I personally know a producer who is responsible for key songso for almost 50% of the XXL freshman class and several very established artists who is barely making ends meet.

Because of witnessing his struggle of having to fight to get compensated or having music flat out stolen I have lost a lot of love for hip hop.

I don't know of any other genre where a the producer is shit on at this level.

You stay classy okayplayer!!

If you mean the instrumental force behind a piece of music, nope...other genres them niggas get paid FIRST.

This guy is more than just a beat maker. He crafts melodies and gives the artist direction as to how to structure the song. I've sat in on sessions.

But when it comes time to get paid the labels always take their sweet time or try to pawn to songs off as just promotional. I've witness him in the studio for a few days working on tracks with a very popular white rapper from the bay and the "label" decides they aren't going to use the song....but next thing you know it shows up on Soundcloud and youtube garnering millions of views and said artist is performing the song in their set in front of thousands....but dude didn't receive a dime..

You stay classy okayplayer!!

that shit happens a lot and more times than not its played millions of times on the artist youtube channel and they get a nice lil check.

my boy told me this is some shit artist do all the time now.

also said he is still waiting on checks from hits from 4 years ago duw to litigation and other nonsense.

but you know who always gets their money? yeah... those guys. Its a shady ass biz and yoi have to know the right people or get real ugly to get paid what you are owed.

****************
TBH the fact that you're even a mod here fits squarely within Jag's narrative of OK-sanctioned aggression, bullying, and toxicity. *shrug*

is his paperwork straight?

****************
TBH the fact that you're even a mod here fits squarely within Jag's narrative of OK-sanctioned aggression, bullying, and toxicity. *shrug*

i know niggas that require a deposit to HEAR they shit now

------------------------------------
2019 CABG Survivor

2016 OK Survivor Champion

be about it or be without it

RIP GOATs

if it wasnt the hit... he isnt going to see real money.

This aint the 90's.

If he doesnt have a lawyer he is prolly getting bent over.

****************
TBH the fact that you're even a mod here fits squarely within Jag's narrative of OK-sanctioned aggression, bullying, and toxicity. *shrug*

<--- Big Baller World Order

I'm sure some of it is a paperwork issue but if you are a struggling producer and you get a call from the president of Interscope to work a session with one of their artist you would assume things would be on the up and up.

I've worked around a lot of people in the industry and this seems to be an issue isolated to hip hop and it's disgusting. I've seen guys blow tens of thousands in the club but try their best not to pay for services they have received. I just don't get it

You stay classy okayplayer!!

****************
TBH the fact that you're even a mod here fits squarely within Jag's narrative of OK-sanctioned aggression, bullying, and toxicity. *shrug*

>I'm sure some of it is a paperwork issue but if you are a
>struggling producer and you get a call from the president of
>Interscope to work a session with one of their artist you
>would assume things would be on the up and up.

I've had groups of teenagers pay me better, and easier, than WB/Atlantic.

____________
Twitter & IG: @rulerofmyself
SC: rulerofmyself17

Yes! She's on the drugs. (c) BoHagon

>>I'm sure some of it is a paperwork issue but if you are a
>>struggling producer and you get a call from the president of
>>Interscope to work a session with one of their artist you
>>would assume things would be on the up and up.
>
>I've had groups of teenagers pay me better, and easier, than
>WB/Atlantic.

____
Some will tell you that they love you but they've got an ulterior motive - Oh what a shame
They will tell you that they need you but they've got an ulterior motive - Personal gain

(c) Luciano


https://www.youtube.com/watch?v=Fg0-qndkemo

<--- Big Baller World Order

it's the president of the damn company.

>if you are a
>struggling producer and you get a call from the president of
>Interscope to work a session with one of their artist you
>would assume things would be on the up and up.

That's such an odd thing for someone to say if they've worked in/around the industry so much.

>I've worked around a lot of people in the industry and this
>seems to be an issue isolated to hip hop and it's disgusting.
>I've seen guys blow tens of thousands in the club but try
>their best not to pay for services they have received. I just
>don't get it

You don't get why people would rather spend their money on hedonism than pay people they clearly don't really need to pay because there are little to no actual consequences?

I'm not trying to throw shade. I'm really not. The problem is there's an incredible amount of naiveté in your post for someone who says he's so deep in/around the game because the two are definitely mutually exclusive. It just seems like you're overstating your actual experience if your thoughts on the subject are meant as expressed.

I don't work in the industry I have friends and family who do. I'm not schooled on how things work. I'm speaking from perspective of someone who is seeing somebody get constantly jerked.

You stay classy okayplayer!!

Long story short, I walked because the dudes at the label were trying to talk me down from my already-low estimate. I said "naw," and the next day my contact at the company called and asked what happened. I told him they were trying to low-ball, and he laughed and told me they went out and dropped MORE than what my entire price was at the bar last night.


>You don't get why people would rather spend their money on
>hedonism than pay people they clearly don't really need to pay
>because there are little to no actual consequences?

>assume

I never assume anything with business dealings.

I guess I'm ranting because I just saw the new XXL freshman cover and he has several songs with almost half of them and I know his financial struggles.

You stay classy okayplayer!!

thus disposable.

Unless/until you have a name that makes your beats a destination attraction for artists this is the game being played. Rappers don't want to pay for shit as it is and it gets worse the higher up you go until the producer becomes a big fish in his/her own right and even then, this shit still goes down. Just look at Mustard and YG and even then there's a he said/she said element at play.

EVERY RAPPER who has any presence whatsoever has dudes throwing tracks at him the way dick gets thrown at hot women. It's a buyers market and EVERY LAST "HOT" SOUND has a thousand cookie cutter clones slangin leases for 10 bucks.

It's an increasingly bastardized and accessible genre to create so until you become a proven name that *listeners* know and flock to, you're at a huge disadvantage. You need to build a brand by whatever means, be it a carefully cultivated online presence or relationships with regional artists who consistently put your name out there with a unique sound that stands out from the sea of clones.

It doesn't really matter how much "producing" he does. It doesn't matter if he's 'creating melodies and guiding the direction of the song'. What matters is his actual name value, his paperwork and legal prowess, and his manpower and it sounds like he's in a significantly lesser position in that regard than everyone he's dealing with.

This leads to another, well, uh, cold truth to this: THOSE ARE THE BREAKS. He signed up for this. That's the nature of the business and there are dues to pay. His financial struggle is his issue and there's likely more at play than shady rappers who don't want to pay for shit.

Sometimes you have to swallow some shit and learn to like the taste. I've missed opportunities because I refused to "sell myself short". I was able to play some tracks for a fairly well known regional artist a few years back and he wanted 5 tracks. His offer was from 50-100 a track, which I thought was low. I passed and chose not to "sell myself short". Two of them I felt warranted at least two bills and had I gotten that I would have been cool with a lower price on the others but again... that's the breaks.

A year later he had a DJ Drama mixtape. He's doing bigger shit now with nationally known artists. I might not be making 4 figures a track but I could probably be getting a bit more than that initial offer at this point and I'd have a relationship and a pipeline to other artists he works with. He has a nice in-house producer and he's got a presence and *eye* was shopping *him*, so it's not like it made a difference to him one way or the other.

I still know dude and can still shop to him so all was not lost, but the lesson there is pretty clear. The fact is that your boy is still paying heavy dues in an increasingly diluted market.

you dont even need no sampler..just a shitty ass keyboard....casio packed with trap sounds

------------------------------------
2019 CABG Survivor

2016 OK Survivor Champion

be about it or be without it

RIP GOATs

^^^^^^^True indeed^^^^^^^
I've pressed him to leave this genre alone and move on because he is super talented.

You stay classy okayplayer!!

Anyone can loop some shit and throw some drums on top.

Frankly I hear just as much garbage on that front as I do on the trap end of things.

The barrier for entry into the world of production was lowered so much by technology that anyone with a computer can crank out beats. You can hit up Craigslist to get a $50 PC and a cheap 25 key controller, spend some time online downloading cracked, trojan laden DAW's and plugins, and push out your first beat within a few hours of watching as many Youtube tutorials as you can.

Anybody can do it now, and when that happens you end up in the situation we're in now.

I read and listen to a lot of older heads over the years bitch about the lack of a real barrier to get in on things but it’s mostly sour grapes. I get it. I once spent an entire paycheck to get my first MPC without any bells and whistles and no records to my name. I had to build a sample library and build a drum collection the old fashioned way. Still, the lack of such barriers to entry aren’t the problem IMO.

The biggest reason we’re in this position is much simpler: the collective tastes of the listener.

People LIKE that three note arpeggio and two note sub bass. Rappers LIKE and WANT that particular sound.

There’s plenty of quality plugins that can be pirated but people gravitate toward very particular products. You can still download some incredibly deep VST’s and DAW software. You can get a cracked version of quality VST’s like Komplete and Omnisphere and Cubase (I believe 5 was the last version with a quality crack) but most people *choose* FL Studio.

It’s a choice. If people didn’t like the beats people make on those and if rappers didn’t like to rap on those beats then they wouldn’t get play. The lack of a barrier for entry just means more people have a chance to get in.

Shit Lil Jon blew up on the bargain priced Emu synths at a time when they were flooding the market while a sampling revival was in full swing with Kanye and Jay Z killing it on top of mainstream radio. The people, and consequently the industry, ultimately leaned toward Lil Jon’s sound and everyone else adapted. Now it’s Drake that’s dominating the landscape. Whenever there’s a hot sound, everyone tries to get a slice of the market. People were looping soul samples like crazy after Ye and JB showed up. This has as much to do with the listeners as anything else.

>There’s plenty of quality plugins that can be pirated but
>people gravitate toward very particular products. You can
>still download some incredibly deep VST’s and DAW software.
>You can get a cracked version of quality VST’s like Komplete
>and Omnisphere and Cubase (I believe 5 was the last version
>with a quality crack) but most people *choose* FL Studio.

Since version 6, FL Studio has been a full blown DAW and it can get to be extremely deep if you do more than scratch the surface of it. Yes you can program drums on it like an 808/909/606, but you can also dive in and create anything you can with Logic/Cubase/Sonar. The tool is only as effective as the person using it and will only make music that user desires. Early dubstep producers like Skream and Benga used FL Studio exclusively to make their tracks (early dubstep on a whole was largely created using FL Studio). At the same time, AfroJack uses FL Studio to make his music. All those early 9th Wonder produced Little Brother tracks were done on FL. But then, too, Soulja Boy's "Crank Dat" was made on it...

>It’s a choice. If people didn’t like the beats people make
>on those and if rappers didn’t like to rap on those beats
>then they wouldn’t get play. The lack of a barrier for entry
>just means more people have a chance to get in.

The barrier being so low means that anyone that wants to try to cash in on whatever the hot sound is by copying it can do so with minimal effort and get out of it when they're done trying. When you have to go out and purchase an MPC/ASR, romplers, effects, mixer, monitors, etc you have more of a vested interest in making it work and carving out your space in the music world. It becomes something you don't just do casually. Personally I can see the difference in myself: I worked a lot harder at music when I owned a hardware recording rig than I do now that I have FL Studio/Sonar+plugins. I had more of a vested interest in making it in music then because I had sank a few thousand into my setup.


>
> Shit Lil Jon blew up on the bargain priced Emu synths at a
>time when they were flooding the market while a sampling
>revival was in full swing with Kanye and Jay Z killing it on
>top of mainstream radio. The people, and consequently the
>industry, ultimately leaned toward Lil Jon’s sound and
>everyone else adapted. Now it’s Drake that’s dominating
>the landscape. Whenever there’s a hot sound, everyone tries
>to get a slice of the market. People were looping soul samples
>like crazy after Ye and JB showed up. This has as much to do
>with the listeners as anything else.

Kanye didn't kick off a sampling revival... Sampling was still in full swing when College Dropout came out. Lil Jon and 'nem was "the new sound" at the time but Kanye was doing the same shit that every other producer not from ATL was doing.

---------------------------

"Where was the peace when we were getting shot? Where's the peace when we were getting laid out?
Where is the peace when we are in the back of ambulances? Where is the peace then?
They don't want to call for peace then.

>Since version 6, FL Studio has been a full blown DAW and it
>can get to be extremely deep if you do more than scratch the
>surface of it. Yes you can program drums on it like an
>808/909/606, but you can also dive in and create anything you
>can with Logic/Cubase/Sonar. The tool is only as effective as
>the person using it and will only make music that user
>desires. Early dubstep producers like Skream and Benga used FL
>Studio exclusively to make their tracks (early dubstep on a
>whole was largely created using FL Studio). At the same time,
>AfroJack uses FL Studio to make his music. All those early 9th
>Wonder produced Little Brother tracks were done on FL. But
>then, too, Soulja Boy's "Crank Dat" was made on it...

I’m not ‘blaming’ FL. That was poorly worded on my part. I got sidetracked and didn’t expound on that better. FL S is a smaller download that is more widely available and comes with more to work with right out of the box than, say, Cubase. At least, I don’t really fuck with the standard Cubase instruments personally. Halion Sonic SE is cool but I went with the full version of 2 and it was well worth it. The rest is bland as hell from the GUI on down. I hate them but Cubase itself has been my steady tool of choice since about 04.

Anyhow Komplete is a massive download as is Omnisphere and both are head and shoulders above FL’s out of the box offerings in terms of scope and quality. It’s really not even close in that regard if you ask me. As you said the tool is only as good as the worker but I believe that goes without saying. To that end, the significance of downloaded the smaller file + more out of the box to start= minimal effort and expense. When I cracked Komplete 8 and the Omnishphere back in the day I had to pay for a month of access to the file sharing account that hosted them. Well, in the case of Omni I copped from a warez vendor but you get the point. It’s still a matter of time, resources, and effort and more people seem to choose the path of minimal effort even in piracy.

>The barrier being so low means that anyone that wants to try
>to cash in on whatever the hot sound is by copying it can do
>so with minimal effort and get out of it when they're done
>trying. When you have to go out and purchase an MPC/ASR,
>romplers, effects, mixer, monitors, etc you have more of a
>vested interest in making it work and carving out your space
>in the music world. It becomes something you don't just do
>casually. Personally I can see the difference in myself: I
>worked a lot harder at music when I owned a hardware recording
>rig than I do now that I have FL Studio/Sonar+plugins. I had
>more of a vested interest in making it in music then because I
>had sank a few thousand into my setup.

I agree, but I don’t see where that fits with my statement in response to yours. All I’m saying is that hip hip/rap, like every industry, has its bottom feeders and that the low barrier to entry simply levels the playing field. How dedicated people are to their craft is another discussion IMO but I’m not trippin on the ease of entry either way. I get the roundabout connection to a weaker product since I made the same connection to opting for the more easily obtained products but in the end I think the prime culprit of the current state of the production game still has much more to do with the tastes and demands of listeners than anything else.

>Kanye didn't kick off a sampling revival... Sampling was still
>in full swing when College Dropout came out. Lil Jon and 'nem
>was "the new sound" at the time but Kanye was doing the same
>shit that every other producer not from ATL was doing.

I didn’t say he kicked it off. I said a sampling revival was in full swing with Kanye and Jay Z killing it on

top of mainstream radio, though I should have clarified that I was talking about soul samples. I always gave Ms. Fat Booty and Supreme Clientele the credit for kicking that wave back into the mainstream, but that’s a different discussion entirely and Ye and JB were definitely the progenitors of that particular wave of soul/vocal sampled beats that flooded soundclick at the time.

There were even soundclick pages full of nothing but the samples they used. Little Brother and God’s Stepson dropped and kicked things into another gear of clones. My point about that was that there were many low end clones of that sound just as we got countless clones of Lil Jon and the current wave of trap beats. Ten years from now we’ll have the exact same thing with whatever that trend is.

Especially in an era where
Guys tour off mix tapes

You don't get publishing off mix tapes
So a guy can sell you a beat for 500 (I don't know how much beats are going for)
And you can potentially tour and make
Make tens of thousands of dollars off of it
It really seems like thes producers get shitted on

_____________________________

<----- Genesis is deep my features are that of a God


http://illeskobar.deviantart.com/
http://thisiskyleskorner.blogspot.com/

The terms of the contract and your ability to enforce those terms. Obviously there's a lot of nuance in play but it ultimately boils down to those two factors.

The end result will look different for everyone but if you're at a level where you can get five bills up front in this climate you should also have your legal situation squared away.

Honestly the OP has a lot of gaps since he's venting about a situation based on his observations along with whatever his friend tells him so it's hard to say what's actually going on here.

..that isn't sex, race, culture, OR genre specific.

master your art.

its that simple.


*skatin' the rings of saturn*


..and miles to go before i sleep...

Not saying other genres don't get scrrwed. but this type of screwing is genre specific.

You don't see too many big (or even semi big) name rock/country/pop artists put out free mixtape after mixtape. Rappers put out these tapes and cook off them selling out shows and building up hype before their releasing their non free album.

You can't really quantify that value in a percent of sales/spins type of way, so the producers in these situations get screwed with these one time fee situations. The large supply of rap producers pushes their price even further down

_______________________________________

..sure, you can hold shady people/practices accountable, but that doesn't absolve producers for not being vigilant about their chosen industry.

you can only blame industry rule 4080 for so long.


*skatin' the rings of saturn*


..and miles to go before i sleep...

and his camp 2004-2005, and it was a lot that I can't speak on of course, but I realized how tough it was to be a producer.

One thing that happens is common in other fields. In the movie industry, there are some writers who have a full script, and they'll be propositioned to where their two options are: 1. You receive full credit, but ZERO money. 2. You receive no credit and a famous writer gets full credit, but you get paid, and can NEVER mention to anyone that it was your art. If you're lucky, you may get partial credit under #2, but it's tough if you're brand new.

With production, I saw a lot of producers go through this. They could receive full credit, but no pay...whether it remained as a mixtape track, or an album cut that generated money. Or....they may have to let an established producer take credit, and they get that under the table pay. And last decade, when the "super producer" thing got big, most producers just wanted the credit so that folks would come to them for production. And with that, a good amount of those producers got credit, and STILL didn't have folks lining up to pay them...they just tried to milk it the same way. "You'll get great exposure!!"

In one case, I did get credit for a track with Game/Glasses/Kam - https://www.youtube.com/watch?v=jGPdbbGBQFg, but no pay because the song had a sample, and they ended up using it as a mixtape track vs an album cut. It also hurt that Destiny's Child/9th Wonder put out a song with the same exact sample before ours was able to come out...most people thought I was just flipping their song, but people who know me knew I made it waaaaay before theirs dropped.

To everyone that says "producers gotta handle their business," it's some who do that for sure...but there's some who are so business minded, artists and labels don't fuck with them, and they still end up losing in the end. Some of them ask for what's seen as "too much" for them to be unknown.

------------------------------

50+ FREE Mixes on www.DJR-Tistic.com!

Twitter and Instagram - @DJ_RTistic

commercial route and get your shit licensed and sit back and collect... fuck rap

------------------------------------
2019 CABG Survivor

2016 OK Survivor Champion

be about it or be without it

RIP GOATs

>get your shit licensed and sit back and
>collect... fuck rap

http://www.startower.co.uk
http://www.dannyswain.com

Do you believe if an artist has a good song, he should shop it to dj's for play at events. Does that direction still work in todays music? Since you a DJ, I appreciate your opinion

we keep it moving,

about this:

http://djrtistic.tumblr.com/post/121207803255/artists-getting-djs-to-play-your-music

One thing that artists just do NOT understand is that a good or even great song isn't automatically a club song or radio song. Some songs can work for online radio shows or even mixes/mixtapes, but artists really don't know how rare it is to make a song that's actually good enough as a club song to work while we're playing at a club or party.

I realize that a lot of artists think "if the DJ plays it enough, people will automatically like it" but that's far from true. I've tried to force a few songs on my crowds, and they just weren't digging them. Now, when radio forces songs on them, it's a whole different beast...but for a club DJ, we would have to have the same exact crowd every night/week for this to work, if that makes sense. It's always a rotating crowd.

------------------------------

50+ FREE Mixes on www.DJR-Tistic.com!

Twitter and Instagram - @DJ_RTistic

cmon dogg....LMAO

------------------------------------
2019 CABG Survivor

2016 OK Survivor Champion

be about it or be without it

RIP GOATs

------------------------------

50+ FREE Mixes on www.DJR-Tistic.com!

Twitter and Instagram - @DJ_RTistic

I'm not shopping, just lookin for advice to give some of my young dukes

we keep it moving,

------------------------------

50+ FREE Mixes on www.DJR-Tistic.com!

Twitter and Instagram - @DJ_RTistic

"For hire" producers and songwriters have definitely suffered the most from the industry not throwing money out every session to produce records..

At the same time the world of opportunity has opened up for those for-hire hands to flex as artists on their own right.... and in that way the avenues for getting money have increased..

Producers can DJ... get enough joints under your belt and you can kill in that space (see. metroboomin, sonny digital).. you forgo money and just trade for a verse.. then if/when that person blows you now have a song you can drop yourself with a dope feature on it...

Shit if his relationship is "great" with at least one of these dudes he should push to be there tour DJ... then as they perform (his joints) he'd make money.

While people talk about paperwork... shit doesnt mean anything if you arent going to sue. How many times has bangladesh sued Baby now?

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

Also if ya boy has all these placements with artists of known quantity he should get a pub deal..

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

get dem points

------------------------------------
2019 CABG Survivor

2016 OK Survivor Champion

be about it or be without it

RIP GOATs

<--- Big Baller World Order

But then he'd have to become a REAL producer and some cats aint built for that..

But yea he can def do that.. Would help to have the peon artist have a verse from said poppin artist

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

he should be good for a verse or two

>But then he'd have to become a REAL producer and some cats
>aint built for that..
>
>But yea he can def do that.. Would help to have the peon
>artist have a verse from said poppin artist

------------------------------------
2019 CABG Survivor

2016 OK Survivor Champion

be about it or be without it

RIP GOATs

Only Dr. Dre is the kind of producer that compares to what a producer does working with bands

WHAT A TIME TO BE ALIVE

>Only Dr. Dre is the kind of producer that compares to what a
>producer does working with bands

on here, because "he doesn't do anything."

------------------------------

50+ FREE Mixes on www.DJR-Tistic.com!

Twitter and Instagram - @DJ_RTistic

"So what you found a sample and you got a cool little drum file, but he brought the shit to life, so he really produced the track! Producing is bringing the track to life! Beatmakers make beats. A lot of niggas make beats. He produces tracks"

And my favorite part:

"But, if you brought in the beat, that's all you did, was brought in the beat. You didn't produce this record. This song says "Produced by" not "brought in the beat by"."

________________________________
There are dozens of us! Dozens!

session was on, the track was running, Puffy came into the session, listened for a bit, went over to the board and fucked with some shit and was basically like "this is how it should sound" and was done.


---------------------------

"Where was the peace when we were getting shot? Where's the peace when we were getting laid out?
Where is the peace when we are in the back of ambulances? Where is the peace then?
They don't want to call for peace then.

****************
TBH the fact that you're even a mod here fits squarely within Jag's narrative of OK-sanctioned aggression, bullying, and toxicity. *shrug*

____________
Twitter & IG: @rulerofmyself
SC: rulerofmyself17

Yes! She's on the drugs. (c) BoHagon

From the late 90s, I think. I remember dude saying Puff would come in, say "put a tambourine right there" and get co-produced credits (and $$$). He said the shit surprised and bugged him at first, but he had to learn it was part of the game (at least with Bay Boy). I remember at the time wondering how Puff let that slip through.

---------------------------

"Where was the peace when we were getting shot? Where's the peace when we were getting laid out?
Where is the peace when we are in the back of ambulances? Where is the peace then?
They don't want to call for peace then.

foh...

------------------------------------
2019 CABG Survivor

2016 OK Survivor Champion

be about it or be without it

RIP GOATs

I can definitely see Quik and Tim in that traditional producer role.

way more than dre

'Tunes
Ye
Blaze
Timbo
JD
Trackmasters
Puff
Rick
Quik

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

Those guys have actually produced bands

But yeah, there are definitely a couple others in that same vein. But Dre sticks out to me as like, hiphop's Phil Spector

WHAT A TIME TO BE ALIVE

That's like saying Dre is the only guy that controls the end product on his songs, and that's not true. Primo's albums sound the way he wants them to sound.

__________________________________________
CHOP-THESE-BITCHES!!!!
------------------------------------
Garhart Ivanhoe Poppwell
Un-OK'd moderator for The Lesson and Make The Music (yes, I do's work up in here, and in your asscrease if you run foul of this

I started and then realized, hey, he doesn't know what he's talking about.

choice quote on the producer/rapper relationship?

"Hella Rap Artists Are Rape Artists"

http://pitchfork.com/news/66123-flying-lotus-hella-rap-artists-are-rape-artists/

And there it is...

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
-------------------------------------------
twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

It's just a rant if you're not blowing up spots.

I love Future, but it's Young Metro that really makes the song what it is

_______________________________________

future also written several hits for other people

yall gonna have to give that man his props like him or not.

and metro is my favorite producer in rap rn so i'm not taking any credit away from him.

flylo hating here. he doesn't need to speak on things he doesn't know about. i also own several flylo albums so im not taking any credit away from him. he just picked a poor example to make his point. shoulda used somebody that aint shit w/o a mustard beat or something.

<--- Big Baller World Order

"Hits" is a loaded world...

And while he has certainly had some success outside of metro his last two years have been helmed by metro and esco and esco literally said that future goes in and freestyles and then they sit there and make it a song..

Double 0
DJ/Producer/Artist
Producer in Kidz In The Hall
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twitter: @godouble0
IG: @godouble0
www.thinklikearapper.com

He's got joints with Zay and 808 Mafia, but it's those Metro Boomin songs that moved him from Pluto to where he is now

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yeah man march madness wasnt boomin. trap niggas wasnt boomin. commas wasnt boomin. these songs may not have charted because they arent official singles. but lets not act like these arent signature future songs and club smashes. a metro/future run doesn't happen without that groundwork from other producers.

if it was just metro then how come the only track he had that's really done anything in the last 2 years w/o future was Tuesday (and Drake plucked that one from eternal obscurity to make it hot)

i mean i know the Father Stretch My Hands joint with Ye got meme'd to hell and back but Metro will tell you himself he didn't do much on that track and the tag was just added to make it more hype.

it's a lot of credit to go around man. metro thank his lucky stars that future took him on board. future had already proved himself to be capable of making hits before metro was even a thing. he's gold. a1. already a southern legend.

a better act for FlyLo to make his point with would've been Rae Sremmurd. they are basically mike will's rap voice. he's disrespecting not only future but future's other frequent collaborators like mike will, southside, zaytoven, nard & b and more.

<--- Big Baller World Order

.

You can't replace either of them and come out with that album so I don't agree with FlyLo there.

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Falcons, Braves, Bulldogs and Hawks

Geto Boys, Poison Clan, UGK, Eightball & MJG, OutKast, Goodie Mob

I agree. Producers need to value their labor in order for others to value it.

Happy 50th D’Angelo: https://chrisp.bandcamp.com/track/d-50

>I agree. Producers need to value their labor in order for
>others to value it.

"I'm doin leases over here! 5 beats for $10. Exclusives for $25!"

I remember choppin it up with Art Forrest (formerly with Inner City) back in 97 or 98 and he was tellin me how he was gettin $500 a pop from locals for hip hop beats he was recording on a Tascam 688 8-track cassette joint (he was buying a VS880 from me to replace it). Back in '96 or '97 the cat that managed The Dayton Family was trying to get me to sign with his management company (which I honestly regret not doing). Dude was like "Bruh, Relativity is paying $2000-$3000 a beat, you need to come holla".

Once the whole "super producer" shit got into full swing everybody wanted to be a fuckin producer and that's when the shit tanked.

I still make beats here and there, but now it's because I like doing it more than wanting to get 'em sold.

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"Where was the peace when we were getting shot? Where's the peace when we were getting laid out?
Where is the peace when we are in the back of ambulances? Where is the peace then?
They don't want to call for peace then.

i make 'em now.

here's one -

someone tell me how bad this is: http://seemenomore.net/images/sweeps.m4a

Happy 50th D’Angelo: https://chrisp.bandcamp.com/track/d-50

http://djbooth.net/news/entry/2016-06-16-justice-league-chance-the-rapper-pay-producers

You stay classy okayplayer!!