J. Cole opens up about stereotypes and his connection to fans in the latest edition of ‘Earlier That Day.’
Jeezy back with another new visual for Black Eskimo produced by Cardo. Jeezy latest album titled Seen It All is in stores now.
Davis Guetta links up with Nicki Minaj and Afrojack for his latest collaboration track called Hey Mama. This is taken from David Guetta upcoming album titled Listen dropping on November 24th.
In a local radio interview Tuesday, Dallas Mavericks owner Mark Cuban didn’t hold back when discussing the struggling Los Angeles Lakers, saying, “Personally, I just hope they suck forever.”
Cuban made his remarks about the 1-9 Lakers, who are off to their worst start in franchise history, while he was on “The Fred Roggin Show” on The Beast 980, a radio station in Los Angeles.
Roggin brought up the topic of how teams are constructed in the current NBA era, specifically the Lakers.
“As far as the Lakers,” Cuban said, “I think there are going to be a lot of teams that are going to be focusing and saying, ‘Look, I’ve got a ton of cap room, free agents A, B and C, why don’t you guys come together and come play for me?’ And L.A. has always been considered a destination, so maybe they feel there’s a valid strategy. You know me, Fred. Personally, I just hope they suck forever.”
It’s not the first time Cuban has made remarks of that nature about the Lakers. Before the Lakers’ much-anticipated 2012-13 season opener, when they had Dwight Howard, Cuban was asked for his thoughts on the new-look Lakers.
“I don’t know, I don’t care, I just hope they suck,” he said then. “You know, like any other team.”
Yesterday Warner/Chappell Music, the publishing arm of Warner Music Group, announced deals with Jay-Z to administer the copyrights of both his own songs and those on the music publishing roster of his company, Roc Nation.
Warner/Chappell will immediately begin administering Jay-Z’s catalog stretching back to 2008; by the end of 2013, it will handle the bulk of his early career hits as well. The publisher will also now administer copyrights for Roc Nation’s stable of songwriters, including Philip Lawrence (co-writer of Bruno Mars’ “Grenade” and “Locked Out of Heaven”) and S1 (co-writer of Kanye West’s “Power” and Beyoncé’s “Best Thing I Never Had”).
Part of the reason that Jay-Z chose Warner/Chappell was his connection to publishing executive Jon Platt, who left EMI Music Publishing for Warner last year. The duo first worked together in 1996, the year Jay-Z released his debut album, Reasonable Doubt.
“The real meaning of success is being in the position to work with an individual you consider a friend,” Jay-Z said in a statement. “Jon Platt is such a person. He’s a man of extraordinary character as well as a remarkably talented executive with an ear for music and an eye for talent. It’s great to watch him grow to be one the best in the business.”
Added Platt: “I couldn’t be happier to continue my relationships with Jay and Roc Nation and build on our partnerships at Warner/Chappell. We have the global expertise and resources to deliver new opportunities for their amazing catalogs, while helping them reach new heights of success around the world.”
Platt became more familiar with Jay-Z’s songwriting skills at EMI, which was home to his copyrights until now. As I wrote in 2010, the rapper’s previous agreement had long been set to expire this year, giving him plenty of time to plot his next step.
But there’s another set of rights headed Jay-Z’s way quite soon. As I wrote in my book Empire State of Mind: How Jay-Z Went From Street Corner to Corner Office, the rapper negotiated the return of the master recordings to all the music he made while at Def Jam as part of an agreement to become president of the label in 2004.
The catch: he’d have to wait 10 years. Ironically, the opportunity to own his masters was what convinced him to take the Def Jam gig over a similar job at Warner Music Group. Now, his career has come full circle.
By the end of 2014, he’ll be in full control of both his master recordings and publishing rights—meaning that every time someone buys one of his albums, streams one of his hits online or licenses his song for a movie, he’ll get a considerably larger piece of the pie. Not bad for someone who already made $38 million last year.
For Warner/Chappell, Jay-Z’s deals might be part of an even bigger package. Rumor has it that Platt is in negotiations to bring Beyoncé’s publishing to Warner/Chappell as well.