What is "small overhead" even worth when they hold your publishing and have you on a 360 deal? 300 is a joke. Fetty would have been better off hiring a publisher/PR person and getting a decent distribution deal. Basically Chance The Rapper's set up+distribution.
These projections lately have been way off Travis was suppose to do 100k he did 85 with streams, Drake and Future were suppose to do 500k but ended up with 375k and now this.
- Kendrick Lamar, To Pimp A Butterfly
- Vince Staples, Summertime 06
- Drake, If Youre Reading This Its Too Late
- Meek Mill, Dreams Worth More Than Money
- Future, Dirty Sprite 2
- A$AP Rocky, At.Long.Last.A$AP
- Dr. Dre, Compton
- Kendrick Lamar, To Pimp A Butterfly
- Vince Staples, Summertime 06
- Drake, If Youre Reading This Its Too Late
- Meek Mill, Dreams Worth More Than Money
- Future, Dirty Sprite 2
- A$AP Rocky, At.Long.Last.A$AP
- Dr. Dre, Compton
Cool Kids/Outkast comparison or even putting those two names in the same line..................................................................yeah I need to get something to eat. I'm losing it and seeing things.
Cool Kids/Outkast comparison or even putting those two names in the same line..................................................................yeah I need to get something to eat. I'm losing it and seeing things.
Cool Kids/Outkast comparison or even putting those two names in the same line..................................................................yeah I need to get something to eat. I'm losing it and seeing things.
Cool Kids/Outkast comparison or even putting those two names in the same line..................................................................yeah I need to get something to eat. I'm losing it and seeing things.
ahahahaha forgot they used the marvel masterpiece and everything, real flair for storytelling
also good news! Jay Elec hopping on sunday at my concert means they just announced Ghost and the hologram or whatever the fuck of DOOM are now on saturday right after RTJ, fuckin hyped. ive seen starks with Wu a couple times but never dolo - and just watch them talk about how their project is coming in 2016 and shit too
anyway, so happy. Jay would've been great to see but Ghost is top 5 material, gonna be an awesome day
What is "small overhead" even worth when they hold your publishing and have you on a 360 deal? 300 is a joke. Fetty would have been better off hiring a publisher/PR person and getting a decent distribution deal. Basically Chance The Rapper's set up+distribution.
360 deals are not cut and dry bad, they definitely can be, but pushing it as a generalized thing is really stupid and only if you keep listening to artists that signed their lives away without reading some shit being thirsty to get signed you'd think that.
Here's a podcast Lyor did recently with RapRadar (so Elliot Wilson warning in advance) where he addresses a lot of these assumptions and talks about a lot of interesting things.
Probably most relevant is at about 2/3 of the way through (the player is kind of wonky) in when he explains why the 360 deal was invented, describes how he employs it, which tl;dr is that the cut from artists enables greater risk and capital injection into the artist (which at 300 is a smaller roster instead of the huge umbrellas of major labels who can pump you dry and toss you to the curb), investment over long periods of time for artist incubation (this isn't a thing with major label 360s either), greater percentages covering staff costs and healthcare, etc. Immediately afterwards he talks about educating these artists on the economics of the industry and encouraging transparency when he goes to sign them.
Early on in the podcast he speaks briefly on what he did for Fetty specifically, but dude is kind of humble about it even though it's implied that they've been building him before anyone knew 300 was associated with him and everyone was still praising him for making the right moves/hits "independently".
Also he talks about the release of Slime Season. Says all the recordings were stolen and Thug was heartbroken and wanted to put it out in one place so Lyor let him.
Also at the very end he talks about trying to convince NYU to build the hip-hop museum
Will Smith track ain't bad, it's a Pitbull song that isn't as annoying because Pitbull's not on it
That said, I wish dude would actually try to go back to his roots and write some shit, maybe hook back up with Jazzy Jeff, but he's probably waaay too far past it at this point
Will Smith track ain't bad, it's a Pitbull song that isn't as annoying because Pitbull's not on it
That said, I wish dude would actually try to go back to his roots and write some shit, maybe hook back up with Jazzy Jeff, but he's probably waaay too far past it at this point
On my third listen of WATTBA, I'm thinking the verdict is gonna be that, yes, this was obviously an overhyped project that played to Future's strengths way more than Drake's. That being said, it was an entertaining project oozing with the production quality that we expected from these two (Metro Boomin' on production, wow).
Highlights for me included I'm The Plug, Jumpman, Jersey, and Big Rings.
I'm a little tired of crooning at the moment, so the real slow songs of WATTBA didn't grab me at all.
Overall, fans of both artists ate well. Nothing more, nothing less. Solid B, maybe a B+ on a good day.
360 deals are not cut and dry bad, they definitely can be, but pushing it as a generalized thing is really stupid and only if you keep listening to artists that signed their lives away without reading some shit being thirsty to get signed you'd think that.
Here's a podcast Lyor did recently with RapRadar (so Elliot Wilson warning in advance) where he addresses a lot of these assumptions and talks about a lot of interesting things.
Probably most relevant is at about 2/3 of the way through (the player is kind of wonky) in when he explains why the 360 deal was invented, describes how he employs it, which tl;dr is that the cut from artists enables greater risk and capital injection into the artist (which at 300 is a smaller roster instead of the huge umbrellas of major labels who can pump you dry and toss you to the curb), investment over long periods of time for artist incubation (this isn't a thing with major label 360s either), greater percentages covering staff costs and healthcare, etc. Immediately afterwards he talks about educating these artists on the economics of the industry and encouraging transparency when he goes to sign them.
Early on in the podcast he speaks briefly on what he did for Fetty specifically, but dude is kind of humble about it even though it's implied that they've been building him before anyone knew 300 was associated with him and everyone was still praising him for making the right moves/hits "independently".
Also he talks about the release of Slime Season. Says all the recordings were stolen and Thug was heartbroken and wanted to put it out in one place so Lyor let him.
Also at the very end he talks about trying to convince NYU to build the hip-hop museum
A 360 deal can work for certain artists, I get that. If you're making that jump from strong "underground" presence to being on a bigger scene, you can use it to your benefit and then transcend it later. We clown J Cole but what he has done is utterly amazing. He now has all the leverage for future deals. But not everyone is Cole - in fact most people aren't.
You can't use a hammer for every construction job. Applying a 360 deal to every artist is nonsense, period. If you don't really have a fanbase but have the potential to build something - like Fetty - the best thing you can do for your career is build your own brand. Tour like a mad man. Try to get your merch game going. Limited release CDs or vinyl. Learn the business, learn your worth, and earn a living. 360 deals are a long term threat to that. These are multi year deals that can last long after you sign elsewhere. It lowers the amount of money an artist can put towards paying back their advance on time. And more importantly it takes an artist's control of their own career away.
Lyor has been robbing artists for decades. The most telling part of the interview is the part about his son making him realize he wasn't getting paid off merch or ticket sales. He had his hand in every other pocket, and the fact that he didn't have a hand in EVERY pocket pissed him off. That tells you everything you need to know about Lyor, Liles, Diddy, Dame, and every other industry snake.
Rappers are making a huge mistake. It's understandable in the sense that many of these artists are from low income situations and see that big check as salvation for themselves and their family. But the fact that nobody is helping them really tells you how ugly this industry is. It's not a black thing or a Jew thing or anything else, it's a diverse collection of people taking advantage of the under privileged.
As I said a few weeks ago, 300 has control of all these artists' publishing, and keeps it for a period of time even after the artist signs elsewhere. All they're doing is selling singles and reaping profits with little overhead. Meanwhile the artist gets an advance they can't pay in a year when the tours die down. Yall see Young Thug cancelling even medium sized tour venues? That's Fetty in less than a year. 300 doesn't give a fuck about his artist development/lack thereof. They're banking that Trap Queen/My Way/etc money and laughing to the bank.
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