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.