How 50 Cent Applies Marketing Knowledge to Himself
I read an article recently that appealed to me, mainly because it contained a strange hybrid of two topics, both which I find extremely interesting: hip hop and marketing. After reading the article, it made me realize that 50 Cent is a lot smarter than what people make him out to be (heck, even what he makes himself out to be) and that he could rightly be defined as a sort of hip-hop marketing guru.
A few takeaways:
1) His street cred, which was carefully cultivated after being shot multiple times, was starting to fade away. Ironically, his two immensely successful albums that center around this street cred started erode his tough image.
2) As typical with a lot of young rap stars or athletes who become immensely rich in a short period of time, hands begin appearing. Palms up. Asking for money. 50 Cent found himself surrounded with people who were only looking for their own interests, and not his.
3) Fifty Cent found that his social circle increasingly consisted of white guys, in suits. Corporate label guys in suits don't necessarily give you a good sense of new trends in the street, where Fiddy came from.
After some introspective thinking, what did he do? He recorded a track without his label's knowledge and released to the public and watched for feedback (very Web 2.0). The public wanted harder stuff! He continually shortened the distance between himself and his fans with technology, and his "hustler's mentality" now applied to Internet marketing with great success. Greene's great article explains more, but with Twitter, the Internet, and all the marketing knowledge rap stars are now in possession of, the audience has less patience for rap stars who don't get it. Except Lil' Wayne, who can do whatever he wants.
Noteworthy Albums of Late Pt. 2 (Instrumentals)
RJD2 - The Colossus . You may have heard RJD2's beats before, but didn't know it. One of his signature beats, Ghostwriter, has been used for several commercials and showcases his mastery of the art of the hip-hop sampling. The song ebbs, drops, and peaks while utilizing a highly complex drum sample. It never bores, and continually seeks to intrigue.
After producing mostly instrumental albums and for noted underground legends such as Blueprint, he started to gradually move away from movie score tunes such as The Horror and into darker, more introspective tunes that featured his singing voice. Although I personally prefer his strictly instrumental work, The Colossus does a good job of balancing brooding beats with thankfully muted singing and head-knockin', triumphant tunes such as "Let There Be Horns:"
I love this track because of its visual imagery: notice how the middle of the track contains a furious drum sample which has a distinctive Cuban Jazz flavor. The "interlude" of the track even sprinkles some electric guitar amid trumpet blasts, and smoothly connects the song toward its ultimately thrilling conclusion.
Sound Tribe Sector 9 - Artifact . Sound Tribe Sector 9's sound often defies definition - it combines so many different types of music together that they can only be fully described by emotions. "Better Day" is spaced out, mellow, and mysterious, with frequent electronic references and a beautiful singer sparsely lending her talents to fleshing out the track. "Somesing" contains some elements of drum and bass along with electronica, but its musical structure is so organic and complex that it's hard to pinpoint where one genre's influence begins and where another ends. Wikipedia has even mentioned that this song has a composition similar to classical music.. although I can't tell. What I do know, however, is that this album is NOT boring, unique, and worth a listen.
Oh No - The Ethiopium . As star producers come and go, Oh No has been in the background laboriously perfecting and mastering his craft of sampling, beat-making, and mixing. The result? The Ethiopium is a funky tour de force of two minute sound bites: a throwback to the old days of producing beat tapes and passing them around your peers, hoping that one of them will find a beat hot enough to rap over. Not content to use guitars, keyboards, and violins in his beats, Oh No taps into the musical tapestry of the music of Ethiopia with traditional Ethiopian instruments and sensibilities, such as the deftly placed chanting in "The Pain" and his creative use of instruments such as the krar. Taking J. Dilla's style of bite sized, dynamic beats, each track gives you a taste, establishes a theme, then abruptly stops and leaves you wanting more.