Tag Archives: Industry

De La Soul Are Fighting To Own The Music They Created (Video)

In the last two weeks, the three members of De La Soul have been at the center of a discussion surrounding ownership of catalog and the fairness of record label contracts. That discourse stems from the trio of Dave, Maseo, and Posdnuos notifying fans on social media that they are unhappy with former label, Tommy Boy Music. The home of De La Soul from the late 1980s into the early 2000s planned to release the trio’s first six albums digitally, for the first time. That celebratory news was marred with dissatisfaction from the group. The artists alleged that they were told that they would receive 10% of the royalties from streams and digital sales. Several social media posts, along with a revealing Sway In The Morning interview rallied peers and fans. JAY-Z, Nas, Questlove, Jarobi White, and Masta Ace are just some of the artists who called for action against the nearly 40-year-old label. Tidal responded by declining to host the six albums until a satisfying contract was in place. Subsequently, Tommy Boy responded by postponing its plans, in hopes to reach such an agreement. Joe Budden Breaks Down In Tears Discussing De La Soul’s Economic Plight (Video) As of March 9, no settlement has been reached. 1989’s 3 Feet High And Rising, 1991’s De La Soul Is Dead, 1993’s Buhloone-Mindstate, 1996’s Stakes Is High, 2000’s Art Official Intelligence: Mosaic Thump, and 2001’s AOI: Bionix all remain off of digital retailers and streaming platforms. However, all three members of De La Soul appeared on Drink Champs to discuss the matters with hosts N.O.R.E. and DJ EFN. Notably, N.O.R.E. has firsthand experience with Tommy Boy and its namesake founder, Tom Silverman. In a partnership with Penalty Records, Tommy Boy released Capone-N-Noreaga’s seminal debut, 1997’s The War Report as well as the host’s solo debut, 1998’s N.O.R.E. Both efforts are certified gold. However, N.O.R.E. alleges that he was always told that neither album recouped from its budget. Last month, De La Soul spoke about a “phantom $2 million debt” that their former label has cited. Like De La, N.O.R.E. said that he unsuccessfully tried to buy back his early releases in years past. Tommy Boy Has Agreed To Negotiate Better Terms With De La Soul For Their Music In an exclusive segment of De La’s Drink Champs episode, the group spoke about where they are right now. Together, two former Tommy Boy acts discuss the renewed focus of ownership in 2019. “We had a few record exec people reach out behind the scenes,” Posdnuos reveals, surrounding the status of De La Soul’s Tommy Boy catalog. “Big up to Steve Stoute; he reached out,” Maseo adds ahead of the 7:00 mark, referring to a veteran manager and UnitedMasters founder whose career is closely tied to Nas, JAY-Z, and Will Smith. De La Soul Speak In Detail About What Went Wrong With Their Record Company N.O.R.E. responds, “It’s kinda fly now to own your masters. Like back [when we signed our first contracts], we wasn’t really thinkin’ like that. I’m speaking for myself, not you guys—like I was thinking about an advance, gettin’ some jewelry [and other material goods]. Now, it’s fly to actually own your material because we want to leave something to [our] children. You ever seen a person that lives in the projects for 30 years? They don’t own [the apartment], but it’s their house! That’s what it feels like!” The group affirms the statement as N.O.R.E. says he has family members who can relate to that declaration. “A good thing for [the housing authority] to do is to say, ‘You know what? You should own that.’ Tom Silverman, if you’re listening—’cause I know you are—this is the best time for you to lead the pack! You lead the way and say, you know what, I’m gonna stop doin’ business in this way. You could take this, Tom, and you could flip this whole sh*t, and you could be the winner! You could say, you know what? I’ma give them 50% of their sh*t so everybody [can make money].” N.O.R.E. adds that other former acts from Tommy Boy’s legendary run such as Queen Latifah, Naughty By Nature could benefit and celebrate. Maseo responds claiming that he wants to give people the opportunity to “change because we have been given the opportunity to change.” “I think he has an opportunity to lead the way,” N.O.R.E. echoes at 27:00. “‘Cause there’s a lot of people who need these albums—beyond wanting, need these albums. That is a part of Hip-Hop [and this] is a piece missing in Hip-Hop. You can’t tell the story of Hip-Hop and then not have that there,” the host charges. “There’s dual value; The value is in the culture and the history, as well as your pocket. And if you’ve only got a concept of one [idea], that’s where the problem lies,” Dave responds. T.I. Joins Roc Nation, Announces Part Ownership In Tidal While N.O.R.E. suggests a 50% partnership, the group says, in no uncertain terms, that they seek ownership. The host asks the Native Tongues co-founders, “what is your [desired] end result?” At 11:30, Plug 3 says, “At this point, ownership. Owning my catalog, that would make a world of difference. That’d make it easy to show up for work and do what we need to do.” N.O.R.E. embraces the DJ/producer as the live studio audience applauds. The Queens, New York MC-turned-host proclaims, “It’s time to make that right. I feel y’all so much.” Maseo adds that since 2002, De La Soul has exclusively done partnerships. That includes releases with Sanctuary Urban, Nike, a crowd-sourced album, and an upcoming DJ Premier and Pete Rock-produced release in conjunction with Nas’ Mass Appeal Records imprint. Maseo adds that following a Super Bowl Halftime performance, he understands that Missy Elliott sold more than a million downloads of catalog hit “Work It.” Thus, he feels that following President Obama’s 2016 personal request to perform on The White House lawn, De La Soul could have made significant revenue from the now-30-year-old “Me, Myself & I.” However, the song was digitally unavailable. Despite hurdles such as this, 3 Feet High… has reached The Library Of Congress archives and achieved other esteemed feats. Xzibit Explains Why Pimp My Ride Was Profitable For Everyone But Him At 13:30, the interview broaches what De La Soul seeks in negotiation. “What can the fans do?” DJ EFN asks the Grammy Award-winning trio. “I would sincerely ask in support of the fans and the culture, yo, don’t press play. If [the catalog] actually comes up online, don’t press play until we give it a go—’til we actually say, ‘Yo, we’re happy. Thumbs up, guys. Let’s rock. We kissed; we made up.’ Until we say [that], do not press play. If anything, you can get The Grind Date [as well as] and the Anonymous Nobody…; you can get those two [albums].” DJ EFN suggests that fans are still hungry to hear the music. “At the end of the day, it’s your choice,” responds Mase’. “I want [fans] to have it; I really do. But sh*t ain’t right. Period. So let’s get it right. And if you want to support, don’t press play.” N.O.R.E. likens the fans’ struggle with the NFL boycott surrounding Colin Kaepernick’s protests. Maseo, whose son, Tre Mason, was in the NFL for several years, agrees. “Absolutely. Because you’re a fan of players out there, you know people out there that’s playin’, you’re connected to the game your whole life, it’s America’s thing. Just like Hip-Hop. It’s America’s thing, the world’s thing, an international thing. Yeah, and we ain’t really still playin’ it fair.” The Man Who Guided Nas’ Career Has $70 Million To Help Hip-Hop Artists Keep Their Masters At 26:30, N.O.R.E. reveals that through a third-party, Tom Silverman was invited to participate in the episode discussion. Silverman, who founded his label in the early 1980s, reportedly declined in effort to progress with negotiations. “That’s all we’re trying to do: We just want to find a happy place with all this, man” Dave notes, after acknowledging that reported decision. Pos’ adds that many people have had a constructive dialogue with the group during the last two weeks. He suggests people that know Tom Silverman and the label staff do the same in hopes of reaching an agreement or understanding. N.O.R.E. speaks about his former employer near the close of the clip. “It’s his chance to say, you know what? These are kids that I signed, these are kids that I was part of their career, and now they’re grown men. Let me do business with them as such.” The group harmonizes the last two words in the statement with the Drink Champs host. “This is your turn to do that, and you can lead the way.” DJ EFN adds that such a move would “revamp the way business is done.” N.O.R.E. interjects, “You can rectify the situation and say, [let us] be business partners from here on out. ‘Partners’ is the keyword.” The host asserts that in addition to De La Soul and Tommy Boy, Hip-Hop is now at the negotiation table. Kendrick Lamar Is Now A Part Owner Of His Record Company

The full De La Soul Drink Champs episode premieres on March 28 on Revolt and March 29 digitally.

Source: AmbrosiaForHeads.com

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Too Short & Others Explain How Record Companies Are Robbing Artists Blind (Video)

For decades, record labels and the artists they represented, have developed a love/hate relationship. If the public bought records, fame followed. Fortune, however, was not guaranteed. Some of the more successful artists across music did not receive compensation to reflect their success on charts or stages.

In the most recent episode of BET Network’s Rules To This Sh!t, several industry heavyweights sit down to discuss the ins an outs of the record business. Among them, Oakland Rap pioneer Too Short, Producer LV, SRC Recordings Founder/CEO Steve Rifkind, D Dot and the late Combat Jack (aka Reggie Ossé) provide insight into petrifying loopholes that left many an artist broke and/or stuck in irreversible contracts.

Too Short’s Career Documentary Includes Rare Footage From MC Breed & More (Video)

“Puff is like my idol,” admits producer LV. He and partner Sean C produced JAY-Z’s “Roc Boys,” among other songs. “He’s one of the reasons why I wanted to be a part of Bad Boy [Records], why I wanted to be a [member of the] Hitmen. So Puff was like, ‘I want to sign you to a publishing thing. I want to do this. I want to manage you,’ and I was thinking, if I sign all this stuff, that means he gets paid for everything I do and even if I produce with him, it’s like he’s getting paid twice. And I was like, ‘Get the f*ck outta here!”

LV further explains how matter of fact Puff’s response was upon his declining the offer. In fact, the Bad Boy impresario actually invited him to a party after the session.

Bumpy Knuckles Discusses Why He Dissed The Entire Music Industry On “Industry Shakedown” (Video)

“At that moment I realized there was a difference between friends and business,” LV discloses. “He didn’t stop being my friend because I wasn’t going to sign the papers, but it was like, ‘Sh*t if you gon’ let me do it, I’ma try!’”

It’s a learning experience he’s happy to have had and one he thanks Puffy for to the day. Elsewhere in the clip, Too Short breaks down a points and percentages concept that was illustrated fully in the N.W.A. blockbuster Straight Outta Compton.

Kool G Rap Explains How Record Label Politics Made Him Lose Like The Ill Street Blues

“They have f*ckin’ clauses in these sh*tty contracts that say, ‘We’re only going to pay you 15%,’” says Short. “In that 15%, the label is charging you for every-f*cking-thing that takes place… Every dime they spend, they’re either gonna charge you half or 100%. All these motherf*ckers with the sh*tty paperwork, your money’s got to go through all of them [first].”

“The artist has to pay everybody,” producer Deric “D-Dot” Angelettie adds. “The producers, the songwriters… so most of us, including myself, had no clue what the f*ck that meant. Damn, I’m only getting 12 cents off a dollar? And out of my 12, I gotta pay [all these people]? Damn can you at least put some Vaseline on [this set-up]? Can we have some wine and cheese before? God damn.” D-Dot made a famous alter-ego The Mad Rapper. He says his industry experiences warranted real-life anger.

The Man Who Guided Nas’ Career Has $70 Million To Help Hip-Hop Artists Keep Their Masters

Shawn Martin, an executive in the A&R Department of Atlantic Records, provides knowledge and perspective from the label side, having seen how money blurs the lines. “If you get offered $20,000, you’re going to sign the contract and figure the rest out later – when all the money is gone.”

It’s a vicious cycle that begins and ends with an artist’s willingness to learn the business and as Shade Room CEO, Angelica Nwandu so eloquently puts it, “There is no school for Hip-Hop.” Rapper/singer London Jae contends that as long as an artist can read, he/she has the ability to prevent signing a bad contract.

Too Short vs. MC Hammer: 2 Of Oakland’s Finest Were Beefing Subliminally

“You chose not to read,” he insists, suggesting predatory distractions. “You’re looking at the fact that they put these two big stacks next to the contract – and that’s all you’re going to ever get, because you didn’t look at the contract.”

While the popularity of record labels has decreased substantially due to the emergence of the Internet and streaming platforms, this episode is a staunch reminder of how ruthless they were once upon a time.

Method Man & R.A. The Rugged Man Talk Music Industry Black-Balling (Video)

“You have a frustrated rapper that wakes up one morning and realizes that, ‘I’m all over the f*ckin’ radio. These motherf*ckers love me. Why the fuck am I broke?’” Short asks. “Then they explain to you, ‘This is why: Paragraph 64 clause B says, You don’t get sh*t!’”

In 2018, Too Short released The Pimp Tape on his own Dangerous Music imprint.

For decades, record labels and the artists they represented, have developed a love/hate relationship. If the public bought records, fame followed. Fortune, however, was not guaranteed. Some of the more successful artists across music did not receive compensation to reflect their success on charts or stages.

In the most recent episode of BET Network’s Rules To This Sh!t, several industry heavyweights sit down to discuss the ins an outs of the record business. Among them, Oakland Rap pioneer Too Short, Producer LV, SRC Recordings Founder/CEO Steve Rifkind, D Dot and the late Combat Jack (aka Reggie Ossé) provide insight into petrifying loopholes that left many an artist broke and/or stuck in irreversible contracts.

Too Short’s Career Documentary Includes Rare Footage From MC Breed & More (Video)

“Puff is like my idol,” admits producer LV. He and partner Sean C produced JAY-Z’s “Roc Boys,” among other songs. “He’s one of the reasons why I wanted to be a part of Bad Boy [Records], why I wanted to be a [member of the] Hitmen. So Puff was like, ‘I want to sign you to a publishing thing. I want to do this. I want to manage you,’ and I was thinking, if I sign all this stuff, that means he gets paid for everything I do and even if I produce with him, it’s like he’s getting paid twice. And I was like, ‘Get the f*ck outta here!”

LV further explains how matter of fact Puff’s response was upon his declining the offer. In fact, the Bad Boy impresario actually invited him to a party after the session.

Bumpy Knuckles Discusses Why He Dissed The Entire Music Industry On “Industry Shakedown” (Video)

“At that moment I realized there was a difference between friends and business,” LV discloses. “He didn’t stop being my friend because I wasn’t going to sign the papers, but it was like, ‘Sh*t if you gon’ let me do it, I’ma try!’”

It’s a learning experience he’s happy to have had and one he thanks Puffy for to the day. Elsewhere in the clip, Too Short breaks down a points and percentages concept that was illustrated fully in the N.W.A. blockbuster Straight Outta Compton.

Kool G Rap Explains How Record Label Politics Made Him Lose Like The Ill Street Blues

“They have f*ckin’ clauses in these sh*tty contracts that say, ‘We’re only going to pay you 15%,’” says Short. “In that 15%, the label is charging you for every-f*cking-thing that takes place… Every dime they spend, they’re either gonna charge you half or 100%. All these motherf*ckers with the sh*tty paperwork, your money’s got to go through all of them [first].”

“The artist has to pay everybody,” producer Deric “D-Dot” Angelettie adds. “The producers, the songwriters… so most of us, including myself, had no clue what the f*ck that meant. Damn, I’m only getting 12 cents off a dollar? And out of my 12, I gotta pay [all these people]? Damn can you at least put some Vaseline on [this set-up]? Can we have some wine and cheese before? God damn.” D-Dot made a famous alter-ego The Mad Rapper. He says his industry experiences warranted real-life anger.

The Man Who Guided Nas’ Career Has $70 Million To Help Hip-Hop Artists Keep Their Masters

Shawn Martin, an executive in the A&R Department of Atlantic Records, provides knowledge and perspective from the label side, having seen how money blurs the lines. “If you get offered $20,000, you’re going to sign the contract and figure the rest out later – when all the money is gone.”

It’s a vicious cycle that begins and ends with an artist’s willingness to learn the business and as Shade Room CEO, Angelica Nwandu so eloquently puts it, “There is no school for Hip-Hop.” Rapper/singer London Jae contends that as long as an artist can read, he/she has the ability to prevent signing a bad contract.

Too Short vs. MC Hammer: 2 Of Oakland’s Finest Were Beefing Subliminally

“You chose not to read,” he insists, suggesting predatory distractions. “You’re looking at the fact that they put these two big stacks next to the contract – and that’s all you’re going to ever get, because you didn’t look at the contract.”

While the popularity of record labels has decreased substantially due to the emergence of the Internet and streaming platforms, this episode is a staunch reminder of how ruthless they were once upon a time.

Method Man & R.A. The Rugged Man Talk Music Industry Black-Balling (Video)

“You have a frustrated rapper that wakes up one morning and realizes that, ‘I’m all over the f*ckin’ radio. These motherf*ckers love me. Why the fuck am I broke?’” Short asks. “Then they explain to you, ‘This is why: Paragraph 64 clause B says, You don’t get sh*t!’”

In 2018, Too Short released The Pimp Tape on his own Dangerous Music imprint.

Source: AmbrosiaForHeads.com

Click Here to Discuss in the Forums

Spread the love
             
 
   

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