New York, NY (October 31, 2007) – While it was once all about Courvoisier, Diddy is hoping by New Years Eve that you’ll be screaming, “Pass the Ciroc.”  Adding to his long list of entrepreneurial and managerial moves, Diddy announced last week a deal with Ciroc Vodka and parent company Diageo that will make him the Brand Manager of the premium vodka.

The deal gives the Bad Boy CEO total control of any brand-management decisions that take place, including, but not limited to, marketing, advertising, public relations, product placement and events.  While no one really elaborated on the matter, as it stands, Father Puff will receive a reported 50% of any profits made after his arrival.  It’s a staggering figure, and with his past success in the music, fashion, fragrance and TV, it’s sure to up the value of his new product. 

Neil Cavuto of Fox News talked with Diddy last week about the deal.  With his news coming on the heels of 50 Cent’s supposed $400 million haul for Vitamin Water, we’re seeing a level of entrepreneurship that is giving hip hop a new identity.  While artists in other genres are surely co-branding and pitching products with their namesake, it’s hip hop artists who’ve aggressively embraced the spirit of “go-for-self” and continue to expand their interests beyond music for their own financial gain.  Perhaps hip hop’s hunger for more speaks to the nature of how hip hop itself was born – an oppressed cross-section of urban America looking for something new, formed from within while not taking much of anything from the outside. 

Good for Diddy, good for hip hop.  Too bad I don’t drink vodka.  For the rest of the article at Ad Age, go here.

Also, check out Neil Cavuto’s interview with 50 Cent here.  He alludes to seemingly any given rapper’s desire to move ahead and expand beyond music.  Pretty good interview, whether you like Cavuto or not.

New York, NY (October 29, 2007) – Last week, I linked an article that argued record labels, while an aging and faceless monster, would always remain relevant to an artist’s mainstream success.  The dominating theme in the article was money.  Recouping capital lost from file sharing and illegal downloads, the article said, has become a top priority for label execs, and for good reason – for a long time, that’s how they got rich.  The artist got paid from touring and labels made a killing off the sale of physical product and royalties. 

But times have changed.  And while ringtones have proven to be a life raft in a sea of sagging album sales, it’s unclear how long catchy hooks can stave off a complete collapse under the industry’s current business model.  In recognizing that, the industry’s top players have literally been forced to find other means of making money.  I say forced because the process can be likened to the only explanation for changing a perfectly functioning, greasy tire – necessity.  It’s dirty, it’s expensive, you have to make sure the air pressure (read: inflated value) is correct, you could get run over in the process by other moving cars (ahem, other labels) and, even then, who’s to say the rest of the car wasn’t damaged pulling off the road?  Necessity is the only reason that makes sense.

Two real strategies have emerged.  The first has labels, as part of an artist signing their deal, attempting to take a cut from said artists’ tours.  It’s an unpopular idea, and it’d be hard to imagine that becoming standard practice.  But barring a revolutionary idea, the only other real, viable alternative has been co-branding an artist with a particular product.  And it’s nothing new, really.  This article, written in 1998, talks about how co-branding became an option for labels, but also addresses the point that artists can often be seen as sell-outs if they attach themselves to a particular product.  The ironic thing is, in today’s market, it’s almost a what?  You guessed it – a necessity.  But the labels can still get rich, so who cares, right?  Redundancy wins again.  Again.

Well, using an artists’ songs, image and likeness, and perhaps even putting them on a publicity tour, can certainly allow a company to gain a new audience for their product and enhance a given brand by association.  It’s a very cerebral, psychological approach.  However, Advertising Age posted a great article today about how co-branding can actually work AGAINST the product.  While the exposure and publishing rights are great looks for the label, such star-power can often overshadow the very product said artist has been brought in to sell!  Case in point, the new Bob Dylan commercials for Cadillac’s Escalade.  Here’s an excerpt from Brian Steinberg’s article, “The Times Are A-Changin’ for Musicians and Marketers.”

…”Madison Avenue is suffering from an Attack of the Rock Stars.

It’s no secret that narrower radio playlists and the rise of iTunes have pushed record labels and music publishers toward commercials as a means of getting bands and music out to the public. Usually, tunes and celebrities are welcome as a means to entice consumers who can eagerly zap past ads with a digital video recorder. But the goals of the music men often don’t coincide with a marketer’s specific mission.

"Listen, it’s sensitive business," said Peter Greco, senior VP-executive music producer at WPP Group’s Y&R Advertising. "They are using our media dollars to gain exposure"…

For the rest of the article, click here.

New York, NY (October 29, 2007) – With all the hype surrounding the release of “American Gangster” this Friday, November 2, and Jay-Z’s “unofficial soundtrack” dropping next Tuesday (unless you’ve heard the leaks, that is – sigh), I wanted to compile some of the better news items I’ve come across as they relate to both the movie and the music. 

Shout out to RealTalkNY, that phone interview is by far one of the most intelligent and coherent productions I’ve heard in a long time.  The questions were concise, asked what everyone wanted to know, and to Jay’s credit, he was on point and didn’t pussyfoot around anything.  Shout out to Matt Lauer at NBC too, he did some great interviews with Russell Crowe and Denzel Washington about the movie. 

Click the links below to get in the mood for “American Gangster.”

Breakfast With The Real American Gangster

Official “American Gangster” Trailer

RealTalk NY Phone Conference Interview – Jay-Z & "American Gangster," The Album

Jay-Z and MTV Q&A – "American Gangster" Tour

Music: “Success” ft. Nas

Jay-Z on Why He Made The Album

Scene Excerpt from “American Gangster”

Russell Crowe and Denzel Washington on Acting Together

Russell Crowe Talks with Matt Lauer

Denzel Washington Talks with Matt Lauer

New York, NY (October 28, 2007) – Once again, Sunday in NYC, it’s only appropriate to keep eyes and ears open for the newest new shit, exclusive.  The homie Alex at Nothing But Everything hooked it up again, and Lil Wayne, well, he makes news on his own. 

Check the links below for pics, video and the lowdown on why Weezy is being sued.

Nike Blazers and Jordan SB Custom Kicks

Rocksmith Fall ’07 Collection – Video

Lil Wayne Sued by Jeweler for Unpaid Bill

New York, NY (October 25, 2007) – On a rainy, October night, with no Bronx baseball to illuminate the skies, Jay-Z and VH1 shifted the city’s focus to Brooklyn, where fans got an exclusive sneak-peak at his upcoming album, “American Gangster.”

Backed by a live band, Jigga took listeners through a good portion of the album, stopping along the way to explain certain elements of each song, wanting the crowd to understand the hustler state of mind.  The movie version of "American Gangster" chronicles the rise and fall of notorious Harlem drug lord Frank Lucas.  As most are aware, Jay-Z was inspired to write and record this album after viewing the film. 

"VH1 Storytellers" is a reality series where music’s biggest artists get the chance to talk with fans about their songs.  Past guests have included Bruce Springsteen, Dave Matthews Band, Billy Joel and Rod Stewart, to name a few.  For direct Jay-Z quotes and more on VH1’s Storytellers: Jay-Z As An American Gangster, click here.

“VH1 Storytellers: Jay-Z: Life of an American Gangster” debuts November 8th on VH1.

Jay-Z’s “American Gangster” hits stores on November 6th.

“American Gangster” starring Russell Crowe and Denzel Washington opens in theaters across the country November 2nd.

New York, NY (October 25, 2007) – With sales of Nintendo’s Wii outpacing the PS3 nearly 3 to 1 in Japan, Sony announced plans for the Playstation Network.  Through software and device integration, the PS3 would essentially become a hub for communicating with other Sony products. 

According to the authors of the article, “expanding the network to offer downloadable entertainment such as films and television episodes would also (allow the PS3 to) compete more directly with Microsoft’s rival Xbox Live service.”

It’s almost humorous to think that when MySpace launched, people were laughing at the social network idea.  But as MySpace and Facebook are bringing people together, now we can chuckle at devices in our home being linked together.  SkyNet anyone?

“We are building a software infrastructure to distribute video and music, more particularly video, through the PlayStation Network,” said Sir Howard Stringer, Sony chief executive, during an interview in Moscow. “That is a Japanese and American combined effort to build a platform around a common software architecture to distribute video via the PlayStation network into the [PSP handhelds] and beyond.”

For details on capabilities and when PS3 Nation can expect the network, click here.

New York, NY (October 24, 2007) – In a move designed to encourage legal music downloading, Amazon.com is offering bloggers a higher percentage cut of MP3 sales if they become part of the Amazon.com Associates Program.

Originally set at a 10%, bloggers that feature the Amazon.com product window on their site can earn up to 20% of each sale through the end of 2007.  This announcement comes on the heels of iTunes.com cutting their download price from $1.29 to $0.99.  With competition heating up between digital retailers, that can only mean good things for the consumer.

For further details and analysis, check out the rest of Jon Fortt’s article here.

this is a test by rich

New York, NY (October 22, 2007) – This surfaced late last week, but I wanted ya’ll to see it today, because items tend to get buried during the weekend.

Joe Budden sat down with DJ Kay Slay and chopped it up for a minute on a grip of topics.  Peep the loosies, as well:  BET Performance videos from Weezy, Yeezy and Nelly, along with the audio cipher joints.  Joell Ortiz is a beast.

The link comes from one of the dopest spots on the web.  Shout out to Gotty and the whole crew at The Smoking Section.  Vibe Magazine recently named TSS #13 on their "Vibe Dirty 30," a list of the best spots to find music on the net. 

Check out the Joe Budden post here.

New York, NY (October 22, 2007) – Since Napster flipped the record industry on its collective head in the late 90’s, the Big Four have been looking for ways to remedy the gloomy downward trend of CD sales.  But as it turns out, even in the wake of file-sharing and illegal downloads, they may not have to re-invent the wheel to find success again.

These two articles present cases as to why record labels are still often (but not always) essential to a band or artist’s success.  The main idea is that artists need to stick with what they’re good at – making music – and not worry about the semantics of how to put out their music – traditionally the label’s job, but more recently being taken into the artists’ own hands.  While it might feel good to connect with the fans directly, the authors write, record labels are still experts at marketing, promotion, distribution, orchestrating tours and, oh yeah, funding the whole operation.  Regardless of the way they are viewed, the middleman does serve a purpose.

I think if the labels were smart, one of their main objectives should be to compartmentalize the way they do things.  Instead of outsourcing to digital media companies, it might make more sense to cultivate those skills in-house and become experts instead of paying out for it – digital PR, event marketing agency, graphic design firm, etc.  In that way, THEY eliminate the middle man and can exert direct creative control with a streamlined, synchronous vision.  A second idea would be to explore co-branding.  In an age where everything can be bought and sold, new strategies might do better co-branding of artists with products and outlets relevant to their consumer base. 

The record label’s role will always be to provide support for their artists in exchange for money-in-the-bank potential, but the way fans consume music in the digital age is no longer a financial slam-dunk for the CD-minded CEO’s out there.  In the music industry’s search to revolutionize and fix the money-making scheme, perhaps the BEST answer rests in the very reason it found a purpose in the first place – the artist.  Invest in the artist and you invest in their fans.  Go small to think big.  Figure out ways to stimulate that fan-base and the money will flow.  The Internet has allowed small fish to compete with the big fish with free access to the music, but that smaller global concept might be the place to start for these big companies. 

New School + Old School = True School.  It’s a risk and it’s counter-intuitive.  But what have they got to lose?  Besides more money, that is.  Time will tell.

Read – Are Record Labels Dead?

Read – Is Radiohead’s Move Revolutionary?

New York, NY (October 21, 2007) – Sunday in the city, seems only right we get into a little urban fashion.  Both these links come from Nothing But Everything, an up-and-coming blog that does a lot of mainstream hip hop/urban music news, but also consistently pulls in other, more obscure items of interest.  Definitely has it’s own flavor, both in opinions and choice of content.  Check it out here.

This first bit is a short item about Complex magazine, Marc Ecko’s lifestyle publication.  Complex is opening a flagship store in New York City, located up-stairs from the Training Camp store on 6th Ave and 41st St.  Inside, you’ll find all the gear and cool shit from the magazine.  However, if you want on the waiting list (yes, the waiting list) to get in, you’ll have to go here and register.  Ecko is so ill.

The second link deals with popular Japanese designer Hiroshi Fujiwara, who, on the world stage, is most lauded for his influence in Japan’s Harajuku district.  He was recently interviewed by Portfolio magazine for a piece on Nigo, “founder, president and designer” of Bape and took a swipe at his old friend’s rapidly expanding brand.  Reading the article, Fujiwara’s comments almost ring of jealousy, but they could be motivated strictly from a purist’s point of view.  Go directly to the full Portfolio article here and decide for yourself.

New York, NY (October 20, 2007) – After being supplanted by Keyshia Cole last week, Kanyeezy found his way back to the top of the Billboard R&B/Hip-Hop chart this week, pushing the platinum total for "Graduation" to almost 1.5 million units.

Shout out to Yo! Raps Magazine for the link.  More from the author, John Public:

“As mentioned in the headline, Jennifer Lopez “Brave”-ly debuted this week, dropping in at No. 12. Moving a modest 52,600 units, it’s a decent opening for Mark Anthony’s wifey.  “Brave” features a guest appearance by Ludacris, who assists on her single “Do It Well.”  To me it’s a banger, and it’s slowly climbing up the singles charts, but it’s yet to see any heavy rotation.

Everyone’s favorite Soulja Boy dropped down to No. 15 on the Billboard 200 this week after debuting at No. 4. The lil’ homie with the big glasses/dance moved 42,400 copies of Souljaboytellem.com, bumping up his overall numbers to 159,800.  With his second single, “Souljah Girl” looming, you might see that number increase.  In digital single sales, SB has already crested the one million mark with “Crank That (Souljah Boy)” and his ringtone sales are set to rocket past the 2 million mark this week.”

Get over to Yo! Raps and check it out, they’re making some good moves.  The site has a sharp look, diggin the colors, too.  For the complete synopsis, click here.

New York, NY (October 20, 2007) – This list of winners is now a week old, but it’s worth mentioning because it doesn’t seem to be getting a lot of burn in the media. 

Good looks on Common for Lyricist of The Year.  While some of his older catalog might trump “Finding Forever,” it’s definitely an accomplishment to score a nod over Jay-Z, regardless of what people thought of “Kingdom Come.”  And shout out to Timbo.  Duke has absolutely owned radio this year with Timberlake and Furtado.

Didn’t see “Stomp The Yard” but the entertainment factor must have been high to get over on “Smokin’ Aces.”  And while I can appreciate all the girls that chanted along with it, how does “Party Like A Rockstar” win Track of The Year over “Big Things Poppin’ (Do It)” and the latter gets the win over the former for Ringtone of the Year?  T.I. should have taken the W in both of those.  Good to see Khaled get recognized, though.  Props, homie.

Check out the rest of the 2007 BET Hip-Hop Awards Winners here.

Rye, NY (October 19, 2007) – Joe Torre, manager of the New York Yankees for the past 12 seasons, held a press conference today in Rye, NY to formally say goodbye to his old team and city.  He spoke for a few minutes at the beginning and spent roughly an hour answering the questions swirling around his departure in the familiar, even, thoughtful tone that Yankee fans have come to know by heart.

On Thursday, Torre was offered a one-year guaranteed deal worth $5 million dollars, with a club-option for the 2nd year.  Performance bonuses that numbered $1 million dollars were guaranteed for each round of the playoffs his team reached in the 2008 season, giving Torre the possibility of earning $8 million dollars.  His base salary in 2009 would have matched 2008’s total should the Yankees have chosen to exercise that 2nd-year option.

Torre had weathered the maelstrom of uncertainty Yankees principle owner George Steinbrenner levied for 11 years, but this time, the straw that broke the camel’s back was when President Randy Levine pointed out the bonuses were meant to be incentives to win.  With 12 straight post-season appearances and over 1,100 wins during his tenure, Torre looked at that statement, and the guaranteed one-year, as “an insult.”

"I just felt the contract offer, the terms of the contract, were probably the thing I had the toughest time with,” he said.  “The one-year for one thing, the incentives for another thing.  I’ve been there 12 years and I didn’t think motivation was needed."

Pinpointing just where the Yankees look like class-less idiots here is like trying to figure out where Britney went wrong.  They have an owner that’s breaking down mentally, sons that were not even interested in running the organization until it became clear their father was not going to be capable to much longer, a president that’s power-hungry and presumably a lame-duck GM with little to no voice.  Stringing Torre along for 10 days after they were eliminated from the playoffs was an added embarrassment to his legacy, and offering him a contract they knew he wouldn’t accept showed how shrewd the Yankee business model has become in dealing with their personnel.  Torre said it himself – it was never about the money.  It was about respect and commitment, two pillars that he built he’s teams on, and the Yankees showed him none of that. 

You can not expect to win the World Series every year and it’s unfathomable that the Yankees would excuse a manager of Torre’s caliber in his prime with so much riding on this off-season – young arms, young players, the looming final year in Yankee Stadium, free agents and the confusion about who is actually running the organization.  God help the person who tries to right this ship.  The only rational voice left won’t even comment on when he’d feel comfortable setting foot in Yankee stadium again.

Joe went out with his pride intact, the Yankees have no idea who’s in power and instead of a favorite player’s number on a jersey, Yankee fans are left with nothing but a pin-stripped question mark.  Unbelievable.

For full details of the press conference, check out this link.

For additional commentary, check out this piece Buster Olney of ESPN.com wrote a few days ago.

New York, NY (October 19, 2007) – Loud.com announced today a massive producer update, introducing new beats from Sha Money XL, Cool & Dre, The Ghostwriters, Teflon, C-Note and Strings & Keys, Midi Mafia and SPKilla.  Each producer page will feature five new tracks, available for immediate download now.

As Week 1 of the final round gets set to begin Monday, October 22nd, 2007, emcees are encouraged to check out the new tracks and get busy.  At stake are the three remaining semi-final spots and a portion of $50,000 in prize money.  When those ten weeks are up and the last three semi-finalists are chosen, all nine semi-finalists will then do battle for the Grand Prize – a chance at $100,000 and a deal with SRC Records. 

“We can’t thank the Loud.com community enough for the energy we’re seeing,” Joe Safina, Loud.com’s chief executive, said.  “And to the producers involved, we are very thankful for their commitment to finding new talent.  Their expertise and willingness to be a part of this speaks volumes about their character.  These new beats are sure to add even more excitement to what’s been an incredible journey so far.”

For every emcee on the site that’s grinding hard to become hip hop’s Next Big Thing, though, the producers involved are also working on their own projects. 

“I’m currently in the studio with Nore,” SPKilla (http://www.myspace.com/spkelmaton) said.  “We are working on his big comeback album, "Global Warming,” set to be released sometime in 2008.  I’m also working with Pharell’s new artist Sergio Veneno.  He’s an English/Latin Rapper that was recently signed to StarTrak/ Interscope.  I’m also working with my artist Big Mato on his debut album "Lo Real.”  He’s currently a free agent and we are looking to land his project on the right label.  I’m producing 80% of that album and it will feature a line up of big names in the game now.”

Sha Money XL and his Money Management Group are involved with several artists at the moment, namely Gorilla Zoe, Lloyd Banks, Attitude, The Outlawz and the much-anticipated Hi-Tek LP.  Sha is also gearing up for his annual producer conference in November.  It will be held out in Arizona, check his website for more details (http://www.moneymanagementxl.com/).

C-Note and Strings & Keys are currently working closely with a youth organization to develop tracks for children to rap and sing over.  Various label projects are also in development.

Always busy, Tha Otherz have been in the studio recently with Rick Ross, Omarion, Bow Wow, Keke Wyatt, Trick Daddy, Lil Jon, Petey Pablo, Smilez & Southstar, Lil MaMa and Trina. In addition, the production crew just signed on to start scoring films for various entertainment companies (encompasses television, commercials and movies).  Check them out on the web – http://www.myspace.com/thaotherz.

Also onto some good things are The Ghostwriters.  They recently did some heavy work on Keyshia Cole’s new album, “Just Like You,” which debuted #1 on the Billboard R&B/Hip-hop charts in it’s first week.  They produced “Heaven Sent,” a stand-out track from most critics and likely a third or fourth single.  They also have the second single for Ky-mani Marley’s new album, “Radio,” which debuted #1 it’s first week on Billboard’s Reggae Album chart.  “The March” is also considered a critical stand-out track.  Upcoming albums from Chingy, Ludacris, Usher and Shareefa will feature The Ghostwriters’ production.  Each is scheduled to drop in November/December/early 2008.  Friend them on MySpace – http://www.myspace.com/theghostwriterspromo.

Cool & Dre might be the busiest, however.  They are currently in the studio with B.G., Birdman, Busta Rhymes, Chingy, DJ Khaled, Juvenile, Lil Mama, Lil Wayne, Mariah Carey, Rick Ross, The Game, Trick Daddy, Usher and Yung Joc.  Their imprint, Epidemic Music Inc., is getting ready to launch their new talent, Joe Hound, under a deal with Imperial Records/Skeleton Key Entertainment.  Joe Hound’s “Misery Loves Company” is set for release in January ‘08. www.myspace.com/joehound, www.myspace.com/joehound305 and www.joehound.com.

Cool & Dre also have a deal with Polo Grounds Music/J Records to release their recording artist C-Ride’s album through their imprint Epidemic Music Inc. www.myspace.com/cride0.  Also, check out Cool & Dre’s new clothing line Dirty Royalty: www.dirtyroyalty.com and www.myspace.com/dirtyroyaltyclothing.  And not to be forgotten, give a look at Cool & Dre’s restaurant, called 510 Ocean: www.fivetenocean.com.  

###

LOUD.COM is an online competition, open to all registered users.  Loud.com offers users the ability to download professional beats from Hip Hop’s hottest producers for just $0.99, use a unique on-line recording tool to overlay raps over the tracks, have the songs judged by SRC Records A&R’s and celebrity producers and compete for $100,000 and a record deal with SRC Records, home of multi Platinum, Grammy Awarding winning artist such as Akon and David Banner.  LOUD producers have made hits for The Notorious B.I.G., 50 Cent, The Game, Jim Jones, Lil Jon, Rick Ross, Talib Kweli, Mary J. Blige, Kanye West, Busta Rhymes and many more.

Log on to LOUD.COM now!  For more details, you can also send an email to – info@loud.com.

New York, NY (October 19, 2007) – Amidst reports that Def Jam balked at releasing his new album “Nigger” because of it’s title, Nas sat down with MTV News in a Manhattan studio this week and openly discussed the controversy for the first time. The album, due to hit stores December 11, will come on the heels of a November 6 release of his Greatest Hits record.

"This ‘Nigger’ album is bigger than an album,” he said.  “This is for my daughter, when she looks back and sees all the chump n—as in the game, she’ll say, ‘My pops was a man.’  When I have more kids, they’ll say, ‘He was a man.’  That will inspire them to be real in their life.  Some people say I’m conscious, some say I’m a gangsta rapper – it’s just me doing me. I’m stomping in my own lane. I’m doing what I do."

What makes this release even more intriguing, however, is the timing.  In the article, Nas goes on to suggest he wants to make records that reflect the times, and he’ll certainly have that opportunity.  From the Jena 6 case, to the noose-hanging incident at Columbia University, to a Nobel-winning biologist asserting blacks are “genetically inferior, America has seen it’s fair share of racial incidents this year.  An album using a historically racist epithet for a title seems almost fitting, then.

But as both a hip hop head and unbiased observer, the album needs to live up to the title.  Race is always a touchy subject, and to make an impact on anything, often times you have to push and break taboos.  The dicey part is that too many times, artists will develop a good idea or concept or title and simply can’t execute it.  If Nas is going to call his album that, he had better make sure the music is relevant to the title.  Meaning: it better reflect the times, the heart and soul of the man speaking and aware of all the baggage associated with the word.  As a fan of his music, of course I want some shit that’s visceral, with some official boom-bap on the beats.  But in the firestorm surrounding this album and its title, he’s going to have to be even more on point than he’s probably ever been.

In the interview, MTV cited a Fox News report that quoted Jesse Jackson admonishing “Nas for using the N-word as his LP’s name.”  The rapper’s reply to Jackson’s sentiment was very much to the point (thankfully) and perhaps the opinion of a new generation of activist.

"I’m a street disciple," Nas responded, quoting one of his earlier album titles. "I’m talking to the streets. Stay out of our business. You ain’t got no business worrying about what the word ‘nigger’ is or acting like you know what my album is about without talking to me. Whether you (are) in the NAACP or you (are) Jesse Jackson, I respect all of them … I just want them to know: Never fall victim to Fox. Never fall victim to the sh– they do. What they do is try to hurry up and get you on the phone and try to get you to talk about something you might not know about yet.

"If Cornell West was making an album called Nigger, they would know he’s got something intellectual to say," Nas continued. "To think I’m gonna say something that’s not intellectual is calling me a nigger, and to be called a nigger by Jesse Jackson and the NAACP is counterproductive, counter-revolutionary."

Read the rest of the story, written by Shaheem Reid, at this link –
http://www.mtv.com/news/articles/1572287/20071018/nas.jhtml?rsspartner=rssMozilla

New York, NY (October 18, 2007) – Loud.com announced the second group of semi-finalists in their $100,000 on-line rap competition today.  With six of the nine semi-final spots now filled, the next ten weeks will be the final opportunity members have this year to earn a chance at the money and a deal from SRC Records.

Grabbing first place and $25,000 for his efforts, North Cak emcee Drop won over the judges with a smooth, charismatic flow and an impressive following on the site.  Coming in second and earning $15,000 was South Carolina’s Dirty Rap.  Hailing from the Boston-area and taking the $10,000 third place prize was The Franchise King.  All three noted that they maximized the interactive features on Loud.com and used other outside web sources to increase their exposure.

“I had mad people helping me out this time around,” Franchise said.  “I won a round in the first ten weeks but didn’t get picked.  This time, though, we pounded the site even harder and it worked out.  To be here, you have to love the culture first, with the music as an extension of that.  But you also need to realize it’s a job, too.  If somebody asked you if you wanted to get paid to write raps, what would you say, you know?  This is how it happens.”

The Loud.com and SRC Records A&R Department review all submissions, and music from the narrowed pool of weekly winners goes through SRC’s top brass before a decision is made.  Coupled with the payout of $50,000 for each semi-final round (in addition to the grand-prize winner’s $100,000 purse), the entire process speaks to the level of commitment put forward from everyone involved with the site, be it the high-profile producers, the execs in the building, or the unsigned emcees that make the site function.  Co-chairman of Loud.com and hip hop pioneer Steve Rifkind commended the contestants on their efforts.  As head of SRC Records, he will be the man guiding the career of the ultimate winner.

“We had some incredible submissions this round, and these are the top three that emerged,” Rifkind said.  “There was a lot of debate because the voting in-house was so close, and we’re happy about that.  It is a great example of commitment on both ends and, more important, it shows the direction Loud.com is moving.  This is a community-first site and we expect it to produce top-notch talent.  This is an exciting time for everyone.”

All three winners were featured in exclusive interviews on their respective hometown urban radio stations this past week.  The Franchise King was in-studio on WJMN JAM’N 94.5 in Boston at 3pm Monday, Dirty Rap visited KTTB Hot 103.9 in Columbia at 1pm Tuesday and Drop chopped it up on WQOK K97.5 in Raleigh at 12pm Wednesday.  Loud.com is currently featuring print interviews with the latest semi-finalists.

DROP
Hailing from North Carolina, Drop is almost a throwback to the rhymesayers that dominated the game during rap’s golden era – socially conscious, sick flow and in touch with the culture.  Drop fronts the FIF GANG, with FIF standing for F.irst I.n F.light (“because North Cak niggas was the first to be fly,” he says. “My passion speaks more than my lyrics. I got a song for every occasion and I’m making enough music to live eternally. I’m socially conscious.  I speak on poverty, police brutality, racism, single mothers, deadbeat fathers and lack of education (in our system).  When I speak, the world listens.”  Drop is associated with producers that have worked with Lil Wayne and Dipset, among others, and has a mixtape out right now, “Plead Da FIF Vol. 1,” available for sale. http://www.myspace.com/dropthugafella

DIRTY RAP
At 28, Dirty Rap is no hip hop spring chicken.  Splitting time between Arizona and South Carolina, he’s been around, having opened shows for Clipse, Juelz Santana, Ying Yang Twins, Devon the Dude, Twista, Paul Wall, Chamillionaire, Mack-10 and a host of others.  He’s put out three solo albums and four albums with his crew, the Gnac Boys (Yak Boys).  And he’s spoken to a lot of people.  But what’s interesting is his unorthodox approach and perspective in making music. It’s a mature and calculated process, yet at the same time very much in the moment.  Check out more of the “deep, aggressive voice and suitcase full of hope” here.

THE FRANCHISE KING
It’s pretty arrogant to call yourself The Franchise King.  But like The Game and King Tip before him, Sunny Shines is more than just swagger and flow.  Repping just outside Boston in Dover, NH, Franchise is quick to point out that to make the music he makes, you have to love hip hop first.  First piece of evidence – instead of a biography, he lists a set of rules (see “Commandments”) about how to go about your business.  He’s opened for KRS-1, has an upcoming show with Wordsmith and Rhymeswell and is getting set to drop on Boston stages this winter.  His crew’s mixtape “Everybody’s Listening Vol. 1” moved over 1,000 units independently, and Vol. 2 is on its way.  Get on-board at his MySpace.

LOUD.COM is an online competition, open to all registered users.  Loud.com offers users the ability to download professional beats from Hip Hop’s hottest producers for just .99 cents, use a unique on-line recording tool to overlay raps over the tracks, have the songs judged by celebrity producers and compete for $100,000 and a record deal with SRC Records, home of multi Platinum, Grammy Awarding winning artist such as Akon and David Banner.  LOUD producers have made hits for The Notorious B.I.G., 50 Cent, The Game, Jim Jones, Lil Jon, Rick Ross, Talib Kweli, Mary J. Blige, Kanye West, Busta Rhymes and many more. Log on to LOUD.COM now!

Information is available on-line at www.loud.com or e-mail - info@loud.com

Outspoken, confident and now $25,000 richer, Drop is an interesting cat.  A southern emcee with northern swagger, he’s almost a throwback to the rhymesayers that dominated the game during rap’s golden era – socially conscious, sick flow and in touch with the culture.  Many artists have a difficult time conveying the same emotion they can capture on song in regular conversation, but there were no such problems here.  Get down with Drop as he offers some insight on those political gems, what it’s like to lead a movement and who he had to copy in order to stand on his own two.  Beast!!

Loud.com:  So what’s right, man, what’s your status at the moment?

Man, the status right now is I’m a rapper that’s grinding hard as hell.  This is literally what I do to make money.  I’m young and I don’t have too many responsibilities other than making crack music and influencing the world with what I say and what I do.  I look at things from a larger perspective, like, if you want to be it, you have to live it.  With my lyrics and everything, I’m a role model, and at some point when you’re put in front of the camera, on the ringtones, on the web, you gotta do it right.  I’m on mixtapes, in the studio, out in the street, like, everything that a rapper does, I’m doin right now to become the greatest.  I actually just got fired from a blue-collar the other day because of it.

Loud.com:  Word?  Ha, I’ll come back to that in a bit.  I want to start off with your tracks… from what you just said and the way you rhyme, you sound like a pretty serious cat.  The schemes remind me a little bit of Jay-Z… who were you listening to you growing up?

Biggie.  The first CD I remember listening to, like that hardcore hip hop, was “Life After Death.”  Which is funny, because right after that, I went back to “Ready to Die.”  I’m originally from NC, but at five years old, I moved to NY.  I’m back in the south now, in Gastonia, The Gas House, holding it down.  I hear Soulja Boy and Weezy or whatever, but really my actual influences are closer to home.  This cat I know, Bambu, I heard him freestyling and basically said, ‘I want to be like that.’  You said it, though, Jay-Z definitely. Pac, Rakim; real hip hop music.  I like lyricists.  Nas and everyone of that caliber played into my whole repertoire.

Loud.com:  What’s the scene like in North Cak?

I mean it’s country, you know what I’m sayin?  Most towns and most countries got the hood and suburbs, but even here the suburbs is hood.  It’s one of those towns where you make it big, or do something influential, get into the spotlight, you can look back and say, ‘this is where I came from?  Damn’ type-of-thing.  I moved back from NY when I was 12, so I’ve spent most of my life here in NC.  It’s not that big, to be honest.  Gastonia is about 20 miles south of Charlotte, but nowhere near that size.  We’re small but we’re still happening, a lot going on down here. 

Loud.com:  How do you push your music in a smaller environment like that?

I take my music wherever I go, so I might be in Charlotte at the mall.  I give CD’s to people I chop it up with.  I move and keep it within my circle right now, though, so when it’s time for the world to hear it, I can blast it out with a good base of support from those that are tight with me.

Loud.com:  Tell me about the FIF Movement.

FIF Gang, bang, bang!  First in Flight, man, that’s what it means.  We’re the first to get fly.  But listen, I don’t want anyone to get it misconstrued – we’re not Bloods, we’re not Crips, we are a group of people that ride for the same cause – hip hop.  We’re a gang of dudes, a group of fellas that rep our city and our state.  It’s a movement.  There’s no discrimination on colors or anything, it ain’t no hate-based thing.  Before red and blue there was black, white, yellow and all that.  We’re like a plane and I’m in the cockpit flyin this thing.  If you wanna ride with us, buckle up.  We’ve got promoters, producers, graphic designers, singers, rappers, dancers; it’s a movement.  It encompasses hip hop.  You can’t just hop on a track to rap and expect something.  It’s not a movement if you’re just rapping.  I got cats in my production team working with Dipset right now.  Everyone is doing something for themselves that’s big and that contributes to the whole.  It’s extra crunk right now.

Loud.com:  What was growing up like for you?

I felt misunderstood.  The dream that I had, no one else saw it like I did.  I’m 20 right now, and you know, things that most people my age go through, that’s what I’ve seen.  We’re urban youth, and in that, you’re around drugs, violence… your environment makes you.  But I also had a spiritual background, so I know God provides for me.  I know as long as I keep that first, I’m good.

Loud.com:  What kind of effect did being misunderstood in your childhood have on your rhymes as a man?

Everything affects my music.  I rap from my own experiences and the experiences of those closest to me.  Being a part of their lives, I feel their pain, hurt and struggle.  The song, “Never Had My Daddy,” I did it on a Tupac beat.  I made the song for my niece.  Her father is not in her life.  She’s eight years old, and she goes through things I haven’t.  I make music for her and she can listen to it and feel unstoppable. 

Personally, I had my father in my life.  But the inspiration to do songs like that is all around me.  I make music to encourage people not to give up.  That’s the core of my music, to uplift my people.  Everybody is my people, the whole world.  That’s why I speak on the Jena 6 issue that went down.  I wasn’t necessarily in that situation, but it affected the world, so I need to speak on it and let them know how it affected me.  That was in Louisiana, but you can see its effect in Gastonia, North Carolina, feel me?

Loud.com:  Yeah, man, definitely.  That said, you do reference a lot of socio-political issues in your raps, sometimes as one-liners, sometimes as whole verses… Where did the desire to do that come from?

My mother watches a lot of news, a lot of CNN, you know.  I was always in the living room as a kid, and now, it’s like I try and hear at least one thing on current events.  I want to impact someone or some thing across the country, you know?  The interest came from years of watching the news, I guess.  I was very big on learning about civil rights back in the day, as well.  From elementary grades up through high school, I was doing something on MLK, Africa, all that, every year for projects.  I can’t let people know about my culture if I don’t know about it first.

Loud.com:  What did you take out of doing those kinds of projects?

I took strength from it.  Fearlessness.  I took the ability to have that constant shout for more and the need for betterment.  I began to understand that it’s not all about money.  I think a lot of people treat life like a game, and either you get it or you don’t.  I took peace from it.  Equality.  And really, I took lyricism from it, too.  A lot of people used poetry, like the Harlem Renaissance days, that was a constant source of energy for those people.  There’s something about substantial music that gives you hope for a better tomorrow.

Loud.com:  Do you worry about coming off as too preachy?

No.  If they don’t want to listen, they don’t have to.  The ones that hear it are the ones that need to.  When I write my rhymes, I don’t think what anyone else says about my quote comment, nahmean?   I feel like what I say is going to change the world, period.  If it comes across that way, those are the people that DON’T need to hear it.  Hopefully, one day, it will get to that point for me.  I make music for every situation, though, so to be honest, it couldn’t come off too preachy.  I got music for thugs, clubs, socially conscious people, strugglers, hustlers, rich people, middle-class.  I’ma catch everybody’s attention with what I drop.

Loud.com:  How are you able to connect with certain situations and speak on them if you’ve never been through them, though?

I gravitate to what they are dealing with, internally.  I wouldn’t hop on a track and talk about something I have no connection with.  If I’m wise in a matter or it presses on my heart enough, I will write about it.  I love the first amendment and the constitution, so I don’t feel like we were given that right to speak unless we could express it for a reason, feel me?

Loud.com:  Nah, man, definitely, that’s a beautiful statement.  So you’re clearly an intelligent cat.  You mentioned earlier a job that you just lost.  How did that happen and what’s your main hustle right now?

I was working a blue-collar job and got fired the day before I got the call from Loud.com.  It was like, ‘Here we go again, I’ma have to get another job and make that major move’ bullshit, you know?  But with this win, now I’ve got a little time.  The reality was, I got fired for bein crunk.  I felt like I had to put one more track up and I called out of work, so they terminated me for that.  But it worked out, as you can see.  I messed around and won, so it’s all good.  I’m ecstatic right now.

Loud.com:  So what’s on the agenda now, then?

I have a business plan that I hope to put into motion from this advance.  It’s going to help me put food on the table for my family.  I mean, it’s a pretty good flip, the Loud.com money.  If you think about it, there are scholarships for a lot of things, but nothing for rap.  They’ve never had that.  I almost see this Loud.com money as a scholarship for me.  I’m about to go to recording engineering school in Hollywood, CA, at a school called LARS (Los Angeles Recording School).  It’s gonna be big.  I’ma go over there and do what I’m doin here, musically.  It’s going to be a huge move for me.  I want to be able to run my own sessions and that’s gonna keep money coming in, engineering people’s records, regardless of my own music-making status. 

Loud.com:  Word up.  That’s how a lot of cats get by.  Now, was there ever one song or one moment that you can remember that really made you fall hard for hip hop?

Oh, man.  I don’t think it was any single record or anything.  Probably more so the events of hip hop as a whole.  I saw people that came from nothing and were able to take the God-given talent they had to make something.  It seemed like everyone was happy.  I’d say when I was about 11 up to when I was 17… we’re talking like ‘88 to ’04… that was like the best time of my life.  That was the BOOM of hip hop.  I saw the ones that made something out of nothing live on, and some of those artists got killed.  But even then, those that are living still have music we listen to, and even some of the ones that passed on do, too!   You see, for me, I was born into this culture.  Some people are born to listen to country, it’s just the way it is.  I came up listening to soul, to disco, to oldies, to Marvin and Teddy, you know what I’m sayin?  Grand Master Flash, The Message, it just got CRUNK!  The events of my life and hip hop made me want to keep it going.  I see it as my responsibility.

Loud.com:  At what point did you realize you might be talented enough to pursue rap as a career, and what did the people around you say when you told them?

It’s weird.  I found out I had the ability when I did my 8th grade talent show.  I did a Big Pun song, “I Came Up” featuring Noreaga.  Man, Pun was spittin on that!!  I listened to it and learned it.  I had a friend that looked like Pun and I did Nore’s verse and part of Pun’s shit.  Like, we went back and forth, you know?  After we did it, the response from it was almost like I wrote it.  So I was like, damn, this must be the status that Pun had, like when he was still alive, Rest in Peace.  But I felt like for whatever reason, I had a story to tell and that time right there was so crunk, I felt it was necessary for me to move forward with it.  He died shortly thereafter, and he had a huge influence on me because of his passing.  I was like I gotta keep that kind of feeling going.  Seeds were just planted inside of me, and they grew into big trees.

Loud.com:  Have you encountered any obstacles, personally or professionally, that have helped you grow in the process?

Yeah there are obstacles everywhere, man.  The main one is negativity.  I’ve been blocking out the negativity for years.  People saying, ‘You can’t make it, you can’t do it, nobody makes it out of this town’ type-of-shit.   That’s the first obstacle, you can’t, you can’t, you can’t.  So I have to tell myself I can, I can, I can.  And then tell it to myself again.  Not having the advance money, I mean my folks are doing what they do to get theirs, but you’re talking about an industry with a 3% success rate.  That advance money will help me over a huge hurdle.  My parents were looking at me like I was crazy when I asked them for money to do my mixtape.  And now that the money is there, I have new negativity to deal with.  But any hurdle I see now is just an excuse from me and nothing more, follow?

Loud.com:  Yup, mos def.  That’s a good way to look at it.  It shows focus.  Coming away with a semi-final spot, it often depends on not only talent, but also hustle.  What would you like to see more of from the Loud.com community?

I’d like to see more community instead of competition.  You see the advertisement on the homepage and everyone just wants money.  They forget it’s a HIP HOP COMMUNITY.  Now everyone is cuttin each other’s throat, it’s no different than dealers on the block.  It just gets crunk.  Like, if people put more ahead of the competition, there’s nothing that says you can’t network without a win and still blow up!!  There are 40,000 people on that fucking site!!  You get money and all that, but it doesn’t mean anything!  I won a round the first time and didn’t get selected, but it happened this time partly because I kept up with the community.  It’s a huge movement itself and the possibilities of the community are endless.  Some folks just have to get past themselves.

Loud.com:  What are your thoughts on emcees becoming credible via an online competition.  Is it an accurate representation for the culture?  It did originate in the streets…

I think it’s definitely credible now.  I put it like this: over time, the streets have gotten crazy.  Like the stories you hear in songs and the stories you hear about artists getting signed on the street… it’s almost like it’s… not old, but that, people are looking for something NEW, you feel me?  You can go online and it’s perfect, like, you can find a new voice online.  If you take your experiences and bring them to the web, how is that any different than an open mic?  As long as you got a mic plugged in, you can take your experiences from the streets WHEREVER YOU GO.  I think you’ll definitely see some big names come out of Loud.com, word up.

Loud.com:  That’s definitely the idea.  So before I wrap this up, any mixtapes and albums people should be aware of?

“Plead The FIF Vol. 1” is an older mixtape we got, it’s 15 tracks.  We put that out around the time all the “stop snitchin” stuff was going on.  But it’s more like a, get-with-the-movement-right-now joint. 

And “Plead The FIF Vol. 2” is gonna be a monster, man, like, it’s gonna be legendary.  I’m gonna try and take this opportunity and do projects with big name people.  I feel like, if everyone wants to see hip hop change, they should be ready, willing and able to do a track with me.  I want this to be a mixtape to remember. 

When it comes to albums, you know, I’ma just feed off the last whatever it is that I did.  It will simply be a sign of the times.  Like on some, ‘Oh, yeah, I remember that’ shit.  No particular dates yet, but just be ready for it.  I wanted to drop Vol. 2 in December, but if I don’t feel it’s legendary enough, I’m not going to do it.

Loud.com:  I’m impressed, Drop, you’ve had some interesting things to say.  Anything else we didn’t cover that you’d like to address?  The floor is yours.
 
I want people to understand that I’m a humble person, and that my morals are straight.  I’m outspoken, but I put God first in everything I do.  I’m very thankful that I won, and would like to thank Steve and Joe and everyone at Loud.com and SRC for choosing me.  That said, it doesn’t stop here.  I don’t feel like I’m on top of the world now, I don’t think I’ve reached my pinnacle.  I want people to know that I’ma stay on the grind.  I know that it’s an elevation and a process, and I’m going to progress as that process unfolds.  I’m not going to let no body down.

At 28, Dirty Rap is no hip hop spring chicken.  He’s been around, opening shows for Twista, Paul Wall, Chamillionaire and a host of others.  He’s put out albums.  He’s talked to a lot of people.  But what’s interesting about our second-place semi-finalist is his unorthodox approach to music.  Maybe not his approach, necessarily, but his perspective.  It’s a mature and calculated process, yet at the same time very much in the moment.  We spoke with the big homie at length about his music, the evolution of the Dirty South and why he is willing to freely give the respect that he demands in return.  Strap in, kids, this is a good one.

Loud.com:  What’s up, Dirty?

I’m feelin great man.  This win, all the music I’m into right now, the mixtape I’ve been doing for the past month.  And the money, whoo!  I have plans to put that towards my own entertainment company.  It’s called City Entertainment, and I’m working with a group of homies, we call ourselves the Gnac (Yak) Boyz, like cognac.  We all kinda came together out in Arizona to form this company and we’re just trying to keep it moving.  Life’s real busy, and it’s all good, man.

Loud.com:  Good to hear.  What’s up with the name Dirty Rap?

I used to just rap under my initials, D.R. but it was kinda lame.  I’m originally from the south, the dirty south.  And I rap.  I combined the two, no big mystery.  Dirty rap, people hear it and think it’s on some vulgar shit, but it’s just me repping where I’m from.  That’s what it’s all about.

Loud.com:  Aiight, I feel that.  Tell me a little about the city, then; is the local scene strong?

I’m from Columbia SC, the capital.  Met City, you know, and I mean, right now, there’s a lot of local love and whatnot goin on.  Lil Ru, he just got signed to Capital Records.  Lot of local dudes is willing to help people out.  We’re in a different situation than ATL, though.  There’s a lot of talent but it’s not saturated, so while everyone shines, everyone also gets exposure.

Loud.com:  Where do you sit?

I try to come from a different angle.  A lot of people are doin the club songs and all that.  I try and come from my hood perspective, but keep it catchy.  That said, though, when you hear the verses, they’re different because I keep it creative.  I’ve been back here about 7 months; I’d been out in AZ the rest of the time.  I used to live here and all that but most of my music roots are in AZ.  I’ve touched base with a few people here, but it hasn’t jumped off for me like that yet.  I’m really just back and forth to AZ.  I basically only live here; this isn’t where my music is based.

Loud.com:  You had an interesting flow over that Sha Money track, “No Whining.”  Kind of like a stop-and-go thing.  Where did the idea and flow come from?

When the contest first started and that first round of winners came up, everyone was upset and bitchin and all that.  I heard Sha’s track and it inspired me to kind of forget all my problems with the site and voting and all that and just push what I was doing.  I made a decision not to worry about everyone else, and I wanted everyone else to forget that nonsense and keep it moving.  The flow, man, it’s just like, when I hear the beat I let my vocals ride on it, simple as that.  I don’t have a style in that sense.  If it calls for me to stop and take a breath, I will.  Some people got a format and shit that they follow, but for me, I always go with the track itself.  Makes me more versatile in the long run.

Loud.com:  Tell me what it was like growing up in South Carolina.

The South is really a deep-rooted, family-oriented place to be.  Me and my mom, well, she’s been living here for like 20, 30 years.  You know, I went to school up here, still got friends in the area and all that.  What I’ve noticed, though, is the difference in cultures here versus AZ.  Here, people respect each other, like, especially the elders.  You know, when we get talking to older folks or people that have been around awhile, we show them respect.  When I went to AZ, it’s not like it’s a bad place, but there wasn’t that sort of connection there.

For me, everywhere I go I have the utmost respect for people I meet.  The only reason you’d see me disrespecting someone is if you were to give me a reason to do so.  Treating people with respect is a big part of who I am, I do that because it was ingrained in me as a young kid.  It’s a little cliché and corny, but I treat people the way I want to be treated, and that reflects in all you do, music, life, family.

Loud.com:  A lot of hip hop’s elite are not necessarily respectful dudes, though…

Well, I see both sides of it.  For a lot of people, that’s all they know.  Some people weren’t raised like I was.  But, you know, when you get to a certain point in a career, you got a lot of people listening to you, and I think you have to be responsible for the things you say.  That’s a cop out if you say, ‘I grew up like that.’  I’ve grown up and been through some things, we all have.  Sometimes you have to step up and be a man, act like you are supposed to.

Loud.com:  What do you say when people pigeonhole the South as not being lyrical enough?  Many seem to think it won’t ever be regarded in the same way East Coast rap is within hip hop culture…

I mean, again, I can see both sides.  New York back in the day was crazy.  Down south, no one was really doin anything.   I grew up on De La, Rakim, Tribe, all those guys; that’s all we listened to.  That’s where I get my inspiration.  But a lot of people now aren’t listening to that type of music, so emcees just starting out have no idea of the history or what’s expected of them if they WANT that respect.  They only do what they know.  So people biting heads off of these new cats is like jumping the gun because we need to understand where these new dudes are coming from.  Now, if I can get at ‘em I will, I push the art form, first and foremost.  These new guys need to understand that you can’t always say the first damn thing that comes out your mouth.  All I’d ask of them is to get creative, go a little more in-depth and truly evolve as an artist.

Loud.com:  What do you think the Dirty South style evolved from?

Same as East Coast rap.  The DJ’s of the time.  I remember back in the day down here, the Jam Pony Express.  They played mostly R&B music and it was never fast-paced like rap music.  They weren’t rapping, but the DJ’s had some call and response going on.  They used to make tapes like that, kind of a pre-cursor to mixtapes.  People used to rap over them.  That was a Florida, Georgia type thing.  So I can’t speak on how Louisiana got their sound, but I think that’s where a lot of it originally came from.

Loud.com:  Tell me about your hustle, is music the only thing you’re doing right now?

I work, man.  I do IT on the Army base in Ft. Jackson as a computer tech.  Civilian contractor stuff.  That’s my 9-5 when I ain’t got my rap suit on.  But I’m tryin to get to a point where I can quit that gig and focus on this music.  I’m 28 right now, so, I ain’t getting any younger. 

Loud.com:  The flyer on your Loud.com page lists several well-known acts.  Did you open for them or are they more like influences for you?

Nah, the group I was in opened for all those guys back in AZ.  Paul Wall, Mack-10, Chamillionaire, Twista… that all happened in Arizona and New Mexico.  We were doing all that for like five, six months straight, two or three shows a month.  We were doing well, but it was just a family thing that I had to leave.  I have a daughter in Florida, so I needed to be back on the East Coast.  But as it’s worked out I’ll probably be headed back to AZ soon.

Loud.com:  Where do you see your music in ten years?

Oh, man.  For me, like… I don’t know, to be honest.  I’ll definitely be doing my rap thing, but my lady and me are always saying I’m more like a blues musician, like mellowed-out rap.  Right now, you know, it’s hungry, it’s aggressive; real similar to LL when he first started.  He’s kind of chilled out and mellowed with age a little bit, though, outside of his beef with Jigga.  But yeah, probably something like that.

If I were to win the competition, I just want to have an affect on music.  Like Ice Cube when he left NWA, those solo joints were classic.  I remember walkin in record stores and they were sold out!!  I want to sell out stores but keep it social commentary like he did.  To me, that’s an artist that did it right.

Loud.com:  What’s been your best hip hop moment recently?

Other than winning that money, man, I don’t know.  That $15,000 was real nice.  But it was like me being on the site for six months straight every day.  When Joe called me the other day at work, that was probably the best.  Other than doing those shows, opening with all those dudes, I can’t really think of anything else.

Loud.com:  Do you have a mixtape or an album that you’re working on right now?

I got the mixtape right now, it’s called Stackin Up.  It’s about coming up; it’s about quittin my job, changing my whole mentality, and the way I look at life and how I make a living.  It’s not about money, as the title might suggest.  It’s about me more so trying to up my value, my personal value, feel me?  Improving life, period.  I should be done with it next week.  It’s free, just come to my Loud.com page or MySpace and you can download it there.

Loud.com:  Sounds good man.  Anything else you’d like to add that we didn’t touch on?  The floor is yours.

Just be on the look out for the mixtape, look for City entertainment, look for the compilation album.  I want to point out to people, because there are a lot of skeptical people out there - THIS COMPETITION IS FOR REAL.  I probably spent no more than $20 on beats.  I put $20 down and withdrew $15,000.  If you need money and need funds, if you got the skills, get on Loud.com and make it happen.  Peace.

It’s pretty arrogant to call yourself The Franchise King.  But like The Game and King Tip before him, Sunny Shines is more than just swagger and flow.  Hailing from just outside Boston in Dover, NH, Franchise is quick to point out that to make the music he makes, you have to love hip hop first.  First piece of evidence – instead of a biography on his Loud.com page, he posted a set of rules (see “Commandments”) about how to go about life & business.  We wanted to know more, though.  Loud.com caught up with Bracket B’s third place semi-finalist over the phone and had him open up about those rules, songwriting and the Loud.com community.  Peep game:

Loud.com:  What’s good, man, you’re a pretty locked-in cat right now.

Definitely, bro.  Music is my major focus; it’s everything right now.  I got so many projects, it’s like, at this very second… wow.  My crew, we’re trying to collaborate with some emcees around here, I’m working with Versatyle Skills from Loud.com, I met her on the site, we’re doing some songs together.  It’s actually on my MySpace right now.  DJ Modesty is spinnin the hell out of it in France right now.  My own mixtape… it never stops for me. 

Loud.com:  You got a nice swag on your tracks, does that come from your CD collection as a kid?

I was turned onto hip hop by KRS and Big Daddy Kane, man… cats like Nas and Biggie and Jay.  The raw shit for me, though, was when I popped open that first NWA album.  It was the most in-your-face CD I ever purchased.  But to be honest, I’m inspired by, and my style probably reflects it, more of the music that makes you think, music that has something in it.  It doesn’t take a rocket scientist to create the music that’s flooding the industry right now.  But, yeah, I mean, I bang some 50, Mos, Lupe, Jigga, Nas… all these cats gotta be saying something for me to get into their music.  I come from the era when people were feelin the lyrics, not just ‘he got a hot hook’ type of shit.  So I guess that shows up in my music.

Loud.com:  Word.  Did you grow up in a real deep, hip hop culture, like, what was life like coming up for you?  How did you get exposed to the music?

I grew up partially in Dover, stayed with my Mom and all that growing up.  We moved a lot.  She had us in New Haven, CT for a minute.  It was mostly nomad-type shit; I was all over the place.

When I was younger, I was real into sports and all that.  I think one day me and my boys were just chillin freestyling, bullshittin, whatever.  There was this dude, God rest his soul, he died of cancer, but man, we was all up in Mass then.  Him and my brother really got me to start rocking in a serious manner and writing songs.  Both of them saw I had some talent and kind of pushed me, you know?  I started fading away from sports my sophomore year, and for me, music and emceeing became kind of like a drug.  I did my first studio song and it was a wrap.  I was like, yo, this shit sounds good, this is what I am going to do.

Loud.com:  So no real static coming up, pretty narrow path?

I mean, I’m 28 right now, but, you know, my peoples, we were a little bit out of control back in the day, yeah.  We got into doin things that weren’t so successful or appropriate in society. 

But it got to a point where that was going on and at the same time, everything was about going hard at music.  So I kind of had to make a choice.  My homie was out in Cali and said the scene was crazy out there.  So I went all in man, packed my shit, flew out there and it was like, immediately on for us.  One of my favorite moments was when we opened for KRS-1 at Nero’s at Lake Tahoe.  When you open up for dudes like that, for me, it ain’t gonna stop, it CAN’T stop.  It’s a hungry feeling.  I’ve always loved the music.  Through the whole period, you know, that’s what kept me more or less focused.  Shit, I still got tapes from 98, 99 that are fresh, that I could play, you know?  It’s in the heart all day, trust and believe.

Loud.com:  I’m curious to know… has the competition effected the way you write?  Compare the one minute shorts you have on the site to other songs you’ve done. 
 
There’s only so much you can do in 60 seconds.  It was my goal to be up in their face.  On my MySpace, that’s more along the lines of what you’re going to hear from me.  I think people can sniff out a fraud, and if you can’t spit it how you live it, that’s wack to me.  That’s why I try and stay consistent.  I don’t falter.  I believe that I could truly stand out there with any and everybody.  With me, you got the swag, the look and the whole package so, for me, it’s all good, I don’t feel I have to worry.  But nah, technical shit aside, it hasn’t really played into the way I write, I just had to be a little bit more compact.

Loud.com:  Why the rules on your page?  There’s no traditional biography there.

That, more or less, came from experience.  I was doing negative shit real heavy at a point in my life and it wasn’t getting me anywhere.  So I came out of it like, I’d rather be a positive individual than deal with other things.  I put those on there so people could get a picture of the mind of me.  I gave them little jewels of things, as sort of a response to some feedback that I got.

Loud.com:  Which was?

Negativity gets you no where.  I don’t respond to negativity.  In this case, I had gotten some chit chat in the forums and all that cuz I’d won two rounds and I think that there’s a lot of quality dudes on the site that are doin their thing, but unless you’re grinding, you ain’t gonna do too much.  People saw I won two rounds and they came at me.  People got frustrated or whatever, but I think at this point, I’m immune to that kind of stuff.  It feels good to win two rounds.  Kobe hits his 81 and that shit feels good!  But I had mad people helping me out this time around.  I won a round in the first ten weeks but didn’t get picked.  We pounded the site even harder and it worked out.  To be here, you have to love the culture first, with the music as an extension of that.  But you also need to realize it’s a job, too.  If somebody asked you if you wanted to get paid to write raps, what would you say, you know?  This is how it happens.

Loud.com:  What was your reaction when they told you about winning the money?  Do you have any plans for it at the moment?

I was shocked.  I thought it was a telemarketer, initially, so I answered the phone kind of snotty and shit.  They started telling me who they were and where I had to be, though, and I was like, ‘this is major!’  It’s really the start of something, man.  With a win, though, if you don’t take that money and reinvest it in yourself, you’re hustling backwards.  I got big plans.  Putting out the mixtape and getting my name out there, that’s first.  If I have to drive down to ATL and shit, I will.  I’ll flood everywhere.  I am putting some of it in the stash, don’t get me wrong, but I am going to reinvest most of it into the music.  I’m goin to a top of the line studio and am going to do it right.  Once that street album pops off, look out is all I can say.

Loud.com:  Having used the site for a minute, what’s the most unique thing about Loud.com? 

It’s crazy that everybody is on a level playing field with the studio.  This is what it is-type shit, it’s straight raw, bottom-line, no extras.  Only question you can ask is, can they feel it?  And you know, as the first contest ended, people were finding ways to switch it up, get better sound out of it, all that.  One of the more underused features is the chat room, though.  Cats are missing out on opportunities to build.  No one is ever in there!  Posting bulletins and all that is cool, but the chat room would be a good look to get poppin. 

Loud.com:  What about your music separates you, and how do you approach making songs?

I think that I’m different because I’m not what everyone is expecting.  As it stands right now, people maybe think I’ma make a dance song or talk about how many people I murdered.  Nah.  I’m not sayin that everyone’s story out there ain’t true, but I mean, c’mon.  Again, if you can’t spit how you live, to me, that’s kind of disrespectful.  I want to give people a different way of thinking.  A lot of shit out there is negative cuz that’s life, but you don’t have to indulge in it and walk around in it.  Everyone sins, shit, Christians sin, but you don’t have to go about espousing it on a daily basis.  I know I’ma say something that might strike a nerve at some point, but you won’t ever say that I’m unintelligent.

Loud.com:  No doubt.  I think that message comes across pretty clear.  It’s refreshing.  So is music your only grind right now?  Give us some insight on your day-to-day.

I do some HTML stuff on the side to pay bills, but I stay focused on music.  My uncle owns a drywall company, so I do jobs with him if things are tight.  But most of the time, I get money off music.  I got some people that come to my little studio, I’m running ProTools, it’s small, but I help kids out for like $15 an hour.  Things to help pay the bills for my girl and me.  I gotta pull my own weight, so, whatever it is, I stay busy.

Loud.com:  Ha, yeah, the ladies appreciate that.  So we’re going to wrap this up in a bit, but before I do that, are there any albums or live shows coming up that we should be aware of?  You mentioned the mixtape before…

Yeah, the mixtape is called Everybody’s Listening Vol. 2.  We did shows all last summer, pushed over 1,000 copies of Vol. 1.  I’m doin my solo project simultaneous to that.  It’s called  “A Swagger + Being Pompous = The Franchise.”  (Laughs)  And we got shows now coming up in like two weeks, I think, on October 25th.  It’s called Extravaganza and it will be with Wordsmith, Rhymeswell, couple other cats.  It’s a Halloween joint in NH at the Brick House.  My brother is the one who’s booking shows, and so right now, we’re trying to get in some clubs out in Boston, prolly in the next month, that’s our goal.

Loud.com:  Bet.  One question before we let you close this out.  Why the name Franchise?

I’m 40 minutes out of Boston, in Dover, NH.  We got rockets out here but we have no launch pad.  The talent is here but ain’t no one on their grind, you feel me?  I’m the franchise because you don’t hear about nothing from anyone else.  They ask about me, they know me.  They see me.  That’s where the name comes from.

Loud.com:  Aiight, that’s fresh.  Yo, I appreciate the time spent, man.  Anything else you’d like to address?  The floor is yours.

I want to let everyone know that this is real, and that I’m coming. I’m not a hater, I participate, but people need to watch for me.  Franchise, baby, aka Sunny Shines.  Get at me.