Dre just lost his chance to buzz with Detox @ Grammy ?

[Dre-Day]

I buy this, but there is still a conspiracy in a sense. Only a certain type of music is going to get promoted and even get a chance at awareness.

I don't really feel there is much of a conspiracy as everyone wants to believe. There is unquestionably a great deal of politics and favoritism in the music business but such is the case in any billion-dollar industry. The labels want to push artists, groups, acts, singles, with some level of "buzz" to them. The less money they invest in "making" someone a star, the more profit they take in. I think The Game is a good example of the point I'm trying to get across.

He was basically the closest thing to a traditional gangsta rapper to come along since the 90's. His ground work with Dre and Aftermath didn't get Interscope overly-excited. Once G-Unit put the stamp on him and the story was spun to include him being Dre's latest protege, the "guy who'll bring the N.W.A. style back", and a strong buzzworthy single finally got out there, he was pushed. It's not that musical content was so different from every other West Coast artist or rapper on the Aftermath roster, it was that everything fell into the right place.

Even when Game basically fucked over Interscope's money by creating an "anti-G-Unit" movement during the time when they invested millions into a 50 Cent movie and soundtrack, they didn't toss him off the label. They moved him over to a different division. The likely reason was he was still too hot to risk losing to a rival major when they already built him up to such strong numbers on his debut. They kept him because he still had a strong enough buzz.

The Illuminati theories and all this other bozo talk is goofy. The same people were in power at the record companies when N.W.A. was telling the cops to fuck off, Cube was making controversial comments about Jews, and Tupac / Death Row were doing their thing. Truth be told, these record labels love angry, outspoken rappers like Tupac because they give angst-ridden Junior High kids someone to emulate or relate to.

The popular belief is that Jimmy Iovine sits around making all these decisions but I’d venture to guess that he doesn’t even hear most of this music until it’s close to being put out. I’d imagine he’s more of the “veto” guy. He’s got a huge staff of people that are making very good salaries who do all the research for them. Their job is to find out which artists are going to make the most return on the investment. Now, I think it safe to say that if they send certain songs out and the feedback ain’t coming back strong and these guys sign off to put more money into promoting them, their kids probably won’t be having a good Christmas, this year. Now, to me, if it’s my career being dependent on this, I’m not really too concerned about what region the music is coming from. If they got a mother fucker out in Kentucky with a solid buzz, I’ll take that.

Naw when N.W.A came to rise that shit was ground-breaking from the dirt just like when they created  hip hop in the Boogie down bronx the MACHINE didn't have a foot hold on it because they still didn't overstand it's mechanism.  N.W.A was the embryo of gangsta rap music and when it was created we did it out the trunk we was coming to your living rooms like home invasion the masses looked at it like a phenomenon like the dufar phenomenon in sudan it was shocking and such awe to look at these gangsters or do you see these niggas did you hear what that nigga just said honey. Niggas was like Terrorist kind of like alqueda! and then the suburban communities was listening to the shit like the latest drug. The machine saw this trend but didn't overstand how to get down with the product like you would with R&B and the other generes of music.


Once they figured out what made niggas tick then the exploitation begin and they saw that they could divide niggas against each other through the influence of capital. But originally nobody had control over eazy and nobody had control over our music. They saw how this Gangsta rap phenomenon was spreading like wild fire and it wasn't stopping like they thought it would do when they said that rap would be obsolete and was just a fad. The shit kept growing and growing so they had to dance with us for at least 10 years until they could get a strangle hold over niggas mentally to then infiltrate our creation and henceforth begin to water niggas down with capital like they doing now which has altered the state of artistic expression and given the MACHINE total domination of what vibrations we hear musically.

you worked for ruthless?

[Jimmy H.]

Naw when N.W.A came to rise that shit was ground-breaking from the dirt just like when they created  hip hop in the Boogie down bronx the MACHINE didn't have a foot hold on it because they still didn't overstand it's mechanism.  N.W.A was the embryo of gangsta rap music and when it was created we did it out the trunk we was coming to your living rooms like home invasion the masses looked at it like a phenomenon like the dufar phenomenon in sudan it was shocking and such awe to look at these gangsters or do you see these niggas did you hear what that nigga just said honey. Niggas was like Terrorist kind of like alqueda! and then the suburban communities was listening to the shit like the latest drug. The machine saw this trend but didn't overstand how to get down with the product like you would with R&B and the other generes of music.

Once they figured out what made niggas tick then the exploitation begin and they saw that they could divide niggas against each other through the influence of capital. But originally nobody had control over eazy and nobody had control over our music. They saw how this Gangsta rap phenomenon was spreading like wild fire and it wasn't stopping like they thought it would do when they said that rap would be obsolete and was just a fad. The shit kept growing and growing so they had to dance with us for at least 10 years until they could get a strangle hold over niggas mentally to then infiltrate our creation and henceforth begin to water niggas down with capital like they doing now which has altered the state of artistic expression and given the MACHINE total domination of what vibrations we hear musically.

Well, you basically agreed with a good portion of what I said but phrased it in the form of an argument to the contrary. Let me address a few things though because there's definetly portions we don't see eye to eye on.

The reason stuff like N.W.A., Death Row, Ruff Ryders, G-Unit, got the so-called “label push” was the labels didn’t really have to do that much PUSHING. There’s this crazy trickled down theory that the record companies are trying to sanitize the product to appeal to conservative America but that just isn’t the case. They’re banking on the product bothering conservatives enough so that even if MTV doesn’t play it, ABC News will. As much as Jimmy Iovine or Clive Davis likes a clean-cut pop act, they LOVE an outspoken controversial act that middle America THINKS it’s not supposed to listen to.

N.W.A. didn’t cross over to suburban white kids because they bought it at the Compton Swap Meet or out of the back of Eric Wright or Andre Young’s car. They bought it because Jerry Heller caught on to the buzz, brought it to Priority and they saw the big picture. “These aren’t a bunch of squeaky, clean white kids we need to write and produce music for, choreograph dances, and dress up. We don’t need to spend all this money to manufacture an act. The act is already there. All we need to do is cut them a check and distribute the product. Hell, we don’t need even need the video networks to break this. Once the news gets middle America in an uproar over the content, every kid in the country is gonna be hiding this album under their pillow.” These major labels weren’t buying gangsta rap so they could train these artists into changing into New Kids On The Block or New Edition and what you think suburbia saw as “Al-Qaeda or the Dufar movement”, I think they more saw as the musical equivalent of Richard Pryor or Lenny Bruce, only with the added kick of urban violence thrown in the mix.

But this stuff has a shelf live. Both the act and the artist need to change. With comedy, Pryor moved away from dropping the “N” bomb and Eddie Murphy went into the world of kids’ movies. There’s a similar parallel with the more prominent surviving members of N.W.A. We can all blame it on some predetermined plan by secret societies to keep “real street music” down and promote garbage pop but I think the labels are just following the demand more than anything. The labels want edgier music because they have demographics that demand it, they same way they want these teeny-boopers so they can sell posters and shampoo to eleven-year-old girls. Interscope gave very lucrative offers to distribute Ruff Ryders and G-Unit when 50 Cent and DMX were consider the dangerous, new alternatives to Puffy’s “shiny suit” era and Ja Rule’s R&B crossover acts respectively. They were buying into a “buzz” they didn’t need to create. There’s a reason G-Unit got a mulit-million-dollar distribution offer just days into 50 signing with Aftermath and Shady and Game didn’t get a similar offer for Black Wall Street even after his debut did good numbers. 50 basically already had the right package to sell his whole situation when he signed to get on over there while most of Game’s buzz was created in-house by Interscope and G-Unit/Aftermath.

Tupac wasn’t killed because he was some serious threat to the government and the recording industry as a whole. He was an Interscope artist on an “artist deal” who was more than likely put on Death Row by Jimmy’s design so that Suge’s well-established legal team could keep him out of prison and making money for the label. 

The point I’m making in all this is the RIGHT PUSH is not the one the label creates for you, it’s the one you make for yourself. Of course, the machine is going to exploit all these artists and acts. That’s what the entertainment industry is. Whether it’s a street rapper from Watts or pretty-looking aspiring actress from Idaho. They’re not looking to find someone with potential and spend their time/money into grooming him/her into a star. They’re more looking to find someone with as much star quality as possible, throw them some chump change, and get to whoring them out. It’s common sense. People would rather buy a nice piece of property at a bargain price then spend a little bit less on a fixer-upper that needs quite a bit invested in repairs.

[Triple OG Rapsodie]

You're writing all these long paragraphs just to say something we don't necessarily disagree with. You just gave a history lesson that I assumed everyone knows. The reason I brought up Kanye was because his image and the style of his music went against the current trends at the time. No one wanted to take a chance with him. In fact I believe the only reason his album dropped in the first place was because Rocafella wanted to keep him happy and not lose his talent as a producer. Some bigwigs may see the potential in artists (Jerry Hella with N.W.A.) and some wont (all the labels Jerry shopped N.W.A. to who turned him down). Its true some artists create their own buzz (ie. 50), but that certainly isn't the case for every artist. We certainly wouldn't be hearing Game albums if that were the case. It came down to a single song that Dre liked that made them invest in him. I'm not saying any artist could be successful with a label behind them, but I'm sure there are hundreds of acts that could be successful if they were promoted properly.

P.S. Please condense your reply.

[Jimmy H.]

I gave you an answer to the Kanye comment and it wasn't a whole bunch of paragraphs.

[Action!]

Yo, don't condense your response or any of that bullshit.  At most it's a fucking page worth of material you wrote about.  BIG DEALS!

Mutherfucka needs to read more.

Also, Jimmy H. I more or less agree with you.

[annunaki]

Naw when N.W.A came to rise that shit was ground-breaking from the dirt just like when they created  hip hop in the Boogie down bronx the MACHINE didn't have a foot hold on it because they still didn't overstand it's mechanism.  N.W.A was the embryo of gangsta rap music and when it was created we did it out the trunk we was coming to your living rooms like home invasion the masses looked at it like a phenomenon like the dufar phenomenon in sudan it was shocking and such awe to look at these gangsters or do you see these niggas did you hear what that nigga just said honey. Niggas was like Terrorist kind of like alqueda! and then the suburban communities was listening to the shit like the latest drug. The machine saw this trend but didn't overstand how to get down with the product like you would with R&B and the other generes of music.

Once they figured out what made niggas tick then the exploitation begin and they saw that they could divide niggas against each other through the influence of capital. But originally nobody had control over eazy and nobody had control over our music. They saw how this Gangsta rap phenomenon was spreading like wild fire and it wasn't stopping like they thought it would do when they said that rap would be obsolete and was just a fad. The shit kept growing and growing so they had to dance with us for at least 10 years until they could get a strangle hold over niggas mentally to then infiltrate our creation and henceforth begin to water niggas down with capital like they doing now which has altered the state of artistic expression and given the MACHINE total domination of what vibrations we hear musically.

Well, you basically agreed with a good portion of what I said but phrased it in the form of an argument to the contrary. Let me address a few things though because there's definetly portions we don't see eye to eye on.

The reason stuff like N.W.A., Death Row, Ruff Ryders, G-Unit, got the so-called “label push” was the labels didn’t really have to do that much PUSHING. There’s this crazy trickled down theory that the record companies are trying to sanitize the product to appeal to conservative America but that just isn’t the case. They’re banking on the product bothering conservatives enough so that even if MTV doesn’t play it, ABC News will. As much as Jimmy Iovine or Clive Davis likes a clean-cut pop act, they LOVE an outspoken controversial act that middle America THINKS it’s not supposed to listen to.

N.W.A. didn’t cross over to suburban white kids because they bought it at the Compton Swap Meet or out of the back of Eric Wright or Andre Young’s car. They bought it because Jerry Heller caught on to the buzz, brought it to Priority and they saw the big picture. “These aren’t a bunch of squeaky, clean white kids we need to write and produce music for, choreograph dances, and dress up. We don’t need to spend all this money to manufacture an act. The act is already there. All we need to do is cut them a check and distribute the product. Hell, we don’t need even need the video networks to break this. Once the news gets middle America in an uproar over the content, every kid in the country is gonna be hiding this album under their pillow.” These major labels weren’t buying gangsta rap so they could train these artists into changing into New Kids On The Block or New Edition and what you think suburbia saw as “Al-Qaeda or the Dufar movement”, I think they more saw as the musical equivalent of Richard Pryor or Lenny Bruce, only with the added kick of urban violence thrown in the mix.

But this stuff has a shelf live. Both the act and the artist need to change. With comedy, Pryor moved away from dropping the “N” bomb and Eddie Murphy went into the world of kids’ movies. There’s a similar parallel with the more prominent surviving members of N.W.A. We can all blame it on some predetermined plan by secret societies to keep “real street music” down and promote garbage pop but I think the labels are just following the demand more than anything. The labels want edgier music because they have demographics that demand it, they same way they want these teeny-boopers so they can sell posters and shampoo to eleven-year-old girls. Interscope gave very lucrative offers to distribute Ruff Ryders and G-Unit when 50 Cent and DMX were consider the dangerous, new alternatives to Puffy’s “shiny suit” era and Ja Rule’s R&B crossover acts respectively. They were buying into a “buzz” they didn’t need to create. There’s a reason G-Unit got a mulit-million-dollar distribution offer just days into 50 signing with Aftermath and Shady and Game didn’t get a similar offer for Black Wall Street even after his debut did good numbers. 50 basically already had the right package to sell his whole situation when he signed to get on over there while most of Game’s buzz was created in-house by Interscope and G-Unit/Aftermath.

Tupac wasn’t killed because he was some serious threat to the government and the recording industry as a whole. He was an Interscope artist on an “artist deal” who was more than likely put on Death Row by Jimmy’s design so that Suge’s well-established legal team could keep him out of prison and making money for the label.  

The point I’m making in all this is the RIGHT PUSH is not the one the label creates for you, it’s the one you make for yourself. Of course, the machine is going to exploit all these artists and acts. That’s what the entertainment industry is. Whether it’s a street rapper from Watts or pretty-looking aspiring actress from Idaho. They’re not looking to find someone with potential and spend their time/money into grooming him/her into a star. They’re more looking to find someone with as much star quality as possible, throw them some chump change, and get to whoring them out. It’s common sense. People would rather buy a nice piece of property at a bargain price then spend a little bit less on a fixer-upper that needs quite a bit invested in repairs.

Homie if you don't think there is a conspiracy then u have a whole lot to learn about this industry and the world at large in dealing with politics. You reading magazines and looking at the trends from the outside and fail to look withing either because you ignoring the facts or you don't know the deal  with what goes on behind the scenes and in the belly of the beast. Record companies are pawns of major darkness that lurks in the shadows.



Pac was a blood sacrifice


Eazy was illuminati hit. Eazy wasn't a sacrifice because he created the wheel himself

[unclsean]

I think he gonna shut the game down.....
http://www.reallionnaire.blogspot.com

[Jimmy H.]

Homie if you don't think there is a conspiracy then u have a whole lot to learn about this industry and the world at large in dealing with politics. You reading magazines and looking at the trends from the outside and fail to look withing either because you ignoring the facts or you don't know the deal  with what goes on behind the scenes and in the belly of the beast. Record companies are pawns of major darkness that lurks in the shadows.

Pac was a blood sacrifice.

Eazy was illuminati hit. Eazy wasn't a sacrifice because he created the wheel himself

Of course, I have a lot to learn. No debating there. Not ignoring the facts, just not subscribing to the theories at they are currently laid out. I am not so naive as to believe that the recording industry has agendas that go way beyond selling records but there needs to be a method to their end game.

[Dre-Day]

Homie if you don't think there is a conspiracy then u have a whole lot to learn about this industry and the world at large in dealing with politics. You reading magazines and looking at the trends from the outside and fail to look withing either because you ignoring the facts or you don't know the deal  with what goes on behind the scenes and in the belly of the beast. Record companies are pawns of major darkness that lurks in the shadows.



Pac was a blood sacrifice


Eazy was illuminati hit. Eazy wasn't a sacrifice because he created the wheel himself

that illuminati bullshit is funny to me

[Stan]

I think he gonna shut the game down.....
http://www.reallionnaire.blogspot.com

Aye dubcnn too much spam lately you should ban these guys right away.

[Jimmy H.]

Yo, don't condense your response or any of that bullshit.  At most it's a fucking page worth of material you wrote about.  BIG DEALS!

Mutherfucka needs to read more.

Also, Jimmy H. I more or less agree with you.

Not even a page and I hear what you say. Ironically, we're talking about how the labels want to dumb down content and people's fucking heads start to hurt when someone gets too in-depth with their conversation.

[Triple OG Rapsodie]

Yo, don't condense your response or any of that bullshit.  At most it's a fucking page worth of material you wrote about.  BIG DEALS!

Mutherfucka needs to read more.

Also, Jimmy H. I more or less agree with you.

Not even a page and I hear what you say. Ironically, we're talking about how the labels want to dumb down content and people's fucking heads start to hurt when someone gets too in-depth with their conversation.

When you write a page about something that could have been explained in a few sentences, its a bad look.    No one here needed a history lesson. I would have said tl;dr but I didn't want to be too much of a jackass.

[awol22222]

Homie if you don't think there is a conspiracy then u have a whole lot to learn about this industry and the world at large in dealing with politics. You reading magazines and looking at the trends from the outside and fail to look withing either because you ignoring the facts or you don't know the deal  with what goes on behind the scenes and in the belly of the beast. Record companies are pawns of major darkness that lurks in the shadows.



Pac was a blood sacrifice


Eazy was illuminati hit. Eazy wasn't a sacrifice because he created the wheel himself

that illuminati bullshit is funny to me

He died of AIDS, dumb ass didn't use condoms. Also spell "illuminati" backwards in your url and put ".com" after it, then press enter.

[Jimmy H.]

When you write a page about something that could have been explained in a few sentences, its a bad look.    No one here needed a history lesson. I would have said tl;dr but I didn't want to be too much of a jackass.

I beg to differ. It seems like a lot of people on here do need a history lesson. Whether I agree with someone or not, I'd rather read more detail than the less when it comes to posts.  Perhaps there's a difference of opinion there but if I feel like throwing a whole lot of info out there then so be it. Maybe it's not as fun to read as a six-word response to "What was the best West Coast album of all-time?" but I like writing it so there ya go. I have no worries about my written stuff being redudant in a forum flooded with topics about Detox, 2Pac, and Death Row.