dp, big propers to combat jack, you, et. al. for doing this interview. been a minute since i’ve really felt amped to write about something, so i’ll be posting a longer response later.
in the meantime, based on how ebro describes the process of making programming choices (i.e., market-testing songs), i wonder if we’re overstating the importance of radio in “breaking” records. radio clearly plays a strong role in assuring the place of a record like “clique” by playing it “100 times” per week, but i think there’s a difference between radio as a music-discovery outlet, and radio as a marketing tool.
the other part of this conversation is how “minor league” artists or anyone that chooses or never makes it in the “majors” can make a reasonable living. in this country, it’s not a foregone conclusion that being an artist is a viable career option. aspiring to be a successful (c)rapper is probably only marginally better than a career in pro hoops/base-/football/etc. which makes the scramble to secure every possible outlet (a good producer, marketing team, manager, radio promo, etc.) that much more frantic.
what’s good big homie? i still read your blog on the regular, so thanks for doing it.
i heard everything that ebro said, and the innocence of hip hop is lost. it’s a money make for alot of folks that don’t care about “us”, just their bottom line.
all i can do is be so grateful that i was around when “our” music was played late nights on the weekend for an hour or so. i saw ralph macdaniels on video music box.
Where was Pete, Matt, and A-King?
Where they gonna fit in that room? On people’s laps [ll]?
Great interview.
dp, big propers to combat jack, you, et. al. for doing this interview. been a minute since i’ve really felt amped to write about something, so i’ll be posting a longer response later.
in the meantime, based on how ebro describes the process of making programming choices (i.e., market-testing songs), i wonder if we’re overstating the importance of radio in “breaking” records. radio clearly plays a strong role in assuring the place of a record like “clique” by playing it “100 times” per week, but i think there’s a difference between radio as a music-discovery outlet, and radio as a marketing tool.
the other part of this conversation is how “minor league” artists or anyone that chooses or never makes it in the “majors” can make a reasonable living. in this country, it’s not a foregone conclusion that being an artist is a viable career option. aspiring to be a successful (c)rapper is probably only marginally better than a career in pro hoops/base-/football/etc. which makes the scramble to secure every possible outlet (a good producer, marketing team, manager, radio promo, etc.) that much more frantic.
Matt, Pete and A-King were there, in the broom closet.
Only the majors were allowed seats; the minors had to hold a corner.
Why do faggots like Ebro have so much power
While true genius’ like Dj Premier and Pete Rock and relegated to ‘underground’ status
This is the wrong that should be corrected
Why do faggots like Ebro have so much power
While true genius’ like Dj Premier and Pete Rock and relegated to ‘underground’ status
This is the wrong that should be corrected
Ebro is straight up LYING ABOUT PAYOLA
and Dallas you KNOW THIS
Live Nation/Clear Channel was built on this….its called ‘record servicing’
dp
what’s good big homie? i still read your blog on the regular, so thanks for doing it.
i heard everything that ebro said, and the innocence of hip hop is lost. it’s a money make for alot of folks that don’t care about “us”, just their bottom line.
all i can do is be so grateful that i was around when “our” music was played late nights on the weekend for an hour or so. i saw ralph macdaniels on video music box.
#backinthedays