Me and The Biz

Congrats, but think about it

“bugs bunny money” – Mike G

Why Warner?
Explain that to me

Last Friday (December 18th) on Bodega Radio we ran through our best of ’09. I imagine many sites, radio shows, webcasts, etc. will be doing the same as we enter 2010. Outside of the fantastic music we pulled we stumbled upon an interesting conversation about the signing of independent artist Outasight to Asylum/Warner Bros.
Outasight is no stranger to the Brooklyn Bodega machine having played our CMJ Showcase in 2008 as well being a personal favorite of our radio panelists Dee Phunk and Jessica.

Earlier in the week Twitter was abuzz as Outasight announced that he was the newest artist on Asylum/Warner Bros. Similar to the Grammy nomination for Foreign Exchange (which we discussed on the show the previous week) the accolades poured in like water over a poorly conceived levee. Immediately it got me thinking of the ever burning question – Why?

In this day and age, for an artist with Outasight’s unique appeal, is signing to a major label the best move? For those not familiar Outasight is a white dude from Yonkers who sings and raps. I have heard people compare him to a white Mos Def without the bite. I would not go that far as his inherent pop appeal negates any comparison to Mos. But regardless he makes catchy songs and has developed a decent fan base. Anyway, back to the argument – I think that outside of the financial gain there is very little to celebrate about signing to Warner.

I realize to say ‘outside of the financial gain’ is ignoring the elephant in the room. Outasight, like many in our circle, is an aspiring if not struggling artist with dreams of making a living following his art. With that being said, the financial gain may be the alpha and omega of the argument. If that is the case, the artist is in a more precarious situation than I am theorizing, as the sharecropper/plantation owner power dynamic becomes the dominant model. Any situation where one party is overly financially dependent on another is a recipe for exploitation.

So let’s ignore the elephant in the room and analyze the deal. As I said on the radio, “what has Warner done to make one think that they are the machine to realize Outasight’s potential?” Where are the successes? Now, anyone familiar with my writing and philosophy know I am not one of these ‘blame it on the label’ town criers. Artist who blame the label for their woes are juveniles not ready for the relationship they consummated. (For a mature look at the artist/label relationship I recommend listening to our Mike G interview.) On the other hand there are empirical facts, numbers, market share analysis, and sales history that one can use to assess the potency of a label, in this case Warner Bros.

As I look at Warner Bros history with Black music and specifically Hip-Hop, I see a trail of tears. I see a corporate culture that has shown little commitment to Black music.
I see Chino XL, Leela James, The Jungle Brothers, Ice T, Body Count, Mike Jones, and Paul Wall.
I see Gucci Mane, Ginuwine, Lil Boosie, The New Boyz, a Cam’ron deal that has yet to produce product, and OJ Da Juiceman.

I do not see the institutional knowledge necessary to create an enduring career for an underground artist with a genuinely unique appeal. What I see is a brand that looks to maximize profits for artists with a short life span (or quick thermodynamic degradation). This is fine if you are The New Boyz (‘You’re A Jerk’). I don’t think there is a 10-year plan for those guys.

I see a company that was burned by some of the most damaging scandals in Hip-Hop and still has not recovered.

1) Biz Markie vs. Gilbert O’Sullivan. This case was a landmark decision in the area of sampling and intellectual property. When O’Sullivan sued Biz over the unauthorized use of the former’s hit “Alone Again” Warner Bros was ordered to pull all copies of Biz’s “I Need A Haircut” from the shelves. This is case is why you have to clear your samples. No major wants to incur the costs Warner was compelled to.

2) Body Count and “Cop Killer” – The anti law enforcement song from a permed out, pony tailed Ice T incurred the wrath of President H.W. Bush, Vice President Dan Quayle and Charlton Heston. Heston famously read the lyrics to ‘Cop Killer’ at a Warner Bros board meeting. The result? You guessed it – Warner pulled Body Count’s album from the shelves and replaced it with a versions sans ‘Cop Killer.’

It is my theory that these financial and public relation disasters have created an almost indelible stain on the label’s corporate culture. And to an extent, rightfully so – more than any other label Warner Brothers has paid the legal and economic price for Hip-Hop’s guffaws. They are gun shy. Over the years they have great ideas and brilliant people but I think once the goings gets rough they will dump you. The pain of Biz and Ice-T lingers in those boardrooms.

So to Outasight I say be careful and be keenly aware of the devil you dance with.

Nothing can save ya’

Trivia 1/07/09

QUESTION: What album won the Grammy for Best Rap Album in 1995?

Send your answer AND A SHOUTOUT to trivia@brooklynbodega.com

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Last Tuesday’s Q&A

You guys really liked this one. There are more Bodega Fam parents than I realized.

For all my Hip-Hop parents, what famous rapper/DJ/beatboxer deliver’s the Beat Of The Day on the children’s Show, ‘Yo Gabba Gabba.’

Answer:

The Diabolical Biz Markie

Winners:

Steven H., Shout out to K&J

J.M., Yo Gabba Gabba is the greatest kids show on tv

Eduardo H., Shoutouts from da boro of Da BX!!!!

Jules J., Shout out to the homecookin radio crew

Tramp Baby, shout out to Lady & A Tramp & Precise