Nah he any no alt right cac, he’s clearly promoting the white supremacy hand gesture
Lyor Cohen on The Breakfast Club: Talks Migos Issues with 300 Ent, Kanye West + more!
- Thread starter Deltron
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Nah he any no alt right cac, he’s clearly promoting the white supremacy hand gesture
The Devil's Advocate
Call me Dad
now that was funny.. shook the man's hand on a deal, then showed up to an awards show with cash money tees onDrake curved the shyt out of Lyor....
what idiot believed drake wasn't already signed though... fukking dummy... everyone saw through that "bidding war"
Black people keep falling for this neo-liberal "hustle hard" false narrative of business and capitalism. What separates many like Lyor from others isn't "working hard"; it's connections. Black people taking ownership outside of status quo threatens livelihoods.
Just had a dig and they're saying that white power sign he's throwing is a sign for his record label
YouTube's Lyor Cohen Responds to Viral Kanye Photo
300 2 year anniversary
https://media.gettyimages.com/photo...he-cake-we-want-picture-id609468142?s=612x612
Not
as I can't stand the twat.
YouTube's Lyor Cohen Responds to Viral Kanye Photo
300 2 year anniversary
https://media.gettyimages.com/photo...he-cake-we-want-picture-id609468142?s=612x612
Not
as I can't stand the twat.
panopticon
Superstar
Lyor has one of those 60s-70s wealthy hippie quasi-revolutionary backgrounds.
Born in the US, but spent years on a kibbutz in Israel before moving back to LA.
His parents were liberal idealist Jews. The types that believed it was possible to coexist peacefully with Palestinians, didn't take the religion too seriously, avoided IDF service at all costs, etc. These types were very uncomfortable with capitalism - they were usually closet Marxists, if not outright Communists (even though they were usually wealthy...I know, it makes no sense, but nothing from the 60s makes much sense). Not too many of them left these days, but they existed back then.
Father was a child psychiatrist, mother was an heiress, hippie & huge supporter of the arts.
His older brother taught math & shop class at an all-black public school in South Central in the 70s. He was one of those idealistic liberal Jewish kids from a wealthy family. Very common at the time. That's how Lyor got introduced to black music - his brother would support his students by going to their weekend basketball games, and they'd always have live music from local artists at halftime. Lyor tagged along.
On the one hand, I'm like clearly this dude has a real appreciation and affection for black music. But on the other hand, so many black artists have called him out for being a fukking snake...
I always wonder if what makes him so polarizing is that his background makes it tough for artists to discern his intentions compared to the intentions of other white/Jewish executives. The artists see someone who seems to actually give a shyt and understand what they do - rare for record execs - and they have all sorts of interesting conversations and interactions with him. They develop a genuine relationship, and start to see him as being "on their side." But then, he turns around and snakes them the way any other record exec would - and the artists aren't prepared for it at all because their previously established relationship led them to put their trust in him. Whereas with the standard record exec, artists (if they're well-advised!) have their guard up at all times - they know they're dealing with a snake off rip, and that their value to that exec only goes as far as their ability to move units.
Born in the US, but spent years on a kibbutz in Israel before moving back to LA.
His parents were liberal idealist Jews. The types that believed it was possible to coexist peacefully with Palestinians, didn't take the religion too seriously, avoided IDF service at all costs, etc. These types were very uncomfortable with capitalism - they were usually closet Marxists, if not outright Communists (even though they were usually wealthy...I know, it makes no sense, but nothing from the 60s makes much sense). Not too many of them left these days, but they existed back then.
Father was a child psychiatrist, mother was an heiress, hippie & huge supporter of the arts.
His older brother taught math & shop class at an all-black public school in South Central in the 70s. He was one of those idealistic liberal Jewish kids from a wealthy family. Very common at the time. That's how Lyor got introduced to black music - his brother would support his students by going to their weekend basketball games, and they'd always have live music from local artists at halftime. Lyor tagged along.
On the one hand, I'm like clearly this dude has a real appreciation and affection for black music. But on the other hand, so many black artists have called him out for being a fukking snake...
I always wonder if what makes him so polarizing is that his background makes it tough for artists to discern his intentions compared to the intentions of other white/Jewish executives. The artists see someone who seems to actually give a shyt and understand what they do - rare for record execs - and they have all sorts of interesting conversations and interactions with him. They develop a genuine relationship, and start to see him as being "on their side." But then, he turns around and snakes them the way any other record exec would - and the artists aren't prepared for it at all because their previously established relationship led them to put their trust in him. Whereas with the standard record exec, artists (if they're well-advised!) have their guard up at all times - they know they're dealing with a snake off rip, and that their value to that exec only goes as far as their ability to move units.
The Devil's Advocate
Call me Dad
and you get connections and rep and power by bending those to your will.. if lyor made 50% less for def jam but artists had better deals, you know where he'd be??? fired.. cause that's not his fukking job.. doing his job amazingly is what built the connections.. not giving away money that you didn't have to.. just imagine jay-z leaves the roc, goes to Epic, and when asked, Lyor says "Look guys... I was gonna try and get Jay-Z to stay with us. But I felt Dame Dash would feel it was a snake move, so we lost out on all that." fired
i never said hustle hard is the answer.. i said you gonna have to be cut throat in the corporate world, cause your best damn friend wants your title and your paycheck... it's different up in the offices with the suits.. they ain't hearing shyt. "bring me the numbers please and explain why yours ain't high as his"
Also, it's disingenuous to blame current state of hip hop on artists not seeking mentorship. Similar to past minstrel shows, rap's core demographic (white society) gravitates towards black artists who play up black stereotypes and caricatures.
Why doesn't he ever mention the role (white) demand plays?
Why doesn't he ever mention the role (white) demand plays?
Then why is corporate world overwhelmingly represented at the top by 1 demographic? That constantly gets 2nd, 3rd and 4th chances after failing? Most people at the top were born into or close to connections that they downplay to make themselves look better and promote the illusion of inclusion.
Instead of building our own institutions, black people chase "a seat at the table," get exploited along the way, then internalize failure despite fact that it was setup that way.
AnotherRoute
Just another post by
The music business always finds away to fukk the artist over the 360 is some real pimp shyt: Artist started becoming to savy finding ways to make money.
What he say about Rich the Kid..
..."he's gonna have a hard time"...
..."he's gonna have a hard time"...
The Devil's Advocate
Call me Dad
because of centuries of racism... breh i'm not far off from what you're saying. i'm actually on point with what you're saying.. we're just speaking on two different things
let me put it like this.. if jay, puff, dre, etc, whoever you want to name, started up their 150% indy labels tomorrow... all black employees.. all black artists... the black bosses would still instruct the black employees to put the company's interests first, make the most money possible off these artists, and watch your back, cause you'll be replaced if someone does it better..
that's the nature of the game. if you bringing in 10% off all your artists and i'm bringing in 50% off mine plus their publishing, guess who's going to be fast tracked to the top of that black company? me? i'm the one bringing in all the money.. while you making friends and bettering artists, that's not your JOB. white people do it to white people every day too..
think jerry maguire.. if you want to have a business where you actually HELP the artist, realize it's gonna HURT your bottom line. corporations don't want to hear that shyt... nike, apple, disney will cut your ass in second... make them 5 billion and then fukk up... bye bye
the only time you see a system where profit ain't the answer, is usually passion projects and the owner/boss/financier better be on board with that ahead of time. i been working corporate jobs for over 15 years now.. i've seen the WORST over a new job title
That's why I'll always have supreme respect for Master P and what he did.
I'm speaking in regards to how white society does business with black people, where textbook business motivations (profit motive) aren't the only motivators . Collectively, American white society (not necessarily every individual white person) measures its success by their tangible wealth as well as their level of success relative to black people. Hence studies showing companies passing on black applicants with the exact same credentials as white counterparts.
If the sole focus was profit, why would they be doing that? Because it hurts their wealth in the form of the psychological ego boost from white supremacy. My point is guys like Lyor feel threatened when black people generate wealth independently.