detroitwalt
Superstar
It's rag, as in rag top.
Daily Office Life At Death Row (UPDATED With More General Fukkery)
- Thread starter Jerz-2
- Start date
BruhI keep thinking of all these hilarious scenarios.
Imagine the non affiliated employees having to walk around with kool aid rubbed on their lips.
hanging up sheets on their office doors
dudes lifting weights in the breakroom
You try to file a complaint with HR and he slaps the shyt out of you for being a snitch.
Having a ridiculously high office supply bill because all the office supplies keep getting turned into weapons
eazy-e was cool with Orlando he even shouts out Southside on a song that's where orlando was from.. Orlando was the guy they jumped in vegas.
Cheech&Chong
rip chinx
Reminds of that thread about the dude saying he would never hit the club with ex-convicts again
Not to defend Suge...
But @Stuntone is Right!!!
What SUGE was doing was grundbreaking he was the first black music mogul to own his own masters and have sovereign control over his imprint...
You couldnt say the same about Russell and Def Jam whom by this time had already been hijacked by the corporate bosses at Polygram
Suge was really doing the indy thing long before Master P and Birdman took flight no pun intended
So in reality he had NO BLUEPRINT to follow...
Because no black men had the kind of leverage Suge had....not even BERRY GORDY!!
even his own mentor dikk Griffey whom founded Solar (soul train) records with Don Cornelius was envious at what Suge was ale to accomplish
I know you said Griffey may have been jealous, but according to him on the old Welcome To Death Row documentary, Death Row got a "regular ol'" P&D deal with Interscope even tho they wanted to own their masters & all. Dont know if theres any validity to it tho.
I just wonder HOW Suge was able to get that power you speak of. Or P. Or Birdman. I somewhat know of Suges history and only a little of P & Baby. But what them not also get hijacked by the corps like Russell for example? Or give them that much money & push vs anybody else?
Like from my understanding, Cash Money pretty much was Universals version of a trendy market & label - No Limit. And i know P was almost a B-ball star, had family that owned record stores (and i think Baby/Slim family owned businesses prior too) & such. Reason i bring these things up is i wonder if any of that relates to the power they got.
Cant just be "well they did a great deal". Cuz thats all relative. And everybody doesnt just get offered "great deals", especially in the entertainment biz.
Cash Money was doing 60k-250K independent with basically no videos...
jilla82
Superstar
thats really only because Suge fit the mold of what the record industry had been up to that point.
A bunch of corporate types run around by gangsters.
Suge was just the black version of what was going on prior to the internet era.
The label has had several distributors simultaneously. Early Ruthless releases were distributed by Macola Records (including certain material from JJ Fad which was made prior to the completion of the Supersonic album, which were at first released on Ruthless' short-lived Dream Team Records subsidiary), but that deal was short-lived and the rights reverted to Ruthless. All of N.W.A's releases and Eazy-E's first two solo albums on Ruthless Records were distributed by Priority Records, and the rights to these releases are now held by Priority's new owner, Capitol Records. Releases by The D.O.C, Michel'le, Yomo & Maulkie and JJ Fad were marketed through Atlantic Records or its subsidiary Atco Records. These master rights are still held by Atlantic's parent company, Warner Music Group,
GnauzBookOfRhymes
Superstar
Applicant:
WTF? That doesn't even look like it would be fatal.
GnauzBookOfRhymes
Superstar
SUCCESS IS WHEN OPPORTUNITY MEETS PREPARATION!
As far as the rest of what you said I agree. Unfortunately it's one of those situations where the reputation fuels the success and Suge probably felt boxed in by his previous gang ties.
Think about it this way. If your business model is taking artists out of shytty situations (contracts or otherwise) then you can't lose the reputation of being a crazy mfer willing to do whatever it takes (like hanging people off balconies). And if your brand (Death Row) is based on the fusion of hardcore gangsta rap music with a real life connection to the streets, then how do you ensure you don't lose one without maintaining the other? Not to mention that the ties to the streets most likely preceded the formation of Death Row.