What Is Rap-A-Lot Records?

Earlier today, Supreme announced that it has linked up with iconic Houston rap label Rap-A-Lot for its latest release. Rumors of this collaboration dates back to the beginning of this year, and the New York skate brand has finally taken to Instagram to release the teaser and images for the line. Rap-A-Lot was conceived in 1987 out of founder James Prince’s used car lot, originally as a way to keep his little brother Sir Rap-A-Lot, off the streets. Prince played the music game the same way he would’ve played the turf game and in a few years grew the label into a pillar of Houston and Southern hip-hop. The label introduced rap from the South to the world and delivered some of hip-hop’s biggest and most classic records of the ’90s. We’ve gathered ten important facts you should know about Rap-A-Lot Records, preferably before you cop the Supreme release when it drops on Thursday.

Rap-A-Lot Records Is a Houston Hip-Hop Label

Before James Prince founded Rap-A-Lot Records in 1987, Houston radio stations at the time would play whatever industry executives in New York City had told them to. Because of that, Houston was simply but an extension of everything that was happening in NYC. Prince, a fearless street hustler who sold exotic cars to gangsters and drug lords, didn’t like the way things were and found ways to make local stations to play his artists. James founded Rap-A-Lot to keep his brother and one of the founding members of The Geto Boys, Sir Rap-A-Lot, away from the streets. Since Prince knew many important figures via his car job, he was able to successfully finesse his way into the music industry.

The Label’s Breakthrough Act, Geto Boys, Put the South on the Map

The Geto Boys, who were assembled by Prince in Houston’s Fifth Ward, consisted of his brother Sir Rap-A-Lot, Raheem and Sire Jukebox. Sir Rap-A-Lot and Raheem later left and were replaced with DJ Ready Red, Prince Johnny C and Bushwick Billy (Little Billy at the time). Originally called “the Ghetto Boys,” their first release, Making Trouble, flopped commerically and did not get much attention, so Prince created a revamped lineup: DJ Ready Red, Bushwick Bill, Scarface (then called Akshen) and Willie D. The new crew’s 1989 album Grip It! On That Other Level became a smash hit. The album sold millions of copies and got Def Jam co-founder and successful producer Rick Rubin to notice. They dropped their eponymous album in 1990 with Rubin and We Can’t Be Stopped in 1991; both were also nationwide successes.

Rap-A-Lot Launched the Careers of Houston’s Biggest Artists

At one point, Rap-A-Lot was not only the biggest label in Houston, but the entirety of the South. According to Prince in a 2012 NPR interview, “it was like flies to honey” the way rappers came to Rap-A-Lot in the mid-’90s. Outside of Geto Boys and its member, the label kickstarted or helped with the careers of Devin the Dude, Slim Thug, Lil Keke, Z-Ro, Trae, Pimp C, Bun B, Lil Flip and others. It was also a go-to label for acts outside of Houston, including Do or Die, Yukmouth, Luniz, Outlawz and more. Rap-A-Lot’s most notable albums include Geto Boys’ self-titled album, Scarface’s The Diary, Bun B’s Trill, Pimp C’s Pimpalation, Devin the Dude’s Waiting to Inhale and Big Mike’s Somethin’ Serious.

It Has a West Coast Sub-Label Called Smoke-A-Lot Records

Smoke-A-Lot Records is a label founded by East Oakland, California rapper Yukmouth and his manager Kat Gaynor. The name derives from Yukmouth’s Luniz nickname, “Smoke-A-Lot.” It is distributed by Rap-A-Lot and Asylum, and houses artists including The Luniz, Dru Down, Thug Lordz, The Regime and Yuckmouth. From its conception in 1994 to now, Smoke-A-Lot has spawned 16 studio albums and eight mixtapes. It’s latest release is Yukmouth’s 2014 album GAS (Grow And Sale).

Devin the Dude Is the Label’s Longest-Running Artist

Devin Copeland, a humorously introspective, weed-loving Houston rapper better known by his moniker Devin the Dude, started his musical career out as a member of the Odd Squad (later known as the Coughee Brothaz) alongside Jugg Mugg and Rob Quest. Later, he joined Scarface’s Facemob and ultimately went solo in 1998. Since then, Devin dropped four solo albums with Rap-A-Lot, including his highest charting album Waitin’ to Inhale in 2007. His best known records, “Lacville ’79” and “Doobie Ashtray,” were also release via the label. He ended his 15-year relationship with Rap-A-Lot in 2008, signing with indie label Razor & Tie. He is now being distributed by E1 Entertainment (formerly known as Koch).

Rap-A-Lot Had Distribution With Many Different Record Labels

Rap-A-Lot was first distributed by A&M Records for a short amount of time in order to release Raheem’s 1988 debut The Vigilante. Later, the label was distributed by EMI label’s Priority Records from 1991 to 1994, Noo Trybe Records from 1994 to 1998 and Noo Trybe’s parent company Virgin Records from 1998 to 2002. From 2002 to 2013, it was distributed by WEA’s Asylum Records then Fontana Distribution. From 2013 onwards, Rap-A-Lot is distributed by RED Distribution. Prince reveals that major labels had made it difficult for people to be aware of Rap-A-Lot. “Basically everything we released was slept on to a certain extent because we didn’t have the muscle that a lot of the majors had to get the maximum amount of sales,” he told NPR.

James Prince Made Sure Things Went His Way

If you got on Prince’s bad side, he would definitely make it known to you. According to Green Label, Prince stood up for rappers many times who were on the losing end of a contractual war. He allegedly stopped a Young Money tour bus because he believed that his son, Jas, wasn’t fairly compensated for a Drake album. One time, Floyd Mayweather’s camp wanted to make a deal with Prince that he didn’t agree to and sent goons over to their gym to make it known. Another time, Master P became so offended that Pimp C said that P owed him money, but Prince stood up for C and told off Master P. Even some of his clients felt Prince’s wrath: Bushwick Bill was once allegedly beat up outside of a club after he had complained about pay.

There Are Only Three Artists on the Label’s Current Roster

Rap-A-Lot has seen better days. Although they were essentially running the South in the mid-to-late ’90s, the label has been rendered nearly defunct today. There are only three artists with some sort of contractual agreement with Rap-A-Lot today: Bun B, Z-Ro and Turk. In a 2012 interview with NPR, James Prince reveals that he’s not a fan of today’s music marketplace. “This whole game right now is a game that I’m not that excited about anymore because of the new structure and all these different ways of being able to get music without paying,” he shared. “It kind of kills my spirit from an entrepreneurial perspective.” He continued: “It’s not like it used to be. Trust me when I tell you that it’s nowhere even close to where it used to be. The majors are more in control now than they have been in a long time.”

Jas Prince Discovered Drake & Connected Him with Lil Wayne

In 2015, James Prince got at Cash Money for the alleged mismanagement of Drake’s royalties. Prince’s son, Jas Prince, is credited with discovering Drake and bringing him to Lil Wayne’s attention at his Young Money Entertainment imprint. Jas eventually settled his $11 million lawsuit with Cash Money and its Young Money imprint over the case. Lil Wayne has even expressed his eagerness in 2016 to make Rap-A-Lot his home once his legal battle with Cash Money and Birdman is over. “Houston, Texas, before I leave y’all, I want to say I know I’ll always have a home at Rap-A-Lot Records,” Wayne shared at an H-Town show. “And y’all know they’re f*cking me over right now. So, before I go, I leave you with these kinds words: f*ck Cash Money.”

The Last Album it Put Out is Juvenile’s The Fundamentals in 2014

The Fundamentals is Juvenile’s eleventh studio album and was released on February 18, 2014 by Rap-A-Lot Records. Juvy started his career out signed to Warlock Records, who released music by The Jungle Brothers and early Trick Daddy material. He then inked a deal with Cash Money Records and even became one of the faces of the label in the late ’90s. After leaving Cash Money, the New Orleans rapper singed with Atlantic Records and E1 for various projects. He released three albums with his U.T.P. crew (with Wacko and Skip) throughout the 2000s via Rap-A-Lot and dropped two solo LPs through the label, 2012′s Rejuvination and 2014′s The Fundamentals. On October 28, 2014, Juvenile announced and confirmed that he had left Rap-A-Lot and re-signed to Cash Money Records.

PhotographerRap-A-Lot Records

Gorillaz Drop New "Saturn Barz" Remix Featuring Popcaan With more remixes to drop next week.

Animated rock band Gorillaz have been continuing their meteoric rise since returning to the music world after a six-year hiatus. The band’s highly-anticipated album Humanz will also feature the likes of Danny Brown, Pusha T, De La Soul, Popcaan, D.R.A.M. and Vince Staples to name a few. Not only that, just last week, Gorillaz broke a YouTube record for the visuals for “Saturnz Barz,” which was made available in 360-degree virtual reality. The six-minute video hit more than 3 million views within the first 48 hours of being released.
Now, the band released a new remix of the song by the Montréal-based production duo Banx & Ranx which was shared during the latest episode of MistaJam’s BBC Radio 1 show. The duo is known for their dancehall and reggae feel. Check out a clip of the remix below. For the full track, catch it on MistaJam’s BBC Radio 1′s latest episode at the 53:13 mark.
Also, just last month, Gorillaz revealed the entire Humanz album via a concert in London. The full tracklist of the album was played to the packed-out crowd, making for an unforgettable night for those in attendance. Humanz drops on April 28.

PhotographerGorillaz

Joey Bada$$ Hints Possible Sneaker Project on 'Sneaker Shopping'

               

Joey Bada$$ goes Sneaker Shopping with Joe La Puma at Alumni in Brooklyn, and talks growing up as a Jordan head and the mix of sneakers with politics.

New York’s own Joey Bada$$ joined the latest installment of Sneaker Shopping alongside host Joe La Puma for some footwear talk and discussion regarding what’s next for his music. Taking place at Alumni located in Brooklyn, Joey sheds light on his introduction into the sneaker industry coming from his mother. Throughout the conversation he also touches upon the topic of politics being involved in the business in addition to the chance of his own sneaker collaboration alongside adidas, who he happens to be pretty familiar with. Reminiscing about pairs such as the Air Jordan 1 and Air Jordan 15, Joey also recalls interacting with Russell Westbrook and the unforgettable image of Malia Obama sporting a Pro Era t-shirt.

FILM: Trailer: Annabelle: Creation / King Arthur: Legend of the Sword

         

Several years after the tragic death of their little girl, a dollmaker and his wife welcome a nun and several girls from a shuttered orphanage into their home, soon becoming the target of the dollmaker’s possessed creation, Annabelle. In theaters August 11, 2017
         

Charlie Hunnam stars in KING ARTHUR: LEGEND OF THE SWORD directed by Guy Ritchie in theaters May 12, 2017.

Drake’s ‘More Life’ Spends Second Week at No. 1 on Billboard 200, Trey Songz Debuts at No. 3

Drake performs at The SSE Hydro on March 23, 2017 in Glasgow, United Kingdom.
Drake’s More Life rules the Billboard 200 albums chart for a second week, as the set earned 225,000 equivalent album units in the week ending March 30, according to Nielsen Music. It declined 55 percent compared to its blockbuster debut frame of 505,000 units.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new April 15, 2017-dated chart (where More Life is No. 1 for a second week) will be posted in full to Billboard’s websites on Tuesday, April 4.
More Life debuted at No. 1 on the chart dated April 8, earning 505,000 units in its first tracking week, according to Nielsen Music. It also set a streaming record, for the largest number of SEA units racked up in a single week by an album: 257,000.
Drake performs at AccorHotels Arena on March 12, 2017 in Paris.
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More Life continues to be a streaming powerhouse in its second week, as traditional album sales equaled 43,000 while it collected another 169,000 SEA units (the second largest streaming week ever for an album, behind only More Life’s debut). The rest of the title’s units came from TEA (13,000).
More Life is Drake’s second album to earn more than a single week at No. 1, following Views, which tallied 13 nonconsecutive weeks atop the list in 2016. His other No. 1 albums all had singular weeks at No. 1 (What a Time To Be Alive, If You’re Reading This It’s Too Late, Nothing Was the Same, Take Care, Thank Me Later).
With More Life clocking a second week at No. 1, it marks the 20th cumulative week at No. 1 for Drake as an artist, combining the two weeks atop the list for More Life with his previous 18 weeks leading the tally with his six earlier No. 1s. Among hip-hop acts, the only artists with more weeks at No. 1 are Jay Z (with 23 weeks from 13 No. 1s) and M.C. Hammer (with 21, all from his only No. 1: Please Hammer Don’t Hurt ‘Em).
At No. 2 on the new Billboard 200, Ed Sheeran’s former No. 1 ÷ (Divide) holds its position, with 98,000 units (down 17 percent).
Trey Songz’s Tremaine debuts at No. 3 — the only new arrival in the top 10 — with 67,000 units (45,000 in traditional album sales). It’s the fifth top 10 for the singer, and first since Trigga, which debuted at No. 1 in 2014 with 105,000 in album sales (this was before the chart transitioned to a units-based ranking). He previously visited the region with Chapter V (2012), Passion, Pain & Pleasure (2010) and Ready (2009).

ENTERTAINMENT: 'Get Out' Is Now the Highest Grossing Film for an Original Screenplay & MORE

Jordan Peele‘s brilliant part comedy/part horror film Get Out has reached yet another milestone today. Beating out an almost 20-year-old record, Get Out has unsurprisingly managed to become the highest-grossing debut project for a writer-director with an original screenplay. The record was previously held by Daniel Myrick and Eduardo Sanchez who co-wrote and directed 1999’s “reality documentary” The Blair Witch Project.
As reported by Forbes, Get Out, which cost less than $5 million USD to produce, has raked in over $150 million USD in domestic (US) sales, surpassing the $140 million USD made by The Blair Witch Project. Mastermind Jordan Peele has also become the first African-American writer-director to earn $100 million USD on a debut film. If you still have not seen Get Out, the film focuses on “the fears of being a black man today.”
Reportedly, Jordan Peele is in talks to direct a live-Action version of Akira. Also, make sure to check out our editorial on why Get Out is the most culturally relevant horror film to date.

When XXXTENTACION was still locked up in prison, he blasted Drake for stealing his flow from “Look At Me!” in the Toronto rapper’s More Life song “KMT.” After the Toronto rapper denied that he stole the flow in an interview with DJ Semtex, X sent a few shots aimed at the 6 God via Twitter. The Florida rapper further clarified his stance in an interview after he was released from prison. Now, Migos member Offset makes a clear stance on who he is siding with. “You n*ggas is silly,” Offset said via an Instagram story. “How you unheard of talking about a nigga stole your swag? We ain’t even heard of you, shorty. Get your ass out of jail.”
However, back in the summer of 2015, Quavo and Takeoff have called Drake out for using the Migos flow that they popularized on “Versace.” “C’mon, Drizzy know he bit the flow!” Quavo said in an interview for Billboard. “Drizzy got on ‘Versace,’ right? Then when I came on there I did ‘Versace/ Versace/Medusa head on me like I’m illuminati.’ My boy Drizzy Drake got them bars from me. We together though. We ain’t trippin’ on boss.”
Listen to a mashup of “Look at Me!” and “KMT,” check out Offset’s Instagram story below and DJ Akademik’s breakdown of the situation, and let us know what you think of it.

PhotographerTYRA MITCHELL

The Juno Awards took place last night in Ottawa, Ontario, and awards were handed out to Canadian artists for their contributions to Canadian and international culture. Jazz Cartier‘s Hotel Paranoia won Rap Recording of the Year, Grimes’ “Kill V. Maim” won Video of the Year, A Tribe Called Red got the Producers of the Year award and Kaytranada’s 99.9% won the Electronic Album of the Year award. Drake attained an International Achievement Award and The Weeknd’s Starboy got Best R&B/Soul Recording. In his non-televised speech, Jacuzzi La Fleur called out Canadian radio and the Junos for curtailing rap’s contribution to culture. He further emphasized his point in an Instagram post after the event, writing: “This means a lot to me but like I said this evening the Canadian radio is gonna have to stop bullshitting and start playing our own on our radio so these kids don’t feel the need to leave to the states in order to make it or get heard. And also while [the Juno awards] enjoy all the hip hop in the world at your after parties, next year you gotta have this category filmed on television.”
According to The FADER, Kaytranada called the awards “out of touch” via Twitter last year. A Tribe Called Red was the first First Nations act to win outside of the Aboriginal Music category. In 1998, Vancouver rap group the Rascalz refused to receive their win for Best Rap Recording to protest the exclusion of black music from the televised broadcast. Check out Jazz Cartier’s post below.

PhotographerAaron Miller/HYPEBEAST

Swizz Beatz's 'No Commission' Art Platform Is a Far Cry From His Ruff Ryders Days The legendary producer discusses his ambitious art show as it prepares to launch in Shanghai.

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The art world can be a tough nut to crack. Building a financially stable career as an artist relies on getting your work in front of the right eyeballs. That alone takes serious effort, but convincing the owners of those eyeballs to write cheques is another feat entirely. The unfortunate fact is that the traditional system struggles to support emerging talent. Galleries need reassurance that a new artist’s solo show will yield a financial return while art collectors would rather invest in an established name than take a chance on an untested talent. For a budding artist, building enough hype to earn a debut solo exhibition at a respectable gallery often requires the level of momentum that can only come off the back of already having already hosted a successful solo show. It’s a paradox that prevents numerous creative visions ever reaching a receptive audience. These obstacles often overwhelm aspiring artists struggling to elbow their way into the exclusive club that is the modern art world, and as a result we’re left with a frequently homogenous, creatively lacklustre industry that often fails to fulfil its potential of fostering truly exciting, fresh talent.

However there is hope, and it comes in the possibly unexpected form of hip hop producer and rapper Swizz Beatz. In August 2016, and in partnership with Bacardi, the Bronx musician launched his ‘No Commission’ platform, an initiative that aims to drastically reinvent the current art world format and shake the foundations by empowering new artists to reach a wider audience.

Holding weekend-long events in major cities around the world, each No Commission event offers selected artists, both established and new talent alike, an opportunity to exhibit their work for free and receive 100 percent of any sales they make. Unlike the traditional format that would see artists pay a hefty chunk of their earnings to the gallery, under Swizz’s vision, artists pay no commission. For Swizz, levelling the playing field seems to be the driving motivation behind the project, “I always said that if I can offer another option or help change this a little bit I would want to do it,” he says.

Operating under the title of Bacardi’s chief creative for culture, Swizz Beatz has already been able to bring this idea into reality twice since launching in the Bronx last summer. Swizz then brought the project to London in December and is currently preparing for No Commission’s Asian debut, taking place in Shanghai in April. Although still very much in its infancy, the initiative has already shaken up the status quo. “We’ve been able to put over $3 million USD back into artists’ pockets,” says Swizz, “it’s amazing for every artist to sell work and be able to keep 100 percent. It’s by the artist, for the artist.”

“Just because I have a good eye – or an eye that I’m working on – doesn’t mean I don’t need guidance.”

The mission statement seems clear: Open up doors for creative minds by redefining the industry model. But how does a hip-hop producer, born and raised in the Bronx, who’s perhaps more synonymous with Ruff Ryders than fancy galleries, find himself in the position of industry innovator and in charge of deciding who makes the cut? Swizz is refreshingly honest about his fine art credentials, “I’m forever a student. I’m always sharpening my pencil,” he says. To help him with curation duties he’s enlisted professional art curator Nicola Vassell, who previously worked under famed art dealer Jeffrey Ditch, to assist with the process. “Just because I have a good eye – or an eye that I’m working on – doesn’t mean I don’t need guidance.”

Perhaps this self-confessed ‘outsider’ status makes him a good candidate to shake things up. Swizz understands that sometimes it’s easier to assess the flaws in an establishment from the outside. “Most people think they know everything because they have a little bit of status in an area or a little bit of success in an area. I don’t feel like that,” he says. “I feel I can use all the help I can get because it’s going right back to the people, right back to the artists and the more creative minds at the table, the better.”

His approach appears to be working. The No Commission events that he’s already overseen have been undisputedly successful, not just for the exhibitors, but also for first-time art collectors. “Our shows have been selling out 98 percent of the artists, so that’s pretty good, and the rate of new people buying art is over 50p percent,” he says. Providing artists with a credible exhibition space for free isn’t the only service that No Commission offers, it’s also about creating opportunities for networking with industry honchos. A sense of mutual support permeates throughout the project, not just in the organisers, but also the exhibitors. “There’s a certain humbleness, especially with the artists that are well known, because I’m putting them next to somebody that no-one’s ever heard of and I’m doing that on purpose,” says Swizz. “There’s no big I’s and little U’s.”

The globe-hopping nature of the project is ensuring that it reaches as diverse an audience as possible, but why pick Shanghai as the first location for 2017? “Some of the biggest conversations are coming out of China,” Swizz says. “I just wanted to highlight that and then project it across the world and be like ‘listen, this also happens in China. Look at this artist’s animation, look at this artist’s digital work. Look at the things that China has to offer.’” The importance of lifting up talent that deserves to be lifted is vital to Swizz’s vision, regardless of location. “There’s a lot of great artists out there in the world but what I think shines through the No Commission artists is the passion and dedication.”

“Some of the biggest conversations are coming out of China. I just wanted to highlight that and then project it across the world.”

With an event in Berlin taking place this summer followed by a stop in Miami later in the year, it seems Swizz is committed to seeing this project through and meaningfully challenging the current system, because, as he says, his commitment to changing the culture runs deep, “I think that it’s rare that you see a true activation like that, that gives back to the culture for real.”

To register for the Shanghai event running from April 7 – April 9, RSVP here, (you must be 18 or over), and as if he didn’t have enough on his plate already, Swizz has also recently announced the next instalment of his beat battles, this time seeing Lex Luger face off against Southside. Find out more about that right here.