A Quote by Mannie Fresh
'Chopper City in the Ghetto,' real talk, it's what changed Cash Money from a Bounce label to a Rap label.
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Cash Money really had no intentions of being a rap label because when it started, it really was based on bounce. It was one bounce song after another. I started to doing bounce songs for them, and they jumped off.
'Chopper City in the Ghetto' - a lot of it was B.G.'s real story.
A Name Is A Label, And As Soon As There Is A Label, The Ideas Disappear And Out Comes Label-Worship And Label-Bashing, And Instead Of Living By A Theme Of Ideas, People Begin Dying For Labels... And The Last Thing The World Needs Is Another Religion.
I had every major label in the world - I mean, any label that dealt with rap music wanted to sign me. I ended up going with Jive Records because I liked everything about 'em.
We recorded 'Chopper City in the Ghetto' in a house that we was living in.
I think anyone who's willing to be brutally honest with who they are and express themselves is always going to get the oddball label, the pyscho label, the twisted label. That's what happens.
I had the most frustrating thing happen when I was trying to find a label. I sent my album to this indie label, and they were like, 'We already have two girls on the label. I'm so sorry, we just can't take your project.'
My record label always says you shouldn't talk about money because it makes people extremely uncomfortable. Refugees can't talk about money. Rappers can talk about money; refugees can't talk about money.
The head of a record label sets up structures, but he also defines the sound of the label, which is to describe what is desirable, what fits and what is quality for that label and then to create an environment where that sound can thrive.
There's no such thing as 'sissy bounce.' We don't separate it here in New Orleans at all. It's just bounce music. Just because I'm a gay artist, they don't have to put it in a category or label it.
We didn't have that big-label push. We weren't the kind of band that our label Warner Bros. Records was going to throw all this money at. Their idea was to support us on the road and see what happens. It was a very slow building process.
If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength
If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength.
In theory, when you're working with a record label, you're just borrowing their money. And that's basically how the record industry works, right? It's like, you borrow $100,000 from a record label, so you don't make any money until you make back that money for them. In theory, they have you held hostage, so you've got to do every little stupid thing that they want you to do.
The Cash Money sound pretty much changed the era. It kind of put the business into rap. It was like, 'Get your money, dude. This is a billion dollar business.'
My label is to play bad guys of Latin origin in American movies. I'm happy with that label. I prefer to play that than to play a city boy. The bad guy is always something very tempting for the audience.
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