“im like yo Stevie’s a freak” lol
Beanie Sigel talks about problems with Jay-Z, Roc-a-Fella and Dame Dash
http://usershare.net/08oc0blxg7lw
Beanie Sigel talks with radio host Charlamagne the God about his recent diss against Jay-Z and the behind the scenes business deals with Roc-a-Fella, the State Property movement as well as speaking on his trial and Damon Dash.
This is very interesting I think before people start calling Beans out they need to really check what he is talking about. The interview is 38 minutes long but it’s fascinating nonetheless.
SPTV – Fredro Starr’s Tales Of The Industry – Ep. 1 – “Club New York Shooting”
Fredro Starr from Onyx talks about the infamous shooting that led to Shyne being arrested.
stay tuned for part 2 soon this looks like it’s going to be real interesting!
Wall Street Gangsters How Cash Really Does Rule:Interview with Cedric Muhammad by Davey D
Cedric Muhammad was once manager of The Wu-Tang Clan
make sure to check out www.daveyd.com for the latest goings on in the rap world and urban communities.
The Death of Record Labels:Artists take charge by Tolu Olorunda
“Societies never know it, but the war of an artist with his society is… to make freedom real.”
—James Baldwin[1]
Hip-Hop should listen to Marco Polo & Torae more.[2] On “Crashing Down,” a prophetic track off the duo’s latest LP, Double Barrel, the hook goes:
… Whatchu gon’ do when the walls come crashing down?/
How you feel?/
Ask me, I’m doing fine/
I’m asking, whatchu gon’ do when the walls come crashing down?/
This crashing down they speak of is something record labels would rather not talk about, rather not discuss, rather not address. But, as the 19th century poet, Cullen Bryant, might inform, “truth crushed to earth shall rise again.” This crashing down is the end and death of record labels as we’ve known them. Total destruction. And this is no time for melancholy. Indeed, it’s a time for celebration, a time for jubilation, a time for exhilaration.
There’s a reason Hip-Hop was conceived in the belly of South Bronx streets, and not “midtown Manhattan skyscrapers/ Where former hustlers sign papers/ And do fu**ed-up capers/.”[3]
This reality, however, never really mastered great impression on the minds of middle-age White executives, who, for two decades, ran the Hip-Hop industry like a slave ship, holding artists hostage; who, for two decades, ran the Hip-Hop industry like a plantation, dictating to Black artists the conditions of freedom, and turning out once lyrical masterminds into commercial cows for an uninformed public’s consumption.
The artists were bound by deceptive contractual obligations, forced to partake in activities that went against personal principles. But they took the pain in silence. They carried the cross without complaint, invested in hope of a day when their sacrifices would turn ripe the fruits of freedom. Well, my lords, ladies and gentlemen, that day, that moment, is upon us.
Tennessee rapper Young Buck understands this better than most others. On “Breach of Contract,” a recent mixtape single, he raps: “We turn the cotton into marijuana fields/ Then work like slaves, just to try to pay the bills/.”[4]
Rappers have, indeed, worked “like slaves” to furnish the lavish lifestyles of record label executives. They tirelessly tilled the grounds these suit-wearing plantation-owners reaped great harvest from.
But now, emancipation begins.
To put food on the table, many mainstream acts signed their names to record deals that insulted the dignity they were raised with. They did it not because of a desire to spit on the Black faces that supported their careers from day 1, but because they understood—or, rather, thought they did—the game, and how it had to be played. These rappers “poked out [their] a**es for a chance to cash in,”[5] and the “[shady] record company people”[6] made good use of it. Very few of these slaves to their labels owned their Masters.”[7] Most were simply slaves. Period.
These artists knew they had to put on the Blackface—often the only available escape from a past mired in poverty. For those brief moments, the Blackface became more than an opportunistic cosmetic supplement—unlike Al Jolson in The Jazz Singer (1927). It became a permanent feature.
So, for some, songs like “Chain Hang Low,” “Chicken Noodle Soup,” “Fry Dat Chicken,” and “Whip It Like A Slave,” didn’t invoke memories of shame and sadness—reminder of a time when Black actors and actresses were forced to work like dogs for chicken change. Not at all. Those memories had taken up a new form—reality.
The New York Daily News took note of this trend in 2006.[9] Errol Louis, columnist for the paper, noted the similarity between some of the time’s most popular songs, and 200-year-old minstrel hits. St. Louis rapper Jibbs’ 2006 chart-topping single, “Chain Hang Low,” was revealed, first by a New York Times music critic, to have borrowed inspiration from “Zip Coon”—a famous minstrel hit from the Blackface era.
In mention also was 50 Cent’s diamond-selling 2003 album, Get Rich or Die Tryin’, which, Louis wrote, carried “an unmistakable echo of a hit minstrel song from 1856 called ‘Root Hog or Die’.” The lyrics of the song, he explained, bore frightening resemblance to the themes explored in Get Rich or Die Tryin’: “I’m right from old Virginny, with my pocket full of news/ I’m worth twenty shillings right square in my shoes/ It doesn’t make a dif of bitternance to neither you nor I/ Big pig or little pig root, hog or die.”
Louis continued: “It’s sad to see musically untrained youngsters shucking and jiving for a bit of money and fame. Most could never dream of succeeding in a serious artistic setting like a church choir, dance ensemble or jazz band, places that require study, discipline and hard work. Many would be swiftly laughed off the stage.”
It is true that many of these, for a lack of a better word, artists have no talent or skill worth the time and money record labels spend marketing them. No question. It is also true, however, that the record label executives have been consistent in selling to the fans manufactured noise as music, undaunted by the truism that for every action there’s a reaction.
* * *
In its three decade commercial history, Hip-Hop has undergone a series of stages, morphing from a spiritual culture of resistance into an on-demand pill big companies see fit to digest whenever in need of cultural authenticity.[10] But, besides the artists, the only victims in this tragic-comic tale, it seems, are the fans of color.
Black and Brown fans have been told to shut up, sit quietly, and watch the wonders of executive-thinking unfold. True enough, everything went according to plan, but the outcome was farthest from ingenuity.
In return, we witnessed young artists of no recognizable skill get placed in line ahead of veterans and certified lyricists. What took flesh, as a result, was a torrent of talentlessness that made many question the validity of Hip-Hop as a critical art-form.
This brand of label politics ensured that highly-anticipated albums—albums Hip-Hop needed so badly—were placed on the back burner—shelved and abandoned.[11]
No other example yields greater timeliness than Only Built 4 Cuban Linx II, which is scheduled for release tomorrow—after a mere 3-year wait. Since news broke in 2005 that Wu-legend Raekwon was prepping a sequel to his 1995 classic, fans have waited impatiently, only to be disappointed, year after year, by reports of postponement.
Every Hip-Hop fan can, on demand, recount similar experiences. From Q-Tip fans, to Papoose fans, to The Clipse fans, to Saigon fans, the stories are no different.
This happened primarily because the stupid executives, unprepared for the technological tidal waves Napster and Apple had ready for launch, expected fans to remain adherent—even in the face of blatant disregard. But the tables soon turned, and with the new millennium came an age of free downloading—an age of choice—an age of freedom.
And the recording industry hasn’t been the same ever since…
In The Long Tail, Chris Anderson, editor in chief of Wired magazine, details, amongst other things, the rise and fall of giant record companies—crippled only by self-absorption. Anderson chronicles the drop in CD sales from 2001 to 2005: “Sales fell 2.5 percent in 2001, 6.8 percent in 2002, and just kept dropping. By the end of 2005 (down another 7 percent), music sales in the United States had dwindled more than a quarter from their peak. … Between 2001 and 2005, the music industry’s total sales fell by a quarter. But the number of hit albums fell by nearly half.”[12]
Anderson suggests that the shifted emphasis from substantive compositions to hit-singles had begun forming the now-decomposed carcass major label executives try as best to turn their attention away from.
Watering down the music to appeal to broader bases had less an impact than the labels aimed for, he concludes. Instead of uniting diverse fan-bases, it fragmented them, creating a greater need for genre/sound specificity.
The consumers, Anderson writes, soon found out that the “only way” to “maintain a consistently good enough signal… is if the filters get increasingly powerful.” [13] And so they began sending signals, but the rapacious executives pretended they couldn’t receive it.
Before long, fans discovered the indifferent intentions labels had in mind, and turned their backs against them forever, creating, as replacement, informal sub-groups of peers that could recommend great music to each other and benefit from shared passion.
The consumers wanted music that catered specifically to their taste, but the executives, stuck on stupidity, thought the battle wouldn’t last long. Wrong!
This turf war over the future of creativity and substance began raging. The fans agreed with acclaimed writer S.H. Fernando that “[t]he diversity of rap songs is matched only by the diversity of the people making them.”[14]
Labels, disagreeing, unwisely hired attorneys to police the internet and put to an end peer-to-peer file-sharing.[15] The aim was to nip in the bud this budding revolution. Foolishly, they only gave it more credibility, recruiting millions to the cause. The once-giant labels thought a few casualties would intimidate their opponents. But it didn’t. And now, the big four—Universal Music Group, Warner Music Group, EMI, and Sony BMG—are forced to tuck their tails between their legs and surrender to their captives’ will, which tossed their way reparations (net sales) of $11.5 billion in 2006, compared to more uplifting, and less contentious, times like 1996: $14.5 billion.
The fans demanded an end to the reign of free-market fundamentalism in music production—especially Hip-Hop. The sheer though that the market (radio, television, print magazine, websites) could police itself never sat well with them. They understood that the radio and TV stations were, to a great deal, beholden to the record companies. They knew how loyal and unquestioning on-air personalities had to be to A&R executives—job-preservation.[16]
And now, just as with the global economy, the fundamentals of the recording industry have been shaken-up, exposed as frail and vulnerable. The boom and bust of revenue, brought by boisterous executives, are no longer hidden from the public. The Bernard Madoffs of the music business can no longer shelter their names, faces, and reputations.
Like the cymbals on Coltrane’s “Alabama” and Miles Davis’ “Prayer (Oh Doctor Jesus),” the walls will come crashing down.
Right on cue, the multi-millionaire executives have begun blaming their artists, blaming the fans, blaming everyone but themselves, for the outcome of this Ponzi scheme—which, might I add, they created.
Their years of carelessness and recklessness have nothing to do with the current state of affairs, they swear. Their years of shunning artist-development and “cranking out these pop groups,” as “Vinnie” described in last week’s editorial,[17] isn’t in no way related to the disgruntlement fans presently express, they contend. Dumping disposable artists on an intelligent audience didn’t create this crisis, either, they say. But we know better.
* * *
Every Black Hip-Hop artist who’s ever sold more than 500,000 copies has a tale to tell, a story to share.[18] Each has, once, or twice, or thrice throughout their career, been confronted by a middle-age White male executive who reminded him/her who was boss, who assured him/her how a bright future could be clicked off with the switch of a button, who lectured him/her about how much more he knew the Black audience’s taste in music.[19] Everyone. No exceptions.
And such artist, at that moment, had to muster up divine self-restraint to avoid being subsequently hit with attempted murder charges. They restrained themselves because they believed that someday soon, the empire’s endeavors would be exposed, that someday soon, the corporate thugs who run the industry would be stripped naked of all supremacy.
These very artists, if they would be so observant, would notice that their expectations are closer, nearer, and realer than they’ve ever been.
Since last week’s publication,[20] which featured an interview with a former marketing heavyweight, I’ve received tons of e-mails from managers, independent executives, and artists, expressing great joy in Vinnie’s prediction that if major record labels “don’t change their ideology, and I don’t see that happening anytime soon, they’ll be gone in 5 years,” and that, in their space will surface artist-controlled “Music/Entertainment Firms.”
These readers have seen it all and been through it all. They don’t see major labels anymore as a relevant element in the making of an artist. Their usefulness has passed.
Mainstream Hip-Hop acts, still bound by contractual obligations to record labels, should understand that the fans have their back, that the fans are just as displeased with the politics of the business as they are.
We’ve all suffered greatly from the greed of the pigs at the trough.
At this junction, when the prospect of freedom is more tangible than ever before, don’t be stupid. Don’t sign your life away to the same companies responsible for the current meltdown. The labels have, long ago, absolved themselves of all responsibility concerning artist-development, marketing, and promotion. Nothing the labels can provide you today can’t be done independently—with tenacity and temperance.
The rumors are not true: Fans don’t discriminate against independent acts in favor of majors. Remember: These are the very fans whose rebellion brought to their knees once omnipotent record companies.
Even if they don’t buy the CDs as often as you’ll prefer, they show their support in other ways—merchandise and concert tickets.
The record labels never meant well for Hip-Hop, and they’ve made that known, as best as possible, in the last two decades. Even if it’s a young, handsome Black face sliding the contract across the table, understand that the content is just as dangerous as it was when old, not-so-handsome, White faces were pushing the poison.
We are an independent people. We can do it ourselves. We don’t need no more tyranny. We can walk right into liberty. We can free ourselves from the shackles and bondages the music industry has kept us bound in for far too long. We can flip open a new page this moment, and fill it with words of redemption, words of hope, words of freedom.
The days of kowtowing before executives are past. The present is truly a gift. And the future awaits with great anticipation the rising up of a resilient people.
John Forté would agree: “It’s a new day running/ And it ain’t coming/ ‘Cuz it’s here for the taking/ It’s been years in the making/.”[21]
The GZA would concur: “No time for backwards thinking/ Let’s think ahead/.”[22]
It’s time: Let’s think, act, and move ahead into a future fueled by self-determination!
Tolu Olorunda is a columnist for BlackCommentator.com and a cultural critic. He can be contacted at Tolu.Olorunda@gmail.com. Tolu’s Column will return in October 2009.
Music industry is forcing music blogs to be deleted by Larisa Mann
Warning: Music Industry Is Forcing Music Blogs to be Deleted
by Larisa Mann
Music blogs are engines for fandom, DJ culture and music making. They range from websites featuring news, links and commentary run by individual fans, to label-run sites promoting similar sounds and scenes. Music blogs may also include producer coalitions that promote music as part of an ongoing culture of participation. Finally, there are blog aggregators that report on what’s hot and online music magazines with formal articles that include links to the music that they discuss. Many feature actual streaming or downloadable audio files that allow the reader to hear what all the fuss is about.
At minimum, a music blog might consist of basic lists or links to hot or obscure tunes, like a mixtape or playlist. But at maximum, many blogs provide fascinating context for the music they post, from scholarly analysis on a particular music element to a devoted fan’s impassioned history of a tiny subgenre, or even a wide-ranging set of thoughts on a musical theme.
Although blogs serve various creative purposes, they are above all social spheres. By posting links, entries and search functions, music blogs promote and embody a lively culture of interaction. Music blogs can also help artists. One anonymous blogger points out, “People like myself discover new music through these blogs, which often leads to album purchases, and even more often to support of the artist’s concerts, merchandise, etc.” Other blogs focused on DJ culture have new electronic artists post their work for feedback — an important step in developing artists and music scenes.
Missing Links
But now posts are disappearing. The trigger for deletion appears to be MP3 audio file links that possibly violate copyright law. However, many blog sites go far beyond simple link lists, including commentary, images and bloggers’ own creative work alongside music. The blogger’s original work, also covered by copyright law, often disappears along with the problematic link.
Apparently, some people’s intellectual property matters more than others!
Even stranger, some deleted links were given to bloggers by artists and labels explicitly for promotional purposes. As another anonymous blogger told me, “On the one hand record companies use blogs to help them sell records, and on the other hand, persecute blogs for it.
“
It also seems that one branch of the music industry doesn’t know what the other one is doing.
Linda, author of a small Southern California-based music blog, explains,
“I e-mailed my contact at the label of a band for whom I wrote an album review that was deleted. I told him which songs I posted and asked if I had done something that prompted the label to request a takedown. He denied that the label would have done that. I e-mailed another contact at a PR (public relations) firm regarding another album review that was deleted. The PR had sent me the album to review! They denied having any part in a takedown.
“
The Google-owned blog-publishing system, Blogger, has e-mailed bloggers after the fact, informing them that their posts were taken down because they contained a link to material Blogger has learned infringes copyright. But in other cases, entire posts have disappeared with no communication. Most bloggers have not been told which link in a multiple-link post is problematic.
When Blogger has notified music bloggers, they’ve cited the Digital Millennium Copyright Act (DMCA), an unwieldy mishmash of compromises between the content and tech industries. The DMCA is supposed to protect middleman technology companies like Google (“Internet Service Providers” or ISPs) from lawsuits over what their users do. To avoid lawsuits over content that users post, ISPs must not create or edit content but simply host it, and must take down content when an owner says it infringes their copyright.
Bloggers can technically use the DMCA to fight back if they think their use is legal, by filing a counter-notification. In the best scenario, this would mean the copyright holders and the people who upload copyrighted content can duke out the issue themselves while the ISPs stay out of it.
However, Blogger hasn’t given bloggers the tools they need to defend themselves. Counter-notification can only happen after Blogger registers takedowns online. But, as Linda pointed out, since Blogger has not yet registered any complaints, “There is nothing for me to ‘counter’. I have no idea who I have offended or how.
“
Blogger’s own code of conduct says, “If we remove or disable access in response to such a notice, we will make a good-faith attempt to contact the owner or administrator of the affected site or content so that they may make a counter notification.
” Since when is no notice a good-faith effort?
Even if Blogger complied with its own policy and the DMCA, that might not be enough. Linda points out the asymmetry of the legal battle: “The direction[s] for filing a counter-notification includes agreeing to pay all legal fees if I am found in the wrong.
Without knowing what I am defending myself against, how can I possibly agree to such terms? Is it realistic for me, someone whose blog earns no money, to retain a lawyer?”
The system is biased in favor of those with plenty of cash and their own lawyers on staff. Luckily, in the US, we have a legal defense that would cover many music blogs — at least those that discuss, educate, criticize and comment. These could qualify for fair use protection, which does allow people to make use without permission of copyrighted works in ways that benefit society.
Although many bloggers, DJs and musicians I spoke with said that some blogs don’t play fair, they all emphasized the overall benefit that music blogs provide to artists and the public. “There will always be pirates,” said one blogger, label owner, producer and DJ. “File-sharing, mash-ups, and DJ mixes are all part of a huge explosion of musical creativity. We’re living in a time in which people are exposed to more new music than ever before and it’s the free flow of information that’s driving this push forward.
“
Unfortunately, it looks like Blogger may have made a private deal with content owners to automatically remove posts that owners complain about, rather than going through a transparent process with room for discussion. While this may not be illegal (although we should be concerned about the effect on our fair use rights), this is exactly why we can’t trust private companies to administer our culture fairly: They can make deals with other private companies without public input.
And why should we trust the content industry to make the rules when it doesn’t play fair? There’s a long history of baseless and debatable copyright complaints. If these companies have Blogger’s ear and don’t consider input from the public or users, they can basically define our access to works with no accountability.
What About Author’s Rights?
Worse yet is the fact that music bloggers’ own original material is being deleted. Even if some links in a post are not fair use, two wrongs don’t make a right. Google has made its name by promising to do right by its users and the data they host for the public.
If they keep deleting our own creative works, why should the public trust them?
Blogger is a private company, but it provides public services similar to those offered by libraries, archives and broadcasting. It’s a growing problem in the internet era: These private companies, controlled only by private law, have the ability to run their businesses with little or no respect for the public.
Google recently made a deal with book publishers over access to scanned books for Google Book Search. We have to be vigilant that they don’t snub the reading public the way they are currently dissing the listening, writing and remixing public on Blogger.
(Author’s Note: Only one blogger agreed to be identified for this column. Others say they are concerned about being further targeted.
So much for “Don’t Be Evil”!)
Larisa Mann writes about technology, media and law for WireTap, studies Jurisprudence and Social Policy at U.C. Berkeley and djs under the name Ripley. She is a resident DJ at Surya Dub, San Francisco, and collaborates with the Riddim Method blog-DJ-academic crew, Havocsound sound system, and various other cross-fertilizing organisms in the Bay Area and worldwide.
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