Like in 2002, your 6th album bombed did you get clowned or it was accepted of course you’d be washed after 10 plus years in the game.
Do you think there is more pressure to have longevity today?
- Thread starter Street Knowledge
- Start date
Elim Garak
Veteran
No one would even know the album was released back then because no way was it getting properly promoted with a few exceptions such as LL.
The blueprint of longevity has been set so while I don't think there's extra pressure to have it, it holds a weight on the All-Timer rubric in a manner that didn't before.
It went from 5% of the grade to 25%.
It went from 5% of the grade to 25%.
BlackDiBiase
Superstar
My answer is I do not think so, no.
I think these new rappers do not give a damn about their catalogue or critical acclaim of their work. They are simply about strike while it is hot and get that "bag". Our older legends cared about longevity because they thought the only way at the time a musician could eat for life is by releasing solid projects you can tour off and royalties and etc.
These dudes are not looking at 6th albums deep of nothing. They are all going the asap rocky lets get on then turn fashionistas and actors. If they have a semi decent hit or verse they can live going viral heavy presence online and etc just off shenanigans and doing paparazzi scams for the "bag". The game changed a little bit and I know it all points to 'social media' turning point but it is the truth.
If you have enough followers you are basically set to present and monetize anything you want. That plays more on the new musicians mind than having a dope ass catalogue of music going decades. Interesting though, but there is no pressure for anything merit based in the arts anymore its all about "social climbing up your network" Rita Ora style, Asap style, Tyler etc.
I think these new rappers do not give a damn about their catalogue or critical acclaim of their work. They are simply about strike while it is hot and get that "bag". Our older legends cared about longevity because they thought the only way at the time a musician could eat for life is by releasing solid projects you can tour off and royalties and etc.
These dudes are not looking at 6th albums deep of nothing. They are all going the asap rocky lets get on then turn fashionistas and actors. If they have a semi decent hit or verse they can live going viral heavy presence online and etc just off shenanigans and doing paparazzi scams for the "bag". The game changed a little bit and I know it all points to 'social media' turning point but it is the truth.
If you have enough followers you are basically set to present and monetize anything you want. That plays more on the new musicians mind than having a dope ass catalogue of music going decades. Interesting though, but there is no pressure for anything merit based in the arts anymore its all about "social climbing up your network" Rita Ora style, Asap style, Tyler etc.
Mandarin Duck
Majestic and Highfalutin
No, simply because longevity in music isn't at important to modern day rappers as "getting the bag".
I can't say I blame them either.
A modern day rapper would rather gain notoriety through a song/album and parlay that into a career outside of music.
Rappers from previous generations didn't have as many outlets to further a career after music so the pressure to maintain a career in music was larger then.
I can't say I blame them either.
A modern day rapper would rather gain notoriety through a song/album and parlay that into a career outside of music.
Rappers from previous generations didn't have as many outlets to further a career after music so the pressure to maintain a career in music was larger then.
The thing is that there’s little to no money in music and the major labels continue to offer draconian, predatory, fukked up contracts designed to keep the artists in perpetual life-long debt.
So there’s really no motivation to be an ARTIST for the sake of the music if there’s no financial reward to keep doing so and the minute you hit a rough patch so-called “fans” will morph into haters and be quick to clown you.
Every artist has told us over and over and OVER that they’ve had hit songs burning up the charts and in the meanwhile they’re living on show money, IF they even get that. The only ones seeing music money are the megastars whose streams are in the billions.
Look at who we call the “Big three” of the current generation. Cole, if i’m not mistaken originally signed a standard 360 deal but ended up so successful he was able to renegotiate and Hov looked out for him. Now he owns his Masters, so there’s a motivation for him to keep going because his catalog MEANS something to him.
Drake was set up for success the moment Best I Ever Had became a smash hit. Whether he signed with Wayne or not he had one of the biggest upward trajectories we’d seen from a rapper since 50 Cent hit it big, that gave him a modicum of leverage. He parlayed that leverage into massive monetary deals directly with the parent label that paid him HUGE upfront sums but in return he had to recoup through massive touring, which “forced” him to drop watered down, redundant projects yearly and not being able to take breaks. But thats what HE chose, he had the power at one point to broker any deal he desired. Because his catalog MEANS something to him professionally if not artistically.
Kendrick signed with the “homies” he came up with, and that turned out to be a smart move as Top Dawg ended up being a visionary who turned his independently built record label into the most well known west-coast music company since Death Row Records. It kept authenticity and artist development at the heart of Kendrick’s success. He was able to parlay his early critical and financial success into amicably splitting from TDE and starting his own company. He owns his Masters going forward, his catalog MEANS something to him.
In two out of the three cases, the label bosses (Hov/Top Dawg) looked out for the artist in question and allowed them to grow and move on from their initial deals. In Drake’s case he outperformed and became such a sure-fire money making bet he was able to leave on his own accord and make big deals with the parent company. All of these examples allowed the artist in question to benefit monetarily from the music, so in turn they could focus their attentions ON the music.
So there’s really no motivation to be an ARTIST for the sake of the music if there’s no financial reward to keep doing so and the minute you hit a rough patch so-called “fans” will morph into haters and be quick to clown you.
Every artist has told us over and over and OVER that they’ve had hit songs burning up the charts and in the meanwhile they’re living on show money, IF they even get that. The only ones seeing music money are the megastars whose streams are in the billions.
Look at who we call the “Big three” of the current generation. Cole, if i’m not mistaken originally signed a standard 360 deal but ended up so successful he was able to renegotiate and Hov looked out for him. Now he owns his Masters, so there’s a motivation for him to keep going because his catalog MEANS something to him.
Drake was set up for success the moment Best I Ever Had became a smash hit. Whether he signed with Wayne or not he had one of the biggest upward trajectories we’d seen from a rapper since 50 Cent hit it big, that gave him a modicum of leverage. He parlayed that leverage into massive monetary deals directly with the parent label that paid him HUGE upfront sums but in return he had to recoup through massive touring, which “forced” him to drop watered down, redundant projects yearly and not being able to take breaks. But thats what HE chose, he had the power at one point to broker any deal he desired. Because his catalog MEANS something to him professionally if not artistically.
Kendrick signed with the “homies” he came up with, and that turned out to be a smart move as Top Dawg ended up being a visionary who turned his independently built record label into the most well known west-coast music company since Death Row Records. It kept authenticity and artist development at the heart of Kendrick’s success. He was able to parlay his early critical and financial success into amicably splitting from TDE and starting his own company. He owns his Masters going forward, his catalog MEANS something to him.
In two out of the three cases, the label bosses (Hov/Top Dawg) looked out for the artist in question and allowed them to grow and move on from their initial deals. In Drake’s case he outperformed and became such a sure-fire money making bet he was able to leave on his own accord and make big deals with the parent company. All of these examples allowed the artist in question to benefit monetarily from the music, so in turn they could focus their attentions ON the music.