MinBane

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Archive for the tag “Def Jam”

You don’t won’t it with Push!

“How could you ever right these wrongs/ When you don’t even write your songs?/ But let us all play along/ We all know what niggas for real been waitin’ on/ Push”Pusha T on Infared (Daytona, 2018)

Man, this rap battle between Drake and Pusha T has shown more character and flair on wax, than in years. It is like revival of character and of disses. The down low and nice talk is over. Pusha T from the Clipse is showing class and higher altitude than the most. He is not afraid to go against Drake, the Cash Money, Young Money rapper, who’s been on top of the game for the last few years.

People and commentators was saying, waiting for a response after the Duppy Freestyle, that Pusha was over with and that Drake had won the thing. However, with the latest track, certainly Drake has to come with something really profound and deep. Not to be upset, but really angry. He has to show a vicious side he hasn’t shown before. And that is not him, Drake is a soft and mellow character, who bitch about woman who doesn’t text quickly enough. Drake isn’t a gangster or a hard-core persona. That isn’t him and he should live with that, just like Donald Glover aka Childish Gambino is doing. It is okay, but don’t try to front on someone like Pusha, he will call you out and he did on ‘The Story of Adidon’.

“I really shouldn’t have given you none of my time/’Cause you older than the nigga you runnin’ behind/Look, holla at me when you multi-million/I told you keep playin’ with my name and I’ma let it ring on you/Like Virginia Williams”Drake on ‘Duppy Freestyle’ (2018)

That the ‘Duppy Freestyle’ was a positive response to the ‘Infrared’ from the Daytona LP. However, Drake has to come something more unique and show other tools to take down the recent track. As the revelations and the stories are so shoddy, that the meekest turns into their dark-side.

Pusha T has the upper-hand, he has shown even with waiting for three days, that he could answer Drake. It was seemingly like the battles between Nelly and KRS-One, that the one with the biggest machinery would win, in this instance Drake, as he has the Cash Money and the giant fan-base compared to Pusha T and Good Music. However, now it seems like a open playing field. As the exposure and the title is exposing a naked truth that Drake doesn’t want out or has tried to hide. That is really going all out, but that was in response of mocking Pusha T’s fiancé. Clearly, that backfired. Backfired with all cylinders.

Because now you see the significant difference between them, as Pusha goes directly at Drake, he is not attacking Birdman or Lil Wayne, which is still done in passing. As the knowledge of the messed up practices between the artists and the label is well documented at this point. That is why Birdman has to answer all the litigations and the label-mates leaving because of the practices done there.

“We talkin’ character, let me keep with the facts/You are hiding a child, let that boy come home/Deadbeat mothafucka, playin’ border patrol, ooh/Adonis is your son/And he deserves more than an Adidas press run, that’s real/Love that baby, respect that girl/Forget she’s a pornstar, let her be your world, yuugh!”Pusha T on ‘Story of Adidon’ (2018).

Pusha T answered it all and fired back. This will hard to come back from and answer too. As the reality is the exposure and stories told on Adidon is showing a character side of Drake, that isn’t the heartthrob, but a dead-beat-dad and in this day and age. That is not a good look. It has never been a good look, especially when your supposed to be as wealthy and successful as Drake. That he cannot spend his time with his kid and acknowledge his seed. That is really hurting the pride of Drake and his camp should feel it. But that is because he mocked Pusha for being engaged to someone, like that was a bad thing. By the way, I don’t get why that is bad.

After this sort of affair, what did really ‘Duppy’ have? Right? Not much, other than hype, just like if you would read the bar for bar fight between KRS and Nelly from the early 2000s. It would feel like repeat. What Drake should have known, that Pusha will go all out and not stop at anything. He is no Meek Mill, he is a pure lyricists and that has been known for a long-long time. Proven by the recent joints.

So if he fires back, he has to go deep into the tool shed and really light a fire, but will Drake have it? I don’t know, but to go as hard as this, then your really digging deep. Sort of like Jay Z on ‘Super Ugly’ where he did say:

“Me and the boy A.I. got more in common than just balling and rhyming/Get it? More in Carmen/I came in your Bentley backseat, skeeted in your Jeep/Left condoms on your baby seat”Jay Z on ‘Super Ugly’ (December 2001).

That is the next level for Drake. However, will he go there and does he dare to go there? Because that is the next step, that is the upgrade from Duppy and to be able to counter Pusha at this point. Peace.

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Ye’ is now a lost-one: Gone Full-MAGA, Co-Signing Trump on a song!

And I’ll never let my son have an ego

He’ll be nice to everyone, wherever we go

I mean I might even make him be Republican

So everybody know he love white people” – Kanye West from the ‘New Day’ off the ‘Watch the Throne’ (Released in 2011).

I really didn’t want to comment on Kanye West, because what is there to say. He swallowed the “red-pill” and taken it so hard. It is hard to say anything else. If it is marketing scheme or pure love of Republican values? Who knows at this point?

I do not know about his brotherly love, I knew he met with Donald Trump on the 13th December 2016 and has continued from there. Who knows what really went down, as he has since then collected memorabilia and become brothers. Whatever that means for Trump who always needs some loyal snooze-buttons to further his agenda. As long as they steal the spotlight or not praising the President’s massive ego. Because that hurts him and then he will throw that person under the bus. Right now Ye is on the Trump-Train. For whatever reason that might be.

However, it is hard to make sense out of it, I had a feeling when he returned to Twitter, and was poetical and trying to mystic. That he had some sort of marketing plan behind it. Not like he would drop a project without any sort of foreplay. That wouldn’t be Ye. He needs the whole machine behind him, the orchestras and the whole company delivering the needs to played on every radio, be on the screens and be in talks of the town.

Now he steering into controversy. That must be because the beat he created to the recent song with T.I. sucked. The beat was boring and pale. It will not turn into fine wine, let me tell you that. It was neither soul or the beats we recognized from the past. Maybe it general laziness or that the controversy supposed to overshadow the quality of the song.

When Ye drops line like this on the ‘Ye Versus the People’, which was released yesterday:

I feel a obligation to show people new ideas

And if you wanna hear ’em, there go two right here

Make America Great Again had a negative reception

I took it, wore it, rocked it, gave it a new direction

Added empathy, care and love and affection

And y’all simply questionin’ my methods” – Kanye West (Ye Versus the People, 27.04.2018).

It is hard to hear these bars, these lines and take it as nothing. Because the man in the past didn’t sound like this. We all change, like I have had a personal political journey with life. But I have my reasons for my changes. Its been from a liberal to more socialist view, because of the visions of benefits for society. I wonder what is his reasoning for rocking it? What did he do, other than the meeting? Did he say to Trump to hire Ben Carson for having a brother inside the Cabinet? Because there aren’t any or much positive political policies for Ye’ kind or African-American Community, either less and harder policies hurting these communities. If it is immigration wise or if it economical. These communities are hit hard, also the suspension of government funded programs and so-on. There aren’t much or anything Trump has done to make better for Ye.

Therefore, I have to take some bars from College Drop-Out that was released on 2004:

Now niggas can’t make it to ballots to choose leadership

But we can make it to Jacob’s and to the dealership

That’s why I hear new music and I just don’t be feelin’ it

Racism’s still alive, they just be concealin’ it” – Kanye West (Never Let Me Down from the College Drop-Out, Released 10.02.2004).

It’s hard to hear the same man praising Trump and his agenda. A man that has no scruples to misuse White Supremacy, Anti-Immigration Slogans and let the state misuse ICE-Agents against own citizens. To get the support and Co-Sign from Ye. That is not easy, that is hard. Especially, when Ye used spit like this. It is hard and weird. No matter what reasons, it is hard. He has changed and Trump gave him a reason to do so, I guess. But at this point in time, the Republican’s are concealing their racism. They are doing it with the Dreamers, Muslim-Ban and everything else they can hit on minorities.

Therefore, it is weird to have Ye on this side of the political spectrum. It is like he is blind, because the President is praising him for his efforts. Taking a cup of tea in the Twinkle Tower in Manhattan and sipping the Kool-Aid. Who knows, but is not intelligent.

Even some bars from the Late Registration:

Went from bein’ a broke man to bein’ a dopeman

To bein’ the President, look there’s hope man

This that inspiration for the Moes and the Folks man

Shorty come and see his momma straight overdosin’” – Kanye West (Crack Music from the Late Registration, 30.08.2005).

I don’t know if he plans to drop inspirational bars like in the future, because he switched to Luxury Rap and self-involved material long time ago. Just like Lil Wayne has to spit about Codein, Sex and Haters. That is just the game for these guys. However, there has been a social conscious side of Ye’, it is still there, but a dramatic shift in topics and defense.

See that’s the problem with this damn nation

All Blacks gotta be Democrats, man, we ain’t made it off the plantation” – Kanye West (Ye Versus the People, 27.04.2018).

It is the narrative that has shifted, the defense of his acts now. Instead of being social conscious, he is now taking a very ordinary defense of Trump. It is like if we don’t like him, we have to be democrats. But that hasn’t been the direct issue, if it was the older conservative party, it would still have cracks, but it would have made more sense. That is why Powell and Rice was in the Bush administration. An Administration Ye’ spoke ill about, which did far less damage to the African-Community, than the current one. Even if the Bush Administration didn’t care much, they didn’t stop vital programs for the inner-cities and the poorest communities, in the same fashion as Trump. So the issues are really something significantly changed within the artist and person, Kanye West. Which wasn’t there in the past.

He is not the guy I used to listen too. Ye is gone full-MAGA. He will soon have talks directly with Tomi Lahren, be on Diamond & Silk, Hannity and whatever else craziness. Maybe even be on Fox & Friends and also InfoWars. Because why not? The hat shouldn’t be enough. If that is all, then it was easy treat from the President, instead of giving Ye something good for the time and energy. He is giving low-cost attribution for the Co-Sign and only one losing Ye. A fair trade for the President, indeed. 

That is a victory for Trump in all of this, he get a Co-Sign and it cost him nothing. Not even 130k pay-off. Just barely minimum and a signature. Better then the rip-offs of Trump University. Ye took and shake his hand, thought he was brilliant and moved to become a supporter. If so. Kudos Ye, your not as socially conscious as I thought you were, your spirit wasn’t as enlighten as I thought. Because, the possibility of getting caught in the world-wind took you and now, you were let astray. Peace.

What do Jay Z and President Museveni have in common? They don’t want to retire!

Jay Z Fade to Black

Yet again, I go all in. This is another one and not a DJ Khaled comment. This here is similarities between people or characters that usually are not in the same league. Here I am showing fist how Jay Z talked about retiring and then backing down a dropping a project or LP. This is a proof of that the gimmicks or promotional tools that we’re from the Def Jam and Roca-Fella Co-Founder and now millionaire artist.

It is these days that I am tired of the President Museveni and his system who just uses the state funds and institutions for own wealth than creating and developing society. President Yoweri Kaguta Museveni who has promised since taking the office with a brutal civil war in 1980s said he would step down. At each point, he has backtracked and given in. That means he has seeking more time in power and used more excuses to empower himself. Always if the Party wants him

2003 Jay Z after the ‘The Black Album’:

“It’s not like it was with Big and Pac” (…) “Hip-hop’s corny now” (…) “There’ll be no more full-length Jay-Z albums. I might do a soundtrack in a year or two. Maybe a collaboration. But only after a year. I want to let it alone for at least a year” (…) “Well, like Jordan said, ‘I’ve got to leave myself a window” (…) “If people take it back to when we were making hot albums and I’m just totally inspired and I’m like, I want in, then that could happen. But I don’t foresee it” (Toure, 2003).

2005 Jay Z Q&A in the XXL Magazine:

“Just from making albums. I still make songs. It bugs me when people say, “I thought you was retired.” I clearly said—and I also said that I’m human. So maybe one day if I’m on the corner and it’s calling me—I don’t wanna just box myself in where I can’t make another album—I’ll do it anyway. But it bothers me when people say, “I thought you was retired,” if I make a song or if I do a verse on somebody’s joint. I never said I wasn’t making anymore music. I should’ve shut up. That’s what I should’ve did. Me and my big mouth” (Bry, 2005).

2006 Jay Z with the ‘The Kingdom Come’:

“the worst retirement in history” (…) “”I believed it, yeah. I believed it for two years” (…) “Something, when you love it, is always tugging at you and itching, and I was putting it off and putting it off. I started fumbling around to see if it felt good” (…) “If I wake up one day and the best material has passed me by — and that’s going to happen, then it’s time to move on. I’ve said what I wanted to say” (CBC Arts, 2006).

2007 Jay Z with the ‘American Gangster’:

“LOS ANGELES, Sept. 19 — Jay-Z, the rap superstar and president of Def Jam Records, has quietly returned to the studio to record an album of new songs inspired by the forthcoming movie “American Gangster,” his first “concept” album and second CD in less than a year” (Halbfinger & Leeds, 2007).

And we know that Jay Z has released albums ever since and also features. So it is not like he ever retired only talked about it. The big bang with ‘The Black Album’ we’re just a fade that didn’t really go into Black as the artist went back into studio time and time again. Let’s take a look at President Museveni and his long time stay in the role of Executive.

Daily Monitor 1993

Museveni in 2002:

“When he took power in 1986, Yoweri Kaguta Museveni said he considered the idea of a Head of State clinging to office for “15 or more” years ill-advised. Although it is now 16 years since Museveni made this statement he is still comfortably lolling in office and has just embarked on his 17th year as Uganda’s Head of State. In last year’s filthy elections that he won by 69 per cent of the votes cast, Museveni took a high moral ground by claiming that had his votes not been stolen he could have garnered more than 75 per cent. However, his supporters were contented with 69 per cent, which they interpreted as a resounding endorsement for Museveni to rule for life” (…) “In his usual idiosyncratic meddling way and new role as Africa’s peacemaker, elder statesman and continental unifier, Col. Muammar Gadhafi, while attending Museveni’s inauguration, urged him to be a perpetual leader. While addressing a national conference of Museveni’s ruling National Resistance Movement on May 11, 2001, he urged Ugandans to allow Museveni to rule for “as long as possible.” “Revolutionary leaders should not have expiry dates, like tinned drinks. My brother Museveni was born a revolutionary. He should continue for as long as he has the ability to do so,” Gadhafi said. Despite this enormous pressure to rule forever, Museveni had the gall to promise, yet again, that he would not contest again after his new mandate expires. Determining the truth of this statement might not need the services of a clairvoyant” (Okumu, 2002).

Musveni in 2005:

“Mr Museveni, 62, said he was sure of victory at the election. He thanked MPs who voted overwhelmingly this year to scrap a presidential time limit that would have required him to step down. “That provision was not wise at all, because the problems Africa faces are not always time-bound,” he said” (Vasagar, 2005).

Museveni in 2006:

“I need the power of the state to solve the problems of our people” (…) “I don’t need power to live, by the way” (…) “My cows are waiting for me” (Savage, 2006).

Museveni in 2012:

“The term limits, which would have forced Museveni to stand down in 2006, were scrapped in a process that did not enjoy popular appeal and after MPs were offered inducements to support the move. Museveni, however, told CNN that debate on term limits and his longevity in office were not a priority. “What is important for Uganda,” he said, “is to deal with the country’s development bottlenecks and not who should be the president.” (HabariNetwork, 2012).

Museveni in 2014:

“Well, I don’t think Ugandans are as obsessed with my retirement as Ssemujju seems to be because when I go to ask them at the elections, five million say don’t go, you stay” (…) “You have heard them, singing tajakugenda tajakugenda (he won’t go). So if Ugandans really were like Ssemujju, I would be happy to retire because I am not lacking where to retire. I am a member of my party and I do what my party wants” (Okuda 2014).

What has Museveni said in the past (2014):

“There is nothing much to look forward to, about what the president is going to say on Thursday; I think the greatest thing I would want to hear from him is telling us when he’s going read his last State of the Nation Address,” the former bush war comrade told Chimpreports this morning” (…) “When I was in cabinet, Museveni said that Africa’s biggest problem was people who overstay in power. At one time he wanted to go and graze his cattle once he clocked 55,” recalled Mushega, who fought with Museveni in the liberation war that toppled the military junta of the Okellos in 1986” (ChimpReports, 2014).

PF-retirement_1666571c

There are clear indications of the same mentality between the men. They are both seeking to be honoured for their positions and don’t wanted to leave when they had left a legacy. Instead they are continuing to either be in office or drop LPs.

The proof that they both just wanted to earn on their place in society is proven. As Jay Z has for a long time said he would retire from Hip Hop, but on the next crossroad dropped a project. President Museveni has many times said he want to retire and be with his cows. Instead he runs again because in reality he wants to run the nation and control it all. Mzee have been pledging and promising to leave power after ten years when he came into office after the 1980s civil war. Now he is still there after 30 years. As seen he has promised to step down since then. The words of those statements are worthless. Therefore, don’t expect him to go out of office before his casket. Peace.

Reference:

Bry, David – ‘Jay Z, “Look At Me Now” (Originally Published August 2005)’ link: http://www.xxlmag.com/news/throwbacks/2013/07/jay-z-look-at-me-now-originally-published-august-2005/

CBC Arts – ‘Jay-Z ends “retirement” with new album’ (14.09.2006) link: http://www.cbc.ca/news/arts/jay-z-ends-retirement-with-new-album-1.583720

ChimpReports – ‘Mushega: Museveni Wanted To Retire At 55’ (02.07.2014) link: http://www.chimpreports.com/20658-mushega-museveni-wanted-to-retire-at-55/

HabariNetwork – ‘UGANDA’S PRESIDENT MUSEVENI HINTS AT RETIREMENT IN 2016’ (16.04.2012) link: http://www.thehabarinetwork.com/ugandas-president-museveni-hints-at-retirement-in-2016/2

Halbfinger, David M. & Leeds, Jeff – ‘For Jay-Z, Inspiration Arrives in a Movie’ (20.09.2007) link: http://www.nytimes.com/2007/09/20/arts/music/20jayz.html?_r=0

Okuda, Ivan – ‘Ugandans don’t want me to leave – Museveni’ (07.12.2014) link: http://mobile.monitor.co.ug/News/News/Ugandans-don-t-want-me-to-leave—Museveni/-/2466686/2547152/-/format/xhtml/-/uuwodw/-/index.html

Okumu, Wafula – ‘The Travails and Antics of Africa’s “Big Men” – How Power Has Corrupted African Leaders’ (11.04.2002) link: http://www.theperspective.org/africabigmen.html

Savage, Sam – ‘Back to my cows? Not yet, says Uganda’s Museveni’ (22.02.2006), Link: http://www.redorbit.com/news/international/401452/back_to_my_cows_not_yet_says_ugandas_museveni/#fbd7eO1Py393CEUh.99

Toure – ‘MUSIC; Superstardom Is Boring: Jay-Z Quits (Again)’ (16.11.2003) link: http://www.nytimes.com/2003/11/16/arts/music-superstardom-is-boring-jay-z-quits-again.html?pagewanted=all

Vasagar, Jeevan – ‘Museveni to stand for re-election after detention of his main rival’ (21.11.2005) link: https://www.theguardian.com/world/2005/nov/21/uganda.jeevanvasagar

Cash Money Records have a broken record when it comes to coughing-up the Cash Money to their artists/producers/sampled-artist… Sounds not like a record business, but instead very close to a racket from Birdman and Slim by now…

cash-money-billboard-cover-p

“[Birdman] doesn’t need any more money” (…)”I tease him about it. It’s not about the money for them. For them, it’s about success. It’s about proving, ‘Yes, we’ve done this, but guess what: not only can we maintain this, we can beat this” – Jay Sean in 2013 (Greenburg, 2013).

The Birdman aka Baby aka Bryan Willams, the entrepreneur of Cash Money Records which have made genuine deals with Universal Media Group (UMG). The Company he have run and with the deals done with Lil Wayne’s aka Dwayne Michael Carter’s Young Money which is a business branch of the Cash Money. So there been a long rate of artists under these recording companies and businesses that have had issues with Cash Money. As the men and woman who have had contracts in the company been far from straight. Even if the contracts have been straight, the practice of following up on the contracted payments have been shallow or little to be gentle. All of the recents issues between Cash Money Records and both former Artists and Producers says itself. Right?

There been surrounded of controversy with back-payments, royalties and contracts disputes that been frequent from the record label that Birdman have been running. It’s not like the world haven’t discussed that matter of fact and that are bases into the alleged laundering of money from the artist to the grand wealth of the label head. As there are from time to time new allegations and new artists either trying to get a settlement or be released from Cash Money rooster.

hot-boys The Source Cover

So the way the business been driven have been in a way it seems that the head is getting wealth while starving the artists and trying to hide the fact. The reason why it is touchy for Birdman is that the gig is up and he can’t hide the fact. As nearly all of the original “Hot Boyz” have left the fold. Juvenile went and came back. B.G. is independent and was for a hot-minute on Atlantic before the current jail-time. Turk have left the fold. The main producer Mannie Fresh left the fold to after reaching a settlement. The only original artist left at Cash Money is Lil Wayne who also “runs” the Young Money Recording Company under Cash Money. So an artist who signs to Young Money will split the money through the UMG/Cash Money and then Young Money. So there are lots of label heads who earns capital on the produced music from Young Money before the initial artist get their check. In midst of this, there is also the reluctant accountability from the central leadership of Cash Money. As the information from Birdman and others are nearly non-existence and that breach of public trust shows the reason for why the Breakfast Club and their radio hosts can question the companies approach and the dealings of Birdman. As I will some former issues between Birdman and his artists. As there been a few over the years; and it does not stop and can’t stop Birdman he is a Bad Boy for life. Pardon the pun, but couldn’t help myself!

Juvenile Slow Motion

Just like Juvenile of the original crew who have gone back and forth have done this:

In 2004: “I am thrilled that we were able to bring Juvenile and UTP into the Atlantic fold” (…)”Atlantic Records Group Co-Chairman/COO Craig Kallman told AllHipHop.com in a statement. “Juvenile is the real deal – an uncompromising artist of phenomenal talent who has only scratched the surface of his creative potential. A pioneer in the fertile southern Hip-Hop movement, Juvenile put New Orleans on the national rap map. Now, with these companion deals, we not only welcome Juvenile to Atlantic, but we have the great bonus of bringing his whole crew on board through his own UTP label. Juvenile has long been a signature artist in the Hip-Hop community, and he now becomes the latest high-profile artist to join Atlantic’s rapidly burgeoning urban roster.”(AllHiphop, 2004). In 2012:“I am truly excited to say that it’s a new day. There are a lot of old interviews out there that can reflect old negativity. Luckily, in recent months, circumstances brought me and Cash Money back together and I was able to re-unite with members of my original crew,” Juvenile says in a recent statement” (…)”That’s why we all have decided to leave negativity in the past. I am truly looking forward to the future and to my future work with Baby, Lil Wayne , YMCMB and Cash Money. “Picture Perfect” is the beginning and we have a lot more to come. Get ready!” (Platon, 2012).

He has gone so much back and forth between the Cash Money and spoken so madly about the practices that its weird that he has returned again. As the Cash Money records can pawn him when needed. This because he doesn’t have the traction or the play that he used to. When was the last relevant track from Juvenile we’re “Slow Motion” featuring Soulja Slim in 2004? It’s a decade ago and by now his bad deals and settlements with Cash Money does not give the returns he wished by the former results and sales in the starting stages of the Cash Money Records. Juvenile and Lil Wayne are the ones from the original crew that is left there. So that says a lot. Will go through bunch of court decisions and shows the level of foul play from the management towards their own Recording Artist, Producers and Sampling Artists. That shows the tracks and the road that the Cash Money Records do. If they didn’t then they wouldn’t get into all these court cases to fix the money issue between fellow artists and other needed personnel for their success. Take a look! 

15_Rules_MF

Mannie Fresh Settlement:

“Producer Mannie Fresh and Cash Money Records have reached an out of court settlement. A representative for Universal Records, Cash Money’s distributor, said, “Cash Money Records has reached an amicable agreement with former in-house producer Mannie Fresh. Per the agreement, neither party can discuss the terms.” Fresh, who provided the musical backdrop for a large percentage of Cash Money Records’ hits, left the label last year over a financial dispute” (Artisan News Service, 2006).

As you see even in 2005 the in-house producer and the one who has produced most of the first hits of the Recording Company needed to come to settlement before release as the shady dealings are evident. Especially since the Recording Company and Former Artist have undisclosed the agreement and cannot discuss the terms of the settlement. The grey dealings like this are why people have lots of questions to Birdman and the Cash Money Records for their deals with their employees or their artists. In a sense that is reasonable!

Jay Sean

Jay Sean leaves and settles with Cash Money on royalties’ dispute:

OFM: I’ve always had a good relationship with Slim and Baby. Slim always liked that we always gave them high energy records. I called Slim and told him how we had this kid that we was working with, he just sold 150 thousand units worldwide, 20 million views on his lead single. At the time, I had taken Jay to all the major labels, Def Jam, Epic, Columbia, Capitol, they all turned him down. I figured, who else would understand an underdog like Slim and Baby. So took him to Slim and Baby and they loved him. Next thing you know, they flew him down to Miami and the rest is history” (Jeremiah, 2012). He leaves Cash Money and said this in an interview: “It wasn’t! It wasn’t a decision at all – it was something I had to do. All of those kind of decisions I’ve made in my life have never been daunting. Walking away from medicine, walking away from Virgin records, moving to America, walking away from Cash Money – I don’t really over think these things. I firmly believe that everything is written. That’s how I look at things in life, so when something is going to happen it will happen, and that’s why I don’t really fear anything anymore. When I feel something in my gut and something tells me to get out I don’t even think about it” (Combo-Kainth, 2014).  Later this happen: “Hip-hop mogul Bryan ‘Birdman’ Williams has been ordered to pay $1.1 million (£785,000) to the producers behind a string of songs recorded by his former artist Jay Sean” (…)”The case went to court this week (begs22Feb16) and a judge has since ruled in Orange Factory Music bosses’ favour, awarding them compensation for producing songs including Down, Do You Remember, Fire, and Lights Off” (WENN, 2016).

When Jay Sean the RnB singer and Recording Artist together with Orange Factory Music had to get the Cash Money Records to cough up royalties proves how the company is structured and how the demean the artist. To such a level that the artist themselves says straight away in the interview that there we’re no choice, but to leave. That must be hurting for Birdman, that is his company and the former employee saying it was no choice and decisions, but to leave the company. So the company also get ordered to back-pay both Jay Sean and the producers of hits that made profits for Cash Money in 2008 and 2009 proves the ability of stifling the ones that creates wealth. As the hits and profits on Jay Sean happen years ago and the court judgement happen in 2016. So the money have been stalled and the promised through agreements between the artist, the producers and the Cash Money have not been straight!

jasprincedrakemain

JAS Prince Sues Drake Management/Young Money:

“Drake into entering an exclusive recording agreement and an exclusive management agreement (hereinafter “the agreement”) with the two of them and Defendant Bryant was to use his influence to compel Lil Wayne to sign and promote Drake to and through Lil Wayne’s record company YME, once Drake had signed the agreements. They also agreed to develop and exploit Drake’s entertainment services together and split profits therefrom accordingly. Furthermore, in defense and acknowledgement to Plaintiff Jas Prince father, James Prince Sr’s long-standing relationship with CMR, the distributor of YME, it was agreed that plaintiff Jas Prince and James Prince Sr. would consult with them and take the lead on their business dealings with YME and CMR” (…)”Upon learning about these events, in or around July 2009, it became immediately apparent that Defendant Bryant had no intention of honoring his agreement with Plaintiffs, but instead intended to oust Plaintiffs from the Drake business” (…)”Despite numerous verbal promises and Defendants express promises in the Settlement Agreement to use their “best efforts” to do so, Defendants have refused to execute the letter of direction that would allow Plaintiffs to be paid and accounted directly from YME/CMR” (…)”To date, Defendants have failed to pay Plaintiffs their share of the Profits in accordance with the Settlement Agreement” (McMilian, 2012).

As we can see here is more shady dealings between Young Money and its management that also is close connected to Lil Wayne. So the Cash Money Records dealings are shown to disrespect the long-term relationship between J. Prince and the Houston, Texas music recording family that had an Management Contract with Drake before he was entering an agreement with Young Money/Cash Money Records. Therefore stifling Jas Prince and his management company seems to be the business-model of Cash Money as they are third partner who does not get what the agreed fees between the companies. Therefore the suit from Jas as he wanted his cut as the agreement from Drake was viable and agreed on before going into the Young Money Entertainment.

Lil Wayne Mirror

Soundkillers LLC sues Cash Money in 2014:

“On and around August 26, 2011, Plaintiff entered into and executed a written agreement (the “Producers Agreement”) with Defendant Young Money to furnish Mr. Owen’s Production Services to Defendant Young Money on a non-exclusive basis in connection with producing one master sound recording title “Mirror” (the “Master Recording”), embodying the performance in Young Money’s recording artist Dwayne Carter professionally known as “Lil Wayne” (…)”In fact, in August 2011, Defendants released the “Carter IV” album (the “Album”) embodying the Master Recording, which was produced by Plaintiff for Defendants under the terms of the Producer Agreement” (…)”In short, Defendants owe Plaintiff significant sums of money stemming from the Producer Agreement and Master Recording” (…)”Despite demand, Defendants have failed and/or refused to pay Plaintiff the Plaintiff’s share of the royalties stemming from the exploitation of the Master Recording and the underlying composition thereof” (Judge Freeman, 2014).

As you can see even a producer have not gotten the accounted royalties that stemmed from a successful recording sold through the Cash Money/Young Money/Universal Company as it was a single on the highly profitable Album Carter IV; and surely was after the agreement deemed for royalties that was entitled in the pre-made contract. Another proof of how Birdman is stifling the ones making him money. As even a not-well-known producer have to sue him and the companies that are run by him to get the royalties for his work and his production to the credited song from the successful album.

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Turk sues Cash Money in 2015:

“Plaintiff has not been paid any artist royalties and music publishing royalties, leaving substantial amounts due and owing by Defendants in accordance with the terms and conditions of the foregoing agreements. No accountings of artist royalties or music publishing royalties have ever been rendered by Defendants to Plaintiff” (…)”his Court has subject matter jurisdiction under 28 U.S.C. § 1332 because Virgil and Defendants reside in different states and the amount in controversy in this action, exclusive of interest and costs, exceeds the sum or value of $75,000.00” (…)”Upon information and belief, under the terms of the Exclusive Artist Recording Agreements, Cash Money agreed to pay to Plaintiff (a) artist advances, (b) artist royalties, (c)  publishing advances, and (d) music publishing royalties, all pursuant to the terms and conditions contained in the Exclusive Artist Recording Agreements” (…)”Upon information and belief, Defendants have received millions of dollars in advances and revenues from UMG, and other third party licensees, from the sound recordings and musical compositions created in whole or in part by Plaintiff” (…)”Plaintiff is entitled to an accounting from Defendants to ascertain the damages suffered by Plaintiff resulting from Defendants’ breach of their fiduciary obligations, and to determine the amounts owed to Plaintiff in advances, artist royalties and music publishing royalties from the sale and licensing of albums, the master recordings embodied upon the albums, and the musical compositions embodied upon the master recordings contained on the albums and singles, inclusive of all digital download and ringtone sales, released or otherwise exploited by Defendants” (…)”Defendants have thereby breached the Exclusive Artist Recording Agreements causing damage to Plaintiff in an amount to be determined at trial, not less than $1,300,000.00” (Patrick E. Costello, 2015).

Here is one of the first Markie artist that established the Cash Money Records, one of them that was vital for the existence of the Cash Money records that Birdman holds so dear and is his “creation” and his business. Certainly without the Hot Boyz and their success the money train would not have come. But when Turk as a significant artist on the label comes with this sue and court order towards the Cash Money Records and Birdman it shows how the riches have been spoilt. Instead of paying Turk for his music, his composure and his parts of being a member in the Hot Boyz; instead the management and company spend the money away. That shows that ability of shady business agreements that the company has. As we could see with Mannie Fresh’s the in-house producer, and now Turk gone through the same thing and had to sue to get their royalties and their deserved compensation for their work.

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Not paying for sampling for single of Drake under Cash Money/Young Money:

“On October 20, 2011, DMG Clearances, Inc., a music clearance and licensing company, on behalf of Defendants, entered into written sample clearance agreements with recording artist Cedric Hill (the Sample Agreements ) whereby Mr. Hill agreed to license his interests in recordings that he owned entitled “Swanging and Banging”and “Sailing Da South” (collectively, the Sampled Recordings ) for inclusion in the new sound recordings entitled “Over My Dead Body” and “H.Y.F.R. (Hell Yeah Fucking Right)” (collectively, the New Recordings ) that were originally recorded and performed by the recording artist Aubrey “Drake” Graham professionally known as Drake ( Artist )” (…)”The Sampled Recordings licensed by Mr. Hill were used directly or indirectly by the Defendants and their affiliates in the creation of the New Recordings, which were thereafter exploited and sold by Defendants when in November 2011, Defendants Young Money and Cash Money, Republic Records a/k/a Universal Republic, and Universal Records a division of UMG Recordings Inc, commercially released artist’s “Take Care” album (the “Album”); embodying the New Recordings containing samples of the Sampled Recording” (…)”Defendant Cash Money expressly agreed to remunerate Mr. Hill with a two and a half percent (2.5%) royalty “price per dealers”(pro-rated by the numbers of tracks on particular configuration) on exploitations of the New Recordings in physical products, digital downloads and ringtones in all media or configurations now known or hereinafter devised, which applies on both audio and audio visual use of the New Recordings (the “Second Royalty”)” (…)”Pursuant to the Assignment Agreement Mr. Hill granted to Plaintiff the sole and exclusive right, throughout the Territory, to collect all monies earned with respect to the First Royalty and Second Royalty, and all monies that Mr. Hill is eligible to receive and under the terms of the Sample Agreement” (…)”As result of failing to respond  to the Cure Notice, Defendant Cash Money was in material breach of the Sample Agreements under the terms of the same. Counsel for Plaintiff sent counsel for Defendant Cash Money confirmation of the material breach on November 13, 2013 (the “Confirmation of Material Breach,” Exhibit D hereto)” (MFMnG, 2015).

Here is another recent story of a single used to gain sales for Cash Money and the usage of another man’s property under agreement with the management of another artist. This was to salvage most as possible from Cash Money who has already made profits by using the sampling of another artists songs onto a single for Album of Drake. This proof how shady the agreements are as they don’t even pay-up for services to sample tracks from other artist to make their own songs. That is belittling and proves the detailed practices of Cash Money.

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Lil Wayne sues Cash Money in 2015:

“Demand $ 51,000,000” (…)”On or about February 20, 2003, Carter and Cash Money entered into a self-styled “Memorandum of Agreement” (the “2003 Label Agreement) for the creation of Young Money Label joint venture for the common purpose of the manufacture, distribution, promotion and exploitation of recordings containing the performances of new recordings artists who would be signed by the Young Money Label following approval by Carter and Cash Money, the sole owner of the joint venture” (…)”Beginning at latest in 2013, Cash Money failed to provide proper monthly accounting to Carter and/or Young Money LLC and failed to make timely accounting and/or payments of net profits due  to Carter and/or Young Money LLC pursuant the 2003 Label Agreement, as amended. In addition, Cash Money failed to make required overhead payments of Two Hundred Thousand ($200,000.00) per calendar quarter to the Young Money and also failed to maintain to escrow account funded with one million dollar ($1,000,000.00) for overhead payment for the Young Money Label” (…)”With regard to the 2009 Drake Letter Agreement, Cash Money, since at latest early 2012, has failed to account to Young Money LLC on a monthly basis and has failed to pay Young Money LLC its share of net receipts with regard to solo recording of Drake released by the Young Money Label. Cash Money have failed to provide a single accounting in respect of the exploitation of the Drake recordings, despite Drake being one of the bestselling recording artists in the recent years” (…)”Cash Money also failed to properly register the copyright in the Young Money Label recordings as jointly owned by Cash Money and Carter/Young Money LLC. Cash Money refused to accept artist’s submitted by Carter to join the Young Money Label. Cash Money failed to account and pay monies due to various third parties involved with recording artists signed to the Young Money Label. Such failures have resulted in legal actions against the Young Money Label and/or Plaintiff and additional financial losses for plaintiff” (…)”Despite being obligated to do so, as of the date of this complaint, Cash Money has not registered Carter as co-owner of the sound recordings contained in the album entitled “I Am Not A Human Being II”, which was delivered for the fourth option period. Upon information and belief, in breach of the 2008 amendment, Cash Money registered the copyright in such sound recordings solely in the name of Cash Money” (Michael B. Kramer & Associates, 2015).

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Cash Money versus WIMP/TIDAL:

“Defendants have been, and are continuing to, feature and promote Carter’s recordings throughout the world via Defendants’ fledgling digital streaming music service known as “Tidal,” all in brazen defiance of CMR’s exclusive rights under the exclusive recording agreement” (…)”Defendants have induced Carter to breach CMR’s exclusive recording agreement, by, among other things, purporting to acquire CMR’s exclusive rights to exploit sound recordings performed and recorded by Carter. CMR has paid Carter tens of millions of dollars pursuant to the terms of its Recording Agreement with Carter and, accordingly, CMR has a substantial investment and interest in the manner in which Carter Recordings are exploited” (…)”Specifically, beginning on or about July 3, 2015, Tidal began streaming Carter’s FWA  album which includes sixteen Carter Recordings (the “Unauthorized Recordings”)” (…)”Defendants have touted their “exclusive” release of the FWA album. The image below shows Tidal’s webpage on or about July 9, 2015” (…)”As a result of Defendants’ improper conduct, CMR has suffered significant damages, including but not limited to lost revenues and loss of control over the content of its artist, Carter, and the resulting diminution in value of Carter’s work” (Alan R. Friedman, 2015).

There been talking settlements on both Lil Wayne cases both with Tidal and between Cash Money Records and the Young Money Artist, and label head. But the time will tell if the companies combined does themselves well, as the open friction have occurred not only in the court-room and in suits against each other. That is the reason for the “Free Wayne Album” at Tidal and the mess it made for Birdman and Cash Money. As this proved the ability for Lil Wayne to counter the management and leadership of his CEO Bryant Williams as proven in the inaction of releasing a album from him.

The determination and the digression and the attitude to the coming cases upon case coming with the demeanor of suits from producers, artists, sampling and fellow builders of the company as Mannie Fresh and Turk. Says a lot of the model of unpaid for services rendered the Cash Money Records and their Label Young Money Entertainment. As the Copyright issues, misuse of sampling or even not paying of royalties set the figures and gives us questions to the savvy business practice of the Recording Company and their use of employees or giving the fixed fees as set in the contracts. Since they don’t do that; that in away set precedence for how Birdman aka Baby aka Bryan Williams shady dealing and stifling the artist, the producers and the ones they sample music from even. That is not business, but nearly a racket. A conspiracy to contractual deceive and steal other people’s work for own gain. While selling the stolen property for own monetary gain for Williams and Cash Money and not the ones initially producing or having the copyrights to the music that Cash Money/Young Money/ Universal is selling. That is exploitation and not honoring the fellow signed members of either parts of the business, but taking their work and thieving. Therefore having to go to court to get what is yours instead of being paid for service rendered. That would be proper way, like ordinary men and woman get paid for working hours, the sales and distribution of the music from Cash Money should give royalties and payments that was offered in their initial contracts and not the ones that saves the Cash Money Record Company in their settlements.

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Birdman can muffle an interview at the Breakfast Club in New York, but the systematic practice towards own musicians and producers cannot be forgiven. The reason for fellow men and woman who have worked and made massive profits for Birdman should get their returns and ends. As Birdman tries the Ruthless Records, the Death Row and the other back-ways to paying their “ends” to the artist while flying high on the profits and hoping that the artist doesn’t understand the thieving from CEO and Bosses of Cash Money Records; that is what it is as the systematic taking away from royalties and contractual payment. It think that is enough for today. Peace.

Reference:

AllHipHop – ‘Juve Leaves Cash Money… Again’ (13.07.2004) link: http://www.rapbasement.com/juvenile/juve-leaves-cash-money-again.html

Artisan News Service – ‘MANNIE FRESH SETTLES WITH CASH MONEY RECORDS’ (16.06.2006) link: http://www.artisannews.com/mannie-fresh-settles-with-cash-money-records/

Platon, Adelle – ‘Juvenile Releases Statement About His Future With Cash Money/YMCMB’ (06.11.2012) link: http://www.vibe.com/2012/11/juvenile-releases-statement-about-his-future-cash-moneyymcmb/

Cash Money Records V. Aspiro AB, WIMP Music AS and WIMP INC (16.07.2015) – Alan R. Friedman

Combo-Kainith, Reena – ‘EXCLUSIVE!! JAY SEAN INTERVIEW’ (22.11.2014) link: http://www.ikonzmag.co.uk/exclusive-jay-seans-interview/

Greenburg, Zack O’Malley – ‘The Cash Money Way: Drake, Jay Sean And Birdman Explain’ (27.03.2013) link: http://www.forbes.com/sites/zackomalleygreenburg/2013/03/27/the-cash-money-way-drake-jay-sean-and-birdman-explain/#65d47f7a3a57

James (JAS) Prince and Young Empire Music Group LLC V. Aspire Music Group LLC, Cortez Bryant, Laurent Management LLC, Three Kings LLC, Gerald Roberson and Derrick Lawerence  – James E. McMilan (Attorney) –  (23.07.2012)

Jeremiah – ‘Behind the music: Orange Factory Music speaks on Jay Sean, Cash Money, licensing and more.’ (29.06.2012) link: http://istandardproducers.com/behind-the-music-orange-factory-music-speaks-on-jay-sean-cash-money-licensing-and-more/

Lil Wayne V. Cash Money – 28.01.2015, New York – Michael B. Kramer & Associates

MFMnG Production LLC V. Young Money Entertainment (15.03.2015) – New York

Soundkiller V. Cash Money – 30.09.2014, Manhatten, New York – Magistrate Judge Freeman

Tab Vigril Jr. aka “Turk” V. Cash Money Records (05.02.2015) – Patrick E. Costello

WENN – ‘Judge Orders Cash Money Bosses To Pay Up In Jay Sean Royalties Dispute’ (24.02.2016),  Link: http://www.contactmusic.com/jay-sean/news/judge-orders-cash-money-bosses-to-pay-up-in-jay-sean-royalties-dispute_5147855#zzfv55ftAm1dh0Gl.99

#DearNextPresident: Nas: Fix the racial murders by Police Officers

Throwback Classic #12 – Nas ft Quan – Just a Moment

Ten years has gone. Nas is still relevant and has switched labels. Dropped albums who is dope like the latest one . This is from the last album dropped on Columbia in 2004. Which is a decade ago! This isn’t a lovely club chant or where Esco drops knowledge or proving his skills. Its more like respect to those who has fallen. Peace.

Et bevis på hvorfor sampling er bra.

Først! Her er orginalen fra Too Short fra 2001. Som er Too Short feature Daz Dillinger, Trick Daddy & Scarface – I Luv. Denne låten er kul. Med mage fete artister. Daz Dillinger en halvdel av Dogg Pound. Trick Daddy den første store rapperen fra Miami. Til sist med Scarface, sjefen av Geto Boys. Ikke minst også Carliforniaes gale pimp Too Short!

Her er den:

Nå ett par år etter, eller for å være korrekt 12 år etter. Kommer en ny artist som heter Trinidad James med en slager. Ikke lyrisk komet av noe slag. Heller bare mer fengende. For det trenede øre vil du merke at beaten er bare sakket veldig ned.. Veldig ned. Slik at istedenfor den nesten avhenighetsskapende orginale Daz Dillinger beaten. Så får du noe annet når du hører på Trinidad! Sjekk det ut!

Her er den:

God helg!

Fabolous – So NY (Lil Wayne Diss)

Her er Fabolous sin diss til Lil Wayne etter hans påstand at han “hater” New York.

Yepp, yepp! Kos deg!

Anmeldelse – Nas: Life is Good

Vel, har hørt på Nas siden tenåring. Det vil si at jeg har hørt igjennom alle hans plater. Fra Ilmatic til Stillmatic, samarbeidet med Daiman Marley. Å nå idag hans nye plate! Nas eller Nasir Jones sønn av blues legenden Olu Dara har gitt ut album fra 1994. Så innen Hip Hop sjangeren er dette .. Noe som tilhører sjeldenheten. Veldig få har fått dette til og samtidig være relevant – KRS One gir forsatt ut album på Duck Down, det er sikkkert gode album. Bare ingen av dem er relevent. Selv om også han er levende legende. Så slår han ikke Nas.

Nas kom altså med sitt 10ende album. Life is Good. Hans karriere har godt opp og ned. Fra klassiker til gjennomsnittlig til klassiske album. Til å bytte plateselskap.. Vinne Beef over Jay-Z selv om fansen til ham vil si anderledes. Men det kan diskuteres en annen dag.

Idag skal jeg bare skrive litt om albumet. Som er første Solo albumet siden Untitled. Som var gjennomsnittlig til ham å være- Selv om det er langt fra dårlig album. Denne gangen har han gått tilbake god formula. Plata gir til tider 90 talls feeling. Samtidig som han viser lyriske skills som alltid. Naturlig historiefortellinger med fengende beats! Det beste jeg kan si at dette albumet inneholder ingen fillers. Han må ha slete med å velge singler. For dette var fantastisk.

For meg er dette en ny klassiker fra Nas. Selv som 38 åring klare han å levere et vidunderlig album. Nå har han levert klassikere som ‘Illmatic’, ‘Stillmatic’, ‘Gods Son’ og nå ‘Life is Good’.

Løp og kjøp!

Peace.

Albumets singler:

 

Litt vas.

Måtte bare vise dere ett bilde som fikk meg til å le! Som er sykt selvforklarende. Hvis ikke det er det. Legg en kommentar og jeg forklare lett som ingenting!

Over til noe nytt:

Vel, for de som ikke har fått deg seg. At en de første signerte artistene til Roc Nation(Jay-Z’s selskap) som er Melanie Fionia. Har just gitt ut sitt andre album – The MF Life. Noe jeg kan anbefale. Å gjøre det korrekt. Så viser jeg dere tredje singelen og kos dere!

Så over til noe nytt:

Hvis du skal få en annen opplevelse enn det Melanie Fiona gjør og ikke minst også noe annet enn Rnb. Da kan jeg anbefale hans debut album på Def Jam South. Som er Live from the Underground. Hvor jeg vil linke deg til hans singler “Money On the Floor” og “I Got This”. Du vil enten elske det eller hate det. Det finnes ingen mellomting når det kommer til hans stil. Den tar ting fra “classic” UGK og gamle Ludacris. Så som sagt det er enten eller!

Siste singelen fra Big K.r.i.t:

Takk for meg og ønsker deg velsignet sommer videre. Mer blogging kommer til å skje: Plutselig.

Peace.

 

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