance of Fayetteville, a wake up call if you will. Forbidden Fruit is a clear play off of the story of Adam and Eve, but the message of the song lies in the shared bridge of Cole and Kendrick. “Bitches come and go (you know that), money come and go (you know that), love come and go (don’t shit last)” is a simplification of Cole’s past struggles over the course of the album. Men and women both cheat, money is spent regardless, and love is lost. Nothing lasts forever. This realization is what makes Forbidden Fruit a celebration for Cole overcoming his temptations over the course of his career, most notably with women and money. It’s also dope that he has the voice of Kendrick Lamar to help guide him.

Next up is Chaining Day, a much less dramatic song about the temptation for material things, most importantly the jesus piece, a common symbol within post 90’s hip hop culture. It’s his money and he’s going to do what he wants with it, what’s important is that it keeps coming. The song ends with “ok I lied,” the same line that the next track, Ain’t That Some Shit begins with. This next track is Cole’s bragging moment. As dark as the first half of the album was, you know Cole wasn’t going to leave us without going off on some bars about the good in his life. He now has control over his relationships, he’s traveling the world, and he’s repping his name, home, and family in the best way that he can.

The positive message behind Crooked Smile matched with the catchy hook sung by TLC will guarantee regular radio rotation all summer long. What is amazing is the ability to squeeze in a hit without making it stand out. This is what Cole will be remembered for over the course of his long career. The song is about not changing who you are for anybody, most notably his crooked smile and how far he has gotten with it. Why change now?

After the release of his debut album “Sideline Story,” it was clear that songs were grabbed from various projects and pieced together to form somewhat of a marketable product. Perhaps his biggest hit to date (Workout) was criticized by one of Cole’s biggest inspirations, Nasty Nas. Let Nas Down is the perfect way for Jermaine to tell the world that he is done with the bullshit. If a song sells, it sells, but the charts aren’t the main focus anymore. “Yeah, long live the idols, may they never be your rivals, Pac was like Jesus, Nas wrote the Bible, Now what you’re bot to hear’s a tale of glory and sin, No I.D. my mentor now let the story begin.” The hook says it all: he let down the people that he is really in the game for. This song is an indicator that change has come.

The biggest difference between this project and his debut album is the clear intention for the album to be listened to from start to finish. One could say that the strongest song of the album (Forbidden Fruit) is ruined by the 90-second conclusion in which “Lil Cole” walks into the jewelry store feeling himself, rambling about the “rose gold joint” and “the platinum watch.” The mini-skit seems out of place, until the next song Chaining Day begins. “Look at me, pathetic nigga, this chain that I bought, you mix greed pain and fame this is heinous result.” The contrast is intentional, showing how easy it is for anyone to fall off track and get distracted by the fame. The only way to understand this message is by listening to the album in order, from top to bottom. IN any other order and it loses its’ meaning entirely. The album also begins and ends with the same hook sung by James Fauntleroy, “I’m a Born Sinner, but I die better than that.” The project comes full circle, as Born Sinner acts as the ending credits for the movie that was “Born Sinner.”

Cole’s second album is far from the expected sophomore slump. Born Sinner challenges the everyday hip hop fan to listen for more than a hot beat and witty punchlines. The idea is dark, sinister, and above all honest, something that mainstream rap culture has been missing for far too long. The cohesive theme revolves around temptation, whether it be chasing money, girls, or fame. We are all born sinners, but as life goes on we get better, simple as that. J. Cole’s highly anticipated second album Born Sinner hits shelves Tuesday June 18th! Support real hip hop!!

Thinking Outside of the Box: An Interview with Billy Mann

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Billy_Mann

Billy Mann

Resume:

Singer/Songwriter/Producer

 Founder/CEO of Green & Bloom/Top1ine & Chairman of management firm Manncom

GBTopline Logo

Former President of New Music A&R International and President of Global Artist Management at EMI Music

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Billy Mann is an executive you want to know. While many of the industries power players are in front of the camera promoting their labels and brands, Billy is quietly doing that same. Prior to the formation of his companies Green & Bloom/Top1ine & Manncom, Billy Mann was writing and producing for P!nk (“God Is a DJ,” “Stupid Girls,” “I’m Not Dead” and “Nobody Knows”), Robyn (“My Only Reason”), Backstreet Boys (“Poster Girl,” Panic,” “Love Will Keep You Up All Night,” and “Unexpected Sunday Afternoon”) Celine Dion (“Treat Her Like A Lady” and “Amar Haciendo el Amor”), and more. Additionally, during his time at EMI Music, Billy Mann was responsible for helping to launch David Guetta‘s worldwide career. With so much accomplished and experience behind him, having the ability to talk with him was an honor. The information being shared is something that I believe will benefit aspiring artists of all genres. I hope you enjoy this interview and acquire the same amount of knowledge as I did. Please let me know what you think! Leave a comment or send me an email.

Interview Breakdown:

Explanation of Green & Bloom/Topl1ne and Manncom  (0:08 – 3:00)

Talking about his artist Alex Aiono & the struggles aspiring artists are facing (3:01 – 5:34)

What to look for in an aspiring artist (5:35 – 7:38)

How important is it for executives to think globally (7:39 – 10:33)

The importance of publishing and other business aspects of the music industry (10:34 – 15:48)

How Billy learned the music business and his thoughts on music business programs in schools (15:49 – 18:29)

Conclusion (18:30 – 19:50)

A River of Nickels

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“In business it’s about who wants you the most” 

– T.I. (Interview with Larry King for OraTV)

Record Dea;

In recent years, the phrase, “How did [insert rapper here] get a record deal when my flow and lyrics are so much better” has been said one too many times. The truth of the matter is that maybe you are better, but you are failing to make the necessary connections in order to enhance your career. Those who have generated organic, viral fans bases rather than spamming people on Twitter and Facebook have seen the greatest reward. One of the beauties of seeing your music reach maximum attention gives you the ability to understand your fan base and value your worth as a musician. 1 million followers do not translate into $1 million dollars.

“We’re a team, 360 degrees, we will reach your goals!

We’ll get a third of the merch that you sell out on the road

Along with a third of the money you make when you’re out doing your shows

Manager gets 20, booking agent gets 10

So shit, after taxes you and Ryan have 7% to split”

– Macklemore & Ryan Lewis (“Jimmy Iovine”)

Record deals come in two forms these days: 360 deals or joint venture label deals. Recently, we have see Drake form his own label through Warner Bros. Records, in 2011, A$AP Rocky’s deal with Sony/RCA Records/Polo Grounds gave him $3 million and the ability to form his own label A$AP Worldwide, and most recently Trinidad Jame$’ $2 million and Chief Keef’s $6 million deals, respectively.

Bottom line is that you get what you negotiate and despite the hate Chief Keef frequently receives, he got exactly what he wanted. In a recent article by DNAInfo.com Chicago, Keef’s lucrative deal was broken down in ways most people outside the industry rarely see.

chiefkeeffinallyrich

Below, I have simplified and broken down the deal so that aspiring artists/record label owners know what to look for and negotiate when the time comes.

  • Number of albums: 3
  • Must sell 250,000 copies of debut “Finally Rich” by Dec. 31, 2013 in order for Interscope to continue to release Keef’s music

         Note: “Finally Rich” has sold 192,137 copies as of August 1, 2013

  • Advance: Upfront money that is paid directly to a recording artist: $440,000
  • Album Budget: Money used to pay for studio time, producers, and other expenses during the creating of album: $300,000
  • Creation of imprint “Glory Boyz Entertainment (GBE)”
    • Separate 3-year deal
    • GBE Advance: $440,000; additional $180,000 + 40% ownership internship for Chief Keef & manager; additional $10,000 + 10% ownership interest to GBE rapper Fredo Santana
    • GBE Overhead Expenses: Expenses of operating a business: $200,000
    • If Interscope suffers $4.5 million in loses, contract is terminated

“You ask for slack and wanna get cut loose from the label

Not able ’cause you signed at the table

For a pretty cash advance, now they got a song and dance

That you didn’t recoup, more soup wit’ ya meal?

‘Cause this is the real when you get a record deal”

–       A Tribe Called Quest (“Show Business”)

Although Chief Keef may have had the luck of the draw, others have to earn their multi-million dollar deals by way of seniority and longevity. After the December 2012 release of his album, Trouble Man: Heavy Is The Head, Atlanta rapper T.I. became a free agent. After being signed to Atlantic Records for almost 11 years, rumor has it that the self-proclaimed “King of the South” is negotiating a highly structured deal that could earn him an estimated $75 million. If Jay-Z, Dr. Dre, Sony, or Universal, all whom T.I. has met with, want him, they’re going to have to make some big promises.

TI-Dre

T.I. with Dr. Dre

  • 3 albums
  • 10-20% of publishing, touring, merchandise, film and TV rights
  • Endorsement deals with major corporations
  • Exclusive signing of all Grand Hustle artists

Ultimately, it’s your decision; you can be swimming in millions or you can be swimming in pennies and nickels. It’s simple; but you must recognize the difference of perception and reality first. You might be the best lyricist in the world, but can you make a hit record? You might have over 1,000,000 YouTube views, but do you have a local/regional foundation? Have you made your mark and created an impact? You also must take into consideration how times have changed. When T.I. went to L.A. Reid’s office at Arista Records in 2001, following his debut album, I’m Serious, and asked for a $2 million budget for his second album, he was dropped from the label immediately. Today, Trinidad Jame$ has one major song under his belt and limited rap experience, but earned himself his $2 million deal from Def Jam.

Remember, the same about of time you spend hating on an artist for the accomplishment, you could be spending advancing yourself; Talib Kweli taught me that!

T.I. with L.A. Reid

T.I. with L.A. Reid

Trinidad James

Trinidad Jame$

Missed my interview with T.I.? Check it out here!

Update: May 10, 2013 – T.I. Talks ‘$200 Million’ Major Label Deal & ‘G.D.O.D.’ Mixtape (via Billboard)

Understanding Musicality & Perception: An Interview with Talib Kweli

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Talib Kweli-Breezy

When an opportunity presents itself, you take it. As soon as I heard acclaimed rapper Talib Kweli was coming to school to speak on social justice and activism, I knew I needed to set up an interview. One week later, it happened. This past week, I had the opportunity to sit down with him to talk about his new album Prisoner of Conscious (due April 23rd), the music industry, and more. Talib also took the time to call me out for spelling “Conscience” correctly on my paper, but not in the way the album is titled. Good thing it was only for radio! Enjoy!

Listen to the audio version here

Filmed & Edited by Dash Galaxy

One Man, One Culture: Hello Brooklyn

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Me in the photo booth at The Barclay’s Center

“Welcome to the Empire State / Home of the World Trade. Birthplace of Michael Jordan / Home of Biggie Smalls. Roc-A-Fella Records headquarters”

– Jay-Z Feat. Cam’ron – Welcome to New York City

On Friday, November 23rd, I entered the Barclay’s Center for the first time to watch the Brooklyn Nets take on the Los Angeles Clippers. Of course I was excited to check out the game, but I was more excited to see the architecture of the building, because prior to music, that was my passion. The $1 billion dollar arena is filled with bright lights, enormous LCD screens, and nostalgic Brooklyn eateries. As I continued to walk around the facility, I kept saying to my brother, “This place is very hip-hop.” Could this be because of minority owner Jay-Z or is it because of todays culture? The answer is both. Located on the corner of Atlantic Ave. and Flatbush Ave., I saw many people walk into the arena with Nets snap backs by Adidas, ‘So NY’ fitted hats – (a phrase coined by Brooklyn rapper Fabolous), and the very popular, limited edition 40oz NY Givenchy inspired snap back. Overall, it was incredible to see firsthand the dominance of hip-hop and how it is one of the primary sources of marketing in 2012.

Final Score: Brooklyn Nets – 86; Los Angeles Clippers – 76

“Bet a yard (Naw!) / Bet a hundred mil /

That by the songs end I’ll probably start another trend”

 – Jay-Z – 30 Something

Jay-Z has managed to take an entire culture and make it the driving force behind a new team, brand, and economy. Sitting next to the Brooklyn Nets bench along with Beyoncè & Kelly Rowland, you could tell how proud Jay-Z is that he can now, “park at his own arena” (Jay-Z, “3 Kings”). After all, his music and various other entities are incorporated throughout the entire facility.

“He is [the face of the team], He is us. He is how people are going to see that place.”

– Bruce Ratner, Barclay’s Center financier & developer (New York Times)

RocaWear

RocaWear store at The Barclay’s Center

On the corner of Atlantic Ave., right next to the official Brooklyn Nets team store, you can find RocaWear, Jay-Z’s urban apparel that at one time grossed over $700 million in sales. Although Jay-Z sold the rights to the Rocawear brand in 2007 to Iconix Brand Group for $204 million, he still retains stake in the company and continues to oversee the marketing, licensing, and product development.

40/40 Club & Restaurant

Jay-Z at the grand opening of the 40/40 Club @ The Barclay’s Center

Overlooking the court, you can find Jay-Z’s 40/40 Club & Restaurant. The club has created an element that gives spectators the ability to party and watch the game at the same time. Although it is too early to project the success of the club, the original 40/40 Club located in lower Manhattan is expected to generate a $10 million per year profit*.

Music

On The Court

Every dribble of the basketball is complimented with a beat. Whether it’s warming up to French Montana’s “Pop That” or hustling down the court to a Jay-Z instrumental, the Barclay’s Center is constantly making sure you’re on your feet cheering. Additionally, each halftime show features a performance by a known artist (so far R&B singer Mario & Slick Rick have performed).

Off The Court

To open the Barclay’s Center, Jay-Z performed a series of 8 concerts at affordable prices (*an average Jay-Z ticket is usually $119 per show) to 18,000 fans per night.

Math: 18,000 people x 8 nights = 144,000 tickets sold

Jay-Z Performing at The Barclay’s Center

According to Forbes Magazine, Jay-Z’s shows generated an estimated $15 million, leaving a cool $5 million for Jay-Z himself.

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Other involvements for Jay-Z in the team/arena include: helped design team logo & colors, chooses halftime performances and music coordination, Armand de Brignac (Ace of Spades) champagne is served in suites (financial interest in brand), and advertising (Jay-Z co-owns marketing/PR firm Translation with Steve Stoute).

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“The fourth largest, first hardest, Brooklyn is the place /

Settled by the Dutch many years ago /

Three billion strong and here we go”

– Mos Def – Brooklyn 

The purpose of this post is not to show off Jay-Z’s entities or financial success. We all know what he has and what he’s capable of creating and doing. Many artists are one-dimensional these days and fail to see the opportunities that corporate America can provide. Clearly, consumers and major company executives trust the youth and their culture to place large budgets on projects they see future profit in. Hip-hop isn’t about being misogynistic, a gangster, or drug dealer/user; those are personal choices. It’s about incorporating a passion for music and expanding it to a broader audience that will allow you to reach personal and professional success. Jay-Z has a loyal fan base, New York City enjoys basketball, and Brooklyn residents love their borough; it’s a match made in heaven. I hope that every artist can see the bigger picture and take their careers to the next level. I also encourage everyone to visit the Barclay’s Center if they have the opportunity!

* – Information gathered by Zach O’Malley Greenburg & Forbes Magazine

Rubin & Russell’s Foundation, Joie Manda’s Reign: #DefJamBack

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“…Def Jam, the world’s most important hip-hop destination.”

–       Barry Weiss (Chairman and CEO of Universal Republic and Island Def Jam)

As the holiday season rolls around, record labels often scramble to put out albums from the biggest artists on their rosters. With the constant struggle to sell albums these days, it is important that labels go into the fourth quarter of the year full speed ahead to meet quotas and achieve financial success. But what if your label puts out five of its major releases in the summer, and still has a few more highly anticipated albums expected before the end of the year? If you were to ask Joie Manda, president of Def Jam Records, he would probably tell you that that is expected of the historic label. “The Def Jam artist roster has always been synonymous with the greatest in hip-hop, and I intend to carry that tradition into the future,” explained Manda in an official statement in March 2012 when he became Jay-Z’s successor to the Def Jam throne.

Joie Manda, President of Def Jam Records

Sure Lyor Cohen, Kevin Liles, and Jay-Z, all made lasting impacts during their reign’s as Def Jam presidents, but in a time where the entertainment industry has completely changed and become dependent on social media, executives are now dealing with things they’ve never expected. Take Frank Ocean for example. In July, the R&B singer opened up about his love for another man shortly before his debut album Channel Orange was released. In a world where homophobia is such a sensitive topic, Def Jam, as well as many others in the industry, stood next to Mr. Ocean in support.

“Today is a big day for hip-hop, your decision to go public about your sexual orientation gives hope and light to so many young people still living in fear.”

–       Russell Simmons (Founder of Def Jam Records on Frank Ocean’s announcement)

Yes, Frank Ocean’s announcement is a major stepping-stone for the entire music industry, but maintaining the well being for an artist and what they do in their personal lives isn’t a major corporations top priority; record sales are.

As the summer comes to an end, no other major hip-hop record label had as big of a summer as Def Jam. What’s special about their summer release strategy was that they catered to different forms of the urban culture: underground, street, and R&B. To date, the five major releases put out by Def Jam have done very well.

Def Jam Summer 2012 Releases & Record Sales

June

  •  Big K.R.I.T. – Live from the Underground (As of Aug. 15h 83,000)

July

  • Frank Ocean – Channel Orange (As of Aug. 5th 238,000)
  • Nas – Life Is Good (As of Aug. 5th 226,000)

August

  • Rick Ross – God Forgives, I Don’t (As of Aug. 15th 400,000)
  • 2 Chainz – Based on a T.R.U. Story (As of Aug. 21st 145,809)

Big K.R.I.T. & I – April 2011, Ithaca, NY

Upcoming releases:

  • Kanye West & G.O.O.D. Music – Cruel Summer
  • Ludacris – Ludaversal
  • Ne-Yo – R.E.D.
  • Big Boi – Vicious Lies and Dangerous Rumors

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“A lot of people get into the trappings, but it’s really about the music, I’m excited about making it the most forward-thinking, premier record label.”

–       Joie Manda (August 2012, Billboard Magazine)

Manda really is a forward thinker. One week prior to the official release date [July 17th] of Channel Orange, Frank Ocean appeared on Late Night with Jimmy Fallon and immediately released his album on iTunes after his performance. This move is not uncommon for Def Jam as we have seen it with the release of Jay-Z & Kanye West’s collaboration, Watch The Throne. Whether it is to avoid album leaks, or just great marketing, the method works. As of August 5, 2012, Channel Orange has sold 226,000 copies, with limited singles and videos, & Watch The Throne has sold over 1.5 million copies and grossed $48 million in tour revenue.

A premier record label wouldn’t be anything if it didn’t have a premier artist such as Nas on their roster. In July, Nas released his tenth solo album, Life Is Good, to favorable reviews. The experience Nas brings both physically and literally give listeners something to look forward to and other artists to emulate. Whether Life Is Good sells 1 copy or 1 million copies, Nas continues to keep true to himself, musically, during a time where the formula for making an album is completely structured and governed by record executives.

Ace Hood Album Listening Session – July 2011, NYC

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“I step in Def Jam building like I’m the shit / Tell them give me $50 million or I’ma quit” 

–       Kanye West (“Mercy”)

Great accomplishments for Def Jam are expected. Not only is the roster of talent very impressive, but also is the list of executives:

If defense wins championships, then Def Jam is going to continue to win. Each one of the names above brings uniqueness, knowledge, and passion that are needed in order to succeed the music industry. We’ve seen what Sha Money XL did for 50 Cent, No I.D. for Kanye West, and DJ Khaled for Rick Ross. Ultimately, the overall experience the Def Jam executives bring to the table will befit every artist and give them the sense of security and confidence they strive for from those who support them.

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“Def Jam on my heals, should I sign to it? / Million dollar advance for me to rhyme fluent”

–       Rick Ross (“Rich Forever”)

Another strategy the label has inplimented this year is acquiring talents who have successfully laid their own groundwork. With the Chicago hip hop movement on the rise, Def Jam signed Lil’ Reese & Lil’ Durk to solo deals, 2 Chainz proved that a name change and consistent features will make you a household name, and a cocaine snorting, pill popping wild boy by the name of Gunplay has the potential to successfully step out from the shadows of his mentor Rick Ross.

Manda and his staff have proven that if you allow a major artist on your roster to open up their umbrella that they too will breed other artists to reach the same magnitude they have already achieved. Under Kanye West’s direction, Big Sean is growing into a top artist and someone who Def Jam can count on to create hit records, while Pusha T’s lyrics have become deeper and more powerful then ever. Even Jeremih, an artist who was on the verge of being dropped until 50 Cent rejuvenated his career, is putting out music that people are beginning to appreciate even though his music has been solid all along.

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“Let me be clear, Def Jam is on fire.” 

–       Barry Weiss (Chairman and CEO of Universal Republic and Island Def Jam)

No doubt about it, Def Jam is on fire and consistency is the driving force behind their success. In the last few months, there hasn’t been a week that has gone by where you haven’t seen a new Rick Ross video or heard a new 2 Chainz verse. Rick Ross has never been phased by all the scrutiny and ridicule 50 Cent tried to pin against him, and 2 Chainz never let being in the shadows of Ludacris hold him back; they deserve to have #1 albums and have Def Jam present them with countless opportunities to further their careers and brands.

Def Jam office interviewing Jeremih for ThisIs50.com – Summer 2010, NYC
Interview Link: http://youtu.be/kYw5wG5jsmY

Within the last two years I have been to the Def Jam offices and fortunate to attend Def Jam events in New York City. Personally, I can tell you that those who work there are ectremely dedicated and connected to artists attached to the label. A strong sense of community can go a long way. Don’t be surprised if you continue to see the hashtag #DefJamBack on your Twitter feed into 2013. With the strategies in place at Def Jam, every artist that steps in to the house that Rick and Russell built will come out winning.

UPDATE: Joie Manda liked my article!!!

Joie Manda Tweeted my article to 30,000+ followers

Interview: Hunter Lyon Films

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No dream is too small. Just ask Hunter Lyon, an 18-year-old film student from Connecticut. For anyone who spends time on some of the most popular music blogs, you’ve definitely seen his name. In just a short period time, Hunter Lyon has directed videos for Internet favorites Jitta On The Track, OCD: Moosh & Twist, and more. As his stock continues to rise, so do his visions. In the near future, his videos will be, “next-level productions” and bigger than ever. Below is what Hunter says is his, “first big interview,” and I’m honored to have been granted that opportunity.

Who is Hunter Lyon?

Hunter Lyon is an 18-year-old kid from a small town in Connecticut. I grew up in Connecticut and my senior year in high school is when I started directing music videos because I saw the need for local up and coming artists to get affordable visuals for their music to gain fans online.

How did you get into filmmaking?

I got into filmmaking when I was around 12 years old. I found an old camera at my grandparent’s house and just messed around until my dad saw I had a gift for a 12 year old and he got me a little camera.

Monty Python and The Holy Grail inspired me; it inspired me to make little Lego movies. I also skate boarded so I would film videos and edit them and you know, just make little YouTube videos of random funny stuff.

What are some of your goals?

I just want to be successful doing what I love, you know? That’s what everyone wants. I don’t want work at a job that I hate going into everyday, so I want to really just be a positive influence on people and make great films. Eventually in life I would love to work on real feature length movies, but you gotta to take it one day at a time.

Who are some of your inspirations?

From a music video standpoint, I’d really say Alex Nazari. That dude is amazing at creating an atmosphere and feel for every video he does. Although I’ve been working on a lot of outdoor, daytime locations, in the extremely near future you’re gonna see some really crazy next-level production. It’s awesome. I’m really excited for everyone to see the stuff me and a few other artists have been working on! Another director not too much older than me, Jakob Owens, has been a big influence on me, he’s another dude who pushes the limit of independent music videos and his grind is crazy man. My dad is also a huge inspiration to me, because he never stops working. He’s taught me many times over that hard work pays off, so that’s why I keep working and putting out videos.

Was it your intention to become a music video director? Do you have a musical background?

It was actually not my intention to become a music video director at all. I actually thought I would hate doing them, until I actually did. Now I can’t stop making them! I’m a huge music head. I’m one of those kids who always has headphones in his ears, listening to music 24/7. Like I said before, I was really into music for a lot of my life. My dad and grandfather were both big musicians “back in the day” which definitely has a huge effect on me, as a director. It helps so much to connect the song to the video. I actually dabble here and there with producing some beats, but nothing serious.

You’re only 18 years old and some of the most popular artists on the blogs (OCD: Moosh & Twist, Tarik, Jitta On The Track) are coming to you to help them capture the visuals for their songs, how were you able to develop a relationship with all these artists?

Jitta and I got linked up way back last year, and we shot one video and I really liked his stuff. He’s from Connecticut too, so I was pretty cool with that. To be honest, I didn’t think him and me would be grinding together like this, which I think is awesome. He’s now one of my really good friends and we’re making big moves, we really push each other to be the best we can.

Jitta is hooked up by a clothing brand called I’m Possible Club and I was talking with the owner [Mike Williams] of that one-day, and he mentioned he also works with Tarik, who at the time, I had really looked up to, because his message and music is just awesome. I asked Mike from I’m Possible Club to put in a good word hoping I could work with him, because his mixtape TRIGS was on constant spin, and next thing you know, we were talking about videos! Now we’re just an unstoppable force! As for OCD, my really good friend who’s an insanely talented producer named A-Rayz Productions, put in a good word for me, which I thought was gonna go no where. I mean, I used to sit and listen to City Kids and Dream On in my room and literally dream about filming a video for them… and this summer I went down to Philly and kicked it with them and filmed a music video. So surreal!

What is your overall process for shooting a video?

Basically, the artist will send me a song and I’ll just listen to it over and over and just think of what it would look like. Just imagine what each scene would entail and what vibe it’s giving off, that kinda thing. I’ll send over my thoughts and we’ll just bounce back and forth some ideas and come up with new ones, and what not. Then we set up a date, and I pack up and we do it! Quite a bit of it is on the fly, to be honest. You never really know what locations you might drive by and be like, “Omg, we gotta do a scene there,” you know? We try to get a really solid idea and feel for it ahead of time, but anything can happen on the spot.

Most music videos these days, from both local and major artists, aren’t major budget projects like they used to be. What is your technique for making videos and adding another element to a song?

Creativity. That’s all it is. You have to use what you have and make the best of it. You have to just dig deeper in the song and see what you can pull from it to add that extra element that separates your video from someone else’s. I really try and focus on getting diverse things that you haven’t seen before. A lot of songs call for a typical video that you’ve seen a hundred different times, you know, in the club or whatever, but you have to make it stand out.

You’ve directed most of the videos for Jitta On The Track – with the success he’s had and coming off the Club Paradise Tour with Drake, have you started seeing any benefits from it? (New clients, bigger opportunities, etc.) 

I was so stoked, yet so bummed when he told me that he was going on tour. Drake is literally my favorite artist ever, and I am in school right now in NYC at the New York Film Academy, so I couldn’t go! Hahaha – I was talking to my parents about… dropping out… but obviously they said no and a minute afterwards I was like, “Yeah you’re right that’s the dumbest thing ever.”


I’m so proud of Jitta and the whole Lumber Life team for putting in work that had a big pay-off. We have actually seen a lot of benefits from it, not necessarily in terms of clients hitting me up, (although the kid from Zoey 101, Chris Massey, hit me up on Twitter and said I need to do a video for him lol) but definitely opportunities. These next few videos with Jitta are just unreal. They are gonna take things to a whole new level and I’m really excited for everyone to see what we’ve been brewing up.

I’m sure you get tons of requests from aspiring artists to direct their videos. What do you think about all of these artists trying to make it into the industry and what kind of advice would you give them?

I get a lot of requests from a lot of up and comers. I think it’s simply awesome that people are doing what they love and are able to make music in their HOUSES! It’s great. I think that if you want something, go get it. Nobody is stopping you from doing what you want to do beside yourself. I live in a small town in Connecticut and I’ve been to California, Barbados, etc. for music video jobs, so where you are from is not an excuse for what you can do.

My advice is to just to do it. If you want to make music, make music. A few things to keep in mind are that things require money. That’s it. I bought my own camera, computer, equipment, etc. Be prepared to spend money on things like recording time, beats, music videos, etc., because if you are working hard it’ll come back to you! Try to find a team of people who can surround you and who are as hungry as you are for success because that is the only way it’ll happen. Also, if you were given the gift of music, use it wisely. There is a lot of negativity in the world, and I always encourage people to be positive and use their gifts and talents for positive reasons. Just be a leader and show people that they can do what they want to do if their heart is in it and they work hard, you feel me?


What’s next for Hunter Lyon Films?

Who knows! Actually, a lot of big things; THAT I can promise. All of the artists I work with are just working hard to take things to unheard of levels from where we are at now, all for you guys. We’re really turning up the notch and are going to be putting out really high quality videos and music. They don’t make music so they can sit and listen to it, they do it so they can satisfy people’s needs; they do it for the fans. Same thing with me; I make music videos to give people something to watch and help out these artists, and because I love making art.

How can artists, managers, etc. get in contact with you?

They can get in contact with me through email! My email is hlyonfilms@gmail.com, you can follow me on twitter – @HunterLyon or check out hunterlyonfilms.com

Thanks for your time, Hunter and congratulations on all the success and recognition you’ve received thus far!

Thank YOU! I appreciate you reaching out and I’m honored to do this for you, keep it up and God Bless!