NY hip hop fell off because whites cant control hip hop when NYC nikkas run it

[NotaPAWG]

People falling for Zays trolling

 

[ignorethis]

Is future on a 360?

Hell nah, Rocko put Sony/Epic through hell to sign Future. One of the only stars in hiphop thats not in a 360, him and Kevin Gates.

Kendrick = 360
Cole = 360
Drake = 360
Rocky = 360
Travis = 720

 

[homiedontplaydat]

New York rappers were the first SELL-OUTS

THIS IS THE TRUTH.

 

[Whogivesafuck]

how?

She makes things out to be a big conspiracy. It's just basic capitalism. Labels will sign anybody gangsta or conscious if they feel they can make a buck.Just like A Tribe called quest and UGK , Profile records signed Poor Righteous teachers and DJ Quik at the same time. Quik sold more with less promotion.

 

[Whogivesafuck]

Hell nah, Rocko put Sony/Epic through hell to sign Future. One of the only stars in hiphop thats not in a 360, him and Kevin Gates.

Kendrick = 360
Cole = 360
Drake = 360
Rocky = 360
Travis = 720

What leverage did he have to do this?

 

[ignorethis]

What leverage did he have to do this?

Charting singles and successful shows/tours without a label.

Same with Kevin Gates

Like I said earlier, dudes like Sage the Gemini and Kid Ink also followed the same formula and secured good deals, but they haven't had nearly the same success as Future and Gates. So this whole white people want the south to run hiphop shyt is bs.

They make the least money off the southern artist.
Literally no Atlanta artist sign rape contracts, the city is notorious for that. Even 3rd/4th tier artist like K Camp and Que secured good contracts (which is part of the reason they're 3rd/4th tier)

You sign that 360 the label is gonna do everything in there power to make sure you become a star, it's in their best interest. The less money get to drain from you the less incentive they have to throw money and resources at you. Dudes like Future and Gates had to make themselves into stars damn near independently.

 

[ignorethis]

Double

 

[Whogivesafuck]

Charting singles and successful shows/tours without a label.

Same with Kevin Gates

Like I said earlier, dudes like Sage the Gemini and Kid Ink also followed the same formula and secured good deals, but they haven't had nearly the same success as Future and Gates. So this whole white people want the south to run hiphop shyt is bs.

They make the least money off the southern artist.
Literally no Atlanta artist sign rape contracts, the city is notorious for that

I guess you don't remember Asylum records. And as far who pioneered the independent game, that would go to Cali.

 

[ignorethis]

I guess you don't remember Asylum records. And as far who pioneered the independent game, that would go to Cali.

what type of revisionist history would paint asylum as rape contracts?
If you were an established artist Asylum was a great situation because, they would give you a giant cut of sales, and basically acted only as a distributor.

The only people that weren't happy with their Asylum deal were dudes that thought they would be getting Dej Jam/Interscope level push for 20%, which was dumb

Those Asylum deals were the blueprint for the deals dudes like Kevin Gates secured.

 

[KravenMorehead™]

southerners are less business savy than other regions. combine with coming from humble backgrounds, I can them getting royally screwed.

lemme go head and read this thread

 

[IllmaticDelta]

She makes things out to be a big conspiracy. It's just basic capitalism. Labels will sign anybody gangsta or conscious if they feel they can make a buck

true but it's really a combination of what you just said and what she stated.

 

[Whogivesafuck]

what type of revisionist history would paint asylum as rape contracts?
If you were an established artist Asylum was a great situation because, they would give you a giant cut of sales, and basically acted only as a distributor.

The only people that weren't happy with their Asylum deal were dudes that thought they would be getting Dej Jam/Interscope level push for 20%, which was dumb

Those Asylum deals were the blueprint for the deals dudes like Kevin Gates secured.

Lil will of my dougie fame got raped. Cadillac Don and J-Money, D4L all had shytty deals. Parlae of dem franschise boyz even admitted on the one hood affairs dvd that he wasn't seeing no money. Got knows how many of those dallas dancing nikkas that came out in 09.

 

[IllmaticDelta]

When exactly? And who?

also

@ 15:30

The Cutler family with Eazy-E and Bryan Turner on set for the N.W.A. music video "Express Yourself". From left to right, Daniel Cutler's mother, Barbara Cutler, Eazy-E, Daniel Cutler's father, Barry Cutler and Bryan Turner. (Daniel Cutler)


The Secret Power in Big Rap; Bryan Turner Makes Rap Records but Escapes the Criticism

When the pioneering gangsta rap group N.W.A was looking for its first record deal, it found a distributor in Priority Records, which released an album so obscene it prompted a letter of complaint from the F.B.I. When Ice-T left Warner Brothers Records after police groups and the company's shareholders objected to his song ''Cop Killer,'' he found a new home at Priority. When Suge Knight, the imprisoned head of Death Row Records, who is known for his pugnacious business tactics, was looking for his first deal, Priority gave it to him.

Through all the violence and controversy of hardcore rap music -- from its roots in N.W.A to its current resurrection with Master P -- the Los Angeles label Priority Records has been a major player. Yet Priority has somehow escaped censure. Outside of the letter sent by the F.B.I. objecting to N.W.A's lyrics about police officers, Priority and its founder and president, Bryan Turner, have never been vilified, even during Congressional hearings on music lyrics or by anti-obscenity crusaders.

''And let me tell you something, man, that takes strategy,'' said Mr. Turner, a press-shy white Canadian hockey fan who started a label selling California Raisins oldies before striking gold with gangsta rap.

In quietly distributing the rap albums that large corporations would not touch, Priority became the country's largest independent label in the mid-90's. Two years ago it sold $114 million in music; last year sales climbed to $175 million, and this year the company expects to take in over $240 million. These increases can be attributed primarily to a distribution deal with the phenomenally successful No Limit Records, the Louisiana-based rap label run by Master P. Priority now accounts for 3.2 percent of the American record market.

Mr. Turner, 42, recently read ''Have Gun Will Travel,'' a new book chronicling the violent history of Death Row Records and West Coast gangsta rap and noticed that his name came up only once, in a passing reference. ''A book with that kind of subject matter, and I was mentioned once,'' he said. ''That was no fluke. I knew exactly what was going on. I knew exactly how involved I had to be and how little involved I wanted to be.''

But this year, the game has changed for Priority. The company is no longer the biggest independent label in the country. In March, EMI Music completed its $125 million purchase of the label. Before, Mr. Turner had no one to answer to as he built a lucrative shelter for one of the country's most debated musical forms. Now he is part of a publicly traded corporate giant -- a part whose future is tenuous at best. EMI Music's parent company, Thorn EMI, has been looking to sell its music holdings.

Although a handful of white executives built their companies on rap in the early 80's, the soft-spoken Mr. Turner was the only one willing to engage in music so extreme. ''People think he's black automatically because he's in so much business with the black folk,'' said Snoop Dogg, the leading gangsta rapper, formerly known as Snoop Doggy Dogg. ''But he's been in it since the N.W.A days, so he knows rap front and back. I've known him since I was on Death Row, and he's a cool man. He recognizes talent and recognizes money and gives opportunity, and that's one thing I respect out of him.''

Another testament to Mr. Turner's skill in remaining anonymous is that during all the speculation surrounding Snoop Dogg's release from a six-album contract with Death Row Records so that he could record for No Limit, Mr. Turner's name was barely mentioned, even though he was the middle man in the deal, running back and forth between Master P in Louisiana and Mr. Knight in prison. Considering that Snoop Dogg was Death Row's biggest cash cow and that he had been accusing Mr. Knight of bad business dealings, this was no easy task. But last month, just as Snoop Dogg's No Limit album went to No. 1 on the pop charts, Mr. Knight finally signed off on his release from Death Row.

''I was the independent middle guy who everybody sort of trusted and who wasn't going to let anything happen to anybody in terms of not getting their right deal,'' Mr. Turner said. ''Things changed so rapidly during that period of time. At 6 each night I wanted to leave the office because I knew that the next phone call could turn the whole thing upside down.'' Mr. Turner added that as a result of the deal, it seemed likely that Snoop Dogg and Mr. Knight, who is up for a new probation hearing now that his nine-year prison sentence was annulled this week by the California Court of Appeals, would work together again.

Though Mr. Turner is a champion of freedom of expression and has worked with rap's most controversial figures, he does have his limits. ''There was one record that I listened to that actually offended me, which I didn't put out,'' he said. ''And it wasn't a rap record, it was a rock record. I won't name the group, but its lyrics had to do with children. With all the controversy that we ever had, any of the artists could sit down and discuss it and explain their perspective. But this actually offended me. There was no way anyone could justify it.''

Speaking of N.W.A's police-bashing song, he remembered, ''When they first played that track for me, it blew my mind. I just couldn't believe it. But we talked about some stuff -- police pulling them over and taking their money and their watches. It never happened in my neighborhood. But those were their experiences. What justification can you have for not putting that out?''

''One day Jerry Heller brought the group in,'' Mr. Turner remembered. ''They were 18 years old. And I was like, 'Let's do it. This is some scary stuff. It will scare some white people here.' From a business perspective, N.W.A completely fit in with what our success had been. First of all, we did compilation albums -- there was no radio. It was just heavy retail and heavy press. Then we did the Raisins, which didn't have radio singles. I just loaded the stores so you couldn't walk in without tripping over a California Raisins record. Then along came gangsta rap. Radio wasn't going to play any of those songs. It was strictly retail marketing, which was our strength.''

The Secret Power in Big Rap; Bryan Turner Makes Rap Records but Escapes the Criticism

 

[Chip Skylark]

I've notice how a lot of people really hate the south and attempt to discredit everything that goes on there.

Jayz doesn't really own roc nation. He can't even distribute his and it's artist music through the label but he is worth a lot.

Last I read bad boy was on its last leg and was barely a company.

But if all the artist I've seen and read getting screwed over, the majority are from NY. Let's not forget jada threatening to toss frigidaires off a roof, styles telling everyone is office is in the streets, diddy screwing up his entire roster, the roc roster excluding bleed is old and broke every hip hop artist in NY hates Def jam.
Even back then guess who was pulling the strings behind the scenes... jews.

Whose to say hip hop is in a bad state? There is music for everyone. Hip hop made the most money during the late 90s early 2000s. Guess what labels were popping then? No limit, cash money, Def Jam which had luda who was pushing more records than a lot of cats.

Stop it with that hate. Each region brings something good and bad to the genre. Enjoy the music.

 

[ignorethis]

Lil will of my dougie fame got raped. Cadillac Don and J-Money, D4L all had shytty deals. Parlae of dem franschise boyz even admitted on the one hood affairs dvd that he wasn't seeing no money. Got knows how many of those dallas dancing nikkas that came out in 09.

the point of the Asylum deals was record sales, it was for established artist or artist ready to put in the independent grind.
Of course one-hit wonders weren't gonna benefit from the deals.

Most of the dudes you named weren't even signed directly to Asylum, they were signed to a local joker labels that partnered with Asylum. It was the local labels that ran off with their single money, not Asylum.

Dem Franchise Boyz? They released all their big songs on major labels, and they were signed to Koch, not Asylum