Biggie Smalls was one of hiphop’s most prolific artist. It would be interesting if we could have his persective on today’s artist and music. I wonder how Biggie would feel about today’s generation of mumble rappers or today’s drill movement.Â
Biggie came from the streets of battle rapping vs today’s artist believe that the battles should be on online apps and hiphop sites. Biggie had the incredible skill of story telling off the top of his head vs today’s artist of just stringing together twitter rants and then calling them songs. Has hiphop lost its way in the area of creativity? Maybe. HipHop has become a style of microwave music that really only communicates to segment markets in wayS that make it difficult others to understand their little fun language ( sort of like pig Latin on steroids...) HipHop has become tribe inclusive but market exclusive (and that by itself kills the money for artist...) At the end of the day “rent to own fame” is exactly that RENT TO OWN.Â
And Being the artist Biggie was: Talent Mattered” Like I said, this would be an interesting conversation.Â
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Remember “there’s nothing wrong with the music business that good music can’t cure...”Â
The music business is full of stories about the abuses of the labels (abuses can go both ways...), but the situation Between Megan Thee Stallion and 1501 is a sad testament of a situation where a dream that came true has become a nightmare. Megan has suddenly caught a case of “I changed my mind...” and 1501 has contracts and contracts are contracts.Â
Carl Caldwell ex mlb baseball star and backer of the 1501 label is not broke (really his bread is straight). The brewing battle between him and Ms Stallion is a sad statement of how something that Was working could go so wrong. All artist believe they’re gonna blow up (you gotta have that kinda confidence...) but the truth of the matter is you gotta have bread to succeed and money is the fuel of success in the music industry, not talent.Â
This is a sad situation because their success as a team is very genuine and now that truly great organic feel of teamwork has been corrupted by greed and collusion. Megan has no idea as to the folks that’s in her ear are only using this as an opportunity to try to clip Carl’s pocket and worth. I don’t know, Carl’s last contract was over 20 million (for real for real...) Carl has 20 million friends on his side called true dollars and more than likely he’ll be cool. She although might wind up being another episode of Unsung on BET. I hope I’m wrong.Â
Okay here’s this week’s GetAtMe Urban Airplay Report. Kendrick Lamar LOVE is at the top in spins this week with over 500+ spins (this one was a creeper and it slowly rose to the top…) Here’s the numbers:
Like I said Kendrick Lamar’s LOVE topped the spins this week with over 500+ spins and NERD LEMON came in at num 2 with over 300+ spin increases (Rihanna as a feature is carrying this cut…)
Num 3 is Lil Pump GUCCI GANG (all I can say is that it’s really selling and trending… #Ijs) and at num 4 is Remy Ma WAKE UP (the Nicki beef is dying down and the Biggie break is carrying this cut…)
At num 5 is Jacquees AT THE CLUB ft Dej Loaf (this is a good song but it may have taken too long to get legs…)
The Game’s new cut OH I ft Jeremih, Young Thug & Sevyn (what is this her feature name now…?) got 44 station adds but doesn’t have any sales on itunes (and in this market all those adds and no itunes sales signals to fans its industry driven. The Eugene Wilde “Gotta get you home” sample will buy time with radio but this cut is gonna have to earn its own in the street and in mixtapes/online. The clubs are gonna do what it do… #WaitAndSee
Our hot pick is a Cardi B protégé Hood Celebrityy and her cut WALKING TROPHY (this probably should have been a Cardi B cut just due to her momentum right now…) This is a great cut and Hood Celebrityy’s people are doing a great job in the streets and online (this cut hasn’t shown a mixtape demand yet and that may kill it with the kids…). The instagram presence is crazy and its getting spot plays on radio in New York (so this thing can happen. A great job in Muscle (streets & mixtape/online, product push…) has to be complimented with Juice (clubs/ radio, demand pull…). All the muscle in the world has to be met with Juice and that will be HoodCelebrityy’s struggle (and usually you have to have that bag for the juice to ramp up quickly and timely… #ThisBusinessOfHipHop )
That’s this week’s GetAtMe Urban Radio Airplay report. Remember “there’s nothing wrong with the record business that a good record can’t cure…”
Lately I keep hearing this same statement by people who are trying to be in #ThisBusinessOfHipHop . "Sales really don't matter" or they are "rigging the numbers." Where in the history of business have sales not mattered (uumm, that why your in business...)? Hip Hop has become "The land of Rent To own dreams" or "Stolen dreams" At the end of the day the only way you can really gauge success is by actual sales. Actual sales are the greatest indicator of market engagement and commitment. It is show business (not show me the business...) Focus on the sales and the sales will take care of you. Sales represent true wins and wins create opportunities and opportunities create revenue. That's how it goes...
What do Drake, The WeekNd and J Cole all have in common? It is the support of HopHop’s most influential person. The 18-25 year old female demo. In an industry where everyone wants to know the real movers and shakers in music, well here she is and here’s why she is so impactive.
Her and her friends are online’s most important influencers from the point of trends, music, fashion, clubs and even sports at times. Why because everyone likes having her and her friends around and not only do they spend (real money…) but they influence other to spend (come on do you see folks going in the club to spend $300.00 on a bottle of liquor with a bottle boy?) They are loyal consumer soldiers and to slight them can be a career changing mistake for some artist.
They are loyal to the lifestyle (as exhibited on daily post on Baller Alert & The ShadeRoom IG sites and they have opinions that they want heard. Their loudest opinion although is with their credit and debit cards as they vote on who will live or die in the music coliseum called sales on a daily basis on iTunes. They are the driving factors in Rae Sremmurd’s Black Beatles and The Migos Bad and Bougie. They love Big Sean and Gucci is the ‘Unc’ who could get it (or if nothing else they’ll kick it and have drinks…)
So if you want to meet the music industry’s and hiphop’s most influential person, well here she is. Respect her and her buying power. She has proven that she carries weight in the echoes of her decisions. $1.29 is not hurting her pockets and if she’s feeling you as an artist, she will display her support by buying.
Remember, “there’s nothing wrong with the record business that a good record can’t cure…”
This is why Vine is so important to today’s music scene. Since Twitter made the decision to keep the platform Vine up (a really good decision seeing as that Vine is Twitter’s video engagement tool…), people in the music side of online music sales are pleased, why? Because no other online video platform drove sales and actual music engagement like Vine (DoItForTheVine…). The 6 second videos are the real challenge and viral video jumper cables, and with that announcement the kids went right back to creating viral music videos and challenges.
Why does the 6 seconds work so well, because the limited time you have in the video make the video’s producer focus on the viral ling impact moment and when it works it’s gold. Twitter made a great decision to keep Vine up and immediantly the iTunes sale jumped right back up. Twitter, thank you for making the right call… #DoItForTheVine
Now yall know I’m the biggest supporter of indies blowing up. I just love it when these kids just blow a new cut out the box and have over 5000 downloads a day without so called street support, radio or industry so called insiders (how in the world did they blow up without it playing everywhere…? #lsmh). You know why it blew up? Because the fans want it and they showed that they wanted it by spending their money on the song on iTunes (now that’s business…).
That’s right these kids have sold another one. JUJU ON THE BEAT by Zay Hilfigerr ft Zayvion MacCall is already sitting at num 14 on the itunes top 100 and is selling over 6000 downloads a day without a major industry push (how do they do it BATMAN…). I love these David and Goliath stories in the music business and when I see it, I love to big these type of artist up. Why? Because they prove that sells matter.
They did everything right (so far…). No dumb ass licensing strikes from licensing groups on youtube that chase new interest away by the droves. They didn’t put u the wrong song to make the fans go buy (hey the fans bought on their own… and by the way that putting up the wrong song business is by far the dumbest strategy in the history of marketing, just wanted to get that out for you to know my opinion of that foolishness…) They didn’t use a public relations company to create a fake beef to drive interest. Man they didn’t even put on a dress (in the name of looking more open minded on the world stage…). No they did it the old fashioned way and just answered the markets demand for another dance craze record (aint that what Silento did before getting with a major…? Hmmm). The fans ordered a hit and they delivered the product and 6000 downloads a day later, Zay Hilfigerr JUJU ON THE BEAT is on its way to being the next big craze record.
Some hiphop cynics are gonna say things like “that music garbage and it won’t last...” (didn’t they say that about RAPPER’S DELIGHT and hiphop…?) It don’t have to last, JUJU ON THE BEAT has already generated over $12,000.00 in online sales without a major marketing campaign. Just fans listening on Soundcloud and Youtube and an aggressive fan engagement strategy on Vine (the money…) and other sites. This is just straight great business by these young entrepreneurs and they should be celebrated (as I’m doing…). Remember you heard it here first on GetAtMe (which it seems lately I have to keep reminding folks) and to my indies out there, use these kids as an example to how to make sales happen. Like I say all the time, in the music business it’s DEMAND AND SUPPLY, not supply and demand.
Remember “there’s nothing wrong with the record business that a good record can’t cure…” Go check out Zay Hilfigerr’s JUJU ON THE BEAT ft Zayvion MacCall. Its #InTheMix
When this statement came out of Dj Drama’s mouth on this recent The Breakfast Club interview, man I was in shock (boy talking about going to the other team and your views change…). To even infer that street mixtapes are in any form irrelevant is crazy. #FRFR, nothing breaks in today’s market in the streets without the street mixtapes creating the buzz.
The buzz isn’t created by SoundCloud or industry promotions specialist (Or Professional Stans), it’s created by the streets saying this is hot and this is alright. Believe me if Dj Drama would have had ‘WISHING’ or ‘ONYX’ on a Gangsta Grillz mix, then the reception of those songs would have been different the (‘WISHING’ is currently 300+ area on the iTunes chart and ‘ONYX’ is not even charting yet). Both of these songs are good competitive songs but the Industry Professional STANS really don’t dictate consumer choice (or interest).
Don’t get me wrong, I realize that Dj Drama at Atlantic has a different script but the question really is “why is Dj Drama at Atlantic Records as opposed to GANSTA GRILLZ being its own label imprint? It’s clear that GANSTA GRILLZ knew how to market and sell music better than the labels at times. There’s nothing wrong with getting a check but Drama knows that his strength and loyalty came from people that trusted his word on the music, now they may feel like his word is influenced by the check or budget and it’s at that point the kids will tune out and Dj Drama as a influencer will become a yesterday’s conversation. Dj Drama knows that (#frfr)
Look the street mixtape will always be the first line of battle in this music thing ( I really think Dj Drama meant street albums and not mixtapes which somehow became confused by mixtape brands like who? GANSTA GRILLZ #LSMH). A real street dj mix is (and will always be) a sample of the newest and hottest music based on a certain djs market. He’s like a chef and he feeds his fans the new music they are hungrey for, that’s how it works. Without street mixes then the young audience will just go to other avenues to find what’s hot( Vine, snapchat or youtube…). The starter for those conversations and validator for fan interest will and will be for some time, streetmixtapes. I can’t wait for the GANGSTA GRILLZ label to come. Its probably gonna put out some great music.
I’m ReggieRedd and there’s nothing wrong with the music business that a good record can’t cure…
Sometimes the simplest answers are the best. It seems like today music business execs are hellbent on destroying music as an industry (which is what happens when your hires don’t come from retail or radio…). Some of today’s music business solutions are so short term for the industry that some of these decisions are decisions that will one day make our industry implode.
The “Its All About The Money…” mentality has created a cottage of lazy thinkers and conmen in the music business. It’s like all the slow thinkers in class all wound up in the music business with no respect for analytics or math (“I’ll mess up a $100,000.00 budget on a gut feeling, what you think?). This mentality is killing our business and music is so important to our culture as a whole. Yes at times “ITS ABOUT THE MONEY” but for some folks it’s also about betting right for themselves, investors and music fans. Like I’ve said before, If you have to spend $400.000.00 to get a 12-17 year old music fan to spend $1.29, then you don’t have a product (“We’ll just rig the numbers and overcharge corporate advertisers to align with the fugazzi artist instead of getting kids to engage at a $1.29, yeah that’s the plan…” #JustRealTalk ). We gotta do better as an industry and as a genre.
You know artist at times seem to have a special connection to the universe (I think it’s the whole muse thing or something…), so it seems at times when they makes certain statements, that it’s almost seems prophetic. Prince had no shortages of these moments.
When Prince was on the Jay Leno show once, he took a question and gave Jay his views on a record deal that was given to one of his peers, Mariah Carey. He interred that he felt like the labels should be in a 50/50 arrangement with artist. This would have been a cool arrangement if the artist were putting up 50% of the investment for manufacturing and promotions (which most artists couldn’t and wouldn’t do at the time...). The labels usually were the ones taking the fiduciary risk so they were the ones who were getting the long end of the stick (either when a project won or lost…). It seems that Prince found out about this reality in later years as he put out his own projects independently and came to the realization of the power of Warner Brothers promotions machine ( #RentToOwnFame…). Little did he know that years later a judge and technology would make his proposed idea a reality ( http://blogs.wsj.com/digits/2010/09/07/itunes-songs-arent-purchased-but-licensed-court-rules/ I bet your hotshot entertainment lawyer didn’t tell you that #lsmh, don’t worry most of them aren’t even aware of the ruling per se).
Check out the article at the above link, I’m sure you as an artist will find that to be interesting reading. Prince called it and so it was…
J Profet like many other new artist has a dream of having his music heard (and this cat has really nice music. With his quasi dance/pop style, his music moves the dance floor, but his music being heard is not his only mission. J Profet plans to leverage quality music to open doors for new profitable opportunities (That different...)Â
All artist come into the music business to make either a creative statement or to change their lives financially. J Profet (just as his name states...) is in this for the business. “Hey the creative is cool but this music can become another arm in my financial stability and there’s nothing wrong with that...:Â
“After dealing with many industry situations over the years, I’ve seen the importance of taking care of not just the music, but the business also. It is THE MUSIC BUSINESS, right?” You’re right J, it is THE MUSIC BUSINESS.Â
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Remember “there’s nothing wrong with the music business that good music can’t cure...”Â
Here’s why, contrary to popular belief, in today’s online music market, consumer fan loyalty leans more to the artist’s lifestyle ( or to the social media lifestyle that’s portrayed…) The producers, songwriters and industry power players, don’t nearly carry the weight that they want people to believe because a kid in his bedroom on a computer and Fruity Loops has a better idea of their peer market pallet for music in their tribe (I use the word tribe because it’s better suited than market segment…). These artist can be great and the production and songwriting can be excellent but if they don’t communicate the right message to the “buying audience” (notice I didn’t say streaming audience…) at the right time, then it’s like a professor trying to communicate to a kid with A D D and they are really just boring the kid to death and the message is lost in the delivery.
In today music market its more about the message and messenger to a certain tribe as opposed to a song, performance or production. All the talent and production in the world means nothing if the song fail to communicate a certain tribes message of the moment.
These shows are very entertainment industry driven and usually the last person to know what today’s 1st level attention interest in market music exposure are industry people who are driven by personal power agendas and industry ego stroking moves.
Take the artist Jessica Sanchez. Before American Idol her online presence and tribe was an incredibly amazing and productive group (#TeamJessicaSanchez). They were like twitter soldiers waiting for orders. After American Idol she got caught up into industry power moves, songwriters, producers and Jimmy Iovine’s so called vision when really all she had to do was get on a Drake feature and combine his tribe at the time and hers tribe at the time. End result, Drake from mixtapes to megastar and Jessica Sanchez from potentially the next Whitney Houston to American Idol footnote.
Okay here’s this weeks itunes top sellers for today in the Top 100 (This Camila Cabello HAVANA is for real…) Last week we only had 13 hiphop songs in the top 100 and this week we got back to a full 20 (23 total) Here’s the numbers and highlights.
Camila Cabello HAVANA ft Young Thug goes back to num 1 (this is a solid cut…)
The K-Pop sensation BTS was at num1 for a short time this week but fell to num 3 with MIC DROP ft Desiigner (so Desiigner is on another num1. Hey you can’t argue with the numbers… #ToldYall
NF LET YOU DOWN is lowly creeping up the sales chart (NF is for real…) and he is on his way to a massive hit (Needs more radio support…)
On Deck is the Farruko cut Krippy Kush ft Nicky Minaj This cut got a lot of hype from online hiphop media as a diss answer to Nicki’s rivals (I didn’t hear all that. To me it was just another Nicki feature…) Dj’s are liking this cut and already there are a few hot remixes in the works..
That's this week’s GetAtMe Top Ten 100 sellers. Remember “there’s nothing wrong with the record business that a good record can’t cure…”
One thing you can always get from Waka Flocka is, the HipHopTruth. When Waka came into the game he was at times the HipHop pinate for jokes. I mean he caught all the darts (yall remember “Short Bus Shorty”) but Waka outlasted his critics (and made more money that his critics… #lsmh) and made his brand a hiphop staple. No matter what during Waka’s career, he’s kept it the HipHop Truth.
Waka gave a great interview in the current edition of Everyday Struggle and it’s funny that the dude that was the “short bus shorty” poster child is now one of the most honest spokespersons in hip hop. Waka always has kept it real about situations that was pertaining to him. He never hid behind the fame (which is why he probably won’t be on Behind The Music… #IJS )
From his displeasure with Atlantic Records to deciding to tour Europe on his own, Waka decided to take things in his own hands and realized that he was the underdog and he had to make his own moves (and you know what, there nothing “short bus shorty” about that at all…) Check out the new EverdayStruggle https://www.youtube.com/watch?v=780ykW9GBng&t=863s
One’s that don’t sell (lsmh…) No really you have to get an audiences’ attention with a catchy beat or arrangement. That music sets the frame for a hit song. When an artist focus on lyrical content as their foundation, then usually they are targeting a limited small market segment (back packers) and usually (not always…) backpackers are not the most engaged purchasers. Its always best to create a total package that’s strong with a beat, arrangement, performance and lyrics. #GetAtMe
Anyone who has read my blog knows how I feel about boosting numbers for hype (I don’t like the practice because the real pros know when it’s being done…) I mean if it was a strategy that works then I would maybe see the function but usually fans know when the numbers aren’t real (fans know hits…)
Online has created an over whelming supply of new music and the demand part continues to dwindle so when fans see online trickery with the numbers, they just ignore the new music. Now music online marketers are not going to tell you this because they are trying to sell their wares (all marketers believe they are rainmakers, it’s part of their koolade and in a way it’s what drives them…) but the real is with so much of a supply in music (and accessibility), fans already have an idea of their new music choices way before the so called gatekeepers give their verdict (that’s why the iheartMemphis, Zay Hilfigurr or Young M.a. blow up, folks just really like the song…) So boosting numbers is really most of the time just a ploy to boost the artist’s ego and a strategy to make the artist’s friends feel like the artist is really doing something and not just spinning their wheels and wasting time and money.
This article http://djbooth.net/news/entry/2017-01-10-master-p-soundcloud-numbers?noredirection=true really brings this fact to light. Check it out and you decide. That’s why here at GetAtMe we tell you it’s about the music and that real numbers don’t lie. Build your fanbase organically and if you are the truth, you’re fans and followers will let the world know (and a bot really can’t do that, it’s a bot…)
Remember “there’s nothing wrong with the record business that a good record can’t cure…”
It’s the New Year and as we always say,”the truth is in the sales numbers.” The Migos BAD & BOUGIE starts the year off at num 1 (these sales came out of nowhere, #hmmm …). Rae Sremmurd BLACK BEATLES ( a real strong cut…) falls to num 2. Drake FAKE LOVE is num 3 (another strong contender…) The WeekNd STARBOY is still holding strong and so is DRAM BROCCOLI.John Legend is back on the chart with LOVE ME NOW and Rihanna LOVE ON THE BRAIN is slowly moving up the chart. Amine CAROLINE (this cut is amazing because the sales are so strong. This is clearly a west coast thing…) and The WeekNd 2nd cut on the chart I FEEL IT COMING is at num 9. Big Sean BOUNCE BACK (getatme handicapped) comes in at num 10.
It’s the new year and happy New Year to all. Remember “there’s nothing wrong with the record business that a good record can’t cure…”
From its inception HipHop has always been part fantasy (the dream) and part reality (the business), but the one constant in hiphop has been the competitiveness in sales (until now…). HipHop started out like a musical Hunger Games where the strong survived not only in show arenas but also in retail and mall stores. When we had stores, there was very little fugazzi, you either sold or you didn’t. The flea markets were the purest form of street metrics because hiphop core fans populated the malls on Thurs thru Sat picking up whatever they were out to get and usually that new mixtape joint was on the list.
People still buy that way. The bootleg movie industry is constantly engaging new agents to ply their wares. These bootlegs provide the same service that music leaks provided. They either drove word of mouth or they would kill a project that wasn’t gameday. Now of course the media relation professional hated these leak masters because they became shepards of consumer taste and in the current digital marketplace of “will it fly or will it die” economics, this relationship has now become really strained. So what was the music industry professional solution? Hire bored online trolls to combat the influencers. Now here’s where the problem exists, we now have a troll as an artist and now trolling has become a market strategy.
Trolls now sit on threads like Boxden and Reddit, on sites like Facebook, Twitter and IG, and to a degree try to legislate consumer taste. Like the noisy kid in the class the troll’s process is to disrupt things until they get the desired attention. In the digital age this type of marketing can be sort of short sighted, why because these trolls can only distract, they cannot drive sales or really control the engagement of the buying consumer (the consumer is at least 5 weeks ahead of the music professional marketer and their choices are based usually on I got it first so I can tell others what the deal is (the footprint of organic growth).
Can HipHop survive the Lil Yachty’s, who troll for attention in hopes of recruiting someone else’s fans by calling the fans current choices of artist lame? Will this work if they artist never really sells in the scale that labels need to stay liquid and functioning. You already know that answer. Why because someone knows the numbers of who sold and who didn’t and at the end of the day, the sales are the final judges in an artist’s commercial success. How many fans voted with a purchase of an artist’s music? That’s all that really matter… Remember “there’s nothing wrong with the music business that a good record can’t cure…”
I recently had the opportunity to interview the great Mr. Collipark. Of course, he's known for his work with Ying Yang Twins and signing Soulja Boy. He also produced the hit line dance record "Wobble" and has worked with countless artists in the game. It was honor to get to interview him. https://youtu.be/3lCJWB8JYbI Q: Before…
Ice T is exactly right about this and it’s well said. So many of today’s new artist just want to be stars (no matter what the cost…) not realizing what comes with that title. There is definitely a difference in being a star or a rapper.
Most artist do not really factor in the politics side and if they don’t already have the grooming, stardom can bring out the worst in someone who wasn’t prepared for the responsibility of stardom and that why many of today’s artist (and athletes…) crash and burn personally and financially.
This is why Motown specifically had a grooming department building not only stars but brands that lasted a lifetime. These words by Ice T are words of wisdom that many of today’s new artist really need to hear.
Man yall know I try to keep it sort of light with GetAtMe (yeah right…) but there’s always some idiot that makes me tell the truth. I really just want to review good music.
HipHop has become one huge ass fugazzi and the labels (at time trying to act like master villains..) are becoming masters of foolishness, The labels through licensing groups have continued to attack fans and djs and chase buyers away with licensing strikes (this sh*t is so massively dumb…). What’s worse is that they are the reason that downloads sells are dropping, not the free downloads. Why, because the mashups, mixtapes and covers are viral influencers that trigger trends and itunes sales...
In the music business we have a process that’s called seeding (these new school music execs who are really glorified interns who’ve never work in retail or radio, have no awareness of this process. The process is simple, we seed a 1000 (promos) for word of mouth to create 3000 sales. These free downloads are the start of the conversation whether a song is a hit or not. It’s a very necessary process. From early adapter consumers to influencer djs, this is the starting point for a hit song. Some of the tools that give us an indication of a song's legs are the remixes, mashups and covers that fans produce with the song. This is who the licensing people have decided to attack in their infinite wisdom. Your (the artist…) influencing fans. (did I mention that they were influencing fans...). This has got to be one of the stupidest strategies in the history of business (“lets piss off(or on) the influencing fan bases in an effort to extort $1.29 out of them so we can charge the labels to do what they will do for free,,,”) #JustDumb.
The labels have one job essentially; upload an mp3 that has the market potential to sell. That’s it. I mean I know it’s not calculus or string theory so why is this becoming such a costly task that they have to attack the fans as shade for their incompetence (I’m not going to say theft, that’s dry snitching…). The artist should be mindful not to allow the professional fans at the label to become the aggravant that drives a wedge between current and potential fans (its sort of like an unconscious way of hating. “pay me while I drive your fans away cause I can’t sing or rap” did I say this was just dumb?)
We gotta do better as an industry or one day there will be no HipHop or worse, no music industry.
People have a hard time really coming to terms that the fans pick their hits. Even with all the doubters (in New York & Atlanta), PANDA has found its way to #1. The fans as I've said over and over, buy what they want, not what they're told. At the end of the day the SuperBowl in HipHop is itunes and then Billboard. PANDA has conquered both. "PANDA, PANDA, PANDA..."
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