In the competitive world of rap music where stars usually burn out quickly, the sustainability of any mainstream artist depends on the ability to change course dramatically. Recognizing that the rapidly changing music industry meant that artists could rely primarily on record sales, Jay Z took his brand straight to the board room, creating Roc-a-fella ya’ll! It started in 1996 as a boutique label with Jay Z being the only major musician. Merchandising Jay Z’z aggressive writing style and hustler’s ambition, the label quickly became a major player in the industry. More importantly, his brand became a model for the industry.
“I just wanted to get my music out. Labels couldn’t see what I was bringing to the table, yet I understood my skill level and was very aware of the competition, Shout out to Biggs and Dame! (Kareem Biggs and Dame Dash, Co-Founders of Roc-a-fella Records).
“Dame believed, in every sense of the word. He wanted to challenge the corporate brass and their stodgy business practices. Although Russell (Russell Simmons, Founder of Def Jam, the most influential rap label) had introduced rap music to corporate America; the old suites were still uncomfortable with its global appeal. Dame believed; he’s always had that kind of confidence. ‘Whatever they can do, we can do better’ kind of attitude. Warren Buffet once said the greatest investment one can make is in himself. But I swear he took that from Dame. Dame understood that more than anyone. And from that we began our campaign. It was easy. I was the MC and he was the muscle. He and Biggs were responsible for the day-to-day operation and my job was to move the crowd. What made it work so well was we each knew our position. There was no real difference; we loved hip hop. At that time it was a different hustle, we were trying to get on. Now it’s more about taking chances artistically, pushing the envelope, and being creative.”
If artistic success is measured by the ability to attract fans, then Jay Z could easily be the next Picasso. With a run unequaled in modern music, he was able to put out a hit record once a year for ten years. His catalog is extensive and still growing. As the industry suffers, he doesn’t.
Beyond revolutionizing the modern MC, Jay Z changed the entire landscape of the business. “Once we emerged and our impact was felt, we set out to change the culture. Initially it was Biggie mania and his appeal was through the roof, making it nearly impossible to enter the game, but his realness opened the door. I would be in the studio with this dude and he would switch into this mega MC, go in the booth and crush shit. The dude couldn’t miss, his whole style was official. After he would spit, the studio would be in silence as if we all just witnessed the illest. But as our friendship grew and our collaborations became monumental, we became a force. Almost overnight our fan base grew exponentially. Suddenly the Roc was selling out stadiums and headlining shows. RIP Biggie” And as his appeal grew, his brand grew. Jay Z now epitomized the ultra cool, and others wanted to be a part of his new vanguard.
“With each show we did I began noticing our audience wearing almost the exact same outfit we wore at the last show. From that we understood the importance of branding our image. We went to a number of distributors and asked for support, but after getting rejected from almost every distributor, we set out to create our own line. Rocawear was a response to those rejections. And it’s interesting to see how those same lines that rejected us before are now irrelevant -- all because they didn’t respect the impact of hip hop. These so-called CEO’s had insular vision. Their inability to recognize the marketability of our culture was and continues to amaze me, and it sets back those businesses that don’t hear the voice of the urban community. We are in a new era and change is inevitable, yet so many of these stiff suits refuse to acknowledge the impact of the whole hip hop culture.”
While some failed to recognize the influence of hip hop, others quickly grabbed up the chance to be in business with an up-and-coming rap artist, and Jay Z was a safe bet. He had the Midas touch; anything he touched turned to gold. “There was no other option. I was all in. It was either rap or road trips. When you come from nothing, you’re already programmed to take chances, so pressure to some isn’t pressure at all.” Just eight years after starting the clothing line, he recently sold his share for $240 million.
But with all that he’s accomplished, there are still those who take shots. “These so-called ‘rap beefs’ are nothing more than starving artists trying to get on. I’ve said it before and I’ll say it again: There has to be some sort of governing board that green lights these battles. I mean a mail room clerk at Microsoft can’t challenge Bill Gates about an executive decision regarding the company, so why should we allow some tattooed studio thug with little if any relevance challenge someone who’s been putting it down for a while. That’s like me going in on Kurtis Blow, Grand Master Flash, Ice Cube, KRS, LL or Rakim. These guys are legends and I would embarrass myself even whimpering a word about them. Yet there are those who do. And I don’t have the energy to even respond to all of my haters other than to say, ‘I made it, niggas, and that’s that!,”
And battles aren’t just on wax. More recently there’s been tension between old comrades. It’s been widely reported that during negotiations to renew their Def Jam contract, Jay made it clear he would no longer be a part of the team that built Rocafella. He wanted to venture out on his own. “It was just a matter of me embracing a new challenge. The media made it out to be more than what it was. Each of us wanted to do something else. We had done far more than what we ever expected, and it was time to move on and try new things. I love them brothas and together we made history. Dame is good, his hustle is heavy, and you’ll be hearing from him for a long time!”
Momentarily removed from the rigors of leading the label that housed his imprint, Jay has stepped out of retirement to satisfy the demand. After inking a nine figure deal with Live Nation, which will keep him touring for the next seven years, he seems well prepared for what’s ahead, “The experience was good and the team over at Def Jam is solid. LA has put a system in place for everyone to succeed. It was just time for me to move on and get back to doing what I do best. Does that mean I wouldn’t consider working for a major again? No, I enjoyed it, and if the right situation presented itself I would consider it. It sounds strange, but there’s a part of me that expected this level of success. I can’t say it was all by chance. I’m not sure if I could have imagined it to this degree, but I was ready.”
Now worth well over $400 million and married to one of the baddest chicks in the game, Jay Z stands at a summit no critic can reach. And his approach to business has changed the way in which business is done.
Jay-Z's partnership with the Brooklyn Nets, 40/40 clubs, his real estate investments and other business ventures put billionaire status in reach in the coming years, but he merely shrugs off such speculation. Regardless of how far he’s come, old habits are hard to kill. Pulling out a wad of money, he remarks, “This is just in case some cats wanna get a game of Cee-lo started.”
His focus has been and remains on music. “Whether I’m developing an artist or working on new material it’s always been about the music. There’s been talk about my rhyme preparation but for me it’s easy. If the beat talks to me, then the words come to me.” Throughout our conversation there were constant references to Marcy Projects, a reminder of his meager beginnings and the place that built the iconic figure with a special blend of stick-to-it-iveness and discipline. Now far removed from those urine-stained hallways, he keeps above the plasma TV in his Manhattan high rise a pictured reminder of how far he’s come: a street sign reading Flushing Avenue.
Just before our interview ended, Jay said in his ever-so-cool tone, “I’m proud of hip hop. It’s a voice for the oppressed, a window of opportunity in a hopeless situation. Some of the greatest poets have come from hip hop and continue to come from hip hop. And the universal impact that it’s had only shows the strength of the music. I hope I treated the game well.”
Then -- with no formal exit -- he was gone. As with the rest of his career, you could only guess where he was headed.
