The reason why I’m posting this is because I find it so interesting to see how Fifty is applying his laws of success to something simple as shoveling snow. If you haven’t been paying attention to the news, New York State and surrounding areas have had a bunch of snow and 50 Cent is certainly making an opportunity for himself.
The quotes below are from Fifty twitter profile.
I got 4 people on one street to agree to my fee after they saw the first job I did. Now I’m looking for employees.
I’m paying 30 dollars and hour I only want 3 workers that 90 dollars and hour but I think we can do all 4 in a hour in a half. Lol.
One is a cute kid he has on a snow suit. So I’m sending him to ring the door bell to ask if we can shovel there snow. Lol.
When you look at his eyes its hard to tell him no. lol then I come to tell them how much they have to pay us. Lol.
This snow moving business is just to see if laws apply to every business. After the first job I got 4 more now I have 3 kid I hired.
Is the blog, the newest wave of hip-hop Journalism, here to stay? And what effect has it had on rap, artistry, and hip-hop music?
by: Kara-Lis Coverdale
Around 2 am outside a Sacramento club, The Mash Up, a young hip-hop promotions-focused blog with a mission to “change promotional marketing and branding in the music industry” and give artists in their local Sacramento a “bigger platform to expose their talents”, captured a fascinating and “candid” (as The Mash Up puts it) video interview with the opinionated indie emcee Murs.
It’s unclear from the video whether the interviewer was prompting Murs to speak on the current (technologically driven) state of affairs in hip-hop or whether these thoughts were just on the tip of his dreads at the moment, but either way, Murs came out with it, and it came out in a sincere and utter flood that he is a little more than frustrated–disturbed, even–with internet born and thriving “instant journalists and instant rappers” that have so dramatically changed the art of hip-hop and hip-hop journalism. I get the feeling he’s not the only one.
For the current issue of Rolling Stone, Nas didn’t so much provide a “best lyricists of all time” list as the title circulating the net suggests. Instead, he provided an exclusive list of what he sees as some of the more progressive lyricists; progressive in reference to emcees that continue to shape and cultivate hip-hop as a creative craft rather than settle into old formulas.
“When I said Hip-Hop is dead a few years ago, I felt we’d gotten away from the great wordplay and storytelling,” says Nas…
Because rap lives and breathes from the fumes of haters and juicy beef wars, it makes sense that those who made The Houston Press‘ “Rap’s 10 Most Hated People” list are some of the more successful artists in the industry. The antics and ridiculousness of listed artists like Rick Ross and 50 Cent lay at the heart at most people’s love/hate relationship with commercial rap.
Except one, who remains mostly just hated. Since Guru passed earlier this year, there has been a swarm of controversy surrounding Solar and the suspicious events following his passing. There is even a fully operational and upkept site dedicated to documenting his downfall. List author Rizoh puts it this way: “it wouldn’t be a stretch to suggest that Solar probably walks around with a bullet proof vest and a loaded gun. No, seriously, he’d be an idiot not to stay strapped 24/7… Congratulations, Solar, you’re officially the faex of the hip-hop community.”
Twitpic via Yancy Strickler.
It’s indicative of the technological squalor we live in when multi-act concert titles begin to incorporate twitter hashtags (#) and not-really-kidding reminders that a concerts are “special” experiences. Perhaps it isn’t generally understood these days, as I had hoped, that concerts are “special” because unlike most of our twenty-first century musical “experiences” (virtual, online experiences, that is), real-life concerts and their nominal markers of tickets, beer, sweat, and sound systems, are of the few music-involved experiences that remain outside the tightly encircling realm of virtual reality.
You would think that sobering fact alone would be enough to keep the concert tradition alive and well, but evidently the youth needs a lesson and the know-betters need a reminder. To counter the internet monopoly, concert promoters have begun to outwardly react to an important consequence of our post-virtual consumptive consciousness: it is no longer enough to sell a concert on the fact it is a “live” experience.